Gardner-Webb University Digital Commons @ Gardner-Webb University

The tudeE Magazine: 1883-1957 John R. Dover Memorial Library

12-1944 Volume 62, Number 12 (December 1944) James Francis Cooke

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 Cooke, James Francis. "Volume 62, Number 12 (December 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/63

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]. Decembei !

FAVORITE PIANO FOLIOS^ lr\ pi ME EMOTE I . . Luip iN.oven^er A MERRY CHRISTMAS ffiOfflSfl© OB©g7®sSS3® in Song, Verse and Story I published Monthly A beautiful collection of sixteen easy piano solo arrangements of the most popular Christmas songs and carols by Leopold By Theodore presser co., Philadelphia, pa. I, W. Rovenger. Also contains stories, poetry and pictures per- taining to the Christmas Season. Colorfully EDITORIAL illustrated throughout. Teachers, parents AND ADVISORY STAFF and music lovers alike acclaim this to be DR. JAMES FRANCIS COOKE, Editor the “best." This collection makes an excel- Guy McCoy and Ava Yeargain, Assistant La /ton lent gift to the young music student. .$ .50 Dr. Rob Roy Peery, Editor, Music Section Harold Berkley Edna Fort Elizabeth Gest N. Clifford Page SACRED Pietro. Deiro Dr. Henry^, S. Fry, George C. Krick Peter Hugh Reed Dr. Nicholas Douty Karl W. Gehrkens Dr. Guy Maier William D. Revelli In a World at Peace REFLECTIONS Founded 1883 by Theodore Presser for Piano Solo ... the Legacy of NUTCRACKER By Leopold W. Revenger Contents j^or cJ^ecemher, 1944 SUITE, A choice collection of VOLUME LXII, No. 12 PRICE 25 CENTS Tschaikowsky War Research forty-one of the world's most beloved religious se- THE WORLD OF MUSIC 676 Arranged by lections. EDITORIAL Leopold W. Rovenger Carefully edited and At the Manger (Christmas This charming and ever-popular Poem) 677 fingered for players with vrill be Glorious brought work is here intelligently only a limited amount of to the level of young players. The MUSIC AND CULTURE technic. pianistic difficulties which have “Let Music Swell the Breeze”. 678 confined this number to advanced performers are cleverly cir- Higher Insight in Music Alec Templeton 679 Will appeal to the AV*ff Products for cumvented. It is a delight to see such highly imaginative mate- young performer and Chopin Comes to the Films 680 rial edited, fingered and phrased so well that the student can adult player alike .. $ .75 Color in the Popular Orchestra Andre Kostelanetz 683 move easily through the entire group of seven pieces. Can be used with good effect in recitals $ .50 MUSIC IN THE HOME The above make ideal Christmas gifts to your pupils. CHRISTMAS OFFER Special, one for five Good Living from The Radio Brings New Symphonic Joys .Alfred Lindsay Morgan 685 dozen copies assorted dollars. MUSIC AND STUDY MMJMCi 738 So. Campbell Ave. The Teacher’s Round Table Dr. Guy Maier 686 Chicago 12, Illinois. Mastering Awkward Combinations..*. Austin Roy Keefer 687 requested American industry to plan and prepare for peace. The Making of a Concert Violinist Yehudi Menuhin 688 Jobs must be ready for fighters returned from the front. Work Flexibility in Vocal Work Irma Gonzalez 689 The Violinist’s Forum ’ must be provided for those released from war production. So, Harold Berkley 690 The Baroque Style Exemplified ...Major Edward W. Flint 691 the Philco laboratories are getting ready for the day when the Developing the School Orchestra William D. Revelli 692 Band Sonority A Theory .George Frederick signal is given and Philco products for good living may speed — McKay 693 THE CURTIS INSTITUTE OF MUSIC Questions and Answers Dr. Karl W. Gehrkens 694 PHILCO for unveiling to your Philco dealer’s floor. Germany’s Century-Old Offering to Peace Hazel G. Kinscella 695 The Alluring Music of Cuba Ernesto Lecuona 696 EFREM ZIMBALIST, Director Out of the Philco tradition of leadership coupled with the the tides of war recede and MUSIC advance of electronic science in Philco war research, will come Classic and Contemporary Selections nations strive to perpetuate the ideals of COURSES OFFERED a rich legacy for Philco owners. Look forward to that Philco Tranquillity .Arthur L. Brown, Op. 121 697 peace on earth and good will to men, Petite Caprice. Lydia F. Lovan 698 radio or phonograph of tomorrow. It will be born of new ideas we in our homes dare to think once Menuetto, from the “Oxford Symphony” (Symphony Number Sixteen in G) and new skills. It will bring you greater glories from broadcast F. J. Haydn-Percy Goetschius 700 Composition Organ more of the Christmas of tomorrow. Coasting Cecil Burleigh, Op. 9 702 and recorded music in fidelity and purity of tone. It will be Little Aviator Robert A. Hellard 704 Voice Harp We yearn for small and simple more than ever a thing of beauty to adorn your home. And it O Little Town of Bethlehem Lewis H. Redner-Clarence Kohlmann 705 will be the Moonlight Over Nazareth Roland Diggle-Rob Roy Peery 707 Piano Flute things in the measure of world affairs. product of the leader ... in radio research ... in Vocal and Instrumental Compositions N quality . . . and in value GOOD LIVING . . . comfort, conven- Poor Little Jesus (Christmas Solo) (Medium Voice) Violin Oboe Traditional Negro Spiritual Arr._ Clarence Kohlmann 708 ience and pleasure for those we love . . . Procession of the Magi (Organ) ....Cyrus S. Mallard 709 NEXT SUNDAY, ENJOY A FULL HOUR OF STAR ENTERTAINMENT Viola Clarinet the Christmas spirit of days gone by Badinage (Violin & Piano) Carl Busch 710 RADIO HALL OF FAME Delightful Pieces for Young Players . Violoncello . , these we ask in return for our Bassoon Joy to the World (Piano Duet) G. F. Handel-Ada Richter 712 6 TO 7 P. M., EWT, BLUE struggle, our sacrifice and our sorrows. NETWORK Jolly Old Saint Nicholas (Piano Duet) Arr. by Ada Richter 712 Double Bass French Horn My Snow Man (Piano with Words) Anita C. Tibbitts 714 High on the list of "products for good living” which Santa on His Way J. J. Thomas 714 What about Television ? Our Laddie (Piano with Words) Robert Nolan Kerr 715 Supplemented by Chamber Music, Woodwind & String Ensemble, America is waiting to own is a new radio or radio-phonograph. Song Hazel Wood 716 A Goodnight Class, Philco has devoted years of research Opera Vocal Repertoire, Diction, Languages, Elements In millions of homes, that means a Philco . . . America’s and millions of dollars to the progress THE IUNIOR ETUDE Elizabeth Gest 728 of Music, Dramatic Forms, Orchestration, Counterpoint, Har- favorite for 12 straight years . . . the gift of good cheer and of television. After Victory, Philco will MISCELLANEOUS mony, Solfege, Secondary Piano and Academic Tutoring. good living for many a Christmas of the past. be in the forefront of the developments Early Training in Music Lucille S. Rose 684 that will bring this new source of enter- Voice Questions Answered Dr. Nicholas Douty 719 the day draws nearer. Within the And now framework of tainment to your home. Organ and Choir Questions Answered Dr. Henry S. Fry 721 Students are accepted only Answered .Harold Berkley 723 production for final and complete Victory, the government has Violin Questions on Scholarship basis Entered as second-class matter January 16, 1884 at the P. O. at Phila., Pa., under the Act of March 3, 1879. Copyright, 1944, by Theodore Presser Co., for A. and Great Britain. U. S. Catalogue upon request to Secretary of Admissions,

$2.50 a year in U. S. A. and Possessions, Argentina, Bolivia, Brazil; Colombia, Costa The Curtis Institute of Music, Philadelphia 3, Pennsylvania ' Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Mexico, Nicaragua, Paraguay, Republic of Honduras, Spain, Peru and Uruguay. Canada and New- foundland, $2.75 a year. Ail other countries, $5.50 a year. Single copy, Price 25 cents. I

DECEMBER. 1944 "FORWARD MARCH WITH MUSIC” 673 — — . —; — ” ;

(*) CELEBRATED COMPO- <*) PLAY WITH PLEASURE (*) CONCERT DUETS <*) AT THE CONSOLE Following our annual custom SITIONS BY FAMOUS —For the Crown-Up Piano ($1.25) —A Collection of Trans- For Piano Stadent—Compiled and Arr. COMPOSERS— Holiday Cash Price, 90c criptions from the Masters ive present Christmas Gift buying by Wm. M. Felton ($1.00) Solo ($1.00) It is doubtful if any collection of for the Organ—Compiled console Holiday Cash Price, 70c substantial piano duets anywhere Holiday Cash Price, 70c and Arranged by William at money-saving near approaches this compilation in opportunities Almost a half hundred melodies, M. Felton—With Special popularity. There is quite a variety. This volume, with its 34 immortal known to music lovers as radio pro- Players in grades three and tour may Registration for the Ham- piano solo selections, becomes the gram "signatures” and motion pic- handle most of them although sev- Holiday Cash Prices. favorite of each and every good ture "theme music", are given here mond Organ ($1.00) eral are a little more difficult. pianist or fairly advanced student in easy piano arrangements. Younger whose hands it goes. The num- Holiday Cash Price, 75c into students in grade 3 will enjoy RECREATIONAL ALBUM These only bers appeal to musicians and lovers them, too. Holiday Cash Prices are good and an acquaintance with For Piano Players of music, — Duet Anyone who plays an organ will 31," them is practically essential. until Dec. 1944. ($ 1 . 00 ) agree that this recently issued Holiday Cash Price, 70c volume of over 140 pages is a THEMES FROM THE CREAT MELODIES EVERYONE LOVES remarkable bargain, especially at the special holiday price. The publications offered will be delivered Numbers of a lighter type for re- <*) The dual registration indications make its CONCERT TRANSCRIPTIONS THEMES FROM THE PIANO CONCERTOS—Selected A Collection of Piano Pieces for cital use, or keyboard diversion, by postpaid at these Holiday Cash Prices. CREAT 46 compositions available both for those For players of moderate ability. OF FAVORITE HYMNS— OPERAS—For Piano Solo and Arranged by Henry Levine the Crown-Up Music Lover Sway- who perform on a standard pipe organ, and ing Daffodils (Overlade), Sunday Music Clarence Kohlmann Compiled and Dark for those who play the electronic type of Piano—By — Arranged (75c) Compiled and Arranged by Eyes, Sweet For Remittance must accompany order to enjoy Jasmine (Vedova), and Violin and Piano organ such as the Hammond, now being (75c) by Henry Levine (75c) Hawaiian (Grey) give some^ Holiday Cash Price, 55c William M. Felton ($1.00) Nights (Price, $1.00) installed in many churches, studios, and these reduced prices. idea of the interesting contents. Holiday Cash Price, 55c Holiday Cash Price, private Concert selections 55c Here is a book that will bring pleasure to Holiday Cash Price, 70c Holiday Cash Price, 70c homes. and church numbers An especially noteworthy album contain- Editorial skill is reflected many pianists of moderate ability. In- are included. in this book of This book includes piano solo arrange- 16 violin pieces with dignified char- (In remitting it is preferable to use check, ing a fine selection of the most frequently cluded in the contents, of course, are the thoroughly pianistic arrangements. Judg- ments "under the hands” of favorite acteristics. sung hymns, arranged lor the thorough with regard themes, arranged from concertos of Rach- post-office money order, or express m. o. ment to content also con- songs, piano pieces, violin and organ the piano. THE YOUTHFUL TENOR (75c) CHANCEL ECHOES—A Collec- enjoyment of their rendition on tributes to the appeal of this book maninoff, Beethoven, Chopin, Liszt, numbers which and even some orchestra com- tion Registered mail should be used for remit- Besides the enjoyment they will bring to is notable for its Tschaikowsky, Grieg, and Mozart. Holiday Cash Price, 55c for Pipe Organ with Ham- usefulnc's and practica- positions, together with a couple operatic VIOLIN VISTAS piano solos, they may the home player as bility for home playing ., well mond Organ Registration tances in cash or stamps.) as teach- selections. These arrangements easily can An album of modern songs of limited For First Position be used to accompany hymn singing in ing purposes. The grad, Players of difficulty be played by those able to read third voice range for studio or recital. Compiled and Arranged by Sunday School or at other religious services, range from four to six. The outstanding THEMES FROM THE CREAT and fourth grade music. (Price, 75c) William M. Felton ($1.00) At the reduced Holiday it is operatic favorites of the pr , nt generation Holiday Cash Price, Cash Prices . SYMPHONIES—For the Piano- 55c For Piano are represented among tin iwi-nty THE YOUTHFUL BARITONE Holiday Cash Price, 75c not possible allow CHAPEL MUSINGS— numbers 15 attractive and easy-to-play pieces. to any returns, exchanges, included, some of which a; Compiled by Henry Levine (75c) Solo Compiled by Rob Roy lumbers from (75c) First position. Carefully registrated for both the pipe — "Pagliacci.” "The Talcs or examination privileges. Hoffman,” Holiday Cash Price, 55c organ and the Hammond Organ, the con- Peery (75c) "Faust," "Samson and Mali," Holiday Cash Price, 55c D. "Car- STUDENT’S tents are eminently suited to the require- men." "Aida,” "Cavallcii The adaptations are. thoroughly pianistic Holiday Cash Price, 55c Rusticana,” Stirring baritone solos with appropriate <*) ALBUM ments of the church service. Among the PRONOUNCING ' OF FAVORITE ’Lohengrin.” "Lucia di I and preserve notably the intrinsic beauties texts and voice range for young singers. Order Without Distinctively reverent in character and nermoor,” 42 numbers of medium difficulty in Delay! "Martha.” "Die Mcistn lgcr," of the originals. The 24 excerpts from 21 FIRST POSITION PIECES eminently suited for religious services, the and MUSICAL DICTIONARY CHANCEL ECHOES are: The Last Spring "Tannhauser.” favorite symphonres chosen for this book (Price, $1.00) melodic, meditative character of the music by Grieg ; Grunfeld’s lovely Romance : These are days when publishers are from the works of Beethoven, Brahms, (Pocket Size) (Pr., 30c) DEVOTIONAL SOLOS FOR have only included also will be especially welcome Holiday Cash Price, 70c the Hornpipe from Handel’s "Water Dvorak, x*ranck, Haydn, Mozart, Schu- CHURCH AND Music” , limited to music lovers tor relaxing musical By H. A. HOME first ;HolIaender sgracefulCrfw~0 « VERY FIRST DUET BOOK page with pho smoothly by any average p< mt. supplied to be pasted in the book. These denominations, it is an album any play, and all Holiday Cash Price, A .verse of each song is included and tographs of the masters represented. it to 321 pages. Here is a thoroughly en- editings, revisions, and translations. organist can take pride in $1.50 romantically pursue their lives, the pieces Four Hands pictures illustrate incidents in the lives of owning. The illustrations accompany some. joyable story of the romance and lore of Actual lessqns are given on several of the pedal parts are This immensely successful have been adapted to the requirements of Piano Pieces for Beginners great composers, indicated on the lower album answers SOUSA music. Over 200 illustrations. Nearly 900 numbers. Singers, as well as music lovers staff as a means simplification practically every need of the average second grade pianists, and words of the (75c), Holiday Cash Price, 55c (*) YOUNG FOLKS’ ALBUM— For Piano Solo show their birth- to of read- or- OPERA interested in the best of music, should songs are printed between names and well over 100 subjects are in- ing, a point of special interest to young ganist. The selections axe adaptable to the staves. These 27 first and second grade duets, >~ —Favorite Marches places and other (*) PLAY GEMS (75c by dexed. have this volume. either AND SING— Favorite "ilh enjoyable melodies shrines, in- organists who not yet have attempted the two or three-manual organs. and interest- musical (* ) MY FIRST John Philip SONG BOOK— Holiday Sousa < reading Songs in Easy Arrangements for ing rhythms, are for first piano duet Cash Price, 55c $1 .25 clude portraits of of three lines at once. Mr. Tonner Familiar efforts, each part, The .greatest Songs in Very Easy Arr’s. Piano being easy to play. opera airs arranged for play- Holiday Cash Price, 90c the old masters and has exercised special care in matters of — Ada Richter, (75c) Not only a gift book (*) ALBUM ( ) ECCLESIAE for Piano By that will be ap- ing by second and third grade piano famous OF DUETS FOR effective registration, and, of course, the ORCANUM — By Ada Richter (75c) preciated hut. at this modern com- Holiday Cash Price, 55c price, a wise in- pupils. THE SINGER’S HANDBOOK ORGAN AND PIANO Hammond Organ indications extend the Compiled and Edited by Holiday Cash Price, vestment by the teacher. posers, and give 55c By Lazar S. Samoiloff, usefulness of the book. 40 School songs, songs of other eludes pictures of practi- Mus. Doc. Arranged by Clarence Kohlmann Dr. Wm. C. Carl songs that everybody knows, arranged lands, songs Stars and Strifin Porciei El Ca so of my country, songs from operas, BOY’S OWN BOOK OF cally all of the in- simply that almost anybody can play and PLAYINC TOGETHER— PIANO '$” Brj/r E/r.-r. Harmonica TbJ.d. Th (List Price $3.00) —Hammond Organ Registration (Cloth Bnd.— Pr., $2.50) them on the piano, songs my grandparents sang long ago, are Four Royal Welch struments of the even youngsters who Hands PIECES (75c) Fusiliers, and others. by Kenneth Hallett ($1.00) ALBUM OF MARCHES FOR THE Holiday Cash Price, have had the group titles of the 40 popular (75c), Holiday modern symphony Holiday Cash Price, $2.25 $2.00 but few lessons. Complete texts favor- Cash Price, 55c Holiday Cash Price, 55c are given ites that .are presented in this orchestra. Holiday Cash Price, 75c ORGAN ($1.00) A well assorted collection of music chosen to enable Mom and Pop to join collection 20 first, and In this book. Dr. Samoiloff, who has de- second grade four- hand Every boy piano pupil ready (or the sec- in the fun. of arrangements piano pupils in their SONGS OF STEPHEN specifically for church use. The contents sec- pieces which are delightful and helpful ond FOSTER veloped many successful singers in his Mr. Kohlmann ’s genius Holiday Cash Price, grade of study should have this al- for arrangement 75c are ond year of study can play. to young pianists. In EasyArrangements classified, giving 10 preludes, 10 offer- Both parts are for bum of 23 compositions. forPiano Sclo Chicago and Los Angeles studios, provides is again manifest in this album, one ot the CHRISTMAS MELODIES—Carols playing by pupils. These pieces are One of the few' organ publications on the tories and 10 postludes. f types which By Ada Richter a helpful and engaging work on the vocal first of its kind to be placed on the mar- and Songs in Simplified Arrange- 9 appeal to the lads whose (75c) BETTY AND THE SYMPHONY market with contents limited exclusively imaginations are as lively as their physi- arts. Presented in a straightforward man- ket. Its contents, which reveal an out- to march material. (*> MY OWN SIDE BY SIDE Holiday Cash Price, 55c Besides its general ments for Piano—By Ada Richter HYMN BOOK— —A Piano Duet cal selves. ner and in simple un involved language, standing assortment of musicianly adapta- adaptability, it will prove Book for Young ORCHESTRA usetul at such For Piano—By Ada Richter (75c) Players its contents cover diverse subjects of in- tions from the standard repertoire, have GAMES AND (75c) events as church festivals, PUZZLES FOR By Ella Kefferer By Elizabeth Gest (10c) weddings, com- • or singers. chapter headings Holiday Cash Price, ,n school, the heautilul American terest to The already made it a favorite for church and munity meetings, school programs, lodge Holiday Cash Price, 55c 55c (75c), GIRL’S OWN BOOK ; ,i THE MUSICAL Holiday Cash Price, 55c OF PIANO folk songs written include: Have You Got It Takes? recreational purposes. interesting The best-loved by Stephen Foster, such Holiday Cash Price, 7c What The rituals, and other occasions. Marches Christmas melodies. 31 of Although arranged for first By Daniel Bloomfield and second A charming book this is. from its very PIECES as Bcanniu! Dreamer. What You Should Know About Tone; registrations for both pipe organ and especially suitable (60c) them, brought within the reach of young grades, the (75c) Jennie u itb t! for Easter, Christmas, 52 hymns included retain their bright and attractive front cover to the Thousands of children have enjoyed this Vocal Errors and Their Correction On Hammond Organ are in Keeping with the Holiday pianists along in Holiday Hair. Old Black Joe. etc. ; and Lent also are included. A medium Cash Price, 45c the first and second full essence and can be played in the last, measure of the tenth little duet Cash Price, 55c educational story of Betty’s dream after regu- and they 11 be glad to m kc the Program Making; The Singer's Health; musical contents, and add immeasurably grade of difficulty grades and yet the arrangements will satisfy lar number it contains. These duets are Little ladies, gifted with dainty acquaint prevails among these A book of interesting musical games and service when needed. The two sections for charms ance ot her first symphony concert, where each You'd Rather Talk Than Sing. to the effectiveness of the the first, and Ring de Banjo. and If A book. The two marches, and registrations older pianists of limited playing attain- of the book second year of study. and graceful qualities, will find, Gentle Ann e an instrument for the" stand- puzzles which have high social and en- cover "Hymns for Every Day" in these Down comes to life and tells all useful list of recital songs for each voice copies required for performance ments. Texts are Tastefully illustrated. grade Among the Cane Brakes in th - may ard pipe organ have been included tor tertaining features included. and "Hymns for Special Occasions." 24 2 and 2V2 piano solos, musical about its function in the ensemble besides educational look of 28 easy piano and and a special section for teachers are be purchased at the above mentioned each. There also , are prettiness pieces based i indications through- worth for all music lovers, even appealing to them. Foster its relationship with other instruments. included. the young melodies. special pree a copy ($1.50 for two.) out for the Hammond Organ. beginneis. MELODY JOYS FOR CIRLS AND NUTCRACKER SUITE (Tschai- BOYS— First Grade Piano Solos Books marked kowsky)—A Story with Music CINDERELLA—A Story with (75c) ( ) sold only in for the Piano Music for the Piano— By Ada :myjMt,s©ng book Holiday Cash Price, 55c Arranged by Ada Richter the U . S. 4. i "mi*' - f (75c) Richter (60c) A- his is an ideal type of piano album for V ; s|aF ! IN V FRY MsV APPAXjjEVENTS a Christmas gift to pupil Holiday a in the first year Cash Price, 55c Holiday Cash Price, 45c Note carefully Theodore Presser Co. -)t study because it just seems to fit into This book brings snme of the happy play spirit of young the most fasci- on preceding; DIRECT-MAIL SERVICE boys and nating music ever A telling of the fascinating childhood ON girls at written within reach of ^ Chnstmas-timc. It contains 29 story illustrated with descriptive piano page the condi- w 1 1 piano students Ad>. Richter easy-to-play pieces ) )® whose playing capa- $ EVERYTHING IN , which present c?. MUSIC PUBLICATIONS [ $ a nice bilities do not exceed pieces about grade 2. Can be given as a t ions applying variety ot tunes and rhythms. grade 5. The enter- taming story playlet. Plentifully interspersed with lino is charmingly illustrated. to these Holiday 1712 CHESTNUT ST. PHILADELPHIA PA. Books marked drawing pictures that may be colored. 1, ( ) sold only in the U. S. A. Cash Prices "FORWARD MARCH WITH MUSIC” DECEMBER, 1944 "FORWARD MARCH WITH THE ETUDE MUSIC 675 ”

KIMBALL The World of Music Everywhere' "Music News from A Great Name in Music for 88 Years

ON A VIC- WAITER PISTON’S FUGUE MRS. ELIZABETH first per orm- TORY TUNE was given its SPRAGUE COOLIDCE, played by the jn when it was distin- nnre Grebes ra internationally York Philharmonic-Symphony patron of cham- programs, with guished of its late October signally on one The w°r ber music, w-as Artur Rodzinski conducting. on the occasion last sea- honored seventeen commissioned one of of her eightieth birth- of Composeis, tb_ son by the League October 30. The and day on Philharmonic-Symphony, Elizabeth Sprague Cool- Broadcasting System, each t lumbia idge Foundation in the M some aspect of the War. commemorate Library of Congress pre- its tenth festival of chamber mu- of American sented the annual symposium during School sic on October 28, 29, and 30. the Orchestral Music of the Eastman course of which three new dance com- presented by the Eastman- of Music was commissioned by the Coolidge Symphony Orchestra, under positions Rochester Foundation received their world premiere. Hanson, October 17-19, in Roch- Howard composers of these works are Aaron Thirteen works by con- The ester', New York. Darius ten of Copland, Paul Hindemith, and temporary composers were heard, Milhaud. Another composition which re- played for the first time in which were was a Partita represented ceived its first performance public. Among the writers Mor- for organ and strings by Walter Piston. were John Verrall, Joseph Wagner, Mamorsky, Robert Sanders, Scribner ris EDWARD BRITON .MANVILLE, late Jack End, Grant Fletcher, Fred- I)R. Cobb, Institute of Earl Price, president of the Detroit erick Hunt, Irving Lowens, Musical Art and organist it the Fort Leland Proctor, Simon Sandler, and Street Presbyterian Church, died Sep- Harold Wansborough. tember 29, at the age of sixty-four. He American Guild of THE FIRST HENDRIK was a Fellow of the WILLEM VAN LOON Organists. Dr. Manville was graduated in After further Scholarship Concert of 1900 from Yale University, HOLY NIGHT City he went to the Netherland-America education in New York This is from a painting by Carlo Maratta (1625-1713), an Italian painter of the held Franklin. Pa., where he was director of a Foundation will be Roman School. Six successive Popes honored him with their patronage. He was oratorio society. In 1922 lie became students, before at the Metropolitan Op- large court painter to Louis XIV (1643-1715) and curator of the Vatican- He was a When Grieg and Dvorak were young Detroit Institute of era House on Decem- president of the follower of the style of Raphael. "Holy Night” is in the Museum at Dresden. were born, while Tschai- lieutenant in Elgar, Sibelius or MacDowell ber 5. The National Musical Art. An army served in was learning law and had shown no musical Symphony Orchestra of World War I, Dr. Manville kowsky with a ma- Washington, under its France for eighteen months talent, the name of KIMBALL became a synonym for Hans Kindler in distinguished Dutch chine gun company and took part tradition for Thirtieth the best piano performance. The Kimball conductor, Hans Kindler, will make a every attack made by the including the assault that broke quality has grown hand in hand with the spreading special trip to New York for the concert, Division, Bellicourt. and the soloists will be Helen Traubel, the Hindenburg Line at all the great composers of the last century. fame of Metropolitan soprano, and Egon Petri, masters years Kimball pianos have made the music of these pianist. The concert, for the purpose of WILLIAM J. L. MEYER, for many Mil- Not in a palace great and grand, any other piano because more raising money for the interchange of organist of St. Johns Cathedral, Bless Thou the souls in sorrow bent, more widely known than figure Dutch and American students will be waukee, Wisconsin, and a leading have been made and sold than any other. died in But in a manger stall, Whose loved ones are with Thee. Kimballs under the patronage of Mrs. Franklin D. in the music world in the West, was Roosevelt and Princess Juliana and his native city on September 27. He for He came, the King of Love and Peace, Bless all who serve in Freedom’s cause. Prince Bernhard. widely known as the founder and coast Kimball Dealets join Meyer From coast to thirty years the head of the To show the way for all! Watch o’er them ceaselessly. in the Wis- us in sending our host of friends CHURCH MUSICIANS will be interested School of Music. He was dean of the Best Wishes. Guild of Oi- music world the Season’s in the announcement of the Joint Com r consin Chapter. American mem- mission on Church Music of the Epis- ganists, of which he was a charter Oh, if the world could only learn The shepherds and the Magi bow music copal Church that “by the General Con- ber. The introduction of teaching public The glory of His power, Before throne ventions of 1840 and 1943 about one to the blind in the Milwaukee Thy of Light, hundred and sixty texts of anthems and credited to Mr. Meyer. schools is The wond’rous myst’ry of the Star And all the heavens sing with joy motets, and nearly twenty standard can- KIMBALLco tatas and oratorios, all valuable additions SYLVAN LEVIN, found- In this, His holy hour! Upon this holy night. ESTABLISHED 1857 to the Church’s musical repertoire, were er and conductor of the approved CHICAGO • ILL under the provisions of the Philadelphia Opera - KIMBALL HALL revised Canon, a complete list of these Company, has been ap- Nor battle’s din; nor cannon's roar Give us the faith to see, dear Lord, texts and works has now been published pointed associate con- Can still the angels’ song. by the Joint Commission on Church ductor with Leopold When comes the Christmas Day, Music, of which the Right Reverend the Stokowski of the New Good will brings peace Bishop of Rhode and joy to all That through the miracle of Love, Island is the Chairman. York City Symphony Copies of this list are now available for Orchestra. Mr. Levin, Who fight for right o’er wrong. is distribution Thine the only way. . . . and may be obtained who was bom in Balti- Svlvan Levis upon application to Wallace Goodrich. more, studied the Secretary at Joint Commission on and at J. F. C. © 1944 Church Peabody Conservatory of Music . Music, New England Conservatory 11» of the Curtis Institute. From 1929 to Music, Boston, Massachusetts.” ( Continued on Page 7181 'FORWARD MARCH WITH DECEMBER. 1944 676 MUSIC the etude 67 7 — —

Probably never in the history of the concert stage has there been such an unusual personality as Alec Templeton. Every- J&mHlustc and Culture thing about his approach to his art and his public is different /

and original. Whatever he does is executed with an inimitable mastery which puts him in a class by himself. Born in Cardiff, Wales, with an English-Scotch ancestry, he

started composing at the age of four and made his first the Breeze” appearance at a children's concert at five, meeting with great Swell acclaim. His first teacher was Miss Margaret Humphrey "Let Music of Cardiff, whom he affectionately calls "Sixey." She made a very Higher Insight in Music great and notable early impression upon him. She tells how, when Templeton was fifteen, he learned the whole Beethoven Emperor' Concerto, Opus 75, No. 5 in E-flat, during a single week end, without ever seeing the notes. The performance of From a Conference with the Concerto was scheduled for a Monday evening with the Cardiff Symphony. The conductor of the orchestra gave the pianist records of the Concerto on the previous Thursday night. That night and all the next day he (Templeton) played the Con- ^y(lfec ^Jem\nleton certo over and over, dissecting every measure with "Sixey." He rehearsed the whole Concerto with orchestra on Saturday Astonishing Musical Genius morning and on Monday evening earned an ovation at its performance. Incidentally, he learned two short pieces at the Virtuoso Pianist, Composer, and Entertainer same time, for "relaxation." His next studies were with Harold Craxton (Melba’s accom- panist) at the Royal College, and with Vaughan Williams. He SECURED EXPRESSLY FOR THE ETUDE BY WILLIAM ROBERTS TILFORD also studied at the Royal Academy. Vaughan Williams took a great interest in him and became his mentor. After touring England, France, Holland, and Germany, Mr. Templeton came to America in the early Thirties. He had made a motion picture with Jack Hylton and his "name band." When bell-like tone. provoking humor, at times naive and at times sardonic, com- bitter, one might say that so few of them really think, bined with a natural gift for mimicry and lampooning his that it could be assumed that they had been Hearing Bell Tones as Chords impersonations, have made his name known over the air (and born without brains. The great accomplishments child in Cardiff, all of the bells in town fasci- at concerts) to millions of convulsed admirers, who rarely of the fore- “As a most artists are born in of bells in attend any performances in person. He has repeatedly toured the inner mind and are not nated me. There was a wonderful peal E copies of conventional people’s houses I America from coast to coast, playing to packed houses. He has patterns of former achievements major at Llandaff. When I went to of else. been playing constantly for military camps and hospitals. Just someone Until the student learns the processes used to go about finding how many bells they had of original now he is engaged in writing the musical score of a fanciful thinking he cannot get very far. That is the the front doorbell, the bell in the kitchen, the bells in reason so musical motion picture "Cabbages and Kings," in which he is why many students who have the advantage clocks, and the dinner bell. I would even stop bicyclists of to appear. Metro-Goldwyn-Mayer is investing three million studying with a great master make so little progress. in the street and ask to hear the bell. After that I

dollars . They expect in the production Eoitor's Note. the teacher to do all the thinking: to could always see in my mind who was coming, when I mold them as he would a heard the bicycle bell. Mind you, I always heard bells piece of clay. What is the as chords, not as single tones. result? They always will “Bells are great individuals and in the mystery of be clay dummies. They casting, bells that seem identical in appearance and never come to life. Then dimensions, may produce very different effects. For in- they wonder why they do stance, in the Vancouver Church in Victoria there is a not succeed. peal of bells supposed to be exactly like those of West- “It is amazing to dis- minster Abbey, in all of the smallest details. The bells cover how few people real- of Westminster Abbey are in D major. That is, when I CONSTANTLY DOES IN ALL PARTS OF AMERICA MUSIC DRAWS IMMENSE AUDIENCES TO THE HOLLYWOOD BOWL. AS IT ly listen. There is the story heard them the chords of harmonics were in major. of the hostess who passed For some unaccountable reason, those in Vancouver cakes at a tea party, say- are in D minor. All of these tonal differences were ing with a gracious smile: deeply impressed upon me in childhood. Therefore, all on the ships afloat, in the homes, in the store', AST PLANS arc already being made in camps, ‘The green ones contain When I first heard the magic overtone effects that Allied countries for the celebration of peace the offices, the theaters; in the fields, the factorie-. strychnine and the pink Debussy produced in his Submerged Cathedral, they ones, arsenic!’ No one were not at all surprising, as I had heard the music in the Occident and in the Orient. Throw wide open the doors of the churches and have V paid the slightest atten- of the bells for years. the organs play this In all of these plans, music is already scheduled grand hymn every half hour.” tion, except to take a cake and Reliance on Technical Exercises to take an indispensable part. In The Etude for July By the time this editorial (written in September thank her! Many lis- ten to music in a most “Personally, I do not think that a composer ever be- suggested: “When the great day of Peace comes, for our December issue) is printed, European peace we superficial manner. They comes very great unless he has a fine inner sense of Etude proposes have the celebration will he national. The may been achieved. In any event, it is appro- never hear the harmonics hearing. It is easy to put down notes which are a re- that every half hour on the clock hour, beginning priate to make the following peace challenge from as anything but a con- hash of what has gone before, but to hear in his own comitant blur, even to the mind something no one else has heard, is quite a dif- with the Peace announcement and continuing during Dr. Samuel Smith’s poem, our national hymn, most important things. ferent thing. The new sound combinations are ap- verse of America be heard and sung America, written the day, the last in 1832, a part of all public thanks- “When I first heard the parently inexhaustible. It has seemed to me that of music of modern in the streets, in the schools, in the churches, in the giving services, here and throughout the world: many of the English composers, Vaughan Williams is the modernists, beginning most gifted in this respect since the days of Purcell, with Debussy, Ravel, Stra- Byrd, Dunstable, and Blow. He is so sincere, so honest, “Let music swell the vinsky, and others, it did so substantial, and makes use of English Folk-material breeze , not sound modem to me. as only a real genius can. And ring from all the trees It was not even new. I “Do not think that in piano playing I do not fully had heard many of the appreciate the value of practical technical exercises Sweet freedom’s song; wonderful harmonics be- and keyboard preparation. I depend upon them con- fore. Where? In the bells, stantly, particularly scales and arpeggios, which I do Let mortal tongues awake, the marvelous bells. Then regularly. The human muscular and nervous system it was that I found that must be kept incessantly in training. But a note struck most people, when they without a thought behind it Let all that breathe partake, is a note wasted. That is listen to bells, hear only one of the, reasons why I demand extremely slow the fundamental tones. Let rocks their silence practice at first, in which every tone is an individual, break, But there is a fairyland receiving special attention in relation to the artistic of overtones or harmonics The sound prolong.” pattern of the piece as a whole. Then I have special in bells that make ex- exercises for special purposes, derived from pieces. quisite melodies. That is These I employ before performance, to get my hands ALEC TEMPLETON AND HIS MAGIC HANDS where Debussy heard in condition. Here is one, for ( Continued on Page 724) DECEMBER, 1944 ’’FORWARD MARCH WITH "FORWARD MARCH WITH MUSIC” 679 678 MUSIC” THE ETVDl -^3"*

Chopin Comes (Left) Eisner tells the French critic, composer, and pianist, Frederick Kalk- Films brenner (Howard Free- to the man), that Chopin will be the greatest pianist in the world.

ea e in the cinema t Corporation presents this month ong ° romantic picture, A (Right) Eisner points out a aoreeous Chopin Honore de The spirit of Chopm Balzac (Peter in full technicolor. Remember," Cusanelli), the French nov- musical extracts from revealed in many elist, in is wonderfully a Parisian cafe, and are made ideals of Polish liberty Chopin is greatly inspired. his works, and the between a compromise vivid by the text, which is side fantasy. The sordid historical facts and romantic emphasized. All musicians of George Sand's life is not film. delight in this brilliant will find inspiration and presented by arrange- These copyrighted scenes are CEORCE SAND AS PORTRAYED BY MERLE OBERON with Columbia Pictures Corporation. CHOPIN AS PORTRAYED BY CORNEL WILDE

(Left) Chopin amazes Ig- naz Pleyel (George Cou- louris, rear center) while the young Joseph Franz Liszt (Left l Professor (Stephen Bekassy) is Eisner (Paul Muni) teach- thrilled by Chopin’s A-flat ing the boy Chopin (Mau- major Polonaise. rice Tauzin).

