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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1953 Volume 71, Number 02 (February 1953) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 71, Number 02 (February 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/121
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]. #n /ht/) #Joue ... .. Ability and Training Ezio Pinza
"Your Musical Dawn Is at Hand" Boris Goldovsky
Security for Music Teachers James Francis Cooke
Midland Makes Its Own Music T. Gordon Harrington
Gershwin Is Here to Stay Mario Braggiotti
The Healthy Habit of Doubting Jan Smeterlin
\ Ten Years at Tanglewood Ralph Berkowitz
Who Are the World's Greatest Piano Teachers? Doron K. Antrim . LeTTeRS 1.' 0 1.' D E EDITOR
Articles that it is. Dear Sir: I love your August Sybil Mac DOl/aid antatas and Oratorios issue. It alone is worth the price Memphis, Tenn; SATB Unleu Otherwise Indicated of a two-year subscription! Each article is stimulating, and after Class Instruction Dear Sir : For man y years, I reading them I have the same en- have been an interested reader and LENT thusiasm and stimulus that I have user of the ETUDE. I ha ve found ~ PENITENCE, PAROON AND PEACE (Advent and general,Sop. orI.., after attending a summer short I SOp Alto, Ten., Bar., Bar., 35 min.l Maunder 411401491.71 the articles recently have been ex- BEHOLD THE CHRIST (Holy Week or. genera Nevin ., 432-40168 $.75 course with an artist teacher. tremely stimulating. I also use the 40 rnin.) ....•...•...... •.... Bass 20 min.) n PENITENCE PAROON AND PEACE (SSA, Sop., Alto, 35 mln.l Thanks so much! '" Maunder·Warhurst 411-40053.71 ETUDE La lend out to various ~ CALVARY ILent nr Easter, Ten., Bar., 'Sheppard 412-40061 .75 Mrs. C. P. Fishburne students, which they seem to enjoy 1 h ) Stainer 432·40128 .75 .n SEVEN LAST WOROS OF CHRIST (Sop., Ten., B!r., Eng.& la!.tert, 45'inl Walterboro, South Carolina CRUCIFIXION ITen., Bass, our 0 b rn 432.40L29 .60 § " OubOls·Douty411-401711~ immensely. J thought you might CRUCIFIXION ISSM, Choruses onlyl.. stamer- s 0 be interested in my experience in • SEVEN LAST WORDS OF CHRIST !Sop., Ten., Bar., Eng.& U!.texl,45'inl Dear Sir: I can not tell you how . B Lent or general) Dub"s 431-40m 100 class piano-teaching after reading ELIJAH ISop., Alto, Ten., ass, Mendelssohn deeply I appreciate your magazine. 412·40087 1.25 the very interesting articles on that FRIEDRICHGULDA photographed at the Steinway by Adrian Siegel Complete • SEVEN LAST WORDS OF CHRIST ISSAA, Cho,u.,,, onlyl It has been a big help to me and 1 Choruses only 432-40200 1.00 DubOls·Dsborn431-401~ ~ subject by Richard Werder~ Au- am sure it will continue to be. I . ) Gounod 412-40092 .60 gust, 1952. I had long thought it Choose the piano § GAllIA, Motel (Sop., 20 mrn . SEVEN LAST WORDS OF CHRIST (SoP.. Alto, Ien., Bass,Eng.I lal ,~ have not found a better magazine 1 hour) Monest,1 431-4015\I~ would be very stimulating to pupils LAST WOROS OF CHRIST (Ien., Bar., 45 m"s~ross 412-40044 .75 with such a variety of music. to have class lessons, but had done of the world's great artists STABAT MATER Tragedy of Calvary, Op. 58 !Sop.,Allo,Ten.,Bm,", A subscriber "Th Seven Last Words of & Lal. text, ') Ii> hours) Dyoral 431~D9 I~ nothing about' it. Then last fall, §~MESSAGE FROM THE CROSS, Based on ini Salt Lake City, Ulah Christ" (Sop. or Ten., Bar. or Allo, 4~:CF"rlane 422-40013 1.00 § STABAT MATER Tribulation 12 Sop., Ten., Bm, Eng;& Ul.lexI, I .. I took a piano-teacher's course , Rossi" 411-401751.00 under Dr. Brinkman, U. of Mich. PASSION ACCOROING TO ST. MATTHEW ILent, Advent or general, Sop., Dear Sir: I have been a piano He pointed out the value of class Alto, Ten., Bar., Bass, English o~~~h.Koemmenich 432.40146 2.50 STORY OF CALVARY IBar., 25 min,) ..••.• S'h"'I" 432-40156.II teacher for many, many years, instruction; and urged us to try and have been a subscriber to the it. I divided my pupils into age- ETUDE most of that time. To me groups rather than by ability- EASTER the ETUDE is the "best" of its there were 'from 4 to 6 in each ~ KING OF GLORY (Sop., Ten. Ind Bar. duet, e~:~;,~in~11-40195 1.11 kind, and I have not only appre. ALLELUIA (Sop., Alto, Ten., Bass, 35 min.) .... Stults 412-40055 $.75 group. J devoted my entire lesson cia ted the music but good articles time for one week to class instruc- CHRIST IS RISEN (Sop., Alto, Ten., Bar., 45 "T'~;'~an 432-40123 .75 ~ LIFE ETERNAL (Sop., Alia, Ten., BISS, 3S mlnJ. .Dal' 411-40111~ and help for teachers. tion not setting any definite time LIVING CHRIST (Sop., Allo, Ten., Bar., easl, 30 411411131.1 Mrs. Margaret Caldwell ~ CONQUERINGCHRIST ISop., Alto, Ten. and K~:~in:ueli2'Zt~7:5 mi9J tt;~ Bovina, Te:uls limit. (Thus the pupil paid just the same price as for an individual MATCHLESS MORN (Sop., Alia, Ten., Bar., Ba~i.rr~S"t~~~~ .II CROSSAND CROWN, Pageant (Sop., Alto, Te~~y~:;ii L4~Li3~2~aster)75 lesson that week.) Each pupil Dear Sir: I have been playing vlayed at least one number of his CRUCIFIEDISop., Allo, Bar., 25 min,) ...... N"in 432-40127 .75 MESSIAH (Sop., AIlO, Ten .. Blss) Hald,l 4l1:~~ :~ the music in the ETUDE since be. own choosing at first. There were CRUCIFIXION ANO THE RESURRECTION(Sop., AI~a~en'4:i~(j1~gIY Wej~ MESSIAH (Sop., Alia, Ten., Bassi •. Hand,l-GoelschlUs :-40145 ~ fore I was old enough to read the and Easter, 30 mm.) Be . criticisms-this gave me the chance NEW LIFE (Sop., Ten., 81SS, 2S mlnJ ." .. Rigors UlIi " articles, and have been reading and for your home OAWN (SA, Sop., Alto, 30 min,) Bames 412-40080 .75 (as Dr. Brinkman suggested) to PAGEANT OF THE USURRECTlDN IChoir, SUnday ScboOJz4111~j enjoying the articles now for over ------criticise the critic, and to explain DAWN OF THE KINGDOM (Bar., Ten., easy, 30 min,) 412 '0081 hon may participate) D.,y twenty years, so you see I am well Wolcott ~ .75 the real meaning of criticism. Of RESURRECTION (Sop., AlIa, Ten., Boss, 25 m~'T 432411IU11 acquainted with your wonderful EASTERLILY (Unison, Playlet for children, 20 min,) 086 course, as the need for it arose, Wilson 412-40 .60 book. I think of the ETUDE more • 43141114911 we studied and discussed the theory RESURRECTION lSA, 25 monJ...... , with" as a text book to be kept for fu· What inspires an artist to his ut·_ The Steinway Vertical has the ~ ETERNALMORNING (Sop., Alto, Ten., Bass, easy, 45 min.) involved. At the end of the class I Stairs 412-40206 .75 RESURRECTION MORN (Sop., AlIa, Ten.. Read4~1411156I ture reference rather than a cur- most effort? Not alone the great- lowest depreci~tion and highest e::;r served punch and cookies. Of EVERLASTINGLIFE (Sop., Ten., Bar., Alto and Ten. duet, 45 min,) accompamment, 50 mlnJ •••• ••••...• III lIiJ rent magazine to be discarded ness of the music, but the perfec- resale value, and, with proper course, I was interested in both Forman 412-40089 .75 RESURRECTION SONG (SoP.. AlIa, Ten., Bar.. Ba~~4t~-40lro when read. I have re-read many tion of his piano. This quality care, will last for generations. EVERLASTING LIGHT (Sop., Ten., Bar., 45 min.) of the articles, biographies and pupils' and parents' reactions to makes the Steinway the choice of Thus, though its initial cost may Fichthorn 432-40134 .75 RESURRECTION SONG lSA, BIr. ad lib, easy) .. Sl1in 4l1-40IQ stories several times over for help- such a procedure. And without world-famous performers. be more, the Steinway Vertical is FROM DEATH TO LIFE (Sop., Alto, Ten., Bass, Holy Week and Easter, even having to ask, I soon found actually the most ~conomical RISEN CHRIST (Sop., AlIa, Ten., Bar., Boss, .. :~~ ~1~-40I~ , ful inspiration and information. The magic of the Stein way at 40 min,) ...... Bartlett 432-40135 .75 out that all were heartily in favor piano investment. Kathleen Gou.ld concerts helps explain why it is FROM DEATH UNTO LIFE (Sop., Alto, Ten., Bar., Bass, 30 min,) . SNew York 19. Your local Steinway GREATESTLOVE (Sop., Alto, Ten., Bass, Easter or general, moderate nd wI Sop A110 .... • ~ Only the Stein way Vertical has the TRAVAIL AND TRIUMPH lLenl I or, K,;tiq '412-401~. Dear Sir: It was with great grati- for their contemporaries. Already: dealer (listed in the Classified Direc- difficulty, 40 min,) Petrie 412-40097 .75 40 mm,) All' ,.. ~I Diaphragmatic Soundboard that fication that I read the splendid J have made plans for next year, lory) can deliver to your home a HAIl! KING OF GLORY (Sop., Alto, Ten., Bar., Bass, easy, 40 min,) yields such big-piano tone, and TRIUMPH OF THE CRUCIFIED o..enl Ind Easl~;,:-412-40145 . article, "Is Teaching Music an Art to have class instruction about Stejnw~y Regency Vertical $147 Keating 412-40098 .75 lib, 45 mmJ • • 411-40145I the patented Accelerated Action, for as lIttle down as ..... 50 or a Business?" by Esther Rennick once a month or every six weeks. § HAIL THE VICTOR (Sop., Alto, Ten., 30 min,) .. Wooler 432-40137 .75 to help develop sensitive touch. Liberal lime to pay. Slithlly hiiher in the West VICTORY DIVINE (Sop., Ten., Bat. I ho\lr) 1lJRS in the August issue. It is from such ~ IMMORTALITY (Sop., Ten., Bass, 35 min.>. ..•. Stults 412-40110 I think this would be an excellent .75 VICTORY OIVINE ISSA, SoP. mo. A1lol W ~~t 111-401~I' articles that we teachers glean a ~ IMMORTALITY ISA, 35 min.>...... •...... Stults 412-40109 way to teach chording (for which .75 . "-- ~. little knowledge of what other TIle Steinway is used exclusively by Foldes, ~ KING ALL GLORIOUS (Sop., Alto, Ten., Bar., 50 min,) <_ Al\1l , .... BosI I have a great demand). And I HorOWitz. Janis, Menuhin, Artur Rubinstein. WONDROUS CROSS (Easler Of 1000001l, ...,.. Iorio 412~1 teachers experience that enables us Stairs 412-40115 .75 also want to find or make-up some Robin Hood Dell, Sandor. Stokowski, to solve our teaching problems bet- Templeton and many, many others. Over 1000 ~ Words only, $2.50 per 100. - Sold ooIr'~ musical games, . which I think music schools and music departments of ISTEINWAY § Orcheslra accompaniment a"o.ilabl •. ter. Articles like these help to make would be both fun and instructive. leading colleges use the Steinway exclusively. ------ETUDE the instructive: informa- Only the Steinway is used by nearly THE INSTRUMENT OF THE IMMORTALS Esther R. Meily all the nation's leading orchestras. radio tive and entertaining magazine and television stations. • Birmingham, Mich. THEODORE PRESSER CO., Bryn a r, Pennsylvania ETUDE-FEBRUARY 1953 ~------1 If you wont the best CHOIR DIRECTORS!! in console styling NEW, UNIQUE-a periodiclli de. the music maga~ine voted exclusively to doing the gigon. -MUSICIANS· ETUDE tic [eb on choral literature YIlU'~e Offices, Bryn Mawr', Pa. always wonted done for you Editorial and Business 12 FOR ALL INSTRUMENTS PIANISTS I~ " ekE litor Emeritus Cat. No .• Cat. No, CHORAL 66_PROGRESSIVE PIANO HARMO- James FranClS 00 (Edi:or, 1907.1949) NEW MUSIC 51-MUSICAL SLIDE RULE. Each Founded 1883 by THEODORE PItESSEH manual adjustment answers qves- NIZATIONS. The modern way of SACRED AND SECULAR tlons on chords, sec las, keys, tra ns- harmonizing any melody note position and instrumentation .. $1.25 using unconventional chord Ior- G McCoy M w;.aging Editor motions .50 er A MONTHLY, COMPREHENSIVE GUIDE 52-HOW TO HARMONIZE MELO- . ~y E Mosher Business NIall-ug TO THE NEW CHORAL RElEASESO~ DIES. The principles of irn provis- 6l-P RO G R ES S ION SIN 1 1th Marjorie . , By GEOHGE GASCOYNE CHORDS. Examples ond exercises ALL PUBLISHERS - INGENIOUSlY ing correct harmonic prcqres- '1 K 1 W Cebrkens Elizabeth A. Gesl slons for any melody. . .. S1.00 showing all variations of IJfh kffwJ CHART-INDEXED- chords as used in modern music. .50 Harold Berkley Maurice DmnedslllM C a~y . Nicolas Slonimsky 41-HOW TO TRANSPOSE MUSIC, 65-MODERN PARALLEL CHORD Guy Maier Alexan er c ur including special e eetcises to in thlse three dramatic D\'oh'ik: Cello COllcm'w in. n n.tnor, Theatre. o-f the favorite songs PROGRESSIONS. The harmonic All practice transposing at sight. .$1.50 background for modern piano NEW CHORAL MUSIC oHerl Op. 104 and ensemble numbers are in- 16-HOW TO PLAY BE-BOP. Full styles. HoI'( to create the "New NEW 40 inch consoles by analysis, theory and many ex- Sound"- in harmonizing basic February 1953 the discriminating director_ Here is an unusual Iv realistic cluded in this recording. The cast amples .Sl.50 scales .50 Vol. 71 No.2 CONTENTS 47-IMPROVISING and HOT PLAY. 64-NEW CHORo,STRUCTURES. This every month: recording of cello tones as pro- includes, besides Nelson Eddy, ING. Hundreds of improvisation chart shows the basis for 1152 J ESS'E FR(iNCH duced by an excellent artist. In Virginia Haskins, Kaye Ballard, patterns shown on 011 chords. A unorthodox modern chord struc- \! FEATURES chord index locates many ion tures that can be used in ptoce fact this is probably the best of Portia Nelson, Lee Cass, David phrases for any chord cembtne- of conventional chords .50 . . Ecio Pi":;tr 9 • A COMPLETE AND AUTHORITATIVE tions . $1.00 69-PIAHO BASS PATTERNS. A ABILITY AND TRAINING ..•...... •..•....••..••. ~ .. .' GoItlQr:"~y 10 RECORD OF CHORAl llTERATUiE the several recordings of the Atkinson, Wilton Clary, David 04-MODERN CHORD SUBSTITU· variety of leff-hcnd figures on 011 WN IS A'I' llANO" ...... 6rHI chords .75 "YOUR MUSICAL DA .•. '..•• _. ,.. eill Choke I 1 -conch •• d.toiled informotion ohOit TIONS, char-t of chords that may Dvorak Cello Concerto. Zara Net- Morris, with the chorus and or- 6B-PIANO ENDINGS. Two and one SECURITY FOR MUSIC TEACHERS (Edilorial) •..•... /.{I~I::,lo:ll;'larri',~'Q" .och ".wly publi,h.d compoliliol be used in place of ony regular 12 mojor. minor, and 7th cherds , .50 meosure endings in all popular in conv,,,i,nt cllort·;ndel tOrn! sova is an artist of outstanding chestra directed by Lehman En- i\IIDLAND MAKES ITS OWN MUSIC...... M{lr;o nrfl~~iQtri 57-HOW TO MEMORIZE MUSIC. A keys .50 GERSHWIN IS HERE TO STAY...... tIlderlitl ability, and her expressive playing gel. (Columbia, one LP disc) scientific method with exercises 70-S0LOVOX COMBINATIONS. .5 chart of instrumental imitations " DOUBTINC .. - .. Jlm '" • ALL INfORMATION UTWUM THE that develop and improve the THE HEALTHY HABIT OF . . . . UtlI,JI, D,-.rIWIfJ;b 16 is here supported in excellent man- Capacity for memorizing music. .50 for the Hammond Solovcx , .50 EARS AT TANGLEWOOO...... COvERS Of ONE: PERIODICAL Sll';l\,insky: COllcert.o [or PittltO alld 58-BASS IMPROVISING BY 09-MODERN PIANO INTRODUC- 18 ner by the London Symphony Or- TIONS,in all popular keys. .S1.00 TEN Y HE WORLD'S GREATEST IJIANO TEAt.:IIEHS·~. troron K. A"trt~'1 -ih". or. 011110" 100pvbliih.n oj Wi"d Orchestra CHORDS. How to find the cor- J9 choral lI'lInle In I~ (o"nttyl chestra, Josef Krips, conducting. rect boss notes from popular la-MODERN PIANO RUNS. IBDpro· :~~ ~~~[E WITH THE FILM MUSIC COMPOSEH ; Di~'litri T i'..'~I;/~"" Pl'Okoficll': COl/cerld No.1 in D "Ill- Ihllet music diagrams. .SO fessional runs on all chords ..... $1.00 V,r""lIa I ullUtllI (f 1 c ,e .fr 26 (London, one disc) ]\URACLE IN MUSIC, . . . .. }or. 0,1. 19 OS-TRANSPOSING CHART, chang· l1-MO.DULATIONS, 2and 4 measure • ""0 IN EfFECTIVE: nOGlAM ing music to all keys.. . .. $1.00 bridges leading from and to all popular kevs , , $1.00 'lANNING Stravinsky's oddly scored con· O]-CHART OF MODERN CHORDS, DE" A It 'I' III EN 'I' S Richard Rodgcl's: "Oklollo",,," 07-ACCORDION BASS GUIDE, ex· -spot, at 0 "Ionet, tilt plKilt $/lIt<. certo is here given a brilliant per· 20~ practicol 9th, 11th and 13th plains all boss buttons ond notes I ilclI'Iti that fit rov' flllllicol mdl chords .. S1.00 contained in bass chords. .50 THE CAPRICE,reflecting the finest In 18th Century LETTERS TO THE EDITOR...... Nelson Eddy heads 1:1 cast of top formance by the Australian pian- 02-HARMONIZATION CHART, ]72 .. Cf'fJrgc :1 17-HOW TO PLA Y MAMBO PIANO Hopplewhlte. Avallablc In mahogany, w.alnut or NEW RECORDS - . Cm,corliO ways to harmonize any melody SOLOS, including authentic solos bleached mahogany finishes. Equipped with Tone 3 '" 'ERMANENT lEFUEHCE SOUtCE notch singers to bring to listeners ist, lVIewton-Wood. It is this work note $1.00 COMPOSER OF THE l\10NTIl ...... •.•••...... as illustrotion$ .... , , .. 51.00 .... Nicolrlll 'lo"i'il"~y I _e'ol" 'tOUt copl,,-inIOflllOtioe a1. a spirited and at times thrilling whicl~ Koussevhzky introduced to 01-CHORD CHART, 132 popular 19-PIANO TECHNIC, anolyzing the MUSICAL ODDITIES. . .••.•..••... , . sheet music chord$ ,50 secrets of odvanced technique WOY" th'f' wh," YOlI nttd iI. ill tillY· performance of this Rodgers and problems. A scientific 120 page iUUSIC LOVER'S BOOKSI!ELF...... •...•.•...... Dille ;ftlllf'r~on to-find rnon.." America in his first season as con- 4]-CHORO CONSTRUCTION AND 8 ANALYSIS. How to use chords course 52.00 WORLD OF MUSIC. . . - ...... •... ,. . , , ••• Hammerstein stage piece which, ductor of the Boston Symphony. 55-CORRECT PEDALING. A tech. 21 as fill. ins, bockgraund for cor· ADVENTURES IN PIANO TEACHING. . .•••.• , . , ...•...... Gil)" .1111;f"r REVIEWS Of OUTSIANDING since its premiere in 1943, has be· rect improvising, etc Sl.50 nical discussion coveting all prob- 22 He had invited Stravinsky to come lems of effective pedal use. .50 TEACHER'S ROUNDTABLE.... _M"ur;u Dutll"'"U COM'OSlflONS come a landmark of the American 50-LATIN·AMERICAN RHYTHMS. . Kllr' r • C(·llrk"'l~ 23 (Continued all Page 7) Authentic versions of the 39 most QUESTIONS AND ANSW ERS . . . . - ..... - .. -<,il1col 'tmo,", obcktt tilt O¥h!o'ld· popular rhythms and how to ploy jS~ SMALL PIPE ORGANS CAN BE EFFECT] VE. . .. :ilcxltluler ltI~ uul,. 21 i"g ,.Iec:tloft) 04 Iht I!IOntll of fW Latin·Americon instruments SI.25 ORGANISTS THE INTERMEZZO THE CADENZA a remarkably beautllul CllptUrlOl\' the rich ole- VIOLINIST'S FORUM. . . . . • . • . . lIllrolll Bnkl,. 2;; yorlou' clon:fkat1oA1 o">dI..nll d 35-MUSICAL DICTIONARY. &4 pll1no In contemporary gance ot lovely coJo~al !'i2 d:fflc"lty poges of musical terms .50 59-CHORD SYSTEM OF POPULAR atyl!ng. \Vulnut, IDIL- styling. GracefUl, dlg~ VIOLIN QUESTIONS .. , ...... _ . lItlrold Dt·rkl,..y ORGAN PLAYING. E~ploining hogany and bleached nifled, dlstlngulslled. In 5;"\ THE COMPOSER OF THE MONTH 5]-SONGWRITERS CHORD PRO- Dlll)lOgll.ny. mahogany and walnut. ORGAN QUESTIONS. . . . •• • ...... •...... Frf>f/'·ril'1 .. 1#/jil/ip~ GRESSION SYSTEM. How to find the principles of popular argon • GUIDE 10 EFFICIlHt AND improvisation, using only melodv JUNIOR ETUDE...... £I;:;fll,,·,/, A. C(!# 51 The month of February. in addilion 1.0 being the birl.ll month of two the correct chords for popular Not one ... not two ... but three ECONOMICAL PURCHASING songs. Complete text with over and chord diagrams .50 noted Americans, includes also the birtbday of one of the greatest &0 written·out examples .51.25 08-EFFECTIVE HAMMOND ORGAN superbly beautiful new consoles, styled -Io<.ote, in ill'lI 0 ftw lI\'nv!es 1M by renowned Lionel Algoren for JESSE 54-MANUAL OF HARMONY. Basic COMBINATIONS, chart of spe_ 0'" orron"emtnt ....t 01 lilt 61-1 Cf composers for piano: Frederic Fran.-;ois Chopin, born February 22. lUUSIC mUlic theory covering scoles, cial sound effecl$ and novel jane FRENCH ... and each an outstanding I' oH.,1'd thol fit! fOOl' budgclc1J combinations .50 example of the designer's art. One of 1810. He was destined to have but a short life, but he accomplished as chords, inversions, cadences, in- COlUlJOsilioll.s Jor Piano (Solo mid DUCl) cluding many exercises .50 lO-HAMMOND NOVELTY EFFECTS, them will surely satisfy your special pref- ".ed' much in his 39 years as many others would do in a life span twice as a collection of amusing trick erence for enduring beauty and musical Sellinger's Round (frolll "Early English Classics") /j~ r,l_Un.",im 27 67-MODERN BREAKS. Up-to·date imitations for "entertaining" or· ADDitiONAL FEATURESAND long. He was educated in his father's private school, with his musical breaks in all popular keys. (For gonists .75 excellence ... at a price that's surpris- Sonata iJcr it Cembalo (from "Eighteenth Century all treble clef irlstrumentsl .50 ingly small. Inspect them today at your Italian Keyboard Music") ...... •••.••.•...... Sft~cltini·lIllli'J;,.ro 28 SU'iICES training being under Albert Zwyny and Joseph Elsner. He made his J3-COMPLETE DICTIONARY OF 61-DICTIONARY OF 6·PART HAR· HAMMOND STOPS, correct in· dealer ... see how you can own a n~w first puhlic appearance at 9, ·when he played a piano concerto by MONY .50 Jesse French console so easily ... with Valse (PosthumOUi:l), Op. 69, No.1...... _ . . .. "opin 32 II Q"',tU on P\lblDMt:lchoroI ~ terpretation of argon sounds. .75 only a small amount down and low Danse Alltique ...... •...... Grundlle £",,'i.'1 31 ,k ol\lv ....d br Ptnoool (lX'& Gyrowetz. 40-HOW TO WRITE MUSIC 7S-MODERN RHYTHM PATTERNS. payments to suit your budget. pond.tK~ltodic lidi";$ el at" MANUSCRIPT. A study method Left hand and pedal coordina_ Sunrise at Sea,...... Jo/lun "-rfHU:U 36 boolu. mogat;l'I, ortid'" 'Kellis In 1829, being already a finisbed player and hflving a number o[ for the music copyist .$1.25 tion for Jan and Latin.Americon Woe is IUe (Tenor solo from "JeIlhtlla") (frolll "Themes frOlll ItC., of inttctf.t to ttl, ckwcI ;td works published, he set out for London. but his Paris reception was so 79-CHORD RELATION SIMPLI- rhythms S1.25 dtoir dil.ctar fiED. How to classify chords in the Greal Oralorios") _ . Cur;lfl!;III;-Led"c 3 7 cordial, he decided to settle there for life. He soon became a reigning their relotionship to eoch other $1.25 Happy Da"8 (Duct)...... _ .. Oli&c D""l:lIn 38 favorite and was eagerly sought after both as a player and teacher. 60-TWO·PART HARMONIZING BY ·GUITARISTS G"-lJ the "WHAT'S WHAT IN CHORAL CHORDS. The chord system for Instrulllcntal a'ltl Vocal COflllJOsitiolls His compositions aJso had become widely known and, in fact, they finding harmony notes for any 42-GUITAR CHORDS, over lOO LITERATURE" melody in any key. .50 J?Frenchssons L..mento c Corrente (Violin) (from "Solo Violin took precedence over all others in the pianistic field. Chopin occupies chords in diogram as well as musical notation. Also includes l\'lusie of the Earliest Period")...... •• _ PC$cllli-Zimlmli., 40 A ,u", wlutriptfOl't COin lJIIIr. SJ-/~ a most important place in the music world as it was he who more, per· correct fingering, guitor breaks lu~1 I" ·.'ti',.pjedd'~'_~ Mischianza Waltz (Vocal). . AIl1.um F. Flei'''$ Au.,,.., haps, than anyone created works which breathed the true piano tone, and transposing in$tructions ... $1.25 \..---R:anos 42 HEW CHORAL MUSIC 0, IlOl or--C1 MUSIC TEACHERS F(lmous For Music(l/ E}(~e/{en~eSin~e 1875 Pieces lor Young Players 56-MODERN GUITAR COURSE, _, I sublulplioa WO-~tbtlow with no attempt at producing orchestral effects. His music is pure piano Single string teChnique, real fREE BOOKLETguides you in Navajo Lullaby _ . . . George "'reder;ck .HcKay music per se. He was a remarkable interpreter of hjs own compositions, 20-POPULAR PIANO TEACHING jump style. Three main studies: selecting the very best piano Fingering, picking and tone. The Little Trumpeter, The. . _ ...