Choral Problems and Choral Clinics Peter J. Wi/housky
Today's Musical Creation in Education Henry Cowell
Singing with Orchestra Frances Yeend
So Paderewski Played the Trombone! James Francis Cooke
Once In a Century Rose Hey/but
Breaking a Boston Symphony Tradition Marion L. Briggs
Recitals: To Have or Not to Have Them Rose Grossman
London's Unique New Festival Hall Li/i Fo/des TEACHING • • • LeTTeRS EASE T 0 THE E D ITO R
ENJOYMENT ANI) liTo a Old'! Don't You Believe It!" of married women who ply their Sir: May I add defiuite support so-called musical tinkerings for to a recent article in ETUDE- their spending money, whose hus- Yours through the "Too Old? Don't You Believe It!" bands are included in the first ten -hy Ladd Hamilton. (May 1954). or fifteen occupations listed; then, Forty in September, I have been one is excluding the bona-fide whacking away at a piano course music teacher, the one whose in- since February at the Texas School come is solely and strictly derived of Fine Arts (Mrs. Linnea Smith, from instruction, a church or FOLK-WAYS U.S.A. teacher), and enjoy it tremendous- orchestral position, or composing. ly. I don't feel any particular senti- These are the people who .devote ment about "I wish this had their time and energy to their life fIRST RECITAL happened to me years ago," be- work only to be forced to compete GREAT SUCCESS cause years ago it didn't especially with such of the class who do so 10 Year Old p' • Series interest me-but, with all the con- only as a pastime or for the pin S tantst teals the Show centration and attention that it money obtainable from it. at the Kimball! requires, I think it is a rare This is also a response to the • by Elie Siegmeister pleasure. Presently have no aspira- article and subsequent letters tions beyond wanting to learn the which were published in issues of H~ ... "art" and to derive the benefits the 1953 ETUDE 'on the subject, therefrom-in such items, to para- "Social Security for the Music phrase some of Mr. Hamilton's Teacher." It seems odd that hum- Shared by Pupil, Teacher and Kimball Folk-Ways U.S.A. is not only a finecol- experiences, of finally stumbling ble trades, such as those of the lection of folk songs but also an unusual through a piece that at first seemed barber and the beautician, must Throughout America, many thousands of pupils are very difficult and then became so have regulations and restrictions getting their basic training with a Kimball. Some make collection of teaching material. Eachpiece easy one wonders how it could in their line of work, yet almost the headlines, others do not. Some wish to play is designed to illustrate a given technical ever have seemed difficult at all. anyone can "give music lessons." Lacking an instrument of my Locally, the situation being similar merely for their personal pleasure, others plan a point; each has been carefully graded. own for the time being, I have to to that in other cities, there is a lucrative professional career in radio, television, concert get my practice as and where I so-called "music teacher" in work or music teaching.- can-and with this sort of handi- nearly every other block-married cap, have done fairly well. women who are constantly solicit- Volume I contains simple pieces ofthe eas- But whether they remain amateurs or become Jack Hughes ing in one way or other, some A progressive series of five volumes of American iest grade progressing through Grade1%, Austin, Texas even using the churches, in order professionals, a new Kimball Piano makes learning songs, scenes and sketches for piano solo, written Volume II gradually becomes more tech- to contact pupils. In fact, the pe~- more exciting, playing more enjoyable, and will always "Credit of the Music Teacher" centage here is approximately two complement their talents. Because Kimball has the expressly for the young pianist of the present era. nically difficult until Volume III reaches Sir: With reference to the ar- to one, and the situation has exclusive "Tone-Touch" features, it provides responsive the intermediate stage. Volumes IV andV ticle, "The Credit of the Music caused so much difficulty that I Each $1.00 Teacher," as appearing in the July even suggested to the mayor of the action, full console tone and perfect pitch. Pictured are for the moderately advanced pupil. 1954 issue of the ETUDE, and the city to take the matter into con- above is the English Regency Consolette, unmatched resentment of the, I might say, so- sideration. I believe these girls for beauty and musical excellence. Why not see it, and called music teachers on the sub- should be required before mar- ject of Dr. Hancock's survey of other exciting new pianos at your nearby Kimball The series is the first attempt to use American folk tunes as a basis for presenting supplementarY riage to decide whether they want credit ratings in various profes- a career or marriage. dealer now? piano materials. Mr. Siegmeister states that some of the greatest composers have created "something sions, I believe the Credit Bureaus Fortunately, the music publish- artistically distinctive" through the "rnusicalization" of the natural every day experiences of the of America have the correct in- ing firms never lose anything formation. through my business, because I, W. W. KIMBALL CO. child. Schumann's "Scenes From Childhood" and Bartok's "For Children" are good examples. It depends on whom one would for one, pay strictly cash. KIMBAll HALL • CHICAGO 4, IlliNOIS refer to as "music teachers": if L. Revenna Henner one were to include the hundreds Lincoln, Nebraska You are invited to mail this coupon for Mr. Siegmeister has accomplished the same feeling with sounds familiar to American children today. additional information The complete series covers the whole range of technical and musical problems in an effectiveand ANNOUNCING A NEW CHORAL DEPARTMENT r--~~- , ETUDE has the honor to announce that beginning with its highly interesting manner. October issue a new monthly feature will make its first appearance ~a Choral Department under the editorship of Dr. George Hower- w. W. "KIMBALL CO., Kimball Hall ton, Dean, School of Music, Northwestern University, Evanston, Room 320D, Chicago 4, Illinois Illinois. Dr. Howerton is an expert in his field and under his Please send your catalog and name 0/ your nearest Kimball dealer. capable editorship, we feel sure that his department will prove • a FRESH and interesting addition to v music librarv to be of great value to many engaged in school music activities. Name' _ our Articles to be prepared by Dr. Howerton w.ill be beamed toward presenting solutions of practical every day choral problems as Address' _ THEODORE PRESSER COMPANY, BRYN MAWR, PA. they arise in the school room. City
ETUDE-SEPTEMBER 1954 ..
$3.50 A YEAR GREATER ... ETUDE the ulusic ,naga:&ine Year after year Editorial and Bn.ine •• Offiee., Bryn Mawr, P.. after year ! ! trJl &Julbransell James Francis Cooke. ~ditorl9Eam7"1'9'4"9""') F"und.,d 1833 by THEODORE PRESSER (EdltOT. • Viano in tile HOllie It is no accident that also with the Chicago Opera Company. Century Edition Guy McCoy, Managing Editor 13riHgs the PalllilyTagetlJe; An event of much interest during the new teaching publications opening week of Chautauqua's 81st sea- Her debut at the Metropolitan was made in 1923 singing the title role in receive more praise, George Rochberg, Music Editor What is more fun than gathering son was the Congress of Choirs, consist- "Carmen." more citations, Karl W. Gebrkens around the piano ... singingwith 109 of leading singers from church and Harold Berkley Maurice Dumesnil Paul N. Elbin other choral groups in more than 35 more frequent selection as William D. Revell! it ... or just listening. It'sQ The National Federation of l\fnsic Elizabeth A. Gest Guy Maier Ale:xan~er McCurdy communities in the Chautauqua area "best of the year" Clubs has added an important new Nicolas Slonuusky joyful way for the familytogrow who joined in presenting an AII·Amer· from qualified critics. up together, lean program covering the various phases project to its long list of activities. En. in the history of America. Under the titled "A Parade of American Music," Always known Only Gulbransen full 8B·nol. direction of Lee Hess Barnes, the pro- the project will cover the entire month for the excellence of February 1955, and will feature on September 19S4 Minuet Consoles ore equipped gram was arranged with the co-operation of our reprint editions: CONTENTS of Eastman School of Music and the Sib. Federation programs the works of Amer- Vol. 72 No.9 with the wanderful, new Svperlone famous for our ley Music Library of Rochester. Julius ican composers. At least one complete simplified transcriptions: Scale ... it's the exclusive miracle Huehn, former Metropolitan baritone, program of American music sponsored our editorial board determined FEATUUES scale and the reason for gloriolll now director of the Chautauqua School by each of the more than 5000 clubs in many years ago that we of Music, was narrator. the organization is the goal. The project 9 deep-dimension tone. has been launched by Mrs. Ada Holding would issue the best LEMS AND CHORAL CLiNICS .•... ··· .Perf'r 1. WiH,I'l""/;Y 10 ~~~rt~::~~1E ~:IECHANICALLYMINDEDSTUDENT.. - ",UYC fOR "j([£ tllOf.llCl[S Miller, president of the National Fed- .11(1;;"n E. M(i·~i Jl Diran Alexanian, distinguished eel- in piano teaching material. CONTEMPORARY MUSICAL CREATION IN EDUCATION .. , .. e Otlt* tM (! n ..oo.-i" ae- list and teacher, who at one time was eration of Music Clubs, and John Tasker IZ n) IH. Ilipuior RECITALS- TO HAVE OR NOT TO HAVE THEM ••. •····· .lt~"(' rtW(IIa 13 Howard, chairman of American Music. The policy is payin'L off. BREAKING A BOSTON SYMPHONY TRADITION .•.•..... MarlOu ~. IJd~~. oon.,.tluttion r~· a close associate of Pablo Casale, died ... lurtli,lndthdMci- SO -PADEREWSKI PLAYED THE TROMBONEl Jame- Fran~I_Jl C?;;,/~~15 in Chamoux, France, July 2. Since 1937 Year after year after year nali~,tor) ollbt ONCE IN A CENTURY ...... •...... •••..•..... JlqU'I t/ 17 he had lived in the United States. He Emil Hauser, founder and for fifteen Century NEW ISSUES $4rp'rlOM &alt. MID SUMMER IDYLI.-SALZBURG •.•••. ·· .• ······ .Norma f!,,'and yaf!r~ ZO taught at the Curtis Institute of Music, years leader of the Budapest String of piano teaching music SINGING WITH ORCHESTRA ..•...... •...•••••••••••• J' rttnl'.(,~ .... '1 Sf');a,L LONDON'S UNIQUE NEW FESTIVAL HALL ...... • ··· •. - .. , .1..11, /h-,4dl'" 26 Tt'.AOlr.l Peabody Conservatory and the Manhat- Quartet, will direct a chamber music It. " ... ;r&oAoj"' •• _ OI~ "iT contain the very type pieces tan School of Music. Among his pupils workshop at the New School for Social 01 II...MJ,ow,IC~II 'Im~ of aurell you have been wishjng for. were Emanuel Feuermann and Raya Research in New York City beginning • ..,.IIiOb'-1ft "o~1 .utboriud dp DEI'AUTiUE, 'I' Carbousova. October 1. They come from composers 0' .ocl.", ...... 1. on rtQtleil. 1 who possess. in unusual LET'fERS TO THE EDITOR ....•...... ••.•.••.•.••.... - . GULBRANSEN COMPANY The 23rd Annual National Gamanfa Francis Casadesus, composer, con- WORLD OF J'\oIUSIC.•..••....•••••••.••.••••••••••••.....•• - - . 3 OtPI. &. 2030N. RubySI. measure, the ability to
barrassed. "I did not intend to money. In May he willorgan gala festival for you. Them~ ask your age, " he remarked. is absolutely safe, the oreh~1 . "Yet this is what everybody .....,ta 15 : to want to know about excellent and an enthusiastic r~ seem::. .' . Leh opera singers," replied Lilli • rion is assured (or you." "And why shouldn't I give The predictions of Amen mann. h . I· .• my right age? A false year of ospita rry were entirely justified birth will not make me feel a day Tchaikovsky was amazed al tl, show of friendliness and admira. younger. " Lilli Lehmann's husband was tion he recei\'~ wherever he went Paul Kalisch, a tenor who was He wrote to his nephewfrom ~e doomed to live in the shadow of York: "I know thai I 'ill reme: his celebrated wife. They were ber America with love," By NI~OLAS SLONIMSKY separated Ion cr before Lilli Leh- mann's death °in 1929. Paul Ka· The pianist AlexanderDrey. lisch died at the age of ninety, in schock was 8 rival of Lisn and HEN WAGNER went to Hus- Baroness von Raden again: "1 am 1945, in the hOlls$' given to him nton Rubinst in in \;rtu05itr, W sia in 1863, he was fully sending you three copies of my by Lilli Lehmann, in Salzkammer- ·'The man has no I fl hand.He~ Rine of the Nibelungs, among aware of the paramount impor- gut, Austria. two right hands!" exclaimed an them a specially bound edition de tance of the Grand Duchess Helen, Paul Kalisch and Lilli Lehmann admir r. H in made a pun on luxe, which I beg you to place in the imperial sponsor of Russian sane "Tristan and Isolde" togeth r Drey hock'. name. '·Dre\·schocl my behalf at the feet of our adored e musical activities, immortalized by many times. She was not alway d llv r Dr i ch eke":"three Grand Duchess Helen. Please, keep Moussorgsky in his satirical sketch as nice and Iovino- to him ff th h ks," h aid. After oneof his "Rayok," where she appears at the one copy for yourself as a modest staae as Isolde was to Tristan in cone rts, 11 musician r nursed 10 end as the Muse Euterpe causing present; the third copy is for our o the opera. Th tory 0 e that n him: '·Prell' .oon they ..iii be all musicians to prostrate them- charming Fraulein von Stahl, one occasi n sh ",'as so irr ita: d playing h pin' Hevolutienen selves before her in the expectation whom I would fain abduct from by his inept a tin", that aft r the ·lude in OCIO'("'''· Drel'",hoc( of opulent bounties. -. your collection of pictures show- final curtain she I ull d his nhun- ~ III cl impre- d. '-lit I'.'efks later Before, during and after his ing-her with her handsome hat, dant hair twist he performed the RelOiulionar) Russian journey: Wagner wrote but she has taken her hat and her- and d hi" elegant ,tud plnj ing Ihc lefl h3lldinoc· twenty·four letters to the Grau"d self ~ay from me, like Eva from mustache in ano r. tave. ne of Li-,t' pupi~report· Duchess and to her lady-in-wait- the house of Hans Sachs!" Lilli Lehmann wa" l..n,)wn for d Dr . h k', feat in d,-,. Liszt ing, Baroness von R~den. These Despite the interest that the her acrid wit. anI} \'13 '81H1b1 of .)J)('(" at n at the pi no aml a~ked letters, preserved in the central Grand Duchess took in \Vagner, great -arca.,m. Sh '"laid tl) a 10\' with 0 co' utll air: .., 011 mean he archives of the City of Moscow, the Russian secret police kept girl pupil: ··Wh n [ leave lhe eon· throw an interesting light on Wagner under surveillance, and cert stage~ I alute my audien c. pia ed illike IM,T' Ind hed"hffi \Vagner's character and on his con· reported his activities to the Ger- When you do. you ou ·htlo 01'01 ff th pi in 11:1\::) \dlh o~ten- stant search for patronage. The man police. Wagner was stili pay- gize tl) the pul1ic.'~ lali U~n n holonce. fnlaler ~ear5 Grand Duchess was indisposed ing for his revolutionary frolics i-zi liked to r unl Ih;, epi""',. Goodbye to the old, when - Wagner gave his i\vo 'con- of 1343. .. MONG ROY L mus; ·iane, ~ h n ) un 'lor;, R"",nlh,i welcome to the new I certs in St. Petersburg, and he l-l.. Prince Albert, OlhQrt f cam I ludy "ith Li-,l, the-u. wrote to Baroness vou Raden: ··1 THE DRAMATIC TENOR Queen Victori:1, was ne of Ih j I am ul on e m reo R~n, Shown above is one of hope for the complete recovery of . Alois Burgstaller (1371·1945) most profes::.ional. Hi manu ... ripls thai beg cd Li"1 10 ,h,JWthecia;- 18 Everetts delivered to Her Highness. How eager I am knew as much Italian as Caruso show a facile hand u e 1 to writing h '" h did it. Li-d bliged.··)I,~ schools in Temple, Texas. to a,pproach thi.s most rare of knew German. In the early years notes in cursive script His s ngs I try it, t . oil' a lilde faster'· Grade school to college The Style 10 was the princesses! Should she deign to of the century, the two were with to German texts. published post~ said R nthal. .Ind ;n a might)· unanimous choice of the allow me to spend some hours in the Metropolitan Opera, and be~ humously in England: reveal a r - Itsl ught n the ke .;:,he thunder· school board and a her presence; I would be happy to came very'. friendly. They often mantic temperament. influenced by ed through the Relolutionary special committee of serve her, for she is the true jn. lunched together. Caruso would :Mendelssohn. The criti o( the . tud in on avalanche of ocla\-e four musicians. spiration of my journey to the tell a funny story in Italian, and "Atheneum" rendered this Qpinion pa~ ag . belteriu" Li'"zt"slimeh~ EVERETT SCHOOL PIANOS North. And since 1 cannot give Burgstaller would laugh and shout in his review: "These songs are nenrl • n minule.. another public concert in St. "Si! Si!" which was the only word charming in their simplicity. and stand out ... stand Up! Petersburg, I would strive with all he knew in Italian. Then Burg- though they will not compare with La;ov, the cOlllpo~r of the0r. Dozens of cnlJeges and universities have selected the Style 10 E\'erelt my heart to play my music before staller would tell a story in Ger. the best lieder of Schumann or itA nthelD, was an excellent\11}- WRITE TODAY for free portfolio No. 16. It describes because it's a fine professional piano. Tone, touch, and response have her in private. It is not vanity that man, and Ca.ruso would respond Schubert, they are not unworthy linist· ... humann heard hint in the Style 10 in detail, shows how it tl countries. The Internalional F . •• 11 ... , THE NEW ENCYCLOPEDIA OF WORLD FAMOUS MELODIES IN 12 VOLUMES FOR PIANO SOLO Musie Lover's was ongtna y proposed by HaroldT dor [see ETUDE, December 1953,p , More PlaVing Enthusiasm 17). Ccmperitlons were held for ,It~ clessificerions including folk so;anttl dance, J uJy 7; youth and female;h~ BOOKSHELF July 8; mixed choirs and sole co o~, Everybody's Music Library lion, July 9; ebildren'a and malem~ .. JIIO ro.. By DALE ANDERSON compelltl~n.5, u y • Other s~ GREATLY SIMPLIFIED BUT NOT MADE EASY l!I:iimq features included the Ianine Chan rr Ballet of Paris and the Halle OrchesuIt Piano Music con~ucle~ by .ir John Barbirollilli~ :'i f I I ~-"'.' expertly Arranged by WILLIAM STICKLES C~ll Smith, plano solokl. 11is inter. each volume eaung to note that the aim everyyear' ;1 j III~I . ~'l~.'I arranged A new exciting series of selected melodies books and have issued many excel- to make the test pieces as representatiIs only effectively arranged utilizing only three Fundamentals of Harmony I ,.1.: _ I. l' by by Siegmund Levarie lent ones. 815 possible of the EuropeanandAlDel,e ~~~ 1'"~ HAROLD PERRY, basic chords in their simplest positions. The authors of HThe Musical Pro· For Individual and Class Instruction. Dr.' Levarie's new harmony book can musical schools. Copiesare a~a~ ~~ li~~·_ a~;;"-'..... JOH~;:iHITE duction" have had long years of able in both Ionic 501·faand staffnOla. is a very distinctive approach to the 60¢ -#, ,,-,~ ~"7".':- --> ";i-' ~ E THORNE OLD TIME MUSIC practical experience in all phases of rions and with words in morethan one 1-..... subject, wholly unlike other harmony "; .~ 7' ) . I WANT A GIRL • I'll Be With You IN the problem and they wisely do not language. , APPLE BLOSSOM TIME • JUST AROUND books we have seen. Harmony 1S - THE CORNER • THE SIDEWALKS OF NEW approached from many different assume that the prospective readers CONTENTS .BY VOLUME An Inlernalional M8~terCIa fOf YORK • WAIT TILL THE SUN SHINES angles according to the needs or have had any whatsoever. There- letto (Duke's Canzone; Gilda's Aria; Quartet). La Traviata NELLIE· IN THE EVENING BY THE MOON· fore, they start from rock bottom. in cell! l.s i being held at Beule, SU5el Volume I. CHOPIN. (Drinking Song; Prelude; Violetta's Aria). II Trovatore interests of the student. That is, in Funeral March. Mazurkas (Op. 7, No.2; Op. 24, No.1; Up. LIGHT • TAKE ME BACK TO NEW YORK each of the twenty chapters which England. duri'lt Augu~tand PlelDber (Count Luna's Aria; Gypsy Chorus; Azucena's Canzone) TOWN, and others. some instances it is introduced in a under the di lion of the nOI~ cem.; 63, No.3; Op. 67, No.2). Nocturnes (Op. 9, No.2; Op.32, curriculum more or less as a matter are written around the details of No.2). Polonaise (Op. 40, No. 1) _ Preludes (Op. 28, No. 15: Volume VII. FAMOUS WALTZES. WALTZ MUSIC Maurice Ei n~11t- It i.. the fit.t~ Delibes (Coppelia Waltz). Counod (Faust Waltz). lvanovici of course, just as catsup is served such subjects as "The Formation of Op. 28, No.7; Op. 28, No. 20). Studies (Gp. 10, No.3; Op. VIENNA LIFE • THE SKATERS • mUDI· eourlt' htJd in 'nleland ~jnoe the Inter. 25, No. I; Op. 25, No.9). (Waves of the Danube). Offenbach (La Belle Helene). Rosas ANTINA • CIELITO LINDO • OVER THE with baked beans. One student goes An Amateur Operatic 0 iety," nalional tirnm",r ·llOUI.1 Exmouthin (Over the Waves). Schubert (Waltzes). Johann Strauss WAVES • THE BLUE DANUBE • limE through his harmony course and "Public Relation ," " ho illg 8 1949, al-o under Ei"lt'obtr;. Volume II. TSCHAIKOWSKY. (Waltz Chain-BIlle Danube; Fledermaus; Stories from the Chanson triste, Op. 2. Chant sans Paroles, Op. 2, No.3. ANNIE ROONEY • A BICYCLE BUILT FOR comes out moon-eyed, wondering Musical Show," "The Produ rand Vienna Woqds; Roses from the South; Emperor Waltz). TWO, and others. Kamarinskaya. Lark, Op. 39, No. 22. None but the Lonely Tschaikowsky (Sleeping Beauty). what it was all about. Another stu- the Actor," "The Mu~j 81 Dir (ro" Til fourth Ihdil.J F thll held Heart. Piano Concerto No. 1 (Opening theme): Sleeping POPULAR MUSIC dent is very happy to acquire a "The Theatre Orch SUB," " lage at Jlf"IAinki, in Junr. ~I the mu·tIlk. Beauty (Rose Adagio, Lilac Fairy, Grande V.lse'). Swan Lake Volume VIII. BRAHMS. I BElIEVE • RICOCHET • CHANGIN~ Lighting Equipment," liThe Ore e ful of thC'", r\rnl, to datto An im. (Odette, Grand Pas de Deux, Dance of the Swans). Symphony Hungarian Dances Nos. 5 and 6. Intermezzi (Op. 117, No.1; PARTNERS • DOWN BY THE RIVERSIDE knowledge of harmony to further an 118, 49, pori 01 fa IUr in th~ ~ue~~.flllpromo- No.5 (Andante). Symphony No.6 (lst Mvmt.). Op. No.2). LuIlaby (Op. No.4), Rhapsody, Op. 79, TO BE ALONE IN THE MISSION OF appreciative understanding of the Rehearsal," and so on, all d fined No.2. Symphony No.2 (excerpt). Vain Sllit. Wallzes, Op. 39. tipn o( the (nth.1 I~ Ih",~ilwoliu~\fM ST. AUGUSTINE, and others. inner strUCLure of music and to assist with great clarity. The book is on Volume III. SCHUBERT. F lind lipn "hleh lUI rrt'f"hl"d bnlDdal Ave Maria. Chain of Waltzes. Death and the Maiden. Favorite Volume IX. RACHMANINOFF. FOLK MUSIC in -bener performance and enjoy- of 226 pages and i ilJustrat d wilh Famous Prelude, Op. 3, No.2. Piano Concerto No.2 (Last up rl from dlt' Ulle to fhl' tlteDt of Theme. Das Heidemoslein. Impromptu. Marche militaire. Mo- 69 fine half· tones of stage sellings ]\1vmt.). Polka de W. R. Prelude, Op. 23. No.5. Serenade. OOWN IN THE VALLEY • GRANDFATHER'S ment of the art. Another student makinll up S01t o( Iht 10'.' Sir ment musicaL Rosamunde Entr'acte. Serenade. To Music. CLOCK • COCKLES AND MUSSELS • ALL Op. 3, No.5. Soldier's Wife, Op. 8, No.4. looks to his studies in harmony as and designs. It even goes inlo fir Thpm Rnch.m. eonduClm; Dllid Trout. Unfinished Symphony (excerpt). THROUGH THE NIGHT· MY OLD KENTUCKY risks, costs. the opyrighl law, con- HOME • SANTA LUCIA • LOCH LOMOND a means of acquiring craftsmanship i~Er.kh. RIl ... 1 n ,lolini,l; Ind Ella· Volume IV. BEETHOVEN. Volume X. BACH. Air. BourrCe. Chorale (St. Matthew's Passion). CrucifixlIs (B SHORT'NIN BREAD • THE BLUE TAIL FLY in composition. To this last class, ducting, chorus training, lage Iro- belle Da'i • AnteriC4n in~""lfue t~ Album Leaf (Fur Elise). Creation (Hymn). Emperor Con· certo (Ist Mvmt.). Minuet in G. Piano Sonata, Op. 27, No.2 Minor Mass). Minuet. Musette. Polonaise. Prelude. Sara· BEAUTIFUL DREAMER, and others. Dr. Levarie's Fundamentals of Har- perties, stage settings, dre 50 re· gu ~ 8rli I • "hU", th" Olhm on tM (Moonlight theme). Piano Sonata, Op. 49, No.2 (Minuet). bande. Sheep May Safel)' Graze. Sinfonia (Christmas Oratorio) . mony should have a particular ap- hearsals, and concJud s with 8 J)rogram "crt n.!i\l" .ni ... A fealure MARCH MUSIC Symphony No.3 (Funeral March). Symphony No.5 (An. Volume XI. DEL/8ES. peal. Very few of the large number lengthy list of the be l available o( Ih pro",am ""rtf Ihe ~"etl !YlD" STARS AND STRIPES FOREVER OUR dante). Symphony No.9 (Hymn of Joy). Turkish March. Two Coppelia (Mazurka; Waltz). Lakme (Bell Song). Nana (Pas phoni (ibe:1iu .... pla)H.l in chmDo:l- OIRECTOR • SEMPER FIOELIS THE of harmony texts the writer has operas and musical plays suitable Ecossaises. des Fleurs). Le Roi s'amuse (Passepicd). Sylvia (Pizzicato; THUNDERER • THE WASHINGTON POST read give such definite directions as for amateurs. I g;cal order. THE MARINE'S HYMN· THE CAISSON SONG Volume V. HANDEL. Valse Lente). EL CAPITAN, and others. to the best way to solve harmonic Pitman Publishing Corporation $6.00 Berenice (Minuet). BOllrn~eGavotte. Famous Largo. Halle· Volume XII. MOZART. problems. lujah. Harmonious Blacksmith. Hornpipe. Messiah (He Shall Abduction from thc Seraglio (Aria). Alla Turca. Avc Verum CLASSIC MUSIC Feed His Flock; I Know that My Redeemer Liveth). Rinaldo AMARYLLIS • ANDANTINO • CRADLE Dr. Levarie was trained at the (Note: This column in the July Corpus. Cosi fan Tutte (Duet: Chorus). Divertimento No. 17 is· (Air). Sara banda. Saul (Dead March). See, the Conqu'ring (Minuetto). Don Giovanni (Minuetto; Duettino). Eine kleine SONG • MINUET • THE JOLLY FARMER Vienna Conservatory and the Uni- sue contained a review oj "A Conci.