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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1953 Volume 71, Number 09 (September 1953) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 71, Number 09 (September 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/114
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]. Preparation for Opera Licia Albanese
The Piano Art of Ferruccio Busoni Christopher Paddack
What Can Technical Instruction Achieve? Martha Neumark
Mental Practice Aldo Ciccolini
What the Junior Music Festival Can Do For Your State Norma Ryland Graves
A Symphony of Bells Paul D. Peery
The Place of the Non-Concertizing Artist in American Music LeRoy V. Brant E PRESSER COMPANY, Letters from THEODOR PENNSYlVANIA :bear Cenfurlp BRYN MAWR, b hearing that your to the Editor I have een I new issues are t he best ever. Please send me the numbers Articles checked below, am enclosing 25¢ a copy. . 'or several months I Dear Sir: F ., to express my have been interndllt'l,ooe edi~orship of • ' ti n 'or . . apprecia 10nd selections made ,Ill a d Iten times ' Good-Night, C·I Burnam ETUDE,the helpfu~ jan O~ly today, afterm- O Thot C To You: DTeddy "Bear s ried, C_I .. Burnam spiring arhcnes.h etroi 't Neios and the o Th. 0. Burncm reading t e . the composer Lvllob, t.cnd,thG·' d article concenhlln have I really o g o H ... Cernes e Rodeo Perc e '0b'm'00 Evange I'me Le'. man, Th... "w re "0,., 0" """'0", whi ,h w.,. '." '0 "b,,,II"", 0' - - C.,., k C·, .. Robinson decidedto wrlte,~u how much her a '".cio' 0'" {,om p,.".,. W.'hi., yo, w'" b.'''''''''d ,.'hi,0'" 0'0 tho Homm" "ob'",OO I cannot te) I Art-Song Th. PIANo PACKAGE OFFERg'." yo, 'o" P"'og" 0' ",w',". o Mook., Aot'",Jo c·'.somma"o article (Spehakl~~ve~lber (1952) H monlco e , C-2 .Sccrmclin,. IIr TIIJIl.. 0) 10 tel J am on y an b "0,001";000 'h~, mOl', c , .... Yoa ,.,., •• obo .. 40% 0'''0",' 00 o 0' 51". ks {Blod K."I·', .. Scormolln issue helped poser.me, bu,t who knows - Oo S",,,'OO. , '''h Po"ogaga•. Th. P"'og" 0" "., 01~oo.~""'"m" "lOa,ho", a Shells,k C·I ... Hayes amateur earn rg might be can- 0'011" So," . C·,·, Archer tI W Ie , O . 9 C,2 ~olle (a[ Y one sonhil This IS, the )000", )0" The Mischievous , ... Archer t n 'h, YO" fA " '5'h, h" MO"h '5,., 15'''. A'd, Leprechaun. sidered war 1 r'I,'s's' Lehma.n s YOag.. 'h.EXTRA"'V/lEGE 0' "d"'.g 0000""" of ooy 0'", P'"" Red Spenlsh. S!Iawi, C-2· .... Scher encouragemen. , give to me, and I imagine in the packages a' the Same saVing diScount. 0'0 ° Bm·' WTIlmgs' uls o lI11'. ·Scarecrow.G-]M'" 00000" " .. S,h" many other tinn so .Merle HallI d 000"''"9o Colonia. , Mo",'oo. Bb·'·' ..... GoodmanGoodmoo B"mmg. . ham" , Min . H."" 00 ~'Y, ''''"''''.' woy '0 '~P POI''''00 wh.. ', "w. G , k Am·I-2 .... a/l the details about this offer _ get yOUr application I o Snow At Dus . . .White o BusSlop, C·I-2 .... Silver Bells, G·2 .. Rebe o Id We Have a 'I Just drop a card to: PIANO PAC/(AGE SERVICE Skip and Ploy, G-2 . .... Wright S~o~Ministry 0f Fine Arts • Hop ur Yard, F-I-2 .. o The Swing In 0 .. Kerr '. should like to .ex- TheOdore Presser Co. o Sunday In the Park, C_I ...... Kerr Dear Su., ~ on the questIOn Bryn Mawr, po. o Mother's Lullaby, f-I-2 ..Ogle press an opmIOn 'sue: "Should posed in thea M~n;:tTY of Fin: o Railer Coaster R'deI • F-I-2 Heller e \'\T Have '_ a very POS1- o Soiling In the Tub, F,I-2 . . .Rogers Arts. ?" My answer b o Chao, Chao, Chao, C,I ". , .Rogers 'N10 " h tive ' !, Cleva presents t e o See·Saw, C·1-2 ... '.' Rogers The way Mr. II and good, but B'ke D-I . Rogers o Riding My I , .. Rogers point sounds we better ways of O Sidewalk Cracks, C·I Rain, I think lhere aTe ~ _1 than tak . I desueu enu Two Winter Pieces: I. Snow, II. .. Rogers attaining t le I government for o G C·, ...... 00 ing our case to t le " t pI . los • hese ·ano so were included . Tune {A five-tone pie Ro ers J " anacea, k' d • • O Square Dance Whae Keys) Col. g a genera p b h' nd some 111 . h Blockor h ld aet e , . I for elt er Eb-3-4..... Sousa We s ou b better mUSlca St 'pes Forever, in Two Spedal Offer Packages ... of program to g~t d television. o Sfors and rI 2 3 Sou~a,Hortt n radIO an .l Stars and SfrI'pes Forever, F- , . P o rograms 0 h. ultra-mouern GRADE 1 .... GRADE 2Y, ' ean t lS '.l • . . . . Louise E. Stairs 1JI)..C II 16 $.]5 110-40233 $.35 NAVAJO LULLABY. 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I WIND OVU loc:ilJ ""dT. 47 W, 63rd , (Recital. be-lIen! ...e OeKTip ,... .J St • New York 23, N. Y. Lincoln, Nebr, (Continued on Page 9)
ETUDE-SEPTEMBER 1%3 * * * * * * * * * * * * 1 , M6 ETUDE". music ... aga':1fI~ E{lilodal and Business Offices, Bryn :\Iawr, Pa. � MODERN COURSE FOR THE PIANO ------THE LEILA FLETCHER James Francis Cooke, EdilD l' F
ETUDE-SEPTEMBER 1953 2 3 ET Df.- f.PTf.JIBf.R J9> ...------:-----~--"- YOUR AUTUMN *7it4 u ~ (tal the first cellist, "How many are An. amusing anecdote is re- left?" The cellist whispered, back, lated about Bantock's conservatory • THE SUPERB TONE QUALITY DEMANDED - "Thirteen." years. One of his earliest composi- BY TEACHERS AND FINE MUSICIANS COMPILED FROM THE MANY , tions was a rather loud orchestral • BUILT TO GIVE FINEST PERFORMANCE ~ Lea REQUESTS OF COlnpositions in which the piece entitled "Three Monologues UNDER THE MOS' ACTIVE DAILY USE PIANO PIANO TEACHERS clock strikes other hours than mid- of Satan." At a rehearsal, the stu- night are few. In Moussorgsky's dent orchestra became so hope- Methods - Books STUDENTS tone poem~ "Night on Bald Moun- lessly entangled in the intricacies tain" the arrival of the dawn that of the music that Macf'arren, who Collections Music Looers! dispels the Witches' Sabbath is conducted, exclaimed in despair, and All marked by six strokes of the "Where are we?" "In Hell~ Sir,~' church bell. In the Sinfonia Do- replied one of the students. By NICOLAS SLO IIUSKY mestica by Richard Strauss, the clock strikes 7 P.M. on the glock- Rossini once said that the stomach was like a conductor regu- MICHAEL AARON PIANO PRIMER .60 enspiel when it is time for the MICHAEL AARON PIANO COURSE baby to have a bath and be tucked lating the passions of the body. The ideal piano for LETTER to the editor of "The to be amused. He reported bis",_ into bed. He also said, "To eat, to love, to schools and studios Grades' -2-3-4-5 ••.•• each 1.25 pre i n of Debussyl!! ulberia~' MICHAEL AARON ADULT PIANO COURSE A Musical Times" of London of sing, to digest, such are the four . and surprisingly Books '-2 •••••••.••• each 1.25 September, 1925, referred to a '·Le Men reI" of June 28, 191~ acts of the opera buffa we call low in price for such excellent MICHAEL AARON PIANO TECHNIC famous composer as "the most "Iberia is nothing like the Spa, • life." His associations of ideas with tone quality and enduring stamina! 44 inches high, with the famous 7-ply pin Books ,- 2 each .75 shallow Teuton who ever covered of 8iz I and habrier. Whal f.!~ people and countries were gusta- UR EARS must be decidedly plank for longer tuning life! Mahogany, bleached and MICHAEL AARON DUET BOOK •••• 1.00 up a painful poverty of musical r maybe there WI a printtr's tory. When Count de Fay, a O different from those of our ebonized finishes. If you teach ... or are responsible for til; ideas by providing Iactiti us op· error on the program and the musical grandfathers. The follow- Hungarian nobleman, wrote Ros- the musical education of others, you'll want to know all about ~'------por-tunities to be soulful." I It r wa dropped, so th'ltbe ror- ing notice, from the Musical sini for an autograph, Rossini this outstanding new piano! Mail the coupon today for full details. Who is the cornpo r? ne r t titl hould hare been iherit Courier of 1888, requires no com- obliged, and added: "I have al- JESSE FRENCH & SONS PIANO DIV., H. & A. SELMER INC. YOUR BACH BOOK •••••••••• would never gues: chubert l In II _ hen e\ erylhing becomes cw: ment: "The Symphouie Fantasti- ways loved Hungary, for Tokay YQUR CHOPIN BOOK •••••••• subsequent is ue of "The Musical nd h re i Brancour' d"Cri~ que is a monstrosity of the highest is one of my favorite wines." ~----~~------~I. ------~JESSE FRENCH & SONS : 11 YOUR L1SZT BOOK •••••••••• Times," the sam ntributor lin f an ih r modern "',",_ caliber and absolutely stuns a tnW free.r 1 Dept. E·91, Elkhart. Indiana I n Please send full details on the new Jesse French I THINKING FINGERS (written made an attempt to ju tify hi low pi : U I the ceaductor's 5~ sensitive person .... One must be • tIQnst P I A N a FA C T S Studio Piano, also Free Piano Facts booklet. I with Herbert Bradshaw ••••• opinion of chubert by describ- th mu i i n proceeded 10 imp.. in an abnormal condition of mind "1 booklef tells you how I.. Name ...... • ...... • • • ... ,: IT'S EASY TO READ (written 1I/. to make the right 1"1 ing Schubert' harmony n "a vi without th faialeat preoct> to enjoy Berlioz, and tonight he Ernest Heyer, the French com- un final decision in Address...... •...... I with Memo Beyers) •••••••• series of tonic-and·dominanl or pal i n with tonality or lime.Alu, gave me a severe headache, a poser who so admired Wagner lAKD choosing a new City...... Zone ..... Stale ...•••••• : l piano. 0 Please check here if you are n teacher' I YOUR MOZART BOOK similar threadbare pr gr ions nd of I n minut , tim,tingIlut thing I seldom, if ever, have .... that he added two letters to his favorite Mozart compositions, fingering· exercises and'- ...... ,._ .. ~ which we usually n sociate \\'ith th j k bad gone larenoug~ tier Liszt's wildest revels are paths of real name Rey to acquire at least ~------~ Ihe author's suggestions for faithful interpretations of peace compared with such pan- the same ending as Wagner if not Mozart ••••..•..•..••.••...•..•.•..• ,.. • • •• 1.50 such a composer as un d. Ex. I ppe
Wolfgang Amadeus Mozart two Iarnou satirists who set the by RQ/and Tellschert English speaking world ha-h,.in. for three quarters of a centurr. t (TraHslated from ti,e German by Emily Anderson ) 1\ ow comes an entirely diff~rent kind of book upon the Gilbert Dr. Tenschert (born at Poder- and ullivan operas ; a book done sam, Bohemia 1894, educated at in great detail with fine under- Leipzig Conservatory, studied Mu- standing and musicologicalpene. sicology at Vienna) has devoted trati n. The book is excelleml, il. his life almost exclusively to Mo- lu truted and ha many nota'lion zart. He became the archivist and exampl librarian of the Moaarteum at 1" t IllU i lover in this dal' FRIEDRICH GUlDA photographed at the Steinway by Adrian Siegel Salzburg where he continues a a arc Iamilinr with the faci Ih~l teacher. The translator of the vol- at the tart f the illu'lrious G Now, the greatest STEINWAY time Emily Anderson is her elf a combination "ith the "Trial Mozart specialist f r 110wn. of them all ••• for your home I y Jury," ir Arthur ullivan de- The book repre ents over twen- liberat Iy 1 uri 'Clued the older ty-five years of close appli ati n nori I grand opera. and higher to the subject. One might xpect Parisian opera. in an inimilabk from this that the result might be manner. lie even look the tunes one of the heavy soggy mu icolog- t h III hcs and \\ erked them into icaltowers dripping with tali tical the fabric of hi. score (.ith 'lighl quotations. Quite the contrary is alt rations) 0 that they wereif, the case. It is only a breviary I rcsistibl < fUIHl)'. Gr at attentionis 152 pages and i ver y readable given to thc \dl of Gilbertin from cover to CO\ er. There i turning a ockney patter intoson~ something very absorbing about I ri " but \Cry little i given 10 Mozart from his pictur sque "wun- th humor f ullivan in finding derkind" childhood to hi pathetic just th right musical them - to passing at the age of thirty-five. mak th m parkle. Thi combin- Entirely apart from the I fty qual- ation i r I nsib! for the gaiel) ity of his musical genius. the huge whi h ha erried "Trial by [ury" number of his creation i tag- fr n, th t" nt)-fifth of ~Iarch gering. His opera ~ his fOfty. ix 187 (wh n it "a 6r I produced This plaque marks every symphonies, his twenl} ·nine 'on- s curtain rai r for Offenbach's Stein way Centenary piano certos alone were a huge contri- WORLD'S FIRST HIGH FIDELITY RADIO-PHONOGRAPH .,La P' ri hi") right do"n 10 the bution to the art of music. There pr 'ntation on 'our tele\'ision are fifteen illustrations and fac. screen in 1953. A group of teen· For a century, the Steinway has The Stein way piano has the similes and an unknown funeral 8"crs who saw till TV perform- with sound in Full Dimension! been the choice of the world's fore- lowest depreciation and highest march. most artists. And the Steinway an e in a mid-w 1 100m in your resale value, and, with proper Dr. Tenschert concludes his val- There has never been anything that looks like it. shown here, the room is flooded with sound .. , the today, built with the experience revi wer' presence said. "\Thy purest, cleanest, most thrilling sound you have ever care, will last for generations. uable book with a quotation frolll there has never been anything that performs like it , .. of 100 years, is the greatest Thus, though its initial cost may don'l we hs\"c real fun and jolly for this beautiful instrument ushers in a whole new heard ... from deepest bass to highest treble. It is Goethe: "Mozart is one of those Steinway of them alL be more, the Steinway is actually music Ijke thal nOWad8)-s?l~ era in the enjoyment of FM and AM radio, and sound of unbelievable "presence". spirits senl down frolll Heaven who the most economical piano invest- of records. The magic of the Stein way at are so entrancing that everyone The new Philco Phonorama now makes it possible ment you can Jllake. 7 Ar concerts helps explain why it is tries to reach them, yet so great Philco Phonorama* brings you, for the first time, the for you to own a true, matched High Fidelity system Sell?ctcc/ mlCl cdi,cd br fernando the ideal piano for your home. The For free copy of our booklet, "How to miracle.. of high fidelity sound in Full Dimension! in a single acoustically-balanced cabinet. that no one succeeds in doing so," Pu",o Stein way Professional Upright is Choose Your Piano," write Steinway & The Macmillan Company 3.00 And the effect on sound is like the addition of And to own Phonorama, we promise you, built with the infinite care of the Sons, Steinway Hall, 109 W. 57th St., Permabooks. a djviEion of Dou- three dimensions and color co a motion picture. When New York 19. Your local Steinway opens new horizons in listening pleasure. Here, Grand. Only a Steinway· has the bleday & Company_ Inc.. has reo you listen, the difference between Phonorama and dealer (listed in the Classified Di- for example, is how some of coday's great men and Diaphragmatic Soundboard that Gilbert and Sullivan OpCl"a i sued in smaller r rill with card· ordinary reproduction is as though a door had been yields such big-piano tone, and rectory) can deliver to your home a A New Assesslllent. by women of music re- board overs to _ Il al 50 centsa suddenly opened. the patented Accelerated Action, Steinway Professional $1325 Audrey Williamson gard Phonorama's spec- Upright for...... 00 to help develop sensitive touch. COP)', a book first puhli,hed in Through the revolutionary "Acousric Lens" opening tacular performance- Liberal time to pay. Slightly higher in Ihe West In the June issue of ET DE "hard book" form which ongm' (1953) our readers found a re- all y had a large sale at a higher FRANCO AUTORI: "The reproduction I RISESTEVENS:"This is truly High Fidelity The Steinway is used exclusively by Foldes, view of "Here's a How-dc·do" a price. I t is a potpourri of the opm· heard on Philco 'Phonorama' is truly an ... and pne of the most beautifully-designed Horowitz, Janis, Menuhin, Artur Rubinstein. exciting and thrilling experience." cabinets I have ever seen." Robin Hood Dell, Sandor, Stokowski, captivating autobiography of ~far~ ions upon art, particularly modern Templeton and many, many others, Over 1000 tyn Green, one of the inimitable art from a great many celebrated MIL TON CROSS: "For the first time recorded GEORGESZELl: "I was amazed at the pres~ music schools and music departments ot ISTEINWAY leading comedians of the D'Oyle ·h· h music can, to all intents and purposes, ence and realism of its performance in leading colleges use the Steinway exclusively, ------contemporary creators ttl w Ie equal a personal appearance." conjunction with the very simple and easy Only the Steinway is used by nearly tHE INStRUMENt OF tHE IMMORtALS Carte Opera Company. He gave way of operation." aU the nation's leading orchestras. radio are added some opinions hy Bee- JAMESMElTON: "Sound so realistic and The Crowning Achievement and television stations. us a merry excursion behind the thoven Plato and Leonardo da \ 10· lifelike it will bring the concert stage right PAUL WHITEMAN:"The most exciting sound of 25 Yeor.$" scenes of the productions of the ci. Ea~h (Continued on poge S) into the American living room." I have ever heard." of Electronic leodership 6 ETUDE-SEPTE.lfBER 1953 ETUDE-SEPTEMBEIi. 1953 7 Music Lover's Bookshelf Letters World Famous (Continued from Page 6) JOHN JUZEK VIOLINS to the Editor Violas wul Cellos (Continned from Page 1) -tt: must be some reason why fears of those who have th I'. the JOHN JUZEK VIOLINS are in chapter is interesting as an ex- .. e 'Oil A Practical Suggestion of coIIecung Imaginary di pression of the critical judgment ·f se,,,, sucli a great demand all over the But J your symptoms are ~,,' . of such personalities as Thomas ~no~ country. Dear Sir: To those who have h Its Just- compare the violins of other Mann, J. B. Priestly, Frank Lloyd e te you when it is d....,-",uaDe· l[ difficulty in turning the pages of Wright, Gian-Carlo Menotti, Aaron to get to your doctor fer aile I· makes at double or even triple cost to sheet music, as I do, I would sug- . kl . the superb tone and excellent work- Copland and others, There are as q UlC Y as l)Qsslble. n. gest the use of filing tabs fastened manship of the JOHN JUZEK VIO· forty-eight pages of reproductions Musicians are said to be to the edges of the sheets in the • neu_ LINS. roue, worry needJ~sly and hal'e following positions: of paintings and sculpture, many We have innumerable finest com- fears about their health, You of them of the enigmatic type, . r~ ments from teachers and professional Begin with the last page that To those who adore modern art, ~)ewer once knew a basso cantanle violinists-e-many an artist prefers to is to be turned, attaching the tab no matter how ugly, most of these In a European opera hou..~ wh play on a "Master Art" JOI-IN JUZEK near the bottom. On the next pre· reproductions will bring untold was a pitiful hrpoc"ondriac al° VIOLIN rather than on an expensive ceding page, put the tab a little lie;> ·tt . CD tt ,,* rhapsodies. To all others they will thou~h he W8 never sick enough old instrument. higher, preferably about the width ~an ",ue;Qe 6 bring boredom if not disgust. To to Illi. a chance to get a lar Student outfits from the lowest price to the of the tab, and thus work back- fWd·· ge Cover the community around those with a curiosity to know ee. IS escnj non of his nOD- Master Art grade wards to the first page. With this your church with vibrant, spirit- the opinions of others upon m cl- exist nt maladi was funnier e\·en We are the sole agents jar the kunous F. N. arrangement, it .is always the up- Voirin Bows, Bourdain. and Crccilte Clar- lifting carillon music. In dynamic ern and super-modern and uper- than" lalede lm.ginare" Iy permost tab that is grasped in inets. range, tonal quality and undis- super-modern art, this book will M li r (Jean BaptL te Poquelioj. turning the .next page. torted volume, "Carillonic Bells" answer many que tion . De gusti- . Or. Ah are. in hi genial, lucid METROPOLITAN These tabs make the turning of delight musicians as well as the bus non est disputandum. wrtry tyle, m'l put j our mindto MUSIC COMPANY sheets so easy and accurate that average passerby . Permabooks .50 r t 0 that ) ou an concentrate WllOlesulers, Importers, amI 1U1II1/I.ftlC. J keep a supply on hand and put tll7ers o] till musical instruments Churches everywhere have upon nrt, in. lead ()our heart or them on all music that I am using. 222 FOURTH AVE •• NEW YORK 3. N.Y. found that this bell instrument is a Home Music Systems )' ur liver or yeur nerv or }-~ur It takes only a few minutes to at- Publishers of 'he famolls books OIL valuable medium to advertise the by Ef!tvarfl Talllnll Cartily stomach. tach them. The life of the sheet Violin. Playing: church and build its spiritual in- "SIMPLICITY OF YIOLIN PLAYING,'· Vol,. I. II music is prolonged by thus doing iI ox, FoHell o. 13.00 fluence in the community. Here is a three hundre 1 page "ALl VIOLIN TECHNIQUE" (complete, from beginner to artist) away wiLh the necessity of fre· "Carillonic Bells" require no book which describes in minute on~ or the Arllb by Robed Juzek quently turning up dog-ears at the Radically differenl and a cho/lenge 10 011 Ihe existing methods ond Iheorie. On Violin Playing. -tower, and may be played man- detail and in understan labl lan- by {(olin Polr., lower corners. I have found tabs ually or automatically. The guage about aU the average man lf2 inch wide to be the best size. equipment is light in weight yet could want to know con erning the r r. F01 )' ha writlen an un· provides the range and volume building of a high fid lity ra Ii . u unl bo k. Th tille ,. ong of the R. R. Snowden, M.D. of cast bells weighing many tons. phonograph in the home. The ur· Arab" i om what mi leading. He Buy a Pittsbu.rgh. Penna. at small cost. Write for com· prisillg thing is that a tandard I a rotcstant mi~ ionary who Learn.why the new Wurlitzer Spinette plete information to- publishing firm such a Harper lived in Ih liol} Land and th< t ear a 1 for "ix cars. He dis- WI CKS PIPE 0 RGAN LS so easy to own and play and Brothers recognize the In 1 SCHUtMERICH CARlttONS, Ine. that there is this widespread inter· u th fi ld I".t he co",ed io • • • Constructive Criticism We're going to show you that you 28359 Carillon Hill, SEllERSVILLE,PA. Read haw you can playa est so that such a work become n an llnbi8~d and \el} engaging don't have to be made of money to .•• not an zmztatzon Dear Sir: Judging from the can· ."Corilloni~ Bells·' if a Irodemork for bell tune in 15 minutes mauner, tr aling impartially upon indrllmenls of Schillmerich Elee/ronier, Inc. have a Wurlitzer in your home. Now necessity, The book tells how to tents of the typical "Letters to the Let us show you how you can learn Ihe Roman atholi. Hebrew and you can get a magnificent home organ build such systems and how to THIS IS A Editor" which you choose to print to play right in your own home. With hd tian rob _ Illemenls in Pal· patterned in the tradition of the keep them in order and enjoy GREAT INSTRUMENT. .. each month, I am only able to specu- our new "easy-play" course you mas- "Mighty Wurlitzer" for the lowest them. There must be thousands of estin and pro\'ides illuminating late as to whether or not ETUDE wel- ter Y0.tu first tune in just 15 minutes. Custom Built FO R YOU price ever. amate1.!rs who find a great deal of maps a iIIu tration. Xo one can comes constructive criticism. None· You sImply follow the easy pictures. Whenever there is a need for This new Wurlitzer Spinette has joy in making Hi-Fi apparatus to read thi book \\-ithoul acquiring organ music ... whether it be theJess, my interest in yOUT other- LEARN We know that's hard to believe. l?om~th!ng even the costliest organs suit their special needs. expanded understanding and in· church -home· college -studio, wise splendid magazine compels me don't have. It's the first organ to But here's how we'll prove it to you etc ... first investigate the Wicks Harper and Brothers 3.95 Leresting information. His de- to offer the following suggestion. ITALIAN com~ine instant action for popular at our expense. Mail the coupon and Organ .. a genuine electric pipe cription of the tations of the argall. Its tonal grandeur ... Contributing such a vast wealth of ~L~GERMAN· FRENCH mUSIC with traditional tone for seri- we'll send you Lesson 1 absolutely material to the general field of music, FREE. Write now. Dangel- Signals Cro wiIJ be found ,'ery interest· visual beauty and completely WITH ous work. No installation cost, of dependable character meets ETUDE should be more modest than by Dr. Walter C. Alvarez ing to non·Catholics. The paralld course. You just plug it in and over every musical requirement. to publish all the fan mail that it reo LlNGUAPHONE references to the Bible and ancient 1,000 tones are at your beck and call. Auept this FREE The first demonstration will ceives. The worthiness of the periodi· It is the time old policy of be an inspiring and memor- But get the full story from your hi lor)' are excellent. References to cal can be judged from its wide cir- The Warld's Standald Canverl311inal Method "easy-play"'es_ ETUDE to restrict this limited de. ';ible experience. Distinguished Wurlitzer Dealer. Let him tell you the songs of the Arab, occupy oalr organists everywhere praise culation; therefore, I am unable to Another lon91loCje ~bout his easy payment plan. And son. Playa tune partment to books directly related about fifty of the one hundred and the craftsmanship and design discover any reasonable objectives is inyailloble to musicians. about the automatic tone controls to music. Now and then, however, sevenly pa es. Therefore. for the of the Wicks Organ and un· gained by devoting valuable space to In YOllr own home you con hesitatingly recommend it. LISTEN ond learn any of 29 overhanging keys, and other feature~ in 15 minutes! a publisher sends ETUDE a work nothing more than letters of praise ordinary reader it i much more These artists recognize sound LANGUAGES by LINGUA. ~ i~~e~,~~ that make playing the Spinette so of universal importance to every. PHONE ... quickly. eosily. phone' i. engaging than mallY books upon technical and attistic values and gratitude. A worthwhile substi- You heor the longuoge of your A';,Yye::l~"egi much fun. r------_ one which deserves comment be- sought for in an organ ... tute would be the using of much of choice correctly spoken by the dal' Or Arab music by musicologists noled linquid_men and worn. ~l~h~'et~i~ : The Rudolph Wurlitzer Co. MallY e.\"clush'e je£ltllreJ gllal"- and acknowledge the Wicks your column tor letters which pre· cause anyone would be benefitted which are designed particularly en. Endor$ed by mU$icion$.ed- t",,~her is I Dept. E-39, No.Tonawanda,N.Y~ ,wlee lasliflg ser-vice.Thauuwds Organ to be superior. sent information supplementing what ucotors; over 0 million home- a~"r::r.,d}~ by reading it. Such a book is study $tlldents. Write for inter. &xmo" Vj· for savants. The book has beeD Prices begin at $2975 for a I I'd like to have your free «E of these SIIperb IV'"icks OrgatlS you have said in yOUT articles and, e$ling FREE book. ~1~i1~"J::~; fl "H 0 u~ "Danger Signals" by Dr. Walter beautiful all-electric rwo manual WURLillER I . ay orne rgan Lesson 1. Send carefully edited and documented. are today in me ... e'verywberel Wicks Pipe Organ. when necessary, for letters correcting ------..!."~._- C_ Alvarez, eminent diagnostician Send/or free booklet ... llNGUAPHONE INSTITUTE I It t~ me along with complete infor. The chapter upon the Ea,ter pll. any factual errors. 3909Mea_, RockefellerPlaza. N. Y.20.N_ Y. ORGANS There is I/Q obligatiO/I. II mahan on your new Spinette Organ. and former Chief Consultant at Send me the fREE Linguaphone book. I wont grimage is especialJy inter~ti~~ rwic'k:Or;:nco;;;;g-;;.Highig~ 7iii.:is-' PLEASE WRITE DEPT. E-' Thank )'ou very much for your Mgde by the World's Lgrgesl Builder of Orgons I Narne' _ th.e Mayo Clinic. Dr. Alvarez is D 10 learn...... Ionguoge and PianO$Under One Gregt Name giving as it does the Chnsh: I Please send free booklets. • • I consideration of the above matter. WIdely known for his syndicated Name . *$1325 f.o.b. North Tona.....anda. N. Y. I Add,e" _ Arab's son connected with It. Addr"n . (2.manual-ond.pedal.orgon) Nom. .uuu WICKS ORGAN COMPANY articles in the press. This time The 1aclItilJan Company $3.50 i i Merrill German City ••••...... Zone.... State. I City---_Zone __ State __ HIGHLAND, ILLINOIS his book is designed to relieve th~ THE END LA~r~·.;.:..:.::::':':':'~··.:.:.:.;·::.;.:.;·.:.:.:.;·~·.:.:.:.:::.:.;.:;'.:.:.:..1 Fort Wayne, Ind'. 8 ETUDE-SEPTEMBER /9.5.1 ETUDE-SEPTEMBER 1953 9 One of the greatest of present day operatic stars
THE WORLD OF recounts some of the requirements of a thorough Preparation 100 !