•.. G. Alex Ker:nll 4-1" A "MUS'" FOR PUItCH,lSUS COURSE, how to teoch breoks. for your needs and budget. his pJaying being marked by flawless accuracy and brilliant technique. runs, boss, transposing, impravi. malt up·to·date course on the Check the coupon below for ... Red Iron Ore (from "The American Traveler") . Amer;cfHI 1'011,- SOllg.We.'c r:e11 OF CHORAL trlUSIC market $2.50 To r •5 He was an intimate of and had the respect of such leaders in the sation bv sheet music chords . yourcopy of "How to Choose CNIlIlSE Cowboy Charley ...... •...... _. _'" J. I,Aliall Ymlde&erc Used by successful teachers in all 73-ULTRA MODERN BOOK FOR the Best P·iano.~'We will also 46 r------~~-~---·I music and literary world as Liszt, Berlioz, Meyerbeer, Bellini, Adolphe State$, 40 popular songs included $5.95 GUITAR. Professional runs, send, free, a copy of "Music TH' I'm Goin' Out West breaks, fill·ins, endings, modula_ in Your Chl1d's Develop- BEST : NEW CHORAL MUSIC : Nounit, Balzac and Heine. He moved in the best circles and gave 2J-HOW TO TEACH MUSIC TO tions, introductions and accom· (from "The Amerieall Tra\o·cIer"") .. " America" Fo'''' olig-IPc..tcrrcl, CHILDREN, by Elizabeth New. ment."Maii the coupon now! PIA/fQ 16 I 1"200 Com ..... clal Tfni Iklg. I yearly concerts to the musical elite, allhough he had a peculiar aver- poniments $2.00 1\Iy Piggy Bank 1·litde B. Krc .. t:;er man $1.75 17 t "'lIadll~lo 1, po. : 85-"BOP" Modern progressive gui. , sion to miscellaneous concert giving. Schumann referred to him as the 22-MUSICAL DICTIONARIES. Ev. Tile Fledglings. . • . . . Ella Kettcrer 17 for solos ... $1.25 r~;;;-F;;~;~:-;~;--·b : 'r¢! ery music student should have 91_NEW SOUNDS fOR GUITAR. I I PI.oa lMlt. llAdoted ftil'j·tto~tt" .... 1 "boldest and proudest poetic spirit of the time." I Dept. E-21 Elkhart, Indiana "' ...... 1 Sonatina in Do (from "I\Iinialure Classics," Vol. 1)...... Ha'ide/-Benker 48 one of these pocket size books. ~ I of SJ for 0 ,,,bKript __ !l t hli Progressive ideas for advanced I .,.0,', Chopin's health began to fail after a severe attack of bronchitis In books ... S1.00 guitari$ts $1.25 Without obligation, send me these free I to EW CHOM,L MUSIC. (It'"' I I ~W: 1838 and he began spending his winters at Majorca. However, he soon 21-CHORD CHARTS, chords are Bl-MODERN RHYTHM CHORUSES. I booklets: I It tell Of M.O. pofObll tI) NEW ...... spelled out in letters, good for I Publish~d monthly by Theodore Presser Co., 1712 Chestnut St .. Phila .. Pa. 10 All· Time hits arranged in a I 0 "Music in Your Child's Development" 1 MUSIC» I developed consumption and with his vitality sapped by his insistence all instruments. 12 Charts.. $2.00 modern rhvthm style $1.00 I En/ered as second cl4H rII'!/ter Janllary 16. 1884 at the P. O. at Phi/a. P J d. " M 'be ,iel : I I 0 "How to Choose the Best Piano" of March 3, 1879, CopYf/ght 1953, by Theodore Preuer Co U S .i J G" " on giving concerts, he continued to lose ground, finally returning to I International copyright It!Cllred. All rightJ reurved. ',. . n. "" ,t'~'&"",,,. 1 NAME (print) --; Paris in 1849 where he died on October 17. His complete works as pub· I I _ , -Money-Back Guarantee on Everytilinq- I N'm ...• ------I AODRES" - lished by Breitkopf & Hartel fill 14. volumes. PLEASE ORDER BY NUMBER FREE CATALOG I Stree'c' _ I C.O.D. SERVICE S3.~O a. year in U. S. A. :lnd Possessions; :lIsa in the Philippines Cost ~ C b Dom " I I His Valse, Op. 69, No.1 appears on Page 32 of this month's music I Republic, Guatemala, Haiti. Mexico Nicar:t.gua Panama Re' hI" a f Coli. U.l. Inle.lO I City ZOne-Statc___ I Spain and all South Ame:ican countries exceot th~ Guian:t.s·' $3)) Ie. 0 .Ho~~u~~. S.alv.~OI. I CITY 10 E..--StATL-- section. foundland; $4.'0 a year III aU other countries Single co ' r( • a le2r In ...... n.l ...... lind cw' I owo:I"l IDS.".. ",. lO""pf. uPf ("oN t J 1227 B MORRIS A VB. Manuscripts or art should be accompanied by ·return posia~eP E~i.r40 cents. Pnnted In U •.• A. WALTER STUART music studio UNION, NEW JERSEY l~.::::~.::.:.:u..:::.:~:._Jfor return of unsolicited manuscripts or art. • De usumes no ~po~ibIlJty I itt c.o' for po5to~ otld "iI ,.------_ ..----_ ..- ~~...-.-' ETUDE-FEBRUARY 1953 2 3 •
papers with a note: "My sincere The California humorist, John condolences. " Phoenix, who wrote under the Famed for accuraCJ tt ~~TONKabine t Anticipating the reporters' ques· nom de plume of J abez Tarbox, tions at his arrival in New York contributed once a program note and dependability. •• ~" , keeps my music he shot back his answers before for an imaginary symphonic ode The :~' any questions were asked: "Yes, 1. entitled "The Plains": "The Sym- sorted ••• and like everything American-oysters, phonic Ode opens upon the wide METRONOME de Maelze I sweet potatoes, girls and cranber- and boundless plain in longitude neatly filed" 0 ries. No, I have no favorites among 115 West, latitude 35° 21' North, by SETHTHOMAS and about 60 miles from the West says MARGUERITE PIAZZA composers except Mozart, Beeth- .6- oven, and Brahms. The greatest bank of the Pitt river. These data -ll>vely ~""r"no of MelrQp"';t~,n living composer is Frederic Cho- are clearly expressed by a long Op
4 ETUDE-FEBRUARY 1953 ETUDE-FEBR{;,IRY /933 5 ------, 4
.------Music Lover's makes use of the chorus and or- chestra of Radio Berlin. (Urania, Marks GUY MAIER BOOKSHELF two 12·inch discs) Piano Library for - MOZART PIANO RECITAL Opera Excerpts: "Rosenknrolier," By DALE ANDERSON New Records "The Marriage 01 Figaro," "Orfeo." "Carmen." Early Grades TWO 10" Opera fans will appreciate this (Continued from, Page 3). LONG PLAYING recording which includes the im- COBB. Hazel portant solos and duets of the RECORDS School Band-Deep Blue Sea :t\lusic and Imagination the Berlioz scores. Rimsky wrote operas named, sung by top notch the textbook on orchestration that artists: Rise Stevens, Erne Berger Tarantella-Masked Rider By Aaron Copland to this country to appear as solo- present a well rounded, spirited Guy Maier', dramatic recorded performance of favorite Mozart selections con- was the 'bible' of Our student dan. and Jan Peerce. Fritz Reiner is tained in his own piano text _ "YOUR MOZART BOOK." Studen,ls ,can n0:w' Mr. Capland's dissertation upon ist in the premiere of his work, performance, notable especially for Although the advice he gave~~ the conductor and the R.C.A. Vic- hear the subtletiesof technique which ore illustrated in Guy MOler 5 c10SSIC the relation of iJl1agination .to mu- and it created quite a furore the clean enunciation of the Eng- GLOVER, Jr., D.C. piano book. solid enough, it turned out to he tor orchestra supplies excellent sic is pleasantly pr-ovocattve. l.n among the critics because of its lish translation made by Ruth and Sunday Morning of only limited application, for it support. (Victor, one 12-inch TWO 10" LONG PLAYING RECORDS the hands of a dogmatic Teutonic unorthodox instrumentation. The Thomas Martin for the Metropoli- a umed that the lementsof bar. disc) Forward March musicologist the subject, which the soloist in this recording is ably tan's production. The cast in- Catalogue No. 8(.1001 . ; .. _.3.95 m ny, melody, and figuration Knives and Forks Includes: Sonata In C Major (K·330) (3 movements); Minuet In 0 MOlor (K-S94); author first presented in a series of supported by members of the Resi- cludes Eleanor Steber (Fiordiligi), would r .tain the same r lative pG- Rubinstein: Piano Concerto The Little Bird's Song Gigue in G Major (K-S74l; Fantasia in C Minor (K-3961. lectures in 1951-52 for the Charles den tie Orchestra, conducted by Blanche Thebom (Dorabella), it i n of importance that the)' Catalogue No. 8(.1002 : 3.95 Eliot Norton Lectures at Harvard Walter Goehr. An almost equally Richard Tucker (Ferrando), Frank Friedrich Wuehrer and the Vi- Includes: Varjation~ on "Ah You, Dirai-ie Mamon" iK-265); A!legro frl~m University, would probably have h vein a Rim ky.KorMkoff SCore. controversial piece is presented on Guarrera (Guglielmo), Roberta enna State Philharmonic conduct- HOLLANDER, Arthur Sonata in C Major (K-54S); Fantasia in 0 Minor (K·397); Sonata In Eb MOlor But ur or. arc likely to be (K-282) (3 movementsl. been com pressed into ten la rg the reverse side 0'£ this record. The Peters (Despina), and Lorenzo ed hy Rudolf Moralt join in pro· Twelve Christmas Carols m r ontrupunt conceived tomes called "Dee Ccheimn! I r lIy Prokofieff Concerto was also given Alvary (Don Alfollso). Fritz Stie- ducing an entirely satisfying per- (75c) AND. YOUR MOZART BOOK EinbiJdung in der T nkuust," all than Rim.ky."or akofl'; there. its American premiere by Kousse- dry conducts the performance with formance of the Rubinstein Opus. lore hi g d ad lie a bit too the Metropolitan Opera Chorus (Vox, one disc) Here's the book itselfl These Mozart compositions. include favorite shorter and VCI'y carefully purg d of any hu- vitzky and the Boston Symphony. KEVAN, G. Alex lighter works. Guy Maier has added fingering and suggestions for executing man interest. Mr. Copland tr at sch mati in th fi,...t place-has In this recording the soloist is the and orchestra. (Columbia 3 LP embellishments - and discloses the subtle techniques necessary to faithful his subjects seriously with 0 '8- b om I nnd I -, nie
ductor as president of the organiza. tion.
THE WORLD George' Rochberg of Philadel. AMERICA'S FINEST phia, music editor of the TheOdore ELECTRONIC ORGAN 1 Presser Company and a faculty memo One of the world's greatest bassos makes her of the Curtis Institute of Music. is the winner of the eighth annual pertinent comments on this matter of George Gershwin "Memorial Cont~t for the best original, unpublished February 13-14-15, in wh,jeh will be orchestral composition by a YOung Ernest Bloch '5 Third String included a concert of mUSIC by Amer- Quartet had its first performance in American composer. Mr. Rochbero ican composers who have taught at january when it was played at Town received 1000 and the winnin; Ability. and Training Peabody. Also there will be a. pro- Hall, New York by the Griller Quar- piece, Night Music, is scheduledto eram devoted to the works of Hinde- tet to whom the work is dedicated. be played at a regular concert uf the mith with the com poser himsel f con- M;. Bloch's Suite Hebraique for New York ~hilharmonic-Symphonl' violin or viola was given its premiere ducting. Reginald Stewart has been Orchestra directed by Dimitri Mi. From an interview with Ezio Pinza the director of the Conservatory tropoulos. 1'1r. Rochberg was a pupil on New Year's Day when it was Secured by Stephen West played by Milton Preves with the since 1941. of Rosario calero and Cian.Carlo Chicago Symphony under Rafael )1 nott i. The eorge Cersllwin ~Ie. The International :l\'Iusie In- Kubelik. moria I om st i ponsored by Vic. stitute, a privately supported or- LOry Lodg of B'nai D'rilh in C& aanization devoted to the exchange NE, OF THE CHIEF problems of the voice. But if you find a master of standing, Chosen and used Peabody Conservatory in Bal- ope-art n with the B'uai O'rith Hillel timore is celebrating the 85th an- ~£ musicians, musical materials and Foundauona. Ezio Piuza , noted star O young singer results from the tempta- and he brings you along so that your vocal EXCLUSIVELY niversary of its founding. Although information among the countr i s of of stage, SCI'CCIl and radio tion 10 hurry things up. Generally, this tract feels comfortable, have confidence in the Unit.ed Nations, has moved its it had been established by George Erik idz u, well kno\l\'nCom. state of affairs is mentioned in connection him. Too much changing about of teachers Peabody in 1857, its actual opening headquarters from Chicago 10 New 1)('''' sr, onductoe, arranger wu gues with the career-a quick study of reper- and methods is in itself a harmful proce- for these Concert Tours York. But recently Iouu de I, the was delayed by the Civil \Var until conductor in 0 eernber "-ilh the Air toire: a quick debut, a quick success. dure; Teacher Number Three will seem to Board of Directors has ele 1 d Dl- 1868. To mark the anniversary date, or' ymph()n) reh ..Ira in WI,h. Actually, it begins long before the career, contradict Teachers One and Two and, in a three-day festival will be held on rnitri Mitropoulos, distinguish d con- ingtou, ...... hen a program of his showing itself from the very beginning of the end, old gains are lost without estab- own '" urk"" w ... presented. Included study. Let us say that a young singer has lishing new ones. in the ev niug' musi were "\II his eye on definite results; he goes to a But teachers aren't the whole story! The ri ...h ) mphony, horal and Fugue, CO~IPETI'I'IONS (For details, write to sponsor listed) r teacher-and if this teacher doesn't give pupil must also have abilities. LI:king to and a Suite r Iring. r him the desired results in five or six sing, wishing to sing, aren't enough. The • Sixteenth Annual Prize Song Competition sponsored by Chi iugc months, the student hastens off to someone basic ingredients of singing must be pres- \Vi1mil1~t()ll lIeg II \film· Singing Teachers Guild for W. \V. Kimball Award uf 200.00 for lhc ent-inborn. You must first make sure you in~lOn. hio. ""ill hold it -ixlh an- else. Sometimes to three or four others! best song with piano accompaniment. Closing date :March 1. D luils nual f.lk F -,hoi on .he .. n", This I do not approve. A teacher is like have a voice. Rossini used to say that, to from David Austin, Amel'ican Conservatory of Mu:oic. 25 E. J a 'kson cnmpu, f bruor} 27, 28, and ~Iarcb a doctor; half the value orhis care lies in sing, one needs three things; voice, voice, Blvd., Chicago 4, IlL 1. lIighl;!,I" .r ,h f -,i,,1 •.i11 be the confidence with which one approaches and again voice. That is equally true today, u "pe i I i,rogram dedicated to Ihe him. H one lacks confidence in a teacher. even though modern mechanical develop- • The Leschetizky Association of America will conduct il.:; 4th colll ~t Mal' ( hiu' ~· ..qui nl nnialcel· one cannot learn from him, regardless of ments (amplifying, etc.) make it possible for a New York debut piano recital in New York City on .i\lay L ehrcili o. and a Oil en of Ibe all. whether he is "good" or "bad." Conversely, for a smaller voice to go further than it Details from Carol RobinsGIl, 405 East 54th St.reet, New York 22, 1 . Y. Ilio lligh hool Foil Cbo"" and Deadline for filing applications, February 1. the teacher who is worth going to in the did in Rossini's day. We still need voice, rell ~lr . ,,'ilh ~ i1ti . Becken first place, is also worth staying with over voice, and again voice-together, perhaps, Ol~ I Thor John n. ~u condue- • The Kosciuszko Foundation offers two Chopin scholarship award a period of time. The answer, therefore, jg with the kind of personality that adds some- t r... Th i eon n ~ill feature the not to make many fast changes but to thing to voice. ($1000 each) to 'a pianist and a composer. Clo~ing date for filitig \\' rid prcmi "re of Henry Co1feU's applications, March 1, 1953. The Kosciuszko FOllndalion. 15 Ea~t 65th choose wisely in the first place! Once the voice has been found to exist, )"mJlltony ~o. 8 Street, New York 21, N. Y. The safest way to select a teacher is to it must be trained-and kept trained. When Ezio Pinza as Figaro in study his reputation and his record of his voice is properly placed (well forward, dnn Phillip>. r nnetly fir. "Thc l\f~lrriagc of Figaro" Both Lara Hoggard, director' of • Ohio University Prize contest for a New American Opera. Award h3rpiH of 111 Philadelphia Orcbt5- previous accomplishment. What does he in the masque), it is up to the singer him- $250.00. Closing date May 1, 1953. Address: Hol1ace Arment, Festival of Song, and Robert Shaw E. lru \\'8 III I j...t ....ilb thai orpni- stand for? What are his teaching habits? self to use it intelligently, according to wanted the finest electronic organ School of Music, Ohio Univel'sity, Athens, Ohio. zaLion on mbe:r 12 and 13. ia What has he done for others? None of this, correct vocal principles. These laws we call available for their cross-country u n W \\-ork "'llicb he commi-..·oned As Bods in naturally, is an absolute guarantee of what the system of Bel Canto. They involve prop- COileen tours ... an organ they • The 20th Biennial Youth Artists Auditions of the National .Federa- could depend on for consisrendy from Ern "l k. DOled coo- "Boris Godunov" he will do for you, but it is the best be· er breathing: proper breath support, and tion of ~usic Clubs. Clas~ificat.ions: piano, voice, violin, slring quarteL. nne tone and performance, day leml) rar compo r. The nrk. 1 ginning on which to proceed. If a teacher proper resonation. And these things must Awal·ds 111 all classes. Flllals In the spring of 1953_ AJI details from after day. Crmnsonatais tbeirchoice! Con eno for barp and chamber or· has one or more good pupils already at be learned. Even when they come naturally, Mrs. R. E. 'Vendland, 1204, N. Third Street, Temille, Texas. re . Have )'Olt investigated the advan- ch "lTD. \\8 gh n iUl ~'orld prtmX: work on the stage, the chances are that he they must still be reinforced by the kind tages of Connsonara for yoftr use? at th ~ COO rl knows his business. of conscious study that allows them to be See the Connsonata coday! • T~le 13th Biennial Student Auditions of the Natiollul Federation of Again, one should study a teacher's rec- used as second nature, under all circum- MUSIC Clubs. Awards, State and National. Sprin(T of 1953 1'1 FI " I Ralph Kinder. organi.9. a.od C 20 R· S· .... It rs. Oll( e ord in terms of his achievements rather stances. -- 'UI-uu Em late" Conn- ox, 7 Jvcr treet, Belton, South Carolina. oml)C)~ r. died in Pbiladdphia 011 than of one's own hopes! The one who has It is said, for instance, that Italians sing ;'\k\\ sonara literature and the No, moor 15. at tb age of 16. n, "'~ name of your dealer. No made a success of operatic work, is best '~naturally." Perhaps they do-when they ""_ obltgatlon. • The Horn Club of Los Angeles and Jose))h Ege,' COI,te't . I had been organi"l and cboirtn'~ler . f' . :::;Will lwo chosen. "for training in opera. The pupil sing Italian music in ItaHan. But for work pnzes or new Amencan works featurin(T French HOL-'I j' I 0.''''' at Trinjty )1 UJoriaJ Cburch for the ~ 9'tVV r------. CI' I 'Ii I .. . '\.ware 5 whose abilities and hopes lie in other fields, OSlllg (ate n arc 1 1, 1953. Joseph Eger, 7209 Hillside Av H II .. Ila~l eJ \en 'ears and prior to tlW in other languages, to the patterns of which CONNSONATA, Divi,ion of C. G. CONN lid. wood 46, Calif. e., 0)- had better go elsewhere-at the start! the natural formation of their lips is un- " Department 256, Elkhart, Indiana he Ilad ~n.ed in the ~me Clplcit~ at Hoi Trinity Qlu-reh for 38 tM" Certainly, I do not suggest remaining accustomed, they must also know the science Send free Connsonata literature and nalUe of my Connsonata dealer, without obligation. • Cambridge String Choir Award of $5000 for the b II WtI..:!t widely kl1o"fil'n I.od aun~ltd with a teacher who does harm to your of good singing. (Contin.ued on Page 62) . I . . esl arrangeme.nt f or stnng orc lestra. Closmg date June 15 1953 D ,'1 f thouSlnd lo his recita.l.s, eptclill. Name~ __ ~ _ Robert Conner, 524 No. 10th St., 'Cambrid~e, Ohio. etal s rom Mrs. hj~ _ ri~ o( Jl.nulry conttTU at Holy Trinit Irom 1899 to 1931.fl' Address ~ _ • Composition Contest, for women com osers cum l>O.:::edman organ works .bict Omicron. Award $150.00. Winner to be a~noun~e:r:lsored by ~elta b pIa· d on tours tbroup.ou' Ii< City _ National Convention in 1953 No closing d t t Delta Omicron country. H w. • mmWer of the Lela Hanmer, Contest Chain~an Amer,'ca aCe announced. Address American Cuild of Organi'" tod : Zone' -"S'tate' _ · b II B'" ' n onsenatory of M . K 1m a Ulldmg, ChiCago 4, Illinois. USlC, """"Ciat or the ROlal College Organi,l5, London. 8 ETUDE-FEBRUARY 1953 9 ETUDE-fEBRUARY J9;) b it is coming to be here, too, U "How can you be so sure of this?" (;1 Security For Music Teachers am sure of it because Goldovsky and thou. sands of others like him are working for such a realization, day and night are work. ing that people may realize the importance of music. We work that the great young talent of this country may hale a fertile field in which to toil. And the day [orthe An Editorial by JAMES FRANCIS COOKE field is not far ff, in a generation at the most, J think, it will be here. The young. sIers of 16, 18, and 20 will live to seethe time when there will be in this country most of the 500 I ra e mpani that shouldex. i L, in lead r th two great n and the ERY FORTUNATELY, music workers, centuries there lived an artist named Tizi- cial, she might have been forced to retire Iew smaller n ~ that \\ n w have." V particularly teachers, belong to a pro- ana Vecellio, known as Titian, a painter at the age of sixty-five. In other words, all It \ as pint d out that many operatic fession in which the services of the worker whose genius was so universal in its scope that she had learned through long and val- uable experience would have been thrown I er onalitl S Invor 0 r tar)' of FineArb may become more valuable with advancing and whose knowledge and skill flowered so in til Pr. id nt's col inet. onceming vears. This is a heritage from the days of richly with each passing year, that if he out by that curious product of actuarial thi Iclovsk:y 'Ht. renli Ii . lilt mal he the old masters in art. What is it about the had "gone to his last sleep in his eighty. theory and well-meaning socialism, the "arbitrary retirement age." Such an arfi- we hall have such. il ms)' be that much arts which seems to enhance the virility of ninth year, instead of his ninety-ninth year, the world of art would have lost some of ficial convention does not recognize the good c uld b done I su ·h a move, hut the worker with accumulating years? It is its finest paintings. Titian died in 1576 an individual, nor the obvious intention of the thi thing ,,,ill not come b) fiat, H it com the eternal spirit, the luminous ideal which illustrious, powerful and wealthy man. His Creator to make each human individual at all. It will come b 4U the peopleare carries all true creators to a higher level of so d eply aroused about arti tic mailers aspiration, inspiration and technical ef- Pieta, upon which he worked ill his last distinctly different from every other. 