(Right) Chopin, holding a hag of precious soil brought (Right) Chopin, now a from Poland, tells George youth (Cornel Wilde), Sand of his resolve to aid seated between Prof. Jo- his native land. seph Eisner (Paul Muni) and Constantia (Nina Foch), plots against the Czarist oppressors.

(Left) Chopin, at a ban- portrait of George Sand. quet given by Count Wod- 3 Eisner begs him to inter- zinska (Henry Sharp), re- cede for Chopin. fuses to play for the Czarist

emissaries and is obliged

to flee Poland to save his life. (Right) Franz Liszt (Stephen Bekassy), over- whelmed by Chopin’s gen- ius, becomes his great champion in the “City of

(Right) Chopin and Eisner Light.” flee to Paris to enter the great world of music.

J Continued on Page 682 DECEMBER. 1944 "FORWARD MARCH "FOR\FARD MARCH W ITH MUSIC" 681 680 WITH MUSIC the ETVDh —

playing of film is the One remarkable feature of this ut w o pianist of note Cornel Wilde, who is not a to Color in the Popular Orchestra hours by a virtuoso was trained for four hundred m. which are given in the play the Chopin works an An Interview with by his technical Musicians will be astonished sense. exhibits fine pianistic interpretative results. He

^Mnclre /efan etz

Distinguished Conductor

Roth), the almost legend- (Left) Niceolo Paganini (Roxy given plays at a concert ary figure of the violin world, d’OrleaUs. hy the Due and Duchesse SECURED EXPRESSLY FOR THE ETl'DE BY ROSE HEYLBUT

Ten years ago, Andre Kostelanetz organized an entirely new type of "popular" orchestra, and thereby Mr- Musset (George made an important contribution to the development of music. (Right) Louis Charles Alfred de American Before 1934 the popular medium who was one <> was the dance band, or jazz band, in which chief emphasis was placed on woodwinds and brasses. Some Cready), French poet and Romanticist, Sand. of these groups had no strings at all; some relegated strings to the place of what in a bad pun might the Ollier suitors of George be called "second fiddle." Kostelanetz, dynamic, alert, and a thorough musician despite his activities in the popular field, believed that the inherent interest o I strings could be effectively used without robbing a popular orchestra of its popularity. Accordingly, he introduced a large and important string section. One result of his innovation is that Mr. Kostelanetz is repeatedly voted first place in national polls of orchestral popularity, and that he has been called as guest conductor of many 'symphonic organizations, including the Boston Symphony Orchestra. An even farther-reaching result has been a greater refinement of popular music, and consequently of popular taste. As o second step, Mr. Kostelanetz has made remarkable use of his strings in the sweeping, soaring character of his arrangements. The Etude has asked him to comment on the much-discussed matter of KOSTELANETZ AND THE DOWN BEAT arrangements. Classical music is played as it is written; popular music must be arranged. Why? (Left) Eisner, Chopin, and — Editor's Note. popular song—whether on records or ‘in person’—must seconds of enter- Liszt are presented to the yield at least three minutes and ten tainment. the popular chorus does not do this. Due (Eugene Borden) and And Thus, as a necessary means of keeping up both inter- Duchesse (Norma Drury). est and entertainment values, the arrangement was introduced. The use of arrangements has revolution- ‘p of arrangements grows out of the na- song, HE USE and the song consists of a verse and a chorus. ized the character of our popular orchestras, various of popular music. Popular music repre- ture The verse generally is unimportant. It serves to pre- conductors and arrangers developing individualities of (Right) George Sand ar- sents particular school of thought, as do the pare JL no the way for the chorus. styles and of color that serve as actual hallmarks of ranges a surprise. Liszt is Romantic or the Russian ‘schools': it ranges from "The chorus is the core, the point, the life of a identity. Thus, oddly enough, the very lack of material asked to play at the recep- dance tunes and blues numbers to melodic songs that popular song. Structurally, it is very interesting. It in the songs that the American public likes best, is George Sand re- approach lighter classics like those of Kern, Berlin, consists of tion and — thirty-two bars, arranged usually in four the reason for the phenomenal development of the Schwartz, Rodgers, and others. if it lacks par- groups quests that all lights he put But any of eight bars each. When you look at the popular orchestra in the U.S.A.! ticular unity of mood or thought, it possesses a strict thematic out. In the dark Liszt content of those four groups, you find a re- “The widespread use of arrangements has developed uniformity of structure. The popular time is always a markable thing—they leaves the piano and Cho- are nearly all alike. A theme is types of orchestral color. Personally, I like to use stated in pin takes his place. When the first eight bars. strings in my arrangements. Other leaders have differ- The next eight bars either ent opinions, emphasizing brasses the candles are brought in, re- some and woodwinds. peat it exactly, or vary it so Such preference determines the color of an orchestra the Parisian audience dis- slightly—possibly in the final and the listening public, hearing many orchestras, re- covers that a lien master direction of the line—that the ceives an unconscious yet very thorough schooling in has arrived. general effect is one of similar- color effects. Without knowing why, the public senses a ity. The third group of eight difference in its reactions to the orchestra that sobs, bars introduces a new theme, tne one that throbs, the one that blares! Again, some and the final eight bars go back of our most admired orchestral leaders are also won- to an exact repetition of the derfully proficient soloists on their own special instru- first eight. Thus, in the thirty- ments, and when such a one introduces solo passages two-bar chorus, you have only on trumpet, saxophone, and so on—into his arrange- two themes—only sixteen bars ments, he is really doing further color work. Arrange- of material. Certainly, there are ments, then, are the natural and logical means of occasional popular songs that extending musical interest and musical color in the I Left) Eisner implores vary this form somewhat; still, popular field. George Sand to let Chopin it is so general that it serves as go on with his art and his the pattern. A Developing Art fight for Poland. “There still remains much to be done, however, by Why Arrangements? way of developing orchestral color; the field is always “Now to sing such a chorus open for thoughtful and interesting innovations. As I with a single voice is one thing; see it, this work will lie in two separate fields. First, to play it with an orchestra there is orchestration itself, in which thoroughly that has rich instrumental color schooled composers or arrangers will constantly seek to be utilized is quite another. new means of (Right) Chopin dies in expression. Perhaps they will find variety First of all, some sort of variety through new combinations of instruments; Paris, knowing that his through must be introduced. It would be new technics in assigning melody to music will various sections remain forever extremely dull to have the sev- of instruments; through the introduction of new in- a great contribution to Pol- eral sections of instruments all struments. In any case, however, the field of orchestra- ish art and liberty. following a single voice—espe- tion is for the experimenting musician. cially in playing musical themes “The second field concerns purely mechanical in- that already consist of repeated novations in the use of the microphone. We know that material. In second place, too, the sound of an orchestra playing in a broadcasting the question ANDRE KOSTELANETZ AND HIS BRILLIANT WIFE, LILY PONS of length arises. A studio is quite different from the sound of that same DECEMBER, 1944 "FORWARD MARCH WITH MUSIC" 683 "FORWARD MARCH WITH Mi — ”

Kindergarten singing as in school until group he has f if riP’llt WC and understand something not trying to 8 e [earned to read 0f the fC answer is, we are perfect, of ETURNING for his seventh season with the nevei of arithmetic. This may definitely trying to make it perfect It And essentials be NBC Symphony Orchestra, Maestro Arturo Tos- oye it mothers’ neglect. I realize g ...^m^Musieydnd:'CuUvre^i it so for some full r sn fhe Home r ' course but trying to make reason canini launched on October 22 a nine-week Music / •* v-**sr — trying, does not make a R summer”; W® effort, the very spiritW “one swallow and the the earnestness of n that like Beethoven Festival on the winter series of the General the pulsing h m experience does not make a general puts into the performance Wise one rule Motors of the Air. Most of Beethoven’s symphonies colorful an myself an make a performance I considered average mother performance over the air. The placing and adjusting that alone can However, q will be heard, several noted pianists will perform con- musician) and my child an average of microphones greatly influences the color of broad- am not a child certos, chamber music will be given on some of the out together to have both fun and cast tones. A ‘mike’ may be set so as to pick up the and we set profit' programs, and, on December 10 and 17, the conductor studied altogether twenty-seven strings—one may be moved toward the flutes—one may She has months will conclude his all-Beethoven cycle with a two-week lessons with her. Radio Brings all This was The be moved away from the battery. Each move, or com- Training in Music and I attended required' performance of Beethoven’s one opera "Fidelio.” The Early teacher who uses a very bination of moves, changes the character of the sonori- by her very fine attractive cast, which has not been announced to date, will in- method. *1 his teachei was wise ties received by the radio audience—and all the while and excellent —she had clude famous operatic artists. This is the first time are sent out, the orchestra JucilL S. i?o„ and loved both children and music; also Toscanini has directed complete opera on these adjusted sonorities i.t patience, she that a the sounds still different! complete thoroughness and preparedness itself is playing something that enjoyed in airways. developments in this kind of color, created she used. Only one lesson each long been identified with memorable New Symphonic Joys “New asked me the method week— Toscanini has does she do it?” is the question and microphone adjustment, will, I believe, “Y OW lesson—was given the first entirely by y when my child of seven that a class session. To- Beethoven performances. Most critics are in agree- for I—I by amazed mothers revolutionize the future of music. Here is a field xylophone like gether with the games, and often refreshments, ment that his are the finest interpretations of the J. JL years plays both the piano and such people. Already have examples juices, the lesson enterprising young we study at fom as cookies or fruit was as aforesaid- nine symphonies, just as critics were in similar agree- a grown-up. My answer is, “She began to of such microphone sonorities. I remember once group- fun. My youngster and I could hardly ment about Artur Nikisch’s performances in his day. both her and me. Your child just plain wait the micro- and it has been fun for ing a very few instruments very close to the next one. The development was amazing. Toscanini has more than once made music history could do the same under the same conditions.” for My Itf ^Kj^rccI cjCindsciy. lff]torgan phone, and asking them to play very softly. The broad- supervise the next week’s work with his Beethoven cycles: in 1926 he gave a series disagreeing with me, I in- job was to at home pianissimo, an entirely Though they persist in cast result was not a mere but ques- did very conscientiously, and now I advise of concerts at Milan in which he played all nine sym- right. Then they pepper me with This I you' new kind of sound. Colleagues of mine, expert musi- sist that I am overwork?” mother, not to start your child unless you, phonies; later he gave Beethoven concerts at Salzburg tions such as, “Aren’t you afraid she will dear tool cians themselves, asked me later what new instru- (many of which were short- first grade willing and happy to do as I did. and London relayed by or “Hasn’t it definitely hindered her in her are ments I had used that day! It is interesting to specu- for NBC rebroadcasts in this country). In 1936, sider my engagement by Mr. Toscanini to be the high always say, “It isn’t My child had a subtle, I might say, subconscious wave symphony orchestras were originally performed in color that will certainly work?” To the first question I late on the new riches of most training brought he gave an eight-week Beethoven cycle with the point of my music career. I was so nervous when he their composer’s time by a chamber orchestra. Thus, to the second, I give them the advancement, and her out an appre- It is even more interesting work—it’s fun,” and be released in this manner. beautiful British Broadcasting Company in London, and in 1939 heard my audition that I made four or five mistakes. when such symphonies are played on the programs of her first grade teacher who ciation of the good and which probably could co experiment with them. statement made to me by obtained in any other way. he presented a six-week group of all-Beethoven pro- Well, it was natural, I suppose. the Sinfonietta, we are given an opportunity to hear said, “She stands ‘head and shoulders’ above the other not have been with the Symphony. Eugene Ormandy, who will serve as a guest con- to her at seven, she has a background which grams NBC them as they might have been played in the days of To • the Student-Conductor children in her class, and I attribute it largely Now, other Those who listen regularly to the NBC Symphony ductor of the NBC Symphony for four weeks after Her grades were in life will not crowd out. The early years— Haydn and Mozart. “I should hardly feel satisfied, in talking to The experience in the study of music.” things up concerts will benefit by advance schedules and pro- Toscanini completes his Beethoven cycle, is to be Music of Worship brings twelve mean much more now t youngsters us some of the finest sacred Etude, without offering some special word to music “Excellent” the entire year. to — than gram notes. They will be heard weekly conduct- music that has been written; selections from famous popular idea is still years back when I was a child »nd I find students. So let me suggest an approach for the stu- It is possible that the one-time some it wise years contained in “Symphony ing his own orchestra, settings of the Mass, oratorios, arias, sacred songs, and student-conductor. The chief influential among the average mothers—which is, that to fill up the early with much good before the dent-orchestra and the publica- the Philadelphia, every rhythm and adolescence advance. Notes,” a new hymns. Each week this unusual program presents fa- thing is to keep up the enthusiasm «/ the players. The a child can learn very little more than years of tion available free of Sunday afternoon from mous guest singers from the radio field, the concert the early start I) obvious means, of course, is to entrust the baton to the You may object to v reasoning that charge. Aims of the pub- 5:00 to 6:00 P.M., EWT. world, and from opera. education is too costly to ;in kind of person who is interesting—in conversation, at a musical bei one so young, lication are to increase Lately the Philadelphia Eileen Farrell, the gifted American soprano who a party, on a hike, anywhere. Such an ability to win I answer by saying that we are only an average fam- listening pleasure in the Orchestra and its con- seems equally at home in lyric or dramatic selections, and hold human interest naturally, must be the most ily financially, and that the cost t» i us has seemed programs through a ductor have been on tour has returned to the airways with a new series of pro- important qualification of an orchestral leader—or any negligible. closer acquaintanceship and the broadcasts have grams with the Columbia Concert Orchestra, Sun- other kind of leader. But natural endowments are not At seven, my youngster recognizes : >nd enjoys selec- with the many facets originated at various days—11:15 to 11:30 P.M., EWT, Columbia Network. the whole story by any means. The conductor must tions from the great composers on the radio, for she which combine to make points of the country. Miss Farrell knows how to build a contrasting program. work to hold the interest of his men. has had them in simplified form on the piano. She has up each Sunday’s con- Ormandy presents var- Thus, we find her singing in one recent broadcast a “He must be absolutely sure of himself musically. He had an introduction to history and harmony, pedal cert. Requests for the ied and often unusual Wagner aria, a song by an American composer, and must know the nature of every effect he asks for—its work, the lives of the great musician uid recognizes free publication should programs. Harl McDon- a famous German lied. The talented Bernard Herr- reason, its value, the means of obtaining it. Then, he many of the latter by pictures alone lie has as her be made to Symphony ald, the composer and mann conducts the orchestra for her. must keep his rehearsals interesting. All players tend sideline, playing the xylophone, which she has learned Notes, 32nd Floor, In- manager of the Phila- Gladys Swarthout joined Richard Crooks in the pro- to identify themselves with their leader; subconscious- without instruction. Tills instrument lias a keyboard ternational Building, delphia Orchestra, is grams of the Voice of Firestone, heard Mondays from ly, they will try to be like him. If he is vitally inter- like the piano and was Just another \ . ay of getting in Rockefeller Center, New heard as commentator 8:30 to 9:00 P.M., EWT, NBC Network, for a sixteen- ested in what is going on, they will be, too. The men, more piano practice in a different v. av and yet stay York 20, N. Y. in the broadcasts. week engagement beginning November 6. new quite literally, must be inspired by their leader—be- The in the realm of fun and pleasure, ns had definitely When Maestro Tosca- Those who have fol- cause of him, they must be able to play better than series of this popular program will run twenty-six set out to do. Never did she practice more than forty nini began his season in lowed the chamber or- they thought they could play! The conductor can ac- weeks in all, and ten other artists—to be announced minutes a day the first year, and tiisi t, at several sit- October he introduced chestral programs of Al- complish this by the absolute sincerity of his approach, later—will participate in the programs with Mr. Crooks tings. When she seemed disinterest! i—well—we just to the orchestra a six- fred Wallenstein and and by his willingness to work in terms of encourage- following Miss Swarthout’s final concert. did something else, and came back la teen-year-old boy, the his Sinfonietta, pre- ment rather than of censure. More than 181,000 teachers in every section of the It has been fun for the whole fnnJ Ily, for all of us youngest person to play sented by Mutual from “It is a good thing to play much repertoire. Cer- country and Canada are in receipt of Columbia’s 110- went along when she played f tate Music Fes- in Symphony. 11:30 tainly only two or three selections can be honestly per- in the the NBC to midnight. EWT page manual detailing the 145 American School of the tivals each year; had a hotel in the This lucky lad, Bobby on Tuesdays, will in- fected during a school terfh; but at the same time that week-end at the be Air programs linked to the war and its aftermath. In city, saw the best and La Marchina, was se- terested this work of perfecting goes forward, the wise leader theatrical attract on offered, to know that al- the foreword to the manual, Mr. Lyman Bryson, CBS went home a lected as regular staff will give his players much opportunity to read through always with her Superio Rating, and a though Mr. Wallenstein Director of Education, states: nice many works. This keeps up interest, enlarges musical gift to her from her father. member of the NBC has returned to conduct “In fifteen years of experience and achievement, the boy, year the noted the Los knowledge, and serves as the best possible drill in My at four, learned as easily, md now’, a Symphony by RICHARD CROOKS Angeles Phil- American School of the Air has become an institution "MUSIC IS LOTS OF FUN" afterward, of conductor. Previously, harmonic Orchestra for fluent reading. considers his lesson the gr at adventure with traditions . . . and the most important one is the the “In improving orchestral tone, the best technic is day. (I’m trying my luck with him and so far have after boy-prodigy his second year, the pro- record of constant adaption of education purposes and encountered had achievements in his native St. Louis, Bobby had played grams wiil still be broadcast. Also the Music of Wor- simply to train the men to listen to themselves. Dy- no serious difficulties. ) He will have resources to the urgent needs of the day. The programs namics and tempi can be controlled by specific direc- a fine background and be a good perl.irmer before he with the summer programs of the orchestra under ship programs, heard each Monday from 9:30 to are intended as a help to all thoughtful listeners as hears from will the direction of Frank Black. Bobby is the son of 10:00 P.M., EWT over Mutual, which Mr. Wallen- tion—you can tell the men to play less loudly, more other boys that it is “sissy.” and so well as teachers.” be Italian-born Antonio La Marchina and a Brazilian- stein formerly directed, will be continued. quickly. Tone quality is different. Beauty is a matter spared those trying times when boys are forced to Two guest The programs are broadcast Monday through Friday, born mother. His father, violoncellist with the St. conductors, Sylvan Levin Frederick of personal perception—and you cannot tell a man how wait until later years to study. a and Dvonch, will 9:15 to 9:45 A.M., EWT, and 2:30 to 3:00 P.M., CWT. Louis Symphony Orchestra, began teaching Bobby to replace Mr. Wallenstein on both of these programs. to perceive! You can only ask him to play beautifully My experience is intended to lend encouragement Monday’s programs are entitled “Science Frontiers.” and to listen to to those play his chosen instrument at the age of seven. Very Levin and Dvonch will conduct alternately on both himself as he tries. Of course, the con- mothers who are “afraid” to begin; however, These dramatize the work of scientists in diverse fields, ductor I soon the boy showed such command of the ’cello that broadcasts. must listen, too—not merely to his own inner must hasten to give you some warnings. For best and high light the application of their skills to the vision of the performance, but to each single tone pro- results: he was scoring in recitals and concerts in his eighth It has often been said that the chamber orchestra advancement of human welfare. Tuesday’s programs duced. If he does this, he keeps vitally busy, finds 1. Don’t to year. Musical scholarships came his way and it was is the ideal one for radio broadcast. There are many are “Gateways to Music, From Folk his begin unless you a.e willing to go along Song to Sym- busy-ness vitally interesting, and so maintains vital not long before he was under the guidance of such works unfamiliar to the regular concert-goer, be- phony”; the music to be presented lessons—and then supervise at home. covers a wide range, interest in the noted musicians as Gregor Piatigorsky late cause the symphony orchestra is too men. 2. Don t begin of and the massive for their extending from simple melodies to works of highly unless you can keep it in the realm “But the great motive Emanuel Feuermann. The last three summers before rightful performance. It is such works that generally power behind an orchestra fun and pleasure. developed complexity. Wednesday’s programs, called the dynamo that alone can keep it going—is an endless, 3. Don’t Feuermann’s death, Bobby says, were momentous ones make up the programs of the Sinfonietta broadcasts. “New Horizons,” embrace World Geography; the series use force or threats to get your child to sit ceaseless striving to make each performance better at for him, for he spent them in California with the great To be sure, one hears a number of early symphonies, opens with a group of broadcasts set in the zones, the piano. (Use tact, Interesting. Our war than the last. and keep it for The musician who lacks this driving ’cellist. Haydn and Mozart have always been favorites regions now of high personal interest to young old. method was really entrancing.) and urge, who reaches a level on which he wants to stay, Bobby is a typical American boy with a love for with Mr. Wallenstein. What most people do not know Thursday’s programs are “Tales Don t lose patience an “off- from Far and Near,” does not belong in when your child has is that music. For our half-hour broadcast day.” football and baseball. His tastes in music are varied: many of these symphonies played by regular dramatized stories both modern and classic; (Don’t we all?) these are of popular music we rehearse five or six horns, working 5. he likes Tchaikovsky, Debussy, all romantic music, and intended to stimulate an outside effort in reading, Don t expect too year. The to as earnestly as though we were playing much progress the first pop tunes. After joining the Symphony, told Mozart. I am eC01 d NBC he introduce children and others to the world of literature. sometimes asked and the third WU1 really show results. why; I know the music, the men « t ?, an interviewer: “I am conscious of people staring at Friday’s programs— • “This Living nally, but select a World”—deal with know it, and it isn’t very difficult highly important, be sure you in the first place. me when I go on the stage and sit among the mu- current events and post-war problems; a typical pro- wise teacher. Just any Surely we can get it right in less than six hours? My kind won’t do. sicians so much older than myself. They think I’m a RADIO "IT'S gram of this series is composed of a presentation of the JUST LIKE A neVer ** SOrry: f°U°W GAME" that te - if yoU mascot or something. I try not to notice it. ... I con- rufes subject to be considered, ( Continued on Page 727) 684 exacIly "FORWARD MARCH WITH MUSIC DECEMBER, 1944 "FORWARD MARCH W'lTH MUSIC 685 7 he etude — » 2 3 ” 6

’>. lit j-fo A • , AGER STUDENTS and teachers often Music and Study o need specific help of a purely mechan- * • K ^ .y .« v r l » \ . ical * •• - type. They ask for much technical * V E advice about three notes against two, four against three, and clusters set against an even bass, such as we encounter in the works of Chopin and others. R.H. down 5 4 3 4 3 2 3 2 1 Teaching Slogans It seems that everybody enjoys such thrilling patterns when these are G F E FED E D C etc. In your classes you presented a num- Table effectively played. However, when the text is ber of interesting “catch” phrases you Hound Mastering L.H.up C D D E E F — Teacher’s studied, many really capable pianists are dis- called them slogans. I The believe for use in — mayed, discouraged, and provoked to 5 4 4 3 3 2 teaching. Would you quote some of these a point of for us?—O. F., Minnesota. desperation because of the tough problems. This is largely the result of not having had the 1 3 2 3 3 4 At lessons and classes I “invent” so Will you tell me frankly by if I ani proper Conducted ng preparation or technical and mathe- F many of those slogans on the spur of the in doing this—for I can take it! R.H. up c D D E E — matical groundwork. It is suggested that the Awkward moment that unless G - I write them down . Minnesota13 Please tell me what to do reader immediately commit to memory L.H. down G F E FEE E D C at once, they are promptly forgotten. with a bo the en- years old. who fifteen wants to play suing studies in order that he may concentrate l 2 3 3 3 4 3 4 5 Here are some examples: In my own Boogie Woogie? He refuses to practice upon the execution. teaching I often use the “shock scales or technic of any method,” kind, but his pa? i tv later Always keep your ears wide open, 5 4 4 3 3 2 which is partly achieved through the uy ents say he sits at the piano constants your eyes Q trying to play this Boogie Woogie keen, your attention alert, and your enthusiasm employment of vigorous expressions to He Combinations L.H. down G F F E E D seems to be really interested In ardent so impress upon the student basic Mus. Doc. music but that you may master your problems etc musical will not practice the things that are civ™n once and for all. But do not permit L.H.up C D E D E F E F G or technical truths. For instance, when him.—A. B., New York your am- Pianist bition to urge you to certain tones must be played without Noted rush precipitately, else 5 4 3 4 3 2 3 2 1 A. B. Is Since so much concerned nervous disaster may result. finger-tip key contact, that is, with about Try to form a and Music Educator her fifteen-year-old boy, let’s tackle habit, or a series fingers or arms playing from above the her of habits, of holding fast to All the above are for opposite movement. problem first. May 1 isk a a concentrated keys, I show the pupil how to produce question? control of all your senses during Now continue in similar movement. Why Is the boy studying music? a few earnest, daily these sounds without hardness or harsh- Is it practice periods which will in order to become u musical bring good if . results continued ness. . . After the demonstration I say, highbrow regularly with or a professional, or is a definite “This is the way we take the cuss out of it because he purpose in mind. Ex. wants to have fun. a lift, or Above all, try to enjoy up 1 2 3 2 3 4 3 4 percussion!” . . . From that moment the a “kick” your work as you R.H. from his piano study? The would a game or a puzzle. student plays percussively with a strictly answer is Do not repeat these C D E D E F E F musical quality obvious. . . . Any boy or girl studies aimlessly, but rather perform —due of course to the for a light elbow. Here's an example who takes them (or 3 strong impression created piano lessons and who likes part of them, as your time permits) L.H.up 5 4 4 3 2 by the pic- quite in line with your own girl’s experi- Boogie but once turesque phrase following the clear Woogie, or has a hankering to a day with all your thought concentrated In The Etude for October, 1941 Mr. Keefer had an C D D E E F ex- ences, but hard to believe: This year a play it, upon position of how to produce should be given every the task at hand. Work very article on "Mastering Mixed Rhythms" which elicited the desired Correspondents with this Depart- traveling teacher who holds "clinics” encouragement! accurately, very effect. ment are requested to limit Letters slowly, and very confidently. country, proclaimed to an even if it means devoting the entire many fine letters of commendation.—Editor's Note. R.H. down 5 4 3 4 3 2 3 2 1 to One Hundred and Fifty Words. ’round the When heavy, yanked elbows are ha- practice period to it I! the audience of teachers, “I am very much teacher has G F E F E D E D C bitual, resulting in stiff thumbs solid Preliminary Tapping and many alarmed over the prevalence of the ‘float- laid a foundation of taste for good Exercise etc. other ailments, I explain how to achieve L.H. down 1 2 2 3 3 4 ing elbow’ idea.” Yes, who of the old music, the chances are ten to one that The following can be studied by tapping on “featherweight elbows,” how in turn these a surface of mossbacks wouldn’t be alarmed? The the student will return to his love of any width, or with single notes G F F E E D create “flip thumbs” (the two are in- on the piano: “floating elbow” is such a simple idea, such music after adolescence or after separable) and how as a result we have In teaching finger technic such a sim- his works so effortlessly, and performs B.W. phase works Itself out. As long R.H. up 1 2 2 8 3 4 “floating such power” at the piano. . . . Since ple command, “Flash, Bounce!” accom- following magic, that all the old fogies are thor- as the enthusiasm lasts, give him every Ex.l will suffice: the student is able to plishes L.H.up 5 4 3 4 3 2 3 2 1 apply all this in- its objective swiftly, for it compels bit oughly deflated. They, and others like of help you can. Even If it hurts, you stantly,, he is already well on his way to an instantaneous finger thrust (Flash!) Right Hand j j j 6 Ex. R.H. down 5 4 4 3 -3 2 them, think that a floating elbow is a must Join the cheering section for playing freely and happily. followed by an active, finger Left Hand etc bounding * • j* sort of jumping “crazybone.” or a dizzily “Boogie,” instead of the sneering sec- f r p. TT' L.H. down 3 2 3 4 3 4 5 If a slow piece drags interminably I release (Bounce!). 12 Count aloud 12 8 4 5 6 1 2 dipping scoop, digging dumbly into the tion. > > 8 4 6 6 exhort the student to think of “slow- Such arresting slogans often secure re- J J J J J J j j J J air or flapping futilely all over the place Use Buck's streamlined Boogie book. Play all of Ex. 5 in octaves, hands wide apart, still flow,” that is, to feel its pace in long, sults instantly and permanently which —when instead, it is a free, feather- Stanford King's ‘’Here’. Boogie Woogie.” continuing to count evenly. In case your counting rhythmical swings instead of short, move- would require weeks of work with other -J I J. J. r r r r r r r r r r weight. quiet, controlled or any of the other well-known methods. 1-2-3-4-5-6, ment-stopping beats. Again, it is less vivid guide, moving 'JL' becomes uneven, begin again, counting the pat teaching methods. . . . But be the arms gently and laterally Such a course offers excellent opportu- r r r r r r r r r allowing two counts to each note of triplet expression “slow-flow” which brings the sure, won’t you, always to present clear, over the the group 2 8 4 6 1 2 3 4 6 keyboard. nity for developing left-hand incisive- In the above combinations, master mentally three counts to each of result. convincing keyboard applications for your by and note the two-note group, All I ask ness, counting For swift, sure relaxed keyboard leaps slogans? anyone to do is to play any- freedom and endurance in staccato. as in Ex. 1A. First count 1, 2, 3, 4, 5, 6. Then making Counts One and Four fit in accurately as in thing with any other gives fine practice rhyth- B think of the triplet group against the this system: I use this bit of doggerel: kind of elbow— in right-hand R.H. goes up, L.H. down. Count as indicated in A. two-note group, and see which feels mic patterns all sorts, makes and count 1-trip-a-let or, if you prefer, “Flip skip! . . . better and which of and 1, 2, A, 3; or Right Hand: C C C E - E tip!” A New Wrinkle method gets the best results. good elementary study in chord and key use such a phrase as “not-dif-fi-cult,” thus: Tap Try a rapid Ex. 7 scale or arpeggio with relationships. wonder- Fingers. 1 which means, that as you say “flip skip!” I think low, stationary Best of all it is a you might be amused by this Left Hand: G G F F E E elbow, or a melody ful of 1 2 3 4 5 your hands flip over the tops of the keys relaxation idea. I had a student come to with a “heavy” elbow, safety valve for the release 6 Count: 1 8 3 4 5 6 1 2 3 4 5 1 1 2 3 4 6 6 Ex. 4 me from or an to the new position like a flat stone another teacher, who is of that octave passage or brilUant chords adolescent emotion and dynamism. J_ J school that uses extreme finger stepping with skipped lightly over the surface of a “yank” elbow. Then Then, too. difficult that \J a —no such thing as floating try the same Boogie is so J J J elbow (what a with pond. When you reach your objective grand idea your elbow held very pianists effort to G G G ! ) or feeling the roundness, or slightly away must put in plenty of the use of from the 5 opposite motion up you say “tap tip ! as you touch the tops the body for a phrase. Well, body (not high) play it even students J J , its feather- passably well Most 1 2 3 4 6 6 she desired and down ad libitum of the keys with your finger tips to learn the Polonaise in A, weight tips floating D D c c before quietly as tire of it very soon and return with relief Not - dif fi cult by Chopin, so I tried the upper to get her to let go portion 1 2 3 4 5 1 2 3 4 5 6 playing the new tones. Thus “flip-skip” of your body to their tuneful and to feel the first chord Up and not swings gently—al- three “B’s." their light, insures an instantaneous lateral slide, Down. most invisibly— Applying this System to Scales and Arpeggios In trying to get her to respond. from the hips. Hold your music, or even to scales and etudes. In The rhythm of the spoken word is one to which we and “tap-tip” I noticed her feet nearly Now apply the idea of Ex. IB but with three in the takes care of secure re- glued together. y°U Prefer or the fling are accustomed, is Apply three against two, and two against three, in ’ leve1 or meantime they have had their and it simple to convey this to the I asked why she did ’ even laxed control of the new position. that, and the answer ST’/sightly depressed-it left hand against two in the right. The first time use music. all the scales, arpeggios, intervals, and chords; also in was that her really makes and, what is more important, have not You must take great care to maintain even- former teacher had said no single fingers, then intervals In connection with skip-flips I use she difference. Presto! of thirds, sixths, and ness, as many ways as possible in all key-relations with the was more relaxed in that position. You feel like another turned against piano study, as is almost accenting only the first beat where two notes other expressions such as, Where does all rS C octaves. Play in every key. After you master the different “Look before the poppycock come from? n d6nt COmpetent invariably music come exactly together. Continue this combinations of movements, speeds, and ’ controlled, the case when popular treatment in all you leap!” or, “Look where you ain’t!” —A. B., New York. frereed.ed%Thatshar ; opposite motion, where the same finger in each hand rhythms. For dynamics. Some suggestions follow: what a floating elbow is denied them at this age. example, in two-four meter you will to compel the student to spot his objec- It derives from means! Nothing plays simultaneously, then play in similar motion, “1 the same source where to be alarmedVer But be sure boy slave count: trip-a-let, 2 trip-a-let.” Use likewise in First play evenly (not three against two as yet) two tive 7s to make your where the same will before he flips . notes be heard in both hands but to it . . “Touch be- so much pianistic three-four, poppycock originates— at his B.W. while lasts. Soak four-four, and six-four, first slowly and notes in one hand against one note in the other, as fore you play” the craze with different fingers, as: is another term to assure the teachers and writers then gradually accelerating who, parrot- him with it, but drown as you feel these rhythmic shown here: key-contact preparation. immerse him. all wise, repeat the technical nonsense which I’m pulses. Hear, see. and think intelligently. For Boogie Woogie him in it! ... If you follow this tack Interchange proper body position at the piano has been dished out Again Ex. three in to us for genera- sure soon fade the right hand against two in the left hand. I say, “Are you ready your “Boogieman” will Ex. 8 to spring and tions. These teachers refuse K. H. 1-C|2-Di3-Ei4-F|5-G|similar motion Later try alternating. to think for into the adoles- up and 1231234 1 231234 swing?” Boogie °f limbo of unremeinbered ' Which means simply Woogie? In ' that ' the themselves, ( down, to experiment, to face natu- myTaeMng?™? L. H. 5-C 4-D 3-E 2-F J 1-G and so forth. toes of cent problems. R.H up C D F. F G (l B C D E F G A B the left foot held in position near i al, physical Ideas for Acquiring facts. They still persist in a an Even Performance the leg of chair or ssvs rssa G. W., on the other hand has found L.H. down C B A G F E D bench give the body a teaching their students to £Tr= It is like training different members of a ballet to per- Here is the same idea in “dip” wrists 1 problems. progressive motion. live, “springful” Perfect solution for her B.W. 1 2 3 1 3 3 4 feeling, while at the and arms, to claw WoogifmyselL^th form together as complete unit. the keys, to slap, a'teFenbrf?6111611 a j* boy pupil She doesn't it herself, same time the torso swings gently, al- punch, snatch, improvising a seronrl hesitate to play and whack—wondering In P an Part to mine her Ex. 5 most perceptibly over retum this b0v °-. even at a recital: mark well how 5 4 etc. the keyboard. These all the time why ayed th * but other teachers’ “Sonata 1 Mozart Forms Met in All Kinds of Music Today R.H. up i 2 3 3 3 4 3 pupils “in GmaW" ? . the 4 5 major ( students for down C B two states are essential for playing prep- play more musically, ^cond movement) reciprocate. “In return" R H enjoy their piano me t f’ When the musical notation introduces triplets c D D F aration—the “spring” ,he B.W.. she played Mozart. of E E E F G giving upness and study, get higher ratings, accompaniment. Grieg says, the boy L.H up C and win all the O^thesLme his various note-values heard with a two-note group at resilience to talented girls Program two How with the body and the swing prizes! plav^i m Wolfgang Mozart himself, L.H. down 5 ^oussorgskys the same G F F . E E D nation Scene fro? Coro- priceless chuckle rhythmic beat in different tonalities, using assuring both in and out and sideward n* sense of humor, would On the other hand, you mention and then 1 H 3 3 3 4 such “went ' various finger combinations either (lateral) freedom of to to^”1 over girS in the same hand such • The movement. . Next, a. simple * tw°-Piano an exchange! . :> reverse two notes in the left truth as the obvious arrangement a ™? ®r in the hand to one note in necessity piece too, piece— two hands combined in a variety of motions Count 1 trip-a-let etc. should have ' You traded popular the right. heard them- Boris for the Then play in similar ( Continued on Page 725) 686 a delightful combination! "FORWARD MARCH DECEMBER. 1944 WITH MUSIC" "FORWARD MARCH WITH MUSIC 687 THE ETUDE " — » —

