Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
10-1954 Volume 72, Number 10 (October 1954) Guy McCoy
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation McCoy, Guy. "Volume 72, Number 10 (October 1954)." , (1954). https://digitalcommons.gardner-webb.edu/etude/102
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Call to Teach Bernard Kirshbaum
The Dance Art Develops a Notation Nadia Chilkovsky
How to Write Good Tunes Arthur Schwartz
Results Count James francis Cooke
The Ernest Bloch Sonata Harold Berkley
Is There An "Italian" Method? fedora Barbieri
Present Aims and Objectives in Choral Music George Howerton
The Story of MTNA S. Turner Jones
Fascinating Ensemble of Flute and Organ Laurence Taylor r...pre-putAcation 4
Order Now to take advantage of low advance of publication .price~. Orde~s ore limited to two copies per book.Pletlse send remittance (check or money order) with your order. Pcstpctd delivery w,1I be mode as each book comes off Ihepre ss,
PIANO SOLOS
HIGHLIGHTS OF FAMILIAR MUSIC arranged by Denes Agay P/ANORAMA OF AM£RICAN CLASSICS A collection of seventy-five of the most familiar melodies arranged by Denes Agay for amateur pianists of limited technical ability. Also ideal Dnrpi/td. tlnfJlt,ttl GnJ tdittd by DtIItJ A as supplementary material for students. Original harmonic conceptions An unu ull ('()mpiJalion ,,-hith ,h • Pt"'fH'tthe 01 it li . d II)' have been faithfully retained. Contents include: "Folk Tunes From Other ment durinJ. 111- J81l. and I lit t("ntUnrl. r"tnIY.thre1~(.erd.,. Lands", "Dances", "Sacred Songs", "Themes From Standard Literurure", "'Ii\' mcrinn tomfJo~t {"rJudifi": ..,..1'1 r JloJlkin,oft, l';o'-8.~ .... etc. In the case of songs, words accompany the music. in.JtI. HO~'lio P,rktr. Ed"'-.rd \f 0(".('11. Jrl, tlt,be:rt Ind~ List Price $1.25 Advance of Publication 1.80 BlOltrflplut.1 ,lIktlrhti or ee h t mpo1tr. un bit {tlr u It a . elburn for ,dull or I toUt rlon of upplfmtntlr)' mat ,ial fo~~lorW rNlIOtlll.l. \i Isu rmedilil ar.d~. FOLK·WAYS, U.S.A., Book II Elie Siegmeister li r Prie SI.SO d, nee or Publiudon '.9~ \4 Contains twenty-seven titles: all music based on American folk tunes. Many have words. Grade 2-2}f. Each piece is tastefully harmonized nnd AMERICAN HERITAC£ .~ has a note describing its origin. Contents include both familiar end unfamiliar melodies and therefore wiU be helpful in broadening the (Jrran~td b, Marie "un,/, Jlllmr.dmu by JlL'lt n", If pupil's knowledge of OUrmusical heritage. Each piece muy be used for some technical purpose. (olk (r.,li .... f o( (to,. .nd dint' \( rtf' t-Irnth and JlAt Floryun };rOUllht I()~t'lht'r tht' ontr nd d n r man, Pf pll'i "ho U\t ~ List Price $1.00 Advance of Publication $.65 in J\l1ltriCrt •• nd JI,I.t' "utlr \ h.1 fGnrrlhutJ It I~ Our lolk tultan. C .. de 2-3. i ~ list Price t.SS CHRISTMAS IN THE SOUTH d.. nc t P,bUe.olio,I.~ *'. - arranged by Marie Westervelt illustrationJ by Jane Flory ELVES ANO TH£ SHOEMAKER A ~roup of So~thern folk carols and Christmas customs. This new pubJi. ~atI~n follows In the vein of the successful "Christmas In Mexico" Full #t '/fry M illt 1fI;"ic oy t.ne lJ,tll't1, IIIJ flllt FUr, '" I • ".,.. Justice has heen done to the subject in the treatment. Grade 2-3. . ~ ("harmin, ("ry ,alt ci 10 mu~ f t. "rit ltntlt, wjlh wordsod ( \ f List Price $.85 Advance of Publication 1.55 lllu Iflili n .. b J Ot f1ot' {'".rC"ftn.", lh_. tuc:h 1"1 and pupils..ill Wt>ICOIHC Ifl;...addition ( ur t111.1 .. Cnilde 1-.). l '\... ,,~ COMMANO OF THE KEYBOARO Li I Pr;~ I.as dyan r Pu,bl.iealion. 1.65 (Volumes J and II of six volumes) Compiled and edited by Allred Mirot.itch The material for this series has be f U I ONE PIANO, FOUR HANDS the technical and musical develo me~~ fare u y se ecled to help foster 0ung will find fresh examples of 18thp 19th 0 dth2~1 student. .The teacher s~me ,neve~ before printed in thIs coun~; VOL c1nlury In<~stcal styles_ OUETS OF THE CLASSICAL PERIOO ntque', "timing and rhythm" "1 . y. I·" c?,vers fore~l:rm tech. VOL. II deals with "repeated' no~e:1.I~~htogetler, finger actIOn", etc. ui"tI I>r 0.."" T"",.. action", etc. Intermediate difficulty. VOLSUJ~b'IandVfi,fth.fingers", "linger Thi e~ition I)r nI {our·h,nd muti(' or Iht puiCKI of lotln and HlfdD L'1st Price $1.50 each A . to wdl follow . and wllI.b lott"romt:d b) Ih~ IC:I('htr "ho i in itlrth 01 unbltkM:fed duct mUS-IC. Modt:,..tt: diftif"uh . dvance of Publication 8.95 each A piano you'll live with List Price $1.75 d'-anee of PubliealioD SUO
CHORAL TUNES FOR TEENS proudly ... for a lifetime by Rufus Wheeler and Elie Siegmeister WHY THE CHIMES RANG Three-part songs for girls' a db' . The combined talents of M Wh I n 0rs VOtces by James Aslre CftlilcJ . . h k r. ee er and M S· . to a 00 of songs which are id al f h r.. legmetster have resulted ct W 'nl 0 RqltWlId MaeDonolJ ..llJtlI This lovely French Provincial console was created especially progr~m. The music is d'·awn fro:: Iheo: I e. Junior high school music e to commemorate Meson & Hamlin's lOOth year. In your Ame~lcan .fo~k music, arranged sim I emJn.gly endl~ss storehOuse of This unusual lOr)' o( • 'illie 1,0)' al hrLlOl lime i provid~ IlfilbI studiO or home, its grand-like tone and performance will be a prac.lIcal limIts of girls' and boys' vok: an~ }-:t effectively within the ('010r(u1 musil'al tllin~ for mi,"~ \.oic~ and o~.n_ The e-toryunfold> maxl.mum musical effect resulting eh sdof Jun lOrhigh school age, with source of great musical pleasure and pride. Like all provlsed accompaniment on .. or sym hols are provided f _ through the yoic-e of I nunllor _._in" _ Iulck,:round 01. ,..,itly of ricb any Jnstrument v'·1 hi f Or un· List Price $1.00 a 31 a e Or this purpose. choral sound:!. Thi. l'omvo~i,ion 'ftill lend (ruh intemt 10 .n1 5thool or Mason & Hamlin pianos, it is ageless in beauty, unequalled Advance of Publication $.65 church Chri,:;lrna_ prO~f.1II of t1Iodt:l"lllt difficulty. in stamina ... 0 wise investment wortny of your consideration. List Price $.50 d,.ancc of Pu.hliatioD •.35 THEODORE PRESSER maHun &- 1Ramlin DIVISION OF AEOLIAN AMERICAN CORPORAT/ON East Ra,hu, •• , N.Y. Bryn Mavvr COMPANY • Pennsylvania
ETU DE-OCTOBER 1954 1 t = THE WORLD OF GULBRANSEN $4.00 A YEAR . , america s CARILlDHIC Brill II smartest ETUDE Offices, Bryn Mawr, Pa. CATHEDRAL CH'MU!1 piano Editorial and Bustnese EVERYONE SAYS: fashions m "AS. • J a-mes Francis Cooke, Editor Emeritus MAKES BOTH!~ The Ninth Annual BI·C\'31·d Music The Men-opolltun Opel'a will in- Fnllnded 1883 by THEODOHE PRESSER (Editor, 1907.1949) Festival held at Brevard, North Caro- clude in its season a revival of Gluck's liThe Connsonata sownas "Orfeo ed Euridice," which has not MEET SINGLE BElLS. P£AU lina, August 13·29, featured six Amer- been presented at the Met in twelve MY Guy McCoy, MlIllC/.gillg E~ilor ican trained artists: Carroll Glenn, CARILLONIC SETS violin; Eugene List, plano: Carol Smith, years. Pierre Monteux will conduct the DAUGHTER, George Hochherg, jl1u.sic Editor opera and the cast will include two new Whether you JlIefer contralto; David Lloyd, tenor; Grant Paul N. Elbin Karl W. Gehrkens Johannesen. piano; and Donald Cramm, singers: Giulietta Simiouato and Laurel jLAst like a Pipe Ofgan!" J~J~utMJ(}kZ Maurice Dumesnil electronic bells or the me11 Harold Berkley Guy Maier Alexander )Ic urdy t11 bass-baritone. The festival orchestra of Hurley. Some day she'll walk up the aisle Cest George Howerton Elizabeth A. tones of genuine tathedril I 85 pieces was conducted by 1ames to your Wedding March. Nicolas SlonimlOky William D. Rc\'elli chimes, you'll find ~, Ii.~~ Christian Pfohl. The Chicago S.rlllilhony Orches- But first I want her to know u-n, conducted by Fritz Reiner, will be how to play your Spring Song. in elther made by Maas. I want everything that's The more than 25/.00 Donald W. StauffCl', first contra- heard in four broadcast, on the NBC beautiful to come to her. installations of bassist of the United States Navy Band, Radio network in the current season. I'm making sure it will ... by October 1954 MailS·Rowe thilllts, has been awarded the degree of Doctor The concerts, to originate in Chicago's giving her a Gulbransen to Vol. 72 No. 10 CONTENTS of Philosophy in music by the Catholic Orchestra Hall, will be given on four ",;lIon •• nd bell create beauty for herself. University of America in 'Vasltingtf)ll, Saturrlav nights: October 23, November mte", 'If,s! D. C. This is believed to he the first 20, December 11, and February 12. ~-~~""~-"""~JWRITE 10 the;, .'J'A"J'UICES lime that this mark of highest academic supe'io<'~' recognition has been bestowed upon all Colin Slcrllc, young American corn- I :~,~ 'S THEASURES IN w ASIIINGTON ...... •...... /-:tl,wr-/d J\.I,f u".o LISZT enlisted man on active duty in the poser, has been appointed Musical Di- BROC:URES HOW TO WRITE GOOD "UN'ESI '...... • • ...... • ATII"rI Clilk,. IIr.,,'.k THE DANCE ART DEVEL.OPS A NOTATION. ~ , .• tid II I 61-"'" Armed Forces of the United Slates .. vlr. rector of WQED, Community Television SPECIAL FASCINATING ENSE.l\IDLE OF FLUTE ANI) OHeAl" ...•...• 1.uur-t'Ilt' Ta)~~: Stauffer is a former string bass and Station at Pittsburgh, Pa. Mr. Sterne I TEACHER'S THE STORY OF lHTNA ....•...... 0 •• 0 • J~;';I';I-~~:~';r:J:,.."U: tuba player with the Rochester Phil- has been associated with the University DISCOUNT RESULTS COUNT! ...... • • ...... • . , 11 I of Pittsburgh as a member of the music IS THERE AN "ITALIAN" METHOD? ..•... _ ..••..•.•.• fp,lhr-II 'M"'''' harmonic. department since 1948. He received his Only Gulbransen full 88-notc PRESENT AIJUS AND OBJECTIVES IN CHORAl. AI I .. ·1'("1" lIo"r,.nOft Minuet Consoles arc equipped Sli\1PLE APPROACHES TO CHonAL CONIlUCfI •. - .....•. J,.,'!" f. ""11'· Regi nuld Ley McAH, nationally trniuing at the Juilliard School of Music HIGHLIGHTING BICIl FIDEUTY...... •.•.•• 7.,.1111 Hn,.k with the wonderful, new known organist and hymnologist. died in New York and with Nadia Boulanger Supertone Scale ... the exclusive suddenly near Meredith, New Hamp· in Paris. miracle scale and the reason for "EI.ARTl'Ul~ ''1'S shire, Oil July 9. Dr. MeAll was organ· glorious deep-dimension tone. WORLD OF l\lUS1C...... •.... - . - ...••••.•.•..•.••.. ist of the Presbyterian Church of the James K. RalHhdl of Washington, MUSICAL ODDITIES ··.····· _ I\l,.nlu/I ,,.,,.1,,,.1,, Write/OI Covenant. New York City, from 1902 D. c., and Richard Cummings of San MUSIC LOVER'S BOOKSHELF_ ...... •.. o. _ .....••• - .• , .011/" ntln.(}f, GULBRANSEN COMPANY ,otoJog to 1950. He also served as pres~dent of Francisco, were the first prize winners PRESENT AIMS AND OBJECTIVES IN ClIonA!..1\1 .·l .,. C#'ar,1r 11(,. "':'010 Dept. E, 2050 N: Ruhy St. Out. (2 • 301$ WITAS1VE.. the old National Association of Organ. of ·S150 each in the 12th Annual Young NEW RECORDS _ 0 •••••• I'flllt J\ •. l;lfJh, 1.0$ ... GU[S 39. tALlf. Melrose Park, Ill. MORE THAN A DOWNBEAT-PART 2 •••.•.•••••.••.. r illium D. U" ltl ists, and of the Hymn Society of Amer- Composers Contest of the National Fed. SCHUMANN'S PHOPHET BIHD-A MASTEn L.ES ON. _ - ••• CU,. M"/,.,. ica. He lVilS widely known as an author· eration of Music Clubs. Poll". Randall's QUESTIONS AND ANSWERS ...... ••.•...••.. _ Kllrl If'. Crhr/;'''II./O ity on hymns and hymnology. ,,-ark was a Suite for piano and :Mr. TEACHER'S ROUNDTABLE ...... ••...... _ " . M/Uldu Oil". ."U Z:S MUSIC ARRANGED ••• AN ORGAN BUILDER'S Ol>INIONS _ _ Al,. ""d"r" "I'll Z I Cummings won his award with his "Five Have written arrangements for Groups THE ERNEST BLOCH SONATA...... ••...•...... •..••. 1I11,.altl n,.,.ktto,. ;:e:; NEW! Hem'", Francis, pioneer public ·TZlI·Yeh' Songs." and Artists in all phases of the Music J. VIOLIN QUESTIONS...... •••••..•••. 1I11r-ald U,.,.,.'to ::.~ school lIlusic educator, for 43 years Profession. ORGAN QUESTIONS. _ ...••.. f'r"d,.,.i,.k "/,Imp,, :;3 At present, Composition Instructor at organist and choirmaster of St. 101m's The Fifth Anllual COll\'cnlioll of ORGANISTS, PIANISTS, TEACHERS, STUDENTS and "just Brooklyn Conservatory of Music, Member JUNIOR ETUDE...... • _ ..•.. eli;(ll.,.". A. ."", :; ~ PIANOTlM[ Episcopal Church, Charleston, W. Va., the National Associat.ion for Music of ASCAP. Other references upon request. died thel·e on July 10, at the age of 79. Therapy will be held in New York City plain music lovers" all agree- "Once you've heard the ANGELO MUSOLINO ~. US. C 29-Sth Ave .. New York 3, N. Y. He was director of musical education on October 13, 14, and 15. The general Compositions jor PiallO (Solo anti Dllel) F AVORITU of the Kanawha County schools for 4..t theme of the convention will be "The Connsonata, norhing else will completely satisfy you. QuatricIDc Valse OuLlice (Forgoltcn 'Vuhz No. 4) 0 •• _ •• Frtw# U.:, years. Dr. Frands ·was a founder and Dynamics of l\'Iusic Therapy" and head- llourrce (froDl French Suilc No.5) (with d:l1Icc uotrllion b,. ing the list of important speakers will Nlidia Chilkovsky) ...... •.••...•.• oj. . /Joel. o former president of the West Vir~illia There's just no other instrument that produces such rich, Etude in G-SharJ) Minor _ F,.tII,d.:rk Ztu~h(l'" 32 Music E(lucators Association. He wa~ bf' Dr. Howard Hanson, Director of the Walking 0 " ••• 'Pill.On O.bor-nf! 3 I active in the American Guild of Or- East.mary. School of :Music at Rochester, .Giguc (from Suilc XIII in Db Major) (from "Uasic Pillna pure-organ rones (except a large pipe organ!)." Besides, ganists. Kho will address the convention on for the l\Iusic Educator and Chlllsroom TC:iIl~hcr'·). __ ..•.... C. F. JJonJcl Deep in the Forest a Little Brook Flows (Duct) (fro,u ;;The Relations between Education and Connsonata offers a wider selection and range of true '''Share the Fun") ..... - •...... •.. 0 ••••••••• 0 •••••• EttA Krlll:r,.,. The National Music Camp at lnt.er· _\[usic Therapy." About a Shill al Sea (Duet) (frOlll "SIHIre the Fun") ...•..•...• £lI 1\~",.rer- a lochen, Michigan, presented dming the solo "voices." Get a Connsonata demonstration soon! Vocol alullnsJ.rumcntal Co,nposil;oIlB past summer fOllr short operas; one of The Fit'st Annual New England The Lord.'s Pra~'~r,$Vocal) (froln "Sacred Songs Jor these was Martinu's "What ~Ien Live High Fidelily Music Show will be JU~lor ChOIr,> o. _ . _ •.. _ .. j. ~. Bach.lIoUm,,,,n 38 By." based on a Tolst.oy short stan'. held in Boston October 22, 23, 24. The KEEP THE SOUNDS E:lrly Will I Seek lhee (Vocal) (fl"oll1 "Sacred Song fo Others were "Daelia" and ;'A Matinee affair will be open to the Pllblic at no YOU WANT TO REMEMBER Junior <:hoir") 0 ••••••••••••• r. tV/'X T-Ic1/mffll l100monn Chant de C;'-r1llon (Organ) (from "Twelve COIDIJositions b' 3S Idyll," both by Hamilton Forrest, and charge. All the latest equipment neces· Anlerlcan Composer!! for O ...... :Ul with Bells") "1"/1 d S E'/' ';Kittiwake Island," by Alec \\iildcT and sary for making hi-fi systems for the Just push a button and the RCA e> • • • • • •• I Dr Oilier. 101 39 1\ rnold Sundgaard. (Continued on Page 7) Tape Recorder captures every note, Pieces jor Y DlU/g Pla)'ers The Little Shepherdess ... every sound. Press the button again 0 ••••••••• Plaving Tag .•.....•...... - .... Er;,.r-ctl lel"('lI.f; 42 BIG NOTES and it plays back with true RCA Spr'iglltl:r 2 R 1954 ETUDE-OCTOBER 1954 ETlID£- <~ r:" - ~) '.r.;;' ~~t It. ." 1'7 f I ~' I I -.-/ Liszt FREE! It may come as a pleasant surprise SEE, HEA••.• ANO flY THEM AT YOUl to many to learn that one of the best collections COLOR MUSIC NEAREST TOY oa OEPAIlMENT STOll Treasures .BOOK WITH BELlS. of Lisztiana in the world is in the KNICKEJtBDCKEn national capital ui Washington. NO MOil."000 (."10 ..... • Washington by Edward N. Waters Assisturu: Chief, Music Division WORLD OF MUSIC Mu ical Itm Library of Congress (Continued from Page 7) • Arcari Foundation Accordion composition contest. Award of S500 from b ad for an original work-a rhapsody for accordion and orchestra. Closing date, October 15, 1954. Details from Arcuri Foundation, 14 Merion !!E PUBLICATlOi\~1l this issue of to these foreign institutions in quantity, and (;ISI11 continues La this day, advanced by Road, Merion, Pa. Marcel Dupre, internationally not d ""01.1rl in the . . A." T ETUDE (on Page 21) of an almost an announcement to this effect was pub- persons still incapable of grasping the com- organist, has been appoint d director lished by the Librarian of Congress in his poser's admittedly complex character. If • Queen Elizabeth of Belgium International Musical Competition. of the Paris Conservatory, as su es-or JO"C'Jlh Kdlherlh conducted the totally unknown composition by Franz 1955 session for violin. Deadline for filing entries January 31, 1955. to the late Claude Delvincourt. who four 01k"r8o: of W.gntr· -Rin~ 01 th! Liszt, here printed for the first time, is au annual report for 1935. The cause of the ever a favored child of fortune is apt to be Details from Queen Elizabeth of Belgium International Musical Com- had held the post since 1941. .\Jr. Dupr '\ih<'lun""' twlee III the BayreuthW~" exciting fact. Since the composer's original announcement was the most welcome ac- overbearing and immodest, it is in the first petition, Palais des Beaux-Arts, 11 rue Baron Horta, Brussels, Belgium. is himself a graduate of the con-crva- ner F('...i, al. in Jul)' and .1\1Igust, taking manuscript has been in America for years quisition that year of the Rafael Joseffy flush of his maturity, at the height of his tory. the pleee of the late at-mens Krns. (above is a facsimile of its opening meas- collection. Ioseffy, one of the greatest pu- powers and overwhelmed by adulation. • National Symphony Orchestra Composition Contest for United whe-e sudden death in )(ay Clu..~ I pils Liszt ever taught, venerated and re- Liszt reached this age as a young man of States composers. Total of $3,300 for original compositions. Entries The 1954-55 season of the reed- rearrangement of cooduclori.1 a:Slgn" ures) , cherished by its owner but ignored to be submitted between October 1, 1954, and January 1, 1955. tiscbe Dper of Berlin will extend Irom mente. by musicians in general, its dramatic ap- vered his master, and formed a truly nota- thirty or so (some would say earlier), but Details from National Symphony Orchestra Association. 2002 P .November 1 through March 31. The pearance now turns one's thoughts to other ble assemblage of his teacher's musical there is, in the Library of Congress, an Street, N. W., Wash., 6, D. C. . operas will be prewnted : Iladcu.Badc.n German)" will be .the following l documents which the great Hungarian ar- effects. Their arrival in Washington made authentic document firmly contradicting all Wagner's "Parsifal," Weber's "Oberon." -ccne of •.be 19.)5 World Mu~icFestIVal tist may have written in his own hand and the national library: with its additional charges of vanity brought against the su- • Friends of Harvey Gaul, Inc., Eighth Annual Composition Contest. Mozart's "Cos! fan Turri." Gluck's '. \1- of t ln- International iety for ~Iodero An award of $300 (or a violin 50]0 with piano accompaniment. A ceste,' and Verdi's "Nabuco" and ·'....i. --'Iu.j(". Festival events will take pl~ce which are preserved in this country. Amer- Liszt items of noteworthy quality, a center perb artist. A paragraph from the 1924 S100 award for a composition for four harps. Closing date Decem- cilian Vespers." at the ... uthwcst German Broadca:ung icans should be proud to know that their of international importance for Lisztian in- annual report of the Librarian of Congress her 1, 1954. Details from Mrs. David V .. Murdoch, Chairman 5914 Studio$. land is plentifully supplied with original vestigation. A complete catalogue of all of explains why: Wellesley Avenue, Pittsbmgh 6, Pa. ' The Bcdill Philhlll'llIonic Orchc:,- sources (manuscripts, letters, etc.) pertain- Li5zt's manuscripts and letters in Washing- Certain critics of Franz Liszt have tried 11'a, under the direclion of Wilhelm ir Willialll Wallon's neW o!,:~ ton cannot be attempted here: but a few to make him out a vain, bombastic char- • American Guild of 01'ganists Prize Anthem Contest. $150.00 Furtwaengler, "ill tour Ihe l nih"d ori ..inuUy C' 10 DE-OCTOBER 19;4 ETUDE-OCTOBER 1954 11 ET .J...I _ All too few church organists realize the interesting possibilities oOered The intriguing account 0/ how the Music Teachers National Associ· by the combination of flute with their chosen instrument. ThcodOl'c Pressel' ation came into existence and what it has come to mean to the thou- sands of teachers all over the United States. most cases) of figured bass realizalion~l ,+. N INSTRUMENTAL ~onlbinat;on wit.h arc particularly good for flute and organ, great musical pOSSJblhtJes-such IS n and have been much featured by E. Power the union of flute with organ. That such a of the Music Teachers National Associa- Biggs on his Sunday morning broadcaa, THE FOUNDER of the Music Teachers musical wcddinO' should be a particularly tion. ° . d from Harvard's Busch-Reisinger Xluscum National Association was Theodore happy one is only natural: both are Win At that time there were' nine state or- And thus far it has indeed been more Presser, then of Delaware, Ohio. instruments and blend well together by ganizations which affiliated with the Na- seventeenth and eighteenth century mate. In the summer of 1876: Mr. Presser very nature. Anyone who has heard the tional Association. Now there are twenty- rial than later flute music which has been called William H. Dana, of Warren, Ohio, numerous organ broadcasts by E. Power seven state Music Teachers Associations featured with organ. Actually, howerer, into conference with him regarding the or- Biggs which have utilized the services of affiliated with the Music Teachers National it is only in the later nineteenth and rwen. ganizing of a Music Teachers National Phillip Kaplan as flutist, cannot have {ailed Association. Additional state associations tieth century flute rnu ic where the full Association, which, in its character, was to to recognize the singularly felicitous tonal are in the formative stage: and one state resource', the marvellous r gistration and be to the music teachers of this country blend of these two instruments. Yet all what the National Education Association association is now readying itself for af- color po ibilitie of the modern organ lila) too few church organists seem to make use filiation. Present membership is a little be fully br ught inlO J lay, is to other educators and public school of the interesting and delightfully different nfortunately, more than seven thousand, with a potential very little has b n d ne to bring flute and teachers throughout the country. After recital program which the flute, brought in estimated at anywhere from one-hundred organ togcth r on n in t nth and twentieth some discussion Presser and Dana ad- to supplement the organ, is able to offer. journed. In October of the same year, Mr. thousand to one-half million. The writer has had the pleasure of partici- cntury musi ; a a moll r f fa I, such However, the strength and power of the numbers as III famous ancenino lor Dana was again called to Delaware, and pating in a number of church recital in there: in association with Mr. Presser, a Association can not be calculated solely in Flute by Mme. haminade. and 010 de conjunction with the organ; it is his hope program was formulated. the number of members currently enrolled. COIlCOUrs by Emile Pnladilh are e'en more to arouse interest in such recitals by calling The need for such an organization grew Only those who have attended the conven- fTe tiv \\ lth organ ace mpaniment than attention to some of the excellent musi out of the experiences of Messrs. Presser tions, including not only the programs and with piano. nd famou. rgenist-eompe . that is available for flute and organ, as \ ell and Dana. Mr. Presser up to that time had sectional meetings but the business sessions, ers uilmant, Rh inb rg r, idor 8n<1Du- as to point out some of the problems and been connected as a music teacher with two those who have served as officers of the As- hoi each nt rihut d at I ll~t one original considerations which come to the Iore in different educational institutions. As a mu- sociation contributing their knowledge, work for Oute ond k ) b aTlI.' preparing successful performances with sic teacher he found that the pupils who skill, personal integrity, time and money, Th rc are a numb r of oneidemticns this combination. The Story came under his guidance were poorly pre- those who have worked behind the scenes, and prohl Ol'li to b r ckon d with, if we No one should ever Ieel that the f1utc pared for the work they wished to under- oftentimes without honor or fanfare, in is out of place in the church, yet in some arc to achi ve a truly su , ..Iul union of take. As for Mr. Dana, he had traveled over short, only those who have participated in quarters there still seems to be something flute and organ; r pr imary importance are seven states of the Union during three years the workings of the Association can fully of an old-fashioned prej udice against us- the a ousti s f th building in \,hich Olle of~TNA previous to that time, visitin,s music teach- appreciate the contributions made by the ing the Rute in a church recital: the idea is playing. Th a ou. ti of 0 hi-h. "oulted ers in cities: towns and hamlets, and in al- Association not only to the impro\'ement 0.