August 1941) James Francis Cooke

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

8-1-1941 Volume 59, Number 08 (August 1941) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 59, Number 08 (August 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/247

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Qualities a Pianist /i/lust Possess -By Artur Schnabel "

Piano SaL of Il)idinction Conservatory and Studio Curricula Musicianly Works Recommended for College,

PALMGREN. SELIM 22959 Evening Whispers SEBASTIAN . BACH. JOHANN PARKER. HORATIO 2601? Prelude and Fugue in K minor W. Art. by Orville A. Lindquist Conte Scricux Valse MRS. H. H. A. Gracilc BEACH. PESSE. MAURICE 18654 Fantasia Fugata No. 3 23580 In Leafy Bower 25532 Humming-Bird. A. Op. 128. A HUMMING-BIRD Morning Glories PHILIPP. ISIDOR 18436 Price. 40 cents t Beaeh Gr. 6 23330 Schcra.no. Op. 128. No. y Mrs. H. H. A. No. 2 telndia ' 23331 Young Birches. Op. 128. L CUranCe * 5530 Hungarian BEETHOVEN. L. VAN Dance No. 7 (Brahms\ E Hat. Up. 3 - POLDINI, 23333 Mcnuet. From String Trio in EDUARD Are. by R. Burmeisler 24550 Marche Ardente. On. 116 No 7 BEHREND. JEANNE ROGERS. JAMES H. 23963 Old Scissors Grinder. Ihe 30729 Prelude-Arabesque BRAHMS. JOHANNES SAAR. LOUIS VICTOR No. 7 24188 Dansons 5530 Hungarian Dance. la Valse. Op. 122. No. 1 Cone cri'ption by I. Philipp SACCHINI. ANTONIO 24532 Sonata per il Cembalo

C ' CHARLES WAKEFIELD SAPERTON. DAVID' CADMAN. 6 , 0 s Fan The Op. 47. No. 3 26523 Zephyr 30399 Pompadour .30 To A Vanishing Race. Op. 47. No. 2 4 SATIE. ERIK ALDEN 24518 Fifth Nocturne CARPENTER. JOHN , y0 .. 5738 Nocturne ' I SCHUBERT. FRANZ 26441 Stars. CHOPIN. FREDERICK r 40 The . Nocturne in E Hat. Op. 9. No. 2 Arranged 23914 Mary fir"’""'Wurm by Guy Maier Arr. for Left Hand Alone by SEEBOECK, W. C. E. CLAUDE CAPRICE-BURLESQUE 30216 Minuet a DEBUSSY. 4 50 l'Antico . 25971 Page d Album. Album Leal SPROSS, CHARLES GILBERT Ossip Cabrllowitsch Gr. 8 Price, 75 cents 30513 DE KOVEN. REGINALD « 0 By Barcarolle 30140 Prelude in E flat minor •* Improvisation DETT. NATHANIEL R. - „ SPRY. WALTER 30630 Dance of Desire " 26881 Moment Dialogue F0 S .50 STEINFELDT. JOHN M. Concert. Chromatic Staccato Etude 7 , J.^E,udc de 27040 Scherzo Caprice FOSTER, STEPHEN , 40 SZULC. JOSEPH 23798 24646 Serenade Mignonne M^Donaid" TEMPLETON. ALEC R l F L 26927 F< Asleep 4 40 Passepicd . 2Vl09 B ar«lone E^dormie. Barcelona WAGNER. RICHARD Pepita! Reves et Jeux 24126 4 30 16952 Ride of the Valkvries 2 3974 Promenade . *> GABRILOWITSCH OSSIP „ 7 WARE. ^ > HARR Caprice-Burlesque 304 38 30679 Song ol the Sea. Tone Poem GALUPP1. BA1.DASSARE 30653 4 ,0 White Moth. The A little Bailer 24557 Sonata Mali'pi'teo WOODS. EDNA BENTZ 24484 GABRIEL Polichinellc GROVLEZ. . „ 50 19452 Valse Phantastique Danse Oricntale 24990 HOWARD EVENING WHISPERS ZACHARA. FRANCISZEK HANSON. 5 .50 26699 Danse Ancienne Impromptu. Op. 19. No. i 23855 ^

301J2 Prelude. From . -50 MORRIS. HAROLD Suite Mignonne 3 4>/2 RUTINI. G MARCO Doll S Ballet. A I - 25140 Minuetto .40 Etude Impromptu Op . N° 3 Sonata in B flat minor. Op 2 Arr. by G. Francesco Malipiero NIF.MANN. WALTER SARTI. GIUSEPPE W„, 24477 Sonata * Melodies Baled upon Popular Southern Arr. by G. Franeesco Malipiero Orleans 24544 Carnival in New STANFORD. CHARLES VILLIERS Ihe }1/ 24542 Interrupted Serenade. 24543 Longing For Home ... 24089 Hop-Jig Rondo .{r ]jo Mgr t 24540 Mississippi Steamboat s in 24068 Morris Dance Kentucky Home 2454 1 My Old STAUB. VICTOR 3 .40 24162 Two Companions. The

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/u ; GVsr. 1941 ' l

THE BERNARD WAGNESS BEST SELLING PIANO COURSE

Preparatory Book EDUCATIONAL This entertaining preliminary book to the celebrated Bernard Wagness Piano Course can also be used to precede any first grade method. Its forty pages confine themselves to the five degrees above and below Middle C. giving the beginner thorough pimo training in the correlation of the aural, tactile, visual, mental, and rhythmic faculties before going on to the regular Grade One book. MATERIAL Price, 50 cents FROM THE CATALOG OF Book One In this book the student progresses through elementary Sight Reading. Rhythmic Work. Ear Training. Keyboard Harmony. Transposition, and Oliver Oitsora Co. Technic to the playing of attractive little tunes. Pages of Plash Cards, for note reading, are included at opportune places, and the many illustra- tive diagrams and photographs are most helpful. The author's annotations are invaluable, and the delightful drawings lend importance to the many little pieces. Musical for Jingles the Very Young Price, $1.00 By Dorothy Bell Briggs Price, 75 cents

