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

7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193

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]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . !

i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan any operatic when she sang the TO , and Robert Law- title role in “” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . . . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in , fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers. Mr. Dooryard Bloom’d,” in a mu- Association o setting . . Successful Pupils songs sical by Paul the old type metronome Member Notional Many including in his programs several Hindemith, called Te l. -83 of g C. Sc __4 85 “Requiem for Those . N. Y. Law- a Love,” Teachers S,nJ h l64 W. 72nd St- Jones,” while Mr. We had its L k#c ty , ut0 from “Emperor performances world premiere In May, when it 406 Templeton oppointm .ot MARY^BOXALL BOYD will conduct the first was sung | _ rence (Leschetixky) the Kid” by the Collegiate Chorale (by whom the in Italy of Copland’s “Billy Pianist and Teacher , “Canta- work was commissioned) under the direc- I Virgil Thompson’s HURLBUT pianoforte teachers with whom have had ballet suite; HAROLD Of all Mary Boiall Boyd Rogers tion of its brilliant conductor, Robert ^Jnet/ionomcu^ ML. either as pupi or associate, Strings,” and Bernard bile for York—Hollywood Prof, —New opinion, the best."- Leland Hall, of] Shaw. A full symphony orchestra was *is In' my “Dance of Salome.” 0 a S C e soloists were Mona Paulee 113 57th St New York used, and the c/o Nola S°tud?a ., W. ELECTRONIC ^ Summer classes for teachers and students; George Burnson. .-‘wS-sSsupciu, yv/. ritv N Y Festival of Con- and caqo Mill Hill. Nantucket Island. THE SECOND ANNUAL when it was presented 15th to Sept. 15th— enthusiastic group of young music lovers the FUNDAMENTALS fuJ.,' at Columbia Uni- Hunter J. Mass. temporary Music, held who June 9, in at Endorsed by W. AMERICAN GUILD OF ORGANISTS organized in 1941 to put the summer on SPP'i Beachwood Dr 10-12, was highlighted by THE chorus, com- 2150 1056 versity May opera on a more secure footing. They College by the John Harms Tel. Gl. FREDERIC FREEMANTEL Charles celebrated its fiftieth anniversary with a the world premieres of works by have now developed into a group of two bined with the choir of the Sacred Heart Voice Instruction Spring Music Festival, May 27- , Roy Harris, and National hundred Church of Brooklyn, with the 24 home study leisoni, , Ives, and fifty, all working for the and St. Stephen’s LEE ANGELL Author of City. There were organ SYDNEY of Voice Productions and 31, in New York 'The Fundamental Principals Norman Dello Joio. cause of grand opera. with an orchestra of seventy players, all PIANO teacher "High Tones and How to Sing Them lectures, demonstrations, con- "-9 9 also recitals, Leonardo Teachers West 57th Street under the direction of the Rev. Batq „ . America's Eminent Studios: 205 church services, in HASH Beginners PUBLICATION OF certs, and special or Talented Phone Circle 7-5420 THE SOCIETY FOR Pavone. The principal soloists were Fred- Advanced Pupils New York City ] CAMIL VAN HULSE, organist of All Solicited publi- which some of the leading organists and Correspondence AMERICAN MUSIC has selected for erick Jagel, ; Francesco Valentino, Colo. partici- Saints Church in Tucson, Arizona, has Denver . . the country I , cl in choral directors of Clarkson St. EUGENE KLEISSLER this year the String Quartet Tognoli, . | 2 065 OTTO cation won the award in the competition for ; and Eva SINGERS! SPEAKERS1 VOICE ASPIRANTS! minor by Norman Lockwood, and pated. ISABEL HUTCHESON misguided voices quickly corrected D organ compositions held under the aus- Weak strained, Violoncello and Piano by Piano Teachers to vocal heights undreamed of. Sonata for the American Guild of Teacher for and strengthened TOSCANINI, famed conductor, pices of Organists, THE COLUMBIA oranches of the vocal art taught. Beginners ac- Engel. ARTURO All New York and Lehman and sponsored by J. Fischer & Bro. The (SOUTH CAROLINA) MU- reoted Bv appointment only. Studios made a sensational appearance on May 11 New Jersey. Address all correspondence: winning piece is a Toccata for grand or- SIC FESTIVAL ASSOCIA- Newark where, after a lapse of Teachers 57th St . FES- , Italy, studios Carnegie Hall, 154 W. THE SECOND ANNUAL MUSICAL in BROOKS mays music Trafalgar 73517 gan. TION held its twelfth phone C ' t2H Studio 123, New York City years, he conducted an orches- 2, Texas the In- seventeen 1005'/; Elm Street. TIVAL, sponsored by annual Spring Music which was held tra in the restored . studios quirer Charities, Inc., Festival on May 2-3. D0C charleTIagourgue' of his early LEO SOWERBY has won the five hun- ^NGiuNT^ SINGING- May 23, drew a throng In the place where many | on VOICE PRODUCTION— in Philadelphia Pulitzer prize of 1945 for dis- Considered one of the Coaching MUSICAL EDUCATION successes occurred, he again stirred the dred dollar Mastercourse in Vocal COMPLETE of 59,000 persons, who were entertained outstanding will conduct SUMMER CLASSES in tinguished musical composition. His prize musical pupils, and Teachers Mr. Laaourgue enlisted audience to a high pitch of enthusiasm. for Artists, Advanced INTERNATIONAL COLLEGE of four-hour program which events in and Concert SINGING in the by a is “The Canticle of the the South, the Grand and Light Opera, Riviera. entire audience rose winning work Mich. CANNES, renowned resort of the French music, radio, and On his entrance, the Elmhurst Ave., Detroit (3). the services of many the Festival this year sur- Studio: 167 information apply to New York Studios. seventy-nine-year-old Sun,” which was commissioned by : To. 5-8413 For as well as musical organiza- and cheered the passed 57th Street, N.Y.C. film stars, Fund. even the high 35 West. . Alice M. Ditson tions of wide acclaim. standards set in the past. Leading par- O'BRIEN LIVERETTE LUCIA EDITH SYRENE LISTER ticipants were the Southern Symphony Several years assistant to FES- WALTER, noted conductor of LEO BARZIN, conductor of the National AUTHENTIC VOICE PRODUCTION THE FOURTH ANNUAL PIEDMONT BRUNO Orchestra, conducted by Carl Bamberger; is the winner of LAZAR SAMOILOFF City held Company, has Orchestral Association, winding! 405 Carnegie Holl, New York TIVAL OF MUSIC AND ART was the the Columbia Choral Society; and Dor- - never needs Academy Teacher with the late W. Award of one thou- Now Teaching in His Collaborator and Associate North Carolina, on filed a petition for United States citizen- the Alice M. Ditson othy Kirsten, soprano, Calif, Dr. Floyd S. Muckey at Winston-Salem, and Alexander it will run forever 5, Warren Shaw and Endorsed by is pre- . . just plug in and 3150 West Sixth St. welcomes this eminent dollars for 1946. The award no spring . Lancaster. Pa. events were all ship. The Etude sand Phone Fe 8294 Wednesday: Troup Music Studio, June 24-30. The musical Kipnis, bass, both of the Metropolitan Philadelphia Pa. University 30t Preiser Bldg., . culture and fine humane concepts sented annually at Columbia Thursd ay: under the direction of George King Rau- man of Opera Association. A highlight of the PARKS (FRANK) (ERNESTO) fellow citizen. to an American conductor, for distin- slows down HENRY FRANCIS denbush, conductor of the Harrisburg as a festival was the presentation by the - never FORGE-BERUMEN STUDIOS service to American music. Organist—Conductor—Vocal Coach LA Orchestra, and included con- guished Choral Society and the orchestra of “Die precision beat perpetually Symphony no running down . . . Park Presidio United Church Voice— Piano Orches- WILLIAM A. GOLDSWORTHY, for the Forge o^e: certs by the Festival Symphony Fledermaus,” by . STUDIO: 451 Frederick St. Among those who have studied with Mr. La Crooks, the past twenty years organist and choir- of the noted American : SEabright 0900 Marian Anderson, lowrence Tibbett, Richard tra, the Boys’ Choir, and A BAS-RELIEF Episcopal Church of St. wears down! YUkon 1816 and Mme. Matzenauer. Festival Chorus. master of the , Edward MacDowell, was pre- - never IA CALIFORN 89th St., New York I FRANCISCO 1 Park Ave., Corner SAN 100 Mark’s-in-the-Bouwerie, New York City, sented to the University College moving parts. ..no motor'.. .no gears. ..no oiling. Tel. Atwater 9-7470 no EDNA GUNNAR PETERSON THE GOLDMAN BAND, under the direc- retired on Easter Day. of Music by the University’s Women’s RICHARD McCLANAHAN founder, Edwin Franko Gold- Council on April 23. The plaque was de- Concert Pianist—Artist Teacher tion of its unique! Representative TOBIAS MATTHAY the distinguished aUaluUltf its twenty-ninth season of VIRGIL FOX, sensa- signed and molded by Die oir invisible Calif. in Fundomentols man, opened I 229 So. Harvard Blvd. Los Angeles, Private lessons, class lessors a vir- Bashka Paeff. FE. 2597 Summer-class, Southwest Harbor. Me. , New York concerts on June 12, with Percy tional young organ sculptress, composer and New York City CLIFFORD DEMAREST, 801 Steinway Bldg. | the soloist. According tuoso, has been ap- has a flash-beat signal Grainger, pianist, organist, died at Tenafly, New Jersey, on THE SAMOILOFF will organist, and to his usual custom, Dr. Goldman pointed RUSSELL HANCOCK MILES, faculty seventy-two. beat synchronized with an audible beat BEL CANTO STUDIOS 5 OPERA ACADEMY EDWARD E. TREUMANN May 13, at the age of a visual include in his programs throughout the Richard Weagly, choir member of the University of Illinois, has I only place where you can learn the original The Artist-Teacher . Concert Pianist— contemporary director of The River- dollars, I Samoiloff Bel Canto Method which developed such season the works of many the award of one hundred Recommended by , Moritz Moszkowski won MIURA, internationally outstanding voices as , BIANCA York MME. TAMAKI and Joseph Hofmann. American . side Church, New the Herbert prize in ji psalm-tune com- adjusts louder or softer SAROYA, DIMITRI ONOFRI and many others. Now known for her interpretation of the lead- Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. City. Mr. Fox and College, I under the direction of Zepha Samoiloff. Both petition sponsored by Monmouth to mellow 5-4357 New York City ing role in “,” died in degree. Tone adjusts also: sharp Tel. Columbus | formerly to any I Write for Catalog, 3150 West Sixth St., Los Angeles 5 INTERNATIONAL SOCIETY FOR Mr. Weagly Summer Master Class June IS to August 15. THE Illinois. 1 — Tokyo, Japan, on May 26, at the age of Phone FE 8294 No charge for Audition CONTEMPORARY MUSIC will hold a fes- served for ten years in Virgil Fox sixty-two. be per- similar capacities at the MME. GIOVANNA tival in in July. Works to DR. JOSEPH W. CLOKEY, for the past DIALS the tempo easily ELIZABETH SIMPSON Soprano Dramatic — will include Sonata for Two Brown Memorial Church, Baltimore, Singing "Bel Canto" formed eighteen years dean of the School of beats per minute Author of "Basic Pianoforte Technique" Teacher of formerly di- I.EO SLEZAK, noted tenor, former mem- the whole range from 40 to 208 Experienced European trained Artist Pianos, by Stravinsky; String Quartet in Maryland. Mr. Weagly was Teacher of Teachers. Coach of Young Artists. Fine Arts, Miami University, Oxford, Coaching Opera, Concert and Radio St. Paul’s Church in ber of the Metropolitan Opera Company, Pupils Prepared for Concert Work. Class Courses E-flat, by Hindemith; “Townpiper Mu- rector of music at Correct voice production, defective singing corrected Ohio, has retired to devote his entire in Technique, Pianistic Interpretation, Normal Westminster, Maryland, and St. Mark’s died recently in , aged seventy- Beginners accepted sic,” by Mohaupt; “Ode to Napoleon,!’ by composition. He will re- in ANY position Methods for Piano Teachers. Fox time to musical precision! Phone: Trafalgar 7-8230 . Schoenburg; and String Quartet, No. 7, Church, , Pennsylvania. Mr. one. 609 Sutter St., San staff of the school as profes- Francisco; 8 86th Street New York City main on the West | organ- surface. Precision at any angle 2833 St., is nationally known as a concert doesn’t need flat Webster Berkeley, Cal. by Krenek. sor of creative music. ist; his recitals in various parts of the DR. FRANCIS CRYSTAL WATERS L. YORK SOLOISTS for the concerts to be given country have won him wide acclaim. He MAHOGANY FINISH ^16^ Advance Piano Interpretation and the Theory work Teacher of Voice THE ADVANCE OF MUSICAL interest in CABINET. . . REAL department HANDSOME required fpr the the Berkshire Festival at Tanglewood, is former head' of the organ Guaranteed degrees of Mus. Bach., and Mus. Radio, Screen, Concert in . that PRECISION INSTRUMENT . . Fully New York is indicated by the fact A LIFETIME Mas. Special Chopin interpretation. Lenox, , from July 25 to of Peabody Conservatory, Baltimore, Competitions Opera. Pedagogy York’s oldest and DETROIT CONSERVATORY OF City Putnam’s, one of New MUSIC 405 E. 54th St. New York August 11, will include Claudio Arrau, Maryland. Detroit, Mich. Tel. Vo. 5-1342 most dignified bookstores (in existence hundred dollars is Carol Brice, Gregor Piati- AN AWARD of one Eugene List, has recently for over one hundred years) , offered by the H. W. Gray Company, gorsky, Mischa Elman, and Erica Morini. THE CINCINNATI SUMMER OPERA is complete department for Inc., under the auspices of the American Jubilee Season this installed a very Muiic Lovers to earn LIBERAL COMMISSIONS will conduct the Bos- celebrating its Silver inc. musical records. Guild of Organists, to the composer (i. SCHIRMER, securing subscriptions Port or Orchestra. summer. To mark the event, a gala six- for THE ETUDE. ton Symphony of the best anthem submitted by any full time. No Cost or Obligation. Write for com- week season of opera opened on June 30. United States 3 East 43rd St., NewYork17,N.Y. composer residing in the plete LORENZO PEROSI'S famous ora- details TODAYI Address: CAMILLA WILLIAMS, Negro soprano, The only summer season of grand opera DON or Canada. The text, which must be in AVAILABLE AT TED CIRCULATION DKP'T the Marian Anderson in the United States, its success is to a torio, “The Resurrection of Christ,” writ- English, may be selected by the com- DEALER twice winner of YOUR LOCAL years ago, what was THE ETUDE MUSIC MAGAZINE Award and winner of the 1944 Philadel- great extent due to the untiring efforts of ten nearly fifty had poser. Manuscripts must be submitted to be the first performance in (.Continued on Page 406) laboratories. Hartford, conn. 1712 CHESTNUT ST.. PHI LA.. PA. phia Orchestra Youth Concert Auditions, The Young Friends of Summer Opera, an believed a product of crystal research JULY, 1946 "FORWARD MARCH WITH MUSIC” 361 —

Editorial r . „ Off?" eotmei m ncotne YOUNG msiqjeisflw.w the 1/Yiiisic ^Jeaclier’s CHOPIN FOR THE i 8s ©§<£ § l^ahhuf PiiRI ISH£D MONTHLY PHILADELPHIA 1. PA. BY THEODORE PRESSBX CO„ and you say that we aie not come from overseas. that we were all like flies on fly paper, staff TYPICALLY subtle English story has throughout. -tND advisory became more and making progress!” EDITORIAL of a University professor who COOKE, Editor It tells turmoil has come a vastly YOUNG JAMES FRANCIS his friends, giew Out of all this war and post-war TSCHAIKOWSKY FOR THE DR more absent-minded until his family and A for more music and music education. The demand best knownl and of the fac- increased A select compilation of the Finally, one day he said to a member much concerned. almost clean of many needed dreamt that I was shelves of music houses are swept a dream, a very vivid dream. I ulty “I had are “working like mad” to adjust their Henry by George, I found editions, and publishers Deiro Dr. Ui then I woke up, and, Pietro ^jgam D . Reve giving a lecture, and teachers __ “out of print” inventories to meet the daily demands of pr esser^ I was!” . ,, . Rovenger by Theodore that , , principles of every system of economy CLASSICS by Leopold W. conscientiously wrapped up in then and dealers. One of the basic LITTLE 41 teachers are usually so of standard classics Music regulator of all prices. \ splendid collection Pff^f^gY^raliTms MINtfET^Beethoven, practical condi- is the law of supply and demand. It is the Contains DANSE MACABRE; St many others have to be awakened to UNFINISHED faiavir-iiui ^StTSkI art that sometimes they in Scarletti. progressing pianist. its phases, was never such PASTORALE, me^ the s Music, in all a companion book to any standard cents clas- Unparalleled as pr}ce 50 1946 is said that one of the most Contents for tions. It demand in our country as it is now, and definitions of the art of teaching is SACRED REFLECTIONS PRICE 25 CENTS sifying the supply was never less. There is still a VOLUME LXIV, No. 7 authoi Ana- by Leopold W. Rovenger that given by the noted French , materials, instru- worlds most 361 great paucity of musical choice compilation of forty-one of the A Carefully edited, MUSIC : “The whole art religious and sacred selections. THE WORLD OF tole France (1844-1924) the rising 1 eloved arrange- ments, and good teachers. With phrased for Piano Solo, these fingered and technical awakening of the playable by students of limited of teaching is only the widely recognized, ment are advanced performer EDITORIAL 363 cost of living, which is ability vet appeal to the more Income and wor har Raising the Music Teacher’s curiosity of young minds for the because of their inherent beauty ®^& natural the music teacher, whether in an institu- ^c| 7 5 afterwards. The MUSIC AND CULTURE purpose of satisfying it teaching, has every justi- CLASSICAL MINIATURES ...Joseph Wechsberg 364 tion or in private The in Grand Opera like nothing better Rovenger 365 born teacher would fees. This cannot by Leopold W . Luck! fication to seek higher Prepare for Good victor I Seroff 367 r ty f rlt Technique ” just that. But to be a superior ea"£ to The Basic Foundations of a Permanent than to do by strikes, and the teacher co^sWonl presentId in flry shomier Carr 368 be regimented ria^icll being, must first Serge Bertensson 369 teacher he, as a human to try to secure advances in Alexander Siioti)' V.V.V has no wish Weber, MARCHE Krd^it^of'Mu^l INVITATION TO THE DANCE, of all be healthy, happy, and prosperous. ’ SLAVE, Tschaikowsky, SPRING SONG , M that way. INDIA, Rimsky-Korsakow, an e MUSIC IN THE MOME he has to attend to a great SONG OF ^rf“ 50 cents Peter Hugh Reed 370 Therefore, importance of education Midsummer Recordings of Note The enormous Meredith Caiman 371 other things, one of which is the The Etude Music Lover s Bookshelf many has never, in history, been adequately Campbell Ave. very practical problem of earning a living. ^ 738 So. MUSIC AND STUDY recognized, nor have teachers been prop- Dr. Guy Ma ter 372 are the music teacher’s chances, 12, ILL. The Teacher’s Round Table What erly compensated. The value of education You Want to Arrange Music for Radio? confusion which marks the Do h'ffln ,, in this hour of Edith BuHard„ 375 the state and to the individual is so First Steps in Vocal Training to **<] Bammon 376 transition period between the signing of The Successful Recital tremendous that the whole scale of com- Dr. R° la ”‘i D,gg e that The Art of Organ Accompaniment the peace treaties and the coming of George f Strtoktmg 378 pensation, from the most lucrative posts Youth Must Be Served country which Cheney & Byron O. Hughes 379 more stable peace in our Dento-Facial Irregularity Edward A. in our country down to the most insignifi- Rosc Heylbut -L con- How Does the Singer Break Into Radio? all sensible people are patiently and Felice de Horvath 381 cant, is all out of line with decent common The Mystery of Vibrations ? should the teacher Karl W. Gehrkens 382 fidently awaiting What Questions and Answers Dr. sense and with the relative earnings of Arthur S. Garbett 383 right now to fit his life advantageously Changing Values in Harmony do The great minds of the Edward Dickinson -84 business people. Beautiful Gems The Operatic Side of Shakespeare into the continually changing economic An Album of ages have never been uncertain as to the MUSIC picture? One thing he should not do is to value of education. Diogenes stressed this — Renditions Classic and Contemporary Selections wear out his energy with anxiety over the For Piano Enchanted Mirror Arthur L. Brown, Op. 124 38 j fact when he said, “The foundation of The of the radio, (From “Twelve Famous Songs”) Reginald De Koven alarmists of the press and Recessional every state is the education of its youth.” Arr. by J. L. Frank 386 whose existences depend upon making men- SONGS Beethoven 388 wisest advocates L. van ANATOLE FRANCE and TWELVE FAMOUS Andante, from Sonata, Op. 49, No. 1 One of the strongest Hellard 390 acing prophecies which are only rarely Air Patrol Robert A. (1844-1924) of public education was Thomas Jefferson. FOR PIANO Reflections Thomas Griselle 392 fulfilled. Needless anxiety over what may a crayon drawing by Pierre Calmettes ARRANGED From proclaims: Happy-Go-Lucky Ralph Federer 394 In his voluminous writings he happen tomorrow is one of the greatest Price, One Dollar Thou Almighty King (From “Twenty Piano Duet Felice De Giardini of the Come, James “By far the most important bill in our whole code is that (Piano .Arr. Clarence Kohlmann 396 obstacles to success. Remember the sage words of President Transcriptions of Favorite Hymns”) Duet) by other sure founda- of knowledge among the people ; no harmomiations Vocal and Instrumental Compositions troubles in my life but the worst diffusion most beoutiful melodies and __ A. Garfield : “I have had many Some of the world's Alexander Matthews 398 of freedom and happi- presents fine piano tran- The Pines (Organ) H. tion can be devised for the preservation came into being as songs. This album in (Secular song voice) Janie Alexander Patterson 400 of them never came.” of MacFadyen s Not Vain —low he wrote: within moderate technical demands, ness.” Again, in a letter to du Pont de Nemours, scriptions, Holiday., Gaylord Yost 401 is getting on far better than one might expect Hahn's transcendency beautiful Really, the world exquisite Cradle Song, Corl the people generally, and tyranny and oppressions of Take You Home Delightful Pieces for Young Players thought could not end until “Enlighten Green Cathedral, Westendorf's folk-like ill after a war which so many thousands The A Pony Ride E. Stairs 402 will vanish like evil spirits at the dawn of Mana-Zucca's bright and challenging I Love Life!, away from the col- both mind and body Again, Kathleen. Little Tin Soldier Bobbs Travis 402 1947 or 1948. We are now only a twelvemonth loved The music in In Maytime. Sullivan's universally Fortunately, the vast educational significance of Speak's charming Stealing Base Nelle Stallings Scales 403 and about eight months away from the signing day.” Steinel s lovely lapse of the Nazis Nevin's appealing Mighty Lak ' A Rose, 404 Lost Chord. Happy Summer Day \ Myra Adler all of its fields is being recognized now as never before. Franck's moving and devout Pams of the famous Japanese treaty on the battleship Missouri. Great My Heart Is A Haven, Cesar 416 could hold a knife and Recessional, Hawley's well-nigh THE JUNIOR ETUDE Elizabeth A. Gest of During the war almost anyone who An ge/icus, De Koven's immortal world changes have occurred in the interim. The hysteria Blows, and Spross' plants perfect vocal gem The Sweetest Flower That could get work in one of the thousands of wartime MISCELLANEOUS strikes is passing on far more rapidly than might have been ex- fork O' The Wisp. sparkling whimsy— Will Voice Questions Answered Douty 407 rate of pay which made the income of the . . .Dr. Nicholas have been going through a natural inflation and a and could work at a Band Questions Answered 408 pected. We great singers in . ... William D. Revelli These stalwart favorites in the repertoires of seem ridiculously small. Fortunately, the great and Choir bickering, but on the whole, the flood of professional man selections for Organ Questions Answered Dr. Henry S. Fry 409 period of international these well-handled transcriptions, furnish excellent Violin Questions Answered 411 employees put by much of their savings, and from superb for Harold Berkley providentially and our situation is masses of such the average pianist to enjoy. Teachers will find them world murder has receded Songs of Production 419 who, for the first time in their 3 Grade 4'/ range. In the hands of an at your this group have come thousands pupils in the Grade '/2 to 2 thousands of times better than it was a year ago. A man Enteredi as second-class would prove ideal as light recital second-class matter January 16, 1884 at the P. O. at Phila.. Pa., to study music. •> their desire accomplished performer fhey under the ActArt nf ^ lives have an opportunity to gratify of March 3, 1879. Copyright, 1946, by Theodore Prcsser Co., for editor’s club was “griping” about the slow moving post-war ad- numbers or encore offerings. U. S. A4., and Great Britain. confronted with a rise in living costs justments. A wise old juror at the table said, “Hold on there! The music teacher now Department of Labor, Bureau of forget that less than a year ago we were so plastered up (estimated by the United States $2.50 a year in U. S. A. and Possessions also Don’t j in Costa Rica, Cuba. Dominican Republic, Guatemala, Haiti, Mexico, Nicaragua. being an advance of 29.2 per cent over that for 1939) Published by CO. Panama. Republic of Hon* all kinds of rations gas, oil, coal, meat, butter, everything Statistics as THE JOHN CHURCH duras, Salvador. and all South with — American countries except the Guianas. (Continued on Page 410) 52.75 a year in Canada 1712 Chestnut St., Phila. 1. Pa. and T^ewfoundland. $3.50 a year in all other countries. i CO., Distributors, THEODORE PRESSER Single copy. Price 25 cents. 1 363 JULY, 1946 362 "FORWARD MARCH WITH MUSIC” THE ETUDE .

Music and Culture Music and Culture

Claque in Grand Opera The Prepare for Good Luck!