.^^Music/anitiStudy^^.

Violinist The Making of a Concert Flexibility in Vocal Work Conservatory and founding the Leipzig he directed it became in his day, and even it so ably that for a A Conference with foremost music school long time after, the in the by. lyjebudi Id/jentibin world.” “But all “True enough,” I put in. three Beethoven, Cjonzalez Mozart, and Mendelssohn—grew up in musical en- vironments, and Beethoven especially had amazingly AS TOLD S. GARBETT Opera TO ARTHUR as a at Leading Soprano, Mexican National varied practical experience boy the Court of t you think a the Elector of Bonn. Don musical en- Guest, New York City Center Opera vironment is essential?. Mr. Menuhin recently returned from a concert tour in Europe Yehudi Menuliin laughed. “I don't know. My own (the first made by an American artist since the war began). home was not particularly so, although the first musi- SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES His success in Paris, Brussels, Antwerp, and London was sen- cal experience I remember was hearing my father sational. In Paris he played the Mendelssohn Concerto (pro- the house! I used to sing quite often hibited by the Nazis) for the first time in four years. He played whistle about the at many Army hospitals and camps. —Editor's Note. haunting melodies he grew up with in Palestine.” recent contribution that New York's Mayor Piorello “But didn’t you have musical toys or some such The most H. La Guardia has made to musical life is the highly successful season of municipally sponsored opera presented by the New York City Center incentive to start with?” Opera Company. In a conference which Mayor La Guardia gave to The Etude (May 1943), he voiced Broad Education a Necessity his firm belief in the value of opera as a civic undertaking. Now, a year later, he has put his belief to IRMA GONZALEZ active work. In assembling the cast for his municipal opera, Mayor La Guardia felt that a service could “No. My mother played the piano a little, and we Distinguished Soprano be rendered by giving North American music lovers an opportunity to hear a distinguished singer of HIS INTERVIEW with Yehudi Menuhin was Mexican concerts whenever possible, just as we went one of our Latin-American sister republics, and looked about for a musical ambassador. His choice fell obtained went to under the peculiar circumstance that Gonzalez, leading soprano of the Mexican National to lectures and art galleries. I was allowed to study on Irma Opera. I was meeting him again for the first time after HE BEST WAY to judge a nation is to listen T Still of schoolgirl appearance, Miss Gonzalez has made a distinguished record. She grew up in a musical the violin because I liked it best of all the instruments having known him as a boy in San Francisco. I was then to its music. If you listen closely to the music home. Her mother possessed a remarkable natural voice which, after completing her studies at the If experience is in the orchestra. my own any guide. of Mexico, you find it necessary to change cer- music critic on a local paper and, like everybody else, T Mexican National Conservatory, she devoted exclusively to home use. The little Irma’s earliest memories I -would say that a sympathetic environment is the was deeply interested in the sturdy, fair-haired little tain preconceived notions about the Mexican people. are bound up with good music and the elements of sound vocalism. At the age of eight she, too, was prime necessity; and one in which the tudy of music student at the National Conservatory, where she studied piano, solfege, theory, harmony, boy who faced his audiences so calmly and played so The popular impression of Mexico, I find, is that it is enrolled as a by a good education in other matters also, composition, orchestration, and music history. By the time her voice asserted itself, she had laid the divinely. His concerts were rare, however, for both his is balanced a land of gaiety, laughter, color, and fun. Actually, matters appropriate to one foundations for a sound musical career. own parents and the many influential friends who especially in future mu- this is only partly true. Certainly, we Mexicans have After studying at the Mexican Conservatory with Maria Bonilla, Miss Gonzalez was chosen by Carlos gathered round him, rigorously sical career." our moments of joy—and when we are joyful, we ex- avoided any attempt to Chavez, Director of the Mexican National Symphony Orchestra, as one of three students to be sent for It may be remarked in passing that Yehudi Menuhin press it enthusiastically but below the surface, the exploit him as a child prodigy. — a period of further training under Serge Koussevifzky at the Berkshire Festival School, outside Boston. Those were the lush days of the Coolidge boom, and lays the broader outlines of his concert tours together Mexican spirit reflects a deep and poignant sadness. There she appeared in the role of Mimi, in "La Boheme." Her formal operatic debut was made in one effect of Yehudi’s success was to produce a minor with the different managers with whom he has col- “This deep-lying melancholy is the real clue to an Mozart's "The Magic Flute," as Pamina. Her American engagements include appearances with the boom in child prodigies who had ample financial back- laborated for more than fifteen years. And he has understanding of the Mexican national genius, and it San Francisco Opera, a concert in Carnegie Hall in commemoration of Mexico's independence, and guest performances under the direction of Andre Kostelanetz. ing. They all fell by the wayside, and one I recall wide intellectual interests outside of music. Among is clearly reflected in our music. If you know how to on the Coca-Cola program Miss Gonzalez has asserted herself the hard way. Ambitious to study in New York, she won a scholarship particularly. Mishel Piastro, then concert master of the other things he confgsses to a deep interest in medi- listen, you will find this strain of sadness, of wistful- to one of the great conservatories—and found, after her elation had cooled down enough to permit Symphony Orchestra, took a great interest in this cine, of which he certainly has little need. He is the ness, underlying even our gayer music. Take, for ex- her to think of ways and means, that she had not enough money to make the trip to New York and prodigy, and one day I met the pair of them in picture of health. I Ttsked exercise. ample, the charming song Estrellita, composed by our a about defray living costs. So she did not come! When she did reach New York, it was as an accepted prima great Manuel Ponce with I the privilege of broadcasting studio. Piastro was in high glee. Somebody “Yes, plenty of exercise. Tennis? Baseball? No.” whom had donna. In the following conference, Miss Gonzalez gives to readers of The Etude an insight into Mexican studying. It is song, tender song all had just given the child a five-hundred-dollar violin. I glanced down at his hands. "Not because of my a gay a —and yet music, and outlines her belief in the need for flexibility in vocal training . — Editor's Note. I looked down at the frail little fellow and could not hands,” he put in, hastily. “I Just never played them through it there pulses the infinite sadness of longing. help saying, “What that boy needs is not another violin Not having attended school, I lacked the opportunity That is Mexico! but more milk.” It hit Piastro hard. “That’s it,” he to engage in in mere YEHUDI MENUHIN these team-sports,” he admiited. “But performance and provide thorough cried. “They give him everything—lessons, violins, Native Music and Formal Music any case, a boy preparing for a concert c areer has to grounding in the various branches of mu- everything—but no milk!” The boy made a few bril- give much time to pra.ctlce— “It is interesting to note that our music falls into sical theory and history. coaches. This liant concert appearances, but has since disappeared undermined his health and he died “How much time?* two separate categories. First, and most important per- “Further, we are fortunate in having the from view. young. Moreover, his father attended to all business “I don't know! As a boy, I practiced about five hours haps, there is the native music—a genuine national interest of Maestro Carlos Chavez, Director With this in mind, the first question I asked Yehudi details, shielding him in every way possible. Thus, a day, I suppose. But time is not what counts. It is expression that has grown up, without formal study, of the Mexican National Symphony. A Menuhin was regarding the influence of childhood when the elder Mozart died, Wolfgang was utterly out of all Latin concentration that matters. If your mind is not con- the lives of the people themselves. Like great musician and a great man. Maestro unfit to look after environment on the making of a concert violinist. The himself, and lived in extreme pov- music, it is in character especially in its centrated on the tiling you are doing, it is better not Spanish — Chavez always has time to help students! question was the more apposite since his own two erty most of his short adult life. to practice at all. Better stop bit. rhythms—yet distinctly national. Here, melody is pre- An ardent champion of youth and young “Both and rest a children were playing naked in the sun, diving in and Beethoven and Mozart were magnificently dominant. Accompaniments and figurations are of the people, he uses his great well “But that is where environment comes in again. knowledge, as successful, artistically speaking, out of the swimming pool and gamboling about the while they failed mis- simplest often nothing more than a rhythmic insis- as his friendship with great musicians all The teaching, the material to be practiced, the time — green lawn of the splendid summer home Yehudi erably in their private lives. Both men were physically tence in simple chords, of the kind that even an un- over the world, given to study they are to help deserving students. himself unfit, and Beethoven — all one, all related. Menuhin has built for overlooking a wide had the additional handicap of schooled peasant can master. I think it is extremely I can thank Maestro Chavez, indirectly, for “A question often did you Cruz Mountains fifty miles deafness. In both cases asked me is ‘what method' canyon in the Santa some health was undermined in important to find that simple, untrained people express my most agreeable professional visit with study? What teaching Dancla? from San Francisco. childhood; and both lacked any sort of material—Mazas? training to fit Spohr? themselves naturally in simple, native songs. On the the New York City Center Opera. Two Sevfiik? The answer is none! I worked, of them for living in the world in which they found — other hand, share of formal as years them- course, under we have a rich music, ago, he selected me as one of three Concerning. Environment selves. Beethoven, fortunately, had excellent teachers: a capable violinist helpful friends; but named well. Interestingly enough, some of our art songs are Mexican students to go to Boston. While “This of environment,” said, Mozart lacked even those. Anker gave me the rudiments for a few months; matter he “is more nothing more than polished adaptations of the native I was singing there, invited then for I was by Doro- puzzling and confusing than appears on the surface. “The case of Felix several years I studied with Louis Persinger Mendelssohn, however, was en- traditional airs. It is by no means impossible to come thee Manski, of the Metropolitan Opera, who gave me a good adoles- For example, take the case of three famous musicians tirely diffeient. Born into a wealthy foundation. The fateful upon visit household to cent the same basic melody in two separate forms to at her home. Another guest that whose genius developed early and endured through parents years I spent with Georges guide, philos- who were as wise as they were Enesco. a first, in its native aspect, quite it grew up on the evening was Laszlo Halasz, kind, who opher, as the conductor. later life: Beethoven, Mozart, Mendelssohn. respected and friend under in all and the fine arts and all cultural whom I expanded soil; elaborate and formal ‘concert’ He heard sing, endeavor things, and then in an me but I never expected “Beethoven was bom into a home haunted by sick- Felix had every advantage. technical and otherwise. He was, moreover highly setting! Many of Maestro Ponce’s songs reflect this that anything further would develop from ness, poverty, and sordid misery. His intemperate father gifted, only We are considering, future not in music but in other ways remember, the case of a carrying-over of national strains. the meeting. Then, in the winter of 1944, also- he concert wanted him to be a prodigy pianist like his distant sketched and painted; he wrote artist, a child driven to to his fa- charming letters' he music and "In the formal music of Mexico, the National Con- when Maestro Halasz was placed in charge cousin, Wolfgang Mozart, and forced him to spend organized vorite instrument an a group of child actors and they by the sheer love of it; and by servatory plays a leading part. Situated in Mexico City, of the New York municipal opera, gave plays urge my name long hours at the keyboard under severe discipline. It m their own open-air theater. so strong that he else It is significant there prefers these to anything the Conservatory has an annual registration of from came up as guest artist—and he remem- was a horrible beginning, yet Beethoven emerged from fore, that being me has to offer; free to develop his talents so strong that, given early success, six hundred to eight hundred students. There are three bered me! in anv ne MAYOR FIORELLO H. LA GUARDIA it to become one of the greatest masters of them all. direction he chose, he will survive the and OF NEW YORK CITY preferred music In dangers of exploitation, if any, distinct courses. The Preparatory Course offers sound “As to a technical approach to singing, I this his e CONGRATULATING MISS GONZALEZ “Mozart was more fortunate in his home surround- training was rigorous but swept on by it of comprehensive. into maturity and the fullness basic training for little beginners. The Intermediary ings, where music not only prevailed but did so to the life-experience. Course offers advanced work but without special em- exclusion of everything else. He was a true prodigy, and luubiu, oiuugm, an iiievnaoiy, such suffer, ms talents into play: he a child is an artist and must nhasis on professional careers. The Specialized Course believe that the simplest, most natural methods are his ambitious father exploited him to the limit. He was guished himself as a as all true artists pianist, organist, teache do. the torment of perfectionism. provides the training necessary for professional work. VOICE the best. First of all, the student should assure him- dragged all over Europe over bad roads in bumpy composer; his administrative a ^evotee ability > 3 lover, all ob- All found , who must overcome three of the courses stress musicianship rather than self, through consultations ( Continued on Page 718) ou stacles. endure all arudgery, (Continued on Page 722 688 " FORWARD MARCH WITH MUSIC” DECEMBER, 1944 "FORWARD MARCH WITH MUSIC” 689 THE ETUDE — ” ” —

full, for to in many younK ... would be an inspiring examnfe ^° f attitude of mind tll with ‘- which music Music and StudirUi&t'?- t's ria ' • be studied. You certainly llitl *“V**'» . usie/and SfudvAStudy ?. deserve i° ceed. for you are - going about tl-° % nin the right way. Ss m But you are quite wrong in The Wrist-and-Finger Forum that nc one else is nillkin Motion 8 The Violinist’s troubled by bow r question whether 5haky anyone !. ..In the March issue of The Etude, (, The Style Exemplified in has Baroque played much in public borne More Kreutzer Studies." you say has escaupd° that the study should be practiced with trying experience. And the don’t wom r wrist-and-finger motion at the frog of by the Conducted getting nervous—it is a 1 bow. Can you explain what the wrist- price oneh and-finger motion is and for having l“ how to do it?" pay a sensitive, high —W. H. B., New York. T nature. Many famous 8 artists are a*’ N THE ETUDE for October, 1943, I described You have brought up a very ous as kittens before D rt ' important plavine a „ ? certain general characteristics of the so-called point, one that e 81 I am glad to have a chance BJl Your job is to find out what style in JlaJj I “baroque” organ building. The word “ba- to y causes!* hj l/ldcijor Edward 1AJ. ^dfiut discuss. Compared with the bases of bow arm to tremble, ^ and get rid roque” was originally applied to a style of architecture left-hand °f technique, the essential ele- it. j. This should not be difficult which developed during the seventeenth and first half A.U. ments of good bowing are not generally Teacher The three chief causes of of the eighteenth centuries, and has more recently very well Prominent an understood. This is particularly 5 bow are: (1) neuropathic been used by musicologists to denote the music of the true of the Conductor cwiduf Wrist-and-Finger Motion and over which the player ™ has no control same period. During the past ten years there has Edvard W. Flint was educated at Harvard University and then spent five years at organ building. which is the foundation of flexible and which has nothing to do with appeared in American organ building, a development From 1936 to 1942 he was organist at the Brooks School, North Andover, Massachusetts. In 1942 he sensitive bowing, for it is used—or should noiseless VioS! poitant because a- smooth, playing: instructor in mathematics at the United Slates Military Academy at (2) nervous debility, usually which has incorporated many of the characteristics entered the Army to become an be used—at almost every change of on the Z bow bow depends entirely Point. It was while at the Brooks School that he snupervised the building of a fwenty-stop, fhree- change of to illness or overwork, which is of the baroque period. The term “classic” has also been West and in all parts only tem of the bow. It is essential relation- . fingers. *Perhapsv-.* x— the manual baroque organ which convinced him of fhe soundness of fhe baroque style Editor’s Note wristWIl£>b Cliiuand porary; and (3) a fault of applied to some of these American instruments. The *. bowing to the performance of a smooth, flowing, »V>n ni-ni tech ship between the movement of the arm legato nique which causes the arm to precise relationship between these two terms as ap- passage, and it is equally essential stiffen that of the hand will be best under- to the and and lose control when the player plied to organ building has, as far as I know, not been production of a rapid spiccato. A and is nerv. stood if it is realized that the hand ous—nervousness, < defined, and I not propose to it clear understanding of j >u know, always sharply do consider the Motion is a bow-stroke for an at fingers prolong the tacking the weakest spot here. The organ was designed and built in 1938 by the WIND PRESSURES must for every violinist. in the technical after the arm has ceased its 314" inch or two armor. I quite article will describe an American instrument Aeolian-Skinner Co. under the direction of G. Donald Manual divisions: It is not easy to describe. The simplest am sure that neither This while it is preparing to move of be motion and the first two which illustrates some of these baroque, or classic, Harrison. It was decided that the organ should Pedal: 414" way for a player to find out all about it conditions apply to you in the opposite direction. Let us examine so straight; that is, MECHANICALS is to discover it for himself. we will concentrate ( >n the third. traits. In an effort The best ap- bow from In any what happens during an Up intelligible free from any bor- Reversibles to all unison couplers proach is to take an easy study written event, it is by far the most common to make point to frog. At the start of the stroke rowing, extension, Pistons: four to each division and four to in notes of even length—such as the sec- cause of the trouble. to the average or- the third and fourth fingers will be al- or unification; that the entire organ, all duplicated by ond of Kreutzer—and play it near the You should start by checking ganist the differ- straight as they rest on over the frog, using the wrist most if not quite ence between such there should be toe studs. and fingers only, fundamentals of y air bowing, paying and the stick. The bow is carried up by the twenty stops distrib- Swell pedal keeping the arm motionless. It is close attention to relaxation and an instrument and No question will be answered in THE ETUDE arm, the fingers remaining straight. As coordi- three Crescendo obvious that if the wrist joint the more common uted between pedal alone is unless accompanied by the full name nation in each exm-tae you try. Begin and address the inquirer. the bow nears the frog, the arm ceases and pedal; Sforzando piston, duplicated by toe stud. used, the bow will not move in a straight of Only initials, with the Wrlst-aip! type of American manuals or pseudonym given, Finger Motion, as will be published. its upward movement and prepares for Tremolo to Swell line—it will swing in a rather wide arc. organ, I shall use and that the third described earlier in this page. If you can To keep the Down stroke; the hand straightens manual should be Cancels: one to each division and one to the bow traveling parallel to the play homely figures of those mixed bowings easily at a bridge, the fingers must be constantly in the wrist joint, and the fingers simul- speech, some words an unenclosed posi- the entire organ. fairly rapid tempo and with a good changing their shape taneously begin to bend. The same things tiv. The specifica- on the bow: they tone! there nothing usually .applied to happen, in reverse, during the — is much wrong with Great Organ must bend as the Up bow is being made, until the earlier ones have been fairly Down bow .sight rather than to tion is as follows: except your wrist and hand, and you can pass and straighten with the Down bow. The well mastered. — that here the fingers remain sound, and a few The 8' spitzflote is a chameleon-toned stop. Played on to the next exm ise; if bent until it is time to you have a key to this flexibility is the little finger; As a low-held elbow is an enemy to change bows at terms relating to GREAT against the swell rohrflote it has the character of a the point. It should feeling of clumsine: or lack of control, if it is stiff, the movement cannot be suc- flexibility, the player should sure, be remarked here of string with a delicate, incisive intonation; but with the make then the physics Spitzflote 8' cessfully that the amount of Wrist-and-Finger by all means tractlce these exer- made. There are many violinists when he is working on these exercises, sound. For this mix- 8’ swell viola as a foil, it takes on the neutral color of clses until they are easy for you. Bourdon who have absolute control in that his is Motion used in such bowing is much less dulciana. In either of these serves the upper elbow at about the same level ture of terminology Principal 4' a combinations it half of the bow, but who are lost as the frog of the than was used in the preliminary exer- Next you should : ry the Whole Bow admirably as a solo stop, nor does the absence of a when bow—so that a line I make no apology, Octave 2' they must play in the lower third drawn from the cises. There it was a matter of develop- Martel^, using a tudy such as the swell-box —simply elbow, through the wrist, since it is an im- Fourniture IV and tremolo disqualify it for such a role. The because ing a reserve of the little finger has not been to the joints of the fingers is approxi- flexibility that could be eleventh of Mazas >r the seventh' of pression rather than idea that expression consists of a restless pumping of called trained to balance the bow equally mately parallel on for special Kreutzer— Is. which calls well to the floor. With the occasions—of which a study, hat a scientific descrip- SWELL the swell-pedal and the monotonous throb of a tremolo whether straight there are or bent. So it would fingers curved, this is by far the best many in violin playing! for skipping of strii v This bowing re- tion is naive in the extreme. True expression is much more which I am 8' be well to inquire this Obviously, the Viola how control can position for the start of a Down bow. coordination between quires complete coordination tliroughoiit trying give. a question of subtle timing and discrete gradation of to 8' best bfe acquired. the arm movements Rohrflote The arm itself, though motionless in and the Wrist-and- the entire right arm. if there Is any lack The chapel in touch. The following exercises these Finger Motion Gemshorn 4' —which I have exercises except for a slight rising depends entirely on an of coordination, it is noticeable at once. The 8' bourdon is made of spotted metal. Since the which this organ Ill used with my pupils for the last twenty and falling as the strings innate sense of timing compels Cymbale are crossed, —of sensing the The demon of span limitation stands is scale is small and the wind pressure low, the tone is a simple 8' years—will bring quick results if they should remain exact split-second Trompette are quite relaxed. when the Motion me to refer you to the December, 1943. frame building de- firm and dry and free from any trace of bulbousness. carefully practiced every day for two or The upper surface should be made. of the wrist should This sense can be de- and January. 1944. issues of The Etote signed by Frohman, It has sufficient harmonic development to blend per- three weeks. not be parallel to the bow-stick. veloped only through POSITIV Results intelligent and for a detailed description of this bowing Robb, and Little for fectly with the spitzflote. Together these stops produce consistent will come much more quickly if the fore- practice. After you Koppelflote 8' a few weeks and how to practice it. In fact, if the Brooks School a mezzo piano combination which is animated enough arm is turned somewhat however, the player Nachthorn 4’ towards the begins to find him- look over the back numbers of The Etdde of North Andover, never to become monotonous, and which has definition seif player’s body; so that the first finger using the Motion Nazard subconsciously— for the past twelve m onths, you will find Massachusetts. It 2% enough to make counterpoint intelligible. knuckle, instead of being above the ^ ValUe Blockfldte 2' stick, ^ Speedlly bec°mes a number of comments that bear more has a seating ca- With the 4' principal, the great organ begins to assert is beside it. This permits the most natural apparent Tierce or less directly on your problem. pacity of only two 1% its proper role in the tutti. Made of pure tin, this stop movement of the wrist to be in made the clear singing tone that is If you command of the hundred. The ridge has a bright but not hard. direction of the bow-stroke. have good PEDAL Whole pole is about twen- It is true that the addition of this stop creates a For more advanced To Overcome Wrist-and-Finger Motion and the work on the wrist- Nervousness 16' Bow on to the ty-five feet above Bourdon marked dynamic increase in the build-up, but it is one and-Finger Motion at the frog, Martele, you can pass involving 8' C it the floor level; the Gedackt of the characteristics of the classic style that the the crossing which I study of long sustained tones—though of strings, the arpeggio study /ite has not ^beerfcteaU practice rafters are Principal 4' build-up proceeds by bold terraces rather than by ee nd would all to exposed; of Kreutzer in A major, No. 13, can at the StUdc "' do you no harm at be UmvS3t^ B4sf e Ill streamlined gradations. 2' is The wrist and finger d s violin the day, n0 and there is no ap- THE BROOKS SCHOOL CHAPEL, NORTH ANDOVER. MASS. Mixture imperceptible, The octave joints only should used with various bowings. The octave Whole Bow Martele every be used, preciable resonance. Bombarde 16’ of like quality. Slightly weaker than the principal, it and the bow should be lifted study in G major, No. is Prlces matter how well can play It. 25, also valuable Vitali ’ pla >' ,h<; you Chaconne and* h1 ringing timbre which from the string after Lalo 6 The congregation adds a can be used indefinitely each stroke in all in this connection if it is Concerto. I the on the* played with a 'practice abont fi Before you start working a. day on !hours normally consists of forty and COUPLERS without tiring the ear. the variants except Nos. 1 and 9. In Nos. bow to each the violin andu abom k a one hundred and boys note. piano. ... aoout anon hour on long, slow' your metronome bows, set young of uni- Swell to Great 16-8-4 The climax of the great organ is the IVrk fourni- 5 and 6, as much bow should be taken In all these exercises duration men who produce a substantial volume and studies, speed P 60, so that you regulate the Play a ''r|lenev(‘'’ can 16-8-4 ture. This dazzling quint mixture incandescent for each staccato note as is used for the should, sol™ in' puiTlic 1 on son (and sub-unison) tone in hymn singing. Since the Swell to Positiv adds an at first, be a very minor con- ingly I°bec?'1 b come so disgust- of check nervous1 iw L ,f each bow exactly and can < Swell 16-4 brilliance to the full organ. Such great organ, small slurred notes. In Nos. 7 and as sideration. lt d organ is used almost entirely for service playing, it was Swell to a 8, much They should be practiced as rnakes'me bo^f bounce d^ c^‘ your should prac- a manner merrflv af progress. At first, you a Positiv to Great 16-8 though it be, is adequate for the performance of any bow as possible—using wrist and fingers slowly as may be that is heartbreaking g m question of providing an ensemble which would sup- necessary to make the '°i „ tice them Drawing only should be taken in two ways; (1) port congregational singing and would permit the per- Great to Pedal 8 fugal exposition. Furthermore, when the swell or posi- — on two slurred Motion correctly and completely. and can^ontroTthe ervo 8 Later, shlktae* ,'i ^ bow close producing notes; part is to the bridge and 8-4-2 tiv is to it at the bow then returns without as control is gained always so horrihlp ^ rst formance of suitable service music; and since the Swell to Pedal coupled the sub-unison, it has all the and flexibility be- IS to not affected, nor hand much tone as you can, giving eight touching the string to its original start- d^ for^t^’ ^ organ was to be in school, it was not unreasonably Positiv to Pedal 8 weight requisite for other types of music. Such an comes more apparent, they can VVhat in the the music. holdnb a and world eonlH VwT seconds to and (2) ing-point, and the same amount of bow should be taken more each note; assumed that the students should be exposed to the ensemble will lead congregational singing as no other rapidly. rnannel each as oU c y , is used again for the final note this note, pianissimo, as long best of merely that to which type will. Instead of pushing the singers from behind, of the Now an important question — not so church music and not to arises: much as thaVT ^ without our ' ^' If group. These are complicated know letting it waver. y it were, it them on. It is exhilarating without exercises, How is this Motion to be what causes ^' ou they were accustomed. Whatever the necessity for a as draws coordinated itd can Uiisshakinvg and tlun calling be overcome" how bows scratch first, don't for a considerable degree of co- with a long bow-stroke must. For VerCOme a bit at parish church to consider “what the people want,” being aggressive, and churchly without being boring. involving the Miss R. U 1 H^ Oklahoma you are bowing the bridge ORGAN ordination, and should not be attempted use of the arm? The too near there is no excuse for an educational institution to " Despite the lack of 16' and 8' principals (the twelfth is question • is • im- I that 5° - ’ wish I had cause, most probably, will be . space to compromise with immature, schoolboy, musical opinion. included in the fourniture) , ( Continued on Page 720) quote your letter 690 FORWARD MARCH f Continued on Page 722) WITH MUSIC DECEMBER. 1944 "FORWARD MARCH WITH MUSIC 691 a