$e Hero. LONDONDERRY AIR SALur D'AMOUR versity of Vienna. In continental Eu- WORLD OF MUSIC Nachtmusik (Serenade). Magic Flute (March of the Priests; MINUET IN G, and others. History oj ltlusic" by {(lilliam Love- Volume VI. VERDI. Papageno's Song; Saraslro's Aria). Marriage of Figaro rope music schools, it is customary lock, as published by C. Aida (Celeste Aida: Closing Duct; Triumphal March). Rigo- (Aria). Piano Sonato (Theme). Symphony No. 40 (Minuet). HYMN MUSIC in Eneland (Continl/ed from Page3) for the student to have a thorough Bell and ons, Ltd. We are advised JUST AS I AM • FAITH OF OUR FATHERS course in musical theory before un- ROCK OF AGES • NEARER MY GOD TO that the American Edition oj this M • J a bell I lone, 'lido."of THEE COME THOU ALMIGHTY KING dertaking harmony. This is always worl~ is published by the Thomas Y. Han"ey . Fir ~luDt". 'r., founderofthe EIGHT FAVORITE SACRED VOCAL SELECTIONSIN MODERATELY EASY PIANO ARRANGEMENTS BLEST BE THE TIE THAT BINDS· I NEED a good practice, as the average Crowell Company. priced at 3.50.) Fir "lone Tire and Rubber Company, ,THEE EVERY HOUR, and others. student's mind is not prepared to died in Akron. Ohio. on July 8, II the COWBOY MUSIC profit from the subject before be- age of 79. be: "". inlerblled in millie BUFFALO GALS· SKIP TO MY LOU· RED ing oriented in music itself. and w the compo-,er of the 1heme Songs of Faith RIVER VALLEY • HOME ON THE RANGE The Ronald Press Co. ,$3.50 song u.&ed on the "Voice of Firestone-" PUBLISHED IN BIG NOTES-WORDS INCLUDED ON TOP OF OLO SMOKY • I'D LIKE TO radio liDd le.le\-i~ioD program.> The fu5t BE IN TEXAS, and others. The Musical Produclion MusicalNewsItems of these. In My Carden, lm u..-ed fer containing FAMILIAR MUSIC by Cassar Turfery and the first time in 1936. lo 19.J.l,a new HOME SWEET HOME • CARRY ME BACK TO Kiug.-Palmer introduced. BLESS THIS HOUSE OPEN THE GATES OF THE TEMPLE OLD VIRGINNY • WHEN YOU AND 1 WERE from Abroad YOUNG MAGGIE· DARLING NELLIE GRAY This "Complete Guide for Ama- Irving Berlin, compo:er of God The HOLY CITY PANIS ANGELICUS GOOD·NIGHT LADIES • JUANITA • THE teurs" is designed as a practical Bless America, \'l·U honored in Julr PRAYER OF THANKSGIVING OLD OAKEN BUCKET • YANKEE DOODLE, handbook for the ever increasing The LORD'S PRAYER and others. Leos Janacek~s opera, "Aus einem wben Pr ideal Ei· nbower 9gned a amateur leaders who desire to "put Totenhaus." was produced al Lbe music bili authoriz.ing a ::pec.ialgoldmedal f~r The LORD IS MY SHEPHERD THANKS BE TO GOD STEPHEN FOSTER MUSIC on" a light opera, a revue, a musical tbe composer "in recognition of bi~ BEAUTIFUL DREAMER' THE OLD FOLKS AT festival at Wiesbaden, and pro\ed to complete 85¢ comedy or a pantomime. In a recent be one of the highlights of the entire services in composing many pop.u1~ HOME· DE CAMPTOWN RACES • JEANIE r------..cllp_ -ond __ send_ -to _ WITH THE LIGHT BROWN HAIR • MY OLD n.umber of the New Yorker Maga- event. The opera was presented in ob- songs. including Cod Bless Am.er~ KENTUCKY HOME • OLD BLACK JOE • DH! zme there was an article "Books" servation of the one hundreth anni. The 66-year old compHer and bl~Wile 100SEY •• d HAWKES versary of Janacek's birth. Karl Elmen. ""ere pr eol "hen Ibe Presidenl put SUSANNA, and others. by the astute critic Edmund Wilson DEPT. 357 EVERYBODY'SMUSIC dor~ ~...as the conductor, 8nd among the bis signature on the bill. All the pro~~ CHRISTMAS MUSIC which ranged from the tenses in th~ P.O. lOX 411, LYNIROOK, L. I., N. Y. LIBRARY partICIpants were three Americans' (rom this song ba"e gone to the Gil' SILENT NIGHT! HOLY NIGHT· THE FIRST Hebrew language to the immense ... Vol. I •.. Vol. VII David Garen, Robert Trehy and Alber~ Scouts of America and other group;, Please send eopies cheded to my attention for which NOEL • JINGLE BELLS HARK! THE number. of "tell how" handbooks Available through your dealer, or from: ... Vol. II Vol. VIII HERALD ANGELS SING • JOLLY OLD ST. Gammon, all of whom are resident remittance in the amount .•.•...... •.. is endoied. .Vol. III Vol. IX now being published. Mr. Wilson is NICHOLAS • DECK THE HALLS • STAR OF members of the Wiesbaden Theatre. Starling A. Cumberworlh of T~O' . ,.Vol. IV Vol. X ... VoL V .Vol. XI THE EAST • JOY TO THE WORLD, and inclined to look lightly upon such chester, . Y_ has won the W. W.K~' BOOSEY and HAWKES NAME. others. "handbooks." A well made hand- ... Vol. VI ... Vol. XII The eighth annual Inlernutional ball prize of $200 in the annual co~~o- DEPARTMENT 357 • Price 85. each book book, however, such as "The Musical Musical Eisteddfod was held at Llan. lioo sponsored by the Chicago SlIlg1D,~ ADORESS. SONGS OF FAITH P.O. BOX 41B LYNBROOK, L. I., NEW YORK Available at your de~ler or"direct Production" may become very prac- g?Uen, Wales, July 6-11. Since its be- Teachers Guild. )1r. CumbeTVl'orth, ... copi" , , tical and helpful to those who need g.lDnin~ in 1947, it has grown steadily in winning song Lullaby was judged th~ .... . COM PLETEPIANO (HAl. H. HAN\£N MUII( (ORP. SIZe.wIth the competitors at the 1953 best of 183 cnlran15 (rom United State:;, RETAIL SHOP IN NEW YORK CITY AT CATALOG (no charge) it. The publishers. The Pitman Com~ 30 WEST57th ST. 1i q We" I7lh II .. N Y 1q N Y pany, have made a specialty of hand~ festlval numbering over 2000 men Canada, and Hawaii. women and children, represenling 2i (Continued on Page 8) ETUDE-SEPTEMBER 1954 7 ETUDE-SEPTEMBER 1954 .....--- r c WORLD OF MUSIC (Continued from Page 6) • D 'I editor of cultural affinities of the U. S.wlthot~ Dr. Maurice ubmesnj .• , ETUDE great musical nations. The Aus": s., Roundta e In' "l4n Teac her e. . F during July Radio network broadcast the operato visited hIS natrve radoce ~ adJ.udicator its listeners. and while there serve a" . for the piano contest at the NatIonal Conservatory of Paris and its branch the George Barati, conductor of the Ecole Nationale de Musique at Troyes Honolulu Symphony Orchestra, has re. (Aube}. Dr. Evangeline Lehman. THINKING FINGERS~ Volnme Two The Central City (D nver ) (\{'rll Lan ...inc. which "inc't"January 19~ he One of the most distinguished choral conductors ui the country he n operating wh ! i..prrhal8 thelargo Essential exercises for the development of pionistic control and Festlvnl in July present d a perform- tells of his work with groups of young singers. facility in Chromatic and Maior and Harmonic Minor Scales, Stok.en ance of '·Faust" ag a Hsulut .. to the e,,1 educarional !~Ie\'i..icm .Illion inthe Chords, and in Maior, Minor, Dim. 7th, Dam. 7th and Arpeggios famous Salzburg F stival in Au·Mia. It nOI ion, will prro,fRl Ihi.s fan a 13-we;ok ..cri , of prov;ralll d....i;cnf'd10 inler~t $1.50 was t.he first ··opera salute" (lVl"r giv tl by an American group to a f?rei~n li~t ncr. in roiKnificanlkcyooardlitera- 3 Piallo Publications By HAZEL COBB country. The greeting, arranged In co· lIIr and al"1Oto provit:lf'a bi'uergen- operation with the Voice of Am rica. eral mutical bad.ground for the lal- From an interview with PeteI' }. Wilhousky secured by Rose Heylbut PLAY FOR FUN is part of a program ::oponsorpd by the mftn. Tht I)(ogram.. \Ioilll;H'in(:harge~Jf (wriHen with Eugenio RobinsonJ u. S. Information Agency to "how Ih ( onrinurd on Pegt 16) 26 familiar son9s arranged for piano. "Aunt Rhody," "Down In The Valley," ','Now I Lay Me Down To STeep;' "Wayfaring Stranger" (Peter J. Wilholtsky exerts perhaps the alone-they tell you the children will im· I believe pitch to be the basis of good and others ...... •.....•• _ , , .. , • • ...... 75 greatest influence in the school choral field prove as they grow older. I believe that ensemble work-and, alas, a rather neg- today. Born in New Jersey, he received his correct teaching methods can greatly im- lected phase of musical education. VARIETY AND SPICE FOR PIANO earliest training in the Russian Cathedral prove pitch right at the start, leaving the After hearing good performances, the "Fun'in music" for youngsters. 11 piano pieces in popular styles, Choir, under Ivan T. Corokhofj, and later way open for subtler refinements as normal second step in perfecting pitch habits is to boogie or swing. Complete section on how to ploy and makeup attended The Institute of Musical Art and development progresses. make the child aware of the scale and the "Boogie" patterns "...... 1.00 the Juilliard Graduat.e School. He began RHYTHM teaching in the New York City schools in How, then, are we to improve intonation? tonal relationships \vithin it. I have found TO COUNT, SING AND PLAY 1924, and now holds the position of Director First of all, the child should hear not only it to help a student when he knows the of Music of the New York City Schools. His good music but music which is well and structure of the scale, where the whole A naturol method of training in rhythm with emphasis on the value other teaching experience includes instruction accurately performed. It is part of the tones lie, where the half-tones; where, in of the "whole-arm swing" as the simple and natural compliment to rhythmical piano playing •...... ,...... 75 in the Mannes Music School, the Juilliard choral director's task to see that the models general, he is going. To the singer (of any School, and The Union Theological Seminary. the child is given reflect good intonation. age), music is a nebulous thing; a knowl- 2Hew Plano Books B, ERIC STEtNER He has lectured extensively, his professional Phonographs, radios, and other mechan- edge of the elements of theory provides choristers have appeared on many radio pro- ical devices purchased for school use something tangible to work with, resulting grams, and he was chosen by Toscanini to ONE, FOUR, FIVE should be selected with this end in view_ bolh in more intelligent singing and in train the choruses for the Maestro's radio At the beginning of his training the young· pi.ano $tud~nt is tought I have seen classrooms equipped with poor better intonation. to play familiar melodies accompanied by: simple chords thus and recording performances. Mr. Wilhousky increasing his interest and encouraging further development .75 is also known for his choral works and machines and worn-out records which give This particular kind of nebulousness arrangements.-Ed. Note) the young listeners an inaccurate notion of does not exist for the instrumentalist-and YOUR OWN HARMONIES tone. This, I think, is false economy, as the so I further advocate some experience in A natural foflowup to Steiner's previous book. Teaches the student THE FIELD of Ihe choral director" covers child's grasp of musical quality depends playing. Stringed instruments are especially how.to harmonize melodies with the three principal chords . . 1.00 all the elements which make for good chiefly on what he is given to hear. Educa- good as a basis for perfecting pitch, and singing, whether in solo or group work. tion can sensitize a child to the awareness for two reasons. First, the performer manu- New Elementary Piano FolioBy DAVID CARR GLOVER, Jr. These, of course, include quality, intona- of good tone, and this should be done as factures his own tones, gaining experience 800'GI£ WO.OGI£ SCHOOLDAYS tion, blending, attacks, dynamics, rhythm, soon as possible. I think it a mistake to in gauging the minute differences of sharp diction, musical communication. There is stress resonance and diction while neglect- and flat, and thus becomes aware that sharp Five .E·t~des i~bright and bouncy style - 1. GffilNG UP BOOGIE 2. OFF TO SCHOOL 800GIE 3. LUNCH TIME 800GIE 4. GOING' one point, however, which, in my opinion, ing pitch, and the mistake is a common and flat do not exist alone, but only in rela- HOME BOOGIE S. FRIDAY NIGHT BOOGIE ••• " .complete ,,75, deserves a special emphasis which it does one, among private teachers as well as group tionship to what has gone before and what not always get, and this is accuracy of pitch. directors. As choral assistant to Toscanini COmesafter. In the second place, whereas Newest Plano Book III the Moderll Idiom! In choral work, sensitivity to pitch is an at NBC, I had to audition scores of profes- the piano has a tempered scale, the stringed MODERN MELODIES FOR POPULAR PIANO PLAYING indication of the group's development. The sional singers; most of them failed through instruments (like singing) make use of the By MARVIN KAHN ' singing of very young children reveals con- lack of accurate intonation. true, or natural, scale. :AlI-time favorite songs arranged for the early intermidiote pianist. Tong II Han, ll-year·old piano prodigy, who hag been brought to the siderable variety; these young singers can- The secret of good choral work is blend- Next in order comes the acquisition of Stormy Weother - Sweet Lorraine - All My Love - Moonglow _ United States under the sponsorship of the Fifth Air Force pers:onneL.to not sustain pitch for any length of time. ing which is not limited to vowel color, but and others illustrating modern rhythms and idioms. Drills, analysis some basis of sound vocal technique. The accept a full· scholarship at the Juilliard School of ~1u.sic in ~ ew York City. Instead, they only approximate it. As the rests squarely' upon basic pitch. Like or- practice procedures ...••••. ,"', .•••••••••••••••• , 1.00 First Lt. Thomas S. Cutshaw, of Gayton, Mo., an interpreter at Fifth head- greatest pitch problem occurs with young quarters, arranged for the scholarship following discovery of the boy's talent child enlarges his singing experience, his chestras, the well-drilled, experienced pro- boys, immediately after the change of voice. when he performed for an all-Air Force revue. Personnel of the Air Force pitch becomes more stabilized. This, no fessional chorus maintains strict accuracy To sing at this time is embarrassing to the have contributed over $4000 to defray his living expenses wb.ile studying doubt, accounts for the fact that many of intonation, while the hit·or-miss group boy, who wants to do well (especially be- MILLS MUSIC~ INC. at Juilliard. Durina concert tours of Air Force bases in Korea and Japan, group directors tend to leave intonation does not. If I stress the point, it is because fore girls!); if (Continued on Page 16) 1619 Broadway, New York 19, N, Y. ?is repertoire incl:;ded Beethoven's "Pathetique" Sonata, Chopin's Prelude 1n E-sharp minor and Mendelssohn's Rondo Capriccioso. ETUDE-SEPTEMIJER 1954 8 ETUDE-SEPTEMBER 1954 9 • Music and the Contemporary Musical Creation llfechanically Minded Student in Education How are educators, especially teachers of composition, to conduct the study of music of the twentieth centurv? One of the foremost pianist-composers of the present day presents an authoritative discussion of the subject. By Henry Cowell (Henry Cowell, member of the faculty of Pea- serious influence need to be studied and harmonic function to dissonant as wen as body Conservatory, Baltimore, has appeared compared factually, without bias. It is consonant material, and of polyphonic in Europe and America in recitals of his own function to new melodic writing. Hinde- piano works. Many of the major orchestras my finn opinion that when a final unifica- rnith's theoretical books lay down rules of have played his symphonic works.-Ed. note) tion of compositional principles of the twentieth century is made, it will combine procedure to enable the student to handle MUSIC WRITTEN in the twentieth ideas and techniques now considered wide- the technical aspects of Hindemith's own (L.) 5.-. Glee Clubs century presents a problem to educa- ly at variance. style. tors, particularly to teachers of composi- One unifying factor of all schools of Nadia Boulanger, associate of Stravin- How students in a large vocational technical school in a tion. Just how detailed an approach lo the modern music is that they utilize free sky and teacher of leading Americans such metropolitan city are brought into a musical atmosphere with music is possible? Just what composers dissonance more than did earlier music; as Copland, Harris, Piston, and others, and which tendencies should be studied? but the schools differ on how to use it. gives students much more than the custom- results that sometimes are as surprising as they ore grati!J'ing. Is there a real technique in the handling Some aim to emphasize the particular ary training in modal counterpoint, and of new musical materials? If so, what is its quality of each dissonance; others feel then adds advice on how ecclesiastical relation to old rules of harmony and coun- that differences between dissonance and modes may be expanded in modern usage, from the standpoint of formal composition. by Harry E. Moses terpoint? consonance have been overplayed, and that Obviously, it is evasion to by-pass this a unification of approach to hath. classes Dissonant counterpoint, a study applying whole subject, or treat it in a superficial of chords and intervals is demanded. the same general rules and procedures to One school believes that all tonal and dissonance which are applied to concords DUCATORS generally recognize that I made a survey of student thinking with music that \\ e know will give them great music-appreciation manner, Composition melodic materials should he handled strict- in sixteenth century counterpoint, has been certain students have a definite me- regard to the subject of "good music." enjoy ment and better ocial and cultural and theory students are universally inter- E ly according to a "twelve-tone row." The completely codified, and has been taught in chanical bent. In our large cities high Approximately 350 students were asked to opportunitie for personal advancement, it ested in recent developments, and their technique for this, within limitations, has such widely separated centers as the Uni- schools have made elaborate provisions for define good music and state on what basis is better to go from the known to the study of them needs careful consideration been worked out very carefully and may versity of California, at the Hoch Schule such students. As chairman of the music they determined that a piece of) music was unknown. It always helps to draw all their and unbiased guidance. be studied exactly, in accordance with fner Mnsik in Berlin (by Hindemith) and department of the Murrell Dobbins Voca- good or bad. The results were quite personal experience. One year, for example. "Modern" music at one time was thought the principles of Arnold Schoenberg, Anton by Alban Berg in Vienna. Dissonant coun- ticnal-Technical School, in Philadelphia, it startling and revealing." Most of all, they for the purposes of teaching about the of as breaking the rules of harmony and counterpoint, and most of it was considered Webern and Alban Berg, which are prac- terpoint is a strict counterpoint; how- has been my privilege to work with large showed that our young people can think. string section of the orchestra, we secured ticed in France by Liebowitz and Boulez, ever, a free modern counterpoint based on numbers of these students. This school, of Without too much background they came from a local violin maker a chart which chaotic. Now it is apparent that all modern music that shows signs of survival displays and in America by Krenek and Riegger. recent harmonic functions and covering approximately 2,800 students, is provided forward with such meaningful words and pictured the steps followed in the making orderly musical processes. Most of these In a second case, the Russian-American both consonance and dissonance is now with modern equipment and a staff of phrases as, "Usefulness," "beauty," "need," of a violin. Patterns of the various violin reflect a growth and development from composer-theorist Joseph Schillinger be- taught by Hindemith. Both of these studies teachers to prepare such students for a "fills emotional needs," and "makes you parts were arranged in an orderly sequence older practices, usually by slow and under- lieved that composition is an exact mathe- may be considered as an aid to composi- profitable life. wan~ to move your body and tap your so that the students could see how the sec- standable degrees, There are surprisingly matical science; his "System of Musical tional technic, rather than as systems of Most of the students attending such a feet.' In the discussions which followed in tions were put together. A number of the few instances in which new ways appear Composition" was followed enthusiustical- composition, school have not had the home or educa- each class, students were led to channel boys who were specializing in pattern to be used merely in protest against old ly by George Gershwin, Count Basic and Bela Bartok did not write on methods. tional background to prepare them for the th~ir thinking along constructive lines. making, cabinet making, machine shop rules. others in the popular music world, and it but a study of his work reveals an applica~ appreciation and enjoyment of good music. WIth the he.lp of the teacher, they came to and machine design began to ask questions- Unfortunately, because it presents diffi- has been the most successful organization tion of classical form to new materials It is not unusual, for example, for a class the conclusion that, amonz other thinas such as: "What kind of wood is used?", " 0 0-' culties in study, all contemporary music of all musical materials from the viewpoint based on the rich variety of secular modes of fifty or sixty students to come to the mUSIC, to be good, must be well written "Where can we get the dimenslone?". is not unified in a single philosophy or of Broadway and Hollywood arrangers. used in the folk music of southeastern music room and ask such questions as: well played, must be functional in the mind "Can you buy the patterns?", and "Is it "Why do we have to study music?" technique; consequently, several philoso- Their attitude has stirred complaints by Europe, "Why of the. composer, and that its purpose must hard to make?" or were some of them do we have to have this long haired stuff?" phical viewpoints and several techniques some other sources; yet in most cases the Schoenberg's book on harmony empha- be evident to the listener satisfied with a visit to the violin maker's "Why can't we sing our own songs?" need to be examined. Since it is far too complainers have almost complete ignor- sizes reasons underlying changes from old In the exciting experience of interesting shop. '·Where can we get a book which These questions indicate a wide gap be- early to determine that anyone system is ance of the system. to new harmonic practices. Walter Piston's the mechanically minded boys and girls in tells us how to make cne ?" they asked. tween the only music which the students "right" while another is "wrong," all of Hindemith has developed training in book on the same subject emphasizes analy- When recordings of Heifetz with his Stradi- have known and what the music teacher l"An Icky Looks at Good Music" by Harry E those systems which have exerted wide and ways to adapt the known principles of sis of a nnmber of (Continued on Page 49) Moses, Mus. Ed. Journal Chicano rn Sept 0 ,. varius, and Kreisler with his Guamerius prepares to bring to them. Several years ago 1944. ''''' . " .' c. were played, (Continued on Page 5/1 ETUDE-SEPTEMBER 1954 II 10 ETUDE-SEPTE.1l8ER 1954 • To Have or Not to Have Them -I RECITALS: ORIOT ANTHONY made prominent D news in the conservative and world- 1 circulated Christian Science Monitor when she received her appointment in the fall of Here's one progressive 1952 as the only woman ever to have a first chair in the Boston Symphony Orchestra. Her pure, clear solo flute tones soon teacher who has an original by ROSE GROSSMAN brought the approval of the Boston Globe's critic, who called her "a true find." No one was more surprised than -Miss J slant on this matter of Anthony when she received word just be- fore the open ing of the concert season that students' recitals. she had been chosen to play first flute l "on a year's trial," replacing the revered I Dol'ioL Georges Laurent, who had retired. In her Anthony audition with conductor Charles Munch at I the culmination of what educators refer recitals in the future. I would just have Tanglewood, Massachusetts, earlier in the HE QUESTION of whether or not to to as an "enriched" pr gram. Her we dem- to figure out a way of making them warm, summer she had ple ycd some Bach, some Thave recitals is a most controversial joyous occasions, really "moments to re- on trate ne of a variety of music xperi- Debussy and Ravel. For about two months one amongst teachers. Having been a ences: playing by ear, harm nizing melo- she practically forgot the matter, having strong antagonist to them when I first member." die, compo ing variation on given themes, "no particular hope." Then came the tele- started to teach, and now being an equally In the first place, I decided to have a separate recital for each group. (Each one self-study, the art of accompanying, humor phone call from Boston that made her the Breaking a Boston strong protagonist, perhaps my views may in music, qui kiea, etc. elf-expression, initial woman to hold a first chair-except be of interest to those who are on the fence, of my pupils comes twice a week, once imaginoti n, expl ration, creativen s are harp-in a major orchestra in the United or who espouse one side or the other, but for a private lesson and once for a group the keynote of thi part and are preferable States. have a lingering doubt as to whether there lesson. Each group has 7 or 8 members of to perfection. 