From “Looking for a Bluebird At the extreme left, Schostal occupied a Siiulen- PEOPLE whom I have This was one of the two seats behind each GREAT MANY sitz. A Conference with talked to during intermission at the Metro- massive marble pillar, from which you could not A‘ politan Opera House seem opposed to see the stage. They were sold at half price, the idea of a permanent claque, some going so mostly to music lovers who did not care, or to far as to call it a cheap, disgraceful racket. 'lUecljlei people who did not know, and ^teler (ij Joseph l out-of-town who Eleanor There was, of course, a permanent claque at therefore had the tantalizing experience of A Leading Soprano, Metropolitan Opera Co. the Metropolitan when Gatti-Casazza was direc- hearing Jeritza as and not seeing her. tor, and there were La permanent at From his headquarters, overlooking the balcony, Popular Star of Opera and Radio Scala, Milan, the Paris Opdra, the Prague Na- Schostal directed the claque, which was scattered tional , Opera, where and the around in inconspicuous groups of two or three. at one time a fellow by the name of Artur Rod- zinski acted as claque chef. And there was noth- Timing the SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLUND ing disgraceful about the claque at the Schostal had a perfect sense of timing and he Staatsoper, which I had the honor of belonging had a showman’s instinct for the mood of the to in the middle twenties. Eleanor Steber's host of enthusiastic admirers are likely to think of her as the girl who was catapulted into leading public. He could feel whether an was going The claque was far more exclusive than the Metropolitan by way of an Auditions of the Air award, and who has steadily been pursued by good over or not. A claqueur’s most unpaidonable roles at the aristocratic Jockey Club. Anybody with a good luck ever since. This is a pleasant thought; its only drawback is that it is far from representing the facts. Miss crime is to start applause which is not taken up family tree and who had not been caught has had splendid opportunities, but the essence of her "good luck" is that she has done a more-than-average by the public and perhaps is even drowned out Steber stealing silver spoons could get into the Jockey amount of penetrating study and hard work to make herself ready for her chances. Born in Wheeling, West Virginia, Club. To become by enraged hisses. Schostal seldom made mis- a member of the claque you Photo ly DcBcllis (her mother was a singer), Miss Steber has lived with music ever since she can remember. take. He himself never applauded during a per- of a musical family had to know by heart the scores of popular ELEANOR STEBER study at the age of seven and soon began to think seriously of a pianistic career. Fresh musical generals shoot rifles She began piano —all , , solo numbers. In formance— do not —but at interests developed when the girl found that she "liked to sing." Without slackening her work at the piano, she sang addition, some courage and diplomacy were the end of an exceptionally good one he would in the choir and as soloist in church, and supplemented her high school course with dramatic study, just for the fun essential. step down to the breastwork and benevolently ‘7 I \ ODAY’S young singer does well to realize that of it. Her mother knew that Eleanor "had a voice," but was quite unaware of its possibilities. After her graduation The claque chef’s name was Schostal. He had clap his hands for the stars. They never failed ‘breaks’ and ‘inspiration’ are inadequate tools from high school, Eleanor entered the New Conservatory of Music as a piano major. After her first year become a claquer under and to look up and give him a smile. During an A with which to prepare for a career in music. there, however, she was advised by William L. Whitney to change to the vocal major. For five years, Miss Steber at one time or another he had worked for ordinary, more or less routine performance, The only preparation is sound and thorough musician- worked hard at music, studying theory, harmony, composition, history of music, piano, and voice; following courses Scotti, Hesch, , Chaliapin, Galli- Schostal would get up from his seat shortly ship. The art of music includes the business of sup- in vocal pedagogy; and fulfilling the requirements for the Bachelor of Music degree in literature, languages, history, Curci, Farrar, and Caruso. The claque consisted before he had to give a cue, and the claqueurs, plying a pleasing musical commodity and in this sense, and psychology. Her free time was devoted to gaining experience. She continued her church work in Boston she of thirty to forty regular, youthful lovers of throughout the balcony, could see his bald skull the singer must learn his business exactly as a doctor — church work is perhaps the finest experience young singer can have, since it develops good opera, most of whom, like myself, were shining under the pillar lamp. There would be or a lawyer or a manufacturer does. And his business states that a a better vocal line any other form of early singing and entered a well-organized WPA Music Project where she sang the somewhat insolvent students at the Vienna from ten to thirty of us, depending on how many covers a great deal more than singing! To cite my than — solo parts in fifteen in addition to spending three hours a day with the chorus. She first came to New York in Conservatory of the Akademie fur Musik und clients we had in the cast. At the critical moment own experience merely as an example, I had six years 1939, won the Auditions of the Air award a year later. She counts that award as her first big Others Darstellende Kunst. If we had two Schilling, he would give the cue, a short nod to three of intensive vocal and musical training, and about six- and moment. include in town, when Wheeling turned for we would rather spend them for an opera ticket lieutenants standing behind him, and they would teen years of living in an actively musical environ- her first professional concert her home out Eleanor Steber Day; her Metropolitan Sophie in ""; her solo appearance with than for a dinner. However, we had to eat now start applauding in a cautious, subdued manner; ment before I began my career. And in this connection, Opera debut as and the New York Philhar- and with Toscanini and the NBC Symphony; and her steady progress in radio which just and then, so we all tried to get into the claque. the rest of us would fall in, and within three I may say that The Ettjde has always ranked among monic-Symphony, has been The “work” was fun and we were given a free THE CLAQUE IN A CONTINENTAL OPERA HOUSE seconds a wave of applause would sweep the my chief musical influences. As a child, at home, I climaxed by a long-term contract with fhe Firestone Hour. admission to the standing room. Schostal was house. studied that magazine! Many of my piano assign- Clearly, Miss Steber's "good luck" is not the result of chance. In the following conference, Miss Steber tells readers a citizen of the world of The Etude about the controls and disciplines necessary for the winning of good luck. Editor’s and liked foreigners, so at Schostal detested high-pressure methods and ments were made from it, and I used to read all the — Note. one time there were two One of fhe most amusing and engaging books upon a certain Frenchmen, a Czech, phase preached subtlety. “The best claque works in music in it that was not assigned to me. a Chinese, an Ethiopian prince, of music to appear in years is "Looking for a and Childs, an Bluebird," by Joseph secrecy,” he said. “We must not impose applause “The chief interest to the young singer, of course, American Wechsberg, a very versatile pianist from Cleveland, among his personality who as violinist, business upon the audience. is learning how to sing. The best advice I can offer We stimulate them and give voice employees. man, and writer has made an unusual name for himself. working procedure. I exercise my We are sure them the cue at the right time and they take here is to get into the hands of a teacher who will that readers of The Etude who desire relaxation every day, never for too long at a time, of and also a great deal care of the rest.” allow the voice to develop naturally before bad habits The Candidate Is "Examined" of real information will find "Looking for a Bluebird" course, but with regularity. Daily warm- a very precious The business of giving the cue can crop up to cause problems. 'Unless there is some- demanded per- ing-up drills include much scale work! I met Schostal one night after the opera. purchase. This chapter is reprinted by the permission of the thing organically author fect timing. Many operatic arias end with a wrong with the vocal tract, voice Pachtinger, fellow violinist and The New Yorker magazine I vocalise the straight scale, up and down; a at the Conservatory where it originally appeared in problems are usually some- high, sustained note and the artists deliberately the result of unsuspected bad and a member of the claque, took me to the what different form. first in the major and then in the minor. —Editor's Note. build toward that ultimate habits. The question naturally arises, then, how can Peterskeller, bravura effect. You Then come simple exercises in arpeggios, a noisy, smoke-filled cellar across you tell, before it have to start applauding at the instant the last is too late, whether you have a good from the Staatsoper and frequented night turns, trills, and grace-notes. I find it by note ends, teacher? It has been my experience that there are while the public is still under the chauffeurs and bums, where Schostal was sitting at “Pelleas et Melisande,” and “” are very helpful to vary the vowel of these extremely singer’s magic two ways of judging. The first has to do with your own “light” operas. The spell. To start too early, as do all a table in the rear, near a battered piano. He was claque works only at the end of sensations while routine exercises while singing—that is to amateurs, spoils the carefully calculated you singing. If you progress in your work a powerfully built man with a black mustache and side- each act; there is no other applause. On the other effect. If say, not to sing a full scale on Ah, and hand, wait too long, the with an ever-increasing sense of freedom, ease, and Rossini, Massenet, Verdi, conductor leads the orchestra right burns and an immense bald head. His family owned Puccini, and Bizet operas are comfort, another on Ee, and another on Oh, and into the next piece and the the chances are that you are being soundly large textile mills in Moravia. When Schostal, a pas- very difficult.” Take, for instance, the second opportunity for a spon- so on, but to change from one vowel to act of taneous ovation taught. The other way has to do with the attitude “Carmen” is gone. Conductors if the sionate opera fan, discarded the flourishing textile a claquer’s nightmare. You start working hate it another within the compass of the same singers get too much applause of the teacher himself. If he tells you that you have business in favor of the claque, the disgraced right after Carmen’s gypsy song, Les during the acts, because scale. This is very good for developing family tringles des they a good voice but that you need sistres want to get home and take years of meticulous broke off relations, except that every year they sent tintaient, and you applaud after her off their dress suits flexibility and for preventing the line from dance and stiff collars. work, listen to him! If he tells you that he can put him a Christmas parcel containing with the castanets. Then Escamillo material for a enters (applause) you into the Metropolitan becoming fixed on any one vowel sound. sings Opera inside of two years new suit—always the same material, blue serge. This his famous Couplets (applause), I generally find that exercises of this kind and leaves’ A Difficult of fundamental study, watch out! Good singing needs accounted for (more applause). By Assignment Schostal’s wardrobe of nineteen more or that time the public is are sufficient to warm up my voice for likely lf a resource of production to re WaS not any special and projection techniques less worn blue serge suits. applaud spontaneously after ,, training. Newcomers to each number the F ; actual singing (in contrast to vocalising) qUe 0Uld be that cannot possibly be built in any brief space of Schostal listened while Pachtinger introduced quintet (.Carmen, Mercedes, Frasquita, assigned to a group of claqueurs me, and the smug- nnP,LL 7 time. However, each day’s special needs must glers), Don 1 1115 the less “ and then moved over to the piano and hammered out Jose’s offstage a cappella song, di ffi cult” operas. I worked have their special aids! If, for example, Carmen’s durinu- ‘^rv-Tnstan^ ’ a few bars from “Salome,” “Fledermaus,” “Lucia dance for Don Jose, and the tenor’s ' “Siegfried,” and before I di famous La fleur w "Salome” A Good "Line" Necessary I have just sung a heavy role and wish que tu m’avais n my first independent Lammermoor,” “WalkUre,” and “The Queen of jetee. The trouble is that assignment, just before voice, usually turn to the enthu- L “Avoid ‘trick’ methods in singing there are no to lighten my I Sheba.” After siastic listeners are 06 of “Rolette.” — each piece I had to tell the act and the apt to break into “wild” with Selma Kurz as some aria by Mozart and use it simply applause Gilda ‘tricky’ short cuts. The essence of good singing is the scene in the wrong places, lZT aS Duke from which it came. The air was heavy with such as in the > an<* Bohnen Rigoletto. middle of an aria as free, natural production as an exercise. after At a hripf nnnference of well-supported tone. As the smell of goulash and cigars, and the guests were an effective high C. In Vienna, where in the foyer preceding the opera, opera was Schostal CTo, production itself becomes clearly understood, the “I find it a good thing to Use an aria noisily discussing politics. Schostal held a way of life and even the me rders to his beer mug small boys discussed opera ° start a “Short salvo” after s young singer strives to acquire a good line. ‘line’ as an exercise, after the preliminary in his left as they discuss rSnIZ°nologue The hand and played the Liebestod with his baseball in this country in the second scene of the first “wild” an act It was involves two things: first, a perfectly even scale of warming-up has been done. Mozart espe- right. “All right,” he said to Pachtinger. plause was considered heresy 1 j °b: “We’ll try and one of 'the claque’s are always a little hard to v! well-rounded and equal quality in all the registers of cially is excellent for getting evenness of him out at ‘Tristan’ next functions was to influence hanm °- Sunday. There is little to do.” public acclaim into c starred with famous orderlv* and at, T') range; and, in second place, a straight float of tone, line into the voice. Along with Bach, A claquer’s operatic perspective is really channels. upside down. Sh°rt n0t especially ^ up and down the scale. Now, it is extremely difficult Haydn, and Handel, Mozart is the purest “,” “Walkure,” “Gotterdammerung,” Our claque’s base of ’impressive operations was high ’ followed up in Gilda’s ^mediately by to ‘tell how’ this is to be achieved, hence the most beneficial Copyright the fourth balcony, appearance. since no two throats music and 1944 by Joseph Wechsberg where the acoustics were best. I was standing are built alike. I am glad, however, to tell of my own for voice development. Further, ELEANOR STEBER IN with two (Continued 364 '’FORWARD MARCH WITH on Page 366) MUSIC” JULY, 1946 "FORWARD MARCH WITH MUSIC” THE ETUDE 363 part of Calaf than the aging Slezak’s, and gave safety, the young order early as possible, with vocal Music and Culture Music Culture “As to “build up" Kiepura. A few months later, and opportunity for 110 ex- Slezak singer should grasp every P^ the part and Kiepura fo stopped singing had the sit around waiting field It is a great mistake to perience. to himself. did C0Ple ' a the big chance to come along. Even if it Mozart’s least show- be able to music searches the voice for any person with no experience would hardly A Necessary Evil ing of unevenness in line and scale work. Also, there recommend church work. There seize it! I can heartily was frequently denounced is definite advantage singing words of Mozart repertory, The claque by the critics a to the a early preparation for flexibility, is no finer reluctant to share with us aria in Italian, since this language lends itself better WPA, I gained who were their right and vocal line. In the work I did with to influence the public, but it was nevertheless The Basic Foundations than any other to this evenness of line upon which I chorus, tolerated enormously in working with orchestra and m insist. Of course, there are plenty of other songs and its rela- by the directors of the Opera. Some of them, enlarging my knowledge of the orchestra and like arias in Italian, but the Mozartean qualities of music the field of Felix von Weingartner and Franz Schalk, preferred tion to the voice. That period of work in do wonders for vocal development. the regulated applause to the enthusiastic outbursts proved to be my best preparation for of “The young singer who aspires to operatic work, so amateurs. Bruno Walter always had some kind Metropolitan! It grounded me in orchestral values word Of a Permanent Technique ”" 1 ° today, finds that the current consciousness of eye- i,i„ t for us. (Schostal never took money from any con- values plays an important part in his development. Richard Strauss considered the without any orchestral rehearsal. ductor.) claque a Undoubtedly, the fluidity and flexibility of motion- evil, like the ladies of the “From my own experience, I know that the early necessary chorus, the ticket picture techniques, now familiar to every town and jobbers outside the Opera and the cockroaches years of study can be difficult. The young singer is so under Oft Neglected Phases of Piano Study of hamlet, have made us a great deal more eye-minded seats of the Kaiserloge. intent upon his goal of mastering individual steps, or the plush When Clemens and picture-minded than were the audiences of fifty director of problems, of vocal production that he fails to see the Krauss became the the Opera, he publicly years ago. This has a definite effect on lyric acting. over-all picture of what his work actually means. Only threatened to “rub out the claque.” Schostal took Real Siqnificance to All Students and Teachers We have outgrown stiff and ‘stagey’ gestures. We ex- later do blurred outlines begin to clear—and then one up the challenge. The following evening Krauss con- pect people on a stage—any stage to be able to com- — realizes that the all-absorbing problem of a year or ducted “.” Schostal bought thirty ex- municate emotion through motion. For this reason, two ago is simply a means to an end. That end is al- pensive orchestra seats, which he distributed among the operatic aspirant must give more than a passing ways thoroughly-rounded musicianship. those of us who owned tuxedos. When Krauss entered thought to dramatic and visual values. “There is no such thing as ‘discovering’ that one has we started a terrifflc ovation. During the intermission a voice and then breaking into a glorious career, all Schostal asked Krauss how he liked our work. “Don’t Visual Illusion Necessary Noted Russian Piano Virtuoso and Author inside of two years! It takes longer than that to per- be ridiculous,” Krauss said. “The applause was made “That does not mean that every stage personality has fect the elementary steps of production. And even the by my followers in the orchestra pit. Since when to be a raving, tearing beauty! It does mean, however, best vocal production is but one of the materials from do you boys sit in orchestra seats?” During the second that (more Mr. Vidor I. Seroff, author, pianist, teacher, presented in The Etude for he important, perhaps, than she ) must May a very original approach be which a career is built. Some of the others are the act, we applauded too early after Don Giovanni’s able to communicate a visual illusion. Thus, for young to piano study entitled "Look Into Your Piano," from his book, "Common Sense in Piano Study." The widest kind of general musicianship and the flexibility “Deli viene alia flnestra, and after Don Ottavio's VICTOR I.. SEROFF singers I earnestly advise sound care of good health following is an extract from the same work. of style and tradition that can grow from no other beautiful II mio tesoro intanto and started several — Editor’s Note. and of bodily well-being. Stage aspirants should watch source; experience; a knowledge of visual and dramatic “wild” salvos. After the cemetery scene several of fringed piano stool wherever he went to play, until their figures and their our postures. They should acquire values; languages; it an understanding of people. Draw- boys shouted “Bravo, Walter!” and when told by became a humorous legend. This was by no means good physical coordination (through fencing, dancing, ing again on my own work, I advise all aspiring young kindly neighbors that Krauss, an affectation on the part of the great artist, but of and similiar not Bruno Walter, activities), so that they are consciously singers to broaden themselves HE USUAL MEANING of the word technique, inoff. ’ father was teaching his grandson through studies which, was conducting, they looked dumbfounded and un- genuine importance to his playing. , able to make their gestures apphed to piano playing, is merely skill (Chotzinoff’s serve them in the com- at first glance, seem to when son) to play the violin. He remarked one his have no direct relationship to happy. The midday papers played up the story and known for continual research in the mechanics munication of every shade of emotion. Another in using the fingers, wrists, and arms. But it day that he was afraid essen- vocal work, but which produce that flexible T the boy would never develop of the piano, devoted a great deal of his time to in- and well- for weeks thereafter Krauss was greeted by malicious tial is some study of legitimate acting. Certainly, this does, in reality, go much further than purely physical into a prodigy, for he was six years old rounded personality that speaks to people’s hearts friends with “Bravo, when he began venting a special type of piano chair. is rather Walter!” After that, Krauss different from lyric acting; still the elements through vocal skill; for, under the term technique comes perfect con- to study. It was too late. I myself saw one of Jascha work. It is time enough then to think of did not object to the claque any more. of communicating emotion through motion are best trol of the instrument as well, which includes, besides Heifetz’ programs of a concert chances’ and ‘good luck.’ Both demand a background he gave when he was The Chair in Left Hand Playing displayed, Many performances were saved by the claque— perhaps, on the dramatic stage. of thorough the pedaling, a thorough knowledge of bel canto, seven. He played the Mendelssohn Concerto, his preparation!” the dull nights and There is a time, however, when the stool should when an uninspired conductor, a which in father’s turn relies on a highly developed ear. In comment today is that he never played it be lukewarm orchestra, and singers placed, not in the center, but to one side. When the walking through short, technique means the accumulation of musical better than he did then. However, since the teacher pianist is going to play piece their parts might have made the audience a for the left hand alone, wish they knowledge combined with physical skill, for the pur- hasn’t always prodigy material with which to work, he then he moves the chair a little to the right so that had stayed at home and saved their money. The apa- pose of achieving any interpretation the performer should use his discretion as to when and how to pass thetic atmosphere presented he faces the treble; and in this way his left hand can a challenge to Schostal. desires. Usually, in these times, if the performer plays on to his pupil these basic fundamentals. However, the move freely over the keyboard, without meeting the The Claque in Grand Giving orders right and left, directing Opera carefully timed fast and loud, the average listener considers this a sooner the student reads music using the pedal and the outbursts, he would wake obstacle of his own body. Although to every teacher up the house. Suddenly display of technique. Whereas, it must be remembered sooner he coordinates the pedal with long the notes and this should be an obvious fact, I have encountered, (Continued from Page 364) singers would snap out of their lethargy, the that it is far more difficult to have complete control chords—the sooner will he really begin to play the orchestra time and again, pianists who are completely ignorant would play beautifully, and the conductor of the instrument in the slow movements and when piano. would of it. Quite recently I heard a reputable teacher get worked up. Schostal derived great profes- playing pianissimo. When Demosthenes was fellow claqueurs at the extreme right of the balcony. There was asked what was the first struggling unsuccessfully with Scriabin’s Etude for the no set fee. The artists gave him sional satisfaction from these blood On special occasions, when there as mu transfusions and It is a well known fact that children have an almost part of oratory, he answered, “Action”; and which was was a great deal as they thought applause was Left Hand. It was all because she had not moved the in a particular role w always happy when he heard people saying, “A perfect, direct technical approach toward playing the the second, of work to be done, Schostal always appointed extra worth. he replied, “Action”; and which was the bench, and her well developed bosom inevitably They all knew that Schostal was bad first act, but the lieutenants incorruptit rest was wonderful.’’ piano. We are born to breathe and move with perfect third, he still answered, “Action.” And for playing who were stationed at various points in and never took money the blocked the free movement of her left hand. But gen- from singers who were n ease (I am speaking of healthy, normal children) of , but any musical instrument three things the balcony. They would individually start the ap- good enough for are also erally we play with both hands. Therefore, after the special applause. Once the as plause on their own initiative, ambitio we grow older, the course of life adds strain, worry, needed: “Technique, technique, and technique.” “I which gave a better wife of a Viennese “big-shot” pianist is seated, he must make sure that he faces the manufacturer, who r Schostal got and stiffness. There is no need to mention relaxation impression of spontaneity than if Schostal depressed by the long scenes of Wag- don’t like technique,” Moriz Rosenthal, a pupil of started putediy had influence in the direct center of the keyboard. All he has to do is to Unterrichts-Mlnisteriu ner’s “Ring des to a child. A child is always relaxed. As for adults, Liszt, it all himself. People get suspicious if they hear Nibelungen.” During “Siegfried” and once said to me, “but it is like money. You may ap- and with the management of reach with his hands to the ends of the keyboard and the Opera was to "Walkure” the lack of it goes plause always emanating from the same sh he would walk over to the Peterskeller, to such extremes that there are despise it but you must have it.” Technique is also like spot. “Tosca.” The tycoon called he will immediately feel any inequality on either side. Schostal to Afe office preferring actually schools existing for Bohnen began his soliloquy, Pari siamo! m the political arguments the night the purpose of teaching money in another way. To display it, to show it off, My heart a thousand Schilling of Both feet should be over the pedals, just touching for tickets chauffeurs it. young child was beating wildly and I am sure I and ai to those of was A plays with perfect piano technique; merely for its own sake, is very bad taste. It is that was far more other thousand for himself. Wotan and Fricka. He a wealth them with the toes and resting firmly on the heels Schostal said, always he uses his arms, wrists, excited than Bohnen himself. I stared down into “Sorrv b back in time for the curtain applause. He and fingers in the most nat- that should make the possessor very happy, and no s not Sood enough for The position must be comfortable. There should be a ] a Staatsoper ai knew ural way. He shifts the weight of his the vast, dark auditorium, with two thousand people e that the first act of “Tristan" under the pas- body from finger amount of it could possibly do him any harm, but the he furious husband bought up definite feeling of contact with the pedals and while silently listening, and I R hundreds of seal sionate leadership to finger and follows the line of the arm movement audience must be thought I would never have which he distributed of Richard Strauss was eleven unaware of it—as such. Like circus he is playing, the pianist should never move either among his acquaintances his the courage to clap my hands. I had the absurd feel- b minutes shorter than with body, like any good pianist. This natural acrobats or exhibition divers, the pianist the result was disastrous. They under fish-blooded Robert should be foot away from them, no matter what effort his body applauded at tl Heger. playing arises from his need to surmount diffi- ing that everybody would turn around and look at me. wrong moments Schostal never walked out during Puccini or the able to carry off the most dazzling technical feat with be required and the enraged public may to make. To avoid making a separate My cue came and I sent a prayer to heaven, hoping started hit erdi operas, culties of the large instrument. The small fingers have complete ease and should never mg. From his seat, his when the claque was facing difficult forget this; that it motion each time the pedal is used, the tip of the hands folded £ h£ yet that somebody else would applaud first, but nothing tal to problems. At a not got the strength to strike notes separately, so may be work at home, but it must be watched the ' performance of famous “play” in public. shoe tragedy with erim CQ f \ “La Bohdme” a must always be touching the pedal, never lifted happened. I took a deep breath, closed my eyes, and atisfactio co oratura wanted he uses the full arm. His arm is not yet long enough To achieve this there is no “trick,” Madame was through forever. to have stronger applause in the no special “meth- away from it. He should sit, not all the way onto the boldly clapped my hands. Then there came response If Schostal nrst act than the to reach the extremities of the keyboard, therefore his od,” no prescribed pills only constant work. really liked a great tenor. Unfortunately, that night the — bench, but on the inner half, nearest the keyboard, singer he did n body lean it. from other spots in the balcony, from the boxes and mind working great must with His hands are still weak and But before we take up anything on the piano, without any compensation’ voice and the was not. Sens- let us and leaning slightly towards the instrument. This the orchestra stalls, and suddenly a cataract of When mg that the so he has to lean over the passage he is playing. start at the ap- sten Flagstad sang for public might let re- very beginning, with an important part of does not sit the first time in Vienna us down, Schostal mean he must on the edge, so that he feels plause was sweeping the house. It was the sweetest tal sch^Sh n e is the instrument the went to see her and orders to the effect — piano chair. When a man has his that the first offered his sendee i that no special atten- The Self-Conscious chord might send him flying off the sound I’ve ever heard. During intermission, Schostal always 1 on was to Age first lesson in horseback did in the case of be given her aria. terrific riding he is told to adjust chair, but he should sit comfortably, with feeling famoiTstagers who Rodolpho got a All a of called me to the buffet in the foyer and bought me appeared in 01 a tCr this he loses when he starts to be shown the himself comfortably in the saddle. Vienna before. Madame Che 9elida rnanina and the He is told not to complete security and ease. Relaxation begins at a Dehmel chocolate cookie for twenty Flagstad \ ? i devices of piano technique. His Groschen and unaware of the W h a day by day life adds sit rigid, but to relax, or else at the first swerve of the local practice After thf firV T' sprinkle of applause after Mi chia- exactly this point, for if the spine is rigid, the muscles a glass of water for ten Groschen, aCt * ZnVn worries, self-consciousness, which was his way “Tristan,” Schostal JZ SAhe and inhibitions, which will horse he will be off. Before the beginner said, “She’s great r *', Was very an^y—coloratus often are- at the type- of the whole body will be strained. of promoting a novice to a full-fledged b° untn q-v. , produce the stiffness that stands senior member The next day yS °Sta in the way of re- writer types his first word he is told Flagstad sent' for ** er tbat she had not been good exactly how to sit The next point of importance is at the shoulders and of the claque. This meant I could come any night I steady ^ ^became enough laxation. He gradually becomes aware of the critical in front of client. the machine. In similar manner the pianist arms. The pianist should give wanted attitude up the dream of “good, to and get my free ticket. of his audience, which adds to his stiffness. must adjust himself to his h£ respected Ws singers instrument. Because he square shoulders” if he has it. Unless Members of the claque uble judgment. Some He will have to — he was born never got anything except j took* hirn Tf go back, through analysis of his own cannot put the vSTiTSZd nS on sh°r piano into his lap, like a guitar, or that way, it is only the ticket. £h t trips to small houses in the natural for his shoulders to slope, We had nothing to do with business details, U Drovinrpc „? defects, to the natural way of playing, if he Slezak were starred as ^ 16re Sc wants to embrace it like a ’cello, does not mean that any posi- Turandot Md^Tia/ hostal arranged for suitable ova- and what is natural is relaxed. He should let his which were attended to by Schostal. ’ th , develop his technique Of course, every- lowing evening the -The® foF tions Hiq into virtuosity. Here lies the tion he takes will be the right parts were sunAvt arnbiti°n was world- one. He cannot sit too tailor worry about their “squareness.” should studi- body knew that he was given money by the singers wide to organize a explanation of the unusual technical He stars, Maria Nemeth and clannpQ skill of child high nor too low, nor on one side, nor on and that Jan Kiepura Haldn with “branches” at London’s Covent the other. ously avoid, from the beginning, any tendency to raise he bought the tickets and kept part of the the score of Garden fh prodigies. If their teaching follows the path of the Comfort, “Turandot,” Schostal r° ease, is of primary importance here. An ex- money for himself, knew ttltlif™ POlitan °pera House San Carl° them while playing, as it will interfere with his re- but this seemed fair enough. at ’ natural approach, their capacity for young, brilliant tenor Sies e fi progress is un- cellent example of this is that would be better figured on president, Paderewski, during his laxation and will always be an obstacle to his perform- fhe hig becoming the believable. I once heard this story from Samuel Chotz- entire career, carried about with him the same old 366 (Continued, ance. His arms completely ( Continued on Page 410) "FORWARD on Page 415) MARCH WITH MUSIC” JULY, 1946 "FORWARD MARCH WITH MUSIC” THE ETUDE 367 . ”

The thumb of the right hand to the keys. should be Music and Culture and the fifth finger at Music and Culture aimed at Middle-C, the C above. The important thing is to make this drop without checking or stiffening, in order that the hand may descend of its own weight. When the fingers arrive on the keyboard, the tips of the first and fifth fingers wrist cling to the keys while the descends as far as will find that your impulse is it will go. You to stiffen this as you approach the key, but impulse must not What? exercise Too Late for be indulged. Repeat this several times, each hand separately. Exercise 2. Keep the “looseness” you feel in Exer- the hands on the keyboard, with the Hall cise 1. Place right A Guide to Adults Who Don’t Expect to ‘Make Carnegie thumb on Middle-C, and the fifth finger on the c above; the wrist should be on a level with the hand, neither raised nor depressed; middle fingers should Get Lots of from Their Playing wrist gently, But Who Can Fun be curved. Now raise the as high as it will go without taking the thumb and the fifth fin- ger off the keys. Then quietly depress the wrist as far as it will go pressing down the two C’s. If you are like me, your wrist may even creak from disuse. Ele- omier Carr vate the wrist again as high as possible, allowing the

mgmm Mary Showier Carr was born in Lancaster County, Pennsylvania, of Pennsylvania-Dutch stock and was graduated from Vassar College. She worked ‘row 1925 to 1941 in a New York advertising agency, first as a copy writer, then as a copy editor. About 1929, she concluded that since she had always wanted

to play the piano, it would be a good idea to begin, and she has been at it ever since, though in the succeeding years she married and moved to Ohio, where she now lives with her husband, a couple

of dogs, a creek, and "a Steinway." A part of her creed is "Music is the finest of all hobbies." — Editor's Note. Knight Df Music

* LL OVER the country there are adults with an pupil, and your lessons can be a pleasure to both of unsatisfied longing to play the piano. This you. Jw -V. desire strikes people of various ages, many “Technique” is a word you trip over innumerable (J3erte inddon types and both sexes—especially men. Indeed I have times in talking about music and in reading about it. bif been amazed by the number of my husband’s friends I cannot recall a similarly free use of this word in

who have confessed that they would like to take music other arts. For our purposes, “technical work” is what lessons. One teacher friend of mine in New York has you do to improve your tools your hands and your — Serge Bertensson is a Russian, born in . A graduate of the former Imperial University at Petro- three business men who started studying at the age brain, and the coordination between them. Even if grad, he holds the degree of Doctor of Arts and Literature. After being graduated from college he of fifty plus, and who are now pursuing their musical you could be magically gifted with the ability to read was in charge of productions of drama, opera, and ballet of the former Imperial Theaters in Petrograd, education with vigor and pleasure. The majority of music with the greatest rapidity, or play by ear, you until 1918, when he joined the Art Theater as an executive in charge of the repertory of adults, however, are restrained by the idea that it is still could not play with musical intelligence, or even the company of that famed institution. When the Moscow Art came to America in 1923-1924-1925, “too late.” late he was its general manager. In 1928 he left Moscow and moved to the United States and later became Too for what? Too late for Carnegie in a fashion that is truly pleasant to listen to unless Hall undoubtedly, but not late launch an American citizen. He is a dialog director in Hollywood. — Editor’s Note. too to upon an your hands have the ability to produce the kinds of avocation that brings rewards far beyond those of sounds you wish. golf or bridge—both complicated games often started of Grove's Dictionary, as a pupil of , who always referred in middle life. ihe Principle oi Relaxation N THE THIRD EDITION to him published in 1938, there is a statement: “Siloti, as one of the most talented of his many pupils, and The adult beginner, it is true, has handicaps to The human hand is not ideally suited to the piano .” whose relations overcome. But he also has great I Alexander (b. near Kharkov, Oct. 10, 1863, d. 1919) with him were exceptionally affection- advantages. His Because your fingers vary so in length and strength Fortunately, Ilyich Siloti twenty-six ate. It was in that Siloti his brilliant handicap is rigidity an inability to loosen up both Alexander had made — you may pound the keyboard when you wish to plaj MR. AND MRS. SILOTI more productive years to live. It must be a satisfaction debut in 1883 that gave him the position in Europe mentally and physically. This can be overcome to a in a whisper, and die away when you wish On their Golden Wedding anniversary, February 6, to produce for a to read the notice of his own obituary! It as one of its outstanding pianists. great extent, and nothing is more stimulating and a full tone. man 1937, New York. Mrs. Siloti was the daughter of P. M. Therefore you must build up your tech- exciting than the was not until December 8, 1945, that he peacefully His following fifteen years of acclaim as a concert Tretyakov, the founder of the famous Tretyakovskaya march toward freedom. nique to have perfect control, and a fascinating pur- passed away in New York City at the age of eighty-two. pianist in , Europe, Britain, and America Art Gallery in Moscow. The adult’s advantages are mental maturity, an suit it can be. would I consider myself privileged to have known Siloti have been enough for any ordinary musician. He ability to master complexities more quickly than a What kind of sounds will the adult beginner make Photo bjf Under uvod «£ Undencood child, as man and artist over a period of many years. Others could have gone on forever, demonstrating his ex- and greatest of all, a real and voluntary inter- The chances are that the first sounds he will make MARY SHOMIER CARR traordinary est, unforced by parental authority. will who knew him intimately will also testify that he was combination of stately classicism and be terrible, for the reason that the adult beginner extraordinary nobility, warm, lyrical even more than a man of of sublime good- romanticism. But the limited activity of a child, will strike with rigid arms The Adult Beginner's Needs keys to rise to their top Re- heartedness, of sympathy and kindness. His attitude a mere pianist couldn’t satisfy the artistic aspirations and wrists. A hard, inflexible wrist level, and again depress. produces a hard peat towards art was always one of reverence, looking upon of this notable musician. What does the adult beginner need to start his new metallic tone. this four times, being careful at all times to keep He wished to organize his It requires definite and focussed train- the it as he did as a supreme manifestation of man’s own concerts of symphonic avocation? Granted a desire to learn and enough ing to overcome the tip of the thumb touching Middle-C and the fifth and chamber music, and tendency toward rigidity. This patience to work, the adult beginner needs: finger in contact with spiritual life. Never, nor in any respect, did he make to be a leader and participant in this freely ranging brings us to one principle which for me the C above. You press the C, required three but any compromise with his artistic conscience. musical activity. After three years of a professorship 1. One piano (in tune) teachers and ten you do not strike it. Then when the wrist is in years to learn, but which with luck the elevated It was in 1909 that I met Alexander Ilyich for the at the Moscow Conservatory and a year as conductor 2. One metronome (there are differences of opinion and application can be developed position, glide—fingers still touching the from the very firsl on this) C s to the next first time. The “Siloti Concerts,” one of his greatest of the concerts of the Moscow Philharmonic Society, lesson. This is the principle of white note above, and repeat the four “relaxation." Some Siloti moved to St. 3. One notebook teachers, elevations and depressions. contributions to Russian musical concerts, were in Petersburg in 1903 where the reali- accustomed to teaching children, Continue this for an octave are nol full swing. They had become a regular St. Petersburg zation of his dreams began. 4. An inflexible determination not to let one single prepared for the astonishing and then descend. This exercise should practiced rigidity and inflexibility be day go its softly institution, and were admired even beyond the Russian The moment was an auspicious one. The concerts by without practice period. of the adult. My first teacher and slowly, and near the outer edge of the keys kept saying “relax border, but we subscribers looked our presented the Assuming that you have found a teacher is in so the wrist upon them as by Imperial Russian Musical Society had who relax”; and I can assure you that can be depressed to its maximum. Retain this is not sufficient own, Siloti as sympathy with ambition, it is first the feeling and upon a wonderful, genial host wel- become ceremonies of academy-worship rather than your of and vital An adult needs definite instruction of relaxation and middle fingers on how to relax keep the importance for you to realize quite clearly a coming us to the home of music. We felt an unusually living responses to the urgent demands of the musical that the and special training to produce m curved position. Repeat the entire exercise with flexibility of the wrist strong of artistic public. pearls of wisdom that fall from your teacher’s lips the left bond union with all the musicians These stale and unsatisfying programs had are This brings us to two exercises which hand an octave lower. revolutionized of these concerts, and particularly with their organizer to be replaced with fresh not like capsules that you get from the doctor. You piano playing for a new diet—and this was me and which may be cannot swallow of help tc and leader—Siloti. We felt real love for the man who exactly what Siloti provided. The “Siloti Concerts” them without thinking, and expect other beginners. Both exercises sound simple but b brought us both this music this included them to do you any good. From the very first This and atmosphere, so musical classics as well as new or experi- lesson, assured they are not mastered exercise done every day divi without application pays tremendous that even my first casual meeting with him an mental works living take down every idea, every new thought, in your They are octave aends. Before was by composers; each program exercises; that is, long you can loosenim the thumj feel the wrist event for me. I was immediately his was vivid notebook. Concentrate during your lesson period. Think let pjys up. charmed by sim- a musical experience for the audience, and us say, Middle-C, and the fifth When you can do Exercise put th finger (of the rilt 2, with ease, plicity and affability, and by a wonderful sense of from their beginning the concerts “music” in your spare time. Con your notebook in bus a S two hands were greeted en- e ° above - together The three midll to save time. The day will corn humor and an infectious gaiety < fi"S! that he saved for thusiastically by the Petersburg public, an enthusiasm or subway, or prop it up on the window sill while you should ?be lheld,T in a w en you feel nicely curved position almost as though you had a spring it wash the dishes. Actually, key signatures over tm his intimates. that was maintained until the concerts were discon- and time keys without sounding them. he wrist; it is then Each hand should that you possess the potentialit; Siloti’s career had been a series tinued in 1917. values can be more mentally stimulating than a cross- practiced ma h for a of glittering per- separately at first. beautiful musical tone. man; puzzle ever You will find that sonal successes, beginning with his graduation from The physical organization of word could be. During your lessons, ask Exercise 1. Sit people with each season was itself at the Diano r ot far more musical training have questions. Expose your ignorance. than you Nikolai Rubinstein’s piano class at the Moscow Con- a large task. There were eight symphony concerts for You go to a lesson Swing them icsely. ma 6 s° unds Jess attractive because they pla: servatory, not to show off, but ^ when he was awarded the gold medal—the subscribers, plus four extra concerts; there to learn. If you really keep men- wrist and hand. Hold wiT a leSS was a this heaviness flexible wrist- fron as you lift The concert pianist highest honor to be dreamed of by a young Russian series of chamber music tally alert, your teacher will find you a stimulating hand about £ whfm T i evenings, and a separate a foot above the 1 earned thLs keyboard, and let exercise says there is no tim pianist. His next three years were spent in Weimar series of ifd in ur “pop” concerts—free. ( Continued on Page 374) £ y musical career when 374 FRANZ LISZT WITH HIS PUPIL, A. SILOTI 368 "FORWARD MARCH (.Continued, on Page WITH MUSIC” JULY, 1946 "FORWARD MARCH WITH MUSIC THE ETUDE 369 ; , ”

Music in the Home Music in the Home A Grand Arcanum “Secret Chromatic Art in the Motet.” By SgBMg Edward E. Lowinsky. (Translated from the German i by Carl Buchman.) Pages, 191. Price, $4.50. Publish- ers, Columbia University Press. This work of distinguished scholarship has to do Recordings of Note with the notable period in The Netherlands when such The Etude Midsummer Orlando di eminent minds as and Lasso were seeking means of expression which would free the art of music from many of the artificialities and rigidities of its early beginning. students who The study is one for very advanced Music Lover’s Bookshelf have made themselves glibly familiar with the music of that memorable period.