1£ you that the)' J mnnd il. nd who kno", per- ficiency with the flying hours. Our Amer- vear, ITt': ~ ITIl 'T the benefit of ring; Q on th ir /inger or bell on their toe, the fall ("Brigacloon" being the most recent career behind him, came to Midland to whole community music-conscious. With so 1i IInnd r mak suu-ic wh rever Ihey go selection); a community wide oratorio or head up the public school music program. many places to go, musically, youngsters keep up an even level of enthusiasm, and Th main r It on r r touch a cheerfula'·oca· Christmas program in December j and a He did a job outstanding to the point that lion i Th w h micol mpon' ""it May Festival that includes every participant in 1951 he was engaged as assistant direc- there is comparatively little let-down in the departm nt, which (o..ter- relent .. to theut- in the department's doings and many more tor of the Dow Music department and con- difficult adolescent years. As a matter of most and prcv id mu~kal outlet ill prac· besides. ductor of the 70-piece orchestra.' A long- fact, with parents taking part in a chorus or lically VCr)' /i ld. No charge is made, of course, for any time friend, Lawrence Guenther, also a orchestra, children develop a keen appre- The story I h w th Do" )Iu·ir depart- of these presentations. They are the com- Missourian, arrived to take his place and ciation of what music means, and they lit- continue with the development of a compre- erally clamor for lessons so that they, too, ment has gr wn L R !"og in it If. but since pany's outright gift to the community. Vol- may some clay enjoy participation in things this art i I prop 10 d .1 m,inly .ith untary offerings are taken, however, and hensive program in the schools. Free class musical as much as their fathers and the impact of its 8 hantn . on the!!elleral the proceeds-about $4500 each year-go lessons in every instrument are offered from mothers do." POI uloc , it ma suffice to _ l' thet the de. to aid the good works of the Midland Music the fifth 'grade upward. .There are grade Basically, the Dow Music department was Started as a company recreation project, by Dow Chemical partment wa organized in 19-13 under the Foundation, itself an outgrowth of the Dow school bands and a grade school orchestra; two intermediate bands, an intermediate or- the direct outgrowth of a request made by direct rship 01 r. Th odore "burgh. thea organization. The Foundation administers employees. A male chorus had sung, now Company, the whole community today joins in when associate pr r ssor of music at AlbionCol- the funds through competitive scholarships chestra, and a high school orchestra 'which to the National Music Camp at Interlochen have both taken state HI" ratings for three and again, under the direction of part-time, lege. who Cum 10 :'olidlond and S)n\he;iml consecutive years, and a high school band out-of-town directors, and the Midland an imp sing organization praclicaJl" out of and to Michigan State College summer courses; awards cash prizes to runnersup; which is as enthusiastic as it is excellent for Civic orchestra was struggling along under thin air. He in orporared 8 ~ll1aUcivic or- and also provides funds for private lessons the school's size. In addition, there arc its own power and practically nothing else. hestra with new instrumentalists to make to those youngsters unable to finance them- various student chamber music group or- When the tate Dr. Willard H. Dow, presi- the D w mphony rehestra _ .. trained selves. ganizations and small "combos" to add dent of the company, was approached about and added to the Male horus until it is V:;Thatthe nine-year history of the Dow spice to the lives of the students and their incorporating a full-time musical director Midland Makes its own Music known as one of til Midw t's best ... Music department has done for music in appreciative audiences. into his chemical business, characteristically and organized a irls horu~ that nO'" is general and Midland in particular is down- Naturally, with so much interest in mu- it took little persuasion on the part of the 90 voices strong. What i~more. ,,-ith olhtr right amazing, The "home talene' choral sic, private teachers of high calibre flourish. petitioners to make the idea a fact. candidat clamoring to·< t iu·· the ,"ocal and instrumental groups are so good and Many who lived in Midland before Dow's Midland, loday about 16,000 population, groups, it is thought no'~ that cadet organ- by T. Gord;on Harrington competition is keen among adults to the espousal of the cause of music cannot say two decades ago was less than a third that izations may be made up to accommodatt extent that joining one or the other is the enough about the benefit of the many out- size, and ten years ago was growing rap- tho~e who want to be con~idcred on the dream of many a youngster just beginning lets so generously provided. They agree idly due to the stimulus of war contracts. waiting list \.\h n Yacanci~ occur in the to take lessons. with Mrs. Kenneth Bacon, president of the To attract, as well as keep, high quality main choru~ "". Such dreams, of course, have a decided Midland County Music Teachers Associa- personnel, a good recreational program was Using each of tb _ groupE. which aa" influence on the school music program. Five tion, who said recently: necessary. Music filled a definite need, and rnally put On one lar concert each for the years ago, 'Wilford B. Crawford, a Mis- "The biggest thing about the Dow pro- as Dr. Vosburgh can testify, it is a need season, the Dow ~Jusic departme.nt ahOfa~: sourian with a fine music administration gram is naturally its role in making the that has no (Continued on Page 61) produces an operetta or mu~.ical~bol\ 10 12 t _ ETUDE-FEBRUARY 1953 13 Gershwin is here to stay The musical student develops his - talent by learning and observing, but chiefly by acquiring A fascinating word picture of one of the most significant personalities in the musical history of America by Mario Braggiotti , The Healthy Habit WHEN T was studying at the Paris Con- friendship-a great inspiration to me and had a n stnlgic qualit and nn unprediet- servatory of Music during the roar- a treasured memory to hold. It would have able 1 '(lure that I hnv never heard of Doubting ing twenties, I read one morning of the been nice for the new music world that quail (I. His playing carried inluilirely arrival of the young American composer, never had an opportunity to know Ger-sh- th great overall r ccr I of nil forms of pro- George Gershwin, who had come to Paris win personally, or hear him play, if 1 could jcction-c-whctber th y b in IHlI .. j • eloeu- seeking inspiration for his new ballet com- recall any word of advice he ever offered tion r athlet ie. in 011 word, runtrcl. from an interview with Jan Smeterlin, noted Polish piano virtuoso missioned by Florenz Ziegfeld. As the on the playing of his compositions during Actually the Illy thing during hi. per- Gershwin fan that I was (and will never the years that I knew him. But war-m and forman res which he uldn't control we secured by Rose Heylbut cease to be), I unhesitatingly went up to friendly as our relations were, I can not th cnthusiusm of hi Jj;;o:t II re. his hotel suite and boldly introduced my- recall a single instance of the sort. He was And as I hav e aid, f r tho e r hi...audio self as a fcUow musician. Attired in a work. the 1110st modest of men, and he let his ence nil tho- a i n \\ ho \\ r BnBI~ ti- THE PURPOSE of piano-playing may be carry out a musical concept. compass the full expressiveness of a work. ing dressing gown, Gershwin gaily ushered music and his performance of it speak for cal, Iistenine to him we n t merely a r r la· summed up as the achievement of two Each age, I suppose, has its own quirks That is enough. If all notes, rests, sequences, me inside with that vague and stunned him. The best possible pointers one could tory comprcbcn ...ion of the II1mnrlll. hut 11 points, simple to state, less simple to mas- of fad. At one time, the Percussionists were and indications are scrupulously and ac- manner of one who was holding tightly to get from Gershwin carne from sitting near- lesring r ·olizuti. n f 110\\ hi ... ('\dlillg re- ter. From his earliest contact with music set against any manifestation of feeling or curately observed, it is not too important the thread of a creative mood. Beside his by and listening to him play. And this I suit wn pro III C I _ .. ~O la-ring that it through the zenith of a great career~ the expression. There was also the view that, how the pianist goes about observing them. Steinway was a group of bridge tables cov- pianist needs (1) something to say~ and since a true legato is impossible on the key- In any case, no two performers will go was lucky enough to do very of ten- stayed with one p 'filion nLly lllld "8\' an makes of French ered with all sizes and through the lopg period during which he ineirrht to "lol\'inn piani~'i problem 1101 (2) the means of saying it. I have listed board, the pianist should give up trying to about it in exactly the same way-and if taxi horns. Ceorge, suddenly oblivious of used to hold weekly open house evenings oul y of Gcr:-hhin \\ rk but or other these points in the order of their .impor- give the illusion of legato playing. These they do, they shouldn't. my presence, sat down in front of his manu- in his studio. These were stimulating parties co m po rs a wei '- tance. The first basis of music-making is strange views have passed from the scene, Musical expressiveness is inborn; a sort script alld quickly finished a lllusical sen· expression. encouraging the hope that the excessive of sixth sense, like any talent~ enabling its where a nucleus of composers, pianists, During my "(1 I1siv n rllour acr()(..5 tence that my bell ringing had interrupted; conductors~ slllgers, etc. would gather the United . tat -. 1 am often a.ked the It is one of the more astonishing phenom- mechanical preoccupations of our own day possessor to hear inner truths. It can be then he turned to me as I stared at the around the Gershwin pianos and anything classic quc5tion: .. h L ,"our fs\"orile ena of our time that this order has been may give way, before too long~ to an in- developed, but scarcely acquired. The mu- funny horns: "I'm looking for the right reversed, expression being subordinated to terest in music. sical student develops his talent by learn- might happell~ from a new blues to the COlllp()~er?" ~h ltll..," 'r. aina)· in the horn pitch for the street scene of a ballet discussion of a recent 'prize-fight~ a sport mechanical excellence. It is p05sible~ today, Odd things result when technical equip. ing and observing, but chiefly by acquiring plural. varies a cording 10 my mood .....ome- I'm writing. Calling it 'An American in of which George was an ardent fan. And to assault audience-attention by force and ment is allowed to overshadow musical ex- the healthy habit of doubting. It is quite limes I will say Bach. hopin. Orhu(;~," and Paris'. Lots of fun. I think I've got some- inevitably of course he would play. speed. The average level of sheer technical pression. Among the saddest of these is the possible to hit upon a beautiful and musical Gershwin: or ~ cnrlalli, , agl1rr. R:nel and thing. Just finished sketching the slow Gershwin had the light, illcisive touch. development is beyond doubt higher than recurring spectacle of a young debut·artist interpretation of a phrase by instinct- Gershwin: and tl1cn again. Bt-totho\-en. movement." He paused and looked at the the poetic melodies and sure sense of it was; everyone plays faster and louder~ coming before the public with fleet, well- even by accident. Small children frequently Brahms. Stravinsky and r~h\\ill. But I piano music rack with the elated expression ~hythl~l that gave what he wrote its shape, and a kind of sllceess·by·surprise results trained fingers and completely empty in· do so, without in the least knowing why. always end \\ilh er~hwin: \\h}? For the of a mother regarding her new cradle. Its weIght and its color. All the pedagorric when somebody plays louder and faster terpretations. It is most unwise to attempt Musicianship begins when the student real· following very definile reason". "Here, I want to try this accompaniment. pointers in the world were there for a~y- than all the others. Students who hear such public utterance without having something izes that the phrase can be played in many for One. in III 1 opinion. Cel"'hwin i.::: Won't you play the melody in the trenle?" one who. car~d to listen. His pedaling Was a dazzling performance determine to imi- to utter! Other instances are more amusing. ways, all of them "correct." And it is at the grealC~l or th American COIU))O"'Cr5. Flattered and eager, I moved swiftly be- extraordlllanly subtle, and he never sacri. tate it, and spend the next months prac- I was recently asked to listen to a young this point~ precisely, that his musical future He stanch;: alonC' as an artbl \\ho has cal'" side him at the piano. He started the two· flced anything at the expense of rhythm. ticing the octave passages of the Tschai· man of undoubted talent who came pre· lies at stake! If he accepts the first way tured \\ ith an ul1lX'rturbed lHu!'ical hru~h bar vamp and I joined in, reading the He. always had ~ climax to his phrasing kovsky Concerto for eight hours a day~ in pared with two of the most difficult works that occurs to him-or the easiest way-or stroke the inten~ character American single· note lead from his fresh manuscript. as If he were telhng a thouO"ht with a con- or the innocent belief that this will make them in piano literature~ Beethoven~s Appassion- the instinctive way-or someone else's way And~ for the first time anywhere, there o 0 I 0 music and brought forth its \ italil)'. its vlllclIlg punc 1 line. And his singing tone better pianists. Indeed, students tend more ata Sonata and Chopin's Sonata in B-flat -he is done. But if he experiments with all romance and its frenz)". {rom ..Ir('('( :!Ollg echoed the amazingly original and nostal· and more to approach their studies in tech· minor. To my astonishment, he played the possible ways of playing the phrase, test· gic slow movement of "An .American in to symphonic poem. (rol11 jazz lid.5 to con· nical terms, asking chiefly how to produce first movements and then swung immedi- ing, doubting~ keeping his ears open to Paris," undoubtedly one of Gershwin's . Mario Braggiotti is the distinguished pian. certo cadenzas. and from lllu~ical comedy certain effects, what to do about certain ately into the last. When I asked him why, listen and his mind free to judge, then he ~st-co~nposer, who first came to public notice to grand opera. most brilliant works. George chewingly mechanical problems, where to put which it was his turn to show astonishment. "But moves forward. Doubt breeds discrimina· III thIS country. as. one half of the duo piano switched his perennial cigar from mouth N! y second rea On IS tIml. 3S an 35piring finger. All this is very interesting-but it those are the difficult movements," he re~ tion~ and discrimination opens the doors of left to mouth right and said, "How do you team of Bragglottl and Fray. World War II composer myself. I see in Ge~bwiT1'!!' lforls has little to do with music. Further. it can plied j "the middle movements are slow- musicianship and good taste. One of the like it?" broke the combination up when each bee old 0 d· ame the clear road of a much-needed new ~hool never be determined in a satisfacto~y way they present no problems!" finest pianists I was privileged to know spent My first meetin g with the American lI~VOv~ III l.ffer~llt aspects of the war effort. Smce Its concluslon~ Mr. Brafl"giotti l,as 0: music, a sort of 20th century romanti· since the producing of effects, the solution Now, I propose to discuss piano·playing his life in doubt as to whether Beethoven composer marked the beginning of a long o d °d J 1:1 con· certIze WI e y as a solo artist. CISI11-a fr""h and fertile path leading hold· of mechanical problems, and the placing of with but one reference to finger techniq1;le intended the opening measures of tbe A·flat Iy ahead from (Continued on Po~e 631 /ingers (also feet) have value only as they -namely, that it must be adequate to en· Major Sonata (Continued on Page 49) 14 ETUDE-fEBRUARY 1953 ft _ ET DE-fEBRl' fBI' IO.il 15 The Dean of the Berkshire Music Center gives a highly interesting behind-the-scene view of the details involved ui getting 400 students lined up for their summer musical experiences. by RALPH BERKOWITZ Aaron Coplanc I wit II mem Iret's 0 r IliS...· composition" ~ class at TangJe\\oud. Tunglcwood students re I·11'-':111;£ t I'urlllg ,unru'I lUll I" in" Iront ,.."f CUJlCt:rl.Hall. pets and tubas the oboe applicant appears. He plays ~ movemel~l of a Handel Concerto in which the warmth and steacll~less of Ius tone are apparent. The stylistic treatmen~ of th~ mUSIC sh?,:s a natural refinement. The quick movement IS dashing and spir-ited, but articulation of some passages is rather lacking in control. He is asked to read some music at sight. Has he had orchestral ex- AT NINE O'CLOCK ~n a Monday morning last July, some 400 does not consist of getting lesson in voi e r on one'! in..trument. perience? No. He has only been studying three and a half years. music students from all corners of the earth began a six It was Koussevitzkfs view that qualifi d y ung mu ida" :hould An oboe part of a Mendelssohn Symphony is placed before hi]~l. week session of -study at Tanglewood-a place-name which has come together for ensemble work of a l) I \\hich no prhate Rhythmically weak but tonally a good result. Another try at It. achieved more fame than any other musical center in our country. teacher or conservatory could offer. that Ir m the numerous This time much better rhythmically but as the passage goes along Tangiewood, with its literary associations going back for a cen~ur!, charnber-rnusic groups up through the larger horu... the opera the steadiness of tone is lost. How about a try at some Brahms? has now become a source of vital interest to students of mUSIC III productions and the student symphony or h tru, the) ung musi- The first reading is poor. A few moments to look at it and then Ankara. Rio de Janeiro, Tel-Aviv, and Los Angeles. At no time in cian at Tanglewood is constantly in a milieu which hi winter talent shines through again. A grasp of the style, good tone, some Americ~'s musical growing-up has a school accomplished so much study is not likely to afford him. The umm r work is, therefor difficult rhythms well achieved. . so quickly, nor have influences made themselves so apparent as in no sense a form of competition with private or conservatory In about ten minutes the auditors know whether this young those emanating from Tanglewood's Berkshire Music Center. study, but rather a pendant which broaden the future musieien's musician is likely to hold his own in a first-rate st~)dent orc.hes.\ra. The Berkshire Music Center, Serge Koussevitzky's name for horizon. Does he have the solid make- up for the first desk. Is he flexible (above) Charles Munch conducts a rehearsal of the student orchestra. the music school he founded in association with the Berkshire The Berkshire Music Center's five departments each in their enough? Is his mastery of the instrument up to followi~g a con- Festival, which had begun the Boston Symphony Orchestra summer way offer this type of rnusic-makinjr, D I artmcnt ne is the ductor's stick in an unfamiliar work? Can he learn quickly? Is (below) Leonard Bernstein conducting the student orchestra. concerts in the Berkshire Hills a few years earlier, has recently chamber music and orchestral clivi ion of the _ h he a weak talent well-taught or a fine talent poorl~-taughl? .Will completed its tenth anniversary session. 01. he be able to take part in a woodwind quintet working on Hinde- It may be interesting to share a behind-the-scene view of what An oboe student in Cleveland, let u say, ha heard of Tangle. wood and wants to come there to play in the or heetra. He "rites mith in the afternoon following a morning of orchestral rehearsal happens in order to get 400 students to begin their summer of of Beethoven and Stravinsky? musical experience on that Monday in early July. Work on the to Symphony Hall in Boston, where each mail Irom :\o\emher A few weeks later in Boston, having listened to several hundred 10th session began directly after the last concert of the Berkshire on brings queries and requests for acccptan . Application forms applicants in more than a dozen cities, their a~dition re~)orts bear- Festival more than a year ago. Soon after the 10,000 listeners' are sent along with word that an audili n ommillee £r011lthe ing the tale of talents high and low, the auditors beglll to weed applause had stopped reverberating in the great Shed, while the Berkshire Music Center will be in Clc\' land' \'crancc Hall out the unprepared as well as the too professional.. When. the ob~e Boston Symphony musicians were slowly packing their travel on April 17th from 1 to 4 o·clock. A the week go by oboi'" division is considered, it is done in collaboratIon WIth LOUIS trunks and crews began their usual after-concert cleaning-up of III Clucago, Ne.'" York. Tulsa and DaUa al 0 apply_ With one Speyer, the faculty member from the Boston Symphony Orches.tra Tanglewood's vast rolling lawns, the school's Faculty Board met of the letters WIll come a recommendation from a 1946 conduct. representing that instrument. Jt is necessary to choose five obOIsts in the Library for the last time that summer. This meeting of ing . student at Tanglewood that thi boy in an~as City is a -two of whom shall also play the English Horn-from the many Charles Munch who was to become the Music Center's director, ternfic talent and looks like a coming first oboe for any major who tried out, and also, of course, from those too far away to with Aaron Copland, Leonard Bernstein, Boris Goldovsky, William orchestra. ~everal former oboe studcnt ' applications al!O roll in have been able to travel to an audition city. Kroll, Hugh Ross, Richard Burgin, Thomas Perry, the executive towar.d spn~g an.d. a few European sludents apply as well. All things considered, the Cleveland oboe student is written secretary, and myself, consisted of a critical estimate of the school's GuIleless III Spint a?d armed with forms, audition reporlS and to, telling him that five oboes have been selected for Ta~?lewood work and a man by man platform of what ought to be done for lo~s of orchestral ~~SIC, .8 conunittee leaves Bo Lon in April for and that he is not among them, but that his talent and abilIty have the following summer's musical planning. a ew w~ks of audItIons lL1 an ar_ca bounded by Toronto, l Louis placed him on an alternate list and in the event that someone should It is ne'cessary to understand that music study. at Tanglewood aSnd Balllmore .. Duly on April 17th at 1 o'clock they are in everance Hall III Cleveland d . . drop out, etc. etc. Ten days later one of the accepted oboists writes an among vlOlinisls, sopranos, lruDt· that, delighted as he is to have been (Continued on Page SO) 16 ETUDE-FEBRUARY 19;) ETUDE-FEBRUARY 1953 h _ 17 l~------~~~~~- Car-l Czcrny Theodor Lcschetizkr \Villiam Mason Any layman, or any musician not ex- perienced in motion picture scoring must have wondered at one time or another how the movie composer-conductor, like Tiom- kin, goes about the technical operation of getting a score written and recorded. Briefly, the process in Tiomkin's case starts with his reading of the script. In this phase he begins to form his major Dimitri Tiomkin themes and to write out movements, some of which he knows he will never be able to perform for the sound track due to the inevitable cutting and editing that goes into the final film job. There is a second phase in which Tiom- kin specifically develops his themes, which must always be done broadly enough to permit for the pruning, padding, changes and so forth which are inevitable. After the picture is completed, Tiorukin makes a detailed study of it and of its timing, sometimes spending days running Whoare