'lA wind instrument is difficult when you might not be sOIl\ething to be said for the approximately the same age and stage of Following arc some exampl ~ tlf how we first start playing," claims Miss Anthony. Symphony Tradition opposite point of view. progress.) In this way, our recitals would have used these iel as, and the progress and "It takes quite a while to develop a good When I first started to teach, I decided be small enough and intimate enough for age level of th hildr n who participated. sound. ), against having recitals because the memory every child to participate not once: but Doriot Anthony-solo flutist is first woman to hold T. "Ear" pi c ~t harmonized and trans- When she was about ten, she had her of them from my own student days was ex- several times, and in several capacities. posed. hildren b tween 7 and 8 years of ceedingly unpleasant. I had dreaded that Each would have an opportunity to play first instructor outside the -family-a young principal chair in famous orchestra age. One y ur of .\fu ...ic adiness, three man from Chicago and a former pupil of yearly inquisition with the long list of one or more up-to-grade pieces; would par- R pieces, going from the easiest to the most ticipate in ensemble work, as part of a duet, months of private piano. Laurent, Ralph Johnson, now"with the Chi- difficult, and all of us sitting there squirm. two-piano team or as accompanist to com- De ription : Each child play a folk tune cago Symphony Orchestra. "As soon as he by Marion L. Briggs ing, with "butterflies" in our stomachs as munity singing; and finally, each would that she has pick d up by car. (Hot Cross came I made great advances," she states. we awaited our turn. The atmosphere was demonstrate one or more of the year's Buns, Mnry Had a Liule Lamb, Three "I advise all young people to study with the filled with tension, we, afraid lest we make special projects. Thus, our recitals would Blind Mice, etc.) he, or he, had her- opposite sex." crs and sister used to "fight over it" when she went alone a distance of 100 miles to mistakes or "go blank," our parents fearful be devoted to making music rather than monized it, having experimented with the Doriot can't remember when she didn't it came into their Streator, Illinois, home. Chicago cvery Iwo weeks Ior lessons. Her that we might disgrace them, or so we merely "showing off" pianistic ability. I, V7, or IV chord in )(ul:ic Readiness play the flute, because she actually cut Her younger brother learned to play the mother honored her with the gift of her thought. Jt might be more descriptive to call our class. Then he tran pose it into another her teeth on it. Her mother was her first trombone and cello, her sister the harp, and own silver flute, and purchased another. Therefore, I started the system of having recitals Music Parties. We usuallv have key. Of course, the audience jugs along, teacher. "I was quite terrible at first," she her older brother to sing. "I think it is important for students to a big party in June for the children only, eight children performing at each, ~nd ap- and as she plays in her second key, she says. "Everyone in the family thought I At age twelve, Doriot went to the World's have a good instrument-not necessarily for each of my groups, to replace the yearly proximately forty guests. The recitals are usually announces whether she is going one was hopeless-such awful sounds." But she Fair in Chicago with her mother and heard the best," the Boston Symphony solo flutist recital. To retain the value of the recital, held in m.y home, for greater informality. or two tones IOKer for the mothers to sing soon outstripped her two brothers and one the Detroit Symphony Orchestra concerts says. "And the teacher should help the stu- each child had to have three pieces to per- The first part of the afternoon or evening more easily, or a 5th or 6th lower for the sister: who also had their chance to learn daily, a part of the Ford exhibit. "For the dent or family pick it out to make sure it form. There was little nervousness because is devoted to making music, the latter part fathers to sing along. to play the flute. first time," she states, "I thought music was plays easily and is in good working con- the audience was just the members of the to refreshments and getting to know each 2. Original variation.s on Three Blind Doriot's mother is herself a professional pretty good. I think a child gets more in- dition." Having taught flute since she was group for whom they played each week, other better. Mice. Children between 3 and 9 years of flutist, now engaged with a symphony or- terested in music watching actual players in high school, and now teaching it at the anyway, in repertoire class. Following this, The format for the musical part is usual- age. Background: one )car of .:\IusicHeadi- chestra in Orlando and Sarasota, Florida; than studying an instrument." While her New England Conservatory of Music as we had musical games and stunts of all ly: ness, one year of piano. and two maternal aunts traveled as flutists mother took lessons with the orchestra's well as privately, Miss Anthony speaks kinds. In an atmosphere of fun and play, Part I: Solo performance of up-to-grade Description: The preceding year these with Chautauqua before radio appeared. first flutist, John \,'ummer, Doriot sat in. from extended experience when she de- we thus reviewed scales, chords, cadences, pieces children had played, harmonized and trail:' Miss Anthony's childhood was sur- She even had one lesson herself. But it was clares that "parents may put their money car-training, history of music and musi- Part II: "Extra" projects (really. our posed Three Blind Mice hy ear in ~luS1C rounded by music. The family always had not this lesson, she declares, but the "in- in a poor flute, then have to buy another; cians and repertoire. I managed it. so that enriched program) Readiness class. This year we had been the radio on for Ernest Schelling's New structor's kindness and sincerity" that im- there are great differences among instru- all the children won prizes, and our season Part III: Ensemble playing chords in lm-ersions and as arpeg· York Philharmonic-Symphony children's pressed her and increased her wish to play. ments, even though machine-made." ended on a happy note. All of the children participate in each part. gios, learning about passing notes and concerts on Saturdays, the adult concerts ';Children," 1\1iss Anthony affirms, ';usu- Doriot believes that "when a student That was enough for the children and for Part I, being most like the traditional decorations, and playing phrases in differ· on Sundays, and the Metropolitan Opera on ally have no intellectual interest in music, really gets seriously interested jn music, he me, but some of the parents began to ex~ recital, needs little explanation. A:t first, ent registers. J n addition, one of our games Saturday afternoons. In grade school, but their desire to study and play an .instru- should surround himsel£ with the best press a desire for a real recital, such as in my antipathy to the typical recital, I in group lessons had been for me to play Doriot listened to Walter Damrosch give mcnt can be aroused by a sense 0-£ kindness artists in his field-pcople who are capable their friends' children had. They felt that wanted to omit this part, but the children a piece, and offer the children a choice of his radio concerts for children. ~'Wa1ter and sincerity in a teacher." and love music." She was able to do Lhis like a confirmation or a graduation, piano themselves indicated that they would like to titles, which they then affi ..xed to the piece Damrosch was wonderfully witty and sweet Quick to act on Doriot's enli\rcned en- as early as in her high school summers. recitals were goals to strive for and mo· play their most recent and uhardest" pieces. because it suited the mood of the piece. for children's programs," she says, "and it thusiasm, her mother asked whom she w?en she l·ecej\red scholarships to study ments to remember in the growing up Because it was their expressed desire I felt With this as a background, the following was for these that he was especially ad· would like to sludy with that fall. "1 chose w]th the renowned French flutist, Georges process of their children. I had to admit h· ' t at a certam amount of "show" was in variations on Three Blind JUice were created mired in the middle west." Ernest Liegl, first flutist with the Chicago Barnhe, at Woodstock, New York, and 10 to myself the reasonableness of this point, order. by the children: Indian War Cry. Hymn. The young flutist has a sentimental at. Symphony Orchestra," says Miss Anthony. attend Ernest ~illiams' .music camp nearby. so I made up my mind that we would have Part II is the heart of the recital. It is tachment to ETUDE, as she and her broth· Dancing Mice, (Continued on Page 5ll Still in high school and only 13 years old, At the I11US1C (COIII,t,lIlI.ed 011 Page 63) 12 ETUDE-SEPTE.\lBER 19;4 ETUDE-SEPTEMBF.R 1954 13 b 7 Once In• a Century together and was, therefore, indirectly reo sponsible for whatever success I have had." The student may acquire the best in mu- sical training and yet, without the guidance and discipline of one who has had long and wide experience in life, rna y lose years through unnecessary blundering. Experi. ence comes only through doing things. The mentor's accumulated experience is very The exciting story of the precious. By trial and error the mentor has proved the best way to manage one's winning of the Steinway affairs, and he knows the things to avoid. The need {or a mentor has been recognized Centennial Award by 20-year- through the centuries. Even Virgil in the Aeneid wrote, "Believe one who ha proved it. Believe the expert." The term "experto old John Browning of California credite" j constantly quoted in law courts everywhere. That is, "take the advice of one who knows by actual xperi n e." So Paderewski It was said that th great Edison was unscientific in hi m th ds, alii h some- times w rked em] ir-i ally thr ugh trial and (I. to r.) Ruth Ferry, National Chairman of Auditlone, NFl\IC; John Browning, win- error in ountlcss expcrim nts before he ner; Harriet Serr, runner-up winner of special $1000 AW31'd; John H. Steinway, and Played the Trombone! discovered what h wa seeking. He had. lUI's. Ada Holding Miller, president National Federation of Music Clubs. however, a great r peel for" icnce and by Rose Heylbut in his va t operations we find a combina- tion of both. H him elf had had many ception of the work. This is best acquired, valued mentors, and wa in turn an ever- MONG the outstanding events of the Lhevinne Memorial Scholarship. He made 1 think, hy reading it through in tempo. It willing mentor Ior thers, n tabl) ){lIrconL A season 1953-54 was a competition his debut with the Denver Symphony in Fortunate indeed is the young musicuui who 1950, and, in 1953, was soloist with the is possible, of course, to listen to a record- Mr. Edison disc ver d the "Edison Effect" which was one hundred years in the mak- Los Angeles Philharmonic in the Holly- ing, but this method brings with it the very has a thoroughly trustworthy mentor-one who can December 25, 1875, which th inventor ing. Commemorating the hundredth anni- wood Bowl. great danger of parroting musical ideas. called "etheric for e"-and whi h \\85 the versary of Stein way and Sons, the National give dependable advice when it is needed. John Browning states that the winning Once I have this over-all idea of musical germ of wirele communi ali n. ~farconi Federation of Music Clubs sponsored the of the unique Steinway Centennial Award meaning, I stop playing and begin to prac- always deeply appreciated Edis u' advice Steinway Centennial Award, a special con- brought him considerably more than the ' tice, starting out slowly, and paying care- and 8 sistance 'in the development of what test not to be repeated, presumably, until An Editorial $2000 prize. Looking back at hoth the ful attention to all details." are now some of the great t factor of the house of Stein way completes its second preparation and the actual auditions, he Mr. Browning also likes to practice by modern civilization including radio. tele- centennial. Launched in October '53 on a by James Francis Cooke finds problems which appeared staggering taking the work apart phrase by phrase, vision and radar, aU of which have had a basis of state, district, and national audio at the time, and the solving of which gave and practicing each hand separately to vast inAuence upon musical advancement. tions, the competition was won in May '54 him a new basis for future study. clarify patterns. Difficult passages, of Between the mentor and the student there by John Browning, 20-year-old pianist "The big problem," says Mr. Browning, course, need special study. THIS IS an editorial upon the importance Once in the New York studio of Sigismund must always be a cordial mental affinity. from Los Angeles, youngest of the four "was one of time. The repertory require- "I have two ways of memorizing new of the right kind of a mentor for stu- Stojowski, Paderewski's chief exponent in The student must eagerly appreciate the finalists to appear before a panel of judges including Rosalyn Tureck, Edwin Hughes, ments were not made public until some works. The best, I think, is to work from dents of music, for youthful performers America, the writer asked the master pianist value of advice. The most difficult (0 lead three months before auditions began. And the score, away from the piano, thus be- and for young teachers of music. if the report that he had played the trom- or to teach is the one who "knows ell the Erich Leinsdorf, Robert Goldsand and Olin these requirements included works not nor- coming familiar with musical structure, What is a mentor? When Odysseus bone was true. He replied, "Yes, but I answers" and resents advice. He is firm in Downes. A slender six-footer with dark hair, mally in the grasp of the student-pianist. harmonies, sequences, eto., in their own started upon his eventful trip to Troy, he never liked it, It always seemed that I was the conviction that he invariably is right John Browning is a student at the Juilliard All candidates had to perform Chopin's right and regardless of their effects in play- had a trusted counsellor and experienced blowing on an elongated funnel." If Pad- and can decide correctly instinctively upon Graduate School, and a pupil of Rosina Winter Wind Etude, Ravel's Toccata, and ing. But when a work is especially difficult friend named Mentor, to whom he gave erewski had had the right kind of a mentor all matters in which he has had ver) slight Lhevinne. He counts among his forebears Rachmaninoff's D-major Prelude. There (and I found tha t some of the modern over the cafe of his home and his son, at the right time, he could have been saved experience. Many well-meaning mentors the poet, Robert Browning. His father is was a choice of a Suite or a Partita of works were just that!), I study it while Telemachus. That is the possible derivation from a ridiculous misuse of time. have tried to help such students and failed. a violinist and conductor; his mother, a Bach; one of the late Beethoven Sonatas; a playing, since finger-memory can be a great of the term "mentor." . Mentors have had a very important part Remember Lord Chesterfield-s advice to pianist and accompanist; and his sister, group of Chopin; works of Debussy and help to the [possible safer) memory of When Ignace Jan Paderewski went to the 111 the success of numerous famous men his son: "Advice is seldom welcome: and a sculptress. Born in Denver, he began his Ravel; two concerti; and a large group of mind and ear. Warsaw Conservatory, he took the advice and women. Charles :M. Schwab, noted as those who need it the most always like it formal studies at the age of six; but from modern works. Then, again as 'musts,' were "I can now confess that I rebelled in- of a teacher who turned out to be a very the "Steel King" who, by the way, when a the least." three on, he tells, he had fun at the key- Piston's Passacaglia, and a set of one Pre- wardly at the shortness of the time for poor mentor. The teacher advised the youth young man spent three years as a music Once during a visit to the writer's home, board, supervised by his parents but never lude, Postlude, Interludium, and Fugue learning so many new and difficult works. not to try to become a virtuoso pianist, teacher and organist, once told the writer the late Olga Samarofl- tokows.ki. eminent because "long haired musicians were a directly taught by either of them. When from Hindemith's "Ludus Tonalis." All of In looking hack, though, I wonder whether "Lucky is the young musician who ha~ French trained, Texas-born piano virtuosa drug upon the market." He suggested, for John was twelve, the family moved to Los the modern works and some of the assigned that problem wasn't one of the tests of the made available for himself the storehouse (who, by the way, was a cousin of U. 5. instance, that he study a more practical Angeles where the boy continued a whole· classics were new to me, and I had some- contest 1 I believe that in the future I shall and wisdom and experience of a great 5en~tor B. B. Hickenlooper), was induced instrument, say the trombone, inasmuch some balance of academic and musical thing less than three months in which to feel less uneasy about a hard job of reper- mentor .. I would nev~r have gotten any- to dISCUSS the differences in the talents of as the trombone player could always find education. Before entering Juilliard, he master them. tory. " wJ?ere WIthout the adVIce of my inestimable her many pupils. She said: "The personal employment in orchestras. Therefore, Pad- worked with Dalies Frantz, Johanna Harris, "Every pianist, I suppose, has to find 1\1r. Browning's arduous preparations fnend and mentor, Andrew Carnegie. Mr. and musical characteristics of the mental· erewski for some time studied the trombone Ignace Hilsberg, and Lee Pattison. In 1952, his own way of concentrated learning. I launched interesting questions of tech- Carnegie was inordinately fond of the pipe ities of my various pupils are as marked as and played in the conservatory orchestra. young Browning was awarded the Joseph like first of all to get a clear over·all con- nique. (Continued on Page 48) organ. It was music which at first drew us the differences be- (Continued on Pa," 16) ETUDE-SEPTEiVIBER /954 15 14 ETUDE-SEPTE,lfBER /954 6 SO PADEREWSKI when I purposely sing false, in using the age of the singers warranted. CHORAL PROBLEMS this little trick, they read By hear I stopped to ask why they sang like PLAYED THE TROMBONE! the fighting of the vibrations, and AND CHORAL CLINICS twelve-year-old children, and imme- when I come back on pitch, they diately proceeded to imitate the (Continued from Page 14) hear these quieting down as conso- (Continued from Page 9) sounds they were making. Then I nance is re-established. This is the asked if they could imitate five-year- secret of blending, and it is a good tween the paintings in the MetrOIJoli. old children. Of course, they had pushed too hard at this age, he may idea to make the young singers tan Art Museum. Every student needs develop a definite hostility to music. lots of fun doing it. Now Tasked a special treatment. One student may aware of what happens. It is at this point that an under- them to listen while I gradually The thrilling story of the Salzburg Festival Again, anything that stimulates be inclined to play with a lace- like standing and skilled teacher can be changed the quality from a thin tone self-awareness and self-correction delicacy and with the smooth hut of great help, by showing sympa- to a resonant tone. It was easy to helps to get singers out Of certain clear-cut rhythmic charm of the and its exciting revival following the dark thetic comprehension of the boy's explain the importance of an open ruts. The problem of many profes- French artists. Such pupils flourish feelings; by prescribing work within throat position. The next step was sional singers is that they do things upon Mozart, Haydn, :.\lendelssohn. his range; and by helping him gain to give them specific vocalises where- in a fixed way, and find .it enor- Chopin and Debussy. Another pupil days of World War II. control of his voice through the by they, too. could produce tones of can be satisfied only with the bril- resonant quality. Finally, I asked mously difficult to gel themselves out presentation of sound techniques. liant pyrotechnics of Liszt. Should them to sing the passage again, of it and into another, possibly bet- During and after mutation, the such pupils be turned into the incorporating what they had just t.er way. Young people al~ naturally boy loses control of his vocal rnus- broader field of Bach. Beethoven, learned, and producing the correct flexible, and the right kfild of teach- by Norma Ryland Graves cles ; it is hard for him to maintain Schumann and Brahms? Bv all sounds. I have had very good results ing at the high school age level can the necessary tension for accurate means. The perimeter of the piani-t's from this method of imitation, con- do much toward keeping them that pitch-and since he is eager to repertory is expanding ceaselessly. sound "like a man," he tends to scious exaggeration of faults, cor- way. Mirabell Palace and Formal Gardens. The virtuoso today must be able to sing only with his low register, rective drills, and final improvement. It is also helpful to make the play anything with consummate ef- pushing it beyond the proper limits. This clinic-method is especially young singer fuJly aware of the ef- feet. He needs a wise guide who has The resulting type of tone is one helpful with boys at the change who fects of his emotions on his singing. a sensitive aspect of the trends of commonly heard in high school chor- need falsetto. They take kindly to Naturally, one doesn't put the idea public taste, .....he know- which works uses; it is not pleasant to hear and imitating, exaggerating, and correct- of "nerves" into his mind; still, Jet-e Mid-Summer Idyll-Salzburg of newer composers are worth spend- the sensations it causes are not pleas- ing their own mistakes, and the nee- ting him know what his feelings can ant to the young singers. This is the essary vocalises can show them how do to him is a good way of getting ing time upon and which ones are to get solidity into their higher tones, him to control himself. This is not likely to become Iorgetren in a few place where judicious vocalises will technical staffs, or are members of its help enormously . . . especially without strain, thus co-ordinating easy, but it can be done. This very years. YOU WERE to search the world over, cated on both banks of the swift-flowing IF choruses and orchestras. The city is small vocalises involving correct use of the their upper and lower registers. Aexibility of which I spoke is part /< ometimes an experienced man. you could not find a more idyllic spot Salzach River in the foothills of the Tyro- enough (less than 78,000) so that you falsetto. Boys often hesitate to use Another point that needs emphasis of the cure. I let the young singers agel' or an older fellow-artist makes for a summer music festival than Salzburg. lean Alps, the spires of its many cathedrals understand that excitement tends to an excellent mentor. ometimes a meet Salzburgers everywhere-in the nar- it (it sounds "sissy!"), but it car- is the matter of diction. Here, I have Beauty it has in breath-taking proportions; and churches, the beauty of its palaces and ries with it great advantages and, at found, the chief problem is not so sharp tone, while tiredness tends to gifted and brillianl amateur who has gardens find a fitting backdrop in Hohen- row, cobble-stoned streets of the "old I a romantic past dating back to pre· Roman the point in question, is possibly the much purity of vowel as simultane- flat it; (hat a Iast tempo tends to had fine training mnk s an excellent town," strolling along chestnut shaded times; a friendly, gracious people-your salzburg-medieval fortress-castle atop the only way to solve the problem of high ousness of attack. While pure vowels sharp tone while a slow tempo Ilats counsellor, who will view the stu- river walks, enjoying a quiet hour in it. Thus, an early-acquired habit of dent's problems objectively, but also hosts-who do much to make your stay an Monchsberg. tone. To encourage falsetto singing are, of course, desirable, they are beautiful Mirabell Park. In Tyrolean as a manly art, it may be helpful to not the sale cure for faulty diction. flexibility in listening to intonation sympathetically and nthusiastically. enjoyable one. From HohensaIzburg's little church dirndln and leather shorts they add pictu- enlist the co-operation of some de- A great trouble with large, inexper i- and correcting false intonation goes "The artist' manager. of course. Nor is this pervasive spirit of friendli- comes the music, twice daily, of its great veloped tenor or bass, who looks enced choruses is the tendency to a far, hoth in helping the youngster has a mercenary motive. but at the ness an attribute which the Salzburgers mechanical organ-the "Bull of Salzburg." resqueness to Salzburg's already quaint. beck on this period as lying hap- fuzzy attack-that is, one small sec- understand what is happening to same time he ha had specialized have recently acquired. Back in 1842, when This traditional music "from the clouds" story-book setting. pily behind him, asking him to come tion singing OR before another has him and in encouraging him to solve experience with the general public. workmen in the little Austrian city were dates back to 1502. From the castle, too, President of the Festival is Baron Hein- in and demonstrate how he achieves quite finished AH, etc. By synchro- his problems through self-help. It is In many instances such men as laying the foundation for the statue of their buglers each Christmas eve play the beloved rich Puthon, who for nearly three decades his tone. nizing all attacks, this fuzziness is quite true that -youug choruses get Henry Wolfsohn, Richard Copley. Christmas hymn, Silent Night, written by has directed