The , well reproduced, direction Dimitri ing of Any book here Minneapolis Symphony Orchestra, For Lovers of Old Fiddles reviewed may is most persuasive. set 599. be secured from Mitropoulos. Columbia Concerto in D major, Opus 77; Drake Symphony: The Boston Sym- Brahms: Joseph “The Appreciation of Rare Violins.” By Francis THE ETUDE MUSIC Schubert: Unfinished the Philadelphia Orchestra, MAGAZINE at the Koussevitzky. Szigeti (violin) and con- Ballard. Pages, 103. Price, $3.00. Publisher, Francis phony Orchestra, conducted by Serge price given plus ducted by Eugene Ormandy. Columbia set 603. Drake Ballard. postage. Victor set 1039. the New A magnificent performance of a great concerto, This is a book which will be snapped up by many Dvorak: Symphony in E minor (From by splendidly reproduced, this set deserves to make rec- the ever growing army of violin collectors. These World); The Philadelphia Orchestra, conducted of recording : craftsmen history. Szigeti’s earlier of this score- places in four classes 1 . Skilled Columbia set 570. ord the author Eugene Ormandy. in the art treated made in 1929 has long been admired by musician and men who have sought to perfect themselves “The Grand Canyon Suite” is alike, but seventeen years in the career Ardent amateurs. 3. The “dollars admire this score will have music lover of of violin making. 2. symphonically. Those who eye” has an artist of Szigetl's stature could hardly fail to reveal and cents” dealers who are obliged to “keep an Cad,man plenty of reason to be grateful that Toscanini Lj B. WerechtL artistic purpose. Tonally, the register. 4. The largest group of all, the lavished as much care in fashion- a maturity of noted on the cash played it, for he has indifferent per- violinist is freer, more poised and more consistent. “happy collectors” who are often ing this performance as he has on a Beethoven sym- of intellect and emotion in Some, however, are exceptional players. There is a mating this formers. technique. It must develop a by. also regu- brilliant musical scholarship and performance which is rare; his is an art that conceals Mr. Ballard gives advice upon how to watch the Chicago Express thunder He certainly one of the features of the set. before she became famous superior or in- to the moving of the never be forgotten that for his playing is so smoothly contrived that critical faculty, how to be aware of larly went to the docks watch Suite,” Prokofieff evokes for art, toured successfully as a piano in his early “Scythian nationalities, how in 1904, and during the as a soprano she had never made aware of technical difficulties. ferior construction, how to detect great ocean liners. Dvorak died pre-Christian people that we are vocal 'of mystic us the rites and legends of a scores of other have been made in virtuoso. This, together with a Rachmaninoff: Concerto No. 2 in C minor, Opus 18; gives the violinist intelligent and sym- the violin evolved, and information on past forty years, giant advances corner of south-eastern Europe. There Mr. Ormandy personality, made her a singer once lived in a violin lovers. would he have thought of the charm and hypnotic Gyorgy Sandor (piano) and the New York Philhar- pathetic support and the recording is excellently and matters which will interest all transportation. What affinity between this score and Stravinsky’s never will be another is a subject Elizabeth! definitely sui geniris. There monic-Symphony Orchestra, direction Artur Rodzinski. faithfully contrived. mighty Queen Le Sacre du Printemps but the musical treatment is Galli-Curci. Fortunately, before her retirement, she Columbia set 605. Beethoven: —Abscheulicher, wo eilst du hin; not the same; Prokofieff seems less involved and The Eternal Schubert made over a hundred Victor records which will remain Liszt: Sonata quasi fantasia (Apres une lecture de Rose Bampton (soprano) with the NBC Symphony though he creates an illusion of primitive frenzy, his The Inimitable Gai.li-Curci in all record collections as classic evidences of a Dante); Concert Etude in F minor (La Leggerezza) conducted , Victor Arthur Hutchings. Pages, 233. Price, music is more spontaneous in its purport. Defauw and Orchestra, by “Schubert.” By great art and a great singer. Mr. Le Massena’s new C. E. Massena. Funerailles; Liebestraum No. 3 in A flat; Hungarian 11-9110. Publishers, E. P. Dutton and Co., Inc. “Galli-Curci’s Life of Song.” By Le the Chicago Orchestra do justice to this virtuoso score, disc $2.50. book lists all of the vocal treasures which must remain Rhapsody No. 15 (Rakoczy March); Gyorgy Sandor Price, $3.75. Pages, 336. Publishers, The Paebar and the reproduction is brilliant and lifelike. Mozart: The Magic —Ah, I Feel to Grief and makers generations of singers A new and reliable life of one of the greatest a model and a guide for future (piano) . Columbia set 602. Company. The Stravinsky work is a suite arranged from his Sadness, and Don Giovanni— Batti, batti, o bel world has ever known. What does and singing students. Liszt: Etude in D-flat, and Waldesrauchen; Harold of precious tunes the opera of the same name. It is a colorful and fantastic Masetto; Eleanor Steber (soprano) with Victor Or- comes to him? He realizes Mme. Galli-Curci has been looked upon by foremost Mr. Le Massena planned his biography as a series of Bauer (piano). Victor disc 11-9113. a composer do when a tune three score that will appeal to all who admire the com- chestra, conducted by Erich Leinsdorf. Victor disc devices of changes of rhythms, con- critics of many countries as one of the most fourteen cycles, encompassing the various cultural, Prokofieff: Sonata No. 7, Opus 83; that by various Firebird. orchestra give 11-9114. of one hundred years, poser’s Mr. Goossens and the extensions, and so on, a lovely theme may be distinctive the past artistic, and public activities in which Amelita with (piano) . Victor set 1042. tractions, a good performance and the recording is realistic. Lily Pons Waltz Album. Columbia set 606. from a simple the others being Jenny Lind and Patti. She is probably flawless voice charmed thousands of admirers Sandor’s performance of the Rachmaninoff concerto adopted to different purposes ranging the Istar has long been regarded as one of D’Indy’s finest Carmen— Excerpts; RisS Stevens (mezzo soprano), Many composers the greatest of all soprano virtuosi because of her in all parts of the world. The book is written with is immaculately played from the standpoint of technic, song to a melody fit for a symphony. scores. It makes an adroit use of the theme and varia- Nadine Conner (soprano), (tenor), Robert good themes that understanding and is based upon a vast but his clean-cut, steely tones do not yield the color Raoul Jobin have had so much trouble securing sympathetic tions form; the theme is not heard in its entirety until Weede (baritone) the Metropolitan Opera Chorus and Mr. Hutchings of detailed first-hand information. and warmth that we find in the composer’s earlier , many have resorted to folk themes. amount the end. Istar, known as the daughter of Sin, invades Orchestra, Columbia remarkable musical recording. However, there is much to appreciate in conducted by George Sebastian. has flashed his lights upon the the “seven-gated abode” of the dead to notation Sandor’s interpretation of the work since he does not release her set 607. talents of Schubert, and with the liberal use of of young lover. At each gate, she is stripped of part of average student An English Psychology Music oversentimentalize it. In his pianissimo playing there Puccini: Tosca—Vissi d'arte, and Gianni Schicchi— examples, points out much that the her raiment by the warder. Here is colorful, descriptive is a sensitivity which we find most appealing. In his O mio babbino caro; (soprano), with might never have seen. “Psychology for Musicians.” By Percy C. Buck, M.A., music which requires knowledge of its in that Liszt album, the pianist is often overconcerned with poem for full Victor Orchestra, conducted by Frieder Weissmann. The Appendix of this book is especially useful Mus. Doc., Oxon. Pages, 115. Price, $2.50. Publishers, appreciation of the composer’s intent. The last face information about technical brilliance and the playing lacks essential Victor disc 11-9115. it tabulates much useful correlative Oxford University Press. of this set is given up to a prelude to D’Indy’s opera schedule of Schu- tone coloring—it is too consistently black and white. The “Fidelio” aria is distinguished in this recording Schubert. For instance, there is a Dr. Buck’s “Psychology for Musicians,” first pub- “Fervaal”—a miniature tone poem, quietly reflective; the ten vol- There is some fine work in the F minor Etude, the by the splendid orchestral background of Mr. Tos- bert’s favorite poets, indicating that in lished in 1943, quickly ran into a third edition in 1945. and effectively interpreted. were by Goethe, Liebestraum, and Funerailles, but the performances canini. Miss Bampton sings with intelligence but she umes of his songs, seventy-one texts This is not surprising, as the author, despite the fact Mitropoulos’ performance of Rachmaninoff’s some- forty-five by Muller, forty- do not always hang together as they should. The re- does not let us forget that the aria is not an easy one, forty-seven by Mayrhofer, that he has held the impressive posts of Professor of what lugubrious tone poem is more subdued than by Scott, and cording in both these sets tends to brilliance. moreover her upper tones lack essential weight and two by Schiller. There are only eight Music in the universities of Dublin and London, has Koussevitzky’s, which was released several Heine, Bauer is an excellent stylist and his performances months forcefulness. three by Shakespeare, while just six are by produced a work which is clear and scholarly, without earlier. His interpretation of this score is admirable Schubert but out- of these Lisztian favorites are delightful. It is too bad, Miss Steber’s “Don who was born in the same year as being stodgy. It is in no sense a dry as dust book, but for his taste and musicianship, singing of Zerlina’s aria from for this reason, that the recording is not of the best. which does not seek twenty-eight years. application of outstanding prin- Giovanni” is most appealing, but her rendition of lived him by a very readable the Prokofieff’s Sonata, which Horowitz has featured a ciples of psychology to music. In the olden days, when Pamina's air from “The Magic Flute" is somewhat factory , but not as splendid great deal in his American recitals in recent years, is tonally as the Koussevitzk hampered by several metaphysical psychology was supposed to represent set. the English text, and there are Bohemian Master a forceful, percussive work, with a strongly Slavic total of Man’s knowledge of the operations points where her singing lacks needed definition, but the sum flavor. Koussevitzky recorded Schubert’s Written during the early years of the war, it symphony nearly 234. Price, $2.50. of the human mind and psyche, the novice was be- the quality of her voice is pleasing. “Dvorak.” By Alec. Robertson. Pages, reflects the seriousness and anxiety of the Russian decade ago. His earlier performance was almost stream and Co., Inc. wildered by nebulous statements and speculations of lined in comparison Miss Pons’ program is a hybrid one, frankly popular Publisher, E. P. Dutton people. Although this is tremendously difficult music to the present one, in which ther pieces well meaning philosophers. With the coming of Wil- is a mellower approach and two operatic airs. She is at her best in the to perform, no one would think that so while listening and far less iconoclasm the great figure of Dvorak from Czechoslo- Th latter Remove liam James (1842-1910) we find a trained Yankee conductor seems to have his —the Waltz Song from Gounod's “Romeo and to Horowitz. His strength of tone is amazing, his tech- own ideas about temp: vakian music and notwithstanding the fine achieve- physician, with rich culture and an ingratiating style, Juliet" and “Mireille." nic electrifying. is and certainly his slow pace at the O legere hirondelle from his This music that may require some opening of the sec ments of Stamitz, Dussek, Tomasek, skroup, and Sme- organizing his observations and experiences in such ond movement is alien to The other selections are by Victor Herbert, Bixio, and familiarity with it to appreciate its purport; it is virile Schubert’s marking. Schu tana, the greatness of the music of the country would a way that modern psychology for the average man music scarcely relieved by the melodic pleading bert, in our estimation, has been Coward. of its best served in th be considerably impaired. was born. His “Principles of Psychology” still remains slow movement. Beecham and Walter performances Rise Stevens sings the Habanera the Seguidilla of this work and From his boyhood on, Dvorak was a composer of a classic of clarity. Grofe: Grand Canyon Suite; Ormandy’s performance from Bizet’s “Carmen" and style, NBC Symphony Or- of the familiar New Worh with beauty of voice pronounced melodic originality, marked sincerity, with Wilhelm Max Wundt of Leipzig approached the sub- chestra, direction of Arturo Toscanini. Victor is somewhat stolid, but more thereafter she falls compare set 1038. admirably straightforwar, down and does not a finely organized technic. Mr. Robertson has traced ject from the angle of the clinical laboratory. Other Prokofieff: Scythian Suite; The Chicago than Stokowski’s. His favorably with sings Symphony handling of the sentoen other Carmens. Miss Conner the developments of Dvorak’s art as it was affected by great thinkers, including Broca, Titchener, Charcot, Orchestra, direction of Desire Defauw. Victor set 1040. weighted Largo is especially Micaela's aria with Weede admirable for man! a fluttery tone, and Robert contemporary influences and the struggles against C. E. Le Massena and the famous baritone. Giuseppe De Ribot, Janet, Freud, Jung, Adler, and J. B. Watson, gives Stravinsky: Song of the Nightingale; The Cincin- tenderness and avoidance of excess a lusty straightforward Toreador Luca. of his book, emotion. The play rendition of the Fate which seem to be necessary to burnish the careers Mr. Le Massena is autographing a copy with his studies in behaviourism, have contributed nati Symphony Orchestra, direction of Eugene Goos- Song. Mr. Jobin little "Galli-Curci's Life of Song." sings intelligently but there is of real masters. much to a subject that to the average man seems sens. Victor set 1041. expressive appeal music. to his projection of Don Jose’s The book is splendidly documented and contains highly involved. Dr. Buck has wisely confined himself D’lndy: Istai Symphonic Variations; The San He and Miss duet — Stevens contrive to make the final much in the way of interesting incidents and anec- to certain important principles which cannot fail to Francisco Symphony Orchestra, direction of Pierre a melodramatic fiasco. dotes. For instance, he cites Dvorak’s great interest in recognize facts in music study and in music teaching, Monteux. Victor SP set 16. Miss RECORDS Albanese recalls Bori in her clean phrasing American locomotives, and tells how the master would BOOKS making his exposition of psychology very clear and Rachmaninoff: The Isle of the Dead, Opus 29; The and warm so- temperament. Hers is a lovely lyric ride far from the center of the city of New York to adaptable to modern musical educational problems. prano which she uses with exceptional artistry. 370 "FORWARD 1946 "FORWARD WITH MUSIC MARCH WITH MUSIC” JULY, MARCH 371 THE ETUDE :

Music and Study Music and Study

The Merry Battle of Tweedle G and Tweedle C Round Table Said Tweedle C to Tweedle G, The Teacher’s Dd You Want to Arrange Music for Radio? “ Tis better far to start with me.” Said Tweedle G to Tweedle C, are easily within the grasp of the “ pupils’ ’Tis only wise to start with me.” Conducted by capabilities. But alas, how few wise An Interview with teachers there are! I WAS a small boy living in , “ Tis plain to see,” said Tweedle G, HEN Canada, I fought what seemed to be a losing “That only fools will start with thee.” Class Piano battle with a succession of musical instru- “Oh, gee, oh, gee!” said Tweedle C, aier W aithi G„,m. ments including the violin and piano. While the other “You’re one yourself; that’s plain to see.” Despite dire predictions, class piano boys who lived on my block were nursing the bruises Mus. Doc. flourishes mightily. I Noted Radio Conductor find it satisfactory picked up from boisterous pas- Well, here I lie, buried but not beaten that they inevitably only when it is taught by that rarest violin which I finally by the mountain of letters poured over Noted Pianist of times, I suffered along with the teachers—one who combines first realized me by the Middle-G take-off fans. Al- rate abandoned in favor of the piano. I quickly ability Educator organizing with cool-headedness, the violin; but though bruised and shocked, I’m still and Music that I would never be able to master directness with sensitivity, an optimistic piano, the time EXPRESSLY FOR THE ETUDE BY AXISABEL COMFORT not convinced that G is a better begin- I got along very well at the and by SECURED personality with unlimited vitality. One old, was playing accompaniments ner’s start than Middle-C. . . . From the I was eleven years I such teacher in a Junior High theater, letters, it is evident that the G fighters’ School to silent movies in a popular Toronto for sends this interesting letter to the strongest defense remains the singing parents which I received a fee of three dollars a night. of her public school pupils approach to piano playing, while the Cs in class piano: This engagement lasted for some time, but eventually “Dear Parents: Many times the start. It is my belief that ten per cent of his ability swing a mean right and left hook with we are the blow fell. One day at home, a kettle of scalding asked the question, ‘How may be gained from a textbook, forty per cent comes their claim that the halfway anchor be- do you teach water failed to miss my hands, and they were scalded class piano?’ Therefore, from practical experience, and fifty per cent is born tween staffs, and the middle point of Well, just hold everything for a moment! we are offering so badly that I had to give up the piano for six months. piano in him. the keyboard, offer greater security and The trick in reading at the piano is to a class demonstration to the During this time, and unwilling to leave music en- parents friends If a choice must be made between a contrapuntal, quicker facility. One of the most helpful play what you see by learning to coordi- and of our students tirely alone, I started to write musical arrangements. I are enrolled and a harmonic idea, I prefer to arrange the con- letters on the discussion is contributed with this Depart- nate the staff intervals with the space- who in the course. We feel found that the piano, and the violin that I had strug- ment are requested to limit Letters trapuntal idea for the radio. However, if counterpoint by Mrs. Grace Wood (Texas) is feel of the keys. Certainly, the first req- that this plan will aid in clarifying greatest aid when who to One our gled so hard to master, gave me the Hundred and Fifty Words. is skillfully written radio it ready to uisite for is mutual problems not for the will sound call the fight a draw. Mrs. Wood such an approach visual and and in getting better I was forced to turn to arranging. The person who writes: muddy and distorted through the microphone. Our new physical balance of bass and treble clefs, acquainted with one another. aspires to arrange for orchestra should also have a “In the radio equipment reaches out for the top and the bot- February issue you answered a and bass and treble on the piano, with "The sessions will be held on the fol- smattering of one brass instrument, one woodwind, question tom of the scale, extremes that were not audible ten as to whether you some clear-cut, easily discernible lowing dates. . . recommended demar- . The following sum- and a string instrument. Of all of the instruments, the years that the listener the Middle-C or the Middle-G approach cation. This is best served by the Middle- mary will give ago. At time did not hear the enunciate you an idea of the plan: piano is the most helpful, because one learns to think in clearly the letters B and D, C bass cello sounds; but hears to piano study. For several years I have C line. (The matter of leger lines is easily First Session and he them today because and G, and recognize terms of full chords, and from the piano one begins to been the difference when of the scientific progress that radio engineers have teaching piano in the public school understood later.) Topics: Brief outline of violinist is more he hears them spoken? Does know the aims and get the feeling of the orchestra. The of this little he achieved. town. Usually I have around It seems to me that all this emphasis procedures in Class melodic line; but first seven letters of the alphabet so well Piano. inclined to think in terms of a single one hundred pupils. I have been using a on the ear approach to reading has re- Class Piano versus private violinist cannot become a that he is ready to learn to recite them in- this does not mean that a Arranging the Melody class method which advocates the G ap- sulted only in complicating the reading struction the backwards? Does he see small differences —rivals or coordinators? good arranger. I discovered that I could not create proach, find it The arranger should be well trained in and valuable. We have process and sowing fear in students’ Demonstration single instrument, counterpoint, quickly? In other words, is he ready to of a class lesson. harmonic effects I wanted with any three practice pianos in our school for minds. for without it, he cannot hope to keep pace with his read? Selections played by students. but that I needed the full orchestra with which to ex- the children who have no instruments at So, why not remove as many competitors, and write the complicated arrangements “If not, he may become so confused complica- Second Session press my ideas. home. Since there are be- for so many pupils tions as we can—all the mountain demanded the big commercial hours heard on the tween B and D, E and A (see below) in of Short-cuts in piano playing. who , have to use these practice pianos, extraneous hearing and singing Importance of the String Section radio today. Skill in harmonic and contrapuntal writ- deciding whether any tone is matter— Demonstrations of a lesson in The we let only those above or above the fourth school and teach the student to read ing is the basis of modern arranging. below another that he will have difficulty directly rhythm. In all of my arrangements I write with a background grade use them. All lower grade pupils with his eyes? I try never to forget the melodic line in arranging, in playing his piece, A good beginning to such Question general discussion symphonic form, and I need enough strings to com- practice at hands together. and of home on cardboard key- an approach was suggested in and try at all times to keep melodic clarity. My prac- the Round period. plement it. I- feel that one of the secrets of success in boards; and this is where we find the G Table of December 1945. tical experience tells me that the listener wants to approach Selections by students and teacher. arranging is a large, and diversified string section. In good. The child sings as he Of melody. This little course give the student a good tech- fiddle players hear may sound a too commercial practices, Third Session fact, I have been called the unemployed and knows what the piece nical and musical for the musical elect; but I feel that music foundation; train his Music’s dream man. With no hesitation I would say that the should be sounds like, and what to expect place In the community and when he ears through hearing, singing, written and arranged for every one, and not for a and writ- its value in combating delinquency. ideal orchestra for radio should be comprised of fifty plays it on the piano during the class at ing; but when you teach him to select few. I work with very ordinary popular melodies, school. read, do Demonstration by class: men, with twenty violins, four cellos, four , and it through seeing. He will learn ( Photo ly Maurice Seymour) and after I arrange, and orchestrate them, people tell “I also swifter 1. Boogie-Woogie. two double basses at my disposal. With this combina- have private pupils at home, and surer. really the radio. To PERCY FAITH me that the accompaniment greatly improves the where I vary the books used, sometimes 2. Analysis of two musical forms. tion I can make music sound on “I’ve found that few children of six or Doesn’t it seem strange, melody. The arranger should also be a composer. in spite of all the listener, the string section is the most pleasant of He employing the Middle-C method, some- seven are Question and Discussion period. ready to understand the C ap- our modern singing must invent counterpoint to other composer’s ideas all times the and hearing ap- Ensemble two orchestral sounds, and so radio acquires more apprecia- G; often with older pupils I proach, but they can use proach, number played on the rote or that the sight reading of fession he will accomplish his aim without a harmony of the time. He is supposed to make something out of use the C position and teach both hands the gen- pianos.” tive listeners through this medium than any other. As singing approach based on G.” eral run of today’s nothing, should given simultaneously. students is poorer for the arranger, he can achieve all of his creative ideas book. He will work out his harmonic combinations at and be ample credit for it. It seems to me that either Miss Reeder certainly than sums up the that of_ mother’s and grandma’s the piano, and then transfer these ideas to an orches- Dvorak took folk melodies, and wrote symphonies from of these approaches is equally good. with these instruments, plus the woodwind and brass The problem admirably. But I still think generation? that They, poor things 'had onlv Another Letter to Parents tration, which should sound original. them. Today, the better known arrangers take “Hit various methods keep the work fr

us telling what he wanted of us. were It w works for orchestra and chance enough to look at his Music and Study stimme," three Soften had a expressive face • T prose only a said, in regard to the use of the Music and Study voice, on Turgenev’s . guess his intentions and BEEN well speaking based jq ms box at artistic requir T HAS Vera “ “While our tongues are at work, our the great dramatic “ ot the New ments. He shone on us like a sun human voice, of »»““f, e’“nSa wh I remember him with a great deal executed thc mlo * rays warmed us and filled ears are asleep, to say nothing about what our Rommlssarjevskaya conducted by Walter our lives wuk I affection and gratitude. He is a gentle- Siloti particularly memorable happipess. . . .” brains are doing.” part. One season the Philadelphia man and musician of the old school, and Scriabin pro- Damros . taught and written about the rela- concert was an unusual . Alexander Ilyich Much has been ed by SStokowski,0 0W was told me that in those two years with him, he looked Orchestra “nduc Liszt’s gram, in which the composer partici- “^ pupils were permitted to tion of voice to its productive organ but comparatively Hall, and I il never^get^ play any musical on what I was starting to do with con- Prometheus ), playing at voice to the performer. pated: The Poem of Fire ( composition in his presence— little about the relation of the those co -with tw First Steps in Vocal Training siderable horror. In spite of the fact then The one of . speaking singing the First Piano Concerto, and , The psychological aspect of and brought all her craft^ ^ exceptions: his own Second that Waizman he which Nina Koshetz Rhapsodl might have thought Poem of Fire aaain! and Beethoven’s should be appreciated from the start because the performance of “Moonlight” Sonata had taken a serpent to his bosom, I special pains (and financial to a th responds to whatever the mind dictates; in other sTotftook former because it had been voice Dances of Death,“ThJunder LnZdp played’ learned about arranging from him, and pains, as well) to introduce new works and out words, the physical responds to the mental if allowed . and now bored him, the accompaniment °f Stokowsk latter because h began to turn out orchestrations that from Europe—also usually from manu- orchestral 6 so. Just as the great painter mixes his colors considered himself its to do perfection of that evening made only true inter were popular with local band leaders. script. Thanks to him, we of St. Peters- The brains, so should the singer or speaker develop his preter. Once when with live through again e Sometimes I would work all day, and burg made our first acquaintance with both vocal instrument with the mind, for the mind con- Petersburg played in Leipzig, Liszt sent Siloti all night, and all of the next day trying recently completed works by Debussy, we had felt in St. to hear ceives the idea of sound. of the o it and report on it afterwards. to keep up with the orders that came Chausson, Ravel, Dukas, Roger-Ducasse, ductor and subscriber Rubin- The vocal student must always be keenly alert; this rts ” stein’s program was made up for orchestrations. Richard Strauss, Reger, Elgar, Delius, ™ entirely is probably more necessary in the use of the voice than Mrs. Siloti knew most of of Beethoven sonatas, and young Edifh Bullard is a Bostonian who has had a wide ex- After a few years of this, I joined CBC Albeniz, De Falla’, and Enesco. Naturally Both Mr. and Siloti in any of the other arts, because more faculties are company from earlier days, was completely captivated by perience as a soprano soloist in concert and church. She as an arranger, and my arrangements Siloti had to suffer the usual complaints our Moscow the per- concerned at one time. Therefore, it is the paramount Alexander Ilyich formance of the “Moonlight” began musical training under superb teachers in the began to be featured on coast-to-coast directed at all innovators; for example, and nearly every night Sonata. In every teacher to see to it that the pupil is duty of United States and later studied in London and Paris. _ reporting to Liszt programs. Included in this list was a Via r»mn /ivUinin/ifi ninninn rr~rmr-rr v*oti_ came back sta^e to sgg Stanislavsky at class the next day, he was criticized for playing gypsy res- he constantly awarg of the importance of the coordina- Very early in her career she was chosen soloist at The long series, Knipper-Chekhova, and other old told not without a certain “Gaiety and Romance,” taurant music—Enesco’s First Rouman- embarrassment tion of brain and breath—the two “br’s”—since these First Church of Boston, which position she held tor several visits were disguised jok- of the ecstasy he had felt “Streamline,” and then “Music by Faith,” ian Rhapsody! However, all these new friends. These on hearing form the real foundation upon which pleasing voices years. She also sang in other churches in the metropolitan whether every- Rubinstein’s which caused a slight stir when one scores were programmed on a solid basis ingly as “a check to see performance of the “Moon- are built. When these points have been thoroughly ab- a-ea. She had illustrated courses in music appreciation at light” Sonata. University Dr. John P. Marshall and also radio fan wrote in to protest that the of classical works by Russian and non- thing was in order,” so that the troupe Without a word Liszt sorbed by the pupil, they will be ultimately produced Boston under “The- to studied at Radcliffe and Harvard Colleges under Edward title of the show was misleading in that Russian composers. After several seasons awarded him the official title of turned the old, class-room piano, and automatically; and when the automatic sense is fully Burlingame Hill and Walter Spaulding. Her studies at the listener expected a program of re- of the Siloti Concerts we could really ater-Inspector.” Our entire theatrical played the sonata with such genius’ that developed, the student is then ready to concentrate the University of California were under Edward Ballantine ligious music. I have often wondered claim concrete knowledge of all the key family was very fond of him. For years Siloti had to confess to himself interpretation of his subject; give that the upon the best more of Harvard College. For many years Miss Bullard was just what that listener pleasure glory of expected. works by Glinka, Tchaikovsky, Borodin, afterward we remembered with Rubinstein had grown somewhat thought to the ideal conceptions and less to the me- the voice teacher at . — Editor’s Note. I did not feel that the use of one’s Mussorgsky, Balakireff, and Rimsky- one of his best practical jokes. In the dimmer. Seeing the rapture on his pupils’ chanical. name in connection with one’s Korsakoff. “Three Sisters” Tuzenbach faces, Liszt own pro- And speaking of Tchaikovsky, second act of smiled and said, "Well, I gram was maliciously deceptive, so this it is interesting to note that Siloti re- (played by Kachalov) sits down at the guess the old man can still play.” The First Step radio show kept title; discovered its but it did not a neglected Tchaikovsky piano and strums a few bars of a waltz, One couldn’t help but be infected by I. At the first interview with a prospective pupil, keep me for long. soprano Somewhere along the and tenor duet, based on the which was always played actually back- Siloti’s life-giving optimism, his elated there should be a general sizing up of the pupil’s line, I had picked up what like themes of the “Romeo Juliet” Gremislavsky, seemed and Over- stage by our designer. idealism, his youthful romanticism and personality, poise, and mannerisms. What is learned difficulties. The secret, of course, is relaxation. a logical idea. It occurred to me that ture—for which Taneyev furnished Siloti must have planned his joke very an his faith in the better side of man. We from this should determine the initial approach. The Lisping is a combination of poor control of lips the arranger of a piece of music is orchestral accompaniment an arrange- carefully, for at one performance — of saw each other for the last time in 1933, teacher should obtain information as to: and tongue; but it, too, may be due to bad habits capable of getting more out of ment that has not yet been an orches- discovered “Three Sisters” he waited until the curtain but even being unable to see him since 1. Why the pupil is interested in the study of voice. or to a congenital defect in which the person is tra that plays his work, in this country, apparently. than another As theatrical had risen, and then came back-stage, then, I always felt a great moral satisfac- (At the same time learn something about his back- tongue-tied. This structural condition may be re- conductor could possibly feel toward ar- production of “” was forbidden, without the actors on the stage being tion in the fact that people like Siloti ground, much as a physician gets a medical history.) lieved by surgery; but the habit-type of lisping rangements that are not his own. I our only opportunity to hear this tried work aware of his presence there. I took him were still alive. 2. What are the chief purposes of study? may be cured by good example or by imitating to sell this idea; but I did not seem was in at to the piano, to the and when the signal came His farewell performance, about which In either speech or song, the primary objective should the fault. For instance, two little girls played make my point. Finally, someone did Siloti Concerts. Other European classics from the assistant stage-manager, Siloti Olin Downes spoke so movingly in his be: together; one lisped, the other did not. The one come along who agreed with me. I was played were by Vivaldi, Gluck, Haydn, began. The actors on the stage were broadcast obituary, took place in New First, to learn how to express the emotions most who did not lisp and had a keen sense of good offered Mozart, the job of conducting my own Beethoven, Berlioz; and a regu- astonished to hear, instead of effectively the voice. Gremislav- York in 1929. After that he devoted all by means of speech, cured the other child by imitating the lisp. arrangements on a radio show lar Bach cult was inspired by many first sky’s in Chi- feeble performance of a salon waltz, his time to teaching Second, to develop the natural gifts of a highly Unfortunately, the average person who talks cago, Russian until about four the “Carnation Contented Hour,” performances of Bach works. an exquisite rendition of specialized organ. Tchaikovsky's years ago, when he retired from public with a drawl, a nasal twang or indistinctly by and I have In 1917 Siloti been the musical director relinquished his dream, waltz from “.” Third, to develop good intonation, strength, flexi- Kachalov life altogether—making music only for mumbling, accepts this manner of speaking as and arranger of this weekly half hour that he had so brilliantly realized, to must have been particularly amazed to himself, at home. bility, wider range and, above all, to correct faults. something apart of himself—something of which, of music for become director ( Photo by Bradford Bachracli over five years. We now of the Marinsky Opera, hear these ) perfect notes coming, sup- With the death of Why does the student wish to improve and develop too often, he is proud—and therefore pays no broadcast from and as I was at Siloti, the last glam- EDITH BULLARD New York. that time placed in posedly, from under his his voice? Does he desire to become a singer, a speaker, fingers. And orous rays of the romantic Lisztian epoch attention to it. If the same principles used in charge of the productions of the petro- when Knipper-Chekhova a teacher or a conversationalist? Whichever it may correct singing speaking, these returned back- have burned out. and the art of music were applied to habit either speaking or singing when correctly done. Sim- grad State , we found ourselves stage, she confronted the culprit, laugh- be, the underlying principles and the tools to be used defects would disappear. plicity freedom Knight of working together, has lost one of its most noble servants. and are the key-notes to the situation. Music after many years of ing, ’Please don’t ever are always the same. do that again. 2. What is the difference between speaking and casual encounters. To work hand in hand It was so emotional and unexpected that 3. What are some of the most common vocal prob- Results of Interview singing? (Continued from Page 369) with Siloti was sheer delight. In addition it almost made me forget my role!” Siloti lems? In speaking, the to his well-known musical Tod Late for What? The pupil should be made to understand from the mind is on the selection of words authority I was overjoyed at the success Defects in Speech. These are generally caused by The orchestra used was that of the of his prank. very beginning: to express thoughts. In singing, the mind is on the found that he possessed a happy talent This and Marinsky Opera. later years, whenever I came wrong environment in the home and school; but there production Siloti, as permanent for organizing. Holding (Continued from Page 368) 1. That the human voice is the highest and finest of tone as the means of expressing emotions. himself apart to New York, either are conductor, brought the with the Art Theatre other defects due to acquired bad habits or con- In its essence, singing is rhythmic speech. most emin- from the intrigues common in the means of expression and should be a spontaneous ent world or alone, I always arranged genital malformations. Some speech defects may be conductors of Europe to St. to stay at you can not use the second exercise with manifestation of an individual’s true inner self. of the theatre, remaining somehow both the Ansonia Petersburg as guest Hotel so that I could spend profit. caused by physical deficiencies which make it difficult General Requirements for Successful Results conductors — uncompromising and cheerful, he was 2. That the conception of vocal art is governed by Nlkisch, most of my time with that to speak properly; but more often unpleasant quali- Mottl, Weingartner, Arbos, ideal as the head wonderful Some one said that good piano tech- the same elementary laws which govern every art. First of such a huge organi- artist and from Application of These Principles Mengelberg. to mention conversationalist, Siloti nique ties are due to a lack of sound perception. only a few. The zation as the Marinsky Opera. His I requires wrists like butter, and fin- in importance of these laws is the necessity of using utter never grew tired fine appreciation soloists were also chosen on of hearing his stories of gers like steel. A of the different qualities of First, there should be mutual cooperation between an inter- frankness and honesty won him a few This slightly exaggerated a minimum of effort for a maximum effeeb—a most national the charming simplicity, sound is of vital importance in the production of a pupil basis—Hofmann, Cortot, Lan- bashfulness, and statement expresses truth. difficult lesson to be learned. and teacher. enemies in the organization, but the almost a fundamental dowska, Pugno, Ysaye, legendary absent-mindedness beautiful tone or even an agreeable tone. It is amazing Second, the teacher should be able to put the student Thibaud, Casals, overwhelming majority of the °of Since I am an adult beginner, I con- The average person works too hard to do something artists Tchaikovsky or ’2^?® perception of the *> how the sound can be developed ease. All Auer (playing the world premiere of and workmen ™ el°ved bullying a tinue my and which should be done very easily and simply. In other at fear should be eliminated. Barriers of fear idolized him, especially the the Moscow Vv advice on technical matters Glazunoff’s violin concerto), °f Nik lal ‘ with improved through education and exercise. The ear are due to the pupil’s sense of lack of knowledge. This Chaliapin, artists of the chorus and Orchestra, who ° Ru a certain timidity. My only Justi- words, it is what we do not do physically that allows Koussevitsky, SsS who becomes sensitive and can then distinguish between is Koshetz, and Siloti him- are usually eVery pup11 fication the ideal to materialize. It is here a situation which exists frequently between teacher a rather difficult and tem-f his is the fact that my musical that many teachers self. friendinena, and whom « disagreeable and pleasing The Casadesus “Society des Instru- peramental Moscow adored. hobby, sounds. are at fault in permitting the pupil to force tones and student, whatever the subject may be. Fear causes element in an opera theater. often And which is one of my greatest pleas- —the ments Anciens" when his first cousin Imitation in childhood establishes vocal habits. tension, and tension defeats the purpose. provided us with an un- Without sacrificing a particle and close ures, has surest way to ruin a voice. whole of his high ChJ been pursued doggedly through expectedly thrilling experience. Other principles I ln0ff Was present Therefore, parents and teachers should strive to set The teacher should train the pupil to think. Work he was always willing . Siloti sickness and to meet wouldwoffid talktaH T ! and health, good times famous soloists played and every about their student a good example, for they are speech patterns. The ear Discussion of Principles done by imitation is not dependable or lasting. In sing- conducted person’s problem half way. years had, for fifteen different Most of all years, with five is easily their own compositions—Rimsky- Siloti I loved to hear perverted by a bad example. We subcon- ing, those who imitate parrot-like do hot express Korsa- left Russia in 1919, living for Siloti’s teachers including pianists. Many pupils look as blank as the wall when asked — — koff, a reminiscences two concert sciously take on whatever Glazunoff, Scriabin, Rachmaninoff, while in England of Liszt. Those we hear, be it good or bad. the following questions: emotions as freely or as well as those who think for and Belgium, and then years Weimar Up to the time I first concert Sibelius, had left an met my One of the most difficult defects to overcome is stut- Medtner, Max Reger, and coming in indelible mark 1. is themselves. 1922 to establish permanent on the pianist, I had training What the relation of speech to song? Schoenberg (his creative life of received no real tering. “Pelleas and Melisande”) residence Alexander ’ The Socratic method of teaching (that of asking in the United Ilyich • They are produced by the same physical mechanism, States. He as- E^en n technique. Therefore, even when I —often from manuscript. It Stuttering or stammering is usually due to some questions) is both an interesting and intelligent was here sumed the post of professor in the had hence they should be done in the same manner. We an piano saffi, memorized a “piece,” I never could that I heard an entire program ‘Stf hereditary, mental or acquired disturbance. Mirror way in which to work, for it trains pupil of Rach- class at the Julliard School of o^ho often hear a person sing well but speak badly or vice the to use Music and produce the effect I had in mind. I think readers, maninoff’s liturgical music (still far reverse letter writers and left-handed persons his mind as well as his voice. too occasionally appeared as soloist at sym- that versa. Probably because no thought has been given to my first teachers who were used to often stutter. However, it is well known seldom heard) and his Second Sym- phony concerts 6 presence that stutterers the relation one to other. The student should be given a mental and physical or in recitals of his own. ing - Think teaching the This is especially notice- phony, as well of him^nd of^h children, were appalled by my never stutter when they sing, because they relax as new works by Taneyev, During the several th® mter able on the radio. There should be no complexity in concept of tone. He should have an ideal of each winter months of ', Pretation h would hav/™ age and my tension, a tre- otherwise they could sing. Liadov, Tcherepnin, and Prokofieff.(*) 1923 and 1924 that necessary and, having not The same principle sound, just as the architect has a blueprint from which I spent in New York or to thi that , mendous respect that should translated In Arensky’s experiment in “Sprecht- comno^,^e ped for their art, felt be to speech, as the same mechanism to work. The aim should be to develop a sense of beauty American tour of the Moscow our ^ to elevat no performance t ’-t adult could and is used for both. If those having this • Art Theater have the patience major defect can of sound, remembering always that the principles of It was at the Siloti Concerts that Prokofieff’s “Scyth- (whose General Manager tion aximum Perfec ian Suite had its We alVavVh determination learn to control it, then those premiere—provoking Prokofleff’s I was) I saw l®ht to acquire the necessary having minor defects all beauty are the same, whether it be painting teacher, Glazunoff, , Siloti every day. What wou a to show his disapproval publicly bv As he ‘old ’, ld ou leaving Man’ sav^ff ^ ? fundamental only the hesitating speaker, for instance, the hall before the cork’s conclusion. lived near the Jolson should hear technique. This is true whose speech is VOICE picture, playing an instrument, making a speech, sing- Theater where - us. Dux we ings lessonslesson* t within limits. a loaded with “ers”—should be Liszt rarely used Actually, an adult, with able to overcome their ing a song or reading a poem. (Continued on Page 406) words i 374 "FORW. ( Continued on Page 413) ARD MARCH WITH JULY, 1946 MUSIC” "FORWARD MARCH WHTH MUSIC” 375 THE ETUDE concert. In addition, in every successful the almost this matchless hypnotic appeal of Cradle Song is almost entirely Music Study Music and Study casts RGAN ACCOMPANIMENT and spell over every listener; few can listen to music of the church. its it Un . associated with the The moved. O church organist has an equal responsibility with immediately following the The number Berceuse was the minister in building a service that will be uplifting in A- flat, by the same composer, the organist can make or mar the Valse which he and inspiring. In fact, introduces by the jubiliant fanfare like: a church service, quite often being himself unaware organ accompanist of Organ Accompaniment of his shortcomings. A good can The Art The Successful Recital inspire spiritual congregational singing, or again he can pull through a mediocre choir or an indifferent soloist. While there has been a steady improvement during past decade, far too many in organ playing the te, Wu, 2>oc. solo playing to Ly Rotund lbi organists give more attention to than n numbers make an their of These two excellent contrast. They the equally vital side of work, that being a remarkable examples accompanist. have again and again heard J4. ^Jlamiiton are not only of Chopin’s genius capable We intrinsically worth while in organists play a difficult prelude with first rate mu- and themselves; but th» differences in key, tempo, and dynamics sicianship, only to have them mess up a simple anthem arrest the at- grouped a poorly played and indifferent accompaniment. processions from the back of the church; and more the essentials of an artistic performance, be assured. or tail of it. tention—when together—in a way little by which truthfully be termed a describe as, “I couldn’t make head short are often expected to pro- NY RECITAL may so organist must have a certain amount of tech- services perhaps have been ruined here than at any Unfortunately organists of program material of startling. Character, far as it applb . to An success, presupposes a number of things, some The consecutive arrangement individual which are want- nical facility and he must manage his instrument well other point in the service. The time lag cannot be vide musical effects from instruments passing notice. Style, key, and keys, remains a matter yet unsettled among musicians >. of which will readily occur to the average mind, calls for more than tone or in balance and propor- A in order to get some sort of variety. He must realize overcome by loud playing and the most satisfactory ing either in beauty of here. Every number find- The key of A-flat may or may not be a although others lie deeper beneath the surface. That dimension, all play their part "bright” kev particularly in responsible for the initiative, and he must solution is to have the procession start as the hymn tion of tone, and a bad organ, a be considered, not in itself. But immediately following the key that he is every item on the program should be well chosen and ing a place on the program should of D-flat building of necessity deaden the be able to judge when support is needed and when he is being played over. In this way the choir will be well nonresonant must alone, but on how the re- it certainly is. When we change from any well played, goes without saying. Young aspirants, in the light of its merits given key is always may relax, for the real art of choral accompaniment into the body of the church before it begins to sing; artistic sense of any player. It not the ac- action will be on what precedes or follows. to its dominant, the effect is bright; if the change especially, are likely to arrange a program unwisely, be of the companist who is at fault; he cannot produce impos- one on any instrument is the adequate support of the it will also have had time to feel the rhythm often through ambition not tempered with judgment. A matter of first importance is not to allow any made to the subdominant the ear is cot. us of some- singers. hymn. Another plan is to have four of the better voices sible things. Unless the Pedal organ is adequate he If, for example, thing more “mellow.” Had this ' • Immature pianists often fancy they have powers which key to become unpleasantly prominent. partlcul Valse been of Upon taking up his work in a church, the first thing stand just inside the door and remain there until they cannot get sufficient weight to balance the rest the Prelude, Nocturne, and a Mazurka, all in D minor, written in G-flat—the subdominant of do not actually exist. a a D-flat and is, exceedingly over- an organist should do is to try the organ and note fall in at the end of the procession. They would lead organ, which may, and often An enthusiastic amateur hears a celebrated piece, for are grouped together, the ear is soon conscious of then been played after the Berceun he desired down in writing the relative effects of each department out during the recessional and follow the same plan powering at the top; nevertheless he can modify his example, played by an artist, and is so captivated that little else than D. Two slow movements should rarely brightness and sparkling gaiety woul have been of the instrument with the swell open and closed. He of standing inside the door until the rest of the choir use of the noisy part of the instrument in order to he desires to do likewise. He procures the music, and be played in succession; and anything which brings largely absent. should notes as to whfch section sounds loudest, gone out. Both methods should be tried out with balance whatever pedal weight may be available. By piano, should make had practices it, at least he believes and declares that he into particular prominence the bass of the After a vocal number, the piano was 1 ud again in should the most satisfactory doing so, he will show artistic sense although he may markedly and so on, while at the keyboard. Then he have different accompaniment and does. The probability is, that not for five minutes has be followed by something featuring more two short Chopin numbers: Valse in G lat, and the a friend play while he goes into the various parts of retained. Needless to say, all processional hymns should not be popular since many people associate the organ there been any real practice. The amateur has been the upper portion of the keyboard. well known Minute Valse in D-flat. the church and listens to the effects of the organ be sung in unison at a suitable pitch. with mere noise. trying to begin where the artist left off. Lacking both Anything severely classic in contour cannot be ap- The first scintillates at the beginning v h very little in the building, comparing what he hears with his own On the organ the greatest danger lies in the treat- the necessary insight and technic, he maltreats the preciated to the full if it be placed immediately after bass—always a pleasing novelty— and tli middle sec- written notes. In many cases he will be astonished at Attention to Balance ment of the extreme upper and lower parts of the piece daily, while friends, unable to separate the wheat some obvious sweetmeat such as a composition of Lack, tion, a most expressive lyric, never fail please all the difference in the effect at the keyboard, to that In the accompaniment of solos and anthems the instrument. To use the Great Diapasons and Chorus from the chaff, praise and admire. The young pianist Borowski or Moszkowski. And in lieu of a formal who like a “tune.” In fact, this may h e been the of the same stop in the church. An organist should same principles apply. There must be the same ade- reeds extremely high, is bound to produce noise; to will find his best friend in the competent musician who sonata, the four separate movements may be replaced source conscious or otherwise — —where VI. tor Herbert know which parts of the organ the choir and congre- quate and timely support and the same attention to have all this noise with an inadequate pedal is bound has no axe to grind; some seer, whose candid com- by three or four varied selections, each moderate in obtained his theme for Ah Sweet Mystery Life. How- gation can hear and feel best; he can then adjust balance. The organist must always be on the alert for to produce a bad balance. Organists are given to play- ments and salutary advice, while unpalatable to self- length, the first and last being in the same key. This ever this melodic and harmonic sequr: occurs in success, intonation on the part of the choir ing the tune as a solo with the right hand say on the device things accordingly with far better chance of any sign of faulty pride, may bear fruit later—if the amateur be wise. makes a very pleasing modern “Suite,” and ad- many other compositions. and this is equally true for large or small instruments or soloist. Quite often this faultiness may be due to Great Diapason and the left on the Swell, but it would All things attempted on the public platform at re- mits of great ingenuity and taste in the choosing. “The Minute Valse, with its moto rpetuo like and churches. the fact that they cannot hear the organ, or even be much better to play the tune with the left on the citals should be what the player can both mentally Moreover it is well to have in mind the continual movement, never fails to "get” the li. ner. Fairly The first thing in organ playing is rhythmic vitality; more likely that the rhythm is not felt. The organist Great in the tenor octave and with the right hand and technically, cope with easily enough to preclude development of an idea. Any high lights of the program showy for its moderate technical demai this playing be alive at all costs. The common- himself “How of the fire of rhythm play the harmony and the tune on the Swell. The his “going all to should not anticipate daz- organ must must ask much pieces.” The work should be not only the final climax, which should zling trifle becomes something of a sen lion under est fault in organ accompaniment is dragging. No choir do I have?” If he has little he cannot expect the singers same idea can often be utilized in ordinary accom- memorized, but so thoroughly digested that all the be the last word in the finest performance the recitalist a virtuoso’s fingers. The writer shall ne r sing enthusiasm when the it, either as a gift from God paniment. It is effective and just as helpful to the whys and wherefores are a matter of intelligent under- can attain. forget de or congregation can with to show much. If he has Pachmann’s playing of it. organist a frac- scarcely avoid imparting it, choir when once they are started to let the left hand standing. Then the composition becomes, in a sense, organist drags. The should always be or by cultivation he can Following this, to make a three ahead. is this will radiate from him without his and pedals supply the weight on the Great and the part "S . the tion of a beat There a knack about which for life and heat the player’s property. A Good Piano JNecessary key of G-flat was resumed, in time right hand lighten off on the Swell. This is especially This logically suggests the importance of selecting that most fasci ting bit of comes from experience and of course the actual knowing. The piano should be, double note from the standpoint of action, work by ( varies the position of emotional standpoint useful to accompany a solo voice when you require only what the player can grasp, appreciate, and, so to Vogrich, Staccato a price. This according to building and the Both from the rhythmic and the best obtainable to respond to the player’s individual proved to be one of compared with weight without noise. Singers feel the pedal when speak, relive as part of his being. Music then ceases to the most successful :ns on the the organ in relation to the choir and congregation. the organist is at a disadvantage as touch. Some actions are light and elastic in their entire program. they are actually singing, more than any other part be just so many notes, skilfully arranged; the many re- Fairylike, the whole omposition There should be no feeling that the organ is constantly other instrumentalists. In the process of changing stops bound; others heavy, with a maddeningly literally dances the organ and it is necessary to keep the pedals diverse sounds, impotent as units, now become the out- slow come- from start to finish. Double note play- driving, but it is impossible for a choir or congregation it is easy for him to be momentarily distracted, which of back. The latter— nightmare of recitalists—can easily ing in the upper portion to sing enthusiastically without some drive from the will of necessity disturb the general balance of the up to time especially as these pipes are the slowest ward symbol of some inner spiritual grace. There is of the keyboard i a pianistic upset the equilibrium of even the most resourceful effect where the peculiar organist in the first instance. of course interfere with the choir or solo- to speak. nothing quite so disturbing to an audience as to see a charm of the : 10 cannot rhythm and Every pianist has learned to play on be rivalled. musical novice trying to ride a bucking bronco. The the instrument ist. It often becomes a question of deciding between a which suits him so that it is like driving Phrasing and Registration A Staccato Pedal effort is tragic. Every piece on a recital program should a first class good rhythmic performance on the one hand and some car over finely paved roads. general principle is that the tonal sub- be obviously within the grasp of the performer, so The purpose of playing the hymn over is to enable interesting registration on the other. In such cases it The broad The wretched pianos that the yet to be found in some schools xne the choir and congregation to feel the key and pace. the simplest possible registration structure must be stronger than the tonal superstruc- audience admires the pupil’s mastery. next group chosen gave the stage Mendels- is far better to adopt and churches are a standing rebuke of to institutions sohn, by three of It is best to play it on fairly quiet stops without pedal, and give almost undivided attention to that, which in ture, and that to preserve balance and proportion able his Songs Without Wor s: Spring to afford the best. But when no familiar conditions can only remain adding weight Audience Reaction or easily Song, Consolation, and Hunting the important thing being that it must be played over the long run, is the basis of all good organ accom- tone these by adaptable instrument can be Song. Th writer can had, the player should well at the rhythm at which it is to be sung. During the namely, control and rhythmic grip. of tone, first from the bottom and reducing weight Granted that the pieces under preparation are ad- remember how for years the Spring had paning, devote at least one hour’s practice Song prin- mirably suited to the player, another most on the piano in een avoided in hymn singing it is not necessary to keep playing very Accompaniment on the organ often suffers on the from the top. It is only by the application of this important question; his public performances, because it otherwise the “stranger” may ciple that stops can be added or withdrawn unob- point comes up for consideration: the probable effect not respond a not, in his mind, loudly; however, there must always be adequate sup- musical side from a mistaken idea that constant sympathetically on the night been satisfactorily classified, upon the audience. of the recital. And with very port. The rhythm must be firm at all times with good are necessary. There must, of course, trusively, producing that subtlety of effect which is In a sense, splendid masterful composition, to become changes of stops a feeling of disgust and abject discouragement a player's own, in the playing makes its own appeal—from the standpoint of the roadest sense, crisp phrasing to coincide with the sense of the words, be some enterprise in the matter, but speaking broadly, so effective in all organ playing. concert giver will must possess or reflect some “mood.” declare—and perhaps rightly of the pedal organ is one of the skill. Legions worship cleverness, whether it be on a too— fter much and each new phrase should be clearly enunciated the simpler the scheme of registration adopted, the The management that he ‘played worse thought the writer decided that the Spring than ever.” things for the accompanist and it is circus trapeze or the keyboard of a grand piano. And ong was to without hesitation. more likelihood there is of a really good interpretation. most important In order to illustrate the him, at least—a scherzo, and as such he in process used in congregation possible to give definition by use of staccato this age of speed, mere rapidity of motion alone has building a has always since As to registration, nothing disturbs a In a satisfying performance the rhythmic flow and the often program, the writer describes one played it. Not too much pedal: the its thousands of devotees. he recently planned sky probably more than a sudden reduction in organ tone. balance of the music must be preserved at pedal. In the accompaniment of more elaborate music for an average must not be overcast. emotional audience from the standpoint Yet, in the musical world one cannot be forever of mu Consolotion A broad treatment is best without the sentimental all costs. Let there be discreet use of the Swell Pedal the same principles apply although greater technical sical discernment. was transposed to the key of F: a drop, satisfied with impeccable technic alone. rallentandos that are so often heard, even in some of pumping of it that so facility is required. It is important to realize that if The reflective Everything r”odulatin instead of the constant we hear was arranged with an eye £' into the new and more distant hearer demands ideas, and the pianists who single to hold tonor? our largest churches. Two effective ways of making part of the organ is so abused organists, the voices are placed low, they are easily overpowered, continue ’ y of a often. No by mg the interest. For the opening second relationship key. Single melody to hold unfading interest are less number , the tune stand out are playing the in octaves a fact which so often seems to be forgotten. no poets than they exquisite Chop^ notes alone were by melody especially in accompaniment, as this poor pedal. Even Berceuse had been chosen; relegated to the right hand, so that are superlative technicians. It is no secret that it being the with the right hand and playing the melody on a should be the use of the Tremulant; if In playing an accompaniment originally written for the most writer’s experience arrn weight more discreet that to induce a could be brought to bear on each successful artists before the public contemplative _ t heavier in tenor octave. use of the pedals the orchestra the great danger is that of being too today are those at the beginning mood n these stop the The this device is used at all it should be in very small has some advantages two numbers are introduced three ele- with a genuine musical message. over the more mpnic in the lower octave is quite all right and often helps doses. literal. The aim should be to get a general atmosphere customary and showy “On to the ° change: a rather a The things in music most easily followed are battle” type of distant key tonality; to give weight and support, but like everything else of orchestral color without destroying the organ char- melody duction. Such iSm totniiv lfferent All this implies nervous and mental control and a quiet beginning also tyPe of melody, singing and rhythm. This truth should never be give™the and a broad it can be overdone. Without doubt one or even two acter. Give as much care to the preparation of the neglected. In more time in which pW tone.tone ''aiAlso a that sense of confidence that can only be acquired by to “find himself”; much slower spite of all our supersophistication the great during an un tempo. verses may well be played without pedal, or perhaps accompaniments you have to play on Sunday as you mass of hurried tempo he m Scn knowing that preparation has been thorough. Only can, with 9 • viri i a e . people are yet but little in advance certain degree of } rhythmic with its unmistakable better still, prelude. possible friend of time and tune. fort, adjust mm" "£rnien” f with only an eight foot pedal stop. thus can fuss and uncertainty be avoided and that do to your organ Where have a his present physical state C S tbe group They sense harmony in a vague way; some like to toe keyboard' by a return to the key of A. Filling in the harmony needs care, play a service for you once in awhile so that you varia- action, and also Once more t to be done with unity, repose, and feeling of cooperation, which are may tions the height of the seat ? baCk to the key an ; and a few unconsciously possess the contrapuntal of the Spring Song: and where the singing is in unison it is relief to vary sit in the congregation and judge things for yourself. conditions, too, the h effect of n a mind, like a sensi , but instinct—they enjoy hearing two themes ^ photoT T jt 15 not new. Rather, it estab- the harmony of played simul- plate, receives from SraPhic hshes irr,' the tune. To anyone who knows har- If you find that certain stops or combinations sound toe ' taneously; of the hearers a mm y d the effect be type commonly associated ' , from any viewpoint, mony, this is not difficult; for badly with find with a pression of “atmosphere.” 111 as grinnin others we recommend experiment them until you how they brass band. A feeling In short he C°nsolation E, for form is not totally absent. wtoon^e ’ in its original key of the study of some of the books on the subject be improved; if too bad leave out altogether. in quiet playing, a been sandwA* h which may them Audiences cordially splendid h6d between dislike a composition which they that ^ ^ the first and third? Hardly, have appeared during the past year or so. Never forget that the small church and organ need bond of sympathy: Too much c f such an all eDess important wouId have resulted. But played There is a real difficulty in the accompaning of choir just as much care and thought as the large city church. ftS in the kev nf p 376 ’ new interest "FORWARD MARCH ( Continued on Page 415) WITH MUSIC’’ JULY, 1946 "FORWARD MARCH WITH MUSIC" 377 THE ETUDE ^ '