A collection of tuneful and very easy pieces, thirty- five in all. with words. The numerous illustrations Book Two Book Three by C. LeRoy Parker make the book doubly enter- Price, $1.00 Price. $1.00 taining for young musicians. | Contents for ^Au^udt, 1941 A Pleasure Path to the Piano More Musical Jingles VOLUME LIX, No. 8 o By Josephine Hovey Perry Price, $1.00 PRICE 25 CENTS By Dorothy Bell Briggs Price, 75 cents WORLD OF This excellent book for the pre-school child starts MUSIC.. with rote playing by way of the black key approach. Step by step the ensuing work involves both the EDITORIAL Technic Tales—Book One black and white keys, reading and writing lessons, Subconscious Musical Education and finally, note playing, when the pupil reads and By Louise Robyn Price, 75 cents plays simultaneously. Each piece in the book has YOUTH AND MUSIC its entertaining story to be related to the child, This book covers the most beneficial elemental work and the volume is generously illustrated through- Youth Overcomes « Handicap in piano technic, and can be taken up with any - Blanche Lemmon first year method. The fascinating keyboard games MUSIC AND CULTURE 508 are of immeasurable value, and the pupil is kept thoroughly' entertained while mastering the princi- Firmness of Touch, Freedom ples of Relaxation, Tunes for Toddlers Arthur 8. Garbett of Motion, etc. A Symphony of the Taught with Scissors—A Nursery Piano Book Sawdust . Art to- Schnabel Teacher's Manual, Price 75 cents Music That Little Folks Like By Rachel Crawford-Hazeltine Price. $1.00 Coaching for Opera '' Merle Evans • • Helen Dallam very A most engaging first piano book for the Wilfred Pelletier youngest children. It introduces the novel method MUSIC IN THE HOME Technic Tales— Book Two of teaching the notes by means of cut-out pictures, By Louise Robyn Price, 75 cents which the child attaches to the accompanying "country fence" keyboard diagram. There is a con- p n' Hugh need Teacher's Manual, Price 75 cents tinuous story throughout, and full directions for •i Ifred, Linfi dun J lu Ltude Music | ii Morgan the use of the book are given. Lover's ‘ Bookshelf - . j | ' V Ronald Mail in MUSIC AND STUDY u.it' Meredith Cadman Chord Crafters The Teacher's Boy Music Round Tnble (Technic Tales, Book Three) ‘'tammerinE,M!Ul>i»ering A First Piano Method Aa Pleain #for - dun Maicr By Louise Robyn Price, 75 cents a Serious Ap- 520 By Mary Bacon Mason Price, 75 cents Questions and Answers . -»< men Ul John Robert Philip Sousa As an Author Elmore In this book designed primarily for boys from eight On Adjudication .Karl H. Gchrkcns to sixteen years of age. full attention is given to of Music Onnin-V: Keyboard Town Is " KtN Ccrfr/c music os approached from the boy's point of view. »»l«l Tidpnt Inh "rito.l Larson ' ' Harold For Beginners from Pre-School to Adult Age In this the author has used a remarkable psychol- Ihe Charm of Mediaeval Each man TonalitV ••• - cents ogy. with the result that all the exercises and rol- t empera ment lor the ' ' Stephen By Louise Robyn Price, 75 Violinist - • licking tunes bear titles appealing to boys. Suit- . . Willard /,. Groom able illustrations are included throughout. Dorothy A captivating introduction to sight reading. Into Brandt Dallas her delightful story of Keyboard Town, the author The Bellows ' folni A. facts about in" Interpretation Robinson has deftly woven the important basic ' Getting Ready for Maier the keyboard and the staff. It offers excellent foun- the Fall fion dational work, and can be used as supplementary Folksongs and Famous Pictures lictrii Dciro • George material to any pre-school method. For Piano Beginners MUSIC V. Krick Classic and Contcmpoi By Mary Bacon Mason Price, $1.00 ary Selections Nocturne, Op. 07 Miss Mason here contributes one of the most Carnival Capers Robyn Rote Cards . unique and deservedly successful methods available • Deep River, Op. fif - F Chopin for young students. Along with its practical intro- . No. f- Price, 75 cents 10 ! " Louise Robyn n' 0r '1 By it first Waltz of the Flow, " f K‘"0 duction to the keyboard, brings in the work it' nntJ , child's in harmony, ear training, memorizing, etc. Impor- Sarabande, Op. 2 This little book constitutes the pre-school 4, No. tant features also are the "paste-ln" introduction to the piano. Made up oi thirty-four pictures Pink Peonies notation which illustrate the pieces, the color charts, and ' symbolic drawings, which illustrate the Yvonne 7. interest of student the cut-out cards...... also shown, it sustains the the from three to six years of age. Stories will be found Vocal and Instrumental drawings, and splendid oral sight Compositions for each of the M.V Prayer (Vocal) reading drills are included. The Robyn Rote Cards >* Classics Foundation Wisliin'.sum andanil . —1 esneciallv recommended for class use. First and Harmony Fishln’nsnin- (Vocai)(Vocal) .. Elizabeth DurDari* , . ( orirntp trims By Mary Bacon Mason Price, $1.00 'Site In I, Mtagr,' (Vtoiin ,na i.j„ no What To Do First at the Piano : ;;;;;; Adult Approach to the By Helen L. Cromm Price. 75 cents The Piano By Mary Bacon Mason Price, $1.00 An amazingly successful first book for young stu- Miss Cramm. long recognized as one of the This book enjoys a constantly Increasing ' dents. and richly Delightful,itnhii..r Piecespj.kk. v n> Polk Mclodu nation's noted specialists in Juvenile musica edu- deserved popularity. The work of an outstanding for Young Playo; Art- by Carl benefits of her long ex- TV cation, here gives us the authority, it meets the special problems of the Our Camp Bugle Call training of young children, a in the adult student with marked success. A I . perience special fea- Heard a Cuckoo . Thehn ? i -I .UflU Ik innlilHoH Sint) HlP hOOk iS SPld ture is the introduction, as the student advances, '•-Butanol River Shower • .Anna first l 'M, of the work in theory and harmony. If so ' a R The Mello Cello ’.7.7.'.*.'.’. .Marta,, inker desired, the book can be used for self-instruction. Wilsouson RailHal Technic of the Month Madge will/,,,!," What To Do Second at the Piano Etude, Op. 335, No. 26 Price, 75 cents . .Cart Czerny By Helen L. Cramm Marching Music THE JUNIOR ETUDE For Playing and Singing Elizabeth MISCELLANEOUS Grit 576 By Mary Bacon Mason Price, 75 cents Busy Work for Beginners Radio Aids Music Study Here are twenty-eight march arrangements from in Many Wavsys lpnace ' A Writing Book for Little Pianists familiar tunes. They are grade Jan Paderewski Dr two in difficulty - o. II. and suitable words have Incomplete Cahlwcll By Josephine Hovey Perry Price, 60 cents been supplied so that Measures . w groups of young people will enjoy singing them. Voice Questions Answered for young The book is illustrated 526 book designed to establish, the throughout. 11 ' s’- A writing nd hoir Questions ‘ Blank beginner: the relationship of fingers, piano keys vifr ;l £ Answered .Dr V, '7 530 tracing of Mohn Questions Answered Duutn and printed notes. Beginning with the . . 561 it to the actual Publisher s Notes the student's own hand, leads 563 writing of the notes on the staff. The instructions throughout are given in rhyme. 565 ©LI ViR DITSON CO. 57S More Busy Work for the Young Pianist Theodore Presser Co., Distributors A Writing Book with a Musical Approach By Josephine Hovey Perry Price, 75 cents 1712 Chestnut Street, Philadelphia, Pa.

506 P), Price 25 cents. I pS THE *

HERE, THERE AND EVERYWHERE IN MUSIC IN CHINA continues to inspire a MUSICAL WORLD THE MOZART FESTIVAL, held annually war-tom people, despite the tragedy THE in Asheville, North Carolina, takes place within China’s gates and the tempests August 28th to 31st, under the musical without. In Chungking, two epoch mak- direction of Thor Johnson. Five concerts ing concerts took place during the spring; will be given, sponsored by the Asheville MYRA HESS, world renowned pianist, JUNIOR PROGRAMS, INC., that remark- the first was a joint orchestral concert in Mozart Festival Guild, Inc., and among was named a of the able non-profit making organization which the China Philharmonic Orchestra, Dame Commander the artists who will participate are Guy presents concerts, ballet and opera National Conservatory Orchestra and the British Empire, on King George Vi’s which and Lois Maier, duo-pianists; Marie for programs for children throughout the National Experimental School of Dra- birthday honors list on June 12th, Maher Wilkins, soprano; John Toms, service country, has booked a tour of almost matic Arts Orchestra took part; and the her in music. tenor; Edgar Alden and Hazel Read, vio- thirty weeks in thirty-seven states for second was a choral festival in which linists; John Krell, flute; William Stub- THE NATIONAL ASSOCIA- next season, according to its president, over one thousand voices participated. ORCHESTRAL bins, clarinet, and others. TION, under the able direction of Leon Dorothy L. McFadden. It will present Barzin, plans to add a “music play” series Saul Lancourt’s play, “The Adventures of BATTISTA, SERGEI RACHMANINOFF will be fea- JOSEPH to its regular concert se- Marco Polo,” in which music and dancing Monday night tured soloist next season with the New young Philadelphia pi- of the plot. Ruth ries and the annual Gabrilowitsch me- become an integral part Philharmonic-Symphony Orchestra, the Guiomar York anist, won morial St. Denis will act as choreographer, and concerts. Soloists for the Monday the Chicago Symphony Orchestra, the Novaes award—recently will arrange the Asiatic night series, to be given in New York Margaret Carlisle Philadelphia Orchestra, the Pittsburgh established to promote throughout. City’s Carnegie Hall, include: Emanuel folk music used Symphony and the Detroit Symphony friendship between the Feuermann, Mieczyslaw Munz, Mariana Americas conse- Orchestras. — and Sarrica and Rudolf Serkin. HAROLD S. SHAPERO of Newton, Mas- quently departed for sachusetts, was awarded the $1000 Cash THE NATIONAL SYM- South America to give LONDON'S famous old Queen’s Hall and Prize by the American Academy in Rome Battista series of concerts PHONY ORCHESTRA Joseph the the Free Trade Hall of Manchester—Eng- for his Nine-Minute Overture and a which the award en- completed its fifth an- land’s finest concert auditoriums—have “String Quartet.” Honorable mention was nual series of Sunset tailed. been demolished by enemy bombs. Queen’s given to David Diamond of Rochester, Symphonies at the Poto- Hall was especially beloved, for it was New York, for his “Concerto for Cham- mac Water Gate, Wash- the national FEDERATION OF MU- there during almost fifty years that Sir ber Orchestra.” ington, on July 28th. SIC CLUBS announced the winners of Henry Wood conducted the famous Prom- Hans Kindler, the regu- their 1940-41 composition contests as: enade Concerts. It was also known affec- THE AMERICAN SOCIETY OF THE AN- music faculty lar director, conducted George Edwin Henry of the tionately to Londoners as the home of CIENT INSTRUMENTS, under the direction Antonia Brico first and of Women’s College, University of North the Boosey Ballad Concerts. of Ben Stad, held a festival at Skytop the last con- Carolina; Hugh F. McColl, Providence, Lodge in the Pocono Mountains, Pennsyl- certs, with Charles Rhode Island; Eitel Allen Nelson, Wichita IGNAZ FRIEDMAN, vania, July 9th and 10th, at which Ruth O'Connell, Reginald Stewart, Antonia and Mrs. Dot Echols Orum, Brico, Alexander Smallens, Ignatz Wag- Falls, Texas, world famous Polish pi- Kisch-Arndt, contralto, and Yves Tinayre, of the organ department of North were assisting artists. halter and Erno Rapee sharing the po- head' IJjP* anist, is making his home baritone, Agricultural College, Fort Worth | dium for the remainder of the series. Texas in Australia for the du- { Jean Graham, fourteen-year-old received Texas. ration of the war. He is MARIAN ANDERSON the de- of Chicago, was the winner of the ARTUR SCHNABEL will make nine solo pianist taking a leading part in gree of Doctor of Music from Temple Stillman Kelley Junior Scholar- appearances in New York City during the Edgar the annual Australian University, Philadelphia, Pennsylvania, of two hundred and fifty dol- ! 1941-42 season, five in the Schubert cycle ship award Celebrity Concert sea- on June 12th. federation also announced. presented by The New Friends of Music lars, the son. Ignaz Friedman ALBERT STOESSEL is conducting thirty in Town Hall, three with the New York MARIO CASTELNUOVA-TEDESCO is com- concerts during the Chautauqua season Philharmonic-Symphony Orchestra, and posing his seventh overture for a Shake- WALTER D. EDDOWES, Minister of Mu- which closes August 27th, after which he one in solo concert at Carnegie Hall. He spearean play. This latest work for “King sic at Carmel Presbyterian Church in begins rehearsals for the Worcester fes- will also appear as soloist with the Kan- sas City Symphony Orchestra and the John’’ is being written especially for the Edge Hill, Pennsylvania, has taken up his tival. NeW York Philharmonic-Symphony Or- summer musical directorship of the great Houston Symphony Orchestra. chestra's centennial and is dedicated to Ocean Grove Auditorium at Ocean Grove, THE CINCINNATI SUM- PUBLICATION John Barbirolli. New Jersey. Guy McCoy, violinist, choir MER OPERA ASSOCIA- THE SOCIETY FOR THE director and associate editor of The TION completes its twen- OF AMERICAN MUSIC has chosen for pub- year David Van Vactor's tiie bacby Monday musical morn- Etude, has taken over Mr. Eddowes’ choir tieth anniversary season lication this a tradition in New York directorship at Carmel Presbyterian on August 9th. Fausto "Quintet for Flute and Strings” and Ulric IIVGS, so long season for for the summer months. Cleva conducted the en- Cole’s “Piano Quintet.” ociety, will be continued next Church the Musicians’ Emergency tire series, and among the benefit of which the late Mr. TEACHERS ASSO- the artists appearing ROY AND JOI1ANA HARRIS, composer Fund, a charity to THE TEXAS MUSIC support. Art- Annual were Rose Bampton, and pianist, have been appointed to the Bagby Save whole-hearted CIATION closed its twenty-eighth Josephine faculty of the Music Department of Cor- • for the series, held as usual Convention on June 19th, at Wichita Elsa Zebranska, Giovan- ts engaged s Antoine where will Waldorf-Astoria, are Lotte Leh- Falls, the largest registration in ni Martinelli, Gladys nell University, they take up ! the with their work this autumn. mann, Lily Pons, Richard Crooks, Artur many years. Next year’s convention will Swarthout, Vivian Della Chiesa, Josephine Antoine, Peerce Rubinstein, Gregor Piatigorsky and Al- be held in Fort Worth with two addi- Jan and Frank Chapman. tional features added to the program: THE U. S. WAR DEPARTMENT has com- bert Spalding. missioned five hundred and fifty-five first, a Church Music Conference cov- RADIE BRITAIN of Chicago won the organs from the GRADUATE SCHOOL of the Juil- ering Evangelical, Catholic and Episco- two hundred and fifty dollar prize in the electric Hammond In- the strument Company of Chicago, Illinois, School of Music has just opened pal music; and, second, the relationship contest for American women composers liard for installation in as many regimental carrying free tuition to stu- of the U. S. Government to Music, with sponsored by Sigma Alpha Iota, music fellowships chapels in the various Army camps South America. Heretofore the Nation’s first regional W.P.A. Music fraternity for women. Marion Bauer and dents from throughout the country. have been Festival in connection with the Conven- Karla Kantner of New York won honor- only United States citizens able mention. I Continued on Page 575) ehgible to compete for such fellowships. tion. AVGUST, 1941 507 a