Richard Lert has been re-en- April and hr. These are the Con. gaged as musical d~rector o! :he cer~o for V~oIln and StringsinG Pasadena Civic MUSIC Assoctauon Major by PIetro ardini; Concerto for the 19th season. Dr. Lert, famous for Bassoon lind Or:hestra bythe in Germany and Austria as an opera contemporary Austrian compos« and orchestra conductor was orig- S. C. Eckhardt- ramaltie; and t~1 inally brought to this country by the ymphony for Wind (Op. Post.) hr San Francisco Opera Company. Richard trau
The PIYlDoulh Rock Center of Th 1953 udio Fair to beheW Music and Drama in Duxbury, Ma s. in ew York itr O<:tober1~J1, presented on July 15 a revival of xp cted to attract more than 20.- the first American opera ever pro- 000 mu ic lovers, audiophilesand duced at the Metropolitan Op ra sound ngin r. A record brea~ House, "The Pipe of De ire," by numb r of exhibitor will be ill. al.
Frederick Con ver e. Thl work was I nd nc 1 including all of the major also the first opera ever sung in manllractur r who will introdllCt English at the Metropolitan peru. th lare t d v topments in Hi.Fi George Poina r wa musical director quipm nt. Th Audio Engineering for the revival. oci ty will have i annual COnitll- lin 01 rhe arne time. The Bavarian State Opera will present a ser ie of gu t perform- "It gold-topp d baton that .. Miss Albanese in her role of Tosca Licin Albuncse Miss Albanese in "Mndomc Butterfly" ances at Covent Garden, Lond n in pre nted to the late Joh. Philp lllustrated is the "Colonial" with bench to match. late September and ear-ly 0 tober. u 0 in 1892 by member or thl The en lire artistic and technical per- nit d lat Marine Band when he Even fortissimo passages isfull square, far more rig- sonnel will journey to London where re igned 8 conductor of that famoo From "n Interview with Licia Albanese Secured by Rose Heylbut they will perform three work by rganiuu n he been returned to are distortionfree when you .id. And action is full size. Richard Strauss: "Arabella," U e p- the b nd by hi, daughters, lee riccio," and "The Love of Danae," Pri ill u and Mr. Heko TUDENTS who aspire to an operatic The actual preparation [or opera begins The voice should feel perfectly even in as well as "Cosi Fan Tune," by play-thissmall piano! That's Call on your Everett u Albert. The noted """ career often wonder where to begin. with preliminary vocal study. It is quite all its registers of range, and on all sounds. Mozart. leader', daughters personally .. S In Ill)' opinion, the first step is a care- impossible to succeed in opera unless A good test is to sing through all the livered the baton 10 Ueutenam the miracle of dyna-tension, dealer today. Make this purely vocal techniques have been devel- vowels on one breath, on the same note, The National Association or Colonel illiem F. antlemann. ful checking of their natural abilities. exclusive with Everett. COMPARISON TEST ... Music Merchants held its annual pr nl leader or the Marine B"l \"'Vhatever they have to learn-and there is oped with the surety of second nature. and all in the same position. If this exer- convention in Chicago July 12-16, together wilh Ihr~ of usa's manllo much !-the important thing to determine When )'Oll are busy on the stage )'ou can- cise sounds right and feels right, the voice Like a grand, strings of strike a chord on an Everett, with a record-breaking attendance. ript . is the possession of a fine voice and enough not divert your mind from your role to is even. Next, make sure that all vowels Under the leadershjp of Harry E. intelligence to put that voice to its best think about breath, tone, resonance. All are round and resonated well to the front. a dyna-tension spinet are then on a quality grand. Callaway, President, a program of lorey Rill, 16-rear .. ld piani< use. I am not sure that intelligence and these matters must be in sound shape Nothing may sound pinched; EE and I events had been arranged, which of Forest HilL, 1 ew York was tK drive afe not better assets than a fine voice before )'ou set foot on a stage. must be round. It sometimes is necessary under greater tension. Plate YOU be the judge! covered a wide range of subjects 1953 winner of the Edgar Still... alone! My own preliminary vocal training con- to round vowels beyond their va-Iue in of interest to music merchants. There Kelley Scholarship .f the ation.J Many distinguished operatic careers have sisted of four years of vocal mechanics: ordinary speech. In my native Italian, I were also exh.ibits of the newest Federation or Music Clubs. ~ been built from smaller voices coupled with breath control, tone, vocalises, studies am careful to round the e in bene: it products in the various fields of Rilt competed against 60 enuaC; great intelligence. Some voices never be- (such as Concone), gradually working should not sound too open; it should dyna-tension merchandise including pianos, elec- in variou classifications. tronic organs, radios, television sets come big enough to assume major roles; into the arie antiche and a very few oper- never become ba'y-ne. The same is true of still, if they are of good quality and are atic arias. This kind of study gave me the French as in mere. And the foreign- accordions, and band and orcile tr~ Ern t Trow Carter, organi.'! e, instruments. and compo r, d.ied at Wallack Poiat used intelligently and feelingly~ they do vocal security; I no longer had to lhink born singer must be constantly alert to the Conn. on June 21, at the age of 8S. \'ery well. Intelligent singing includes about what to do. I still continue my purely rounding of English vowels. Maintaining A Festival of Chamber' Music He wa widely known as a compo!d' correct \'ocal control I . together with the vocal studies every day. well-rounded vowels and forward reso- was held in July at Syracuse Univer- of operalic and ymphonic l'fOr~ musical accentuation of words, phrases, The successful projection of opera rests nance is a great help both in voice pro· EVERETT sity by the School of 1usic. Some For 8 Dumber of years be was actIre melodic lines, which brings out the dra- upon good singing but includes more than duction and in diction; it avoids screech- of the greatest works in string quar. in Princeton, I . J. and edited the matic significance of the role. Some parts singing alone, chiefly, a convincing sense ing sounds. Finally, all breath should be SEND TODAY FOil FIlEE BOOKlET tet literature were included on the Princeton Dg Book, as weU 3' (Tosca, for example) are more dramatic of truth. To achieve this one must be released as tone, never as escaping air. I programs. A highlight of the event I other college song book in plot than in music, and the best voice extremely careful to eradicate such vocal lind it helpful to keep my breathing as EVERETT PIANO COMPANY, South Haven 3, Michigan was the premiere performance of I in the world cannot explore their fullest imperfections as distract audience atten- natural as it is when I speak. I draw very I Please send free booklet on dyna·tension. Robert Erickson's Trio for VioHn The Carl Nielsen Music F~ti· Also picture folder on 0 spinels. 0 consoles. meaning without the aid of a constantly tion from characterization. After all, one deep singing breaths only when the needs I Viola and Pia~o. ' val being held in Copenhagen,))en· I NAME"- _ mBTk, August 31 through Sep.emner controlling intelligence. By making sure cannot permit one's hearers to become of a specially long phrase, or a specially of one's abilities before beginning operatic aware that their Tosca is having difficulty Thomas Scherman, conductor 4 wiJJ engage some of ~e ~~ dramatic moment demand it. And when I ADDRESS I ?f the LillIe Orchestra Society will prominent musical organUauons aD work, the aspirant can save himself much with breathing or diction! Here are a few you begin to emerge from purel~' vocal I CITY & STATE I mclude in this season's Concerts artists in D nmark, including Th ' heartache. helpful points in vocal control. (Continued on Pa{t.e62) I I am a 0 teacher 0 student. I h three works discovered by hjm On a Danish ationaJ Orchestra of t e L------J research tour of Europe during (Continued on Page 64) 10 ETUDE-SEPTEMBER 1953 11 ETUDE-SEPTEMBER 1933
- - An appraisal 0/ the qualities which made Busoni one 0/ the greatest among artists 0/ the keyboard
Mrs. Mildred Leonard ·The Piano Art of Ferruccio Basoni
MI's. Leonard illustrates the DI'opping Exercise with on or h e dn by Christopher Paddack
by Martha Neumark THE PROGRESS of music is the doing played Bach's Chromatic Fugue with one piano gesture was quiet. He. was quiet at of a few thoughtful men, men aware of pedal, from beginning to end, and then the piano for a reason. The crux of all the possibilities of this sound art and such turned and grinned broadly at the audience piano playing is the legato touch and masters of their craft that they are able to which was shocked into confusion by the Busoni knew far more than his contempo- What Can Technical Instruction Achieve? make theory coincide with reality. As an perverse trick. raries or successors at the keyboard what instrument of music, the piano has been Busoni, the composer, was recognized piano legato means. His advice to pupils exceptionally fortunate in the men devoted f rom an early date in Europe. He was on the subject does not attempt to define A Discussion of Fundamental Technique to the task of exploring its mysteries. One awarded the Rubinstein Prize for compo- legato, but rather indicates a way to a of these was Ferruccio Busoni, a musician sition in 1896. As part, of the prize he legato touch. For Busoui, the finger is of the last part of the nineteenth century was given an appearance as guest artist nothing more than the point of contact AT COLUMBIA UNIVERSITY'S Teach- in which so much that is subjective is ing ide Heigh and of the early part of this century, who with the Gewandhaus Orchestra, Nikisch between the arm and the keyboard, the ers College there has been developed mingled with the purely objective. As wit- achieved results of vast significance and conducting, where he performed his own piano tone is controlled and directly due to CIa r-oom Glimp e a vastly important music center where skill- ness the case of the Dorian mode, of which wide influence. arrangement of the Liszt Spanish Rhapsody. the weight of the arm on the keyboard. This ful, objective and above all inspirational Aristotle said: "It has a calming effect on One of Tea h r all ge' oUlslanding Busoni's father was Italian, his mother As to the extent of his repertoire, it is use of the inert weight of the arm, dis- direction is given to the teachers who will the hearer" while the medieval writers on piano teach r i Irs. Mildred Leonard Austrian. Although he was born in Empoli, said that once, when asked how much of tributed by the wrist to the fingers, results one day be entrusted with the guidance of music declare it to be of a rousing, exciting whose inci ive charm i well matched by Tuscany (1866), he spent his early years the piano literature it included, he an- in even tone and strength for all fingers. whole communities in the new musical ways nature. And so much that is deemed new the amez.ingly wide range of musical knowl· in Trieste. It was there that, under his swered, "All of it." In any man but Busoni, The movement of the arm is horizontal and methods of instruction that have stood by the uninitiated in the final analysis is edge she manag to imparl in the course mother's tutorship, he had his first key- this retort would have been taken as an and this is because the keyboard is hori- the test of sufficient years and actual ap. found to stem practically from the primi- of anyone sern ter of piano instruction. board training. He appeared publicly for exaggeration. The rare copies of the few zontal. The movement of the wrist is un- plication. tive pentatonic stage; as for example, free Her main theme j true musical perform- the first time in Vienna at the age of nine, recordings he made are studies in per- restricted. Busoni did not limit the move- Neophytes are not the only ones who rhythm, not pressed into bars, which is ance, which cannot be attained through any and greatly excited the famous critic, fection-a perfection that has not been ment of this marvelous wrist-machine by come here to learn. In the halls and class- quite in accord with the nature of the purely superficial approach. he eIJIO'" Hanslick. His rise was rapid and he soon recaptured since his time. anything so abstruse as a rule for rule's rooms there are many who have already aboriginal Bedouin, who brooked no fet- the nuclei that must be fathomed before was well known throughout Europe, from In his approach to the piano, Busoni sake. However, he insisted that the wrist spent full lives in the musical profession; ters or limitations. Analysis must add to integration of the melodious whole can Moscow and St. Petersburg to London and began by recognizing the limitations of be moved, for it is as difficult to play the some there are who have long since at- observation the very useful arts of intro- take place with authority. Her ap- Paris. both man and piano. Much of his greatness piano with a stiff wrist as it would be to tained eminence in their field. Yet they essential spection and dissection. Busoni had great admiration for-Franz is due to this aptitude for giving abstract walk with stiff ankles. Simple as these gather in these academic halls from the far proach to technical skills she epitnmized -Music by definition is a concord of sweet Liszt, and it was upon the foundations theory a concrete backbone. As a problem axioms sound, they are not Widely recog- corners of the earth because the word has thu : "It i good to do a bit of technique sound which reaches the consciousness laid by this pianist-composer that he built in physics, Busoni pointed out that the nized or practiced. Nonetheless, these gone forth that the combined eclectic and work each time you sit down to play.You through the medium of the ear. Its produc- his school of piano playing. The reason piano is no more than a horizontal set of form the fundamentals of Busoni's physical creative approach is productive of the high- know when you've rna tered 8 technique by tron depends upon two factors: the Instru- that he never had the popularity in America keys covering the reach of a man's arms, equipment for playing the piano. He added est results musically as well as education- the comfortable feeling you attain at the ~~nt a~d the performance. And essentially that was accorded him in Europe was the and a set of pedals each with a use and a few important corollaries which are only ally. Perhaps the main value of any course keyboard. It i most important to leam It. IS WIth the quality of the latter that the current predominance of the Leschetizky importance of its own. The movement of a statement of the problems involved in is not to arrive at a series of absolutisms the proper techniqu since they are de- pI.ano teacher must be prepared to deal. school of piano playing as exemplified by the keys is approximately one sixteenth effective piano address-proportion be- but to cause teachers to think through their signed to give the most musical and the P18ll.0 m~sic in general is not just the that master's famous pupil, Paderewski. of an inch downward and the movement tween the treble and bass, betvveen the out- ow~ procedures, to enable them to readjust, most comfortahle performances. If you de- manipulafion of an instrument; it's much of the pedals, one inch. Busoni's gesture side and the inside of either hand, evenness to Incorporate unaccustomed ways when velop certain basic techniques out of c~n. This type of execution was foreign to more. than that. When we attain under. Busoni who, it is said, was irked by the never exceeded these distances. Unlike sev- of scales and arpeggios, economy in the these have proved themselves to be effective. text, then when you meet passagesinvolVIng sta~dll1g o~ its scop~ we are far better able eral of the present box office luminaries, use of the pedals and of keyboard gestures. A true pedagogue is never rigid nor un- them you'll recognize what is calledfor and cool receptions he received several times to Impart Its meanmg to our own pupils. he found no reason for throwing his arms To attempt description of Busoni's own willing to greet change per se. This must you'll perform more satisfactorily. Tb~s in the United States. There is a story that And all the facets enter into the instruction about or stamping on the pedals. But it piano playing is quite another thing for it be particularly true in the field of music, you use your time most effectively. It 15 once during a concert he was particularly of the teachers who come to learn on Morn- not enough to (Co1l1inned on Page 501 peeved by a cold audience, whereupon he is by no means enough to say that Busoni's defies both cat- (Colltilllled on Page 51)
12 ETUDE-SEPTEMBER 1953 ETUDE- EPTEMBER 1953 13 (Left) "How do you like playing ovee the air?" Kay West, hostess of the ~~Kay Wcst Show," In- WHAT THE JUNIOR MUSIC FESTIVAL terviews Junior Festtval Winners Rosalie Was- ser and Sherron Kelm, CAN DO FOR YOUR STATE
(Right) Boys' Tdo: Gregg Kirnball. Ierr Cun- ningham, Gl'egg Cox, with Scott Goodnight at An important phase of the work sponsored by the National the p ie n o rehearse thch- number fOl' one Federation of Music Clubs is here graphically presented of the programs.
by NOJ"ma Ryland Graves
TODAY, in all but three states of the tractively appointed coffee table had trans- me that my talented Sally will have her Union, the National Federation of Mu- formed its busy foyer and adjoining rooms opportunity j list like the rest. I thought sic Clubs sponsors annual state-wide Junior into an informal music hall. 'city' instructors and their pupils would Music Festivals. Set up for the purpose of Over one hundred interested parents and have the edge over us 'country' teachers- teachers attended the evening clinic con- that there was no use trying. But with all (Le(l) Officer, of Ore. encouraging average as well as talented ducted by a prominent local musician who of us working on the same level it's lOll' Junior ,'Iu-it res- pupils, they emphasize high individual li\al: Paul ntnll,·, jan- standards of musical excellence. Equally played and discussed the majority of piano definitely more democratic and certainly ior couu-&(Ior; Mary L important, they are no longer regarded as numbers scheduled for the coming Festival. more fair." rni~, -tete chairman; purely competitive events, At the conclusion of the program, small Incidentally many an upstate youngster M . . n, Huuree, SUit Rightly handled the Junior Music Festi- groups gathered around the piano to take will henceforth eagerly anticipate the trip pr id nt, check Ol"er val is a musical asset to any community up individual problems of phrasing, pedal. to Portland for the annual Music Festival- 'enl of "eel..·lon: for it unquestionably advances the cause ing, interpretation, Heads of other depart- the climax to his year of study. To en- I'rnlrtlll1. of music through wider appreciation and ments, violin, voice, instruments, were on courage a wider state turnout, Oregan of- increased study. But no matter how worth hand for consultation and advice in regard ficers have recently readied a new plan. to filling out registration blanks for the If necessary, overnight accommodations in (Ri,lu) A (roul' olmu- while any project may be, results are not bi ian .. ,..lif) attended the achieved merely by wishful thinking. Suc- Festival. the homes of Junior Festival members will £inH •. offee Clinie' cess comes only through careful organiza- Was the "Clinic" successful? Far more so be provided for those teachers and students lUll.: over scrue of the tion, tireless work, unfailing enthusiasm. than the most enthusiastic committee mem- coming from a great distance. hilhli,hU: of lite pro- Perhaps no state better illustrates the ber had ever dreamed! In placing uniform Doubtless the most novel feature of Ore- ~rl'llU, results of a carefully planned campaign information before such a large group all gon's plan for wider participation in music to widen music interests through the Junior were given equal attention. From this reo events has been the "Workshop for Par- Music Festival than does Oregon, In 1947 suited a uniformity of purpose and en- ents," sponsored by the Oregon Federation its standing among the 11 states comprising deavor never before so thoroughly achieved. of Music Clubs. Dividing the city into three the Western Division was negligible: 80 Some of the more timid younger teachers- general divisions, the officers conducted entries for the annual Festival. Last year hesitant because of unfamiliarity with Fee- three workshops in which parents and (Left) Roger Gadwa,- (1952), Oregon had over 460 entries. Pro- tival procedures-gained confidence to teachers were brought together to discuss shows Patricia Elliott rated according to population, the state .enter their classes. common problems . (left) and Joanne wu, ranked first in its division. Best of all, the spirit of goodly fellow- Imagine the auditorium of a neighbor. cox how he fingers a Any state contemplating a similar pro- ship which prevailed over coffee cups did - hood community club filled with over a tr-icky passage. gram must bear in mind that a certain much to break down professional jealousies hundred parents and teachers, all thinking amount of "spade work" is necessary, For- and bickerings over minor details. It re- music, all talking music. A give-and-take (Htght ) John Emmel tunately, when the pattern is once estab- quired no spectacular tricks or sleight-of- program prompted by the sincere desire of music dir-ector of station lished, individual effort becomes le-;s de- hand performance to convince these teach- both parties to give children the best in KEX, Portland, Oregon, tailed. Largely through trial and error, ers that common effort in a common cause music education-that's the picture of the holds the rapt attention Oregon's Junior Festival committee has set would accomplish far more than spasmodic first Workshop held late in March. of two junior musi- up a program of wide popular appeal. It individual attempts, sincere though the Iat- cians: Charyl Taylor- "What is the best practice time for my and five-year-of d Sally features such innovations as "Coffee Clin- ter might be. child?" "My son wants me to start piano Yates. ics" and "Workshops for Parents" in ad- The success of the city "Clinic" led of- lessons. Am I too old?" "Susy has had dition to its student auditions and weekly ficers to adopt the plan for smaller cities polio. Will piano lessons help her muscle radio program. throughout the state. Clinics in five widely coordination? The initial event to arouse enthusiasm separated sections were held with excellent But it was not a field day just for par- for this year's Junior Festival was a unique results. For the first time many an iso- ents, Instructors had their say, too. "Do "Coffee Clinic" held in one of the city's lated teacher has now been drawn into an parents talk over practice assignments newest and most modern music stores, AI· organization created primarily to assist her. with their children?" "Do parents insist though up to 6:30 on this early spring "What I like 'best about this plan," one upon regular daily practice?" HDo parents day the store operated in its usual capacity, upstate teacher remarked enthusiastically, encourage their child to do more two hours later chairs, divans, and an at- "is that it is practical. You have convinced than he is (Continued on Page 58) 14 ETl'DE- EPTE.I1BER 1953 ETUDE-SEPTEMBER 1953 15 •
to listen to one's own playing. It is not enough to reproduce each note; quality of tone, nature of attack, style of phrasing are all part of study. The note on the printed page means little unless it is COn· sidered in relation to the notes which pre. I cede and follow it. Each context has its own quality which should be determined before playing. Mental practice frees one from the com. mon error of first learning notes and then trying to figure out what to do with them. MUST You Sing? It enables you to learn immediately what you want to do. And it is knowing what you want to do which unlocks the secrets It is a serious mistake of music. Once you know, mentally, exactly what a passage means and how you want to think 0 f piano it to sound, you ',,:ill find that its problems practice only as a can be solved by 0 imple a thing a, a by Tudor Williams muscular development to be change of finger p ilion. Many of hopin's works (the Ber euse, I r example) contain perfected by endless repetition of rapid pas age f seal or embroideries built around the n tIthe melodic keyboard exercises. There is also theme. The embr td rie must not ob- Whether Jour aim is grand opera, the concert stage, radio, TV, the highly important scure the th me; th y mu t be played cleanly, yet they should sound vague, ethe- night club or name band, there are certain fundamental real, like a v il of t nc roth r than a series 1 sharply allack d n tes. Thi i especially principles that are requisite to Jour success. true in pianissimo I 8 ~ag . nee you are Mental Practice aecu t rned t analyzing such effects in advance, you know at on e what to do audition or before the public without prop- to profit from the guidance of a mature about th m. J hav 1 und that this ethereal AT THfS MOMENT in the United States er preparation. These over-ambitious young teacher, one who has himself experienced From an Interview tvith Aldo Ciccolini quality i b uer brained by lightly rai ing of America there may be 250,000 people find it difficult to get a second audi- the trials of a career as a singer. It is the lower arm and allowing the finger to humans of various ages studying the art of Secured by Stephen West tion at the same place. therefore of prime importance that great fall on the kcy without t mu h ar hing. singing. There are thousands more singing First of all the would-be singer must be care be exercised in the selection of a This p sitiou take scm 01 the weight everywhere, without bothering to study the imbued with a tremendous desire to sing. teacher. Those who spend the most for rom the key and gives the r uhing tone art. In many instances it reflects a sincere r He must want to sing more than anything advertising are not necessarily the best. a softer, m re himm ring effect. (An ef- natural desire to sing and in others a de- sire to make a lot of money and gain pub- else in the world. He should not be gov- Some of the claims put forward in adver- My own method of work is to memorize feet, by the way, which i often needed in (Aida Ciccolini began his career when lic acclaim. Opportunities are open to erned by the thought of how much money tisements would not bear close scrutiny. his native Naples was under Cenruui born- a new piece completely, before I take it to Debu y an I Havel. young people in one or both of two dis- he can make with his voice: if that thought Not all experienced singers are able to bardment. He was taken as hostage but the keyboard. In this way, I become famil- Many technical pr blem can be worked tinct fields which are sometimes referred is present he is more concerned with Illoney impart their knowledge to others. Some iar with its structure as well as with it! out in a imilar <\\'ay_ ne of th is the escaped the firing squad, living in hiding to as the "classic" and the "popular." They than with singing. Singing-for the sheer are not sufficiently analytical by nature to problems (of phrasing, tone, technique) trill. orne piani ts are b rn with a natural uniii the Americans liberated Naples. The in turn are subdivided, the classic com- delight of it-must be his sole incentive. discover how they produce tones or how first Italian chosen to play for American which cannot always be solved when one trill and can trill with any two fingers; prising opera, light opera, concert and One who has this overwhelming desire will to rectify any defects in a student's voice. troops, Ciccolini resumed his interrupted plays from notes. for those who are n t so endowed, the church; and the popular comprisi ng the generally be found to possess a fair voice, An honest teacher will not hesitate to tell career by winning three prizes in IlaZy and, During this pre-keyboard memorizing, I motion can present difficulti of muscular night club and cabaret circuit which has sometimes an excellent one. his qualifications and in most cases he can in 1949, the Marguerite Long-Jacques Thi- fix my own fingerings (every advanced origin. In trilling, there should a ,.ery be largely taken the place of the old vaude- demonstrate his abilities and give examples band International Piano Contest in Paris. student should know his own hands well slight rotating motion of the lower arm. ville. The artists representative of these Next he must have a sound physique; to the student of how a particular exercise Since then his successful tours of Europe, enough to do this), and form an idea of This motion, however, hould be entirely various fields have, by means of television, not necessarily a large one-just a sound or phrase should be sung. \Vhen a student North Africa, South America, and the the varieties of tone I shall need, the kinds natural and unconsciou . In case it is not radio, recordings, etc. become widely one. Good health must be a principal con- has decided upon a teacher and the latter United States have placed him among the of attack, etc. Also, I study the technical natural-or not even present- don't ever cern and naturally good health cannot be is willing to accept him, he should stay outstanding pianists oj our day.