tors have to face. Before the war we look d Music and Study f°r European label on a work of art or ttle manufa t and Study Ured EMBERS of the orthodontic profession have Music tide before we were ready to judge its ar' excell long known that irregularities of the teeth that “made in ” will not N°w mean us^' supporting structures interfere with the future, we wonder and their how difficult it 111 M will be many and diverse functions for which these parts are chasers to adjust themselves, to a different ^ PUr' t demar utilized in the process of ordinary living. For this In higher musical circles, opera and ’u t sym reason the profession systematically has altered dental chestra—managers are still dazzled with °r ' the irregularities in such a way as to obtain a greater brand of singer, player, °Pean and director, so our Irregularity loc l adequacy of function. It is not important here to Dento-Facial ucts have to face competition PR)<1 ' from artists wh discussion of the many kinds of may depart into a technical be no whit the better but whose positions are enhnnanc irregularities that are found, nor to discuss the sev- by having been born in Europe. • ed eral functions with which they interfere. It is suffici- Embouchure ent to recognize that wind instrument playing is one How It Influences Wind Instrument Not a Horse and Buggy Age of the group of functions that depend, at least in None of the music teachers at the teeth their supporting structures. conference drd part, upon the and to Cleveland with a horse °Ve and buggy. They jaws, the teeth, the lips, and associated struc- Ion SmCS The have recognized and accepted the fact of wind we are livi tures are used continuously in the playing an age of spark plugs, m radar, and modern instruments. For this reason it is important to the ^(Iwcircl -yd. CLeney, 3.2..S, WS. scientific realities, but when it comes to music' musician to be able to use these structures at their obstinately put on their y “looking-backward” best functioning level in order to fulfill adequately and insist on dishing out to our twentieth cenm the varied and often difficult musical requirements. youngsters music of older centuries. When These dento-facial features as well as the mouth- ^JdllCj 2). these tea h antid (J3y.ron O. Li, PL ers wish to read a magazine they instruments are not fixed in form. do not go to a librf pieces of wind and drag out Sir Roger de Coverley’s they both differ widely from individual to articles whirR Rather, University of Michigan appeared in the “Spectator.” if functions are also likely to be dif- but there isn’t anythin, individual. Their at fingertip-reach they go to the ferent, at times permitting easy adaptation to the corner dru/Yrf and buy a magazine filled with mouthpiece, and at other times making contemporary article! instrumental and pictured presentation is with scenes of today. ’ adaptation very difficult. This Byron O. Hughes is the first of a series of three pepyS Diarv nn this The following article by Drs. Edward A. Cheney and longer holds of different structural irregularities upon the embouchure of them in thrall, for our newspaper concerned with the adaptation articles pertaining to the subject of the effect of dento-facial col findings are only recent umnists have adopted Pepys’ keyhole-peeping types of embouchure. wind instrument players. White this subject is not entirely new, the scientific style of several years. The adaptation reporting discussion it seems desirable and prove conclusively what teachers of wind instruments have believed for and feed us with the latest on In order to clarify the Hollywood been a problem for teachers. It is hoped that the findings divorces some of the major anatomical of wind instruments to the student has always and accouchements. But these briefly to point out other are the very and Hughes will do much to provide information for establishing adaptations and to describe some of the dif- by Drs. Cheney same people who want to limit the features of the face and Editor s Note. musical experiences physical tests for the beginner of the wind instrument. CLEVELAND of structures. HEIGHTS MADRIGAL SINGERS, CLEVELAND, OHIO their students to music of Pepys’ period. ferences in these Human behavior is one of the most interesting studies Relationship of all. People are funny, Discrepancies in law and their moris and reactions amazing. Take the matter of church hymns. The upper and lower jaws make up the greater You choir of directors framework of the face. The upper likely interfere with function. is especially true when we realize that the majority know how hard it is to sell your portion of the bony In any case, they are to congregation people have dento-facial irregularities of some type. and even your pastor jaw is attached directly to the other bones of the For example, we see mouths in which the anterior Youth on the purchase of a new hymnal Must opportunity was provided to appraise some of the Be lower jaw is attached to missing due to extraction or An Served and when you get the new books the antagonism head and is immobile. The or posterior teeth are met interferences that dental irregularities impose upon from both sources the base of the skull by ligaments and muscles and congenital absence. Often the teeth are very small at the introduction of a new hymn. complete freedom of move- in the jaw bone. Crowding of wind instrument playing. An experiment was set up hurch we haven’t sung a new has relative although not and/or widely spaced V? f hymn from the designed to estimate the role Methodist ment. Normally facial development is such that the teeth in the upper arch, in the lower, or in both arches for this purpose. It was Young Folks Hymnal in three years. Yet all of Demand Modern “Likable the old of the teeth, lips, jaws, and related structures in the Music favorites: Abide lov/er jaw rests directly below the upper and is of occurs very often. They may be sharply rotated, they with Me; My Faith Looks Up To Thee; function from the position is upper front teeth development of embouchure, and to study the adjust- and The Old Rugged Cross, were equal size. Movement in may overlap, one or more of the shininglynew at one ment of these parts to embouchure. Material for study as Well as time. in not difficult for the lower jaw. However, in many may be on the inside of the lowers, or individual teeth Ancient Classics How the world did the choir directors in their between the lower normal po- was obtained by examining one hundred wind instru- days overcome congregational cases the structural differences may be forced to erupt far out of their and pastoral inertia and mentalists selected from members of the University of get those new hymns and the upper jaws are so great that the freedom of sition. Whether spaced or overlapped, the teeth may learned? If they could do it—are of jaw is inadequate and adapta- Sometimes the upper Michigan bands, students in the University School we less able? These very motion of the lower incline outward or tip backward. same obstinate people will Music, and music teachers in Ann Arbor during the break their tion to embouchure, which utilizes both jaws and ad- front teeth entirely overlap the lowers in a deep over necks and pocketbooks to get car, a new a structural de- completely to academic year of 1943-44. The selection of individuals eor( e Strickfiny new dress, or jacent structures, is impaired. Two bite or, as in open bite, they may fail a new living room suite, yet will ^ ^J J they are important. ir- for examination was based on musicianship and the resist with the partures from the normal relationship come togther. These are but a few of the many most fanatical resistance the effort of variable de- In one of these the lower jaw is smaller and retruded regularities which complicate the production of satis- types of instruments played. Although a 1 direct°r to teach j!' . them a new hymn. They of retrusion, grees of musical ability were represented the aggregate “ re behind the upper jaw. This condition factory embouchure. T THE a choirmaster who used the same dozen Music Educators National Conference called distocclusion by the orthodontist, is sufficiently was of a semiprofessional nature. A Harmoneers” doing two anthems throughout which was held in songs, one of the church year, but they are LX Cleveland last March, I was Coney wbirh severe to warrant correction in approximately ten to Lip Flexibility and Other Conditions *. Island Babe—the assembled willing to limit their “ asked to present two of our educators procei hymn-singing to a bare dozen other of Observations and Analyses small ensembles to discuss what hymns fifteen per cent of the population. In the In addition to the above listed irregularities we must at the consultant meeting they had just heard. “which mother sang.” for demonstrations in Many of t larger and is protruded in front. Two sets of observations were obtained on each that “k y showed by their these the lower jaw is also consider the variations in the soft tissues which field. Before accepting , applause that the invitation I frankly in- enjoyed they had&d ren Protrusion of the lower jaw, called mesiocclusion, jaws. These individual. The first was centered upon the major the music, but a Singing for Enjoyment cover the bony framework of the teeth and formed the chairman that our small few of the m features dento-facial complex. These previously groups were or- variety just 15 131 needs correction in about five per cent of the popula- the cheeks, the skin, and similar features. of the ganized couldn’t relax ".! ln 193® 1 gave a are the lips, for entertainment only and^mile and tu* .. talk in Detroit to the members of and that they sang tion. When either of these relationships appears, the these features conform to the shape of the have been discussed. The features examined were only popular the North Central Section In general, music. In the case of the boys’ quartet of our National Music Con- marked amount those which appeared to be the most important in it erence, individual must shift the lower jaw a bones and teeth they cover. The lips are, however, was music sponsored by at which time I advocated more that rapidly growing male the use of before satisfactory adaptation to playing is obtained. by the playing of wind instruments. In this study the modem music quite flexible in form but limited in movement quartet organization known as C e at in our choral work. Prior to that Dr. S.P.E.B.S.Q.A. How- C When it is possible to make this shift, and often the of the jaws. Much of relationship of the jaws as they support the teeth and ever, ^Yc'ert t o Meissner their attachments to the base he insisted they perform, and so — r season rng°^e had raised the question as whether on the day of il to it is not, considerable strain lips, the teeth in the front part of the mouth, and the p we might difference is so great that lip flexibility is due to the nature and textures of the meeting, our senior not be girls’ trio and senior using too much music of a foreign fatigue occurs lips themselves were all examined. Special care was boys’ szrsr, navor is placed upon the musculature, and the tissues. These vary a great deal and have as much quartet made the trip downtown to °niC and of a by-gone day, music sing for a capacity Star Dust. ^ arranSemen and whether the rather rapidly. When functional adaptation is im- function does the inher- taken to grade each type of irregularity as it varied filled meeting room. Was the latfpr ot the medieval to do with lip activity in as Italian, early English and Russian orthodontic between individuals. Estimates of relative lip thick- Before possible structural modification through ent ability of the individual who controls them. In they sang, I carefully explained composers was the music high to the music to learn as the best suited for our treatment is recommended. lips as result of habits or ness and length, arch form, and tooth length were directors why and Bach selection. SingerS addition, the use of the how these small groups Now I hfveS ' Several years started came to be thing as to whether LT“ ?L!°°,)i before that we had These discrepancies in jaw relationship are impor- also affect their ultimate shape and included. Secondly, an evaluation of embouchure was formed They were not organized it was “good” c uding in our mannerisms may for this single music el annual concert a good modern num- teeth Questions designed uncover difficulties in dem- raised was-i s it 6 qUes1 tant because they affect the positioning of the may, then, expect to find a great deal of made. to onstration as is so often “music education” form. We the case with °rder of When is Dust, conference The groups ?? . Day Done or Star and lips which directly support the instrumental combinations of lip length thick- adjustment were asked of each instrumentalist and ensembles, but these which sang before w e variation in the and senior groups had ourc

Music and Study T OFTEN HAPPENS that a violinist will be exceed- Music and Study ingly clever in producing clean, true harmonics, yet I not have the faintest idea what a harmonic is, or know anything of the natural physical laws which govern vibrating strings. Students have said to me, “I read a great deal about How Does the Singer overtones, harmonics, and such but I cannot under- stand it. There are so many mathematical formulas, such complicated explanations. It all sounds so diffi- The Mystery Df Vibrations cult.” Well, it is difficult. It is always hard for finite human beings to make adequate explanations of even Break Into Radio? the most elementary law of this wonderful universe. And why not? The simplest thing in God’s world con- tains the seed of eternity. No wonder we are soon over our heads in dark waters. We see a little, and that lij ^J~e(ice cle ^Jlouualh “darkly.” Then, with sophomoric erudition, we use ly l^oie ^Jleyllut thousands of words to clutter up the atmosphere in trying to “explain,” settling back smugly with an ex- Felice de Horvath is a violinist (former teacher of Carroll Glenn) and the author of text books for pression of “Well, I fixed that problem beyond any violinists and theory students. She has written numerous articles on musical subjects. For many years shadow of doubt! Or did I?’’ with the University of South Carolina, resigning time to writing, false hope, in this brief discussion, of she was associated to devote more In its January issue, The Etude sef forth the steps pianist who may never Go we have no by which the serious young • lucidity. simply want, if — Editor's Note. reach Horowitz heights can still find interesting and lucrative openings in radio. In that conference, Mr. producing any miracle of We H. Leopold Spitalny, of the National Company, spoke of the network's ensemble, orchestral, possible, by culling and condensing from the findings and stand-by" pianists. Since that issue reached the newsstands, The Etude has been deluged with of more scholarly writers, to offer some interesting requests to sef forth similar material as concerns the young singer. The problem is to learn what radio facts and fancies about this marvel of marvels, vibra- called a nodal point. At these points the vibrations are has to offer the earnest vocalist who is not a Lily Pons, and how that opportunity may be secured. Again, The tion. Etude has asked officials of the NBC, the world's largest network, to "tell how," — Editor's Note. almost nonexistent and a violinist, if he will place his The very word is a magic one with which to con- finger lightly on such a spot, will be able to damp out, Vibrate to be alive, for all living things are in jure. — temporarily, the fundamental sound and allow only motion and only death is still. This world of ours, the here are two ways in the harmonic to be heard. To illustrate—if a finger be which the unestab- by one of our musical directors. He listens sharply for planets, the stars and the moon, all have their vibratory lished and unstarred placed at the precise half of the length of say, the A young singer can break voice quality, production, technique, training and pro- rhythms. And vibration, under certain conditions, be- into string, on a violin, only half the string is permitted to T radio, and it may be stated at the start that jection. If he recommends the candidate for further comes music. neither is easy. One is by way of function and a note one octave higher than that pro- solo “spots”; the auditioning, a date is fixed in about a month’s time. Poets have used this thought from time immemorial. other by way of the chorus. As regards young soloists, duced by the whole string will be heard. If a finger be At the second audition, the candidate is given time to DON CRAIG “The Morning Stars sang,” “The music of the spheres,” NBC maintains an open-door policy, granting placed so as to divide the string into quarters (third audi- rehearse with our accompanist and a recording of the “celestial harmonies,” all these phrases show the intui- tions Choral conductor, assistant to Fred Waring finger, first position string) to all who ask for them, and giving about five on A , a tone two octaves audition is made on acetate. This acetate is submitted tive knowledge that the universe is a great harmonious hundred such auditions each month. higher than the fundamental will be produced. Divide An audition to the Musical Production Committee. If the commit- whole, vibrating in accordance with Divine law. board sits every business day, during the string into thirds by placing the fourth finger on day-time hours tee finds the recording sufficiently promising, they As in many other natural phenomena, we recognize only. This service is open to solo aspirants the spot of E (first position on the A string), and a only, since send it with their recommendation to the Program names they find there have been tested and checked.” certain propensities in vibrating materials but are un- NBC neither maintains nor builds staff choruses. Mrs. harmonic of a fifth higher will be heard, E in altissimo. Board. If the Program Board passes favorably on the Since no chorus is maintained at Nit: there is ex- able to understand why they act as they do. Much is Georgia Puller, Supervisor of Bookings, Castings and acetate recording— actly and its say is the final one—the no opportunity at the network f choral build- known about electricity. But who knows what it is? Auditions for NBC explains what happens. candidate How Tones Sub-Divide is accepted by NBC. But—and this is an ing. Networks and advertising agem that build has been discovered about vibration, but the why “Candidates Much may apply for an NBC audition by mail important “but”—acceptance When two strong notes are put on the air, not only of this kind is not musical programs apply for choral mu rial to pro- of it is one of the secrets of the Creator. or by telephone,” Mrs. Fuller explains, “but we prefer synonymous does each one go about its business with an immediate engagement. It means fessional choral directors—men like M it Rappaport, of dividing and telephone applications so that all details may be made simply that Illustration subdividing, but immediately two more tones are pro- the name of the successful candidate is Lyn Murray, Ken Christie, Ben Yost, P< r Wilhousky, A Simple clear without time- taking correspondence. Briefly, put on file in duced. One is called the differential tone; one is called our Booking Department, and used as and others—who make a business of If string is tightly stretched and then plucked or these details a mbling and a are as follows: candidates must bring backlog of talent on the summation tone. Let me illustrate this way. Sup- which we can call. The file list is training choral groups, and supplying cm in units bowed, it gives forth a tone. The pitch of this tone de- their own music, in the key in which they wish to sing, a full one, and no one’s chance of being called ranging from tension of the string. This pose a tone having 440 vibrations and another tone and they quickly about eight to about f< !v voices, as pends upon the length and must use our accompanists. Naturally, the is exactly sensational; having 110 were sounded at time. on the other hand, each candi- required. The choral sounds very simple but is, in reality, complex beyond the same At once an- preliminary request candidate's best cn nee, then, is should specify the type of audition date can feel FELICE DE HORVATH other tone having the difference or that he gets attention. According to the to gain admission imagination. Leaving out entirely the marvel of the in rate, 330 appears. they want for singing or to one of these ch d groups. In — acting—since a mere inquiry needs of the many programs This is the differential. Still another tone, of 550 vibra- developed by NBC, musi- applying, he should bear in is human ear, which receives these resulting air waves about an ‘audition’ tells us mind that mice alone nothing about what to ex- cal directors ranging then the string would divide in middle, forming tions appears, equal to the of the main tones. from swing-band conductors to seldom engaged unless and transforms them into “tone,” the constitution of the a sum two pect. The first audition, open it is fortified by lusicianship, to all applicants, is given Toscanini himself consult our figure eight thus; This is the summation tone. Both of these new tones files, knowing that the some experience (not necessarily profi uonal) and, the tone itself is an incredible maze of complexity. is book, say, blithely go about their work of dividing and subdividing, above all, a sound ability to read music. If, for exam- Let me illustrate in this way. Here a on, again into infinity. The air is filled with an in- ple, a show like the “Telephone Hour” should need a with a dark red cover. It is definitely dark red to the credible activity. chorus eye. But if artist wished to reproduce that color on Imagine the conflict going on when on a given program, the builders f that Hour an his canvas, use colors, mixing and a symphony orchestra is playing! Luckily for our ears would in all likelihood apply to one of ! nese profes- he would many sional blending until he had the exact shade. After mixing, this activity is infinitely weak. choral directors, and be serviced ;th a com- Each half will vibrate twice as fast as the original plete chorus. no trace of the individual colors may be seen—simply The potential force of regular vibrations is guessed The public would hear tiu. chorus over length of string, putting on the air a tone twice as at if not actually realized. walls of Jericho in the NBC; however, the blended and complete dark red. high. string divides The the chorus would n t be part of Then the itself into thirds, fourths, note Biblical history are supposed to have fallen down at the NBC. A musical tone is quite similar. While a certain fifths—on, on, into infinity, each smaller portion of ear, it is ac- the blast of . Soldiers crossing a wooden bridge (called the fundamental), comes to the string producing its own tone which joins in the gen- are instructed to “break step” because the regular rhy- tually composed of myriads of other notes, blended into eral mixture. This complete series, emanating from a one strong, definite pitch. These other notes, this thm of their footsteps might set the wooden planks to Endeavoring to put the fullest possible material be- single tone is called “the chord of Nature,” with ter- fore young “cloud of witnesses” surrounding the fundamental, are vibrating so dangerously that the bridge might collapse. singers, The Etude turned to Don Craig, rific implications for those who have imagination! e d called overtones or harmonics. Without them, for it is Have you ever had the experience of playing or sing- Waring’s assistant in charge of choral rehearsals. Fortunately for our ears, very few of the overtones or ing in a room when something started shiver? Mr. Craig possible to eliminate them with certain equipment, the harmonics are audible as separate entities, to No, states that the radio choral field is even for many more tone is thin and colorless. They enrich and strengthen I don’t mean the audience! Some article, a crystal on limited than that of the “stand-by” pianist. of them are strongly dissonant, not belonging to the the fundamental. violin, cheap radio or vic- a chandelier, an ornament or something similar? It is Many radio stations A poor a tempered scale we use, but the absolute, physical, pure maintain at least one pianist, because but paying trola, has a “tinny,” thin, white quality because the scale. Without any mathematical formulas a tone you produced found a sympathetic choral wor/c is available the large to cause only in vibratory rate in the object, which was then brought e Chiefly instrument is not sensitive enough to pick up the distress, here is a chart showing the so-called in New York and Angeles. Though Chord ^ to life. If tone is strong object nThe w-Fred overtones. of Nature arising from the tone of your enough and the Waring organization does not train choruses A A violinist who plays in tune has a far richer tone fragile enough it may be destroyed. to supply other radio shows, its method of procedure It possible in se ecting than one whose intonation is faulty. Each truly placed is to break a thin goblet by a violin tone. members for its stand as ^ own group will note awakens his strings to sympathetic vibra- Strike the goblet to determine its strongest pitch. Then, a, safe example open H of what the young singer may expect. tion and re-inforces his tone. Produced by string standing close to it, play that note firmly. The goblet ^mission to our chorus, for I \ 1,^ , or any other chorus A string when plucked or bowed vibrates through Produced by bj string will commence to vibrate in sympathy. Then, as the n tt r 1S | ’ gained on>y by audition,” says Mr. PrtL ?.T f out its entire length, making an ellipse tlius: disturbing tone continues, the delicate glass will be C g ' me is , °utUne the points decision -n,f on which unable to stand the strain of constant vibration and e come ' considerations of voice—though Produced by string will shatter. the u I re n° means tbe Besides revefif only considerations. nS a °0d 8 voice quality, the singer must demon- Each spot in the string where a division occurs is Force in. Vibrations strafe . 11 a^ I ity s*ng kinds convincing- Iv The of music Have you ever been in a church when the organist, same chorus that operatic But the string does sninief , accompanies an more than this ! If you had the op- piling on all the power of his mighty instrument, made °ne number a portunity to visit - swine may have to sing a physics laboratory you might see the building literally shake? Did you ever think, “If he er -^ ^er *n *-he program, and a piece of equipment consisting of a very long, stretched all the same doesn’t soon take his hands off the keys this building HIGHWAYS IN MELODY S lgers VIOLIN must be able to perform all string, set in motion by a motor. Watching this string will surely collapse?” I’ve The chorus of “Cities Service” types of ^ . never known a staunchly 1 the as it started to vibrate Edited by Harold Berkley cannot sufficiently stress you would first see the ellipse; built church to suffer any ( need fforor Continued on Page 410) 380 such versatility 420) "FORWARD MARCH WITH in ( Continued on Page MUSIC JULY, 1946 "FORWARD MARCH WITH MUSIC” 381 THE ETUDE ” : 2 : 3 E C ” GE ,