the World's Greatest Piano Teachers? scenes over and over in order to correlate the countless factors that go into the score. Using a stop-watch he then arranges his more-or-less final score, collects his musi- How would you evaluate the key board Back Stage with cians and assembles his orchestra, and after technicians of the past and present? Here's a rehearsing, records his sound track, syn- striking analysis based on a poll conducted chronizing it directly with the screening of The Film Music Composer the picture. This is an oversimplification, of course, by Doron K. Antrim (l1)'io I m·nli but it shows the main steps. Some of the Interesting highlights on the complicated details of this process are so complicated as to make ordinary symphony composing Among Clementi's numerous pupils were: HO ARE the great piano teachers of technical problems involved in producing seem comparatively simple. W all time? I submitted that question John Field, j ohn B. Cramer, Zeuner , Alex. background music /01' the screen For instance, that of writing the music KlengeJ, Ludwig Berger, B. A. Bertini, to a number of those qualified to pass so that it complements, or at least doesn't Meyerbeer, and 1. Moscheles. judgment. Each candidate to fame was conflict with, the speaking voices of the evaluated on these points: number of his But according to the judges, for his From an interview with Dimitri Tiomkin players. This is far from simple. As every- famous pupils, significance of new prin- Cradus ad Parnasszun, Clementi deserves a Secured by Dave A. Epstein one is aware, every human voice has its ciples and techniques to future generations, place in the piano teacher's Hall of Fame. own color, its harmonics and partials which extent to which he advanced the art of Grove says of this work, "That superb give it individuality. piano playing. After returns were in, the series of 100 studies, upon which to this REATiVE musicianship reaches its most work as well as in view of his staggering Tiomkin has found that in addition to list was narrowed down to ten names re- day the art of solid pianoforte playing C complex form and its most fantastical- productivity is Dimitri Ticmkin, who some- the timbre of the voice, the pitch of the ceiving the greatest number of votes and rests." The Grodus, containing exercises of ly technological expression in the compos- times averages as high as a picture a month, sp-eaking voice must be very carefully con- falling in chronological order. They are: his own and of other composers, is Clemen- ing and conducting of the musical scores a pace which most Hollywood composer- sidered and reckoned with in his scoring .. Muzio Clementi (1752-1832), John B. ti's blue-print for acquiring virtuosity on which accompany motion pictures. conductors consider killing. For reasons not even clear to the maestro Cramer (1771-1858), Frederick Wieck the new instrument. He also left a number In this unique field the practitioner must Total and thoroughly experienced musi- himself, some actors' voices are simply in- (1785-1873), Carl Czemy (1791-1857), of compositions and studies. His sonatinas Tobias l\lnlthay not only evoke all the artistry that goes cianship is only the starting point for the compatible with certain keys and instru- Frederic Chopin (1810-1849), Franz Liszt are still the backbone of beginning piano into any original composing, but he must screen composer-conductor. Tiomkin thus mentation. (1811-1886), Lndwig Deppe (1828-1890), students. Clementi was great as a virtuoso, also accomplish it within the physical re- came into the field with a very substantial This, needless to say, is entirely apart William Mason (1829-1908), Theodor teacher and composer. He might rightly be strictions of an enormously complex med- musical background, and has proceeded to from any singing the script may call for. Leschetizky (1830-1915), Tobias Matthay called the father of pianoforte playing. ium. amass a remarkable technical experience It concerns only the normal speaking voices (1858-1945) . john B. Cramer lived most of his life Even the opera, in which music must con- and ability in the some 20 years he has of the players, "",110 do their dialogue with- A striking family relationship is noted in London, where he enjoyed a world-wide form to the story-telling" to certain voice been a foremost figure in Hollywood's out ever hearing the musical accompani- here. Six in one big family influenced or reputation as pianist and teacher. He ranges and other factors, is simple to write mUSIC. ment. studied with one another; Clementi, Cra- studied with Clementi when 12 and 13, car- music for in comparison with the motion The technical problems of screen back- Tiomkin finds that certain stars' voices mer, Ceerny, Liszt, Mason, and Lesche- ried on many of his teacher's precepts and picture. ground music are, of course, profound. rule out dominant brasses, for instance, in tizky. The more independent off-shoots are: made his own contribution through melodi- There is only a comparative handful of Foremost among them is the split-second the background music. Other voices are Wieck, Chopin, Deppe, and Matthay. ous studies, chiefly the BUlow ed ition of composers who have the very special tal- timing with which the music must integrate incompatible with the low register clarinet. Taking them in order, Clementi was Filty Selected Studies. BUlow considered ents, the involved and advanced technical and accompany the camera's constant shift- and so forth. How does one determine these probably the first to see the amazing possi- these studies essential to a pianist's devel- skills, as well as the basic musical ability ing of scenes. facts? Tiomkin goes to the sets ancI listens bilities in a new instrument of orchestral opment and as preparation to the Gradlls. to qualify as screen composer-conductors. Obviously it isn't even that simple, be- to the players doing their lines. He talks dimensions, the pianoforte. In fact, his faith He saw in them an effort to advance the Few" too, have the dynamic energy fre- . cause the music cannot chop off abruptly to them conversationally, noting the pitch was such, he manufactured as well as taught art along with the continuing improvement quently necessary for shoving through the as the camera can. It must mold out, soften, and color of their voices. Sometimes he has the instrument. He lived through a most of the instrument and particularly in (ore- complex operation of getting screen music smooth out, and bridge over from one memorable period in the history of music. seeing the modern method of fingerinD" . the studio get him previous films in which hi h . . 0 In written, arranged, and recorded. scene to another, or from sequence to se- the players' voices are heard. Occasionally At his birth Handel was alive. Beethoven, w ~c. tr.ansposltIon can be made with equal Certainly one of the top composer-con- Schubert and Weber were distinguished facility into any key. quence, and yet stay abreast of the swiftly he has the director send him some daily ductors in the light of the quality of his shifting story. "rushes", or the (Continued on Page 60) conten!poraries. "E.D." writing (Continued on Page 20) 18 ETUDE-FEBRUARY 1953 19 .. ETUDE-FEBR['.4RY Ilil WHO ARE THE WORLD'S GREATEST PIANO TEACHERS? PIIlNIST'S PIlGE (Continued from Page IS) of He began teaching at thirteen, had technique, and the cull1lina~jon d unbounded enthusiasm, devotion to doubt influenced by Czerny making 1- to incite the student to want to practice, in Grove says: "Cramer? like Mo- all" piano studies- " 'IIus. w.ork IS de d use of his "scattered" or spread his work, and a puissant personality scheles after him, though not of the outed to Liszt's teacher, Czerny, an and then to show him how.) chords, chromatic thirds, alternating that fired his pupils. While in 81. first authority, must be considered heains where Czerny left off. one of the fathers of pianoforte play- of hands in octaves and others. To ." e much Petersburg, he heard all the singing To Ludwig Deppe we a1·• Adventures of COLORAOO countless students he outlined a rue- zreats Patti, Mario, and others and ing, and worthy of consultation at indebted for thorough gOlllg re- lodious way of learning the piano. ;tTOvC'to produce a piano tone like all times." search along lines of greater fr.ee- Nor was he merely a master of tech- a singing voice. Interpretation, ... From out in Colorado an astute, Frederick Wieck was one of the dom and a pplication of r~lax~,tJon nique. In referring to certain edi- rhythm and beautiful tone were his imaginative lady, whose students young, first teachers to make a thorough . I t "PIa)' with weight, he tions of his works of Bach and Scar- an d welg 1 • three essentials. "Technique is like old, beginner.s and advanced, give dozens analysis of the principles of piano id "D n't strike but let the finger playing, correlating and applying his latti Brahms said. "We cannot today sal. 0 1 b I money," he said, "only a means to of solo recitals every year, holds forth: , ' ." fall. At first the tone wil e ~ear. y findings in a practical way. "The estimate Czerny's value too highly. an end." He was vitally interested "At a recent mothers' meeting I passed out inaudible, but with practice It Will a Piano Teacher Philip Hale said, "For Czerny knows in the human side of his pupils. in hammer," he observed, "which by cain every day in power." He ob- cards and pencils and asked some questions. its stroke upon the strings, has pro- best of all how to expose clearly the life as well as art. "No life without jected to extreme lift.in.g. of ~he ,fin. You would have been surprised by the re- duced the sound, Ialls immediately. necessary and natural form founda- art-Ilo art without life." was his cere stifIness and r-i gj dit.y Jl1 any marks on the cards and the free discussion When the tone resounds, no more tions on which the structure of pi- motto. "It is a 1110 ..t beautiful thing forn~. One of his obsessions wa.s tone afterwards ... Question: What kind of re- sound is to be brought out of it with anoforte music rests. He also had to t a h," Ii sald, "for you lire and he demanded close Iistening of citals do you want? Answer: One hundred all of your trembling and quivering." the gift of leading the pupil step again in your teachlng." his students. He sou ght t Iie "bewuss~t" I get a laugh out of him by saying, 'We He laid down as his first principles: by step; and no detail in the art of per cent for the minimum ten memory In 18 S Ian hay gave up ceneen never see Aunt Susie's photograph sitting "the foundation of a firm touch," pianoforte playing escaped his ob- (conscious) tone. pieces for each student and the kind of solo Deppe did not play public~y. He work and tahlish d hi O\\'nplene- and "the bringing out of a fine Ie· servation." on a violin, so why should we set it upon recitals we've been having. (The children, devised a system which made n ~asy forte s ·hool in Louden with branehesis gato tone, with loose and quiet fin- "I have composed a study in my our cherished instrument'? The high point themselves, were indignant at any suggcs- and natural for people-not pa rucu- . ngland and otil r eoumrl .His ncted gers and a yielding, movable wrist," own manner." So wrote Chopin to comes when I open up the piano and let tion of a change.) larly gihed-to play the piano. pupil inulud M) ra Hes-, Irene and that the tone should he drawn his friend, Titus V/oyciechowski, in him see the insides. He learns apout tuning, "Ci fled people play by the grace of charT r. and Arthur lexandrr. "Question: Would you like group les· out, nut jarred out. November 1829 of his first etude. It voicing, dusting~every detail I can think Mattha)' I)rohahty did more Ihan sons? _ . 0 This was unanimously voted Wieck's teachings found their was an event of supreme importance God" he said. "but everybody could un)' otl1 r o( the Ii..t 10 place piano of; and I tell him that since it is now his to the piano playing wodd. Chopin mas~er the te~hnique of my sysl Ill." down. Many students had had previous completest realization in his daugh· playinK em a scientific ba~il\;. His instrument it is up to him to see that it' ter, Clara Schumann. Other notable deserves a place on this Jist, not Unfortunately he wrote no book or class piano experience and were unhappy cxhuu ti\'(~ DnAI "l'i of lhe princ:ipl has excellent care ... Then we begin 'blind because of his lessons or famous systeml and what we knuw .nbollt because of their slow progress. I told the pupils were Robert Schumann, von invoh cd in th in-Hum 01. in tone Biilow. Ant.on Krause, Fritz Spind. pupils, but alone for the Etudes, him has come largely from IllS pu· flying' games on black keys." mothers all that you and others had said prod uet iun. in m mal. mu ular Ind ler, ( Seiss, B. Rollfuss, and G. which opened up a new realm for pils, notabJe among them being for the group lessons and stressed the value aural corr IOlion. timulsled tbe Merkel. the pianist. In the first study of the Amy Fay. MINNESOTA of doing things together, hut I was out· th uglll (I( hi~ lime. lie "'8 a com· Czerny was another giant. He first hook, Chopin broke new ground \ViJliam 1\'lason is America's con- binuti(,n of j"nlific lJni~t and voted! studied with Beethoven and gained with his extended development of tribution to the list and WllS U . . . Here comes a serious, thoughtful phihuHhropi"-t wilh the aim of tbe By GUY MAIER "May I say that I raised my price again much from his association with broken chords, which had only been pioneer in Ihis country. He ~1Udi d lady from Minnesota: "Just had my new b aUlihJI in ",u ...ico lie in..jlOlcd that this year, but no one quit because of it." Clementi and Hummel. The imtruc- used sparingly by Clementi and wlder Moscheles, Haul>tmann. Ri h- batch of material from the National Guild t.er, Dreyshock and Liszt. His pupils x lit ion nd muc;;j go hand in t.ion he received from Beethoven was Hummel. In the second Study he pre- of Piano Teachers ... It's so much fun to t.he foundation of his own teaching. sents one of the Illasterpieces of include William H. Sherwood. Julie hun I btll 31~ ha",td the 11o",".when LOUISIANA· see familiar names in the news. But gee! "In the first lesson," he says, "Beth- technique, aiming at the equaHza. Rive-King and E. :M. Bowman. ta- "nd "'lor. II cmb<>dicd hi finding. it's a full time job just keeping up with the oven busied himself exclusively with tion and development of the third, son carried furward and extended in a numb'r (If book .. ~hic:h. if writ· THE AOVENTURERS Here's a sparkling lady from the deep the scales in all "keys. He showed me fourth and fifth fingers of the right the weight principle expounded by ten in tl III re direct and I ...dip~ Guild! While peTSu"ding my kids in that south, Louisiana: '~Well, I've arrived! 0 things that were t.hen unknown to band as regards their strength, flex- Deppe. He says: "The finger mu::ot ~i\ ~I 1 • mig)\( ha\ flttracled,o!la Piano teachers! Ladies and Gentlemen! direction, I must feel very secure in my Where? you ask ... Ha! Just had a won· most players: the true position' of ibility and independence. And thus fall upon the key rather than ;:,trike populuril) in \meri a. Want to be successful? Happy? Thrilled? own direction. During these last years it derfully successful pupils' recital. Several through all the Etudes, each one of it. At the moment of contact. which the hands and the fingers, and the Like U Ih m ... running. thr~u~b the ... Just step over here and join our grand was probably a mistake to try to absorb other teachers who were there made these use of the thumb. I learned the full which unlocks a technical seCI'et doesn't mean collision, the flllger lhe~ of Ihe I'n i..tht d elopment and glorious nation-wide procession of ad- all the suggestions made by those teaching- comments: 'You have such talented pupils' value of these rules only in later with such ingenuity and beauty that settles upon the key with a deter- (If beautiful lun' in Ih piana. Cle- venturers!! I hear you say, "How much teachers whose courses I have attended; .... 'All your students are so gifted' . _ . years. He was very part.icular about they constantly parade on the con· mined and resolute pressure. which menti -01 rod on 6n~er agility. will it set me back to join?" ... Not much! yet I needed to do it to discover that I had Talented, my eye! say I .... If these teach· the legato." We are also told of cert prognlllS of all pianists. These is, however, tempered by an imme- Cramer hr ugln to tit piano IIMt Just a bit of enthusiasm, personality, vital- to develop a way of my own. To try to be Czerny's course with Lis:tt, whom he master works are music first of all diate relaxation or yielding of the refinement und ddicac~_ ""hile meek ers only knew how much effort and care ity and imagination, a little business-sense, somebody else is sheer self-destruction; I ta ught a year and a half without re- und then studies. They were a monu- muscles throughout the arm-Del- ::oOuglll b 'outiful HInt. hOI)in.Dtppt goes into my work, they might understand had no idea how dangerous that could be. muneration and loved like a brother. ment to the new. sarte would call it 'devitalized;' the and ;\16-..:)0 01-.0 made tone their ~oal some musical know-how and a few other that the result was planned; that we worked He insisted on a "well exercised Although Liszt had countJcss pu- key is then held finnly_ but without and :\lotthu} dehed into ib prodoe' things ... that's all! .. 0 If you join us you I have to work out my own goal; then learn enthusiastically for a goal, so the music t.ouch and correct execut.ion in mod- pils, he was not a pedagogue in the stiffness or inflexibility." Mason did lion. will soon be at the top ... Here they come! to select or discard from the mass of mate- would come to life, 'say' something, and ern t.ime. He taught in his usual sys- true sense of the t\'ord. He taught much valuable work in paring down The IUtlj(,rit~ of th len lired 1IJI,1rt Watch them! Listen to them! Follow them! rial coming my way ... I know my pupils be projected to our audience. _ . The teach· tematic manner, artist.ic technique by inspiration, not by analysis. The unessentials. thun Iheir Bibljeal allotment 01 Don't he surprised if you find yourself like their lessons, and I'm always thinking ers at the event were surprised that e\'cn and correctness of rendering." lute Alexander Siloti, his pupil, has In the early eighties an unknown )·ear~. \t'ie-ck \\'8- 88. Cramer 8i. prancing along in this superdutious, mala· in terms of their needs and not my own young students could get up and play with Although a brilliant pianist, he said that unless a student under- young man came from his nutive )I.,lh.y 87. Le he,jzk 85. CI 20 ETUDE-FEBRUARY 1953 h.... _ £T D£-FEBRURI 19;J 21 ing and lowering of the tone from its res- the parts, play the melody alone and add onant center. (3) Some teachers consider some of the other parts the next time. Now" FOR MORE SMOOTHNESS QUESTIONS the throat or chin vibrato to be satisfactory, look at the notes again, close up the book, / have an already advanced student who TEACHER~S but the disadvantage of these types is that and try once more. " is working on Chopin's "Fanuuie-lmpromp- once the player adopts such a vibrato it is Often it helps to note the form or struc- tu:" She has no difficulty in the four against hard for him to avoid using it continuously, ture of the melody. Look at the notes, play three rhythm, but several passages-the so the vibrato comes to control the player the melody, and observe that some phrases initial one in the right hand especially- instead of vice-versa. I therefore strongly are alike, some are partly alike, and others cause her considerable trouble. Her fingers ROUNDTABLE AND advise you to develop a "pleasing" hand are entirely different. If measures 5-8 art: do not seem to be able to play quite smooth- vibrato, making certain that you start by just like measures 1-4 and you have mom- ly as it should be. During your Clinic at the making a pure, straight tone first, then orized the first four measures, then you can Minnesota Mnsic Teachers Association you moving the right hand slowly out and in, now play the first eight measures. Or if the mentioned a wa,y to overcolne snell. short- gradually increasing the speed of the move- second four are entirely different but meas- comings. Would you kindly repeat it? MAURICE DUl\IESNTL. Mus. Doc., ment until the tone pleases the ear. (4) To ures 9-12 are just like measures 1·4, then eliminate throat vibrato, relax the throat (Mrs.) H. V. D., Minneso!.a expla"ins a Chopin rhyt1lm: gives advice ANSWERS learn measures 5-8, and now you should he muscles and increase the diaphragm pres- able to play the first twelve measures from I am glad, indeed, of the opportunity to on better pianos (Inri ot lrer motrers. elaborate on this special point and text, for sure. A good way to practice this is to use memory. And so on. in view of the popularity of this number it just the mouthpiece alone, "buzzing" the The study of harmony and music form has been and continues to be a sort of night- moistened lips against the cup until a helps greatly in memorizing, and if you mare for the teachers. steady sound on a continuous pitch is pro- have time it would be wise for you to take Of course much of the trouble comes -should be obtained through the lateral piano, thi:- \\ ill c1ultulg(' the ) oUl!Jfultalcol duced. Follow this by practicing the produc- harmony as well as piano. Often a person is from the impatience of the students who motion of the wrist acting as a support. of cifted pupi!s. of Len irrcrn din!