the program. Self-effacing and In solving choral problems, I have cured, and even Iess-thau-perfect better as they get older-but the Daniel Mayer, Sol Hurok. Arthur world-famous son, Wolfgang Amadeus Mo- Salzburg. born Joseph Mohr. hard-working, he has done, much to reo great faith in the use of the choral vowels will become intelligible. right kind of teaching can smooth Judson, Evans and Salter and many zart, they unearthed an ancient Roman establish the Festivals in post-war years. clinic-that is, a rapid testing and I also work at problems of pitch out many difficulties which. if left others have looked after the public. mosaic. Upon it were engraved the signifi- While Salzburg's Festival attracts an correction of singing groups by in the clinics. Where variations of to themselves. can undermine the artistic, physical and even domestic cant words that today express their inherent immense international following-over When Hitler's swastikas early crimsoned someone other than the teacher who intonation occur, I try to get the very purpose of music education. interests of the young artists who spirit: "Hie habitat jelicitas. Nihil ituret $200,000 worth of tickets alone were sold Salzburg skies, Baron Puthon was sum- has worked with them regularly. I group pur poselv to sing sharp and This, of course, is to encourage have come under their direction with mali." (Happiness dwells here. May no evil to Americans in 1936-still it remains a marily dismissed from his time-honored have given hundreds of these clinics, then flat, thus getting squarely on- youngsters to love music and to want the care and concern of a mentor. enter. ) typical Salzburgan institution, civilian di- position. But the Baron had already made and always enjoy them. In conduct- pitch by process of eliminating the to do well at it. By taking the time "A good mentor must also watch The city's own natural background out- rected and produced for its citizens. A large up his mind never to hand over his Fest- ing them, I rely largely on imitation. mistakes. Another txick I use is to to detect early errors, t.o provide the tIle daily current" in the student's rivals its most elaborate stage setting. Lo- percentage of them are on its work and spielhaus to the (Continued on Page 59) I can imitate almost any \'ocal sound demonstrate the importance of pitch llleans of correcting them, and to life. Is his healtIl being properly and what I do first is to mimic any in blending by asking a youngster help the child to help himself, the checked? His teeth? His e)es? His less·than·desirable tOIlC,immediately of the chorus to sing a tone with me. school chorus can go far towards djet? His exercise? Has be any following it up, jn contrast, with the We both begin on the same tone; instilling the music habit. harm£uJ habits? Too much EffiOk· A scene froUl the 1953 production of "Everyman" Anlel'ican Quartet on the steps of the MozarteulU tone I want. This is amusing, and then, while he holds it, carefully THE END ing? Too much drinking? Is be instructive as well, for all children r~maining constant to the given happy in his work? Or. is he morOEe, are excellent mimics, they have pitch, I vary my tone ever so slightly irritated or gloomy? Does he ha\"e great flexibility, and will readily singing the least bit higher, and WORLD OF MUSIC adequate rest? Does: he ha\'e the produce a tOIle they have heard, then the least bit lower. This makes (Continued /rom Po.ge 8) right entertainment? Does he hare even though they may have had dif- them immediately and practically Ernst Victor Wolff, internationally re- the right mental stimulus and the ficulty producing it through verbal aware of consonance. The fact is nowned pianist and harpsichordist, head right spiritual inspiration? Is he am- instruction. In these clinics. which that, in choral singing, the individ- of the piano department at ~lichigan State College. bitious or lazy? allow no time for progres~ive in- ual singers cannot hear the whole "Now and then a teacher has an struction, and where I work directly over-all effect. They hear themselve,~ Serge ProkofiefPs opera, "The Love altogether exceptional pupil, Euch as with large bodies, I lean on our com- and the others nearest to them. The of Three Oranges," was produced in a I had in the person of William bined imitative skiJIs both to stress conductor, of course, can signal up complete performance at the Slate Uni- Kapell.* In such a case it is to the what I wallt and what I don't want. or down in the direction of the of- versity of Iowa on July 27, 28, 29. This teacher's advantage to act as a men· Whatever the lacks and errors are fending sections. But it is also wise was the fourth company, either college tor as well as a teacher. This led ..., in the donlt-want portion of the test, ! to make the singers themselves aware or professional, to give the complete I prescribe on-the-spot corrective vo- of what happens in deviations from opera in the United States. The opera to KapeH becoming one of the mOi't • calises. For instance: consonance. Like a violinist or a was written in this country and received successful of all American trained During a recent clinic I had to piano tuner, they should listen not its premiere under )''lary Garden's dip (Continued on Page 59) work with a group of high school only for notes, but for vibration- ~ection by lhe Chicago Opera Company In 1921. Herald Stark was the conductor girls, mostly seniors, whose tone pro- beats. Blending is best when the dis- for the Iowa performance. duction sounded more infantile than turbing vibration's are fewest. Thus, (Continued on. Page 63) • Madame Samuoft died in 19~8' '9OilIiam };Ipcll WIU killed in an airplane aeeiden; in 19S3. 16 ETUDE-SEPTEJfBER 1954 ETUDE-SEPTEMBER 1954 17 �, 'f[ ~- '..t::: -r·-:=. BAND DEPARTiUENT ::'.{:'- . .. .~ cords More than a Downbeat Reviewed by PAUL N. ELBIN "To-day's football marching band High-Fidelity Notes incorporates pageantry as glamorous as Barnum at his best and dance-steps as complex A in college, If every student earns A's, the ETUDE section, we point out the "varying degrees" of high fidelity so far as important mark has no meaning. If every phonograph, as those of the famous Rockettes." every record, every radio is classified as new records are concerned. "high fidelity," what's the term for some- But we cannot say how a record will thing less than the best? sound in your home. That depends on One of these days the "hi-fi" hysteria whether you play records on equipment will subside, but right now it's at the peak. good enough to match the excellence of by William D. Revelli Don't be surprised if there are "high fidel- modern records or on something that de- ity" models among the 1955 automobiles. feats "hi-fi" [rom th tart. Since all phonograph records are now Drum :Major Dick Smith, in Action claimed to be "high fidelity," one company Malliwilda Dobbs ong Recturl is labelling its discs "High Fidelity Plus," If you enjoy really beautiful singing, another "Incomparable High Fidelity." you'll manage to hear this recording. Miss greater portion of a baggage car. Such the design was ill-chosen and the colors A reader suggests that I report "Hi-Fi" Dobbs, the young coloratura from Atlanta HE MARCHING BAND as it functions items as huge cannons, a replica of Noah's either drab or so extremely gaudy as to be or "Not Hi-Fi" for every release reviewed. who has won fame abroad, sings lieder and Tin our high schools, colleges and uni- versities is one of America's most versatile ark, flying saucers, giant paddle wheels, in very bad taste. Another inquires if there is a list of high art songs with purity, warmth, accuracy Today, however, things are considerably and popular musical attractions. Because explosives, trolley cars and countless other fidelity records. Let's see why both letters such as are seldom round together in one different. Our modern bandsman's uniform of this popularity as well as serviceability stage properties have all become a tradi- got negative replies. voice. If she take chubert's Heidenros. is individually tailored and its quality, to its school, community and state, we find tional part of the modern marching band When microgroove records were 'intro- Iein. and Hahn' Si tnes vers avaient des design and color are in excellent taste. The the band and its conductor constantly mak- extravaganza. duced in 1948 and 1949. the makers of ailes more slowly than you prefer. hear accessories to the uniform have become as ing public appearances which contribute Another phase of the marching band that these records extended the'frequency r-anee Schubert's Nacht und Triiume and La Pes- attractive and important as the uniform beyond anything most music lovers had lorella, Brahm' Wiegelllietl and Au} dem. effectively and materially to America's has undergone considerable face-lifting is itself. Dr. Paul N. Elbin heard previously from records. The im- spirit, morale and enjoyment. the conductor's musical score. Unlike the SchiDe, Faure's Clair de Lune and Chaus- Following is a list of the individual ac- provement was more in the upper frequency In more recent years the competition be- days of the past when the band's musical son's Le Colibri-all of which are sung to cessories which are an essential part of HAVE a plan for restoring the term range, the treble, than in the lower but tween the nation's top-flight high school' sequence consisted of two or three well I perfection. Gerald Moore is the expert ac- every Michigan Bandsman's uniform: coat, "high fidelity" to a place of honor and more of the original sound was put the and collegiate football bands has become worn military marches which were totally 0:1 companist. (Angel 3509-t) cap, trousers, plume, cape, dress cord, meaning. new microgroove discs than was ever at- as intense and exciting as that found be- unrelated to the formation or design of the epaulets, tie, crossbelt, waistbelt, spats, When a couple have been married twenty- tempted previously on a commercial basis. Weill: The Threepenny Opera tween the championship teams themselves. moment, today's musical score must be gloves, buckle, handkerchief, overcoat and five years, when friends know that they Microgroove records are capable of re- One of the "off-Broadway" hits that Unlike the days of the dim past when hand-tailored and adapted to the specific raincoat. Sixteen items in all, and what a have been, are, and will continue to be producing music with greater faithfulness the band's forming of a simple design or program for which it is scored. It must be marked the 1953·54 theatrical season was task to keep an accurate inventory for the faithful to each other and are happy in than the old 78 rpm discs. In varying de- Kurt Weill's musical show of 1928 pre- block letter aroused waves of applause from expertly arranged for a particular band one hundred and sixty-five marching bands- their fidelity, I 'would award them a certifi- g~ees, all 33113 and 45 rpm, microgroove sented in a tiny Greenwich Village theatre. gridiron crowds, today's marching band's and synchronized to its every step and men! cate of "high fidelity." There would he no dl,scs,r~~eased in the past six years are "high Its American success is largely attributed pre.game ceremonies and half-time show movement. This, of course, necessitates Another change that has recently come doubt about the significance. fidehty compared to previous records un- to Marc Blitzstein, whose clever translation must be colorful, varied, fast-moving and advance planning and requires a complete over the marching band is that of its in- But "high fidelity" means absolutely less the music was transferred from older from the German gave the lyrics powerful spectacular. format of the entire sequence before the strumentation. No longer can the conductor nothing now in terms of phonographs and lower fidelity originals. ' appeal. M-G-M has recorded the entire mu- Each week during the football season we original score can be prepared. The ar- merely transfer his concert band to the phonograph records. Several years ago 'Ihe r~al bot~e-neck in high fidelity is sical score of the show with the New York find bands presenting formations that are ranger's score, when completed, must be gridiron and hope to achieve the sonorities "high fidelity" indicated equipment and the playing equrpment. When "hi-fi" rec- cast, including Lotte Lenya, the composer's new, novel and exciting; routines that ac- extracted by copyists, then duplicated and and effects that are possible and desirable records capable of reproducing music with ords with undistorted sounds up to 10,000 wife. in the role of Jenny. and Scott Merrill centuate piston-like precision, originality made available to the library staff who will with his marching band. Experience has a high degree of faithfulness to the original cycles or bett~r first appeared, nearly all as "Mack the Knife." (M-G-M E3121) and accuracy of every minute detail. In proceed to prepare all parts for distribution proved that such instruments as bassoon, sound. Despite the fact that we have more phonographs ill use were built to cut off addition to these intricate designs and to the band personnel. true "high fidelity" playing equipment and In addition to all of the aforementioned flute, oboe, bass and alto clarinets are in- every:hing above 4,500 cycles: Obviously, Bral~ms: SOH lata No.3 in D Minor Jor maneuvers, today's football marching band effective not only for field performance, records today than ever before, "high fidel- pluggmg an LP record player into a phono- VIOlin and Piano, Oo. 108 incorporates pageantry as glamorous as changes that have come over our marching ity" as an honest, descriptive term has Bce~o~en: SOllata No.5 in F Major for but from a viewpoint of economy and prac· graph of this type will not produce high Vtolin: and Piano, 0 p- 24 Barnum at his best and dance-steps as corn- bands, another that is obvious to even the ticality as well. I have never been able to become obsolete. fidelity music. plex and as precisely executed as those of most casual band fan is the bandsman's The reason is simply that "high fidelity" This new Telefunken record introduces convince myself that using such expensive High fidelity reproduction of music is a the famous Rockettes. uniform. is being used to describe equipment that is to American listeners the talented young and fragile instruments out of doors and chain that includes the recording studi Stage properties have also become an im- Many of our readers will recall the band "middle fidelity" or "low fidelity" and not di . 10, French violinist, Christian Ferras and in typical football weather was either nee- reccr mg. equipment, record manufacture, portant part of today's gridiron band pro- uniforms of the "early thirties;" for the "high fidelity" at all. It's like the mark of his distinguished pianist-associate Pierre essary or desirable. We are all aware of and playmg equipment. In this monthly ductions and those used in connection with majority of bandsmen it consisted solely Barhizet. If (Continued on Page 58) the lack of the (Continued on Page 47) the more elaborate shows would fill the of coat, cap and trousers; too frequently ETUDE-SEPTEMBER 19;4 ETUDE-SEPTEMBER 1954 19 PIANIST'S PAGE work in church-as choir member, soloist, and choir director. A great deal of church Bool{s of the Year work begun at an early age, accustoms one Miss Yeend with accompanist James Benner to the kind of music which puts line into the voice. As concerns techniques of singing, I feel that Nature does the most for us. What· -_.- I ever type or quality of voice is born into -And More one, it should be developed by natural, un-Ireakish methods. One works to perfect correct breathing, forward resonance, a good legato line, and the general emission Elementary Pieces principles of what might be termed the Italian school of use. But this is not all! For effective orchestral work, one must also learn to fit one's mood-one's entire inner by GUY Mj\IER self-to the demands of the music. The "Missa Solemn is," for instance, which is ... GAIN this year, so many tip-top piano students. Older players will enjoy the sets serious and deeply devotional, requires .fl.. volumes are being published that it is as well as your teen-agers . suitability of personal as well as of vocal almost impossible to choose "the" book of approach. In thi sense, stage deportment Some Distinguished Items the year in every category. But I believe Frances Yeend as Violetta in "La Traviata" definitely helps vocal projcction ; by think- Schirmer has issued the most distin- that no ODe will quarrel with the choice Outstanding Class Piano Books ing, feeling, being the mu i Y 22 ETUDE-SEPTEMBER 1954 l ETUDE-SEPTEMBER 1954 23 VIOLINIST'S FORUM ORGANIST'S PAGE Music For Harp and Organ Making the Most of It may come as a surprise to many organists to the Kreutzer Trill Studies learn something of the possibilities lrill, at a tempo of about J'=80. of these two instruments Ex.C Adagio... " ~?!?Jr I Ir ,fID,to when used together. by , Each trill should start slowly and gradually HAROLD BERKLEY increase in speed, so that as the turn is by ALEXANDER McCURDY approached the player is trilling as fast as he can. The trilling finger should be NTIL COMPARA T1VELY recent years, of his trill practice. Therefore, it is well to lifted as high as possible-provided that U the staccato, the spiccato, and the trill adapt the study so that the shift can be its tip remains pointed at the string- were thought to be natural gifts which made from a longer rather than a shorter while the tr-ill is slow; its lift is decreased could not be taught. It is not difficult to note. As in Example A: as the speed increases, until at the end of OR REASONS which are, I confess, ob- written expertly for organ· instrumental understand this attitude of mind with reo the trill it is lifted very little. But the Fscure to me, the pipe organ has in some combinations. Two works which will occur gard to the spiccato and the staccato- Ex.A strength of the finger grip 111ust be the quarters gained the reputation of being an immediately to organists are the Poulenc the art of bowing, and above all the teach- f,,;fimr same no matter how much or how little antisocial instrument, lord of its own choir- Concerto and the Delamarter Concerto. effect to produce sweeping glissandos or ing of it, was not well understood-but the etc. the finger is lifted. Of the variants given loft but blending reluctantly or not at all There are endless combinations of in- celestial arpeggios in the Gounocl manner. trill ... ! The Kreutzer Trill Studies having for the study, No. 11 in the Presser Edition, with the sound of other instruments. struments with which the modest and hard- Not until the days oC D bus y, Ravel, been available for the past century and a Making a full measure out of each beat the most useful arc No.3 (Ex. D), which The theory that this canard was launched working "king of instruments" blends to Salzedo, Grandjany and others was there half, it is surprising that any ambitious allows the player to prepare for the some- makes excellent practice for rapid turns, by envious players of Bach-Busoni trans- perfection. One of the most effective com- a body of musical opinion having an affec- violinist failed to develop a good trill. times awkward shift, and also allows him and No.8 (Ex. E), which is the way the criptions, whose most vigorous thumpings binations is that of pipe organ and harp. tion for the harp and a determination to do But the fact remains that a satisfactory trill to lift the trilling finger high and to bring study should be practiced when it is used at the keyboard cannot match the full-organ At a superficial glance it might seem something about it. evades many violinists even today. it down on the string with force. It must as an exercise In short trills. lone available to the lightest touch of the that the harp is hopelessly outmatched in I must add that the indifference of com- Without doubt some players are natural- always be remembered that the require- organist's little finger, will not hold water. this tonal ensemble. Its small, harpsichord- posers has been matched by the apathy of ly gifted with a brilliant tr-ill, but it is also ments for a good trill are Hexibility and Bernard Shaw, who probably never played like plucked sound might appear unable choirmasters. These latter sometimes ar- a fact that many others, not so endowed, strength, and that these are most quickly a Busoni transcription in his life, wrote in to stand up to a great brute of a four- range at a special service, Christma per· have been able to acquire a trill equally attained by slow practice. When additional his days as a music critic of a London manual organ capable of rattling window- haps, to have a pretty young lady harpist strong and rapid. This has been proved speed of trill is wanted: it is better to play "Messiah" performance with chorus and panes with its mighty diapason. Yet ex· play a number or two which look well time and again in my teaching experience. the study as in Example B rather than to Next comes study No. 22 (0. E. also 22). orchestra, and with the organ in St. James perience has shown that this is simply not {harp-playing being possibly the most flat- Let us examine the Kreutzer Trill Studies increase the tempo of Example Al for this It is well to take it at first at a slow tempo Hall "muddling matters with its tempered true. The harp can give a good account tering musical activity in which a woman and find out what can he done to obtain also increases the difficulty of the shift. (about J'=60), but with as fast a trill as scales." Yet Mr. Shaw's finicky ear was not of itself. Its tone is small but has carrying can engage) but which sound rather the the utmost benefit from them. The edition possible. See Example F: disturbed by hearing a piano, with identi- power, corning through much as does the opposite. I am working from is that published by cally tempered scales, performing with or- sound of a violin played pizzicato against Other choirmasters, having studied the The Theodore Presser Company. When Ex. F chestra in a Beethoven concerto. the opaque tone of a battery of French instrument and its potentialities, have reference is made to other editions, it will ~!. > 1 For myself, I confess that I am prej- horns. found that with well-chosen arrangements, be made by the initials O. E. I'l ibmJw'''' udiced, but in the pipe organ's favor. To It happens that I was smart enough to conscientious rehearsals and impeccable As is generally the case with the standard This study lends itself admirably to the me its magnificent voice is never better marry a harpist, and thus learned about tuning, the harp can be used most eflec- books of violin etudes, the Kreutzer studies modern way of practicing trills-lifting It is important to remember that for all employed than in performing "The Mes- the instrument in the 1110stthorough man- tively. The combination of harp and organ are not arranged progressively, and the each finger smartly as soon as the other short trills the accent-and it should be siah" with a large orchestra and chorus. ner possible, next to playing it myself. My can be piquant. Its repertoire is. limited first trill stndy in the hook, No. 11 (0. E. hits the string. In other words, trilling a strong accent-comes on the first note And what a thrill it is to play the Saint- wife and I have made frequent joint ap- but eloquent. By studying orchestrations No. 15) is not by any means the best one to as a pianist would trill. This method of of the trill and not on the last note, as Saens Organ Symphony with a fine orches- pearances in recital, thus making it neces- which make effective use of the harp, from start with. The study that has the most practice develops strength and independ- might be inferred from the ambiguous tra and a conductor who knows his busi- sary to study the potentialities of the two Ravel's to those of Andre Kostelanetz, by fundamental values, and which is most ence of fingering twice as quickly as the old marking of the variants in all editions. ness! The tempered scales of which Shaw instruments and the ways of combining reading Salzedo's books on the harp and capable of simplified adaptation is No. 24 Later, the tempo can be increased and only complained are but a minor hazard; if the their tone to best effect. method, in which the lower finger is held the prefaces to his harp methods (pub- (0. E. 19), and this is the study that should down. The study should be practiced in this two trill beats played, instead of three. It is organist cannot take the orchestra's tuning, There is no question that in order to lished by Schirmer), one may gain some be practiced first. But not in the way "it is way even when other trill exercises are very important to guard against playing let the orchestra take his. use an instrument effectively, one must idea of the potentialities of the instrument. printed in the text or even in any of the being worked on. the second sixteenth of the group shorter Handel, who loved the pipe organ and first understand it. The harp is possibly The versatility of the harp's tone may variants usually given at the head of the than the trill note. Often one hears the study played it better, probably, than any man one of the most misunderstood of instr u- After this D major study, the one in be a revelation to some. Its liquid tone, first page. played as in Ex. G, which is entirely wrong. of his time except J. S. Bach (what a pity menta. The music written for it, with B-Rat, Presser edition No. 11 (0. E. 15), percussive and rhythmic and capable of For this reason: In the study as printed I that the proposed contest of skill between t!le exception of occasional great works may well follow, for: simply adapted, it playing staccato, legato, and all gradations the 1110st difficult technical point is not the two could never be arrangedl }, wrote like the Mozart Concerto for Flute and becomes a fine study in long trills: as in between, combines admirably with the the trill but the rapid shift from the last admirably for it in combinations with Harp, has been perfunctory. I suspect the well as being, as it is printed, an excellent tones of the organ. note of each beat to the first note of the other instruments. The Handel Concerti are reason for this is that composers did not study for short trills. The adaptation re- The harp's versatility is enhanced by next beat. It is inevitable that the student's still a delight to hear and to play. trouble to study the harp and its potentiali- ferred to is shown in Example C, and con- the fact that, through using different attention will be focussed on this shift More recently, other composers have ties, regarding it as an occasional sound- sists of making a quarter- note out of the combinations (Continued on Page 56) rather than on the trill, to the detriment first eighth and a dotted half-note out of the (Continued on Page 56) 24 ETUDE-SEPTEJ1BER 1954 ETUDE-SEPTEMBER 1954 25 • No. 110-40323 . Ballety Olass Grade 3~ STANFORD~KIN.G a te1,,1'.0 London's Allegretto COil umore I ...:.