Terry might be useful to your pUDi , these 91 at * S WITH everything else days, our notions Music and Study Music and Study this stage; also “Scales, Chords ’ &ncl /\ of harmony are changing. We listen to the Arpeggios” by Cuthbert Harris. A. classics more than ever and with better under- As to pieces, I believe X you will hav living 0 standing. Yet the music of composers too faith- arrange most of the material yom-l* ful to the older chord-progressions has a “corny” sound. and since you .seem to know I am in a Rut: What Shall l Do? harmo This is natural enough. The classics themselves have this should be good experience for , of their ability to shed off competition Q . I have been a reader of The Etude endured because Answers You might ask the publishers for many years, and have absorbed many and of t°h' as a raincoat sheds rain. Questions in each generation Yet as our fine and interesting articles from it. Now Etude to send you a selection of pie knowledge of the laws of sound increases, our harmonic Changing Values in Harmony I need your advice as to how I may be- for left hand alone, choosing those prefer our come a better musician and make it radi- th^ vocabulary widens and we modern music seem feasible for right hand ate a little better than I do. The years roll and refh to make use of new concepts. gering them. This, ‘ on and I find myself in the same old rut Conducted by company will Dr h Our system of harmony derives, basically, from the and because I shall be fifty-three on my ably also be able to send you a selection of two chords found on the mouth next birthday I am worried about the relationship organ. of pieces and studies for future. right hand Inhale: and you produce the chord at (a). Blow: and bif ^s^lrtliur (jarbett alone. X have studied piano for several years But for the most part you Jm you have the chord at (b) . The two chords together and also play the piano-accordion fairly probably have to arrange the materia all the notes of the C major scale: little. I have tried Cjehrhendj Was. Zboc. use up well and the violin a W. yourself, using pieces from my hand at composition too, but although the John scale degrees I, IV, and V. The minor triads replace frequent device with Beethoven. Haydn and Mozart Thompson books, the music is a passion with me, I cannot over- Diller-Page mate them in the normal minor, in which the major triads generally used the conventional subdominant key for come my timidity when playing in public, rial, and perhaps the Diller-Quaile Beethoven’s use of the flattened discouraged. Can you sec' appear on iii, vi, vii. their slow movements. and I get terribly Professor Emeritus ond and third duet books. give me some advice?—J. L. Our chromatic scale of twelve half-steps provides submediant was an innovation often adopted by others. If any of our readers know of addi twelve major and twelve minor tonalities, twenty-four The drop to either subdominant or submediant keys A. It seems to that you need , me what tional right-hand material the editor of in all. Until the “even-tempered” scale was adopted after a bright allegro has an effectively “relaxing” is a period study in other local- of some this department will be very Music Editor, Webster's New grateful to and its value disclosed by this not the case. effect. ity. become “stale” be- Bach, was Many teachers receive information concerning it. The older “Mean-Tone” tuning did not permit the use Beethoven, however, did not neglect the tonic-domi- cause they live in the same place year International Dictionary after year, see the same people, probably of the same black key for both B-flat and A-sharp, nant relationship. The first fifty-eight bars of the C teach the same pieces. Since you are E-flat for D-sharp, and so on, and tonalities were minor Symphony consist of gigantic pendulum-swings The chord at (a) is dissonant, or more accurately a . How to Play a Trill limited about six major and six minor. Bach finished between tonic and dominant. With a mouth organ primarily a piano teacher but also inter- tension-chord having tones, particularly F and B, ested in I suggest that you Q. Please tell me how to play the first complete cycle of twenty-four tonalities in tuned to the harmonic C minor scale you could blow composition the trills disagree, and call for movement. and want in Mendelssohn’s which F B go to New York or Philadelphia for at Piano Concerto in D the “Forty-eight Preludes and Fugues for the Well- and draw an accompaniment to almost all of those minor. Op. 40.—F. D. N. to go to their half-step neighbors, E and C. When they least three or four months, take lessons Tempered Clavichord” in 1722, and went the round first fifty-eight measures. do so and the other tones move in accord, we have the from some fine teacher, study harmony again in the second volume. This immeasurably widened Schubert, Weber, Spohr and others after Beethoven as at . The effect is re- ample, clarinet consonant chord C-E-G-C (b) as a basis for composition, hear some a in B-flat is actually a Ex. I the vocabulary of chords, since all kinds of cross con- led up to Wagner, the next great innovator. There is better-sounding laxing, and the chord, C-E-G-C requires no further concerts, and get acquainted with a num- instrument than the now nections between chromatically altered chords became little in Wagner not to be found in Bach, but the treat- almost obsolete clarinet movement. ber of new people. This will build you in C (which is possible. The fact, however, was not realized until ment is wholly different, and highly individual. This really consists over- of course a shorter instrument) The tension-chord at (a) of up professionally, give you new courage, ; (2) One many years after his death. The first great composer is so even in his use of chord movements in steps of tones rising from the root, G, as shown in the bass and should provide you with a different is often able to choose a key with fewer wholeheartedly to adopt the even-tempered scale of thirds through the mediants as Beethoven did. The but not sounded on the harmonica. is the fifth de- sharps or flats, thus making the music G slant on life in general. Borrow the A. Trill only the top note, thus: Bach with all its harmonic potentials was Beethoven. "Tristan” Liebestod begins with a two-measure phrase easier gree of the C major scale and called the dominant. money if necessary—but go away for a to read—for example, if a piece He found new resources that even Bach had missed. in A-fiat major. The phrase is then lifted bodily But the chord at (b) also has its overtones and if while. is in A-flat, the part for “Clarinet in Bach followed the fashion of his day in using mostly through C-flat (B major) , D major, and through a sounded in full would include the tones C-E-G-Bf,-D. B-flat” is written in a key that has only tonic and dominant progressions. In their root posi- new connecting phrase back to A-flat major. This is This resolves on the chord of F major. F-A-C-F, the two flats instead of four; or, if the piece tions such chords require a bass that moves in in- rising through the submediant sequence shown above. Time Names Again F being five steps still further down. We call this F is in E, the “Clarinet in A” is called for tervals of fourths and fifths, often in “chains” or Rising sequences produce increased tension, and fall- Q. I would like information about the chord therefore, the subdominant. “ and the part is written in G, but it actu- sequences ing sequences are relaxing, a matter of great impor- taa system of rhythmical reading as From this we get the simple rule: As the dominant ally sounds in E because used in England and America. A. E. P. the “Clarinet tance in dramatic compositions. — hand, and the octave and the is to the tonic, so is the tonic to the subdominant. F C with in A” transposes a minor third down- The only complete modulation in the Liebestod oc- The trills in the five Ex. A. The French time names were given my left. But if your hands are small you ward. measures follow- This makes the tonic a central chord with wings on ing curs in the middle, from A-flat to B major (C-flat) in this department of The Etude in will have great difficulty, and in this case are performed in the same manner. either side: Dominant-tonic-subdominant. These are Both of these reasons are actually ob- a minor third again. The final cadence however is June, 1945. As there stated, the names I believe I would play only the melody the three major chords on degrees 1, IV and V of the solete today, for most wind-instrument through the subdominant, with a fine relaxing effect. are used very little here in America. With with the right hand on the fifth, sixth, major scale, in the order, V—1—IV. The simplest form players learn to transpose almost as also vitally the soon But Wagner was aware of tonic- advent of the modern concept of and seventh beats, leaving out the low F as they Singing in a Chorus in which these chords come avoids the dissonant notes learn to read notation at all. The dominant-subdominant progressions. Part of his genius, rhythm training based on physical move- in the left hand and trying to pedal so and is expressed in three-note chords or “triads.” Three octave-transposing instruments will con- Q. I am interested to know what are the in fact, lay in his ability to use them with new signifi- ment, and especially since the more wide- skillfully that its similar minor triads occur on second, third and omission will not be tinue to have their opportunities and requirements for any- the parts written an cance, as in the Procession of the Gods into Valhalla : spread use of the Dalcroze system, such too obvious. This is not of course one wishing to sing in a large chorus, par- sixth degrees of the major scale, and they, too, have a really octave higher or lower so as to avoid too ticularly a chorus singing mostly sacred relationships artificial procedures as the use of time satisfactory solution, but for small hands the same dominant-tonic-relationship, iii-vi-ii, the Beethoven, however, perceived new many leger lines; but I music. I am guessing that shall watch your fine magazine between tonic (do) its mediant a third above Ex.5 names have seemed less and less neces- I believe it is the only possible one. Tonic chord in this case being a A-C-E. But E, the the , in the course of another generation other with eagerness awaiting your reply. sary, (mi) and submediant a third below (la) . Bach made and I myself do not advocate the “dominant” of this minor triad, is also the middle , transposed parts wiU entirely —S. M. W. use of time disappear— possible free use of accidentals producing chromatic names. I feel, however, that except note or “mediant” of the original major triad, C-E-G. Why Transposing Instruments? in the case of standard editions A. The best way to get into choral work there is still a place for the so-fa sylla- Thus all six triads, major and minor, are inter-related, harmonies such as these: of the classics, which cannot of course is probably to join a church choir, al- bles as a means of learning to read simple Q. I have a B-flat soprano be as follows: G which is known as republished just because though there so- tonality music. a transposing instru- of a minor are still some oratorio E ment, the music Eb being written one tone change in the fashion of notating certain cieties and other choral organizations in higher than the actual sound of the MAJOR MINOR B C — instru- instrumental parts. existence. In general the requirements ment What is meant by a transposing Git— How Do You Play It? in- D Ab strument, and why must the music be for a singer in a chorus are as follows: Mediant E— written E B in a different key? Would it not (1) a Q. In the piece Sadness of Saul, Op. 53, be Material good voice of at least fair range; Dominant.. No. better to write the music as the instru- for Right Hand Alone G—G Git 4, by Mendelssohn, both hands play (2) ability to at least the / The numerals refer to the chords. Tonic I, Sub- ment sounds it? R. B. read music of Mediant TONIC: C E at the beginning from the bass staff. But — Q. I am E— (to Minor) —E —E Dominant writing you again concerning difficulty of Bach cho- dominant IV, Dominant V, all in root position. These on the seventh count in the first a hymn tunes and measure A. A transposing pupil who has only her right hand. TONIC C C \ c#—ct instrument is one She rales; (3) rehearsals were the only chords poor Stephen Foster knew! the melody begins and I do not see how is getting along nicely, willingness to attend Submediant that sounds pitches that are using the regular A —A TONIC one can play this melody and also keep different book along with regularly Wagner was a great pioneer, and his immediate fol- finger exercises, scales, and punctually. Fit G the chords in the bass going unless one from those indicated by the notes. chords, F — Some- and the book of arpeggios which lowers such as Dvorak, Grieg, Humperdinck, Smetana, rolls the chords or else divides them be- times the transposition you recommend. D Subdominant Eb— is an octave Am I correct in stress- even Tchaikovsky and Rimsky-Korsakov, were largely tween the two hands. Will you explain mg arpeggio C higher, or an octave lower, playing? I am giving espe- how this piece is to be played? or a whole engaged in exploiting his “music of the future.” —E. M. cial attention to chord building What Is the Tempo? Expressed in musical notation, the relationship is as Ascending by mediants: descending by submediants step lower, or a minor third higher, to make A. and the arpeggios more understandable. follows Since then, however, there have been vast advances I think you must refer to No. 22 of so forth. Thus, for Will Q. Will you please suggest a metronome example, the string you suggest an arpeggio book knowledge of sound phenomena, and also in the the famous “Songs without to follow indication for the Prokofieff Toccata Op. Ex. 4 in our words” al- bass and the sound the one I am using? an octave lower Will you also make 11? I have tried seems physiology psychology of hearing though I have never heard suggestions it at J=80, which Ex. and human and this one called than the notes are written, as to pieces and songs? Are very slow very whereas the there any to me in some spots and other attributes of music appreciation long disregarded. Sadness of Saul. Like the other pieces in classics arranged for right Major B-flat , the B-flat clarinet, hand rapid and exceedingly difficult in other and alone? And are there duet books The ancient Greeks initiated enquiry into the nature the series, this is an “instrumental song” that I places. I heard it performed only once, by your own B-flat saxophone all could use.—R. & n sound R. [ ^ musical in terms “pure” aesthetic, and in some way you must always Horowitz, and seem to recall that he played of beauty of a and keep pitches that are actually a whole step A. Apparently there it very steadily with no deviation in tempo, These chords are all major, but do not have, to be. the research continued for many centuries. It had its the melody flowing along smoothly—like lower than the notes is not as much call for. The E-flat material but that it was not terribly fast. Being in either direction, one a song. In the case of the last for right hand alone They interconnect so that may uses, but it led to speculation regarding something three beats trumpet, on the other hand, as there is marked simply Allegro marcato means U £ sounds for left hand alone, rise through the submediant group and descend by that does not exist save as a philosophical hypothesis. in the first measure it will be compara- pitches but I think some very little to me.—E. S. a minor third higher than the of the left-hand V I mediants, as in playing the above backward. is realistic, tively easy to bring out the melody material might IV iii vi ii The modern approach more and as a re- with notes indicate, while the clarinet be refin- A. Actually this should be in A gered and composition Beethoven explored such resources as these with sult, old “rules” of harmony opened the right hand, this hand also taking the sounds pitches used for the right hand many have out a minor third lower I be- played at more nearly 100. But it y°u than lieve you are J = The diminished fifth chord, B-D-F, on the seventh great freedom. He also employed mediant chords in into -larger concepts. highly individualized upper two notes of the underlying chord. the notes. correct in stressing New and arpeg- cannot manage rate, it will be gio playing, it at this degree of the scale, has qualities of its own, but is the general plan of contrasted tonalities for the move- pioneers arisen, But in the next measure the problem is and I especially have such as Moussorgsky, Stravinsky Two reasons are commonly like your better to and keep assigned Plan of teaching take it more slowly here simply a part of the dominant chord, G-B-D-F, ments of his sonatas and similar works. In his Sonata, and the Russians; Franck, Debussy, Ravel; Elgar, far more difficult, especially if your hands for the use of transposing your pupil the instruments: chord it steady, rather than to let the tempo are small. I myself happen structure that underlies and may be ignored. Op. 2, No. 3, in C major, for piano the slow movement Cyril Scott, Bloch, de Falla and many more in France, to have large (1) One is able to use the arpeggio I the size of instru- fluctuate. I doubt, if this com- famiUar however, These chords, three major and three minor, con- is in the mediant key, E major. In his Fifth (Victory) England, the United States, Latin Europe, and hands, so I can play the melody and the ment that is most nearly WUh Piano South ideal from the materials, position wT ould public per- but itit°hashas beenh be effective for stitute what is meant by tonality. They exist in every Symphony in C minor, the slow movement is in the key America. highest note of the chord with my right standpoint of tone production— suggested to me that “The for ex- Scales formance at the tempo you have sug- scale. In major and Arpeggios at Play” scales, the three major triads occur on of the flattened submediant, A-flat major. This is a The most conspicuous ( Continued on Page 420) by Frances gested. 382 "FORW'ARD MARCH WITH MUSIC” IULY, 1946 "FORWARD MARCH WITH MUSIC THE ETUDE 383 J

Music and Study THE ENCHANTED MIRROR The Operatic Side of Shakespeare

hj (dldiwarcli ^t)icLindon

T IS A TREMENDOUSLY safe wager that more the stage most people do not like to imagine them- people think of “Tosca” as an opera by Puccini selves meeting the fate of Desdemona nor the task of I than they do as a drama by Sardou. It is fairly Othello. Put it as a question; what man wants to think safe to say that more people know Verdi’s “La Tra- his wife faithless, go home from work and smother viata” far better than they do Alexander Dumas Jr.’s her, and then discover she wasn’t faithless at all; and “La Dame aux Camelias.” It is equally true that what woman wants to be doubted and then smothered Verdi’s “" means more to more people than by her husband? As an opera, however, “Otello,” offers does Victor Hugo’s “Le Roi s’amuse.” These state- more than this as an objection to many performances. ments plus a hundred similar ones imply that almost It requires a tenor of unsurpassed physical power. It forgotten drama can live for years and years in opera demands an exceptionally good baritone. It was first if only a good composer can be found to write the proposed to call this opera “Iago” after the villain music and a good librettist to adapt the words to the because Rossini had written an opera, “Otello”; but music. There is little question that the younger Dumas, Verdi demurred. Why should he hide? What if Rossini Victor Hugo, and Victorian Sardou were above the were regarded as a master of operatic composition? average as writers; but when that literary giant of all Results proved that Verdi was right. His work offers times, William Shakespeare, steps into the light we nothing for which a composer should be ashamed. It find that of all of his plays that were set to music is sung today. But how many people, without reading only three remain on the operatic stage today. These this article, know that Rossini had written his opera? are ’s “Romeo et Juliette” in which The role of Otello has been sung by Francesco Ta- Emma Eames is said to have made her American magno, Nicolay Zerola, Charles Marshall, and Leo debut; Verdi’s “Otello” in which Francesco Slezak. Tamagno “Otello,” spelled without the “h” is the opera. was at his very best; and the same composer’s “Fal- “Othello,” spelled with the “h” and pronounced with staff” in which the late shone most the “th” as in “the” is the play. brilliantly and in which Lawrence Tibbett made his own name great. A One-Act Opera There are exceptions every to rule. Ever so often The Falstaff episode in “Henry IV” has been made some daring impresario stages a revival of into some opera a one-act opera by Gustav Holst. It has the name, based on a Shakespearean play. Of them all the three “At the Boar’s Head.” Its score is an adaptation of mentioned remain at the top of the list, and the last old, old English folk tunes that before the time of mentioned is often thought the best. It is a musical Shakespeare might have been the street songs of Lon- setting of “The Merry Wives of Windsor.” It don and was of no more musical value than “Dance With probably given its name to avoid confusion with Otto the Dolly With the Hole In Her Stocking.” In the Nicolai’s opera which has the original name, and is hands of Holst these old ribaldries have not fared not too performed today, but which has an that badly. He has given these songs a musical value; and still lives on concert programs. to a student of the life and times immediately WILLIAM SHAKESPEARE The facts before that there actually was a Sir John Falstaff Shakespeare these songs tell a bit of history. Holst’s at the court of Henry IV; that highly imaginative “At the Boar’s Head” is an excellent score to use in guides in certain towns of northern Italy show tour- music schools he returned to and college glee club performances Shakespearian subjects a r Parsifal” ists a tomb and a balcony said by them to be those of Verdi also and Tristan und wrote an opera on “Macbeth”- Isolde” he might 1. e produced Juliet; that Othello but it was a purely mythical figure, have never gained any great something that would have popularity. In its original there made the la mentioned nothing to do with the frequent performances of the was no seem weak. major tenor part. Verdi rewrote He did not, however, and if world has three operas mentioned. it to eliminate They live entirely on their this fault. Some lost something, it years before his death Enrico“o can console itself with the thought own merits. revived that the and recorded a Prelude to Act ” selection from this opera Verdi III of “ is not par- also experimented with lcularly characteristic a score for “King Lear”- but of “Lohengrin” unless it be a Tragedy at Its Best he gave reference this up, explaining that he could to the combat between and “Falstaff” not make up Lo engrin is comic in every sense of the word. Musi- his mmd just how e remund in to handle the scene in an early act; but the num: does seem cally it is which the a masterpiece. It is equal to Wagner’s “Die mad king berates o fit the the storm. harsh, brutal, militant picture that Shake- Meistersingers. It is better by far than speare Rossini’s ’s “The Merry painted of “Richard III” “Barber of Wives of Windsor” was which wa never made Seville.” Even Mozart’s “Marriage of Fig- Vei a into an performance at the opera but which, if so aro” ?i \. Metropolitan Opera treated might well be- must bow to “Falstaff”; while compared to March on come “Fal- 9, 1900, with Ernestine Schumann-Hehik another “Rigoletto.” staff,” Donizetti’s “Don Pasquale” and his and “Elixir of Marcella Sembrich in the cast. Love” are small It has been offered "n pumpkins. “Falstaff” was the work some of our music schools in the last few of an old man. All his life years Verdi wanted to write a There are faint The idea of memories of an opera, an opera on “The Merchant of comic opera. All his life he had “Katherine written serious, dra- et Petrucio,” based on “The as tempted many Taming of . composers; but nothing outstand matic pieces. Look over this brief list: th7sS “,” “I and the memories include come of an appearance it. “The i Lombardi,” “La Traviata,” “II Trovatore,” of Pasquale iff Merchant of Venice” “Rigoletto,” Arnato in the work. In g t to be “Otello,” “,” 1916 the Metropolitan Shakespeare’s most popular play; an “Force of Destiny”—every one a of New York Opera presented Herman Goetz’s * e hat People go tragedy. But as his “T-imi™ f |- to the theater to imagin days on earth grew fewer and the , Shrew” with Otto Goritz singing s v s having the , ? the adventures see on th fewer he found time to gratify his longing and wrote par^of the f they father, * s 10 h° ld that of - 11 is “Falstaff.” Thus, “Aida,” and “Otello” are Petruchio -iff® reasonable to ask, “Is there an regarded as Margarete Ober that of the 10 ou his best works. Shrew; but the d n°t like to do for her lover what Porti “Aida” has nothing to do with opera ha2 riirf f Shake- been forgo ten these many hers?f ” speare; “Otello” and “Falstaff” have. years. The thought of setting the “mere Cleopatre,” which ZJZ f is “Anthony and mus>c The foimer is tragedy Cleop^l” le may seem fantastic; but it is n at its -best, opera at its best, to music, has mnrp 7. gone likewise; though th n that and unsurpassed theatrical some twen t v vp of seUing Hamlet’s Soliloquy t mechanics. In an address ago it had mn p f i- f a brief vogue in Chicago llc 1 before the Intimate Arts where Marv G Was done by , mor Theater of Rochester, N. Y„ den sang the 7 ° famedfam . f part of the Egyptian One™ 7? for “Mignon” than Clayton Hamilton stated that of all plays “Othello” 6 all else operatic, is referred to this as the worldf opera one of the best to act from worsts' ’ Hamlet,” contains much of the matte a standpoint of , theatrical Richard ’ of thp Wagner, in his young y Plus dav* off™ * , the i technique. It is not the most popular ’- fact that Polonius is made play, however, operas on “Much Ado About corifpripf f for since Nothfng/’ th® murder i most people go to the theater to enjoy them- Measure,” ‘‘MeS^For® For of Hamlet’s father: and “Macbeth,” and ” does offpf selves by imagining, subconsciously, “Hamlet u “I tartling idiosyncrasy de that they are that time the ^ mentert wiiw ? of poor, sad, man who later wrote Slnging experiencing the adventures they see before them “Tril a drinking song in place o on Isolde,” with the offer in if th 7 ^ bit 0f advice publi speaking on acting and 384 knownkn as “The Copyright 1946 by Theodore Presser Co. British Copyright secured "FORWARD ( Continued on Page 414 MARCH WITH MUSIC” JULY 1946 385 THE ETUDE —

RECESSIONAL Tempo I surprised at his challenging-beginning, “Lord . • was God „ , „ 777Victoria^Diamond, tv n „A JubTnhilpe The world Kiplings Recessional came in 1897 in the aftermath of Queen > setting of this work y deKoyen s very powerful makes an ex- of Hosts’,’ because the author’s previous works in India suggested a non cellent march for formal occasions such as Commencements. Grade 4. REGINALD DE KOVEN Arranged by J.L. Frank

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/Wy 387 ANDANTE FROM SONATA, Op. 49, No. 1 was engaged in writing his Second Symphony. When Beethoven wrote this sonatain 1802, he was a mature musician of thirty-two and Ten years cohesion and harmonic luency of prior he had started to study with Josef Haydn; and while this lovely little work indicates the coming- the greater Beethoven, it still shows the influence of the very melodious Haydn. L. Van BEETHOVEN AndanteJ z60)

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abroad. Grade . in New York and composition with. Nadia Boulanger, Andre Blochjand Raymond Pech, while THOMAS GRIbELLE.

THE ETUDE HAPPY-GO-LUCKY of somewhat intricate it is played. Be extremely careful the pedaling. A novelty number, depending- upon the sprightliness and vim with which Grade 4. RALPH FEDERER

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403 Round Yet, what has that to do with music, or •fhe Teacher's musical accomplishment? The complaints I receive are invariably Grade 2-3. HAPPY SUMMER DAY Table made concerning the “conscientious” teachers—which makes the situation all WHERE DOES THE the worse. Let’s wind up our Forum dis- Continued from Page 372) cussion with a resolution for the new ( BALDWIN COME FROM? season. Here it is: If I feel the need of beating a piece John MacCormack, Paderewski, ‘"6 nf into a student’s fingers or head for Rachmaninoff; ‘A Glimpse of Fairy- whatever purpose, I am resolved to fol- Surprise for Alice,’ ‘A Circus d -a low the “activity and rest” plan; that Candyland Recital,’ ‘Hallow- nprital’ ‘A is, I will assign the composition for Go Musical,’ Mystic Land of p’pn Spirits two weeks’ intensive study, drop it ‘A Musical Airplane Trip Magic Music,’ completely for the next two weeks, then World,’ ‘A Mother Goose Re- Around the resume study for another two-week ‘American Music. cital ’ and period, and so on. Trip to Opera, “Next month we plan ‘A pro- I realize that if I insist on hammer- the season’s final recital, a and for ing at it week in and out, conscienti- compositions of James Fran- gram of the ously, I will be harming the pupil, the Cooke. cis , . piece, myself, and the whole cause of surprise package of interesting What a music study. subjects for the rest of us and practical (Signed) Conscience Ivorytop recital when we are hunting for unified bow to Mr. Cox for this titles! And a low Czerny Studies tribute: . club devotes ten minutes “ThP R Sha- Will you please enlighten me on Czerny’s exercises? When I look at the long list of completely baf- Table page.” Opus This and That I am fled. What book should be taken first, and Might be a profitable custom for other then in what order? Or do you prefer to inaugurate! student club w mps selected Czerny studies such as Czemy- Mr. Cox air o sends along his latest let- Liebling? —Mrs. E. D. R., Texas. Practice—and—Pep ter to pare: . a fine might ap- sheet which Cut Round Tablers Yes, the old boy did produce an Ma’s and material, didn’t he! like to copy d send to their palling amount of lives are extended to Pa’s. Here it is; When our earthly “Dear Pa rents: Every time one of my several hundred years somebody will genial pupils saj r Mother helped me with surely memorize and play the (heaven for- this phra: / or ‘This is the way Dad old pedagog’s entire output volumes likes best,’ I want to thank that father bid!) ... Yes, I prefer the three each and mother and tell them how I ap- of Liebling’s selection, from which preciate their cooperation in this study teacher sparingly culls his own selec- Liebling studies are ad- of music. tion. . . . The and pro- “The must lesson takes only one- mirably chosen, well edited, From Cincinnati? Yes, the facto- boards. Fossil gums and natural start half hour out of the week of three gressively graded. If you prefer to are in Cincinnati. That’s where resins used in Baldwin finishes are hundred and thirty-six half hours. No with an even more elementary Czerny ries Czerny-Germer Stone teacher, however good, can in one-half compendium, try the the finished product is built, tested also found in India. Pumice hour a week instill enough knowledge Fifty Selected Studies. and shipped. But before this takes for polishing Baldwin cases comes and enthusiasm to last at working north of power through the whole week. If you place, there are many far countries from the Lipari Islands each Grading will keep vitally interested in over the face of the globe in the Mediterranean Sea. use a scattered step of your child’s progress, it not only Do you not think it more logical to with reference to degrees of diffi- their share Special glues come from Java. will afford both of you pleasure, but wide scope which must contribute culty in piano playing? Is any person capable also will give you a rich return for is In Buckskin comes from Nicaragua. of determining whether a piece of music to the finished product which is

materials. . . would it money spent for lessons and Grade one. two or three? . Rather, (upper, Fine w oods for special purposes are “Set a definite hour, or two half-hour not be better to classify as Beginning the Baldwin. elementary). Intermediate and Ad- practice periods daily, and let nothing lower, the years of Baldwin imported from Cuba, Honduras, vanced?—Mrs. A. F. K., California In 84 interfere with this schedule. See that history, a ceaseless search has been Ceylon. Special felt comes from your child practices in a slow and care- Almost any classification would be bet- we’ve Australia and the Cape district of ful manner. Concentration is vital to ter than the grade one-to-ten stuff carried on for the one best material good practicing. ‘Playing for Daddy’ foisted on us. Your had everlastingly for every part. Hundreds of sam- South Africa. and ‘Mother,’ to show how progress and Beginning, Intermediate and Advanced every kind There are approximately 6000 pieces are coming along, should be a grouping offers an excellent start, but is ples of materials of regular habit pleasure, both to indefinite. I think and a still too ambiguous and from the four corners of the earth parts in a Baldwin. The basic ma- with- the parents and the child. the grading could be more explicit are inspected and tested in the terial in each individual part is “I am writing to thank you for what out sacrificing flexibility or becoming tried proved you have done so far, and to encourage didactic. For many years I have Baldwin Laboratories each year. that which experience has CODA the you to keep it up; for only with out various methods in my lists of recom- Eligibility for use depends solely to be the undisputed best for the young people, parents, and teacher, mended material for teachers’ classes, all working expect classifi- purpose. together, may we of them unsatisfactory. My latest upon meeting or surpassing the results.” satisfactory one, I think. cation is a more Established Standards. And no matter how remote the Round Tablers understand of course that that source, this material, and this A Resolution tor Next Season “second, third, fourth,” and so on years Thus, it has been found that some stu- I have had many complaints from are only approximations, only Ivory and Ebony from Central alone, is used. Where does the years into one, and parents concerning teachers who compel dents telescope two from is the latest Africa and India meet the rigid Baldwin come from? It comes young pupils to spend consecutive months that grades overlap. . . . Here in concentrated work on one or two re- edition: specifications for Baldwin Key- all the world. cital pieces until the pupils detest the months. grade . . . first few numbers and hate their piano work. B; Beginning Grade ... to end of second I cannot emphasize too strongly the E; Early unwisdom and the cumulative bad results year. Early-Intermediate Grade ... to of such a policy. The teacher-student El; ’ relationship end of third year. suffers, instructor as well as and Intermediate Grade . . . fourth pupil loses perspective, the pupil be- I; Palfttniti comes “set” against piano study, and fifth years. Intermediate-Advanced Grade . . . true musical progress is arrested. The IA; and seventh years. THE BALDWIN PIANO COMPANY one doubtful objective that is sometimes sixth handle CINCINNATI 2, OHIO Copyright Grade . . . able to MCMXLV by Oliver Ditson Co mpany reached is a kind of mechanical, insensi- A; Advanced concert repertoire. Makers of BALDWIN. ACROSONIC, HAMILTON and HOWARD Pianos 404 tive security in the pieces themselves. the standard International Copyright secured WITH MUSIC 405 THE ETUDE JULY, 1946 "FORWARD MARCH