centered around the string are usually section Th are frequently recruited from the SYMPHONIC BAND an important musical winds school' bans S THE cases possess the a thing in itself? Or is it ?• and in most necessary development— merely an •'ytm?Music and Study ^r ~ technics t Since the problem from the symphony orchestra attempting satisfy the demands. of developing I offshoot orchestra lies principally in the to equal the tonal interest of that traditional group, the development of it seems only logical that we would and reaching unconsciously toward the reestablish- strings, design on contained in the curricula to provide for such training. To ment of the balance symphony or- do thi we must first segregate our strings chestra? This is an interesting question and an im- efficiently from 2 until each have acquired portant one, because the answer to it will determine Developing the winds, at least the necessan playing proficiencies leading to the future development of the symphonic band and skills and full ensemble Band Sonority— Theory literature its method of scoring. A performance. its — On the surface there are many evidences which Group Enrollment would lead to the conclusion that the band is trying to School Orchestra become a symphony orchestra with the gradual sub- For many years schools have attempted to develon of the dominant brass sonority. And cer- school orchestras by adopting a training ordination program the band has taken much from the symphony beginning students of all stringed tainly by (yeorye ^Jredericb ay whereby and wind enrolled orchestra during the past twenty years of transition instruments are together in the instrumental marching band to its present plan of instruction from the symphonic classes. This attempts to defend Professor of Music, University of Washington scope. Also many conductors with symphonic experi- ). on the following premises: It is Wiffiam 2 J/Zevdli itself less difficult the ence have taken up band and brought to it the to administer and schedule. It absorbs all the Seattle, Washington instru- particularly orchestral attitude through the conduct- mental students within the one period, thus eliminating ing of traditional orchestral works. This has been all of the regularly uring the past several years, countless articles the tests, classes should organized and students conflicts with any scheduled be academic to the good—a process of cross fertilization that should, and discussions pertaining to the subject of accordance with their classes, (b) It consumes less teacher time assigned to various groups in than does in time, produce a new variety. school several D orchestras have been presented in vari- ability and talents as discovered in the tests. the scheduling of small classes, hence is in the realm of sonority and scoring. But the band harmonic voices in relation to the general ensemble. less be the eventual conclusion: That how- ous This must music magazines, journals, and conferences. It is recommended that these violin classes be offered expensive, (c) It provides a full ensemble cannot become itself by imitating and using second- Thus, as already pointed out, the clarinet choir in low immediately ever much influence it will have taken from the or- A few of these dissertations have concerned them- as early as grade, with classes also sched- and affords a large number of students the Again, there is or middle range is a very superior harmonic voice, the fourth opportun- the band is a thing in itself for the future— hand the discoveries of the swing band. selves chestra, with materials related to the improvement of uled in all of the intermediate grades and in junior ity to begin the study of (Continued on Page a valuable process of cross fertilization here, but the but a mediocre or only fair melodic voice; whereas the 726) new variety created by contemporary life now in the the school orchestra. Some have provided worthy high school. transferring of students from violin swing is “manner” rather than a oboe is an excellent melodic voice within the band The of coming into realization. This is inevitable, band sonority a suggestions process and constructive ideas for the betterment to viola, violoncello, and bass viol should, if possible, “method.” imitation the band is more a mo- sonority, but a somewhat raucous sound as a harmonic because the orchestra will remain secure in its place And by of string players. The majority however, seemed con- the sixth grade. element. be accomplished at the beginning of perhaps a fuller development in mechanical mentary fad than a valid permanent direction. The tent to with elaborate upon the subject of “Declining Inter- Violin classes will show the most satisfactory progress discoveries in the realm of sound combination con- We might make a rough listing of harmonic voices growth of brass and woodwinds. But it will retain its ests in School Orchestras,” while frequently not if the membership to each class is limited to a maxi- stitute the real contribution, but these be in order of usefulness, which in order own traditional balance rooted in the discoveries and had best might be of providing as much as a single suggestion for means or of ten eight being even considered separately the context pliability or malleability capability mum students, with six or creations within the scoring process, as produced by from of “swing” softness, or of being methods of reviving this lost interest. In numerous more desirable. least twice rhythm blended. example, The classes should meet at the great masters of music. and dance-band texture types. For clarinet choir, muted brass articles considerable space was devoted to the com- weekly, the periods being from thirty to forty-five choir, saxophone choir, and—ending with the least parison of The band, too, must become a thing in itself. Set the educational advantages of the orchestra minutes each. The instructor should have acquired the A Common Fault effective for sustained use the piccolo choir (in ex- aside from the orchestra as a quite different creative — to that of the band; often the educational status of necessary teaching skills, playing experience, and treme high range) ! Superior melodic supplementary to the orchestra contrast, The principal fallacy that appears in the band scor- voices could be the band was questioned art, it is by while the cultural advantages technics as will enable to achieve maximum is listed in the very same way, but the him creative use of its individual possi- ing of many composers and arrangers found in the order would be of the orchestra through a vigorous’ were emphasized. results within a minimum of class time. assumption that within the band the instruments have rather the reverse, with piccolo, oboe, French horn, bilities as a dominantly brass woodwind group. The In altogether too few instances was the content of The teaching of the beginning string class is a highly the same characters and functions as in the symphony baritone, trombone, tuba, and so forth, leading the way these discussions more the band becomes like the orchestra through the devoted to the presentation of con- specialized field not every violinist as melodic voices. and capable or playing of transcribed orchestral music and through orchestra and the swing band. The band cannot come structive ideas leading to the development of an private teacher is adept in class teaching. into its sonorous individuality unless it is understood The com- of its scoring methods, the it denies improved orchestra program. In the aping more too many instances petent class string teacher is the individual is that the relation and meaning of the instruments are A Glorious Future who its real future as an individual entity. the discussions seemed to be concerned with the seek- first interested in the teaching of young children, one entirely different against different fundamental back- In relation to this knowledge, the problem of the ing of debate pertinent to the relative merits of the who understands child psychology, is patient, kind, A New Band Literature grounds. band sonority becomes that of utilizing and blending band or orchestra. Naturally, such discussions led and sympathetic. He must be willing these superior melodic to tolerate many this individuality be The clarinet will be good for illustration. Within the and harmonic elements with nowhere, and in the final analysis the school orches- Through what directions can disagreeable sounds and assiduously work on the tech- symphony orchestra with its predominant background vivid contrast and variety of treatment. The melodic tras were the losers. realized? First of all it will come when the best com- nical problems at hand. It is in these of sustained string tone, the clarinet is magnificent voices should stand out clearly and the harmonic ele- qualities that posers take up the problem of band sonority with real a many excellent musicians fail as class string melodic voice, assuming a new richness against the ments should have beauty, richness, and absence of Organization and Administration teachers. interest. Through the creation of new works especially The primary reason for the string background. it tubbiness and screech, which come adoption of the small be end to the But as a sustaining choir, lacks from indiscriminate If our school orchestras are to grow in quality and written for the medium, there can an string class program is because of its substance and fails to “cut through.” throwing together of all voices into efficiency in the necessary leaning on transcriptions from the orchestral In the swing a’eharacterless con- quantity, if more students are to be attracted to their teaching of the glomeration. numerous problems present in begin- laboratory band against the prevailing background of rhythmic Of especial importance will be the realiza- ranks, then school orchestra conductors must pledge music. Second, as a means of creating a ning string groups. The handling of the instrument instruments and interspersed crude colors, the clarinet tion that the flutes are the real high voice, and that themselves to the development of the orchestra on the within the world of brass-woodwind sound, a new and bow, the tuning, the left-hand position, finger can be both an effective melodic voice and a harmonic the clarinets are essentially alto in character, and that basis of its own individual merits. energy must be put into the cultivation of really fine technic, control, intonation, relaxation, and numerous choir, particularly in its extreme ranges. But in the band players must learn to count rests so as to allow The orchestra has every natural for achiev- playing of these instruments, independent of the in- means other elements of performance band against the use of enough pure, or crude, require such emphasis creased range have the a fundamental background of brass- unmixed sound. ing and retaining its rightful status. Through its and technic that come from that individual attention is an absolute necessity. woodwind, the clarinet takes on a different relation. tradition, rich in repertory, renowned conductors, swing band. This means a full utilization of what It no longer has the fundamental Pioneering Possibilities might possibilities contrast to carry as concerts,' radio and recordings, the orchestra possesses rrooiems ot the be called the “chamber music” for barge Class much of the melodic function as it is ordinarily given. The future of the symphonic band should be really a motivating force that is perhaps more stimulating the brass and woodwind instruments—fine serious The large string class denies this Particularly in its high ranges it glorious. Where else is there type of teaching playing by ensemble groups music for these instru- can be a bad, even such an astounding sound- than that to be found in any other type of ensemble. and adds of to the multiplicity of the various problems, “destructive,” sound in that it blocks out other high ing board of varied tonal hues? Where else such a The school orchestra conductor who does not possess ments. thus making it impossible to observe and sonorities without adding tonal interest to compensate. full-throated power and smashing force for expression the ingenuity to correct the If this ensemble movement will be further empha- employ these means for developing faults of the individual student. In general, large string of dynamic values with the utter delicacy of the wood- student interest, is certain to be among those who are sized by band leaders everywhere, the composers will classes are recruited with an objective A False Assumption winds at the same time? It passes understanding constantly toward "num- eventually produce literature. This ensemble to engaged in the discussions of “declining bers,” a new whereas, the small string class Nothing is false in scoring than observe. the neglect with which composers interest in is concerned literature can become the laboratory out of which the more band the have treated stringed instruments.” chiefly with “results.” This stage of the dictum that “the clarinet is the violin of the band,” this potentiality. Here is a really new possibility for The first step in the development of student’s creative knowledge and tradition of discovery can be a fine school training is truly the crucial period. It is and nothing illustrates more clearly the falsity of try- pioneering in a medium created within our orchestra begins with a well-conceived, here that he built toward the larger ensemble the symphonic band. own lives carefully requires and should — have careful guidance that ing to transfer purely orchestral method to the band. and times. A few really authentic beginnings have planned, and complete course of instruction for stringed come can The art of scoring and the understanding of sonority only with individual attention and But as in no other group, the clarinet choir in the band been made, but too often both band leaders and and wind instruments from the help It is has a slow development, just because it must grow music elementary grades here that we develop his interest and motivation is an unsurpassed sustaining choir, particularly in low publishers follow the beaten path. For those with the through junior and senior high school. The musical and Platteville, Wisconsin, with the creation of literature itself. m so doing, build the foundation for an and middle register. No other group imagination and creative energy, a development of the orchestra student requires excellent school Music for orchestra extends from be- can produce the whole generation such a orchestra. If in the symphony these early lessons we are able delicate pianissimo within harmony as can the clarinet of opportunity lies ahead. program, and the failure of many of our orchestras to show- fore the sixteenth century to the present, and its consistent progress by successfully teaching In group here. begins with the inadequacy of instructors in these elementarv London’s Hyde Park growth is measured by the appearance of such mas- string problems, if we can training guide the student “over A complete analysis of the relation of instrumental classes. hump,” then the ters of scoring as Haydn, Beethoven, Tchaikovsky, and we have likely saved him color to each of the three groups orchestra, George Frederick McKay, American as a string Debussy. Each brings a personal element of dis- — swing composer and Professor player On the other hand, new Must Begin Early if he is the victim band, and symphonic band should be undertaken as of of in? covery within — of Music, University Washington, is the earliest graduate in competent instruction, the realm of scoring. Theoretically, the we must expect t_ * ouna uirougn majeau*/ the clarinet above, The study of a stringed a decline of p 4 with in order thereby to understand composition instrument is a long and interest, m London problem is clearly defined, but it will take years of from the Eastman School of Music, Rochester disappointing results, and - °ee! What a thrill for a bo; problem. a briefer difficult journey. The qualifications are exacting, the ultimately inferiorur k composing the But statement of fundamental where school orchestras. 01 ln a town of to bring the symphonic band into master- he studied under Christian Sinding and Selim Palmgren. . 4762 Americans, includin demands severe. Students electing the string h pieces theory will suffice for the present discussion. program The deficiencies er he hotel of its own and into its own creative individual- Characterized by vitality and melodic directness to be ’ ,«: man, the tin and a feel for found in our school fellow who runs It may be said that the fundamental problem of should be carefully selected on the basis of their orchestras * ity. In the meantime, all band leaders should take as g the wSh school the soil and spirit of the American West his musical principal, the Methodist band scoring may be fruitfully cleared up by orchestral works talent including aural capacities, rhythmic ? ?u a serious duty the using and encouraging of all music an un- mayor’ the have gained an increasing barber - the baker, the traffl recognition. His music has been feeling, alertness, perseverance, interest, and attitude. »nH oul by derstanding of relative effectiveness of melodic and 6 fobcs composers who attempt original additions to the baclc home! Can't see the four times honored in national competitions. It Doubtlessly, much of the mortality found in our as iniri m you knowledge has been heard band, aUditors of band sonority. orchestra hearing Elmer, in his bef over the three major radio networks and has string classes is due to the lack of consideration given shatn I* t At this point the question should be raised about the been performed dlng that s cla to the aptitude and adaptation tests Plenthd organization by symphony orchestras in Seattle, San when organizing and through 2 swing band. Is the symphonic band to become a glori- Francisco, Tacoma, CHORUS hoolcvard of London to the the beginning groups. Each student should be carefully S fied swing band? Certainly the swing band has added Rochester, Indianapolis, Boston (People's Orchestra), Omaha, Edited by 16 ®*- tested; his capacities graded and recorded. William D. ars and Stripes Forever”? Loo! BAND and ORCHESTRA Following Revelli Elmer i new technic Oakland, Philadelphia (string sinfonietta) m to the brass-instrument department that is , and others. ^ g6t baCk home they may rUI not Edited by William 0. Revelli for governor? to be overlooked, and it has made many discoveries Editor’s Note. 1 : — "FORWARD MARCH WITH MUSIC DECEMBER, 1944 "FORWARD MARCH WITH MUSIC” THE etude 693 1 o — ,

ne needs to become a aI normal hum so •_ / -..'.If' ftj -A^ and of the two things .'^iM1 Music/'- and \Studv^£~fb' I myself^ >?, becoming a normal tha human bein ‘ 8 1S more important. However t!le in th 6 case this child such a choice o( does h°t to be necessary. Seoft, I believe the time has come wb Answers ought to explain to yoi pXJlm^:? Questions and your punhA > lhat she wants to become a it really ® r, Germany’s to f Offering olan mill ‘ Century-Old I Hoira « Peace Q am a rather late beginner in music she will have to begin P anist with now to enn professional aspirations rather than a bCentrat a little more on mechanics— e mere desire to play for pleasure. I started r t f'nnrlliripfl hv Chnic lessons in piano with a small-town V.UIIUUUCU uj as many people call '” teacher it. Tell h in my senior year in high school at age learning to play that pieces is still seventeen. I th The Story of am now nineteen and have 111054 “Silent Night’’ been important thing for her to studying continuously t\ do , for these two » r /Ilf /5 / / h f years, practicing every once in awhile about four hours a day. [/ » a piece will // l H ! t II W*IlaVe and I am more convinced than ever that itif somecrime difficultrfiffimilf passage .. ^ /~i i'l*- v1/1/v \^JGIIFI?6H0 that music is my element. I have flexible hot only J must itself be practiced, fingers and wrists and at present am but thatA, be supplemented 51 by ^J4azel (j. ^J^indceiia studying Bach Inventions, i\/[ by additional the Chopin llc nnr woiT Polonaise in A, the Rachmaninoff Prelude lVlUa. UUL. similar passages, and that this in G minor, together suL® with scales, Hanon ... , . , ., . write a little cnti- „ r> -i mentary work is often called A Christmas visit to the little studies, and Czerny's “School of Velocity." that you begin soon to ProfeSSOT tmEritllS “nraVtP Austrian Village where the famous song was written. The I come from a musical family for publication, technic." Such an explanation and am cism of each one—not win following article appeared originally in The New York Times Magazine and is repub- very ambitious. way. I believe that I have more but just for fun. If you Will follow some OuGrllll LOllElJE the not only for "special than exercS lished by permission. — Editor's Note. average musical talent and I would that you will sucfth plala S thjls fnr theU ® next ten vears invent and ask her like to be a good piano teacher and church “ ' to nrt f , M„eir tMilnr Wphclpr'q NpiV organist. you ought to be ready at the end of that LflllOr, WEflilElb lVKt. lice, but for a book on Everyone encourages me and I MUSIC “general tech have been advised to go to a good con- time to begin some work as a music critic. nique." But don’t emphasize the llllEllldllUlldlIniormitinnal UlLllUlldIlirtinnarv median T IS CHRISTMAS EVE. The early servatory for study. I am rejected from ical to such 2 . I believe you will be able to procure an extent that the y f fr e musical twilight darkens the schoolroom in SUCh St and pictureS fr°m the PUb ’ is lost sight of. my o™ co"nd rwoSd be ^illingto “ I the ancient village schoolhouse and study for five or six years if necessary. lishGrs of The Etude. Don't make th. common mistake of brings into bold relief the candles Do you think I can do it? F. — C. S. giving this talented pupil too difficult i winkling on the fragrant Christmas tree A. I can see no reason music. It is much better for her why you should C riticism of a Program to learn about which the children—their books not carry out your plan. Apparently you to piny easier things perfectly than to now laid aside—stand gazing with rap- have made Q - I am planning a piano recital for do harder ones laboriously. excellent progress in the^short And if a talented high school pupil and I should the turous awe. time r? 1 vi rr rrrU 4 „u . i, , , 8 whteh you have studied, pieces you select for her are not and, like to have you check it over to make too diffi- First, the oldest reads the Christmas after all, it is not length of sure that I have selected music that is cult she will not have to spend time that so much story from the Bible. Then the pitch is counts, but results. representative of the different periods time in working at I have frequently dis- mechanics. given by the schoolmaster and the fro Bach to Berl n 1 u nt couraged late beginners w “ from aspiring^ 6 to ? j ;,, j i‘ ? i° , contain a sample of the different periods Christmas song begins oecome concert artists because actually and I wish you would mark any correc- to ( mini there is no chance today for a pianist tions or changes that should be made, How a Quadruplet Silent Night! Holy Night! Her® is the program: to do successful concert work unless he All is calm, all is bright, FRANZ GRUBER Q Please explain how to count the fol- is outstanding. fine ' Round yon Virgin Mother and Child, But piano teachers Solfc^ettoT!!” Bach lowing excerpt from Sextet from "Lucia, 13," l»y and good church organists are always in Slow movement from “Moonlight Op. arranged Leschetlszky. for left Holy Infant, so tender and mild. hand alone. This .. -..ige is in earlier schoolmaster, who, in this | Franz Gruber, demand, and if you are willing to spend Sonata” Beethoven nine-eight Sleep in heavenly peace, an e measure, but It -t . ms to me that there very house, just one hundred and eighteen years ago, in aCqUirin mUS1CianShiP “ Sleep in heavenly peace. ' On“S of 9 Mendelssohn arc twelve beats In lids measure. f , MEMORIAL TO FRANZ GRUBER wrote this most familiar of all Christmas songs. perfectingZZtrZTyour piano playing, learning Kammenoi Ostrow Rubinstein The voices of even the smallest chil- It was beautifully fitting plans for the Franz Gruber marker The scene is the little village of Arnsdorf, in Austria. to play the organ, and building up taste Prelude in C-sharp minor ' Ex.l that the dren join and a knowledge of the great Rachmaninoff in the melody. They come to should culminate just, at Christmas time. Fifteen miles to the south, in the city of Salzburg, an- musical • TTT M . m As a token of world friendship the Los presented ' the words “Sleep in heavenly peace,” Angeles teachers a other traditional ceremony is about to take place. literature, you ought to be well prepared ManhZanlerenade Alter bronze tablet to mark his grave. It the simple inscription, “In honor for a happy and their thoughts are directed, by the bears There, in the open Residenz Platz, beside the old and successful career as God Bless America Berlin x ... r of a teacher, for his universal of peace will. Presented teacher’s reverent glance and gesture message and good and facing the “new building” (Neugebaude) teacher and organist. luck < arr- by Bouteiie) cathedral Good to you! by the teachers of Los Angeles, California, U. S. A. 1934.“ W. D. B. upward, not only Christ Child its carillon, people, and address of the inquirer. Only initials to the with its steeple and famous many ' The presentation of the tablet was made at the meeting of L.A.E.T.C. ple"donym U"u k‘ fUiihtd. * whose birthday they are about to cele- both young and old, are exchanging cheery greetings .. „ A. I don’t want to discourage you. but on December 14. Representatives of other teacher organizations were in- r \\f T Ji hm brate, but also to I \\ ant 1 o lie a rlusic Critic I don’t think much of your program. In a remembrance of vited to be present. and waiting for the evening concert from the bell the first place, the ' tower. First, the bells give out old carols and a hymn . , _ Bach who wrote o l., r the I am a boy , . _ _ W- of fourteen and I ~ ... . Solfeggietto7 is or two. Then there falls upon the cold evening air, with want to be a music critic or a music not the great Johann Se- A. Nine-eight is n impound triple meas- commentator when I grow up. I am tak- bastian, but a far lesser light, Karl ha Ps my suggestions can be a delicacy and charm unexcelled, the simple melody of “Silent Night.” This incorporated units of ing piano lessons and I ure; that is. It is felt in three also have thirty Philipp Emanuel. Could you perhaps sub- 111 that one. is always the end of the brief concert of the bells. And as the men, women three boats each, with the accents oc- «» MM. and and children turn homeward through the narrow streets there is much at Fugues for curring on the first, fourth, and seventh vinsky. I listen to this . Or possibly add it to the humming and some soft singing of the beloved song. symphony concerts A TnJpnlofl Pin n •/ tCU 1 10,10 ' beats. In the measure you quote, each over the radio as much as I can and I group? If your first group began with an upU But the celebration of Christmas Eve, in the “Land of Silent Night,” has have belonged to the Civic Music Club unit is parts instead of e?.SV Prelude and Fiipup hv T q q t a divided into four not ended until the close of the midnight service in the church. The most 10 the triplet, three then the old ’ in the customary three. In a advirels tomy' future educf Solfeggietto by K. P. e'. Bach,’ Afth^rademlchool' impressive tribute to the song comes, not in the schoolhouse of Arnsdorf, not Uon? s™e con- aSll3 and 1 notes usually 2 . Could you tell and finally the Beethoven have given are played in the time me where I might get movement, or her .? l in the bell concert at Salzburg, but in Oberndorf, a village just between. Here, ' i figure some small statues of the great masters perhaps '? cUjdln sumed by notes: so in this a movement from a Haydn a. L. Brown’s 'Ten Snnvew e two where “Silent Night” was first sung on Christmas Eve of 1818, the rural folk 6"63* S are played nata ’ that would serve k called a quadruplet, four notes SrtiTtTc to represent the W “ 1 shouId now ber of the neighborhood gather in the brilliantly lighted parish church for the onSuetor^^sfon^-VB ? a*”b'ookbook ^ three classic off° exercises by period. ? but I fear she will in the time usually consumed joyous midnight festival, journeying, many of them, under the starlit sky, A. 1. I suggest that you go on with ^though she the piece, In the second place, neither Rubinstein siSs shows no notes. If, in playing this part of across frosty fields and over snow-swept roads. Then, at precisely the hour your school work taking all the English nor Rachmaninoff ^ UrRed beats to the is a good representa- to practice you will feel it in three large in She°is "to ma? of midnight, Christmas is formally ushered by the singing of the same you can and interesting, yourself espe- tive of the Fur Eli beats, you romantic period, and I suggest ™ at a recital h measure instead of nine small song from the high music gallery at the rear of the church building. cially m learning to speak and write 1 lzed this in the Chopin and Schumann instead. a week although should have difficulty in dividing * * * And ?a T , I no clear, correct, and to ’ of beautiful English. I finally, neither Alter nor she can't have diffi- Berlin repre- . ^ beats into four parts. If you It is appropriate that so simple a song should have become so inseparable S tempo yet’ suggest also that you continue to study Wi” y»u advise sents modern music in the sense in which me?-L a A culty in keeping; tempo steady, prac- piano and the a part of the Christmas festival, since the first Christmas was celebrated with that you participate in all the the term is understood about HR by musicians a v™, . tice with a metronome set at a song the message of which though sung by angels was also so simple, so music that goes on in f°rtunate — — your school and There exist many little pieces to have so tal- patterns by Stra- ented a mmn T Or else practice some simple clear, that even the most lowly could understand it. The universal appeal of your community. And, finally, 1 collgratulat I suggest winsky, Hindemith, Aaron !' e you, and I Copland also venh.r such as: "Silent Night” is attested by the fact that it has been translated into nearly that you continue to collect recordings of Evangeline V° 1 y°U that Lehmann, and others that pupil one such fine music, and that ought "T™6 Up every language and that it is sung, each year, in many of the remotest vil- you begin now to are not difficult to play and * somewhat for that never- fact tw^ u the Ex.a lages of the world. follow the notation of the music some of theless P!’°bably have give the hearer a taste of the a number of stupid onesT T , the time while listening to the recording, 3011 also feal Although the song had a German origin, it came to be an international dissonance and rhythmic freedom that latwi? ‘ike congratu- After you graduate from high school characterize having possession. Even the bitterness of the World War could not kill it, and there most of the musTcThat is a wh0 you will want to go to some college which s^ h&dd mter are many anecdotes of its use by members of the allied armies. The soldiers being written today. A list of such pieces ested in studyin* and 1 in trenches often Eve, following has a fine music department. Here will Ut Who is the sang on Christmas faithfully the advice you be found in the ’ 1934 Volume of Pro - ^’ on the other which as: wiii become on the hanri A, might also be notated of an ancient English carol—“Let nothing you dismay” and some of the most one hand a broadly ceedings of the Music Teachers Rested in playing — National with °ther outdoors educated man, and, on the other hand, a Association. children. touching stories of the Christmases of the war centre about “Silent Night.” t , The trouble with highiy inteffigent skillful Ex.3 The song was sung in many overseas camps, in Y. M. C. A. huts even in and musician, Probably I am upsetting that 50 often he and you by sug- fe or she both of which are necessary Wbn prison camps, the boys “keeping their Christmas merry still,” if you are gesting such extensive ’ t0° in troverted; sometimes to changes, and per- and it to be a oLn h of piano, music critic. During all these haps it is too late that such the accompaniment a battered a wheezy organ or even of a har- to make them in this a child is no years you wiii of hlS Courtesy Sinnal Corps V. S. Army monica. course attend all the particular case. But maybe attitude toward , you will have peoffie , h othe^ concerts you possibly can, and I suggest another 81 5 “SILENT NIGHT" IN ICELAND Yet few persons know when, how, or where this immortal song was written, program to plan soon and ™ older—he is per- A ’ “queer.” e prospective A careful practice of these and many incorrect stories have been told of its needS American soldiers in the far North form a choir of carolers ( Continued on Page 717) 694 t0 Study your d "forward should do much to clear up march with ~ ,r DECEMBER, FORWARD MARCH WITH MUSIC” THE 1944 695 " a

African Influence

music of Cuba is based, cf course, “The on this n V pattern-as is the music " live Spanish of any ^Sx&AMusic/-r— and Study count? >&***&/! v£*isW-' Spanish) origin. In Cuba, ^'yH . Latin (or however TRANQUILLITY •w^\ of th? markedly influenced by African pattern is or Ne’gMrt is perhaps the only patterns. Cuba Spanish country y its population (and consequently that forms its na physiognomy) from Spanish tional music and African Cuba without Indian influences. The music The Alluring Music of strains, of the Central and South American nations other is influ ' this third strain, whether it be enced by Maya, lnca else. The chief reason, An Interview with or something then, why Cuban is that it grows out of two music is unique strains only our music is founded on either All of Spanish or African rhythms. Again, the rhythmic pattern Carries to ejCecuona is of consideration. That is to say, a rhumba first or a Pianist (native dance forms) will cling to the Renowned Composer, Conductor, and bolero inherent rhythms required, regardless of the line their melody Popular Works add, in this connection, that Composer of Malaguena, Siboney, and Other takes. I may the Spanish patterns and African rhythmic do not blend or mix SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST Consequently, the two forms of music exist independ- ently. My own Rhapsodia Negra. which I conducted in New York City, is in Carnegie Hall one of the first musical forms works to incorporate the Negroid The greatest musical figure to come out of our neighbor repub- this we cannot go. One may analyze symphonic or Afri- lic of is one can get of Cuban music. Cuba at present in the United States. He is Ernesto as closely as one can—but to my mind, can elements Lecuona, interest is that and despite his lithe and youthful appearance, he has no further than the national traits which are re- “Another point of Cuban music does already acquired legendary acclaim. sharply distinct categories We Americans (North sponsible for making the national mind and the na- not fall into such of ‘classic’ Americans, Mr. Lecuona calls us) associate his name chiefly and ‘popular.’ Popular music, with us, is truly with certain outstandingly popular selections such as Siboney, popular. In the best sen > of the word— Malaguena, Andalucia, which find their way with equal ease genuine expression of the people. „ . The mu- info concert programs and "hit" shows. But the composition of sic that develops naturally in Cuba knows hit melodies is perhaps the least of Mr. Lecuona's distinc- nothing of the difference be ween ‘high-brow’ tions. He is regarded as one of the most important to give and ‘low-brow.’ It is simply the music form and expression to the traditional music of Cuba. Through- of out all the republics of Latin America, the name "Lecuona Cuba. Native and even traditional dance stands as more than a mere means of distinguishing one com- forms are used for popular dancing—dance poser from the others— it stands as a symbol of national ex- rhythms are used as a burls for serious art pression. This particular kind of musical-national expression is music. In neither case is there any incon- not easy for us to grasp, possibly because we have no one gruitv. We arc not 'debasing' our serious , composer whose very name stands as the musical symbol of music by building it around dance rhythms; the United States. We can approach it best, perhaps, by think- we are not ‘slowing up’ our dancing by using ing back to what Schubert's music means to Vienna; the man's traditional rhythms as tin y are, without name, the strains of his music, and the national soul are one further benefit of ‘Jazz.’ The reason for this and the same thing. If is in this sense that Lecuona represents is to be found in the fact that: Cuban music, Cuba. The analogy may be carried further. Like Schubert, Lecuona thinks in terms of music that shall be like that of Spain, is the complete expression both classic and popular! We are given to drawing distinctions of the national soul. between the two; the men who write the tunes we whistle on “To me, that is the best approach to com- the street seldom find their names on symphonic programs. position. Forms change, ‘schools’ change, but Lecuona's music is equally at home in both places—becauze the fundamentals of compo Ing are always music, to him, is not a matter of rank, class, or any other the same—the composer looks deep into his distinction. If is either good or bad; expressive or inexpressive; heart and soul and express* s what he finds if if is good and expressive, it is universal. Thus, to Lecuona, there. Naturally, the thing tlr.it he finds there there is nothing strange in the fact that his Rhapsodia Negra have and his heroic songs, set to the poems of Jose Marti, resound will be influenced by the strains that through some of the world's most dignified concert halls, at made him—by the flavor of his nationality. the same time that operetta-theaters mount his "Maria la 0," To my mind, the greatest figures to have "Lola Cruz," and "El Cafetal," while, still at the same time, come out of Latin America are Simon Bolivar his original melodies furnish the themes for American "hit" and Jose Marti. This last one who was en- songs like Always in My Heart, Say Si-Si, Jungle Drums, dowed with almost universal genius, was also The Breeze and I. a poet; and to a Cuban like myself, there is In addition to all this, Ernesto Lecuona is one of the few an added inspiration in finding a musical composers of authentic melodic genius. The Etude has asked setting for his poems that expresses the Cu- Mr. Lecuona to tell what it is that makes the music of Cuba ban soul. fact that I so charming, and to outline his own method of composition. Let me emphasize the am speaking now strictly of spiritual values, not of politics. The contacts one makes 1 dl throughout the world, the ideas one absorb : one’s 4 mentally will have their influence on Blarl ttm, Ultiilios conscious thoughts; but the deep, inner cur rents of basic personality will nonetheles O UNDERSTAND the music of Cuba, ERNESTO LECUONA k one must retain their national color. The fact that m first understand the music of Spain. And that earliest musical training was at the Nations is easy to understand because there is T — noth- tional expression what they Conservatory of not make m: are. Musical forms Havana does A simile ing to explain about it! The music of Spain is the least change work where these national traits ‘Cuban’ in color; the fact that later studie are the least my purest expression of the Spanish people. There is the fluenced hi! took place make from outside. On the other under Joaquin Nin in Paris does not music of the individual provinces hand, musical —of Castile, of forms are most it less Cuban' is be- flexible where there is a in color. My work is colored as it Andalusia, and all the others. To the ear of wide and easv the out- flow of outside influences. cause I am I, course, And and ! That, of where certain national because I am Cuban sider, all these melodies are marked by a certain sim- traits repeat is the same themselves, we find similarities for all who compose. ilarity but to the ear of the in musi — Spaniard, they are as cal form—quite regardless of geography or histarl different as the speech-accents of Boston and Charles- Certainly, there is little enough outside Tradition Analyzed ton. similarity that binds all contact to be The Spanish music is a traced among the The United emerg- Spaniards, thp Hungarians States will, perhaps, be slower in matter of rhythm and cadence. Rhythm is the chief § thiho ing Russians. Yet all of them have with one completely figure be- national expression. gvosv nr national musical Spanish music is written around strains and for that there no reason there ifa certain? is no one national tradition. Do this wealth of native folk-rhythms. The various melo- resemblance mistake or amongst them. There has me! I am not national love, dies fit the rhythmic patterns a ways speaking of which are of first im- much sympathy between "S national 0 Spanish and . loyalty, or devotion national ideals. All portance, because they are distinctly national. No to jus. bec, those are of proven America. N° other music sounds like Spanish music. uf ' high rank in North Why? For mzed similarity of fundamental g e deepes rhythmic nft ? ®. tradition—of the soil where the the sole reason that no other nation has exactly the Some of the 6 S most successful • 1 vast ‘Spanish’P 1Sh music W and that. in the United States, is so same background, history, temperament. Further than work of Moszkowski. is the ! f~ t it has not yet found one exponent. Foste is hpir,,.eJ u Copyright British Copyright secured d by all Americans, (Continued on Page 72- 1944 by Theodore Presser Co. 696 " FORWARD MARCH WITH MUSIC” DECEMBER 1944 697 THE ETUVl - " —a ^ . - — y

5 — 5 ' 4 ^— a 3 2 5

-7 * 1_ * — — . ‘ - -H 0 7 J b^= g3^ > b a ^ ' f > f- -# A b # * •>« 4 w ~r7. a? 1 . > *=^= :4?/-— r~^~ 1 >. Etrif= r 1 4 -ti 5 * A — A A_ j\ A A

5 4 \ 3 3 :=- 5 sostenut 9 2 ^2 5 > 5 4 5 & 5 ^ =-1^ —k--J- 7T-s—- ft—Fn 7 j ^bTbbr * bk # \ m ? tin sir rit.

7- i=EE“Tj *>• ._# -jh i r—^--q*=p-F ‘b-m =£ ggf=bi z_ *rfl— vL - # — /— — =yM— M—3=# 7— — m-~ — y " ^ z —

' A A A A—^ A ! /v_: A.