Youth and Music wao uigdillZiCU 111 iOOO, clIIU Theodore Thomas served as director until 1869. The present chorus reached such high efficiency under the devoted and skilled training and leadership of Noel Kempton that for the past two years it has engaged in public activity. The Town Hall concert on February 10th rep- Youth Overcomes resented the first bid a Handicap of the chorus for strict critical consideration, with a list of Palestrina, Gibbons, Lassus, Ravel, Brahms, Rachmaninoff, Tschaikowsky , Deems Taylor, Mozart (and with the assistance (J3ij. $3Icmdie oCtemmon of Lauritz Melchior as soloist), Grieg, Johann Hartmann, Lange-Muller and Schubert. “It can be stated unequivocally that the blind chorus merits enthusiastic praise based on professional A TRULY UNIQUE standards. The voices, caiefully selected, /0\ CONCERT was harmonize effective- ly in quality, given in New range and volume. Owing 0 the manner York City’s Town of learning entirely by ear, the intonation Hall, at the height is practically flaw- ess, attack of the 1939-40 musi- and rhythm are intuitively exact, and cal season—a con- the interpretations have peculiar cert that differed unanimity and intensity of ee ing greatly from the musicianship and sensitivity. 1 he religious others that crowded and secular works had equally just the year’s schedule. publishment; some of the latter are The program listed invested with delightful whimsy and original choral mu- humor. top sic and music that point of achievement came e had been arranged !° V( ly singing of Brahms’ ‘Gypsy , rw , o ; by turns s irite for mixed voices; rhnif’ P d, tender, melan- d PaSSionate and on the stage ap- - Also the Ravel anriT c!U , peared thirty youth- aikowsky music were outstand- ino- no .f P i ful singers—with no ormances, and of course the chorus conductor! From the gave its most finical cooperation beginning to the as well to the compositions close of a program delivered with Mel- chior. that required mu- The capacity audience rewarded sicianship of a high the chorus, conductor and order and included soloist with thunderous singing with the acclaim.” Tbe world-famous tenor, (Above) The Sightless Chorus from the New York Institute for hard ice of critical ap- Kempton, Director. Lauritz Melchior, the Education of the Blind. (Right) Noel successfully fn broken they sang without the Chorus ond_ j gave a sec- leadership. For the concert this past year with young people making up this chorus were blind; their professional efforts. soloist in the same hail . the music they sang must lead them; they could If one were to judge by nd Wlth the same measure not see their director. Even so they were offering plaudits, their singing was ap- SS Henceforth such a clrZT -, their wares to a capacity audience, seeking proved from the very first neither sympathy nor qualified approval of their number. Eager, spontaneous performance but critical appraisal based on merit applause greeted their first alone. effort, and grew louder and more prolonged as the pro- Not a First Appearance gram progressed. When at its That they had the confidence necessary for this close the roar of clapping undertaking was due to a number of things. They hands swelled and receded again and again years last ten of its organ studentf n flfteen had been meticulously trained by their conductor, there could be no doubt that their venture had passed the SUCCeSS(Ully examination for Assocmt Noel Kempton, until every attack, every release, been a complete success. Even for singers with ship of the ember - American Guiid 0f Org every nuance of their music was ingrained in normal vision this would have been a gratify- ai‘L^ Mr. ing moment. For sightless ones it Also their consciousness. They were buoyed by was a rich and on the Lighter Side Melchior’s faith in their ability, a faith that had rewarding one. Nor is serious music the only kind him to lend his great voice and prestige Backstage there came the substantiation of induced bbnd indents do well. They can . also play to their program in a group of solos as well as a spoken praise, the prized sanction of teachers, that will never must find its way into an album group of songs in which they joined him. More- their leader, their school principal, Dr. Frampton, classics, and they can beat out these rhythms over, they were not novices in the field of public the words and handclasps of friends. Then, in £• in performance; they had sung over radio networks an intoxication of excitement, the singers went “ o«2 times, in churches and clubs even more “home” to the New York Institute for the 011« eighteen Educa- trumpets, drums saxophoneT ' at a in tion of the Blind, tfianosYYs “S* frequently, and had appeared concert on Pelham Parkway, there to ’ tiombones, dion and vocalists accor- Schelling given by the New bask in an afterglow of happiness uniL t memory of Ernest that lasted for and a ^ a Ult to dash of tunes York Philharmonic-Symphony Orchestra in Car- days to come. imZvL? cacophonous t0 lntricate and To add to their satisfaction harmonies negie Hall. the critical press TheTy Can Jlve with the best of and sway Still, this concert was in reality a debut— also was kind. Here, for instance, are the words them Because • standards of Leonard Liebling, it i