£ The that "it may be all right for a radio broad· st ne ehureh not Irolly difT r from those of most every case, according to his own music teaching, but to the advancement of cast ... " This is a ridiculous prejudice Bo~ton's ymJ hony 11011 r ~c\\' York' by S. Turner Jones words, "found them incompetent." the musical life of this country. and not even "old-fashioned." What the Carnegie I-Iall. 'lut Ion. lik organ tone, As William H. Dana wrote later in life, During the first thirty years of its life, "old-fashioned" idea on this subject really tends to un in R live "bright" Executive Secretary "b bo k' "Hence it would not be out of place to say from 1876 to 1906: twenty-eight annual was is clearly revealed hl K. H. MacDer- hall: thus the • oust; of the parti "18r that the deplorable condition of music as meetings were held, but reports of those Fascinating mott's delightful book, "The Old Church church may well dctcrmin the tempi and a whole called into existence the Music meetings are incomplete and difficult to ob- Gallery Minstrels" (1948), wherein he type of musi h s n. Teachers National Association. It was tain. Available records give accounts of lists some of the instruments which were Certain a u ti al properties can be founded on lines to aid the teacher of mu- meetings at which students seemingly, and used in the churches of EllO"land in the judged fairly qui kly. G n roily speakiog. sic, especially the one whose opportunities in spite of the high ideals of the founders, "old days" (1660·1860) ; theyOwere; "Ban. the small buildinp' with a low ceiling and were limited. Emphasis was laid upon the were exploited for the glorification of their Ensemble jo, ?aritone, bass.-horn, bassoon, bass viol, upholstered seats, or the choir loft and fact that it was for the benefit of all. and teachers. These early meetings seem to have clan net, cOllcertma, cornett, cornopean, rostrum decorated with ferlll;; and hung that to be successful, all 'axe-grinding; was taken the shape of concerts interspersed drum, euphonium, flageolet, fife, flute, with draperies will lend to muffie the tone to be eliminated from speech and perform. with the reading of papers usually dealing French hor~l, Kent bugle, oboe, ophicleide, and subtract sub tantially from the brilli· ance." .1 with the pedagogy of music. serpent, tnangle~ violin, violoncello, tin ance of the sound. nd r such circum- Invitations to attend an organizational Nevertheless, the Association made def- whistle." (!) ... These instruments were of Flute stances a somewhat {osler lempo to offset meeting were sent oUl, and on December inite contributions to music pedagogy and eVide.lltly considered perfectly acceptable. the lazy ncousti i ju tified. On the other 26, 1876, sixty-two men from the conven- to the professional musical life of the Pnmary consideration must be to select hand, in large building w-iLh loft}' ceilings tion field, from the public schools: piano United States. According to some writers ~usi.c that will be suitable and proper for or domes, where the sound "3'· spread teachers, voice teachers, and conservatory the Music Teachers National Association dlgmfied church use. This music must be ~o widely and so rapidl)', a decrea..'Cd,peed managers met in Delaware, Ohio. The was inAuential in the establishment of an selecte~ from the "Aute and piano" cate- and Organ 111 allegros and prestos will help to presene sixty-two men, including such greats as international pitch. Undoubtedly the dis- gory, masmuch as there is almost nothing clarity of contour, and wiIJ 3\·oid the dis· George W. Chadwiek, Calvin B. Cady, Karl cussions and recommendations made at that has been composed under the "n t tres8ing impression of agil8tion and mud· Merz, William H. Dana, Fenelon B. Rice. these early meetings inAuenced those in- an d orgal~ "Ibla e. AII organists understandue die which excessive speed plus O\er·r~- and George R. Root, had one common in~ dividuals responsible for the setting up of that certam styles of piano-writinO" transfer onance tend to create. One 5hould remem· copyright laws which offered some protec- ovel: to organ particularly well, a~d this is terest, that of improving music teaching in ber that many composer set down tempo tion to ~omposers and authors. Certainly, an I.mpor~ant factor in selecting the Aute this country. According to the records, ev- markings at home in a s.mall room \\"ith the MUSIC Teachers National Association mUSIC whIch is to be played.! ery speaker al that meeting "deplored the only a piano (Continued 011 Pa~e 56) assisted greatly In the establishing of a by Laurence TaylOl' The ~ute sonatos of the eighteenth cen- lack of culture and knowledge on the part standard pedal keyboard for pipe organs. tury, WIth keyboard parts consisthlg (in of teachers in the various branches of mu- 'Cuilmanl, A. Romm,ce san, Paml." Op. 85. sical enterprise." 2 This was the beginning Thus, it can be seen that matters which Schott, LOlldon. William H. Dana today are taken for granted were vital lAlso, see .Dickinson' Clal'ence'. "Ad apt·Ing p.lano 10ana, William H.. "The BeginninlTs of· the A ccompallimentsto the Orcran ". I· Th T Rl~einberger, J. Rhapsodie. Ki~tnet, Leipzig. problems to musicians and teachers fifty to . d A ,., , lUllS: e ec/t.. M. T. N. A." Proceedings for 1914, Seri;'s 9, p. 180. irldo~, Ch. M. ~lLile, Op. 34. Heugel. Park 'I~lq~e an rt of Organ PIa·ring, New York 1922 'Ib,:d. p. 182. (Continued on Page 49) all. 1, eh. VI, pp. 29-37. ,. UI~OIS, T. Sulte (Poemes ViTgili~ns). Hengel, P ans. 12 ETUDE-OCTOBER 1954 13 ETUDE-OCTOBER 1954' INGERS who, like myself, are Italian In the field of music tel/ching, S born and Italian trained, are fre- quent! y asked about the "secret" of Italian singing. Exactly why has Italy been en- as in eve,.y other activity, Miss Barbieri as A"idu abled. both in the past and now, to produce such 'a generous supply of good singing? there is no denying that At first, the question startled me somewhat; but now that I have given thought to it, I think I see three separate reasons. Fedora Barbteri herself First. we must take the climate into eonside~ation. Italy is blessed with much Results Count! warmth. much sunshine, and little humid- ity, all 'of which are good for the voice. But other parts of the world also enjoy comparable climatic conditions-parts of the United States feel very much like Italy! An Editorial by JAMES FRANCIS COOKE -so the entire credit cannot be given to weather alone. Next, we have the Italian language which is perfect for good singing, study in which prospective patrons Illi~ht When Vlr. Th udorc Pre-s r r turned ANY TEACHERS of music have wr it- consisting as it does of pure, open vowels be interested. We cndc<'lVored to get hll~l Irom IIi5 two j cars cour ... at the Leipzig M ten to the wr-iter, "1 know teachers and uncomplicated consonants. When you to Iul.;UShis mind sharply UpOll the pupil Conservatory, he brought with him his who have not had half the educational op- are accustomed from childhood to speaking instead of himself. He added two specimen "S .hcin" ur diploma sign d by Karl Hei. portunities that I have had,. who secure in the same vocal formations which must pro.-rrallls of his more successful pupils. lie neckc. judussohn, Z" int. 'her and other more applications from pupils tha.n they be learned for good singing, the singing abot>added half-tone portraits o( the two members of til faculty. This chein now can accept. 'Vhy don't I succeed 10 that comes to you more easily. Still, I hardly attractive young ladies. .lu a few weeks, hall" UPOIl the "all of the Pr ~.. r Me· way?" . feel that language alone explains the "Ital- greatly to his surprise, pntrons commenced mcriul Ruom at th ntrnn e f the Presser This question almost answers Itself. It ian voice." In third place, then, and most to come in, and he SOUI1 secured <'1 profit- l lome fur R ·tired Vlusie Teachers in Ger- came in all probability from a teacher important, is the classic Italian method of nunrtow II, a uburb I Philadelphia, Penn- who has Bot produced results comparable able teaching clientele. singing. And granting that climate and Perhaps the most fortunate altitude any sylv nn in. II told til \\ ritcr that records of with those of her competitors. The world language are splendid aids in learning this teacher who is not producing results cun his work, even til .omposlricn and the demands results, and results are the best method, it must nonetheless be carefully take is that of asking himself some very editions IJ· had U:- '<11 \\ rc pr served in the kind of advertising a teacher can have. learned! Is there pcrtillellt qucstions. Such a list of ques- nrchiv cs of Iii on~ natof)', 11ll'lg with All a~sociate of ~he late George \Vashi1l3" The first step in good singing-and one tions might start wjth: tho,e r Erhard rieg. ir Arlhur Sulli· tOll Crile (1864,·1943), internationally which, in ltaly, is given the greatest con- 1)0 , keqj an accurale accoufll, 0/ eoch \ :In. nnd utlll'f falllou .... ~llIden'~.lie reo known Ohio-born surgeon, once lold the sideration-is breathing. Vie spend much pu,p£l's work, week by week, TIl 0" IIt bJ' marked that thi., nlwu '~ gn'(' Ihe ::Iudenl a an "Italian" Method? writer that the famous physician was often time in mastering the correct intake of air. ~Cll~C of n,·~pon...ibilit) all<1 \\3~ a ~til1lulus m~kedwhat was the young physician's road monlh, year by year? This is always a breath originating in the 'Vc have knuwn jn Europe Ill:m)' llulcJ in hi:"l!,rogr(·~::-. II rca liz ·d IlInl :,oltlcbody lo success. He replied: "Results, results, diaphragm, supported by the strong ab- teadlCrs who~ whcJl they sccured a new cared \\ hat he \\3ii' doing and 3n eye results. Nobody waHts to pa.tronize a doctor "CIl' dominal muscles, and never involving the pupj[~ prucured a sizable nutebook ill ,\ hich Upt)" hi5 ,\ nrk. Thi ~Iilllul..t·d /] ~criOU5 who dues Bol show a high average of re- chest. No matter how deep a breath you per:::ollal COllcern in hi onn life CMeer. sults, 110 matter how many university de· thc pupil's progress at every Icsson "as draw, ehest and shoulders should never A leading star of the Metropolitan Opera Association carefully recorded. Edouard Schi.itt (him· grees he lIlay have framed upon his walls. '~'e Iw.,c kno\\ II or 8 me American teach- move! It is a bad mistake to mix dia- Pills and plasters and prognoses arc all scl[ a pupil of Lcschctizky) and an excc!· ers "ho. after thc) had ginn a Jesson.gale phragmatic breathing with chest breathing, presents interesting and revealing facts lent pianist, although better known as a nu morc ~ub~(IU nt thought to it than ri'Tht" , but what the ]laticnt wants is to as sometimes can happen. The great secret get well." ClJJllvoser, showed HIe such books aL his would a ~oda clerk tn a banana :!:plitafter of good singing is to rest every tone-loud concerning the "secret" of Italian singing. \Ve have known Illany teachers who have home .in the Italian Alps al \lcrano. In hc had sen cd it. Po~-::-ibl lhe pedantic COil· or soft, high or low-on a purely dia- had especially fine trainiIlg, who after leav- Oslo, Norway~ Christian Sinding showed tinental teachcr ... or other d3):' \\cre a bit phragmatic breath. Once this has been in" the colleqe or the conservatory entered me buoks ill which he Illacle records of his 100 lIll'liculou~, hut thc)' llIade Illa:,tcr~. b b • thoroughly mastered, it is quite possible intu a kind of dream world of sdf·adnura· work as a teacher. Silldlllg kept careful ~Ja II of the leading Americilll teacher~. for a singer to be suffering from a cold or From an interview with Fedora Ba,.bieri tion. They assumed a ludicrous attitude of notebouks of his musical inspirations. lie cullcgcs and c ns:n at ric::: go to great constriction of the chest, and yeLto produ.;::e Secu,.ed by Myles Fellowes suvcriorlty toward all prospective pupils. had a grcat number of little black book~ Icngths Lo keep ncccssar' records of the beautiful tones. Chest·breathing deceives OIle young lUan in imJ1lediate financial with \'cry small staves in \\-hich he rccon.lccJ ::'Illdent~' \\urk and find that it pa)~. the singer into thinking- she is drawing a difficulties. came to the writer's office and themes in luicroscopic llotes. I-Ie callce1 ~\lll~ic tcaching cOll:::id red from many full breath, but actually she is not. The laid down 'an expensively prepared circular, thelll the Norwegian equivalent of "musical ~t'.l1lelpoint~, p:--)"clJulogical, :::ociological. right breath for singing must always come and the organs of speech remain relaxed. the technique against the time when she piggy-ballks." citing his years of study under prol~lillent educatiunal and cultural. i~a Hr)' impor- from the diaphragm-and the best way Singing vocalises on an OR formation of will be called upon to sing the "throughs" masters aIlel following this with reprInts of mallY Le~~ull record books are used by tant occupation. Its real Icad('r~ look UpOIl to understand and master this breath is the lips tenses the passages which should of English, or the "Aehs" and "ichs" of newspaper llotices of concert appearallces American teachers. One teacher rC;llurkcd_ it \ery ~criou::-Iy. Thc )oung doctor gradu- to lie Hatl relaxed, quite as il you were remai!l free. Especially, the throat and German. The same relaxed technique must in European cities. But such evidence did "\Vhy shouldn:t the teacher keep careful ating (rol11 3n, forclUust medical ~hool sleeping, and to breathe as you do when neck must always be relaxed. While you be applied to any sounds in any language. not necessarily make him a good teacher. records just as a bank keeps records·? recci\ cs rrOI11til(' Amcrican _\Iedical ,\~~o· yOll sleep. are voealising, put your hand gently to For this, it is wise to remember that the He had never produced any worth while When money is depositc<] in thc bank. an ciation a booklet containing the Oath of Alter good respiration, the next most your throat; if you feel the slightest yawning, or smiling, mouth position must pupils because most of his lesson time was account is immediateJy opcned ill' Lhc lIippncrates 'allc;<:edly 2300 )c,,,, old) by important point in the Italian technique tension, something is wrong with your be maintained in the same degree of open· so taken up with cxhibitiolls of his own dcpositor's name. AI. any timc the bank can \\hich young ph)~i("inns dedicate Iheir Ij,-es of singing is the emission of this breath method of emission. Whether you sing high ness for all vowel sounds. So must the skill at the keyboard accompanied by an tcll ahnost immediately the amoullt of the to ~upporL the highc~t principles of the as vocalized tone. The great goal is to or low, loud or soft, the throat and neck, throat. A good exercise is to sing the five obbligato molto amoroso of praise of his depositor's balance. Of course. an art )Jrofe~sion. Perhaps a music teacher upon send the natural tone out of the mouth, must always fee! as relaxed as if they had vowel sounds-AH, AY, EE, OR,00- concert appearances, that the pupils got cannot be metered like mOllcy. bu't it is not entering the musical profcssion should take at the same time supporting it on the dia- no muscles at all! This type of emission on one breath, keeping the throat in exactly very little from the lessons. too diffic.ult for a compctellt teacher to put a similar oath. Herc is a p05sihle musical phragm. A helpful way to do this is to gives tone a sweetness of color and avoids the same position, and modifying the Inasmuch as he was the friend of an dowll, WIth {air and just exactness and adaptation of the principles of lhi~ oath. keep the mouth in the position it normally harshness. Here, the Italian language is mouth position only as much as is required acquaintance, we took time to rewrite the regularity just what thc pupil is accom. One 111 ight taU it the Oath of Orpheus: takes when you smile or yawn. Thus, the helpful since its natural sounds involve circular emphasizing three phases of music plishing." by the lips to distinguish clearly among (Contilllled Oil Page .l-71 throat cavity is opened and kept open, no harshness; still~ the singer must master the vowels. (Continued on Page 60) l;Tl IJE-OCTOB£R 1954 ETUDE-OCTOBER 1954 15 CHORAL DEPARTMENT Library of Congress attest . IT I J "race Liszt may have. felt this~. .'nu me a J C I:l • ~ d d reveal the perfection he was alwa L1SZT TREASURES IN WASHINGTON that something more was nee e., striving after. If he fell shcn of and he subsequently expa?ded this J' .. to aive it more eclat and mark, it was because he was hum' 5mree e . and suffered from the ills lha" (Continued from Page 9) bril7htness. An autograph manuscnpt I o • dd i . I also human flesh is heir to. containing thi s a l~on las y Franz Liszt remains one of tn his collaborator must have warmly found its way to the LIbrary of Con- . .' edition appeared in 1842 [more ....ress where it awaits further study. most mysterrous, aliraCll\e, gen1 • likely 1841] and was printed by welcomed. otis-spirited and irritating personal:. (ETUDE takes pleasure in presenting here- The largest single manuscript of It cOl~tains: too, emendations ~o some Schuberth in Hamburg. It was not of Liszt's most notable operatic tr~n- ties in the whole history of mUli; with. the first article in the new Choral De- a white-haired disappointed Liszt, Liszt's in the Library of Congress, script ions, among them the form.Jd- Studied as a man or as an ar1ist,~; pertmens edited by George Hmoerton, Dean of but the idolized virtuoso at the pin- and a most important cue for what refuses to come to terms withh~ the School of Music, Northwestern University, it discloses, is his autograph of the able Don Juan Fantasy, Wh.lCh nacle of his glory, who set his biog- biographers, who fret IJainfully0\'11 Evanston, Illinois. It is hoped that workers in celebrated Soirees da. Vienne of 1852. posterity has judged severely With- raphers this example of moderation, his qualhies and his defects. with the school choral field will come to look apori Few pianists today play the whole out benefit of comprehen51On. truthfulness, and good taste. both of which he was plcntifull)'Sup. Dean Howerton's' monthly department as a by George Howerton set-and more's the pity~but rare This brief recital 01 Liezt sources Particularly touching among Liszt's plied. It is good to know thatlhe source of practical help in the every day class- indeed is the pianist. or piano stu- and resources by no means exhausts autograph improvements was his in- national library in Washingtonhal rOom problems.~Ed.) dent who has not played one of the the capacity of the Library of C?n- sistence that his OW11 boyhood teacher, an unusual amount of SOurcemale: pieces, invai-iably number six since gress to satisfy a researcher delving Carl Czemv, be given his full meas- rial about this enigmatic mao. ~'ho HE WIDESPREAD attention now given it is not as difficult as the others. into the composer's career. There ure of "praise" and "gratitude." It profoundly Influenced the dele1op. to choral singing as a field for special There are nine Soirees in the entire arc many autograph Ieners and T would seem that only a great soul mcnt of muci with a minimumde. development is a comparatively recent phe- can exhibit such thoughtful gen- eet. nine charming and fanciful and many first editions. some of the lut- brilliant piano fantasies based upon tel' bearing Liezt's corrections for gree of emphasis on his on nomenon in American music. While there erosity. l\ormOll~ giftll. \'10 ilddilional lim Th~ Library of Congress bas an· the Viennese waltz melodies of JuteI' prilllin~J". He composed rapid· have always been choral performances and Franz Schubert. Thcy are far more ly, not slo\\'lr like Bcclhoven. IH!t items c 111 10 the Library of Con. widespread use of choral music, still, by ath,*-" highly significant and unex- A:rf'fl~. the oJl('ctioll ,fill wax in plored specimen of Liszt's carefully than JUere tnlJlecriptiolls. however, he was Idway"' euger to improve 1115 and large, it is only in the second quarter ~iJ,:;nificnn f' all an iml)(lrlanl center {or Uszt took thc themcs of his work '1l11.J refinc hi~ urI. In t1li of the twentieth century that the choral art Present Aims and considered reflections and expres- for the "'Itldy Hf Ihe cnml)O, r him. sions. It is a notebook, used 1y the predecessor (whom he adored), rCS!J<'ct, as ill others) s~ readily ac- has taken its place among the significant !'>clf. hi~ U11. aud of romantici~min composer in 1874, in which he juxtaposed l1H:m anew. ext.ended knowledged. he stands 11!5 a mod·1 Jt;cllf'ral. ,\l1d thl" ~Iron~er the CfI\. musical entities. drafted letters that he had to write them. dressed them up in virtuoso to yOIlIlJ,.!;COlllpo~cr-" r the pl''C~ nt )£,Clion become .. the mort' ~ali(fied It is well for chorally minded persons to to friends, near-friends and profes- guisc', and vastly enlarged Schubert's day. Propcrly tllldcr~tood, he should mcricunll mAr feci ahout the "pause just now and take stock of the pres· Objectives in Choral Music sional colleagues. He had. the com· urigjnul modest COllcepts. On tlte be an ill~piralion for conlemporary ent situation. What have been our principal menda"ble, though time.-consuming, other hund, he did not chcapen onc llI11~ic ."llldt'1l1~. for his was a qtlC~t· breadth of rhc cuhure inherited from habit ·of ,"roughing-out" a letter first whit t.he beautiful di:lncc airs; hc ing mind which ranged over man)' lh Old World and prc~cned and accomplishments? What should be our in order to voice his thoughts as ex- ornamented and augmented rhem so fields of knowlcdg and spiriluul xpcri nerd in lht ~('W. immediate concerns, and to what goals do plicitly or as efIcctively as possible. as to make them ,':iuilable for the satisfactioll. The doculllcnts in th TIlE E'iO we look in the future? In this past quarter large conccrt hall in which intimate Two of these drafts were intended of a century, the period of development or An authoritative appraisal of the present day for recipients in A lllerica~F]orenz t1ance mu:oic is less at homc than jn emergence, the primary concern of the Ziegfeld, director of the Chicago the taverns t.hat Schubert. so merrily AN IMPORTANT ANNOUNCEMENT choral conductor appears to have been the choral situation-its assets as well Musical College (and father of the frequented. building of technique. This was thoroughl~- Bcsides offering a scrious ~tudent later producer of the Ziegfeld Fol· ETUDE is privileged lo llnllOtlnC IIlul Ilir \o\Clllb r i--uc will inlro- natural. As the choral pioneers looked an ideal Jesson in the arl of Jljano as its liabilities-with suggestions looking lies), and Henry Wadsworth Long· duce R.dph E. Ru::h all Ihe newe:-L addilion to ih air lilly (');cellent paraphrase, lhc Soirees de Vic nne about the field for literature to sing, it was fellow, the great American poet, slall of deparlll1enlal editur:-. Mr. HIl~h ....ill be editor of the hool has a sentimental value which every obvious that for artistic performance of to improvement along the wa)'. whom Liszt had met in Rome in OrChl:'~lra Department of ET D'. 