-Ed. note.) requirements to the point of planning in known and thousands of youngsters annu- try to force it! Practice trilling slowly, maintained unless a constant watch is kept with that teacher as long as any progress advance every motion my hands and arms ally are inspired and stimulated by their relaxedly, and in time the desired rotary over it. continues. The relationship between teacher ANY STUDENTS think of piano prac- will have to make. Fleet passages, chordal example. motion will come of Itself. Forcing, or try- Thirdly, a good natural singer is gener- and student must be a happy one, and it M tice as a muscular development which passages, melodies, leaps, trills-all require It is perhaps fortunate for the public ing consciously to rotate the arm defeats ally "sound" conscious. He is more keenly requires a period of time for the teacher they can perfect by repeating the same ex- their own special motions, and these be. that only a very small percentage of stu- good triUing. Relaxed. low practice is also aware of the sounds around him than the to understand the personality and tempera- ercises through many hours of keyboard come clarified by advance charting. dents of singing ever appear before a TV the best means of acquiring even speed. ment of the student. Only thus can the work. This I believe to be a mistake. End- camera or radio microphone, but the pub- sights. He has a good memory for sounds: When at last I begin work at the piano, Indeed, it represents the first condition maximum progress be made and the talent less repetitions of purely muscular activity ] try to reproduce the tones and motions I lic may be unfortunate in that many highly voices, bird notes and the thousands of for any kind of good playing. other sounds which surround him. In other of the student be correctly channeled. The can be a waste of time, since muscles alone have already determined. This represents talented singers are crowded out of the But the be t technical methods arc sim- words, he must have a good ear. teacher should be able to influence the stu- will never make a pianist. my actual practicing but it comes as the picture by less talented but more aggressive ply a means towards the end of projecting individuals or their agents. The reasons Lastly, he should be careful of his ap- dent in the needed education beyond voice After hours and hours of work, the pian- second step. By planning first and execut- music. Technique must be conscientiously for this are many. The future of the enter- pearance at an times. In his mind he should culture. Mere possession of a fine voice is ist may acquire a certain muscular famil- ing . second, I avoid wrong and wasted studied, but never a a goal in its own tainment profession looks brighter than picture himself before an audience so that not in itself sufficient for a successful iarity with a piece without really possessing mot~on and co~e more quickly to get the right. The soundest approach to mwic is ever and singers should see to it that they when that moment actually arrives, he has career, and alas! it is only too true that the composition; between practice ses- feeling of the right motions into my fingers a thorough mastery of tyle. We often hear are ready to seize their opportunities when mentally prepared for it. few teachers are able to advise their stu- sions, his muscles may undergo reaction. and arms." Once these right motions have it said that some great pianist has a good they knock. Unfortunately, many students Study under the direction of a good dents about the other studies needed. A Practice is helpful only when the control- been .consci.ous.ly acquired, they stay with technique. This is a mistake. The great are not ready and in their eagerness to teacher is essential in the vast majority of knowledge of languages, drama and acting ling brain directs the playing of each note, me; III revrewmg a work the fingers fall pianist does not have a technique, he has gain recognition do themselves an im- cases. It is unlikely that even the most is essential in addition to music. Too the motion of each finger. Mental practice into place of themselves. ' many techniques as many as the number of brings better results in shorter time. mense amount of harm by appearing at an gifted aspirant to a singing career will fail frequently (Continued on Page 60) Practice is facilitated when one learns composers whose (Continued on Page 47)
16 ETfrn":-~PPTE.\fBER /953 ETUDE-SEPTEMBER 1953 17
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(At the risk of courting a charge of using "Firefly" certainly are none the less bell- proprietary material, ETUDE presents this like because they come from small metal article which tells of the development of an bars. This concept is supported by the electronic carillon as produced by one of the dictionary. Without indulging in casuistry leading companies in this field. The subject then, let us examine the structure of a bell of bells, chimes, electronic bells, carillons, tone, no matter what its source. or whatever name is used, has always had a All tones are made up of harmonics. great appeal to the public imagination. But strike on the piano and the average ETUDE believes it is doing a real service to C its readers in giving information about this listener when questioned will say simply particular electronic carillon, at the same "That's C." He does not distinguish the time realizing full well that there are other overtones. Most people believe that a single products in this same field which perhaps note produces only one tone. This is not cords A Symphony should have similar recognition.-Ed. note) true. When a bell rings, at least five audi- ble tones sound. These harmonics present when a bell is struck sound with greater GREAT DEAL of bunkum has been strength than the overtones for other in- A struments. Also, bell harmonics do not Reviewed by written about chimes. Fantastic claims oj"Bells of tuning, optimistic statements about the correspond to the natural harmonic series, PAUL N. ELBIN number of tuned harmonics have been put but have their own sequence. This is pre- forth until much false information clouds cisely what causes the bell tone to be un- the subject. The clear light of truth may like that of any other instrument in the be welcome. world. you. Ko telanetz ha n t tried trick with In the first place, no longer is it neces- Some may find difficulty in comprehend- Rill1~k:r-Korsakoff: Scheherazatle Bach: Concerto No.2 in E Major lor Violin the music; it' traight out of the book. And sary to buy bell music by the ton. The ing how several tones can be emitted si· alUl Orchestra At least a dozen conductors have re- advent of the electronic carillon has obvi- multaneously from one vibrating medium, Prokofiev: Concerto No.2 in G Minor lor it's pica ant list ning. Pu ini's wealth of Violin and Orchestra, Op. 63 corded their impressions of the fabulous mel dies i partly r ponsible, but Eolum- ated this. The old traditional campaniform but such is exactly the case. The sounding Arabian nights tales as told by Rimsky- instrument deserves our greatest respect. board of a piano is a good example of a If there's a fault bia's fine sound nginecriug has a lot to do Korsakoff. The popular symphonic suite i single medium vibrating to more than one to find with this with it ( lumbia, one 12·in h LP disc.) But science, with its new horizons in the amply able to withstand almost any treat- disc, someone else field of electronics, has brought bell music tone at a time. When a phonograph is ment but for those who like it best Leopold within the reach of every church. The stag- played, the needle vibrates to all the dif- will have to find Bm-Itonc Re itn l nmlEnc::ores Stokowski is the man for the podium. gering expense of the ancient instrument, ferent tones recorded on the disk. It is it. To my taste, l1y Muck Hnrt'cl1 His new "Scheherazade" with the London the old cumbersome clavier, the great possible to have many simultaneously Zino Francescatti's Don't overlook solo violin searches Philharmonia Orchestra is a wonder of weight, necessitating a special! y designed sounding separate tones {rom the same vi- Oriental color and imagery, though the this remarkable tower-these are no more. For most musi- brating medium. And with a bell, at least out the full meas- record recital b - ure of both scores. romantic third section, The Young Prince cians the newest of these electronic caril- five audible, easily tlistinguisluzble tones cau e of any d ubts Whether playing and the Young Princess, suffers from over- lons has supplanted the traditional one ring out with each stroke. about the quality the Bach concerto fussiness. Recorded in England with depth even in tonal quality. The tone heard loudest when a bell is of the r cor ling. with George Szell and brilliance, Stokowski's latest " che- This most recent addition to the bell struck is called the strike or pitch tone. Despite the low and the Columbia herazade" is headed for a good sale in world is the Symphonic Carillon, manu- Always sounding with this, and easily price. this Reming- Symphony or the America. (RCA Victor, one 12-inC'11 LP factured by the Mass-Rowe Electromusic identifiable to a musician's ear, are four ton record ha ex- Prokofiev concerto with Dimitri Mitro- dlsc.} Company. The principle behind this instru- other tones, two below, two above. The poulos and the New York Philharmonic- cellent tone and ment is completely new, an innovation subharmonics are the sixth and an octave Symphony, Francescatti plays intelligently Folk Music of the United States smoo t h surfaces. never before used. It is a conspicuous sixth. Above, there are a fifth and the and beautifully. The Prokofiev is properly The Library of Congress continues to Texas-born Har- advance in the art of music, and is entirely octave to the strike tone. Actually the har- lyrical, the Bach virile. As to recording, the release valuable recorded collections of folk rell. , ith the Met- different from every other carillon on the monic structure is far more complicated sound is ideal for both works. (Columbia, music from all over the nation. Three Hew ropolitan since market. The old so-called "out-of-tuneness" than this. For instance, there is still an- one 12-inch LP disc.) records edited by Duncan B. lV1. Emrich 19-:10, demonstrates some of the finest bari- that to most musicians' ears made chimes other octave above the octave to the pitch of the Library's Music Division will help lone singing to be heard today. The color- a harmonic nuisance has been completely tone. A second octave above. Though not Beethoven: Quartets in F and G, Op. 18, Nos. preserve fast-disappearing musical Amer- ing of his voice indicates not only a eliminated. The tone of the symphonic discernible to the ear, this high partial 1 and 2 thoroughly trained vocal mechanism but carillon is full and rich, with each indi- contributes considerably to the tonal struc- Quartet in C-Sharp illillor, Op. cana of the nineteenth century. One record 131, No. 14 deals entirely with Texas cowboy music, musical intelligence of the first rank. With vidual note of every chord balanced, even ture. Of all these tones, the definitive har- Brooks Smith giving able piano assistance. to the important contributing harmonics. Two of the best sounding chamber rec- another with music of the Mormon settlers An authoritative discussion monics, those most important in determin- Harrell sings a complete recital of German ords heard recently are RCA Victor record- and the Far West generally: the third with This matter of tone is the first stum- ing the resultant heard tone are the sixth Lied, French art song, and John Jacob bling block a musician encounters in his ings of the first, second, and fourteenth Civil War hallads and ballads produced bv of a new development in the immediately below, the strike tone, the quartets of Beethoven. The recording quar- the assassination of three presidents. The Niles'inu'iguing Four Gambling SOl1gs. acceptance of chimes. The problem is for- fifth above, and the octave and double tet, the Paganini, is composed of talented recordings are skillfully made and are ac- (Remington. one 12-inch LP disc.) ever quieted if a sincere study is made octave above. In the case of the symphonic Belgians whose Beethoven style is generally companied by helpful hooklets. (Library electronic carillon field of the tonal structure of a bell. All argu- carillon all of these are accurately tuned smoother, more relaxed, less vigorous than of Congress, three 12-inch LP discs.} Heethoveu : So"oto e, 26 in E·jlol, Op. 81n ments about bells, chimes, carillons-all and are brought into chordal relation. That we hear from the Budapest quartet. In the 50lln/o No, 29 in B-fllat. Op. 106 disputations stem from just one point: is, every time a bell on the symphonic Puccini: La Boheme what makes up a bell tone? With no at- carillon rings, the tones of a full chord Paganini performance the third and fourth Solomon, the English pianist, must tempt to be definitive, but in an attempt sound: three octaves (the strike tone, the movements of the F major quartet are a If you've ever secretly wished that all the he given credit for one of the best to avoid partiality, the writer believes that bit weak in conception, but no such com- singers would suddenly drop out of an Beethoven piano recordings of the rear. octave, and second octave), the fifth above, by Paul D. Peery for the average ear, the shape of a bell: and the sixth below. For simplicity's sake, plaint is likely to be made against any of opera, you can have your wish with His performances of the difficult "Hauun- the manner of ringing, even the material the companion quartet or opus 131. More- "Boheme." Columbia Records with the con- erklavier" onata and the contrasting these are always represented as a triad, of which it is made, all are unimportant. with the strike tone as fundamental, and over, the "orthophonic" sound is so satisfy- nivance of Andre Kostelanetz has come out "Les Adieux" Sonata are models of play- Anything that gives off a bell-like tone will ing that from the reproductive viewpoint with Puccini's opus arranged for orchestra. ing that is score- perfect yet filled with a third and a fifth to complete the chord. by the layman rightly or wrongly always the Paganini recordings are to be preferred Turning the arias over to the first violins the warmth of deep understaing. Only The third actually sounds an octave lower, be called a bell. The gay bell tones that which puts it below the pitch tone. This over the Bndapest competition. (RCA Vic- may not be your idea of an ideal "Boheme." Ihe great or the foolish attempt the dance so lightly through Rudolf Friml's position, while har -(Continued on Page 56) tor, two 12-inch LP discs.) but a hear-ing of the record may surprise (Continued on Page 46)
£TUD£-SEPTEMBER 1953 18 ETUDE-SEPTE.llB£R 1953 19 .,. -.....:. , •
• • The Place of the Non-ConcertIzIng
What should the young composer,
Artist in America's Music seeking commercial success, know
about the practical side of bringing In this, the final article his creations before the public? of this series, the author sets forth Here is a comprehensive discussion a number of requirements to determine by LeROY V. BRANT of the many problems involved in the best field for the young musician
not qualified for a concert career. MARKETING Stephen Foster-no common la-wcopyright in his day. 3. Do you po~sess the capacity for hard is to succeed in mu ic, If the proper an- OUNG AMERICA with a sinc~re desire swers have been returned, and if it be Y to have a life in music, but without the work? • (Without this you might as well forget found that the student may have a lire in wish, or perhaps the genius, for a. concert music. You must be able to work when the music but n t as a con crt artist, what the mUSIC manuscript career, is the theme of this article, the remains for him? last in the series published in recent months way is dark; you cannot be a. clock watcher; you must be willing to toil and The an wer that COles rna t readily is, in ETUDE for the musically ambitious of course, the tea hing pro ion. youth of this land. The recommendations keep on toiling when all the breaks go by Laurence Toylor against you, when the head and the back Teaching i one of the noblest profes- here set forth are based on more than forty sions, when it i properly followed. The years in the musical profession; each has ache, and the heart as well.) ARKETING A MUSIC MANUSCRIPT could be used in classifying American mu- lishers in this field have a particular special teacher i the molder of thought, in a sense been tried over and over again, and each 4. Do you believe in yourself? M is a piece of salesmanship. The first sic publishers: the "educational" music pub- interest: we have some with an almost ex- the shaper of the future. Hi i on adula- has been found to "work." (Faith in one's self is as indispensable two axioms of the "selling game" are: 1- lisher; the "general public" music pub- clusively woodwind catalog, others who fa- tion from the young, if he be a person The first consideration of the prospec- to "success as is musical feeling. Without Know your product 2-Know your con- lisher; the "popular" music house; and the vor band material, others who specialize in of likability. It i no mall thing to shape tive professional musician is his adapt- it the path of life becomes automatically sumer. publisher of sacred music. While there is solo material, still others more interested in the future; if it be a great thing to mold ability to music, and in this connection lined with pitfalls, real only because we In a word, do not waste time, money and much overlapping, inevitably, in attempting methods and theoretical material, and so de tiny, the teacher can great. he asks himself five questions. If the an- believe them to be real. The most terrible be effort in submitting your music to the such classification, it seems possible never- on. Sometimes, let it be frankly ackncwl- swer to any of these is in the negative he thing a parent or a teacher can do to any "wrong" publisher. theless to identify most present day pub- The inexperienced composer or arranger child is to make the child believe he is a edged, the teacher is ignoble. He i careless would do well to look elsewhere for a means Know yOUT product. What particular lishers as particularly and predominantly endeavoring to find a market for his manu- of his facts, of hi method. Because the of livelihood. Here are the questions and nonentity, that when he goes out into the field is your composition or arrangement (if not solely) aligned with one of these script should send for and study the cata- children idolize him he com to idolize commentaries on them: world for himself he will find that no one aimed for: Is it for performance by school four fields. logs of the most likely publishers. Who are himself, and oon i obsessed delusions 1. Do you have average or better than regards him, that his services will be of by or college groups? Is it "popular" in na- Generally speaking then, most publishers the "most likely" publishers for the type average intelligence? no value to anybody, including himself. of grandeur. It takes trength to r ist such ture-for dance bands? Is it intended for are particularly interested in seeing manu- of material he wishes to offer? This can be (If you were not endowed by nature with Parents are often guilty of such criminality delusions; it takes courage to face the fact "symphonic" performance by full-sized pro- script material which will conform to that determined to a large extent by studying mental alertness no teacher of music can in their endeavor to "keep the child under that every person is inclined to fall for fessional organizations? If it is vocal mu- type of music on which their past advertis- the advertising placed in the various maga- give you that quality. However, it does not their thumbs," a crime that should be such adulation. But the person who does sic, is it "concert style" or for church use? ing has been directed; the type of music zines in the music field for one month (Sep- require a gigantic intellect ttl be successful; drastically punished. A little conceit is have such courage and such strength can Having assessed your manuscript accord- which their customers are accustomed to tember being a good month for analysis). if you are average you can succeed to an good for the child, but it. should be become a potent influence in his comm~' ing to the above considerations so that its look for from their particular publishing First of all, which firms advertise in school average degree; if you are better than curbed when it reaches the stage of being nity, the good of which one cannot estI· purpose and raison. d'etre are clearly estab- house. To put it more concretely, a pub- music magazines, which in sacred music, average you can forecast better than aver- obnoxious. ) mate. And mark this well: one such person lished in your own mind, you are oiow lisher who has specialized for twenty years or "popular" magazines? What type of ma- age success. Your school grades may be a 5. Do you have skilled instruction? in a town or city will wield far more ready to proceed to the second point: Know in organ music would have to spend a terial do they emphasize? A great many guide to you in this matter.) (Observe that of the five chemicals to influence in it than will all the concert your consumer. By this is meant the follow- fortune on advertising should he suddenly publishers can be eliminated from your 2. Are you definitely musical? be thrown into the crucible of the stu- artists who come to it throughout an ing: while there are some few publishers decide to bring out a strong catalog of consideration by a careful analysis of their (If you do not possess an instinctive dent's musical life four are furnished by entire season. The good he can do will be who seem to embrace all forms of musical woodwind music! And the odds are strong- present offerings. feeling for music no teacher can give it him, only one by the teacher. This one, incalcuable. composition in their catalog listings, there ly against his publishing any woodwind Before going further, it should be em- to you. If you possess it to an average however, is the catalyst which precipitates One might choose to be a church singer. are far more publishers who choose to spe- music. phasized that no regularly established pub- degree you may hope for average success, all the others, making them valuable; or, but such jobs alone will rarely yield a cialize in one or perhaps two or three types To return to our point about not submit- lisher asks the composer to defray part say, in the art of teaching or some other to change the figure, this is the mold living. One may play church organ, but of music, preferring to become well known ting a manuscript to the "wrong" publisher of the expenses of publishing; the neophyte home field. If you possess better than which gives proper shape to the raw mate- this will scarcely yield a living either. for just these particular types, and inter- -c-our four general classifications of pub- should beware of such "deals." If your average musical ability your chance for rials which form a potentially beautiful except in the larger cities and seldom ested solely in having as strong a catalog as lishers: educational, general public, popu- work has salable qualities, a reputable success is better than average, since all musical Iife.] even there. But such positions are of possible in their chosen field, leaving other lar, and sacred, can be broken down still publisher will accept it and pay you for society is based on persons of average These, then, are the five questions which great value in making oneself known in a fields of publication to other publishers. further. Taking the educational classifica- it; he then assumes the entire expense abilities. ) must be answered in the affirmative if one city. And another (Continued on Page 59) There are four main classifications which tion as an example, we find that most pub- (Continned on Page 61)
ETUDE-SEPTEMBER 1953 21 20 ETUDE-SEPTEMBER 1953
.... \L~ "':"":"'_~-'-'-· < ~ GOOD NEWS