The Qualities a Pianist Must Possess

Conference with hree qualities build the A a Beethoven sonata, no matter how development of a pianist. On the many facts he knows about Beethoven, T lowest level we find the purely no matter how dexterously he masters pianistic qualities which are mechani- the technically difficult parts. Melina Regarding music study in this way, cal and have only applied, not direct, u contact with music. The pianist needs I cannot conscientiously give counsels Internationally Distinguished Pianist swift fingers, strong muscles, and sure to students in terms of hand positions into fluency. control; but he needs them only as a and short cuts I can tell means toward the end of making mu- you, for instance, that our traditional musicologist may way of fingering the C-major scale is sic. A competent Secured Expressly for The Etude by conceive a truly fine interpretation of not the most musical one. By using the thumb on the sub-dominant, there is a Beethoven sonata, but he could not ROSE HEYLBUT produced an accent which, musically, express it if his fingers were insuffi- ciently trained to carry through the is better placed on the dominant; the mechanics of the process. Again, a thumb is a stronger finger, and the mere technician may easily encom- dominant is a stronger tone. But while information this kind pass all the finger difficulties of the of may work without even penetrating the help to produce more musical articulation, it can never make a better pi- surface of its meaning. Neither one anist! problem would give a really good performance. The goes deeper than that. The playing of That must be envisaged as the fullest, notes must be preceded by (1) inner musical urge, freest personal expression of the com- and (2) clearly planned conceptions poser’s intention, worthily conceived, of the ideas to reconstructed firmly built, and ably executed. Hence, be through playing. the pianistic or technical elements of Only then does it be- playing are but the initial step. come art, and the communicative At the very start of piano study, of power of art depends upon the personal qualities course, finger, hand, and arm work of the artist. Those are the qualities the student should seems all important. That is because cultivate even more assiduously than the average young student has little technic. of musical significance to say, and must acquire a degree of muscle dis- I believe that the world finds itself in its present state of confusion cipline not demanded in his other because majority the people functions. But these conditions change a of have lost their hold upon these inner spirit- after a time. Then the student’s musi- ual values. Music students, certainly, cal utterances should gain in interest can hardly set the world right again! at the same time that his organs of execution become trained. At such a But living as they do in a world of art, where invisible and intangible time, technical work should fall into precedence, second place. Since the nineteenth values still hold they can preserve a little oasis in the midst of century, there has been a regrettable wherein to serve music. tendency to isolate technic into a goal the chaos, fashionable What, then, are the qualities which in its own right. It became of dexterity and the music student would do well to to admire feats en- durance; performers were hailed for consider? First, he should realize that art is the records they could set in playing not easy. The tendency of our age is faster, or louder, or softer than anyone to “take it easy and keep smiling.” We else. The over-emphasis on execution experiment with educational methods led to erroneous study habits. Little to make everything easy, pleasant. It by little, music study became confused is a fine thing if a student finds easy with sitting at a piano, working out ARTUR SCHNABEL pleasure in his work—but his responsi- finger problems. Oddly enough, music work will inevitably pre- (which expresses the loftiest thoughts bility to his excluding easy pleasure. Let us and emotions) remained one of the few fields the notes at all, he must now discipline his mind sent difficulties the pill of practicing, dressing where this isolation of technical craftsmanship to discover the significance within the notes. At stop sugar-coating up the beginner’s exercises as games and fun. isted. We should think little of a painting this point, his musical studies really begin. The erS to be color-blending, with his tools alone; They are not games. And they have mas- that showed merely without student no longer works with tered notwithstanding. Let the pupil learn, for thought to composition, feeling, harmony of line, he feels, thinks, weighs, balances his views his soul, to face difficulties! Often of inspiration. Even in the field of facts about the composer, his life, his times, his the sake of . tegrity 1 tell me they feel depressed. “That of tennis-player is neither other works. He has been taught to relax; he my students ports, the technic a you!” I say. “Something productive nor appreciated apart from the full now learns to concentrate. These two steps pre- is good for learned frame of mind. Let it all. The may result from such a power and meaning of his game. We should make pare the way for the highest level of spur you; profit by it. Don’t ‘take it easy!’” In true of music, assigning technic its power of thought and feeling which the inter- the same room for such a philosophy. And over-emphasis. preter exerts upon his materials, the richness of art, there is no rightful place without depend upon art cannot be removed from its heights. Who- the next higher step, and in second place, significance he draws from them On to commune with it must climb to expression. Here the kind person he is. Personal communica- ever wishes find the musical approach to of we in meet it on its own level. We will never reach the mechanical plane to enter the tion is the capstone of all art. The manner we have left the higher the climb, the greater composer’s mean- which a man plays reveals the mental and the peak, but of thought. To express the field person. A superficial nature the satisfaction and serenity. performer must know what is meant! spiritual fabric of his ing; the of The student should (Continued on Page 571) natural tools to sound can scarcely give a satisfying interpretation just as he had to train his 511 AUGUST, 1941 " [

Music and Culture

A Symphony of the Sawdust

Thirty Years with a Circus Band

From a Conference with WJe £*«

CnnductDr nf the Ringling Brnthers-Barnum S. Bailey Band Secured Expressly far The Etude hy JAY MEDIA

CAME UP IN MUSIC the hard way. It was never my privilege to study at famous con- I servatories or with celebrated teachers. Most M vans is a kind men get praised for doing things they °t self-made ZuL 7tff anyhow. I always reckon BerS - N° man has done just couldn’t help doing 5o murh t l^° due to being ready to make music 0f the cirms in that success is largely oJ totory. He turn . was born the most of opportunities when they up. I of a tyvical hard, treat people right, ilv at figure that if you work - “"‘tai.toS! tnatsVTmeilcan as and keep looking up to better things all the time, Jay V°u make ’em." Media h endeavored have to worry much. My big opportu- to bring him you don’t to you in a A nity came when Mr. Charles Ringling telegraphed to ask me to lead the Ringling Brothers band. a the Ringling Brothers were musi- e You see, all of ZTlmZ a ^^Je\nZenc started in the show business 10 ' Ever cians. In fact, they a circus and mho™ yt>ody loves company. John played the alto horn, ™to as a concert in this unusuTconterlZ ™ailon cornet, Charles the baritone and noi ’ Ai played the cal, we are muSt Mrs. Ringling, sure that n the violin, while their mother, enfoy it oZZ._Edit played the piano and the organ. They toured all J8 around the Middle West before they ever dreamed runs very strong in the of having a circus. Music Overture “Rosamunde” family. Charles’ son, Robert Ringling, Overture Schubert Ringling “Barber of Seville” few pupils Caruso ever had, was one Mascarade” Rossini one of the ( “Queen of of the leading tenors of the Chicago Opera for Sheba” Lacome “Atilla” ‘ Gounod years. John Ringling North, the present presi- “Bohemian Girl” Verdi dent of the circus, is a fine practical musician. “Daughter of plays the saxophone. the Regiment” He ^Tales of Donizetti Mr. Charles’ telegram came, I said Hoffman” Well, when “La Traviata” Offenbach and to myself, “Merle, here’s your big opportunity; “La ' Boheme” Verdi es d0 , ..... lo'' Just as I expected, Mr. Ringling :ybod1 boy, go to it.” “Lakme” Puccini before the show, in which the “Herodias” wanted a concert . Delibes band could shine as an attraction, and he wanted “Queen for a Day” Massenet Overture as good music as we could play. He said to me,. “Sicilian Vespers”* Adam “Merle, you will play during our tour, to the Verdi Of course we also biggest audience in the world. Most of them have play the Viioo, , music of “Bhter only one chance a year to hear a good band.” Strauss, Fetal, Herbert particularly the incomparable Since then, for seven months a year, we have ^ martaes 0T' Philip Sousa. There given regular concerts twice a day on circus days is nothing that males an audience sit up and and have played to millions. Here are some of take notice like Sousa'!! ’' the numbers on our repertoire for this year. Note F0 e,,e ''' But ’ the that they are all good music, but not over the heads of the average audience. W“ e 6 mfhome l0cal musi«ans in town'* n, SlyA 1 WaS destined lor MUSICAL PROGRAM musicTeeauJ l ,eem?A6 t0 en oy the cornet ^ P racticing upon Merle Evans, Bandmaster more th a anything else weresine4 ' Iolk5 “Oberon” cZrch-A'IUg ^ Weber pe°Ple—Presbyterians “Ruy Bias” —and when mv fath Mendelssohn m°ther sisters ’ and “Yelva” learned that my — Reissiger at ^he^e aBe “Phedre” determined slxteen I was Massenet to “sien T “La Gazza Ladra” — “Mighty ith the band the Brundage .T in “Der Freischutz” Rossini shoe there were carniva1, “Figaro’s Wedding” Weber torrents of tews wav !' VlT!!”®If 1 had “Martha” Mozart they could not I enlisted tor have taken the - - « harder With “La Forza del Destino” Flotow carnival I “Fingal’s Cave” • Verdi “Rakoczy” ' Mendelssohn