8ml will IUI\C an arlicle in each follower of Liszt mHst cherish. This this music a group of trained singers would 1868. jS:5l!C dealing wilh )lroblel\l~ a~ Ihey arise in th deil) c1M~ room of the is explained in un essay widell I had be prerequisite. Consequently, the con- No biogra pher seems yet to have school on:lJc::tra t.lire tor. 1\11'. Ku~h i hoirmon of the ~IUclC Depart· the privilege of writing for The ductor usually has occupied himself with used this notebook, which is crammed menl ano Associate Profcs::or of\lu~i und . ducat ion at Ihe lJnh'er' Library of Congress Quarterly Jour- the part of present-day choral cOllductors with important observations (in their sily of Southern California. Los t\ng Ie . He i nati nally knO\\ll in the development of technical proficiency. the greatest precision as regards technical first form), messages and references. nal of Current Acquisitions in 1949 Many persons who have observed or par· detail; that same attention to literature of is a frequently appalling lack of awareness and from which I shall venture to educational fields and frolll 1952·1954 WB president f the ~Iu~ic Edu· Liszt. was interested in currcnt events cators National Conference. IIi inlroduN ry article will deal with ticipated in the choral competitions so good qualjty could produce a performance in matters of style. This may be due to and [arnOllS contemporaries, many of bonow a paragraph. the school orchesLra Loday and wllat ~ ·lIoul or heHra teachers belie\'e Pl?pular in the past few decades can recall of real esthetic value, but when applied to insufficient knowledge or it may be merely whom he kllCWwell, and he was sen- "In his old age Liszt played [the are necessary requirements for a ~lIccc~-.rtll school orchestra program. all too well the great importance attached material of little intrinsic worth produces a failure to apply what in many cases the sitive to their weaknesses as well as piano] little. He was the grand by adjudicators to such matters as pitch, a result that hardly seems to justify the conductor knows but fails to utilize in his their strengths. Here, too, are ex- seigneur, feted and sought after. If choral performance. It is chieAy a matter amples of a genial wit~jllcluding a ·persuaded to play at all he would intonation, blend, and balance. These are effort expended. sketch of a temperance song!-a obviously turn 1.0 those pieces which fundalpental to good choral singing; they It is not a matter of the mood or char- of secure grounding in music hislory. If one phase of the composer's nature Jay nearest his hcart. During the wil! always demand the most careful ob· acter of the literature. The problem is has made a proper study of music history, which is all too little known. last month of his life (he died on servance by the good conductor. However, solely one of musical value. One must not one is aware that all pieces cannot be The Joseffy collection, already J uIy 31, 1886), he was invited to one eventually reaches a stage in the train- confuse seriousness with merit, nor con· treated alike, the manner of their perform- mentioned, was reported as having the castle of the Hungarian painter, ing process where they must cease to become found difficulty with excellence. In all ages ance varying with. the period in which 21 of Liszt's autograph manuscripts, :Michael Munkacsy. where be stayed points of sole preoccupalioll and must be men have wrjUen sometimes gayly, some- they were written. All this is known, or from the 5th to the 20th of .T uly. A a description which needs some mod· cultivated, not for tlJemsel"es alone, but as times soberly. should be known, to any good music ification. One of these is a printed special concert was arranged in his a means for the recreation of choral master- Some of the best music of all times is student. Music history is an important part work on which Liszt wrote changes honor on July 19 in nearby Luxem- and corrections. Six of the losefIy burg. and before he departed he pieces through fine' performance. extremely simple; some very difficult music of the curriculum in all schools where ilems are manuscripts of as many was prevailed upon to play. He chose As one goes about the coulltry nowadays is not worth the labor required to bring music is well taught; however, it is fre- Hungarian'Rhapsodies arranged for three pieces: his Liebestraum., No and hears the performances of all types of it to performance. This is not to say that quently ~pparent that too little attention orcheslra by Franz Doppler. They 1; a Chant po]onais from the Glanes choral organizations in all types of situa· one should always choose easy music, far has been given to making the link between are filled, however, with Liszt's de Woronincc, and the sixth Soiree tions, one can but be impressed by the from it. One should select a variety of knowledge acquired in the classroom and emendations and improvements. and de Vienne. It is not recorded that generally improved standard of choral sing- literaturc, some easy and requiring little application in performance. they show that Liszt was steadily in. he ever touched the keyboard again." ing in recent years. The care lavished by concentration as to purely technical con- At this point, the consideration turns It is curious, but not surprising, crcasing his own competence as an conductors on pitch, intonation and diction siderations, some more difficult and chal- from a purely musical one to that of peda- orchestral manipulat.or. But they lhat Liszt was. especially fond of is evidenced in what is often a general lenging the siogers' abilities. The point is gogical principles and educational philos· also show something, from the hu- the sixth Soiree, the same one that mane point of view, even more im- so many students have played. This excellence as to technical skilL At the same that, whatever the choice, the primary con- ophy. What is the purpose of the study portant-that Liszt was ready to give one is the least adorned of all, the time, one is also impressed by a lack of cern should be that the composition have of music history? Should it not illumine credit where credit was due. On one first half being almost stark in its corresponding excellence in such matters artistic value. all our activities in music, making us L: to R., Bruce, Nancy, MariJyn, Richard, Jane, and Stephen the si~ bare octaves, the second half a suc- as taste in literature and stylistic treatment Once a composition is selected, and be- perceptive of the position of any piece of the Rhapsody manuscripts, Liszt plano playing children of l\ir. and Mrs. Earl C. Crawford of Rumford. wrote: "Bravo, Doppler! Excellently cession of subtle waltz themes sur- accorded the works under performance. In Rhode Isl~nd, \~ith their music.loving dog, Spike. The children have fore it is placed in rehearsal, the conductor of music in the whole stream of the orchestrated 1" an encomium which rounded by purling triplets of many cases, one is struck by the beautiful should make a careful study of the work appeared III recltals in solo and ensemble numbers. art? Should it not make aur treatment per[onnance of unworthy material. Items of with regard to stylistic considerations. of any composition more intelligent and little or no ll1usical value are treated with One of the most prevalent deficiencies on 5J more keenly (Continued on Page 63) 16 ETUDE-OCTOBER 19 BAND DEPilRTMENT • More than a Downbeat The director of the University of Michigan Bands gives more in/ormation of value in the organization of college bands. cords buas who want to test their Klipschorus or Reviewed by their bass reflex cabinets will find plentyof PAUL N. ELBIN bass on this record. (London 946) Folk DUll'cS and ougs fl'OIll Ru ;1\ Colosscun ...assure American buyers that '·'\'0 part (the pr cce 1 fr III this record- Tchaikovsky: Symplwu:y No.6 ill IJ Mill or. Op.74· ing enure to the I uefit of the oviet o- Capitol's fall releases boast an improved .inlisric H I ublic r any of its agents or jacket, an" inside protective envelope, the repre entativ s." Thu relieved of fear of R. 1. A. A. recording curve (thoughtfully future investigation, w may c nsider this indicated)-and a new level of excellence disc 011 its merit whi h nrc ccnsidereble. for FDS sound. Tchaikovsky's Pnthetique There arc eight ell difTercntlitl , ome of presents the Pittsburgh Symphony Orches- the piece I eing orch trnl and other "0- tra in its finest disc-light to date, the repro- cal. The r h strn is the sipcv Russian duction being what the hi-fi world calls Balalaika yml hony, the soloists four Rus- terrific. Unless you object that the second sian males with the qualities essocieted movement is not sufficiently con grazia, you with authentic 1 u sian singing, Reproduc- University of Michigan Marching Band Forming a Spider Web will likely find William Steinberg's reading tion is nly fair, I ut the I rformers make as well-conceived as any in the long list of the 1110Stof their h mcloud music. 0105' by William D. Revelli competing discs. (Capitol P-8272) 'cum RLP 14 t) R. Sn-auss rTill Eulellspiegels Lllstige Oc·hussy: Lo {Joilr ii JQ,.j(lU~ PART II Streteke JJ7nhzes from "Der Rosenkl1valier" Th ugh played with splendid fin",. by Continuing with the listing of the con- ductor. 2. Catalogue, process and file all This lO-inch disc is a good example of the HlA yml hony Orchestra of Berlin ductor's assistants, we have: 7. At Drill Field: Two days prior scores and parts as designated by the need for middle-size LP's. Each work n-, Paul N. Elbin under] on I P rica, the '" orc i not scrne- (II) Assistant student manager to first drill: the conductor. is complete to a side, yet the buyer is not thing to remember Debu y by. Indeed He will assist the student manager (a) ask custodian to line drill 3. lnsert all scores and parts in required to buy a whole orchestral pro- ance lacks in drama it boasts in dignity. Sir Debussy grew tired of the Box 01 Toy. in all capacities designated by the field (5 yards intervals) folios as designated by conductor. gram to get Till Eulenspiegel, which, in this Adrian Boult, who conducts the London ballet endeavor and left the piano version conductor. This post is usually (b) check public address system 4. Distribute and collect all folios case, is given a notable reading and record- Philharmonic Orchestra and Choir, main- to be tranacr ibed for arch tra by Andre awarded to a Junior, since he will (c) move two towers to 50 yard at all rehearsals and engagements ing. Eugene Onnandy is hard to beat for tains a steady beat, taking the "Hallelujah Caplet. Since both performance and repro- be given an opportunity to serve a line-c-one on each side of of the band. music of this type, and the Philadelphia Chorus" (for instance) nobly rather than in duction are excellent, a shopper's choice year as apprentice, and if worthy, field 5. Maintain the library in a neal Orchestra purrs through the score like a the breathless style to which many of us in will depend solely on hi interest in the will succeed his superior. (d) check with conductor on and orderly manner. 200-horsepower automobile climbing Pike's America are accustomed. The soloists tend music. (Remington R·199-159) (III) Equipment Manager, who has the transportation of band mern- 6. Supervise copying staff in the Peak. (Columbia AL 4-6) to over-emphasize diction at times resulting following duties: bel'S and instruments to the copying and duplication of all now and then in faulty intonatlon. Nor are Music rOl' the O.'g:un 1. Maintain an accurate and up-to- drill field scores as directed by the conduc- Operatic Recital~Nicol:li Gcdd:l they over-zealous in their interpretations. Not to be outdone by Aeolian· kinner- date inventory of all band equip- 8. At Stadium tor. At this stage of his career, pronllsmg On the whole, however, Jennifer Vyvyan the Moller organ people are resorting to ment. (a) check band's location in 7. Advise conductor of library needs. tenor Nicolai Gedda mu'st choose his recital (soprano), Norma Proctor, (contral to) , hi-fi records (HCA-pressed) to teUthe story 2. Upon directive from the conduc- stands such as pens, rulers, filing en- material with unusual care. Thoroughly ef- George Maran (tenor), and Owen Bran- of recent developmenls in organ design. tor, one week before the opening (b) check podiums~both sides velopes, inventory cards, mending fective in Angel's recording of two Lehar nigan (bass) sing their parts sincerely and The first of loller's series was made in of the fall term, requisition all of field tape, etc. operettas, the young Swedish singer is de- pleasingly. (London LLA 19-four discs) Ernest White's studio. in New York's uniforms from cleaners and (c) check public address system 8. Collect all folios at conclusion of cidedly uneven in the program of opel'atic Church of Saint lary the Virgin with have them delivered to the Ulll· (d) check yard markers marchlng season and check arias chosen for his first solo album. In Bach Ol'gan :Music White serving as recitalist Unlike the com- form room. Check all items and 9. Upon completion of the football against previous inventory. general, his Italian arias are sung with It all depends on how you like your Bach petitor's first demonstration disc, loller's . confirm check list with conduc· season call all marching band 9. Advise conductor of all necessary morc intensity and better coloring than his organ music. Jeanne Demessieux, distin- is all music-no lecturing. And a splendid tor. equipment, instruments, uni- additions and replacements. French choices, but throughout there is :.. gu~shed young French organist, belongs recital it is, especially the Bach (Parlila in 3. Issue all necessary equipment to forms and accessories. Check (VII) Assistant Librarians~as required such careful singing as to tend toward neIther to the E. Power Biggs school nor C Minor), the Marlini (Aria con Vara- qualified hand members as desig- these against previous inventory. for efficient function of the depart- monotony. Alceo Calliera's direction of the to the Virgil Fox schooL She appears to =ione) and the Arne (Flule Solo). piston nated by the conductor. 10. Advise conductor of all neces- ment. (We have four at Michigan) Philharmonia Orchestra is skillful, and the have no use for the baroque organ and her actlon is noticeable in the close-up studio 4. Be responsible for the movement sary replacements and repairs. They assist the librarian in the areas recorded sound has a silken texture. (An- Bach ~vould occasionally clash with a situation, but the tonal clarity and bril· of all band equipment for all re- (IV) Two Assistant Equipment Men, who mentioned above, and as directed by gel 35096) metronome. Yet her style is not personal or liance are magnificent. (M.IP. Moller. Inc_. hearsals, drills, and engagements assist the manager as directed by the conductor. eccentric. On the sonorous organ of Vic- Hagerstown, Md.) as directed by the conductor. the conductor (VIII) Script Writer and Announcer Handel: Messiah toria Hall, Geneva, she plays the Toccata, 5. Maintain a neat and orderly in- (V) Librarian-senior or graduate stu- This staff member is appointed on London Records' Messiah is complete to Adagio and Fugue in C Major, the FuO"ue Gounod: RQmeo eL Juliette strument storage room. dent the basis of experience, personaU ty ~ the last repea~, and it must be judged a a la Gigue, the Prelude and FU ETUDE-OCTOBER 1954 18 ETUDE--OcrOBER 1954 19 . PIA.NIST'S PA.GE • SCHUMANN'S Prophet Bird Simple Approaches to Choral Conducting A Master Lesson An experienced choral director speaks plainly by GUY MAIER by JOHN F. KYE concerning the responsibilities and duties of those engaged in the choral field (This is the first of a series 0/ lessons on I just can't take it ... boo-hoc-hoc," etc. to repeat the text once again (measure 9) leader, if honestly inclined to appraise form y ur leader. J-I ne ds most of all (John F. Kyes is music critic of the Wor- familiar piano pieces in which Mr. Maier in- "May l sit here for a little while, please? in Bflat major the birds get restless. From cester [Mass.] Gazette and program annotator his true position and possibilities, can in- your loyalty and obedience. U", these troduces "comments" by the composers Oll the 1 am Robert Schumann who composed the all sides they protest. What a racket they Jar the WaTcester Festival which he has at-' crease his individual usefulness and do pr incipl hcrcinnir r xpr ed, to im- interpretation of their compositions. Any re- piece. I listened to you practicing it and can make! But the bird preacher persists tended regularly for the past 29 years. He has much to forward the cause of choral sing- prove your wn work ns a singer. Be very lation to historical fact is co-incidental; the rej o.iced to hear someone who is so serious and you hear smatters of the subject been active also as a choral director .-Ed. slow to as um or reveal that )'OU have ing as a whole. "conoersaiion" is purely fictional. Next about her music and who really wants to (measures 9-16) -then suddenly the birds Note) To understand the present spotty choral knowl dg the lead r do not possess. month's lesson will be on Chopin's Nocturne re-create the composer's' thoughts. So, I desist, and the preacher again announces conditions, one must comprehend the p n leaders of ch ru CS, I would urge in B-flat Minor, Op. 9 No. i.-Ed. Nate) had to drop in on you for a chat. his simple original text (pianissimo) in HORAL SINGING is on the upswing. changes which have taken place in musical the crying n d f candor, of self-exami- HE FIFTEEN year-old girl's teacher "You see, all of us who are called 'Ro- measures 17-18. C This most ancient and honorable form teaching during the past few decades. In nation. Look back upon your first choice. Thad helped her acquire a bright, well- mantic' composers, Chopin: Liset, Mendel- "Whereupon through the woods perme- of musical expression has found new pow- high school forty years ago, those who Did you ta kle thi field from necessity .cntrolled finger technic. Teacher knows ssohn, etc., are inveterate dreamers. When I ates the sound of S1. Francis singing softly: ers to charm the singers themselves, and liked to sing were grouped into a chorus. or a the r ult of well-rounded training? that since so much music is built on broken was young I was supposed to be the wild- to draw greatly increased audiences. No effort was made to acquaint us with the Are you essentially a inger, an organizer, chords, pianists must have thorough est dreamer of them at all! Yet I didn't Ex.2 One could rather casually dismiss this history of music, the lives of composers, a pianist, an organist, or by any chance grounding in them; so she drills her stu- compose the Prophet Bird until later in development by attributing it principally much less the simple facts about chords a well-round d crnbinntion of these? How dent; especially on Pages 34·42 of "Think- ~ G )J life, long after writing my other best known to the efforts of a few highly gifted con- and keys and harmony. We just sang. Here much musical knowledge do you possess? ing Fingers?" (Book 2), stressing light piano pieces. It is one of eight 'Forest ductors, and in particular to those fervent and there, a child popped up who could How much of it do you manage to pas finger tips in the practice of all broken. to the accompaniment of his tiny organ. Scenes' (Opus 82). I think the others in agencies headed by Robert Shaw .and Fred play the piano for us. He "took lessons," along to your f llow-mu i ian I without chord exercises. One of the pieces she as- The birds listen reverently ... then as St. the set are just as dreamy as the 'Bird.' \Varing. Happily, however, the movement he was different. Neither we nor our su- boring th m? hat ore you doing to signs for practical application of these .chord Francis departs in that beautiful, hushed We romantics did not like exact titles for is by no means so limited, and is making pervisors dreamed that we needed to know broaden your own outlook and abilities? shapes is Schumann's Prophet Bird, which prayer (measure 24) in Eflat Major, the our music, so we often gave our composi- itself felt in many ways much closer to the a little about the piano, or that the other Two extremes will rve to sketch the contains quantities of patterns like these: bird- preacher again announces his text, tions vague mood names like Preludes, "grass-roots." Where choral singing is seen child, the pianist, needed to know some- vast extent of the problem. On the one and goes through the same routine as be- E):.