>I). What tion of long, steady tones on the entire helped by what is called "kinesthetic mem- want to play the piece before practicing it The above is only one example of wh.at is a~ stake ie their wcl far and their future. instrument. When a straight, pure, die- ory." This means merely that the feeling sufficiently. Too fast too soon, as usual" and might be called intelligent, reasoned, fruit- No parents could remoln ineeru ible to such phragm-supported tone has been achieved, of the hands as one plays the piece is mem- probably too Joud as well. This being said, ful practice .. It is not a short cut, for th~re a rmuucn tnt i011. the hand vibrato may be safely added. orized, so that if one closes the eyes and let's deal with the problem as it should be is rio easy road to better pla.ying, but w.lth As for your other questions, I can only "plays" the piece on the edge of a table approached by all serious, earnest pupils. application and patience it will surel y bnng PRANKSTER BERLIOZ reply that I am glad you like music so instead of on the keyboard, or perhaps IH'CIl well, but that I agree at least partly with First of aJi the right hand should be prac- the desired result. There have quite n fe'\ prnlll~ler~ "feels" over the keyboard without actually ticed separately, using different rhythms in the \\ oriel (If mu ..lr-. and if jV\ inI, rotund. your parents about your other school work. sounding the tones, the memorizing process truculent Emmanuel habrier could proba- Perhaps you could get school credit for and very slowly. \\Then you think you are FOR BETTER PIANOS is helped by this experience. playing slowly ... play more slowly still! Of course you all know this problem ... bly la) a claim to the crown. he wa- Iol- your music, thus enabling you to drop one Since you say you are willing to work The following rhythms are only examples; How is it possible to convince parents that lowed closely h Ii rliu/,. who ..c uti-chievous of the other subjects. But if this is impos- hard, perhaps you will try all these devices, lllany others can be invented along the same the time to buy a good piano is now, when di position \\ [h IICH" reluctant ro piny a sible, I advise you to compromise by (l) and even though you may not be as good practicing intensively for only about an lines: the child begins to study, and not in a few p-act! al joke. The folleH\ ins; anecdote \\8 Conducted by KARL W. GEHRKENS, at it as some others, yet you will certainly told t Isidor I hilipp b t phen Ilclter: hour a day; (2) keeping up your other sub- Ex.1 years. You certainly brought up the sub- Music Editor, Webster' s New International improve over your present entire inability One day all obs 'ur piollo t arher eDUet! jects so that your grades may average at to memorize. I might add that if you can't r·,li i,-"i ject and received the usual answer: "When Dictionary, assisted by Prof. Robert A. ,-"fin n Iffrl f hirdcwan am to ec Bcrli z. who be~ide5 least a "B"! K. G. memorize piano pieces, it might be worth- our little girl gets to play real well we will Melcher, Oberlin College Next comes the transposition. Its purpose buy her a fine new piano. Tn the meantime_ his musical RC'ti\'ili ... \\8 ill char{tt' f lhe while for you to try to memorize the mel· is to change the position of fingers and the one we have can do." critic ill I!w '-Journal d Orba~:l, hirtle· THfS LAOY HAS TROUBlE MEMORfZING odies of hymn tunes, singing the melody THE VIBRATO IN hand, thus increasing the difficulty con- Unfortunately, the one they havc is onc wan hact \\ rillen n pian melhod. llnd he from memory, then playing it, and perhaps BRASS·WINO INSTRUMENTS I am 36 years old and have talcenpiano siderably through the maintenance of the of those bulky contraptions almost six feet wanted the gr at m3n to ghe it tI f.worable finally studying the music in the hymn book original fingering: high, full of carved ornamel1t~, of the type notice ill his nC:'\\::"pop<'r. for only six months. I like it very much but and tJ;'ying to reproduce it all from memory. I om a boy 0/ fi/!.een and I play firs!. I have great trouble memorizing a piece. Ex.2 ",' 2 <.) , r, one can get in Furniture Outlets for five or A fler lllUe-1t coa~ing I erli I agreed. hUI K. G. cornet in our high school band. I love mu- Perhaps I am going at it the wrong way and ten dollars and sometimes just for the on one condition: Ihat til author·leacher WHAT ARE ACAOEMIC CREOITS' sic better than anything else, bnt I have to I should like to have some suggestions from ~d;iWr.~ cartage to take it off the floor. The action would fjr~t l:on~cnt to gi\c ..ix frcc I - 8S study by myself because teachers of wind you. Please tell me exactly what is meant by (.) 5 a " is pounded out, the tone is tin-panny, the to a ra\\ ) oung pupil he would, lid hint. the expression "academic credits" as used instruments are scarce around here. My -Mrs. G. DM., Massachusetts pedal is temperamental, and I ask: how whose progre~ \\ uld determine "hal he. ~WI1=fi=t'ft4 parents want me to practice less and put in m.any conservatories and schools of mu· can anyone in the early grades watch the Berlioz. would write ab ut the method. sic, especially those that are cOl/fleetedwith more time on my schoolwork and thus make People vary greatly in their ability to Then let's apply the different rhythms to even-ness of the C major scale? How is it ShirdewRn \\33 elat d: ju ..t think of bein~ a regular college. - H. S. better grades. What do you snggest that I the above, and let's not limit ourselves to possible to strengthen the fingers without memorize. Some have only to playa piece publici) praised b) a Berlioz. in the fore· do ahant this, and how much do you think the keys of C minor and E minor. Instead, the help, or more, the real coopcrntion of through a few times, or perhaps merely to The term "academic" as defined by Web- most new~pap('r in Frum'e! I ought to study? Also, I am having trouble let's look for some more as awkward and an adequate instrmllent? hear it played, and after that they can do ster means "literary, classical, or iiberal, Althoug'h Tht~odon' Hitler was al that about vibratos. 1 had just gotten my' chin difficult as possible. it from memory. Other people find that rather than technic~l or pt:ofessiona(" and When the parents are artistically inclined time onl) t(,11 )('ar~ old. he \\a~ alrt'ad~a Finally after smoothness has been con- vibrato stopped when another vibrato after they have practiced a piece for some- it is in this sense that the term "academic there will be no trouble. But these are in fine piani~t cndowC'd \\ ith e't'cpliollal intel· quered and both hands have joined together started in my throat. What shall 1 do? time so they can now play it, they can do it credits" is used in music schools. Tn other the minority, and for the others much dis- ligence. Berlioz ~("nt for him and told him satisfactorilv. we can still secure more ease -H. F., North Carolina quite as easily without notes as with. Still words, academic credits are earned by cretion and tact must be used if the teacher to....go und lakt· the ~i'( 1c...... '-OIlS: during the and flexibility through inverting hand po- is not going to appear in the light of a others are never sure no matter how long studying English literature and composi- fi rsl five he would gel alon" wilh lhf' ~reat· I do not happen to have a playing knowl- sitions not only in the original key but also smooth salesman mostly interested in per- they practice at a composition. tion, history, science, mathematicsl-or any est diffiC'ulty. and 011 the ~i,th he would edge of the cornet, but I have a friend who in transpositions -(left hand over, then un- sonal gain. A good approach is to call the Since you are evidently one of the people other subject that is not directly connected show the 1f"35t ~it~n of pro"~r~. Thereaher is an expert in aU such matters, so I have der) : attention to the difference ill the quality who have difficulty in memorizing I advise with achieving greater knowledge, skill, or teacher and ~tudcnt would come to Berliol asked Professor Arthur L. Williams about of the child's performance at homc~ or on you to try to combine all the different understanding in the field of Illusic itself. for the IC,l of th metbod.·· Ind then:· your problem, and he gives you the fol- a fine grand when the recital takes place. methods. Try closing your eyes and sing- -K.G. Berlioz ilU:tructed the bo' .•• 'OU pulllUeout lowing advice: (l) Learn first to play with Even untrained ears can hear this. A little ing the melody of the piece without playing one of tho:,(' g-ralJd fanla5.i~ wiul 5Cal~. an absolutely straight, even- tone. This will diplomacy will do the rest, and with many at all; now try to remember how the music Communications for this department arpeggios. oclaves, somelhil1 with all the necessitate breath control supported by the ~ excellent used pianos on the markct~ avail~ looked on the page. If you can't remember, should be sent to Bryn Mawr in care of frills and furbelow~ you pianisls t!e1ighl in:' diaphragm. (2) In the case of lyric pas- ~ able under the long term installment system then look at the page again, play the piece Etude. Questions should not be too long. So it came lo pass. lo the )tephi~'ophf"- sages a slight vibrato is indicated, and most nor should they involve either the recom- And one final important point: all the recently re-instated~ difficulties of a finan~ through, close your eyes, try to see the page lian glee of Berlioz and to Lbe uUer ron- authorities believe that the safest form of mendation of specific materials nor the above should be practiced at different levels cial nature should seldoril stand in the way. in your inner eye. Sing it again-without sternalion of poor hirdewan who lUrlled vibrato is the one produced by a movement solving of too intricate problems of per- on the keyboard, never allowing the body Let it not be forgotten that while a sea- looking at the page at all; now try playing pale before the mira Ie. But he got his 3 22 ETUDE-FEBRUARY 1953 b.... _ ETUDE-FEBRL" 4RY /9» 23 VIOLINIST'S FORUItI Small Pipe Organs Can Be Effective Comparative DiJIiculty of Solos and Studies nervous, with the result that the technique ... When I was studying, my teacher would gave way in a number of places and the in- not allow me to nse a shoulder rest of any herent quality of the music was entirely lost sort, al1.hough I felt 1 needed one and had What about the new small pipe sight of. Undouhtedly she had played the to push my shoulder wa.y up to hold the work creditably at her lessons ; otherwise violin firmly. Since J stopped studying J her teacher would never have allowed her have used (f cushion and J certainly play organ? Is it satisfactory [rom a to play it in a recital. But she just did not more easily .... Aly teacher was an old man have enough reserve of technique to give a and was perhaps behind the times; so I practical standpoint? Here are creditable performance while under the should like to know what a modern teacher nervous strain of playing from memory for like you,rself thinks about the question .... " an audience. As for musical understanding, -N. A. F., Ohio interesting and informative facts that would probably have been absent in any case: she could not at her age appre- For mauy years there has been a sharp ciate the musical content of the composi- difference of opinion on this subject among concerning these new instru- tion. violin teachers. Most of the older ones. Leo- by HAROLD BERKLEY In choosing solos for public performance, pold Auer among them, condemned the use the question of musical understanding must of any sort of pad; many later teachers, melds. be considered at least as carefully as that of . including Carl Flesch, advised its use "when " .. Would )'ou mind settling a question. technical ability. It is a mistake to assign necessary." Those opposed to the pad used which has been bothering me and some oj a solo that is beyond the student's mental as their chief argument the [act that it acts my friends Jar quite a time? ... This is the and emotional grasp. The result will be un- as a damper on the tone of the instrument. by ALEXANDER McCURDY question: should the pieces a suulens pre- satisfactory not only from the point of view This is certainly true-if the pad is in con- pares for performance be easier or more of the audience but also, and this is more tact with any part of the violin's vibrating difficult than the technical material he is important, from that of the student himself. surface. But in the last twenty years or 'SOME TIME AGO we promised that we supply of ai r, the electric console replacing builder' skill. To find a omhinntion thai studying. Some of us think that the pieces Most youngsters are sensitive, and are more a number of different models of shoul- would have another article on recent the old tracker action, the development 0'£ will adh r tonally, forming II cohe-ive en- should be easier, so that the student can quick to realize it when they are struggling developments in the field of small pipe new metal alloys potentially usable in organ . emble, has alwny b n the problem in take them in his stride and not have to del' rest have been put on the market, none organs. pipes, all have radically transformed the with something beyond their comprehen- of which touch a "Eve" part of the violin. building small r in trurn 111~.Whell played spend 1.00 much time on them. Others think sion. If, at the same time, they have trouble Therefore the old argument loses its force. For some months I have been watching instrument Bach knew and have opened softly, the litt! oraan with three or Iour the pieces should be harder, so that they with the technique, tears are likely to be the carefully the smaller instruments which the the way for developments undreamed-of sets of pipe uld sound vcrr pretty; but present a challenge to the pupl:l and so make It may well be that the older teachers and result. A successful public performance is a writers envisaged a "pad" as a cushion that major organ builders have been sending by earlier builders. their t ne was ah g th r illude lunt in a him work IltOreconstructively. What do you tremendous boost to a student's morale: he out of their factories. Two which seem to An in-between point of view is that ex- crescendo or u rained forte p .....age. think? ... " was in constant contact with the back of the me outstanding are the small two-manual looks forward to the next occasion with re- instrument, and could not imagine a shoul- perimentation is all very. well, bu t that For thi standard pr hi III )Ir. White -JIIlrs. J. L. B., Wisconsin newed anticipation and greater confidence. model produced by Rieger, and an even certain modern trends in organ-building, has found. in th small instrument devel- der rest that was more scientifically con- smaller instrument developed by Ernest Of course, the most careful choice of solos structed. But not all of the older teachers notably the clarified ensemble idea, have oped for Moller, an unorthodox solution. First oj all, my best thanks for the com- ,,\Vhite for the Moller Company of Hagers- wiII not guarantee a finished performance were against the use of a pad. Baillot, writ- gone too far and we had better get back He has used pipe which l11an)' organ build- plimentimplied in asking me to "settle" town, Maryland. every time-nervousness can play unkind ing about 1827, and David, writing some to the middle of the road with butter. ers would not dream of using. and in some this question. It is a question that thought. Mr. White built a special organ (as il- tricks on even the best prepared of students twentv- five years later, both accepted the smooth solo stops ana ensembles which of them has developed harmonics which ful teachers have asked themselves for many lustrated herewith) for the American Guild -but it will cut down very considerably fact that a pad might be necessary in cer- blend like. a barbershop quartet. would make most build rs shudder. years, and one man's opinion is not likely of Organists convention in San Francisco the embarrassment that so often follows a tain circumstances. At the opposite extreme, builders assert That Mr. White know what he is doing to settle it to the satisfaction of all con- last summer. When the new instrument was student recital. IVIy own opinion is that a pad of some that the organ as now constituted has is shown by the result. 1ll0lllcnt"s reOee· cerned. displayed there, it evoked violent discussion The foregoing thoughts should not be sort-preferably one of the modern types reached its highest attainable point of de- tion will persuade u that seemingl) il is But I do happen to have a definite opin- pro and con. Practically no one was neutral. taken to imply that a pupil should never be that do !lot touch the back of the violin-is velopment; and that further progress in out of the question to achic,·c \Briety \\;th ion On the subject: A solo being prepared Everyone who heard the new instrument assigned a solo that is within his reach but a necessity {or any player whose neck is of tone and ensemble will come through elec- only three sets of pipes. hut rolr. "-hite has for performance should be somewhat easier thought either that its tone was superb, or tronic (Baldwin, Connsonata, Wurlitzer. beyond his grasp. Every so often such a average length or longer, or who has slop. achieved it with exactly Ulat Humber-. Tran· than the general technical material being that it was inexcusable. etc.) and electric (Hammond) organs. solo should be given to him: it will stretch ing shoulders. I think, further, that nearly scending the limitation of the small instru· studied. If you .are invited. with others, to It is odd that these vehement differences This may well be true. That remarkable hjs technical capacities and widen his mu- every woman violinist needs a shoulder rest, ment, which is usuall . contrapuntal mu:;ic. hear a stud~nt play, you I;ave the right to of opinion should exist; but th~y do. What achievements have been made in the field. sical horizon. But there should be no simply because her thin dress does not give he ha created SLOp which maintain their expect that his performance will be reason- is more, it is likely that they always have no one can deny; and we shall look fa; thought of a public performance in the her the support that the lapel of a man's individuality. yet go well together. The ably well finished. If he plays, let us say, existed. Those whose memories go back still greater things from electronics. lVIean. near future. The student should endeavor coat gives to him. hrightIy,voicC"d stops, with plenty of upper the first movement of the Mozart A major twenty years or more need only recall the "'.hile, fine work is still being done with to master the technical problems, the teach- You mention pushing up your left shoul- partial5~ are effective singly and in com· Concerto when his perfonning ability is fi rst furore over the clarified ensemble to pIpes. er should do all he can to inculcate an un· der. This is a bad habit, for sooner or later bination. equal only to the Accolay Concerto, he will realize that at no given time is the entire derstanding of the musical problems; then, The point about the new small instru- undoubtedly stumble through it, wrestling it nearly a-Iways causes a stiffening of the organ world likely to agree on what is the To hear these in"trumenl5 at their ~l. when progress on it begins to slow down, ments being built by Moller and Rieger is with the technique, and giving small at· left-hand technique. It may be taken as most desirable organ tone. One should not listen to them in a ~mall it should be put away and forgotten for that they offer a stimulating compromjse tenlion to its musical values. I think you axiomatic that any player who has to hunch Even builders hold widely divergent studio or a room which is. acou:;tically three or four months. When it is taken up solution to the problem of making a little would rather hear him play the Accolay. It his shoulder upward needs a shoulder rest, views. At one extreme is the builder who speaking. "dead. n The proof of their :;uc· again, a few weeks of careful work will organ sound like a big one. Basically. the always pays to be considerate of the audi- a rest-again let me emphasize it-that maintains that we have hardly scratched cess in matching Ule quaJjties of larger probably make it ready for performance. problem is simple. It can't be done. To ence. even in a student recital. does not touch a vibratillg surface. the surface of the instrument's tonal po- organs is that they need an open ~paee with cut down his specifications without sacri- N~t very long ago I heard a 13·year·olcl tentialities. He points out that such innova· room to speak out. The organ is after all Is a Shoulder Pad Practical? ficing the ensemble entirely is aU that a girl, a youngster of rather more than aver- llints Oil Octave Playing tions as the power.operated wind chest not an intimate Challlber music instrument. bujlder can hope for, and the success with age talent, play the G major Romance of ~'What is your opinion in the controversy with its dependable and non-fluctuating At least a partial explanation of its pre· "In the October 1952 issue of ETUDE, which this is done is the measure of the Deethoven-and very poorly. She was of a shoulder pad versus no shoulder pad? eminence in the (Continued on Page 51) A. L. H, 0/ Cali· (Continued on Page 52) 24 ETC'DE-FEBRUARY 19;) ETUDE-FEBRUARY 1953 25 ~...._------UR FIRST KNOWLEDGE that our During his tenth year we lived in t~e Sellinger's Round . country near a shipping center for frmts O son Hal was a slow-learning boy, During the height of the Renaissance, England gave the world several composers who have come into' their own again in our times.Among and vegetables in the Lower ~io. Grande came one crisp December morning some themwas William Byrd, a choral and instrumental composer of remarkable power and skill. Here is an old English country' dance, said Valley. The packing shed was within wal~- W hat one mother 30 years ago. His kindergarten teacher, to be a favorite of Queen Elizabcth's,especially harmonized for her by Byrd.Grade 4. ing distance. It was there after my day s 'WILLIAM BYRD head of the laboratory school in a Teacher ® (1543?·1623J work was done (my husband had died Training College in the mid-west, invited did with music to Allegro my husband and me to visit her class. Hal when Hal was 5, and I was supporting our 3'- :10 ~ ~ iii 2 -. 2 had pleased us with gay descriptions of his two sons and myself) that we watched the r-. help her mentally 0 0 0 playmates, had recited verbatim verses and refrigerator cars being iced and loaded. ------. 0 To our amazement Hal recognized some 0 . songs they had been taught. Eagerly, hap- r:- 0 •• •• o pily expecting to be told he would soon be of the different railroad systems repre- retarded son to become • ~ sented. The next step was easy. "While he mf r 1::':- promoted, we entered his room. PIANO " had been unable to learn the word lists at . During the first part of the schedule we . J/ ~ h J -'" I ::l t-; ::l j/ a useful member of societ». 0 0 2\ any of his schools, we found that if even . 0 . . noticed he took 110 part except to sing. Then 0 . I 0 :J 0 . =J . 1 <,__ I 1~1 17 I~ I 1 r- 2 P ~ 2 MIRACLE IN MUSIC 4 4 4 3 o by 2;;;;; 34 3 Ii , ~, ...-,. I r .. I "r VIRGINIA PULLlA 1 0 he crossed the room to the windows and one or two of the leltersin the railroad M VICKER 0 0 . 0 systems happened to be a-b-c-d-c-f-g- and 0 . • stood watching the streetcars and buses 0 arrive and leave at the opposite side of the we located them on chart and piano key- I .. -It I - board, the miracle of music-spelling and For Hal I brought hom .11 the lime j0..I J I • I .~. <, campus. I' t V tables, Marine Ex ·hange sheet and official P At recess his teacher told us Hal had perfect reading actually happened. Railway Guides lull b g r borrow. been given a thorough test by a staff psy- Long, apparently difficult words such . ~ I- I- ., as: Lackawanna, Lf a ) (c)k(a)w(a)nn(a), These wer his s hoolbooks. We gave away . J.1 ::l ::l ::l chologist. That his I.Q. was quite low ..• 0 . . all hi textbooks gladly. Next we translated . - =J: . . "" Pacific, P(a) (c)i(f)i(c), Eric, (E)ri(e), - - he must be removed ... there were other - . into Spanish each new word ad led to his . 0 0 children on the waiting list other tax- these and all other words related to ship- o vocabulary, all I when we located them Of 1./ 1 I I I payers to be considered nothing at ping were spelled and sung with much en- -' 3 i- possible) in both panish and English s r home could be done to help him ... thusiasm and were easily memorized. Next Thanking her we started to leave, but morning before leaving for my work, Hal newspapers, we undersc red each word found I could not move from my chair. Too asked to spell them to us, exactly as his with pencil. 