I 5 : —

fatigue. If the muscles become fatigued, First Steps in Vocal the result will be vocal fatigue. high without b. The chest should be Voice Questions Full Rich, Confident, Resonant Training forcing to allow the lungs room for ex- pansion. In reality, if the chest is nor- care (Continued from Page 375) mally high, good posture will take of itself. Third, the attitude of the pupil. Above all, he should have faith in his teacher. Relaxation or Freedom niwereJ l.j DR. NICHOLAS DOUTY HIGH TONES He should learn to accept constructive y$ criticism without resentment; otherwise Freedom is the fundamental pillar of necessary that the Many people think the three B's are there can be no progress. And he must voice production. It is Says a recent letter, “Century Sing Them as Easily is to How to only the also the three best. It is the logical be willing to change entire body be relaxed, not from bad to good be congratulated for reminding every thing to select your habits. organs and muscles used in speaking and favorites in Cen- teacher that there is great Register! ~ ' music avail- as Your Middle ‘ singing. This is one of the hardest lessons tury Edition. They are complete, au- Fourth, what are the qualifications of able in the early grades." We think a pupil who wishes use to be learned in the use of the voice. A that thentic and beautifully printed and, to his voice well? yourself of squeezed, high-larynx singing — an examination of these numbers at Do you suffer nagging doubt and fear He must have: natural inclination is to try to help one’s your Young Vocal Aspirant He Tries to Sing Like a Soprano control as of course, priced at A good mentality; a love Another the truths of breath support and 15^ a copy. dealer will bring enthusiastic years old and my voice when reaching for high, or "head" tones? of words and music; a good memory; self which causes rigidity. Hamilton agreement o I am thirteen Q . —I am a boy of seventeen and I never great singers such as Enrico Middle-C to G two oc- Does your voice lose its enthusiasm when practiced by from you. mnaes from G below have had any training. When I was a little boy, good health; a willingness to and, Mabie once said, “Grace is the art of and Dan Beddoe—how to keep top BACH work mother thinks 1 am too young voice you approach top tones in the score? If so, Caruso taves above. My my was like a girl’s. My voice changed physical if ambitious, a readiness sacrifice. forgotten toil.” Self must be forgotten, until I am fourteen. 1. dark and true with no extra 3378 Air for the G-String, C-4 to study and I must Wait very early about twelve, but it had no man’s here's a wonderful little book that will clear tones tn sustaining - Fifth, for self-consciousness restrains; one can- 3607 March, Is my voice soprano or the voice while 3417 in G, 3 concentration is an important Anna Magdalena, 0-2 Bach What do you think? quality at all. Will I continue to sing with a up this trouble completely—that will enable effort—saving 3488 Fugue No. D-6 3709 Minuet #1, Anna Magdalena, I would like to sing light explanation of . 5, factor—no wool-gathering! not be “up in Q” and have proper vocal G-2.. Bach Mah ? woman’s voice? Recently it has become deeper you to reach high tones as courageously and high tones—the true 2400 Gavotte in B Minor, -3 3710 Minuet #2, Anna Magdalena, radio. I study the violin G-2.. Bach Classic songs over the and fuller but my range is very small from D coupon today for your copy of 3257 Concentration develops mind, control. While some effort must be made, confidently as you do your middle register! Mail the Prelude in C, -3 ear, and 3608 Musette, Anna Magdalena, 6-2 Bach says I have natural talent for and my teacher below middle C to G above middle G. Should Tones and How to Sing Them —make 3558 Toccata and Fugue in D Minor, -6 taste for the best as in walking, it should be a relaxed Ecossaise, £6-2 "High quality of tone in Beethoven instrument.—L. B. I take singing lessons? Or should I turn to "High Tones and How to Sing Them" 3418 Two Part Invention 413 this easy to reach and No. 8, F-4 Sonatine #29, G-2 Beethoven your "head" tones as either speaking or singing. effort, a working elasticity, not collapse. something else? I shall never be satisfied if I do This master work by Frederic Freemantel 414 Sonatine #30, 7-2 between the middle tonesl If you are not Beethovl" is not much difference voice. sustain as your There should be a cultivation of the A famous long-distance runner always 3235 The Doll's Lament, A There not at least try to make something of my contains the secrets of high tones discovered G-2 , BEETHOVEN rranck fourteen, so if you are forced delighted with Mr. Freemantel's book, your 1971 sees thirteen and My throat is strained slightly when I sing and imagination; mental pictures of the ran in a relaxed manner, therefore he Gavotte, C-2 Ciosstz will during his 45 years' intensive study and 1313 Bagatelle in sub- latter age, little time be D, Op. 33, No. 6, -4 2264 of wait until the I cannot hit E above middle G properly.—W. B. money will be refunded. Song the Fatherland, £6-2 Griea to teaching Tells 3328 Bagatelle in Eb, Op. -3 ject are important. It is of great help did not appear fatigued at the end of the voice as a high contralto. experience. you how to lose 33, No. i, to 2257 Watchman's Song, £-3 lost. There is no such 1186 Moonlight - . Griea to sing instead INC. Sonata, C#m, 6 hear the sounds race. AI1 singers might well this all unusual for a contralto A.—Your letter asks three questions your fear of high tones—how to keep voice FREEMANTEL VOICE INSTITUTE, mentally in advance. adopt 628 Gypsy Rondo, G-3 ...Haydn It is not at 2. 375 Rondo, Op. 51, No. I, than the the answer, there- C-3 3712 Oxen Minuet, even the A one tone higher of one, and we shall divide round, free, and open without becoming STEINWAY HALL 3345 Sixth, the art of listening should be principle. C-2 .Haydn the G or Rondo, Op. 51, No. 2, G-3 to start your fore, into three parts. 1177 Venetian Boat Song, specify. If you do decide wide and sacrificing brilliance 57th St., New York 19, New York 3494 Six Variations, developed because G you —how to rid 113 West "Nel Cor . . G-3 listening is the begin- It is often what we do not do that three Gp. 19, No. 6, Gm-3 immediately be careful of usual for a 398 Sonata, Op. .mde/ssohn singing lessons —At about thirteen it is quite 49, No. I, Gm-3 ning 3713 Menuetto of vocal wisdom. The pupil should allows the ideal to be realized. Altogether & Air, F-Bb-2 Mozart a well educated and trustworthy to experience that phenomenon called 400 Sonata, Op. 49, No. G-3 things 1 Find boy 2, 3714 Tarantella, Dm-2 strain your voice by Dep’t 7EA 1341 Sonata Pathetique, be encouraged to listen to his own voice too many young vocal students Prokofleff teacher. 2. Do not "change of voice.” Up to that time it is almost FREEMANTEL VOICE INSTITUTE. INC.. Cm-S wish to 3639 Tambourin, singing J fm-3 Rameau too high, too low or too long at distinguish the voice of a boy as if it were some one else’s; in fact, become a Lily trying to sing impossible to 57th St.. New York 19. N. Y. he Pons overnight; they wish 3715 Little Waltzes from Op. 9A, 2-3 Schubert lessons too. Steinway Hall, 113 West BRAHMS one time. 3. Keep up your violin from that of a girl. Then the boy's voice com- J should detach himself mentally from his to “arrive” before they have started! fi rst Lo«. Em ' 2 Schumann , which mences to deepen and darken because the lar- Please send me a copy of "High Tones and How to Sing Them," for 2447 Hungarian Dance 268 The Happy Farmer, £-2. Schumann 3. J No. I, Gm-S-6 own voice. This will develop a sensitive Unfortunately, or perhaps fortunately, Old at Sixty? growing larger and the vocal 3717 Sicilienne, Is He Too ynx is gradually I enclose $3.00. 2395 Hungarian Dance No. F-4-5 Am-2 Schumann I 3, and fastidious ear. ~ thicker. The high tones 2203 How does one listen?* these are apt to fall by the wayside, ° rCh ' 2 three years of voice training muscles longer and Hungarian Dance No. F#m- M ’ G Schumann q._I have had 5, w-ij'E' the ones increase Name 3249 6,' One way is to 2356 Wild Horseman, -2 and for years did a are fewer and conversely low I Hungarian Dance No. Db-6 cup the ear as the deaf do; having had only a fleeting success. It is Am Schumann from excellent teachers sing in his ac- 3336 Hungarian Dance No. 24o\ Toy Soldiers' March, D-2. ... Uchoikowsky solo work such as would be re- in number. If he endeavors to 7, F-4 or, stand facing the corner of a room, to be hoped that, sooner or great deal of Address 3491 , Op. later, some 3718 Sweet Dreams, C-2 2,500. When I was customed range the tones break and the whole 119, No. 3, C-5 speak or sing Tichaikowsky quired in a community of 2448 I, and at the of 896 Waltz, period Waltzes, 2, 8, 15, Op. 39, -5 same time, them may realize the necessity of a Op. 39, No. 8, Eb-3 Ticha,kow%ky sickness in my family com- voice seems to be insecure. This trying fifty, ten years ago, listen. The tone other of years, which varies with comes back to its pro- solid foundation and accept the fact that pelled me to give up all outside activities lasts for a number Ask your dealer for Century ducer. professional individual's physical, mental, and emo- music. If he can- These two methods of listening there is Ask your dealer for those connected with my the no short cut to fame in the vocal Century music. If * cannot than not supply you, send your order lifted and many re- tional development until at last the voice set- direct to us. are simple and are the nearest to world. supply you, send your order work. This burden is now which If they are not willing to work, direct to us. Our tenor, baritone or a bass. In other students. Our complete catalog listing over 3700 have come for me to take up again my tles into a Sell Etude Subscriptions to your num- we can come to hearing complete catalog listing over 3700 quests our own voices even to the point of drudgery numbers is bari- the becomes a young man. | bers is FREE on request. if needful, as a community donation. 1 am a words until boy FREE on request. singing, income. Write for details as ! your others hear them. then they octaves, ! and increase had better give up the idea of tone with a range one tone over two —It is usually dangerous to study singing MUSIC TEACHERS Reading middle-C. CENTURY MUSIC PUBLISHING aloud is an excellent practice. a singing career. with the highest note F-sharp above during this period, the safest procedure being CO. my being cultural If done critically, it will CENTURY Would there be any likelihood of to go on with kindred musical and 254 West 40th Street be of great MUSIC PUBLISHING CO. New York 18. N. Y. flexibility of voice back at this until the voice is definitely settled. assistance in ear training. 254 able to get- my studies, West 40th Street New York 18, N. Y. or age? I can see no diminution of volume Your letter states that your voice is already It is also important to vocal develop the range but 1 have hesitated to consult any becoming deeper and fuller and this indicates habit of listening carefully to others in teacher for fear they would be influenced by that the “change of voice” is taking place and PIANISTS both get? What would be the some time, according to speech and song. A good way to do Competitions the fee they might will continue for best way to get at the truth of the matter? normal law. It is quite unlikely that you could this is to learn to absorb the best quality LEARN AT HOME Should I just ask for an impartial opinion on very well during this time and this would in fine sing voices by attending ( I playing concerts and Continued from Page 361) the strength of a mere voice test or should account for the sense of strain that you ex- Improve your the 2. theater. Listening to a recording of not later than take a piece or two for anyone to judge perience in your throat when you try. January 1, 1947; and full NEW WAY one’s own voice is whether it is worth while taking up the work unnatural, very also helpful in noting details may be secured from the Ameri- It would sound very TEACHES YOU again? I can handle fifth grade piano music sing with a thin emas- defects and progress. In short, one may can Guild of Organists, 630 Fifth Ave- freakish, for a man to by Broadwell Technique and the same in violin. I have always felt that advise you become nue, culated3. soprano voice and we voice conscious by listening until New York 20, New York. than a man there was nothing more pitiable to do so. You would run the risk Learn how the Broadwell Principles of Mental-Muscular Coordination and control and strongly not expression are made subcon- NOW to SING trying to sing when his voice is impaired by Sissy” and you might seri- keyboard habits can greatly A PRIZE of being called “A the Keyboard Patterns Method to gain proper scious of one thousand r an * honest impartial decision and thereby become automatic. dollars is ^^ amous operatic cone, r: singer, age. I desire an and ously injure any voice that might come to you Memorizing, Sightreading and Playing. offered anH^voD.o^'tff K for 40 improve your Accuracy, Technique, by Char'es Wagner for years - has disc d a new* as I have been one your subscribers for best singing an opera wav < of normally in later life. Consult the ° : based talk Wn h°m : ° U Can on an American theme. In addi- you can now many years.—J. C. C. teacher in your neighborhod and ask him to G R PH 1 Posture tion, the opera will be RECORDS OF FREEMANTEt'S VOICE vpice, and to tell you whether REDUCE PRACTICE EFFORT— 10 TO produced by Mr. p?£m° . r T classify your tjetter-Lessons. and A. of sixty, you being a physi- Time. Learn how actu ; oici At the age and Wagner and his record? on — sufficiently settled for you to take Your piano practice can be scientifically applied to eliminate W aste Effort associate, 6 7°u every - or not it is Posture Edward ’ step of the wav v culture, in to plays a very W. breath Jnrn !- cian, must know that none of the muscles memorizing and sightreading are reduced important role in 1 The range practice repetition can do the work of ten; how ' dlct10n ' timbre lessons at this time. one Snowdon, and given taught ; : demon- serious singing at least twenty-five stratedstratrf . , and memorizing automatic. Makes sight- vocal production. It soS’™?you cannot fail. the body act with the same resilience practice principles. The Broadwell System makes should be good for performances. If you do your pa: you indicate seems to suggest that some day logical The deadline for the freedom a man is young natural, rapid and accurate process. two reasons: sub- WRITE that they do when become a tenor, although we could reading a mission of manuscripts D C C FOR FREE DETAILS actions you will is October 1 f and in his prime. This is true of the audition. 1. Correct posture 1 N t t Even If You not decide without a personal is essential before 1947, and all details may be Can't Sing a Note of the muscles that control the vocal cords as GAIN IMMEDIATE RESULTS secured from ’ an audience 1 5 new m tthod for or playing is appreciated not only in the because one is judged prima- Mr. Wagner’s office, 511 Fifth others “prnve^'hff’v?^, has done well as those that motivate the arms, legs, Yodeling; Does It Affect the Natural Voice? Value of the Broadwell Methods applied to your own Avenue, can develoi a beau ;:til singing technique, accuracy, rily and SDnk?n? fingers. to have pre- quality of playing, but also the speed with which improvements m by personal New York City. * ’ Pay 35 sou Iearn However, as you seem effect improved appearance before a full details - Write NOW lor q. Would you please explain what Improved mastery of skills such as trills, served volume of voice sightreading and memorizing, etc. become noticed. sound is the same range and voice? I am a baritone after the first ten days. uttered. FREEMANTEL voice institute yodeling has upon the arpeggios, runs, octave passages, chord skips, is unmistakably evident (you do not mention the quality of tone) , but - singing range, F to F. 2. Poise of body TE N annuAL E—Steinway Hall with a two-octave easy affects poise of tone ;™ COMPETI- 113lit J have only lost some of your natural flexibility, tttw f W. 57th St., New possible to buy Swiss yodeling music? S,s GUARANTEED! Daddy at Home; Emmet, Lullaby; NAME secured by writing to teacher, if you can find one you can trust in Rodgers, * Har- not en8lhen the vocal organs— Seidler, Waterfall; Hand- with ’^no' Moon; From October, 1945, 0" 5 601 s n9 ,n 9 lessons sound, sn* your not Ernest Silver * issue of The ’ J°un>alism entiflrnllv —but bv neighborhood. Singing teachers are ADDRESS Building ” 601 <* exercises, Eckert, Swiss Echo Etude. ColumbiaCoInTh/Tr and absnh.^IT' si,ent and vo al saints, Sleep, Baby, Sleep; University, results? y 9 arantee comnlete satisfaction but the profession contains about the ley, New York 27, one WH^ v!fJ Yr 9 obtained through STATE N Y under Vo ' ce Boo k. 10 no numbers may be CITY ( Continued 17 FREE. Sent same proportion of honest as do most of Song. These on Page d UT ,PS s stsrned bv rare*-?. men 410) PERFECT VOICEUILEST .. l Etude. STUmne»P OS. Studioc. the publishers of The 406 558 B. Kimball Hall Bldg., III. professions or Insurance. the "FORWARD MARCH Chicago 4. of Medicine, Law WITH MUSIC "FORWARD MARCH WITH MUSIC’’ 407 THE ETUDE JULY, 1946 . . — — $ I

firm who might provide that will be as good or superior to those reed usually produces the type of tone further regarding these information Band Questions slightly longer instruments?—p.s. made in Europe preceding the War. Our you are securing. Try a • Tennessee. American manufacturers are preparing and more narrow lay and use a 2 or 2% A. Write to Selmer and Ohgm and Choir Questions Answered to do just that very thing. strength reed. This should improve your Company Elk- hart, Indiana. They can NEW CHORAL PUBLICATIONS either tone immediately. If the reedy quality is give Vo,i further information or will still present then try a slightly longer refer you t proper authorities. 10 If William 2). VZevJli Saxophone Tone Trouble near the tip "bite”; avoid playing too By GEORGE F. STRICKLING I of the mouthpiece as this is likely to Q. I have been playing close the reed. When attempting to Director of the A cappella Choir for the past three years. I am dissatisfied Where to Purchase a ^Answered Ly HENRY S. FRY, Mus. Doc. A Good Clarinet breath support Recorder with my tone and regardless what I do the raise the pitch, do so with Cleveland Heights High School tone shows no improvement. It is always and intensity, rather than by means of Q. Could you tell Q. Will you please send me the names of the me where I could our too reedy and my band instructor tells best makes of ?—B. M., Colorado. me lip pressure. chase the old time instrument the I fiat. recorder MOTHER am When I try to make the tone high- and where I could obtain AFTON WATER MY suitable music for er, the reed closes up and the tone stops. Text by Sara Henderson Hay A. I recommend it? I am much interested in this Text by Robert Burns the Buffet or Selmer I am using a soft instrument reed because the stiff reeds Concerning a Set of and wish to learn lovely poem set to enchanting music in sen- clarinets as to play it. Beautiful arrangement of the beloved old A superior instruments. Owing are too hard to blow. M. S. O., Missouri. timental mood. Special divisions ofthe parts — —J- P-. Scotch song. With a pleasing, humming intro- New Jersey. distinctive harmony. Suitable for to the fact that these clarinets were duction and closing, the song is always an effec- provide a Q. I have in my possession a set of saxo- Day or general programs. manufactured tive concert number on any program. 20«* Christmas, Mother’s in Paris, they are not I am almost convinced that you should phones that were made some fifty or sixty I suggest that you write to the pub- (Also arranged for S.S.A.) available at the present time. Perhaps use a different years ago by Crampson and Company, Paris, type mouthpiece. Doubt- lishers of The Etude, both for people and securing France. I understand that they are high pitch prices of church seats 700 to 800 of a copy of “The Organ” by Stainer before very long we shall be able to pur- lessly, your O Our mouthpiece has a wide open the recorder, and of music two manuals and the which will give you information about LORD, REDEEMER chase and impractical for the modern ensemble. Can for this in- we have a pipe organ of organ VOICES OH American-manufactured clarinets lay. This type of Will you kindly suggest stops other than the WHISPERING opening plus a soft you please send me the address of any music strument. Terns on enclosed list. Hammond numbers. By Sir Arthur Sullivan (Adagietto from L’Arlesienne Suite No. I) Text from the Psalms Q. Please send me names of firms have By who A delightful sacred setting of Sullivan's secu- pedals to be attached effective number for Concert Pro- to piano, available. II A most lar male chorus, "The Long Day Closes.” Adap- are words, as it is hummed you have the names of any persons who might grams. There no table for church, school or concert use. Voice inspired setting. 12 have two manual and pedals reed throughout. Altogether an parts not difficult. whether the singing organ for you do not state sale please A As , send me those also.—D. B. a hearty character, we of the congregation is of with ordinary A. suggest THE suggest that you use “full organ” We you communicate with firms PANIS ANGELICUS SONG OF octave couplers for who might have taken unison couplers, reserving the type instrument you (O Lord of Glory) specification indi- wish, in trade, in addition RUSSIAN PLAINS additional brightness. Your to the names and By Cesar Franck rebuilt, with modem coup- addresses we are sending you by mail, of per- (MEADOW LAND) cates an old organ This beautiful melody presented as a soprano will endeavor to give you sons who have pedal-boards and two manual of one of Russia's lers and so forth. We (or tenor) solo with' mixed chorus, with both A novelty arrangement the various used reed organs for melodies. A rousing, spirited some idea of the representation of sale. Latin and a new English text. Instrumental in- most popular never fails to create spontaneous FrOlina Swell organ, suggests to us terludes of the original applied as a humming number that stops. The audience response. a 4' Flute and Q. I the part chorus. Violin obbligato part included. 20tf a soft 8' stop, Flute Harmonique am time organist at our 4' medium family, neighborhood theater, the Fugara a stop of the playing before shows such as a softer Diapason. Great Fifteenth is a and during intermission. The instrument is REFERENCE COPIES FREE ON REQUEST. Octave is small but 2' stop of the Diapason family and the fine, with two manuals and five sets Great Dulciana of pipes. I find it difficult to get many Quantity orders may be sent to your local dealer a 4' stop of the same family. new combinations represents soft organ tone, and the Open Dia- with so little choice, and I wish you would publish pason the “loud” portion of the organ tone. a few of your choice. Stopped Diapason is of the unimitative Flute On the Pedal there is a Bourdon 16'-Diapa- son 8'-and 4'-Flute 8'-Vox Humana 8 - and family; Bourbon is of the Stopped Diapason a Cello 8'. The Great contains the same stops family- For chime effects we suggest that you with the addition a Piccolo 2'-Flute 4'- consult one of the following numbers, using the of BROADCAST MUSIC, INC, Violin 4' and Tenor Trumpet 8'. The notes suggested, together with an eight and a C Swell organ contains all the stops I have four flute stop combination: Trinity Chimes, University mentioned, with the addition a Flute 2%'- Fifth Avenue New York 19, N.Y. Extension Conservntory Decker; Cathedral Chimes, Brown; Chimes of of 580 Chimes at Christmas, 16’ Violin-16' Vox Humana-4' Trumpet and St. Cecilia , Worthington; Eventide Gradi. Diapason 4’.—P. C. L. J. 1903 - THE WORLD'S LARGEST Greenwald; Chimes at , HOME STUDY CONSERVATORY A. We suggest that you try different stops OF MUSIC - 1943 organ num- Q. Will you give suggestions for and combinations as solo effects. You might suitable the Protects MEMBER OF bers and anthems for the choir for also add as synthetic stops, combinations installation a music from EVERY Sheet Music occasion of ordination and of such as Quintadena, consisting of Flute 8' Keep of Extension Courses dirt or by noted teachers, leading minister? E. H. L. 2%' consisting of No entrance new — and Flute and an damage. at Your Finger-Tips requirements except for Degree the string stop and Flute 2%'. • to Diplomas, and A. You do not state the kind of organ at your drawer-trays Degree of Bachelor of Music. Richly styled. TONKabinet Courses. the kind of choir, size and so forth permit easy filing: keep sheet Credits earned by using disposal, nor Beautifully your spare conse- I making a collection various speci- orderly, safe, available for the service mentioned, Q. am of crafted. music neat, You sheet is al- can prepare yourself for a better time for advancement. quently we suggest that you bear in mind the fications of organs and would like the specifi- • findable. Every position ways at your finger-tips. At available for the selection of your music cation of the organ at Hollywood’s Radio City, By makers of words your dealer’s, or put it on by studying at your the the builders the organ. I Nationally convenience by the Ex- for the occasion, namely, How lovely are or the address of of your postwar shopping list. Catalog and illustrated Messengers and How Beautiful on the Moun- would also like to know whether there is any Known Tonk Tonk Mfg. Co. tension lessons sent without Furniture. Method. other organ that uses a similar principle to obligation tains. to you. Check coupon below. that used in the Hammond instrument. Under what classification of instruments Sizes and Q. A. We suggest that you address the editor of does the pipe organ belong? What are the differ- styles for “The Diapason,” Mr. S. E. Gruenstein, Wabash bin et$ A ent types stops included on the modem TONKa DISTINGUISHED FACULTY OF ARTIST of Ave- and Jackson Boulevard, Chicago, Illinois, Homes, TEACHERS _ HIGHEST pipe organ? What is the range in octaves of the STANDARDS OF MUSIC for information about the Hollywood instru- Schools, INSTRUCTION pipe organ? H. M- S. — ment. We doubt whether any other instrument Bands, etc. WHAT PROGRESS ARE principal as the Hammond organ, Sheet Music YOU MAKING? EQUIP YOURSELF FOR A BETTER POSITION A. We would class the pipe organ under uses the same for This is Your Opportunity— “wind” instruments. The modem pipe organ of and suggest that you address the Hammond A proof of quality Mail the Coupon Today! Your musical knowledge is important for one inter- well represented families of stops would in- Instrument Company, 2915 Northwestern Av- —your position and in- ested in further musical clude Diapasons, Strings, , and Reeds enue, Chicago, Illinois. come today are the result of the training. Our courses offer UI training you E S Y of varying character, and so forth. and ask them to give you the same high CONSERVATORY. Dept. strength, Tell your Music Loving Friends about THE ETUDE have given your natural quality of preparation which 76576S 0 k A-536 ability. Additional train- Oakwcod Bivd., Chicago. The range of the manuals of a modem pipe Q. Will you tell me where I can obtain a has developed Illinois. the privilege of sending in their subscriptions. ing will and trained many successful musi- organ covers five octaves, and the pedal board, book on stops for the organ?—S. B. O. you open up new fields, new S d taloi opportunities, cians ^ 5° 3- sample lessons and thirty-two and teachers in the past. regardingregardfna full information notes. greater income coursern I have that you refer to the pipe ETUDE 1712 Chestnut Street Philadelphia, Pa. and higher standing in the musi- marked with an X below. A. Assuming THE Plano, organ in your request for a book on stops for cal world. NATIONAL HOME STUDY Teacher's Normal Course Q- Will you explain what a stop is on an COUNCIL Voice the organ, we suggest “The Organ,” Stainer- The Council Piano, organ, and how it works? Also what does this is an Association of which we are Student's Course Kraft, which contains information on organ a mean: A \f enclosed in a circle, followed by the This valuable Choral Conducting publishers training, through our member. It includes the Public 0 stops and may be had through the Extension outstanding correspond- School Mus.—Beginner's figure 10 in parenthesis, followed by 00 3434 311. of The Etude. Courses, may be taken at ence schools in Clarinet Soft 16' Ch. to Ped. CHORAL PAGEANT home with no interfer- the United States with headquar- Public School Mus. —Advanced Vox Humana St. Diap. Flute ence with your regular ters at Dance Band Arranging and work just by Washington, D. C. f devoting to Members are admitted Q Advanced Composition Ch. Dulciana and Melodia 8 Q. I want to buy a small old fashioned self-study the many minutes only after rigid examination Violin Perhaps book and square piano, but have been told that it is each day that ordi- of the training courses Ear 0 you might recommend a Training & Sight Singing literature Can you tell me the difference narily go to offered. on the organ for me to read.—L. W- a melodeon. waste. The progressive musician, 0 Guitar Also could as History of Music between a melodeon and a piano? A. An of LIFE busy as he organ stop usually controls a set into the second, OF may Mandolin converted BREAD be, realizes be THE the value of such We are the only school giving 0 the first named instruction in 0 Harmony pipes, and is “on” when drawn and “off” when very expensive, or should I study and finds the time and would it be for it. Well paid positions music by the Home-Study Method, 0 Saxophone not in use. We presume the figures to indicate (In Oratorio) which includes D Cornet—Trumpet give up the idea?—J. G. form of are available to those who in its curriculum Reed Organ registration on a Hammond organ, and suggest are ready ior them. all the courses necessary 0 tone to ob- Advanced Cornet that you consult a Dictionary of Organ Stops A. There is quite a difference in the tain the Degree of Banjo melodeon, the Bachelor of Music. 0 for the Hammond Organ, or address the Ham- quality of the piano and the Music by YOU can and the latter do it too! It's up to YOU! Name mond Instrument Co., 2915 Northwestern Av- former being a “plucked” tone, A Diploma Is Age by the Your Key to Success! enue, Chicago, Illinois, asking them to explain an organ tone, produced we believe, ALFRED BUTLER Street No. than sucked, as in the numbers. “Soft 16' Cl^ to Ped.” is an abbre- tone being forced, rather can perceive City viation for soft 16' pedal stop and Choir organ the ordinary reed organ. You the instrument in Conductors with large choirs and modern organs should examine this work. University State coupled to Pedal. Vox Humana St. Diap and the difference by trying Flute, is piano like in tone, or Extension Are you teachina indicates use of the stops, Vox Humana, question, whether it Conservatory now? r, , ... practical to If so, think it 7 6 5 Jr how many pupils have Stopped Diapason (or Gedackt) and eight or organ like. We do not OAKWOOD vo , asked. BLVD. (DEPT. A- Do you hold four feet Flute, one tone into another, as you CALIFORNIA INSTITUTE OF MUSIC 5 3 6 ) CHICAGO a Teacher's Certificate? —probably a four feet Flute is change IU indicated as not suggest your giving up the idea U Harm° the Stopped Diapason is an un- We do ny? piano if that is the Angeles, Calif. “ Would you like to earn imitative 8' securing the square 418 S. Virgil Street Los the Degree Flute of pitch. Choir “Dulciana and of W of Bachelor sure it is of the of Music? Melodia 8'” you wish, but be 408 indicates the use of the stops men- instrument tioned on the Choir Organ. We suggest the type you are seeking. "FORWARD MARCH WITH MUSIC" MUSIC” 40 THE ETUDE JULY, 1946 "FORWARD MARCH WITH 9 : — ” ” —

pianissimo if it followed a salvo prosperous district, his income soared, day to note that the significant part of shots from a cannon. • flgjssj The Mystery of Vibrations enabling him at his death to provide for which music played at a very critical M recognized and ap- (.Continued the foundation of an important clinic. time was widely j from Page 381) The Bass Governs Volume Violin Oucstions The situation with the music teacher at preciated. damage from the force of musical vibra- To analyze dynamic effects »»»» present is unusual. He is not responsible With the vast war tragedy behind further tions, but I have seen the end of a jerry- for the economic conditions which com- approach more stable condi- listen to any band. As we go away from l// built us we lid/ army hut collapse while the organ hear more , pel him to ask for higher fees. He, how- tions, but we have arrived at a posi- it, we and more of the bass was being played. Lighting fixtures often brass, and the ever, is justified to write to his patrons tion where we are certain that the the drums, until, however ' ' work loose, due to musical vibrations, and or to confer and living costs faintly, that is all we hear. As niwerd t>y HAROLD other small with them and thus an- expenses of teachers we ap- _A BERKLEY John damages result. nounce his necessity for higher fees. have arisen so that an advance in proach, we can hear clearer and clearer lighter, the treble An Unexplored Field A letter such as the following, couched fees is wholly justifiable and deserved. the instruments. This Thompson’s pianist, in the teacher’s own phraseology, may fit You will, I am confident, consider to any could be the key to the* An almost untouched field for explora- the conditions confronting the teacher- the following terms moderate, as value of the sound with which he tion, a tremendously vital phase, is that is reader. Of course, an individual letter will enable to devote my dealing. Therefore it is the bass, of human electricity and vibratory rates. to these me and not each patron would obviously be better time to teaching in the field of music the treble, that governs volume. If Each human being possesses an electric the Suggestions on Teaching Material However, there is a good chance that you than a general form letter. concern I bass is loud and the treble is In the past two and would find a copy spark. Each organ vibrates in with a freedom from loud the W- F. D., Wisconsin— of it in your Public Li- or out of brary. Note Mr. years there have been a number of I should warn you, though, Edward K. Wilson could not otherwise have, and to give volume will be forte. But if the bass is a half that re- rhythm to this center of a human ethos. hairing is on teaching material in this magazine. much more difficult than it 9 Washington Road (pupil’s the finest musical in- piano, no matter what the treble articles looks. Do you suppose in the future, doctors will name) may do look through the back You would probably I suggest that you ruin many hanks of Chevy Chase, Maryland struction I the volume can never hair still make faulty diagnoses by punching Jpow. reach the range of numbers carefully, starting with the article before you rehaired one bow satisfac- the November, 1943, torily! and pressing, by asking us to open our (Terms, and so on) forte. “The First Year” in will find Dear Mr. Wilson strike issue. Other issues in which you Speller) ORDER mouths and say, “a-h-h-h”? No, there Cordially yours, To forte on the piano does not helpful suggestions are those for December, Patterns for Violin Making will be, in ordinary use, instruments During the long years of the war ARNOLD T. GLEASON mean to give it a good wallop. Piano January, February, July, Septem- 1944, and J. W. S., Arizona.—Hill’s of London used to NOW! which will measure the music teachers generally strings do not respond to that treatment. and October, 1945. Read the articles and have Music Writing Book vibratory rates of made very The Etude recommends that an ad- ber, patterns of the “Alard” Strad. I do not A Questions columns. each organ and discover not only what slight advances in their fees, despite vance of not more than twenty-five per As Franz Kneisel used to say to his violin the know whether they still have them, or Provides whether they The only music-writing bool designed to pro- is wrong but much. the fact that the incomes of pupils in his inimitable English, ever had patterns of the “King” how Yes, I can hear war cent be presented. Of course the actual “As more Practice in On Making a Violin Joseph Guanerius. The best thing for you gress in exactly the same order as the lessons the howl rising from conservatives in the workers and others shot skyward. We percentage you press, as less it comes out.” is a very delicate matter in- The S. A., New York.—Violin making is a to do is to write to W. E. Hill Sons, J. k New at the keyboard. It can be assigned almost in medical profession. “Fantastic! Absurd! all wanted to do our part and we dividually, which treble might produce a very shrill, sharp, hobby, and if you are clever with Bond Street, London, England, WRITING CLEF SIGNS must be determined by fascinating stating your No- should get a great deal of needs. the very first lesson. Teaches Elementary Brain waves cannot be measured. Organs were pleased more and more every each teacher. tone, but the bass will fail completely. It your hands you BAR LINES pleasure from it. The best book on the sub- tation, Time Values, and induces the young are too delicate,” and so on. Yes. I hear is essentially a matter of weight and the MEASURES “Violin Making as it Was and Is,” by other echoes ject is Value of Nurnberger Bows pupil to use the ear as well as the eye. TIME VALUES from the past. “The world precision with which the keys are struck Heron-Alien, but unfortunately it is tem- E. Mrs. C. G. D., Massachusetts.—Nurnberger SIGNATURES is round,” said some mad men. “Idiots! in order to produce the porarily out of print. As conditions return Cents max'mum vibra- bows were made in various grades, and are Price 50 Imbeciles! normal, and the paper supply becomes NOTATION The earth is flat as a plate.” tion. The louder we want to play, the to worth anywhere between twenty-five and more plentiful, it will probably be reprinted. NOTE SPELLING Jules Verne was a dreamer, a visionary, more weight we must give the one hundred dollars. There is nothing in the keys, and You might write to the publishers of The RESTS a Buck Rogers of the nineteenth century. The Basic stamp to differentiate one grade from an- Foundations of a Permanent Technique the longer time must the strings have to Etude and ask them if they have any informa- ACCIDENTALS other, so I cannot tell you which of your The JOHN THOMPSON Around the world in eighty days, for- vibrate. As in tion about this book. For the necessary work- playing forte, the pianist bows is the better. As you plan to sell one SIGHT READING sooth! ever (Continued from Page 367) shop equipment, you should write to The MODERN COURSE FOR THE PIANO Who heard such nonsense? should remember not to bang, so in play- and keep the other. I suggest that you keep TRANSPOSITION Metropolitan Music Co., 222 Fourth Avenue, Something New in Every Lesson A boat that went under water! Fool’s ing piano the one with which you most enjoy playing. DICTATION he should remembr to use the New York City. I have no idea what the dream. Marie Corelli! Who was she? A relaxed, he should never think cost, they could send MELODY WRITING about ever the method, this much is basic—to same firm fingers he uses for forte. If he equipment would but T 746 Write for FREE John Thompson Manuals Violins Pauli lady writer with more imagination than “biceps” or other muscles of you a detailed price list. by the arms. the pianist, while he is playing, does not, the articulation wi'l be muffled. the W. F. B., New York.—Josephus Pauli (1770- intellect, a cheap sensationalist, a dab- Piano playing is no boxing match and his piano must be to him what the throat is Playing piano must have that clarity of 1846) worked in Linz, Austria. He was the bler in the occult. strength Problem of the Left-Handed Player All right. Read comes, not from his arms alone, to the singer, diction most important maker of the family, which and never a separate, for- which an actor use ; to carry a Mrs. C. E., British Columbia.—I see no Heliobas’ electric theory in the light of but primarily from the originated in Bohemia. He used good wood, shoulders and eign object. whisper to the gallery. The syllables must reason why your seven-year-old son should WILLIS MUSIC CO. his 1U twentieth and instruments are quite well made. century discoveries! from the skill with which he shifts the be exaggerated not learn to play the violin in the normal The public very often, and rightly, in distinct pronunciation. They are worth today between one hundred CINCINNATI OHIO Have I said anything new in this dis- weight of the whole body way, even though he is left-handed. I have 124 EAST FOURTH STREET, 2, onto any finger speaks of the If the pianist strikes a chord in forte, he and four hundred dollars. cussion? “reserve” it feels in the had a number of left-handed pupils, and none Very little. Startling? Yes! Vi- he desires. The more relaxed he is in playing of this or that performer; must be sure that all the voices in the of them had difficulty in developing a good brations are dynamite. the From the spark this, the easier will be the task. It takes Starting at a tender age, An Amplifier For Violin secure knowledge that he has not chord are forte. bow arm. such your a of sympathy or antipathy we feel on only about a hundred and twenty pounds boy will learn to bow well without any In answer to a question in the November. reached his limit, and that no matter There are a few tricks used frequently Forget Your Troubles With One Or More meeting certain people to the unity to produce trouble at all provided that he has a good 1945, issue of The Etude, I replied that I of the greatest possible fortis- by pianists — how forte he plays or how fast, he has on the concert stage that are teacher. Even a right-handed pupil will not knew of no practical electric amplifier for the lOilluun- lUtsS- andSon complete love; from the almost unknown simo from the piano. FINE OLD VIOLINS more and more to give. This worth knowing. To achieve a full, round- acquire a sound bow technique unless his violin. I have recently received a letter from III. curative properties of musical is a tre- Large selection from $200. to 207 South Wabash Ave.—Chicago 4, vibrations; teacher is very careful with him. Mr. William F. Bailey, of Binghampton, New mendous factor in public playing, ed tone even in piano, play the bass $3,000. Send for latest list. SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. from the breaking of a crystal goblet Facial Relaxation and York, saying that he has played upon a violin to Important yet piano, CATALOGS and LITERATURE on REQUEST the teacher never speaks of it to the but play the right-hand melody the destruction of planets, from all of Next, the Violins by Martin to which such a system was attached. Mr. FRANCIS DRAKE BALLARD PUBLISHERS OF "VIOLINS and VIOLINISTS" pianist must watch that his student and the almost forte pleno these hints student is unaware of — voce; and the least S. A., Hawaii.—Martin was the surname of Bailey writes, “The amplifier is about the Collector & Dealer America's only journal devpted to the violin we have an open door to ex- throat and face are completely relaxed; its importance in his training. a critic can say here is, “What a big a large family of violin makers in Saxony, size of a table model radio with speaker built Troy, Pennsylvania Specimen Copy 25