~ Impromptus, Intermezzos, Novellettes, Car- as the answer to a very definite local need, thing about singing. We were friends, but hand, we have the leader who is 10050 a fore. Toward the end it seems suddenly that nival Scenes. When I wrote these little "methods are being devised and fine results separated by walls of blindness. Only a few singer, and who ha been drafted to lead II'VII~ all the birds have flown away. The bird- ~jgll'@iJ 'Forest Scenes' I was engrossed in the life secured, even with rather ordinary singers. of us had the double interest, the double singers. His every motion lind thought per~ preacher has been so concentrated on his of St. Francis of Assisi and I wanted to I have been impressed in recent seasons opportunity, and learned about music as rains to singing. and the poor accom- all to be played with delicate, feathered 'text' that he has not noticed this. Finally a whole. touch. compose some tender and sensitive triAes- by the a cappella choirs from comparatively panist Ior such a group has a sorry time (at the rests in the second last measure) 7 nothing long or difficult like my friend small and obscure religious colleges. Some School bands and orchestras were then of it indeed, trying to fit in a few notes So today, our fifteen year-old pianist had seeing that his audience has disappeared, Franz Liszt's St. Francis Walking on the of these tour successfully halfway across in their infancy. With the phonograph on the piano or organ. At the other ex- practiced the Prophet Bird "featheringly" he very gently speaks the text once again Waves or St. Francis' Sermon to the Birds. the country. Their brand of singing would and radio came a sensitizing of the public treme, we have the trained pianist or or- for quality and minutely for exact rhythm, and then, zip! ... he too flys away. "I remembered how joyously all the indicate unusual vocal powers and care- ear, and the wave of interest in orches- ganist who is assumed to be qualified Yet, as her hands fell into her lap as she "The piece doesn't seem to have an birds flew about St. Francis when he walked fully selected personnel. Instead, here are tral music brought' great changes, even in thereby to direct a cboir. He is likely to played it through she broke down and 'end,' but if you will play those last two out in the country, and how he spoke to young people who are training to become the public schools. Young people knew think in terms of musical forms. and the cried ... Why? Because this piece frus- measures approximately like this, I think them, saying, 'Little birds, my brothers, organists and choir leaders, or directors more about musical instruments. "Music singing is just a part of the total effect. trated her; she just couldn't play it. you will be happy-and so will your praise and bless the Creator who has given of religious education. Their vocal cords appreciation" became a school course, not He expects by pressing some button, as uWell," she sighed resignedly, "try hearers! you wings to fly with, and feathers to cover are ordinary, but their devotion to reli- a vague term. School singing made ad- it were, to elicit a certain amount and again. Better luck, perhaps!" ... but it gious music is unusual. The results reveal you.' Sometimes when they came to him vances, too, but in only a few cases did the kind of tone, treating his choir as he does came out even thicker and more unbirdlike that choral singing, linked to a valid driv- chattering too vociferously he expostulated art of singing become taught in the full the stops and keys of his organ. That sing- the second time through. She cried harder ing force, is one of the most potent of the gently: 'Swallows! My little sisters! It's and intelligent manner achieved by orches- ing is a human process, and that singers this time; but suddenly jumped as a deep, human arts, and has by no means as yet tral instruction. now my turn to speak' ... and at once they as human beings have certain needs and gentle voice from back of her chair said, attained its full stature. were silen t. Our choral singers and conductors of limitations, does not occur to him. "Oh, Fraulein, don't feel so bad. You Cheered by these favorable symptoms, today are the product of these many dif- Jn between these extremes are leaders really know the notes and technic of that "When you play the piece, think that one could lean back complacently and wait ferent gradations and combinations of who have vast twilight zones in their 'fork. piece very well, but you just don't know you and St. Francis are right in the midst for a generation, assured that these young training. We arbitrarily assume that they or who permit haziness to plague the la- what the piece is about, do you?" of a Sunday morning bird termon. The "Now, will you play some of the piece people and many other agencies will see possess certain knowledge, certain view- bors of their singers. Things e\'errone Scared, she wanted to say HWhoooo are bird chaplain or priest announces his 'text' again for me?" requested Robert Schu- to it that choral singing develops along points. In many cases, it just is not so. s~lould know musically, we find never men- Youuuuuu?" But she wailed instead, "No, (first four measures) beginning in G mi- mann. "I'm sure you will hold all those first sane lines. But why wait? Idealism is not Upon present and would-be choral con- tioned or understood in such choruses. I don't! Do you know what it's all about? nor, ending in B-Aat major, then in the dotted eighth notes slightly longer; then hedged about by any copyright. The basic ductors rests the great burden of under~ us emphasize some things which are What in the world does that funny title, next four measures he says practically the play the fluty thirty-second notes very principles of choral singing and conduct· Let standing and of leadership. To any choir- rudimentary. Prophet Bird, mean? And that chorale in same words (as do some preachers!) but rapidly pianissimo (just imagine that you ing are not a patented formula, passed singers who read this, 1 would voice one Choral leaders need personal stand· the middle of it? And that crazy end? Oh, now in D minor and F Major. As he starts arc playing (Continued on Page 57) down from father to SOil. AllY singer, any earnest warning: Do not undertake to re- ard;. These can (Continued on Page 57) 20 ETUDE-OCTOBER 1954 ETUDE-oCTOBER 1954 21 QUESTIONS AND ANSWERS TEACHER'S ROUNDTABLE MATERIAL FOR BEGINNERS-Part IV without Words, Rubinstein's Melody in F, We are presenting this. month the list Conducted by KARL W. GEHRKENS, some Kreisler numbers, and many others of material for beginners as recommended Music Editor, Webster's New International in the classical field. I am a great lover of by Ardella Schaub, one of the best known Dictionary, assisted by Pro]. Robert A. music and I attend many concerts here and and most progressive piano teachers in Melcher, Oberlin College. in San Francisco. Playing the piano is my the Los Angeles area. Miss Schaub's is hobby and I love it!" the fourth and last list of such material Congratulations to Carl Edwards for his as recommended by four different teachers. iJilAURICE DUMESNIL, Mus. wonderful stamina which permitted him to The first list appeared in the July issue. Doc., quotes from Schumann overcome his handicap. May he continue to derive joy from his playing for many years I am grateful for the co-operation of these and makes more comments on four excellent teachers which has made it to come. possible to present these suggested lists. practicing away from the key- As introductory to her recommended list, board. AWAY FRDM THE KEYBDARD Miss Schaub wrote the following para- graph on choosing material for beginning "Referring to your reply to Miss D.R.S., students: duced after a few weeks of study. The thou.ght also that travi"sky was a mod- Maryland, may 1 also make a contribut.ion "In teaching children we are gradually chords are learned by rote, the teacher ern composer but !lOW I see him referred on the subject of practicing away from the discovering what is hard and what is easy, pointing out what part of the chord is be- to as "classicoi" and I am con/used. I hare piano?"-writes Charles H. Young of Up- so I think we should use the following ing used. always liked ETUDE because it did nol per Montclair, New Jersey. "I use a dozen principles in choosing our teaching ma- For beginners of eight, nine, or ten: go in lor what is called "poplLlar music." or more such exercises daily and have been terials: (1) The key of C is not neces- "At the Piano"-Frost (Boston Music bUI 1/0W I'm. not sure tlmt I understand doing so for some years. I believe that just sarily easier than other keys; (2) A real Co.). The "G" approach. what the word "classical" actually means. SCHUMANN SAID, • the catalogues will convince anyone of that about everyone who plays the piano, espe- tune of five- finger patterns is easier than "Course for Pianists"-Weybright (Mills Will you. enlighten me? fact. Therefore, it should be easy for col- cially adults, wo.uld benefit from those exer- a manufactured one using two fingers; Music Co.). Contains work pages with Miss E. H., III. "You must apply yourself to become lege and university students to take advan- cises. I use no apparatus and the whole lot tage of the large record libraries which are (3) When beginning to co-ordinate the supplementary work books available. gradually acquainted with the important takes about five minutes a day. hands it is easier for the left hand to play "Roy Green Piano Course"-Chappell 1 don't blame y u f r being onfused, works of the great masters." available to them. Do they do it? Judging "The one exercise that would benefi t complete chords rather than to attempt & Co.). Good for boys; popular and folk The word "classical" is u d to d note so One of the most amazing things in this by the answers I received I hardly think so. most students consists of the following: "No time," so it appears. unrelated single notes or parts of chords; material used. many different thing that it has come to day and age is the almost total ignorance Interlace the fingers with one thumb point. Well, this is not the place to begin cr iti- (4,) Pieces having a wide range of the "Young America at the Piano"-Eur- the point where no one knows for sure of the majority of students---either private ing up, the other well under the hand. Re- cizing curricula. All subject matters are keyboard are not only more attractive to rowe-Abeam (Birchard) . This is the what it mean when some particular per- or in universities and colleges-as regards verse the position of the thumbs quite rap- respectable, of course, and one can only elementary students but they are actually "chord approach" and may be used in son uses it. ] n a "cry general sense "clas- the admirable repertoire of masterworks. idly about twenty times. Repeat the exercise admire students who manage to keep 'up easier; (5) It is easier to play an arpeg· combination with anyother "methods." sical music" is high-grade mu ic. art mu- Repeatedly I have questioned some of them with the second linger of the left hand on with the formidable load of work heaped gio accompaniment than to attempt two- "The Young Explorer at the Piano~'- sic. music that has stood the test of time only to find out that they know nothing of top of the second finger of the right hand, upon them. One may regret, just the same, voiced counterpoint; (6) Material that Burrows-Ahearn (Willis). Rate and chord so that after playing. singing or hearing Bach's Mass in B minor, or the St. Matthew if you are right handed. that more thought is not given by the pow- can be easily analyzed into patterns is bet- approach slightly more difficult than the it many times during various generations Passion, not to speak of the Sonatas for "Another consists of touching the tips of ers that be to the cultural angle so wisely ter for elementary students: (7) Educa- above. There is also a supplementary work it still "sounds good." As opposed to this violin solo or the Suites for unaccompanied the fingers as when praying, then snapping outlined by Schumann, and more time pro-. tion is a matter of gradual growth, so book called "Let's \\:Trite and Play." concept, "popular music" i light music 'cello or the Brandenburg Concertos. Yes, the hands closed and turning the palms up. vided for young musicians to listen, absorb, there must be much experience on one level "Top Tunes in Big Notes"-Eckstein that tickles the ear for a time but soon they knew Bach; a few Inventions perhaps, Repeat, turning the palms down, about or the Fugue they were practicing at the and meditate. before going on to the, next; in other (Carl Fischer). Supplementary material becomes boring and i therefore replaced twenty times. Then reverse the exercise, moment. Beethoven? It's the same story: words, each book or piece does not neces- to any first book, consisting of melodies by other light, ephemeral music: and so close the hands with knuckles touching. one sonata, or a concerto, or a set of Varia- SHDRT AND SNAPPY sarily have to be harder than the last" one; with chord accompaniment. on-none of the music enduring for any Snap the hands open with palms up. Re- tions. But what about the Missa Solemnis, (8) The physical characteristics of a book "The Piano Hour"-Webber (Fischer). great length of time. peat turning palms down. the String Quartets, the Septet and "Fi- One young would-be composer whose are important, so when I look over ma- Similar to the above but for older students But the term "classical music" is also "I can give myself as an example of the delia"? Some do not even know the latter talent doesn't measure up to his egotism terials I am always delighted to find or adults. used by musicians to refer to the great good working of such exercises," Mr. name. sent the manuscript of a piano Sonata to a something which has uncluttered pages~ "Mikrokosmos I"-Bartok. (Boosey and masterpieces of Haydn, Mozart. Beethoven Young continues. "I am in my eighty-fifth appropriate illustrations, and notes that I could go on for ever and mention publisher. "Let me know soon, for I have Hawkes). A study of modes for the serious and perhaps Schubert; and if one thinks year and can still touch the tips of my sec- are neither too large nor too small, be- Schumann and Brahms with their wealth other irons in the fire," he said in an ac- student to be used in connection with other of these composers as "classical" then it ond and fifth fingers between the third and cause such material is a joy to both teach- of chamber music ranging from sonatas for companying note. beginning material. would be entirely plausible to consider fourth, and spread the hand and repeat with er and student." various instruments to quintets and sextets. The answer came promptly: Please remember that any of the mate. Bach to have been pre-classical. But cer- the third and fourth fingers reversed in Here is Miss Schaub's list: And, of course, Haydn, Mozart, Men- "Remove irons. Insert Sonata." rials listed in these four issues may be ob- tainly Brahms is "cia ",'cal" too. and position. And do it so rapidly it is difficult For pupils of six or seven: delssohn and the moderns. In the sym- tained through the Pres~er Company in maybe Stravinsky is also-time will tell. for the eye to follow the motions. That is "Beginning at the Piano"-Frost (Bos- .phonic repertoire, Beethoven, Brahms and NEVER GIVE UP! also one of my exercises. Can you do that? case you do not find them at your local So my advice to you is that you recognize ton Music Co.). This is the ':G" approach. Tchaikovsky have done more penetration "And in conclusion may I say that I have music store. the fact that the word "classical" has "The Berry Basket"-Supplementary to due mostly to the fact that they ride the air "In ttle year 1910 I met with an accident practiced almost daily during the last sev- K. G. various connotations. and that in order to the above (1. Fischer). waves incessantly, which, unfortunately, is in which I lost my left arm," writes Carl enty years and during that time I have find out just what it means you study the "Car-Tuue-Land't-c-Habineau (Boston WHAT IS CLASSICAL MUSIC? not the case as far as chamber music is Ed wards of 107 A Street, Santa Rosa, Cali- worn grooves in the keys of two pianos and context carefully. concerned. Music Co.). You will like the "clean" look -, K. G. fornia. "I couldn't give up playing, how- am well on my way with the third. I am no of this book. I used. to think I knew the meonin g of But there is no longer any excuse for ever, so I worked up much of my reper- boy wonder even now, but I still practice "Music Lessons Have Begun't-c-Fletcher I not becoming a good musician throuah the word "classical" when applied to mu- ABOUT CLEFS toire, arranging the music myself. While in daily and live in hopes? ? ." (Boston Music Co.). The "C" approach. sic, but now 1 am not so sure. I used to widening one's knowledge of the treasur~s New York in 1937 I played over the air My warm congratulations to you, Charles "Tunes You Like"-Nevin (Schroeder think that Bach's music was classical but I am pu zzled by the use of the tenor cfef con,tained in chamber music: practically the from Radio Cit)' on Ripley's 'Believe it or. H. Young, for this letter which will be val- & Gunther). A chord approach to be intra- now J see-it referred to as pre-class;;al. J ill vocal music. (Continued on Page 49) entire repertoire has been and is being re- not' program. In my repertoire I have-two uable to so many piano students and lovers corded by numerous companies. A look at Chopin Preludes. some Mendelssohn Songs whose time is (Continued on. Page 59) 22 £'l'UDE-OCTOBER 1954 ETUDE-oerOBER 1954 23 VIOLINIST'S FORUM The Ernest Bloch SONATA H ere is an intimate and colorful word picture of the A descriptive analysis personality of the internationally known organ builder, Ernest M. Skinner. by HAROLD BERKLEY Erncs t Bloch by A [exaruler McCurdy THERE CAN BE little question of Ernest not weaken the texture; rather they seem of eons of time and of starkly empty spaces Bloch's standing iu the music world of to add tension and urgency. in the cadenza-like passage for the violin today. Musicians everywhere accept him Writing of the Sonata, the late Paul which begins four measures after 2. Over as one of the most significant of living Rosenfeld, a discerning critic, said, HWe the humming of the plano, the ascending composers. In a way his position is unique. owe to it a musical experience of an In- phrases suggest a blind aspiration towards Estimating his work, one cannot compare tensity which does not arrive very often something felt but unknown. The succeed- him to any other composer or classify him in life. We owe to it a feeling of an inten- ing phrase, where the piano breaks into An Organ Builder's Opinions with any school. His Hebraic blood and sity which we can only compare to those surging arpeggios and the violin into strong racial consciousness have given to aroused in us by the first hearing of 'Die descending octaves, gives a feeling of him an expression new in music. There Meistersinger,' of 'Pelleas,' of the 'Sacre'." disappointed achievement. The following have been other outstanding Jewish com- The power, the intensity and innate vi- passage, however, is optimistic in its posers-Meyerbeer, Rubinstein, Mendels- talirv of this Sonata make it, in my breadth and dignity. The broad G str ine guished instruments." He did good work, them with a mu ici an's ear. I don't know LARION is the name of a 4-£00t organ sohn, for example-but they wrote in the opinion, one of the two or three greatest melody sounding below less turbulent and charged high prices for it. I suspect of a single Skinner organ that i tonally C stop of trumpet-like tonal brilliance. idiom of the Occident. Bloch's music is works for violin composed in the present arpeggios seems to speak of the essential that. his fees were consistently the highest nondescript. The brilliant instrument It is also the name of the small town in essentiallv Semitic, in the widest sense of century. nobility of Nature. A brief, frenetic climax paid to any organ builder. which he built for t. Thomas' Church in Penneylvar'ia where Ernest M. Skinner was that word, and he has never made any Why, then, is it not more often heard? shatters this mood for a moment. but it In return, Mr. Skinner prided himself New York was a marvel of the profession born almost ninety years ago. Thus the effort to mould his thought in accordance It cannot leave a listener indifferent: he quickly dies down in a transition 'passage on giving satisfaction for value received. for man y year. Other d servedly famous man destined to make his name a familiarly with Western trends. Deeply-read classicist cannot say, ,merely, that it is "interesting." almost beyond compare in the violin lit- When some wealthy donor wanted to give organs built by him are those in the respected one all over America and in in music though he is, in the works of He may feel fervent admiration or cordial erature. Europe as well has been connected, by a pipe organ to a church or college, Mr. Cathedral of St. John the Divine. St. his prime---the "Three Jewish Poems," the dislike, but he cannot help being moved This transition leads to the second main Skinner generally made it a personal as- Bartholomew's Church, the Fourth Pres- association of ideas if nothing else with "Three Psalms," the String Quartet and by it. theme of the movement. For all its lyric organ-stops since his cradle days. signment for himself to see that everyone b) terian Church in Chicago. Williams Col- the Piano Quintet, the "Schelomo" fOT Can it be that our concert violinists quality and emotional content. this theme There are a few great men in every field, was pleased. Numerous instances could lege. Princeton niversity. Yale Tniver- cello and orchestra, the Viola Suite, and are afraid to put it at the end of a pro- is. scarcely human. Yet it mu~t be played and in organ-building few would dispute be cited of his inventing a brand-new airy (Woolsey Hall), the I'niversity of the Violin Sonata-one hears the laruruarreo 0 gram lest it endanger their encores? Or wIth. the greatest intensity of feeling: the eminence of the man from Clarion, stop (now a total of 34) to go into some Michigan, the National Cathedral. Wa5h· of the Old Testament in all its color and is it that they are reluctant to put it the listener must be made very conscious Pennsylvania. For many years the Skinner particular installation, so that the sound of ington, D.C., the Rockefeller Chapel. Lni- richness. earlier lest it dwarf the virtuoso numbers of its importance, for it recurs a number Company has occupied a foremost place in that organ would be unique, unmatched by veraity of Chicago, and many others. But in most of these works, and certain]v with which they plan to end the program? of times in this and the succeeding move. the ranks of American organ manufac- any other instrument in existence. Mr. Skinner is devoted to the music of in the Violin Sonata, the idiom is not Let it be said at once that both of these ments. The work has a unity that is rare turers. There are Skinner instruments in Mr. Skinner always maintained high Richard Strauss. particularly "Thus Spake merely racial: it is more universal. more contentions are sound. So one must say in violin sonatas. Most of the principal every state in the union, and many have standards of organ building. Nothing but Zar athustra" and "Der Rosenkavalier." He elemental than that-it is the language that the really right place for the Sonata themes occur repeatedly in each of the been exported abroad. the choicest seasoned lumber was fine admires these works not only as music but of all peoples. There is little sensuous- is as the final number of a Sonata pro- Much of the history of organ building enough for the construction of his in- as ideals of what his organs ought to three movements, and always as an integral ness and no sentimentality in this music, gram. Encores are not expected, and the in this country is to a large extent the his- struments. The superb craftsmanship of sound like. He admires an instrument part of the complex pattern. no pandering to a popular appeal. It is impact of the music remains with the audi- tory of Ernest M. Skinner, the great Ameri- his workmen became a byword of the which sounds "orchestral." not in the Another very important motive is given often the expression of a torn or tortured ence long after the concert is over. can organ builder. Although fortunate in industry. He spared no expense to make sense of having imitative' pseudo-orches- to the violin in the 5th and 6th measures soul, but it never becomes hysterical. This impact is apparent from the open- having gifted professional associates, it was sure I his instruments were right in every tral stops but in the sense of sounding· after 6. Here it is subordinate to the Rather it is the expression of passion and ing measures. The turbulence and chaos largely Mr. Skinner who laid the founda- detail. It was always a delight merely alive, like the playing of a great orchestra theme heard in the piano, but it assumes tension and pain governed by a great in- of the first twenty-two measures might tions for the cqmpany. Younger men have to sit at a Skinner console, a ms-rvel of under a great conductor. great importance later. The section ends tellect and impeccable taste. carried on the work so admirably begun fine woodworking accentuated by ivor-y- He hates organists who merely play suggest a world in process of formation. barbarically with a rhythm introduced four by him. headed draw-knobs (which from the first notes. In fact, one ruisht go farther and The Violin Sonata is in a large part Or a world at war. Bloch was deeply and measures after 8. This rhythm, this com. For some reason or other, Mr. Skinner Mr. Skinner preferred to the more modern say Mr. Skinner dislike;notes! Some of his atonal, though there are many moments painfully influenced by the first World plex of devastating rhythms, with its from the very start of his career in organ domino tabs). Aside from the aesthetic observations on organ-playing are original when a definite key is clearly heard-nota- 'Val", and this Sonata was composed in fortissimo, hammering accents, is heard building secured contracts to build fine pleasure it afforded, a Skinner console and arresting, such as this one: "It is just bly, and with great effect, at the end of the 1920. It has been suggested that the work twice in the movement and appears again instruments in conspicuous locations. The was .50 comfortable it almost played by as important to take one's hands off the magnificent coda of the third movement. pictures Bloch's spiritual reaction to the as the final climax of the third movement. advertising value of such installations itself. keys as it is to put them on." It goes Some criticism has been made of the fre- Viar. This may be so, hut the music is It is a fitting introduction to the sinis- brought other commissions. In this way Mr. Skinner built colorful tone into without saying that the taking-off of hands quent use of diminished sevenths in this more elemental even than war-it is as tel' figure which appears in the bass of the Mr. Skinner was able to build distin- his instruments because he listened to should be done (Continued Ort. Page 6-l) work. Yet, as Bloch uses them, they do elemental as Time. There is the suggestion piano at 10. (Continued on Page 51) 24 ETUDE-OCTOBER 19541 ETUDE~OCTOBER 1954 25 No_ 110-40341 Quatrieme Valse Oubliee (Forgotten Waltz No.4) This is the first publication in ETUDE of, this recently discovered work, Liszt wrote four compositions entitled Valse Oubl£ie, the first three having been published in Europe between 1881 and 1884. Aside from the typically Lisztian brilliance of the piano Highlighting High Fidelity writing, there are some points about this piecc worthy of note. Harmonically, Liszt was an innovator. The ending of this work is particularly interesting in view of the suggestion of bitonality, i.e., the superimposition of the dominant seventh chord over the tonic note; and especially in view of the fact that this chord does not resolve as one might expect. However, this is as it should be when one considers that in the entire piece there is not one single point of tonic resolution; from first note to last, the music is kept in a constant state of harmonic tension through the use of diminished chord progressions and various forms of the seventh chord, A non-technical discussion Grade 6 FRANZ LISZT of high fidelity-what it is- by ZELLA MACK Allegro 11 II ll. how it works-and suggestions concerning • the kind of equipment to buy. ---:::=....