2 1\ I 5 t 3~ stunned to speak or to move, it was as brother did his own home work! We How hi broken pirit soared with the though we stood at the edge of a bottom- thanked God fervently, devoutly, and use of Span i h! The simplest and surely ______ I fI. .. ~ 'i' ~ ... ..-- '$i' -s: ~-.:-,....~ ~ PIANO p I~ p f f p f p .- e • b.. . • b...... - .. 'ir tr ,--;; ,~ 13 q... ~... 23 .. .::--... ~ f I ~ I 3 t :t t 'ir I ------p-===== f f ---_..._----~ 3 p f p :: f ------_.-/ 'ir 'ir " I r-: ~~~tt~ -<; . - . ------.- p ~ ~ f I~ .r '-- P - - f;j~... ,-. ,..fI.._-.... ~ ~L. _.--.. --=.----- ~ I. I CFrom "18th. Century Italian Keyboard Music"' arranged an d edlted. by Gian F ~ .. n I 2;py ght 1929 by Theodore Presser Co. rancesco Malipiero.[410.41023] ETUDE-FEBRUARY 1953 ~ _ ETUDE.FEBRUARYBritish Copyright Secured1953 29 1 f ~------. -----~ .P p .P f .P f f f ====~r.P ~ ...-=--.. ~ . '.fl '.fl ~ I ...... -.- ~ ...... - ...... '.fl Iii_ f...... - -- ...... f P f .P -'"" P--- -- .P I f f I .. -,j -,j .. -,j f. :: ~ ~ :;t ~ ~ ~- J•. I ...... ------.. =1= -z- ~ m = --.. .----.... ~ - .r '<, f. .~-- .t::::I:::I '---" ...... ~ "-.= '---" f P == f .P /" p== ~.'--" I~ , I • r ~.fl...... :"fI-,.1I- ••• _. .----- ~~ • --::-..- --... If. f f .P --- - <, - ...... - ~~~=~ I ~ ;;fI- • .fl • .fl .fI- •.•. .. .1=------a ~fI- .-1'" ~.fl ~ . - f . f. p . q~ P f f I . : - '-' ~ -- -- ...... ~ I .". - '. .fl .fl - - !"".. - '---" f f II P ",' .~ ;~l1f-' ...... U ....- ....-- - - ;~ --- , , . -- . c:::- =__ r:::-- ~ c:;Iii""" ~ ~ ~ . 30 ETUDE.FEBRUARY 1953 eTUDE .FEBRUARY 1953 31 ~ ...... _------s atempo 4 Valse '4 No. 110-04045 (posthumous) :>~f ~~ 1/3 )...<, >, 3 t I • -: ~~! Th~ moods of this wa!tz range from tender melancholy to lighthearted.,ess to dramatic feeli~g. To inte~pret these kaleidoscopic . emot Icna l c-hanges re qurres the utmost attention and sensitivity to the character of the melodiC, harmonIc, and rhythmic ideas. I "- , p.69,No.l rit. 3 oresc: -L (Turn to page 3 for a biographical sketch.) Grade 5. FREDERICK CHOPIN 0 ['i 7- : :::=-- == :::=-- poco ma1'lJato con~~zaJ Lento (J : 138) 5 Ib .... ~ ~ ~. ~~Jl },!.l J l!J, J ~~J~ uJJ 1-~ e 3 3 ~ 0 - i 2 4 " s iL--=------~ 3 5 3 0 . . 2 . ______'5 5 4 '5 • = '---'" ."----- peon espressione poco maroato con grazia PIANO legg. I .. t 5~ ~ 212 123 12 3' " ~ 3 _ % 14 II.. ..:. 2 • f\ I , ::,- 21 % -,-- " 5 5~~ :1 • • -..; :::==- -.L t "" p >- f I • 5 5 - ==s:- 5 3 3 2 f I • t I 2 ~ 3 3 t ~ 1..1- ~i:Iz:J )l.llk.! t 3 o I a. fI. ~ 3 • •• ~ ..t i ~~1~t·zi " " " " 0 :::::::::'T5 ~ • 5 5 5------, ! , ~ I • ---- dolce 4 a % 5 5 . 5 5 . 5 5 11.- liz z 3 --...... 3 4~ .;;...... ,.~ I ~ 3 %::: 3 ...... , ~ f\ I • 3 2 . i 5 5 5 • " • 5 · 2 .../ I,*T' 3 , a tempo 5 ~~ .~ S .~.I V 3 .. -=::: 3 I . I ~ 3 3 3 Z - It -== ~ ~ 1- 2 3 ~ " p -== r rtn ~~t7. .. ,;.. ~ ,/ -- ...J ~ · . '-' p S " t % t ~ -.../ 4 " ... ~ ... t , ! I I ~ I , , • L--....I 5 ~ 4 % % ~ __~I 3 ?'\5 5 2 5.~ ~ 5 5 Z 3 3 3 33' .~'.-.1 3 5 ~ I • ...;- 3 ~-';I t • I l.-.-I i .~ legg. ------1231234. I ~ I 5 ~ 2 I 2 3 3 % t 4 3 i~1 ~ 3 I~ 1 --=:: 3 3 2 2 4 3 ~ 3 .t 3 I~ I 3 I~ -== i'- " _~I L ~~J; F1f:> - :> t .-!..iup . /' / " " P .-::::: - - - ~ ...... I I I , I L--J 4 5 5 ~ 4 4 5 5 3 ,0 2 '1 3 ' '1 %1""\ "I 3 I %,..., 'I 3 i %r1 .:-1 3ri L-J I ~5"~3 - 3 1 %- 1 1 "IJ? 5 i • con anima • U ~ 2"", z"'" I I ~~ ! 0&1- II 1 ,I t. ~, -== 3 11- 1- T 1- :> orrr :> >- i=rr F poco a ~ ~ poco cresco , ,- ': .' ,;;. ~ ~tOJ. ~~ m{]o ~ . - " > ;. 3- ~~ J ~~ J ------I I ..., I l-l ---~ 45 ,5 5' -. --- 5 % ," -.; 4:~.'t 5~5 % 5 5 ~ " ..• 1:\4-:-"'-1 3 1 ~ ~ ~ ~ ~ 5 " J] r:l " I "'" %~ ~ I I 3 I .... I --=:: 3 ,,-,1 -=: 3 I~' t f>- 3 I-~ sf -d::~r -== F-~ t ~~>-r >-r P . ~~ dolce:> : - ,.j ....J e~ 1:\ 1 r::-- - .d. > J. - 4f .. "*!" .. ,5 ~ ------, .-J 32 I 1 ETUDE. FEBRUARY 1953 33 ETUDE. FEBRUARY /951 ~ • 5 r: 4 ~ ~4 3~ 4----=--'J 4 jj r-; r-: 4 3 1 ____ 1""'1 • ;.. r,.., 4~ ~~~I .~. I -'1 3 'I 3 N ] ~rr; I %1""'1 '1""'1 J 1\ 1 1 1 :1 'I i1 '1'1' i1 . II ..' ' •• t ~ , LY ~ I 1-5'" -.....- 1-...:---- I" ..../ ./1 I, "1, ~ II l I~ 1 ';" f> if- J~ It =:...-IJ, fJ;.....<, .. '-.-' I"f r·-,' > cresco '~ ~ ';' do1c6 <:: ". poco> a poco '-,_, , , ..;.,.,- .;,..a- ~~ Eo F- r,.., i~mf /...... ~ > 9---- , :- n ~~ ~ :f 6- ~.,; , -- -' ~d .------ I ' ----.::;:.:::0 I ~ . I 45 % 45 ~ 5 % a ~5 5 2 % 5 4 5 1'1 r. - 3 13 3 3 ! ~3 <: 3 ~3 ~ <, 5 _. -r-. ~ ~ L I 2": I. 31 ..... 2 t ~.~ ~ , II ----- ~ 3 I .... .9 I~ , I'" I 3 I -=: 1/ I"" I - '-= '- I I...... 1: -= ~~t 1= r 1= r m.f Ie • :::=-- / I. , / n mp espressioo ~: " '. /l r:» J-:j .... I , .. ~ I , , I I I I , I I , , , - ... I I p 0 7luz:;roa.::=.t,,-o__ II I % I 5______- 3 ~ 3 4 3 % 1 ., --- I ~ £1 -I.--- I , ~ .~~ 5J---tj 51.- 5J 5~%1 J------,J ~ 3 -..- '-f!... '-----' I 1- .fP : -/ <::::- "'/' ..I. = : ·1 3 % 1- -=-f '-.. ~ 1-J ..J f e 'iz 3 ,,- - · . ~J !l~ !~...~ IJ~ ~fJJ (II- .... --=::f . -- I .. I) t-_ - I I · . - ./ ~ J J I.:J J ! J • .l. 4 _____ . . u-' '. ) ___ 4 .. . 5 ~ ______'5 s--- ~ , 5 - I , L--J , , I , '% I I 5 I n I %' 3 4 - % 1 4 21 b,~"H-t- f-- .> 4 - 3 • 5 5 a tempo t 5 ::::::::--.- ~ ~ -.. ~~ @) ~ ~ ..... p =s=- > f ,J!.. :~ .9 '1;"it / ~ ===- ~ -J..l tlt:.t l 1,.1- ..L-- ~I.J;:J l..Jfl )-JJ dolo6 PfII- t ...- · . . . ~ · . . . • IJ p dolce - 4"----"".. '5 5 1t" I J J ,5 4 ~ __ 05- -=----'5 I I I , _ ~'9- ...... 05- ...... -e-' --6>- ...... -.9 ...... -61" No. 110-40202 Grade 3, I)anse Antique a tempo Allegro grazioso (d = 80) GRANVILLE E GLISH r-. , , ~ r; , ~ "'5'- r;-5' ------...... II J.I 3,. I 3 %' t t t 3 t 4..--.3 % 3 ;; 1 I , r-; %<0' , l ~ ~ ~ III ....//·I-..!, .'" ~ _v . -- ) "I. fJ...... --- PIANO L.H.lU,1 ---.--- poco rit.;' '-', iJ.....:-- f\J··....-...... -~ IT' -./ .'1. j. .,/ :g mf leggiero .6: ...... ~. ~v /mf .;;;. ;;-...~ .--...... "- ~9- ';--- ? ;;-...... L.H. "r r....-.... --- : :::---- '-"' ':u- ~~ I 1 t ..,.-~ .g 3 '5 I 3 5 1 Piu mosso J.I 3 t .2 4 3 1 5 "..., ;"7 5 • % 1 5 1 1 • -,._13~ 4 I ~---. , , ,.- I~ ~. J~ J.J' I 1...... ---.. I~ - - ~ ;J~~ ~ t' '6__....._'l:: . /:11- r;j ~d~..l .i ~ ~ ..} '- Ip ,--' ,--" '----,IJ. f~==t= ~d ~ 1 J.I.;, ,., r;j u ppoco rall. ~d~.J legg~ero e strin,gendo pp _f:\ t ~~ .J-j l 5 I 3 - 5 4 5 4 4 3 Copyright 1952 by Theodore Presser Co. 4 34 International Copyright secured ETUDE.FEBRUARY 1953 35 b.... -::=_ ETUDE-FEBRUARY 1953 -....s_-~------"!l, No. 110-40210 Sunrise at Sea Grade3~. Grade 3;-2' WoeJs.Me , ! ~ • (Tenor solo from'Jephthah"> Andantino (J : 80) GIACOMO CARIS SIMI Arr. by Hellry Leoine =-~.:...:..:...:..-_---:---... Andante doloroso (J -72) I • 5, .~ I 1'"-.-- "- 4 ~ ~...... ~ = ...-::.-:----- ...:;;;--.. ------. -. . ~ [I !'j- r;:- r;J ~1 poco cresco I ll1p 'f nip PIANO ~j~~~IP~'P~s~eimiP~r~el~eg.~"~t~o~~~~~m~'P~~~~~~~i~~~~i~~~~~~~~~~~~~ . - 2 u- -q: -- L- __ II'--__ ~II'-- _ II II II II II ----II " ~ a tempo -- - --...... ~ ~ · ~ } 5 - -~-~ - . ,,~ ,~ 1 4 ~ 37 , 3~45 <, -, I'" ...... ~ . mf sempre cresco ~ f "if subito e s, Tempo I # J-""; ::::::;;-... ,,- 4 5 ~~ 3 5, 4 ~ -... = ~--...... ,,~ . . ~- 'l- r~ t 'f ~ poco patetico nip I' r~ rall. ~ VI mr, '- w= 1 - U- u.:.. . . . "----/I !I--.J\ ---II II '" r1 ...... : . ._ a tempo ~ ~11'.... _ - ,~ - , r-- - . ---... ---;;--.... "!f'sempre cresc. I- . .;;: t'--.. r f "!f'subito e - - r -- aim. poco a poco -,- P.P 'iii: -- .. r - .. I -.J i -- i .. .. iiilW - -.F,- .. .., ... = y' COpYrrght 1952 by TheOdore Presser Co. 'i . 36 1I . FromHThemesfrom the Great A Oratorios:' --;:arranged an ddte 1 e d by Henry Levrne. [410 41021] International Copynght secured International Copyright secured COPyright 1952 by Theodore Presser Co. 37 h ~ ETUDE. FEBRUARY 1953 ETUDE-FEBRUARY 1953 • Happy Days Grade 2~. SECONDO PRIMO OLIVE DUNGAN OLIVE DUNGAN Valse moderato 54) A. S. C.A.P. A.S.C.A.P. (J.= 5 :I 3 3 1 2 1 Valse moderato (,).=54) /~ /~ ~ pp '" :=::::----- ( f t t 2 3 4 jp : ( - Secondo r = 2 _ ov S 5 3 2 t - 3 2 5 5 ~ ~ 2 3 3 ~ -... 1 1 2 1 2 ~~ /t.~ /p '" It t 2 3 4 pP -: ( : =---.. Secondo I t 2 8 2 6 3 4 -I fp;- t:. 1 .f!:. -!: a. ~ 4-::=::::: I: .. • ~ ------1 . t : < I mp = ..--...... ~. .• . • . . I 12 1 t 1 4 1 1. 2 8 8 I: 5 6___ 1 ~...... ~ ~ .. .. .fI. ~ ~ • fJ - --- p It pp '";---- ..- 3 n ...... -;- 1 • 5 1 . · 2 . . · III 11 , 1 8 1 '2 8 6 1 12 2 5 8 S 4 4 1128··m.m umu m m ..u~~u:.: 11...---;- 2 ~ . 11 # ~ ~ --" . ~ • P.P • pooo Nt. mf • t. '-!"" P pooo Nt. n:f-= = • . p .-- , -: ~: • . 5 1 fi 1 • • • 2 8 1 2______1 . 1I • • • • Copyright 1950 by Theodore Presser Co. 5 8 • 1 2 11 I 2 38 2-----5 t. 1 2 5 8 5 39 Interna.tional Copyright secured 2 5 8 ETODE-FEBRUARY 1953 ETUDE·FEBRUARY 1953 L :I • MARTINO PESENTI y . Lamento e Corrente »: ...;;: .;. -.... V ....-:--. . Piano accompaniment realized by- I ------, Andantino Efrem Z'imbalisj , , -, .iiiiir - - --...: 1':'\, VIOLIN ~ I~ l"" ~ 1~~~~t~t1~~I~~~~o~~~~'-""~~~3~~~~~~~~~2~~~~~~~~~~~~~~""~I~I nr::; mp ------~ I 1 tJ JI~- -i r c.r- :-i 1'" ~ 'r- I~o-..::.." t-- r U==- 1':'\ h ~ 12 9 -= : -- ,0 11 - Corrente o 4 2 o I,/'"""' . - .---. ~ ..;:-',;. ~ 2 t 2 a ~ ::-:-'\00' • - It mf ,....., 1"""'="-' ....:;;;;-- ~.r;~ ~r ~'------! : - ['~ r 0 mp ~~ r r r 4L~ . ~ . r : -y " 1000I % ~ S_03~ 2 .. , - ~ It ,~ - ..------~ - ,------" .. ~~ I ...... i' ~ i' It ·W 'U'i-===- I c...J-c..r -=::~ l!... '" i"D~i~~ mf 'ur!~ ~ ~ -;;--.. ~ ~ --- : - -- • v v s_ - o -'- - ...... '-- 1 <;»: • It >- = ,'------: .....---.. - r --- I~ .------.... ------It • H" i'ri'r f~ i' 1:....2J'1.!f i'D'~ [r r'-'f >- i'L!n! ;r-r (I rr ~ I-- ---=----- : -- , ---- -, ..,/ r" • '------_..:.-- ~ ..---..... 2 o lr-. - J""ooo ~, ~ .... .;.'. , . 2 .:..-. - I I' '-.,.. .. - -- rit. .-e:::l--;-~' 1 ~, , r-r;;:-' ! r-.. r-='-,.-, ~ , , .. i r- - l' ~~ r r rC[~ rit. ~-- , ~ : From "Solo Violin Music of the Earliest Period" com it d . Copyright 1951 by Theodore" Presser Co. ' p e and ed.ted by Efrem Zimbalist. [414.41001J ,-.. 40 International Copyright secured - 41 ETUDE.FEBRUARY 1953 ETUDE. FEBRUARY 1953 d •, 3 7 , G7 e'dim. Dme'dim.Dm Gaug. . e C . The Mischianza Waltz * Words andMusicby . ALLISON F. FLEITAS • r CHORUS tt Misch- i . an - za Lasts till the end of time. Moon - light and the nyc Em -1 __ , I I I I. ~ VOICE ---'. I t- "i I t Waltz - ing rt ~ 1 "l(q~ ~ ~ ~~~ T~ T at the ~lt,r hf H"~;';j~ -1.-_ ~fr ~, ~ 'I'lJ . . I I I I u PIANO e Gm A' G em A' D of laugh - ter, Mu - SIC fills the an; Spring - time sets the e D7 e D' G7 Dm' Misch - 1 an - za, Life - is gay, you'll say it's heav- en-Iy, Waltz - ing at the Am D G7 FF G' G Rug. e Em ~ r scene ro - mau-tic'-ly, Love-Ii-ness all can share, so Meet me at the Dm eldim Drr? G aug 5 e c Em " . I . • I _Misch- I 1 - an - za, Oh,what a night sub -lime. Love rules e , at the c j " ,~. o . . 1 'can scheme and dream III har-mo-ny, Waltz - ing at the .. ~ -V, I~~j(q l Misch- 1 - an - za, We ~r J ~~~ :~ ~--,r I: .. I ~ , I ~H~r ~ ft.-Ii . 1'---: 'l. I , . . . . - I I I r . e D' e D' Dm' ~11------1"'12------1 7 e G7 Gaug. e G7 eldim. Dm e'dim. Dm G aug. Misch - 1 - an - za, Cu - pid's darts hit hearts 1D rhap- sO-dy; You'll hope that the vine. _ di- vine. Misch- 1 - an - za, Oh,what a night -. "* From "Here's How," 65th Annual Production of the Mask and Wig Club. [111-40043] Copyright 1952 by Theodore Presser Co. 42 International Copyright secured ::.. 43 ETUDE-FEBRUARY 1953 ETUDE- FEBRUARY 1953 1 'I No.l30· 41116 Navajo Lullaby Grade 24. GEORGE FREDERICK McKAY 32 Moderato teneramente 1~ 4~ AU -4 314 2->--2 8..- ~_ - . 2 a tempo II I .. 3 3 5 1 1 1 s·..·..·············: 3 2 2 A A 2 t:"I / • 5 ;I 2 d 2 3 5 1 4 2 34 1 5 2 ~ f 5 1 5 I 1 3 1 5 1 5 Grade 21. Red Iron Ore I 2 41 2 3 5 6 '<::: American Folk Song A,r. by Marie Westervelt With a swinging motion d=60) 3 2 1 _____2 2 .• 4 5 3 2 1 2 1 ~ 1-- 3 --- .i .. ron ore v es- sel your PIANO ~ "if Come all ye bold sail- or s that fol-Iow the Lakes On an 2 I> 2 5 3 1 3 1 1 3 5 I> No.110·40200 I> Grade 2~. The Little 'I'rum peter O. ALEX KE\'A~ dieu to the shore, Bound a- to make. I s hi p p'd in Chi - ca > go, bid a - t:"I 1 2 . 1 1 2 5~ 1 5 2 4 ;I 2 3 4. 3 1 3 3 I 15 1 4 1 I 1 2~2 5 I • ,U .. 2 1 2 8::;;;"'-"--"""': 2_ 1 1 4 3~ 3 5 II mp red i-ron are. Der- ry down, down, down, der- ry down. way to Es- ca-na- ba for t:"I I " ...... - ::>- #- 5 1 1 , 1 1 1 5 1 1 2 4 1 , 2 3 4 z 3 4 2 3 c 1 5 5 From "Thee american. . Traveler;' by Marie Westervelt and Jane Flory. [430 ..4101:J] 5 4 Copyright 1952 by Theodore Presser Co. 4 I International Copyright secured COPyrighl1052 by Oliver DUson Company lnluua.Uoul CGpplibl""," 45 ~L..--44 _ ETlIDE'FEBRUARY 1953 ETCDe .FEBRc.HIYtiil U No. 110-40206 Cowboy Charley l!o.II0-40207 My Piggy Bank Grade li. Grade 1. HILDE B. KREUTZER Gaily J. LILIAN VANDEVERE 2 2 Last time to Ooda -$- 3 % 2 Moderately fast All ~3 5 3 1 5 ---- -, 3 1 3 5 5 (He rides toward us) 5 1 5 2 3 41 21 31 1 . pi I / I I I~ ros-y lit-tie pig-gy bank is time, I feeda pen-ny ev!ry dayand onceaweek. PIANO My hun-gr y all the \..*~. '-...... ".. ::...... \:!II Co..;v-bOyChar-l':'y, • ...... • -(T' • ...... PIANO '- mp pOGO a Po..co c~e8c.· mT - ( 0 4 3 2 1 3 2 4 2 3 2 3 2 4 2 5 2 5 3 (Dance Of The Pennies) ]) c: at Ooda 3 1 5 1 2 2 5 t 4 1 4 I 0 , 3~ Jj ,....--.. 4 2 1 1 3 0 0 A 3 2 3 . 0 0 0 pi . ~.,., I I I · I if: • -..e- ...... My mf 0 overplain and moun-tainside. f H!:)lels his pin-t o jog a long, dime. inf ~I"':\ .;,.. ~ . .;.. .;,.. ,;.';'" oiL 0 ~ r. ~ m"'- ~ ~ - .. n. ... it .. H... ~ ... .. 3 2 3 4 1 8 6 2 3 2 1 3 1 3 1 2 1 a tempo 3 5 2 4 1 3 1 "ll 3 1 .3. . • •• ...... -...... ~ rit. ., • ·6 as he rides he smgs this song, "Hi,)'ip-py ~:y, get a- l:g,YOt ~o-gies'.' CO)f-boyChar-ley rides aUda)' 0 I pp ~ 'p rit. e lJ,-un. n n mT n CODA di~e. R.H • ..:. . it,;. iL. 0 0 I . ~ . 3 6 1 3 t 3 5 International Copyright seeured I Copyright1952by Theodore Presser Co. 5 (He,disappears) 3 4 1 131 6 1 4 I 3~ ., No.110·40205 ~ .~ 4 '-... ~ '!" ~- The Fledglings .. r::.....'" --.;:::;i Grad. f. Miles and miles and miles a-way: Whoa' lr;T f 1'000 a pooo deere '0- PPIf:. ELLA KETTERER r: r. ~ r:. r.;. n ~ Moderato -66) 3 0 cd 2 j 0 1 3 5 4 ~ • • Copyright 1952 by Theodore Presser Co. 5 4 Intern ..Uonu Copyright,.cu,,' -I / I t see, Co· zy and warm, Safe from all harm. PIANO mfup in a tree-top a wee nest I Grade 14. -(T' --...... I'm Gain' Out West 0 .. . 0 Not too slowly J=120 American FolkSong 1 2 2 I ' .. 1 3 3 1.1312"-:1 ____ 2 , 1 ~A~~~4~-~~i'j4~~~~~~4~~~~1~~~~~~~~~~",~~~~~~~~~Ajr~r-16YiN.~ajn~·'ilTiitSj'emJli, , 0 -- ~ mp ... • ...... ~ .e-' --- .-- PIANO<\ I'm goin'out West, -- .. .. I I to slaya lit-tie while, S- "" r '- '- ~ I T I~ three, Live there so hap - pi ly. Two ti - ny birds and their ba- bies all - 11(!~o~~~~§g:~~~~~~~~c=~~~1~~~~,!nig~-illi' ~Fialrie;.tjh;eiei,o~m~y~hiOin;·le~y.i'!o§mi~YlhiOini-e;Yi,;fari~i·th~e .. -(T' .. tJ. • j.- '- 2 ~-!!' ~4 23 1 3 ~ ~ , , I " r~ .. ., "'lI/* 0 . wel1!"I'm gain' out West to stay a hi-tie while, And it?,; far -th .,' .g -, . · 1":'1 .. -.... e ee,O my hon-ey, fare-thee.lwell! --- ~ - , I Ii .1 I and by, They'll learn to fly. r.. , Then by Up in that nest, Lit· tie birds rest, ",. • n. • • 1 5 2 t 2 '5 3 5 2 1 2 . 5 t 4 1 2 From"Theht American Traveler" by Marie Westervelt and Jane Fi ory. Copyng. 1952by Oliver Dit,on Company [43041013] 2 International Copyright secured 46 Cop . h lnternationaJ Copyrightsec'" yng t 1952 by Theodore Presser Co. 47 ~-._------ETUDE- FEBR(JjJlytlll ETU.lJE-FEBRUARY 1953 THE HEALTHY HABIT OF DOUBTING the start of 1:1 career, the scene without European Cl'ltJCJSm. 1 think changes! At this point, the best serv- I can suggest one such way. If I were (Continued from Pose 15) ice young artists can do themselves conducting auditions, this is what I Sonatina in B~ GEORGE FRIDERIC HANDEL is to postpone the New York debut should take pleasure in doing: I 'I arl',tions) to be played with orchestral concerts as possible, ob- should ask the candidate what he Edited Karl Benker (WIt 1 v , . until they have tested themselves in by serving the var-ious kinds and colors aJ'est)' of a retllrnlllg hero, or Europe. I advocate this, not because had prepared for the occasion, and Allegro molto moderato 132) neD!I .. f (J, 2 4 :> the simple. flowing hgh.tness ,0 a of tone, storing them away for re- European standards are in any' sense it he said he was ready with l .a 5 4 , a 4 , , 3 :>- ~ 2 , dawn He never did arrive at production all the piano. Tn scor- better. but because they are more Conumnella, or the Appasaionuta, 01' , I, ::0; I ,pring . a concillsion-bu~ be played the ing on the piano, playing not with varied. Europeans, on the whole, are the Bruhms-Paganini Variations, 1 ten fingers but with assorted colors . l1lovementexpresm'ely! less influenced by publicity and ad- should ask him to be so good as NOT ~. Tilestudent. quite naturally, needs of tone; you wil l find that you have vanced heraldings; they prefer to to playa note of them. Instead, I'd tJ his teacher's guidance; but he also two varieties of tone ill the left hand judge each performer for themselves ask him to play one of Mendelssohn's artico lata 0 work on his own. As to two in the right. plus an infinite -and the tastes o l each land are "Songs Without Words," or one of PIANO sempre f e ben neer I5 1 • I 1,,1 studv habits, it IS well to play variety of touches and dvnumics. In quite different from those of auv the episodes of Schumann's "Kin- :>- :> ac I v , • • .;. :;:- , .. playing Bach Fugues. br-ing out not derszenen." that went well, T onll' those works for which one 1S other. The artist who makes a suc- It , tecl~nicallyready, and to play tl.Iem only the separate voices. but the dif- cess in Holland cannot Count on that should put him to a further test~I ferent qualities and colors of lone should ask him to play the opening , I accurately, First read the piece fact as an open passport into Bel- I 2 1 2 1 :J 2 through; then pick it to pieces. Try applicable to massed voices. Learn gium. The Belgians will appraise him measures of Chopin's Nocturne ill - 1 2 all possibleways of interpreting each to differentiate between qualities of according to their own preferences. E-f1at, in the right hand alone. And phrase, searching for. the best w~y pedaling. Listen 1.0 chamber music So will the British. And the French, if the phrases sang, I should know and doubting each until you are quite literature. always with the goal of At the end of such a tour, the artist him to be musical. After all, anyone :> 3 1 2 sure you can find no better. Study enriching ear. ta..ste, and judgment. has been criticised for any number can learn to master the muscular ac- 3 1 I 3 >- 4 1 2 1_ 3 The American student has an im- of faults he may not have suspected, tivities of sheer finger-work-s-what I • I I :> >- >- >- >- :>- • the work first melodica.lly, from left 10 right, for the all-important Jlnc mense advantage In studying in and from such criticism he .learns. counts in music is expression. One R- of the phrasing. In second place. Amcrica since most of the world's But not every pianist launches a becomes expressive in proportion as ~ I best teachers are cLll'l'ently to be he learns to doubt the fixedness of I I I T study it harmonically- from top 1.0 career, and there must be a way of ad lib. bottollJ.And learn to work with t.he found there. But when it comes to testing musically expressive value::; any interpretation! THE EN!) earsand the imagination, along with • :> :> ... ;a. ;.. .. :> the eyes and the muscles! Then put >- .. • ~ .> >- >- >- ; r . it all together and present the piece a~an entity. I, 1 The only interpretation that is Opportunities I 4 :>- >- 1 2 I 3 2 and 5 tenuto semp1'e genuinelybad is tile one which of- fendsagainst accepted standards o[ taste.It is in bad taste, for instance, Better Income. • • to ol'eremphasize expression. Again, 3 , 1 2 4 y--4 ~3 2 2 4 !: I in resolving a dissonance, never put 1 I :> • i1.;.. ~ ~ ~ !:: L"?' !: ! L --=::: Positions Open ...;.-l~· f--~~ • the accent on the resolution. but al- You Can Advance in MUS I C wayson the dissonance. Other ex- Interesting positions are open amplesof poor Laste include exces- thru Extension Conservatory ~ sive, artificial waiting before any everywhere. Schools and Col- When you inspect our Sample lessons you will readily .( climax; the distressing un-simul· leges make it necessary for agree that you can acquire new ideas for bettering your- - :>- taneousattuck in which one hand is every teacher to be equipped self as well as your students. You can become affiliated . :> : : ~f--~ ~ Ii>-.;. :> , allowed to come in shortly before for his work; Radio and TV with a school in existence over 50 years, recommended by .. the olher; and any fixed mannerism thousands of successful teachers, and be sure their confi- I are calling for highly special- dence justifies yours. The new ideas and technical im- of playing, such as always and in- ized training. Standardized provement will revitalize your work. 3 4 5 3 I variablyrepeating phrases (the same ~', 3 ~ 2 3 '3 Y .' 1 >- 1 5 4 crescendi,the same mbali, etc.) ex- teaching makes competition HOME STUDY in Spare Time >- ...... 1 3 - actlyas they were stated in the first keen, even in small commun- If you are ambitious to progress, to enjoy greater recog- nition, and financial return, you owe it to yourself to place. By ohserving accuracy and ities. goodtaste. one is free to lest and investigate this great Home Study Musical Organization. 4~-- __ At very little cost and no interference with youI' regular 2 1 : 2 1 4 explore independent interpretations. >- , 3 >- 1 2 .>, Are you 0 Busy Music:ian work, you can easily and quickly qualify for higher and • Whichbrings us to the point of ac- more profitable positions in music. and Ambitious? quiring that something-to-say which Diploma or Bachelor's Degree is the core of any interpretation. H A successful musician is al- it comes at all, this happy acquisi- We help you earn more and prepare for bigger things in ways a busy one. It is almost teaching or any branch of the profession. We award the tion comes only as the result of liv- :> :> impossible for him to go away Degree of Bachelor of Music. With a diploma or Bach- : :> ing. of observing, of developing one- elor's Degree you are ready to meet all competition. self. I know of a young performer for additional instruction; yet Start now to revitalize your growth in Music. :> :1'110 Went 10 Europe on a tour, vis- he always finds time to Fill In and Mail This Coupon Ited a number of different countries. broaden his experience. To 3 and spent all of his time playing and 3 4 4 2 such musicians our Advanced •••• ••••••••••••••• •••• 2 3 2 4 practicing, exactly as he would have • UNIVERSITY EXTENSION CONSERVATORY • 4 donein his studio at home. When he Extension Courses are of • Dept. A·766, 2000 S. MichiqGn Blvd•• ChicGqo 16. Illinois. • Came back, he had seen nothing, greatest benefit. • Pleasesend me catalog, illustrated lessons,and full information regarding. >------learned nothing-yet he was of. course I have marked below. 