• • Keler-Bela 512 hei hands over her face. wailing in grief, and my sisters joining in the be difficult in these days to do what Music and Culture chorus. How did I ever manage to tear myself one western circus owner did in 1908 away? to 1910, when the airplane was new and only a few people had ever seen Carnival Standards Are High one. He had twenty-four sheet posters The band was one of eight pieces and needed advertising an airplane. Thousands a solo cornetist. I could not resist. Everybody in and thousands of farmers paid a dol- a carnival works, and works hard. In addition to lar to see the airplane, which was not playing in the band, it was part of my work to an airplane at all, but rather a cheap help put up and later take down a portable car- model, with a kind of bicycle treadle, rousel. If my mother had actually accompanied which could never rise from the ground the “Mighty Brundage Shows,” many of her fears unless someone lifted it. -It stood in would have vanished. Brundage himself was a the animal tent, and people paid more very extraordinary man. He would tolerate no attention to that fake than they did drinking and no gambling. He used to advertise, to the lions or tigers or the one-eyed “We comply with the pure show laws,” whatever polar bear. that meant. He probably had in mind that he Boat wouldn’t stand for cussin’ on the lot. He said to Show Days me one time, “Merle, one of the ways to tell if a After I left the “Mighty Brundage man is a gentleman or not is to find out if he Shows,” I signed up with a band on cusses.” a show boat, known as the “Cotton Later, after leaving the carnival, I went back Blossom.” Show boats almost never to it and found that Brundage had actually went on their own power. They were started “Sunday Divine Services” for the show like house boats, or two and three people. Usually a local minister was called in, and story barges, which had to be towed I led the music. Best of all, Brundage was not a by another boat. There were many on hypocrite and believed in what he was doing. It the Mississippi, with fancy names such as “The New York,” “The Sensation,” and “The Wonderland.” They were large, rangy things, brightly painted, and they brought a load of hilarity and romance to every town they visited. The show boat was a link with the great world that most of the customers never saw but dreamed about. Youth triumphs in the circus of to-day It brought in actors and actresses who certainly must have walked right up and down Fifth Avenue or Broadway time and the nearest thing to modern sound amplification again. In the somnolent little riverside towns we then had. Sometimes two show boats struck many of the people seemed to hibernate from one the same town at the same time and both calliopes show boat to another. Our boat had a band of broke out at once, and it sounded like the noon fourteen and a cast of ten for the stage show. hour in Pittsburgh. After the calliope eruption, The band gave a parade at noon and then was the band gave a concert from seven to seven- off for the afternoon. In the evening we doubled thirty. It should be remembered that this was in the orchestra. It was a free and easy life and before the time of the radio and any kind of a the trips down the river, with the refreshing concert of fairly efficient players was a sensation. scenery, were a delight to me. I can still scent We, the artists, were paid ten dollars a week, MERLE EVANS the cool, sweet air in the mornings and I can “and all.” “And all” meant board and lodging. Mr. Evans has been with Ringling Brothers lor twenty-two still hear the “lap, lap, lap” of the old Missis- The shows we gave were part vaudeville and part years and has never missed a performance. sippi. I learned much from my fellow players, drama. The plays were “The Man and the Maid,” and I had so much time on my hands that I “The Parish Priest,” and similar masterpieces. a small show, with the usual mechanical de- practiced five was hours a day. While the other men They were filled with the commonplace heroics vices, the ferris wheel, carrousel, and the usual were fishing, I was practicing. In the evening, and “mush” that, in these days, would bring ridi- concessions, to which was added a one ring circus, from six-thirty to seven, the calliope gave a con- cule from a ten year old, but in those reverent with the routine acrobats, clowns, ponies, and cert. If you never have heard a calliope, come to years, now long gone by, when the leading man as well as an acrobat lying on his back the circus this year dogs, and hear the “steam piano” knelt and kissed the hand of the heroine and the juggled a small live bear on his feet, in what while it goes who around the big oval. A calliope is a orchestra played Lange’s Flower Song, both the as a “Risley” act. There was also a “pit kind is known of chorus of steam whistles, designed to be maids and the swains breathed deeply and took in which the audience walked around a heard show,” at a minimum distance of ten miles. It was another drink of ginger pop. raised platform and looked down at the curiosi- pit, which this ties in a in case amounted to a "Doc" Pullen's Technic snake an large, lethargic and anaemic anteater. A youth of fifteen, sixteen, or eighteen is not pretty sad outfit, compared It was a with modern likely to give much attention to the finer points I thought it standards, but was wonderful. Every of ethics. When he is on his own, his chief con- was something new to gratify day there a boy’s cern is to get a job. Thus, I once took a position adventure, and I am afraid that I love for got with a typical medicine show. The proprietor was homesickness in a somewhat over my heartless a very voluble gentleman named Cleve Pullen. sme11 fashion. If y°u once the of sawdust in Over night he became “Doc” Pullen. His prepara- over it. your system, you never get I met a few tion for this degree consisted in writing to the olayers who knew more than I did, and it was Clifton Comedy Company of Chicago, purveyors was learning things that would fine to feel that I in general to medicine shows, and procuring ad- put me ahead. vertising posters, pills, and other kinds of medi- It took very little in those days to draw a crowd, cine such as “Snake Oil Liniment.” The proprie- and there was a shameful lot of fraud and trick- tor of a medicine show landed in a town with his people take pride store, ery. Nowadays, foremost circus company, hired an empty and got a few is “straight goods.” which, when placed in avoiding anything that not planks on empty kegs, be- Of course the press agent’s imagination runs came seats. Admission to the show was free. Exit amuck now and then, but he is pretty sure to be was likely to be fairly expensive, depending upon it how many pains the (Continued called down by the big boss. For instance, would The show moves on on Page 566) 513 AUGUST , 1941 — L

Music and Culture instance, he likes to imagine the elephant’s trunk swinging in rhythm. If this idea is described in his piece, he will swing the elephant’s trunk with gusto and complete abandon. In The Elephant Tent

The elephant’s trunk siuings to and fro; I wonder how Music That Little Folks Like long it took it to grow.

A Word to Composers in anticipation of that which is to follow. An even four-four rhythm in F-major, with heavy plodding chords, would well befit this piece. Il B A or A B By JUn jbJLctm * C forms, repetition should be slightly^ different from the original in order to avoid monotony. The recapitulation then holds promise of interest, if the third section is slightly varied. Sometimes F A COMPOSER wishes to write tuneful and The listener, then, naturally imagines the clock the addition of an introduc- words, without t on, a coda, or attractive pieces which are at the same time ticking against the given the both, lend balance to a composi- This is classed as a tion. Natuially, it I beneficial to the student, he must employ words actually being sung. i S best to confine the ideas hlP devices picturing graphically the idea he is repre- descriptive piece in that it sings itself, so to ™ “mpass of eight or sixteen measure pel, rods rather, senting. One of the important points is to con- speak, even though written for an instrument. than to use uneven numbers such utility. In this manner is the imagination pleasantly aPP1 E ° f sider the union of beauty and practical phrases - This latter device is wise choice of key, rhythm and vLdTL u n In other words, a study or piece which is of stimulated by a managed deftly and should not treatment of subject matter. The addition of the he LrnL. a value merely technically may not hold the stu- “ elementary writing-at least, optional and not at all necessary not as a rule dent’s interest. On the other hand, a melodious short poem is of things. m composition which only pleases the senses is, to in the scheme mP°rtant when maLriai writing teaching from a pedagogical mVe a some extent, wasted time Composing for the Violin Umform grade throughout, ?he usefu ness m standpoint. Thus the binding together of musical- a plece ls easily destroyed when the In writing for the violin, simple pieces are it starts in ness and practicability is the aspiration of rade and becomes more.diffl- sharp and easy flat keys, such cult nerhTns l . material. usually confined to composer of teaching 1 1 written in major, E minor, F major, D minor, B-flat three-part ™ “ A most effective means of producing definite as G primary 10™^ T and G minor. These keys are suitable—in for B, in the pictorial design is to choose appealing titles. This major A B A o^ minor, of course nature A Tetne Key sig the composer of addition to C major and A is often chanced fact should be kept in mind by °n6 because the open strings on the violin, E, A, D for variety in " graded material. Descriptions of animals or of mood and color ’ bufFbllt the composei and G, appear in these keys and may be played should be sure nature in any form usually offer a universal that in C0Ptrasti. rather than to employ the matter, ng the subject on the open string he does not ’a attraction; therefore they are excellent vehicles ' weakest finger. There is an exception, Shadow the °V6r work. Sports are interesting, too, fourth or original for this type of Integrauon * s”om • Sometimes, uncon- however, in B-flat major and G minor in which sciouslv pvpn particularly to the male members of the class. adJ0UUne Phrases E-flat may be utilized in the accompaniment as to grade “ay be mixed Some subjects are humorous and lively, whereas the when necessary, thus avoiding the use of the It is advisable others are quiet and thoughtfully grave. These to gradate , ’ th fourth finger when not desired. the combination W regard t0 so called mood pictures are usually well handled of men tai ir L have definite ideas of development. S Wth and Ph sical keys, rhythms The composer should This is y by the dexterous combinations of snmtV 68 before starting a composition. reason that difflcult for tlie and various shades and nuances ascribed to the technic in mind some students™ and There are many things he can do and many ave- musically in entally and subject in question. In mentioning key advance of theirtllei1 ? choose, especially in writing ments, tetechnical attain- pause and nues from which to whereas nfhp rc. ~ rhythm combinations, it is well to lay possess for he has the contrast of color facility such technical neces- for the violin, that their hra i consider the importance of these factors so e “ not strings and piano, not to mention ex- with Leir 6aSily keep pace sary in composition. between hands BuT for contrapuntal effects be- writing Speaklns in and joy, cellent opportunities for the ' When depicting a mood of happiness masses’ ft tween the two instruments It is also possible to grade uniform *° keep the one immediately imagines a bright key, such as throughout L,k" employ rich harmonies, using occasional altered musical value 6 teChnic and one containing sharps. An appropriate signature are invoWed! diffi- chords, as the accompaniment can thus assume Studies and for the beginner is D major in that it is not pieces mav be iront a trifle more difficult musical idiom than can the students' separate in the denote cheerfulness and gaiety. Add minds. This is cult. It does a practi two-four, solo instrument. One must take care, however, student is «. for. if a to this a rather fast rhythm, such as forced toLind L far afield in designing a back- studies 1 eXercises six-eight, then give the piece a not to wander too with no prize and three-eight or in sight° hlSv’ ground for the violin or voice, as it would then humdrum. WOrk becomes picturesque name and title page, and the numbei But if a concert^ entirely of balance in musical con- object CaU6d ‘ th immediately. Another in- become out of his ’ S ® is likely to sell itself ambition he writing, it is wise wm’ha 6 a the addition of two or four lines tent. Also, in violin not to make goal toward which defin- te genious touch is to wnrk^a Vld be sung the piano accompaniment subservient to the solo last ready for when he is at of a poem describing the story, not to his recitala T as a drapery, so to speak. instrument, but to write them in ensemble form. feeling Z * ™ a as a song, but merely haT™ “fL e sch , - Grandfather This gives the two performers equal opportunity room °o1 For instance, if the title is The and of being readv tn :r employ D -major, six-eight time, for expression, as well as lending artistry to the field. It is imperative, Clock, one may therefore, to hoWtheTdea marked and steady rhythm, and using composition. of Separating the daily showing a exercise from the beau! some such rhyme: tiful composition which composing lor me Fiano he scarcely realizes cm bodies all the things he has Merrily, merrily, In writing for the piano, there are figure group been p“c daily. He is an LhL long, artist now, not All day ings of three against one (triplets) or six (doubl merelyY a !f, I ? This student - a song. procedure may seem Happy clock sings triplets) in arpeggio form or to h P " otherwise; inne the C° atUlE article, but it does no as a simple two-part voice melody with upper or lower chords agains harm a^d' ' This be written ' ~ may logically, it is most PSycho with a steady tick-tock, t'hem; left hand melody; hands played separate! beneficial counterpoint invention, concert pieces must dominant and tonic notes and answering each other, then combining be useful as fashioned on the ani welf a^ beautiful against the melody of the given words. This sug- many other inventions which result from experi Writing Songs for gestion would work out admirably in a violin mentation. Children Thus far, only accompaniment carrying Try to establish a definite material m composition, the piano impression upon th ' has been 6 Violln and piano the melody and the pizzicato strings playing the mind of the listener or player. Descriptive considered. Writing musi is E S° the is interesting ngs for children steady tick-tock. Or if written for the piano, always intriguing to youngsters. as well as i„, Unquestion must POrtant in the left hand with ably, waltzes and be - ''Ideal range melody might be carried marches are of value; considered carp f ,,„ but if interval as the staccato tick-tock taken by the right hand. child is playing a piece about skips, weU a* certain an elephant, fc wide sk „ but it is always ratller dangerous, safe Continuedi 514 on Page 502) Music and Culture