ARY McMURRAN is an excellent pian- C ist who also conducts the Peninsular ANSWERS Symphony Orchestra in Newport News, TEACHER'S QUESTIONS AND Virginia. This is by no means a one hun- dred men band. Far from it, in fact, for it consists of twenty musicians only. But if as such would normally be used sparingly; they played behind a screen you wouldn't tuaUy want to work at what the teacher ROUNDTABLE E-sharp might occur occasionally, especially believe it and probably would guess a three selects. at the end as a "Tierce de Picardie" but it times larger figure. All this sounds easy as I write it, but would scarcely appear consistently through. This is due to a good idea which occurred I know only too well that it is actually very out the piece as it does here; and B-natural to Cary McMurran. Why should the smaller MAURICE DUMESNIL, Mus. Doc. difficult-far more so than it was in "the mi aht also appear occasionally, but B- orchestral groups in schools, clubs, amateur tells about an outstanding small or- old days" when 1110stchildren obeyed th.eir sharp is far more common in this key than organizations, cities of reduced size or even chestra, reports on a piano conference, elders. The easy availability of m?VleS, villages be deprived of playing major works clubs and other distractions comphcates B·natural. and discusses other matters. It might therefore be better to consider of the repertoire, of accompanying such the matter too, and yet I maintain that if this piece to be in the key f F-sharp minor, concertos as those by Liszt, Grieg, Rach- the teacher makes the right approach, uses which key includes exactly the tones that maninoff? interesting material, induces the. parents. to appear throughout the ccrnpo ition. Also, With this objective in view he set to cooperate by providing their clllld~en '~lth only two chords are used throughout, a work. Keeping in mind the tonal character- a quiet place where they can practice Wlt~. chord on Cvsharp, and a ch rd on D· istics of each instrumental section, and their dependent and creative thinking be fostered cerning technic he stated his belief that out being disturbed, the power of music natural. In the key of F-sharp minor these blending, he devised an orchestration in the young student? Which is the best exercises are absolutely necessary; that pas- as an interesting and absorbing experience would be the chord. of V 7 and VI, re pee- whereby the balance of the larger scoring way to carry out the different aspects of sages from pieces cannot take their place is as great as ever. tively. If the piece is con idered in the key is integrally preserved. The list of works effective practicing? but can be turned into a valuable element Your plan of pupils' recitals is excellent, of C-sharp minor, these chords are I and thus arranged is already important. It is Why are the pieces written by Mozart for more technical practice. To illustrate and probably the playing over the ra~io l I, both considerably altered, and this is tried out regularly in the concerts given by as a child prodigy so little known or used? youthful pian ism he called on two of his has some value too. Providing them with Conducted by KARL W. GEHRKENS, the Peninsular Orchestra each season. And Are they not the best for approaching his sons, and the little five- year-old boy really interesting books about music to read, scarcely musically logical. Music Editor, Webster's New International The objections to considering thi piece it grows, taking in more and more of the music with a view to form, pianistic pat- stunned the audience with The Jester by teaching them a little harmony and form, Dictionary, assisted by Prof. Robert A. to be in the key of minor are: beloved works which constitute the reper· terns, expression, phrasing, and often-over- his father. "How does he do it," several encouraging them to listen to recordings of Fcshnrp Melcher, Oberlin College. toire of all major symphonic organizations. looked depth? wondered aloud. "Philipp; Philipp ... and fine music-all these are good too. But I 1) the signature i four harps in teed of The value of such a catalogue couldn't Is there a logical plan for a better un- more Philipp!" was Tcherepnin's answer. believe that the most important thing is three sha rps ; anel 2) not only does the be over-emphasized. When I played Grieg's derstanding and successful playing of Nellie McCarty, Marion Hall and Robert that the teacher shall greet each pupil with composition end 011 the dominant, but the A minor Concerto with the Peninsular a Debussy's works? Reuter dealt with what should be a success- a smile, shall praise him for something tonic never appear. As to the first objec- HOW CAN I KEEP MY PUPILS INTERESTED' few years ago, the other major work on Such were the questions featured at the ful piano lesson. Should it be planned care- good rather than scold him for something tion, I do not know why Lecuona should the program was Beethoven's "Fifth." As- annual Piano Conference of Roosevelt Col- fully, methodically; or is it advisable to bad, and-above all-shall take time to use a signature of four sharps if he intends • 1 am a piano teacher and 1 have about tonishing is a mild way of putting into lege in Chicago, and the interest of the rely upon a certain element of improvise- search out music which even though it may the key to be Fcsharp minor. A to the thirty pupils ranging in age from. seven to one word what I experienced, either per- large audience in these important phases tion "as one goes." Should the teacher play be easy to perform is nevertheless so beauti- second objection, it i not really strange thirty-five. Most of them are loyal and faith- forming or listening. Now, many works of piano teaching was well demonstrated the pieces before the pupil starts to study [u] that even the teacher gets a little thrill for music of this style to end on the ful, but some 0/ them seem to become. will become available, which before were by the eagerness of many to participate in them, or would it be wise to leave it to out of playing or hearing it. On top of all dominant; nor is it necessary for the tonic weary and lose interest. I have tried putting impossible for hundreds or even thousands the open discussion which followed each the creative independent thinking of the this, many teachers encourage their pupils chord to appear. The chords of V 7 and VI on recitals, having some of them play over of groups to consider. lecture. pupil, then bring in the necessary correc- to "make up" little melodies or complete definitely establish the tonality of a piece the radio, sending them to good concerts, Another blessing for which we, pianists, Alexander Tcherepnin, the distinguished tions while explaining the reasons for doing pieces of their own, and I definitely appra.ve without the chord of I being ounded. but nothing seems to work and 1 am worz- have been craving for many years is a 2nd Russian-born composer and pianist, was in so? How can regular practice at home be of creative activity of any sort 3:S a thrilling A third possible analysis would be to say dering whether it is because this town has piano {reduction of orchestra} for con- charge of the first question and no one secured in order to make the lesson a suc- so many clubs and other activities. Many educational experience. that the tona-lity of the piece is C·sharp. certos, which would be easily read and would have been better qualified, since he cess? Summing up the various opinions it of my pupils' friends do not take music So cheer up, my friend-music has not but that the modality is neither major nor minor but rather an unusual scale of C~·Dq- played. Take, as an example, the Mozart is the author of many works for young appears that all reduces itself to a matter UILd au not interested in good music a,t all, lost its magic, nor are all our children going concertos. All arrangers only had one aim people besides an ample production of of grade. A beginner ought to be directed, but they belong to various clubs, and this to the dogs; and you as a teacher of music E~.F~·G~·A ~-B~-C~.This is probably the in view: to put into the piano score all notes major compositions in various styles. "No then gradually the teacher will entrust more seems to be a distracting influence. Have are responsible for helping at least a few most satisfactory analysis. -R. A. M. of all instruments at their actual octave, one ought to remain indifferent to modern and more to his initiative. Miss McCarty, you any suggestions? people to remain normal, friendly, beauty. regardless of the awkward, clumsy result developments," he emphasized. "Who in who has a great deal of experience in class -F. T. H., Hawaii Joving individuals. -K. G. DULCIMERS AND ZITHERS which can be rightly termed a "pianistic our age would think of travelling by stage piano for the young, seldom goes by plans mess." coach, or lighting his house with candles The matter o] arousing and maintain- IN WHAT KEY IS ~lALAGUENA? • Could rOlf explain just what the diDer· made in advance, however; and this is in or oil lamps? Even if one's own tempera- accord with my own contention that when ing interest is the greatest problem that the ence is between a dulcimer and a zither? Who will do in this special branch what ment reacts unfavorably to contemporary teacher faces, and your situation is not by • Will you please tell me in what key Thank you. Cary McMurrall has done so successfully everything is said and done, it all amounts music it is wise to keep informed as to what any means unique. Some teachers get Malagueiia by Lecuona is written. With a -Mrs. E. D., Chicago for orchestral works and the instrumenta- chiefly to the necessity for a teacher to treat is going on among the present generation. around the matter by giving their pupils signature of four sharps, it should be in tion of concertos? every pupil individually and according to what they want. This may be "popular C.sharp minor, but the ending harmony A dulcimer consists of a fairly large It would be another boon and blessing 01 course the idiom 01 today can hardly be the gifts, the intelligence, the possibilities music," playing good music in a sloppy is strange. sound box placed on a table or supported to all 01 us. understood by beginners. But when young of each one-or their absence! fashion, skipping lessons and practice, or -G. A., California by legs, with strings stretched across it, pupils get a little more advanced, teachers Regular practice at home? Here's a point anyone of a number of other things. Some the compass being from two to three octaves AN INTERESTING PIANO CONFERENCE would do well to make them acquainted with which is the "bete noire" of every teacher. resort to bribery of various kinds-s-even If one considers this piece to be in the or more. The strings are struck with ham- Should children be taught the modern it. This can be done through three works: But Joseph Creanza, director of the school the giving of money for "a good lesson." key of C-sharp minor, he finds three notes mers, usually one hammer in each hand of idiom ~ What are the significant develop- Bartok's "Mikrokosmos"; Schoenberg's and a moderator whose actuation was out. But the really fine teacher does not have to appearing constantly which do not really the player. As the hammer strikes the string ments In modern composition, and how can "Six Short Pieces Op. 19"; and Hinde- standing, proposed a solution: resort to any of these. He treats each pupil belong in this scale: D-natural, E·sharp, (or strings) a vibration is set up, and be- they be used to benefit the young piano mith's "Ludos Tonales." "My daughter who is seven years old as an individual, knows that no two are and B·natural. D·natural can be considered cause the hammer immediately rebounds student? "Anyone wanting to familiarize himself invariably practices one half hour in the alike, tries to provide experiences and in the key of C-sharp minor only as the the string vibrates freely. It was this reo What are the necessary requirements of with the idiom of today can do it through morning before going to school. Then she material for each oue so that he will ac- lowered supertonic (the Neapolitan) and bounding of the (Continued on Page 581 the successful piano lesson? How can in· these numbers," Tcherepnin said; and con· usually does (Continued on Page 50)
ETUDE-SEPTEMBER 1953 22 ETUDE-SEPTEMBER 1953 23
" VIOLINIST'S FORU1U
fRebuilding a Great Cathedral Organ Another Vibrato Problem
to the point where it vitalizes and beauti- fies the tone, then is the time to inject some A graphic J'ecounting 0/ some arm motion into it. This tends to give addi- tional warmth to the tone. But it must be made slowly at first to avoid the possibility 0/ the pl"Oblemsinvolved with by of stiffening. Here is the main reason why it is always better to develop a wrist vibrato first: a good wrist vibrato usually enlarging the noble instrument in the means a relaxed arm, but a good arm vibrato can be produced with a tension in HAROLD BERKLEY Cathedml 0/ St. John the Divine the wrist that may cause technical trouble later. One thing you must remember in work- ing to get a wider vibrato, and that is not by ALEXANDER McCURDY "I would like rOlf I" advice about widen- your entire left-hand technique, vibrato in- to get it too wide. An over-wide vibrato ing a vibrato. Mine is very narrow and cluded, will be much easier. is as unpleasant as one that is too narrow. it seems to choke my tone, and it doesn't Trying too soon for a fast vibrato is a Usually, as a student increases the speed of look right. I shall appreciate any help you, common fault among ambitious young the motion it tends to become a little nar- can give me." violinists, and it may well be that you rower. But sometimes it doesn't, and that Miss f. V., Pennsylvania made this mistake. It, too, would cause is when care must be taken. and 10 7':'~, a 5 't':t, and ight ranks of the narrow, "choky" vibrato you dislike. Bear in mind always that an effective IGH on Morningside Heights in New difficult to gr-asp even when one is standing mixtures. York City, the Catbedral of St. Jobn at its center. The nave is six hundred feet You Iwve set me quite a problem! The \"Vhatever the cause, you must get down vibrato is a compound of nervous intensity H The great has forty- ne rank of pipes, vibrato is a very personal thing, and with- the Divine soars magnificently hea~enward long. It is topped by an enormous dome to fundamentals for a little while and re- and relaxation. II at an.y time in your which is nearly as big as that of the including orne of the I vely I w-pressure out knowing you or watching you play, it make your vibrato. It will not be a diffi- practice you are conscious of tension or above the mean slums of Manhattan supper stops which all of u would like to have West Side. Begun i.n the early years of this Capitol in Washington. Sound dissipates is not at all easy to determine why your cult job if you are patient. Start with the fatigue in your left hand or arm, stop at itself unpredictably in the vast reaches of for the accompaniment of chants, and vibrato is so narrow. The cause may be second or third finger on the A string in once and relax for ten or twenty seconds. century as an Episcopal cathedral to ri.val several types of en embl s in the 16',8' and the famous cathedrals of Europe, the build- the cathedral, echoing and rebounding psychological or it may be physical. Not the third position, rolling the finger on its Don't try to "play over" the fatigue-that 4' series. Some of the light "po itlv" or ins is a little more than half-finished today. from the stone walls and pillars. knowing anything about you, I must con- tip widely from the wrist joint and really way certain trouble lies. But if you make secondary en emble stop, useful in play- The lOBO" eroin-vaulted nave is roofed The reverberation time, the time during fine myself to discussing possible physical slowly. The sound will be unmusical at it a habit to stop at the first feeling of ~ ~ b . ine the development ections of centra- over; sealed up with masonary are t e Im- which a note of music will continue echoing causes. first, but don't let this annoy you; the discomfort you will soon be able to play puntal works, are as fine as any I have mense arches that will one day form the after it is first sounded, in this cathedral First, make sure that your hold on the goal you must aim for is an absolutely longer and longer without its putting in ever heard. transept. Nowhere is there any sign of is at least five seconds. This is five times violin is relaxed. Do you hunch your even and relaxed swinging of the hand an appearance. The choir has twenty-five ranks, includ- haste. The builders, like the men who took as long as the reverberation time of a fine shoulder forward in order to hold the in- over the fingertip. It is essential that the In ETUDE fOT October 1947 I had a ing solo stops, lesser ensembles and accom- hundreds of years to erect the cathedrals "live" concert hall. Carnegie Hall, in New strument firmly? If so, go to a good violin motion come from the wrist and that the lengthy article on the vibrato which dis- of Notre-Dame and Milan, are building for York, has a reverberation time of a frac- paniment stop. The 010 Bombarde ~as dealer in the nearest large town and buy a finger roUs in the direction the string runs cussed several points I have not mentioned twenty-four ranks of pipes, topped ,~,th the future. tion over one second. cushion or shoulder-rest that will enable and not across it. This sideway motion of here. You should try to get a copy of this In the long years of bringing the To attain clarity in such a large, a tremendous group of reeds and a nme- you to hold the violin with the necessary the finger and hand is not at all uncommon Issue, and read the article several times. Cathedral of St. John the Divine to its reverberant building has been an immense rank mixture. firmness, yet "with the shoulder in its among students who are learning to vibrate. No effort has been spared to provide present stage of partial completion, :he~e problem. And clari ty is essential, both for normal, relaxed position. The hunched-up It should be checked immediately, for Steel Strings or Gut? numerous celestial sounds on every manual have been regular services of worship In recitals and for the organ's prime func- shoulder is a great handicap to a natural when it is done rapidly the resulting sound "... Will all steel strings on a violin so that all schools of compositions can be the unfinished edifice. The organ, an im- tion, that of accompanying the services of and flexible vibrato. Perhaps you already is nothing but an unpleasant wobble. cause the bass bar to have to be replaced mense four-manual Aeolian-Skinner, after the cathedral with all their splendor, played on this organ effectively. use a shoulder-rest, but of a type not suited When you can vibrate slowly, widely in about five years, due to tension? Which The most arresting stop on the organ many years of use, is now being rebuilt by pageantry and pomp. to you. II you need a rest, then take time and absolutely evenly with the second and is better: to have all steel strings or some of is the State Trumpet, shown near the top G. Donald Harrison of the Aeolian-Skinner In the interest of clarity, Mr. Harrison to find the right one. third fingers, start to work with the first them gut? Do you, use steel or gut?" of the picture on the cover of this issue. Company. has made much of the tone stringier, from Next, make sure that the left hand itself and fourth fingers. Many people find these H. J. N., Nebraska Enough work already has been done to tenor C down. When reverberation is as The pipes are placed beneath the Rose Wi,,· is not tens,e when you play. Byl.tense, I harder to control than the others, but great as it is in this cathedral, the bass is dow of the cathedral, above its main en- make it clear that the completed instru- mean this: when you are using one finger, some patient and thoughtful practice Steel strings have two advantages; they generally over-emphasized. The bass ac- trance, and thus at the opposite end of ment will be one of the great organs of are the other fingers relaxed or are they should soon produce good results. Then, stay in tune even in the most humid cordingly has been reduced. In order to the nave {rom the organ proper. The pipes America. There are, to be sure, larger in- stiff? If they are stiff, then your hand is as soon as you are satisfied with the way weather, and they last a very long time give transparency to every division, there operate on a pressure of fifty inches of struments, the one in Atlantic City, for tense and your vibrato is being hindered. all four fingers are working, begin to Ptec- without deteriorating. But there is no doubt is a wealth of upper work in the form of wind. Because" of this high pressure they example; that in the Mormon Tabernacle in To overcome this, practice scales very slow- tice in the same way in the first position. that they do tend to take away some of mixtures. require a special blower at their end of Salt Lake City is in a class by itself; never- ly, maintaining a strong grip with the Don't give up the third position work, the mellowness of the natural violin tone. theless the St. John's Cathedral organ is one Every division is well developed. There the nave. It was found that, in traveling stopping fingers and moving the others up however; try to vibrate a little faster but They tend to give a rather thin metallic worth going miles out of one's way to hear. are English reeds on the swell in addition the 600 feet from the main blower, air- and down in the air. ]f there is tension in just as widely. As the days pass, gradually edge to the tone quality which is not char- Mr. Harrison's first problem in rebuild- to the French reeds. The pedal organ is as lines could not compress air sufficiently your hand, you will not find this at all easy increase the speed of the vibrato until it acteristic of the violin. But one of the lead- ing was learning to "know his building." adequate as anyone could ever want. There to meet the requirements of these 61 pipes. to do; nevertheless, be patient and keep on becomes musical and enhances your tone ing repairmen in New York tells me that The organ must be adequate for one of is plenty of bass, including three 32's, an Nothing in my listening experience had practicing the exercise, for when your quality. their use certainly need not require frequent tbe largest buildings of its type in tbe Open Bass, Contre Violone and Contre prepared me for the sound of the State fingers become relaxed and independent When a wrist vibrato has been developed (Continued 011 Page 46) world. The immensity of the cathedral is Bombarde, eleven 16's, seven B's, four 4's, Trumpet. I have (Continued on Poge 48)
24 ETUDE-SEPTEMBER 1953 ETUDC-SEPTEMBCR 1953 25
_ ...... - l....:..... -=~;::;;.-"'=..~_-=-~_-=~~~ . "' "V" , .. ,r 'CV , ... '..- , • .-.- ..... PIANIST'S PAGE No. 110-40240 Flirtation Grade 3. DONALD LEE MOORE
Allegro (J, I3?) <
%r~ 3 1 1~. ~ ·ro.... "1- ,... r-- The "Pieces 1'\ I. %r~ 3e-- 1 2r~ 3 1 . . . . , ~l"t~ , e r rrr P =-- By GUY MAIER PIANO r~ r. of . r:. r» r» . : ... the r·...._ 1 r-.:;:;; ~. ~J. ~b 1."1."1 ~. f-.:;:; ...-..... r..;.~_.. ...----..-- 1'\ I ---- J 1 Year" -(' . I I 11 , .t- It -q' --=- ::>- The editor of this department makes his annual appraisai 1110- r.. r .. r):c. tr. ee :cl of the teaching material pllblished during the past year. .- ~ these oozly-woozly, drippy-drooly tunes UCH an excellent crop of good new TECHNIC THROUGH MELODY John Schaum has produced two unique when "lights are low!" ... Th selections a tempo II 2 S teaching material has been harvested are invaluable, too, for making single hand r.:.. •... .-..... ,. ~,~ this year that I confess, after examining books which ought to help teachers solve the problem of general technic for third practice interesting; they 01 0 give much the sheaves of it, not to be able to choose needed emphasis to left hand melodic the most outstanding books and pieces. and fourth year gals and boys. His "Technic Through Melody" (Belwin ) puts the stu- playing. It. mf Editors and publishers have become so I like, too, Harry Dexter's ea y (second choosy that the results are almost uniformly dent through examples of Kohler, Behrens, L and third year) arrangements of selections first-rate. Practically every recently pub- Curlitt, Czerny, etc., "finger dexterity" from the Ballet of Tschaikow ky (Mills) lished item is good for some study purpose studies combined with familiar melodies ... These arc fr h, beautiful and easy. , or other. Some of the books may be too likc Merrily We Roll, Blue Danube Waltz, Jl1an all. the Flying Trapeze, Old Gray Mare, L....-J ~ thin (for the price) both in bulk or piano Un poco piu mosso texture, or some of the pieces may be too Yon're ill the Army Now, Onward Christian SHORT PIECE r ..";' ..;. r. Soldiers and a dozen others .... Even I The Daile s of the Year are certainly ~ I , ~ r-_ i-n ... r...... pale ... but all editions have greatly im- "Three Spanish-Mexican Dance /' set for -.. proved in musical, technical and imagina- would enjoy practicing technic with such : tive values. Even titles and covers are fascinating materials! ... These books piano by B05-5i Pre r ] -short, dashing better-no more "Fairies' Frolics," "Dan- are a "must" for the new season. and full of zip: third and fourth year. It -0= P del;"catamente The waltz of the year is Ada Richter's r-it. =- H ... delions' Dream" or "Swaying Sunflowers! I~\ .. ~ -. ~ ~ OTHER UNIQUE BOOKS arrangement of the little known trauss r. r.. r19- Ge Bravo, publishers! Keep on jacking up • standards; get tougher with composers, Acceleration Walt::. (Presser) Youngsters . especially the well-known, successful ones Some sort of prize should go to Ada with small hands and fleet technic will find Ftne • who are producing too much. Bring out Richter for her "Hare and Tortoise" it an exciting and brilliantly effective recital l- "--' more easy contrapuntal music, still better (Presser) which is not only lovely music piece .... Another excel1ent piece for small- early grade pieces with richer texture, more for second year children, but has an excit- handed children with agile fingers is Viktor ..;. I I. ,....,. I I r:.. -. r .. ..;. r_ - ing story and enticing illustrations .... Labunski's "Four Variations on a Theme .. contemporary music with spice and bite. So, the title of this article should read Prizes also to Marie Westervelt for her of Pagallini.~· (C. Fischer) This is a mar- three delightful song-stories for youngsters, vellously efIeeti"e set; third year. , "New Teaching Material I Especially Like" Ie '" I ~'I . . . . The first item is not new at all, but "Christmas in :,Mexico," "MArdi Gras," and Larry Anthony's simple reduction of ~qrr -=, ~r ~ ,;.. a. almost fifty years old-a re-issue of "The American Traveler." (Ditson) ... MacDowell's To a Wild Rase (Marks) is , ...-...... -.; ~ >-1 :: qe ~ .- IR- Philipp's "Complete School of Technic" Other outstanding and very original items certainly the Elementary Arrangement of . • (Presser) which still remains the best com- for young children are Margaret Dee's vivid the year; large notes, second year. , pilation of concentrated technical exercises. "Jolly Jingles" (Volkwein) and Christian· The two operatic excerpts I like best are ... T-- .... • Every teacher and every intermediate grade sen's exciting "A Trip Through Yellowstone Schaum·s tasteful settings of the Meditation and advanced pianist should own a copy Park." (Belwin) from "Thais" and of Vesti La. Guibba from I 1. of it. Two unique and very effective publica- '·Pagliacci·' (Belwin)-third year. 1'\ I, 1....__ J--"i ,~ Do not "go through." the entire volume, tions for older students (fourth and fifth . . .. The Lwo singing pieces which I en- but select the exercises you need. In this year) are Kenneth Kimes' spectacular Jored most are Berenice Bentley's exquisite book you will find the best fingering for all "Rainbow Concerto." (Summy); and Stan· 0, Lo.e/y IYight, (Summy) third year, and m} "it e dim. f':\ scales, arpeggios and double notes, excel- ford King's "Finger Fashions" (C. Fischer) George :McKay's e..xotic Navajo Lullaby, lent routines for finger flexibility and in- which features the new style of playing (Ditson) second year .... Another charm- ..;...... -~ dependence, chords, octaves-in fact it popular piano versions of weU·known ing, exotic easy piece, the Black Key Piece contains a remedy for every conceivable themes with the melody sounding simulta- of the year, is Eric Steiner's China Hop. • technical deficiency. No other technic book neously (usually two octaves apart) in both (Mills) second year. I ":;j~ ~ D.C. al Ftne is so all-inclusive or concentrated. hands. High school girls will adore playing • •. For your (ColllilWed on Page ·191 "- __ "---J>~ .A' -...... J
CoPyrig.ht195·3'by Theodore_Presser Co. International Copyright Secured 26 ETUDE-SEPTEMBER 1953 ETUDE-SEPTEMBER' 1953 27
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,4 5 :i 4 1 4- r; 1 2 1 3 .:. ~ 4- ::; 2 ::; 1 2 ~~1 1 ---:---, No. 110-02325 Valse Gracieuse J,j 1I 1 1 2 1 1 Dvorak is best known for his Symphony No.5 (or, as it is popularly called, "New World" Symphony L Slavonic Dances, originally 1 ----'i % ° composed for four hands, and a few lighter pieces, among them "Humoresque:' Although he adhered In hIS chamber and orchestral , , works to classical procedures of formal balance, his chief merit as a composer lies in his warmth and melodic invention. Dvorak It! ~ r I • --. was not-a pianist but the wallz presented here gives sufficient evidence that he knew the instrument well enough to write for it. This "Jl IIr ... dz"j is light,unpretentious music and should be played with fantasy and eharrn. (Turn to page 3 fora biographical sketch). ,Grade 4., ~, f por,LJ o. '---"" ~ bd Moderato ANTONiN DVORAK Op 54 N 1 ------.. ~ 3~ OJ 1~14131 il 4'~ , - 41------I I , 1 41~~' 0 1 ~ e I, ... I~ 4(---;-0, ~I ~ ~ ~ ~ ~ u 3 I ~ u II 0 , , , 0 ~ I I I ~ 0 I -i r ~ r '-I ~ 'I ~ r r- ~ <, ,_. I Piu mosso ~ ~ r ==- 2 ~ 2 3--4. " II 2. 2 2 t!- t r ~ "I <, p~ ..:;. )~tj J:i' PIANO 1J:i • ~ tJ2J , 1J:i ' PP