5 :> 1 s 2 3 1 2 1 3 2 >- fended when his playing was found • 0 Piano, Teacher's Normal COPoll5e 0 Harmony 0 Violin • 2 :>- 1 2 3 ten. 4 .0 Piano, Student's COPolrse 0 Cornet-Trumpet 0 C -t • >- • :>- to~IOWno development! o PPoIblicSchool Music_Beginner's 0 Advanced Cornet Pollar 5 y way of general development, .0 Public School Music-Advanced 0 Voice 0 Mandolin • o Advanced Composition 0 Choral Conductinl 0 Saxophone oneshould read in all kinds of varied • 8Ear Training & Sight Singing 8 Clarinet • fields- University History of Music Donee Band Arranging 0 Banjo , see great pJays--exchange VI~WSwith thoughtful people always - • Name Adult or Juvenile • - 11'1111. a n aI'ert mmd. By 'way of >- ten, :> :> Stt.lctlymusical development, the pi- Extension .~~tNo, • anist sl!ould make it his business to CIty Stotc _ h,eb'last many kinds of music as pas- , . sleL't ·• Are you teaching now? If so, how many pupils have you? • 1 3 2 4 ' IS en to opera paying close 3 2 atte t' ' • Do you hold Q Teacher's Certificate?__ Have you studied Harmony?__ • 5 3 . n Jon to the cantilena and ask- 1 1 V Conservatory • Would you like to earn the Degreeof Bachelor of Music? • 5 Ing YOurselfif'you can sin~ like that From "Miniature Classics Vol. I;"Edited b,Y Karl Benkcr.- [4"0-40055J on Ibe keyboar.d L'lsten to as many L ••••••••••••••••••••••• Copyright 1924 by Oliv~r Ditson Company 48 ETUDE-FEBRUARY 1953 49 ETUDE-FEBRUARY lli3 ~ �. nfl"lewoodStudy Group able ill the Department to undertake ke 1Ire T, 0 lila., . Iholiday was to per- this? Hugh Ross would like to in- ERNESTO BERUMEN ENDORSES GUILD TEN YEARS AT TANGLEWOOD seflOU~ mUSJca 8. . week and four-week enroll- clude a new work on a Small Choir Address: La Forge-Berumen Studios nuttwo f (Continued from Page 17) . it as well as or tIie usua I program which needs 13 instruments. 1040 Park Ave., New York 28, N. Y. mentm u, . Th 110 · ks of the seSSIOn. e Can som.e students of orchestra and ment Four-of necessity becene 8Xl~ee~ '1 I 1£ honored by OUI' acceptance and as "V one · ., cd the work Wit 1 ngo chamber-music find time for this? "Congratulations, Dr. Allison! much as he has been looking forward of the most complex problemsof whojom sans in the Festive• I CItorus The opera department's major pro. delightful. ...educational Dalas~OII I 0 . To my mind, the outstanding thing about the . T nale- assembly. In order to functionasa to spending a summer 10 a ~ d harles Munch, listened to duction will be ..\Iozart's "Titus." complete opera theatre, students er C Guild is the outside adjudication. The student wood, he has just been offered a J~b -s are un Snllphony rehearse 1s an d The orchestra for it is small and accepted for work here in stage d Boston , hl I' becomes accustomed to his teacher's ways and playing for the summer opera 10 1 hadasit were, a cOJ.lstant In s-eye needs few winds. What work can recring, scenic design, COst:min • CHILDHOOD DAYS New Orleans and since he needs the · ' £ TangJewood's numerous RC' be found for the remainder of the to the repeated commendations and corrections. and li~hting. Stu~ent coachesanj View0 d' money badly he hopes we. are ~lOt , .. _ Tile nature of Tanglewoo s orchestra now largely woodwinds When the adjudicator, who is a stranger, states stage directors are mten'iewed. Boti, !lI'll1e~. too inconvenienced by his WIth- ti ·,,·e~its 40 or so student con- and brass? The Heifetz Award, the Coldovekr, the opera's Head, and ae]1'1 " • some of the same things in different words, it drawal at this time, very truly. Al- , its lecture courseS-1S one of Piatigorsk y Prize, the Wechsler OF FAMOUS COMPOSERS other faculty members such as Paul eers. . re-awakens the pupil to renewed efforts." ternate lists are brought out and a Award must be given to worthy tal- I dominant problems during the Emeuo BCrfHIIC,l a series by telegram goes to Cleveland. Our Ulanovsky and Felix Wolfes listen ! le I' ents at the end of the session. Are -c-Ernesto Berumen to hundreds of singers in various wintermonthsof p anrung. young applicant has made It. LeonardBerJlstei~:says he would they appearing in the enrollment? parts of the country. Those accept. The choice of all the other orches- l'ke the student or~lestra to play The winter meetings in New York Lottie Ellsworth Coit able are assigned to one of three NATIONAL GUILD OF PIANO TEACHERS tral students takes place in a like ] Q'" f and Boston [or such problems and division -Active, Associate. or Au. Strauss' "Don mxote at one 0 Founded 1929 by Irl Allison, M.A., Mus. D. and Ruth Bampton manner. Auditions. recommendations it3weeklyconcerts. Fine. But will we for the discussion of ideas which ditor-e-dep nding upon vocal abilil\". AUSTIN, TEXAS by astute musicians. attendance at a havea cellist strong enough for occur to tltinking musicians seeking BOX 1113 knowledg of operatic repertoi~. Books that offer well-known and appealing little pieces previous Tanglewood sessiol~. .re- as a group to carry out an ideal, and eharacrer type. thesolopart? Mr. Munch plans the and an opportunity for young students to gain under- quests from UNESCO. the wmmu g ~erlioz'·Requiem.n Will our brass makes the yeal- go by quickly. Tan· u liti n rCllort'l. spplicatjon~,su~ standing and appreciation of the works of famous of a National Federation of Music glcwood's ideal is a living and work- 1 pI m nlary f rms wilb height studentsbe capable of taking part in composers. Clubs' contest-hom these and sim· theextrabands which the score reo ing in musk by a body o[ musicians TANGLEWOOD-19S3 wei~dll. ludil'~. and operatic reper. BERKSHIRE MUSIC CENTER Each hook contains a simply written biography, a pic- ilar sources t.he 40 violins. 12 viola~. quires?Will the choral repertoire and music students seeking 1.0 fur- lair. "onlt rCJ>crloire. que'lionnaire:. Charles Munch, Direcfar ture of the composer, and scenes from his life. Easy- 10 cellos, 10 contra basses. S nute~. takecognizlInceof the newest trends ther the art they serve, and al~o to un I num rOUli lelleril, ~welllheopel3 Aaron Copland, Assistant Director 1 lo-play pieces have been arranged so. that they retain 5 oboes, 5 clarinets. 4 bassoon~. 8 inchoralwriting and still givc con- flirt her the art of this country. French Horns. 5 trumpets. 5 trom- c1epartmenl'" file-IIqui kl)'. Br June the essential elements of the original COlllposition. Also duclor3and singers enough of the For those of us who work for Tan- A summer school of music mointoined by the Boston Symphony O"h",,";o ! fir!"'t th )' ort enormou",. BUI h\' that connection with the Berkshire Festival concerts. included are directions for constructing a Inillialure bones, the tub~. 3 harps. and S per· c1mic repertoire? William Kroll glcwood t.here is not Illuch time to lim there are al)()ul fihy lIinge;sand stage, suggestions for a musical playlet, and a list of cllssion students are assembled for slo\'l down. July ]953 and Tangle. July 5 to August 16 ar und thirt)' .!'Iudent>; cho~n lot suggeststhat an American work be I work under Leonard Bernstein. related recordings. For Ulse in school 01' at hOllIe, for includedon each of the .<:ixchalllLer- wood'~ eleventh session are almost. Courses in Orchestra & Conducting (Leonard Bernstein), Chamber Music All the orchestral studenH nre 1he 01 her dh-i.;ion of coaching.stage (William Kroll). Chorus (Hugh Ross). Composition (Aaron Copland & Carlos . children from 5 to 12. Each book $.40. musicconcerts. Is the lalent Shenandoah College and Conservatory 4-year B. Music ond B. Music Educe- Thorough professional preporotion. tion degrees in piano, violin, voice, Also accredited Junior College. Iny te~ching thc organ organ, 'cello; public school music. Shenandoah is under church sponsor- Theory, conducting, woodwind, ship but non-sectarian in nature, em- brasses, academic courses. Church phosizing awareness among her stu- ~r9an lfC!uestiot1s music. Closs end private instruction. dents. Est. 1875. Summer session. ~iolin (juestions Catalog: Dir. of Admissions, Dept. E, Dayton, Yo. pays petter Answered by FREDERICK PHILLIPS AMERICAN CONSERVATORY By HAROLD BERKLEY ave acquireda Wilcox & White obtained from the publishers of this OF MUSIC-CHICAGO if you did you should not havegre • ff I , Offers courses in all branches of music and dramatic art Selling a Violin magazine. diffiI, cu I"t m gettmg at singlemanual reed organ, vwtage 66th year. Faculty of 135 a r t.Ist teachers Cpl. G. E. G., Louisiana. For an y a position' Member of National Association of Schools of Music about1890, which has a 17 note sub- appraisal on your violin you should which teaching violin is an impo~ . Send for a free catalog-Address: John R. Ha.ttstaedt, Pres., 571 Kimba.1I Bldg., Chicago bassstop. The sub-bass notes are •. I have had nearly eight rears of take or send it to one of the firms tant part of your work. Why don'l you consult the dean of the school IIndedby slight additional finger tnano study and three years of or- MANHATTAN SCHOOL OF MUSIC that advertise in ETUDE. If the gan. Recently f have had the desire instrument has quality. the firm from which you graduated? He could ~~essltreon the bass keys. I'd like Janet D, Schenck, Director ad\:i~e you. An~ it might help)'ou to adda pedal board and operate to concentrate on serious organ work might be willing to buy it from and to cease piano lessons altogether, BACHELOR AND MASTER OF MUSIC DEGREES to JOIO the An~ ncen String Teachers thebassnotes by electrical hookup you, though it is much more likely so as to devote full time to the organ in Applied Music, Theory, Composition, Musicology and Music Education that they suggest you leave it with As-sn. For thi-. write to Frank W to modelrailroad switch machines, Auditions end Registrations for the Spring term, January 2/., 1953 and to possibly earn a teaching cer- them on consignment. Few violin Hill. :\fu ...ic Dept.. Iowa tate Teach: Il"hich havea straight line thrust of 238 East 105th Street, N. Y. Coo N, Y. Le 4-3773 tificate. Lately I have had to force dealers like to buy a violin outright er- College, dar Falls. Iowa. approximately%", subject to alter- m.yself to practice piano, but never unless it is something outstanding. arionif necessary. Please let me ticking P~n-8 knowif this is practical, as I do lose a chance to play the organ, and COSMOPOLITAN SCHOOL OF MUSIC have secured a fine organ teacher. Preparatory, College, Special, and Graduate Departments. Courses leading to Conceening Hammer- A. R. 1/ .• ~(·br(,~J.n.In the Wmtnef nol kllOIO if the sub-bass can be dis- 117ould yon think that quitting the Bachelor of Music, Bachelor of Music Education, Master of Music. and Teacher's mifler Cellos tim • parri ularly 1£ the climateis connectedfroln the manual keys. Certificates in Music and Theatre Arts. Miss J. 13., Pennsylvania. In the IWllli.d. \! lin peg.. are \el')' Jikelf Thepllmppedalshave been removed, piano would hinder my studying Clarence Eidam William Phillips the organ because of lack of su]. Dean books at my disposal there is no 1 .. tick. fh rea-en lor thi~isthat the bellowsbeing operated by an President Member NASM ficiel/t piano education? My teacher Edwin L. Stephen-Mgr., 306 South _Wabash. Chicago 4, 11IInois reference to Hammerrnif ler cello". the high I -mperature ceu-e, theSQh electricallydrilJenplayer piano vac- and I would suggest that you write wo d I the peg .. to ..w II-and they uum unit. This is rather ungainly, (piano) believes that 1 aln ready for to Rembert Wurlitzer. 120 "'est ~well un 'cnl). If I were \'ou I andI would like to know if there serious organ work, and the drop· 42nd St., New York City. for th would nol u..e machine oil onthern- is a simpler arrangement. Also, pillg of piano, but I do not feel too EACH YEAR THE DEMAND for Hammond Organ instruction becomes il would onl> COll..e Ihem 10 slffll pleaseadvise wh.ere pedlll boards certain. ~J. B., Illinois information you wish La ha\e. I greater. As a result, the Hammond Organ now presents a more lucra- Bacllelor of Music-Master of Music-Bachelor of Science in Educotiorl am sorry not to be of more hell)· even mor. me of Ihe bellerrepaif wuld be procured in ,he New York (B.S. in Ed. by arrangement with Kent State University) tive teaching opportunity than any other keyboard instrument. ilion that helps Eight year.1I of piano study should BERYL RUBINSTEIN, Mus.D •• Director ~hop ·11a compo.. area. -H. S., New Jersey Are you one of the music teachers who has not yet realized how easy 3411 Euclid Ave., Cleveland 15. Ohio Teaching Advice th peg .. 10 lurn more ea(il)'.For ([L1alify you for the serious study of Member oj tile Nation,,1 As.ociat'"'' oj SCllO"l~ of Ml!.'ic C. M., Florida. You do not tell me llii'l: I ad\i ~ou to g • in touchwith We(Irea/mill we cannot be very the organ, assuming that you have it is to enter this profitable field? made ordjnarily good progress dur- MUSIC and ARTS INSTITUTE of SAN FRANCISCO Inc. whether you majored in violin whcH "m. 'lj .. & n.3O Ea-tAdams helpful,as we have never before These are the facts: Any accomplished pianist or accordionist can you got your Music Ed. degree. IJlII I. hica@., Illinoi.... TIl[E~D ing those eight years. Since you have Col/ege of Music-Drama-Opera laceda problem sufficiently near to play astonishingly fine music on the Hammond Organ in a few weeks Bachelor of Music Degrees Ihis toenable us to offer competent a competent organ teacher, his ad- and be ready to teach as well. And most organ teachers find that stu- SprinC) Semester February 9-June 20, 1953 advice,We doubt if the sub-bass vice would be quite valuable. Per- dents derive sucli inspiration from making simple melodies sound free Cafalogue sonally, we think it would be all VIOLINISTS' FORUM notescould he disconnected from beautiful, that lessons are cas')' to give. ROSS McKEE, Founder themanualkeys, and this may nul· right to cease actual piano lessons, 2622 Jackson Street San Francisco 15, Calif, (Continlled frolll Page 2") lifythe electrical hookup idea. It but not piano practice. Keep this up Special Plan for Music Teachers mightbe possible to buy a set of on your own, as it will help you BUTLER UNIVERSITY A special cooperative purdlase plan is now available to qualified music fomia asks you how he can ;mprOlf> !,,{,th nU1e... together. ~1inutefaults organpedals,and connect your sub- definitely jn your organ work. The teachers. This plan makes it easy to own a Hammond Organ, Ask your JORDAN COLLEGE OF MUSIC his double-stops, especially thirds of inlOno1ion are m r e,·il)' bearJ basskeystD them, by means of a organ is a fascjnating instrument to play, and we can well understand dealer for details. A rich tradition, a progressive philosophy, on outstanding faculty. complete accred- and octaves. You gave him some ex· \\'h 11 tu\e .. art; pi" din thi;l\1Y· wireattachedto the manual key and itation. Baccalaureate degrees in Donee, Drama, Music, Music Education, Radio. cellent adv/:ce on thirds, adL,iC(' u..hich To foil "" til Ko, r "Iudy. practitt runningto the corresponding pedal your tendency to neglect the piano, The future is inviting Write ror colologue ond desired i"formation but even though you devote most of JORDAN COLLEGE OF MUSIC (Box EJ, 1204 North Delaware Street I shall follow myself, bllt :rOIl sa)' b Iii Ih OCIO\ ~1Udi in KreulZtr key,so that in depressing the pedal Today many thousands of families have Hammond Organs. Student your time and energy to the organ, Indionopolis 2, Indiana nothing about octaves. Wh)'? Did and nlinue- \\·i111 \0. 19 01the themanualkey would also be de- turnover is low ber.:ause playing this instrument is interesting, inspiring save a little time each day for the PEABO you forget he mentionet! them? If Rode Bpri pressed.This, however. would be and fun. Far more adults choose it for lifetime study. Rental fees bring BY CHRISTENSEN PIANO METHOD y?U can give some equally goat! ad- 1 nOI i td tblll Ihe article 'Ka5gtt. ratherungainly, and may not be piano, including some Bach, such CONSEIlVATOHV OF lUUSIC Successful through the years for Swing. as the Inventions and some of the extra income. Instruction in all hranches of music for the bednner Jazz; Ragtime. Boogie. Blues. Breaks. key- v~ce about the mastering of octaL·es. ling rath r long: III rtfore I didn~ worththe cost of the pedal board or adrallt·ed ,11Ictellt, ll_el-tu, .. "'I. Mus. l'rcuares for board harmony. etc. At your dealer or sent Well Tempered Clavjchord. You will find the Hammond Organ a pleasure to play. Its responsive- professional careers ill Illllsic. iJlrluding <:omlloglll~, postpaid for l2.50. I m sure he would like to II(lL'e it go on to ~a) that. foUo'King the in its results. For the purchase of mllsic "thcrall)·. teachin~. Con\lJlete instruetlon in Send 2(1t for current monthly bulletin of ness, rich range of tone and almost unlimited variety of solo effects nUllli" school Illude. Accredir,ed SHlllmer Scllool. breaks and fill-Ins for hIt_songs. or S2 for and I know I should " Rode "price, A, L. II, would. a pedalhoard you might write to 12 months. Mention if leacher. Scholarship;;. Member N.A_S.~I. Catalog. -A. C. MeL.. Oregon. theaddresswe are sending you, and • At the present tirne I am studying give your music color, sweep and power. IIEGIN.4.LD STE'VAICT .. Itirector THE AXEL CHRISTENSEN METHOD "ell to work on thr ~( Ihree:ee· It EUNt !tIt. Vernon l·luee~ Studio E-P.O. Box 427 Oioi, California t ion of : \Cik'~ Op. I. Book n·. wearealsogiving you the addresses with a gentleman who is a profes- On the practical side, the Hammond Organ is true to pitch, never DultiDlor.' 2" IUd. No~ I ,liel 1101 jorge' that A. L. H. The e ~:(erci-t'~ arr probably~ of twoindividuals who have plans sional organist, a thorough musician needs tuning. It is the world's leading organ and the one most students ir && • i .·.r_ ~II was mterestedin octa\"e~. I wrote and excellent teacher. However, he JAMES MILLIKIN UNIVERSITY I'" .....~._ •• I.I_.-. •••• ~ I be~t a\-ailable malerial for .dnncd forthe installation of motors in or- are interested in playing. SCHOOL OF MUSIC a paragr.aph about them which had ganssimilarto yours. insists upon my learning the Two The full price of the Spinet Model Hammond Organ is only Sl285 DECATUR, ILLINOIS 1~.J ~!!! i1i1-1':·! -:;,11 •• -. ~..I1 ocla'e ~tud\-. omllte(.1 because sufficient ~pace and Three Part Inventions by Bach, Offers thorough training in music. Courses l~ad- HARMONY and COUNTERPOINT to be BUI lhe ~tud)" of OCIIf"C5sboull (Lo.b, Chicago) including tone equipment and bendl. For prices and Ing to def;r~es of: Bachelor or Music. Bachelor of '" taadnatlni: atudy. Send tor pamphlet descrlb_ wa.s not available. Magaz.ine article~ on the piano, preparatory to taking ~lmlc Edueation. Master of Music. and Master !lli: the$e dear and complete lessons. Ol'll:anlzed begin long btofore thr ~IudenlraJ •.Canyou tell me where I rnay ob. information on other models, simply mail the coupon. of ~lusic Education. especially to. selt·lnstruction. q~lte often have to be shortened for up organ study. What is your opin- ~lemlJerofthe Kational Assoclatloll Schools of Music pIa) up If) the ~,rDlh ~ilion. He taln reedsto replace bad ones in an JOHN M. LEIPOLD Bulletin "mt UpOIl ,e(Juest tlllS reason. old·fashionedcabinet organ; also ion? Also what do you say regarding W. ST. CLARE MINTURN. Direttor 216 S. Highland Ave.. Lo~ Angeles 36, Calil. j:s read for il a'" _ Xln a· he(11 Here is the missing paragraph: reedsfor accordions? (2) I wish I ,he exact fingering for the Bach w _hift hel'...·ecn the 6r--1 Ihrtt JlO5f Use the same book [Se\"cik'~ Pre- couldget I I ' inventions? ~E. F..C., Conn. .HAMMOND OlfGAN BALDWIN,WALLACE lion.... for lhe earlier lht es..-enrid . a copy 0 t Ie matenal Oft paratory Double-Stop~ for the fun- VIbrato11th b ' CONSERVATORY DF MUSiC 1 prin iple of ocla\C' llla,·in,:i5laugh! HI as een prwted. MUSIC'S MOST GLORtOUS VOICE damenlal practice of oc,' , By all meal~s follow the teacher's BEREA. OH1D (suburb of Cleveland) 11 d\(:~. r\ctu- the t"a ..ier .hing .. ",-ill bt IN the~t -J. S. Arizona "mlialed ,vith a flra! clus Liheral Art. a ~. there are no such preparatory deDt later 00. Thi.. principle.~ advice. In insistjng on the Bach In- .----·MAIL COUPON FOR-FULL INFORMATION-----. ColleRe. Four and _the Jear cnurses leadlllg st~ les for octaves a~ there are f (1)F b' to degrees. Faculty o~ ,\rtlst Teachers. Send cour-e. j .. the ('onlrutin~ (Iftbedi5- . or Ctl met orgnll. reeds ventions he is really simply living I ' for catalogue or informatlon to: thuds: one Ie' 'I ,or lie sugge~ty . I H~lllmond Instrument Company I . . . all~S t Ie techlllque b· b . ~ ou wnte to the address up to your own testimony 0 f him I 4244 W. Divcr~eY AI'c .. Chicago 39, Illinois : CECil W. MUNK. Oireetor, Berea. Ohio tante hetween the I~t lod ~thfit dOlllg It-like SWimming. Go thrOll I elngsent to you as No 1 d f as a "thorough musician and excel- I Plc~sc scnd me full dctails about thc models of thc I 1 ger~ a~ the hand g~ inlo thehi~~ accord' . • an or the octave exerCI~es'. In the bonkg : Hammond Organ 1 ha\'e chcckcd below. I P(l~ilion ... and tht UleDdin~ ofrt; No.2.lOnreeds the address marked lent teacher." These Bach piano ROOSEVELT COLLEGE slowly, m~stering each one hefore : 0 Spinet 0 Home 0 Concert 0 Church : th e hand dh-('eD(!s. _ rot' \"~ryg works are among the very best things SCHOOL OF MUSIC you l~ave It; then go over Ihe later (2) There ' h SPINET MODEL 30 E. Adams St.-Ch.icago 3, Ill. V'h . IS a sort chapter on you can have for an organ founda- I, Name.. I' exerCises ao-ain at a I and fairly ea..., ...tudi~ in ocu; Hammond Organ for Applied and Theoretical Music, Composition. "" somew lat fa-ter 1 rato In the h k "H tion. If you are using an edjtion of homes, schools a~d ' VIOLIN SPECIALISTS are Lo be found in the -.«ond aD! ler the V' . " 00. ow to Mas~ , Musicology, and Music Education. Bachelor tempo. After that. lake the I churches. Ideal for beglR- I A~~. I CATALOG NOW of the Laoureu): 'iolin :'olrthod. the Bach Inventions edited by a com- THE NEW READY of Music and Master of Music degrees. the Kayser Studies, Op. 20 b adt ~[ anothe holm by Bytovetzki, and ning organ instruction. , : FOR MAILING petent authority, you will be well : City ..Zone .. ,.._Stale I Bulletin on ReQue8t play the octaves broken . u t on t al-o in Book (I of Ill< lI"ohll", onth/ Sh?rt~ut very good chapter Publishers of "VIOLINS & VIOLINISTS" ~I ©1953, ~AMMONO INStRUMENV COMPANY 2 JI print d. . . as t leyl are ludie,,_ 01" 15, b R su Jeet In "Violin Technique" advised to follow the fingering ex- 430 So. iUi~hig;lIl Al·e., Chicago 5, 1Ilinois e , practice thern unb k ro en- TNt E"D Y objohns,both of which may be actly . ..l 1Iloo...