years of distinguished performance. The coach Coaching for Opera must be familiar with both—as well as with the traditions of what not to do! The survival of these traditions is interesting. They are marked in no score; they can be found in no manual Conference with A of operatic routine. The composers and great performers themselves spoke of their goals and their wishes to friends, pupils, co-workers, and WitfrJ PJLier the like; and these, in turn, handed on the tradition to others. To-day, generations after the original performances, it is still possible to learn Conductor of the Metropolitan Opera their correct traditions through someone who Director, Metropolitan Opera Auditions of The Air studied with a teacher who was a pupil of a pupil of Rossini's! To my own knowledge, a case of this type occurred. When Bellini’s “La Sonnambula” Secured Expressly for The Etude hy MYLES FELLOWES was announced for the Metropolitan, some years ago, Tullio Serafin (the conductor, and now director at La Scala) heard of an COACHING OF ROLES IS one of the HE aged singer, in Italy, who in his most vital steps in a singer’s preparation youth had coached with one of T for operatic work. Let us suppose that a the conductors who had worked soprano wishes to prepare the part gifted young under Bellini himself. Familiar in Massenet’s opera. Her voice of Manon, may as Serafin was with the tradi- her vocal control in perfect order, be splendid, tion of Italian opera, he sought well taught, and possess she may be she may out the old singer, sat before a talent for the stage; yet, if she simply takes him as a pupil might, and score of “Manon” and memorizes the notes, up a stimulated his recollections of words, and gestures, she will arrive at something v Bellini in general and of “La far from the correct interpretation of the as \ Sonnambula” in particular. part as it is possible to conceive. That is because \ Traditions of Wagner, Gounod, the delineation of a role—any role, in any opera Bizet, and Massenet have —depends upon elements that cannot be written reached us even more directly. i into a score; elements of style, operatic tradi- Every major conductor has action, rhythmic accentuations, and teamwork quired these authentic tradi- that no singer can acquire without the aid of tions of opera (long before be- a person intimately familiar with what these coming a major conductor!), things are. It is at this point that the operatic and he passes them on to those coach enters the picture. who work under him. These The operatic coach provides the singer with traditions are nothing mysteri- that musical and dramatic routine without ous; they have to do with ex- which no role can be properly projected. His part act tempi, phrasing, emphasis, in building careers is quite as important as the coloring, length of time values, teacher’s, since just as many operatic futures gestures of acting—all the ele- have been wrecked by poor coaching as by faulty ments of performance which vocal instruction. Hence, the work of the coach make the printed notes come becomes an interesting field for responsible to life in exact accord with the young musicians to investigate. wishes of the composer. Sup- Every great opera house maintains a staff of WILFRED PELLETIER pose a high-C is to be held, assistant conductors, or coaches. Often, but not and each member of the trio always, they become the conductors of tomorrow. holding it has a different idea In the normal routine of operatic performance, singer does not work with orchestra until he is as to how long; the traditions of the opera solve the management decides which works are to be ready for an ensemble rehearsal with the rest the point, not in terms of who is right, but of presented during a season, and which of the of the cast, at which time it is too late for glar- what is. conductors is to take charge of them. Each con- ing errors to be corrected or for characterization The coach, then, must be familiar with these ductor, of course, has emphasis and tonal color- to be rebuilt. For that reason, the coach bears traditions. The initial step in his work, however, ing of his own. He first confers with the assist- an enormous responsibility, and his own musical is not a musical one. First of all, he explains to ant conductor and explains to him his exact groundwork must be very secure. the singer the story and history of the opera wishes. The assistant conductor then works out First of all, the coach must be a thorough itself—what it is about, the historical back- this detailed program with the individual sing- musician. His knowledge of orchestration and in- ground of the time in which it plays, how the ers. This is what coaching means. In the case strumentation must be as thorough as that of characters are expected to behave, and similar- of experienced singers, who have performed their any conductor, and he must be as fluent at the details. In approaching “Manon,” for instance, he before, drills roles many times the coach those piano as any accompanist. Moreover, he must must explain that in Manon’s day, all women oints which are to characterize the current per- know the languages in which the standard were more or less frivolous because of the influ- formance. In the case of new singers, or of new works are sung; he must be able to detect and ence of the Court; that the heroine’s character, veterans, the coach studies the inter- errors production; in the light of her times, must be con- roles for correct in tone he must be viewed pretation with them and builds up a complete conversant with dramatic acting and stage de- ceived differently from that of other frivolous delineation, bar by bar, page by page, scene by portment; and, most important of all, he must girls, like Musetta or Carmen. When the charac- singers are ready to present been thus built up, the coach begins scene, until the be familiar with the authentic traditions of the ter has his form, for the conductor’s work. He assumes that the their work, in finished Italian, French, German, and similar “schools” musical singer is the only with the mere note sequences scrutiny at rehearsal. That is way in of opera. familiar of her basis, he which roles can be mastered. Singers are de- It is more than mere language or melodic line role. With this as indicates phrasing, pendent upon their coaches; and the coach, in that differentiates “Tristan and Isolde,” “II Trov- tempi, rhythmic accuracy, makes certain that all responsible for the atore,” and “Manon” from one another. Each these points are well memorized. Measures his turn, is fundamentally are a music lesson. smoothness and accuracy of the performance. operatic work has definite traditions of its own. repeated as at Some singers have piano, the Certain of these were established by the com- careless habits of musicianship, and these Coaching is always done at the must explaining. The poser himself; others have accumulated through be detected and cor- (Continued on Page 560) coach playing, beating time, and