#( ~ 11> .:. fI ~ ~,.> .l!"~~L· > . . . Unique New Festival Hall I " ~ ...... ,,-if PIANO - The concert auditorium which , •~~~rJ~ s: s: s: e ~ s: has caused such heated discussions in England is here I described in great detail. , .- list time only II Last time I') 1i;';#L' > ~I;~ , - (above) An exter-ior- vjcw of the Festival Hall by Lili Foldes taken shortlv after- its cOlllpletion. 1'1 I 1 ture replica of a hundred-year-old glass e: - ...... J ' (The writer of this article is the wife of the .. Line p distinguished piano virtuoso, Andor Foldes, edifice, the Crystal Palace (the original has ~ ~ b~ J ~ .. who last season was concertizing throughout been destroyed by fire) stand by as color- e 6~ ...... Europe, Mrs, Foldes accompanies her h us- ful neighbors. We felt we were looking at (below) Thc morler-n style of orchitecturc CHI- band on all oj his concert tOllrs. She is the a fanciful modern painting. J ploycd in the construction is plainly evident in this author of the autobiographical book, "Two • striking view of thc foyer. Our taxi passed by Waterloo railroad On a Continent."-Ed. Note) station, Waterloo air-terminal, Waterloo tube station (subway, in America) and ... .,. ·_b.. t;~~. . 't- t;'l!...1. • t. ;';"~f ,F- ;.~ - I • -: YOU KNOW, Madam," the old pulled up, finally, at the stage-entrance of ~r~- . .. "DiD - hall porter in our London hotel Festival HalJ. This entrance is n the side . · . ., I I 1 l.a: ~ asked, a few minutes after our arrival, "that of the building which is the farthest away ~ if somehody drops an ordinary lady's hair- from the Thames, and directly below an- ra1h .. pin on the stage of Festival Hall, all 3,000 other bridge, the Hungerford railroad '!" .. ;or,. "q I. ... • ,.. .., .- ... r -..;;....;; people in the audience can hear it?" bridge. As we stepped out of the cab, a The old man's remark was prompted by train thundered past on the bridge, over the poster behind him, announcing my our heads, with a noise that many times i1- ...... • .. ~r husband's forthcoming appearance at the surpassed the racket made by our elevated - - Royal Festival Hall, as soloist with the trains in New York and Chicago. a tempo a t81npo Royal Philharmonic Orchestra. But in the --How could they build a concert hall on #' . # - days to come, cab drivers, hairdressers, such a noisy spot?a I wondered aloud, 1\ "f~ ~ jl> .:.#. ;'~L . > . , I T ",:,'f; ~ jl> • Ii':';' ~L . > shopgirls, waiters who had no idea that we "imagine putting it between two of Lon- had any connection with it, started talking don's busiest bridges ... ". I about Festival Hall as a matter of course A doorman, standing at the stage-en- i _1.../ " - -as one discusses the hottest subject of trance, overheard my words. He smiled, 'y conversation in lown with visitors. "And this isn't all, l\1adam," he said, ··two I ;: .. We had heard fellow~artists rave about underground lines pass below the building, s: w- e -.! s: ~~~!rJs: s: : : London's spectacular new two million There, you can hear the roar of an under- Pound ($5,600,000) concert hall shortly ground trai.n right now ... planes buzz o\'er , I .,;- I after its festive opening in the spring of our heads constan tly, and river boats sound \.- 1951. We also had heard that architects their loud, shrill whistles here day and r l An interiOl' view showing the stage with the orches~ and sound experts made special trips to night. ' )1. .. ir ...... ~11 tl'a chairs arranged in tiers. Note also the arrange- London from all parts of the world to study "How can anyone listen to, or play a I'} - . ( , /! • • • Inent of the boxes. the revolutionary scientific tricks which concert, with all this racket around?a I · - made Festival Hall an acoustical marvel. asked. The doorman smiled mysteriously. · But it was a surprise now {or us to see that "You go inside, ~.\IIada1U,and see. ' _ ." i I ~ (el --- surpassing its ·unique reputation among We entered the huge elevator that can mp 6,.1: ~ J (~ ...... IP- q I I- connoisseurs, this building had acquired carry members of an entire symphony or- n: ... .. f~ in two short years of its existence, a fame chestra from street floor to stage Te,-d. It · of truly legendary proportions. looked enormous now, with only the two of • • • ,.,;- We caught our first glimpse of this huge, us riding in it. ~ - :J ~ overpowering glass and stone structure as While Andor was shown the \\ay to the our cab crossed the Thames on Waterloo artist's room, a doorman led me through 112 Bridge, Festival Hall stands at the foot ..- enormous wide, luxurious carpeted corri~ I') ~L~ I' I ----.. • of the southbank~end of this bridge, sur~ dors into the auditoriwll. The place was -- rounded by a vast landscaped space which dimmed, empty and completely overwhelrn~ · · · · · · - serves to underline its grandeur. An Ull- ing. My eyes were first drawn to the stage, i ....v. -:J. ... v_ ~ · r usual assortment of structures: a tall and which didn't look like a stage at all. It was bl I b•• IJ.O_ at Fine somber ancient shot-tower, a near-life-size more like a sunlit valley. Sun·like rays ...... •• wooden train and a ship (the former a emanated from an undulating canopy, · famous London landmark, the latter two which floated above the stage. The plat· · ~ ~ props of a children's playground), a minia~ form itself, (Conlill/,ed on Page SO) ~ :J . . Copyright 1954 by Theodore Pl:.;,.;..:er Co. Interna.tional Copyright secured ETUDE -SEPTEAf BER 1954 26 ETUDE~SEPTEAIBER 1954 <7 , • , , - 19' k 2~ .;.. .,. ., ,...-;-.. I to? ~ "I I ~2~~ % != - I::- Grade 4% Allegro Assai '=---- . . (From Sonata in C minor, K. 4(7) <, . p W. A. MOZART I~ . f t>~ ~: - Allegro assai (J.: 66) . ==-, ~ f - , % • , . . ~ 5 'V ::~~ ::~ .. f!:-~C.,lt... -~- u~ 0 I ",:,.~~..2 • i .. . '?! ~ G:= • ---- qt .~ t--. 4 3 % 3 5 'g'!'>- - t r:,... ,r!323 J >-"--I-- t t r 3 ~ •• .,It. ~.~~ . ~ P ~ • r: . II .• ~ '.~ ~.. (i~~~ I lA ~~ ~ P , ~ I 'JJ • 0 ~;.#-.+- -- ~~.~ PIANO I" ...,. I-- I : , : . , . , • , ---- 't p . I fp 0 , z 12 fp fp fp I I J I. z------.tP - -l;l: " . q15~-6' 1r I~ ~ ~ r1 5 • • 1 -----.. ~ • • • • • • e .----- , ,., 5~' .;. .;. ~ ,..-~.;. ~ >: j % 2 ''''-~ - , t ~ I I lim t. 4 ;4f r: ~ "\.. I ~Q"I· - fz I . ,..-. iI •• ;" ~';ll -:. ---- mf p f •3 ~ . ~~ >- ;. Ihl iJ ~ ~ J J kl' ,~t I • 0 , I J , OJ t: , 0"; . -'....: J , }p 0':'" _ 'fp "1f'p · 0 fp fp. fp , .... • .. • ~ - ~ ------, , --- -- I I , 5 4 ~ .;. ~ ----. {,\ 2 •2 .------~ , 1 l~~!~I! >-~ •• . . t 2.•.••• .•.•• I .."t-. I 5 .b... 2~ ... t. p " '-! ~q~~f .... •• ••• ... . . fz , ff, ==-- - ~ {,\ $: :I: ",.~ ~ ~ IJ t t .. :- "J1~ "1/ · cresco sempre.. cresco · _ee >- 2 , , ...- I~ .., ------: · • , , '2nd time · 1."P: ~ l~'t!1:.. t:l:[:c: to Ho.1{,\ • >-~ • • I ~ ~ ~ n . .:.. :. .. -----:--~'. ~ Ho.1 -- 2 3 1 ... ' ::;::.,. b' b ~ (;\ . ~ I • • S I ,.' .:. .. >- :.- '''~ II I- 2 3 2~ t. , " '--~~q~ fz , fz , ff p ! ~ It h: {,\ ~: ",G:a t t: !::: , hJ t ~ t t J f p con espress. L>-. b;' 1,: (;\ p/..- h=;;., . ":0. . , .. - ": "': · --- -- • D.S.alHo.1 , ~"': • '5 3 2 • 3==- {,\ 3 t 1 "p,~ 2 '~'2 3 ""~ , =;.------t - r {,\ 3 ----- .....----... ~~ f!:-. , 11 ' l~~ !bf '-----.. t. . I ... y,<- P con espresso 3 C1'esc. ,b. In: /- -"'- .. t: ~ ~ ...... -~ -=- y p~ . ====- . , ~ , {,\ ,_ .,It. . · ... • ..- .. L ..j,. .. IL L ... _.,It. b~. • · fl- 5 • 1 • L • "I I a r-- ~. I..,,~ 1 • , - . 5 '" I mps S 9 >- ~ ~ .. b~' .. 2 • 3 ~ 9 . f P I~"·'~.E I~ -< I-==- '-' ~ , l. I ,.;. '.t2 f-:_ : . ... • • bC" ~~ - =-= :..-;- p , , · L ... .IL h.. ~ Ih:~: • . . I ~ 5 , I 3 3 5 5 • • From ilSonatas" by W.A. Mozart. [P.C.194J 28 ETUDE· SEPTEJ.fBER 1954 ETUDE.SEPTEMBER 1954 29 a temno • - .:. ..:. ,,' 1\ 1 :> 3 .. .11';' it- ....---.:. 0 . ' a ~ ---- ~ 4~ 3' % Z , ~ :~ Jl%~_1 t 4 , ~ I .:. .:. , , ------. ~ pi" cresco f p pp ~ . f f p~ J t J- eresc: '"3 , II! p 0 -e • IkJ ~ ~ cresc. . , r., #~r?:: • 1-'-' , 2 . ~ ., 4 4 5 , '2nd time . ------to NO~"fIt ~ %~. % I -..:. ..:. .;. :;:- ~ lb~l.I! • 3 l -~ L - : I -- 1\ ,,-;:: .. -" p Jr- Ie fz , fz , ff, =- '-'!"~~!'~f .II. (';\ ~:11.116: S .' P. q'. at No.2 ~JJ J JJJ- ~ e I~ .:; . ,-- . -----..... • ... I • 3• • • ,\ No.2 -- 12 b' 2----.-----.. ~ L e 2 "q~' I ' , ' rr. 2 3 • 2 3~ Lt;, ~. !"I , '..: ~ t-r- :::=- [.'::""_. "t ...... ~ t:: ::==- fp ~ F =-- ,f! i ; (';\. .,. .,. ff f~ r-. • .. • • • mf --- \ Ii 2 5 ~~ 2 2 . 5 • • 5 b.- 3 f\ I ~\ ~..:.:.o ~,.~ .!.- : 4 3 t 3 ~ ---- 3 3 % • • ,., , 2..-. 3 t C-. .. ro . .' ~~~ef•• i>. r.~.;..;. - Ie p _ cresco ... , f ~ be - ~!' I~·~~ ~. l ;:::-e /'C: ~. t--- I.~ I! fp fp p fp . 3 • 4 3 :> I.:>~ ,., % 3 ~:::.c----.:>~ b~ r~b.E , 3 • =.'-{ I decl'esc. b=a. :> o· ~ • :> ::>- ::>- :> !! .--J-. ~~. 'If. . I" ....; - cresco b~' t: .~. 9-p-' fp~ fp .. ------fp -, qa: ...... - , ~: a: a: , , . , • • ., fI' "". >- :> -(9-' I , 1= 2 2 "If'"'.:.~.- : 2/1 , ,., I ~r~b;;t ~ i t tl .1 ~ • ;-===..1. ~ ..~ Ie. - I~O' f 11l~' I; , , I l! f· P -~_I [\ ,,..- , , , t: • • t .. • • 4 . • • 3 semprep ~_.o:. ~fj~4' 1 ~r I I , e 1/ .- ~ : ------3 (';\ • : .;. a piacere (piu lenlo) f:\ 1\ I -. ,Jl - 3 3 :> 2 , • Ie .- ~J_ " v· =11tq~q~i J:f I! :>" :> I¥ p '3tJfp~~ lB.- if;." 'corcsc. 1'1 I -- ";--., 1--. : I , f:\_ • 1\ 1 IL0--:- I-- -<9-' I~ . ., , , , 0 : . I . , , . e ... • ...... 5 ~ :t I I 2 I - ~ '1 I 5 " ETUDE. SEPTEMBER 1954 3J 30 ETUDE _ SEPTEMBER 1954 L • rali. s··..·...... -·...... ··...·... . ~. - . ~' ~ =:::r-, flu ,.H... ~ #~ f!- :. &#~ e~ e·e#~·~ Fn Grade 6 Prelude, in E minor ..- ABR"AM CHASINS, Op.l0,No. 3 t:::=..; ..... 1I- 6L I' - cresc~ pi;' C1'6Sc.- ~!: A - I- A 1\ L~.. A Vivo e marcato ( = 1{4·160) --.. Hit e . ::=;;;- ,:>~, :> . : : ::;;._ 1=i11. :> . "'" ,. -:; > ..==~1: 1 , ~I""I== +to r !)'''.. tf-il 1./ • *" .. if· i .. IT bL #~ - 1\ ~ ~ ~ ~----- . -6-' ---.,. 11 1 2 3 112 . . . . 1\ ~ , ~~ 3 """"""'! :- t. ~ ~ I . · . < · ..,.-, "':/' - ,f ~ ~ ::::>.::::>. ::::>. . f- ~~~ ~ ~ ~ ~ .f!" ~ ~ ~ nyb~' ..... ~ ~ r-,... · I ...... ~ ...... ~ . · =- • · · .. ~ • · L,...r- · . c....; 1 ~~~ ~ ~~~ !" From " Stars and Stflpes Forever, " arranged by Ada Richter. [420-4.1000J ...... l,..P 2 1 ~ - '-- __ --" L...J Copyright 1U52 by Theodore Presser Co, ETUDE-SEPTEMBER 1954 ETUDE-SEPTEMBER 1954 35 ... iiiiiO:=- ...... ,-==--=- ..~...."""'~Sb _ I ,. Gavotte in B minor No. 110·26662 Gavotte in .Bminor (F;;;mYiolin Sonata No.2) (From Violin Sonata No. 2) J.S. BACH Grade 3% JS.BACH PRIMO Transcribed by Preston .Ware Or em SECONDO T1'anso-ribed by Preston Wa'Ye O'Yem Allegro (d = 72)1 5 ' t • ./. .I 72) 4 Allegro (d = t 2 I ~,-' . I • ~ 5 , - , -"!" • I 2 4 I I 2 • - I 4 II I == :::I • ~ ~ --. :-~ --+ ::::t = = 4 • ~ ~ 23t ii~~~ =... =~ ..= :: 2 R ~ t 2 ~ b. .:. ~ . ~ .. • .'" I ~. ",--. I e I!'I e: 2 3 3 ----. I "5--' . . 5 5 -- 8···..··..· ,It. ~: t u - .. .fI. .. <, .:J J J .... ~, I _--.JI---:.- ..--~, r---. • p .. • .. .fI.. .. •:> 13 I 1 I I ...... 3 1 I I 5 5 3 5 5 • t l. • e.: , e; I I FP pp I I . .. . ~ W__I ~ ,. Copyright 1938 by Theodore Presser Co. • • • 1- c: ",tt! ETUDE. SEPTE],[BER 1954 Bnll h Copy"!_t .' 37 36 ETUDE. EPTE DER ------~fiJI '9 .. SECONDO ... , PRIMO " ' . 8 .. 4 2 5 3 3 , ~ 3.----- 3 ~ 3 I !"'...... ~ 2n::-- 3 . • .. 2 , " ' 3 , . t...--z-. --- • ~. jL ~ Jl . . ·2· . ", .l+~'"jL ~ ,.~Ii: .. .. . • ,I - f , I~ f : ' .----. - ('J Jl ~ I ~ .. I~ • • If, ":" ":" ~ ... I ~ ~~ ';~~ 11'--- ~#!~ ~ ~ . . . tJ ":" ":" ":' 4 " . I ' 8" ~.'~....~.'...... ;..-...... _--: :> c----- :> ~ ~ ~ ",,~"fl~. II ~ • . 2 .. 3 '4 2 3 ~ 5 ~ .----, r- ilJl .. .- ~ ~ ~~~~~~~ ~~JtH;' ~~ ,~ I. "P legg. I@ . /' p legg. ~ ...... II .. .. ~ /. <, r=:- ::;; '1! :> :> " ' ~ ":' .. ~ ~ , ~ :> ::: 4 2 --- 3 :- .---- r. --- 4 " 5 I .!l .. ~ .11~ II' .~""r-I L1 " ~ .~ .. k I' j! .. j! ~ ... ..,.. 5 2~ .----- ". 4 : Jt53~ Jt T I II l!~Jt~,. ~£.~t= . r- 5~ .1I .. H~~~b ..- ~ ~+=~~";Ii• ,- giusto cresCo - i@ gillsto cresco Illl --: r--- -...... -- ~ ~ =ii @ , 4 , 3 , r ------:-- '3 .-...2 ~~ ~ f*- , , 4 ... II" • ... ,. .11 • ~ • II o~.o: . ------I 3 , rt II ~~,lI!H~t:~~ ~~~,.,~.. t:~.. q4~q"~~ ~ " ' .. ~~"H~;,. ~ ... -...... f : p' - , I@ ~ -: ; p , · f II / ..h. .1 2 , ------=-- P • , 3 5 • ~ I ,~. I ,I , ------~~ ~ 5 .. . • 3 ~ 2 - 3 , ~ , -5 , 2 - 5------"" , , I , 5 5 3. 2 .11 ...... ,.. ~ ~ .lil ~, fl ~ ,. ~~jL t ' ~~~ ~---...... , ~"'g • ~--: 1=+= cresco I@ cresco , ~ II , , , .~ :;;~ 3 I · , If":' - . I 2 r:- -.------,11 2. 3 3 2 :> t 5 2 >- . ll' :;0,.. > 5 • . ~ • II 2 3 I 2 • • rJ' , :> , 5 2 :> 11. 8---' II 2. I . &! . :> :> , 4 . " ' , , . II t ~~j! ~ ,. ~~~ . Jt · .. ~ , . >-:> >- F', , 2_ :> . .. I !C . f molto rit. . . . '2 > >- . f motto rit. . II -. ~ i ':"~.. f~~#~ ~ - ~ ~ ~ ~ 4 I '. , :;0,.. #:: ~;. ~ ~~""'!~ ":" :z. ------. !~ :> :;;; :;0,.. , • I 4 >- > 3 . 3 , . ~ ~ · :> I , ~ .~. 2 ~, :> :> ;:>:> :> 4 :> >- 38 ~- ETUDE. SEPTEMBER 195' ETUDE.SEPTElofBER 1954 39 f7 Ha-nwnond Rcgistra lion Jesus, Lover of My Soul Berceuse @II0)OO 5423 211 Martyn (from "Jocelyn") B.GODARD /AID(10)10 7634 000 (SIMEON B MARSH) H. ALEXANDER MATTHEWS Transcribed by I Geanacos Andantino Andante tranquillo Melody ...-- ~ -c, ~. ~ ---.. ~ CLARINET • ------~ ~~~ rJ;] .J171 ii, »>: (Bb) - ~ IP dolcissimo ~resc. ( - · , .. P IT -,.. r .. ~ -c-, It: P 7LJVj~rr::"" ~ I ~[W ~~i D--~~rlrV~'ce • . MANUALS Ch.coup.to Sw.Strings ~ '-- @ ,. ~ ...... I I 'I _-_- ...--. ...~.,..r. '7' -:--- rt: -...... --' ... ~ ~ , "'11-, P ...---~'" : • . 1 • /' -... : , PEDAL ----- • • -z: -...---. »> rit. _ -...... Quasi Recitativo ...... Soft 16' coup. to Ch. Ped.42 Melody -- J I ~ .- ~ r. :=pp mf ...... ------· - - . , - la(~1JIpo 1 • j":'-W ~ , • r...:--i ~ri • r..:..-. 1------' ~ --.r .7 ~____T .. -~ ,.. 4L-L8rtr~~ - :. -...... -. 11--- ~ ".,. ~ --::-... - -:---11- .,.. ~. -. I .'J , . .. -- ....~ --~ I~. P - ! : --- Tranquillo -= -c> ,.. ,.. - ~n-,---""_- ___ Melody - I , ,....--.: 1 r:rJrn J-F1~ -=f PP " ~ " 1 f --- . 1 rt: ------U-J 1 J V : J-u:.r .u~ ILW r' ,~L.J.J :r" 1'1-1 1 "'l1:!r? -.. mfGt.coup.to Sw. 1 UI Ii· I~: b-6l~1...:6 : - 1--- ______~ I'l;. I'" -:--t~ , ~ .fl .,..fl ...-- ~ 1 t,-=--t. ...-; I.._-_I.;' : - ~;... PP - .. :;;. ~ -... ?;.:: ::z . : Andantlllo GUo Ped. Fed.53 -~ Mideo y ~ ---- ,...--r, , -, f --...... ~-...~I~ Melody Ch. --0-.. ~ ~ - I I' " - mf .. ... f ~ LH. 1 Ll! , £.7', I , I , I ), · , I , .I , Jj I IV ~ • I l 'J U.fl r=e:J' .. gl ___L!J 7U ~. cresco r' ct1 I r...:--LW' , . p a tempo . Gt. t-~I~G·..-c h. I' ' j ' j ~: ' 1 j-: I : - · t-. - .!i!:...... ~. ~/,. 1j: 'I"':I • ..: I'r: l: 'P~: T: 'I}J; '114,: l~. II ~. ~: , P I , f: mf : I : G - ~ - 1! ~ 1 , '" =--6l 77 Gt. to Ped. off to raZl. a tempo .f.', C h.to Ped. Ped.42 ~ ---.. ..---: -0;;; _ - - --.. --:' " --...... ~~~, ---.. (.\ .. ~ ...... :> I. r-o::: . : ..... QJ1 l[J'f' ~I--=--I 1:. :;;. 1 , , , , >- , "I , "'i ), .J , >- ), ~ , "'i , ~ dim. ~ I~Lr r..:.-r: 'Vi if' f.', l~ --- b., ...... ,.----...-. ". 1 .. -:----.. ___=_ v+:- --: . -- ... -. ,,~ I ~ if] ..ri1 r,., Ij ..: . : - 'I,: 1{~ 'l,~'j":" ~J: 'If: '}J: 1 'I;J; '~: . 1 ~ Itt I~r~~ PP , , : "all. =-p a tempo ' f.', l~ , : r,., 1 ~ ~ 110< 7 "¥ c.I-=--. _Cooo'",:,-" 7J ?; '" 1i ~ ;5 ~ ~ .• ?; " -""- --Col",::"" ."'.,: __ U~V' r~ From Unit From ~'Twelve Choral Preludes on Familiar Hymn Tunes"by H. A. Matthews. [433-40011J - Son Treasury of ClarInet Sol05 by John Geanacos.[434 - 41000J :<: Copynght 1946 by Oliver Ditson Company " Int ernational---- Copyright Secured COpyright 1951 by Oliver Ditson Company 40 ETUDE. SEPTEMBER 1954 ErUDE _SEPTEMBER 1954 .l~ 41 • No. 110·40323 No. 110-40326 Grade 2~ Outer Space Grade 11 LEO KRAFT Slow, mysterious GLADYS'~BLAKELY BUSH R.H. 8va througlwut 4~ 5 5 5 5 Allegro moderato 222222 4 , 3 , /j , ;;. , 4 3 .. r ... ~ • ~'" .. .. p ~ I I I I I I I I mf f PIANO 'r /'i ,~ , , ,- , ~ , • ---- . --- 5 2 ~ 4. 3 , 1 I 13 wtthpedal 2 3 , , 5 4 3 5 3 5 2 5 3 , 2 , 2 , 2, , , , 5 , 4 , 'I " 2 I , ', • -" I I I • I , I • I P ~ poco ,-it 1 ______----- . fl J,j 4 . ' 14 13 I I I , I, , -- .------. . . " 14 2 3 r , ~ I .- a tempo .,.. ..- I-- . r: • , .. 5 4 3 5 2 2 5 2 4 --- . . 5 , ------() 2 , 2 , .1 2 , . I 2 I --- " I I I I 2 , '. • I , I , I " I I I I • .. 4~ , 3 , /'i J,j ~ 3 "1' f () , . ------~ "->- ~ I c:; ~ I :> f' ...... • I, I 4 3 , t 4 I 4 I , "L;- t----_ • :::::0. :> --- . . . . 5 I 5 4 3 2 4 , 4 5 3 , 2 2 I I , ... I 4 ______~ , -- " , .. 11 , - , .-- . . " , I I 1'1 I I I ~ v' v. I .. v .----. ------:;:;::: p --- ~----j------j-----I--- . --- , . · · . . . . I I I I 2 T, . '2 L,H.over /'iJ,j 4 R_H. ,------2 2 5 4 5 5 5 , 4 4 3 4 5 3 ·2 · 2 , 2 , 2 5 5 2 ",. ~ · . ~ '1 ~ ,;. ;. , , , 2 'I 2 ,, ~ ~ I v. • ..- .... f I - P --- , , , , : . t---. -fr' ...... I , I I I I -, I ,------a -. fl' "'. . " • :--r . · · = pp I I 5 4 (j , , , 4" I . .- .---- . e , , '~I"e:)s .JOf'E'ID a'll}. UI 51: all I 2 , 4 2 I, D #.!i '.3 3 ·1 ~Ill'OS aq}'uu0.J reudh.ro sp UI 'sapow qo.mqo Plo e"l JO auo £.11-eUI~tJO 'aln,S u Ii . - !) °l !) WOl; spualxa (3-P0tu 10) •• • '1...... 'OJ'P 10XtUl v 51 SIl[ T • Copyright 1954 by Theodore Presser Co. . " -1. • a1:P} .Japan uoqsanb oJ .J'J,\'\SUVf Cop . ynght 1954 by Theodore P,resser Co. 42 International Copyright secured International Copyright secured . ETUDE-SEPTEMBER 1954 ETUDE- SEPTEMBER 1954 43 MORE THAN A DOWNBEAT America's Most Wanted Piano (Continued from Page 19) No. 110·40327 Mexican Jumping Beans Course Because It Gives You More Grade 1! projection potentialities of these in- but will be of great assistance to the struments, and I am sure are happy conductor as well. THUSNELDA BIRCSAK with the substitutions which we have The innumerable details that are made. a vital part of every successful band Allegro 2 5 It has often been said-"Necessity program are known only by those 2 4 • • is the mother of invention"; cer- who have been directly responsible. tainly this is true in the case of our for its presentation. Here the conduc- substituting alto horns for French tor must show evidence of a wide THE LEADER THAT . ~ <:> mp~ cresco horns, soprano saxophones for oboes, range of talents; an indication of STAYS IN THE LEAD PlANol and saxophones for bassoons, alto his ingenuity, imagination, organize- and bass clarinets. Another most de- tional and administrative powers sirable advantage that has come and, above all, his regard and sin- TEACHING LITTLE FINGERS about through these substitutions is cerity for the band and its standard TO PLAy ...... ' ...... 65 the improveinent of our modern of musical performance on the foot- 4 ~4 2 marching band arrangements. New ball gridiron. THE FIRST 6RADE BOOK .•.• 1.25 2 1 1 1 • instrumentation brought with it new There is very little time and a THE SECOND GRADE BOOK .. 1.25 scoring; hence, our modern arrange- great deal to be accomplished in the ments are now using the band's in- weekly preparation of the weekly THE THIRD GRADE BOOK ... 1.25 1r;T strumentation to full advantage. Har- football band show. It is at this time, monic content, sonority, rhythm, more than any period of the year, THE FOURTH GRADE BOOK .• 1.25 countermelody and percussion parts that the conductor will succeed or have all been greatly improved fail in his role as director, teacher, THE FIFTH 6RAUE BOOK ...• 1,25 I 1 through these substitutions and adap- administrator, showman, diplomat 1~21 ~ ~1 2 1 tations. and efficiency expert. JOHN THOMPSON'S P. C. at Coda One final feature that has been Following is a plan of organiza- • CODA added to our marching band pro- TUNEFUL TECHNIC 1':\ 1':\ tion which should prove helpful in . . grams in recent years is that of the bringing about such results. Combines musical enjoyment with finger development. script-writer and announcer. The re- 1. In advance of the football sea- Book I" 80 cents Book II. 80 cents I sponsibilities of this individual in- son the conductor will give ample ! volve the preparation and announc- study and consideration of all details Write for John Thompson Manuals < ~ #B: 'it, .f aceel. at fin,! ing of an abbreviated but accurate concerned with the efficient function- ~ "'" 1':\,1':\ description of the band's field activ- ing of his marching band. . ------ities. Since only a limited number 2. This will first include the ap- of the audience is in position to pointment of the following student 4 clearly see every formation or ma- band staff. 124 East Fourth Street, Cincinnati "1. Ohio Copynght Hlo4- by Theodore Presser Co. International Copyright secured neuver of the band, the announcer's (I) Student Business Manager commentary is extremely beneficial; whose duties are as follows: No 110·40325 particularly in large stadia or on 1. Maintain a complete and accu- Grade 1 The Jolly Postman occasionswhen the stands or bleach- rate roll of the band's personnel. Teachers! A SHORT CUT ers are too low for proper audience MARGERY 1cHALE 2. Check attendance at all drills, Moderato perspective. rehearsals and engagements and TO SCALE PLAYING In view of the numerous problems present this record to the conductor which our present marching band weekly. With the Slide Rule programs create, it would seem only 3. Assist conductor with all pub- Your Pupils Can Learn natural for our readers to ask-"lust licity, such as notices to newspapers, PIANO The post - man is jol - ly man, He comes to us each day; He how and when does the conductor magazines, radio and television. Scales the Easy Way ~ find the hours so necessary to fulfill 4. Serve as liaison between the Vision directs the right fingers to the responsibilities of such an elab- band department and the school and the right keys. The Arrows point orate program?" The answer is a community. out the keys to play, the Finger simple one---"He doesn't!" 5. Maintain a complete record of Pattern Slides indicate the fin- While it is true that the countless the band's public appearances and gers to use. A new way of organizational and administrative de- record all available data such as teaching; a new way of Jearn- tails which constitute the major por- newspaper clippings and magazine ing. For use with both standard tion of the conductor's daily sched- articles in the band's scrapbook. and modern fingering. ule are of paramount importance, 6. Assist conductor with the or- I I and his ultimate success or failure ganization of the housing, meals, Slid. Rul. ONCE IN A CENTURY CONTEMPORARY MUSICAL CREATION some of his present advocates, how- a serious student is ever to under- ever, 'make the mistake of advertis- stand the history of musical theory, (Colltimted from Page 15) ing the system as a short-cut. he must have a complete grasp of IN EDUCATION RAY GREEN Spokesmen for all the other sys- harmony and counterpoint in their were sent to the judges who thus terns realize fully that the best train- strictest manifestation. Only then At Mme. Lhevinne's suggestion, he had a chance to appraise straight . (Continued from Page 1l) works an hour a day at straight me- ing in older theoretical subjects is can he understand the nature of pro- playing-values, without the intrusion chanics-scales, arpeggios, octaves, needed as a background for the un- posed changes and developments. Aano of either good or bad personal equa- diversified new works. Charles Ives' J~ew musical resources, then surely derstanding of this century's in- And no matter whether one reacts double thirds and sixths. He makes tions. On these records, the perform. "Essays Before a Sonata" deals with Ives' approach must be thought of A Piano Course of reaular use of Hatton, and keeps all volved practices. The only great dif- favorably or unfavorably to the vari- er s were designated simply as A. B. broadening the base of music's phi- OUTSTANDING merit! the Chopin Etudes at his finger-tips, as the most free, the one most par- ference of opinion lies in whether ous modern schools of thought, it is C. etc .