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'-----.J Meno mosso quasi TemJlo I ,..------r------, ,~rJ~1I I~' 1------\. J I~I~, I~' ~ ~ , ~: ~I -I I J' r T ~ 1 I r T' 'I~r ~J . ~ ~ I-T pp~ pp~ .<:' /,".1, /:l .cl :;'J-"'I ",. I "',, J- 4' ------, , Piu mos so , 3 i ~151 1 1 3\ J; 4J 31r ~ 4(3121 ~ 4\ 51 ~, 1\ .LI l< ~il~ 21i ~, 21
0 o : 0 ~ " " 4 5 3 rll-U I ~ t!- I I I"' I~T% f fi dim" e--,r = 1 ~~ If • - J# ' .. ; Tit. 1131 ~ ,~JJ JJ _. ~ ..~ %' 1I ~. 0 0 -I I • .. r~r ~ 1 % ETUDE _ SEPTEMBER 1953 ETUD E-SEPTEMBER 1953 28 29
" ,,.- , ~ h • 8..11-ji------_.------_..-----_..---~_..------_...-.----_.-_.... R.lf ..
·_ , l ~ ..;.~ ;.~~f.!: .!: BERNARD KATZ fl I . - . - .... . ,~t"'l= . · Moderato ca. 80) · (J, =z::~ ~ •• .. r.u. ~ o Cr-,""" ~~ It -• '/ L,N. ~ - pp (Quasi M.usic Box) 1\ LL ... • t- ~ J. ~~ .--- ~ .--- .---. .---. .---. • I I, r: , .e _ flI .~. '1 r ro¥T I ... " '- ----===::;;; ~ -----= I " 1 ,~ ...... I::Oi""" ~ I:::l""'" ~, PIANO mf .------:::::== - ~~ -mJ IJ. I.J ---17U- 8..:...... ~..... ••••• t T TI~I !..._..~....~...... ~...._.r~r..:. . loco • • , T !: .!: .!: "t·;E'f . II e .... I e i 1\ I !~b&~ :#~;rJ~:'~r- .. >/k~~' ~ r.r~r· 4'. s I J:; oj 1\ Jl------~ ==--- . c__ .. . mf - Ff: ~ -- pp r r I . ;--. ~. ~ ,.." --- -Jl- , .----~!' ~f lip - : ~ -l~ - I ~ i\ T:1 1\ 1\ • r~11pde;;cato mf .--- ~ - "I' -e, .. c4!'~ li .~ t~ i Hi<...... c::::::"" • , , .b:". ':P'" e::t=l"' ~ =::::- ~ ",. ~I .,,~ , , ,'''~ ~ IH~/ Del.a cocat . .. 'tr~ --r. Jl ~ ~ +~~ ~ 1\1'1 .:. lu'll,!.,'a. • ~ r~V Tempo giusto • , . r L.1.st time to Cod 1 -$- ,I ,4'. I II 'I ~----0 ,;;;;;:",... .. } ---==::;;, ~ff .. =d CODA ~e-~- ---== , P_ ' ~ iTill"J. 1.1 J ~ 1HJJ • I.J") ;-- t-:: '111'1 -,~-, q'" =--ll--- '! -" • 14'. r • r ----. f ---= sta c c. ~ ~ .... ~ 1 F;::::::;:i, .... i No.ll0.24605 ~(.... , r~ .,~.., Grade 4>',. Prelude on a Hebre'w Melody HARL 11cDONALD
Andante lugubre ...... ---; I fr Jl ---- -, ------, ---==--- 4'. .... -::::p IH- i cantando ~ I~-1-# ~.~ ..-- l:..J PIANO P legato r ,...... - • II • -- , , :;1-- J.. ...J .. r -I ~ ~ ...... r """, 2 3 1 ... -- Jl ., - fr ~ I I 1""'1 I ,------.... ~ Tranquillo L. ~ ~, ------'''\- ~, -- ~, "\ , " , ~ . . . .. I ~ I~ r ~ r #HF I~~ mf r I #~ ...... 1,..0 1T I,..J ~ .:: .... l~ ... -,j •...... 7 - .... .-/ --- T I =- ~ -~ ._-; -~ --:: --; ... • .... • .~...... _.... • "_11'. .. .. --~ ----I.. ..~ • ~ /ll_ /~ .. - >---,. LL ---- •. .1 • ~ ~ 1\ I ~ -" , ---- - .'"~n .. I~ ';';"~ n~~ I ;'fT ...... 1=== .
f>~~~b>- i\ .. f":::: - , ~(Jti\ "1 UTl" ~n? /FrT . . D >- I I ~I . ~. ~I ---.J' ILl __ ----'.J Copyng. h t In9 by Theodore. Presser Co British Copyright Secured Copyright llJ53 by Theodore Presser Co. International Copyright Secured ETUDE.SEPTEMEER 1953 . 30 ETUDE _SEPTEJfEER 1953 31
~ ,"" .~""~.j ~ >-- •ll...... ;.~·.;,._;.;;·~;..:co.:.r .;.'.:,'';:';':":';'-~''''_;''';;';'iliiiiil'''''' iaiIIiIJI'''''' _ -- ( ~.,... T~· t .... " 'r a tempo >- > ~ Tempo I ::> , ~: t;;~: ::> .------. ; Jl I! ~~' ___ ~--=~ , -I=:' ~: ~ Jl It /L .~."" .~ ., a tempo :;.7f' ~~ , , -{.\ ------, , 1'\ It »>: , , ,II- ...... l-~' ...'- ~ r l:i • #r- rt ,'it_ sft .. ~ l!"': ff fll' IT''~''' pp [JI ~r f • H ~ -0 .- , ~ r-it. J --. --. , - , , L • H I [..J ... .. I I I ----:-/1 • > I ~ ~ I. -../ .. .. ~I > ~ , J I I ~ , I L-....l LJ L.-.J 11_ ~ 'C...... ,J..J :...... ll~ 8...... ·..···, , , I) > ~ .----- , I ------>~ ~L I •. ::>{.\ 1\ Jl - ~ Jl II ~ r,..~~ .----....~ i: - : :- =t j. C; ll- '~. 77,,- . ~ ~ II ~ ... - CJ -e: .. ... - if r r-c; - (110 ;tt: sf ~ -r - .>:« /. ~ ..-r1 I ~ &- {.\ , •• - .= ~. :J..,.J .. 4. , I ?j~. u l..J .. ~ -0, 17. I 1 41- :! :! .. • ~ ~ ~ ~ ..~ ... ~~/ I I L-.-J '---J L-...J i i No. 130-41129 in Holland MARGARET WIGHA\! Gr3de 4. Allegro (d., 66) • Holiday No. 130-41126 " >- ~~ >~ , .L A Spring Song 5>~ ~ ~K; t /~~ -""'- Grade 3;;2. 2 3 >- MARSHALL BIALOSKY II II. \ " \1'2... ~L .,.L --, • Allegretto gioioso (J. = 8!<) ..... 1.00 ...... -. :> !- .. . /" . PIAKO - f 'J -~ 1.0- PIAXO mf3' .~ I J. ~I I .. t J. I .. >- .. Fed.slm,le L-.-J S o~ ~~ r u II /I.~ :;~ ~~ I ~ II !I. .~ . " II ~, ~ ..,,~ ~ I >-'-- 'i - , ~ ,'it , , ~ , " t- ...... ~ I . " P p f , . mf,~ , .- " 5. -JJJ wi ~ 1 I I I ":.1, ~ .. , ~ ~ ~ ~ l~ ~~ , , , >- >- >- , ~sostfll. I 1------I 1:1,: :> ~ ~,~I' \. ~~~ a tempo :> .. .---.. ~ >- :> I :>- ~ ::> ,...... Jl II :> c:> 'I '~, ~.~, a tewtpo , , . u II - •• 1*". ,~~ ~ \~',. .. ~',. .. 1~""'h "," L' .fl-' ~ "·k. , . , ,----- ~ ' ' T ...... ' ...... ' 'I ...... , ~ =--- f -e: ~~ (1*" ~ ...... (~ ~ fjl- I- f JJOCO rit. p - ff f~ ~ ~'!: ~ r....&- rrt- ~ ~. •••• , ,~I ,..'~ ~_II. ' , , I J. J , .-: : .' -, , .. , , -.J- :> ~ ~ ~ ,.11= >- :>.. >- T' , '~~r' I 1 , I r~r~I' L-.-J ~ "-' L-.-J , ,-, . ... ,.---, •• #!!: I ::>..-?>(b)~ >--- ~.j IlzK· ~ ..... () =- ::... ~.iO. :::;; u II / fl II II 1*".~' /-. ..."",i •• --...... -. ,1*".-;'.1*"-;;--{.\ .. , ------:: ------: ~- , - --- -./ It- ...... ~ ... I- r •• ,; I ~ f cresco "it_ l'£t. --- - p-- p ...... - p pp -= - poco rit =-- f~. f .. ,.. If ~fl- .. L {.\ ,I tJ,. ~ f1*" .. r'f.. r,.. ,--.11. r-. ~ Jl II I f I . • l : , : , , , , ~ , , -+ , , ;. • .. ... -"~ .., ~ I -6 ' >- ... ~ ~ ~ t ~r~l~i', I ~ /' #t -'- r~r' Copyright 1053 by Oliver Ditson Company Copyright 1953 by Oliver Ditson Company Int~rnational Copyright Secured International Copyright Secured ETUDE-SEPTEMBER 1953 82 ETUDE _ SRPTEMBER 1953 33
___ .....IlIIiF ~ _. ~, -iliiii·iii-iiiiii·'." .." ,,;;-;,;;-.., ;;:;".=.-::~::-:::::----- ,-.- _. -"f ~ .•• -'( --
Contra Dance No. 110 - 24079 Contra Dance Grade 3. SECONDO PRIMO L. van BEETHOVEN L. van BEETHOVEN
, 5 ~ 3 t 3 1. 3 Z t 4 t t I 5 3 : t 4 - 3 . : . ., . . ~ I~' I •• . :::.- It ~.,... -. . >- '" ~ PIANO - ~ 1.--' 1\ P leggiero _. : t . " -i . 4 5 u I 11. II 2 . I ~II ::;.....-. fo. 12. " .; .; li~.~..,.;..~,,;;;;--~.;" - >- :::.- t...-- :i: . ".;... ..;. ... :;:, ~.q~~ ~-- .;~~ ~ .;,. - ~~H"" . •• i. . . . . - ~ - >- ..... - f,... ,... It cresco f - cresco .ff--- fo. .:. .:. .;,.;, • , , I- r'"""I-. - • - - : : . t ..... >- >-~ t ~ ~ >- >- t - ~o: ..... -,J. '! >- ---- . ~"!~~~~~ - 4 3 .:. .; .:. ' ~.~ i~;" 'c ~..;,I : t~ ;~~ Ct le ~k~e+- I:;: r. ~ i ••• .r: ;:::~:.~~ 4 2 3~':' ii
It ... p p l-. 1~... - pp P ff 'OiO: 0;;;: pp .ff -- sempref >-ff fo. , - ,...e;; r--.. r;P .;, ';"";' >- r-== t- r~ .. , - . - t ~.;-" 5 ~ I:: v ...~· ---- ~ JI ... ~. 5 " " t t 4 • t I 1 , 3 11. t ,. I.. • >- ,. >- , . :>' . , #. ~ .~e;: &- "!" lll- S l~ >- >- fo. t ~ ~ ~"e--"~ . . \..00""'" ~ P sempre f - -.: -. , >- >- >- • - { ~ -' - - - >- >- >- >- >- ~ - ~ ~.~,=i:j3H~, . u= ~ ~ 2 t b~~~~~'~~~~~~' b~~~'~~ •. , ~. ~.P~ ~. q~ ~. -1!7f7f >- ~ ~ b~~~~' b~~~ .- ~ 4- ,J• 11. I~, t . L ';" (:\ ~ a: ,. a: ~ «: .... it-- ll." ~l :---•• 1 ~~,...t' ~~,,,:,\ .e~.:~ . ~ ::e II ... IT : f_ r r . r- i""" r"" r-- (:\ It 1\ !!!!iil ~ f - ~ ~(.\ II ;::; .0: r'z . . ~~. ~. !~. .... : ~ */ ~. , iiii ~' ... H~ • ~ 5 1 Ir 0 z . I :::.- .. - - ~,. jL~~ ~L ~~., .. :::.- ,..., .. ~5"':::-- 3 :> ,.~-- ~ -.. --~ 3 .. 1 4 >- f: ~ U . .;, , .:. II":' • . , .. II ... l;.4R. , ..:. .. jI<
34 ETUDE _ SEPTEMBER 1953 ETUDE-SEPTEMBER 1953 35
'0 .. ~L _ • < , ..... '.--'\ a . '-r I, I , , SECONDO I 1. .,. IV I 2 3 a _t<:-, .~., ~3 ..;. • t 3 ~~e ~1=::".: -E;": I . , ~~ ~ II t~~ ~~~ ~e 0 ~~, .;. ~.i" 1!: ~ ~e~~-.:. 0 a-#e f./ 'f e ~~'~'li~'~ : 0 , I pp re. p p mp --=~ 1'1. u ~~ 1\ /1 Z , ~ - ---- .r, 'I J ,,1;j l i\ : ------J " I J /I\~ , . e: , 3 ~ , Z \ I ~ : ~ 'I r I r 0 12, 3 5~1 I 2, ,., Jl ~ ~. t, 3 2 ~ 3 / .. ' ., Z, , 1 I - 1=11.";' 0 " .... - " I I ..,; 0 f. p~ L . ... ,., Jl
/" ~ ~ "i ~~., I ~..,;~i .-.t!4!-: . ~ 0 ~ ~ '= ~ ~ 4!" ~ 11 .. , 4 II ,., \ , I o :> " , 0 s: . ".:.... . ;.t..# :&: s: s: &. .:. .:. -..;. 1 .~~ :> ."""! >- Ie. .~ 'Z ~ -4!' -~ v t ~ ,.,~ p >-
0
0 n. .. . f. 0 '. 0 -~ . ~o~ ~ . o~ ~ . • ~ • ~ R~. -~ . ~~~. .t ~.~ ... .. 0 , 0 .. 5 , ..;. i • i i~ ..~~~~ ..;. - 0 II. 0 •• .:. ... ::. ~et e --.:..li_ .. .:. ..------. --. - ,.i H" .. . . If. cresco ... 0 . ,., ..;. ..:..:.f - f,.- cresco- r-"'1 ./ - f. I-. 0 -- - 0 ~ • ... y - ~ .. :> .. ~~-. =t ~ - • - ~ ------3~ ,., ::> ,.....----.:. _F- e ~et r= ~~ -t~ ~t f::: 0 ~~ .::._------11.11. s:: ~~ ~ .- , .. ~ .. s: ----. /t. ... ~... ..~. • If. if p ff- - f--..; ==-' sf ~ ~.;. -----. ~ ,.- ~ :> ff ~ . . --r------" f. ::> ~ .- 0 .---..-/ ~ - • ~ '!' . I 0 ~ .. =------~... . ~ .. 0 0 ~u..Ill.. ,. 13 ~ ~ {:\ (.\ .:. - ~~~Je~ .. (2 II. l1~ L I: :l: s: :&: l S: ~ f :&: == L- I r II', 0 dim, pp dim.- pp ,., -- P ff ..:. ~ ,- , {:\ , (.\ - n: 0
0 l ...... •
ET 36 ETUDE _SEPTEMBER 1953 UDE,SEPTE1>fBER 195.1 .17
b '. t ~" ( ~ .... -, .... J , Nun lob; mei.n'Seel; den Herren I 1 I In their preface to "The Church Organists' Golden Treasury" the ad ito rs have pointed out that "all editorial markings and.alt in. dications as to registration" are omitted because they "have the feeling that many editions are over_edited." It follows from these I' ~ill 'r 1=-I I I IJ I I--UU I " I --- , --- r remarks that the organ music of this period, roughly from 1660 to 1775, was not rendered with crescend?s and diminuendos as mil! "" "" SIC of later periods came to be but was played simply and musically, care being taken to render the mu s ic a l phrases clear and , , , , I I ,I t---! f fl.t:. .. .:- , 1 IJJ J J I j e -.. ..;--.- .. I : shapely. JOHANN GOTTFRIED WALTHER ~4 I ('J! J r "I ' I v I I I I , I - : I I II • flg"trrt i Til I ," ------r r I MANUALS .... I I . 'rw~ "" ~ r-T""I" -j- ~ - - - , : - I I.. I ...... I ~ II-' ...... 'I ~ ...... "" I I I - "" I # _*fl.#_ "" : "" : • - PEDAL • It u P' r u· : , .. I ~ ~ ~ .~ U-l-I ...... I 1...I,J'.u..u e I I ~ liT I I Y ~ , . i' Ii " I ~ .- I , . 1(' I r CfUlI UJJ'I I 11 I rJ~ I-n ~ ~I - FT* llUrr' ~ rr it' bT ~ • ~ ...... --- ".,. --- .. t:. - ._.. ,,:~fl. C.F, .(1.._ .-. 1 1_ - ,.; : • : --,., -~.~ I ...... - .... • : I , , I •• ~~ (I. " , ,
I I I ...... I I I" ...... - _# , " I , v .... I -.....-.." ... .. - • ...... ----- , : '>- =;;;I L::. , ,
f , . , . r:" I . TTl , I I , I ~.../~I I ~I I Ill~1 ~Un i"ii1 /r "" ~r ... - . , I jJJJ jLJJ;"'1 j I' l.U-J I I~I '-UJI 1 I w· -u J J I I I •, I rl , I J• ~ If I I rir rrr • : . ::::: "" "" -, , I •. - •• #fI. t I I I ~ I , If • r I I I I I : ~ ...... ,;~ . ~ ",,- "" ------• .... I ~ : - ...... ". From "The. Church Organists' Golden Treasury" I Vol. III ,e d't1 ed by C F Pf . ~;pynght 1951 by Oliver Ditson Company .. attelcher and A.T, Davison. [433 -41005J International Copyright Secured ETUDE-SEPTEMBER 1953 39 ETUDE _ SEPTEMBER 1953
b • < .... -{ No. 110·40248 Grade 2:f April Mood Evening Song FRANZ SCHUBERT Edited by Walter Golde STANFORD KING Matthias Claudius (Abendliedl Mo(lcrato (J.=51) F:ngl£sh Text by COllstancf! Wa.rd lc 3 ~ 5 2 3 3 z 3 1 1\ 1 • 1 1 1 1 1 ~ Tranquillo (~\ 1:32) • " , , , , I P ~ ..., • 1:1: .- ... U,' ,u, .- .. -¥ • -- PIANO - VOICE r "'J:' cantabile ...--. : "if gold - en stars arc ~ :;;:------~ ~ sink - ing , The , ------lit . t.le moon is of n ight L, come ... .------1. The ing , The dreams .. lies sleep - know_ Thy 2. The dark - ened earth Teach uS to blind . ness, 3 , I 3. Lord, tear a - way our 5 f'1 I , . ~ s 3 , ~ '; " , ", 3'~ 4, , 3 ~ .~ :;:., :1 ~ ~ B , ~ ,, .» 1 .. I~ I PIANO , p , •• I , • . u, . I . , . It I 12 'I, "1 I I I. Itr, f ' 1'4: .. ' ! I • ~ - , ->: - , ------, I , , , <, /1 I I -=----- I Th du.k - Y woods grow onc_- by ono_ ap . pear. twin kling, And 3 2 - Soon heav . y burd . erred , 1 , .~ . . grass. 1 1 r-- creep - irig , O'er gent Iy sway ing . Help uS to grow more L. a bove. " kind - ness, Thy good . ness f'rorn . . I -0:: , u. Ii ... .. 1:1: ...... - I'" ... - , 1Ilpoantpb'lie "hif '~ .~-~ '1 -.-1 -~ -1 '1 ~ It ~.~ -7 •.•. ~ I~~. "1 "~".,.~.11 '1 1 ~ ~ ~ :;;------~ I , , . . I I I , '- - I I ... - 4 ... -S 4 3 '""----2""" 4 -----.. 3 1 • , 2 2 ~ I • • ..... JJ-f.i-: I , • , , I , . , I ~ . heav'n- is It f The mist . y mead - 0'1,.<5 shim - mer) The twi light cresco dint. I, dim - mer, "'p .Ji'~'Jl(J and c, for· day - ligh t Like whisp _ 'ring winds_ at mid - night Will light - ly I lives. rc . ! I J I ., I 1 ! J - h.J I.,.. hum . bIe, For • give us whcn_ we sturn - ble And let_ our J .J J ! J .J .. • • L . , , ------f'1 I . , : ) I I
, ~ '~ ------::~., • '1 '1 .•.• I=:~ ":; .•.•b; I~",-~; ...... I , 1 ", I . ~Ii 1 I , . , , ( I I- V ': ~ -~' . ~: It . • • t r l:;; .. .. , ft· ...... p," It· • I.'1 #1,' r rz F" #~~ ~ P -r 1 I if I. -
bright and clear. -I got _ ten pass. ... ItU• &, flect_ Thy love. ------2
~r~t===i= J), 0.alPillo .~
From "Easy German Classic Songs? edited by 'Valter Golde. [431-41U02J Copyright 1952 by Oliver Ditson Company Copyright 1953 by Theodore Press.r Co. ------~---- }nternational Copyright Secured International Copyright secured ETUDE-SEPTEMBER 1953 40 ETUDE _ SEPTEMBER 1953 41
trn--'-- ...--- , ~---- M t Grad. 2. The Wild Horse Race No.1l0-40278 A Roundelay Grade 2. GLADYS BLAKELY BUSH MARIE WESTERVELT 1 ____ 3 _____ Moderato 88) Atafastgallop <01.=80) (d 5 3 1 2 f1JJ 5331 3 5 2 4 1 5 3 5 1 ~1 5
I \0001. -'- '--.. . I '---' I '--..: I '---= "------...!' I~ 1'if PIANO < 1'!f .P 1- .l;~ .>: ~ ~. ~. r. - r. ~ -- , 3 1 I .5 3 3 1 I5 3 2 1 5 1
4 3 1 1 , 3 2 3 4
.P ---+---_ q "'p
1 2 3 1 2 4 5 ,_ JJ H 5 1 2. JI ------I __ I 3 I ~ ,-. I '-" I = ~ '--" - 5 1 5 2 3 .P 1'if ff~ ~ ~ .... #,. I~. ~ • ~ r .. r: ,...-; ~ r. ~ .. ~.~-
1 1 { 2 I I I ~
:>1 ~ ~ ~ :::- ~. :> :> :> >- r: 1'1 JJ II .. • ------From 1I Rodeo:' by Marie Wc s ter ve lt and Jane Flory.[.1.:~O - -1-10 1f)J ... Copyright HI53 by Oliver Df t s ou Company International Copyr-ig'ht secured Ie I p 1':/' - '1!P' < >~ :-.::----... ~ No. 110·40247 ~~ i~~ I{_~.. JI ~~ I~ I~..~. I~..~~ I,...,. • The Jolly Juggler . I,..~- Grade 2. 2 4 2 1 JEAN REY};OLDS DAVIS
a tempo fI JIll. ~ >- >- h. JI
I I I '-...:: J '-...:: '-...... '--.. J '-..: i I ~ • .t. I PIANO 1np legg- lOI'O r1-.====- p-=- 11;/' p .y = -:», I «; ,.. r.. ~ r.. ,...-; ~ " i:t-~ ~ r: ~ r.
I
3 a tempo 1 3 { 5 3 3 5 ~ 1 2 3 { :> >- 23 2 1~2 :> :> 2 :> >- :> :> 1":\ '~ =----- ~ 1
. . '-' "-JC. --- P rit. f 1":\ mp
Copyright 1953 by Theodore Presser Co. Interna.tional Copyrigh~ seeured Cop . h yng t 1953 by Theodore Presser Co. International Copyright secured 42 ETUDE _ SEPTEMBER 1953 ETUDE . SEPTEMBER 1953 43 , 1
No.1l0 40236 1':\ Grade 'l~. The Skyscraper I r-'T""I 1-6- I I .·A.LOUIS SCARMOLIN ~ it'· ~'~ '!" it- ~~ ~ Moderato (J=1I2) ...... • :> m-( ~ 1 .. H" mp .;. 3 . 5 3 ~ cresco fl':\ . . 0 . . :> . . . - " · I We are in a · . PIANO house Way up in the sky; Not e-ven a mouse Could climb up so high.The I . 111f . . pstacc.
,., I I 3 2 2 3
1. I-l>'- ~-,. Il '. Q"":' 5 . . . ,II"· 4 Ii f P . 2 ~ ~ ~.. .. · I . cars down be - low, So · --- . I ti-ny they seem;Like pins in a row, So shin-yand clean. The clouds are so ine ~
:> f:. ~ 2 3 119- ~ It...... ~~ # ~ s D. S. al Pine .. - ~4!' 'U ~ m;#ff.·q~, mf f :> f 111f . -- . :> . . . I near, -lt'a to see; The view is so clear That it's bet-ter to be Up here in this house Way I I I ----'C--..J- I I I ...... :if- - -(1-' , No. 110·40246 3 2 1 Dance of the Olocks Copyright 1953 by Theodore Presser Co. International Copyright secured Grade It STANFORD Kl 'G 5 5 4 No.ll0'40245 Allegretto 5 S a tempo 0, 3 • Grade Bells of Normandy ,., ..• .. .. d fl . ( . STANFORD KING , I scmpre staccato < -i rall. mf'---'t. 2 3 1 PIANO p cresco poco a poco .;. . :> ~ I •
. S v • PIANO 2 1 5 111f =====:f=:=~- .. 5 'S • • n.--===-
'First time onlyllLast timeonJ1 ~ Pedal down throughout
/I
1I'f =====f==~-- Q.-====- 2 2 2 3 s .D. S. at Fine 3 4 4 4 3 4 4 ,., 5 1 , s ~ . L.R. over , III I ~ I n - / .c "'-,~ d' r • - .---L- ~mp1'000 a poco un. .. • mpdim 1'l! - rail. p atemj1D p t. c.; ~ /l.U. av." .. .,. ;;, .t. performance by Friedrich Wuehrer MENTAL PRACTICE ANOTHER VIBRATO PROBLEM and the Vienna State Philharmollia Just Off The Press under Hans Swarowsky meets the (Continned from Page 16) (Continned from Page 25) need. Sound wise there is little ques. works he plays! Each composer has MUSIC & DANCE tion, for the recording bears the new made to sound, and there is con- a pro; merely for my ow~. enjoy- his own distinctive style, and each stant need to decide which themes replacement of the bass bar. How- UHF (Ultra High Fidelity) label 01 IN THE style demands its own technique. ever, he does not like their tone qu~l. ment. 1 love the instrument. Vox Productions and, more impor. to emphasize at which moment. And O. M., New York You cannot play Bach as you do while Bach must never be played NEW ENGLAND ity, either! And he does not advise tant, bears out the claim that UHF You do not say whether or not Beethoven. You cannot play either with "romantic" rubati, he must still using them on a sensitive old violin. can mean satisfying reproduction. ~ "For the first time, it is now not only pes- you have had any work on the violin, as you do Chopin or Liszt. The first be made to sound expressive, never -~v sible but convenient, to play any reasonable STATES Personally, I use a steel E, an The piano is recorded full as life, so I'll give you a course that starts step in the mastery of style is tra- mathematical o- dull. This is achieved or usual chords on your bell tones without a aluminum- wound gut A, an alumi- and the orchestra sounds realistic. sensitive musician's ears being jarred out of from scratch. , dition; the student is told by his through suitable varieties of tone. num-wound gut D, and a silver- Printing the playing time and the seven years growth, and truly, musical sounds Begin with Samuel Applebaum s teacher which niceties of style to And this, in turn, opens the entire A Complete & Comprehen- wound gut G. Some violinists prefer fact of NAB equalization will he will ensue. At the same time there is startling Primer Violin Method or Book I of listen for, and what to do about question of expressiveness. I be- fidelity to the sound of real bells, and with none sive Survey of Music & Dance unwound A's and D's, but my experi- useful to many. As to interpretation. Laoureux's Method; then go to reproducing them. But as he ad- lieve that, unless rubtui or other 'of the disadvantages inherent in real bells." ence is that these strings, even the this reviewer would term it accurate Activities, with Articles on all Wohlfahrt's Studies, Op. 45~Book I; vances, the student becomes inde- tempo changes are definitely indi- best, go false much sooner than and well-proportioned but not al- Willit;t'l'J1.H. Barnes to follow these, work on Book I of pendent in searching out his own cated, they should not be used as Author of "The Contemporary OrgCln" Phases of Music & Dance, wound strings. In fact, they are often ways the most musical or most ccn. Kayser's Studies; Laoureux Method, approaches to style. This involves the only means of expressiveness. (fo:ur editions) false by the time they arc thoroughly municative. (Vox, one 12-inch LP with Biographies -& Pictures Book II; WohHahrt Studies, Book many hours of library research You don't get "feeling" by playing stretched. disc.) of Prominent Music & Dance However, the type of string you II· Kayser Studies, Books II and among books of history, biography, faster or slower! Tone and phras- IIi· Maza's Special Studies and .:5j"'V "The fact that your Symphonic Carillon bells are Personalities. A Handy Ret- use must be determined by the qual- and criticism as well as much lis- ing are far more reliable means Bo~k II, his Brilliant Studies. With Mozart: onuuu lor PimlO Four ~ so perfectly in tune is a wonderful achievement ities of your violin. 1£ it is dull in tening to the interpretations of art- towards that end. in itself, and this coupled with their excellent fidel- erence Volume for Libraries these last books do some of the exer- Hon ds-e--D M(ljor (11111B·Ffat Ma. tone, steel strings-or at Ieast steel jar (K. 381 (Iud 358) ists of authority. One cannot hope When we come to Beethoven. we ity of tone, make them in my opinion the most per- & Educational Institutions. E and A-will brighten it; j{ it is cises in Sevcik's Preparatory Double- to project music without a thorough find the chief problem to lie in the fect bells that it has neen my privilege to listen to." Two of 'lczan's four sonatas for brilliant, don't use them. Stops and in his Op. I, Book Ill. knowledge of the various styles. fact that his piano works are not piano four hands have been recorded The Reverend Arthur J. Gravel Then go on to Kreutzer's Studies, You learn, for instance, that in written pianistically but orchestrally. by the piano learn, Vitya Yronsky Postor, St. Cecilia's Roman CothoJic Church A Course of Study Fiorello's Studies, and the 24 Ca- Bach you never use a true staccato. Often he requires the hands to play leominster, MClssachusetts SIGMUND SPAETH and Viet r Babin. A piano teachers " ... Will you advise me as to a prices of Rode. You find dots over notes (as in at opposite ends of the keyboard EcJitor-in-Chief know. the simple works are good will complete violin course? I am 49, If you want more advanced studies the beginning of the Italian Con- with nothing at all in the middle. or suggestions for solos, write again. teaching mat rial. _{ozart wrote the ~ "As you know, we had considered many' positively cannot afford lessons at certo), but you learn to accept them This could easily cause a feeling of ~ other types of chimes for our church before WARREN STOREY SMITH I shall be glad to hear from you. D major when he was 16, the B·Hat this time. I do not intetui /0 become as the special Bach staccato! This wideness, of unbalance which the we approached you and it frightens me when I Conlribr,rting Edilor major when he was 18, and he grows out of the structural nature pianist must avoid by balancing tone think that we might have blindly purchased played them with his sister. There something else had we not come in contact with ARTHUR FIEDLER of the instrument for which he wrote. and pedaling. Both technically and is little of th mature Mozart in your recent development." Chairman Hon. Ed. Bd_ The clavichord has a slightly longer interpretatively, Beethoven requires these sonatas. but they are pleasing. vibration than the modern piano the utmost care! Pupils' should, of Clarence A. Sutton, Minister Vronsk y and Babin play them with- Arlington Heights Methodist Church NEW RECORDS REVIEWED (when the pedals are not used) and course, study his works, but not per- out ostentation, and Columbia has Fort Worth, Texas this rules out the fast staccato. So, form them until they are ready in Published by recorded them with excellent lone. BUREAU OF MUSICAL RESEARCH (Continned from Page 18) observe Bach's staccato indications far more than the technical sense. (Columbia, one 12·inch LP disc.) 236 West 55th St. New York 19, N.Y, within the framework of his own Certainly, this is true of Beethoven's ~ "One of the tests of a good carillon is THE E 0 "Hammerklavier." This English- the most pleasant of which is the uses. That is to say, you lean slightly later works. I think that the pianist . ~ its lasting effect on the listener. I have Toscanini-NBC Symphony Orchestra yet to hear of anyone on our campus whether made recording proves Solomon one on each sl,accalo note, never ham- should avoid public performances of a visitor or a permanent resident, who does rccording of these two sprightly MUSIC READINESS PROGRAM of the great. Moreover, in the re- mering it down and never releasing the Sonata Opus 106 until he has not believe that the carillon becomes more cording process nothing of the piano works. The Cherubini Symphony has it too abruptly. reached the age of forty-and a beautiful each time he hears it." By Sister M. Xaverial O,S,F.! Mus,M, never been recorded before, and tone has been lost. To my taste, this • Bach also presents the great prob- full forty-year-old mentality! Robert F. Chandler, Jr.,Pres~dent The MUSIC READINESS PROGRAM, is the best "Hammerklavier" on with this marvelous Toscanini read- lem of correct tempi. Since there are Liszt and Chopin are quite differ- University of New HClmpshire endorsed by prominent piano peda- records. Pianists can look forward ing available it need never be re- no specific metronomic indications, ent. They wrote absolutely pianisti- gogues, is adapted to various age to more releases in this series, since corded again_ The Septet, melodious Adverti ing cally. Indeed, Chopin and Liszt are levels. Most children of the age of much can be lost by taking his works and light-hearted early Beethoven, six to nine years may be considered Solomon is engaged in recording all Representatives too fast or too slow. Through study so wonderfully pianistic tbat their Each new installation of the Sym- "pre.schoolers" in the study of music, lhe Beethoven sonatas. (RCA Vic· is another recording success in the and tradition, but even more through technkal formulae often fall into phonic Carillon brings words of praise especially instrumental music. t01', oue 12-inch LP disc.) familiar Toscanini tradition. (RCA one's own musical sensitiveness, one the fingers at first playing-a"lways from those who hear its beautiful The MUSIC READINESS PROGRAM Victor, one 12-inch. LP disc.) must learn to sense the one right assuming that this first playing has tones. Never before have we had" makes teaching beginners fun. It fas- Bach: Six English Suites • tempo inherent in each work. You been previously studjed and planned. such enthusiastic response to any ' .... cinates the child, gratifies the teach- A complete recording of Bach's Berlioz: Rom.eo allli Juliet will find, as I have, that in the Which brings us back to the fact Instrument during the many years we er, and delights the parents. English suites comes from the Rus- This recording, made by the New ew York MY MUSIC PICTURE BOOK .75 performances of the great pianists, that the pianist's real difficultjes are have been making fine thimes and MUSIC AND GUIDE BOOK ..•... 1.00 sian-born pianist Alexander Borov- York Philharmonic-Symphony with Sadler & Sangslon As..~iales, there may be slight variations of not only the technical ones! His earil1ons. MY MUSIC COLOR BOOK .•.•.. .80 sky by way of Vox Productions. Mitropoulos conducting, is notable MY MUSIC LETTER BOOK .75 342 Madison Aye. tempo, but never too great a differ· gq::at problem is to project music, MY MUSIC NOTE BOOK .85 Borovsky's scholarly reading is for two reasons. One is automatic, Hearing is believing- .. When you Murray Hill 2-1432 ence in fundamental tempo concep. naturally, simply, and with complete Pas/paid 'or cash wifh order marked by a profound respect for since the new LP is the first record- tion. sincerity. He helps himself achieve hear the deep, traly bell-like tones of the classic tradition. Throughout the ing of the full orchestral score, the the Symphonic"CariIJon, we are con- THE SERAPHIC PRESS Bach requires further study be· tbis by forming the habit of mental performance lhere is a studied cor- vocal parts being still unrecorded. fident that y6u ·too will be immedi- 1501 South Layton BoulevClrd • cause of the richness of his contra· practice. Milwaukee 15, Wisconsin rectness. restrained dynamics, and The second has to do with the puntal structure. Each voice must be THE END -"!ely impressed by their quality .... technica'l mastery. For piano stu- splendid recording job done by the distjnctiYe~fn c1atity ~nd.traditionai KING, CLEVELAND, AMERICAN STANDARD dents this is probably the best Columbia engineers, though a very Chicago in timbre. New Clnd Rebuilt Bond Instruments recording of the English suites. What critical person might be pardoned Virgil Malcher, BUFFETT, LEBLANC, NOBLET Borovsky in a deliberate and un- a question about the musical sound AN IMPORTANT ANNOUNCEMENT CLARINETS 430 _ i\Uchigan Ave. The Symphonic Carillon "sounds in tune" to the average listener, as LEEDY l LUDWIG Drums l derstandable choice of style avoids of the "highs" on loud passages. As ETUDE is happy to inform its readers that the Band and Orchestra well ~s the critical musician. Ihis is the result of two bell tones per note, Accessories in the way of release. American stu· to interpretation, the Toscanini-RCA Delaware 7-0512 Department, conducted by William D. Revelli, is to be reinstated in HAMILTON MUSIC STANDS dents will add from lheir own innate Victor recording of 1947, unfor- one being tuned to a minor and the other to.