- 52 _ 53 ETC DE-F £8R[ .IRI J~ ETUDE-FEBRUARY 1953 No Junior Etude Contest This Month STARS and STRIPES FOREVER St, ANTHONY'S INDIAN SCHOOL BAND EASTMAN SCHOOL OF MUSIC Zuni, New Mexico of (Playlet with chorus, founded on a true incident in the life of The University of Rochester John Philip Sousa) HOWARD HANSON, Director By Leonora Sill Ashton RAYMOND WILSON, Assistant Director Undergraduate and Graduate Departments Characters: Sousa; Jennie, his into the-disumce.v SO 5 : And there is the Flagl Edit,ed by Elizabeth A. Ge..st: wife SUMMER _ SESSION Scene one The Stars and Stripes ftoatinu Sousa and his wife are seated ill against the sky. What a WOI~ June 22-July 31, 1953 deck-chairs aboard ship, reading. derlul ight! (Ordinary chairs may be used with urtain on cenc One Jose Bowannie, Jo~n Quam, Delano Dexter Seiltclon, Andrew Lonjose, Roger FALL SESSION Seen Two Isikewa,Chester DIxon, Harol~ Nak- Sellicion, John Bowannie, Robert The Sound of the Trumpet footrests in front, covered by tewa,CurtISSKucate, Joe NastaclO~ Ed- Cooche, Alex Seotewa, Billy Tsikewa, steamer rugs. No other scenery Table with beets of I11Uic paper: \Iard Quam, James Tsethllkai, Frnnk Arnold Sanchez, Stanley Chuyate, Joe September 21, 1953-June 4, 1954 by MARTHA V. BINDE necessary where usa sit \\ riting. Piano is Calal'3z3,Bert Bowanmc, Felix Chavez, Taabetsavc, Marcos Lasiloo, Derk \Veah- ncar him. Enter Jcnnie. kee, Reynold Simplicio. (Ages 15 \0 19'> For further information address "D JENNIE SOUSA: (closing her rRAISE Him with the sound of horns, were retained. book): It won't be long now, A (laying down hi pen,,,' ARTHUR H. LARSON, Secretory-Registrar the trumpet." So says the Psalm. One of the most important feast Philip, until we land. Are you looking "I' at Jennie): Well. Lenni , my mar It i almost fin. MaJlY times in the Old Testament days in Biblical times was the getting tired? Letter Box EASTMAN SCHOOL OF MUSIC we read directions for ceremonies Feast of Trumpets, celebrated on SOUSA: No, bnt I'm glad t "y ish 1 at In t and it i..written ex. praising the Lord with trumpets. the first day of the New Year. The we will soon be home. a ·tly ns it tame 10 me on ship. Rochester, New York These instruments were not at beginning of the new year, in those JENNJE: Have we forgotten any- board. I have not changed a all like the brilliant trumpets in days, was announced by trumpets. thing we should have done? 11 t f it! SemIreplies to leiters in cnrc of ONlr Junior Euule : lise today. There were two differ- Psalm 81 (80 in the Douay ver- SOUSA: Not a thing. Everything J 1':'" 1'.:: 1 me h ar ii, Philip. Junior Elude. Br-yn 1\1nwl", Pa., "I .\Jy hrothcr and J would like to hear ent shapes, the straight trumpet sion} was written by Asaph, the has been attended to and our h ar it at oncc! and they will lie forwarded to the writers,Do not ask for addresses. frorn Junior Etuders. He is interested in and the curved, made of the horns leader of the Temple choir, for this baggage is on the lower de·k (moving lo'card piano); Foreignmail is 5 cents; some fOI'- music, plays piano and accordion and of cattle and rams. Even later, Feast of Trumpets-"Blow up the ready to be taken ashore. (fJ e f '0 ur-- ou r member I told eignairmail is 15 cents nod some is clarinet. His hobbies are football, swim- SHERWOOD MUSIC SCHOOL when they were made of metal, trumpet in the new moon, in the rises and walks back and forth.) ou it i inl nded 10 be played 25cents. Consult your Post Office ming and track. 1 play ukulele, clari- these two shapes, like animal time appointed, on your solemn Do you know, that march b by n full bra_ land witha ch,- before stamping fOl'cigll ail, mail. net, accordion and piano. My hobbies The thorough, specialized, professional training essen- 8rc basketball, tennis, swimming and tial to success in a musical career, Sherwood com- feast day." throbbing through J11 y head ru of y i . I hOlc written the horseback riding. Write to either of us. How much more serious and again. I keep hearing it all th· bines with a general cultural background designed to \\'ords f r th h ru 1001 you I am very much interested in opera and Mary 10 Wynne (Age 14). beautiful was that New Year's time. (From back stage cOllies know. (lie 1,loys some of the opere!!aworks,and have been doing the Jack Wynne (Age 16), stimulate self-expression. Individual guidance by a latterfor the past three years. I work Nort.h. Carolina celebration than is the frivolous the sound of a soft drum beat. iI!"rc!, for Jennie.l faculty of internationally known artists. Degree, di- Who Knows? duringthe day and go to night school, tooting on tin horns of aUf present Sousa stands still and appear J. 1\1\'11': la mil i endSl: Philip. ploma and certificate majors in piano. voice, andIalso study voice at the Conscrva· [ have studied piano for several years (f(f~f~Jl 8core-lOO is perfect) time! to be listening intently.) Ycs 1 J that' w nd rful. You are cer· loryof Music. I find ETUDE very in- and play clarinet in our High School violin, 'cello, wind instrument, organ, composi- seem to· hear a distant melody. teresting.I would like to hear {rom tainl)· well-nomed the March Band and also play with the State Col- tion, music education. Many opportunities for too. King. ane! thb n w march is the otherJunior Etude readers. lege Band. I have arranged several songs BrianBeaton (Age 17), Ontario public recitals, solo and group performance. TIlE RECITAL JENNIE: Have you writLen it m 51 brilliant jCh' I in }'our for symphonic band and also arrange luusic for smaller instrumental groups. down so you will remember it? crown. I forel II we ~hall hear it Splendidly equipped building with easy access by Murtha Binde I can play almost every band instrument. SOUSA: Not yet. I want the march pia' d and _ling b)' thousand, to rich cultural facilities of Chicago. Non-profit; We're giving a recital, I would enjoy hearing from others. and the words I have written for all over the Lond. (From bael Melvin Dickinson (Age 16), established in 1895. Summer term begins June The mockingbird and I, it to be put dow"n on paper in stage i heard brass-band reo DorothyJane Kentucky 17th. Write for catalog. Ii e sits outside my window my own native land, the U.S.A. cordillg ojlhe tars and /n'Jif$ And trills so clear and high. Bartz JENNIE: Well, tbat time is not far Forever as Ihe chorus enters, Every year \\'e have a music festival with Seegroup letlen;. Arthur Wildman, Musical Director off. We are nearer the shore than wavin American Flags. TlCopi. our Junior High and Elementary Schools, And all the while I practice and Ollr parents and friends come to I thought (rising Irom. chair). So. Michigan Ave. anisls enter unobsen;eJ ,cilh hear us play. In Ollr last program I He sings his lovely song; Look Philip (pointing) there is chorus atlll 101.·;"1$ Ol.·er from Ihe played in the orchestra. sang in the Chicago 5, Illinois I. ,Vhere was John Philip Sousa Through technic, scales and pieces the Statue of Liberty holding her recording. playa duel arrange· chorus and sang a solo. born? (15 points) He lollows right along. torch on high. Melissa Manneschmidt (Age 12), (They both ga::e Inent oj lhe famolu March lCilh A band and orchestra were started in 2. Can you give within len years California chorus jo;n;n ;n Ihe refrain /0 ourHighSchoolwhen 1 was a freshman the date of his death? (15 so Itookadl'antage of the opportunity ou a's OIcn 'cords points) 1; and,tudiedclarinet. 1have been in both Answers to Quiz 3. "'las he ever the conductor of Rdrain- ~hebandand orchestra. I would like to 1. Washinf!loll. D.C.; 2. 1932; 3. yes; Hurrah for tb f1a of the free' eatfromothers about my age. the United State.., Marine he resigned when he formed his own ASPEN INSTITUTE OF MUSIC [a - it W8ye 85 our gandard Stephanie Carter (Age 17), Band? \10 points) 1\ band; 4. yes, four times to Europe and Massachusetts 4. Did he ever take his own band forel-er' once around the world; 5. Sousa; 6. June 29-August 29, 1953 to Europe? (10 points) The gem ~f th land and we sea. about one hundred; 7. piccolos, flutes, The fOll11W·· . 5. Who is pictured with this quiz? The banner 01 the right. to . Ing wnters would also like oboes, clarinets, bassoons, saxophones, Address: Genevieve Lyngby, Rm. 505. 38 S. Dearborn. Chicago 3. Illinois "Icelvelellers. Be sure to follow the trombones. trumpets. cornets, horns, and (5 points) Let despots re.member the day reguar Lett B .. thy) B er ox maJ1mg rules: Doro- drums; sometimes euphoniums and Sou- 6. About how many marches did When Our fathers, with mighty Gne artz (Ag 16) W' . h saphones (helicons and sarusophones ,tudied . 1" e , lsconsm, as he compose? points) endea\·or. (10 LejsilIk(~o In eleven years; Barbara are also sometimes used); 8. a deep CINCINNATI CONSERVATORY OF MUSIC marched g 3 toned brass instrument similar in char- William S. Naylor. Ph. D.• Director ond Deon of Faculty 7. What instruments arc used in Proclaimed, as they to and\1'0 ld f·t ), Maryland, plays piano l acter to the tuba, having the tubes a fnll brass band? (15 points) t.be fray. . Florene' Td e to be a concert artist; Established 1867. Operated under auspices Cincinnati Institute of Fine Arts eaRa ( Co bent in such a way it can be put over 8. What is a Sousaphone? (15 Tbat by Lbeir might and by the" necticut) C MOm age 14, n- affiliated with University of Cincinnati. Complete school of music-Degrees, York) 'c 'h,olyn Male (age 13, New the shoulder for support. Sousa re- points) right , at ey C' I k Diplamas. Certificates-dormitories, 10 acre campus. For free Catalog address. Pennsyl, . ler ac (age 14, quested an instrument maker to make (Answers on next page) l\aycs foreyer. anla)adN . this for him, developing the idea from RegistrCl'r. Dept. E. T. Highland Ave. and Ooll. St .• CINCINNATI 19. OHIO It (age 12 Calh n. aney W hutaker Curtain , orOla) all study piano. the helicon. It is named for Sousa. 54 55 ~------ETUDE-FEBRU.4RY 1953 ETUDE-FEBRUARY 1953 N ext there was Leroy B. whoat 17 YOU.R MUSICAL DAWN responded so well to this music_ II REMEMBER, WE TOLD YOU! . di I spe . ing rea i ng t tat te was within I. Lete in September the Century Edl- ' d . a ell , IS AT HAND weeksk grven • tion New Issues appeared on dealers' stu )' employment PRESSER • • counters. At that time, we hailed family hotel switchboard It w 3 'a . . as II at (Continned from Page 10) h new ELIZABETH E, ROGERS as on ex- first Job. And the change in hi ' • ] S per. citing Century discovery and pre- , whats again, I ten you that once the stu- dicted great things for her. . American opera companies, and the sona rt.y a so was as great as thouah dent has a mastery of all these ADVANCE OF PUBLICATION OFFER Scarcely five months hove passed still comparatively few smaller ones. he had been '.>ornblind and had sud. and already every "best o~ 1952" Goldovsky said, "When the day of things, granted he has the voice in denly been grven his sight. list has noted two or more of the the beginning, he need not worry So to sum up, Let other paret TheseHt books .ereh no W .111pre para t'Ion. 0 rd ers are I'imite. d to two copies. per b00.kidP ease sen Elizabeth E. Rogers pieces as out- awakening fully dawns; the day of sto"nding! which I spoke earlier, out of a thou- about the cash register!" of slow or nonreading children ta~: clem,.I ancle WIt order. (Check or money order requested.] As each book comes off the press, "Titus" had been sung in Eng- hope. I cannot too strongly re Ask your dealer to show you these sand good singers, 300 will find . , c com. e Ivery postpaid) will be mode. lish at both presentations. I asked pieces by the newest Century stor- places for their art instead of per- mend this ~l1Uslc.spelling methodtil haps five, as now. Goldovsky why. see what It may do. Particularly "But it will not. all be fair sailing "There is a belief that English is w~en . the chi.ld is young and ou-r SING ALL MEN GRAND PARTITA In D MINOR unsuited to opera. This is, of course, ?nef IS new with us. Unless the child 4051 Circus Scenes (Black ~r White Keys) -I for these young people with beauti- Arranged by Tom Scott --by Bernardo Pasquini <'4045 Early Morning Rooster. C.! ful Cod-given voices. It t.akes more ridiculous, since any singing is only JS too detached from his environ. "4046 March of Rubber Bunts. G-I Transcribed /01' organ by Ciuseps»: Moschetti 4047 Purlch and Judy. G·I than a voice t.o become great, much a combination of vowel or open ment. there is much to hope for, Alllerican folk songs arc always favorites to sing and to hear and 4048 Rain on the Roof, C_I sounds with consonants or closed ~4052 Silelling Fun. C_I more. One must study history t.o There is definitely no need to fear these arrangements (or male ch:orus by Torn Scott are "tops". The A brilliant theme wi th variations by this master composer, performer 4049 Tiddlywinks, F.I sounds. often as musical as the open will be *4050 Western Siory, A, Gm-l understand the roles one is singing. that hi interest one-sided zo compositions are grouped into five categories-Sing of work, 4053 My Toy r-umuet. C·2 and how people felt in the days the ones. I believe in two things in this sing til newspaper stimulates in: and teacher of the 17th century. Freely transcribed for the modern 4056 Scale Song, C-2 Sing of Love,Sing of F~IIl,Sing of Heaven, and Sing in the Saddle 4054 Tag, C-2 opera or its text were written. Ro-w connection. the first that a person tcrest in "uri d subjects. It is enlv pipe organ, the selections provide excellent concert and recital 4055 Whistling Tune, 6-2 wiJl sing better in a language with -all of medium difficulty. New, appealing, excellently arranued-. could one sing 'AIda' well il he during the first few weeks of slud;, material [or the advanced student. Hammond registration. These outstanding new Cen- had no knowledge of the Egyptian which he is familiar, and second that we slre~!o, the subject that has a perfect combination! o 'tury releases are at your that there is every reason to sing people of olden days, and how could h lei that unmi ..takabl interest since 412-41005 list Price $.75 Advanc.e of Public.atian $.60 433·41009 list Price $ 1 .25 Advance of Publication $.95 dealer's now. one sing 'AIda' well if he had no in a language with which the lis- k iudergurten days. Perhaps if Hal by MacDowell concept of Verdi except as a man tener is familiar. If we are to have had hu I the upportunhy 10 u-e trans- who put pleasurable notes down on music with words, by all means let 4093 To a Wild Rose, A-3 portal ion in ..tcnd of building bloch IN REVERENCE 4094 To a Water lily, F#-4 paper? say to you that. too many us understand the words. The com- 4095 To a Wild Rose (Easy), G·2 I etc. ut Ih a~e of 5, no delay in his 4096 To a Wild Rose (Piano Duet) A-2 young singers are interested in sell- poser must have desired them 10 he reading would ha\e come about. (An Album of ,F'uJ?cral ~u8i.~ for thc Organ) Compiled and edited by Gem'ge 'Waller Anthon)! 4097 To a Water Lily (Piano Duet) F_2 a part of his creation. else he would 4098 To a Wild Rose (Organ) A ing their voices instead of becoming Th 'n too th l"tudy of mu~ickeeps A t1s~(ul, compllatlon ,vlth Hammond registration, which includes the [allowing selections: llot have used them!" and-for piano artists. They take a cash-register one young in h (lrt and mind. , Hach sAlle !lfcns.clten lHllssen Steruen (chorale prelude) and Come) SUJeet Death)' Beethoven's "The growth of music is slow, but 4.079 Kentucky Babe, C·I·2 . Gilihel view of the matter instead of an ar- \' r til )' ·ar~ the bond between Andanle Canla(Jtle [roill "An:hduke" trio and Funeral M~a'l"ch; :\fendelssohn's Consolation and 4099 Meditation, Db-3 . . .. ::Ilorrlson it is certain. And because so many • with words tistic one. Very few ;ealize the vast t aell r-mOlb rand hilcl growsmore o of us are spreading the gospel of Funeral :i\farch; l\fassenet's Elegie; Chopin's P1"elude in C 'minor: Schumann's Evenin()" Son " 'ALL NUMBERS IN CENTURY complexity of this art of music, espe- b aUlifuL rtllillly' there b no time . I . b b' cially I speak of the operatic art. In music, talking of its importance. it anc I L acey s '...llln.entaiJon. for'" 1£·I')it \\ It 11 mother "ub"tituI~ EDITION ARE 25¢ A COpy addition to the voice, there must be will be not long until all America I h ~llld) of Ihe eltlq ..ics or whichever 433---41010 Advanc.e of Publication $.75 li5t Price $1.00 Our Graded-and·Classified or our Com- the historical background of which will realize its importance. too. with- plete Catalog listing over 4000 numbers is I) p f mu ..ic ~he lila) prder. This FREEat your dealer-or on request from I just spoke, there must be linguistic out knowing how it came to realize is ..J)' inll) true i( or "hen certain the publi5hers. preparation, there must be a concept it; and then one day I shall be sing· 1 mcmb r. of one family- or perhaps * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *.* * * * * * * * * * * * * * * of acting and the coordination of ing my eternal theme of music's de· CENTURY MUSIC PUBLISHING CO. Ihe communil) may be ,piriluaUy NEW RELEASES gesture with the music's rhythm. all sirability and the people of this coun- 47 West 63rd St" New York 23, N, y, too iml> \eri ...hed 10 II cepl a slol'i these and many more things than I try wW say 'Goldovsky, what are you PETER GRAy .... Wy"" Yo,1 312·40135 .21 learning hild into Ih iT circle. Then PIANO SOLOS can tell or you could write go into screaming about? We've known that (American folk song, a cappello, Ten. or Bar. solo, mother ",ill find il11measunlble S(J!ace Grgde I LITTLEBEAR CUB SEES THE WORLD ON Difficult) the making of a mature artist. And all the time!'" THE END HIS OWN.,." ,...... Mildred Hofstad 110-40208 $.35 in ~tlld) inl! her eh n in~(rument. Koven-MoIzer 321-40023 .25 (Words, Minor ~ey, Melodic, Legato) *RECESSIONAL . De The piano ho:o. been fiN choice with (for festiral choruses and smaller groups, Moderately Grode lrh RIDEA MOUNTAIN GOAT .. , .. Michoel Brodsky 130-41117 .40 man) of nul' I)atron~. difficult) (f!cellenl staccato study) lIo\\c,·r. I am pr nil)' rejoicing REJOICE AND PRAY Albert De Vito 312-40128 .'S TOPSY.TURVY.TOY Elizabeth E. Rogers 110·40201 .35 in u nc\\ and impro\-ed attitude 01 (Acc. ad lib, Difficult) (bcellent staccato study, R. H. on blod: keys, L. H. J...indnt:"~~ llnd lolerance on the parto! on while Aeys, Fresh treatment of chromatic elements) SOMETIMES I FEEL LIKE WANNA GO HOME Tom Scott 312-40126 .20 MIRACLE IN MUSIC the public in ~eneTal. Onl)· recentl)' , '0-40202 .40 Grad! 1 DANSEANTIQUE ,., .. , Gronville English (a cappella, Spiritual, Moderate difficulty) we heard Iii 27.hour telethon driw (GllYotte, Recital, Tuneful) (COJainued from Page 26) 312-40127 .22 for cerebral pal ..)' \i lim~ c1o~ lfith 130-41119 .85 SUNRISE CALL .... Tom Scott Grad!6 SONATINA .... Jean Berger (Zuni ceremonial song, SATB divided, Bar. solo, Piano a tota 1 01 03.090.00. The con,rihu· the United States and Mexico on (Three movements: Fast, Slow, Fast, Not more than and drum acc., Unique, Rhythmic, Difficult) FREE MUSIC a public schoolroom. Could it be that lions came from pe.~ns in allwalh the back lawn. Seated in and driv- tenminulesin performance, Contemporary style but not MONOGRAMMING SERVICE our deep abiding love and sympathy exlreme,Lyric slow morement, Brilliant lost moremenf) THOU CREATOR OF THE STARS of life. How can we doubl we are 332-40095 .18 'ye ,,,".ill monogram YO\~r initials or your name ing this toy, T.F. learned muscular for the. nonreading child is largely OF NIGHT Wesley M. Harris l' ~n.l'. un orders or mUSIC tutaJi"g ~~.OO or more. \\ iLne~~ing nne,,' era in human kind· (SATB divided, a cappella) \\ ': SIII'I1I)- lIIusi" or all Plll>1I~Jwr8 ami 'hill coordination_ geography, and map- responSible for the fact that th d "ll.\I,!lnf. Terms St·t 10 lla.\'8. Order in delail. ne~:-.·! :\ IIW that ~me of the big CHORAL making, followed by music-spelling enjoy learninO"? ey 0 TO THE CHILDREN Rachmaninoff Lynn 332-40094 .18 MUSIC MONOGRAMMING SERVICE name .. in Ihe entertainmenl worl~ SAiB BEFORETHE CROSS ...... John M. Rosley 332-40093 .20 P.O. 1I0X 1269 ROME, GEORGIA and l·eading. The interest in maps (Sop. solo, Ace. ad lib, Medium) Tl~ere was Mary L. who at 12 Sotill (Sop. sofa, Medium) are inter ~ted in Ihecau::eofcrippled SSA IT WAS A LOYER AND seems second llature to some non- had trouble lacinO" and t' I I . >:> ylllg ler children e\' rwbere. great change5 BREATHEON US. LORO . ... J. Roff 3'2·40125 .'b HIS LASS ..... , .. Frances McCollin 332·40092 .22 reading children. In recent months SlOes. WIth the flash beat <;.et t 58 in Ih ir b half are sure 10 happen· (Organocc. ad lib, Medium-Difficult) (Medium.Difficult ) the use of a flash beat metronome is or 60 ~1.M. we sang as she I~ceda I 322-40022 .22 -.1 .,. d eaCl And throug.h mu~ic ~Iudr with CAPTAIN NOAH ... .. Wallace Heoton * Conat be sold in Canada an added incentive to music-spelling ;,we: lll-an -out-and-in-and_ .. f ~~ cappello, Suitable for high school, Moderate t . ,. Ollt or rour child. )Oll willleam there liter· and reading. With it ticking away. Ylllg: ·o.ver-and. under-and_ around_ lItfficultyJ STRINGS clapping and tapping to different all) i~nOlhing too wonderfullo be we-go. tYlng-the-knot-to-stav_J'u<;.t., ., n I AM NOT WORTHY, Domine TWO FOLK SONGS: Londonderry Air, tempos and rhythms is fun. as this After 2 0 3 . I - ~ o. tru~. E\en if the rehabililatio non Sum dig nus , . Rowland W. Dunham 332-4009b .'b . .r tna s she had maslerc{! Arkansas Traveler .. George frederick McKoy 1'40400'7 particular type metronome· is just thiS t"Outllle which she h :-hould not be complete. there i~ (Molel, a cappello) 1 I (Effecfire treatment o~ two old fororites, Short, Easy, enough mechanical without being too .ina- yea t d A a( }een try- greal ("omf('rl in doing the best ll'e l~T'S HAVE A SQUARE DANCE . Tom SeoH 312·40129 .30 0 r5] 0 o. Iso usinO" the flash Useful for schools, full String sound) diverting. I kno\\ ho\\. In Ibe word~ of an inter· square dance, Norelty, Excellent for High Jeat set s ow. and a disca °d d I (t'r?! Complete with scare . $ 1.50 Girls as well as boys usually are 1 k . Ire a arm nutionallr ramou .. ph}"~ici~l.~Iti~ sc 00, medium.difficult) ~ oc' wH 1 glass removed. Ihe child Score .50 interested in maps and transporta- our sen"e of r~pon~ibility for p.I~Y· o L~RD,fOR FAITH IN THEE .. Giuseppe Moschetti 3'2·40'23 .'b Separate ports. . . .30 ~entJy pushes the hour-hand . (JunIorchoir, a cappello, Easy) tion. No matter which subject is III 5 minute intervals' alo~md ing OUT pan to the ~l of our ahll:t~ THREE FIRST FINGER PIECES. ,A. Lo_uisScormolin 114·40016 .60 . . . as we "mg 3'2-40124 .'b used as a stimulus, life is no longer lInprovlsmg a tuneful I d ~ . that mak"" u; God.like-" THE DD ~a PRAI~ETHE LORD Giuseppe Moschetti (Recreational pieces for beginners, Open strings and just another day of waiting when 15-20- 25.30-35 me 0 y, 5·10· coppe la, Laude spiritual, Easy-Medium) fi,st finger stops, Tuneful, Good ensemble with easy , . elc 1I 6 OLD MAN NOAH . .25 storybook and newspaper are read. this same way .. p .10 O. In * * * (T d't' .. . .M. L. HawkinS 3'2-4012' piano part) , USln "He can sleep on a windy night" was the unusual recommendation given the young farmhand by the old farmer. The farmer meant that the young man had so conscien- tiously checked every door and gate that no matter how severely the storm raged, he knew that everything was secure on the farm. No matter how winds of circumstance may blow, PEACE OF MIND is an outstanding characteristic of Bob Jones University students. These young people know that every precau- tion has been taken for their welfare ... spiritually, socially, academically, and physically. MUSIC, SPEECH, AND ART WITHOUT ADDITIONAL COST ABOVE REGULAR ACADEMIC TUITION BOB JONES UNIVERSITY GREENVIllE, SOUTH CAROLINA .\~ ~ UN\~UM.MJ~"