• and the judges had to guess losophyand advocates utter freedom tial to intuition and inspiration, used reviewing four each day. He tells old rules should be modernized in entirely necessary for the profes- which were men and which women. in means, but with the proviso that Designed for you he wishes he had had this inte~- toward the ends of transcendental presenting the subject to the student, sional student to know in detail what which were older and which younger. the means gain a real end. philosophy. sive technical drill earlier in his or preserved in their more conserva- they advocate and how they have de- A thorough foundation The anguished part of the audi- If Schillinger's and Schoenberg's studies. Holding out his hands for Schillinger himself agreed that in tive form. veloped from older areas of musical tions-as in most auditions-c-cen. are the most highly mechanized of in musicianship inspection, he looks down from the order to operate under his system. Personally, I favor the latter posi- knowledge. tered in the fact that the performers the influential systems of handling summit of twenty years and says good formal training was advisable; tion. It would seem to me that if THE END Enjoyable progress that the best time for developing were quite at the mercy of the judges. at the piano suppleness. stretch, speed. etc., is '-\t a concert. the performer chooses while one is young and the hands his own program. has the chance of beginning with a work that is good are 110t yet fully formed. "In working at technique." says for him, and goes on according to Mr. Browning, "1 also like to isolate his own idea of warming-up values. special passages [rom works and use At the contest auditions, th candi- them as exercises. Schumann's Toc- dates sat about uwaiting th ir turns. cata yields excellent passages of this each one lnvcluutartly omparing kind, as do most of the works of himself with the other • In the long 11)~" Learn More ••• Earn More Rachmaninoff and Scriabiue. I also run. this lax d nerve and t nded believe in the metronome-partly for to st ress plu ying m re then music. steadiness of tempo, partly for tech- And when the cant sram's turn final. nique and speed. I like to start ly cnme. the j udg soft n ailed out ~~thru'HOME STUDYin Spare Time slowly, working with expression, and what the)' wished 10 h ar-a section to increase the speed of this musical of the Chopin Fvmiu r Bellede, for playing until I reach Iul l tempo. iustunce. The following books are now cvcuebte .... This is definitely not good for me- .. I the fir t, or rete, level," Mr. BEGINNING BOOK ...• .75 Browning said, U veryone had to BOOK ONE ...... •.••••.•••.•••••••••••••••• 1.00 lodic or rubato passages-but for Your music can open the door to bigger opportunities .•. if you BOOK TWO , ,. '1.00 straight technique it is splendid dis- begin with the 'Vintcr Wind Etude. ,. 'to ~..continue" to train. Decide now to better your skills and broaden BOOK THREE .. 1.00 cipline. It prevents practicing both and go on with the rher required c..:::;;:;;j! your musical knowledge. Competition is keen, even in the smallest DIPLOMA ETUDESAND VARIATIONS, Based""on Honan, Books I and 2, each.. .75 too slowly (which doesn't give veloc- pieces. ven th ugh he might feel communities. Prepare to meet it anywhere, and take advantage of Mr. Green will make the following perianal qPpearances on the West Coast. ity) and too quickly (which makes more at ease in something else in ,I all the wonderful opportunities that arc open in all branches of Please consult with your local dealer for more specific information, for carelessness). The big problem. making iluu ull-Imponum firn im· your profession. or Bachelor's Degree Spokane, Wash. . Sept. 13th of course, is to acquire good reserves Ilre8~ion. But that. tOOl W8 8 kind r'" Become affiliated with a school that has earned the Seattle, Wash. . Sept. 160th Opportunities and Better Income Tacoma, Wash. . Sept. 20th of technique without ever making of tesl! The important thing is. the recommendation of thousands of successful teachers Portlond, Oregon .•. .•••••. . .. Sept. 23rd New forms of entertainment, TV for example, require entirely mechanics a goal in itself. Striking conteslanl got a h aring b)' com· and professional musicians for over 50 years. We are Sacramento, Calif. .••••••••..• . .. Sept. 27th new musical techniques ..• but well~paid, "Big Time" positions Stockton, Calif. .Sept. 28th the happy balance depends largely petent judges. und l' and itions the Duly school giving instruction in music by the Oakland, Calif Sept. 30th are available to those trained for this highly specialized field. Son Francisco, Calif...... ••••••..••••...... Oct. 4th on the teacher." which differ d from those of the Home-Study Method, which includes in its curriculum San JOie. Calif. . Oct. 6th Interesting positions ·urc open in schools and colleges everywhere. nil the courses necessary to obtain the Degree of Fresno, Col if _•.••...... Od. 8th Mr. Browning ~eels that, while concerl.platform, yet whi h carried Los Angeles, Calif Oct. 14th technique must never be an end in it· wilh Ihem n comparable elemenl of Again, specialization is necessary. Qualify yourself for teaching by Bachelor of l'vlusic. Son Diego, Calif. . . Od. 18th enrolling in our Advanced Study Courses_ DOUBLE BENEFITS, Plioenix, Ariz. . Oct. 2Sth & 26th self, the pianist must possess enough self-testing and self·contro!." Turn Spare Time into Profitable Study! M ••••••••••• You improve your own performance, and you learn the latest im· San Antonio. Texas ...... ••••••••• Oct. 28+11 of it to feel confident in any work, 001105, Texas ...... •••.• . Nov. 3rd Mr. Browning pointed out tllat. proved methods to stimulate interest of your students. Schedules of busy musicians and teachers seldom Houston, Texas Nov. Stll since finger security helps greatly in though the requiremenl of the Fort Wortll, Texas Nov. 8tll permit a return to formal classes, but they can advance projecting the full meaning of the Steinway Cenlennial Award compe· Start NOW toward Greater Success rapidly through Extension Courses. These need not CHAPPELL &. CO.. INC. music. As regards tone, IVIr. Brown· tition nurrowed the fi Id down to Cet the training every musician wants ... to advance further ..• interfere in any way with regular work. The progres- ing believes that. for melodic pas· something les,s than twenty contest· Hod get it the modern, convenient Home Study way. Know the sive musician, busy as he may be, realizes the value RKO BUILDING. ROCKEFELLER CENTER. NEW YO.RK 20, N. Y. sages. it is helpful to use flat rather ants. the general feeling among them advanced, up-ta-date techniques of today's music leaders. Courses of further study and finds the time for it, proceeding than arched fingers. exerting much was that much had been learned. include: whenever spare moments are available. pressure in a slow attack, and keep. The aspirants had to gct control of HARMONY:-\Vritten by two of the HISTORY:-A modcrn coursc including CHECK COURSE THAT INTERESTS YOU and mail coupon for ing the wrist flexible so that arm· nerves and nen'ousness: and. b)' vir· finest theorists in the country. Simpl~, all typcs of music from ancient origins sample lesson and booklet ... without any obligation. YCt thorough in cyer)' way. From baSIC .------... 1 weight may be freely released. tue of the written criticisms. they to 20th Century. Interesting-with em- fundamentals right through 10 Counter- phasis on the analysis of. music-not a The actual Stein way contest audi- gaine<1 new insight into their own point and Orchestration. ~ •••••••••••••••••••••••••• IIIi ••• ri•••••••• ·., dull collection of facts. UNIVERSITY EXTENSION CONSERVATORY. Dep', A-SOt tions, it appears, brought both joy abilities. personal as well as IllU5icai. ADVANCED COMPOSITION:-Dcsigned • to J:ive you ~ useful knowledge of mu- • 2000 South Michiqan Blvd •• Chlc:aqo 16. lI15nois and anguish. Two specially fine de. "For myself.ll said Mr. Browning, sic~r forms ~nd the geller;ll processes ~r~=~~~~N(~~~V~llf~~~t~j~~s e:~;:i~~:~~ : Please send me catalog, sample lessons and full informa· vices employed were: 1) after each "1 have increased my repertoire at of Composition. of the biggcst "name" arr~ngers in the. lion regarding course I have marked with an X below. country. • level of audition, the candidates were its weakest point-namely. certain '~ NORMAL PIANO;-EspCC1;lHy dcslgneJ o Piano. Teacher's Normal Course 0 Voice (Of Piano Faculty, Eastman School advised in writing exactly what the " for teachers or future tC;lchers. Trc~ts • o Piano, Student's Course 0 Choral Conducting of Music, Rochester. N. Y.) says: types of modern works which I might .and solves e..ery problem of the pro- CHORAt CONDUCTING:-Drand new judges thought of them, thus giving l:rcSSI\'e te3cher. course includes ~Jl the modern tech- o Public School Mus.-Beginner's 0 Clarinet not have tackled if left to my own Public School Mus.-Supervisor·s 0 Dance Band Arranging them far more practical help than ~ niques-e'l.'en bro~dcasting. o "National Guild auditions offer innumer· preferences,. I gained much from the ... PUBLIC SCHOOL MUSIC·-Flts ~ou for o Advanced Composition 0 Violin a mere statement of win·or·lose reo aClual work in Ihe school room. Our VOICE:~ll1cJudes all essentials, such as able advantages, the most important sense of "arillg to do a prescribed model lcssons develop originality 3nd o Ear Training & Sight Singing 0 Guitar sult, and eliminating tbe eVlbarrass. ~il.'c ~'ou an excellenl guide for teach- Breathing, Rcsonance, Vocalization, o History and Analysis 01 Music 0 Mandolin being the balanced repertoire require~ task within a given limit of time. £nunci~tion, Phr~sillg, St)'le, ctc. "" in~ others. o Harmony 0 Saxophone ment of spoken criticism; and, 2) These are most necessary values- ment,-as necessary for the musical after the District auditions. the semi- o Cornel-Trumpet 0 Double Counterpoint having touched them once. I hope I o Professional Cornet-Trumpet 0 Banjo growth of a child as balanced living is finals were put on recordings which 'l • can reach them again. THE END Name _ Ago _ for his normal physical and emotional u growth." University Extension ~ Street No. _ S~LLp._e~flatliralattributes 10ere attributed by the Qncient.s to music. ----- :51010 _ for' mstance th H- d ,,~ " CUy NATIONAL GUILD OF PIANO TEACHERS .' '. e ut 00 ragas were supposed to force men Ar.e you teaching now? If so, how many pupils have (Founded 1929 by ttl Allison, M.At( Mus.D., LL.D.) and anmwls t? do the will of the singer; another was alleged to .wase}he smger to be consumed by flames; another produced Box 1113 Austin, Texas CONSERVATORY you? Do you hold a Teacher's CerIiHcate? _ ram or darkness in the daytime" Th J h - ~I~~)~ h "M . . . e apon-ese aVe a sa)'lng Have you sludied Harmony? -Would you like to earn t at USl.C has the power of making heaven descend to earth." !~ the Degree 01 Bachelor of Music? _ 48 ETUDE-SEPTEMBER 1954 ETUDE-SEPTEMBER 1954 49 LONDON'S UNIQUE NEW FESTIVAL HALL he penetrating sounds emanating and fabulous lighting effects. On (Continned from Page 26) ~romthe underground trains, the two gracefully designed stairs which look bridges,the Thames and from above, fragile but are solid enough to sup- drums, and washed and polished theyhad to find a way to make the port an empire, you reach the se- built of blonde birch-was no plat- for Beginners 01 All Ages! them until they all became shining, h II immune to these noises. The dately elegant, carpeted. lounges, im- form at all. Instead of being flat and a I . sparkling clean. Then, mixing these architects contrived a revo utronary pressively wide corridors, studded READinG TimE of one piece, it consisted of gently brilliant sounds into a magical tructure which might well serve as by Guy Maier &- George Loudenback . . rising and leisurely spaced, ov~r- with snack bars. Also, a Parisian- blend, the same loving hands ex. s blueprint to the noise-plagued con- style cafe-restaurant with accom- A progressive method which reduces sight reading to ,Its sized steps, and culminated in a tier simplest form. The extreme simplicity of its mork-countinq tended to serve it all to me on i :ert halls of modern metropolises the .of seats which embraced the highest modations for 700, and with a mag- assures pupils good facility in reading elementary prone Imluis~,ci1.~ magnificent silver platter. world over. They bundled the audi- layer of the platform in an angular nificent open terrace overlooking the "Festival Hall can be tuned like a toriuminto a heavy egg-shaped con- Thames. Then, on the top floor you LEILA A Highly fnjoyable Piano Method lor Children! semi-circle. But the most important tht difference between this and a stand- musical instrument," Dr. 1. 1. Mar- crete wrapping and placed it on find roof-gardens aboundine with WOHR AnD PLAY, Valumes 1 & 2 ard stage was the fact that this tin, chief architect of London County stilts. Then around it they built an lush exotic flowers and pla;ts. All by Eugenia Robinson & Mary McCormick . stage stood at the lowest point of the Council, who was in charge of the enormouSconcrete box which pro- this puts you in a delightful mood FLETCHER An introduction -to music for children through ~ vo.netr of auditorium, and it was wide open on team of architects building the hall, tects the precious inner case, as a even before entering the auditorium PIANO COURSE musical experiences which lead to a solid foundation In 1~,amn!oiluJi three sides, unprotect.ed by sidewalls. told me as he pointed out the unique hen guards her egg, from all outside itself. playing. Second volume follows logical development acoustical features of the place. noise assaults. The space between Thousands flock to the southbank One by one, members of the Royal BOOK ONE Philharmonic Orchestra took their "You can shift about the wood. the "egg" and the "box" has been night after night for the thrill of The EASIESTBEGINNER'S BOOKwritlen. Graded' seats on various layers of the plat- paneled sidewalls to suit the tone. dedicatedto the extravagant purpose attending a concert in what they be- to the last degree so that progress is almost automatic. This book form. Drummers and timpani players You can open up and cover holes of making a wonderland of Festival lieve to be the finest auditorium in j will fascinote your pupils. Unique Keyboard Chart. Duet parts for climbed up to the highest ten-ace in bored into the ceiling to improve Hall. Everything in these parts, too, the world. Most of the concerts-and 1 19 pieces included, for Ensemble playing and Early Recital use. the back of the stage. Brass instru- acoustics. We kept the place as has its functional reason for exist- on the average there are ten concerts Used and Approved By Hundreds of Teachers BOOK TWO GRADE 1. Contains an abundance of delightful mentalists occupied the tier below, pliable as a stage set." ing, as in the rest of this unique a week-are sold out in advance. In first grade pieces in "flve-flnqer position." Duets and ports for followed a step lower by woodwind There were other, unusual fea- building,but you never notice it. its third year of existence, the Royal \, "KEY TO PIANO PLEASURE" Ensemble playing included. Keyboard Transposition Studies by Frank Fredrich players, and below them, on the next tures. All you do see is a two-decker Festival Hall is a rousing financial begin with Book TWO; these easy, practical, and most beneflctc! "The book every MUSIC EDUCATOR can endorse" two steps, by the string players. The "How will this sound in the eve- foyer,as grandiose as you're likely as well as artistic success. \ Thru your dealer ($1.50) or direct from us studies. are' immensely enjoyed by the young pupils. piano-the instrument of the soloist ning?" Andor asked between move- to see anywhere, with marble floor THE END LYNNE PUBLICATIONS, Dept. A. MEDINA. OHIO -stooel in the center of the lowest ments, pointing to the gaping, empty &:DIm and widest step, next to the conduc- hall. / This third book of the Piano Course is GRADE 1 to 110>. A TRE· "It'll sound exactly the way it tor's "soap box." Anelor had just '.1 MENDOUSLY POPULAR book. Conlains a wealth of increasingly sat down to it. He ran his fingers sounds now." the concert master, to RECITALS:TO HAVE OR NOT TO HAVE THEM ( attractive musical examples. Perfect grading. Complete technical whom Andor had turned with his through the keys. The orchestra l requirements. started t.o tune-the rehearsal was question. repli d. .And so we learned (Continued from Page 12) about to begin. of another entirely unique feature ~ of Festival Hall, which eliminates Suddenly, the sun came out from VariationWaltz, and most delightful almost eight, announced he had corn- Lead, smoothly into GRADE 2. No gaps to bridge. Progress is the age-old headache of performers behind the clouds in the auditorium. ofall, two children cooperated on a posed two waltz variations, one as UNIFORM. and GRADUAL! Price 1.00 each who usually worry over the fact that At least this was t.he way it seemed two piano variation called, Tubby Brahms might have written it (his More books of the LEILAFLETCHERPIANO COURSE in preparation. the thousands of people in an audi- 1 to me when the Jights-a wonderful and the Orchestra. repertoire piece in Part I had been array of little lamps, studding the torium will consid rably alter acous- For dramatic effect, I encouraged a Brahms waltz and he was very MONTGOMERY MUSIC INC. 4) COURTITRIIT. BUFFALO 1. N Y tall ceiling like so many stars-were tical conditions prevalent in tbe the children who wished to, to Brahms-conscious}, and one as he made to glow, aided by concealed empty hall during rehearsal time. "score"their variation for orchestra himself would write it. The thun- GIVE YOUR CHILD THE ADVANTAGES Sound expert applied a "trick" to lights from every conceivable corner by making use of our rhythm band derous applause with which he was Of Sfudyin9 Piano With An I.P.T.A. Teacher AMERICAN CONSERVATORY solve this problem. They stuffed and level. instruments.Thus, Larry enhanced greeted was followed by an awed OF MUSIC-CHICAGO I sank luxuriously in one of the sound-absorbent glass-fiber into the The International Piano Teachers Association, the world's theeffectof his Indian ff7ar Cry by comment from Nina, who announced largest piano teacher organization, devotes its entire Offers courses in all branches of music 2.800 empt.y seats at my disposal in bottom of every chair in the 11a11. 68th year. Faculty of 130 artist teachers havingPeter play the tom-toms, and sententiously in her serious, deep energy toward making music learning the pleasurable Member of National Association of Schools of Music the auditorium (there are 250 addi- When a eat is empty. its bottom is Ihelpedheighten it by planting the little voice, "1 think that Danny is as experience it should be. Here are some of the special Send for n free catalog-Address: John R. Hattstaedt, Pres .• 581 Kimball Bldg., Chicago tional seats in the choir and 300 tipped up. so it faces the stage-and benefits it offers. idea in Larry's mind only the week good as Brahms." standing rooms on the sides, bring- every tipped up seat absorbs exact- beforethe recital. At the recital, as I do not wish to give the im pres- • Student Membership in the World's Lar2est Fraternity of Piano Students _ Annuol ing the total ca pacity to 3,350) to ly as much sound as if a person Notional and International Piano Playing dominations _ Esctusive I.P.LA. Academic Larrywas about to play his varia- sion that this was a serious attempt Music Courses - Over 65 Copyrighted Ieocher Aids Enabling the Teacher to da the Best CINCINNATI CONSERVATORY OF MUSIC listen t.o the opening chords of Bee- would sit on it, thanks to the glass- Job • Annual Notional Conventions Alternately in New York Ci1y and Chicago ",,'illi:un S. NH}-Ior,Ph.D., Direchn" lllUl De:IJI of FlIclllt)' tion,Icasually remarked to him that at composition. It was to give them, • Periodical Educattonct Bulletins _ AIII.P.LA. Teachers are Certified. A diJfingl/iJhed projeJJiDlutl schoo! of nlflsic rilld the ttl/jed art;. thoveQ's grandiose Emperor Con- fiber. Thus music sounds exactly perhaps he ought to repeat his in· rather. a deeper understanding of Under the guidance of on I.P.T.A. teacher. you learn ta play the world's finest piano DEGREE COURSES WITH MAJORS IN PIANO, VOICE, ORCHESTRAL INSTRUMENTS, certo which my husband was about alike in a completely empty and in a literoture. The Association advocates the teoching of the best music of all publishers. ORGAN, COMPOSITION, MUSIC EDUCATION. structionsto Peter to make sure that the theme and variation form as they to play now, accompanied by the sold-out Festival Hall. You are invited to write ROBERT WHITFORD, I.P.T.A. Founder-President at the Inter. Affiliated witll tha Uriven;ity of Cincinnati. Member of the National Association of Schools of Music Peter knew his part. Larry, being would meet it in the works of the notional Headquarters for a complimentary copy of Piano Time, a directive that Catalog will bl:.s~nt on rcque .•t Royal Philharmonic Orchestra. I While T. E. Bean. energetic gen· explains the Aswciation's philosophy of music learning. '''rite Depi. E. Highl:lIul Aye. :11111Ollk St. Cincilllll,ti IH. Ohio aboutas inhibited as Milton Berle, great composers, and an insight into have heard Andor play the Emperor, eral manager of Festival HalL oblig. and being not quite eight years old, some of the elements of composition International Piano Teachers Ass'n, 204 N. E. 31st St., Miomi 37, Fla. as well as Bartok's nostalgic Rhap- ingly sat down to the piano onstage A NON-PROFIT ORGANIZATION rose to the occasion and proceeded through actual experience in work· sody for piano and orchestra, which during the rehearsal break to play rhree gfeot I.P.T.A. Academic Music Courses in KEYBOARD TECHNIC, PIANO FfDAtiNG and MUSIC to givedetailed instructions with the ing with it. followed, innumerable times on both something so Andor and I could INTERPRETATION are now ovoiloble. exclusively to I.P.T.A. teachers ond students of LP.r.A. seriousllessof a Toscanini. Then, he 3. "Quickies" for company. Chil- teochers. ney ore the most compr .. hensive (ourses ever published on these subjects. and were de- sides of the Atlantic in many a city make a private acoustical test-we signed ond written by Robert Whitford, I.P.T.A. Founder-President. Write for de~criplive literolure. sat downat the piano and played his dren between 11 and 13 years of age. Bachelor of Music, Moster of Music, Bachelor of Science in Education (B.S. in Ed. by between Tacoma, Washington and start.ed walking slowly up the ai~le. transfer to Kent State University or Western Reserve University) variation,his eyes resting earnestly Background: One year of Music Madrid, Spain. I was present when We walked further and further away WARD LEWIS, Acting Director on Peter as he muttered instructions Readiness, three or four years of THE 3411 Euclid Avenue • Cleveland 15, Ohio he played them in Paris, Oslo. Ber. from the stage until we reached the Meml>cr of tile ,'iatimw! Auoci"t;o» of Scl,ools Of M".ic and cues. We in the audience could piano. lin and Brussels. Yet, llever before very top of the "hill." far. far awa)' hardly contain ourselves. Here, in Description: This is usually the have I heard them sound as they from the platform. Mr. Bean kept MANNES COLLEGE OF MUSIC OUTSTANDING FACULTIES e~hryo, was an orchestra of two, dangerous time in music lessons. The sounded now. What was it that made playing. at our request. the same courses leading to the including celebrated artist.teachers w:th the. composer at the piano! children are studying sonatinas in this difference? bars with one and the same strength. ".hen tillS was followed by Roberta, preparation for the great sonatas of COMPREHENSIVE CURRICULA Every tone seemed to be doubly keeping the volume on an even level. BACHELOR OF SCIENCE DEGREE UNDERGRADUATE AND GRADUATE Withher long red hair and organdy Mozart Haydn and Beethoven. They 1)eT~.SITY alive now-brilliant and Clear. You Despite all tbe brisk climbing we DIPLOMA POST·GRADUATE DIPLOMA PROGRAMS lr~ss making her look like a modern are pl~ying some Bach, Chopin, could hear the piano passages, clear had to do to reach this far, high end iliA/OR FIELDS OF STUDY: of The Office of Admissions, DePaul University, l hc~ in Wonderland, playing her Schumann, and musjcianship is a SCHOOL MUSIC as bells, and behind the piano every of the auditorium. we had the sensa· 64 E. Lake Street, Chicago 1, Illinois. l\{U~lC~ Box· \'anatlOn. . accompanied. IJy more subtle matter than previously. Piano H(lrp Tympani & Percussion Member N.A.S.M. FInancial 6-4000 instrument of the orchestra. from tion of having stood perfectly still IovelyLe I' Or gan. Woodwinds Voice violin to cellos and bass; flutes. , nore on tIe tnan17le and Music is becoming "pure" and less all the time. For the volume of the tbls f II 0 , Harpsichord Brasses Voice (Opera Training) L wa.s a owed by Paula and I'programmatic." 'Ve stay on these clarinets, timpani and triangle lived sound emerging from the piano did Theory and Analysis ~noreIn their two piano variation pieces longer to catch as many Strings Conduct.ing CompoSttion NEW YORK COLLEGE OF MUSIC a life of their own. Yet, they all not alter at all. It was true then, with . , Arved Kurtz, Director Chartered 1878 questIOnand answer phrase at nuances and fine points as we can. blended into one, triumphant and that music sounded exactly the same EXTENSION DIVISION AND PREPARATORY DEPT. College and Professional Courses ••• Class and Individual theh twopia'nos, It practIcally. brought As a result, we begin to get a glorious sound·experience. It was as in every part of the hall REGISTRATION: Sept. 22nd through 28th Instruction •.• Daytime or Evening ••• Full or Part Time. t ~ housedown. Then Nina with full frequent complaint, "I've got ,~oth- if some loving hands had taken every Extraordinary measures were em· CLASSES BEGIN: Sept. 30th Write for Catalog s~emnity played her Hymn, Peter iog to play for company, or tone emerging from between bows ployed to shut out all noise. As For in/ormation write or call: REGISTRAR 114 EAST 85th STREET NEW YORK 28, N. Y. P ayeda dance variation and Danny "My friends don't want to hear a and strings, from horns, tubas and nothing could be done to eliminate an ext I ' , 157 East 74th Street~ New York 21~ N. Y., REgent 7.4476 reme y talented young man of (Continned on Page 57) 50 F:TUDE-SEPTEMBER 1954 ETUDE-SEPTEMBER 1954 51 ~ lolin «tluestions ,~r9an lflluestions Answered by FREDERICK PHILLIPS Answered by HAROLD BERKLEY 1 have been asked to play the play on Great, with Sw. to Gt. cou- organ at a small church, having. ha pler, and Pedal Bourdon, with Sw. The Guarnerius Famfly Ing to remember when one is deal. tWO manual pedal reed organ, wa coupled; save the Ct. to Ped. cou- J. A. E., India. I have never s~en Ing with young pupils and their parents. the following stops: LEFT HAND, pler for big effects. For quiet or a Joseph Guarnerius la,~el .WhlC~~ TOP ROW-Sw. Flute 4', Oboe 8', devotional hymns use softer organ used the unusual tense "facie bat. Vox Celeste 8'. Salicional 8'. LEFT of course. The Clarinet 16' is better though he may have u sed it on Tare Fer-re Not Known HAND BOTTOM ROW-Pedal as a solo stop than part of the en. occasions. Generally one sees the S. M .