posers and help them to make this rector to confine his students to singing between the face and the mouthpiece. fruitful period? only modern music (contemporary mu- The detailed discussion of the rela- Teachers!. ..Students! Hasn’t the child some right to be con- Are there other PIANO sic) is as grave an injustice as it is for tionship between dento-facial irregular- Be a PIANO STYLIST sidered when we lay out the semester’s the other type to draw a line at the year ity and adjustment to embouchure will program for him Swing • Jump • Boogie-Woogie in choral music? This 1860 and refuse to sing anything written be embodied in the remainder of this • Jazz • comparable Instruction Book will en- is a pretty good age in which we METHODS this side of that date. Let’s be broad- essay. Our NEW 100 page Piano live Popular Songs with all the fancy with something able you to play new popping up almost minded about the matter and recognize embellishments employed by the professional. Arrangements — Add Notes — daily. I don’t believe many of us to the SHEFTE METHOD that not all things excellent existed only Make Your Own would Chords— Basses — Breaks— — Rhythms— Modu- care to choose another century in which in art and literature of the past cen- lations—Transposing—Orchestra and Radio Playing etc. 1001 sparkling new to live, but would prefer to turies, for this is for -Introductions-Endings. stay with often the case !n urchasin belittling our writers Tod Late What? ear or corres- AS is P 9 ideas all contained in one book. Not an this fast-moving, history-making and painters of today. By all means let course. You receive CAVANAUGH S In- age— it is well to pondence excellent merchandise, Manual which shows you step by step how the twentieth century. This us help them all we can so they too may ( Continued from Page 374) struction period be- of this famous book to any popular the many inferior articles to apply contents longs to these children. It is their very beware of be able to contribute to the joy of living song For Beginner. Medium or Advanced Student. in technique, book NOW! TODAY! Price $10.00 com- own. Can’t we give them so disguised not only for us are today, but solid, if gradual, training Order your something of offered on the market who here and insured anywhere in the world. begin play pleasantly within an plete. Postpaid current appropriateness? Movies, also for those who will be here tomorrow. can to danc- confuse the buyer. CAVANAUGH PIANO SCHOOLS ing, and social as to astonishingly short time, and by that I clubs make up their very 475 Fifth Ave. Dept. E New York 17. N.Y. existence. mean months, not years. Would you have them go back stands The SHEFTE PIANO METHOD Scales, the horror of the young, form to May Pole dancing and the old stere- itself and is unique in its one of the keystones of technique. There PLAY BY SIGHT opticon slides for in a class by entertainment? Cer- PIANISTS. If you cannot play a composition with- for this phase of the tainly not, but in excellent features; Dento-Facial Irregularity is really no need out constant practice, you need special instruction music that is what many merits and handicap. The best Pianists and dull. teacher will to eliminate this many directors training to be Your Accompanists are Sight Readers. The secret oi consider to be the proper ART OF need to instruct you in the proper method Sight Reading is revealed in “THE fare for them. ( Continued from Page 379) SIGHT READING”. of playing scales, how to put your thumb Improve your playing and advance more rapidly. In connection with all music stores or the small ensemble On sale at li I accnnc romnlpip with Music S3. 00 under smoothly, correct hand position, discussion mentioned in the beginning, write TODAY for the descrip- struments and (3) those playing the and so forth. But one thing that makes I had this further comment to make. the SHEFTE types. all, thirty-six small “In tive folder on woodwind In scale playing a pleasure is to play always all of Cleveland, a city of more than brass, a RAPID COURSE. twenty-six large brass, and thirty- in strict rhythm. For example, set your million people. I do not know of a single eight woodwind players were examined. metronome at seventy-six. Play your Answering Etude Adver- group of adults who have banded them- The musicians also were grouped accord- scale-of-the-day, one note to a beat with selves together to sing madrigals, tisements always pays but Forster Music Publisher, Inc. ing to the type of dento-facial develop- a free, precise finger stroke. This is a there are close to five hundred reader. men who ment and irregularity they exhibited. It slow but valuable, because it gives and delights the 216 South Wabash Avenue, Chicago 4, III. tempo voluntarily come together weekly for the was most convenient to divide all players you time to be sure that your wrist is pleasure they derive from barber shop into four groups. Group I was composed absolutely free from tension before each harmony.’’ Isn’t that what choral music of individuals whose dental and facial finger stroke. Always play four octaves education should do? Prepare a person relationships were considered normal. of any given scale, this on the advice of to continue to sing and to have fun in PIANO TRICKS! Group II individuals had a retruded low- two concert pianists. When you have the doing of it? A great many of those Every issue of our bi-monthly Break Studies er jaw with or without irregularities of played one note to a beat with the metro- men are also clever arrangements for building singing in church choirs brings you the teeth. Players in Group III had a pro- seventy-six, glide smoothly into choruses of popular songs on the cur- nome at and in adult male choruses, extra 8 so if music rent "hit parade." Enables you to fill in new truded lower jaw. Here again the indi- playing two notes to a beat several times education figures, boogie- means devotion only to the modem-style breaks, novel vidual teeth could be even or uneven. four octaves, and then glide effects and tricky embellishments. up and down HAS serious side of music, then woogie A HAPPY STUDENT BODY they still are In Group IV the jaw relationship was into three notes to a beat. Eventually getting INVALUABLE TO PIANISTS, it. Our small groups are getting normal, but irregularity of the individual you will play more rapidly than this, but it too, in TEACHERS AND STUDENTS! their daily work in the choir. teeth was found. A review of the adapta- the change from two notes to a beat to In their quartets they Single copies are 25 cents, stamps or coin. By are working out subscription: $2 for 10 consecutive issues. Send tion problems of all musicians examined three, and back to two, is tricky; you will the music themselves, now for the latest issue. Mention, if teacher. developing their revealed that twenty-six of the one hun- enjoy it. This practice keeps scales from own styles, arranging their own music, AXEL CHRISTENSEN STUDIOS dred adjusted poorly to embouchure. being dull and repetitious, and it teaches 752 Kimball Hall Bldg. Chicago 4, III. serving it up to their audiences in difficulties with the rhythm to another. BOB JONES COLLEGE stands without their Complaints about you to shift from one own original manner unhampered by dento-facial features during embouchure apology for guidance the "Old-time Religion" from a person of an older gen- adaptation vary rather widely among The Practice Period eration who has IMPROVE YOUR and the absolute lost the feeling of youth. groups. Nearly one-half (47.2%) of the To the question, “How much time each authority of the Bible. Consequently, their singing is fresh and Wf PIANO PLAYING small brass Instrumentalists indicated day at the piano?” we would reply, “Never youthful, they have a zest for what they certain conditions, irregulari- the minimum.” You Introductory that, under less than an hour, at are doing, and it shows in the tremendous Offer ties within their mouths either interfered can fit this in, with careful management. various positions on the keyboard popularity they have created solely in their prevented satisfactory adjust- full-time job, five days a STUDENTS ENJOY Beginning with which is the key to “popular playing”. $-|.50 with or If you have a the 1947-1946 session. through their Money refunded if returned in 10 days. own efforts. Send 10c for Sample Lesson. ment to embouchure. Fewer (26.9%) week, it is more difficult. But you can Bob WILLIAM O. OTTO. 4215 Park Ave., Jones College Union City, N. J. Complete! brass players had this experience. an hour. Do it in two sec- Unusual educational opportunities will be expanded large still manage By C. E. Le Massena A Balanced Vocal Diet complained into a great Christian The woodwind players rarely tions if necessary—a half hour before Wholesome university with It isn’t revealed half hour social life a question of Madrigal versus (5.2%). Further examination dinner in the evening, and a Here is a book of stimulating informa- an entirely Schools—Colleges new plant located Popular Music; of songs of the seven- that embouchure difficulties attain the after dinner. Give it some of the time tion concerning a vocal sorceress whose A well-rounded athletic on a program teenth century versus the greatest frequency among small brass you usually spend on reading the news- philosophy of success furnishes inspira- beautiful campus at twentieth cen- SCHOOL Greenville, South tury; but it OF retruded lower married, your wife or tion to music lovers, singers, teachers, An atmosphere of resolves itself into what we instrumentalists with a paper. If you are Christian refinement CONVERSE COLLEGE MUSIC students ,and votaries of good reading. Carolina. as music directors think will Among individuals with the pro- husband will not feel any worse hearing best give Edwin Gerachefski, Dean, Spartanaburg, S. C. jaw. the singer difficulties were the piano than “ a balanced diet. A young man truded lower jaw, the you make sounds on The name of Department of Music RISE STEVENS says: who is all your newspaper, capable of flying a quarter of a KNOX Galesburg, Illinois fewer and distributed evenly among watching the back of Galli-Curci has always represented for Thomas W. Williams, Chairman million dollar bomber ought players. Individuals in Group IV providing you are developing a truly mu- the ultimate in artistic perfection, Voice, piano, to be capable COLLEGE Catalogue sent upon request. types of me pipe organ, violin, speech, of knowing brass proper relaxation. To viv- and art without what he wants and likes best CONSERVATORY adjusted poorly only to the small sical tone through and the treatment of her life story in songs. I try wonderful additional cost Our job along the line is that OF MUSIC instruments. In contrast, all players with me an hour a day seems skimpy. idly reveals that she was as above regular academic tuition. Wade E. Miller, Pres. of counselor, SHENANDOAH teeth, the this can done a woman as she was an artist.” of a guide who can point Courses leading to normal relationships of the to do at least two, and be out the B. Mus., Rates full- all of the interesting things in the and B. Mus. Ed. degrees. jaws, the lips, and associated structures by any one who does not have a reasonable. In the Shenandoah Contains a complete listing of Galli- landscape heart of the job away from home. Housework For detailed information write: of music. A guide in the Louvre Valley, Dayton, Virginia. adapted well to embouchure. time Curci recordings and a roster of the can direct speeded up for the sake attention to the famous paint- In summarizing this discussion about can always be roles she made immortal, 336 pages, pro- ings, but he de- progress at something that gives so DR. BOB JONES BOB would be a poor guide if he the physical factors involved in the of fusely illustrated. JR. did not Diplomas, Certificates it is a joy is con- JONES COLLEGE also call attention to the works of Awards, Medals and velopment of embouchure we note that much joy. And that Second Printing Now Available. of lesser painters. two broad cate- fidently asserted by one who has been Cleveland, Tennessee Other Requisites for Awarding Pupils they can be grouped into It is dyed-in-the-wool perpetual beginner my firm belief that ancient and gories. One consists of the variations in a For Prompt Delivery use this Coupon. Completing in Music modern Courses for fifteen years. music both have a place side by the teeth, lips, jaws, and related struc- side, DETACH HERE and that is where I intend to keep The other is made up of the differ- J THEODORE PRESSER CO. tures. * « Publishers more, them in all of the instru- MUSIC J THE PAEBAR CO., conform to. Our modern composers music of the many programs I ences in shape and form educators” turn our fashion. 1712 Chestnut St. PHila., Pa. us ever stop to think 1819 Broadway, New York 23, N. Y. have to compete not only with backs on I think the director is not rightly mouthpieces that are used. Here How many of the living them and say, mental composers “We’re not interested treating the with pointing Of music as a wondrous magic link Youth Must Be Served but also with all the dead com- Were young people whom he is we have been concerned Please send copies of GALLI- singing Morley’s madrigals sometimes the place g posers of the past, so isn’t this educating if he occurring in both With God, taking it reasonable semester.” Morley turns his back on either out irregularities CURCI’S LIFE OF SONG @ S3.75 each. to hope and Weelkes do not gen- of prayer that they will use this great type of music. We long since dis- INCREASE groups. In addition, there has been a ( need any have YOUR Continued from Page plugging from us, / enclose $ 378) back-log of but the Har- continued variations accord- When words have failed us ’neath the choral music as a basis on rises, the all a-cappella program, eral classifying of these choral music may have begun with the Schumanns and INCOME! Pales- which to build more the Barbers realizing From the general weight of care. tiina and better music? do that the sun of good choral Easily—Substantially —Pleasantly ing to type and form. J Name but that it did not end Shall we help to make the with And where will twentieth music factors involved we Music, that knows no country, race, or Brahms. these modern composers century a did not rise and set only in un- — Take Subscriptions for — examination of the That would be an absurdity sterile one as far as Address find encouragement and choral accompanied THE to recognize that many creed; which I cannot countenance, an opportunity music composition music, but that there is a ETUDE MUSIC MAGAZINE have been able or further- to “wood-shed” is concerned, or will notable may be But gives to each according to his need. their product if we as we volume of great music which was — Write for particulars — of the problems with embouchure City, Zone, State give encouragement to J our living com- written 1712 CHESTNUT ST. PHILADELPHIA. PA. disharmonies —Anonymous 412 with accompaniments. For a di- associated with physical "FORWARD MARCH WITH MUSIC WITH MUSIC 413 THE ETUDE JULY, 1946 "FORWARD MARCH A - ' ,

named Stieglitz who carried a heavy The Operatic Side of Shakespeare The Successful Recital cane, was not given to subtle treatment of applaifte, and was frequently men- (Continued from Page 376) tioned in Viennese newspapers in con- nection with alleged attempts at black- ( Continued from. Page 384) mail. The undeclared war between the created. Here we have three claque is at once and the clique exploded into a melodies from the pen of one com- showdown one night, when “Rosenkava- poser; each one melodious to the last lier” was being given with Lotte Leh- Advice to the Players.” young high school and yet with no shade of re- mann as the Feldmarschallin girl from Rochester degree, and Maria In this opera the title role as in “Rigo- to Pulaski, New York, Jeritza was Octavian. Madame Jeritza a distance of abnm semblance. letto,” “Don Giovanni,” “Falstaff,” “Cris- one hundred and twenty-five Another song (with words, this time) was a client of the clique, Madame Leh- miles ni! toforo Columbo,” and “Eugene Onegin,” the way we fell to discussing followed, after which came the mann was our favorite client. the things now is given to the baritone. It is coincidental she had read, and she writer’s own Nocturne; a contemplative After a special conference with his named many of that Falstaff and Don Giovanni were Shakespeare’s plays. reverie. lieiltenants at the Peterskeller, Schostal “Why in the worlri unusually happy roles for Antonio Scotti; have you been reading Then, after one modulating chord, the decided to send one of his men, by the ail that?” I askert while Titta Ruffo, a magnificent Rigo- She replied, charming Minuet of Borow- name of Loew, “I want to read as infectiously down among the clique in 1 much letto of is probably the last of the great Shakespeare as I can ski, provided a most conspicuous con- the parterre. This Loew was a husky now bef jre some baritones to have sung Hamlet. His school teacher fellow, and, like Siegfried, he had not OF MUSIC spoils it for me; after trast. CONSERVATORY American all for learned debut was in this opera; and he wiote for the box office One of our most poetic composers what fear was. Loew’s orders and not les the Ophelias to his Hamlet were Alice sons in dramatic piano — Meyer-Helmund — was also were to watch for possible flaws in composition, and I the Zeppili can Jeritza’s and later Macbeth. In apply much of the advice heard. His Nocturne in G-flat, where he performance and subtly to in- professional school in an attractive lie has his A music the eighteen-nineties “Hamlet” was characters give each employs the middle part of the keyboard fluence the bystanders In favor of Leh- MINIATURE SETTINGS other to my own college town. (Member of the National OF WELL-KNOWN popular in New York and London with life.” That the manner of Liszt in Liebestraum, mann. seemed pretty wise reasoning after CONCERTOS Kaschmann or Association of Schools of Music.) ARRANGED FOR in the for a fourteen-year-old is most expressive. A perfect gem for the Loew played his part well. He closed PIANO SOLO girl.) Shake title role and the part of possesses a good his eyes in deep enchantment while Ophelia was speare will live longer in player of taste who by $okn 'Cili ompi on drama than in Thorough instruction for carefully selected taken by Marcella Sembrich, the most artistic Lehmann sang her aria in the first act. Nellie opera because: The libretti , and understands 0 ' 6 are °f th S b k !S SUpp,y usually teachers. *' !° e^fy-P^yable miniature Melba, or Emma Calve who is far more Pedal. When Jeritza missed one cue by an students in all branches of music under artist thethT popularnon J °L° versions of in a foreign language. The use of the concertos thus malting it beauty of possible for DUDils to „. rfnrm *L famed for eighth appealing P P P " the m ° re Carmen and “Cavalleria Rus- Shakespeare’s The ever favorite Moszkowski was rep- of a bar, he seemed surprised and choir direction. parts of these difficult works. language is lost in trans- Special training in band and ticana.” Marcella whispered, “I’m afraid she’s through.” Sembrich is thought of lation to a foreign tongue. resented by two short numbers; trifles most The philoso- in “Barber of Seville” though she phy of in length, but each a miniature master- Soon the whole standing-room section Write for catalogue describing Oberlin’s conservatory Price 1.00 Shakespeare can best be voiced was the Gilda in “Rigoletto” the beautiful and was under the impression that Lehmann at the in English. piece in the realm of courses and its superior equipment (200 practice Metropolitan Opera House in 1903 on the Serenata in D, and the little Ma- was wonderful and Jeritza should go The musicians who have attempted sane: Degrees: Bachelor of Proven! the John night that Caruso to home and practice. rooms, 23 modern organs, etc.). THOMPSON made his American set Shakespeare’s plays zurka in G. debut; to music were modern course for and was superb in either For a Finale sometimes a transcrip- Afraid that this defeatist sentiment Music, Bachelor of School Music; Master of the PIANO not at their best nor were they La Traviata.” As an opera, however, will be well known is sure might spread into the auditorium, the to the musical world what Shakespeare tion of what Music, Master of Music Education. “Hamlet” is about what The clique characteristically decided to solve Write for FREE John Thompson Duke made was to the literary world. to please; though we meet with this sort Manuals T 746 of Hamlet’s Soliloquy on the raft in its That thing oftener at Organ Recitals. For the problem by brute force. Stieglitz or- last statement is not of voyage down the voiced to Frank H. Shaw, Director, Box 576, Oberlin, Ohio. Mississippi River as belittle some unexplained reason concert ar- dered two of his boys to push Loew out anyone. List, if you like the com- described by Mark Twain of the standing-room section. Loew stood in “Huckle- posers who have written rangements of folk or national airs for berry Finn.” Here opera on Shake- 7Ae it is: a play about a speare’s plays the piano have gone out of fashion, al- firm. The three were shoving back and WILLIS MUSIC Dane and you will find that the CO. with scenes in written giants of musical though a vast number of music lovers forth, like boxers in a clinch. All through 124 EAST by an composition are miss- FOURTH STREET, CINCINNATI Englishman; then translated into ing their return. the beautiful Presentation of the Rose, 2, OHIO from that list, good would welcome French for a French as Verdi or librettist and a Gounod were; and a silent, grim battle was raging between French composer; to state the thing and then translated algebraicly, Loew and his opponents, but they were into Shakespeare is to literature Italian for Ruffo to sing in that so careful not to make a noise that only as Beethoven is to music. CLASSIFIED ADS language. the nearest bystanders were aware of There is a wide gulf between Beetho- SHENANDOAH CONSERVATORY what was going on. After the perform- The ven and the theatrical composers UNWANTED MUSIC exchanged Philosophy of Shakespeare who and the piece for PAYING POSITIONS have written ance, Loew looked beaten up OF MUSIC piece, .if each; quality matched WANTED for first There seems pseudo dramatic music for Burpee s Specialty Shoppe, rl lpet players but no interviews little doubt that had pockets were tom out of his coat, but he Del'ton, Mich- w?nt»!i i/r a Shakespeare’s The Claque in Grand Opera «~vL 2 Mayo, Song »that play will be peared there every until July 15. act, as usual. , end- Piano from “Carmen” used as Mendelssohn’s night Technician * 1120 or c pop lIa, ' La Donna • +& f songs hits. Subscrip- Latone St., Philadelphia Pa. e idsummer His er.” He ordered the clique boys locked up CONSERVATORY OF MUSIC tion $^00.nn°aSample Bulletin 47, Mobile from “Rigoletto.” Night’s Dream incidental only holidays were the four or five Write for catalog 20f Kenmore One can truth- to leave. \ th F1 °° r music. Most performances for the night. We were told BEREA, OHIO (suburb of Cleveland) ’ 581 B° ylSton St fully say of the music of “Parsifal,” a Stage Dedi- 1°6,’ ' that Gounod hit used in Shake- Boston Mass. the very you, sir,” his 2650 Highland Ave. with a first class Liberal Arts College. speare’s plays is cation Schostal said, “Thank Affiliated ‘°P mel°dic simple. In her madness Festival Play which, according to leading to degrees. Faculty ability in waltz / Cincinnati 19, Ohio Four and five year courses °L Ophelia sacred betraying satisfaction that Vien- Artist Teachers. Send for catalogue or informa- though there are can sing simple melodies; but tradition, must not be voice of 0 some very tion to: teaCHERS: Increase earnings singable lor justice still prevailed. We said good iinM n passages in her to sing the music profaned by clapping hands. nese ALBERT RIEMENSCHNEIDER, Dean, Berea, Ohio ARE 1 OU COMPOSING nUalIy - T ach P°PUlar music. “.” Thomas wrote MUSIC or words lend°'si

The Man With a Stick Junior Etude Contest SENIA ARNOLD GREVE Etude will award three at- you The Junior enter on upper left corner of your Member of the Artist Faculty L cLie 2),uncan the tractive prizes each month for neatest paper, and put your address on upper and for Renowned as an operatic bass, and as teacher and best stories or essays answers right corner of your paper. UDY arrived at her teacher’s stu- “The exact beat or Contest is open to all boys and Write on of numerous eminent artists, including Maria part of a beat to puzzles. one side of paper only. Do dio Turning to her where the eighteen years of age. not use Hussa, acclaimed for her success as stellar so- for her lesson. instrument begins. Some- girls under typewriters and do not have any- teacher, she said: “Mother and times, after a rest of Class A, fifteen to eighteen years of one copy your work for you. prano with Vienna, , Chicago, and Metro- J about fifty 0r B, twelve to fifteen; Class C, Essay must contain politan Opera Companies. Artist Teacher Aunt Mary took me to the orchestra sixty measures, this takes keen age; Class not over one hun- of at- years. dred concert yesterday and when got tention, as coming under twelve and fifty words and must be re- Voice we in one beat too Names of prize winners will appear on ceived at the Junior Etude Office, 1712 home Mother and Aunt Mary said soon or too late would spoil the en- page in a future issue of The Etude. Chestnut Street, Philadelphia (1) Pa., by Instruction from eminent Artist Teach- over and over wonderful tire thing; this , how the therefore the players contributors will keep The thirty next best re- July 22. No essay this month. Contest is ers is available to talented students at conductor was. Now really, Miss their eyes on the conductor so they ceive honorable mention. for an original puzzle. Results appear in Brown, I don’t see anything so won- will not miss Sherwood, from the beginning of their the scarcely noticeable Put your name, age and class in which October. derful about standing up there and cue signal. Nobody in an orchestra studies. Certificate, Diploma, Degree beating time with a stick. That’s all can have a chance to begin To Be a Violinist courses in Piano, Voice, Violin, Organ, ELIZABETH A.GEST over! Frankie Ann Strader he does.” Then, as many instruments do not (Prize Cello, Wind Instruments, Public School Music, Conducting, “Well, there is lots winner in Class B) more to it than have their notation written Oh, down in to be a good musician! Theory, Composition. Dormitory accommodations at moderate that, Judy. In the first place, the the key in which they sound, the One who plays in right position; Junior conductor has to know a tremendous cost. Courses for veterans under G.I. Bill of Rights. Fall Se- Club Outline conductor has to be able to read One who makes a good strong tone amount about music, composers, and' transposed parts, too.” And can bring a laugh or moan; mester opens September 15. For free catalog, write Arthur instruments. He must be very famil- One who’ll “What are they?” asked Judy. practice hard and long Wildman, Musical Director, 412 South Michigan Avenue, No. 47. Review iar with all of the orchestral compo- That is a rather On a symphony or song; long question to Chicago Illinois. sitions of the great masters; he has One who has acquired such poise 5, answer here, Judy. We will not have 1. Who wrote the Nutcracker Suite? to He’s not bothered by a noise. 9. Define harmony (Outline No. 44) memorize many of the scores, also much time for (Outline our lesson today, I’m No. 39) 10. Play Oh, I want to learn to play! the tonic, subdominant, and to understand the times in which afraid, but a lesson 2. What is modulation? about the orches- I’ll be really good (Outline No. 39) dominant seventh triad, the some day! with sus- composers lived, and know how tra is really MUSIC SCHOOL 3. When and where was Brahms a good thing. However, Marilyn Warkow (Age 14) Illinois born? pension, in the , pattern given here- to interpret their compositions with since (Outline No. 40) your parents gave you a good due regard to SHERWOOD 4. What the style of music and (Send answers to letters in care of Institutional Member of National Association of Schools of Music is meant by enharmonic musical dictionary for your birth- change? the period when the composer lived; Junior Etude.) (Outline No. 40) day, you look up the subject of trans- 5. What is chamber music? (Outline he has to know the composers of the posing Dear Junior Etude: instruments for the details.” Results of Poetry Contest No. 41) present I started to take piano lessons when I was day and their music. It is “All right, I will,” agreed Judy. five. I can sing, too. I read The Junior Etudes 6. Give a “Is The three prize winning poems are term meaning in the same necessary for him to from the year 1928 to the present time. I Child DILLER-QUAILE know all about that all about the up Has Your tempo conductor?” printed below. Some others which re- have a little note book in which I write the (Outline No. 42) the various instruments in or- the advantage of piano study with the “No, the names of some famous composers, and I write 7. Name a conductor must be able ceived Honorable Mention were very, a member of the composition by Debussy; by chestra, about their lives, too, so I find The Etudes very School of Music with, in five major and five know how they ‘work’, what to Ravel minor arrange well balanced helpful for this. (Outline No. 42) their programs, very good, also. keys. Try to play rhythmically and range is; besides, he usually From your friend, NATIONAL GUILD 8. What was and play what people like Teacher Training Course with the nationality of Rach- to hear’ (A misprint said the results would Patty Wilkins (Age 8), with no mistakes or stumbles .(Out- can play several of them himself. He of PIANO TEACHERS maninoff? (Outline No. at the same time educating Missouri 43 ) line No. them in appear in April. July was intended.) Inc. observation of children's classes. 36) must have the keenest kind of an hearing new things they A goal of achievement for every student suitable ear, never heard Dear Junior Etude: Musicianship Courses for both for detecting to his age and advancement. out-of-tune before. I am sending in the answers to the puzzle, He must have a keen sense (NOT A CONTEST) instruments and for along with my appreciation of the Junior detecting wrong of instrumental Children and Adults. Scales and Pieces balance so the Spring Symphony Etude. I am in the eighth grade in high school The Better Teachers Are Members notes when the other instruments ac- companying and have taken piano lessons four years. I Chapters in every large music center Instruction in Piano, Voice, parts, played on certain (Prize winner in Class A) are playing, and for detecting a would like to have Junior Etude readers write FOR INFORMATION WRITE bit rHeonora instruments will not be too loud and There’s a symphony of fine music to me. and Composition. Sid Slslitoi wrong entrance in some IRL instrument. interfere with In the garden, this spring morn; From your friend, ALLISON, M. A. These the melodic parts, per- Charlotte Wilkinson (Age 14) FOUNDER AND PRESIDENT things are hard to detect, 66 EAST 80 ST., NEW YORK 21, N.Y. BU 8-1050 you haps And the flowering plum and the lilacs Virginia O MAKE a major scale, you other; played on other types of instru- Box 1113 AUSTIN, TEXAS and if you play two notes of Are a Chopin waltz reborn. begin with any key on the a ments. He has to. have the keenest scale next to each other over and And the silver lace of the fringe tree T piano and move kind of rhythmic up two whole- feeling, as it is over very fast you get a trill.” Is to me a Mozart theme; steps, one half-step, three whole- hard to keep one hundred You might add that melodies players While the budding branch of the dogwood steps and one are perfectly MILLIKIN CONSERVATORY OF MUSIC half-step,” Jack read made of together in retards, ac- Is for me a Schumann dream. scales, too, only they are OSMOPOLITAN DECATUR. ILLINOIS aloud to his sister. “What celerandos, else can I not always using the tones pauses, and especially And the daffodils and narcissus SCHOOL OF that come MUSIC Offers thoro training in music. Courses leading to say in this essay about scales?” when accompanying An allegro are to next to each other; a soloist in a me; 8HIRLEY GANDELL, M.A., Oxford Bachelor of Music Degree. Diploma and CertiS- they usually skip University, England, President. “Well,” answered concerto or Yes, the beauty down in the garden cate in Piano, Voice, Violin, Organ, Public School Mildred, “you some.” an aria. Then, if is 42nd year. Accredited. Offers courses he Music Methods and Music Kindergarten Methods could find some conducting Is a spring-time symphony. in all branches of Music. Certificates, pieces that use scales an opera, he must also diplomas and degrees. Desirable board- “That’s another idea,” said Bulletin sent free upon request Jack, Mary Lee Gallagher (Age 15) Ohio ing accommodations. Located in down- in their melodies.” know the action that , as he began his last paragraph which takes place town musical center. W. ST. CLARE, M1NTURN, Director “That’s an idea,” remarked Jack on the stage, as Box E, 306 S. Wabash Ave., Chicago, III. began: The world scale comes from well as the details as he began to write. “Can’t think of meaning in the Italian, scala, a ladder, the words the actors The Trio of any,” because he added. the tones are singing.” go up or down, step by (Prize winner in Class C) "Under Six/' Oakland, Calif. “Dummy,” teased Mildred. “You’ve Good gracious! Im Philadelphia Conservatory BOSTON UNIVERSITY step, but I think it might have an- A conductor has the piano, so big and so tall been practicing that to be I Cordelia Bjelka; Bonnie Roseveare; B-flat Chopin other name because a kind of musical super-man, think I’m the mightiest one of them all; of Music when you cut it Dickie Hatten; Norene CbC/cr/e c/lftudic Mazurka for the past month, and up in doesn’t he, Miss I play the accompaniments well for us Billy Porter; 216 South 20th Street pieces or skip softie of the steps Brown?” never noticed the scale three; Gillian; Annmarie Bleher; Audry Maria Ezerman Drake Ofienng complete courses in Piano, Voice, Organ. melody!” it can Well, he has to be Violin, Cello, Brass, Woodwinds, and Percussion instru- make a piece, and all the a mighty fine Managing Director “You are bright. And think all Ancilotti. ments, Public School Music, Composition, Church Never notjced it,” pieces musician with the others depend on just Faculty headed by Musicology. Chorus, Orchestra, we play are made of those an outstanding talent Music, Glee Club, Band. Jack exclaimed as he for me. Olga Samaroff, Mus. D. Faculty includes members of Boston Symphony. Bache- started to hum seven conducting. lors and Masters Degrees in all musical subjects. notes of the scale. So now, you see there Dead Jdnior Etude : Dorms. Of course, there’s ’cello, his Catalog. COLLEGE MUSIC, 73 Blagden St., it. “That’s neat!” is a lot the who does I am studying piano, voice, organ and har- Courses leading to Degrees OF Boston. He read it to more to it than you thought. Mildred, who cor- own part mony and hope to make music my life work. “You’ve got ears yourself. But Why rected him, now, we had better I have been alto soloist in our Young Peoples “That’s right only if the ARTURO start our And sends out deep tones from the depths don’t you keep them TOSCANINI Choir for the past year. A month ago I finished open? And did piece stays One of piano lesson.” in one key and the world's greatest of his heart; first composition for organ which I wrote does not conductors. my i you never notice the THE MANNES scale tune in have any accidentals As Judy opened her He rumbles in our harmony class. or modulation.” know, book she re- and roars with the best of his your friend, the First Nowell? when the orchestra is From Saint Mary -of -the -Woods Now don’t tell me “Well, playing' marked, “I hope might Paul Bridegam (Age 13), don’t forget you have taken “Oh, Mother and Aunt MUSIC SCHOOL you never did.” And Jack I never thought of all So Pennsylvania COLLEGE started to lessons longer those Mary take me to maybe I’m wrong, for he too, is all Study with Artist Tcochors. Complete courses lead- than I and you know the next orchestra Conservatory of Music for girls. Applied Music, hum it. things!” exclaimed Judy. right! ing to Artist’s Diploma or Teacher’s Certificate. Special moie about concert. I can courses for children. Class and individual instruction. Theory, Public School Music, leading to B.A. and music. I can’t put every- hardly wait for it to B.S. with a major in Education. “That’s not the end, But Violin, viola, cello, harp, piano, voice, wind instru- Music Piano, voice, “Splendid!” exclaimed Jack. I’ll yet, Judy. come!” listen! Such sweet I never have Poetry Conducting, Depts. organ, harp, violin, other instruments; composition, thing in this essay! I’m going When notes Honorable Mention for ments. Opera, Chamber Music Write: have to close you play, you have your heard. harmony. Beautiful, well-equipped buildings, spa- a good essay if you keep on.” by saying piano score DAVID & CLARA MANNES, Directors cious campus. All sports. Early registration advised. that scales are the 157 EAST 74th STREET NEW YORK N. mate- to read, or if So high Contest: 21, Y. Catalogue. Boi 16, Saint Mary-of-the-Woods, Indiana. “Who is writing this essay? It’s not you are accompanying and so clear, like the song of a rials out of which all pieces are a singer or Game bird; Adriatico; mine!” Mildred reminded him. made.” a violinist you have their for Out-Of-Doors Fern Ayers; Priscilla Merritt: Adela It’s the violin Haight; Jeanette Prout; “I’m going to parts written along with playing her sweet music, Julie Owen; Anita say that by sounding “That’s yours, but Join hands Ruby Brown; Rita Walsh; good,” agreed Mildred; the and move in a circle too. Dolores Terhune; the first, third, and fifth of tt conductor has the parts of Renner; Kathleen Coolen; Frances a scale “you might call our all around “It.” When “It” Dear God, Virginia CHICAGO pieces musical calls to stop, hear the music just MUSICAL COLLEGE you the instruments to read we make Moncrief, Nancy Silverman; Donald Navoni; make a triad when you play quilts, at one time. the group for Founded 1867 by Dr. F. Ziegfeld RUDOLPH because ever so many parts He has remains quiet while “It” You! Mary Therese Coolen; Edyth Derrick; Mary GANZ, President them together and you to give the players their So Elaine CONFERS DEGREES OF B.MUS., make an ar- of scales are cues points to someone, look down upon us from so far. Bozarth; Viola Brase; Phyllis Renfro; B.MUS.ED., M.MUS., M.MUS.ED. put together to make saying “sing the heaven Member of North Central peggio if you play when to enter.” And, Cash; Mayne Miller; Hope Ellis; Virginia Ayres; Association and National Association of Schools of Music them one after the the whole piece.” first phrase thank You, for making us just as of if “it” guesses McKinley; Regina Losinski; John E. Clark; ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND “What is a cue?” asked we are. Jean NON-PROFESSIONALS Judy. correctly, that Barbara Bozarth; Helen Hunt player becomes “It.” Toan Schwinger; Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois 416 Patricia Hamilton; Flora Browning. Lee (Age 9) , Washington Dobson; Patty THE ETUDE JULY, 1946 417 — —— — — — —