S'"" ~^\ fbSX = :::-. ,rH~ ^ ~1 =ga=^ *} * .- » y"~v /Vj ^ —B l i 3 m F m—s r # p — w J j # f ? J 7 b*-^-?-— * 1 7 7 \w— £/- U£^ ^ ^ i j H P2?. <7. #/ Fine

'-f- m *— - • W=' ^T- -4 A+-. r~n - (N — 4=$i e===zdj t f —bF— 1 ~~ L_ a i=f^=4==fc=±•y PW&-I * r j 5 W A -A A -A A A A i DECEMBER 19i& n — i ; —. — —— ——1 —— — — —

TRIO y-p™ . menuetto Trans . /"j tsc l - symphony kcjms , ^ # from THE OXF D Uler r-C-4-t ^ 4 V — 9-- r -A— - I r —^ k °? whjch rea]i d « V J-^-, - y * '1 p x x ^ , London J jn -mi * * f. ^ ? C 1 ~w~ ^ f k— , 0 5; — J In „„ heart set • ^ £ — -p 1788 at the hadhis ls c 0-r age of fifty-six Haydn was over Europe and , - _JP ~F ^ ^ known all • genius. It iscataloged — — —4 —^ • mamfestation ot h f t ile as the "n —FH H H was the richest period of his useful life, and his “Oxford Symphony” was a fine " y ' «F L-J • Ma \wtt0 (third movement) is i} four symp ^ a s in. icato second symphonic work and is considered one of the finest of his one hundred and j9 sta>

fz^ r, z • e Allegretto . J /L . . , a f 4 fiTj ^ • 2 • 0 1* * — p -r-crtf- -1fcq 9 m H— J , TyfcP r P-q Si.£ c # U • — 9 -• 9— - * J-- P- • f . d— f"1Ph til 4 9 * —nr“ 9 w t§J- * • — )—1 -T —1 u— V 2 "— \ 2 "1 L

• • 4 ,

2 . 1 jft • . .tel jf P- ; f4%- » Tr i U- P MfT r If ftl i==t t- r|i =M=^&= P Pi». .

j . fit 4• — —— -« ^—bj- p i - - * X |- jM — » * * 15 » • -i— i_ ^ r — 5*=r~ -5 r r r r r r r r r

4 ^ * i=zr I Nf4=r “H (jfffrf -1 = » 1 -•—2^*— : e^LlJ i=tfc 1 ns, ./ ~p * 9 r J — 1 J J^ J » f f *4^ 4 9 |f

Copyright MCMXLIV by Oliver Ditson Company 700 DECEMBER 1044 f —P 1 P 0 — < L x a p —S J 1 — 1 a• — —

COASTING — > One of University 0 ift--"!* 0—4 — P—m the most delightful pieces by the Cecil Burleigh, now at the of Wisconsin. P well-known American violinist and composer, He waS fZ n &s 1 * —T-* i ’ — ei SB _L _ _ li cated musically IP..,—B m 0 rri - ft — A- « - - — m V ii in Auer, and — J i Berlin and in Borowski, Leopold Rothwell. * # —0--ft ft rrft ft 1 •ft • ft ' Chicago u? . and includes among his teachers Witek, Griinberg.Sauret, Play this TTVT . 5 — -ft-ft—Sift light, lth XT/ — E ft-E K U-i 1-jj, * * TLft Oft Ttft #ft -S'l sure hands at the speed TTJ indicated. Grade 6. «r -* T* -5- 11 ii; CECIL BURLEIGH, disd b lj Tl 4 # ii . F* /'/’ 0p . 9 Merrily j4- m. m. J=ieo 1 ^ L -M gr — -» 1 ft ft ft ft ft ft > ft w i. 9 rr— —rm m —93 3 ff mft-ft- ft hi r. — r • —9" 1 hC5F C Ti E E kl i II i,ft ft n nr •f — 1 ' a m ^ 1 - ~ V / tf H _ it- » - 1--* _ 0--0 ft ft ft ii L .Uj J — ii — — i 9-- -» p E3 0~l W ft 0 r 1 -• w— J 0 < a ft ^1 i bJ Wwfji 3 1 s I oa =fc=H^— == = > ?nore dctatchcd increase :z broadly A . ft as atfirst p ^ ' • 0 • '>>> "" — ^ ]/ . ft & * ft v = —- j- ~ Jm > — r— j ft ff ft — — m m — wmmm- Nm-4- — — 0 * ft-f • 2 —r— — p r p i J —*-J 7 ' ' 2 i « • - VM/ =f\— «U4- J J « « X _ ) -fts % J J ^ m: f is p dctatchcd V rit. n. _ iir > >- ^ “ **- . f J 4m m m U ! Lft — « — — - •- l.:3 & - — — W r- -ft > 1 . C-— f a “3-ft - -ft—Ik-- L. - v v r- II 1 •_ ft m XT' W— -ii* 5 1; -~r~r— * —ft — ; ftf P * * 1 ’ #3 ti r it»3 >“ f 1 .. 1 > : 8“ ift- .E\ t t S 1r £ 1 = _C E E fti mr- r jBC; ^ z P _ ft— r ft \ -- p

— * - y sssss ncrcasc a=^- ==z4jL_— i _J ft i ft ft “ft ft a ? i .. ; i -pftfp^ji: 7 n • # •*-( [fh ^ ««« ft — ft* ", iP ii— ft •- cT -ft- -ft- ft- ft- i | i ^ 1 —

702 British Copyright secured THE etude December i9-u 70S « i p «

AVIATOR f . , LITTLE ROBERT MARCH A,HELLARD

Tempo di Marcia m. m. J = 112

-P'f'P

O LITTLE TOWN OF BETHLEHEM The w 01 (is of this f imous Christmas hymn were written by Bishop Phillips Brooks in Philadelphia in 1868, a f ter a visit to the Holy Land ; and the music by a Philadelphia organist, 5^ Lewis H. Redner. In this arrangement Mr. Kohlmann has introduced Christmas chime effects which, if per- ^2 4 — formed with the damper pedal, may be 0 0 0 0 made more effective when blurred in this manner, as the natural harmonics of the instrument are freed. -0— : i — i.f—~r\ _ - AVT7 0 - rf -0 —0-0- & • f * . p l • ) T=f= 1 . . f Hemp-re staccato ra /p»- 0 0 4 4 # - 0*^-0? - — =*==3= • --g r L l— M -J w J- w -J P4 p

1 1 1 1 ^4 i 3 3 3 s , 2 4 — * ' 2 1 2 » f if E^E A~Q P ^ 0 =fc=B=r P 7- —=r*f9 \ Li— • i — j— ..[ TO“rlsi- t= * : c .) ^ — '-0 (i •* - -0 k — =: 1 : m—4 —'Sf. r f t rj) ffH 1 — a Ji— t> z * 1 1 H i H PhP cJ i i j L T

MOONLIGHT OYER NAZARETH Originally written for the organ, this composition in its piano transcription will be useful for Sunday School and Church pianists. Grade 3. ROLAND DIGGLE Andante Arr. by Rob Roy Peery a

fT'j. i A 12 i J A -9-. Sr. £ -> i 1 Pcd. simile a tempo

l " 3, 1 31 3 J m PI "cxx/ rit. J J tS*-. — — J3 f 3 2Z i £== il m— 4 4 | | ^ legato Jjj" Emfcpjl rall. PP -s- A M Am -9- b~E=h=m^f meg i £ ig| a l mm (9; _ i /0\ „ 3' 31 " 3 ^ 31 s^> 4 1 3 1 ! ^+431 Or ref #5# i rg-r r J7 j3 «.— — m zx: = £ £ If!

5 bi e ?1 3 £ 7 i T * ^ % m 8 PP rfF2 rit. sostenuto 4-1 tZ\o m 3 ^3 o i 1 3 ® o

Copyright 1942 by Theodore Presser Co. British Copyright secured December 1944 707 JESUS POOR LITTLE Traditional Negro Sn.Va , PROCESSION OP THE MAGI Ual Moderate* lamentoso / Arr. by Clarence Came ' m ron Whit nvn sostenuto r 7 'P t ? e

)

Pad. 84

Copyright 4942 by The John Church Company 708 ^orwithAl) Copyr1 1 Copyright Internationa] ^ 1942 by Theodore Presser Co. British Copyright secured THE ETUDE °ECBMSPR 1944 709 m BADINAGE CARL Allegretto VIOLIN

PIANO

•tofyright MCMXIVby Oliver Ditson Company 71# secured International Copyright thx btvbi DECEMBER 1944 711 _ — « — — —

JOY TO THE WORLD Watts Isaac PRIMO G. F. HANDEL Moderato Arr. by Ada Richter

8 3 ; ~ lY- 5 4 i 4 — r ___ m ^ 73 — [T* A 1 m • a -Yy— M — H-Y m ^ es w www — & & heav’n and - tuire na sing, And- h eav’n, an d heav’n, and na - turtk sin s-

n —— * * i » ‘ « —& & #=d M -J —J cl « * ±=J m /G JOLLY OLD SAINT NICHOLAS PRIMO Arr. by Ada Richter Moderate 4 ) 3 » 2 1 ~l t f

Dl-1 old Samt Ni eh-o - las>> Le an yc>ur e ar t lis way! D

British Copyright secured. THE ETUDE Grade 1. MY SNOW MAN

5 2 1 i £

close be - side, no mat - ter, what I say; I gmess he thinks be cause we play all 1 seems to say, “Come on, lets play some more; ’ He real - ly is so well - be-haved, my t * ? i t £ £ £

f 1 -^2 3 1 Fine i i m m day the sum-mer througdi, That he should come to school with me. and I think he should, don’t your teach-er should a - gree To let me bring-him to our school,and I think I will, you see! _Q_ £ &- $ £ £ 2 4

Copyright 1943 by Theodore Presser Co 714 secured British Copyright secured British Copyright Copyright 1942 by Theodore Presser Co. etups the December 1944 715 the youth of the little Franz was one of Germany's Century-Old privation. Of music, for which he had A GOODNIGHT SONG talent, his practical-minded father would have none. So the boy was Offering to Peace obliged to sit hazel wearily at his weaving stool, day by day, wood until evening should come, when he would from Page 695) set out, secretly, to the home of 0Continued the village schoolmaster, Andreas Peter- New lechner, who instructed him in the art those who do not know, I the boy had chosen, as well n So for as in the as the story was told ordinary school subjects. of its birth by Felix Gruber, That he might practice f me in Salzburg, at home, Franz W facts stuck little of the composer. The as blocks of wood into the cracks grands'on EAR APPEAL attested the in the walls , are also by of his room, and on these ted by him of his grandfather, the (as though they were keys) he practiced Zned statement of which, yellowed and his finger exercises. Suddenly there came original copy years of folding, I held in an accident which entirely changed the creased with for Jesse French Pianos the elegant script father’s attitude. The village L hands. There, in teacher be- Gruber, I read: came ill and there was no one at hand of Franz to play the organ in the church service. for the Writing of Daringly, the 12-year-old Franz jumped Authentic Occasion Song, “Silent Night, Holy to the organ bench and played the service the Christmas so well that he attracted the attention Night.” 24 of the year 1818 when of every one in the village and became It was on Dec. assistant pastor of the the hero of the day. Josef Mohr, then Nicholas’s parish As a result, the ambition of the father newly established St. to Franz became so lively that he at once paid out church in Oberndorf, handed as much as five florins for a spinet for Gruber, who was attending to the duties was at the same time a his son. Franz was now allowed to leave of organist (and the weaver’s stool and study for the vo- schoolmaster in Arnsdorf) a poem, with for it suitable cation of teacher. He continued his mu- the request that he write a sic study later in Burghausen until 1807, melody arranged for two solo voices, and there it was that he received the chorus, and a guitar accompaniment. On professional training necessary to secure that very same evening the latter, in his teacher’s certificate. In 1807 he took fulfillment of this request made to him up his duties at Arnsdorf, and in 1816 as a music expert, handed to the pastor added to these the post of organist at his simple composition, which was there- Oberndorf, a hamlet just two miles upon immediately performed on that holy away, but continued to live in Arnsdorf. night of Christmas Eve and received with * * * all acclaim. As this Christmas song has come into the Tyrol through the well- “Silent Night” is often regarded as a known Zillerthaler, and since it has also folk-song and has indeed shared the joys appeared in a somewhat altered form and sorrows of such a composition. in a collection of songs in Leipzig, the Among the sorrows was the fact that, composer has the honor to dare to place for a long time, no one seemed to know beside it the original. or care who wrote it. It wandered, as FRANZ GRUBER, Peterlechner has said, “without witness Town Parish Choir Director and of birthplace or homeland.” It became Organist. known as a “folk-song from the Ziller- Hallein, the 30th December, 1854. thal.” In Germany, for a long time, it was thought that Michael Haydn was the Dr. William Braid White analyzes the tone of a Jesse French first real Felix Gruber possesses, also, the porce- creator of the melody. The Piano. Retained by French as a special consultant, Dr. White lain inkwell into which Franz Gruber research into the origin of the song be- is generally considered the foremost scientist in the piano field. dipped his quill pen when, in 1818, he gan in 1854. At that time the royal court From his laboratory in Chicago have come many notable dis- wrote “Silent Night”; his grandfather’s musicians in Berlin sent an inquiry to coveries. He is author of standard texts on piano construction, desk; his record book of all his writings, St. Peter’s in Salzburg asking whether tuning and servicing, and has trained leading technicians. in which were set down, methodically, perhaps the manuscript of the “Christ- the title and date of each, and the com- mas Song—‘Silent Night’—by Michael poser’s own pen copy of “Silent Night,” Haydn” might be there. the oldest knowm copy extant, made in Accidentally this inquiry came to the J. es— the new Jesse French Pianos 1836. attention of Felix Gruber, the youngest j of the composer, who was serving The original manuscript is no longer son will sound better than ever. Important scale boy at St. Peter’s, and he knew D.C.alA in existence. The grandson has in his as choir answer. He knew his father, who had and tonal improvements have been developed ' Possession, however, the original “parts,” the to be as often related the circumstances, Franz Gruber arranged them for by French technicians, working with Dr. William Braid White, § the composer. As his father was still liv- 4 voices and instruments. He has also the ing, the inquiry from Berlin was sent on guitar used by his grandfather at the foremost piano authority. From the moment you to him. And so at once Franz Gruber first performance—a perfectly preserved drew up the statement quoted. hear the ear-caressing tones of this new French mstrument, with a long green ribbon As regards the alterations in the mel- shoulder strap. ody of which Franz Gruber speaks, these Piano, you’ll want one. And when you see the Rev. Josef Mohr, the poet whose verses doubtless came about because the song Franz designs, created by Alfons Bach, you’ll Gruber set to music, was bom in was so long and so often written down distinctive new Salzburg, print for the son of - Franz and Anna or sung by ear. It appeared in is that’s exactly right Mohr-, know that here, at last, the piano military people. On account of his the first time in 1840. That the song splendid so rapid an accep- voice he was admitted as a boy received so wide and for your home. Available soon—ask your piano dealer. to the probably to two things—to church ' school. He studied the- tance is due jfiogy folk-song character, and in 1817 became assistant pas- its simplicity and oi sound, to the in Oberndorf. Between him and the and, astonishing as it may organ in the little church eacher and organist, Franz Gruber, fact that the here was broken. The organ soon sprang up a fervent friend- at Oberndorf ship. builder from the Zillerthal, who hap- Gruber be repairing it on that Christ- was the third son of poor linen pened to struck by the beauty of Reavers, Josef and Anna Gruber, who mas Eve, was ned carried the melody home in a low wooden weaving house in the air, and Copyright 1943 by Theodore Presser Co. in Upper Austria. The profits with him. 716 secured of their Page 727) British Copyright establishment were small and ( Continued on ETUDE THE MUSIC” 717 December. 1944 "FORWARD MARCH WITH 3 — i t

cance, musically and dramatically. He Flexibility masters the rhythm, the words, the ^atkiortA | melody. He must know these in his mind Gifts That Will Bring ' before he attempts to sing them. The Voice in Vocal Work Questions I I next step is to place these elements into Lasting Pleasure his throat as a unified whole. The men- j

( Announcing Continued jrom Page 689) tal observations he has made now come *Rs!!wsen i PORTRAITS to light in tonal combinations. This is c° ".«?!:* pianos | ^Answered lij the time for him to apply his flexibility UR. NICHOLAS DflUTY with expert and reliable musicians, that of approach, in determining exactly the preparation needed for every part of the he really possesses the voice necessary for musicians questions will be answered in THE ! No ETUDE unless accompanied of this purely vocal by she full nam- a career.eer. Next,in ext, helie must discipline thatuiau o«“s.song. uuiBut—uuucnone address of the ,natures. Only smt.als, : and or pseudonym given, ; :' will be published. HARVARD r : through a thorough study of sound preparation can help him to project the

- r> o' 4 ,— u ^ 4- full c cttt i fr q n r> o of tho cnn nnlocc "ho ic I $ habits of breath control and breath sup- full significance of the song unless he is 495 port. Those two steps, I believe, are the fully aware of its emotional and dra- only ones in the entire scope of vocal matic implications. The ultimate per- study that may be stated as necessary formance of the song is built on three LOUIS with a Tight, Unresonant Tone large choir The Singer and his singing of the tenor part. Hi and invariable. Everything else—methods separate levels—emotional interpretation was a strongly built, muscular, rather short but of technical which rests upon a firm foundation of Q. My difficulty is tightness in the throat Dictionary development, exercises, prob- LUPAS good-looking man, with a short, thick neck and lack of resonance even when speaking. lems of production, and the like—are vocal security which, in its turn, rests and a head set close down to his shoulders—some- Can you advise me how to correct this? Would what individual upon a sound groundwork of natural, similar to the build of Caruso. Such a and vary with each throat. study of the Italian language with its oven- the man’s voice is usually resonant and strong, per- Only voice quality and breathing habits unforced tone quality and correct breath throat vowels and head tones help?—J. B. haps because the vocal cords are just as strong support. are fixed. The student can do nothing to as the rest of his body and the whole vocal The singing tone is produced by the ac- promote the quality of his voice, “The student must never sing for too A. apparatus is compact and close to MUSIC which is, the resonat- OF of the breath upon the vocal bands. In long Louis I. upas' portraits have tion ing apparatus. This man was one of the prin- of course, inborn. His work in this regard a period of time. It is tempting to a passage through the mouth, the tone its is cipal tenors in a well-known grand opera com- must center itself on doing nothing to work straight through an hour or two, depth and sensitivity that reinforced by the resonance of the bones and have pany with which I was associated at the time. the mouth and nose. If force, push, or injure this inborn but it is harmful to the throat. It is cavities of any tight- He sang such quality! endeared them both to the living roles as Faust, Don Jose, and even ness or stiffness occurs in the external or the the As to breathing, the basis lies in strong extremely helpful, especially during the terribly taxing role of Florestan in Beetho- Learn more about these pianos subjects and to their internal muscles of the throat, the palatal arch, j admirers. ven's “Fidelio.” abdominal support, early stages of His voice was high, brilliant, that accompanied by dia- vocal study, to practice the jaw, the tongue, or the lips, both the nat- appeal lo children — about Fine and clear and he never seemed to tire. phragmatic control. under one’s teacher’s reproductions, from the charcoal good tone quality and the resonance Well-produced tone supervision. Se- urally are 2. You thejr compact size, attractive case and crayon originals. have been training your Italian pupil curity ,re available of interfered with. You must find out by obser- must rest upon a strong column of breath and good habits result when not for two long years. During that period you design, beauty and volume of portraits of the following masters: vation and criticism, either alone or with the that is sent upward from the diaphragm. only the lesson but the daily practice have been attempting to remedy any defects in tone, and responsive touch. help of a teacher, just where these inter- New BACH his production, and you have been observing Chest breathing is harmful. period is conducted under control of MENUHIN ferences take place and correct them. Singing pianos are now available to musi- with the utmost care his development, both “After the student has learned to allow someone who can detect BEETHOVEN MOZART before a large mirror is the usual method cians, music teachers, and correct musical and mental. You know him better than and music adopted. Do not be slipshod, careless, or easily the natural quality of his voice to assert mistakes. Where that is not possible, BRAHMS PADEREWSKI anybody else does. Besides, you are a trained students, satisfied, but practice your tones over and CHOPIN musician and a competent write fQR £R££ itself and has learned to support it by however, the student can apply his own RACHMANINOFf singing teacher; why over again until they become freer, firmer, not Booklets show- correct breath, GERSHWIN SIBELIUS trust your own judgment! In the final I it is my belief that he control by acquiring flexibility of ap- finer, and fuller. analysis this is what you will have to do. ' >ng Gulbransen helps himself KREISLER 2. As you point out, the Italian language most by becoming as flexi- proach.” TCHAIKOVSKY if you are going to satisfy 1 both him and your- -Apel ~ new charming uses many more open vowels and fewer modi- by 'Willi : ble as possible in his vocal habits. By MACDOWELL TOSCANINI self. fied ones than German. French, or English. jQi . traditionally- ‘flexible’ I mean a great deal more than WAGNER 3. The range of voice you mention in your styled Grands You must learn to sing unconstrained vowel the letter is quite an extraordinary one. I know of musical amateur as well as the student and scholar will wel- practicing of coloratura exercises! I Ob/nfmi hit' onfii from sounds in every language or you will never The — and Consoles. no classical composition which demands such mean flexibility, not only be able to call yourself a good artist. accurate infor- of voice, but of a range from a single voice, not even in the come this new dictionary of music which provides 3. It may be that some nasal catarrh causes approach. Every new song, every new role, music of the operas of Mozart and Richard GULBRANSEN COMPANY the interference with your production of mation on all music subjects. It is clear, direct, and explicit, and every new aria has its The World of Music Strauss, and both of these composers wrote for own problems, and gSCHI which you complain. If this is so, have an 816 N. Kedzie, Dept. E-12, Chicago 51 a long-ranged voice. The usual, practical range NKW YORK 1/ < to permit the easy reference that makes a a flexible approach enables the singer to LEVKLAND 14 examination by a competent physician who the material is arranged 3 l‘ 4 3rd S I r«‘t* 43-45 The Arcade is about two octaves, with a few notes over for master (Continued from Page will suggest treatment leading to an ameliora- these never-ending new problems 676) If all valuable. The Harvard Dictionary of Music has been NKW OKI. F ANS | 2 I good measure. the tones within this range dictionary most os \\<;kkks 55 tion and an eventual cure of this condition. In their own individual way. For example, 130 CaromltdtM St. 700 W. 7th Street are good and comfortably produced, if the FRANKIE CARLE prepared by an internationally known musicologist, Willi Apel '/imeiical Oufrfau/oiy when I was learning singer's scale is smooth and he can form vowels the role of Violetta, he was associated with Mi-. Stokowski SUy/caA in and consonants into words on them all, he erf Mane jVtiirfti/y in ‘La Traviata,’ my teacher Training flu- Hoy’s Voice During the Period asked me preparing some of the stage works for should be well satisfied. how I was going of Adolescence to prepare my voice for the Philadelphia Orchestra and the the various arias. the collaboration oj At that time, I thought Philadelphia Grand Opera Company. Q. I would like to know from your own ex- A Singer Who Neetfc a Change of Climate With that any good warming up exercises perience and your knowledge of the work of others, whether the actual development of the Q. I am tliirty-two years old, J live in New would help me. But I found out that I Other outstanding scholars including Manfred F. Bukofzer, Yuen COMPETITIONS male voice has ever been attempted during the York, and I have been studying singing, not was wrong! Violetta requires not one AN adolescent period (the changeof voice or break) very systematically, for the last four years, Ren Chao, Alfred Einstein, Dom Anselm Hughes, Otto Kinkeldey, voice but three a lyric soprano, AWARD of one hundred dollars and the training continued through the period At the present time my health is poor and I — a col- addition, for a setting of the Forty-eighth of change, with Curt Sachs, Nicolas Slonimsky, and Harold Spivacke. In oratura soprano, and, in the final act Psalm, successful results. A young have decided to leave the city for a milder, rfnwtcte ute/et&ed to be written in Italian boy fourteen drier climate in the country, taking care especially, a dramatic four-part harmony for years old, and intensely of following are authors of special articles: Putnam Aldrich, Richard f4S soprano. interested the Hi PUYS THIM congregational singing, is offered in singing, was brought to me in my health and devoting all my time to music. “A flexible approach by Mon- implies, first, the mouth March, 1939. 1 advised him to wait until the Financially I will be restricted. Where shall Angel!, Gilbert Chase, Archibald T. Davison, Dorothea Doig, MISSOURI College. The contest, open to all S. WALTZ (S.i„ s A™.*™*) ability to analyze voice became I I a place where there is a song or a role to composers, will run more stable, but he insisted upon go? How can find HINDUSTAN until February 28, Everett B. Helm, Lloyd Hibberd, John Tasker its basic elements, beginning at once. I told him that I was willing a musical environment and where the cost of Donald J. Grout, and, in second place, 1945, and full particulars may be DOWN BY THE OLD MILL STREAM secured' to train him as an experiment, as long as he living would not be too high? A timely sug- application to the exact preparation by addressing Thomas H. Howard, G. Donald Harrison, Ernest La Prade, Hugo Leichtentritt, ON THE ALAMO Hamilton, Mon- followed my instructions implicitly. He has had gestion would be a .great help.—L. B. that it requires. It would mouth College, Monmouth, Illinois. a one-hour I provide lit- lesson per years. Mishkin, ONE LOVE (Belongs to Somebody Else) week for two His A. Tillman Merritt, Philip Lieson Miller, Henry G. Walter tle discipline to voice is still light, can hope to succeed without a WITH NO MAN OF MY OWN the dramatic-soprano of course, but it is smooth A. No singer from the Schrade. demands of Violetta to A CONTEST for the selection of an lowest to the highest tone, without healthy body and great physical strength. You Piston, and Leo keep on practic- cmy Published American student song, sign of break or unevenness. He sings with are wise, then, to leave the city for a milder, separately in sheet /n ing the fiorituri that are intended to pro- music form. necessary to good tone quality climate if you can arrange to do so. First Each number . . *§U mote the and effortless ease. The drier the coloratura ideal of solidarity among the parts of the role! The lower tones are becoming fuller and the whole you should consult your physician, the doctor student body of the Western Hemisphere, Buy them it Any lyric voice is you. music store or direct from portions of the part balanced and gaining strength. He who, through long association with knows demand prac- is announced by the Pan American CFrom A to Zymbel tice Union PROTECT SOUR pr HOME FROM vocalizes in a range almost octaves from your physical and mental make-up, and the of pure tone. The coloratura portions The competition, of four Forster Music which will be divided A below low bass which is afflicting you. He will be able Publisher, Inc. need exercises C to the F above high G. Your ailment 216 South Web*sh in agility (scales sung first into two stages, the first valued cli- Harvard Dictionary oj Music includes definitions of all music Avenue, Chicego 4, Illinois national and the opinion will be greatly appreciated, to specify with some certainty just what The slowly and then second TUBERCULOSIS more and more rapidly; international in scope, will C. E. McV. mate would give you the greatest opportunity be con- • $ — terms and pertinent information on all music subjects. It uses leaps of intervals; arpeggios; ducted with the cooperation to regain strength and get back to normal. exercises of the Min- at. eu m .u-iirs. - a. tsumcm ister A. That in some of the smaller cities nowadays, in staccato, and so forth. and Commissioners of trying period in the boy’s life, usually Even musical illustrations to a greater extent than any other music dic- The dramatic Education of called all the “change of voice,” during which the especially in those that have a college or a MAR1MBISTS— portions require American Republics. The closing XYLOPHONISTS preparation in such male voice changes university, an efficient voice teacher is to be tionary. There are extended articles on topics such as Acoustics, from a soprano or an alto . Four date is February 28, 1945, and Christmas Carols and "O Holy Night" exeicises as will support the voice full details into a tenor or a found. With your physician s help, select one with may be secured bass, usually occupies three or Music, Gregorian gi by writing to the Pan SPECIAL ETUDE CHRISTMAS our years. and write to the head of the Atonality, Composition, Conducting, Dance Fugue, Arranged for Four Mallets eater resistance for heavier singing During this period it is dangerous of these cities American Union, Washington o earnestly hope a slow 6, D. C. subject the boy’s voice to any strain because college for details. We most Notation, All lor One Dollar Postpaid scale on whole notes; held tones; GIFT PRICES Chant, Harmonic Analysis, Instruments, Opera, Phono- he laryngeal muscles and are that by this method you will be able to regain slow argeggios, and the vocal cords so on) . I Economical your musical educa- EVAN A. HALLMAN use the role THE SIXTEENTH BIENNTAT Appropriate—Convenient— engthening and strengthening and the boy has your health and continue graph and Recorded Music, Printing of Music, Radio Broadcasting, of Violetta little too great an expenditure of 1052 Spruce St. as an example. Every song YOUNG ARTISTS control of his voice. It is rather deep at tion without Reading. Pa. AUDITIONS of the One 1-year gift sub $2.50 or aria National one moment but money. Twelve-tone System, etc., as well as on the music of some fifty must be approached in the same Federation of Music Clubs at times of stress it breaks Two 1-year gift subs 0 a shrill and way. Its which carry awards . laughable treble. However, this racial distinctive feature is the full demands must be minutely an- of $1000 each in not different national and groups. A Ia 2.00 invariably the case. In a few fortunate alyzed, 0 V10 ^lin, and voice Each additional gift sub and each one - classifications, y uths, must be prepared i. 5j will the k NeW period of change is very short, and bibliography of books and periodical literature at the end of each WM. S. HAYNES COMPANY individually. Vork Cit>' in the spring some cases TRAIN That is what I mean by mle c" A beautiful three-color gift card will be almost entirely absent. This oc- of 1945. State auditions bibliographies nearly complete than those in any flexibility of musical will begin around » the boys who are extraordinarly de- article — more Flutes of Distinction approach. 94S sent to each recipient with the best wishes e oped With district auditions) physically, whose boyish voices have “The demands of a song tor i c e other music dictionary in any language. $6.00 STERLING come to light which the State of the n deePer than SILVER—GOLD—PLATINUM winners are eligible donor. . usual—boys who sang a nat- through careful following. alto —and slow! The * f° r —analysis. exact date of the National’ example. This may be the case Catalog on request ltn Results GUARANTEED! The student begins by reading d IOnS W U DON'T DELAY avoid disappointment your Italian boy. If this is so, and he fj vocal organs— be you I the new announced later. All — are We build, strengthen the selection t,detailsf -i may u extremely fortunate. not with singing lessons—but by sound.. 108 Massachusetts Avenue, Boston, through as a whole be secured from the which may be the lot of late arrivals be- Mass. and ac- National 11 ask quainting Chairman, Miss *or Personal experience. Here is one HARVARD UNIVERSITY PRESS himself with its basic Ruth M. Ferry cause exam , signifi- Edgewood 24 of paper shortage. Rnew well and was associated with Avenue, New Haven 11 a a V , Conn. ? ° no appreciable period of transi- 718 oetween* Cambridge 38 Massachusetts "FORWARD MARCH WITH his singing of the alto part in a MUSIC” ETUDE THE 719 DECEMBER, 1944 "FORWARD MARCH WITH MUSIC” — . — .