~ "maiDr' tonality. This tuning, WEYMANN Co. Dept. E its columns and will become a regular bimonthly feature of ETUDE, plus the Symphonic Carillon's double manual enables you to ~Iay in perfect 1613 Chestnut, Philo. 3, Po. zest. Borovsky handles the piano in tunately limited to about half the such a manner that purists are not material included in the Philhar. • beginning with the October issue. concor~ance at all 'times - stngle notes, octaves. 'Chords or full harmony. r~ likely to call for a harpsichord. monic recording, is still in a class Dr. Revelli's arlicles during the period 1938·1951 covered a wide . - Compare the SymphonicCarillon with any other electronic carillon, (Vox, one 12·inch LP disc.) to itself. (Columbia. one 12-inch Pasadena, Cali£. range of subjects of interest to band and orchestra players and we regardless of cost-and we are co:nfident you will agree its tone is far superior. LP disc.) Josepb W. Conrow, feel sure this announcement of the resumption of his department A DEMONStRATION CAN BE lRRANGfD UPON REQUEST. WRITE FOR DtTlllS will be received with great enthusiasm. t Cherubini: SymphollY in D 1175 Woodbury Road ! Tl1e SYMPHONIC CARILLON is a praduct ,1 MUS ORGANCO. makell oi, Beethoven: Septet in E-Flat, Op. 20 Brahms: Piano Co'ncerto No.1 in "Bill" Revelli, whose work as director of band and orchestra Sycamore 7-5365 activities at University of MichiO'an has brought him national fame, ' MAAS CATHEDRAL CHIMES and CARillONS • Since the "OrthOIJhonic" recording D Millar, Op. 15 :: VI8RACHI,.E5 • MONOBELl, CHRONOBElL,. TOWER BELL SYSTEMS is considered the leading figure "'in this field. The famous U. of M. • curve and technique went into op- This concerto is one of the few . VIBRACH'ORD • HARP CELESTE, ORGAN PERCUSSIONS' Deportment of Music Band is a thrilling feature of football games in all parts of the country. f. KNOX Galesburg. Illinois eration about a year ago, RCA Vic- titles in the record catalogs needing M.mb., N. A. s. M. tor has consistently turned out LP • Dr. Revelli is much in demand as guest conductor at school and COLLEGE ThomCls W. WllIiClms reinforcement, but there will be dis. college band clinics. Watch for his first article in October. CalalolJ ~cnt IIpGn rCQuest Chairman discs of superlative quality, one of agreement as to whether the recent t~~,~~M:..:.:A:..:.:J~S.,.;-R~O.&.W:.:~E~~~ERC:::~:T~~~~I:~= DEPT. E2 • 3015 CASITAS AVE. • lOS ANGELES 39, CALIFORNIA 46 ETUDE-SEPTE.lfBER 1933 ETUDE-SEPTEMBER 1953 47 ~, PIECES OF THE YEAR (Continued from Page 26) Willian. ~tUUI.£n adclescei 1ts who like soft, dreamy ple material with substance. In fact, REBUILDING A G.REAT Chosen by over a hall m,lI,on lam,lIes SlnC! rM~T1~[ PIANOWHilE BABY SlEfPS! 30 E. Adams St.s-Chicago 3, Ill. 1896 the dlstlngu,shed p!rjorm~nceof KOhler With the L1MITONE SILENCER swing I recommend Mark Nevin's there are so many excellent items you tan practice and develop & Campbell p'anos has eemen the uue 01 Nocturne in Swing (Schroeder and that I cannot pretend to choose the VIOLIN SPECIALISTS CATHEDRAL ORGAN ae.uocm Quallt~ technique in complete The .~m~~privacy. ONLY YOU HEAR Gunther) and Bethel Melvin's Mood best ... However, it seems to me OUR NEW CATALOG NOW READY ~ THE NOTES-NO SOUND FOR MAILING CARRIES BEYOND THE Moderne (Belwin] both third year. that these five shine out above the . Publishers of "VIOLINS & VIOLINISTS" ROOM. Others not dls- ... T (Continued from Page 24) turbed while reading, he Comic Piece of the year others both for musical content and MANNES COLLEGE of MUSIC sleeping, enjoying TV or is surely David Glover's Old lVJac- imaginative appeal: Margaret Wig- radio. fits any spinet or (formerly known es The Manne~ Mus;c SchooD upright. No installation Donald H ad a Car (Schroeder and ham's I Wonder Where the Robins never heard anything quite like it. problem-JUst drop it in to practice-then Gunther) , a hilarious bit of guffaw- Go (Ditson) ; Stanford King's Bells Exclusive lake it out to play normally. offers courses leading to the As Dr. Norman Coke-Jephcott, Of- SATISFACTION GUARANTEED ish hum or. with which third year of Normandy (Presser); Mae Erh's CHOIR'PLACEMENT BUREAU sranist and choirmaster of the cathe- ONLY $9S5 Postpoid No C.O.D.'s please boys wil 1 torture their parents! Little Shadow (Presser); Elizabeth P.O. Box 412 - Glen Ellyn, Illinois dral, played the organ for me, I PLEASESPECIFY: Make of Piano, whet~er spinet or upright; Player: marl, woman, child. SOME BIG·NOTE PIECES Roger's J'Ji1archof the Rubber Boots sat about halfway down the nave. Publi, We Place BACHELOR of SCIENCE DEGREE THE L1MITONE COMPANY hers have produced dozens (Century) and Martha Beck's Ap- Directors Organists Singers Dr. Coke.]ephcott improvised on a 5226 PENN AVENUE, PI.TTSBURGH 24, PA. of good first year, large note, chil- pie Blossom Time (Summy) -all simple theme (he is a master of Profitable dren's pi eces. Composers at last, are sensitive, beautiful, easy first year Roberta Kennedy Leeanna Lehault improvisation), adding one stop after MAJOR. FIELDS OF STUDY: finding 0ut how to write short, sim- music. THE END another and working up to a tre- Woodwinds Voice (Opera mendous climax. Piano At this moment he played a fan- Brasses Training) fare on the State Trumpet. The Franchise Organ sound of the trumpet stops, above For valuabl, t'l'IllorlU .... blOCh"", & Theory the rolling, reverberating sound of Wfltl, JulluJ wtllt', '1IJkl,"t Harpsichord Tympani KOHtU a CJ,Ml'I(U, IftC. Composition the full organ, pealed out with a 42$ tltt 163 SUtll, New "11I), St. N r. Strings Percussion br-illiance and resonance absolutely Conducting beyond description. It was a thrill- §f).. Learn More ••• Earn More Harp Voice ing sound. I was so moved that I had chills along my spine and tears REGISTRATION: September 23-29. 1953 in my eyes. It is said that when Arturo '1'0-' thru HOME STUDY in Spare Time canini heard the State Trumpet he ~~1 CLASSES BEGIN: October I, 1953 exclaimed: "These are golden trom- bones made by God!" No visitor 10 the cathedral can Iail to be awed Scholarships Available and moved by the sound of this ...... __"""'....-..... -...--c:"------.~~.~....-- ,"\ ~~ r Your music can open the door to bigger opportumnes ... If you noble instrument. The organ is worth ;:.'~,.~ "t continue to tram. Decide now to better your skills and broaden Eor. 'nformotion, write: REGISTRAR a trip to New York City to hear. ~.... ~ your musical knowledge. Competition is keen, even in the smallest DIPLOMA The superb State Trumpet is the communities. Prepare to meet it anywhere, and take advantage of THE MANNES COLLEGE OF MUSIC result of careful planning and dil i- . Tune pianos in30days ,I all the wonderful opportunities that are open in all branches of your profession. or Bachelor's Degree REqent 1-4476 gent research. It was inspired by 157 East 74th Street New York 21, New York the trumpeters who pla y for high Opportunities and Better Income Become affiliated with a school that has earned the festivals of the church at \Vestmin· recommendation of thousands of successful teachers ster Abbey. Mr. Harrison had a New forms of entertainment, TV for example, require entirely and professional musicians for over 50 years. We are new musical techniques .. , but well-paid, "Big Time" positions great deal of trouble, however, in the Oldy school giving instruction in music by the are available to those trained for this highly specialized field. achieving the same result with organ Home-Study Method, which includes in its curriculum pipes. To decide on the proper loca- Interesting positions-are open in schools and colleges everywhere. cdl tIle courses necessary to obtain the Degree of tion. he had the first trumpeter of Again, specialization is necessary. Qualify yourself for teaching by Bachelor of Music. enrolling in our Advanced Study Courses. DOUBLE BENEFITS, the· Boston Symphony Orchestra Send Turn Spare Time into Profitable Study! &1 A Beat you can ~ ..• play for him again and again in You improve your own performance, and you learn the latest im- ,J Schedules of busy musicians and teachers seldom proved methods to stimulate interest of your students. various parts of the cathedral. for permit a return to formal classes, but they can advance A Rea' hear! ·After the location was selected, FREE Start NOW toward Greater Success rapidly through Extension Courses. These need not (:ffi1 y;;;; there remained many mechanical Get the trauung every musician wants.. to advance further interfere in any way with regular work. The progres- problems to be solved. One of the;;e and get it the modern, convenIent Home Study way. Know the sive musician, busy as he may be, realizes the value ·was keeping the pipes in place. The BOOK advanced, up-to-date techniques of today's music leaders. Courses of further study and finds the time for it, proceeding pipes of the State Trumpet are 0 ABOUT include: whenever spare moments are available. far above an observer on the Aoor HARMONY;-'Vritten by two of the HISTORY:-A modern course including CHECK COURSE THAT INTERESTS YOU and mail coupon for METRONOMA of the cathedral that they appear MUSIC finest theorists in the country. Simple, all types of music from ancient origins sample les~on and booklet ... without allY obligation. yel thorough in every way. From basic to 20th Century. Interesting-with em- Electric Tempo Indicator to be pointing upward. Actually they fundamentals right through to Counter- phasis on the analysis of. music-not a ~ •••••••••••••••••••••••••••••••••••••••• I extend straight out above the heads point and Orchestration. with the flash Baton dull collection of facts. UNIVERSITY EXTENSION CONSERVATORY. Dept. A.7!O of the congregation. Becau~e of the ADVANCED COMPOSITION:-Designed 2000 South Michiqan Blvd.. Chlcaqo 16, Illinois tremendous wind-pressure al which to give you a useful knowledge of mu- ARRANGING:-All the tricks of modern World's most (lepcndablc time beal! sical forms and the general processes :nranging drawn from fhe experiences Please send me catalog, sample lessons and full informa- Selmer IHetronoma gives you correct they operate, the pipes if left to of Composition. of the biggest "name" arrangers in tlle lion regarding course I have marked with an X below. tempos two ways ... (1) by a sOlfud their own devices would be blown country. o Piano. Teacher's Normal Course 0 Voice beat that can be sct loud or soft. and Piano, Siudent's Course Choral Conducting (2) by a sight bcat through a visible. clean Ollt of the wind-chest and sent CHORAL CONDUCTlNG:-Brand new o 0 Public School Mus.-Beginner's 0 Clarinet flashing light. Easily set for GUy tempo sailing down the nave. course includes all the modern tech- o from 40 to 20S-Largo to Presto-- niques-even broadcasting. o Public School Mus.-Supervisar·s 0 Dance Band Arranging with a twist of the dial. To obviate lhjs. each pipe is shack· o Advanced Composition 0 Violin In playing with a band or orchestra. led to a steel-wire guy. which in lurn VOICE:-Indudes all essentials, such as o Ear Training & Sight Singing 0 Guitar you arc expected to follow the beat of is bolted to a metal plate sel into --~.•••••....•... -.- ..- Breathing, Resonance, Vocaliz:ation, o History and Analysis of Music 0 Mandolin , Enunciation, Phrasing, Style, etc. the conductor's baton-llot the sound the stone wall of the cathedral. , D Harmony 0 Saxophone of the bass drum or other mcmbers of , • 0 Cornet-Trumpet 0 Double Counterpoint CAN'T WEAR OUT _con', slow down. the group. The Metronoma. with its A few thousand other prohlems., , o Professional Cornet-Trumpet 0 Banjo The beat is always steodv. accurate ot flashing visual beat. helps you !€'arn to mechanical as well as music-a1. were . do this. Simply turn tht> sound beat , Name Age' _ any tempo. , volume as low as possible and follow solved by Mr. Harrison. with results , NO MOVING PARTS_itusesthethyra- the visible flasher. Get it now-l\1ctro- that now can be heard on ~Iorning. : University Exten sion Slreel No. _ tron "heart beat" tube developed for noma is your bigg€'st tempo bargain! side Heights. I doubt if there has . radar. b:dusive design (U. S. Potent No. Cily--- :Slate _ 2,522,492). On Sole ot Better Music Stores ever before been anything in the Distribufed Exclusively by world quite like this organ. ;\0 ....(". Are you leaching now? If so, how many pupils have VOLUME CONTROL-make the beat .-.-c .. rious ~rganist should miss the op' as loud or soft os you like, or vary from CONSERVATORY you? Do you hold a Teacher's Cerlificale? _ shorp to mellow. porlull1ty to hear the superb inHru. I~~).A ...... , .Have you studied Harmony? Would you like to earn NO CLUMSY ADJUSTING-no set ment at the Cathedral of SL. John H.&A. ~flmtr INC. screws. Diol it like your rodio 10 ony the Divine. ' the Degree .of. Bachelor of Music? _ .( ' . tempo-'tO to 208 beals per minute. DEPT. E·'12, ElKHI\RT. IND1ANA .... THE END Cit} •••••••••• ETUDE-SEPTEMBER 1953 49 ... 48 En Df.- F.PTEIfBER/9il r ou give the student a lead that sage is lifted out of context and createsY greater IaCIilitvtty J1D rea dina."mg. its notes are substituted for those MONTANA Mrs. Leonard stresses technique Butle- TEACHER'S ROUNDTABLE of the corresponding technical les- Athearn Music Studio, 1039 West Geanire as a means to an end, but not as an son. Thus the application of the dif- Street, Butte. (Continued from Page 23) end in itself. As she explains it, a ferent exercises becomes clear. NEW JERSEY Princeton - pianist's background must contain Drill for the sake of drill Mrs. The Music Shop, 16 Nassau Street, the two pupils, after each one has Prlncercn, another half hour in the afternoon sufficient technical knowledge to Leonard deems abortive. Unless it's been trained separately. NEW YORK when she comes back. But regard· render him perfectly familiar with pointed in the direction of perfect- Debussy, as always, elicited great the skill needed to perform any spe- Albany- less of what ever may happen. at ing desired skills it is a waste of Van Curler Music Company, 110 State interest. "But who can tell me why Sneer, Albany. that time to prevent her from doing cific passage effectively. Such abil- human time and energy. Works like the Clair de lune has reached such Buffalo - so in part or even totally, I know ity must be kept in the conscious Czerny and Hanon can be extremely Denton). Cottier & Daniels, Inc., 32-38 a phenomenal and everlasting popu. Court Srreer (at Pearl), Buffalo 2. that the first half hour is acquired foreground. When one of her own useful if they are employed with larity?", I asked the audience. Of l/haca - and the daily practice has been com- students shows need for improving specific techniques in mind. But used Hickey's Music Store, 330 East State several answers I will quote this Street, Ithaca. plied with." Which is excellent, for the musical rendition of a specific as so many teachers use them, just one: "The Clair de lune creates an New York City- one could never insist too much on passage, she explains the desired to keep fingel·s busy and as a matter Broude Brothers, Inc" 56 West 45th atmosphere which is unique in its the regularity, which in itself is in- effect and demonstrates the method of mental discipline, they are worse Srreer, New York. expression of quiet repose. When Carl Fischer, Inc., 56-62 Cooper Square, of acquiring it. Then she recom- than useless, since their effect when New York 3. dispensable to progress. used in music therapy and per. ... where to get Carl Fischer, Inc., 165 West 57th Street, Mozart wrote a number of short mends an appropriate exercise de- thus employed is often harmful, and formed in wards of patients suffer. New- York 19. pieces when he was a child prodigy, signed to develop the needed Iacil- definitely 'negative from the point of the "B & R" music Harold Flammer, Inc., 251 West 19th ing from nervous diseases it brings Street. New York 11. and they are a good introduction to ity, but now as an integral part of view of sustaining interest. for two pianos The Music Exchange, 109 \Vest 48th astonishing results." Street. New York 19, his style and the more mature son~- the music at hand. The actual pas- (To be continued next month) But it should not be attempted by The "Bartlett and Robertson" rnusie for The Orpheus Music Shop, 45 Fourth Ave- tinas and sonatas. Mme. Ma rgit two pianos - and other piano music nue, New York 3. pupils of grade two or three, 1 in. Oxford University Press, 114 Fifth Ave- Varro, whose authority on Mozart is of Oxford University Press - is obtain- nue, New York II. stated, even if parents request it. well known also brought forth the THE PIANO ART OF FERRUCCIO BUSONI able from most music dealers. Here we The Joseph Parelscn Music House, 160 There ought to be a preparation Est dealers who make it a point to have West 56th Srreer, New York 19. part which' the study of his music (COfll.il1ued [cooi Page 13) G. Schirmer, Inc., 3 East 43rd Sueer, lending up to it: the Reverie,the new Oxford piano music on hand for New York. plays in acquiring a proper expres- Maid with the paxen hair, or The aloging and verbal analysis. He had of stained glass, the latter remarked your convenience: Rochester - sion, phrasing, sense of slurs and ac- K. C. Mook Music Company, Inc., 47 Linle hepherd, for instance. Liie. what seems an infinite ca pacity for that only a fragment was needed to ALABAMA Gibbs Street, Rochester 4. cents, etc. In fact, it is my own Sylacauga - Syracuse - conviction that Mozart should go wise. no young pupil should play music.Moria Rosenthal used to tell judge the greatness of a window. Educators Music Supply, Inc., Sylacauga. Clark Music Cc., 416 South Salina Street, ColliwoGtl s Cakeumtk. without a story illustrating this capacity. The same could be said for Busoni's CALIFORNIA Syracuse 2. hand in hand with Bach for that Onondaga Music Co" II9 West Jefferson. learning Le petit Negre fir t; norLa Once Busoni played for a private piano art. Music is a succession of Sal/ Diego- purpose, and may I outline here. a Thearle Music ce., 6-10·644 Broadway, Syracuse. plus que tense without the Page gathering in Berlin to which Rosen. details which together shape ideas, San Diego 1. U/ica - good way to develop musicianship In Peate's Music House, 49 Franklin Square, d' A lbum: Fraetionary pedaling ought thaI had been invited. Busoni, some- patterns and movements. Neither the Sail Francisco - Utica 2. young pupils: Sherman, Clay & Co., Kearney and Sutter Take the two Mozart Sonatinas, to be taken up with special exercises what contemptuous of his pseudo- ideas nor the patterns nor the move- Streets, San Francisco 6. NORTH CAROLINA Walter & Ross, 371 Sutter Sneer, San Charlott e - written for duet (one piano, four in tone production, and any per- intellectual audience, played long ments can be perfect unless their Francisco. Brodt Music Company, 108 \Vest Filth formance of Debu sy hould be post- andneglected compositions and tran- constituent details are first perfect. Los Angeles - Street, Charlotte 1. hands). Have one student learn the Keynote Music Service, 837 South Olive poned until the ne e ry pianistic scriptions of Liszt, hour after hour, Busoni made these details perfect, OHIO treble part, then play the bass your· Sireet, Los Angeles 14. Cillcitma/i - self. Have another student learn the mans nre conquered and perfetted. from memory. What amazed Rosen· according to hh very high standards Morse M. Preeman, Incorporated, 737 The WilJis Music Company, 124 East 4th South Hill Streef, Los Angeles 55. Street, Cincinnati 1. bass, then you take the treble. Fi- Throughout the Conference keen thaI was that he knew Busoni had of perfection. G. Schirmer Music Stores, Inc., 700 \'Vest Cleveland - interest was noticeable. and an or· not practiced them in many years. He excelled in still another aspect 7th.Street, Los Angeles 14. Lyon & Healy, 1005Huron Street, Cleve- nally, put the two pupils together. land 15. Despite the rivalry between them, CONNECTICUT when you, the teacher, can act as hid must go to Jo ph Creanza of the art-the use of the pedal. New Hatiell- G. Schirmer Music Co., 43 Arcade, Cleveland 14. conductor-supervisor of the perform- {or having arrang d Ihi event '-"hich Rosenthal was filled with admira- In a word, he pedalled with economy David Dean Smith, Inc., 261 Elm Street, New Haven. ColllmbJIS - ance if necessary. Often it is not, clarified many teaching points and tion.As they walked home from the and senshivity. His feet must have The University Music House, 1944 Nonh DISTRICT OF COLUMBIA High Street, Columbus 1. and reports I have had point out to brought nlightenment to e\-el)"one. concert that evening, Busoni was been just as sensitive as his fingers. IVashillgtoll - OREGON TilE END betrayed into a rare moment of self- His o~n words on the subject are B. Kruglak & Co., 820 13th Street the stability and the assurance of N. W., Washington 5. Portland - gratification. "How wonderful. Mo- interesting: Byron Hoyt's Sheet Music Service, 618 ILLINOIS Southwest Patk Avenue, Portland 5. ril," he exclaimed, "to stand ~t the "And the pianoforte has one pos- EvanS/Oil - Karnes Music Co., 1718 Sherman Ave· PENNSYLVANIA pinnacle of the art!" Rosenthal session wholly peculiar to itself, an nue, Evanston. HallOver - WHAT CAN TECHNICAL INSTRUCTION ACHIEVE? Menchey Music Service, 18 York Sueet, smiled wryly and replied, "Keep inimitable device, a photograph of ClJicago - Carl Fischer, Inc., 306 South Wabash Hanover. trying,Ferruccio, keep trying. You'll the sky, a ray of moonlight-the Avenue, Chicago 4. Lancaster - (Continued from. Page 12) Music House, Inc., 38 West King Sueel, get there, 1.00." . Gamble Hinged Music Co., 311·14South (Two copies are provided.) pedal. Wabash Avenue, Chicago 4. Lancaster. Pbi/adelPhia - CESAR FRANCK-Prelude} Fugue} and Variation. Arranged and tell your student that his tone is ici m where they ""ill do the mo:t There are a few salient character- "The effects of the pedal are un· Lyon & Healy, Inc.,. 234 South \'Vabasb Elkan-Vogel Co" 1711-14-16 Sansom Avenue, Chicago 4. edited· by Ethel Bartlett and Rae Robertson. bad. You can't expect him to know good!) and c.reation of pure pleas- istics of Busoni's playing that can realized, because they have remained Street, Philadelphia 3. Ask your dealer':: for OXFORD No. 35 E 071, $3.00 MASSACHUSETTS Theodore Presser, Inc., 1712 Chestnut the solution just by listening. You ure through denlopmeol of skill be put into words, however, and even to this day the drudges of the Bos/on - Street, Philadelphia 3. J. S. BACH - Be Contented} 0 My Soul. Arranged by Harriet must be able to explain the funda- seems the personification of the perhaps the greatest is the suhordi· narrow-souled and senseless har- The BostOn Music Company, 116 Boyl. Pittsburgh - Cohen, edited by Ethel Bartlett and Rae Robertson. stOnStreet, Boston 16. Volkwein Bros., 632·34 Liberty Avenue mental approaches toward the goal; proper approach. nationof technique to music. Busoni monic theory; the treatment ac- Carl Fischer, Inc., 251 Tremont Street, Pinsburgh 22. • Ask your dealer* for OXFORD No. 35 E 902, $1.50 BostOn 16. Wagner.Bund Music Company, 719 lib· you must not expect your pupil to "Piano playing, to be eHectire.~ produced music at the piano, not corded them is like trying to mould J. S. BACH - Awake} Thou Wint'ry Earth. Arranged by Leslie Chas. W. Homeyer & .Co., Inc" 498·501 erty Avenue, Pittsburgh 22. understand your aim and method she stresses. "must be subjeclire as fleeting scales, piston·like octaves, air or water into geometric forms. BoylstOn Street, BostOn 16. Reading _ Russell, edited by Ethel Bartlett and Rae Robertson. Jf/orrester - Zeswitz, Inc., 806 Penn Street, Reading. through some mystical emanatiQll. 85 or dazzling arpeggios. His technique Beethoven. who incontestably achiev- Ask your dealer';: for OXFORD No. 35 E 905, $1.25 well objecth·e. You musl actuallr Nelson Music Company, 308 Main Street, RHODE ISLAND does not show itself readily and ed the greatest progress on and Worcester 1. JOHANN STRAUSS - Moto Perpetuo. Arranged by Rae Robert- First, however. you must understand hear your music before )·ou can East ProvidelUC_ amazes only after reflection. It re- for the pianoforte, divined the mys- MICHIGAN Hollis E. Grant - Music, P. 0 Box 58 son, edited by Ethel Bartlett and Rae Robertson. the purpose and execution of these bring out its qualities in perform· East Providence. " mainsa mystifying phenomenon and Gralld Rapids - Ask your dealer';: for OXFORD No. 35 E 035, $2.00 techniques yourself. No matter what ance. Thjnk of )·ourseU as 5ilting teries of t.he pedal, and to him we Malecki Music House, 129'/2 Ottawa Ave- TEXAS a tribute to his great artistry. that owe the first liberties. nue, N. \'V., Grand Rapids 1. Sail AI/tonio - FELIX MENDELSSOHN -Scherzo (Op. 16, No.2). Arranged by note or combination of notes you in the last row of the concert hall De/roit- despite the sheer brilliance of his Southern Music Company 1100 Broad. Ethel Bartlett. Edited by Ethel Bartlett and Rae Robertson. meet in your music, you should nnd listening to )"ourse!f-and you·U "The pedal is in ill repute. For Grinnell Brothers. 1515·1521 \'('oodward way, San Antonio 6. ' Avenue, Detroit 26. Ask your dealer~: for OXFORD No. 35 E 034, $1.75 always know exactly through what execution, he never distracted from this; absurd irregularities must bear WASHINGTON play more expressive] '. MINNESOTA physical procedure you are produc- the content of his program by the the' blame. Let us experiment with Sealtle - GRACE WILLIAMS - Polish Polka. Edited by Ethel Bartlett and "There are many diflerenl waY~ of MitmeapQlis - Ho,:,per.!Celly,1408Sixth Avenue, Seaule. Rae Robertson. ing the tone and why you have playing the same tiling:' s.he points manner of its performance. sensible irregularities." Paul A. Schmitt Music Company, 88 UlllversHY Music Shop; 1407 East 47th· Ask your dealer'>":for OXFORD No. 35 E 904, $2.00 South 10th Street, Minneapolis 2. Street, Seattle. chosen this specific method. But b& oul. HI( you are confident thai your .S~iJl more striking is his piano At the end of his little book, "A (*A list of dealers is give/1 on the opposite page.) MISSOURI SllQR,alle - careful not to let the details become interpretation i based 00 soundmu· dIctIOn.Busoni punctuates the music New Aesthetic of Music," from Sf. Louis- . Sampson-Ayers Music Co., 9tO West Concordia Publishing House, 3558 South Sprague Avenue, Spokane 8. Ask for your free copy of a complete list of so important that you lose your sicianshjp a well as being to four he is playing with liberal silences, which the foregoing quotation is the "B & R" serie~ of two-piano music. Jefferson Avenue, St. Louis 18. Taroma- feeling for the whole." liking then stick lo it, as longas accents, clear-cut phrasinO"s and em- taken, Busoni gives us the admo- Hunleth Music Co., 415 North Broad- Ted Brown Music Co., 112l·1131 Broad- way, Tacoma. Perhaps the precept and example phasis on the melodic li~es of the way, St. louis. you are full COD\"crsantwilh othel nition to respect the piano despite Shattinger Music Co., 331 Arcade Build· WEST VIRGINIA for which more than any other a interpretations and ha\+e Dolcho~~ mU~ic.He moves along the keyboard its difficulties and disadvantages. ing, 8th and Olive Streets, St. louis 1. Whee/iug - whole generation of students will dehberately, calculating his effects. Spril/gfield - C. A. House Co., yours just through ignorance. An Until his death, which occurred in WilJ James Music Service, 307 East Mc- corner of 10th and be grateful to Mrs. Leonard is her be sure to grant the samc pririlege making the sounds he produced fit 1924, Busoni maintained the same Daniel Street, Springfield. Main, Wheeling insistence that relaxation is the key- to your 0'\'1'11 pupils. Gi\·c fOur st~· the patterns he had in mind. respect for his instrument with which note to enjoyment, understanding dents a bit of musical hi5tOr)'asI e Another characteristic of Busoni's his career had begun, and the re· and adequate performance of piano occa ion arises. When you show.1011 playing is perfection of detail. He ~ults he achieved were in no small .