LET’S PLAY!—.4 Piano Book for Young THE PIANO! A Book for the THE COVER FOR THIS MONTH—Mr. Ed- Be. YOU CAN PLAY SELECTED FIRST GRADE STUDIES, For pinners, by Ella Ketterer—The name in Two Parts, by Ada Richter Piano, win J. Cotterell, Philadelphia photog- of Ella Older Beginner, Compiled by David Lawton Easy Ketterer has long been familiar outstanding in her con- raphers’ agent, brought to our attention to piano —Mrs. Richter is supplementary piano studies of unusual teachers who have used her books, literature of fascinating a photograph in the library of Philip Ad- tribution to the value by composers who are famous for ventures in Gendreau’s Studio, City. It is Music Land ($1.00), Adven- material for young their New York piano educational educational writings is the offer of in Piano CONSERVATORY this photograph of three young Amer- tures Technic (75 <>) the Publishers believe this > an(J students, and excellent book. Represented are Louis icans happy in making Twenty-eight Miniature Etudes will be intrigued by the music that we (75,*) grown-ups also Streabbog, Cornelius Gurlitt, Louis Kohler Baltimore, Md. present on the cover of this July, 1946, NOTES as well as her many fine piano work, instruc- PUBLISHER’S teaching material in her latest an and such successful contemporary com- issue. pieces in the earlier grades. Hence students of more mature REGINALD STEWART, Director it is tion book for posers of children’s pieces and studies Its whole spirit seems to form an ideal Bulletin of Interest to all Music Lovers jmy with special pleasure that the Theodore Presupposing A Monthly years—say, 16 to 60. a as Edmund Parlow, L. A. Bugbee, and reminder that happy living for the youth Presser Co. is able to announce least the rudiments of the knowledge of at Mathilde Bilbro. Careful editing as to of our land is part of the glorious heri- forthcoming publication of this new such students, Mrs. book music on the part of phrasing and fingering is apparent in L 'g.inS SEPTEMBER 30 from her pen. tage which the forefathers of our coun- eliminates such details and pre- this current The Child Chopin Childhood Days of Richter addition to the Music Mas- try on July 4, 1776, announced to the Let’s Play! is a method of Famous Composers—Lottie Ellsworth Coif instruction scribes, from the very beginning, actual tery Series. Faculty of distinguished musicians world they wanted for their posterity. $uly, and Ruth Bampton 20 for the 5, 6, or 7 year old piano beginner. keyboard. Very-easy-to-play 1946 work at the A single copy of this book may be or- Tuition in all grades and branches Choral Preludes for the Organ Bach-Kraft .50 With many years of experience as a arrangements of favorite and familiar dered now, at the Advance of Publication Eiqhteen Hymn Transcriptions For Piano teacher of young children, .45 the author utilized, together with ADVANCE OF PUBLICATION Kohlmann folk tunes are Cash Price of 25 cents, postpaid. Sale is Special courses in Public School Music and Languages knows that each and every TUNES FOR LITTLE PLAYERS, For Piano, Ella Ketterer .25 piano pupil especially designed Let's Play some original material limited to the United States and its pos- comes to his first lesson Scholarships, Diplomas, Teachers' Certificates and by Robert Nolan Kerr—The author of this OFFERS Mother Nature Wins Operetta in Two with a strong to appeal to adult players. As an added sessions. -Shokunbi-Wallace .30 book is known to thousands of teachers Acts for Children. ... desire to play, and moreover, he Colleges expects attraction cartoon drawings provide en- Academic Credits in Schools and All Selected First Grade Studies For Piano to play “right away.” through his many successful piano pieces of the books in this list are in Accordingly, in this illustrations. There is an ever- Lawton .25 tertaining ADVANCE OF PUBLICATION OFFERS Arrangements for classes now being made for child beginners and through his preparation for publication. The book, the pupil starts playing at the very Ten Etudettes in Thirds and Sixths For increasing demand for piano instruction WITHDRAWN—This month our mechan- widely used books, which include a piano low Advance Offer Cash Prices ap- Piano Mana-Zucca .25 first lesson, with a minimum of explana- material for grown-up students, and Mrs. ical production department promises to PREPARATORY DEPARTMENT class instruction method entitled All in ply only to orders placed NOW. Themes from the Orchestral Repertoire tion as to time values, etc. All of the her wide experience as a have Delivery (postpaid) will be made For Piano Levine .40 Richter, from ready for delivery to advance sub- GUSTAV KLEMM, Superintendent One ($1.00) and a book for very young little “pieces” in the book are attractively when the books are published. Tunes for Little Players For Piano practical and successful piano teacher, scribers two books recently described in beginners, Little Players (50tf) . As sug- Robert Nolan Kerr .25 titled, have words which are planned to CIRCULARS MAILED Paragraphs describing each pub- has endeavored to incorporate the best these Publisher’s Notes. One, the product gested the title, Tunes for Little aid in by lication The World's Great Waltzes King .40 the rhythm, and are written in appear on these pages. possible study material in these books. of the editor of the Violinist’s Forum ap- Players has been written to meet an You Can Play the Piano, Part One. .Richter .35 the melodious vein which has made the Publishers realize that many pearing regularly in You Can Play the Piano, Part Two.. Richter .35 The The Etude Music Training urgent demand for a first-grade book compositions of this composer so success- Complete Operatic teachers will want to become acquainted Magazine, is a book the forthcoming pub- planned to continue the work of the very ful with pupils and teachers alike. Ex- Richter’s latest opus and, in lication popular Little Players. Its with Mrs. of which only recently was an- primary ob- planatory notes to the teacher and re- CHORAL PRELUDES FOR THE ORGAN, by TEN ETUDETTES IN THIRDS AND SIXTHS, order to give them this opportunity, an nounced; the other is an outstanding col- ject is to familiarize the children with view questions for the pupil accompany elementary musical notation and to Johann Sebastian Bach, Compiled, Revised, for Piano, by Mana-Zucca—While Madame order for a single copy of either or both lection of organ music for which many each piece, and many charming illus- establish the habit correct playing and Edited by Edwin Arthur Kraft—Mu- Mana-Zucca is internationally famous for parts of this work—You Can Play the advance of publication orders have been of trations add to the pupil appeal. announces sicians generally associate Part One, or You Can Play the received. As is MAIER conditions. “Finger Parade” preceding the “best” in her popular songs, I Love Life, Rachem, Piano! customary when new pub- GUY A A single copy of this important new each tune provides the necessary exercise organ music with Bach. As an authority Nichavo, etc., she also has produced many Piano! Part Two—may be placed- now at lications are released, this serves as a book may now be ordered for delivery THE TEACHER'S WORKSHOP material for this well-planned book. The on Bach, Edwin Arthur Kraft is well fine piano compositions, both in serious the special Advance of Publication Cash notice that the special Advance Price on when published at the Advance of Pub- charming tunes complete with words are known. Thus it is easy to understand and lighter vein. In the field of piano Price of 35 cents, each, postpaid. each is withdrawn. Copies now may be a Two-Weeks' Course in Pianogogy lication Cash Price of 25 cents, postage done in the best style of this successful why Advance of Publication orders are educational material she has made some obtained from your local dealer and the prepaid. • MINNEAPOLIS. JULY 1-12. MacPhail College of Music, LaSalle at Twelfth St. composer. Attractive rote pieces give a flooding in to reserve copies of the new notable contributions, and now we have Publishers gladly will send a single copy organ • CHICAGO, JULY 15-26. Sherwood School of Music, 410 South Michigan Ave. feeling of achievement, promote keyboard album of eighteen Bach Choral accepted for publication a set of study EIGHTEEN HYMN TRANSCRIPTIONS, For for examination. YORK. JULY 29-AUG. 9. 120 Preludes, with all the editing • NEW of Music, Claremont Ave. freedom, strengthen fingers, and give a carefully pieces that should meet with the approval THE CHILD CHOPIN, Childhood Days of Piano Solo, Arranged by Clarence Kohlmann provided by Mr. Kraft, • MARYVILLE, TENN., AUG. 12-23. Maryville College, Mgr., George D. Howell; knowledge of patterns essential to mem- who has inter- of teachers seeking the better class of Famous Composers, by Lottie Ellsworth Coit —The ingenious talent of Mr. Kohlmann BASIC VIOLIN TECHNIQUE, by Harold Co-Mgr., Helen Knox Spain, Hotel Atlantan, Atlanta 3, Ga. orizing. Well-devised material preted Bach in organ recitals throughout material for their and Ruth Berkley, is for note pupils. Ten Etudettes Bampton—The alert teacher, is again apparent in these new, mu- a book of daily exercises for identification is the United States and has been in Thirds provided, and a “Song many and Sixths, soon to be added aware of the paramount importance of sicianly arrangements of hymns for piano teachers, soloists or orchestra players de- of Lines and Spaces” interest. Drills years the organist at Trinity Cathedral, to the helpful interest adds Music Mastery Series of as a step in the learning process, solo. Done in the smooth flowing style signed to provide the necessary practice Cleveland. in counting and tapping develop a sense piano study material, is a collection of will recognize and every player of this instrument realizes appreciate the title for which he is famous, they are being Send $1.00 for of Each of these rhythm and help to awaken the child Choral Preludes, includ- pieces in double notes presented in a Chopin as a timely subject for the is so important. There are exercises for newest received with the same great favor which DRILLS «*** ^ musically. The book is attractively illus- ing Liebster Jesu, wir sind hier; Alle variety RHYTHMIC flKfiene TKeadre of keys and rhythmic patterns addition to the popular series of Child- greeted his the left hand to develop the grip and the l Star making. Students seeking professional engagements former transcriptions. They coached by Stage. Screen. Radio and presented in pro- trated. Menschen mussen sterben; Icli ruf’ zu and providing interesting hood RHYTHM LESSON ONE BOOKLET ductions for showing to B’way-Hollywood Scouts and and helpful Days of Famous Composers. For are all within the technical grasp of the flexibility of the fingers and the correct Talent dir, public. B’way also Summer Stock. Spring course opening. Teachers of child beginners should Herr Jesu Christ; In dulci jubilo; In practice for both hands. children SECY SHUBERT, 1780 BROADWAY, N. Y. from five to twelve, the usual average church pianist, and, as they pre- position of hand and arm. For the bow and lose no time in reserving a copy of Tunes dir ist Freude; and Herzlich thut mich features of this particular series will serve the original religious atmosphere arm there are drills for steadiness, flexi- I EXPLANATORY BOOKLET for Little Players at the low Advance of verlangen, has been distinctively edited Make THE ETUDE Your Marketing Place While this book is in preparation, an greatly enhance the bility, and agility. The text material pre- J current interest in of the original and are within easy range, Etude Publication Cash Price of 25 cents, post- for registrations, phrasings, fingerings, order for EFFA ELLIS PERFIELD Advertisers Open the Doors to Real a single copy may be placed at Chopin. Children will enjoy constructing they may sents a valuable section on the orchestra paid. be used to accompany solo or 103 East 86th St, (Pork Ave.) New York City Opportunities and pedalling by Mr. Kraft. the special Advance of Publication Cash the miniature y stage and settings, re- group singing. Some of the favorites in- violinist and suggestions for making every You may reserve your single copy for Price of 25 cents, postpaid. Copies thus creating scenes from the life of the com- cluded are practice minute count. Price, 75 cents. delivery O Master, Let Me Walk with as soon as published at the Ad- ordered will be delivered to advance sub- poser, and dramatizing the story of the Thee; Break Thou the Bread vance of Publication scribers of Life; THEMES FROM THE ORCHESTRAL REP- Cash Price of 50 immediately the book is pub- composer. Adequate directions and sug- and My Faith Looks to Thee. ORGAN VISTAS is a volume of music con- ERTOIRE, For Piano, Compiled Ar- cents, postpaid. lished. Up and gestions are provided, taining nearly thirty compositions, mostly plus a list of re- While the book is in preparation, a ranged by Henry Levine— good SUb-title AMERICAN CONSERVATORY A cordings which may be used. The music single copy from the writings of modern and con- for this new compilation by Henry Levine may be ordered at the Ad- in this book includes temporary composers, although Bach, of THINGS ARE LOOKING BRIGHTER—It making it humanly a simplified version vance of Publication Cash Price of 45 OF MUSIC—CHICAGO would be “Orchestral Moods and Colors,” impossible to supply of the Offers courses in took years to develop the high stage of all requested Nocturne in E-flat, Waltz in A- cents, postpaid. course, Liszt, Jensen, Field, and other all branches of music and dramatic art because Mr. Levine has arranged for the items or to keep up to date minor. Prelude in Faculty of 135 artist teachers automobile travelling comfort and effi- in supplying available A, and an easy duet standard composers also are represented. piano a diversified and unique list of items. These con- Member of National Association of Schools of Music ciency as known to millions in the United ditions arrangement of the Military Polonaise. Most of the modern compositions never colorful orchestral themes. The dignity have been very distressing and Send for a free catalog—Address: John R. Hattstaedt, President, 579 Kimball Building, Chicago States in the years 1940 and 1941. we are sincerely A single copy may be ordered now at hitherto have been obtainable in book of Bach’s Air from “Suite No. 3 in D,” sorry for any incon- MOTHER NATURE WINS, An Operetta in Then the war-time years thrust the Advance of Publication Cash Price form. Here is a fine volume for the the exotic allure upon veniences or annoyances they have thrust Two Acts for Children, of Rimsky-Korsakow’s of by Mae automobile travel the need for slowing upon any of our 20 cents, postpaid. church or the home organist. Registration Scheherazade, the weird Dance Macabre many friends in the pro- Gleaton Shokunbi, Music by Annabel S. Wal- up as equipment showed signs of wear, fession. suggestions both for the pipe organ and of Saint Saens, the playful Waltz from lace—Gay and exuberant with the spirit Songs of Production road surfaces deteriorated, only limited of spring, the Hammond are given. All of the se- the Serenade for Strings of Tschaikow- If all promises THE WORLD’S GREAT this twa-part operetta will supplies of lower quality gas were avail- materialize, larger sup- WALTZES, Ar- for general use in prove an ideal choice lections are suitable of sky, and many other moods and colors plies of paper should ranged for Piano by Stanford King The for any school pro- The Chamber Commerce of the ered wagons and broke the monotony able, and either worn or synthetic tires be available to us — church, there being some interesting se- are included in this collection of spirit gram directed by supervisors of United States held its thirty-fourth an- of the everlasting Themes in the late summer, it of a bygone era is captured in the children sameness of the added to the conditions which limited the and now looks as lections for Easter, Christmas, and special from twelve popular orchestral gay, under fourteen. nual meeting in Atlantic City (April 30 prairie trail, “peren- though before next Fall all melodic waltz. Forming this delight- The music is good, and encouraged tired, ach- amount of travel that could be done as employees the occasions. Price, $1.50. nials.” who went into ful album are parts, for five solo voices and unison to May 2, inclusive). The first session ing muscles to renewed effort. Kept well as the speed that could be attempted the Armed Services will the choicest waltz inspira- The advanced student (grade five tions or two-part chorus, opened with a feature, “Songs of Produc- children and safely. have returned to our organization. of such men as Johann Strauss, Jr.; are easily within the cheerful. six) the skilled range of this , occasional player and Franz Lehar; Luigi grade school pupils. The versa- tion.” The Chamber makes very in- “Lumberjacks sang, too. So did Reviewing the high peak of service Arditi; Joseph Lan- de- In appreciation for the tility of New Concert Piano Solo the teacher will welcome this new addi- indulgent pa- ner; and Oskar the operetta is one of its charms; A teresting report: river men. And raft men. Cowmen veloped by the Theodore Presser Co. in tience Straus—men who loved tion to the popular demonstrated by our music the for the chorus “America, traditionally, Theme series of Mr. many years buy- dance idiom and composed prolifically any number desired may has sung sang to their restless herds, nervous of supplying music teachers ing customers everywhere be Levine. The previously published collec- we are trying for stage used, and in the dance RHAPSODY as it worked—and produced. Ours has at rumbling thunder and thousands of other active music and social dancing. Arrange- groups many AMERICAN and flashing to get everything in readiness for or few tions in this series are Themes From The workers a big ments newly made for bring may be featured. The story of the By BELLE FENSTOCK ever been a singing land. Some of our lightning. in all parts of the country with improvement in this book Great Piano Concertos, Themes From our direct mail service these victory of songs been important to pro- their needs in music dances within playing ability of Mother Nature over cruel King For accomplished pianists, here is a new have “Some of the songs in ‘Songs of publications, some- for the beginning of next The Great Operas, Themes From The season, but to the average Winter lends itself and striking number in the lighter vein, duction. t-iing of the same parallel may be found. pianist. Careful attention to equally well to simple Production’ are well known. At least avoid an overwhelming deluge of which will fast become a favorite with Great Symphonies. begin- detail has been performance, or to a colorful “American chantey songs were sung modem variations Over the last half dozen years lack of ning-of-the-season given by the able editor, presentation concert and radio audiences. of them are. But orders causing delays of gay Orders for single copies are being taken ample stocks Mr. King, who has many , intricate dances, and Piano Solo—Price $1.25 by seamen as they tugged to raise most of ‘Songs of Production’ has of music publications due or disappointments, composed available at the Advance of Publication we suggest that mate- dances otherwise Orchestrations also now Cash to paper shortages himself. elaborate staging. Small, $5.00 sail, and the metre of the songs pro- been stitched together through weeks and printing condi- rials desired for the beginning Large, $10.00: Medium, $7.50; Price of 40 cents, postpaid. The sale is of the next A single copy One copy to be vided the necessary rhythm for uni- of research tions and the lack of experienced help season’s music may be ordered at the delivered when pub- into the actual songs limited to the United States activities be ordered now lished and its thrust many extra details Advance of Publication Cash Price of may be ordered at the special Ad- Oliver Ditson Co. fied effort. The banjo, the guitar, the which men sang as they built this upon the re- or as far in advance of possessions. the Fall opening 40 cents, vance of CO., Distributors maining loyal members of postpaid. The sale is limited to Publication Cash Price of 30 THEODORE PRESSER jews harp—the simple instruments country. They are work songs. They our staff, as is possible. Pa. the United cents, postpaid. 1712 Chestnut St. Philadelphia 1, but tuneful rode along in the cov- Advertisement States and its possessions. — are production songs.” 418 JULY, THE ETUDE 1946 Advertisement 419 . . —

Waring Glee Club is not grouped in How Does the Singer the conventional four sections before the microphone. A second tenor may the Well-E stablished Break Into Radio? stand next to a bass, a baritone next iMONQ Latest to a first tenor. Each must be perfectly Page 380) (Continued from independent in following his own part; Successes In yet all must blend together. It is im- chorus work. Next, in the purely vocal possible to set forth exactly the kind Additions to the list of ‘musts’ comes pitch, and the ability of background and experience the can- to stay on pitch. We also test for range. didate should have. Because of his love Teaching adequate Piano Pieces Bach singer must demonstrate for choral singing, he may have joined range for the full demands of his part, a small glee club at home; he may have DITSON Leading Music Dealers or the Publishers Gladly Will Grant Any Reliable Teacher and extremes of range are particularly been a member of a school group or a Examination Privileges On These "Best Sellers" For Lesson or Recreational Assignments sought. All other considerations being church group. But if he has never shown even, a high lyric tenor and a low bass an interest in amateur group singing, the stand the best chance. But range is im- chances are that he does not belong Catalog portant only in combination with quality, in our group. GRADE ONE versatility, and faithfulness to pitch. “When all the tests have been success- First Lesson, Krogmann 30 11876 The 18484 Song of the Drum, Risher. . .30 “So much for voice alone. Quite as fully, met, the candidate’s application is 9835 Signs of Spring, Rowe 25 16338 The Big Bass Singer, Rolfe. .30 important as singing ability is musician- put on file and no one can tell 8400 The Contented Bird, Rowe 25 22786 Song of the Pines, Adair. . .25 — how 5786 Sing, Robin, Sing, Spaulding 30 27440 Yellow Buttercup, .25 are Thomas. ship. Most of the Waring choristers lbng it will stay there. Even when he 6482 Airy Fairies, Spaulding 30 23666 Bobolink, Ketterer .30 graduates of ranking music schools. We is called for work 9632 May Day Waltz, Bugbee 25 19860 Circling 'Round, Wright.. .25 he may not be able The Children s 15447 Daddy's Waltz, Rolfe 30 27288 On the Radio, Richter .30 have many Bachelors of Music among to support himself entirely by it—for our group and some with Masters’ de- a while at least. The membership AIRY FAIRIES by Geo. L Spaulding (Cat. No. 6482) Price, 30c of Technic Book grees. All have a knowledge of harmony. choral generally Tempo di Valse radio groups stays fixed, m.m.J. s 6? FOR In auditioning candidates, I supplement and breaking-in possibilities usually start PIANO the voice test with a written test in with substitute work. Many radio choral By Gur Maier and theory. I ask them to set down clefs, in- singers supplement their income by dicate certain pitches and intervals, and teaching, arranging, church work, and so Rosalie Smith Liggett write a simple melody such as My Coun- forth. The chances for success in radio try, ’Tis of Thee. It isn’t necessary that chorus work are not too great. One reason Price, $1.00 everyone get one hundred per cent —we for this is that there are not so many «’minute book of technic fundamentals, de- all know the nerve tension that accom- s ,d r C1 dr 130 kite . demands for choral singing as we should K /,° ./O first year and the early second year of piano study. It is intended, panies audition tests! but candidates for use as supplementary material to the usual instruc- — like to see. However, there is an excel- n b0 and !;° replete with important technical work and attractive easy 1 °^ {? PIANO must show familiarity with the basic tunes with emphasis on the lent way in which the demand may be various points. The material throughout is care- GRADE TWO 16 are elements of music. I test also for read- 6 numero>‘ s illustrations and keyboard diagrams. increased. If young people who are in- H ™ , A delightful story element engages the student’s interest 16553 Little Indian Chief, Strickland 30 23552 Sleepy Hollow Tune, Kountz. 30 ing is throughout. ability, which of greatest impor- terested in choral singing would 7235 Rose Petals, Romance, Lawson • .30 17720 Salute to the Colors, March, organ- ** tance in professional chorus work. 22530 Captain Kidd, Blake 30 Anthony 40 ize- themselves into METHODS COLLECTIONS amateur choral 7236 Ripples, Valsette, Lawson 30 26040 Aunt Belinda's Music Box, Copeland .25 The reading test covers intervals and groups and work at it giving 5009 Bicycle Galop, Bechter 35 26867 Heads Up! Lloyd 25 — perform- rhythm, and I break it down accordingly. 6644 The Juggler, Pendleton 35 5003 Jolly Darkies, Bechter 35 ances and making themselves heard iilill 22545 Through the Air, Arpeggio Waltz, I give the candidate In this recently published collection, Mr. VI IHMHH a melody of moder- Six Organ Kraft presents Kern 40 they could create a greater demand for six of the most engaging; ately difficult intervals and easy rhythm Mozart compositions in excellent transcrip- ROSE PETALS by Paul Lawson (Cat. No. 7235) Price, 30c choral music. tions for the organ. The registrations are and ask him to concentrate on the inter- Transcriptions designed for the most effective tonal color* BACH — First Steps in Bach 75 Andante moderato “As to the drilling of such an organi- ing and, at the same time, to make the con espress.MM-*=76 ieces useful for large or small organs. | vals. Next I give a passage of easy in- zation, I suggest 6egistrations for the Hammond Organ also BACH — FOR EARLY GRADES, Book I, II, III Each a warming-up technique are provided. The .75 tervals From Mozart contents include: Adagio, and tricky rhythm from Quartet in and ask him that we use; F; Adagio, from Sonata No. unison scales and arpeg- 16 for Violin and Piano; Allegro, from BILBRO — FIRST MELODY LESSONS FOR PIANO simply to beat out the rhythm. My ex- By Sonata No. 6 for Violin and Piano: Menuetto, 75 gios, followed by singing of two, three, from Symphony in D; Romanze, from “tin* perience has been that most young sing- Edwin Kleine Nachtmusik”; and the Scherzo, from BILBRO — SECOND MELODY LESSONS FOR PIANO and four-part chords. I suggest, further, Arthur. Kraft Serenade No. 7. 75 ers fall down in the rhythm test, particu- that members take turns in conducting Price, 50* BOY AT THE PIANO — Collection of pieces ranging from grades larly in the more subtle rhythms of swing —thereby familiarizing themselves with 2 to 4 75 music. Again, we don’t require absolute the conductor’s problems and the de- perfection in a first reading, but we do BYINGTON PIANO COURSE — Books I and II Each .75 mands that he needs to make on his GRADE THREE demand that, if the candidate makes a singers.” Twenty Classic Anthems CHILDREN'S PLAYTIME PIECES — 42 melodious pieces in a variety 11938 Dream Song, A Forman 30 18344 Moonlight Revels, Andre.... .50 mistake, he recognize that fact set and There of form, rhythm and style for recreation recital. you the story and . 3860 Two Flowers, Koelling 30 4584 On the Lake, have for a young Here is the perfect nucleus for a library Grade 2 .75 Williams .40 to work immediately correct FOR MIXED VOICES 17919 Bobolink , Wolcott 40 4010 to it. The of outstanding anthem material, since Dr. Melody of Love, Engelmann . .50 singer who wants to break into radio. Dash’s new collection is notable for the — Magical of 18949 Dance of the Rosebuds, Keats 50 24810 worst mistake, GALAJIKIAN Land Triads 1.00 Pansies For Thoughts, Grey... .40 to us, is not knowing Compiled by superiority of its content. Each anthem gem 3898 Giants, Rogers The only thing he can be certain of is between its covers is the work of a recognized 35 26076 Swaying Daffodils, Overlade. .50 where and master of church music, and has had count- 8952 No Surrender, March, Morrison 40 how an error was made! Fi- GIRL AT THE PIANO — 20 melodious and characteristic pieces 27138 White Orchids, Cooke .30 being ‘put on file’ if he passes a series less performances throughout the world over by 13242 The Dreamer, Gradi nally, James Allen Dash a of years. While the contents lie 35 18528 Wing Foo, Burleigh .30 as regards general musicianship, number a variety of composers. Grade 2-3 8899 Twilight Song, Shackley 40 of exacting audition tests. If he wants within the easy and medium grades of diffi- 75 we like our singers to be reasonably culty, they are choral treasures worthy of well to try Price, rendition by the finest of church choirs. DANCE OF THE ROSEBUDS by Frederick Keats (Cat. No. 18949) Price, 40c anyway, he must build himself a 60* MUSIC LOVERS' PIANO PIECES — Compiled and Arranged by skilled on at least one instrument (pref- Nontroppo firm background of voice production, Chester Wallis — 3 Volumes of the Nation’s Favorite Melo- Allegro n.m. J = i 08 erably the piano) projection, versatility, musicianship, and dies ...Each .75 » “Next .*"'a i ^ we come to the matter of experi- experience. Perhaps it is not so glowing ence. We require that our singers shall ETHELBERT NEVIN PIANO ALBUM — Collection of 22 composi- * * ‘ ^ a picture as our -Y candidate had hoped, tions have had some experience, before they of this great American composer in one volume—Rosary, still ten easy motets FIFTEEN CLASSIC nf /S9¥? —there it is. Narcissus, Barchetta, etc U come to us, in singing under direction. 1,00 f If that experience is professional, so IN HONOR OF THE ANTHEMS AND POPULAR THEMES BY GREAT MASTERS — Arrangements of well- 1 “ * a much the better. i 3 We are quite willing, known themes by Tschaikowsky, Grieg, Sibelius, Debussy, however, Changing Values in BLESSED SACRAMENT RESPONSES to consider candidates without Strauss, Beethoven, etc 75 professional experience, provided they Harmony AND BLESSED FOR THREE-PART JOHN M. WILLIAMS have sung in some sort of chorus (school, GRADE FOUR VIRGIN TREBLE VOICES (S. S. a.) Very First Piano Book glee club, church choir, and so forth)’ ( Continued from Page 383) MARY 75 18737 Moon Dawn, Friml 50 26281 June Caprice, King .40 Happy Hour Book 1 .00 7014 Hungary, Koelling 50 under direction. It is here that the Selected and Arranged 26023 Indian Sunset, Klemm... .30 true change is the increased use of dissonance. FOR TWO EQUAL VOICES First Grade Piano 23048 Sea Gardens, Cooke 50 Book 1.00 27353 Lonely Dancer, Federer. .35 qualifications of the choral singer come The very word is obsolete. WITH ORGAN ACCOMPANIMENT SEA GARDENS by James Francis Cooke (Cat. No. becoming First Book for Adult Beginner 23048) Price, 50c to light. The kind of chorister By R. Deane Shure 1.00 Dreamily swaying we want Many dictionary definitions imply that Fun at the Piano shows natural By Dr. i.QO and keen sensitivity to Leopold Stre* is marked with a novel dissonance is somehow disagreeable and This collection Merry Tunes For Piano 1,00 accepting, understanding, and carrying and interesting content. The numbers be- to be avoided. This is false, for dissonant These beautiful works are from the pen tween its covers, presented in simple, un- Brilliant Piano Solos out origin, 1.00 directions. The kind of sensitivity I chords of a distinguished composer, whose wide affected adaptations, are of varied are “tension-chords” impelling experience has made him one of the most ranging from the writings of Bach, Favorite Melodies for the Adult 1.00 have in mind carries far successful of present day musicians in Mozart, Haydn, Mendelssohn, Palestrina, beyond the movement, and music itself sound in is the field of church music. The devotional Verdi, and Von Weber through traditional mere matter of starting and stopping European nations. PIANO - FOUR motion. Dissonance is to music what qualities of these motets set them apart church airs of several HAND COLLECTIONS on cue. It is the basis for the response as works ideal for rendition by large or Mr. Shure’s arrangements are churchly “suspense” is to drama. Its varied tensi- small choirs. Genuine simplicity marks in manner, the part writing is well bal- GANSCHALS — For the Home, Book I and II upon which the part writing there anced, and the texts are marked with Each .75 T depends the entire inter- ties for two voices, and A o. 23048 and relaxations play upon our feel- are no excessive vocal demands. sincere devotional qualities. pretation of the conductor. Many suc- ings. They are provocative and maintain Send for copies for your examination cessful soloists lack Price, Price, this quality. That, interest. 30* 60< perhaps, is the chief difference between There is in the end, however, only one the good choral singer and the good completely satisfying final cadence. That soloist. What we look for, then, Published by is the is still the “Amen” approach through THEODORE PRESSER CO. ability to follow direction and, at the dominant or subdominant harmony to same time, maintain musical 1712 Chestnut St.. PHILADELPHIA independ- the tonic 1. PA. chord. And on that note, if you Oliver Ditson Co. ence. For reasons of tonal blending, the please, this discussion ends. THEODORE PRESSER CO., Distributors, PHILADELPHIA 1, PA. 420 "FORWARD MARCH WITH MUSIC’ THE ETUDE

PRINTED IN THE U. S. A. BY THE CUNEO PRESS, INC. Music Play Bilbro’s “Middle C” Tunes for Every Day Kindergarten for Tiny Tots (The Gateway to Piano Playing) Book By John M. Williams By Mathilde Bilbro MOST emphatic tri- HIS is a John M. Wil- umph among all in- Pr., 75 cents A T Hams’ triumph in a teach- struction books for teach- ing aid for leading youngsters ing children from five to of primary grade and pre- HIS “both-clefs- eight years of age to play school ages to making music at T from-the-start" book the piano. It appeals to the piano keyboard with their is a great favorite with the child mind with game- own little fingers. Both clefs many teachers who have are used from the start and, like procedures, cut-out success in teaching little with its pleasing tunes along pictures, captivating illus- children. The child is with the note chart and many trations and charming given something musically illustrations in the most recent melodies. Both clefs are edition, it accomplishes won- interesting from the very used from the beginning. ders in both private and class start. The majority of the lesson use. selections for the little Price, #1.25 piano beginner are given Price, 75 cents appeal "Music Play for Every Day” also is published in added with words four parts, price 40 cents each. This divided form is Also Published in Spanish fitted to particularly convenient for class instruction. Edition

Happy Days The Very in Music Play Piano Book (Sequel to "Music Play for First Pieces (IN THREE PARTS) Every Day”) Played on the Keyboard By Ada Richter BRILLIANT work, By N. Louise Wright giving the child I

A ! TT'IRST instruction ma- genuine pleasure in piano DEAL pieces for use just as terial so attractively study leading right j L up to soon as the first rudiments ' I are past two I IT I presented as to seem like the third grade. Keeps up "'r j gained in the early lessons. The playing a succession of I the high plane of interest *• -»! | text with each piece adds its '< to | retty pieces. first . The | p and the irresistible attrac- attractiveness. pi two books are in the ob- tion for piano study long size x and cover the first year of study. created by the delightful Price, 50 cents (11J4 9j4) Many teachers use them to follow a Kindergarten piano book and distinctive features in Answering the demand a bridging the gap between such a book and the usual first “Music Play for Every for set oj study pieces to jollow the above book instructor. Part 3 is a splendid aid carrying through the Day.” Miss Wright created another excellent second year of study. work in Price, #1.25 “Twenty-five Primary Pieces.” (Price, 75c.) Part 1 —Price, 50c Part 2—Price, 50c Part 3—Price, 75c

Playtime Book New Rhymes and Tunes the For Pianoforte For Little Pianists By Mildred Adair Price, 75 cents By Helen L. Cramtn Price, 75 cents N exceedingly good book to use practically NSWERS the question, “What shall I do from the A. very beginning as a supplemen- with A. the children while they are trying to tary work to almost any instruction book. It learn the notes on the staff?” Many, many pleasingly rounds out the start for little folk. teachers have found this book a valuable ac- Its first pieces help in the gaining of a knowl- cessory during the young pupils’ first months edge of notation up and down from Middle C. of study. Both clefs are used' from the start.

Little Players Adventures in Music Land A Piano Book for Very Young Beginners A First Instructor for Piano Beginners By Ella Ketterer By Robert Nolan Kerr Price, 50 cents Price, #1.00 VERY page in this popular method for 7 to 9 PROFUSELY illustrated little book ADVENTURES E year old piano beginners is one of progress and (oblong form, 10 x IN A 6J4) with a gaily each lesson is the fun of a new piece. Miss Ketterer decorated title page in colors, many illustrations, is MUSIC LAND outstanding as a creator of good, attractive ma- and rhymes and tunes that will amuse and in- terial for young pianists and in many instances the struct tiny tots of Kindergarten age. For in- study FOR THE PIANOFORTE pieces in this book have texts. This up-to-date dividual or group instruction. instructor gives the pupil both clefs in first lessons. ELLA KETTERER Obtainable Ada Richter’s Kinder- from All Leading Dealers or from the Publishers garten Class Book By Ada Richter Price, #1.00 THEODORE PRESSER HE story of Goldilocks and the CO. TThree Bears musically and pic- Any torially illustrated is used in this 17X2 CHESTNUT ST. Established Teacher May PHILADELPHIA 1, PA. book to captivate children in their Order Any of These Books "On first piano lessons. ApprovaP’To Examine and Have Return Privileges If Not Used