divisions are great; in color, these two be- The Baroque Style nicely contrasted, the relationship tween great and swell being comparable Stein- to that between a brightly-voiced Exemplified way grand piano and a brilliant harpsi- chord. The unenclosed positiv division repre- ( Continued from Page 691) sents the most obvious departure from traditional American design. Between the ~y$ndu/ered Ly HENRY S. FRY, MllS. DoC. familiar choir organ with its preponder- this chorus forms the backbone of the ance of dull mezzo-piano unison tone, its entire ensemble. The idea that a diapason negligible mutations and inevitable clari- chorus necessarily lacks color is another No questions will be answered in THE ETUDE unless accompanied which but by the full net, and this spiky chorus in and address of the inquirer. Only initials, popular misconception. It is true that a name or pseudonym given, will be pub- one out of five stops is of 8' pitch, there Ittj 4^. P. 4/opkini Naturally, in fairness to ail friends and advertisers, chorus of ponderous, hooting, phonon lished. we can express no opinions is little comparison. In point of volume as to the relative qualities of various organs. diapasons is a dreary, colorless sound, appears many times in the Century cataloque this positiv can hold its own against the Each time you see this name you and that many a congregation has heard may be sure piece is melodic, swell, and to the great it adds both that the is well written and nothing else. But principals puts across its pedagogic are by na- purpose in a' wav volume and color. Since the scale of the that children like. The list ture brighter than diapasons, and the contains a few of »s a surprise .to many who don’t keep up with the Hopkins pieces in Century Edition larger than that of . - Century pipework is generally Hke Edition. With so many of her works in ear that cannot find color in this chorus all Century pieces, they are 15c a copy. higher priced editions they had no idea Miss either great or swell, the tone is fuller, must, to coin a word, be color deaf. (With Words to Sing if you Like) Richter was so well represented in the Century the har- catalogue. denser, and more flutelike; but 2740 School Pictures, C-l (Rhythmic Leeatol having installed 2742 An Old Moss Covered Church, c-L. ... Q. We are contemplating imitative orchestral quality. The Hohl Flute This gives monic development of the individual us a chance to tell you again that (Double Notes) residence a small pipe organ, specifi- and Clarabella 2746 A Little French Doll, in our of the Choir organ are too at 15c a copy Century is one of the world's Swell Organ stops is sufficient to make the voice lead- C-l, (Melodic Lecato) Big Bass Fiddle. We need some advice in similar in quality 2750 C-l. . (Left cations enclosed. to be included in the great bargains . Hand Melodv . . second only to War Bonds 2747 Watching the Soldiers, « W clear to insure a satisfactory C-l . is the advantage ing and . . matters. What of same manual. The Cor Anglais should be and Stamps. If there is one stop invariably found (Forearm Development) several a 8' electric action over electro-pneumatic? bell-type reed. The 8' blend. The koppelflote has a hollow, 2974 Old Cathedral, G-l (Double Notes) direct Dolce cannot be prop- (Tliesa Piano Pieces Have Words To Sing) in swell organs and usually mediocre 2975 Shoogy Shoo C-l (Double Notes Which would he more serviceable, a Lieblch erly borrowed from the Swell Bourdon as 3452 Ind'an Boy, liquid quality throughout its register; 2978 My New Saxaphone. Em-2 (Alternating Hands) and boring, it is C-l, (L Hand Melodv) both 16' on the the 3158 All Aboard, a stopped flute of some 2979 Wynkum and Bfynkum, Gedeckt or the Bourdon, stops are of different quality. In the G-l (Leirato) but unlike a doppel flute, which was com- F-l. . Melodic Leeatb 3459 When Birthday 29M kl oe ! 1 not found a Bourdon Swell organ My Comes, C-i. . . ! .77. .. : sort. The (Pinter Technique) organ ? We have the Contra Viole would be more example in question is a metal T ' Swell (Finger Technique) 2984 7?LirLittle Injun? VBrave. Am-1 mon a generation ago, it is neither bul- did more than growl in the lower practical if it was effective throughout, in- 3458 The Snowflake’s Story, C-G-2 rohrflote with inverted chimneys, and (Forearm Development! which (Alternating 2985 In Old the bass. Is there another stopped stead of only to Tenor It Hands) bous nor murky. Mathematically there An World Village, i 1 octave of C. might, if car- 3169 Pussy Willow, is an exceedingly beautiful stop. C-2. (Finger Technique) The tone (Rhythmic LeKato) pipe that could be unified to give the Ge- ried out, be duplexed to the Pedal organ 3166 Bounce the Ball, C-2, (Forearm Development) are in this division twenty-six possible 2996 Como and Play, G-l (Rhythmic 3451 Hikmg, has a limpid, liquid quality, together Leiratol still speak distinctly in the lower for a 16' stop of string character. The 16' C-2... (Finger Staccato) 3000 My Little Goldfish. C-l, (Lit Hand Allfod? deckt, and 3159 iolly Santa Claus, combinations of two or more stops. Most 3001 The Captains March. would G-2 (Legato) with enough harmonic development to C-l (Time Study) octave? On the Great organ which extension of the Open Diapason to the Pedal 3160 Guess Who, i-2 (Legato) 3003 My Pretty Cello. C-l...(L,tt Hand 3457 of these are musically significant, and Melody the most service and cost the least, a will be expensive, as the necessity is present 3004 The Garden Waltz, 1 give give it definition, clarity, and just c ..( Ki: ; hrnlo Legato) 3453 On the Merry a 3007 second Open Diapason, of including Go Round, C-2 (Legato) The Bio Soldiers. C-i - 73 pipes, a open pipes of sixteen-foot di- 3449 provide a rich tonal palette for any 'oubl0 Notes) Gamba of The Dream of Little Boy Blue, C-2 suggestion of percussive attack. 3039 Skip and Dance, F-l (Ith, a In no thmio Legato) or a Viole d'orchestre of 73 pipes? Could the mension, which is expensive. We note that (Finger Technique) organist who takes registration seriously. 3046 Little Boy Blue, C-l... (Lom. Hand Melody 3455 Biddle, sense a quintadena, it arranged to undulate with the Pedal Bourdon is an extension of the G-2 (Finger Technique) has, when con- 8«n'f.Ci»U.. C-l ....!, i" rToCtaffi Unda Maris be 3456 The Robin’s Song, An intelligent layman, on first hearing 3051IS?? My Little Pet, G-2. .. (Finger Technique) C-2 I >ou bio Notes) the Clarabella or should it be replaced by Melodia. Is latter to have a stopped bass? 3163 The Imp in the trasted with the great bourdon, an appre- 30o4 Robin Red Clock, G-2 Breast. F-2. . . Fiju.-r this positiv, its Technique) or placed on (Finger remarked on dramatic 3058 !•' Voix Celeste on the Swell Technique) Fairy Wish, ( a 1 ciable G-2 1 • ;r«.*r Staccato) 3167 The School Bell twelfth-sounding overtone. And 3061 Christmas i 1 G-2. ... (Finger Technique) Is Here, i the Q. am organist a quality. Here have been recaptured a F-2. t Techniaue) the Swell organ to work with Gedeckt? of suburban church and 3165 A ' r,Plane Ride, 3101 Little D-2. Red . (Alternating Hands) those who look for provocation to swoon, Skin. F-l. '(A ,in«lS 16' 4’ couplers have been asked to give a concert the 3454 The Playful Echo, Is there any need for , 8\ and for C-2 (Staccato) series of timbres which have been in- 3 09 Moonbeams C-l Notes) 3460 The Woodpecker, organ I like C-2 (Staccato) will find that 3 I Country. manuals as each stop is unified at fund. would to give it in the when used with the trem- J"

the first place, hausting, and after a while the mind is stimulates the melody? In for an idea The Making of a Concert The Violinist’s apt to wander; so don’t do too much of I am fired with enthusiasm love that it at any one time. Five minutes, three a description, an emotion. I Violinist express it in Forum or four times a day, is quite enough time idea so well that I wish to Violin then, my Questions to it. In many cases, (Continued from devote to my own way. Page 688 ) I see that If you follow these suggestions care- next step is to think of a title. sud- in pursuit of ‘the light that never ( Continued from Page 690) fully for a month or two, I think you will title before me, like a vision, and was by that land or sea.’ find that there are no more “heebie- denly I find within me a melody songs, “Such a child needs guidance jeebies" in your bow when you are play- expresses that title. In the case of rather touch than discipline. Tire driving WhlAwereJ by HAROLD on the bow is not quite sensitive ing in public. Let me know what happens I generally write my own words, though force is the BERKLEY enough. love of beauty, the craving The scratches will soon disap- —I shall be glad to hear from you again. not always, of course. I have already for perfection pear if you are in the presentation of some questions will be answered in THE ETUDE unless seeking for a fine, round mentioned my Marti songs; I have also musical mas- Ho accompanied by the full name inquirer. Only quality of tone. terpiece. The technical and address of the initials, or pseudonym given, For the pianissimo tones, written five songs to the posms of Juana material should will be published. start with as possible, sixteen seconds to each bow. Ibarbourou, the incomparable Uruguayan as far be derived from the When you can do this work being studied. easily, add two The Alluring Music poetess, who is so beloved that she is more seconds and — so on until you can spoken of simply as ‘Juana de America!’ “Here is where wise guidance comes in hold a steady pianissimo Schools not playing. To let the strings tone for thirty of Cuba But when I write my own words, they for obviously the works chosen for study Summer down repeat- W., Virginia.—Among the better- edly is bad for the strings and for the violin. The ceaseless search for seconds. When you can do that, you are and must cover all phases of H. D. generally come last. It is the idea technique in schools of music in the It is not a bad idea pretty good! known summer East to let the strings down makers of But be very sure you are ( Continued from Page 696) fingering, bowing, phrasing, School. 130 Clare- a fifth or so perfection by the and so on. are the Juilliard Summer about once in six months; this drawing a pianissimo allows TONE, and not “About four years ago, I gave an or- But the mastery of such technique mont Avenue. New York City; the Yale Sum-: the top of the instrument to relax a the Baldwin is amply re- little and merely an indeterminate and rather but he is School, Norfolk, Conn.; and the Chautau- “frees up” the tone. neg- more representative of the chestral concert in the National Theatre should, to my mind, be objective: mer warded in its use by the ligible it School of Music. Chautauqua, N. Y. A fqw~ noise. South. MacDowell reflects no one Ameri- lead qua of Havana, at which I dedicated one should to the expressive playing of hold classes at their summer A Fair Price Later, as private teachers great artists of the present you feel you are gaining con- can strain, although he, too, is un- work of art, song to each of the Latin-American some the successful playing homes, but I am not suro that they combine A. C., trol, Florida.—One hundred and fifty dol- by one they play the long bows eight to twelve doubtedly a great and lecture courses with generation. One — American composer. countries. Since there are twenty-one of which is its own reward. class demonstrations lars is a fair price to pay for a John Juzek seconds to each bow with varied Victor Herbert is teaching. If you follow the advertise- violin. have chosen the Baldwin — dy- decidedly European in such sister republics, there had to be “To many this may seem like their He worked in Prague, and his instru- namics: perilous columns of The Etude and other music each bow crescendo; each bow quality. Louis Moreau Gottschalk, ment ments were imported into this country, up to touch rather also twenty-one new songs. I thought of these advice; but I do not believe in the early next spring, you will prob- by ear and by diminuendo; alternately com- magazines the outbreak of the war, by the Czecho-Slo- crescendo and a North American composer of great dis- that will interest countries, and evolved my twenty-one plete separation of technical mastery ably find an aiinouncement vakian Music Co., now the Metropolitan Music than by tradition. For while diminuendo, beginning on a Down bow; tinction, reveals no North American in- titles. At this point in the preparations, from artistic performance. you. Co. He was, and I hope still is, a very careful a crescendo and When tech- Baldwin respects tradition, diminuendo on each fluences at all! George Gershwin, workman who copied various makers, usually whom the Cuban press asked me for the pro- nique is studied as an end in itself, bow, and so on. This is most engrossing I knew it Progress at Twenty-two stating on the label of each violin which Baldwin does not rest on and admired greatly, represents gram of the forthcoming concert. So I becomes a drudgery, a material mechanical rou- G. Connecticut. You have cer- model he had followed in that particular in- to practice, and you can con- the ‘popular’ Miss D. f — old laurels. And so the rich rather than the ‘classic’ announced twenty-one titles al- tine that lead stance. tinue my — may only to mechanical tainly covered a good deal of ground in one He made instruments of various grades, to do it with benefit to your play- aspects of American thought. No, to my though not one note of any song had skill. Because of study; if you have acquired both ac- and they range in value from about $100 to tone has become more ing as long as you one can play music of year play the violin. mind, there is not facility, you are to be congratu- around $350. yet one American yet been written. But there were still seventh curacy and golden — the light, flexible When you are the grade, or ninth, or tenth, working on these long- composer who stands in lated. To make such rapid progress is not the same rela- ten day's before the concert, and the it does not follow bows, try to avoid that one has become usual when a person takes up the study of More about the Vibrato action more effortless. The a very common fault— tion to his country as Chopin, let us songs were ready when the great day an artist. violin at the age of twenty-two. that of allowing your first finger the Miss K. E. W.. Virginia.—Thank you for result is fine music more to move say, stood to his. Will there ever your left-hand finger be such came! “What is violin Don’t worry about your very nice letter I glad away from the stick as you playing anyway, but — am that the draw a Down a one? That is not for to pressure -you will gradually acquire the nec- “Vibrato" faithfully, more thrillingly me say! I can “As to ‘modernism,’ I can only say a combination of reflex article in the August issue was of bow. This finger is actions singled if you are always your tone-controlling only express my belief that essary nervous intensity help to you. You ask how you should go ever- the soundest, that exaggeration leads to confusion. out for special interpreted by an agent and must maintain attention from a multi- seeking lor it. Practice some sort of Anger about putting the vibrato to practical an alive con- truest music is use. the result, not of con- Musical forms will develop naturally. every day, being sure that the ac- increasing number of the tact with the stick whether If tude of other such actions that we exercise First of all, you should practice it on long you are play- scious ‘systems’ or consciously directed, ‘experiments’ -in com- they are forced or tion of each finger is and notes, seeing to it that you maintain a steady ing forte or pianissimo. exaggerated, they will acquire unconsciously, as needed, all world’s greatest artists. That it may do position, remember that there must be an alive finger but of deep and sure awareness not sound like music! and even throb in the tone. Then you should so, you must see that Which is under- through life? are playing rapidly or the knuckle is al- of personal pressure whether you practice it on notes of shorter and shorter and national significance. standable enough, because ways beside the stick music is the “A car is coming rapidly down slowly, forte or pianissimo. While you are length, until you are playing eighths a and never above it. “My the at own method of composing? To me, it results will not be very This slow natural expression of personal and na- street. You thinking about the 7noderato tempo. Here your job is to see that bow practice is rather ex- the jump out of the way and THE BALDWIN PIANO CO. melody always comes first! And what tional soul.” noticeable, but after a few months you will the vibrato flows evenly from one note to the ( Continued on Page 726) begin to do it subconsciously—and then you next. While you are doing this, you should be Cincinnati, Ohio will find your tone taking on more and more playing some slow pieces that really appeal roundness and vibrancy. to you. In these you should strive to imbue each tone with the same vibrato you are using “Mail*- in < izrchoslovakin” in the exercises. Gradually you will not be ©epenbabtlftp Mrs. D. S. M., Georgia.—The line “Made in satisfied with a tone that does not have this RARE VIOLINS Czechoslovakia” on the label of your violin vibrancy, and the production of it will be- Unnce 1874 §3>crbtng a Clientele think Now indicates at once that it is not a genuine come easier for you. While you have to ILLUSTRATED You Can of ©isscrumnating living Planers WE HAVE A NEW that the about vibrating on each note, you will not Realize Stradivariu : indicates further, it results; while CATALOGUE WHICH WILL BE SENT instrument is a “trade” violin worth between be satisfied ‘with the but after a SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. fifty and one hundred dollars. Possibly the it will become subconscious, and then your CATALOGS and LITERATURE on REQUEST FREE UPON REQUEST. violin follows pattern in general tone quality will improve rapidly. the Strad MANY BEAUTIFULLY TONED IN- Your Musical outline—which may be the reason that Stradi- Ambitions varius’ name was used on the label. A Technical Show-Piece UJifluim d*€ZiV~V&- andSon STRUMENTS LISTED FROM $50 TO N. S. S.. Pennsylvania.—The solo you are 207 South Wabash Ave.—Chicago 4, III. $25,000. An ExcrHf-nt Study Hook looking for is The Round of the Goblins, by PUBLISHERS OF "VIOLINS and VIOLINISTS” Bazzini. It is also called The Dance of the Miss P. CJ., California.—The book of studies America's only journal devqted to the violin Goblins, and Witch’s Dance. It is better known, :t3j that you are looking for is the “Seven Diverti- Specimen Copy 25 $— 12 issues for $2.50 & 1 n niusic gi eater I think, by its French title. La Ronde des FRANCIS DRAKE BALLARD soon as you are ready for them, opportunities—ready and waiting fur von n-t as menti” by Campagnoli. Each Divertimento is sSSSIBHSSSS ANNOUNCING EARLY PUBLICATION OF -Collector difficult solo indeed, and Licensed & Bonded Dealer in a different position, and remains in that Lutins. It is a very finished technic to do it justice. position. It is a splendid book of studies and requires a A LIMITED EDITION Rm. 408, 320 E. 42nd St., New York 17, N. Y. should be much more widely used. You can To modern ears, it is also rather old fashioned, Study show-piece that makes no in it is a technical Your Own Home obtain it from the publishers of The Etude. for “Hoto iflanp ^trabsi?” Under Master musical value. If Teachers pretense of having any you can afford the time and the large amount “<&uv heritage from tfje Jflaster” of money necessary to attend a Beginners' Books 50N5 Resident Conservatory, An important work of about 400 pages record- flUBU5T GEMUNDER 8/ then you have a wide choice of A Maker Named Thornes 53 W. 56TH ST.. NEW YORK Miss E. L. S.. North Carolina.—Without ing existing instruments with their stories and VIOLINS OLD & ,,™ mg ,,, knowing more of the child than you tell me, D. E. J., Illinois.—I can find no mention of NEW ^ 1 ^ U1VerMt> historical background containing over 100 il- Expert Repairing, Send for Catalog E Extension — it is named Thornes in any of the anteed means to rConservatory rather difficult for me to recommend a a violin maker the attainment of your highest offers you the sure, proven and guar- lustrations of genuine specimens of Stradivari's ( musical ambitions. beginner’s feel sure reference books, and it is possible that the book for her. However, I work. Expert, Authentic, written in fascinating that the w;as branded inside your violin by some you would obtain good results from name style. This Is first owner as a means of identification. YOUR Opportunity—Mail the Coupon book of the "Laoureux Method,” the previous PRICE PER COPY $20 VIOLIN PLAYERS ideal Courses for TODAY! "Primer Violin Appel- This, I am sorry to say, is a not uncommon Beginners and Advanced Students Method” by Samuel Basic Principals of Violin Playing baum. or the “Very First Violin Book” by Rob practice. The nearest name that I can find is by Carl Jaspan, 18 Short Lectures. Secrets of Violin Playing Revealed. Price S3. 50 tUd ntS an those Roy of Jakob Thoma, of Vienna. He was a wishing to take up the Study of Music under UNIVERSITy Peery. You can obtain all of these from that 1620— 14th St., N., St. Petersburg; Fla. a nH fi v c the most aimroved EXTENSION CONSERVATORY, became interested in making and authoritative methods will Dept A-459 the publishers of The Etude. After all, it is watchmaker who find our Students’ Courses ideally 1525 E. 53rd adapted to thei^needs. Street, Chicago, Illinois. after his daughter began to study the not so much what method is used as how it violins is violin. Between 1880 and 1892 he made some kable “ thdr sim licity and strated lessons used that counts. A talented child will thoroughness, leading and full information regarding course I FRASER FINE VIOLINS rudimentTnfudiments M?,tv h P from the first have markedtvith an^below make violins that were quite fair—for an amateur. BUY WAR BONDS AND of Music by easy progressive steps rapid progress in any of the modem to real proficiency and accomplishment are anxious to find out how much your Strictly hand-made. Enchanting tone of S arC D Piano, Teacher’s Normal methods if the teacher is conscientious and If you Pr fUSdy 'hustrated with Course it firm Flawless STAMPS FOR VICTORY - photographs from Harmony should - send to a wonderful power. workmanship. f life and w1t“Sed«: T| Piano, Student’s Course imaginative. violin is worth, you £ ’ mp°rtant °mt 50 Cornet Trumpet 207 South Wabash A delight to Iiandle. No other instrument P ’ that a thorough U C C 00 ~ — as Lewis & Son, understanding I such Wm. of proper Mus— Beginner s ^l technique rn D Kr ! t ! Advanced like it! Prieed at $300. Free folder. fs insured. H Public School Cornet Chicago. For a small fee, they will Mus—Advanced Voice Strings and Torrid Temperatures Avenue, ' Revoicing and Repairing Advanced Composition you a complete appraisal. Ear Choral Conducting give T ra i n i ng & Sight Miss B. J. cli- ndlvidual an —1 Singing K., California.—To live in a CHELSEA FRASER, Violin PIANO TEACHERS! d under the personal direction of highly History Clarinet Expert ’V . qualified teach- of Music mate 117 eep cl sely 111 where the temperature goes up to 2025 Stark Street Saginaw, ? touch with the student’s progress § Dance Band Arranging *o!s for Violin Making Michigan Jf by means of a very wonderful degrees must troublesome for a system of examination papers Name indeed be tools for violin throughout the course. violinist. J. R., Texas.—Since the war. GLAMORIZE YOUR TEACHING • Adult I understand that your or Juvenile. can easily to obtain, strings iking have been very difficult Street No do not stay in tune, but I do not quite Learn the secret of playing: and teaching: popular You can have this invaluable will have trouble in get- training right in your own know d I am afraid you Henning Violin music ... jazz, swing:, jump, boogie-woogie. Give home, without any inter- what you can do about it. -You might ference with your regular work, City you want. I suggest that you and at but a fraction of the try the ig the ones - - your students what they want. cost in time and money “Super-Sensitive’.’ strings, which have your deep Mellow soulful 0t e r ISe necessary. State to the following firms and explain Buy TODAY!... our new 100-page INSTRUCTION Thousands of professional musicians, teachers steel centers wound with aluminum. If you 'ite For a limited time you can pur- t t i^ and artists through- Are you teaching possibly have some spare with rules and illustrations to work from. A out the worid owe their success now?. u so use these, eds; they may chase this high-grade violin, with BOOK wholly to the ' how special tail- authoritative methods of many pupils have you? Do you you should have a The the qualities of the finest, at price (personal) Instruction Manual. Describes the Universityuniversity that they would be willing to sell: a teacher’s Extension Conservatory, and gladly hold a piece with a tuner each string. I Dls far lower than ever asked for such an testify to that fact. Teacher’s Certificate? attached to 120 West 42nd St., lesson-to-lesson assignments for the beginner, me- Have have ldolph Wurlitzer Co., instrument; made possible by our you studied not 1 Harmony? never used these strings and do 119 West dium or advanced student. Order now... today , Shropshire & Frey, many years of experience in violin Would you like to earn know w York City; Price $10 complete, insured and postpaid anywhere. the Degree of Bachelor how satisfactory they are, but I have Eisenstein & Son, making. Satisfaction guaranteed. of Music? St,, New York City; A. heard good reports of them. th GUSTAV V. HENNING CAVANAUGH PIANO SCHOOLS York N. Y. ^ hatever strings you use, you should keep 8907-5th Ave . N. F.. Peattle Wa'h. 475 Fifth Avenue New 17, 722 them tuned are ”FORWARD MARCH WITH MUSIC” up to pitch even when you THE ETUDE " FORW'ARD MARCH WITH MUSIC” 723 DECEMBER. 1944 — — — —

lel and consecutive fifths, which tend to like only the some most serious classics an exquisite tonal aesthetic sense and a modern masters have used or the most meaningless appropriately modern music. torrential emotional nature which made with beautiful effects. They are like the old PIANO TEACHERS' Victorian dowager him the outstanding composer for piano “When I play the Beethoven in the London Higher Insight in ‘Pathe- bus who read religious of the present century. Unlike Chopin, tique’ Sonata, I hear it in all tracts diligently, sorts of but when nobody was while his piano works are essentially orchestral forms. There are looking, took Music violoncellos a nip out of a bottle. characteristic, he was equally great in horns, and flutes breaking out American jazz, SPEED every-’ for instance, is an ex- fields DRILLS (22) other of musical art. He perhaps is Page 679) ( Continued from where, with every shade of tone color pression of the spirit of Cards in Place vast numbers of still too near for us as yet to realize his Back of but when I play the Chopin people. Much of for Teaching Keyboard Fantasie it is horrible, but on the very great mastery. Beginners found most help- Impromptu it is impossible to hear other hand, instance, which I have any- much is very ingenious, very “Finally, let me reiterate my advice to thing but the dreamlike, cloudlike, original, ful. ever and when properly presented, Listen! Listen! Listen! If I had not Sight Reading changing and mixing of the v overtones. ei y interesting to knowing musicians. listened to the bells, much of my musical Rimsky-Korsakoff, one of the greatest When it is vulgar, or when it takes on life would have been less profitable. in the field Complete Set of 32 Cards, geniuses of orchestration, the boiler Keyboard Finder and 192 Pages factory atmosphere, it is un- Shakespeare, in ‘Hamlet,’ speaks of: Book of Instructions — reorchestrated the score of Moussorgsky’s Only SO ft pardonable. ‘Sweet bells jangled, out of tune and “Boris Godounoff” and thus 9x12 Regular brought ' I have very little time for the poseurs harsh.’ Drill No. 1 about its revival. However, I do not HT-PLAYING easily be- Sheet Music Sometimes they seem out of tune, but if and quickly learned by tiny tots For stressing who demand the senseless modern piffle, or visual lieve that even Rimsky-Korsakoff beginners of any age, with these Speed Drill Cards. accuracy could written you listen to the chords of overtones, have orchestrated by composers who could not Makes teaching easier and quicker for class or Chopin without mar- individual write a they make a mystic music which is over- instruction. ring his pianistic sonority and decent four-measure melody if loveliness. powering. Give me, rather, the bells of “I always have had a great their lives depended upon it. Such peo- EASY TO respect for Edgar Allan Poe, when he wrote: USE— Speed Drills consist of 32 cards with HARD COVERS ple are usually very presumptuous complete tradition but I insist upon knowing LAMINATED and and easy-to-follow instructions for their use. ‘How they tinkle, tinkle, tinkle On whether the tradition is artistically Book No. 201 —Album of Favorite Plano ignorant. Mr. Rachmaninoff, a marvelous each card is a picture of the justi- most popular piano In the icy air of night, note on the staff which cor- Solos. Contains 62 Music in Western responds fied. For instance, I never all graded from very master of melody and musical develop- with the key on the piano keyboard. Thus, have been solos. They are While the stars that oversprinkle Includes such numbers the student learns through his eyes, able to find out why Paderewski easy to medium. ment, who enriched the literature of the rather than the written and "Fairy Wedding," All the heavens seem to twinkle Civilization or spoken as "Andantino," word, the location and position of each note. many of his contemporaries often "Jolly Coppersmith" piano as did Chopin, Schumann, and Drill No. 2 played "Humoresque," With a crystalline delight. Every number is arranged by PAUL H. LANG For instant recognition chords so that the left hand was sounded and 58 others. Debussy, was peculiarly bitter about these AN ADVANCED STEP Speed Drills interestingly, edited and Keeping time, time, time — are an advanced of keyboard positions slightly beautifully, step before the right. The music is pretentious musical counterfeiters Undertakes to place the art of in aiding the student to quickly identify the note on fingered. who In a sort of Runic rhyme the staff not printed that way, the composer music in the whole current of with the key on the piano. These handy cards did Book No. 200—Album of Favorite Songs. palm off cigar coupons for hundred-dol- To the tintinnabulation that so mu- development. “A tre- stress visual accuracy, not write it that way, and I never (Contains 1 27 complete songs and historical recognition of the keyboard posi- play it lar bills. In Rachmaninoff we find a sically swells tions, words. Arranged for all instruments.) mendous achievement.”—TV. Y. producing rapid visual, mental that way; not merely because it is wrong, and muscular genius who had the best in musical train- From the bells, bells, bells, bells coordination. No. 201 —Album of Favorite Piano Times. Illustrated. $6.00 but because to my ears it does not sound Book Solos. (Con* ins 62 most popular piono ing but who, all his artistic life, was Bells, bells, bells as well. I THE never have been able to find solos.) LARGE NOTES make vivid mental pictures. This splendidly sane. His grim and forbidding From the jingling and the tingling of feature is out when such a tradition started or Book No. 202— Album of Favorite Strauss ” to important but best of all ... children like Speed visage, which people talk about, masked the bells.’ From Madrigal Waltzes. (Contains 25 complete Strauss Drills. They should be used at who was responsible for it. If chords are the first lesson, and the Waltzes.) pupil Drill No. 3 should have a set for daily home practice. marked to be played together. I play Modern Music For stressing rapidity Book No. 203—Album of Famous Waltzes. them together. playing the keys In my home at Green- {Contains 63 most popular waltzes.) A Guide to Music Styles SIGHT- PLAYING is becoming more and more of a re- wich, Connecticut, quirement of I have a very large Book No. 204—Album of Favorite Piano pianists, and students at the very start should Mastering Awkward Combinations by DOUGLAS MOORE library of records and as Mrs. Templeton Accordion Solos. (Contains 70 complete be trained to attain it. Speed Drills will lay the foundation Piano Accordion Solos.) Continued, tor proficient sight playing. and I play them, I listen very acutely to ( from Page 687) “No more significant gift could “The piano is one of the most fascinat- Book No. 205—Album of Favorite Chil- these details in the be offered to the thoughtful ing performances of Piano Solos. (Contains 139 finest GET YOURS and individual of all instruments. It dren movement, as shown in our next example: in nearly everything we creep before we TODAY — Speed Drills may be obtained scores of virtuosi, piano soios for children.) reader about music.” is possible play and know whereof I trom your local music dealer, or to upon the piano the walk, though eventually" we may fly. Review. $3.75 send direct to us, the pub- speak. De Pachmann frequently Write for Complete Catalogue —The Saturday lishers. marvelous music of Bach, let us say, or played Complete set of 32 cards with instructions, only of 31 Assorted Books 50c. the left hand a shade before the right. of Beethoven, but their works are not es- Ex. 9 Examples and Inspirations To my sense of hearing, this mars the Drill No. 4 sentially pianistic. When I play Bach, M. M. COLE 12312341331234 Harmony JENKINS For stressing beauty of Examine Beethoven’s G major Sonata, MUSIC COMPANY, Kansas City Mo. rapid vis- for instance, I a masterpiece. 6, ual, can hear the work as it A B C D E F G AB mental and muscu- “There PUBLISHING CO. R HupC D E / G Opus 14, No. 2; Chopin’s first Nocturne; by WALTER PISTON lar coordination would sound on an organ, with a great seems to be an Impress! m upon the 2611 Indiana Ave. Chicago, C D E F G A B his Etudes 25, 26, 27; his Impromptus; orchestra, or with a fine brass band. Not part of many sedate people that L H up A serious study of harmony that 3 2 the F minor Fantaisie; the fourth Bal- music should 5 4 3 2 1 is indispensable to musicians in so with Chopin, much of Debussy, or be austere and perhaps quite free lade in F minor; Leschetizky’s Barcarolle; all fields, whether they be com- with Rachmaninoff. Chopin made the from mirth of any kind. That HELP YOUR >N Liszt’s Concert Etude in minor; COUNTRY NOW AND ASSURE is, when serious 3 2 1 3 F De- posers, conductors, critics or YOURSELF OF FUNDS piano his own, and with most of his com- music is presented, all ^ GET COPY 5 4 YOUR NOW bussy’s Suite “Bergamasque.” Even if the teachers. $3.90 LATER FOR A NEW positions other numbers upon the E etc MUSICAL INSTRUMENT THRU WAR BOND all attempts to arrange them program should R H. down I? B A G if PURCHASES pieces are too hard for you to play, you effectively for other instruments be as sober as an undertaker' picnic. Ten Little Gremlins leave L H-down C B A can acquire a deep Of course there appreciation by look- much to be desired. I just can’t stand is a propriet-. to all the* song should not miss The History of you 12 3 ing at the scores while you listen to listening things. When a limited oi to orchestrations of Chopin, group people Published by go to hear recordings or to radio programs. in * knowing how many beautiful overtones a pianoforte recital we have a ALICE WILCOX, Composer-Publisher Music Performance