--- PIANO t!. P scherzand't ~ - • 11 Jt is the purpose of the amplifier to in- ~ Jl II HAT IS "high fidelity?" You have 110 alone will have an appeal. Custom installa- crease, to magniIy, the small current from doubt been hearing this phrase-or tion is economical of space, and has un- W the pickup (needle), or tuner, to a desired "hi.fi"~frequently. Newspapers have de- limited possibilities. If you prefer separate Icvel. The amplifier copies the smaller cur- voted whole sections to high fidelity equip- cabinets, they may be purchased ready- t~JI II simile rent into bigger currents, with the same, - ment. Sound shops have advertised in news- made from a wide selection, in designs and or nearly the same, pattern of fluctuations. papers, magazines, and over the air. You finish to suit the most exacting tastes. Fur- This process has been perfected to a high have been invited to "Audio Fairs" held in ther, many of the speakers are sold in cab- I~ the larger ~ities. The phrase has also been inets designed for the speaker, and leave degree. The amplifier's power is mea ured in bandied about and used not too legitimate- nothing to be desired in eye appeal. Those watts (la-50 watts}. You should bear ia JI II ,,J;------J ,,1. ,,.j . J. ly by some. So, you may well ask: "What of more Bohemian tastes may prefer not - - mind, though, that the volume of sound is 'high fidelity'?" to house the equipment at all but to string : it around the house, as is often done. Or does not increase in direct proportion to Technically, "fidelity" is the degree to It!. Il! if you do woodworking, you may desire to the power in watts. For each unit of sound which the radio receiving set reproduces f\ u II at its output end the signal or wave form make your own cabinet. as we hear it, the total actual power must received at its input end. When you listen A good home system should be well he doubled. Therefore, you should never . . · try to work an amplifier at its maximum 1 · to your radio, or playa record, you should planned. Although, generally speaking, the t more money, the higher the fidelity, the power, forcing it to pass large currents, i rr-r: '. not expect an aesthetically perfect repro- r r r r r r ~i r i ·r r duction of the original sound. If, however, price of. each individual component is not and causing distortion. The chief value of the music you hear is faithful to a high the criterion of the quality of the completed greater power, then, is its "emergency" use 1------....1 1 I I degree to the original music, you have set. A balanced system, or one in which to take care of the peaks which occur in f\ " II . "high fidelity." How high a degree? En- the basic components are of equal quality, all types of music and add to the fidelity · is of prime importance. For instance, there of the music. gineers have now improved their products It I I I I I I I I I I I 1 I I I 11 I TTl A really "top" power amplifier is rela- I~J I to a degree sufficiently marked and above is no point in buyi ng an amplifier capable sempre piano IU anything heretofore available to the public of reproducing perfectly a wide range of tively expensive. However, good amplifiers f\ u II I'" that the term "high fidelity" now distin- frequencies and feeding into a loudspeaker are available to fit any purse, and here \ . guishes this superior equipment. that can't reproduce the full range. The again it depends upon the degree of per- ! "'. The reproduction of the signal with fi- ultimate judge as to how much you should fection you insist upon whether you will ... .. ~ ~ delity depends upon four major compo- pay should be your ear. Admittedly, how- feel the cost justified. Amplifiers may be r r~r r r~r ~r~rr f r#r nents: the record player, the amplifier, the ever, your pocketbook may well be the final purchased from 50 to 350. For added u II loudspeaker, and the tuner (AM, FM, or, judge. perfection, the ruore ex-pensive amplifiers AM and FM). The tuner 'is the component A tuner is your radio, that is: the part include a separate preamplifier with elab- that gives you a radio. which you dial to select a radio station. Of orate tone controls. Today you can buy these components importance is its sensitivity, its ability to More essential to high fidelity of the t!. u II cresco separately, and for less money obtain a pick up stations which are not nearby. music than the inclusion of the very high- l , radio and record player superior to a With good selectivity it separate two : will est and very lowest tones are freedom from , "commercial set," that is, one you buy as stations on the dial which are close to- noise and distortion. The bugaboo of high Ii ~n~ ll~ ~ . ~ It . If • . . ~ m~- a complete unit. By assembling your own gether. And a good tuner will not have a .. fidelity is hum, which can be a buzzing set you can effect a saving. However, those .Il . II 2. tendency to "drift" off the station once it sound, or variations thereof. Hum, or q . with the know-how may prefer to buy one is tuned in. other noise, usually originates in the am- .. ~ .. of the many packaged "kits" on the mar- A tuner may be either an AM tuner, an plifier. Before you say your set has no f\ Jl II ~~ •• ~ - ~~ -- ~~.;. .;. .ll~."~ ~~l!i= I; ~~.i .. ~~.~ ket. The cost is considerably less and good FM tuner, or a combination of FM and AM. hUIll, test it. Dial it off station and gradu- q . - equipment is available. There are, of course, FM does, of course, offer better sound. ally turn the volume up to listening level. It . very fine complete sets by standard manu- And in most metropolitan areas there are If you hear no hum, for practical pur- f ...... ~ f ... facturers on the market today~sets which FM stations which broadcast classical poses your set hasn't any. Now turn the • . .. t..... ff ~.. ~~ r~ ___ give life-like hi-fi reproduction. music. volume up as far as you can. If you --.. iI--. .. eir." II:: e~.. ------.-:::;-- The units may be installed in a book- There are a number of good tuners on still can't hear any, amazing! Distortion . -- shelf, a chest, a chairside piece, or closet the market, with a wjclc price range-say of music and voices may also be caused ·4 5 4 door. If you own your home, this feature $75 to $175. 5 .. 4 4 5 11 by the amplifier, (Continued on Page 61) I I , I I , I " COPYflght In54 by Theodore Presser Co. International Copyright Secured ETUDE - OCTOBER 1954 26 ETUDE-OCTOBER 1954 27 8..···..··...... ·,...... ·....··········....·....··....··..···...... ·...... I j 11 2 • fillq~ q q q~qe __q~qe. q~qe .." G.p. ,j~. I II II. ~ !: • ~+-q~ ... "- ~~..~ .H, ~ ~ ...... I I .~ H. - . · : ~ II II .... · I I I, I · f. ~ I I · [) ::>- 2 ~ ~":' -t: .ff I I " ---. - - " II II. .... ,II ~ : .. II~ ~ .zi.> . ~. . .:. II' • II' · . ~ .:. .~.. · ~ ~~ · f. q.~• · •,. • 5 • 2l""'1 II II I ...... II! • J..---I. 3, - I .. . .. jj.1 ~ .. . .;. .. it I.~; k~ I...... · ; ~ II II · -. l! I I I II I I I I I I I I I .. I l- I fT· 'l! '1 I I ~ 1 ... sempre forte ...... :...... b.. .. b. I.~&~I.~...... I ...... b... ..b.. ' #i j j #i . . .;. ; : . II~~'~ .\,'~.~ \,~ b8~~: !l,#"~ : . . ::: b~~:: i , q. I I , , I ~ Quasi presto, rna pornposo I I 2 ~ A_-~- " u II ...... I , I ~' ~~. . ;'-/L · . . .~. fIl ~ != != . .. ~ ~:;,,=i= I; fIl e In. ~. ~ ".e ~!=~ i!: ~ ~~ d~~ l! -.-...... ~' .... " II II .:.. ~.~ . ., rrr ii i iii lfiii I~"'''''' .... ., .ll..e Ite.. il il .... It II. Ib .... f: V poco ritenuto .ff -.ll ...... :.~ .~~e ..-- ---. .. .:..~~e ,.~eeIt .... '. : "1l:t,:t ~ 1 tI 1:1 1 tll .. II II 2 3 2 4 8···..·····..·..··········..·····..··....··..·..····· . ' ... 8·····..········...... · . . _ h. (2 ~.. ,. e~ ~ . · ~ II II .. ... 1=. ..- ETUDE. OCTOBER 1954 28 ETUDE _ OCTOBER 1954 29 ~ f!~ ~ ~ Bourree jj----: jj' . - - The El'UlJ.E is happy to present thisunusualcontribution by Nadia Chilkovsky. E·ach of these two pages presents t~vo systems of nota. . t ion > one long familiar and another only now emerging as apotent factor in the dance. This second system, as described in an article by ,-. \000'" Miss Chi lk ovsk y (see page 11), is a way of putting on paper (graph paper in this case) t h e vsco r e" of the movements of a dancewhetherfor @: I I I .... , dim. p , a solo dancer or group of' dancers. In this way, the choreographer fixes his or her ideas (just as the composer does) for study, rehearsal and I - -zr- last but certainly not least I as a complete record. (fro'Jn French Suite No.5) .. ft. .. .:. h - ~. Alleero (J, 96) ,w. JOHANN SEBASTIAN BACH o ~" ~ ~ ,w'" .~ -;--- ~ ~ -". <,; .- jj ...... -.. ..,,- - ...... ~ f"" . ---=====- .fl_ .. /!!- . ...- - ;:;;;;;---- ~------" • jj~ ---..... ------. .. .r:: «> I -~ I . ....- ...... I .... ~ , ,w re - cresco - ~~ ... ~ ~ ~ ,..--...... , !'Ijj ~ .. F-- ...... ~- -~ . , · · - - - I~ ;;.. ?~1' !'- '1 ~ "" ~ - l.-l - · · - , .. " .. rJ - - fI" .. _ -~ ,..--. ------. ~ ~,,;, ,w ~ - ...... -...... -:----. ~~ fI J.l :;;. .f!. -zr> ... . I~ ..... I .... I I I f di7n. I~ - -=::::: f • b.. _ " • ~~~ ... -.f!.._ ~ - - ...... - T .... \ b 0 • f ~-1 0 :1 • ! .....L .)1 /' mea.su I'e s 1«+20 ;>'0 1~:' 1 I ! ! 0 m~a:Sl.\res ;llto~'f ~ if.) " ii .., ...L rnea.sc.O"es II fo /5' ) T ~, " , 1 ~Ho~O 1 From Copyright 195-1,by Theodore Presser Co. International Copyright secured Copyrigli~ '·°51 30 ETUDE - OCTOBER 1954 ETUDE·OCTOBh 31 '-. ) Grade 6 Etude in G-sharp minor FRAN CISZEK ZACHARA I ~ I\Jl~ .. ,. ~ f: ~ Presto (J'~112) I ~ 2 4 3 2 I 3 2 4 12' ":" ":" ':' ':' ":" ":" • ~~ ... ~ ~ x~ ~ • Pr, .. . " - ~ 6 ( ...... ~ 11 I 8···········...... •.... -...•...... •...... •.•...... •...... •...... ; f'J Jl II •• ~ . ~ .' ...... :;;:..; · . . 8.._~------\ · · . ~. ~. · · . f'J II II. · -. . . I' I · : . Jljj f - I I ~ I ~ · 1 f ~ f'J jj I!, I I ~ I ~ ":" ":" ":" ~ ":" ":" ~ ~ ~ - : ...... : . iii!ijii lI:~ .------~ ~ ~ ~ I 2 - .. • ":" ~ 1 • .. 3 2 t 2 .#-t!~~ ,.. , 3 , , l'j lI:~~ ~.- 'r f'J1ll! • fl ~ ~ • • 0 ------~ f'J II II - .. ,. ~ f: I' ":" ":" ":" ":" ":" ":" • ..... 'J ~ .:; ~ . lI:~ . I ~ Pi', if , • . " .. '!" '!" ~ ~ ~ ~ #- ... ~ ~ . . i x~ - =- P 11'". · u j • ~ VJ i · 8········._...... •...... -- ; 'x- > ~ >' CI 11 F-~. fl' IJ-' ~. Il~ . 8····················································· ; .. · . . . . · . . I' Illlfl f »>: f =jl I ~ ":" ":" ":" ":" ~ ~ I . .. ~~i L--J "',";~ ...~i ~ 1 2 2 I • 3 2 -----~~-- • 3 2 • 3 2 · P . · · · I 3 2 • 3 2 I 8 2 2 ~ I '1 1/2 2 .• t • 2 L' ~\ ~ From "Twelve Master Etudes, Op. 2911 by F. Zac1tarn.-. CUO-2.~():\) Copyright 1940 by 'Theodore Presser Co British Copyright secured ETOVE·OCTOBER 1954 32 33 No 110·40318 Grade 3f Walking Gigue (from Suite XIII, in B~ Major) WILLSON OSBORNE G.F. HANDEL 3 I Lively 3 1 , 2 1~ 2 5 3 I Allegretto (d= 14,4) 3 5 5 5 3 . 2 3 2 3 5 2 • t 7" ....".~ • '2 ~ simile 1':/ "0" legat? - • /J,]{. PIANO mf . - . 5 2 3 3 , 4 ~ 2 3 -j-- i,-J r ~ - ..I ~ 5 4 f1 I --.. ... r 3 4 4 .. , 2 5'~ 2 . . . · 5 4 " · . . · · Ie. LJr r: J I I T 1 V r 1 i 1 P i r mp R.B V ~ , • ------5 2 I , 4 , 3 , 5 ~ - 5, 3 4 2 4 4 3~ 2 3 4 4 3 -:.------. , 8 4 , f1 1 • ~ . . · . · · 12 ,I t 11 ~, rz f'fr •• ~ 3 .fl.' ... _ L.B~ 1J2J• .,- j) . .... <: ~ r I · • . r · I · 3 P d 4 .. 4~ 4 I 1 3 1 e .Sf1nt c 4~ ----A A "- -- 4 5 3 3 3 4 3t.. 51 2, - 4 2 5 1 2 1 a tempo I J . -04 . "'I 1 · · • · • · · . . I- - ~- ~ : T ·rp. 1 -r r V.J J I poco rit. f m} ~ 1 , P 2 /f r It: .. ~ · - • · · · · , 5 3 2 •• , 3 2 2 , • 214 4 5 5 3 5 _. 5 5 , 2 z , 5 2 , 3 - j \, 5, 51 2 3 r,]- fI I ."1" l-U J..l"u' - · si'mile . . . . · -OI.J 2 12 . r · It 2 3 ~ 13 ~p , 2 f 2 I, P 2 f mf f LB r. f 3 . - · - ... , . f 3 2 4 2 5 , 3 .. ~ 4 2 5 2 3 5 2'5 - 3 " I I -I 8-5 , 5 r"T I 3 I I 3 3 _ f j fl. 3, :...... f 1 4 2 3 2 J. 1-. • . I! T • ~...... I~ . · · · Slf 2·1 r----- r f l . · · · pooo rit 2 2" R.B. ,It · I I 4 1 f~lla.,.ga"J) . ! I r'~ 2~ ~ jl Z :~~. I ..I. . . · - • . • · 2 1 . · · 5 ...... , 2 2 '5 5 3 4 5 4 3 I 2 .. l' 2 - .. u<:: From "Basic Piano for the Music Educator and Classroom Teacher," by 1. Cheyette and J.e. Shake.[410-410·12J Copyright 195·\ by Theodore Presser Co. - Lo>.'-'>rllatiollal Copyright secu } Copyright1954-by Theodore Presser Co. International Copyright secured 34 ETUDE OCTOBER L-ETUDE-OCTOBER 1954 35 Deep in the Forest a Little Brook Flows Deep in the Forest a Little Brook Flows SECONDO PRIMO ELLA KETTERER ELLA KETTERER Allegretto (J :: 120) Allegretto (J=120) 1 ~ ~ ~ e 3 3 e 2• ~ . --- 1 2 · , . · mp <, 1/ f pp rr:f <, - --- . PIANO mp · - 2 2 3 3 1 ~ . . ... e ) rrif "'- 1/ - ... :=::::~ rfIp . • - , ~ -----'2 --- 2 4 3 3 ...-- B-' e' fL -r:- ~ ... ~~ ~: ---- rit, <, mp( uy r-it. 7 - " pp p I -. : 2 5 3 3 About a Ship -at Sea About a Ship at Sea SECONDO ELLA KETTERER PRIMO Andantino (i,= 126) ELLA lUlTTERER Andantino (,J'\= 126) 1 3 3 < PIANO PIANO mp -==:::j===p 2 1 5 , 2 2 4'----' a tempo 3 5 5 2 5 3 5 4 2 .. c-, ."- -"- .'- ., ~ /1.., ., s-. s-; .~ ." a tempo . .." ~ .." ..." *"' , ~ 4~ 2~ 3 ;;. 3 ~ 10",1 Q Q 2-;- .... , ~ ~ ...... • p rit. - I , , -I' , , t r r r ~ I' . mp , -. 2 1 ,.,\~~ , ~' 7 3 2 1 r r The Lord's Prayer- Ohant de Carillon After J. S. BACH Hammond Registration Adapted from St. Matthew 6, 9-13 Arr. by ltfargaret Jones Hoffll1anl~ ~ (10) 00 7712 000 Slowly, with dignity 1':\ ~ (11) 30 5<1. 000 WILLARD SOMERS ELLIOT up An~ante tranquillo • /';:\cI!~". .. "...... " "...... VOICE r I 1..lV.,. ---...... ,..- _,,;- --.,,- -00- ho .Iy name,Thy king-dom eome,Thy will bedoneOn I~ 1. Our Fa-ther who in heav.en a"';t, All hal-Iow'd be Thy we for-give. And lead us not in paths of sin,But 2. Give us this day our dai -Iy bread, For.gi ve our debts as 17\ ,I I ,1':\ (.\ 1 MANUALS I \ ~ ~el1s • - 1 I PI~~O ~ ,,; ~ ~ .. un •~¥Ji-:: ii~)I~~ ~ ]~ b... J.J ' I':\ha I ~ PEDAL ORGAN I~~.~~~~~~~~~~~~~~~(.\~.~~~.J~.'!.~~.,J~~.gg~~~~~~~~~~~~~~~,~~~ u ,_ I' I ...... I .. I .~v.S Fl 8'& 2· B.~ II5 (J~:' I ,P.d,'2 Ped. soft 16 & 8 I I • Allegretto - (~-Il- • From "Sacred Songs for Junior Choir;' selected and arranged by M.J. Hoffmann [412-41007J "I @ ...... Copyright 1954 by Theodore Presser Co. International Copyright Secured ~ f --..J ...... "'""- Early Will I Seek Thee ®Jmp S. Ibn Gebiro! MAX HELFMAN - - - Traws. G. Gotttveil. Arr, by Marga-ret ]OJLCS Hoffmann . Andante t I" .. • "I 112p 'Jvp .- . . 6. VOICE . . · , . . ~ Ped.52 I 1. Ear- - Iy will I seek Thee, God, my- ref - uge strong; Late prcpar'd to meet Thee With my eve-ning song. "I 11., ~ 2. Wha t this frail heart dream-eth, And my tongue's poor speech, Can the e - ven dis _ tant To Thy greatness reach? • • ...... 'I , I I i~"1 .....J...J - ...... , ~ ~ •f/ ~ . ~ ~ - PIANOlor 112p J }J ~ ORGAN J 00 .e- . . . , "'" · · , -. If I I . . . · , · . I · I , , 'I , B roader - Full Organ 0....,.. ~ • .. ... I'~ • ...... ~ • v · Though un - to Thy great-ness I with trem-bling soar, L· ~ Yet my in-most think -ing les Thine eyes be - fore. ~ Ioool..O -"'-0.1 Be - inggreat in mer - ey· Thou wilt not de _ spise ... I 'I , , Prais-es whieh till death's hour From my soul shall rise. 4-. :fUm - < - ~ . r I'-r ~ f. .. r Iff· ... • ~ .Q .Q ~o&- .D. (2 j'-i -r. ,- , ! . fi'- ,d 9- , . . .- · . · . . . . , I I I Ped.62 I I From. "Sacred Song> for JunlOr Chou;' selected and arranged by M.J. Hoffmann [412-41007J From lITwelvc Compositions by American Com poscrs for Organ wi th Bclls'.' (413.41000] Copyngh t 1954 by Theodore Presser Co. International Copyright Secured 38 Copyright 19·19by Theodore Presser Co. fInternational Copyright secured ETUDE. OCTOBER 1954 ETUDE-OCTOBER 1951- 39 s .. "' _ ... ~ ....~ .. tl ... • • L.U ~ ~ \"""j"" --.. I:.LJ ~ tl - . . . . . ~ ~ h. · . . . . · . , . . • I I r' Adagio grundioso , Bells 8'& 4,0 A11dan te ,...., 1'\ ... • . 16'& 4' pp oresc.poco a poce ~ molto rit. pp ...... • @pp , 1'\ - - -- 1T ~ " ~ .....--~ , · -. . ------ fl alone t'J Bells & solo F1.8' ~ , • " '-, I ~ . .-J p"-l -.-...... '. t'J @ • ,. i~ ~~vr~ "f pp~ ~ · . ------'." Full Organ [ill Andantino -, Ch Oboe 8'ar Cornet t'J I r-- I . . ~ - '-J r ...... 1'\ PP Sw. Fl. 8; 4; & 2' - ~ ~fi ~ - ~ .... ' •• • l> ...... • ... -W .. ii' -J -. ·- . . . ------I . Ped soft 16; 8; & 4' r I -----...- ...... 40 ETUDE - OCTOBER 1954 ETUDE-OCTOBER 1954 -- come prima ..~ ~. ,;----.... >~_:...'------No. 110·40330 The Little Shepherdess Grade 2 EVERETT STEVENS W'stf1 U11y;ra th er sIowIy 4 1 ~, 3 ~2 3,~, ~ ;;.., 1\ II " I I :>------. ------, I ~ I I ...... c i !. mf PIANO P " f ~ --- >------~------5 3 ~ _ I~ 1~ I~ 2. #" -fL. ~ •. #".1 ~ #" ,ll). - I\ll" No.llO·40294 Grade H Sprightly Spooks . @ . p 'rr:!,::::=- '':/' LOUISE CHRISTINE REBE t-- >-~ (J-112) >-- r--_~ - Lightly - 3 5 2 3 4 3 --- 1 -.-- --- 1\ 1 2 3 4 5 1 1 1 3 2 1 2 . r-r- - --- =------I@ -J--w- I I From .°Th rec p'lano Sketches:' by. J. Frallco. [110·4,0316J '------' CopyrIght 1954 by Theodore Presser Co. International Copyright secured ECOPyright 1954- by Theodol'e Presser Co. International. Copyright secured 42 ETODE-OCTOBER 1954 TUDE OCTOBER 1954 43 h o ~ ~ ~ ~:5 H'" I" :5" -' :5 -" -" • .. :: ~ ~ -" No, 110 ,40339 Pussy Oat, Pussy Oat z ~ ~ "~ ~ · :;; ~j =< ,.. '~ ';;; :< .~ '~ ~ ~ A - A Grade 1 c, c, Po c, ~ :: Nursery Rhyme :l'" A A ~ ~ 3, • o ."E~ "g "g 1! Arr. by LOUISE E. STAIRS , ... 0 0 0 0 A ~ Aj .= .= .= I- ... o-l o-l o-l o-l 0 -: - - J - o ~ ~ ~ -" -" .s -" Moderato :5 .~ '';; -s , ~ ~ ~ ~ ~ - 2 ~ ~ ~ :< :< :< .. ';;; ';;; .~ ~ '~ ~ e, c, 5. ~~ ~ ~~j 3 "c. Itt if"" ~ "g • look at the queen; 0 0 1l t 0 ~ ~ .'i !i I've been to Lon-don to o-l o-l o-l o-l ~ Puss- y cat, Puss-y cat, where have you been? ~ ~ ~ ~~ , ,;; , " -" -" .!i"': '-: F ~ ~ ~ ~ :;: :< :;; ,. • m m • :< -. " " '~ " PIANO ';; '~ • ~b~~mf~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ ~ ~ ~ ,; . p.. &:: - ~ ~ ~ ~ 5 2 <1l • " i -;; "" ~ m ... ~ -;; ~~ ~ ,!J • ';; ::l '. . •~ ';;;~ 2 ~ ~ ~ - Po Q) ~ f-~ - ~ ..i I- "" 2 -- "" "" l' ~ m ,~ • : -- ~ -" -" t -" :;; iii • :;; • < :;;i '4 '"...... - Q C C =< =< =< - 'iii '~ '~ -' ';;" I- -' Frig'ht- en'd a l'tI - tl e m'ouse un-der her chair. c- Potuss - y c~, PU5S - Y cot~ , whot~ dl'd you there? ~ .' ~ ,~ ~ ~ ..~r 3 '-;- ~ ." "0 "C Q ""C .= .: .'i ~ ~»- It, • • ~ ~ o • , "C' --~ ." oO~ 'l! 4 " ~ ~ 0 11 ; 5 ~ ~ 0 0 0 -" ., -" '" o-l o-l o-l o-l .A ~ "~ : ~~- ~...,I fo- ... ~..., ~..., =<"'l 0 ~ ~ .!! ,s ~ ,s• ., =" .. ~ H'l'J ~ ~ < < < .. f;;, " m ~ ~ ~ ,!J • " ';;;• ~ ';;; ~ - '" '"<;. - Po" • " 0 ------"" 0"" "" oO VJ "'" '" - 2 ,. ,.• : ~ >· A > ~· I- At -;; " " " ( :; ~ 'C( 1i £j ~ g I; ~ ~ " ~ " -' "- £ " 0 ~ "- ~ ~ J ,. 2 3 > > " - A ~ II ~ ~ ~ ~ A ~ t- " " 0" 0 ~ 0" " I1t " " • , > > > > - ~ ~ 0 OJ ~ • " • - I- Puss - y cat, Puss - y cat, what did you there? I fright-en'd a lit-tIe mouse ~ ~ un -der her chair. ~ (t ~ It) I " ~ ( A ~ A l - t- " ~"0 '01 c: l ~) ~f ~ '" ~" I"- " ." "C "0 - "0 " ~ - , . ~ ~ ." A . •" •" A II ""A\ c M 2 s ~ ~ - l' ~ ~ "" ""~ 0 " ~ 01 ~ . - " '" ". > > > > - , 1t "" .. " "" " " " ; ~ k ~ -' ~ ~ " - ~ .. I- 0" 0 , c: ~ ~ ~ ~ " " -' " )ttl - , I , m , ~ "m ~ - - . • f"'- 0 ~ • " ~ m > > •. A Puss - y cat, Puss - y cat, where have you been? m • - A ~> > A A ~ - II' Iv'e been to Lon-don to look at the queen; .~ ";; II • ~ - A t- ~ ~ • II ~ Po " " Po 5. Po " . .J:' I m l' • m . • • i :;;• :;; :;; :;; ... [ .. ~ .. ~ 5 2 ! if if i!f ,S .; .:; ~0 .:; ~ - '~ "~ ';:j D ~ '" \ ~. .: ~. '"~. .. m' ~ ~ ~ ~ j1-. .. 0 ". " " • "~ ,. ';;;• ";;;• II ~ ,,~ > A > ,. · A ~ Ii ~• A ~ A A ". ~ ",. Po " " " " "" • "" ,~ ~ ~ ~ • • f 0.. (, .:; Puss-y cat,Puss-y cat, what did you there? :;; :;; 1 01 ~ ~ ~ }<~ Fright-en'd a lit-tIe mouse un-der her chair. I ... '"i!f ~ if ." in" in in ." c . i ~ "" ~ """c .. : • • - ,~ ,~- .~- -" ~ ~ \ <1 .. ~ .. ! ~ 0 ~ , ~ •0 Po •Po " " -' " < < .. "" < "" < .. • • : ~ ~ .. ~ ~ .. ~ ( Copyright 195-1-by Theodore Presser Co. I , ... '- ----...-..- - . 44 Internationa.l Cop>"right secured - ETUDE' OCTOBER 1054 J.--ETUDE-OCTOBER 195,J RESULTS COUNT! .~ - ~~ e :> ~ > ~ ~ (Continued from Page 14) ~ :> "e :>~ :> .. :> ~ e :> e > . ~ :> ~ > .. I do solemnly swear by that which e.xp~rjence in manufacturing, pub. 'I:!. .. '- -- to' to' fc- o C I hold most sacred: Iishing or selling a product, he would ~~ ;;> ;;> 0 ;t c- - ~~ • • • ;a- ~ "That I will he loyal to the pro- have a respect for results. Results ;;' ;;.' ;;' c, ;;"~ • • • -~ 1I 48 ETUDE-OCTOBER 1954 49 ETl'DE-DerOB£R 19;4 .. f'/.-._- I Violin Says DAVE GARROWAY RAY GREEN Questions BOSTON UIlIVERSITY ~r9an fRuestions Star of NBC's popularTV Show"TODAY" College of Music UI LEARNED TO .PLAY MY Answered by Answered by FREDERICK PHILLIPS Rano c.: HAROLD BERKLEY All Branches of Music. and Music Education WURLITZER ORGAN A Piano Course of / amtrying to find the name of the four years. We also need something THE FIRST EVENING" OUTSTANDINGmerit! Numbered Violins? Robert A. Choate, Dean manufacturerof a reed organ which for pedal study. B. E. B.,-Minn. J. K., Nebraska. Some of the most MS thefollowing on the stop panel, The basic thing for the Hammond important dealers in old violins, such 'IMarchal& Smith, New York, Uni- Designed for Courses leading to the degrees 8. organists-to-be would be "The Ham- Prove it to yourself, mail the as Hills of London and Wurlitzer versityorgan," I wrote to this firm, A thorough foundation Mus.; M.M.; M.M. Ed. In conjundion mond Organ" by Stainer & Hallett coupon below for a in New York, number the instru- but thepost officereturned my letter with the Graduate School-M.A.; (an adaptation of the well known in musicianship ments that pass through their hands, undeliverable.The organ needs mi- Ph.D. In conjunction with the School Stainer Pipe Organ method to the FREE, EASV LESSON but I know of no book which tells norrepairs,and I would like some of Education-M.Ed.; Ed,D. Hammond instrument). Then for the Enjoyable progress what dealer numbered which instru- infrmnationon it. Do you have a pipe organist we suggest the Stainer at the piano ments. And I am afraid I can tell Year· round Projects andWorkshopl include- directoryof reed 'organ manufac- Pipe Organ Method, edited by Rog- you nothing about a violin made Workshop in Music Education turerslisting this company, Could ers. Both of these books contain ped- from "an old Scotch table 4000 years Opera Workshop youalsogive me the address of the al studies. The "Primer of Organ old." Four thousand years is a long Pianists Workshop Societyof 51. Gregory, which- pub- Registration" by Nevin, will help a time. and I am inclined 10 doubt fishesthe Catholic Ch.oirmaster. both the table and t.he violin. Eminent Faculty of Artish, Com. J. IrI.