• New York. There seemsto Bourddn 16', Pedal Dulciana 16', semble, though it does add depth to simple tense "fecit." On the other be no information available among Ct. to Ped., Sw. to Ped. REGHT the latter. When used as a soja stop hand, Stradivari used "Iaciebat" al- the leading dealers in New York HAND, TOP ROW-Sw. to G,., on Great, use Vox Celeste and Sal i- ways in his later violins. (2) The City with regard to a maker Ilamed Tremolo, Octave Coupler. RIGHT cional on Swell for accompaniment, Guarneri family was rather a large Fane of Stockholm. He may hal"e HAND, BOTTOM ROW-Gr. Open with Pedal Dulciana, and Sw. to Ped. one its more famous members being been a repai rcr who made a few Diapason 8', Clarinet 16', Dulciana coupler. Joseph del Gesu, Joseph the son of violins in his spare time. or an ama. 8' Trumpet 8'. What would be good Andreas, Petrus the eldest son of teur whose hobby was making vie. fo~congregatiollal singing? So/test I have a small reed organ made by Andreas, Petrus the son of Joseph, Jins. He is 1101known in this cit)'. to loudest? the Packard people in Fort Wayne, and, of course, the founder of the A. B. T.-Moss. Ind. Do you know ,:/ this finn still family, old Andreas himsel f. It is An UllplaJ'cd Violin exists? The following are the stops: amazing to find so many great mak- Beeornca RU81y From softest to loudest build up Treble Coupler, Celestina, Dulcet ers in one family. I find no record Mrs, J. fl. L .. New Yo'k. The in the following order, and play on Treble, Celeste, Me/odia, Vox of a Francesco Guarnerius. name you m ntion is that of a well. n». the manual indicated: m.ana Bass Coupler, Violina, Princi- known z choslovnkian violin fee. 1. Sw. Vox Celeete-play on Swell pal, Viola, Diapason. Which stops A Doubtful Alhani Lahel tory wh ieh has representative, in 2. Gt. Dulciana, couple Sw. 10 Gt. would be best for hymn singing and R. L. n., Oklahoma. NOI having Iew York. It is trietly a commercial ,I -c-playon Crear (keel) coupler on) for solo playing? seen your violin, it is impossible for firm which turn" out violins of vary. 3. Sw. Salicional-play on Great M. P.-Kans. me to "pass judgment" on it. The ing grades. Its best quality product 4. Sw. Flute-play on Great Most of the manufacturers of You play and ... most experienced violin expert could sells in the nited tares for about 5. Sw. Oboe-play on Great these "parlor" organs are no longer not give an opinion of a violin he 250.00 and is worth the price asked. 6. Gt. Open Diapason-play on in existence, and since the Packard had never seen. But I can say that H u violin il'l 110t played on for a you feel the tension leave Great name does not appear in a recent there is something wrong with Ihe considurnbl I ngth of time the tone 7. Ct. Trumpet-play on Great guide, we are rather inclined to be- label-as you transcribe it. .It should becomes lorusty" and unresponsive. 8. Gt. Clarinet-play on Great lieve the firm is out of business. For You touch the keys of your Hammond Organ. And a new worId be "Josephus filius Muuh. Albani." but il :-oon imllrmc!' if played on 9. Octave Coupler-play on Great sort organ solo work we suggest etc. All 111 a kers who ach ieved even re~ularly. beckons. A world whel'e workaday wonies cannot follow. And tension From 1 to 3, the Pedal Dulciana moderate renown-and the Albani llsing Celestina, Dulcet Treble, Viola is forever a stranger. family did better than that-were ]6' should he used, with Sw. 10 Ped. and Violina. For medium volume A 1\1o(lcl'n Fr'ellch Finn coupler, From 4 to 6 use Pedal You begin a beloved melody. And music's most glorious voice re~ soon followed by a host of copyists add the l\'1elodia and Diapason; j. 11.. Ohio.. \lar Laberle is a Bourdon 16,' with Sw. to Ped. then, for further volume add Celeste sponds. Now whisper.soft. Now in fun-throated majesty. who took liberties with their names French \ iolin Illaking finn that pro· and their labels. coupler. From 7 on, you may and Principal. The couplers may be You blend the richly varied tones in vibrant harmonies. And, sud- duces instruments or man)' different use the Gt. to Ped. coupler. added for really full organ. The grade. ranging in value rrom about denly, a great calm envelops you. All seems right with your world. Gullelo or Gusello For introducing congregational softer hymns would be effective on 25 to about 500. Considerable care hymns you might use Fun Swell, For this is the wonder of a Hammond Organ: Its music refreshes J. C. B., South Dakota. I can find either the first or second grau p, and is taken with the beller grades. and Ped.Dulciana, and Sw. to Ped. cou· no reference to a Cremonese maker the more festive hymns would re- and renews you. In spirit. In heart. In every fiber of your being. some of these violins have a very pler,and for congregational singing quire the greater volumes as indi- by the name of Gulleto. but there And-this wonder is-for you, even if you don't play now. For in a good tone. What lhe value or your add the Open Dia. and Trumpet, cated. THE END was Nicolo Guseno who worked in violin may be. no one could sa)', of month or less YOll'n play your Hammond Organ with style and feel- Cremona from about 1785 to about COllr~e. without examining it. ing. Thousands with little or no music training have done it already. 181R His violins are more German in style than Italian and are of in. TEACHER'S ROUNDTABLE So why delay any longer! Why deny your family the richer life a Alrani Or Albani different workmanship. Today they Hammond Organ bl'iugs? Prices start at $975 f.o.b. Chicago, with Airs. H. A. So, California. I can are not likely to be worth much (Continued from Page 22) eas)' terms available. Ask your Hammond Organ dealer for a delllon~ find no rderence 10 a maker named more than $350.00. Alrani in any of the books at my stration. Or mail coupon for details. No cost or obligation, of course. There seems to he hilt little hope you the artistiC satisfaction you dispo~al. II may be a fictitious name Repeal, Please to modify the conditions you men- crave for. Still I believe that contin- 0" yOLi may ha\'e miHead the spell· lion. If you rail it will not he by ued psychological effort on both J. M. V., Cah/omia. Your ques. ing. There were several makers by tion regarding the "Mazurka de Con. yourOwn fault but through the lack '"ouno-sters and parents may bring the name or Albani. 1£ YOU believe (If culture and appreciation which that little ray of light which always cert" by Musin is not clear to me. lhe violin has quality )·ou should surrounds)'ou. Therefore I would di- hides behind the clouds. HAMMON.D OIlGAlV I do not recognize the quotation. take or send it to lr. Faris Brown, videmy pupils into sever~l classifica. Remember the story of the huge Won't you send it in again. in 5625 Wil~hire Bh·d .. Los Angeles, MUSIC'S MOST GLORIOUS VOICE ~ions according to your personal Ien~e in that observatory in Cali. greater detail? Perhaps I can then for upprait=al and repair. be of some help to you. Judgementand estimation. The few for~ia which broke twelve times, Home Model Hammond Organ. Full olderones, naturally would be at the bringin'g discouragement to the en- details and price sent on request. A Good Commel'cial lop.Then you may h~ve several dozen gineers. "It can't be done," they The Parents Prohleru Instrurucnt Mrs. E. F. 0., Rhode Island. It average ones, with perhaps another said and they were about to give ------. S. R_. Ca"odo. Prices ror Neuner COupleof dozen hopeless ones (you IIp ~vhen one of them intervened. Hammond Organ Company I was a pleasure to hear from you & Hornsteiner \iolins range rrom ·10210W. Diversey AHmue, Chicago 39, Illinois : again. Your letters are always so probahly will say, "no, I have five ":My friends"-he said--;:-"Iet us ~ry about 35 to around 150. It is one Please send me full details about models of the Hammond Orflan I have checked. I interesting and vital. I can sympa- dozenof the latter!"). Well, what- again, just once more. They dId, of the largest firms making com· o Spinet 0 Home 0 Concert 0 Church : thize wilh you in the difficulties yOll everit may he I would do the best and succeeded, and through It ne;; mercial violins and it turns out possibleby all of them, but I would horizons were unveiled in astronomIC Name.__._.__.. . _ I have with the parents of some of lhousands or instruments e\-ery year I your pupils. I think it was La Roche. not permit my health to become im- research. So why not do likewise? I I -has done so ror man\' decades. AI· Address . . ._. __ . _ I foucauld who said that a child's pairedthrough trying too strenuously would wager that a reward will come I though their violins. vi~las and cellos I first enemies are ils parents. The and putting an undue strain on my 10 your efforts, and wha.tever SUTll ?f are mass· produced. the workman· City ...... P.0. Zone.~__..State__.__. ._____ I epigram has enough truth in it to ~lerves.Devote your energy to work. improvement manirests.lts.elf even III © 19S~. ~AMMOMO ORGAN COlolFAIlY 9 I ship is in general good. and the tone Ingwith the selected few who bring only a few will be gratlrYlllg to you. give it wings, and it is a useful say. above average. THE END ------J 52 ETUDE-SEPTEMBER 1954 ETUDE-SEPTEMBER 1954 53 upon the advice of 'expert men in RESULTS of POETRY CONTEST call before them aU men who the faculty of Welsh music.'" r wished to be honored as poets or TheJunior Etude Poetry Contest - musicians. By the royal command, And so, on down through the Special Honorable l\lelltion r-Sherwood MusicSchool they were to examine these poets centuries, the Welsh people have brought forth some .ver~ good Michael Plant (Age 12), New Thorough professional training for successful careers. One and two- held annual music festivals and verse,which resulted 111 tics and York; Sharon Lee Wilkey (Age and musicians carefully, and those year Certificate courses prepare for private studio teaching. Bachelor competitions, now known by the specialhonorable mentions. 13), California; Laurine Zautner who were deemed deserving were and Master Degrees, four and fiveyears. Piano, voice, organ, violin, presented with a license to con- name Eisteddfod, in various cities (Age 14), Wisconsin Class A Prize "rillners 'cello, wind instruments, composition, public school music. Faculty tinue. The others were no longer all over the world. (One of their of renowned European and American artists. Many opportunities permitted to wander about the song festivals, known as Gamanfa JoyceOrarleneSimpson (Age 13), Class C Prize Winners for public recital, solo and group performance. Member of the land. It was also enacted that "the Ganu, is being held in Philadel. Kansastied with Karen Anderson (Age 11), National Association of Schools of Music. silver harp should be presented an- phia, Pennsylvania, this Septem. OliverKelley(Age 17), Texas Minnesota tied with ber, to which ten thousand visitors Founded 1895. Splendidly equipped Iakefront building. Fall nually to the best minstrel at the Lynda Brown (Age 9), Maryland are expected!) assemblies, beginning in 1568, SpecialHonorable Mention Special Honorable Mention session begins September 9th, Janet Carr, (Age 16), Virginia; Karen Gavin (Age 11), Vliscon. For catalog, If/TiLe Arthur Wildman, 111usical Director WHO KNOWS the ANSWERS? Sherry Howell (Age 17), Penn- sin; Carol Ritter (Age 11), ,Vis~ SherwoodBuilding, 1014 So. Michigan Avenue· Chicago 5 ' Illinois (Keep score. One hundred is perfect) syhr3llia;Nancy Plater (Age 17), consin Wisconsill;Elizabeth Ritter (Age 1. Is a Mazurka written in three- complete one measure, con. l6L Tennessee. Honorable Menfion four, three-eight, two-four or taining a double-dotted quar- (in alphabetical order) The Silver Harp six-eight time? (5 points) tor-note and a sixteenth-rest? Class B Prize ~linl1ers Hruna Amato, .10 Ann Anderson, Lynda 2. Arrange the following first (10 points) Jane Henry (Age 14), Kentucky By Leonora Sill Ashton Ashworth, Judith Bely, Linda Ann Den- names and surnames correct- 6. \Vherc is the cene of the tied with nis, Grace Di Angelo, Rita Doetsch, Dona ly: Richard Schubert, Giacomo opera "Madam Butterny," by Duncan, Lcuita Enrico Monica Fleck T WAS in the year 1563, in the came over the lives of the harpers. TatianaOsadca, (Age 13), New I Pinza, Franz Chopin, Frederic Puccini, laid? (5 points] Sandra Hendricks, Ginn'y Hoffman, Hal': town of Caerwys in Wales. The Their countrymen became less war- York v;y Jaco.bson. Nancy Knuth, Norma Brahms, Ezio Puccini, chan- 7. Give three terms meaning Inst throng which had assembled for like; martial music was no longer J Knuth, Lluda Le Due, Michael Mathias, Tn the heart of cultural Chicago nes Wagner (5 points) (10 points) Edward Moore, Ardelle Nichols, Claude the Music Festival waited breath- needed as an inspiration to fight; Nelson, Beuy Oman, Theresa Papeis, 3. How many strings arc there on 8. \Vhich of the following com- Lettel' nOx lessly. All knew that something eventually the company of harpers GI(,1l Price, Elizabeth Ritter Dirk posers died before the year wonderful was going to happen- ,~as disbanded. After that, a few a mandolin? (10 points) Smith. Anna Smorse, Clyde Th~mpson. 1900: Elgar, Mecftcwc!l. Saint- Sendreplies to ICUI"I·S in cm·e of Dorothy Wendt, Peter Witt, Charles and something did. musicians were employed to play E! b AII"I-O • ~-:---.. • Van ltorn. Sacns, Wagner, Grieg, Brahms, Junior Etude, B""11 Mawl·, Pa., A herald stepped hefore the in the homes of the wealthy, but 4h'hl J. 4 d 1£ ew Pi,1 andthe)' will be Iorwm-dcd 10 thc crowd, and addressing one of their most of them wandered from place Verdi? (20 point) writers.Do uot ask f 01· addresses. Foreignmail is 8 cents j SOIllC for. number whom they all knew, pro- to place and depended upon chance 4. Which of the following words 9. What is the leu r-name of the Project foi- September leading-tone in the minor scale eiguairmailis 15 cents alld. SOIllC is claimed: "Upon the advice Of men offerings of money given them by relate to tempo: lento, lan- 25 cents.COlls1I1I,'OUI' POSl Office Make a list of at least five of e.xpert in the faculty of Welsh mu· those who happened to hear them tana, lentando, lentil, presto, having three harps in its sig. beforest.uuping fOI'cign .!i,. 1II.1iJ. your best-played and best-mem- si_, and by decree of her IVlajesty, play. provost? (10 points) nature? (15 points) orized pieces and review them Queen Elizabeth, I present to you Some of the old harpers became 5. How many sixteenth-notes, in 10. From what i the theme shown • DearJuniorEtuue: frequently. Keep them ready to this silver harp as an award for blind, and from pity, many people four-four time, are required to above taken? (10 points) I wantto thankETUDE for featurillil' present on any occasion when skillfnl playing." increased their contributions to printedmusic,It is the only opporlunit~ Answers on next IJtlge The crowd cheered and the the blind performers. But, as it someofushaveoverhere to meet Amer- you may be asked to play before icancomposers,I study piano and com· people. somewhat dazed musician moved sometimes happens, men who could posingandaminterestedin both classic forward to accept the prize-a not even play the harp thonght Robert's Language Lesson andmodernsymphonyfield, and in small silver harp, gleaming in the that they had found an easy way operaandmusicdrama. I collect records b)' Gertrude Greellhalgh Wnlker ~sa hobby.Asidefrom music, I am an Dear Junior Etude: snnli~ht. to earn their living, would wander mterpreterfor the American forces. I I study piano and, am very much in- The giving of this annual award about, pretending to be blind and "M OTHER, what do you think!" "She asked him how he liked wouldverymilchlike to hear from read- terested in music. I would like to hear ers.whoare interestcd in and sludy from other readers, especially those who Here's 1(14 had grown out of a long series of trying to playa harp by twanging exclaimed Robert, when he America, and what do you think! musIc. speak French or German. musical events covering many cen- its strings. came home from school. "A dis- He answered her very politcIy but Hermann ,l1aflillger (Age 24). Aust,ria Linda LaDue (Age 11). Illinois 32,000 copies of The Church Musician turies of Welsh history. No dille When this came to the attention placed boy has come into our class it really was hard not to smile at are mailed each month ••• can say just when harps were first of "Good Queen Bess" in 1567, and Miss Smith said he spoke Eng· his accents. He said. 'I like Amer· Answers 10 Qui;;; It is geared to the program of the church, The Church used in Wales but it is known that she feared that the heanty of the lish, as well as his own language, EEca veTEE much.' I like VER· ~"Three.four;2. Franz Schubert. Ezio lento, Ientando, presto; S. eight. 6_ in Musician is published monthly for music directors, song leaders, in the early days harpers held offi- true Welsh harp playing was in but she whispered to us not to mont. It is so hean·TEE·fn!' And lUza.Frederic Chopin. Johannes Japan; 7. presto, vivace, allegro; 8. Brahms,Giacomo Puccini Richard pastors, choir members, organists, pianists-oil who hove ar- cial positions there. The 'Welsh danger of being lost forever. She smile if he accented the words in- my fa·THER, who is a car.PENT· Wagner. Brahms; 9. E-sharp; 10. Bee· Wagner;3. eight, tuned id pairs; 4. thoven Sonata. Op. 2, No. I interest in the music of the church. maintained, at that time, a band therefore gave a royal command correctly or clifIerent from the way er has found in-TER-esting work.' Every issue contoins ideas thot will help your music of players organized for the pur· to some worthy men of Wales, to we were used to hearing them. Even i E he does have wrong ac· progrom. You'll draw on the combined experience of other chlJrch. pose of composing and producing cents, he can speak two language~. music leoders who hove problems akin to yours. Every poge of music and songs of valour which Wish I knew two languages!" each monthly issue is aimed at bringing to your attention all of would inspire their countrymen to "Well, you do know two Ian· the latest techniques, methods, and developments of the church fight. guages," his mother replied. Hyou music: field. These harpers were governed by speak English and ou are study- Every issue contains 16 pages of music suitable, for strict laws concerning the rhythm ing music which is the universal olf church choirs-on economical source of music for eoch member in which the music should be writ- language of the world. of the choir, the organist, and the pianists. ten, as well as the type of harp "I get the poinL" Robert inter· which each performer should play. rupted. "And Miss Brown was cor· Were one merely a beginner, his rect when she said my phra~ing 'U'uu _ U.o. harp would be a small one, covered and accents were poor. I can see with hardened leather; a more now that music must be phrased THE CHURCH MUSICIAN proficient player would be allowed 127 NINTH AVE~UE, NORTH· NASHVILLE 3, TENNESSEE and givcn the correct inflection a larger and better harp, while a and accent to be understood and Please send The Church Musician I fine, treble harp with three sets of enjoyed. I'll improve those points Griffith AlIoBoy Piano Group, Philadelphia, Pennsylvania One y.ea,r at $2.00 D One-qua,r1er (3 issues) at SOC D- Check quarter you wish strings were used only by master subscnptlon to start. Quarters begm-January D; April D; July 0; October D. in my practice this week and I'll StanleyR b· Tl Please send free examination copy 0 players. Leonced U lU, ;\Iarshall Goldfarb. pben Kelvin, Arthur Krauss,. lOmas get a bctter mark for interpreta- Nome' _ Malrilne Mets.Joel Seckar, Artbur Lonrr, James Taylor, John NIcholson, But, as time went on, a change Old Welsh License presented nt Music Festival ahout 4·00 YCl.1rs ago. B tion. Just wait and see!" Richar'B arryWaxman,Arthur Stein David Crosl::, LoUISHaegele, Jay Burk, Address. _ r rown,David Schneider, Ste: Judah Labovitz, Michael Brune. City Stote' _ (Age II to 21) 54 ETUDE-SEPTEMBER 1954 1 ETUDE-SEPTEMBER 1954 55 finger of the left hand. RECITALS: TO HAVE OR MUSIC FOR HARP AND ORGAN Another equally good exercise for NOT T.O HAVE THEM the fourth finger is No, 16 (O,E, No, TEACHERS (Continued from Page 24) 16). It should be practiced as in (Continued from Page 51) ~++-H--I::::.,,,.• Your Colleogues Examples I and K. of pedals, C-sharp may also be D- not necessary' to acquire a full or- I-f--H--+-+-I--··· long sonatina or something by as much of this excitement as she --.-, Are Using The New flat; B can be C-flat and also A chestral score of "Tristan" for this Here is a sound teaching method that purpose. Ex. I lIBach."Even parents are accused c~n. Some children request permis- Music Report Card Il1IIIIwill delight your dullest pupils and prove double-sharp. Thus a wealth of en- >~ There are several arrangements of f wanting to hear something sron to come an hour or so before downright exciting to the more gifted harmonic effects are made available. #. IT (F • ~ ones ... and, most of all, to you-the Debussy's Afternoon of a Faun for 3ijE' J n Fete. ~joI1Y,"Therefore, drlri~g this time the recital to go over part of a piece. For any instrument. private Teacher. As a beginning in harp-organ Now you can get .resutts with really I tell them they have nothing to or elc ss lnstruction-a com- repertoire I recommend the Ravel organ available. One should choose welearn a number of pieces, mostly "difficult" young pupils, as well as the worry about, that they did beauti- prehensive. practical qrcd- many middle-aged people of slow re- Introduction and Allegro, published the arrangement he likes best and throughself·study on the part of the ceptivity who want to play, but have combine it with the harp parts from children, which we call "quickies" fully at rehearsal and on their re- ing system-A TIME SAVER. found lessons almost hopeless in the past. by Durand and available in this It will astonish you to see how they can cording (each child makes a disc of country through Elkan-Vogel. Tran- the orchestral score. One harp can becauseit takes only a week or two At Your Dealer play immediately and unhesitatingly-to his or her recital program the week their own joy and your complete satisfac- scribing the orchestral part for or- play, or at least approximate, both to learn and memorize them. or write tion. harp parts if necessary. The or-gan- Part III of each recital is Ensem- before, so that all last minute touches Over 200,000 pupils of every age and in- gan is not a difficult feat, although ELEANOR MORSE HALL telligence grade have been taught by the ist who prepares the Ajternoon ot At first, these variants should be ble,either as duet or two-piano. An become last minute before the reo J:Clavar-method in Europe, with outstand- it may be well to point out that 1137 Mistletoe 01"". mg success. a Faun in this way will find that he played slowly enough to allow the cording, rather than last minute be- having transcribed it, the organist aura of comradeship and co-opera- Ft. Worth 10, Tex. The obvious progress which students has a wonderful ensemble number trilling finger to hit the string firmly fore the recital). I do, however, make under this system encourages them should not attempt to sell the tran- tion seems to encompass all of us Prepaid ~a..es C.O.D. to continue lessons, with manifest advan- for organ and harp. every time it is used. A tempo 01 permit the children to come early tage to themselves and their teachers. scription, allow it to be published during this part. It is greeted with Please, no stamp orders. 1= 92 is quite fast enough to prao In addition, the logical nature of the or otherwise put it to commercial In my church we do a number of "eohs" and "ahs" by the children. if they so desire. Klavar-method appeals to a vast number tice Ex. I until the finger grip is firm of people who previously considered use, as this would be an infringe- oratorios every year. Consequently I Mothers who have sat in on re- My talk to the parents is geared music beyond their powers. It opens up a have been grateful for having a and even. new field to ambitious teachers, with the ment of the copyright. hearsals lean forward ih anticipa- to set the children thoroughly at promise of greatly increased incomes. I like the Introduction and Allegro harpist in the family. There are any The chief difficulty of No, 19 tion,In ensemble work, music comes ease. I frequently ask the children Robert Whitford number of orchestral sounds which (O,E, 0,17) i not the trill but the Progressive Teachers are invited to send because, aside from its musical in- into its own as a truly social and to stand, turn toward the audience, PIANO METHODS for the terest, the voicing of the parts is can be duplicated or imitated with playing of the second note of the sharedexperience. and take a good look at them. KLAVAR PIANOFORTE TUTOR Represent ell New Movement in Piano Education done with great skill. The harp part fair success on the organ; but the turn on a separate bow. e Ex. Froma practical point of view, I "There is the friendliest group you .