The solution to such conditions would0 School seem to lie in the development Developing the of stritj classes leading into small WHERE SHALL I GO TO STUDY? string ensem bles, which later lead to the A New string or' Series for Young Pianists Orchestra chestra. When the strings have gained sufficient proficiency to be combined easy with ARRANGEMENTS OF FAVORITE - EVERYONE LIKES ( Continued, from Page 692) the winds, then will come the first TUNES Private Teachers. (Western) Private Teachers (New York city) orches- tra rehearsal. each composition is carefully fingered and easy to play There is such a wealth of H. FREDERICK DAVIS HELEN ANDERSON instrumental music at a low cost per excellent string material for all grades, Teacher of Many Successful Singers Concert Pianist capita to both school and community. combina- DOWN SOUTH (W. h. Myddleion) tions, and styles, that it is PARADE OF THE WOODEN All Branches of Singing Taught. Beginners Accepted Interesting course be denied that each of these indeed selfish —piano, harmony It cannot Jessel) Studio: 606 Templeton Bldg Salt Lake City, Utah on our part to deprive students SOLDIERS (L. Many Successful Pupils points represents advantages for th s the op- FRASQUITA SERENADE (F. Lehar) Phone 3-0316 (or 4-5746) for appointment portunity to experience 166 W. 72nd St., N. Y. C. Tel. 4-8385 valid the thrill Write for Free Circular Sc plan of teaching. Yet there are of (M. Simons) partaking of this repertory. PEANUT VENDOR reasons why this type of instruction is GLOW WORM (P. Lincke) HAROLD MARIA CARRERAS In conclusion, may I suggest HURLBUT not the practical or desired one. While that the POINCIANA (N. Simon) Paris—New York Hollywood Renowned Pianist future progress of — our school orchestras (E. Developer of Singers "INTERPRETATIVE AUTHORITY" it is easier to schedule the classes, such MALAGUENA Lecuona) Nadine Conner (Metropolitan Opera-N.B.C.), will depend more upon the Henry — N. Y. Herald-Tribune a program is less efficient from an edu- development PLAY FIDDLE Cordy (Tenor Chicago Opera Co.) and many others Teacher of successful concerting pianists. of our string classes, ensembles, EACH of Radio, Opera, Stage ond cational standpoint. As previously men- and PAPER DOLL (J. E. Black) (E. Deutsch and A. Altman) Screen. Accepts PLAY 2150 Beachwood Drive talented students. string orchestras than upon the Hollywood 28. Calif 169 tioned, the students are victims of mass school E. 78th St., New York City Tel. Bu 8-0311 orchestra as a whole. The deficiencies —or shall we say “mess”—education; and LUCIA O'BRIEN LIVERETTE lack of string players in our CHARLES LAGOURGUE STUDIOS they are penalized from the beginning, school or- chestras today prove just that VOICE VOICE PRODUCTION—SINGING- since the foundation which is so essential point. Graduate of Samoiloff's Teacher's Course COMPLETE MUSICAL EDUCATION Let us begin now to develop EDWARD B. MARKS the students’ future is sacrificed at the ele- MUSIC CORPORATION, Radio City, N. Y. Reasonable terms. to R. C. A. Bldg., New York 20, M-.L»g°» r g» e will resume his Summer string Classes in mentary program so that our school Phone NO 2-1030 1141 CANNES, famous resort of the the outset. EX FRENCH RIVIERA orchestras of For information and registration tomorrow will not have 616 N. Normandie Ave. Los Angeles, Calif. apply to N. Y. Studios The problem of literature for such a the 35 West 57th St., New York City deficiencies of the orchestras group is in itself a most complex one. of today. EDNA GUNNAR PETERSON hearkens to the sweet singing of children Although the shadow of the mountain MARGARET The matter of range, key signatures, and HENKE Germany’s Century-Old on earth and Knecht Rupprecht (shown shuts out the sunlight early in the after -r Concert Pianist—Artist Teacher other ensemble problems make the com- Voice Physiologist at the top of the relief) at a moment noon, the inside of the church is kept 229 So. Harvard Blvd. Los bining of the winds and strings imprac- Pianists • Sight Angeles, Calif. Teacher of the "Bel-Canto Art of Singing" reading made Lessons FE. 2597 when he recognizes his own song “Silent sweet Beginners and advanced students tical in every way. I have witnessed many Offering to Peace and bright with old-fashioned easy. Improve your playing by Overstrained, defective voices adjusted The Making of a Night.” In the background, standing up- flowers and by soft lights, constantly studying "THE ART OF SIGHT such programs in action, and have yet to READING" and really enjoy Com plats LAZAR S. SAMOILOFF 610 Riverside Drive—New York—Edgecombe 4-2388 right, is Schoolmaster Gruber, as though burning. observe a single one that is achieving (.Continued from Page 717) The organ loft is high at the music. Satisfaction guaranteed Voice teacher of famous singers Concert Violinist in the act of playing his guitar; he is rear of the church (as in the churches *2 From rudiments EDITH SYRENE LISTER worth-while results. DANFORD HALL Chicago 26. Ill to professional engagements Four sisters from the Zillerthal—Stras- apparently singing, for the first time, at Oberndorf and i Beginners accepted. Special teachers' courses AUTHENTIC VOICE PRODUCTION The foundation of string or wind play- Arnsdorf and here, ( Continued from Page name famous for their singing Dr. Samoiloff will teach all summer at his Studios. 405 Carnegie Hall, 722) ser by — his inspired masterpiece. each Christmas Eve, “Silent Night” is New York City ing is basic to final ensemble results. Write for catalogue—Special rates for the mountain songs, heard the Collaborator and Associate Teacher wifh the late of native reverently sung. duration. W. Therefore, establish * * * Directly between the Warren Shaw and we must a program arrive with precision on t he pavement Endorsed by Dr. Floyd S. Muckey organ builder’s version of “Silent Night” BUY 610 So. Van Ness Ave., church and the parish house, and in WAR BONDS AND Los Angeles, Cal. Wednesday: Troup Music Studio, Lancaster, Pa. which will prepare the student for the just in time, I hope. Nobody took A moment’s drive you and immediately carried it with them brings one to “old” Thursday: 309 Presser Bldg., Philadelphia, front of its doorway, lies the grave, its Pa. future, rather than the program which to a teacher specialized in hopping out Oberndorf, a gracefully winding street STAMPS FOR VICTORY on their concert tours. So it cixxulated sides upheld by rude stones, while ELIZABETH SIMPSON (FRANK) (ERNESTO) absorbs him merely as a minute part of of the way of cars as so many separate from the little valley to the great towns of quaint cottages, each with a religious Author another larger stone stands at the head of "Basic Pianoforte Technique" LA FORGE-BERUMEN STUDIOS a large group, yet fails to provide him motions. fresco or the name of the house-owner of Europe, and from there on its way and is marked simply, in gold: Teacher of Teachers. Coach of Young Artists. with a musical foundation. Voice— Piano sound “Watch a kitten at play with a ball. on its outer wall, and its colorful win- Pupijs Prepared for Concert Work. Class Courses about tile world. Among those who have studied with Mr. La Forge are: Since majority FRANZ GRUBER in technique, Pianistic Interpretation, Normal Marian a of the school systems He leaps, runs, slashes with his paws. dow gardens. A few steps from the road- . Anderson, Lawrence Tibbetf, Richard Crooks, * * • 1863 Methods for Piano Teachers. and Mme. Matzenauer. of our nation are to be found in small say We he is ‘playing,’ but in fact he way is. the site of the old church and Sutter 609 St., San Francisco; 1100 Park Ave., Corner 89th St., New York On it, in Summer, are always found towns, villages, and districts, it behooves is practicing in deadly earnest with an One may easily visit the scenes so the spot on which “Silent Night” was 2833 Webster St., Berkeley, Cal. Tel. Atwater 9-7470 growing flowers, while of ever- us to study their situations, closely identified with the origin of the boughs and if pos- immediate object in view'. In a few weeks first sung, marked by a six-sided chapel green cover it in Winter. RICHARD sible offer suggestions for improvement. he will song and with the life of its composer: Private Teachers (Mid-West) McCLANAHAN be using all those motions in of stone and stucco set upon a high Representative TOBIAS MATTHAY In many of these Hallein, communities the his life work, hunting, fighiing, protect- Oberndorf and Arnsdorf, and mound of earth. To the right are old Private lessons, class lessons in Fundamentals membership of the school orchestra the “salt village” in which Franz Gruber Lecture-demonstrations for teachers is ing himself. The mother-cat sits and houses, some of which still show the DR. FRANCIS L. YORK 801 Steinway Bldg., New York City composed of the school band augmented watches, and was church organist for many years be- Advance Piano Interpretation and the Theory work shields him from harm; but marks of waters of the “great flood,” as required for the degrees of by a few strings (usually violins), fore his lies The Baroque Style Mus. Bach., and Mus. and she does not give him lessons in tech- death and in which he 1899 is always called. To Mas. ANTHONY SINIGALLIANO the disaster of the repertory consists of military marches buried. The countryside all about them COMPOSE YOUR OWN TUNE... A SIMPLE DETROIT CONSERVATORY nique as so many separate motions to be the left is the ancient water-tower of OF MUSIC INSTRUCTOR Detroit, Mich. and other selections originally conceived is like Exemplified NEW METHOD FOR WRITING THE MELODY coordinated and applied, regardless of an a picture book, seen and never the village. ART OF VIOLIN PLAYING for band. In most of these situations, one forgotten are TO YOUR OWN SONG HIT... immediate objective. She does not have At frequent intervals there Less than two miles further north is EVANGELINE LEHMAN, Chamber Music Training person is responsible (Continued from Page 720) Compose your own songs! Set your own words to Mus. Doc. for the entire music him arch his fifty little wayside shrines, some crude and schoolhouse Preparation for Concerts and Recitals back times a day, or Arnsdorf, with its venerable music ! This startling new invention can definitely Composer, Singer, ond Teacher, program. The schedule is heavy help you with a record of 182 North 19th St., East Orange, and very pull his claws in lonely with their narrow wooden shelters before Columbus felt. to not only compose the melody but write many musical triumohs New Jersey and out for fifteen min- and a church begun weight can be Played on such a here ond abroad, will accept Ne,w York and vicinity little the chords and complete song in real professional pupils by appointment. time is available for band and or- utes built over the stark figure of the Christ, in voice culture and interpretation; Appoint- every morning. She knows better. made his first voyage to America. In the pedal organ, the bass part is firm and style on manuscript paper. Amazing in its ability ment by correspondence. chestra rehearsals. As a result, all stu- and others enclosed in small stone chap- to give you your basic eight bar melody of not only E. She knows that desire—intense, burning, schoolhouse lived and worked Franz Gru- clear and is never sluggish. The organist EDWARD TREUMANN one tune but thousands, simply by setting the dials. Studio: 167 Elmhurst Avenue, dents are scheduled for the so-called els. all consuming is driving him on, and ber at the time he wrote his great who has once become familiar with such Make big money by writing a smash song hit of Highland Pork Concert Pianist—Artist-Teacher — (3), Michigan “school orchestra.” Such conditions are, your own. Recommended by Emil Von Sauer, Moritz Moszkowski that every act he performs has an imme- Oberndorf is a historic cluster of Old melody. Set high over the doorway is a voicing can never again be satisfied with and Josef Hofmann. of course, fatal to the development Just Turn Dials . of diate and satisfying end in view. Is the World houses, its old and “new” sections motto which asks: the monotonous rumble of the ordinary the . . You Compose a Tune Private Teachers (New York City) Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. either a satisfactory band or orchestra. neatly As simple as learning the scale. Follow the easy Tel. Columbus 5-4357 New York City desire of the young artist for perfection separated. Directly across the Silent Night, Holy Night, pedal division. Summer Its rules for setting the chord dials at the bottom of Master Class—June to Sept.—Apply now. success lies in the development of a in narrow bridge over the silvery waters of ALCARO MUSIC STUDIOS the playing of some fine, soul-satisfy- Who brought you into being, Song! I would not claim that this organ is the COMPOS-A-TUNE. Select the rhythm from the top strong elementary instrumental the dials and write your melody. Hundreds of thou- class ing work of art, any less intense? Salzach which terminates a short And then answers its own query: ideal twenty-stop instrument for all Private Lessons—Home or Studio CRYSTAL sands of melodies are at your fingertips by just WATERS program, segregating the strings side Instruction in all branches of music, con- and “There may be times, of course, when street in "new” Oberndorf, lies the Pastor and Teacher together. churches. Standardization, as all elec- turning a dial. certs given. Beginners, advanced accepted. Teacher of Voice winds while providing adequate instruc- certain exercises master village of Laufen, with its medieval through an open hallway tronic instruments show, removes much Special courses for children, high school planned by a One enters, No Studying Necessary 5 and adults. Radio, Screen, Concert tion and rehearsal schedules. Days FREE teacher may be helpful, but surely they cathedral, the oldest Gothic Hallenkirche worn, uneven tile floor, into the of the fascination of organ playing. But Write for Appointment Opera, Pedagogy The with Try COMPOS -A- developing of a completely instru- (or church aisles TUNE 5 days see Studio: 2497 Tiebout Ave. Bronx, 405 ' are best studied related some par- having both nave and schoolroom. The windows face after playing this organ for four years E. 54th St. New York City when to main cion t oven nave to he able to play how simple, foolproof Tel. Fordham 7-7873 mented symphony orchestra of New York City Tel. Vo. 5-1362 and sym- ticular passage studied. equal height) in Southern Germany. corner stands a huge por- I do maintain, first, that the omission of COMPOS-A-TUNE automati- it is then if not in a work being south. In one cally eliminates phonic band in the small school The haphazard guessing satisfied, return it to system So why not concentrate on the passage river is, at that point, the frontier. celain stove and on the wall opposite certain alleged essentials is not a serious for writing note values and chords us—we’ll refund your is something for those who spend accurately. money their itself? Again, I have certain exercises of But, although the splendid German the teacher’s desk hangs a little picture defect; and second, that it reveals pre- time in wishful dreaming. The situation cathedral my own evolved out of my own needs; dominates the landscape by its of Mozart. This is the room in which viously unrealized delights in organ lit- in the average small When your COMPOS-A-TUNE arrives you school makes such a but I size, it is to in the it is exactly erature. certainly would not offer them to the simple church Franz Gruber taught and will also receive at no extra cost this program impossible because of the fol- small musical “Slide Rule" that assures you proper any student as a ‘must,’ regardless of the Austrian village that the visitor left it more than a hundred years lowing as he construction of your rhythmic structure in circumstances and conditions: turns his rooms composing. Also included are two books end in view. Any exercise is only a means attention. This is not the ago. Steep steps lead to the upper “How First, Write Professional Songs” and “Simpli- the curricula cannot provide time Oberndorf lived and to to an end, and it is the end that counts. church in which “Silent in which the schoolmaster fied Rhyming Dictionary” along with for both, book of instructions, manuscript without sacrifice to the aca- Night” first the was written. The Radio Brings New paper, For an artist, young or old, there is only was sung, but it succeeds the study in which the song practice pad and sample melodies. demic subjects now recognized old as essen- one end in view; the perfect expression one, known, appropriately, as the There a modern reed organ has replaced tial. Second, the music instructor’s sched- Church of beauty in some work of art. If in this of St. Nicholas, and was built the composer’s spinet. Symphonic Joys ule does not permit a daily after rehearsal of some difficulty own that smaller structure was washed * each presents itself, his * * MUSIC WRITERS PUB. CO., Dept. 1412 organization. Third, limitation away (Continued from Page 685) 535 Fifth Ave., New York N. Y. of self-torturing lust for perfection will in the great Salzach flood of 1899. 17, student enrollment makes one visits the church in Send me by return mail “COMPOS-A-TUNE” together with sufficient mem- Here is the a At Hallein complete of instructions and manuscript paper. Also drive him on to mastering it. This is not “Stille Nacht Denkmal," book in- bership stands at followed by an eight-minute high school clude my free “Slide-Rule” and copies of “How To Write impossible. In some isolated bronze which Gruber was organist. It in- ‘soft teaching.’ It hardest, most bas-relief set in a frame of black Professional Songs” and “Simplified Rhyming Dictionary.” I stances is the at the very student discussion. This program gives enclose $2.98 (in cash or money order, thereby saving ap- where the symphonic marble of a steep incline proximately 50c postage charges). band and concentrated, and is in a recess just to the right of the the top orchestra most exacting kind, court— boys and girls regular opportunities to go Send C.O.D. Upon arrival I will pay postman $2.98 plus have been attempted church of the mountain. A narrow anproximately 50c postage charges. in the timeless. entry. A little altar from the foot But neither is it the drudgery simple on the air and talk about problems vi- If I am not satisfied I will return in 5 days and my money small school, they have °id twenty feet wide—with will be refunded immediately. functioned only of church faces it. shows possibly effort directed toward some unknown The memorial tally affecting their future problems at a great scholastic sacrifice evergreen hedge, separates — Name on the part goal dis- Pastor Mohr of heaven, garden and of to be attained in a vague and at the window in which in a few years they will deal with the students involved. from the parish house, Address tant his countenance that of one entranced, the church future.” their home. as voters. as, the Grubers made City & Zone State. 726 "FORWARD MARCH WITH with hand upraised to his ear, he which MUSIC THE ETUDE DECEMBER "FORWARD MARCH WITH MUSIC” 727 , 1944 )

cannot use that for a choir robe. How knew the spirit of Christmas, for she that had experienced the real Junior in the world will I ever get Lois thrill of Etude Contest doing something that was lovingly choir robe?” Etude will The Junior award three which you Suddenly she snapped her fingers. unselfish. She glowed with inward enter on upper left corner attractive prizes each month for the ot your savings for re- joy as she smiled back at Lois. paper, and put your “That’s the idea. My stories or address neatest and best essays and on up er cordings. didn’t I think of that Then the chorus joined in singing p right corner of your Why to puzzles. Contest paper. for answers is Write on before!” For months she had been forth the same message—the message one side of paper only. open to all boys and girls under Do not use saving up to get some of her favorite of Love, Faith, and Hope; and the typewriters and do not o years of age. ouiseS ot eighteen have anyone • c f recordings. “They can wait,” she told listening audience, too, felt and knew copy your work for you. Class A, fifteen to eighteen years of Essay herself. “I would rather Lois had the the spirit of Christmas. must contain not over one B, twelve to fifteen; Class age; Class hundred and fifty -cstSarss- choir robe. It would be forlorn not to words and must be under twelve years. leceived *oot e - have her with us in the play.” C, at the Junior Etude Office ,cP f-'C eo?' of prize winners will appear ’ 0'** Names 1712 Chestnut St., On the night of the program, there Philadelphia il I ( 1 ) eaX er and Junior Club Outline No. on this page in a future issue of The Pa., by the A 'rVS^ "-„ aW stood Lois in her snow-white robe, 37 22nd of December. Re- ltv Etude. The thirty next best contrib- sults of 50 Mlex* singing happily in the chorus. And Some French Composers contest will appear in March. will receive honorable mention. Subject when Jean started her solo, Lois gave utors for this month’s essay “Sa- ELIZABETH A. GEST 6'' your name, age, and class in " C° smile. Jean’s silvery Cesar Franck, Vincent d’lndy, Put cred Music.” jT5sS to,; l0 'lAusto'' her a joyous Em- r0 L . Cr voice floated out to the listening au- manuel Chabrier, and Gabriel Faure ’ a.° dience as she sang “Silent Night, Holy are important French composers of the od : co»?°“oB>® h .. CW« eTlUe ' Night, Son of God, Love’s Pure Light.” nineteenth century. Though Musieal Experience ddre Franck A The Music Student’s Dream vo-t'i a 7'M in The members of the chorus were was born Belgium, he lived in Paris Winner in Class Jean’s (Prize A) by Gladys Enoch Christmas Message most of his life as an motionless as they listened to a organist and My most interesting musical experience was John fell asleep sweet, clear voice, bringing them the composer, his best-known composition one summer day, when a five-thousand-piece and dreamed he of Junior Musicians, all in uniform, lived where message of Christmas. being the Symphony in minor. orchestra live the Sharps and D He none other than the world’s ly WJartlia 7f]. .Stewart arrived at largest Flats, and Quarter Notes and Lois knew the spirit of Christmas was born in 1822. d’lndy (pronounced natural amphitheatre, the Hollywood Bowl. We Wholes practiced for this event for months. Extra and Halfs ran round like because she had experienced it her- Dahn-dee) was born in 1851; Faure had dogs and thousands of chairs were required to seat the cats. There were self from her friend Jean. She (pronounced Fo-ray) was no garden paths ffAM * , , , had born in orchestra, which, of course, overflowed the 1C Un r nor streams, Program, and they were also the ones, stage. Such a mammoth gathering was never no flowers nor tall green hpr 'nrm wait a Jf received the real message of love and ga ^ / seen in the Bowl. The whole concert trees, y e Miss Philli s said tha-t before but acres full of great *7 P > were always kindness, wrapped up in a package G clefs auditerii’im fh f , !^ was played without notes and it was an ex- J 0 1001 after the enjoyed by the audience, as swayed gently in the breeze. they containing a choir robe. And Jean perience I will never forget, as I played my The rehearsal. Congratulations,? f ! Jean,”T seemed to be universal favorites. violin with twenty-five hundred other violins. streets in town were five long roads, OSMOPOLITAN Rita Roswell called to her. There were other thrilling things about the When the rehearsal was over Jean and named from A to G, and if the concert, too, such as all of us pledging allegi- SCHOOL OF Oh, thanks. I certainly hope I can noticed Lois Boone hurrying wrong one you MUSIC away, Hearing Things ance to the flag; and at the chance of playing should take, indeed, SHIRLEY GANDELL, M.A., Oxiord do my part well,” she answered. looking one of our numbers under the baton of Rudy T>e University, England, President. very glum. “What’s the mat- quite lost you’d be. The mayor whose 41st year. Accredited. Offers courses “Of course Vallee. We were deeply grateful to our teachers in all brandies of Music. C'ertiricaies, you can,” replied Rita, ter, Lois?” Jean asked her, putting by Elizabeth Gest name was Middle-C, and to our master of ceremonies and others for was always at Paul diplomas and degrees. Desirable boanl- “Miss Phillips would ing accommodations. Located in down- not have chosen her arm around her. arranging this thrilling event in which we par- his post, to guide all music-students UNIVERSITY Have you any idea how many sym- No suspension Suspension town musical center. you for the solo part in the ticipated. 1 Box E, 306 S. Wabash Avo.. Chicago. Christmas “Oh, nothing,” answered Lois, try- phonies there in case they should be lost. CHICAGO you have heard’ That is Miriam Smoot (Age 16) 11 had ot been sure ing 1845; Chabrier (pronounced Shab- .™ you to hold back the tears. “It is just heard them all the California John walked along these five long 7,. ,P way through ree-ay, THE SCHOOL OF MILL1KIN ° it well. that I to rhyme with day) was born CONSERVATORY OF MUSIC can’t be in the chorus this from beginning to end? If roads, and with each step he took °T v. you have in 1841. His Letter Box DECATUR, ILLINOIS 11 r< “gbt Rlta And rm year.” best-known work is Es- - a radio ln your house, see Dear Junior Etude: he heard sweet music’s melody, just \ , how many Offers thoro training in music. Courses leading to e-lad th^Ph i pana (pronounced Es-pan-ya), ‘.‘ HUmcc S akmg ” a I read your columns monthly and I bart But why not? asked Jean in sur- symphonies can just like a singing brook. Uphill he went, Bachelor of Music Degree Diploma and Certifi- - . you “pick up” on it, could not help this vear U ^ l0Ve " rhapsody on Spanish them,- for writing to tell you I have cate in piano. Voice, Violin, Organ, Public School th°Se prlSe ‘ Miss Phillips said started take you have a and keeP a of them. If you hear to organ lessons. To me the organ where music’s high, but down the Offers accredited course* in Piano, Music Methods and Music Kindergarten Methods Christmas^ar^” j f as orchestra. is the most fascinating instrument there is ' voice; 1 heard her ifc Bulletin sent say y ve nt of a and it can imitate almost any instru- hill ’tis low; and when he skipped Voice, Violin, Organ, Public School free upon request symphony a. When did these other compose: s die? ment. I have also taken piano lessons for W. ST. CLARE, MINTURN, Director 7d r in the tune was fast, with dragging feet Music, Theory, and Orchestral In- s? z r 5 over “ ’ Look them up in seven years and enjoy that, too. ®.yes *parkled as she It; s not your history of 7*1 my voice—it’s the choir the next time you'^haveT'chmml From your friend. ’twas slow. He played all day in Mu- struments. though takmg “ music. A. e ’ Frederick Fahrner (Age 13), 10 part The robe - Mother says she cannot afford Take a small notebook and sic Land until the sun' went down, i <-? f keep the b. Michigan. wfil smg Silent Night,” Miss to get me one, and What is meant by opus? that means I can- list in it. Write the names and then he wanted rest and sleep Confers degrees of B.M., A.B., SCHOOLS-COLLEGES J™ had “ of the c. ann0U C What instruments P d ’ and on the not are usually be in the chorus - You know that.” and M.M. third v ,? f composers and find their dates in and napped in Music Town. When We WlH haVe E 0l° by “N0W listen Lois used in a piano quintet? ’ ’ don>t you worry,” your Distinguished Faculty - musical history, or some John awoke he told his friends about £ n wnu!1 l such accompanied by the comforted Jean, “you will 7’ have a robe, book. If you have a copy of Keyboard the Sharps and Flats, where all the CONVERSE COLLEGE choruschnr,7 quietly “Mv Own Harmony Ernst Bacon, Dean, Bpartansburg, 8. C. humming.” Excited all right. I’ll see to it myself.” Junior Music Club Boof” von notes in Munc Town ran around like ad ere thiS " d. Refer to outline d an Jean WaS very thou h«ul as No. 36 in Octo- Address Registrar Bulletin 7 g she And a page all ready for you to write dogs and cats. for noun^menT ? Department rybody m the walked bome from school ber issue and review suspensions. KNOX of Music that after- your lists; otherwise you can DePAUL UNIVERSITY Galesburg. Illinois fhfrai1 1 b ° 7 get a e. Thomas W. Williams, Chairman 3 y d he humming noon. “What shall I do?” Play the pattern herewith in she said to notebook for the purpose COLLEGE Catalogue sent upon request. effect ^ ir Shel W0Uld (The book three major SCHOOL OF MUSIC have herself - and to have already spent my mentioned may three minor keys. Essay Prize inner in Class B work h, ? 7 bf u^cured thro7j Notice W Room 401, 64 East Lake Street m‘”’ey ,OT Pr'Sente the suspension occurs this time CONSERVATORY ' “ 1 «“ P"Wl!hers »' Barbara DeBarry (Age 13) Chicago, Illinois oTr to do Ser'L™^ in an inner voice-part OF MUSIC ““she instead of in Washington SHENANDOAH WaciaE. Miller, Pres- possibly could. the top, or soprano voice-part. Courses leading to the F>. Mus., ami B. Mus. Ed. degrees. At the next in Rates rehearsal the club sang Essay Prize Winner Class C reasonable. In the heart of the Shenandoah Hark, the Herald Program Emily Jane Rose (Age 9) Professional music school Valley, Dayton, Virginia. Angels Sing, OCome, Hi I* 8 I A 1# fc 1^ fee All Ye Faithful, Missouri in an attractive college town. O Little Town of As most of the compositions of the Thorough instruction in all branches of music. Special train- Bethlehem, ing in band and choir direction. 46 artist teachers, unsur- and Silent above passed equipment (200 practice rooms, 23 modern organs, etc. Night. These composers are too difficult for Honorable Mention for Essays: were the ones Degrees: Mus.B., School Mus.B., A.B. with music major. (JKJene X TEe&tre she liked c-'Li/h/. Frank best on the young students to play, your program Ellen Falusi, Ba-.bara H. Shaw, Dir.. Box 5124. Oberlin. Ohio. Star making:. Students seeking professional engagements Joy Kackey, Mary coached by Stage, Screen, Radio and presented in pro- Sherman, Jr., Mary Carol Smith. ductions for showing to B’ way-Hollywood Talent Scouts and may consist of listening Gould, John public. B'way also Summer Stock. to recordings - • - Spring course opening. Valerie Kazak, Billy Sibberns, Janet Lieber, ~ — ; SEC’Y SHUBERT. 1780 BROADWAY, N. Y. of such compositions possible, when Anna Bates. Rosemary Twining. Evelyn Giles, Donald Habenicht (Age 8) and playing miscellaneous pieces Patsy Baker. Eddie Wherry, Caroline Warner, (See letter below) Buckman, Helen Anders, Doris White, Christmas Lullaby learned during the summer or the Daisy Agnew Collins, Anita Wilson. Eileen Dough- first part of CHICAGO this season. Or you may Mary Jean Matus. MUSICAL COLLEGE by Martha V. Binde ulKe Piano lessons when i wa^ ertv, Nowat 7 Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President use Christmas music for your pro- 2' I am eight and I direct the Rhythm The cattle in their ur school. CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. manger stall, gram. spvoI? u° We have played in public Answer to Composer Square “mes. I love music. I sending you Member of North Central Association and National That night so long a 7+; am Association of Schools of Music passed by, 6 °f myself in r Rhythm Band uniform m> Puzzle in August ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Heard Mary sing a slumber song, From your friend. Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois A Donizetti: Verdi; Puccini. tender lullaby. Donald Habenicht (Age 8), Virginia np , Junior Elude Afghans uear Junior Etude: Honorable Mention for I’m sure they must have joined wi h my essa I am writing to tel! Don't forget to send the Etude a vou nf ^L i y Puzzle her, Junior d eP gratitude and appreciation foi Composer Square AMERICAN with Thp £, CONSERVATORY Christmas present. What shall it be? It shall e The - Junior section is my favorite Barbara . Lee Bopp, be a square as it ic ; John Sherman, Jr., Nancy Their lowing, soft and for our Junior Etude Red Cross int sting and helpful, though I like deep; die ntho tI? Ella Kranz, Marian Drucco. Mary Mar- OF f MUSIC— anS ’ Gould, CHICAGO ^ kitted, articles jusi • it in the book. too. I have As, cradled in fr make four and one-half taken ^ Georgia Ellsmith, Gladys the fragrant hay, inches; if pi no essons have tin Bernice Hilroy, Offers courses in all branches of cut from woolen goods, cut it six bernm Q -? for one year but music and dramatic art J Mansell, May Kershaw, Ruth The Babe smiled in inches (not five like devoted to music. My piano it Camp. Winifred Faculty of 135 artist teachers His sleep. and a half, as the sizes must 6 an ol< ll friend Betty Perkins, Lena oe exact). to me. now. Costello, Julia Mingordon, Member of National Association of Schools of Music And, of course, more than one * Higgms, rom your friend. Wilfred MacDougal, Laurence Send for a free catalog—Address: John R. Hattstaedt, President, 578 Kimball square would be still better! Kulp. Building, Chicago 728 Irene Fugimato (Age 13). Moreen Dulcy. 'FORWARD MARCH WITH MUSIC” California. THE ETUDE "FORWARD MARCH WITH MUSIC” 729 December, i 944 u . —

THE COVER FOR THIS MONTH—On the qualities, we anticipate a great success first Christmas this suite makes a most book as a whole. The "1"’“ answer to this demand, morn the shepherds abid- successful re- for the numbers * — JUILLIARD SCHOOL ® mak“lg ready OF MUSIC ing in the field heard the Heavenly cital number, suggestions for which included are to be found in no other these Twenty are Pi ' • Transcriptions Hosts singing “Glory to God in the high- explained in detail. piano collection, since they are exclusive h of Favorite XPe ERNEST HUTCHESON, President est,” and today Christmas A single copy of Mrs. Richter’s of The John Church y arranged hy the same singing and adap- copyrights Co., an skilled m! musician. While the other Christmas music soars heavenward tation of Peer Gynt may be affiliate of the Theodore Presser content will ordered Co. tlrel -v is different, this book from earth in acknowledgment while the book in preparation the well-known numbers , will con- INSTITUTE of the at the Among to be tainf„. hymns OF MUSICAL ART Greatest Advance of Publication equally well-known, Gift to mankind. PUBLISHER’S NOTES cash price of found in this book will be Nevin’s Mighty and in GEORGE A. WEDGE, Dean keys suitable for In her painting, “Calm on the 30 cents, postpaid. a Rose; De Koven’s congregational singing Listen- Lak’ Recessional; desired. ing Among those included Ear of Night” which is reproduced A Monthly Bulletin of Interest to all Music Lovers The Green Cathedral by Hahn; and Mac- will be: Individual vocal and instrumental instruction. The King of on the cover of this Love My Shepherd issue, the artist has CLASSIC AND FOLK MELODIES Fadyen’s exquisite Cradle Song. Is- Instruction in theory, in the Nearer My God, to composition and music education. endeavored to symbolize graphically single copy of Twelve Thee; In the Cross the First Position for Cello and Piano—Selected A Famous of Christ golden heavenward I Glory; o Perfect Love; When Diplomas and the B. S. and M. S. Degrees. reach of those who Edited, and Arranged by Charles Kranc— Songs Arranged for Piano may be or- Morning Sing the Gilds the Skies; Rock love of God above, shown at The Kiss; In this collection we shall dered now at the special Advance of Ages; happy remaining waltzes are Arditi’s present an of bide With Me; and Work Catalog on request. Christmas-tide” and who “With excellent cash price of 60 cents, for the Night A Walts Dream by Oskar Straus; The new contribution to the easier Publication post- is Coming, th’ angelic hosts and twelve others. 120 proclaim, Christ is literature for the cello. It paid. Claremont Avenue Room 432 New York N.Y. Schonbrunner by Joseph Lanner; Lehar’s will include A single copy 27, born in Bethlehem,” merging of this book may be their songs Silver; Over the Waves by twelve works for the use of early Gold and grade oidered now at the with the bells which have been a^ecemfer / special Advance of awakened 944 Rosas; My Treasure by Becucci; and cello students, carefully selected CHILD at the and THE HANDEL (Childhood Days of Publication cash price of command “Ring out, sweet bells, prepared by 60 cents, post- Danube Waves by Ivanovici, fifteen in all. an authority who, as in- Famous Composers) by Louie Ellsworth paid your Christmas Goit The sale, however, is chime, your chime of structor at Teachers restricted to ADVANCE The name of Stanford King is well College, Columbia and Ruth Bampton—For regular the United §)ljp welcome, clear and brave; OF PUBLICATION readers States and its possessions. QlpbelattfiJnslilutf of (|)uaii this night for his University, and the Institute known to readers of The Etude of Musical of these notes, and for those who there came with us to dwell Our are Confers Jesus, many successful piano compositions and Art of the Juilliard School of Music, Bachelor of Music Degree, Master of Music Degree, Artist Diploma] came to dwell OFFERS has acquainted with the three previously READ and save.” enviable THIS AND SING! (Teacher’s arrangements which have appeared in won an name for himself. published books in this series, Manual) WARD LEWIS, Dean of the Faculty This cover was painted no lengthy For Voice expressly for Among the contents will Students, Chorus and BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid The these pages. In making this book, Mr. be a Bach Air; description of this book on the Choir Ave., Cleveland, O. Etude by the well-known All of the books in this list are in boyhood Singers, by Clyde R. Charter Member of the Philadel- the ability of a Melody by Mozart; the lovely Dengler, Mus. Doc.- National Association of Schools of Music phia preparation King has kept in mind Lullaby of Handel is necessary. In addition artist, Miss Verna Evelyn Shaffer. for publication. The to n this book Dr. Dengler the average player of about third grade by Brahms; and the folksongs, An Clair has made an In private life to iv Advance Offer Cash Prices ap- its value as a means of creating music this talented artist is the important contribution to the ply only to orders placed in advancement, and all of the favorite de la Lune (French); November (Bohe- literature wife of Mr. William NOW. appreciation, the clever, easy-to-play ar- on the Spence, who holds proper use of the voice. WESLEYAN CONSERVATORY OF Delivery (postpaid) will be made waltzes included are newly arranged and mian); and The Butterfly (Dutch). of The Its title, MUSIC— A DIVISION OF WESLEYAN COLLEGE an important executive position rangements Harmonious Black- Read This and with one when the books are Orders for Sing!, is no idle promise, Institutional of the published. engraved especially for this book. single copies of this book smith, Minuet in F, Hornpipe member of National Association of Schools of Music large chain stores of the east Paragraphs for piano for it clarifies describing each pub- Single copies may now be ordered in at the special Advance of many phases of singing Their marriage Publication solo, and the Hallelujah Chorus as Degrees: B. M. and A. B. with in has been blessed by a lication appear on these pages. a usually made vague by major music advance of publication at the special cash price of 60 cents, postpaid, are means of un- daughter who is now at that charming piano duet, probably are the book’s most necessarily cents, being received now. complicated terminology. The For Catalogue and childhood cash price of 40 postpaid. The sale interesting features. Information address: stage that ventures forth on book is marked The Child Handel—Childhood Days of this with a direct and com- primary grade of book is confined to the U. S. and In advance of publication The Dean Wesleyan Conservatory studies. Famous Composers for Piano Pupils a single mon sense approach Macon, Ga. its possessions. to voice study, and Coit and NUTCRACKER SUITE by P. I. Bampton .20 Tsrhaikow- copy may be ordered at the special in- both teachers and Choral Preludes for the Organ students will appre- Bach-Kraft.. .50 sky. Arranged for Piano Duet by William troductory cash price, 20 A GRATEFUL Classic cents, postpaid. ciate the EXPRESSION TO and Folk Melodies in fhe First sound principles it sets forth MUSIC LAWRENCE KEATING’S SECOND M. Felton—This four-hand version BUYERS Position for Cello and Piano Krone JUNIOR of the and its BALDWIN-WALLACE —The Theodore Presser Co., in .60 wealth of practical hints. Lawrence Keating's Second Junior Choir CHOIR BOOK—The outstanding success lovely Nutcracker Suite by Peter Ilyitch common with all The Teacher’s SHENANDOAH CONSERVATORY OF MUSIC business organizations Book 25 ORGAN TRANSCRIPTIONS OF FAVORITE Manual enlarges upon CONSERVATORY of Lawrence Keating’s Junior Choir Tschaikowsky will take Its place BEREA, OHIO (suburb not directly My Piano Book, Part among the thirty-six of Cleveland) engaged in manufacturing Three Richter .35 HYMNS by Clurrnrr Kohlmann—The or- lessons presented in the Book resulted in the very best OF MUSIC Affiliated with a first class Liberal war materials, Nutcracker Suite— Piano Duet many requests for a arrangements from the pen Students Arts College. has had a very difficult ganist of limited experience will welcome Book, u’hich already has Four and five year courses leading to degrees. Faculty Tschaikowsky-Felton 1.00 similar volume. The author has used the of that outstanding musician, William of Artist Teachers. Send for catalogue time throughout the this unique collection proven its value in Member National Association Schools of or informa- year 1944 in its Organ Transcriptions of Favorite Hymns of favorite hymns class and individual tion to: same care in arranging music within the M. Felton. That Mr. Felton bore in efforts to give Kohlmann mind instruction. Music • Thorough ALBERT RIEMENSCHNEIDER. Dean, Berea. Ohio satisfactory service _ . .50 arranged as organ solos with A single copy may be instruction in all to all Peer „ Hammond ordered Gynt—A Story with Music for Piano limitations of average junior high school the richness of the original score is a patrons. The understanding registrations now at the special branches of music • patience of Grieg-Richter added. Playing hymns from Advance of Publica- Degrees: B. M. and , .30 voices, and choir directors will find the surety, for this forthcoming edition, patrons who have Piano Pieces for Pleasure duet tion cash price accepted delays in Williams .60 the short-score versions in which they of $1.00, postpaid. B. M. Ed. • Certificate in Church Music numbers included to have satisfying full- ranging in grade from four to six, main- deliveries and disappointments Read This and Sing!—Teacher's in not Manual appear in the hymn books is not always RIVERORIVE SCHOOL OF MUSIC & ARTS receiving Dengler ness and effectiveness. Older singing tains the inherent harmonic ilavor and Rates Very items which have 1.00 so satisfactory, Reasonable had to go Reverential Anthems groups as many church pianists ADVANCE OF PUBLICATION out of print Baines .25 without tenor and bass sections colorings so much a feature of the OFFER 84 Riverside Drive for the duration is greatly Twelve Famous Songs discovered when they —Arr. for Piano 60 will became acquainted WITHDRAWN — Leading in popularity For full information address appreciated also find that this book will meet orchestral version. The entire suite, be- , New York City by the Theodore Presser Twenty Piano Duet Transcriptions with Mr. Co. of their needs. Kohlmann's two fine volumes with readers all books currently offered Every effort Favorite Hymns Kohlmann Advance of publication orders loved of audiences everywhere, will be E. T. FREDERICK G. KOEHLER, Director has been made and will .60 of piano Iranscriptions of ANDERSON, Dean The World's Great Waltzes for single copies, at favorite hymn in these notes, based on the number of continue to be King .40 the price of 25 cents, contained in this publication, including Dayton Dormitories made to fill orders as tunes. Then, again, these arrangements Virginia postpaid, may be placed while the the popular orders received, the book being published promptly as book Overture: March ; Dance of Catalogue on request Special Sinner Session possible, and great care is enable th is in preparation. organist to supply a full, well- this month has been hurried to com- being used in the the Candy Fairy; Russian Dance; Ara- judicious allotment of rounded accompaniment for congrega- grown-up students of piano bian Dance; Chinese pletion in order to place copies in the available paper to the printings playing who Dance Dance of that tional singing. hands of those Philadelphia Conservatory can have progressed a good year or MY PIANO the Reed Pipes, the Waltz who have proved the be made of music publications more BOOK, Part Three—A Method and of the , for KoTrrvrw-l f-l-| /-vi r> TIAI.V. „ -CT . , ,, ~U . * i •» . , , The twenty hymns BOSTON beyond their very first efforts by Ada Flowers. treated in this great demand that exists for it by their of UNIVERSITY which there is the most general at the Richter for Class or Individual In- Music demand. keyboard. book are outstanding favorites, and or- advance of publication orders. The spe- On book struction—Mrs. Richter’s successbULUCab Prior to publication, a single copy of 216 South 20th Street publications, particularly, it _ inIII theUie Coffer/e o/i f/uou- has ganists now have an opportunity of plac- cial price offer now is Marta been necessary Popular numbers of such American first two parts of My Piano this edition of the Nutcracker Suite withdrawn and it Ezkrmax Drake to limit dealers through- Book, de- ing Managing Offering complete courses in Piano, Voice Organ composers an order for a single copy of this is hoped that by the time this issue of Director Violin. Cello. Brass, Woodwinds, out the country as Nevin, Engelmann, Morri- signed for the very young may be reserved at the special Advance and Percussion instru-! to the same quantities beginner’s collection Faculty headed by ments. Public School Music, Composition. Church son, and others will at the special Advance of Pub- The Etude reaches subscribers copies of Music. Musicology. on each book be— —included in this use— until the time he is readyicauy of Publication cash price of $1.00, post- Chorus, Glee Club. Orchestra Band as they ordered last foriur theme Olga Samaroff, Mus. D. Faculty year. aiDum, lication cash price, 50 cents, postpaid. the book will be ready for delivery. includes members of Boston Symphony Bache-' War-time and there will be arrangements usual piano method, paid. lors restrictions on has brought about Courses leading to Degrees and Masters Degrees in all musical subjects. Dorms the use of 4-1-*/-. from suchQlloh uloccionl r-t i Li— _ X- , 1 , . „ PRACTICAL KEYBOARD MODULATION, Catalog. COLLEGE OF paper, shortage classical writers as Chopin, the writing of a third part for MUSIC. 73 Blagden St., Boston of help, and the diffi- continuing culties Schubert, Schumann, and others. the same REVERENTIAL For Class, Private, or Self-Instruction, of printers and binders Not successful plan for little second CHORAL PRELUDES FOR THF. ORGAN by ANTHEMS by Will iain Baines in pro- to Rah Roy Peery Mas. ducing be overlooked are playable year —Almost every by , Dor. brings to needed publications with — i— — arrange- j — pianists. Thej-iic bookuuus contains muchmuen Johann Sebastian Bach, Compiled. Revised, church choir has in its their every performer at the keyboard help shortages ments of favorite melodies from folk original material along repertoire some of Mr. Baines’ excellent a sim- all have entered into the with adaptations and Edited by Edwin Arthur Kraft Organ 1945 inability song and hymn sources. of standard anthems. ple, easy-to-follow course of instruction Pictures-of of the Theodore Presser study material, favorite music edited by the distinguished or- His selection of appropriate Co. This in this all-too-little-known art, accom- and the superb, specially arranged and melodies, attractive texts, his smooth flow of melody, and many dealers handling their drawings, and clear ganist, Edwin Arthur Kraft, has long specially engraved panied by numerous models. It prom- publications to album of piano pieces explanations of musical terms, the full and satisfying harmonies with Musical-Interest supply promptly in all been held in hig.h esteem by teachers cases the is offered to advance subscribers The which ises to become a handbook on the music publication wanted. at the Advance of Publication cash price and students. It is he invests his original composi- It is a Advance certain that discrim- church gieat tribute of Publication postpaid cash of My Piano Book, tions are deeply rack of many a organ. Pianists, to active music workers Part Three is 35 inating organists appreciate the neces- appreciated by minister, CALENDARS eveiy price of 60 cents. A single copy only cents, choir, too, especially those who aspire to serve where that may postpaid. But one sary and congregation. I these conditions are copy will be fingerings, pedalling, and the regis- With Accompanying "Nuggets" of being be ordered m advance of publication, allowed For as accompanists of singers and solo in- accepted cheerfully. de- to a customer at this introduc- tration which have been provided with this collection he has chosen some Music History and Music Biography) livery, of will find it It is a great course, to be made as soon as tory price, time-tested strumentalists, most helpful. help that private music the editor’s scholarly thoroughness and favorites and also has written Each month a new picture! the book comes off press. Price, $1.00. teachers, choirmasters, care. some attractive new anthems not hither- school music ed- Teachers will certainly want to add The complete calendar for the year ucators, and other PEER GYNT by Edvard to published. active music workers Cries A *\fnru this book to their lists of teaching ma- The book should appeal gives all of these interesting subjects: are trying THE WORLD’S GREAT WALTZES, with Music to anticipate their needs Ar- for Piano. Arranged by Ada terials. Those a especially to the average volunteer choir. The Child Mozart Before Maria-Thercsa as ranged for wishing to subscribe for OF MUSIC The far in advance as Piano by Stanford King—The Richtei—Mrs. Richter While COLLEGE Child Handel possible to help out in has added another copy for delivery published may the preparation of this book is Haydn Crossing the waltz as a dance when OMBS —Est. 1885— English Channel this war-time form goes back in volume to her Story in Wagner at Bayreuth situation. with Music series do so now at progress, choirmasters, organists, or Complete musical education. Preparatory the Advance of Publication Schubert ; history a great many for children. Teachers' training —Ma d of the Mill years, and prac- for young pianists. This others department Handel volume contains cash price of 50 cents, having in charge the selection of leading to diplomas and degrees. and King George I of England tically all composers postpaid. courses PIANO PIECES have yielded to its all the original St.. Philadelphia, Pa. Benjamin Franklin and his Harmonica FOR PLEASURE, by John melodies of the Grieg church music, may obtain single copies 1925 Chestnut Anton infectious rhythm in their Rubinstein Playing for Celebrities M. Williams—Work is writings. Fore- music; Morning Mood; at the i” the going along Ingrid’s special Publication . . home of Stassov on the Lament; TWELVE Advance of ,, . details most among these is, of course, In FAMOUS SONGS ARRANGED Morning in the home of Bach incident to the arranging, the the Hall of the Mountain cash price, A Revealing New Book in Two Parts Visions editing, “Waltz King- FOR PIANO This designed 25 cents, postpaid. of Wagner and physical King,” Johann Strauss, and no Solveig’s Song; — collection, Chopin at the Piano production of the music to Ase’s Death; Arabian PARAGON OF RHYTHMIC COUNTING collection of waltzes for the third and fourth grade pianist, Beethoven at Count Rasoumowsky’s be presented would be complete Dance; Anitra’s FOR ALL RHYTHMS (Actual size 4 3 i" 8"—12 in this splendid Dance; and Peer Gvnt\ x sheets I album of without J promises to popularity Made to These calendars have a liberal representation of Return achieve lasting fWENTY PIANO DI ET TRANSCRIPTIONS hang flat against the wall! been made in the soft piano pieces for the study and Home PARAGON OF HARMONIZING tones of 2 color lithography. Paragraphs recrea- waltzes by virtue of its Each OF Each complete calendar on the by this master. In this collection -While outstanding content. FAVORITE Clarencc Kohl- applied to P ^ure suipects add interest tional needs the music is not easv it HYMNS, by andinclude fhe of students in the inter- of its with individual envelopelUCGIltS birth and death years of 40 individuals. six of his most popular compositions are not numbers is a standard vocal favor- maim —The Kohl- r FOUR KINDS OF HARMONIZATIONS go beyond the success accorded Mr. mediate grades. The contents third grade ’of diffi also will Wald ite in its own right, so, in view of the nann’s Send for explanatory circular A dozen $1.00 el iS next ' of Fa- With CuIty The numbers are Concert Transcriptions Calendar of current THEODORE PRESSER CO. be of a character such as will deverly anan ed fact PERFIELD month and of delight two. The Skaters5ft andirEstudiantina. that the piano versions have been vorite EFFA ELLIS preceding and following months show. 1712 CHESTNUT ST. The and the author tells the Hymns created a natural demand Ave.l New York City PHILA. I, PA. story in a most made W \0i East 86th St. (Park ' to best bring musical top -WERTKEMENT out their a duet collection of similar arrange- 730 Advertisement THE ETUDE DECEMBER. 1944 731 . ! ! ! " ”