-Mich. lot in understanding the proper use posers. Scholars ond Educators and operation of the pipe organ stops and mechanisms. The hook compiled A So-called Schweitzer Violin Moster Clouu under such 1,od,r5 al- Tothebest of our knowledge there Mrs. S. Pel/nsylvania. A by Kinder "Organ Compositions J. c.. Arthur Fiedler Paul Ulanowsky is no complete directory published genuine joh. Bapt. Schweitzer violin, With Chimes" will give you a good whichwouldcontain all the reed or- if in first-class condition. could be For inlormofion. cotologue, iJlusirolKJ selection of numbers the Hammond gan manufacturers, and actually worth as much as $600 today. How- folder, ""rite organists can use with the chimes, thereare only a few such firms in < ever. there are on the market. and and there are also many individual existenceat the present time. The in private possession. thousands of DONALD L. OLIVER compositions with chimes which the namein question does not appear in inferior fiddles-one cannot even call Djreclor Admissions Presser company will be glad to 0' theonlyreference book at our dis- them copies-not worth more than send for examination. With your The following books are now evcucbte posal,and it is quite probable that .75 S15 but which bear correctly-worded BOSTON UNIVERSITY background, and without the desire BEGINNING BOOK thefirm is no longer in business. 1.00 115 10 go seriously into the organ field, BOOK ONE Schweitzer labels. A label is thc Room 1.00 Thereis quite a good chapter on the BOOK TWO easiest thing to copy. Only by per- 705 COMMONWEALTH AVENUE you should be able to accomplish 1.00 repairof reed organs in "Scientific BOOK THREE sonal examination could an expert quite a bit by self-study, and you eTUDES AND VARIATIONS, Based on Honon, Book> I ond 2, each ... .75 BOSTON IS, MASSACHUSETIS PianoTuning and Servicing" by tell whether a violin so labeled is or will be able to help your students, Howe(price 56.00). It. is quite pos- \ Mr, Green will make the following personal oppearonces on the West Coovt. is not a genuine Schweitzer. though if any of them plan to be- Please consult with your local dealer for more specific information. siblethat a copy may be available come really proficient organists, it BAlDWIN·WALLACE in your local library. We believe Spokane, Wash. . Sept. 13th Can a Reader Hel p ? would be well for them to arrange \ Seattle, Wash. . Sept. 16th CONSERVATORY OF MUSIC thiswouldhelp you to take care of Tacoma, Wash. ,.Sept. 20th J. E. ill., Arizona, The name of for instruction [rom a regular organ THE WURLITZER SPINETTE Portland, Oregon . . ... Sept. 23rd BEREA. OHtO h\lbu.rlt I' CllnlU4) suchrepairs as might be needed. Socromento, Calif. . .. Sept. 27th Francois Cuillmonr is not to be teacher if at all possible. In addition .~mllueJ wltll • IIr,t flu. Llberl) .,\.& Thereis also a chapter on the sub- IS PRICED AT Stockton, Calif. . ... Sept. 28th 'found in any of my hooks of refer- CoU.... "~our anJ 0'. Jur tcnlUU ludille to the books mentioned, we suggest Oakland, Calif .. ,...... Sept. 30th to dunn. Faeu1l1 0' ",nil! Tnthtrl SCllJ jectin Fisher's "Piano Tuning, Reg- San Francisco, Calif. . Od. 4th ence-which is not to say 111at he 'or tnllorll' or Inforlllatlon 10: Master Studies for Organ, by Carl, S ( Son Jose, Calif. Oct. 6th CECIL W. MUHK. Olruh/. Bftll. Ollla ulatingand Repairing," but not quite Only 1325 Fresno, Calif...... Od. 81h never existed. The name may indeed and t.he Gradus ad Parnassum, by Los Angeles, Calif...... •..••. ..Oct. 14th be fictitious, or it may be thai of a ~ocomplete.This book sells at 2.25, Koch, as well as "First Elements of F.O.B. NORTH TONAWANDA, N.V. Son Diego, Calif. ..Oct. 18th andispublishedby the Presser Com- Phoenix, Ariz. . Od. 25th & 2bth maker who produced only a few Organ Technic," by Jennings. Son Antonio, Texas .. Oct. 28th pany.This,too, may be in your local Oollos, Texas.. .Nov. Jrd violins. Perhaps some reader of this Houston, Texas Nov. 5th library. "It was astounding news to me ditional tone and lightning fast Fort Worth, Texas Nov. 8th column can tell us something abollt Our church has a Baldwin elec· him. Theheadquarters of the Catholic Irollic organ. If you have any in- that anyone, even if they have action make it ideal for the seri- Choirmasterare at 119 W. 40th CHAPPELL &. CO., INC. formation regarding stop combina- never played a musical instru- ous study of music, too. Small 4·yr. eollq:e for .. om~._ DlsUncUI"e nn- Street,New York 18, N. Y., and the Not 'VeIl Known in this era' cultural and pre_profts.!l.lonal lr"Unlnl In tions jor this instrument I would ment. could play several tunes RKO BUILDING. ROCKEFELLER CENTER· NEW YORK 20, N. Y. the arts and sciences A.B. 8 S. d~ in It puhlishingoffice is at 8 North 6th Children, especially, learn faster, Country profUSlonal neld,. Member NltS:\I_ coursu In greatly appreciate it. plano. '·olee. orcan. vlolID. pubUe school music. Street,Richmond 19, Va. 011 the Wurlitzer Organ the first F. W. N., Wisconsin. The name NeVi'. modern. air condllioDed mll,sle bulldlnl. Mrs. M. W. M.-Oreg. find. their musical education a Grants-In-ald. sc.holu.lIblps. BasiC fee for ItU· evening. Already this beautiful Nicola Utili is not at all well known dents or millie. appro:clmate.Jy "2S_ Rldinf. ,olf. pleasure rather than a chore. See tennis. lake. Iwlmmlnl. Qllotlnl. Indoor pool ,Severalof my advanced piano pu· The most satisfactory answer we instrument has become tbe focal , AGAIN AVAILABL£-TH£ R£NOWN£D is this country, but he has attained CQuntry Club (aelllllell. CateiOC. Dep:r.rtmenl '-'II. lIarl$1'lIIe. Slolb Cue!lllI pllshave to take over positions as could make to your question would a Wurlitzer Organ dealer now or some fame in his native Ilaly. An point of entertainment in my church organists in their particular be to suggest your writing to the mail the COUpOIl helow. PIANO PIECES instrument of his would have 10 be MilliKIN UNIVERSITY home," says Dave Garroway. SCHOOL OF MUSIC churches. The organs are Hammond Baldwin Piano Co., Organ Division, judged for value on ils individual TEACHING ANO RECITALS DECATUR. IllINOiS Church Models, with chimes and a Cincinnati, Ohio, and ask them to LFOR meri~s. Jor there are not enough O'hrl 11KilTlUllh tul"I"V In mUdc-. Coolnu Iud· Surprisingly. the Wurlitzer Organ FREE I 1111,10 dtll:feel of: Uach.lor 0' )lillie, B&l:IM~1 Gl 1.1110 manualpipe organ. My difficulty send you their "Baldwin Suggested VI RG ;U ,,!lIe ":ducatlon. 101UIU 0' )lUlie, and lhn.l To a Humming Bird .• Improvisation .• Valse Petite .• Mazurka. speCllllens of his work in this pan BOOKLET or Mude .:<111'atlon IS .Ihat my background is piano and Stop Combinations for the Baldwin with all Hs thousand different of the world to establish a market .1oI.mber of Ibe ~ a1lonal A lIodaLionStboolJ III}lull~ The Blind Harp Player . • The Conquered Warrior .• Prelude, etc. VOIce, but I know little about the Electronic Organ." and mention the tones, its beautiful solo voices. Howto Playa price. II11Uetl" 'flll liP«! nlt\lul Wurlitzer Organ W. ST. CLARE MINTURN. Oir.ctu organ/ f,au d , . Grades J to 6 THE VIRGIL PIANO SCHOOL CO. h· c rea some t Izngs and Model number of your particular special effects and full orchestra. in One Evening Cafolog on request Kiamesha Lake, New York aue examined some methods' Can instrument. This is a very ingenious No Value in Ornate is amazingly easy to master. Tra- SAN FRANCISCO l'O,U suggest suitable material ".which and practical device, indicating in Decorations CONSERVATORY OF MUSIC r------1VLllhelpme get on t,.te nght track chart form the best combinations in ALBERT ElKUS-Olr.dar Thc Rudolph Wurlitzcr Company c. R. B., Texas. I am sorry, but all d 10 hel th d ..' Bachelor of )'Iwlc 1n&tff-U1p.a .p, esc stu ents-tn ptano solo and chorus effects, running from I there is little T can tell vou about C'hIlJreo't Classe!l k , • r, BoxE41O Wor'lh cy h ave studted. jrom one to very soft to very loud. your violin, excepl that i~struments Prufeulonal IDUnM:\IOIl V\t U R LUZ E R I North Tonawanda, NY D&J' and Elenln. Ciauel Let me prove to myself that I can·leam to so ornately decorated are rarely of 3435 S"CTlmlnt. Strut Wallllt ,.14M I much value. There are some notable ORGAN S I play the newWurlitzerSpinctte inan even- nil A R£GRETTABLE OMISSION ing. Send Lesson No 1free of charge. exceptions to this, however, but after CHICAGO MUSICAL .h. h DE regrets lhat the excellent photograph of the attractive young lady studying the photographs you so COLLEGE 111Cwa.d .fi S lisedbas t e cover subject of t.he AuO"u"'t issue was not proper Iy I IN THE TRADITION I Name ...... ••••.••••••••••..•.•••..•••.. A Di\'ision of Roosevelt Uni...ersrfy I enllled Tli 11 Id···· ~ - h . kindly sent, I don't think your vio- . e -year.o VlOllnI"t IS Marilyn Dubow for t e past SIXyears OF THE Applied and Theoretical Muic. Coropotition. a ])Up·r f \ - - , lin is one of them. Not even the p ~ 0 1 ryed Kurtz at the New York College of Music. Marilyn ap" Address .••.••• _ ••••••••.•••••••••••.••.• lllusiC!oIOirY. and MUlic:. EducalioD. Bachelor IIIMIGHTY WURLITZER'· I heare .last season at a YounG" People's Concert of t.he New York Phil .. most experienced of experts can of M.\Ulic and MlL!ltc:.ro[ MUlie decree. appraise the value of a violin with- Iharmomc_Syrn. ponybOb rc. eslra, 0 conducted by Wtlfred. Pe ll·etler, an d won I ClI)' •••••••••••••••••••••••••• ZOIle •••••• B.Ueh'" Of' ReQ1lut e pral"e of th .. f C out examining it. THE E 'D ~ e CrIIICS or her playing of a Vieuxtemps oncert.o. 430 So. l\liehilJan Alc:..• Chic_.o 5.lIlinoiJ I COUllty ••••••••••••.... S'ate .••••.•.•••••• 52 ETUDE-OCTOBER 1954 ETUDE-OCTOBER 1954 53 • .. ANCIENT MEDICINE No Junior Etude Contest This Month I b,. Gertrude Greeulwlgh Jr/alker them for special uses. Legends tell Robert's HE PROJECT 10' that he composed melodies in dif- Music Club meeting was to LEITER BOX NOTICE T ferent styles to be used as antidotcs provide and administer ~lledicine - Lette.·Box for fear. anger. sorrow, etc, He The Letter Box is holding letters for the convalescing soldlers. invented new rhythms which he from Karen Liedtke (Illinois), Ar- "But Robert!" his mother ex- -Send replies to letters in em-e of used to strengthen and steadsthe J nior Etude, Bl'yn Mawr, Pa., lenna Tyger (Pennsylvania) and I dt LEILA claimed. "Doctors and nurses arc mind. He recommended that· peo. a:d they will be forwarded to the Melvin Melanson (Michigan), who the people who do that." . writers.Do not ask for addresses, ple play on the lyre and sing!" Foreignmail is 8 cents; some fo~'- wrote and said they would like to "Sure. But we are going to grve hear hom other readers. BUT-they r\ FLETCHER "Astonishing. Robert. What was eignairmail is IS cents and some IS another kind of medicine; a kind his name?" asked his mother. 25 cents. Consult you.l" Pos.t Offi~c gave their States only and Ioraor to f.) PIANO COURSE ~~~ thai was advocated five hundred before st~llllpiug fOI·CIg-1inu- 11I:111. give complete addresses. L~tters ~~ "He was the great Greek philos· years B.C. It is medicine that can without complete addresses are not opher ano maihematlciau. Pytha. soothe, bring joy, tenderness- hope, printed in the Letter Box because it BOOK ONE TheEASIEST BEGINNER'S BOOKwritlen. Graded' go-us. and he wa born about • determination, courage and hap- would not be possible to forward to the last degree so that progress is almost automatic. This book 497 B.C .• 0111e say he shouldbe piness to all. In fact it ca.n bring Dear JuniorEtude; replies in such cases. So, Junior will fascinate your pupils. Unique Keyboard Chart. Duet parts for calle ~ 'norl r of llumanity.nl I wouldlike to hear from readers in Etuders, if you wish to have your 19 pieces included, for Ensemble playing and Early Recital use. all the emotions that enter 1I1to OUl" foreigncountries.I have studied piano lives. It's IVIUS1C. Our club cou n- forsixyears and hope to get a degree letters printed, put your names and addresses on post cards (or in BOOK TWO GRADE 1. Contains an abundance of delightful sclor told us about the man who inmusicat our University. Lorraine Hyman (Age 18), Culi], envelopes) and send them to Junior '\ first grade pieces in "flve-finqer position." Duets and ports for advised the use of this medicine The Listening Ear WHO 1,.1\ '" wmcm Elude . Ensemble playing included. Keyboard Transposition Studies so mall" hundreds of years ago. begin with Book TWO; these easy, practical, and most beneficial He had'a sort of laboratory where . studies are immensely enjoyed by the young pupils. by Efi:;abetb Senrl e LilIH!J • \ he worked anrl ga\'e all the tones • 1. Which of the foil Kingword, Dear Junior Etude: (If the scale labels and :l!'1"igncd My ambitionis to be a piano teacher. Deer Junior Elude: ~ policeman's shrill iohistte : the ctot- relate 10 hMmon) : unison.in· l take piano lessons and play about This third book of 'he Piano Course is GRADE 1 to 1Va. A TRE- USJC1ANS have trained ears. Last spring I graduated {rom the I tcr from the kitchen. Y nul' writing tcrvul. rnclrmic_ enharmonic, grade three. I j llst received ETUDE and '~ MENDOUSLY POPULAR book. Con'ains a wealth of increasingly M As you learn to play your Laboratory School of our State saw your Letter Box and I was enticed will he more intere,,-ting (hut (lon't C'onturo. c'llnrordance. inter· attractive musical examples. Perfect grading. Complete tedinico' instrument your ear learnst at the Teachers College and I was chosen because I think it will be such fun to requirements. same time, to recognize correct overdo it). 5lti(·r.? (~ point .., 10 play the graduation march. I also hear from other Junior readers. I live Finally, there is one more use SONG TITLE GMlE on a ranch and my hobbies are music, p'itch. to notice the differences in 2. '" hieh r the following are, take clarinet lessons. I would like F.~ for your li,:tening ear. Usc it to and dancing, and I also love the water. shading from pianissimo to fortis- b.,· ltlll iU. Port/ue s~ mpholl~ orchestra conduc· to hear from readers all over the Di:rie Rose JordU1~ (Age 14), Wyoming leads smoothly into GRADE 2. No gaps to bridge. Progress is simo, to recognize the contrast be· study your mu~ic when you nrc t 1':-: . ·hilT. arlo. tokowsk~ world, UNIFORM, and GRADUAl! Price 1.00 each The last words of these songs tween legato and staccato, and all away from your instrument. Go tili ho. ~ dtzki, lojowski, Sharon HuD (Age 12), Maryland More books of the LEILAFLETCHERPIANO COURSE in preparation. are also their titles. Each dash rep- • the various characteristics that ovcr: your pfece slowly. and with zell? (2 po;nl.) concentration. and try 10 hear it resents one word. How many song Dcar Junior Etude: I I distinguish music from noise, and 3. \ hirh of the following0p''" r have studied bassoon [or three years, elevate good music ahovc poor note by note. clearly in yOUT mind. can you name? piano for two years and clarinet [or five This study can be a wonderful help years. I play in our High School band musIc. 1. those gentle voices calling GIVE YOUR CHILD THE ADVANTAGES in memorizing and also a help in and orchestra. I think ETUDE helps me Did you ever usc your trained a lot in my music. I would like to hear Of Studying Piano With An I.P.T.A. Teac.her perfecting your phrasing and ex- . I ear to make IHe more fun when 2. a better friend than - from other bassoonists. The International Piano Teachers Association, the world's you are away from your instru- pression. Hear the music with your d I Carol Guttinger (Age 13), New York largest piano teacher organization, devotes its entire 3. far from de - - - - ment? H you keep your listening inner ear: then go back to your energy toward making music learning the pleasurable 4. the lads lhey smile at mc did Pur ini compose: T01l:3. experience it should be. Here are some of the special ear keen, you will- find a whole instrument and try 1'0 duplicate Thn'5l. Tnwinta. n Tro'lalore. • benefits it offers. world of sound around you. the sounds you heard mentally. 8utlcrfi,-, iii Dear Junior Elude: • Student Membership in the World's Lar2est Fraternity of Piano Students • Annual You will fwd that your musician- 0' ladam Lucia When you arc reading a book, 5. take a cup kindness yet, i have studied piano for over five years. National and International Piano Playing Lxaminations - Exclusive I.P.T.A. Academic ship develops rapidly. For - -- l.A1.I11111l''fmOor?(5 points) I find ETUDE full of interesting thing;s. Music Courses _ Over 65 Copyrighted Teacher Aids Enabling the Teacher to do the Best watch for 1vords referring to I would like to hear from readers who Job _ Annual Notional Conventions Alternately in New York City and Chicago Truly. the dc\'clopment of a lis- 4. lirh of the follo\\ingare (01 Sharon Huff _ Periodical Educational Bulletins - AIII.P.T.A. Teachers are Certified. sounds-such as raindrops falling 6. bonnie banks 0' - - are interested in music. tening ear and the abilit{ to hear \\('n ..) (1)('T11 "'nFc~: Hekn (See letter above) Joyce Butler (Age J3), Mary/and Under the guidance of an I.P.T.A. teacher, vou learn to ploy the world's finest piano on a roof: footsteps echoing clown 7. a sight in your life as - -- Trnuh('1. J("311 Racine. ~b0" literature. The Association advocates the teaching of the best music of 011 publishers. a long hall; gay laughter; a bird sounds in your mind can make you You are invited to write ROBERT WHITFORD, I.P.T.A. Founder·President at the Inter- a better musician. a more interest· 8, loving vigil keeping- - -- Carden. Ro~ Raisa. ~irolo national Headquarters for a complimentary copy of Piono Time, a directive that call, the bark of a dog-these are • explains the Association's philosophy of music learning. ing writer. and a person more 9. come to my houncling hark Rienzi. Ezio Pinza. Dann simple sound images. Can you PROJECT of the MONTH Dear ]uujor Etude: International Piano Teachers Ass'n. 204 N. E. 31st St.. Miami 37. Fla. hear them in your mind as you vividl)' aware of the world around Tan;e",? (10 poin") Enclosed is a picture o[ our music club A NON-PROFIT ORGANIZATION which meets once a month. It is called read these phrases? Take time to you. So. try this and see what fun 10. hit up a tunc called - - -- 5, hich of the follo'tfingoil· for OCTOBER Three great I.P.T.A. Academic Mu~ic Courses in KEYBOARDTECHNIC. PIANO PEDALING and MUSIC the Red and Blue Music Club, as. we INTERPRETATION ore now available, exdusively to I.P.T.A. tetl~hers and students of I.P.T.A. you wiH have. bring each sound clearly into A"slIwrs 0/1 1/('."-' IwgP lorios did ~Iendel>..hn"". are divided into teams for contest POll1ts. leo~hers. They are the most comprl',nens;ve ~ourses ever published on these subjects, and were de- Learn and memorize five of your ~igned ond wrillen by Robert Whitford, I.P.T.A. Founder-Presidellt. Write for des~riptive ii1eroture. vour inner ear. po. : Elijah. Gennan Re 54 ETUDE-OCTOBER 1954 5.5 .. SIMPLE APPROACHES TO CHORAL CONDUCTING noise, not merely a different tone- color. Words and ideas become vital. (Continued from Page 20) In religion, these ends are obvious. THE FASCINATING ENSEMBLE UNDERWOOD In secular music. too, there must be the third beat. OF FLUTE AND ORGAN becheckedand raised. only by read- a fanaticism akin to religion. FINGER T~le physical and spiritual aspects ing, listening to mUSIC, or contact The choral director must be a (Continued from Page 12) of emgmg are strangely interlinked. withworthwhile people. Then these zealot, and make his singers love it. candards can be applied intelligent. Music must have a soul, but until fact that the orchestral wind instru- FLEXOR , , if THE END available. That which sounds satis- ments of today are built to the equal- ly to govern one sown e arts. basic mechanical or physical prob- factory in such surroundings is by lems are cleared up, the soul may be tempered scale, whereas ~n many Controlled Thoughmusic is an art rather than SCHUMANN'S no means certain to be appropriate an exact science, this does not ex- unable to reach fit expression. Then Musical Bingo is as much fun as regular oraans the mixtures are huilt to the Resistance bingo and teaches the notes on the entire when the number is played on flute un:qu~l scale. Mixtures, generally cuse the brash taking of liberties. all of a sudden, the spirit emerges: PROPHET BIRD music staff. Now used In many schools and and organ in a hall OT church. by thoughtfUl music teachers and parents. speaking, should be avoided: over- • Strengthens weak joints. Your attitude toward the music and some remaining physical prob- Available at most sheet music stores. (Continned from Page 21) Published by Melody Card Co., Millbrae, Calif. The flutist should stand near tones are already ipso facto espe- • Cultivates finger independence. mustbe that of a servant rather than lems oftentimes solve themselves so enough to the organist for good en- $1.50 postpaid from Millbrae cially numerous on the organ owing • Can be used in spare time. a master. Study the printed score, speedily that one is amazed. Nature staccato!), and with exquisite finger- semble feeling. Trouble may be Conveniently carried :n pocket ... com· will do a great deal, if certain ob- to its sustaining power, and should humbly- Recordings by worthy en- tip clarity. Be sure to play freely, 'NST ANT CHANGE found where an old tracker action plete in plastic container with ellplicil not be emphasized when playing with sembleswill also make many things stacles are first cleared from the won't you? By that I mean, start organ is in use: the flutist will prob- diredions. $1.95 paslpoid path_ Any Number of Presets with ablv have a verv uncomfortable feel- a flute. plain. the end of measure 2 rather slowly, There are "large" flute tones and Send cash, money order or cneck-. Star! simply, realizing that great There is the danger, however, that DRAWBAR SELECTORS ingthat the organ is "slightly behind then steal time descending and "small" flute tones; this bears an Quan'i'y discounts on request. musicis founded on simple things. a leader may spend all his energy Designed for use with HO·/IWlond OI'!J(J1t him" throughout; even with. sucl,~ an ascending, then 'give it back,' or Write for Descriptil.:e Folder important place in selecting the Donot look for all possible varia- trying to eliminate things, rather organ. however, the seerrung un- MANUFLEX CO. ritard, very slightly at the end of RAY KERN amount of organ to be used in ac- tionsand ornaments. Sing the music than making a place in his singers' Box 1087 LClketond,Fla. Standard Pitch for equalness of response" of the two 2130 N. E. Klickitat, Portland 12, Ore. the phrase (beginning of measure 4). companying a particular flutist. One ;'straight.:! Learn to perform the consciousness for new and positive instruments can be overcome by "That's splendid! But be sure to should have enough basaiu support- qualities. Singing which has been the Musical World spending an extra amount of re- standardfirst. give all those middle-of-the-measure ing the flute, although this is easily ern ptied of bad u-icks can still be hearsal on synchronizing the attack Assumethat the com poser knows rests their full space-silence by PREFERRED BY MUSiC DIRECTORS- overdone. and 16·£00t bass in par- empty. of the two inst.rument.s, giving the TaU-DOT KOTe PLACE»; moreabout his own music than any- counting strictly (ttwo-and-three- PROFESSIONAL MUSICIANS-TEACHERS ticular n·eeds to he used with ca reo ...... _ .... _ one else. Until you have heard it Take the problem of rigid jaws, and') ... Do not rush those pro- organist. an opportunity to measure . ~~.~,... tlow:ttooI ..... When rehearsing flute and organ it ., Io(>onl. ~ 1M"""'--""-21 'fnWoIr, , tight singing. One conductor sees performedas closely as possible in 3 MODELS: MK1-Scole F to F the quickness of response of flute testing measures (8-15) but play 11t\t, ·aa..... is very helpful, almost mandatory, • .1\ IJI'.