AUGUST, 1941 ,

Music in the Home

Momentous Additions to the Record Library

- i^eecl (j3if f^eter Mufyh

music of this genre. CONTENDS, and rightfully much in instrumental OTTE LEHMANN interpretations of the Prelude and Love “poem and melody are of equal In his too that Death from “Tristan and Isolde” (Victor Set ^ lied. “They are inter- I importance’’ in the and Friday Spell flowering M-653) and the Prelude Good woven ” she says, “one with the other, “Parsifal” (Victor Album M-514) , Wilhelm In opinion no one can from as from a single root. my the most satisfying perform- cannot recite the Furtwangler gives a good lieder singer who be ances of these Wagnerian excerpts on records to convincingly. If I am learning poem with music, Emotionally and stylistically, these inter- myself. It was the poem date. a song, I recite it for superbly planned and executed. LOTTE LEHMANN feel the pretations are inspired the composer. I must also which has but to listen to the growth of the drama order to recreate the One poem as he felt it, in Tristan Prelude, to the poise us and emotion in the same Lehmann has previously given technic that Stokowski brings operatic music.” Mme. majesty of the unforgettable climax, to to artistry, but per- and excerpts and tone cause to admire her fine lieder extraordinary mind has been poems. The youthful orches- has realize what an tral players else in the records that she perform remarkably well, but not haps nowhere to play upon the performance of the been more convincing brought without some bad mistakes not made in America has she been given to understand that which would (Colum- music. (We have have been sanctioned in her recent “A Brahms’ Recital” in recordings of a few than these recordings, as well as all others made by years far the best thing she back. From the both . It is by reproductive angle bia Set M-453) Furtwangler and the Berlin Philharmonic Or- the phonograph in this sets are good. has accomplished for were made in London during the winter collection of chestra, After Dvorak, his country. In fact, this is the best conductor and the orches- son-in-law, Joseph Suk, was of 1937-38, when the legardcd made by a single singer, for as Hie foremost composer. Brahms songs yet were playing there; and further that all Bohemian Kirchhofe, where her tra mUSical all except one, Auf dem the sales of these albums outP l,t waa not so large In royalties accruing from LLTL v, for the best projection of dl5tln Suished voice is a little light England. father-in-law, it was are will go to none , lied, the songs W hy - sulc the dramatic quality of this llad the same gift for suspects that this Youth Orchestra melodic Acharm and lyricism ideally suited to her voice. One The All-American as Dvorak and these has been built around the P n MS early “ SerePa collection of ten songs Unquestionably, Leopold Stokowski- is a contro- 6” de for Strings, she sings On ?wrhVe ln of the singer’s art, for world. There are hlS eiShteenth year) which best qualities versial figure in the musical the CVeeh m m spontaneity, intimacy of mood with- Orchestra, here with rare many .who accept his readings of all works Vaclav Sikh directed by tonal a”™? ' and human warmth, and with a greater and others who disci iminate P b6aUtifUlly in ViCt01 other out qualification, Album M-779.' in any of her There is freedom and flow than their selection of his music making. In as in flanging a suite voicing of such lieder Stokowski is one of the most ,. from his opera “Merry recitals. Her no question that rd Komgm.Wir Wan- public; his HanS°n haS not Bist Du, Meine directors before the - been Ao suc- naclit, Wie Wan brilliant orchestral Mssfulcessful in aehachieving Nachtigall, and O Liebliche orchestra in a short period continuity. The music is in- ielten. An Die - ability to organize an is a records. The soprano performances of the th ^ngagi“g rhythmic gen are the best on of time is proved by the Ulanowsky at the KL A nS are to accompanied by Paul Orchestra. But exploiting an S ° similar in scor- mirably All-American Youth La to nrnvid T“° instrumental virtuosity “ntrast. However, P orchestra to show off its isweUulaLd a the suite Concerto in B excellentI Although Mendelssohn’s “Violin coloring does not always allow for the y recorded in Victor and tonal AllTum S 781 n Wlshes of the great compositions In the performance that Hanson h£“i seen minor, Op. 64” is one interpretative effects. fit to meins i convIPC ' best n selections concertos are less Bird Suite” (Columbia Set from this opera in its form, his piano of Stravinsky’s “Fire some o? A A the concert.hall Apassaees, Which were ing works, being related less to Stokowski’s style of conducting is shown niSllv the most . unde- that these M-446) , °nglnal and forceful It is not surprising than it is in Beethoven’s parts ot than to the salon. modern to greater advantage the score fallen into disuse m in C minor” (Columbia Set latter works have “Symphony No. 5, Alec Templeton and Andre Kostelanetz neglect is not fully jus E mi- unite times, even though their M-451) and Brahms’ “Symphony No. 4, in to give a performance Concerto Nosi in of Gershwin's “Rhapsody “Piano . He brings out all titled. Undeniably the nor” (Columbia Set M-452) in Blue” (Columbia Set X-196), work of its penod which, although is an ingratiating and drama of the Stravinsky score with G minor” the color tonally luminous, does not have the craftsmanship and charming mel- this new set is splen- strength and a work of fine superb effect. Although coordination of style consigned m the plan apparent in the although largely didly recorded, we do not find it so tonally thrill- Fiedler Sanroml odies, to relate recording. Templeton’s hand. In endeavoring Victor one (Album M-291). We nlavine- m i, part to the right ing as the earlier sential clarity and 1 ’”a spontaneity modern concert comparison of side 3 of both re- “ this work to the recommend a etz’s orchestral Zl'dVKostelan hardly do direction does not Fiedler (Victor Album M-780) cordings to prove our contention. In his per- and piays agreement between ® Best Iu“ ,Sehroma composer. True of the two symphonies, Stokowski in- himself a . . justice to the formances ”a ^the1 sololst stylistically n Moreover, the cut in and brilliance, but in a number of retards and accelerandos the exciting with dexterity °ed dulges the work may ^ PleParation of and the over*— prove annovino- * brittle-fingered playing sudden tonal swellings and other individual ec- ' Fiedler are not in keep With the music. lamllia1 background of indicated in the HoweveAthe ' orchestral centricities not scores. The style C01 chn spirit of the music. Ama and those admirers S is good, ing with the romantic of conducting in these works is suggestive of the who’ h Goehr are more in the the music making predUections Jor Dorfmann and Walter of Messrs . relatmn Te ‘ Set X-124), and the telanetz may pleton and Kos picture (Columbia derive satisf a L instruments of the oi- Artur Ctl°n ft set of the keyboard to the Rodzinski Ad A ™ this lz F a is better rea ®.d give CleVeland chestra in their set ,. ™“ a br“p“ 0r ? set is RECORDS f0rmL " ^ ce reproductive angle the Sanroma-Fiedler Waltzes 01 the colorfu from “RnL , that does not count so Val er” more compelling, but H542-D) This ,C0l bia DiS< is18 bvAcby j ™ (Continued o.n Page 564) 516 THP vtiidE Music in the Home

airways. Roy Shields, staff orchestral director of NBC’s Chicago studios, is scheduled to conduct in Music the programs of August 2nd and 9th, and on New Horizons August 16th and 23rd Edwin McArthur is to return as leader of those concerts. The Columbia Concert Orchestra continues giving two half-hour concerts weekly—Tuesday, for the Radio 4 to 4:30 P.M., and Friday 4:45 to 5:15 P.M., both EDST. The Tuesday program is arranged and directed by Victor Bay, and the Friday broadcast by Howard Barlow. Sunday afternoon, Barlow and the Columbia Symphony Orchestra are still i3ij ^ydfjretl cjCinddciij Idflor^.an a major feature; and, Sunday nights, Kostelanetz and Albert Spalding, with visiting soloists, still provide their unique brand of popular enter- ASA FURTHER DEMONSTRATION of the now well known National Music Camp Orchestra. tainment. Chautauqua concerts, under the direction good neighbor relationship being developed The A Lieder Program between North and South America, the of Dr. Albert Stoessel, are heard over the NBC- Columbia Broadcasting System recently inaugu- Red network from 4 to 5 P.M., EDST. The follow- On July 11th, WOR, Mutual’s New York station, began series 9:30 10 rated a series of programs designed to give listening soloists are announced for the month of a new concert from to P.M., EDST, featuring the Metropolitan Opera soprano ers an opportunity to enjoy the native cultures August with this orchestra: August 3rd—Georges Elisabeth Rethberg and an orchestra under the of countries below the Rio Grande (Saturdays, Miquelle, violoncellist; August 10th—Suzanne Barrere, direction of Alfred Wallenstein, musical director 4 to 4:30 P.M., EDST). The use of folk material, Fisher, soprano; August 17th—Georges of the station. The programs of Mme. Rethberg as well as the popular tunes of each nation, gives flautist; August 24th— Evan Evans, baritone. will be devoted principally to the great lieder these broadcasts a wide appeal. Among the coun- The National Music Camp Orchestra, broad- is under the of the master composers, although she will occa- tries which have already supplied programs are casting from Interlocken, Michigan, of sionally sing opera arias. Mme. Rethberg is Brazil, Mexico, Argentina, Cuba, Chile and Peru. direction of Dr. Joseph E. Maddy. This is one people’s orchestras equally famous as a concert and opera singer. A One suspects that if this show continues to gain the largest and best young leader, member of the Metropolitan Opera Co. since 1926, in popularity, more than one visit will have to in the country. Paul Whiteman, the jazz be paid to each nation. Hemisphere Defense and Pan Americanism are to be the joint themes of the thirteenth season of the Columbia Broadcasting System’s ‘‘School of the Air” during the coming season of 1941-42, which starts in October. The programs will be designed also to help the children of the Amer- icas understand each other better. Material recommended by education committees in this country, Canada, and Latin America is to be in- corporated in the scripts. The Monday occupa- tional guidance and social studies series will again be called “Americans at Work.” Instead of basing the dramatizations on different Amer- ican products, the programs this year will be based on the lives of various kinds of American workers—sailors, ship-builders, airmen and fishermen, and many others. Their contributions to defense will be especially noted. The new Tues- day musical series will be entitled “Music of the Americas.” This broadcast will stress the sociological use of music in the western world. Dr. Carleton Sprague Smith, chief of the music division of the New York Public Library, will arrange these programs, and will also act as his own commentator. Dr. Smith, this past year, made a trip to South America, surveying musical Doubling in Brass Air for the G-string Key-Notes conditions in the various countries, making a study of the native music, and promoting friend- year as guest Mme. Rethberg holds a unique place on the between South America and this country. is appearing on the broadcasts this ship heard over the roster; one hundred and five roles in her Wednesday’s series, called “New Horizons,” speaker. These programs are she has NBC-Blue network from 6:30 to 7 P.M., EDST., repertoire, almost three times that of any other deals with geography, history and science. It will produced, as last year, in cooperation with Sundays. singer. jje artists are announced Those can tune in on WOR’s Frequency American Museum of Natural History, and The following popular who the Ford Summer Hour: August Modulation station, W71NY, can hear an interest- Roy Chapman Andrews, museum director, for August with the Dr ing Saturdays from 5:15 to 5:45 P.M., narrator on the programs. Stories 3rd—Buddy Clark; August 10th—Mary Eastman; program on will again be August 24th—Maxine Sullivan. Percy Faith, who EDST. This broadcast, called “I Hear America depicting the life and customs of young people in conducted the orchestra of these Singing,” is presented in cooperation with the Americas are to be dramatized on the Thurs- has successfully the Department of Justice. The pro- from Far and Near.” programs since early in June, is scheduled to United States day literature series, “Tales through August 3rd. gram features the outstanding nationalistic Friday series, called “This Living World,” conduct The the country; each group sings forum discus- The NBC Summer Symphony continues to be choral groups of will again be a spontaneous open musical show of Saturday nights on the stirring songs of its native land, many forbidden by high school students from a different New the big sion in Europe to-day, plus American patriotic airs. school each week. The first eleven programs York The purpose of this series is to create unity are to deal with “Issues of Democracy.” among all our various racial groups through the the beginning of two important sum- July saw international language of music. Choral societies musical broadcasts—the concerts of the RADIO mer consisting of American, ( Continued on Page 572) Chautauqua Symphony Orchestra and of the 517 AUGUST, 1941 “ „