& GUIDE, price $1.50 is written so well that the harp al- harp is not one of them. Nothing ample L: feelthat ensemble is the 1110st rea- will ever face. They are your family You will be pleased with the innovations Mr. Whitford has KLAVAR INSTITUTE ways has a chance. In forte passages sounds like a harp except a harp. sonableand logical way to get chil- and your friends. The especially brought to present day piano teaching. Yes there have been some worthwhile changes made. 856 Altgeld Street. Chicago 14, III. one may use more organ-tone than And there are many oratorios in drento recognize the need {or count- wonderful thing about this audience he ever dreamed possible with harp, which the harp plays a prominent ing.When that has been mastered, is that it is like one big family. Write now for a free copy of PIANO TEACHING TODAY which reveals Robert Whitford's personal method for teaching and still not smother the instrument. part. One of them is Debussy's "The BALDWIN·WALLACE I gentlyremove it as a "heard" ac- Through parent meetings and pre- children and his method for teaching adults. With your copy Prodigal Son." Another is the CONSERVATORY OF MUSIC The "Danses" of Debussy, also tivity,and substitute the "rhythmic vious recitals, they have come to of Piano Teaching Today you will also be sent complimentary, Brahms "Requiem," in which the BEREA. OHIO (suburb 01 Cleveland) published by Durand, are excellent As an exercise in really fast short flow"of the music as something to know each other and you so well, Robert Whitford M,. Whitford's master lesson on MUSIC'S MOST UNUSUAL harp is used most effectively in the CHORD. Just send your name and address and state whether Amliate 60 ETUDE-SEPTEMBER 1954 -- ETUDE-SEPTEMBER 1954 61 BREAKINGA BOSTON SYMPHONY TRADITION SINGING WITH ORCHESTRA (Continued from Page 13) AGAIN AVAILABLE-THE RENOWNED ISIDOR PHILIPP maJter CfaJJ (Continued from Page 20) NEW YORKCITY-SEASON 1954·1955 she played under Pierre Hen- Iiam Kincaid, solo flute player with camp, he conducted the camp the Philadelphia Orchestra. For information After October 10th sideration of the voices. Then, too, Brahms' "Requiem," for instance, rotthe,W "I found him a very Then, turning her attention to FOR~~~:~G ~~~~~C~TALS Before October 10th ISIDOR PHILIPP operatic composers seem to have V IRGIL the soprano sits quiet for a rather orcestra. "hdl N YkM h HAROLD BRADLEY W.H.L,D. Studios Hotel Woodward kept the natural limitations of the h musician s e ec ares. ew or, iss Ant ony joined To a Humming Bird. e Improvisation. • Valse Petite •• Mazurka. Hotel Niagara, Niagara Falls, N.Y. Broadwoy & 55th St., New York 19, N.Y. long time, and then begins at once thoroug , l'k I L 'd M human voice more in mind. In the lIH treated us youngsters nee pro- t re eom e assine Ballet and The Blind Harp Player. • The Conquered Warrior. • Prelude, etc. on a treacherous passage. To en- symphonic repertoire, both composer e I and insisted upon profes- toured the United States for several Founded 1870 compass it, without noticeable diffi- fe~slOnas h . "B I Grades 1 to 6 THE VIRGIL PIANO SCHOOL CO. PHILADELPHIA MUSICAL ACADEMY culties, one must be completely con- and conductor tend to treat the voice siona!standards. mont SIn' a let Russe Highlights." Catalog on requesf Kiamesha Lake, New York more as one of the instruments in ... Recoil'nitioncame to her early She next went to California as solo Associate Member, NASM JANI SZANTO, Director centrated, completely relaxed, and EIGHTY-FIFTH SEASON begins Sept. 7. 1954 whileshewasa high school student. flutist at the Carmel Bach Festt- completely conscious of the need for the scoring, which involves a more Courses leading to Degrees & Diplomas concentrated (and often a heavier) Sh Jayedin several state and na- val. In 1946, she became second Distinguished Faculty a high focal point in the attack. To ASTOLFO PESCIA Write or phone for information type of vocal projection. In opera, . e PI contestsfor flute solo, piccolo flutist with the Los Angeles Philhar- Vocal Teacher and Coach get all this at the moment you want Ilona .' ional fi . dh!11 1617 Spruce St., Philo. 3. Pa. PE 5·5053 it, you must be completely exper- too, one has the distractions of plot andensemble,wmnmg natrona rst mODIC, an teo owing year was and costumes, so that the audience . in all three for three consecu- chosen by Bruno Walter to be first (Who came to New York at the suggestion of the late GRACE MOORE) ienced in breathing and relaxation, Teacher of DOROTHY KIRSTEN, af the Metropolitan Opera and RINA GIGlI, does not concentrate quite so hard tivepnse years.i In her senior. year,. she fiutiuust WItith tht e Hollywood Bowl Sym- PEABODY CONSERVATORY and in the mastery of a very forward daughter of the world famous tenor BENIAMINO GIGLl COLLEGE OF MUSIC position of the voice. on vocal tone alone. Symphonic sing. a ~cholarship to the National phony Orchestra. Instruction in all branches of music tor the beginner or advanced student. B.Mua" M.Mus. Prepares ing brings with it an even greater ;I::ic Camp at Interlochen, Michi- It was in California that Doriot Resumes his teaching in New Yark for professional careers in music, including cOlllPosing. music therapy. teaching, sacred musiC, pubUc Another requisite for good orches- school music. Accredited Summer School. ScholarShips. Member N.A.S.M. Catalog. Dormltory facilities tral singing is the possession of a need for focus and projection. began doing chamber music profes- NOVEMBER 1 for Illen and women. Reginald Stewart, Director In preparation for these, I have ~Beforegraduating in 1943 Wit'11 a siona IIy. She was very active in "Eve- well-controlled legato. This is de- Hotel Ansonia 73rd Street and Broadway New York , East Mt. Vernon Plac:e, Baltimore 2, Md. veloped, first, through well-controlled already mentioned my favorite plac- Bachelorof Music degree from East- nings on the Roof" chamber music breath-deeply inhaled, diaphragma- ing exercise of warming up on Hung. manSchool of Music, where she concerts, presented a Bach concert BUTLER UNIVERSITY tically supported, and budgeted so Al-J. It is also good to ing the prin. studiedfour years under Joseph with Rosalyn Tureck, and played that all the air comes out as vo- ci pal vowels preceded by the con. Mariano,she apprenticed hers~lf In the Coleman chamber music con- JORDAN COLLEGE OF MUSIC calized tone. You sing on the breath, sonant T- TEE, TAY, TAH, TOE. onesummerto the Oklahoma Ctty certs in Pasadena, those of the Mu- A rich traditian, 0 progressive philosophy, an outstanding faculty, complete accred- RICHARD McCLANAHAN in long, steady, and well-projected TOO. This exercise, however. is help: Symphony.lilt was my idea to otTer sic Guild in Los Angeles, and at the itation. Baccalaureate degrees in Dance, Drama, Music, Music Education, Radio. Teac:her of Piano Write for catalogue and desired information phrases, practicing always for longer ful only if the T is a pure Italian T. myservicesto discover what playing Ojai Music Festival Ambitious to Matthay exponent, formerly his representative. JORDAN COLLEGE OF MUSIC (Box E), 1204 North Delaware Street Private lessons. technic courses; available as formed right on the teeth, which is visiting lecture-recitalist, or critic-teacher. and longer lines. Further, you must professionallymeant," she explains. tryout little-known works, she gave Indianapolis 2, Indiana Six-Day Piano Seminars be certain that at the end of each a great aid in keeping the voice for- "Theconductor put up with me, several solo and chamber music con- 801 Steinway Bldg., 113 W. 57th St., N.Y.C. phrase you have still more to give! ward. Our English T, formed slight. andIlearned a great deal." cert of her own, in Los Angeles. Never give out the breath complete- ly back of the teeth, at the front end Whenit comes to chamber music. Miss Anthony does "a little" CLASSIFIED ADS EDWIN HUGHES HAROLD BRADLEY ly. Reserves of tone (and of air) are of the palate, lends 10 throw the MissAnthony says: "I keep up transcribing for flute. She records PIANISTS PREPARED FOR PUBLIC necessary for good singing; they are voice hack in the throat. Thus, great. chamber music continuously for en- regularly with Boston Records. Her IIARIUONY, Composition, Orchestra- BACK POPULAR SHEE'l' ~IUSIC TO PERFORMANCE AND FOR COLLEGE, Assistant to ISIDOR PHILIPP also necessary for audience enjoy- est care must be taken to plan the tion, Musical Theory. Private or 1850. 1954 Catalog 15¢. Fore's, E3tS1 UNIVERSITY AND CONSERVATORY jeyment. You gather a lot of mate· first commercial recording was part Correspondence Instruction. Manu- High, Denver 5, Colorado. TEACHING POSITIONS W. H. L. D. STUDIOS ment. Your hearers must be able to exercise correctly with Ihe right rialthiswayand a tremendous back· of an "American Music for the scripts revised and corrected. Music 117 East 79th St., New York, N. Y. kind of T! arranged. Frank S. Butler, 32-46 107 PIANO 'rUNING COUnSE-Complete Hotel Niagara, Niagara Falls, N. Y. sit relaxed; any show of difficulty on groundof music." Flute" album. Recently she recorded St., Corona, N. Y. self-instruction lessons. Also teaches your part diminishes their pleasure All sounds ar easy if they are "Oneof the best things that hap- Prokofieff's Sonata for flute and LEARN PIANO 'I'UNING-Simplified, you piano regulating, repairing and other servicing operations. 'Vonder- HELEN ANDERSON -they suffer with you and get nerv- sent out from the rna que in good. authentic instruction $4.00-Liter- LUCIUS DUNCAN penedto me while I was growing piano; Roussel's Trio for flute. vi- atul'e free. Prof. Ross, 456 Beecher ful illustrations. Full price, only "Teacher of Successful Pianists" Concert Violinist ous. forward resonance. When this is the upin Streator, Illinois, was playing ola and cello, with Samuel Mayes. St .. Elmira. N. Y. $4.95 postpaid-or C.O.D. plus post- Master's Technique- Tone-Interpretation age. Satisfaction guat'anteed 01' re- Pupil of Schradieck case, Bnd when all the breath is sent \VRrl'E SO~GS: Read "Songwriter's fund. Nelson Co., 210 South Clinton, Special Caurses: Harmony, Improvisation I doubt if theI'e is any such thing ensembleonce a week with an ama· cellist. and .Toseph de Pasquale. vio- Lo '-0723 104 N. Mole St., Phila. 2, Po. Review" Magazine, 1650-ET Broad- Dept. CW-100, Chicago 6, Illinois. 16&W. nnd St., N. Y. C. Tel. Sc: 4·8385 as special preparation for orchestral out as vocalized tone, the voice soars teurgroupof grownups at the home list; and Debussy's "Syrinx" for way, New Yorl;;: 19, 25~ copy; $2.00 singing as such. The bite and ping of out more easily across the full or· year. PIANO TECHNIC SUIPLIFIED. Play of the town dentist. We used ar- Aute alone. popular music professional style. ISABEL HUTCHESON an orchestrally suitable voice must ehe Ira. VIOLIN1U_4.KERS. A~IATEURS. Mme. Giovanna Viola Hull(Desmondl rangementsof waltzes to suit several The distinguished flutist perhaps PROFESSIONALS. l'-'ine tone Euro~ n.oo. Kazaks, 234 E. 53th Street, New Refresh.r Couru for Piano Teachers: Yorl;;: 22. N.Y. Teacher of singing-European trained be part of its inborn timbre. Beyond Finally. the woman inger has the players.And we had in our group in part derives her ability to forge pean wood. Materials, supplies, pat- "Bel Canto" Modern Piano Tech nic:Coaching Concert PianiltS: terns, tools and instructions. Illus- Voice culture-diction-eoaching Group Work: For further information addre,,; that, you need hard work, greatest added problem of dres to consider a lawyer,an officesecretary, a book· ahead to what has generally been a trated catalogue 101$ refundable. MUSICIANS! Hundl'eds of exclusive Phone: Trafalgar 7-B230 music charts, self-instruction books, Studio 202, 10051/1 Elm St., Dallal, Te.xal concentration, and utter sureness in in singing with symphony orchestras. Premier Violin Supplies, 430 80uth '0' West End Ave. New York City keeperand a piano teacher. I'll never man's place in her field because of Broadway, Division VE, Los Ange- monthly music pUblications, musIc all you do. As I have said, a great For my symphonic repertoire of les 13. California. on index cards. Free Catalog. Walter forgetit-I had a marvelous time!" her inheritance from her grand- Stuart Music Studio, 1227-B Morris HARRY EULERTREIBER:Mus. D. deal of church work is extremely some thirty works of religious in· The first time :Miss Anthony father's cousin. the famous Susan SWING PL"-NO-DY MAIL. 30 self- Ave., Union, N. J. CRYSTAL WATERS helpful. And after that, ensemble spiration or of biblical texts, I keep teaching lessons $3. Enchanted l<~or- Teacher of Singing Voice Building playedfirst Aute was with the Na- B. Anthony. who established many est $20 (classical). Over 50 publlca- tions. Order the 825 page book- Popular Songs and Classics Pupil 01 the lote Wm. ~. Whitney singing. All this. of course, is also a a special wardrobe of evening gowns, tionalSymphonyOrchestra in Wash. "firsts" for women. Her hobbies, TV.-Rod ie-Sta g e-Concert (Vannucini Method) "My Autobiography". or "I com- great help in operatic and recital principally gray. black. and whit posed, engraved. edited, pU.blished 405 East 54th St. New York 22. N. Y. Studio 509: 270 Huntington Ave., Boston, Man. ington,D. C. This was one summer when she has time for such activi- work, in that care in preparation be. with long sleeves and high necks. I my music on a handpress in skid BIG DEltlAND FOR PIANO 'rUNERS. whileshewaswith the orchestra two ties, are "hiking and sailing." And row", $10. The fabu,lous true .story Men and women learn a t Greer Col'. comes a habit, and the vocal in- would be pure bad taste to s.ing 5t of a scientific mUSICal expeI"lment lege, 2230 South Michigan Ave., Chi- LEOPOLD WOLFSOHN yearsas second flutist. after crradu. her summers are spent in rural Cut· under the word "Manuscriptotechni- cago, Illinois. Composer, Pianist and Teacher EDNA GUNNAR PETERSON tegrity so essential to religious mu- Matthew's "Passion" in a highl compomusicology". Phil Breton Pub~ atingfrom Eastman School of Mu- tingsviIIe. Vermont, where she can Iications, P. O. Box 1402, Omaha 8, Teacher of Aaron Copland, Elie Siegmeister Conc.rt Pianist-Artist T.ach.r sic gets to be part of one's equipment. colored gown with low decolletage BAnGAINS IN FINE VIOLINS _"-NO and mony artists and teachers. sic.Betweenconcerts, she commuted be near the Berkshire Festival at Nebraska. 17447 Castellammare Pacific Palilades. Calif. IlO'VS. All certified. Concert instru- BEGINNING TO ARTISTIC FINISH Singing as orchestral soloist is rather At the same time, one must find HA_~I) BUILDING EXERCISES FOR ments a specialty. P.O. Box 342, EX ,4·6573 • to Philadelphia to study with Wil. Tanglewood. THE END Hotel Ansonia, B'way at nrd St .. New York City different from playing parts on the something that will stand out against PIANIS'l'S by Weldon Carter. Tea- Potsdam, N. Y. chers concert pianists, advanced ------operatic stage. although both involve the black-and-white of the orchestral stude'nts. A better technic with 20 FOR SALE. 15th century Hindu Sa- MAE GILBERT REESE minutes daily practice. Sen.d $1.00 fqr rungl violin. Make offer. Mrs. Pearl WILLIAM FICHANDLER orchestral accompaniment. Opera players_ In this case. as in the cas Pianist, Teacher WORLD OF MUSIC COpy to 1Vashington MUSIcal InstI- Clark, Route One, Albany, Texas. Pianist house orchestras, outside New York tule 1730 Sixteenth Street. N.W" 314 West 75th St., New York, Su·7·3n5 of purely vocal preparationl orches Specialized training for Washington, D.C. 'rEACHEltS A'l"I·ENTIOX:....-Send us Compositions publi.hed by G. Schirmer are often smaller than symphoni~ (Continued from Page 16) teachers and concert artists tral singing depends upon a com $1, we'll send you POSTPAID ~5 and Theodore Presser. LEAU,N PIA?\'O 'rUNING AT HO~IE. worth of usable recent piano or vio- groups, and again. operatic conduc. COUl'se- by Dr. l.Vrn. Braid White, 1330 N. Cre5Cent Hh. Blvd., Hollywood, Calif. plete sense of the fitnes of what one COUPETITIONS (For details, write to sponsor listed) lin teaching music. 1Ve must reduce tors often keep volume down in con. world's leading piano technician and present inventory-your chance to Ho 3·229' is going lo do THE END teacher. 1Vrite Karl Bartenbach, ERNESTO BERUMEN • National Federation of Music Clubs 21st Biennial Young Artist profit. Menchey Music Service, Han- 1001A "rells St., Lafayette, Ind. over, Po.. Concert Pianist and Teacher AUd~tions.$1,000 in each of 4 classes, violin, piano. voice and chamber HAIt:ilJONIZING MELODIES A.T Advanced Piano Technic and HAROLD HURLBUT SlG "'1'-24 pages of solid instr.uction OLD VIOLINS AND OTHER IN .. Repertoire-Closs Reheanal~ Voice teacher-has taught singers of Metro- mUSICensemble. Also student auditions with a $500 award. Finals to and easy-to-follow charts on Impro- STItUIUEN'I'S. Repairing. Supplies. Musicole~-Public Performances politon Opera, Chicago, Son Francisco, New beh~ldduring the 27 Biennial Convention April 20-30. 1955, in Miami, vising transposition and harmoniza~ Ealten. 310 E. 'Washington St., Cham- bersburg, Po.. Steinway Hall Studio, 113 W. 57th St., N. Y. 19 York City Center Opera, stage, screen ra- tion. $i.oo postpaid. Free list of thou- dio, television, including NADINE CONN'ER_ rlor~da. Details from Headquarters office. National Federation of sands of popular songs. b~oks and folios sent on request. LeWIS Arflne lUODEnN ITALIAN VIOLINS. Amer..: HOWARD KEEL, Henry Cordy, Robert Halli- 1uslcClubs, 445 W. 23rd Street, New York 11. New York. Music, 117 W. 48th Street, New York lea's foremost importer, wholesaler doy, Evelyn Herbert. ILLUSTRATION CREDITS The pianist JAN HOLeMAN is 'lfi. New York. Exclusive agents for the best. Prices now accepting a limited number of students 2150 N. Beachwood Dr. • Arcari Foundation Accordion composition contest. Award of $500 from $75. Free brochure. Marlin for piano in,truction and consultation. Cover-Jesse E. Hartmon f SACRIFICING 200 ACCORDIONS Brinser, 643 Stuyvesant Ave., Irving-. Write: 838 West ·End Avenue Hollywood, Col., HO-S.1056 oran original work-a rhapsody for accordion and orchestra. Closing ALL KINOS. Discounts to 70%. ~ree ton, N. J. ., New York City or call UN 5·0646 9-Yvonne le Raux: catalog. Clavlolines or other mUSical dRate,October 15, 1954. Details from Arcari Foundation. 14 Merion instrument secured. Discount House. UOOKLE'r: "200 Violin Label Fac- LOREN YAGGY l+-Underwood & Underwood oad,Merion, Pa. 893288 St., Woodhaven 21, New York, sim'Hes of important makers." Each CLARENCE ADLER, Mus. D. Teacher of Piano I6--Sarony Vi 7-0866. marked, with nationality, varnish 'QueenErhh FOR PIANO TEACHERS ONLY. .We col.or, price range. Price $2. Marlin. Teacher of famous pianists now touring the Originator Pionodynomics Approach 17-Atelier Ellinger I lZa et of Belgium International Musica Ie ompetItIon.., Bnnser, 643 Stuyvesant Ave., Irving- ond Chorted Technic have a speci'al money-saving deal world. Pupils teaching in Harvard, Yale, Dr. Vodnyonsk-y 55 worked out for you. WrIte fo~, full ton, N. J. . . 2402 South Harrison H-2277 ri .sessionfor violin. Deadline for filinu entries January 31, 1955. Eastman, Syracuse and Smith College. 20-Bruno of Hollywood Intormation about our new FTO FORT WAYNE 6, INDIANA et.a~ls{romQueen Elizabeth of Belgium International Musical Com- Plan." Use your letterhead or enclose THE SCIEX'l'IFIC MUSIC TEACH.ER 336 Central Park Welt, New York, N. Y. "Happiest City" -Monthly-$3.00 year. Request- sam-; Alex Siodmok petition,Palais des Beaux.Arts, 11 rue Baron Horta. Brussels, Belgium. a busIness card It possible. LewIs Arftne Musl~, 117 W .• Sth Street, New ~l:w ~g~k~g,Box 21, Brooklyn 25, 2b--Collier Holmes & Squires, ltd. (Continued an Page 64) York 38. New York. ,- 62 ETUDE-SEPTEMBER 1954 ETUDE-SEPTEMBER 1954 63 1 BOOKS OF THE YEAR MUSIC AND THE MECHANICALLY MINDED STUDENT .:...t:J (Continued frorn Page 21) (Continued from Page 57) a~C-:J~Jl- nothing can touch it! ... third and in the ~bstract. Whether we sing a the teaching of general music in the fourth year. folk, popular, religious or art song, vocational-technical schools, just as "earWonic SeLL';: we aim at producing the music with it would be a mistake to use any Late Arrivals ••• Some Good Short Pieces beckon people all good vocal tone. We keep in mind, one approach with any other group however, that although few of these of students. Our aim is to broaden Burnam-"Wedding of the Dolls" week lon9- students will ever sing professional- the musical experience, not to limit (Schirmer) -a very easy story piece making the church a widely known ly, all can get the thrill that comes it. Certainly, we are not trying to with all the familiar tunes. Parents center of spiritual life ..• may from singing well. We also use the build mechanical musicians; nor are will love it, too ... early second year. Order Now to take advantage f low advance of publication prices. Orders are limited to two copies per book. Please actually help churches grow! In functional approach in attacking the we trying to produce mechanical Cobb-"Brigadier" (C. Fischer) sendremittance (check or money order) with your order. Postpaid delivery will be made as each book comes off the press. tonal beauty "Carillonic Bells" problem of note reading. This whole participants and listeners. The real -a corking, wide-spread, second surpass any bells or chimes. Any year boy's march. church can afford them-no business of note reading has scared joy of performing and listening church should be without them. away more customers than any other comes from the flow of the music. Dodd-"Feather in the Breeze" PIANO SOLOS Learn how your church can phase of music teaching. What is so The mechanics, while important, (Elkan-Vogel)-a lovely, floating, have the world's finest bell music, difficult about the reading of notes? should never get in the way of the easy, all-black-key piece, first year. HIGHLIGHTSOf fAMILIAR MUSIC CHRISTMAS IN THE SOUTH AMERICAN HERITAGE write- ~ Actually, the eye can follow the flow. Garrow-"Whistling Cowboy" d by Denes Agay (PIANO SOLO) arranged by Marie Westervelt arranged by Marie Westervelt SCHOLMERICH CARILLONS, INC. J${. notes up and down on the staff; the From time to time we try inter- (Boston Music Co.)-a jogging, arrange ( I ('J' Acollectionof seventy·five0 t ie most arm rar illustrations by Jane Flory {PIANO SOLO} illustrations by Jane Flory (PIANO SOLO) 1217,", CarlllDn Hili Q 'r?f~ ear, with elementary training, can esting experiments. One of these carefree, second year trot. SELLERSVILLE, PA, "..<:$ I d' arrangedby Denes Agay for amateur A group of Southern folk carols and Christmas A folk festival of songs and dances. Marie Wester. ~'- _:\ «. sense the difference between up and comes to mind: At Easter time sev- Garrow-"Upsy Daisy" (Boston mere res h ' I bili AI ld I , "0 oflimitedtee mea a Illy. so 1 en as customs. This new publication follows in the vein velt and Jane Flory have brought together the ~ - , . plams... dO' , aI down; and most voices can repro- eral years ago, we decided to play Music Co.)-a good first piece; few !ementarymaterial for stu ents. qgm of the successful "Cheistmas In Mexico," Full jus- songs and dances of many peoples who have set- duce the sounds in direct imitation. recordings of the Bach B Minor suPP '~~o"ceptions have been faithfully re- tled in America, and have made a vital contribu- notes; excellent if played in alia harmcruc v " F Qh tice has been done to the subject in the treatment. What usually happens is that some- Mass in five instaUments during the breve swing. , ~, Contentsinclude; Folk Tunes' rom t er Crude 2·3. tion to our folk culture. Grade 2·3. umea. S dS ·"TI ~ where along the line there is a psy- student lunch periods. Students were L d ""Dances"" acre ongs, remes rorn List Price $.85 Advance of Publication $.65 Hibbs-"\Vestern Nocturne" List Price $.85 Advance of Publication $.55 chological block to note reading, invited to leave the lunch room to S:d~rd Litera:ure,"etc.. In the case of 8 nga, (Volkwein) , , , looks hard, plays wordsaccompanythe music. exactly like that experienced by chil- come to the music room for a half easy! Second year. PLAY BAll ."Carlllonll: Bell," /I a trademark for bell ina/rum.,,'. ListPrice$1.25 Advance of Publication '.80 of Scllu/merkh Carillonl, Inc. dren who have difficulty in reading hour of sacred music. We expected Cf bbs-c-t'Ha ppy-Co-Lueky" (Volk, LA BOHEME arranged lor the piano by Marie Westervelt the written word. If this emotional that the appeal of this music to high lyrics and illustrations by Jane Flory wejn)-for very practical (and lazy) by Giacomo Puccini block can be overcome, note read- school students would be limited. To FOLK,WAYS,U,S.A., Book II rhythmic tricks. Second or third arranged for piano by Marie We,~tervelt (PIANO SOL '~IIlTlO "' Till U. S. A_ IT Till CU.IO nu" I~'· - of Hit of the recent al Music Convention THE NEW LO'WREY o o® converts your piano into an Electronic Piano- Organ Hear These New Features V NEW COUPLERS V NEW TONALITIES V NEW CONTROL PANEL V NEW KEY SWITCHES V NEW TONE COMBINATIONS V NEW VIBRATOS ® V NEW PEDALBOARD New reed tones, beautiful flutes, true strings-Here III this wonderful, low-cost instrument you have the three fundamental tones of all fine organs. For a new, wonderful musical experience, Listen to the LOWREY ORGANO. Sendcoupon, now, for name of nearest dealer and complete information. ------For complete information on portable ORGANO slwwn abooe GET THIS NEW ORGANO BOOKLET JANSSEN Use handy coupoo on page 64. This saves your III' "I~I STORY & CLARK Etude cover. JESSE FRENCH & SONS LOWREY ORGAN DIVISION Also in Canada from: Central Commercial Industries, Inc. (Eel. 1894) MASON & RISCH 332 S. Michigan Ave., Chicago 4, Ill, Canadian Rcpreseorarive : Ed. Ardumbault. lee. 5