· .. 101 .1.110 accordance with his intention, you his problem as being to loosen the MK2.Scale C to C MK3.5cole Eb to Eb t.one-production in order to co-ordi- u....u- ... 101 lUI them very clear-ly in exact time. to have a third person listening care- "'--. me-- "'" If'''dl'' twO jaw. So he devises exercises to make nate his organ tone-production per- or.eWe a.I ",,"I lUI arenot qualified to consider changes. Don't play them loudly! Often a fully in the Tear of the church to _lIUI,.ACU .Oft "'. AIlD lII.ACl(loOUDI- 13 hend-tuned special.bronze reeds Iecrlv in time with the flute. Edward •AVII."* Ol,.... - --. • Music thrives on contrasts, hut his singers yawn and drop the jaw composer says 'play forte' when he precision-tuned to A-4"4C-full chro- judge the balance of the ensemble TRU.DOT ENTERPRISES slackly. But what then? He has still Gam-mons, organist of the Groton ~H 0."_ A.... _....-.- these are not absolute. We do not only means, 'just emphasize the malic scole. Heavily nickel-plated sound, the predominance of treble to put live tonal quality between School. has suggested: eversing as fast as we can, as slowly melody.' cover-embossed notations top and or bass, and any other inequa lities those eased jaws. Something bad has bottom for easy selection of pilch Organ tone as we know it pos- aswe can, or as loud or soft as we . "Don't drag the chorale but play which may not appear to the two note desired. Patented tone cham- sesses a fundamental inertia and can,These things are neither pretty been driven out, but something good it cheerfully, bringing out its top performers in their playing posit ions. bers. delayed attack common to wind in- 1J)iJ1,."'", ~ amik. nor necessary. Departures from the has to be put in. voice gently. Do not try to emphasize Dr. Clarence Dickinson sums up struments of large size, therefore the 30 E. Atltmu Sr.-ClJiru80 3,111. averagemood. speed and volume of Instead, a leader can ignore the the left hand counterpoint. Ritard • ASK YOUR DEALER OR WRITE US. the challenging problem of accom- tight jaws, but preach to his chorus effect of accent must be conveyed VIOLIN SPECIALISTS a choral passage must be for a pur- in measure 24. playas softly as pos- panying on the organ very succinctly the beauty of big, rich vowel sounds. by ... various manual touches, and oun NEW LD lNSTRtnlENT pose,and directly related to the ef- sible and hold the last chord in a when he says: modes of key release. CATALOC NOW AVAILABLE fect you wish the audience to get. He may point out that "uh" and kind of [ermata WM. KRATT CO. Good accompanying demands the Publish.n 01 "VIOLINS" VIOLINIStS" "eh" are not pleasant, and show how Actually, -the immediateness of Variation within a phrase, or "ru· Ex.4 closest attention to the solo part, as .< II.ESULTS GUARANTEED 988 Johnson Place, UNION, N. J. flute tone-production will vary with bigger vowels like "ah" and "ay" ,·\STRENGTHENII""T voice tbln tut- bato," seems to be misunderstood ed, ",i.nl;fi~ way. Yes-you may no. . well as t.o the accompaniment ... . be able to Improve the POWER ot rou. different flutists. due to such factors today.The unfortunate modern lend- can add brilliance and feeling. In I. speakln:! and sing-lnll: voice ... In the ip.l~acy or your own .""ml Self_lralnlnll: tee50n •• < as thickness of lips, type of flute You can enhance immeasurably the singing those bigger sounds, the STOP UGLY HEEL HOLES ency is to sing everything either t~:~~ei!~'i.~~;tl~~e~~~~e~~~:~et \':f~~~2~~~e(~ beauty of a solo number. or you can • successful VoIce." It'n ahoolutely FREEl You mu.t used (silver. gold, wood), etc., so slowlyor still more slowly. In its chorus will have to drop the jaw .Ia'e your all:e. Booklet mailed J}(>SIPaid In plain Entirely New seriously detract from it, even spoil SAV·A·RUG wrapper. No salesman will c"ll. Scnd your name &<:1<1 that the problem of synchronizing more. Something beautiful and posi- all"e IllCHT I'OW! P.REFECT VOiCE: INSTITUTE 1"1...... !'cotU.1 r.d ""'...... best sense, "rubato" involves going 210 S. Ctfnton SI .. Oepl. AW-100. Chicago 6. Ill. Approach the attack of flute and organ for ex· it altogether, by poor accompanying dO..,. 1'\1101 u.....l:I.l»I· tive will be pushing aside the old cal tI "I or rlra 1lf'lIw'Q laster and more slowly. at various or contradictory registration. _t>bl t b_ U bl~ before the sermon's repetition." actness of response may exist even habit. \= ~.~h~~~.~~~~~!. times.than the average. Here again, BOOK MANUSCRIPTS Harvey Grace. the eminent Eng. "Heavens! l' said the pianist, how with the very finest organ. NOY.L ,"'IT a little goes a long way. The highly The leader cannot transmit his lish organist, has th.is to say in "The .0. 1_. Sullllll"Y..... can anyone remember all that you Piano Beginners lllay posi- The modern organ offers fascinat- own enthusiasm t.o his chorus by INViTED individualconductor sees how long have said? But now that I really If you are lClOklng for a pUbllshcr, send tor our free. ing "color" possibilities, and skillful Complete Organist." (London 1923) : YOU R l 0 VEL I EST G I '1 talking, but by helping them t.o do illustrated booklet tilled 7'0 the Alit/lOT in Se ll times. Tie and coat are men change into band unl lorm...... •••••..••...... -..._ ..--_.-. __ ...__ ._.~~ neat1y at a at all meals en route. 3:30 P.M.-Leave Hotel Sherman : MORE THAN A DOWN BEAT necessary . ki f· • Th is to be no drm'mg 0 in- for Wheaton, Illinois • ere V"'. f 4:30 P.M.-Arrive at Wheaton and • lOxicantsat any time.. IUO a~Jon .0 • (Continued from Page 19) hi rule will result m ruvererty report to Band Headquarters • action.I I' The hotel Ilas beeneen mstructei d 4:30-5 :30 P.M.-Rehear'al-Drill • notto accept any hotel charges on 5:45 P.M.-Dinner in High School • In the case of the high school band Cafeteria • write effective radio script. Since I art of the people who have been • staff, it is not customary that staf tne P b N I 7 :45 P.M.-As'emhle at Head- • he will usually be responsible ~or members receive remuneration for registeredas band me~ ers. 0 te e- • quarters OF MUSIC • the preparation of the continUIty their services. It has been my experi- phonecalls, room service, etc. • 8:30 P.M.-Perform between games for both the pre-game and half- ence that these students enjoy the B sure you can account for at all • 9:00 P.M.-Leave Wheaton for Dedicated to Ihe Superior Training of American Talent: time shows, it is essential that he responsibilities and so recognize the ti:es: (1) Complete uniform and . . . Chicago show considerable aptitude for value of the experience that they do all accessories; (2) Overcoat; (3) • Intensive professional study of MUSIC, bet- : this particular appointment. Usu- not desire payment for their services. Raincoat;(4) Instrument and Lyre; 10:15 P.:M.-Arrive at Hotel anced with a llberol arts program in Amer- : ally such a person is available Sherman In the case of the university stu- (5) Musical~dtwo folios; and ~Iso leu's first coeducational college. Dormitories, : through the English Departme~t have along Withyou: (a) Sufficient 10:15-12:00 M.-Free dents it is usually customary that concert series by guest and Oberlin artists, : or the local radio station. HIs they receive financial assistance for numberof white shirts and black 12 :00 Midnight-c-Roorn Check duties include the following: their services. In some instances they socks,and (b) necessary toilet ar- Saturday, October 16: excellent practice facilities, faculty of 55: 1. Two weeks prior to the sch~d. receive hourly compensation, while ticles.A physician will be on call 8:00 A.M. (C.S.T.)-Breakfa't eminent musicians. : uled performance, meet with in other siltlations, ee at Michigan, at all times. Report any ailments 8 :45 A.M.-Leave Sherman for Ev- • the conductor; review the pro- • they are placed on a semester con- to him.The sealing arrangement at anston, 111. All band members Member Nofional Associafion 0# Schools cl Music • srarn and discuss the proposed • tract. ihe Northwestern Stadium will be in uniform with all necessary • ~ontent of script. In ally ev nt. their ervices, if thesameas at Michigan. accessories and music folios 2. Prepare script for pre-game Write for: • properly del ·gated, prove to be in- Frida)', October15: 9 :45 A.M.-Arrive at Dyche Sra- • and half-time shows and pre- • dispensable to the conductor. FOf' 7:15 A.M.-Breakfast in quads or dium and report to band head- Conservatory catalog describing de- : sent to the conductor for ap- tunme indeed is the dire tor who has fraternity houses quarters in Field House, and grees awarded I proval one week before game • THE YOUNG LADY the service f a camp lent and de- 7:30 -Pick up buses for Harris get out instruments Bulletin on admi •• ion and audition: time. who is starting to take pendable stafT. II h student are 10:00·11 :00 A.M.-Drdl-Rehearsal 3. Attend final three rehearsals Hall at designated place : procedures : the cogs 1ha t make the wheel of 11: 10 A.M.-Leave Stadium for Scott lessons: "You'll love each week for the purpose of Bus #1 Calendar of music event. for the c ue- : our marching bands revolve. With· Han your new Ki'mball. It's fun tc? play and you'll learn so easily. achieving proper timing and 7:30 A.M.-Baldwin and \Vashtcnaw rent year : au L th 111_ no oneIll tor can efficient· script co·ordination with band's Hill and \\'ashtenaw 11:20 A.M.-Arr;ve at Scott Hall Your friends will enjoy being with you more." ly carry n his program; with them, 11 :30 A.M.-Luncheon Programs of concerts and recit.l. : movements. 7:45 -Harris I'fall there seem~ to be no limit of oecom- 12:15 P.M.-Leave Scott Han for given during past seaaon • ~'" 4. Prepare three copies of script Blls #2 • plishm nl. Stadium • for self, conductor, and band's 7:30 UL-Up H;lI I. off • Becuuse it is Bll h an important 12:45 P.~L-Arrive at Stadium and • THE YOUNG LADY records. Washtenaw Director of Admissions. Oberlin College • 5. Report to conductor on day of part of th dUlies of Ihe buJness report to Band Headquarters in (her mother) who will manager. ware pre 111ingin detail E. Quad •.' "ame two hours prior to game the Field Hou~e-get out instru- Box 5104, Oberlin, Ohio • a sampl itinerary a prellared by 7:45 -Harris Hall I always remain young ~ime. Review schedule, Lest ments and assemble for PRE- ~••• •• _••• __ •• •• •••• _••••••• _•••• _•• _r in heart: "Piano study microphone and voice projec- the SlUt! fIt busin manog r of the B" #3 GAME: "Pcp Fe,t" Michi un Bonelli;. 7:30 A.M.-S. Quad (Madison 51. with a fine new Kimball willincrease your child's popularity, tion. 1 :05 P.1\L-Pre-game entrance entrance) 1:30 P,M.-Game poise, self-control, coordination. It will nurture pride of (IX) Copyists and Assistants, as 7:45 -Hard, Hall Fol1owing game-Return to Hotel 3:00A.M.(E.S.T.)-Leave Hard, -Sherwood MusicSchool- accomplishment for advanced study later. And, a smartly needed Sherman and dinner. EYening free Hall styled Ki~ball such as the Modernaire would automaticallv 1. Several weeks before the open- Sunday, October 17: ThorouglJ profe~sional trnining for successful careers. One and two· 12:00 Noon (E.S.T.)-Arrive at become the beauty spot of your home." ing of the fall season the con· 7:30 A.M. (C.S.T.)-Breakfast year Certificate courses prepare for pri"ate studio teaching. Bachelor ductor presents the scores of Niles,Michigan-Luncheon 8.30 A.l\1.-Leave Hotel Sherman for ):00 P.M.(E's.T.)-Leave Niles, and l\'1aster Degrees, four and five years. Piano, voice, organ, violin, the completed arrangements to Ann Arbor _'cello, wind in."trulllents, composition, public school music. Faculty THE YOUNG LADY the chief copyist and his assist· Michigan 12:30 P.M. (E.5.T.)-AniveatN;le, of renowned European and American artists. Many opportunities who teaches and whose tants. They proceed to extract 1,45 P.M.(C.S,T.)-Ardve at Hotel for lunch Sherman. No. 1 man in each for public recital, solo and group performance. Member of the ideals never grow old: the parts and prepare them for 1:30 P.M.-Leave Niles duplication. room (see room assignments) 5:30 P.M.-Arrive in Ann Arbor National Association of Schools of }(usic. "You already know the getskey from business manager 2. The copyist is given a dead line General Injormat;on: Founded 1895. Splendidly equiplled lakefront building. Spring world-renowned Kimball with the "Touch-Tone" features, and under normal conditions Chicago HeudqlmrtfOrs: hrrman and checks in room. All bands· THE END lerm begins February 3rd. providing responsive action, full tone and perfect pitch. must be expected to maintain Hotel Now consider all these in-built features ... plus distinctive such dates. Band Headquarters In.strumrnt For catalog, Icr;lc Artllllr In/dnw", lHu~ical Director Room: To be announced beauty in all the new Kimballs ... the ideal instrument for 3. The copyist must check and THE TEACHER'S ROUNDTABLE Chicago 5 • Illinois proofread all parts and approve Instruments: tru k will he Inil- Shefwood Building· 1014 So. Michigan Avenue your studio." them before presenting them able arter Thursda l! dr-iU·uhea~1 (Continued from Page 23) Every Kimball is made to quality to the conductor. to transpol"t all insuumcolS to the national tours. Instead you consid- standards famous for 97 years, precision built by experi- This represents a very important buses. B ~ure to identih oIl in~lJU' unforlUllatelyso limited. I have tried ered piano study as a means of enced craftsmen. There's a Kimball piano perfect for your assignment and this stafT must be ments. dh.::.h tape or tags from thosedrills for several minutes and filUng your life whh the loveliness home among the more than 45 different style and finish selected with great care. The man· th bu iness m&nog r with nlme and they brought relaxation, flexibility, of music which you !:troye and are combinations offered. . uscript must be accurate. neat. rank numher shonld accompany all and a sense of f10atincr licrhtness to still striving to improYe every day. clear. and of such quality lhat it instrul11enl ..._ my fingers and wrists~ B~t besides w. W. KIMBALL COMPANY can be reproduced in a manner lIi/orms: Ea h member of tbr hand this technical point, may I extend Thus you brought happine!:s to your- self and those around you. May you KimballHall-Chicaga 4 which enables all bandsmen to will be re~pon ..ibl for c1eaninr. and my compliments for your cheerful read it without difficulty. Too {reo transporling hL own uniform. aeets' optimismand your sense of humor. continue for a great many years to In the heart oj cultural Chicago See your Kimball dealer, or fill out coupon and Yoo b· . ~uently reproductions are nOl leg. sorie!!. folio~. and o\·ercoat. A piece r am Ilion never '....as to climb come. THE END ~ lble, and are often inaccurate. o( tap with name a.nd rank Dumbt'r the concert stage or go on inter~ ~.__-_._. ~-----.------"1Ii Such inefficiency causes loss of mu~t he allached to the top of each ASTOLFO PESCIA I W. W. Kimball Co., KimballHall rehearsal time and thus adversely hanger and to tbe in~ide of Nch Yocal Teacher and Coach : RCX:;m320f Chicago 4, Illinois afTects the performance. cap. A SIGNIFICANT TREND t (Who come to New Yor~ ot the suggestion of the tote GRACE MOORE) Al~ of the aforementioned ap- Luggage: U 'u~gal!-e m~ be dear· : Please send me catalog and nomeof nearest Kimballdealer. Why isn't there more classical mu!:jc on the air? The reason is Teacher of DOROTHY KIRSTEN. of the Metropolitan Opera and RINA GIGlI, I pomtments are made only after ly ideotified with name and Ann purely commercial. Hooper and other ratings, show clearly that dcughter of the world famous tenor BENIAMINO GIGLI I Name'~------__------care~ul consideration of the quali- A rhol" addr ,.... T.g~ lIIfill be fur' I comedy, quiz, banet and lil.ht music programs command far more I ficatIOns of the individual. He ni~hed b the equipmenl _ 1.0. Resumes his teoclling in New York I Addres"s ~ ------attention from the buyers of cigarettes, beer, automobile tires, soap I must be a person of high academic Conduct: You arc. "ichi~&D band·· NOVEMBER 1 I and cosmetics. Moreover tbe cost of presentJng symphonic concerts Zone __ State' _ status. a lert. co-operative. loya I. man and a ~tudenl rep~talife of I• City'_~_~ _ •• 1 on the air is very great. However, it is reported that the demand for Hotel Ansonia 73rd Street and Broadway Hew York I a~ld possessing great interest in )[ichigan. Wear ,our ciTillaD c10ah better '" I lllUSIC IS lI1creasingly going up. hiS respective a:-signment. and band uniform rth aDd ETUDE-OCTOBEI1 1954 59 58 HI DE-{}CTOB£R IO~ ... , � IS THERE AN "ITALIAN" METHOD? on with the unremitting care ferent singers. The teacher, the con- I coonec1 I ld ' 'vocal teacher, 5 lOU give ductor, or coach bases his approach (Continued from Page 15) oanesf " " h AMERICAN CONSERVATORY fe,I,'nu of ~ecunty In approac - not on the needs of his own throat' Thi ki d f " jects tone ural talent must be present-just as' onea e v-> 15 "In 0 smgmg pro . basi II I " but on general physiology and basic OF MUSIC-CHICAGO into the masque, and that is the only singing re~uJresI a lasJcla y p ealsl~g inganynew role. . Offers courses in all brancbes of music In di:cu5:ing the comparatrve rules; hence, he is less insistent on " d resonance natural VOice. n tne ast ana yS1S, 68th year. Faculty of 130 artist teachers correct p Iace f or goo' I 1 one correct method, and more flex- nee bears nobody can teac 1 you lOW to act so ,aluesof singing teachers, I have a Member of National assocteetcn of Schools of Music TIte cItamber 0 f resona d" ible in bringing out the. best results Send for a free catalog-Address: Jl)hn R. Hattstaedt, Pres., 582 Kimball Bldg., Chicago ~~} the same relation to the voice that as to move an conv1njckean audi- theorythat the best teachers are not 'I' b rs to violin deuce; you learn to wa ,to stand, "arily· those who themselves in various wave. the 0 dy 0 [Itne VID In ea 1£ b nece•• b m to conduct yourse on a stage, ut k, had outstanding vocal careers When students come to me for ad- /or tone All tone must b e sen t 0 ut fro . I u3ve d ' the enjo';!ment 0/ pianiJtJ 0/ an';! a'ife ' f b This kind a spark of dramatic ta ent must he afterwhichthey retire an Instruct. vice, I find it extremely difficult to CINCINNATI CONSERVATORY OF MUSIC the f ront 0 t e masque. 1 • . give, in a few brief words, the kind \Villi:1I1i s. Nnylor. PIt.D., Uirectol' and Denn of FncllJt)' of tone comes out pure, natural, free there wlt~lln yOli •. Thereare exceptions. of course- 'f' g Operatic work Involves the task o.f counsel ,~hich could clear up pOS- A distinguished proJessiO/1a! school of music and the allied arts, manynotable ones-but as a gen- DEGREE COURSES WITH MAJORS IN PIANO, VOICE, ORCHESTRAL INSTRUMENTS, m,GINNERS CAROL BOOK...... •...... for students halfway through the pre.grade boob. Contains an d never requ n-es orcin . .' d eight carols, plenty for ~he beginner, all in the same easy _ I the basic pr in- of Iearning to smg an to act at the eralthing.I believe the best vocal Sible errors In vocal habits that have . . .OR~AN, ~O.MP~SITION. MUSIC EDUCATION. A ffillated WIth the Un,verSlty of C,nCInnat" Member of the National ASSllciation of Schools of Music arrangements ...... price 60c TIiese, t len. are d i I' . difl been made over a period of vears. ciples of "It~lian" singing. I was same time, an ill t us sense, It I ers teachersare those who have always CHRISTMAS FOR 1'\\'0 ...••...•••••••...•• book of duets Or solos for grade one. Contains eight songs , I' ti Tr-ieste by my 60 En m:-OCTOBER /QiJ ETUDE-OCTOBER 1954 61 NEW RECORDS th warm musical properties of the ist, young Ingl"id Haebler, nor the fin:st present-day discs. (Decca conductor ,of. the Pro Musica Sym- All a~es All Grades phony, Heinr-ich Hollreiser, is overly SHENANDOAH (Continned from Page IS) DL 9603) Mozart: Concerto No. 12 in A conc~rned about precision or pro- Your Child r The favorable impression made by Major, K. 414 fundity. Yet there is a pleasantness CONSERVATORY OF MUSIC COJlcerto No. 27 in B. set contarmng the complete opera. youthful Geza Anda's first Angel reo about the performances that many May be one of the four hundred to In the Beautiful Shenandoah Valley From the solid orchestral reproduc- cordings are underscored by these fiat Major, K. 595 listeners will find captivating. Aside • PIANO • B.MUS. & B.MUS.ED.DEGREES tion of the overture to the impressive new releases. Aided by Angel's su- The style of these relaxed per- from less clarity in the piano tone • ORGAN • MEMBER NASM closing bars of the tomb scene, all perb technical know-how, Anda and formances is sometimes called than is ideal, the recorded sound is Win a Cash Prize • WOODWINDS • ACADEMIC COURSES forces combine to create a rare oper- London's Philharmonia Orchestra "Vienna" Mozart. Neither the pian- good. (Vox PL·8710) THE END and gold medal • VOICE, STRINGS • CO_EDUCAT!ONAL atic recording. Raoul Jobin (Romeo) under Aleeo Calliera have produced • PUBLIC SCHOOL MUSIC. CHURCH RELATED and .Tanine Micheau (luliette) have disc-versions of these popular clas. in the • B.MUS. INCH U RCH MUSIC • LOW RATES never been heard to better advantage sics that Tank with the best, though PRESENT AIMS AND OBJECTIVES For on records. Alberto Erede conducts catalog write in overall effectiveness the Rach- IN CHORAL MUSIC Guild Recording Festival the chorus and orchestra of the Shenandoah Colletje, Box E, Dayton, Va. maninoff has an edge over the Tchal- Paris Opera in an authentic French (Continned from Page 17) October 1 enrollment begins. Write for details to kovsky. Angel finds room on both production. (London LLA 18) records for sole encores. (Angel sensitiveas to its basic characteris- for large audiences is likely to find PEABODY CONSERVATORY 35093 and 35083) tics? frustration his principal reward. COLLEGE OF MUSIC De Falla: El Ratcbto de Muesc It wouldseem that at the present This implies no necessary chanae National Guild of Piano Teachers In,lruction ill all branches of music for the beginner or advanced student. RMus .. ~LMUS .. Prepares Pellro (Founded 1929 by 11'1 Allison, M.A .. Mus.D., LL,D.) for j)role"iona\ careers in mustc. including composing. musIc therapy. leaching. sacred. muSIC. ?~b.liC El AJllor Brujo B:ll'lok: Pir",o Re nertoire westandat the point where our ad- in musical aims. Technique should scl,o"] n'II;i<'. Accrcdilcd l"-l""",e" :O:ellOoL SdlOlanhilJil. -'lcml·.or :".,\.8.1>1. Calalog. Dormitory raenmcs Reviewers who use stars, numbers Columbia has launched Hun. vancesin technique are notable, our be as carefully developed as ever; for men H,,,l ",,,,,,C1L Box 1113 Austin, Texas Reginald Stewart. Director or orchids to designate outstanding gar-ian-born Gyorgy andor on a needfor stylistic awareness obvious, one should still aim at the cultiva- 9 East Mt. Vernon Ploee, Baltimore 2, Md. recordings would have lise for their recording project that eventually withthe implication that. as Iar as tion of the greatest skill of which maximum symbols in evaluating this will cnconl,lla~s the entire piano lit. training goes, what we should aim he is capable; however, there is im disc. The hi-fi is the type musicians eruture of Bela Bartok. Hungarian forinthe future is a wiser nnd more plicit a change in our social concept CLASSIFIED ADS WHERE SHALL I GO TO STUDY? most admire. the surfaces are glassy- composer who wa .. Sandor's teacher. discriminatingchoice of repertoire, regarding music. In these present smooth. the packaging meets every Following thc recording with the days it is essential that the conductor ~ARItlON~, Corn p o sl tto n , Or-chestr-a- PIANO TUNING COUllSE-Complete ALFRED TROEMEL withan application to performance- tro n, Mustca.I 'Ph eo r-y. Private or self-instruction lessons. Also teucnes RICHARD McCLANAHAN need, the musical forces involved are Philadelphia Orchestra of Barlok's practiceof the principles derived avoid over-preoccupation with per- Covrespoudence Instruction. Manu- you piano regulating, repairing and Teacher of Piano LEOPOLD AUER'S violin principles pre- ecrtnte revised and corrected. Music o th er servicing operations. 