- 5l:~e . music. Her monumental patience example. how the same bas:; -'. relates that once when speaking with measure due to that respect. OXFORD UNIVERSITY PRESS (not that she doesn't employ pun- Ti (such a tbe Alberti bass) r«U " an Outstanding craftsman in the art THE END 114 Fifth Avenue, New Yotk 11, N. Y. gent phrases and clear, specific crit- the works of different cODl~ri. I 50 ETUDE-SEPTEMBER 1953 51 ETUDE- EPTE.UBER 19~ Ii hap.fJenseach time !l0lt .fJla!/- Chicago Musical College '\0iolin f(l}uestions ¢'rgan !flluesfions By HAROLD BERKLEY RUDOLPH GANZ EDWARD JOHNSON President Chancel/or needs to be filed or sandpapered A Give-away Date until it is smooth. Answered by FREDERICK PHILLIPS SIEGMUND LEVARIE Mrs. R. S., Pennsylvania. From y Decn the date on its label, one can :a Advice to a Composer that your violin is not a genullle Please suggest the names of some the second an eighth rest. You will Miss C. R .. Ohio. Thank you very Christmas Preludes suitable for a notice the time marking of the com- Stainer. But no one could sa~ who much for your interesting and in. made it or what it is worth WIthout half.hour organ recital that would position is 4/2 (4 half notes) or 16 formative letter. I have recommended examining it personally. be about equal in grade to a program eighth notes to the measure. The Fall and Spring Sessions your Eoncertante to many teachers made up of these numbers: Shep- quarter rest takes 2/8, the eighth and all of them have found it most Sept. 16, 1953 to June 19. 1954 Reset the Fingerboard herd's Song, Guilmant; Noels Nos. rests 1/8, the eighth note C 1/8, the useful. espe ially so as the pupil: 10 and 12, Daquin; Adeste Fideles, Mrs. E. L., New York. When the two half note F's 4/8 each and the enjoy working on it. [ am glad yon Lemere; Shepherds in the Field, fingerboard touches the front of the final half rests 4/8, making a total have a colle lion of beginners' solos MaIling; Noel Polcnais, Cuitmant. I violin it is usually necessary to have of 16/8 to complete the measure. Degree courses leading to B. Mus., B. Mus. Ed.• M. Music, ready for the printer and wouldsug. do not care for too much Liturgical the w'tlOle neck reset. This is rather (2) In French organs the Swell M. Music Ed.• Doct.or of Mus. Ed., Doctor of Fine Arts gest that you s nd it either to the music, but something between light Organ is known as "Recit" and the a ticklish job, and I would advise Thee. I rosser . or 10 Carl Fischer. you to take or send the instrument and heavy. Choir Organ as "positif". The P R in Musicology. Composition and Performance. to which you refer, therefore, would to a reputable repairman in New COllccrninfJ' a Broken croll York City to have it done. (2) Re- We believe the following would be the Swel1 and Choir manuals H.. .• Alberta, enede. A broken peated tuning of a violin tends to be along the lines of your needs, and coupled. The G is the "Grande" or pull the bridge forward. If the player croll and broken corner wouldde. most or all of them may be had from Great organ manual, and where only pre iate th valu of a really good the publishers of this magazine: G is mentioned it would mean that does not ease the top of the bridge Hammond Organ illvstroted above is the Home Model-price on request. For Fall Bulletin address the Registrar, back every now and then, the bridge instrum nt, though how much Ican· Sleepers Wake!, Bach; Pastoral, both hands are played on the Great. not ay. But ar you ure the violin Rowley; Noel, Bedell; Christmas The loudness of any manual of 64 E. Van Buren Street. Chicago 5, Illinois will fall. I suspect that you are not You press the keys of the Hammond Organ. The song wa a g nuinc B rgonti? There3re Pastorale, Pachelbel; Chorale Pre- course depends on the stops which in the habit of examining your violin of skylarks-the brilliance of brasses, the whisper of very few of th m. hut thou-ends 01 lude, A Lovely Rose is Blooming, are drawn for that particular man- carefully every day or two to see that willows come alive as you play. This is music that re- imitoti ns. (2) The ther violinsyou Brahms-Holler; Chorale Prelude, ual. Normally, the Great would carry all is as it should be. (3) If a violin laxes yOU ... refreshes yOU ... renews you. And it mention-li Hner and Ficker- Once in Royal David's City, Cowell; the most volume, the Swell next and is used a good deal and the player happens each time you play. should he w rth somewhere between Old Dutch Lullaby, Dickinson; the Choir the softer effects, but all Chicago Musical College is a member of the National Association of Schools has a strong grip, the fingerboard becomes worn after a while and $150 and 250 if in good condit.n. Prelude on Winchester Old, White· this may be changed of course by of Music. and is the only independent school of music with membership in the head; Christmas Pastorale, Puer the stops being used on the respec- Your family joins the fun BUTlER UNIVERSITY North Centrol Association of Colleges and Secondary Schools. Natus, Matthews; Infant Jesus tive manuals. (3) As suggested in when there's a Hammond JORDAN COLLEGE OF rusrc (Gesu Bambino) Yon; Prelude and answer No.2, the Il stands for Organ in your home. For ~- Christmas Pastorale, Manney; Sheep "Recit", the French "equivalent of A rich i"rodii"ion, 0 progressive philosophy, on ouhtonditl9 focu!.ty, compl~t. oc.CJ~. even your youngsters can our Swell organ, and both hands f\ ...... _--_ _---_ _-_ _-_._-_ .., itation. Beeeelcurecte degrees in Donce, Dromo, Music. M",IIe Education, RadIO. May Safely Graze, Bach-Biggs. swiftly capture the beauty Writ. for colo/09UI ond d •• irK 1,,10""1011011 should play on the Swell here. JORDAN COLLEGE OF MUSIC (B01C E), 1204 North Oelowor. Snttl of music, the feeling of kin- I have been working on the Toc- ..J Indionapolis 2, h,dlo"g ship that comes with play- cata from Widor's Fifth Symphony, Is there a graded organ course of ing such an instrument. \ Shenandoah Co lle s on er"atory and am puzzled by some of the exercise books for the Hammond Elec- ''''hat's more, even begin- 4-yeor B. Music and B. Music Educo- TIlo/oug' proltuJOltfJI PI.~Of. markings. In the last section (after tronic organ with two manuals and ners on the Hammond Or- tion degrees in piano. violin. voice, Also occr.dlhd heior Collt;l. the change from D to F) in several two, octava foot pedals? Also, where gan play surprisingly fine organ, 'cello: public school music. Shenandoah 1s deurdllpoclCi' ,Dd., places on the pedal staff there are can I write to get information on music the first month. And Theory. conducting. woodwind. steip but _·Iecto,icm. w:.~IlJiW.i broHeI, academic courses. Church spititvol oyorlntu ~ IIItf a symbols-one is at the beginning of piano questions? your friends like to visit a OF MUSIC music. Clan ond private inltTuction. dlnls. Est. IllS. S,rnrul IIUlQI. the measure, which evidently holds A.D.K.-Va. home where they may share Cotol09: ~ of AdmissionJl, Dlpt. E. Doyi••• Ye_--=:::: for the entire measure-and J should the fun of music-making. like to know just what these mark- There are several excellent meth- • For the serious student who wishes in- TEACHERS-FOR EXTRA PROFITS ings mean? (2) On the last page ods for the Hammond Electronic or- tensive professional study of music, bal- what do the letters P R mean? Also gan, which will give full information Your home is big enough. There is a Hammond Organ that will anced with participation in college liberal JOIN ETUDE TEACHERS' CLUB G? If the latter means Great does as to the use of the pre-set ~ys and $1285 including tone equipment it mean the hands are played on. the bars, as well as the pedals. fit comfortably in your home re- and bench, f.o.b. Chicago (for the arts program and general catnpus activity. For details writ. different manuals. Is one manual gardless of size. A variety of Spinet Model, not shown). See Dormitories, co_educational dining, exten- ETUDE TEACHERS' CLUB Among these we would suggest the c/o Etude the music m090line k'TI Wawr, ,.. louder in volume, if so which? (3) "Hammond Organ" by Stainer-Hal- payment plans are available. your Hammond Organ dealer sive concert series by guest and local In the middle of the work where lett, described in a circular Voleare Hammond Organ prices start at now fora complete demonstration. artists, excellent practice facilities. the key changes from F to'D, the sending you, or "Playing the Ham- suggested stop or manual is R. mond Organ," put out by the manu- Member Nationol Association of Schools of Music NOT • What is this? D.P.-Md. facturers of the Hammond instru- ment. For information on piano mat- IiAMMOND OElGAN Write for: IT'S A NEWS (1) The marks you refer to are ters, simply address your questions MUSIC'S MOST GLORIOUS VOICE Conservatory catalog describing de- PIANO TEACHERS C \. IT. rests, the first a quarter rest, and to ETUDE. grees awarded T H Bulletin on admission and audition THE ACCORDIO r---- MAIL COUPON FOR FULL INFORMATION ----., procedures BY I G , I • Hammond Instrument Company t Calendar of music events for the cur- THE PALMER.RUGHE ORDIOI 4210 W. Dlversey Ave., Chicago 39, Illinois t rent year Without obligation. please send me information on the t following Hammond Organ models: I Programs of concerts and recitals COUR E I CHURCH l\IODEL_ o Spinet Model o Church Model I given during past season , Hammond Organs arc used o Home Model o Concert Model Write for Free ample in some 27,000 churches. I I Name ... I Director of Admissions. Oberlin College ALFRED MUSIC COMP , c. Concert Modet has 32-note I ~='!:~=fon Street. ... I AGO pedal keyboard and an 145 W. 45lh lreel EXPERT APPRAISAL SERVICE Box 593, Oberlin, Ohio additional Pedal Solo Unit. City P. O. Zone. State. I tunable to preference by New York 36, . Y. 28 E,JACKSON BLVD. CHICAGO 4, ILL. @195Z,HAIUIONOINSTRUMENTCOMPANY 9 : ....._ _ _------.-' the organist. ------J 52 ET DE- EPT£II.8ER/9iJ , ETUDE-SEPTEMBER 1953 53 he considered no one else capable, .JUNIOR ETUDE CONTEST that went to the Royal Palace in SO the King gave permission. Naples, the barrel worked a sl~all The magnificent case that held Junior Etude. will awardC.three attractive prizes this mon th Ior the neatest pipe organ, and in the masterpIece Clay's great clock is still in exist. and best stones or essays. ontest IS open to all boys and giirI S un d er eighteen. SHERWOOD MUSIC SCHOOL eventually finished by Mr. Pyke, ence in the Kensington Palace, in years 0I age. the music was ~dvertised as being London, but the instruments, as Class A-15.to 1~; Class. 8-12 to 15; Class C-undler 12. The thorough, specialized, professional training essen- Name of pnze winners will appear on this page in a It' pla yed by a variety of instruments, well as the pedestal itself, have Th · b Ib . u ure Issue of the tial to success in a musical career, Sherwood com- ETUDE. e tIurty next est contn utrons will receive h onora bl e mention. performing "not only together, but vanished. Perhaps the instruments bines with a general cultural background designed to Put your name, age an d C Iass. h (A, B,or C) on upper lett corner 0I paper . alternately." The instruments are were too fragile and wore out, or stimulate salf-expresslon. Individual guidance by a believed to have been the bells, a and your add ress on upper rrg t corner. perhaps no one kept them in reo Entries must be received at Junior Etude Office Bryn Ma n I' faculty of internationally known artists. Degree, di- small pipe organ, and a harpsi- hi B ,wr, rrennsy vama pair. The clock that once controlled by September 30. Su ject : oys and Music (not over 150 words). ' ploma and certificate majors in piano. voice, chord, for which instruments there them has been replaced by one of was ample room in the massive violin, 'cello, wind instrument, organ, ccmpcsi- more modern construction. But pedestal. The music was "properly tion, music education. Many opportunities for the music itself will live on as long adapted to the clock" by Gemini· Result. of May Puzzle (Instrumental Chain) public recitals, solo and group performance. as the set of pieces remain which ani, a great violinist, who, on a are indexed in the Royal Music of Splendidly equipped building with easy access Edited by Elisabeth: A. Gest previous occasion had appeared at Prize Willners Honorable Mention' the British 1\1u eum as "Ten Tunes (in alphabelical orll~r) to rich cultural facilities of Chicago. Nan.profit; Court by royal command, and had ClassA, Dorothy Jefferson (Age 17), for Clay's Musical Clock," by Carole Altstadt, Richard Alwood, Lena established in 1895. Fall term begins Septem- asked to have Handel for his ac- Alabamatied with Joseph Hingtgen, Handel. Fern Anders, Monica Fleck, Pat Fox. ber 9. Write for cotalog. Mr. Handel's Clock Music companist on the harpsichord as (Age 16), Iowa ClassB, Marta Weinstock (Age 12), Joyce Gates, Edith Eloise Gyer, Rita G.reen, Ernest S. Haight, Audrey Hen. Indiana By Alfreel 1. Tooke rung, Brenda Israel, Richard Karcher ClassC, AnneGallagher, (Age 10), Ohio Director Elaine Keillor, Peggy Kirkman, Georgi~ Where Do Composers G t Id as? Special Bonorobte Mention.: 1014 So. Michigan Ave. CarolJane Carlson, Jane Henry, Doris Kreuzer, Jerry R. McRae, Susan Mor· row, Stephen Pastal, Virginia Pierce THINK I shall go to see Mr. London triumphs at the Royal by Alice iU. Brainerd Seeley Cltica90 S. Illinois "I Academy of Music to which he Rita Poe, Beverly Rozender, Martha Jean Handel and ask him to write some Sadler, Royce Scrivner, Harriet Fay was appointed a composer. special pieces for my musical YOU ever wondered the mood of the elrama and gice Sheldon, Monica Jean Stahl, Elizabeth Clay seems to have had plenty clock." Mr. Charles Oay probably where composers find ideas for a mu ical interpr tati n to the Letter Box Schormuller, Sylvia Stroud, Ernest Tri- of time for his hobby of construct- back, Reeve Tadman, Lydia Wendling. said that to his wife one morning their music? Like other creative setting and acti n. Well·known er- ing musical clocks and one day he over the breakfast table, for in the artists, such as painters, poets, amples are "Peer ynt uite," by was summoned to appear before Send replies to letters in care of ST. LOUIS INSTITUTE of MUSIC British Museum, in the penman- writers, sculptors, they get ideas Grieg (play by lb n) and '·Mid· Junior Etude, Bryn Mawr, Pn., His Majesty King George the First, summer light' Dream" (play by ship of John Christopher Smith, from their surroundings, or from and they will be forwarded to the Dear Junior Elrule: John Philip Blake, Jr., Pruident not for neglecting his official duties writers. Do not ask for addresses. I play pi~no, accordion and trumpet, Handel's copyist, is a set of com- stories, pictures or experiences; hakespeare) . but to exhibit a wonderful musical Fereigu mail is 5 cents; some for- and I am Interested in conducting band Bachelor of Music Degree in 24 Fields positions listed as "Ten Tunes for sometimes from nature itself. The omcrim idea come to com- eign airmail is 15 cents and some is clock he had just completed. One and orchestra. I play trumpet in High Clay's Musical Clock." There are things they see or hear may sug- posers from tories. In "The r- 25 cenls. Consull your Post Office School Band. I enjoy ETUDE and would of the compositions it played was beCorestamping foreign air mail. Master of Music Degree in 23 Fields six original compositions in the set gest a composition. cerer's Apprentice" (tory by like to hear from other Junior readers. a "fugue from one of Handel's • Graduates Music Education Major program well qualified to teach all phases of and some arrangements of arias Beethoven was a composer who Goethe) the French composer Sue Jackie Shaw (Age 13), operas. The music was produced, North Carolina Music in public schools. A catalog will be sent on request. from several of Handel's operas. loved nature and he expressed his Dukas de ribe in InU ic the Dear Junior Etulle: according to old records, by a bar- Institutional Member National Association 0' Schools 0' Music "What!" you exclaim. '"The joy in being out of doors through story of a lazy b y who used a 1 havesubscribed to ETUDE for seven rel a foot in diameter playing on a yearsand really enjoy it. I am a member • 7807 Bonhomme Avenue St. Louis 5, Missouri great composer, Handel, composer one of his best loved compositions, magic word I C mmand a broom of 'The Messiah,' writing tunes for chime of twenty-one bells. of the band at the Maasin School of The following writers would also like The Pastoral Symphony (No.6). to ca rr)' water rr m 8 brook. When Musicin the Philippines. It is fun to be to hear from Junior readers. Space does a mechanical clock?H Ah. but Mr. In one of Clay's musical clocks One part of this symphony pic- he eou Id nol r member the ..ard ~bandmemberand I also enjoy singing not permit printing their letters in full. &qt Qltbtlanb Instihltr Df {Omitr Clay's clocks ·were no 'ordinary tures a gay picnic in the woods to make it t p aeeying water In the chorus.I would like to hear from Follow regular Letter Box rules when otherreaders. Bachelor of Mvsic-Master of Music-Bachelor of Science in Education clocks. At the time of his death he when a storm caused the picnick. and flooding eveqthing. he brake replying. (8.S. in Ed, by arrangement with Kent State University) was still· working on an uncom- Eula Evelyn Espina (Age 20), Kathryn Campbell (Age 17), Indiana, ers to scurry for cover. it in two-then both pieces began WARD LEWIS, Actin9 Director pleted one he had begun about Philippines plays piano and sings. Her hobby is· 3411 ElIc.lid.Ave., Cleveland 15, Ohio Some excellent music has been carrying waler! Only the timely • science; Helen Kragness (Age 12) Member Of lhe NallO"al A~so"i"tio" 01 Sel.ooh oj llUttc twenty years before and had spent arrival of the reerer himsell Dear Junior Etude: Minnesota, plays cornet in school band' written as incidental music to OUTSTANDING FACULTIES a large sum of money on it. Clay I playthe piano, organ and accordion sings in choir and plays piano; Jea~ dramas. Such compositions follow saved the apprentice from disaster. including celebrated artist-teachers left instructions that the clock was andha~ealso done quite an amount of Bassett (Age 17), New York, loves mu- to be destroyed to preve-nt further (To be continued) composmg,I have written preludes sic and the great composers; Constance COMPREHENSIVE CURRICULA UNDERGRADUATE AND GRADUATE expense, but later his widow ex· so,natas,etudes,etc., for piano and som; Lavigne (Age 16), Massachusetts, has Jm~cellaneousthings for organ and for played violin for seven years and hopes PROGRAMS hibited a musical clock that had stnng quartette. I would like to hear to become a concert artist; Peter Glen The Oflice of Admissions, DePaul University been completed by a Mr. Pyke, so fromotherswho have this same interest (Age 13), Illinois, plays piano, hobbies 64 E. Lake Street, Chicaga 1. Illinois. ' it seems evident that Oay's orders TWO RECITALIST LeRoy Richmond (Age 15), Washinglo~ are art and photography. Member N.A.S.M. Financial 6·4000 were not carried out. (Which ty pc are you?) Charles Clay went to live in Lon· AMERICAN CONSERVATORY don in 1720 and was official clock- by]. Lilian Va"dc&e.re OF MUSIC-CHICAGO maker for His Majesty's Board of Vernile~Winn pupils in recital. New Orleans, La. Offers courses In all branches of music Oh, Jennifer Johnson played in ow Iarilyn Iaddon played in Works from 1723 to 1737, a period 67t;h year, FaCUlty of 135 artist teachers a recital. The matter of clothes a recital. he studied her piece Member of National Association of Schoob; of Music covering many of Handel's great Send for a. free catalog-Address: John R. Hattstaedt, Pres" 581 Kimba.1l Bldg., Chicago was exceedingly vilal. She drove and con iderecl the lille. aid she. ) her poor mother almost to despair One of the musical clocks for which "Fairy Froli should surely be CINCINNATI CONSERVATORY OF MUSIC Handel wrote special music. Standing by talk about shoes, about dresse~ lighl." and gave. with he.r finger5. William S. Naylor. Ph. D., Director and Dean of Fatulfy about ten feet high, the pedestal was and hair. When someone suagested the touch that was riL!hJ~ he had large enough to house a chime of bells, Established 1867, Operated under auspices Cincinnoti Institute 01 F' A I she practice her scales sh~ cried some ne' ..' shoes. but was. much Affiliated with Uni ·tv 1 C" . C Ine r s. an organ, and, it is believed, a harpsi- "Oh I Id' I' , . D . vers. o. I~clnnatt. omplete school of music-De rees . '" cou n t. m dOIng my iplomas, Cerflficates-dormltones, 10 acre campus. Write for free Ca~aJog: chord. The scene above the clock-face is more intent on using the pedal naLls. Her teacher o;;aid a painting by Amigoni representing the ~ "A cecnt, the way it wa meanJ. he !pread Registr«. Dept. E. T. Highlond Ave. and Oak St., CINCINNATI 19. OHIO b death of Cyrus the Great, King of ut not with loud thurnps" b t her new frock. but lorgot it all DaleImg d J' . Persia, (in sixth century B.c.). The Jennifer's mind was on shiny: ne~v then, rememh'ring 'retard'· and " E run, amce RIckert Joy Nu- Theodora Voebel, Lynn Joy Kandr)', sculpture at the top represents Hercules "ezvonS·V ' Nannette Schindler, Marie Louise Du- COSMOPOLITAN SCHOOL OF MUSIC pumps. Tpe day that she played "a tempo" again .. And afterVl-ard. Iy.' N ,wain, eralee Jurgens, Caro- taking the world off the shoulders of astasl Gle d Tb . . bret, Nina Stackpole, Patti Mackie, g she forgot the repeat but Frank Cox' n. a enot. Bennme :~e~:r::o;r' M~~:~~gB~c~:ioc:o~f M:sicGEd~~~:~n De~~:~em,"oll'·MCo,.ursesdleradin 1,0 Atlas, by Roubiliac. What is left of the those in the audience slGJed: said. Maryann Schober, Mary Truxello, Heide 'fi . .' u Ie, an eae hers 'd " ' every- ' Glona Sue Cox Betty I one Sal You looked perfectly Icanne M ' ' C er t Icates In MUSICand Theotre Arts. original clock is in the Kensington "We liked Fairy Frolic" and !ungler, l\hrian Clemmons Murrhee, Jean Griffith, Mary Lu Stack- Clarence Eidam sweet". lean~ Land G I ' Me b NASM William Phillips Palace, London. "HO WELL YO PLAYEDl" L d ry, aye John Jeannine pole, Sharon Wino, Kay Shull, Calye President m er Dean la~~1h~rs.Winn, Carol Ann Chate- Friedenburg, Suzanne Durham, Rohn- For information, address Registrar, 1&25 kimball Bldg.• Chicago 4, III. , an ra Cheatum, Doris VoeheI, wyn Roempke. 54. ETUDE- EPTEJIBER 1933 ETUDE-SEPTEMBER 1953 55 strument, it in the chord. If the interval to the A SYMPHONY OF BELLS At first glance all this may seem note above is a minor third, the Announcing a little complicated. But with nrac- original note has minor tonality. If The First (Continued from Page 19) BOSTON UNIVERSITY tice, plus adherence to certain fixed the interval is a major third, the rules, any musician can master the tonality is major. In Figure 2, the THESAURUS most fascinating things about the . II the same as above the technique of this new instrument chord note immediately above E is monica y dis. symphonic carillon. It is unnecessary Collegeof Music OF without difficulty. Actually, all that G, which is a minor third above. pitch tone, since mere octave . to play all notes of a chord, because ORCHESTRAL is necessary is to remember that for Therefore, the E is of minor tonality, Placement does not change harmonic the harmonics provide the needed All Branchesof Music d d cided advan- a major scale, the tonic, subdominant, is written conventionally, and is DEVICES structure, aflor s a e notes. Indeed, a single bell tone Con. and Music Education and dominant are played on the played on .the lower keyboard. The tage since it allows the harmony to rains a full triad, as we have dis. by Gardner Read Robert A. Choole. Dean major (upper) keyboard, and all chord note immediately above C is souI~d below the melody. That .is, cussed. And two bell tones a third with a Foreword by other notes on the minor A simple E, a major third above. Therefore AARON COPLANO this position puts at least th~ thud apart reinforce the full triad so that (the most important harmonic] b~- Courses leading to the degrees B. arrangement can be quickly made if the C is uf major tonality, is played the result is extremely sonorous and The publication of this first low the melody where it belongs III Mus.; M.M.; M.M. Ed. In coni unction the organist will run through a hymn on the upper keyboard, and is writ- pleasing to the ear. See Figure 3. "international" thesaurus is with the Graduate School-M.A.: and mark all tonics, fourths. and ten as a triangle. (Triangular notes order for the melody to sing freely. top news for composers, con- Fig. :} fifths with a triangular note. Tri- • supported, rather than dOffiIllated . Ph.D. In conjunction with the School were chosen for the upper keyboard ductors, arrangers, and other ([elm! AMP fine muou: This triad representing the sound- Struck of Education-M.Ed.; Ed.D. angular notes are played on the because the points point upward to musicians. Instrumental effects inz harmonics when a bell is struck ·• upper (major) keyboard, conven- the upper keyboard, an easy mne- are quoted from readily avail- Year.round Proiecl~ and Workshopi incillde- tional notes on the lower. This quick amaleu.r, tJl'o!e33iona! may be either minor or major. The ~; monic.) The fifth of a chord is in- able orchestral scores from the /01' 3luJenl, strike note is loudest. Next loudest · Worhhop in Music Education arrangement is not to be recom- variably played with the same tonal- 18th century to the present. Complete tri.,!'lromone note. ORGAN in the triad (and loudest of ~nthe Opera Workshap mended fOI· regular use however. An ity as the tonic, except leading to At the same time, illustrations PIANO Hnrt! Pionists Worbhop are given of the notation com- CHORUS harmonics) is the third. It 1S ~he organist always should arrange his the subdominant, either from a dom- VOCAL SOLO most jmportant partial in creating numbers in advance, to make sure inant triad or dominant seventh, as monly employed and the ter- GUITAR Eminent Faculty of Artists, Com. minology used for each effect RECORDER timbre, and it gives the bell tone 'i that the harmony will fall below the discussed. CHAMBER MUSIC Rcillrorct,! ttill~ f.oml ..·olIole.. posers, Scholars and Educators in English, Italian, French, INSTRUMENTAL SOLO its major or minor caliber. NOllllhll.t lIubhll,mOllic of ., ... r melody and still within the compass A few fixed rules simplify the ap- " and German, preceding alpha- string-wind-bross ensemble The manufacturer of the sym- tooalll) E i_ G... hi!;" relarOlc" Mo~terCIIISlU under such leaders os- of the keyboard. Also, when the plication of this technique. (1) All betical cataloging by com- o or triad. BAND phonic carillon has embodied in !lis Arthur Fiedler Paul Ulonawsky harmony changes {rom the original diminished sevenths are played en- poser, work, page, and meas- OPERA ORCHESTRA instrument two sets of bells, which Struck key, the organist must remember tirely on the minor keyboard, since ure number where examples miniature scores by an ingenious technique are tu~ed For in/ormalion, cola/ague, ilfuslroled that what was the tonic has taken the intervals are all minor thirds. of each device may be found. lo/der, wrife one to minor tonality, one to major, fifth "'lIh •••• dOll.htyer. another position in the scale, and (2) All augmented fifth chords are with separate keyboards for each. _tilll domiflllont nVlIlIth. 631 pp. about $15,00 I\SSOl:IJ\TED MUSIl: PUBLISHERS, INI:. DONALD L. OLIVER may have to be played on a different played entirely 011 the major key- publishers & importers of line music This is highly advantageous. TOW the Ii!!h i still somewhBlo[ keyboard. board, since the intervals are all 25 W. 45th St.