Echoes King. Viennese Apr 218 Humming Bird... Articles Koehler. Gay June 339 Adult Beginner, [ Star Kisses Jane, the Diller, July 376 Koh, , mann Alfanese. Q M Soul ( How Much of Singing Be j f y trans. ) . . Concise Index of The Etude for 1944 Sept.' 523 (Hindu Dance xr Ju, y 387 LaneT ov All-Night Singin in White Sails Mountain Machen, Apr. 212 t Say 29 “Aloha Oe," Its Pigeons Composer. . .McDaniel, Sept. 501 Lemont. Feb. 103 American Musical Firsts White, Liszt. Finale, Rhapsodie Mar. 140 (To save space the titles of many of the articles have been somewhat condensed) Hongroise Americans Want American Music No. 6 Oct 5QA Siegmeister, Valley ‘ Jan. 28 Lloyd. Happy peb 10? Among the Composers Jan. 11 \ Flickering Candles Monteverdi, Claudio . . . Schweisheimer, Blown, How t Oct* Anthems, May 275 “Taps" Was First Locke Idea for Buying. . .Holleman, June 332 Municipal Band an American Insti- Howard, May 266 [Tropic Clouds :::: SeptJIa Are You Drilling Parrots or Training • tion Wiltse, July 391 Templeton. Higher Insight in Music.. Dec. 679 Londonderry Air (arr. left hand) Jan< s Musicians? 39 oncert Bates, Mar. 155 Music Lovan. Petite Caprice cl American Doughboys Hear in Tempo, Rhythm, and Phrasing. .Pitts, Oct; 570 an Dec. for C l^ecitai Athens to Hollywood, 698 From. . .Garbett, Sept. 608 India Strickland, Thousand Lowe. Cadets on Parade Bach Oct. 557 That Music Killed Fifty Mar. 164 9 Prelude, Master Lesson on Music Brings MacDonald. Leaves in the Joy to the Coal Fields.. June 332 Germans White, Feb. 79 Wind. Oct. 578 Lindquist, July 396 Music, Building Character 619 Marks. Introspection (arr.) .... _ , , Through Theodore Presser as Teacher. Franklin, Nov. Jan. 36 Band and Orchestra. Revelli Each Issue 12 Martin. Spring Morning NEW AND • Swartz, Aug. 440 Time Value Hopkins, Jan. FAVORITE Band, ,, . Apr. 226 SELECTIONS FOUND ON THE Orchestra and Chorus . Revelli, Each Music PROGRAMS OF LEADING Issue Composition Instinctive, Is? Tone, Glory of a Fine Chorus. .. .Pitts, June 330 McHale. Jolly Fisherman Jan. SINGERS Band and Orchestra Questions 48 Andersen, .. Pitts, May 270 Miles. Painted Clouds Jan. 18 Tone in Choral Work, Secret of peb ] Revelli, Jan., Feb., Mar., July, Aug. Music Education, Human Values That Wilcox, June 327 Mosher. Skipping (with words) * Band Sonority “Tone Placing," About Sept. 536 McKay, Dec. 693 Count in Martino, Tack Mozart. Rondo, Sonata No. l in ... June 331 Two Pins, Elastic Band, and C . May 280 Baroque Style Exemplified Flint, Dec. 691 Music Ended a Famous Feud, How Truette, Jan. 12 Negro Folk Song: Short’nin’ Bread.. May 294 Beethoven, The Basic Riepma, Sept. 496 Thomas, Feb. 96 U. S. Soldiers Receive Hymn Rations. . Feb. 78 ughing Brook “Bel Canto," . . Ogle June 354 AFTERWARD What Is?. .Rogers, Mar., Apr., May Music for Four Hands, Original Vibrato, Berkley, July 393 Bell Well-Developed Lyre in Junior H. . . S. Morrison, Sept. 540 Berkowitz, Jan. 27 Violin Bowings, Light Applebaum, May 273 Paldi. Valse Espagnole By Olive F. Conway. Bells for Peace.... Aug.' 463 Lawson, July 389 Music, ‘‘Greatest Show on Earth’’ Grew Berkley, Each Issue Purvis. Waltz Fragment Biggs. Modern Violin Questions Nov* 637 Renaissance of Organ.. Nov. 629 ,_°ut * Ringling, 438 Violin . .Gardner, 276 Ramsey. Drifting Clouds Bowed Instruments, r/, Aug. Study, Joy in Early. May jan 49 Care of. . .Masson, Nov. 633 Music Helps Britannia Rule the Waves Violinist’s Forum Berkley, Feb., Apr., 0”^* of ome Nov'. Chaminade Fate June 332 Rebej™ ? 640 JUST __ . Payne, Feb. 76 June, Aug., Oct., Dec. (Victory rarade Lnm Rest, New, Revolutionary Nov. Music Aug 465 AT DAWNING FOR 632 Helps the Salvation Army, How Vocal Problems, Meeting Daily .Gurney, Aug. 447 Kedner. O Little Town of Bethlehem.. Dec you Choir Rehearsal, Streamlining. .Rieder, Aug. 449 705 . Booth, July 377 Vocal Work, Flexibility in. .Gonzales, Dec. 689 (Kitty Chopin Comes to the Films . Feb 116 By Charles Wakefield Cadman 50 Dee. 680 Music m College Training Detachment Voice Questions Douty, Each Issue Kitty’s Breakfast Chopin Playing Brailowsky, Richter Song J uly Feb. 81 Biddle, Apr. 211 Voices, Art of Classifying. Armstrong, Feb. 87 \\Left Hand Complaint m High Medium Medium Low . Low Church Music, Better Taste in. .Rieder, Feb. Nov. 654 89 Music in the Chinese Theater . Coupland, Aug. 441 Voices, Beware of Discordant. Gancher, Oct. 556 [ March of the Trombones .... Mar. Church Musical Message More Effec- Music in South American 175 Way . .Cugat, June 317 Watch for Minor Details. ... Patterson, Mar. 148 Rolfe. Moonlight Silhouette (Brahms). *ive • • Maxwell, Feb. 99 Apr. 209 Music in W ar-Torn Normandy Dumesnil, Sept. 498 Weak Rubinstein. BLUE ARE HER EYES Low Tones Armstrong , Oct. 567 Romance in E-flat, J an. Class Teaching of Violin Reisman, Sept. 513 Music Lover’s Bookshelf Cadman, 32 Compleat Wedding March, The General Wanted a Bagpipes July Musical Home Webster, Oct. 558 Jan. through Nov. 407 By Wintter Watts Concerto, ,, . Coupland, July 395 Danse Arabe j n. 50 Going to Play !. . . a 00 a .Stewart, Aor. 216 Music Manuscript, How to Make Whiteman. Cooperative Pupils’ Recital Keep Jazz Within Its Home on the Range (arr.) .... Aug. 474 High Medium Plan. Graves, Aug. 445 Mansfield, Jan. 17 Cornet Band, Silver Limits Aug. 437 Meadow Frolic June 34« Olsen, May 271 Music, Setting Industry to Rieder, Nov. 628 Curing the Wind Instruments, Care of i Who’s Afraid? Mistake Habit. ... Ullman, Nov. 625 Music Should Be Fun for Children Gct 59J Diction Schulenberg, Feb. 91 e M ria Mar. 167 A DREAM Pitts, Sept. 510 Asbrand, Apr. Schubert \t’ „ ? A „ 215 “Winnah, The," (Marie Rogndahl) . . . .Oct. 562 [Waltz in Diction, Phonetic Spelling Vital to Music A-flat Apr. 225 Study for Children Webster, Sept. 516 World of Music By J. n Each Issue Romance , Op. C. Bartlett Blauvelt, Aug. Music Study 28, No. 2 O. t 580 50 . 448 Is a Priceless Investment, h™p‘»cZ,i\ Does Practice Worship Music Clokey, Mar. 149 Schumann Romania, Symphony No. 4. Aug iust Make Perfect? Price, Nov. 616 Wh j 460 ‘‘ y Cooke, High Medium — Aug. Medium * - , . 436 °ld er March Low Low Ea ’Scenery” Heylbut, June 319 Music to Fit the Hall Dme 355 Bra instein, Sept. 500 Sousa.o Libertyr \-t Belli ,f Ear-Traimng Pitts, July 390 Music, Your Good Neighbors’.. Wolseley, Jan. 7 Music April Flowers Ear-Training, More Hints on ..., Pitts, Aug. 450 Musical Calendar, an Unusual Apr. 236 FORGOTTEN Early American Apr. 208 PIANO Dance of the Skeletons Choral Music . . . Gates, Feb. 78 Musical Fathers and Sons O-t.’ 577 Easter Program Nettl, Oct. 576 Flemish Dance Hamilton, Jan. 8 Musical Ideas Come First. .McClanahan, Adair. Song of the Pines June 355 Fcb> juj By Eugene Cowles 50 Easton. Aug. 455 Parade of the iddle-dy- Let Us Sing in English June 326 Musical Instruction in Wartime. Adler. Evening on Lake Koronis Sept. 520 { T winks .'wig. 475 .Bates, Jan. 20 Stolz. Beneath an High Editorials Each Issue Musical Instruments, Anthony. Rippling Water 284 Arabian Moon (533 Medium Low Protect. . Walker, Aug. 446 May ar1, Passln Tchaikovsky. Theme from Piano Con- ’ -£ S of July 380 Musical Memory, Creating a Durable Armstrong. Alleluia! Alleluia! Apr. 227 Etude Honor Roll certo in B-flat minor Oct. 572 Foldes, Bach. Prelude in C major July 402 Sept. 526 Oct. 575 GOIN' liusic^ Eurythmics in the Baines. Forward, March! HOME Words snd Elementary School Musical Quiz Jan., Mar., Apr. Mayfair Town July 403 Jan. 47 garden STRICKLAND Program May Thomas Santa on His in my LILY Grentzer, Jan. 22 Musical Research, Exciting Futures 'Bagatelle, Op. 119, No. 3.. Sept. 527 Way j 714 birds Expand in Yellow Buttercup By Dvorak—Arr. Fisher 50 Your Mental Horizon Reid, Feb. 95 La Prade, Choral Theme from Sym- May 294 ,, . May 268 Festivals Which Stimulate , At the Wishing Well Student In- Musical Treasures, Untapped Reser- phony No. 9 Jan. 33 : 535 High Medium Low terest Tibbitts My . Revelli, Aug. 451 voirs of Antrim, Funeral March, Symphony Snow Man 7^4 June 316 ’. Freedom of the Keys Garbett, Musical Turning Wheels a ,, Feb. 86 Twilight in Europe Ewen, May 256 Beethoven No. 3 Nov. 644 r 235 ' First, Get the Notes Right French, Feb. 85 Musician’s Bible Gregory, Sept. Menuetto, Sonata, Op. 2, Vallejo Vf? Panada I- . I., 101 HOLD THOU MY HANDS French Art-Song Composers 505 [Paso Arrogante Before Octave Playing, No. 1 . Problem in. . .Buckley, Feb. 92 Mar. 162 338 Faure and Debussy Wachs. Shower of Stars * By Graham Godfrey Spills, Jan. 19 Organ and Choir Questions Fry, Each Issue Rondo a Capriccio from \ 220 50 Germany’s Wagne8s. The Glider x, ,, Century-Old Offering to Organ and Voices Allen, Jan. Op. 129 June 345 Peace 21 [Alpine / Low (Silent Night) Kinscella, Dec. 695 Organ in America White, Beghon. Graceful Gliders Mar. 166 Waltz Aug. 457 Get Your Vowels Jan. 6 West Sanctuary Right Cohen, Nov. 627 Organ Literature, Good, How Much Bennett. Birthday March Nov. 653 i m hv 284 Getting Ahead Through Twilight Competition Dare I Play in Church? Kinsley, Bradbury. He Leadeth Me (trans.) Oct. 584 ( in the Valley fu] 397 Oct. 569 Williams. Summer THE KING OF LOVE MY SHEPHERD IS Walther, ! Mar. 145 Organist as a Teacher Diggle, Sept. 509 Brahms. Finale, Symphony No. 1 May 281 Dawn ,: 393 An Amazing. Little-Known Paganini, Legends of Cloud Ships Wood. Goodnight Song Per By Yuravage, Jan. 56 f Mar. 174 7] 6 William R. Spence 50 American Musical Develop- Passing of a Great Theorist Court Jester Gibson (Goet- Brown, Lewis Feb. 116 FOUR HANDS ment May 257 schius) Go to Sleep, My Dolly. High Low jan< g Sept. 536 Adler. Our Flag Great Pipe Organs in Ameri- Pedals, Oh, Those! Maitland, Wooden Toy Captain. ... July 412 June 329 Aug. 476 de 1’Isle. can Mansions La Marseillaise . ( Apr. 197 Peerce. Reaching Fame the Hard Way Aor. 206 Brown, Arthur L. Tranquillity Dec. 697 ... Feb. 108 0 m Goossens. p,JW'T‘ Dm T? 1— - Di Capua. O Sole Mia American Music for Ameri- Pennario. Everlasting— Quest for Burleigh. Coasting Dec. ... Mar. 172 PACK CLOUDS AWAY can an 702 Engel. Lolita r^Tc'ooi. Orchestras Ideal . . . Sept 528 July 381 Mar. 137 Carson. Patricia May 278 Engelmann. By Frances Gould. The Line’s Over Hill and, Dale ! McCollin the Thing ! Jan 5 Percussion Instruments Need Care Chittenden. Valse Romantique Feb. ... A tig. 466 65 Great Day 97 Grey. Under the Comes, When the... Hawaiian . . Cooke, July 378 Prelude, Op. 28, No. 3 June 342 Moon . Apr. 228 Low ‘Great Mr. Handel’’ Enters Handel. Joy to the World the Films.. Apr. 196 Percussionists, Modern Revelli, Nov. 631 Prelude, Op. 28, No. 6 July 416 ... Dec. 712 Grieg, Edvard, Childhood — Hemy. Faith of Our Fathers and Youth Percussionists “The Forgotten Men" Prelude, Op. 28, No. 9 Mar. 176 . ... Oct. 592 ‘ Ketterer. Dance • .....Cooke, Oct. Prelude, of the Little 'Woo'dV, 561 . Revelli, Sept. Op. 28, No. 10 Griffes, 511 May 296 Shoes STRESA American Debussy . .Kreider, July 379 Phrasing, Let Solve Your Difficulties Chopin Prelude, Op. 28, No. 13 Aug. 462 Oct 599 iTllltnr fl till ITU ' I ' >*o Hihi/vno C*...... '- T- no/i . _ Guitar and Its Traditions , Kirnberger. Rigaudon ^ For Segovia, By June 336 Leonard, June, July Prelude, Op. 28, No. H Jan. 50 y a Wintter Watts 50 Harmony, Simplifying Piano Lawson. Playful Kittens v 4 Approach to Practice Game That Is Fun Prelude, Op. 28, No. 21 k„ . Sept. 524 Light. Betty’s Ritchey, June 335 Prelude, Wooden Shoe Dance.... Mar. 172 High „ . , , . Henry, Apr. 196 Op. 28, No. 22 Feb. 100 Harpsichord, Listen to the t, MacDonald. Haymakers’ Marble, Jan. 9 Piano Pupils Never Pass the Fourth Prelude, Op. 28, No. 23 Apr. 224 Frolic N' w 646 Hofmann. What Is the Purpose Richter. JoZZj/ Old Sahit pr,-. of Grade, Why Many Campbell, May 265 Colburn. Invocation Aug. 464 Nicholas 712 Music Study? Piano Come the Band THE SWEETEST STORY EVER Nov. 617 Recital, United Nations Cooke. Valse Debutante June 341 5? • ? June 348 TOLD How Can I Raise My Income? (Con- Wright. Echoes of Vienna _. Chisholm, June 325 Copeland. Playful Sunbeams Apr. 217 Jan. 40 By R. Stults test Answers) Pianos, M. 50 Sept. 506 Are Two an Advantage in the Cowboy Song: Git Along, Little Dogies Nov. 655 Instrument With 253 Million Tonal Studio? ORGAN Boeder, Nov. 636 \STango in-D Aug. 458 Bradbury. Intonation ° Sweet Hour of Prayer 173 puts, Feb. 90 f Hopkins, Jan. 59 Diggle. Moonlight Over Nazareth Dec. Aug'. t rted at Fort 707 Felton. Scotch Idyl Lr y Brater, July 388 Poem-—At the Manger Dittenhaver. Robin hi Jam 46 TAKE, Dec. the Pine . TAKE ^ 677 Tree . . May 283 rischer. O THOSE LIPS AWAY It Came in a Dream".. Schweisheimer, Practice / Love to Tell the Story 650 Sept. 515 With Your Brains .. .Mursell, Dunlap. Ragged Rachel i Nov. Junior Aug. 456 Ju v 415 Grieg. Last Spring Etude Gest, Each Issue Programs That Succeed Eidt. Fairy - - 233 By Garth Edmundson 35 Kelley. Y eargain, Nov. 626 Dance Great Yesterdays in Music Mar. 141 Punctuation Enhances Musical Beauty Engelmann. Apple Jlid^soms \ ! ! I ! ! ! ! Kostelanetz. ! ||| \ Medium Color in the Popular ! fg Sffi. Or- Magi. ! fg „ Gebhard, Nov. 618 Federer $Av-tumn Song Sept. 517 Marks. ” §£ chestra r euerer . _ Mountain Idyl : Dec. 682 Questions and Answers Gehrkens, LonelyQ Ju] 3 410 Kreisler. Each Issue ^ Dancer Jan. 30 Nevm. Canzone Philosophy of Musicianship.. Sept. 497 Radio Review Morgan, Finke. Lucinda Amorosa Sept 532 Kreutzer. Jan., Feb., July 406 THE TIME Some Studies of Berkley, Jan. 25 Apr., Fleming. Intermezzo Jun e 351 FOR MAKING SONGS HAS COME ’ June,’ Aug., Oct., Dec. Shadows in the ' Water Feb. 114 Stabile. 153 Elevation 170 Mar PubHC MuSica 1 “ ar { Little Easter Bunny Mar. By James H. Rogers Kurenko. - Physical Coordination Forrest Apr. 236 Tchaikovsky. Morning Prayer 50 . , I Spring Oct. 591 Singing ja Maf Is Here (with words) May 295_ {. In memory qc ggg Sept.’. Valse C,hristine High Medium of Hubert A. William*, Quartermaster V. S.N., t, j . r . Nov! Jan. VOCAL Latin-American Music, „ , 35 lost in the Flair for Cugat, July 386 Recording on Wire -24 Gilbert. In a first battle of the South Pacific. Cooke, Jan. Canoe .... essler- Behold Leguona. AHuring Music of Reed Aug. 476 g>; the Risen King!... Apr. 230 Cuba Dec. 696 Instruments, Care of. .Schulenberg, Mar. 151 '^ve Heroes of Bataan Edmundson. Let Music Swell GreyjfV June 337 A Prayer . TO A SAILOR SON the Breeze" Dec. Rolled 1 ’ TO 678 Chords Bartley, June 320 [Mamkm Parade and SOMEONE HARVEY GAUL Letters from Etude Friends Feb. 106 Tourj ee - Homeward Mar. 169 Rolling Her , r Way to Triumph Griebel. Arabs on Horseback vhelton.n Wake Love, Jan., Feb., Sent 534 ’Tis Spring ...... May 290 By Geoffrey O'Hara T ., . _ Mar., Aug. Kingsbury, Hall. New Colonial March Finke. 50 . Apr. 205 All This I Library of Congress e , -m „ July 404 Pray Aug. 471 Recording Labora- bcale Playing, Contrary Motion Finale tory Goes to in from Sonata in C July 400 Grey{ Little Bill Medium War Conselly, Aug. 452 j July 408 Harris, Jan. 63 ipsy n 0 (arr -> ar S Lo ! Here the c Haydn Oct. 595 ‘ 0m 0ver the il1 Gentle Lark ! Marks, Sept 507 Schmitz. Fundamentals \Z H° ^ i Hi £ ? H Nov. 652 Lure at the Piano.. Mar. 156 \ Menuetto from the “Oxford Marth. Teach Me Thy of the Rhythm Orchestra bchool Music, Advancing Will Jan. 44 Organiza- (trans.) Dec. 700 Matthews. Show Me the WHITE NOCTURNE Lindfors,ui o, u all. C 1 11 tt u Way Oct. 588 , Jan. tionU inTH _ 4 .... ( , , ...... Evenson,jfj Jan. Hellard. Little Aviator ea 1 r s 23 rw Spiritual: Poor Little J 5' ? un Table Each Issue School Orchestra, Jesus Dec. 708 By Maier rE , Developing... Revelli, Heller. 5“' S° Paul Nordoff C /i? £ Dec. 692 Avalanche Phillips . I Cannot 50 1C f the Month. Jan. Weep jan . 42 a, , through Oct. Schubert, What Do"° You ' XT V oJ ? , I0U Knowuw t? Hofmann. Elegy Stairs. O Perfect Make . * Haste SlowlySlowlv ... ioc .• -Mar.Mar Love fi: ''7.T6ickensm, Mar. ^136 $»» MmLlrvr, All XI U.U June 350 Medium Holden. All Hail the' ' ^ Mannes. Building Musicianship JU” e 328 Power' of Jesus’’ btrickland. Why Can't I? Sept. 530 Apr. 201 Settlement Music, Fifty Years of* Name (arr.) Mastering Awkward Combinations June 347 . „i., VIOLIN m Hopki ™ Beethoven. Masterpieces in the Jungle ^ ™ ^aiW Ei„ Romanze Feb. 113 If? linISf; ^^’1?ems ofoTlnSS“t?Interest to - Berul. Menuet Masters and Matrimony Nettl, May 261 Classique May 289 Oliver Oilson Stock, Burleigh. Co. , Feb. 78 Wing May Day in Eisenach Maier, May 259 o Foo Mar. 171 Somewhere in the Pacific Slcalslci, Busch. Meet Destiny With Your Head Up Aug. 446 Badinage Dec. 710 Theodore Presser Co., Distributors bpeilmg Lessons, Painless Foor, Feb. Cadman. Boccelli, 92 At Dawning (trans.) June 352 „ .... Nov. 621 Stringed Instruments, Teaching the Cox. Menuhin. Making of a Concert Violin- Shepherd's Pipe Sept. 533 1712 Chestnut Street, Philadelphia, l.Pa. Ross, Mar., Fyffe. ist C4. i it, Apr. Sorrowful Story July 411 Dec. 688 Style and Preparation Pitts, Method, Shall I Nov. 630 Kerr. Our Laddie Grieg. Ase’s Death from “ Change My ?. .Barris, Feb. 88 Szell. (with words) Peer Gynt" . . Oct. 590 The Young Conductor Mar. 139 Dec. 715 Heins. Country Metropolitan Opera, How I Won My Tapper. Church Bells (with words) Dance Aug. 470 “I Always Have a Picture in . . Mar. 174 Into Ketterer l Kuhnau. Melodie Way Kaskas, Feb. 77 ” t BaU t lncer Apr. 232 M -v Mind Apr. 223 Kisher. Oct. 568 LittleL%!i/TToy Soldier% j^ Bumblebee Nov. 651 Nov. 654 Sawyer. Allemande 732 jan. 45 'FORWARD MARCH WITH MUSIC THE ETUDE

PRINTED IN THE U . S. A. Br THE CUNEO PRESS. INC. !

*Jascha Heifetz, painted for the Magnavox collection of great artists by Boris Chaliapin

Recipe for a great violinist

ou always hear of the 'delicate, sensitive taken him four times around the world — and corded music, his instmment is the Magnavox. ” violinist’ says Heifetz. "Well, I assure he estimates that he has played over7 5 ,000 hours Y To enjoy to the full one of Heifetz’s masterly you that it takes the nerves of a bullfighter, and has traveled over 1,500,000 miles in every recordings hear it played by the radio-phono- the digestion of a peasant, the vitality of a type of vehicle from airplane to rickshaw. graph he prefers above all others. So beauti- nightclub hostess, the tact of a diplomat and Today he keeps an extensive concert schedule fully does the Magnavox reproduce great the concentration of a Tibetan monk to lead —and also gives numerous performances to music, that Kreisler, Horowitz, Beecham and the strenuous life of a concert violinist.” service men in camps and overseas. He be- Ormandy have joined Heifetz in choosing it And after all, who should know better than lieves that in wartime music is important. "In for their own homes. Jascha Heifetz? Born in Russia 43 years ago, these days,” he says, "I feel that my audiences ‘Send for Reproductions of Paintings: Set of ten re- he cannot remember when he did not know are really with me, that we are as one, enjoy- productions of paintings from the Magnavox how to play the violin, for he learned at the ing a brief escape from realities.” collection — size 11^£" x 9", suitable for fram- age of three on a quarter-size instrument. When Jascha Heifetz/>Z«yr, he uses his precious ing — 50ji at your Magnavox dealer. Or send seven, - At he made his debut—and has been self- Guarnerius violin dated 1742 — or his Stradi- 50 p in War Stamps to Magnavox Company, supporting ever since! concert career has varius His made in 1731. When he listens to re- Department ET1Z, Fort Wayne 4, Indiana.

. • cJ&e choice artisfo

MAGNAVOX FM To appreciate the marked superi- I ority of the Magnavox listen to a Frequency Modulation program over this instrument. Magnavox was an FM pioneer and the reproduction qualities required to take full ..dvan- tage of FM broadcasting are inherent in the Magnavox radio-phonograph.

Buy that extra War Bond today.