'rvonder- Matlhay exponent, formerly his repre~enlative. se rrte d in an original way. Faculty member: right for their respective roles, and Concerto o. 2. under continues from our basic studies ill the history Iorrnance-presentauon and proceed arranged. Pr-a n Ic S. Butler, 32~46 107 ful illustrations. Full price only Private lessons, technic courses; available as the mating of the two De Falla stage with a di c containing Allegro Bar· St., Corona, N. Y. $4.95 postpaid-or C.O.D. plus post- visiting lectu,e-recitalist, or critic·teoo;her. MANHATTAN SCHOOL OF MUSIC ofmusic. to develop, first, interest in singing age. Satisfaction guaranteed or re- Six.Day Piana Seminars 8.M. & M.M. Degrees works is good LP program building. baro. Rumanian Folk Donces, For Thereis a furthcr area in which from the standpoint of participation 1~'EAltN.PJANO 'l'UNING-Simplified, (und. Nelson Co., 210 South Clinton, Dept. CW-100, Chicago 6, Illinois. 801 Steinway Bldg" 113 W. S7th s.t·, N.Y,C. 238 E. I05th St .. N. Y. C, Master Peter's Puppet Show fea- authentIC Instruction $4.0D-Liter- Chiltl"n (20 of the 85 pieces). Fij. we need to take stock, that of o lesser degree of skill should be ature free. Prof. Ross, 456 Bcechel' tures Lola Rodriguez_ soprano, in the tntl Hungarian Peasant ongs and St., Elmira, N. Y. PIANO 'l'ECHNIC SllUPLlli'IEU. Play sociologicalaims and motivations. expected; generally, and this seems popular music professional slyle. EDWIN HUGHES HAROLD BRADLEY role of the boy; Manuel Auseni as Suite for Piano. Op. 11. Sandof is Whathas been t.he ultimate social particularly true of Americans, a ~1.00. Kay.al~s, 2:34 E. 5Stll Street, New PIANISTS PREPARED FOR PUBLIC \VUI1'E SONGS: Read "Songwriter's Yorlr 22, N.Y. Don Quixote; Gaetano Renoll1 as thoroughly 31 home \\~ith (his mmic. Hevlew" Magazine, 1650-ET Broad- PERFORMANCE AND FOR COLLEGE, Assistant to ISIDOR PHILIPP aimof choral performance in the person enjoys most those thinus Master Peter; EdouaHlo Toldra con- way, New York 19, 25C copy; $2.0·0 UNIVERSITY AND CONSERVATORY (Columh;n ~IL 4868) pastand what should be the aims which he does best. 0 l'eal". RECOUOING 'r."-.I'E, plastic, 1200' W. H. L. D. STUDIOS ducts the Orchest.re National de lee reel, ~3.~9; 600' reel, $2.18; po:"tpaid. TEACHING POSITIONS forthe fUlure? Until recently, the The fear has been expressed that F. M. LClchhardt, Augusta, Kentucky. 117 East 7'1th St., Ne .....York, N. Y. Radio Diffusion Franwise. Mezzo DeLmssy: Llt Mer VIOLINIUAIi:ERS, AItIA'('EUR.S. Hotel Niagara, Niagara Falls, N. Y. motivationfor most choral work interest in live music may be stulti- 1'lt.OFESSIONALS, Fine tone Euro- Ana-Maria Iriarte stars in Love the Illl\'(": J(llI'lfOdil' EttIHl!:"ole pean wood. Materials, supplies,. pat- BA.RGAINS IN FINr~ VIOLINS AND wouldappear to be that of perform- fied by too easy access to reproduced terns, tools and instructions. Illus- lJO"\VS. All ceJ·tified. Concert insLr'U- HELEN ANDERSON Magician; the orchestra is the Paris Here is a di~ I arly destined for ments a specialty. P.O. Box 342 LUCIUS DUNCAN ancepresentation.This was a logical music, this in spite of the fact that trated catalogue 10¢ refundable. "Teacher of Successful Pianists" honor a8 one of Ih finest of 1954 Potsdam, N. Y. . , Concert Violinist Orchestre de La Societe d.es Concerts Premier Violin Supplies, 430 South Master's Technique- Tone---'lnterpretatian outcomeof the emphasis on tech· there is stiU a particuJar type of Broadway, Division VE, Los Ange- Pupil of Schradieck ,zit Conservatoire, (Angel 35089) releul:'cs. Nam any 5tundard of ex· OJ,D VIOLINS AND OTHER. IN- Special Courses: Harmony, Improvisation nique.What better way to demon- enjoyment which only live perform les 13, Ca.lifOI·nia. Lo 7-0723 104 N. Mole St., Philo. 2, Pa. cellence: this re ord m ts the test. S'l'RUilJEN'l'S. Repairing. Supplies. 166 W. nnd St., N. Y, C. Tel. So; 4-83l1S strateprogress than to present a ance affords. One of the healthiest Ealcen, 310 E. Washington St., Cham· Gerard Souzay Sings Whether you judge the orchestfa, S'VING PIANO-BY lUAIL. 30 self- bersburg, Pa. ISABEL HUTCHESON London has two new la-inch Tec- the Philharmonia: (he conductOf. programdesigned to demonstrate counteractions to the lethargy which teaching lessons $3. Enchanted For- Mme. Giovanna Viola Hull(Desmond) est $20 (classical). Over 50 publica- Refresher Course for Piano Teao;hers: abilities? can be provoked by present-day )l(ODI~RN l'I'ALIAN VIOLINS. Amer- ords displaying the vocal talents of Herbert von Karajan: the engineer· tions. Order the 825 page book- ica's fqremost importer, wholesaler. Teacher of singing-European trained "My Autobiography", 01' "I com~ "8el Canto" Modern Piano Technic:Cooching Co ncert Pion ish: In the earlier twentieth century technological devices is the develop- ExchlSIV~ agents for the best. Prices Voice culture-dktion-cqoo;hing Group Work: For further information oddreH: Gerard Souzay, 36-year-old French ing. Angel's be~t-this record is top' posed. engraved, edited, published fro.m $7l). Free brochure. Marlin opportunities1.0 hear good choral ment of a group of persons who my music on a handpress in skid Phone: Trafalgar 7-8230 Studio 202, 1005112 Elm St., Dallai, Texai baritone. Souzay's singing is musical notch. is esp iall)' distin· Bnnscl', 643 Stuyvesant Ave .. Irving- Lll Mer row", $10. The fabulous true story ton, N. J. . 601 West End Ave, New York City in the most artistic as well as the performancewere relatively few have enjoyed the making of live of a scientific musical experiment guished_ Heard on wide· range play· nndel' the word "l\'[anuscriptotechni- HARRY EULERTREIBER: Mus. D. most natural sense. His vocal quality ing equipment. th per-formancei; andpeopleoften would travel man; music themselves; usually those compomuslcology". Phil Breton Pub- '('HE SCIEN'l'lli'JC ItIUSIC '(lEA.CHEH. CRYSTAL WATERS Voice 8uilding mil~sto llear a concert by a good persons who have found this type of lications, P. O. Box 1402, Omaha S, -1I:f.onthly-$3.00 year. Request sam- is the type listeners call sincere and unforgettnble. (Angel 35081) Nebraslca. ~~\v ~g~~~g, Box 21, Brooklyn 25, Teao;her of Singing Popil of the late Wm. 1,.. Whitney chOir.As choruses grew in number satisfaction are responsive to the Popular Songi and Classics (Vannucini Method) find warmly satisfying. One disc TV.-Rad io-Sta ge-ConCe rt andexpertness.these audiences be. performance of others. This is not HAND nUJI,DING I~XEn.CJSES FOR Studio 50'1: 270 Huntington Ave., Boston, Mais. (LD 9109) holds nine Old French 1\I07.art: ere-node No. 10 in B·fial ,,:TA.N'J'ED: Classical, Ampico player 405 East 54tll St. New York 22, N. Y. PIANlS'l'S by Weldon Carter. Tea- Airs, the other (LD 9110) seven i\f(ljor lor 13 Wiud ''''frumenti, K, gantl)look toward the local groups to say that choruses should not aim chers, concert pianists, advanced P!a.no rol~s. Must be in good con- r studenls. A better technic 'with 20 dItIOn. WIll nay good price. \Vrite EDNA GUNNAR PETERSON Songs of Counod. Jacqueline Bon- 361 fo. their coucert experiences, but at performance; that would be a Marli: POlld, 118 Laguna Santa Cruz LEOPOLD WOLFSOHN minutes daily practice. Send $1.00 for Calif. " Concert Pianist-Artist Teacher neau is the able accompanist. In the e\·cn mo,"ernenl.s 01 thi: stJ!J.cl)ncertsbrought to thero as live falsification of the ultimate cause fOl COpy to Washington Musical Insti- Composer, Pianist and Teacher lighthearted work MOlart ghes thir· mUSIcand pre d . . tute, 1730 Sixteenth Street, N.·W., Teacher of Aaron Copland, Elie Siegmeister 17447 Ca5tellammare Podfk Pali50des. Calif. h seute In person. WJth the making of music, Music is meant \Vashington, D.C. J'~USJC (,lUnARY FOIL SA.LE. Clas- and mony artists and teachers. EX 4·6573 teen wind pIa -ers one ~urprise alter SICS,. nlodel'ns, pia.no, vocal, chamber- Bach and Handel Chamber Music I.e .growth of interest in choral to be heard. What is intended is a nlUSIC, organ, choral orchestra scores BEGINNING TO ARTISTIC fiNISH LEARN PIAiXO 'L'U -"1iX"G A'l' HOilIE. Hotel Ansonia, S'way at 73rd St., New York City Admirers of baroque chamber mu- another. The renad is played smgmgand with the increasing ex- concept which proceeds first to de- th€;ory, history. B~x 4604, Tucson: MAE GIL8ERT REESE Course 1)y Dr. 1Ym. Braid ~'hite, An:r.ona. sic will discover something unusual with cr)·~tal Jari1)' and smoolhne..;.,; pertnessof choral performance in velop persons who enjoy making world's leading plano technician and Pianist by the " ind En ..emble of the RLAS teacher. "'rite Karl Bartenbach, WILLIAM FICHANDLER in an Esoteric disc wilhout a title general,the number of choral groups music together and secondarily wish IDOlA Wells St., Lafayette, Ind. Specialized training for Orchestra. the orch Ua servingthe Pianist, Teacher teachers and concert artists but with a captivating program :eahchedthe point where now there to make that music-making a pleas- 314 West 75th St., New York, So·7·)71S radio ~tation in tbe American sector lS ardlya . HAlllUONIZING lUELODIES A'l' 1330 N. Crescent Hts. Blvd., Hollywood, Calif. played by the Harpsichord Quarlel. t h' commul1lty in the coun- urable experience also for others_ Compositions published by G. Schirmer elir SIGH'I'-24 pages of solid instl'uctioll and Theodore Presser. Ho 3-2296 Not a parallel for the various piano of Berlin. There are more energ ry W lCh does not have access to It has been contended that the pres- and easv-to-follow charts on impro- ver~iollS on records but none lIilh reaS()nably d I vising transposition and harmoniza- quartets, the Harpsichord Quartet i~ To . goo c 10ra1 perfonnance. ence of divisive tendencies in pres- tion. $1.00 postpaid. Free list of thou- FOR SALE. Student's harp 7 pedal ERNESTO 8ERUMEN HAROLD HURLBUT composed of flute (Claude Mon- greater poli5.h. Reproduction is goOO. sands of popular songs, books and 45 strings. Make offer. Box 47 ETUDE' thiS consideration may be ent-day society constitutes a threat folios sent on request. Lewis Arline Hos tought singers of Metropoliton ond Chi· (Telefunken LGX 66006) added that of th Bryn l\fawl", Pa. " Concert Pianist and Teacher co go Operas, stage, screen, radio, television, teux), oboe (Harry Shulman). 'cello the t hn e recent changes in to the continuance of the "American Music, 117 W. 48th Street, New York Advanced Piano Tec~nic and ine.tudinq (Bernard Greenhouse) and harp!:=i- way of life." If such be true, no 36, New York. ':IOI~lN hobhyists, students, nedg- Repertoire-Closs ·Rehearsals NADINE CONNER, HOWARD KEEL, Evelyn ent t~C ology of performance· pres- lmgs, amateu"s, dabblers tinl~erers Herbert, Henry Cardy and many others. BrlJhms: SYlllllhollY JtO, J in C a IOU.Oue i I Musicales-Public Performances chord (Sylvia Marlowe). Two Han- pelledto . s now no onger com· more effective weapon can be fOWld SACRIFICING :':00 ACCORDIONS- dawdlers and dilettantes: "How To 2150 N. Beadwood Dr., Hollywood, Cal. MiJwr. Op. 68 . P}ay Better"-$l.OO. Prager, 289 Em- Steinway HoI! Studio, 113 W. 57th St., N. Y, 1'1 del Concerti (L Quatre and a sonata than the social unification possible AJ~J, KIl\'DS. Discounts to 70%. Free ~()lhing that Alfred Wallen5te~ preset dgf III ~erson to hear music catalog. Claviolines or other musical pIre, BI'ooldyn 25, New Yorlc for :cell~ and harpsichord plus memh" e for hIm as an individual in choral singing, which provides a instrument secured. Discount House, IRENE WEISSEN8ERG T1NTNER and the Lo.. ngel~ philharmoD\C 8932 SS St., Woodhaven 21, New Yorlr, I?O~l :~,U~I~.!-,ibrary of organ music. The pianist JAN HOLCMAN is Bach s [no Sonata No. I compose er 0 an a d' b common denominator for almost the •i Concert Pionist Artist :reacher Orch~(ra ha"e done for recordsIX' reCord. u lence; y radio, Vi 7-0866. FOl lists v,,:nte F. R. Orr, 812 Euclid now accepting a limited number of students Ave., Dublin, Georgia.. , for piano instruction and consultation. Tel. 5-6343 a program played not only with Can h lOgs, and television he now entire human race. PracticaJly every cels the qualit)- of thi~ perfonnan~. FOR PIANO 'rEACHERS ONLY-We Write: 838 West End Avenue 3026 State Saginaw, Mich. proper concern {or all the traditions ave the music brought to him person can be taught to carry a tune; New York City or call UN 5-0646 Carefully proportioned. \\allenste!D~. by have a special money-saving deal SO.NGWRI'J'F:RS ... the ONLY mag- of style but with obvious relish for any number of rf . worked out for you. Write for full aZine (01' you. Sample copy 50¢ Outst' • pe ormers wlth· almost any individual can be taught LOREN YAGGY intelligent conceplion i,., splendlU~ information about our new "FTO AMAT~UR SONGWRITER magazine' the task. (Esoteric 528) Jrrmg from h' l to participate satisfactorily as: a 5 W. Somerset St., Raritan 2, N. CLARENCE ADLER, Mus. D. Teacher of Piano realized by hi! men. The fini~b~ quently th IS lOme. Conse, Plan:' Use your letterhea~ or enclose J: Originato, Pianodynamics Approach choralist; and in no other activity a business card If pOSSible. Lewis Teacher of famous pianists now touring the product. hm'feH.T. is one amongJDan~ forrnan~ehe ~emand for Jive per- Arline Music, 117 W. 48th Street, New F~~E iUA!L-ORDER CATALOG! and Charred Technic Pirmo COnCerlQ world. Pupils teaching in Harvord, Yole, Raclnnaninoff: i great! I y t e travelling choir has do such factors as social prestige, York 36. New York. VISIt. A~en9a'8 largest display of 2402 South Harrison H-2277 1\'0. in acceptable recording .. of the BrahlD Ea~lman, Syrao;use and Smith College. FORT WAYNE 6. INDtANA 2 C Minor y essened d tb self-tns~1 uctlye books for musicians. wealth. and race vanish in the joy A)l sub)ectf! fl'om jazz to symphony "Hal'piest City" !clmikovsky: Pi(lllo CmlCerlQ FinL and it rou"l be noled 1~11 whois h 'ld' ,an e conductor BACK POPULAR SHEE'I' l\IUSIC TO 336 Central Pork West, Ne ..... York, N. y, Ul 109 h' h'l of making music together, 18:;0. 1954 Catalog 15¢. Fore's, E3151 ,"Valte,' Stuart Music PUblications· J '" 8-Pnt Minor o. Decca 'g ~und (in dill case) lac~ an idea f IS P 1 osophy upon 421-B Chestnut St., Union, N. J. " o performance-presentation THE END High, Denver 5, Coiol ado. ETV 63 62 ETUDE-{)CTOBER J~J DE-OCTOBER 1954 F~~~::::::~~~~=:==-"""- .. I MY PIANO WORKSHOP BOOKS by Margaret Dee "MY PIANO WORKSHOP BOOKS" have covered four steps in BOOK 3 he ui d t They are very necessary steps, the workshop experience 0f L e plano stu en . "MORE TO LEARN" and aU must be accomplished. though some students may not b~ ab~~,to .g~ The whole concern of MORE TO LEARN directly from one book to the next. Everyone must "Get AcquRtnte WIt is the approach to making beautiful sounds. all the fundamental details. We need note reading approaches and a very To make a variety of tonal color, and to important issue is tone and its technique. THE ADA RICHTER punctuate these inflections with the proper physical appoaches. JOLLY JINGLES ., CREATIVE TECHNIQUE Up to the minute piano stones wnt- Step by Step with keyboard ten for boys and girls who want to BOOK 4 hnrmonv, play the piano - have fun - make "READY TO PLAY" Mrs. Dee advises 10 minutes every PIANO COURSE beauti f ul sounds-pI ay for company. This book does not deal with harmon y or day is the answer to the problem. $1.00 technique, but makes a diagnosis of piano $1.25 patterns, and suggests mental impressions of keyboard designs, comparisons of similar PIANO SOLOS by Margaret Dee 2nd Cd .35 Lope A Long Cowboy 2nd Cd .35 Two Of A Kind A New Approach to the Problems of Piano Teaching and varied and symmetrical places. 2% Cd 040 Riding The Range 21j2 Gd .40 Comical Fingers FOUR STEPS IN THE WORKSHOP CHRISTMAS CAROLS (With Words) A Collection of piano solos wi th a new twist by Margaret De . Ada Richter is one EXI!ERIENCE OF THE PIANO STUDENT 75( Will be ready soon. of the foremost piano THE GET ACQUAINTED BOOK BOOK I Mail Orders Solicited pedagogues of our time. BOOK 2 ON WE GO To realize the value of these publtcatione by Margaret Dee, you Jl111~t 5<"' and play BOOK 3 MORE TO LEARN them. \Ve think enough of this modern material to mall you a set 10 look over at She has been respon- BOOK 4 READY TO PLAY your leisure with return privileges. sible for many progres- Price $1.25 Each VOLKWEIN BROS., INC., PITTSBURGH 1.1., PENNA, sive developments in Pennsylvania state tax 1% the field of piano teach- easy ing. Her published The Pitman 'i ind Ch t. This h. AN ORGAN BUILDER'S OPINIONS Mr. Skinner received me cordially; and no word or action served to re- corporate the ncar-perfect Casavant works constitute an im- effective and (Continued from Page 24) mind me that he was already famous system of pneumatic valves to supply posing list of original while I was only a youngster with a the pipes. which Casavant Freres local reputation. Over the years his graciously mode available to ~Ir. compositions, teaching in the interest of clear phrasing and Frescobaldi anyway. He even sees entertaining friendship became more and more Skinner. To thi we applied the interpretative eloquence. Mr. Skinner this attitude in the work of extreme books and simplified ar- valued; and I am perfectly sure that Pitman top-action. replacing the has well-defined likes and dislikes. "Baroque" organ- builders, who de- others who have known him feel the older vemil action. It is now used He does not share the Bach-worship spite the many technical 'improve- rangements of popular same way. on both sides of the Atlantic. STUDENT that is almost universal among mu- ments made in their art during the for the His letters, written as he ap- The Whiffletree well Engine. melodies. sicians today. He does not. hesitate past two and a half centuries, hesi- proaches ninety, are masterpieces to His important 10Dai developments to assert that organ recital programs tate to incorporate in an organ any- be treasured by the receiver. include: the KI iner Erzaehler. the nowadays have too much Bach on thing which would have seemed Not long ago, Miss Crozier played Gross amba. the Gamba Celeste. This method is aimed at the pupil. The books are his; them. He thinks (as I do) that every strange to Bach and his contem- C9lear a recital on the Washington Cathe- the Flauto ~tirabili~. the 4' Ilnda program should have works by poraries. dral organ, which Mr. Skinner right- Mar-is. the Flauto Dolce and Flute theyare prepared at his level and, in earlier volumes in- American composers. One of his fa- Mr. Skinner, in brief, is opinion- vorite organists is Catherine Crozier. ated, dogmatic and delightful. To- ly considers one of his masterpieces. Celeste. the 16" Pedal Gemshorn, clude. pierures foror cocoloriorIng and cut outs to paste up-occu-' He must have been gratified by what the Orchestral Oboe. an English C90mprehensive and From this fact I surmise that he likes day, as he approaches his ninetieth patronswhich carryover from his normal play pattern. organists who have a broad range birthday. he is capable of the enthu- the critic Glenn Dillard Gunn had Horn. a Fr ncb Horn. a New Clari- of musical tastes, not confining them- siasm of a boy as he discusses some to say about the performance: net. an Or h ..tral Beeeoon. a 32' selves to Pre-Bach, Bach. and Hinde- new innovation in pipe-organ design "Many of the lone-colors displayed Pedal Violine. a :\Iajor Bass (a C9ontemporary PRE·SCHOOLS AND KINDERGARTEN 60¢ mith. I am sure Mr. Skinner does -and of the fury of an Old Testa- last night were of jewel-like quality pedal stop of 16' pitch incorporated not disparage, any more than I do, ment prophet in denouncing ideas -rare, exquisite, more alluring by in a topped wooden pipe 01 new EARLYBEGINNER-Book I . 75¢ far than any collection of precious the excellent music which falls into which appear to him unsound. form. with b tt r speech. quality EARLYBEGINNER-Book II 75¢ for the TEACHER these three categories. But it is al- It would be wrong to conclude stones, because endowed with the and power than 8 16' Open Diapa· ways possible to have too much of from this that Mr. Skinner is merely power to express emotion as well as son). a 32' Pedal Fagouo, and a EARLYBEGINNER-Book III 75¢ a good thing. a cantankerous and crotchety old sensibility. No symphony orchestra 32' Pedal Bombarde. EARLYBEGINNER-Book IV . $1.00 man. In debate touching his favorite can match this variety and few can M.T. kinner throughout his life· Mr. Skinner has lived through, Supplementary teaching material: and taken part in, the great revolu- subject of organ-building, during equal the quality of the sounds an time by the fore aDd originality of tion in organ-building at the turn of which he may be by turns excited expert can evoke [rom this instru- his idea has been aD important in· "KEYBOARD GAMES" and infuriated. he is always delight- ment." the present century. He feels quite fluence in American organ·building. (To be used with the last half of Book I ,I strongly that the counter-reforma- ful and fun of fun. Nevertheless he Like all great builders, Mr. Skin- Hi hook. "The ~Iodern Organ." first \ t.ion against the "romantic" instru- sticks by his convictions through ner has been throughout his career published in 1916. ba now gone and all of Book II) 75¢ ment of Guilmant and Widor has thick and thin, which makes him a an innovator. Among his more im- through si.x editions. The linal sum· powerful opponent in debate. gone too far in the opposite direc- portant inventions are the following: marization of his mature knowledge SEE IT AT YOUR DEALER tion. He thinks there are organists No one is more kind and helpful The Closed Circuit Stop Action of organ.building. a book entitl~ who take the attitude of "the public to young people than Mr. Skinner. This made possible the crescend~ "The Composition of the Organl be damned," th,ey will play their dry I first met him in 1921 at the Bo- pedal and the electric sforzando will be publi.hed this year by.' programs of Bach, Buxtehude and hemian Club Grove in California. pedal. major publisher. THE E~D M. WITMARK & SONS 619 West 54th Street, New York 19, New York ETUDE-oCTOBER 1954 .... ~ t l Compiled, Arranged and Edited b!l Denes Aga!l The PIANORAMA Series uniquely comprehensive piano books three lor the medium grades ...... An unusual compilation which gives a perspective of stylistic de- velopments during the 18th and 19th centuries. Twenty-three selec- PIANORAMA tions by native American composers, including: Frances Hopkin. son, William Billings. Horatio Parker. Edward MacDowell, Victor OF AMERICAN Herbert and others. Biographical sketches of each composer. Suit- able for use as a recreational album for adults or as a colleclion of CLASSICS supplementary material for students. Intermediate grade. ...... From the wealth of instrumental and vocal dance music, minuet to rhumba, Mr. Agay has selected twenty-two compositions. each repre- PIANORAMA senting a different dance form. The stately strains of the minuet and gavotte-the exuberant beat of the rhumba-even a polka are in- OF THE WORLD'S eluded. chosen not only for their characteristic rhythm. but also for t~eir appealing melodic qualities. Piano teachers, physical educa- FAVORITE DANCES tion and dance instructors will find the album extremely valuable. Medium grade difficulty. ...... In this book Denes Agay presents thirty pieces for piano solo by PIANORAMA twenty-five of ~e leading composers of the 20th century. Some of the composers Included are: Stravinsky, Debussy. Ravel, proko6etl, OF EASY PIECES Bartok, Kodaly and Puccini. Most of the compositions are original, s~me are arranged, while others have been revised to reduce their BY MODERN ~lffic~lty .. All the selections are refreshingly melodic, clothed in nnazmatrve0-' harmonic setriLmgs. Th e coII'ectrou offers Ideal. material. MASTERS for study, r~cital and sight reading sessions, [or the pianist of moderate skill...... : tt THEODORE PRESSER COMPA Y BRYN MAWR, PA.