• New York 36 • 6331 Hollywood Blvd.. Hollywood 28 Suppose a majOl" triad is struck on Direclor 01 Admissians Order your copy todoy! a problem hild, bUI Ihe ubharmon· 1£ a note occupies a position of major thirds. (3) All dominant sev· the older type of carillon which had ics to the firth seem only to heighten minor tonality in a chord, that note cnths (where the se,'enlh is actually only one tuning, the minor. The BOSTONUNIVERSITY the bcll efT t. not clash cacophon. is played on the minor keyboard. If struck, instead of sounding harmon- PITMAN heard tones are indicated in Figure l. Room 115 ously. n I in the case of the minor the note has major tonality it is ically) are played with the first and Publishing 705 COMMONWEALTH AVENUE Fig.1 tonality fiflh. the Fubharmonic has played on the major keyboard. To seventh on the major keyboard, the Corporation Struck Heard n definite hordal Ul:C. If the BOSTON 15. MASSACHUSETTS fifth determine the tonality of any note, th j rd and fiftb on the mjnor. (4) If 2 W. 45th St. New York 36 ij1' ...tI t"l. of the Iriad is Illayed n the minor glance at the note immediately above (Cont,inued on Page 58) Triad on Traditional CarIllon keyboard ( ee Figure 3), in~tead01 (small cotes arll not strUCk but the Cll~lolllory maj r (where it would are harmonics). agree in tonalit)' ~'ith the tonic), Note that sounding with the third, the subharmoni produc the domi· the E, we have G. This reinforces nant seventh. Thi i ~mewhal Har· the G in the stl·uck chord itself; it tling to n lnu<:j ian, Ihe production is in concord with the original triad. ~~~~~~f) ASTHEYOUKNOBTURN of a seventh wilhout aClually ~triking This Visual But note the subharmonic of the a seventh. But it is 8 beautiful ef· In Six Books Trainer Is tonic. Sounding with the C is E-nat U fecL and po!"-...ible only on the sym· Alive! ECI{STEIN Piano CDUllML (since the bell is tuned minor). This phonic carillon. by Many times more subharmonic E-flat is in direct dis- MAXWELL ECKSTEIN !loth r lInu~llQ;1 .thing po"...5ible effective than sonance to the E-natural of the orig- flash cards at' only on the symphonic carillon i~ KEEPS ASSIGNMENTS inal triad. Remember that this sub· note spellers. lhat the performer has his choiet ?1tdu Le~-tiHte "P~-tiffle" In PetfdU OROERl Y. Spaces for harmonic is very strong, the loudest Faster, too. No cards to shuffle ... no pages between two ~elS of belk that j;, • Lesson Assignments ])artial. This clashing of tones. the A GREAT TEACHING HELP to tUl'll ... 31 notes at your linger tips. two separate but complele instru· • Practice Record tonic's subharmonic against the orig- SUITABLE FOR PRIVATE OR CLASS -streantlined, yet carefully and engagingly COl'ersall essentials. • Scoles, Special Exercise~ Saves time ... saves money. Rapid advancement de- ments. omelim' an ani,=,t prefer~ -novel in numerous features Ihal speed progress easily and enjoyably. pends on fluent note reading. inal mediant, is what produces the INSTHUCTION • Record of Mu~ic so·called out-of-tuneness of chimes. the discordant and inharmonious -abounds in nlelodic appeal and a wide variely of inlerest·winning materials. Memorized EVERY BEGINNER NEEDS THE NOTE FINDER BOOK ONE (Oblong format) It is what makes the musician un- clashes of tradhional minor beU5. H -each book is vitally alive.- -each is enhanced with a generous number of ilIns· Price ... 1S¢ Price (complete with «Fir;c Minutes (/ Day") ... $1.25 so. all he need do i~play in his ac· 03703- .60 comfortable, nay, even writhe. BOOK TWO (Upright format) trations to which any age will responcl.--- altogether the course imparts a But suppose the C were played not customed manner ntirely on the broad musical understanding and brings the pupil fronl the very beginning lower kevhoard. and hi~ soul will be 03704- .75 award seals on a minor tuned bell, but on a bell BOOK THREE .... 0 3705 _ through Ihe usual Ihird grade siage in piano playing ability. rwtVl satisfied.- Those wbo feel lha.l onl~ .75 1P~Id- that sounded with major tonality. BOOK FOUR 0 3706 _ .75 A very complete set 01 Awords hased on mllsicall~otifs. desi"ned.expressly for Then the subharmonic would be E- the minor tuning is correct ,nll tin young musicians. Brilliantly colored and covermg a \~lde ra~lge. subjects. t~ey are 01 Ihe lown ke) board comprise5 a com· BOOK FIVE 0 3707 - .75 a spur to any pupil's interest, especi,llly when the entire senes IS presented m rota- natural, which is part of the original _, . bell BOOK SIX..O 3708 - 1.00 Your tion. Illustrations are actual size. triad. Most of the clangor would dis- plete a cunnely-tum:u mIDor BOllndin convenient bookl,,', 80 seal. per pod. Pr;ce. . . '5c eo~' appear. This is exactly what occurs ca r.illon. Like\\i~e. ~metim~" a: 5.1 Piono 5-9 A(cordioni~1 S·15 Schubert 5-23 Puppy artist prefert'> ~Iel)- major ben~.~uc 5.2 Eighth Nole 5-10 Vjolin;~1 5-16 Schumann 5·24 Flog on a symphonic carillon. Strikjng C &uette4 Studiu t" S"ftjdeHeeH~ 5.3 Jazz Player 5_11 Bach 5-17 Grieg 5-25 Airplane on the major keyboard, E on the as tubular chime ... 80 popu.lar on 5.4 O. K. 5·12 Beethoven 5·18 T~choikawski 5-26 Good Arranged anJ Edited by MAXWELL ECKSTEIN 5.5 Treble Cref 5-13 Mozart 5-19 Clown 5-27 Excellent minor. we have a full major triad. organs today. In thi:"! ca~ the upper tk •&~tei#t 'Pia- e"«J1-4e BIG·NOTE PARADE of Famous Melodies 5.6 Lyre 5_14 Chopin 5-20 Bo~sClef 5·28 Ro~e because the sub harmonics (the keyboard pro\ ides him ",ilh a full -or any uther system during the 1st 3 grades 5.7 Bird~ 5-21 Brownie~ 5·29 Bell~ de- ECKSTEIN (J 7 pieces) ,.,.(03632) ,60 tennining ones) in each case are a carillon of major belL. aUof fi\"e- ADULT PIANO BOOK .Eckslein Early Technical Siudies COWBOY TIME (14 Songs of the Range as easy-to-play part of the original triad and bolster point tuning_ In oLher words. the t~·~ (03832) 1.25 from Schmill and Hanon (0 3810) .75 Piano Pieces. With lyrics and pictures (or coloring) (03662) .60 TOP TUNES in Big Notes (20 Favorite Melodies) (03818) .60 the tones in it: See Figure 2. keyboards are indhdual uni~ a~ ~W1. Eckstein Facility Studies Fig.:'?' may be pla)·ed indepe.odenUy. i~t ~ from Czerny (03811) .75 artist pI" fers th bells of hi~ canllon Struck Heard j •Eckslein Easy Velocity Studies to have ju:o,t a single lUning. In lh~ THEMATIC CATALOGS gl,ljg~ .~ fr Koehler & Duvernoy (038.12) .75 OF EASY PIANO ¥ell \'t5tt symphonic he has bo,h tUDin~ :at •E~kslein Melodious Technical !Sludies TEACHING PIECES Toad on SYllIphonie Carillun. be may use them ~parately If • GLADLY SENT TO CARL R~SCHE~Vi .• MILO WRIGHT ~\llil ~1lli!1 fr Sireabbog·& Burgmuller ANY TEACHER .:---"', 2346 ALOMA ~I IIII SO~le may be disturbed by the pro- is his wish. or he rna use lhemto- . (03813) .75 REQUESTING THEM. 62 Cooper Square, New York 3 ~~ s-~ WICHITA 16, KANSAS "_ ~11111l1 ductIOn of a triad [rom just lwo gether Lo achie\e the full clang~r· BOSTON· CHICAGO· DAllAS· lOS ANGElES note~. But this is preci~ely one of lhe free tinnient capabilitieso( the1D· 56 ETUDE-SEPTEMBER 1953 57 f:TI'Df:- f:PTEIIBER /9;3....-n _ p THE PLACE OF THE UNIOR MUSIC FESTIVAL NON·CONCERTIZING BOOK MANUSCRIPTS MANHATTAN SCHOOL OF MUSIC WHAT T HE J ARTIST IN INVITED Janet D. Schenck. Director CAN DO FOR YOUR STATE nJs~~a~~~100k~!1~'?r a p~blisher. send !OT our free. P bl· OQ et titled 70 tllo .4uthor 1" Seor~h of BACHELOR AND MASTER OF MUSIC DEGREES AMERICA'S MUSIC G 1/. llker. 1t tells how wu call publtsf promote and (Continued from Page 15) distribute Your book, as we lIal'e done for hundreds of in Applied Music. Theory. Composition, Musicology ond Music Education ~~i~~m~~t~~~'1Ali SUbjects considered. New authors Auditions and Regi~tratians for ike Foil term. week of September [4, 1953 (Continuedfrom Page 20) VANTAGE ~~eEtsodal' for Booklet ET. u-s free. show, reflects the progressive policy . S. ino.. 120 W. 31 St N Y I 238 Eost 105th Street. N. Y. C., N. Y. Le 4·3773 FIRST CLASSIC COLLECTION required to do?" . In Cah/ ... G.'J(j6 1l01i1/wa!Jd Bled .• llo11~;f)oad 28 . of KEX (long considered Portland's wordabout pupils: It should always The lively round-table discussiot' I remembered that children are of gram "Good Music" station) when she was concluded with a short yro says: "We of KEX and the Kay ::nstantly being born into this world, presented by pupils of vanous par- West Show are most happy to c~. that at a certain age many of them ticipating studios. ope.rate with the members of the will study music, and that if any While the Junior Festival has long Casy Pieces Federation of Music Clubs in their certainteacher has even ONE PER since ceased to be a purely com- annual Junior Music FestivaL" CENTmore to offer than most other for petitive event, still certain nwar de Oregon's Junior State Festival teachersin the community, he will new at preJJer ..• stimulate a healthy normal competi- regularly takes place the first week havethe cream of the pupils, and tion. Every entrant receives his state PIANO in June just prior to the Portland will be financially benefited accord certificate, signed by the slate pres- No. 8754 Price $1.25 Rose Festival. From its opening on ident the state junior counselor, and ingly. ADVANCE OF PUBLICATION OFFER Sunday afternoon, with musical To organize a chorus of some sort. the s~ate chainnan. If the pupil .has J. FISCHER &. BRO. events interspersed b)' auditions, up or a small chamber music group, rated a "Superior," he also recel~es 119 West 40th Street to the final aturday night recital. aids in making one known to the These books are now in preparation. Orders cue limited to two copies per NEW YORK 18, N. Y. the blue enamelled Junior Federation presentation of Festival winners and public.Well do I remember some 29 book. Please send remittance with order. (Check or money order requested.) pin. For those of still higher rank- awarding of trophies, the stale's yearsago organizing a singing group As each book comes off the press, delivery (postpaid) will be made. the "Superiors" for three consecu- jun i r mu i inn occupy the musical whichgrew into the municipal cho tive years-a small cup or trophy spotlight. As . frs. F. R. Hunter. rus in my city, and I feel that the is awarded. Cash prizes are also a • PRO K 0 FIE F F J SEA SY compiled, edited and arranged by Denes Agay sial presid nt, SO aplly sums il up: leadershipof that chorus, which has BAND DIRECTORS! part of the state's Festival plan. 1\11'. Agay has aptly described Prokofieff as "one of the few modern masters whose works have a nearly "After several Irip about the state continued down the rears to the The last noteworthy feature of universal appeal. , . !" This unique collection offers twelve of Prokofieff's pieces, including original piano I om onviu ed that the Junior presenthas been of inestimable val Oregon's plan to encourage the study pieces from his "Music For Children", Op. 65 and easy-to-play transcriptions of selections from the well Musto F stival, through its dens- IN STRU M ENT ALI STS! of music is the weekly program over ue bothfinancially and in the mutter known "Peter and the Wolf". "Classical S)'I'/J.plwny", "The Love of Three Oranges" and "Romeo and Juliet". erotic proces: ,is the greatest01 the Westinghouse Radio Station of prestige. 410-41028 List price $1.00 Advance of Publication $ .70 all stimuli t 8 community cen. Afterall, the young musician must The New and Bigger KEX the state's most powerful radio' station. For over a year the sctcusn Sll • • • 11 reaches intothe lake his eyes from the stars long • P I A N 0 PATTE RN 5 " " .,."., , " ., ., Thirty Easy Characteristic Pieces most remote tion, how nods. enoughto remember that he differs "Kay West Show" has done much to This collection presents the welcome combination of attractive and appealing pieces which serve to develop PRESSERBAND CATALOG criminnt ion again I any teacheror in no essential way from the grocer popularize the Festival. Every Tues- specific skills for the beginning student. Each section (there are six) contains five varied pieces chosen is now available day afternoon three Festival winners pupil. levelcps individual pci-e ead forhe has something to sell; in or specifically to Illustrate these basic techniques: staccato-legato; rhythm; arpeggios; cross-hands; scales; are presented as a part of the hour- disciplined COOl) ration, vital factor3 der to sell it he must attract allen and chords. Also usable for supplementary work and for recital. long show which is a daily broad· in Ih lives flf our ititen of to- ticn to it, and to keep his patron 410-4[029 List Price $1.25 Advance of Publication $ .90 morr w:' (or customer) he must have mer it contains a complete listing of: cast feature. Kay West, charming hostess of the TlI END chandisea bit better than that of • PIANORAMA OF EASY PIECES BY MODERN MASTERS feredby his competitor. compiled and arranged by Denes Agar The young musician is also to re • MARCHES. CONCERT BAND SELECTIONS Th.is collection offers ideal material for study, recital, and sight reading sessions for the pianist of modemte QUESTIONS AND ANSWERS memberlhat a good teacher must sk.ill. Thirty pieces by 25 of the leading composers of the 20th century are presented, including works by be a keen analyst and a practical • SOLOS WITH BAND ACCOMPANIMENT (Continued from Page 221 Stravinsky, Debussy, Prokofieff, Bartok, KodaJy and Puccini. psychologist.A keen analyst, he 410-41026 List Price $[,50 Advance of Publication $1.10 • BAND FOLIOS. STUDY MATERIAL hammer that gave Cristo fori the both a melody and it accoropani. mustbe able to plumb the depths of theproblem whjch causes the pupil idea for the piano action, and the menlo Th pll1)er' left hand selies • THE M ES FRO M G R EA T CHAM BER MUS IC ...... compiled and arranged by Henry Levine • INSTRUMENTAL SOLOS & ENSEMBLES dulcimer may therefore be regarded a a. damper to tOP the "ibralion01 tostumble,be that problem a wrong "This volume will bring to the music teacher, student and music lover a new source of enjoyment-the as the true progenitor of the piano the tring~. ju 1 a the dampersstop homeellVironment. an unfavorable • INSTRUMENTAL METHODS. STUDIES & schoolatmosphere, or a failure to pleasure of playing some of the loveliest musical moments in the entire literature of traditional chamber rather than the clavichord or harp· the vibration of the piano strings. music most of the music derived from String Qua1tets of Beethoven, Schubert, Brahms, Haydn, Mozart understandlhe reason for a finger sichord.. eith r the dulcimer nor the zitheJ and Tchaikovsky has never been available for piano." COLLECTIONS. ENSEMB.LE COLLECTIONS ing. A practical psychologist, he The zither is a shallow flat sound has n built-in damping delice,50 410-4[027 List Price $1,50 Advance of Publication $1.10 box with strings stretched over it. the dulcimer-e~pecialJ - in thewe mustbe able to calculate the effect of high praise or biting blame on The instrument is usually laid on a of (ast mujc-produces a greal • LO R0 ISM Y SHE P HER 0 (Psa 1m 23 J. Giuseppe Moschetti table, and the player sounds the clashing of ton But in the caie themind of the student. and also on Cantata for Mixed Voices and Or'CJon Get your copy NOW for a Ready Reference strings partly with the fingers and of the zither tlii clailiing doesDol themindsof the parents, the payers partly with a plectrum. Some of the occur since th pIa 'U can gOP th.e ofthe tuition. This cantata, ideally suited to the small church choir, may be used at PREPARATION FOR OPERA (Continued from Page 11) 'Winner begin to put them. into m)' VOice. 01 w~rk and to sing songs and arias. My Iirst step In this actual . . think of the words and not of th~ .' \ slag rng IS ·to t unk only of the VOice'.. breath. Once breathing has been "'ITEREST 'S THE KEY TO PROGRESS•••" IlOW· kth e var-ious. note s, sequences ' $1500 PRIZE developed to the point where it is attac a, etc. Sit on my . ' under good control, it seems to ._ I b I' vorce It I~, e ieve, an important . p come more easily when one does One cannot memorize di lste . Mary Kate Parker is '1 I . rrectly t Th. ,,,,,m'" "P""" a con,lcelno ,lm"d by ,,~h=, phdoonphm and enuo"ln" formerly studied of Rosina Lhevinne; . n not wi:hPU;1 not concentrate on it ! A d t re plano; one must get off a only should the breath b . Falls, Texas); Charles Kik:~a O~aWrkerttIWL;'bhita . h ld e e easy, oneself with the score , repeatmg.by It is a theory that is easily applied to act,ual practice. ski 01 ' ' a er a un- It s au seem easy. ln ""hi', rnusic. we ,,,1 that the stu dent' 1M"," I, d"d "",d In a largepun by ,h, , ga Samaroff . Now I·Ives .In New York. passages, actrying to get Iear pic° Mary Kate Porker The actual preparation of FirSI Prize \'1:';""",, t ure 0 I h ow words not . ,""",wo'''' ro""I'" nud, U this rou,ie ,i" In ,nd become>a pun o] hi, ""y My erati_ IC ro"Ies IS. a work that, quiteol> fittl ,es, accents 1953lnternatio"al 'Y'-' Recording Festi""l · oget rer, working for th 1lie,hi, hnrn' andschool ~", I,I", his age,hi. "ro p=m'o " ,nd hi, .h IIi,y, ,hen In'''''' literally, has no end . 0 ne can sical ., I 0 e mu- e precrston t ic conductor '11 earn the words and th e music.' In I later demand. WI and the desire to pl'Ogress will be a natural result, NATIONAL GUILD OF PIANO TE a month, but that is a very differ- Th'" ro""I,I, w,,, ,hoo'o In ,he hnp' ,h" m'y wdl nff" id,M "ynu, ,he ""h", wd 1113 (Fo""ded 1929 by I" Air J50n, M.A., Mus. D.)ACHERS f The profcssi nal .IIlger relies, AUSTIN, TEXAS entin amatter' blfrom having th e part so hdp you,d'p' ,he rou,le you uke< eoh' ,he ioiliyid'" pmnn,"'y ,nd Ill, u\me wnd,n" BOX ne s . ood that the resultill" 0 .. course, upon the coun el f h stage.dire t r, blendin l' 0 t e caract . 0 h· .enzatlOn rings true. The concepti 1'1 £ I' g 1I.s own LOO d' . ,. 11 part \'11th the If you order music by moil ~AI~esmgel~ constantly renews his ·lie :Lor s Intention {or th ts SCHUBERT ALBU~t 410.402(){) SHATTINGER MUS;~' 'emO 10 ~S, w?rkmg through them again ductlon us n whole It' d'l!ic pro· for classic inteJ'es $1.50 WORLD'S GREAT WALTZ.ES King .75 ~n agaIn for new shades of mean- I . IS I Icuh- 410·40247 812 Olive St. MUSIC SELLERS SINCE 1B76 • PIANO CLASSICS 043004006\ 1.50 fY We are retail mail 0 d .. St. Louis 1 M , 0 - enunciatin the ~\'~(rk ~ ~ edntirel). beneficial-to r er musIc distributors lor th' • O. Ing. new wa)'s I GRIEG ALBUM 04\0-40159 Always 200 feet f e mU,lc of all publishers. ,~ords, new accents in the dO. u. a rnmaltc part with o c:ounter disploy of music: lme. ramatlc SOUVENIRS OF THE MASTERS Spaulding LOO some gUidon e. till '{ . out 0410-40208 .50 be do I • I II ha 10 Coit_n~llllpL011 C;\cll 1 n e n a new role ui k , uggc~t conccntralin" 1 never lear • CHILDHOOD DAYS OF FAMOUS COMPOSERS Child "Mozarl. 0 I wor d and ,I·ramall meaning0 ly. I worked on Traviata f~r ~i~ Child Schubert CLASSIFIED ADS ( ratler1 than on sin' 5 Child nach Child Chopin years before taki 11 0- it to tI . and makin glIlg alonel. Child'TschaikO,,"sky three 0 le stage; . g sure n \cr to sin Child Beethoven eh ild Handel I,EA-ItN PIAN " ing thyearls were spent in sLudy- ~AlllUONr. Com osi . Course by Dl? I !JNIXG A'l' HOill r n r Chi 1dBrahms Child Haydn gO~I~Musical 'I'~le lion, Orchestra- world's lead' . ':\' m. Bl'aidvVl . E. e c laracter d' ~:~'1~1I,~~rd without u c1e staad1n; ol.lespondence In~ry. ~nvate or her tl· k' ,ea lIlg about SCrlpts revised and tructlOn. Manu- ~bOCl1el'._Wl~rt~ p]-!Ln~techllicianl~~ed , un IllO" ab t I the anlng. It 15 the nse of arranged. Frank corrected. Music IA Wells St. , 1"aa/1~ ayette,Bal'tenbachInd. ' more went i~to tf,~ a~~~' three St., Corona. N. Y. S. Butler, 32-46 107 ,,'H\ worka otgc that gO\Crn the tage .75 tIon of the I'" t I a. pre para· a part. 410·41011 VIOI ..INS for r . stud,ed T . , King .85 Gu~r.nerius del aae1e: Stradivarius or two years osca 410·40167 LEA-RN PIANO 'I'U" - gnlnls a d SU, Arnatt G • I B And. finoll), n tak just for fun and singing .. a uthen tic instruct~ IN G-Simplified Herrrrlan~l ,others. Hill 'H uada- Blttterfly I ' ltuerfl)' for three. to the St8f'O"C lithe part l;eltoll ,85 ~tllre free. Prof Ron $.LOO-Liter~ Fine ~rt' Wurlitzer Ce;t1fl~r::tmea,' , Inay say is or st I J']V I r a 1 the detail, IIlGH SCHOOL HARMONIES , .... ' ...... •.... , .... *'110·401;0 St., Elmira, N. y" oss, 456 Beecher Michig ••.....".8, 40Z East Th It d , Fltnt, opera! Not ,my special ~Iittlcr ,60 u( om fu I' , . . . . . a season 0"0 b b y MELTING POT .. , ...... · .. ,· · .. ····,··,······ .. ··•·· . . . "<\l 0·41 009 what 1 re-stud tl ~ es y ut coordinat d \\Ih I d ~nt.oone ( :arlelOn .85 'WIU'I'EReyiew" SONGS'Magaz: Read_ "Songwriter's SIGH'I'-')"HARil.lONIZI· NG illELODIES from the y 'le. role, working ci ely Lhi .. '. n. It t pre· GEMS FROM GILBERT AND sULLlV AN , . <130·<10139 way, New YOrl~n~9162~~-ET Broad- _'< pa<~es f ,AT score as If I h d I coord1ll8tJon ,,'hich \\',lrrCn 1.00 year. ' 0,. copy; $2.00 ~rs~ne::si;.i~- (;11.0:~ c~~~~~si~~tl:uctto n GRAB BAG , , , .. , ,', ...... 410-4100; seen it before. a never SlOWS h \ W 11 tion. $1 00 SPosl~lOn and hal' ImI?ro- )OU King sands ~f postP~ld. Free list ~ontza- pared' E ha\e pre· folios' popular songs b thou- In learning new roles vo I' ven mall in uriti (of STEPHEN FOSTER MELODIES (ConceIt transcriptions) 1S;;0.HACK BalladsPOPULA SJ:lEET IUUSIC TO :t Musi sent 011 request ' o.oks and by myself. At th . : begin Ca talogue 15't c1,tlm.e,. everything "6 I'_c,117 W. 48th 8t . LeWIS Arline eat me ha' III . I PARTY BOOK ·,,··,···,·····,··,··,··,·········· ... , new York. reet, New York ce 0 \\Iords of ac f,or I!0pular. Fo're's a 1,C_i:! exchanged out my own art e plano, I work t ) . . ,er .., Colorado, ' E3 01 High, Den- n s. of note by not ,word for word. rooted g ur hould be ,85 POPULAR ~ 0 out belo 430·410\3 Loo\(ing fOI~I-:'-di\" . TEACHERS score befor e, always with the staO"e I r.e you go to the l SWINGteaching PIANOIesso;;-:BY lUAIL-30 self- ace \_ 1" 1 eas' V{' t ,- \V cSlcrvei .85 MMass~' _42 Main Su:eet Sl"lE;, Karl When trato . so Llnt_ ou may coneen- .... , .... 430·41014 (cltl.ssical and s, $3.00. Six folio . ' pnngfield, learned mel:d,.me. d I have for. church (lnd school interests ••. ghance to win $~g6)~~ar), each $1.00: . es an pI I '0 e on beLlig Ihe ehoraeler. And \Vestervdl .75 rder 46-page .'. on new theory gm all over . lTases be- AMERICAN TRAVELER ·,·,·,,···,···,···,··,· 410-40155 provisation cor:;'nglnal classical im' agam with ) u must r . . 1.25 ATTENTIONody composed Sf ONG'VRI'I'ERS- M 1 ent coach A' my excel· ever' emBIn In character 420.'10002 ~~y, price $20.ol(~gn o~ a n~,'v the= an'an d 01' your 1 r' '. e- I . gam we wo k ) moment that the 62 ETUDE 63 ETUDE- EPTfIfBtR 19;) -SEPTEMBER 1953 THE WORLD OF MUSIC ~:.." MAK~,,~~SICFUN! (Continued f P HINdenl r I D~n!} Sullahla tor anv 3 In/eretted' tate RadIo Th rom age IO) ....tustc' }T1ml'oflh' S Lamb,;,quiem Singattained'ToM e, and Sheeps arul 110 usle.s A Game"-I e Season Royal Chap~l 0 e Royal Opera The immense popularity. me xote Headl lOOk of 3, ::"lrk_A_l'lace'" 111:.1U11'tlun.'f;~~~~'to drIft Students' eh " r~e5traj the D'anish I neory '.J:r:'lner ~ml)eUth'e RII.me 1'1. _0111 .. Ian or prluie. • anll great Brems Her OU, ksel Schiotz Els Tina Ruffo . T ' mann D K ' e known baritone 'h Internationally GL x, \L. ll~:f;t·, T elmanyi and tl . oppell, Emil An Orll!:lnal 300 Y . -G¥.'M'IXG- o iers. f h W 0 was a h \\,1;11 \'/l~~uNc~1Calendar o t e Metro oolit mem er cbOo w\se\l-cboose 1romtbe best puny {rom 1921-2~ a; dOpera Com- JAY SHELDON t er8~2.,lkl~tt.t<>n51 ,ne. M .... : Sidney• IIonler usband of ,I I' composer and Italy on .July 6 a~e(le at Florence, h te ate L' ' se noted opetati curse Homer distinguished c; '" 1 76. He had a PIANO TEACHIN iC Rome in 1898 ree~ whic? began in Ih'" ...... Met"'" and St...roes.... e. y.u .eed a.d wont, denly at yr contralto, died sud' with terrific pu '1 G MUSIC * "".;d" I wmter Park . his debut i A' an, conlltlued with pi -cppecl GO" ,,,, .. H' • CLEA' EXpl'HATIOHS • lECHHIQUE u y 10 at th I • Florida .,SIC . n merrca. oy·music with" •• , J , e aee f 88 on B punch" WEll-SElECT ED MUSIC. 'DDD CDVE E· ,"EAL ;;'hhis wife retjre~' iMr. Homer BIG discounts "",.BlLllY. orida home I III 940 to their David W K' W rere t! the W, \V i<: IhD"lhall, president of came activelv it t ley both be- Steadman Puh···· The. ""'e, "hat yau wo.,·the y, .. al'-' woy· carr . . rrn an Com an . * twiANCHESTER students at ne 1 erested in assistinc ",0 p13no manuf p Y. Chl- VERMONThcations Mrs Hom di urby Rollins CoIl " Winnetka llli . acturers, died at " er led in 194 ege. ,nols J un 8 H CHRISTENSEN was mternationall' k 7, Mr, Homer years old. M: . e ' e was 1~If a-....Jii.: ...t·f~•• ~ucCeSS!Ul thr PIANO METHOD 51 .o' .,,"," ...'" """.... '"",""'".", ,"~, ,,,",,,,••"'••""'•'" ,,".""".""'..,••. I\.J ~~~ ~I I'•• :::;".~,; ••• 1;1'1- ... 1 b~l\l\. Ragtime 0¥fh the years poseT especial! ) Hown as a com· grandnephew of WKJmballr_was a ~o:[g'i~'i~or{-;::~~I~t~~~~,";:;k,swl::'which such YAof songs, some of founder of Ihe company.. W. KWlbali ' '", " ... ""...... ". "." ,0' ..... , u· .,."" ."~'-' ... b;~dk.S2~d for 'current m ealer or sent as Banjo Sone,0, R e- 12rnontl~s~ gi~~\~Sfor hl~~;~~~bulletin of THE AXEL C..;n It teacher. s. or $2 for ,., "".,. ... ,,, .." '",...... -".., ." -"." ...... " . . Studio E-P 0 ,RISTENSEN METHO " ".,. .' "." " ,'" ' ... ~ . • ox 427 0" D .. .. 101, California "..".. " ,"'" ",. ""... .'''.''''...... COllIPETITION• S (/''or dctails, write to ...... _.." .... ".. .' .,"." , ." The Bernard R . sponsor listed) * ...... " contest for a 0 uVltch Music Founda" ,arc h 31 19 ne·act opera ill. E ". Ion. Sec on d annual .. Foundatio' S5~. Details from S nM""hsh.. Award $1000 C~on~POSJl.lOn ••;.~ " "'"~"...... _,.. .." ... "w'" "••,," ,." M n, Illte 604 370 F .' . Bhnkcn P . oSing date ", ""." .."""..,..,,,,, ". .. .." ~ ,1. ~.". • Th M Washington Ave,;ue r;;., Raviteh Music -' .,.... 40235 e j annes Coli. ' ew York 33 N Y TUNES 'OR LITTLE PLAYERS ... ' .. ' .. ' . . ,4'0. .60 * lp'a"ed '0 '0110" "tilt'e Playe"." De"'op' me'od" .e"e.1 works. Award o[ $ ege of Musie Com .. ' . . 4 opera plus two 1000 for a 'ull-Ieno pOSitiOn Con'est [or . 400 ROBERT NOLAN KERR LITTLE pLAYERS GROWING UP .... , .. ········· .410. '001 •• 5 Closing date M~",lbhc performances I'h opera or $600 for operallc * AlL 'N ONE, ...... ' . ' .. 410. 5\ 1.00 College of M - .a) 15, 1954. De,'1 Mannes Colle"e 0 a one-act ,'x ss r. •~=~=_~ ~_~••••••••••••• ~:~:ETUDE~~~'tt'lift. III 1~(. • "f.t CDU~ ,tE % • --,..---~ f you want fine organ music -at a modest cost ORGANO OWNERS SAY: "This 11 m, _lid" ORGANO. II'. wonderful .nd I h,vllookld 111_.11 OVtl' I ;llytd the ORGAND rllhl IWIY, VIfJ .. sil,_ Th, ORGANO II :r~~l':n::~.i:t '~I' &~~~ 11In Ihl prk, ,.n,1 III ...... ,.body. ~~:'~r~nnJ::llllln~::I~~J.:: lllis 'II'Ond"lIl lnllfllmenl, lat him write mt." want to eep MI. E. f. WTIIt1I If you k Club 414, Wll.IlIlns Hwy. Cot"'''1 Rei.Z. H_ York ~l •• tIlr*-:I .itll _, LOwtrf OItGANO. lll.lw Wlnllll.1I Ol'PI Jar ''W, lind 1111tones 01 the OIlGA"D IN'S. b~ .,..." 111IIIlIt I ~ "DI'd _ Th4 OItGAllO Is IN 1*- '10 soothlnl 11111nfll lb. ImptO',b.- lion 01 IImpl, IIlIla t1_ II...... t lid -... rot .nee ... pl.surL" 'nee. 1Mr. II .. Mr. Robert F. hnt< /llIJ._1IIlIIlld lSO!l5 NUlmi Sltelt U41"'"..,\._ your piano, too! san r.lllndo. Calilon .... ClIk.IID.llli ... Inquire about the • • best value In fine organ mUSIC LOVVREY LOWREY ORGANO-the only instrument that enables you to convert your piano so you can play organ music from your piano keyboard -organ and piano together-or piano alone. Does not harm your piano in any way. Easy to play-Compact-and Low in Cost. For full infor- 0 mation, send the coupon on page 64, now. o CHICAGO ------ GET COMPLETE lNFOlUlA TION I THIS EW ORGA '0 BOOKLET. Use handy COupon on page 64. Tbi sevee your Etude cover. LOWREY ORGAN DIVISiON Central Commercial Industries, [DC. (E.t. l»I-) 332 S. Michigan Ave., Chicago 4, ill.