Music in the Home

HEN AUGUST COMES, October is but two months distant, and so we remind each W of our readers to register his vote for the Gay Musical Films outstanding musical film offered the public during the first six months of 1941. The contest closes in October and, if you wait until then to send in your selection, we suggest that you jot down the names of those music films that have Open the Season impressed you most favorably. Your vote may help to turn the tide of the award, and you can do your entertainment values no better service than to make known the type of musical film you most enjoy ^t)ona.id

par Although the production studios, at this writ- Lewis, leader and clarinetist excellence, who play a bit of Stravinsky on the ing, are occupied chiefly with annual conven- once refused to that the great Russian could not write for tions, they are still taking time to make pictures, ground C n°Wl dging the ^ unprecedented popularity releases the clarinet, has asserted himself by holding fast nrivwhichK musical and the interest of the mid -summer films have been enjoying, convictions for twenty-six years of musical Colum- around bands and band leaders. to his bia Pictures is seems to center at work upon a number interest- downs. His famous catch line is “Is of “Sun Valley Serenade” (20th Century-Fox) com- ups and I edieS b ° ’- th musical and Cole but his motto is romantic. bines Sun Valley setting, the talents of Sonja everybody happy?” “Don’t Pnrter ^ Wn the 6n S°ngS his 01 your act!” He pioneered swing music r “ °™ TCin Say Henie and John Payne, the comedy of Milton change ronWstic»i ' You n Never Get Rich," star- the music of Glenn when few others had much good to say of it; ring ve ~ Berle and Joan Davis, and Pled A;daire ar the world of popular music has >d Rita Hayworth, Miller and his band into top-bracket entertain- and now that now In nrnrt This is a timely musical treat- for the first swung around the full circle to the point where men! of th T ment. In this film, Miss Henie will and draftees . with a patriotic her famous Lewis had continued to stand, he is riding the notif an d F time perform a dance routine minus d in U eS new swing tide of popularity. His unswervable Bench, °“ MaSS“’ skates. Marjor e Gat in insistence upon the merits of swing and the ^ Glenn Miller has the musical spotlight the Meda Bu-eou^ dismissals from a cadet picture. The “king of jive” is more conservative clarinet earned him an m? importance in Columbia's than his medium of expres- schedule of f P i0- -11 be "Pal sion. Apparently, he has diffi- “ crelnTe ~ srnn 0 1 the current Broadway culty in adjusting himself to hit The hnai. i . the glitter of Hollywood and, Richard Rodgers and 0““ Lmeimenz Hart’tlar t. George'ThhAbbott,tt even more, to the idea of wax- producer nf h-iq ^ WiU S° '° dUCe the ing hot in his swing during fita ^he ThigsThev P1 S m KlF °” and “ Eadie the early hours of the day. Was A Lady” romantic - mUSiC ' U both ' W Miller and his bandsmen have star Rita Hayworth be6n CaUed been working as actors as well the most publicized girMn HollH°l, ywood. Another as musicians in “Sun Valley romantic comedy with n from l b ,,TW° LatlnS Serenade,” and not a little be- ManhStaF^now ta ?. turing Joan ;ru °° and fea ' wilderment has resulted. Davis; Jinx h zine inburB, "the maga- “I can’t get used to wearing cover girl’" and bL tells Woodbury. The story makeup, which makes me feel of two young of South the plaCe self-conscious,” says Miller, American mgM club special ' FTteTt ners and “and I can’t get used to get- songs have be!n ’ writt ^ ~ Won by Sam Calm Pr0dUC ting in the groove at nine and Saul c£apli„ A.M. My type of music is made Meredith for the night time. It seems Willson's New Score S ld very odd to start getting hot g ed to rmpL? B edith with it right after an early 7^LT sc01o e Poxes," fo1 ‘The Little breakfast. The surprising part film version of n Bette Davis stars™ Broadway Play, about it all is that I find we thJ nict?™*^re and will distribute ’. RKO Radio are able to do it.” it. imnrJ^ background Wlth tlle musical musical which WffiJi^ . There are nine full P vld for Fowler’s poem "Thf 5? «ene numbers in the production, as SUN VALLEY SERENADE Si £ well as an acting role and dia- Glenn Miller plays to Sonja Henie and John Payne. log for Miller. The top-flight song writing team of Mack contributed band, an adult band, a music store, and the News reports from Gordon and Harry Warren have RKO Radio Pictures' York, where, some years tenth songs, including It Happened in Sun Palace Theater, in New annual sales convention seven new stress a number of later, he returned for an eight-weeks’ engage- Portant * m ~ Valley, I Know Why and So Do You, At Last, production policies Radi f ' Bal- ment to perform the exact brand of music that have Stal S Who The World Is Waiting to Waltz, Lena the demonstrated theh n.T Miller pro- had been the cause of his requested exit. Lewis’ through the aPPea1 lerina, The Kiss Polka. Glenn ratings ' and of both the C^i® One is an constancy extends to his theme song, When My Hooper vides two further musical specialties. surveys, are being ^ the band Baby Smiles at Me, written over twenty years si^FufFlgded PP adaptation of nursery rhymes, played by the work. Jim an(i Marion j^ tdr Plcture the other, the inclusion ago by Billy Rose, and scheduled for use in “Hold Fibber better on toy instruments, and McGee and Molly kn°wn as been first That Ghost.” He plays seven instruments will h of In The Mood, a number which has but in “Look Who’s Starrln® r61es prefers whistling; and he is credited Laughing 'Fid favorite in the Miller repertoire and which has with being by Allan and Dwan, Co-starred directed million copies. the first man to make a saxophone laugh. His hi ththe thus far sold over half a be radio’s other Same fflm win smash-hit t„ and Charlie Edgar Ber en Lewis, A Pioneer of Swing McCarthy. This onTF S all-time record omblnation sets an midsum- for rad in r Another band-conscious comedy for motion tei er (Universal), MUSICAL picture * interest in a mer release is “Hold That Ghost” FILMS production 2 ft'ofessor," Ser “ 0,d Abbott, and Lou Costello. and Ms ’ The starring Ted Lewis, Bud third gang^in start? production for work on th.eir FFT* Continued 518 on page 580) Great Program Music Music in the Home Doubtless most people who attend symphonic concerts are more interested in program music than they are in formal symphonies. They have a kind of instinctive hunger for the imaginative, for pictures or stories with their music. The sedate The Etude musical aesthetes may waste oceans of words explaining that “pure music” or “absolute music,” in which there is no legend, no picture, no pro- Lover’s Bookshelf gram, is necessarily inferior to those works which Music have a plot, be that plot ever so simple and chimerical. When we received Sigmund Spaeth’s “Great Program Music” we assumed that it was Any book here a guide to famous program works, but we were reviewed may pleased to find that it is more a history of the thiPetude MUSIC development of program music, which in this day MAGAZINE ot the price given plus needs no apology, because the greater part of the postage. famous music written since the death of Brahms has been largely of the program type. Haydn, Mozart and Beethoven wrote program music. With the coming of the early romanticists, Weber, Schubert, Schumann, Mendelssohn and Chopin, program music came into great favor. With Liszt Kj & WerJitL CuJ,man and Wagner it ascended to Olympian heights; and most of the composers since their time, with illustrations, he dips his pen in many pigments must have a guide book to make it intelligible. few exceptions, have devoted a large part of their of human nature and the result is that every What if one had to witness a play with a kind of efforts to program music. Very useful in Mr. touch commands sympathetic interest. Colloquial “pony” in hand in order to get the “hang” of what Spaeth’s new work is the long list of notable at times (as is his picture of the scattered in- it was all about! It is a task to make some opera program records. struments in the Bach home after a “Jam Ses- plots understandable, because they are largely “Great Program Music” sion”) he sees to it that Bach emerges as a verbal hat-racks for the music. Even if one un- By: Sigmund Spaeth human being and not as a Riemanschneider derstands the tongue in which the opera is sung, Pages: 343 wooden effigy. You are bound to like it. there are many, many operas in which the words Price: $1.49 “The Life and Times of J. S. Bach” cannot be comprehended, which should be a Publishers: Garden City Publishing Co., Inc. Authors: H. W. van Loon and Grace Castagnetta cause for gratitude. Price: The Book $2.50. The Album of four records, Most of the opera plots have to do with tragedy. $3.00. Boxed together—Album $5.00 The favorite lethal method is that of stabbing; A Book That Plays Piano next comes poisoning; shooting, a modern and Readers of The Opera Plots noisy invention, is less employed. The writer’s Etude to whom advice is to avoid trying to follow the words of People who buy books, which relate the story the famous the opera, which are often absurdly inane, but of opera libretti, do so to have a ready reference Dutch American to get Mr. Thompson’s book, memorize the plot book of which there are many. Some of these profes- and sit back and enjoy the experience; that is, college good people never get near an opera house but historian, if your objective in opera is artistic and intel- sor, they hear excerpts from opera on radio programs news com- lectual, instead of social and tonsorial. radio and from records. They also read about operas and “Plots of the Operas” mentator in histories and in reviews. The “Victor Book of Hendrik By: Oscar Thompson artist, Operas” has been of real educational value the Pages: 517 Willem van the records enjoyable. Its in making handsome Price: is a wel- $2.00 Loon, illustrations also make it a very attractive book. visitor to Publishers: Dodd, Mead and Company come There is, however, great need for a compre- its columns, hensive, concise authoritative work of conven- Five Notable Musical Centuries know that he is ient size, which gives information upon the From 995 to about 1505, most of the worth while also an able mu- world’s best known operas, many of which are The eru- HENDRIK music of the world had its source in the clear sician. LOON heard rarely in whole or in part, but which are VAN springs of choral polyphony. In recent years, more dite pundit, who representative of the greater operatic repertoire. and more of this lovely tonal material has be- has lost many The splendid “Plots of the Operas” compiled not a whit of his good nature, has come available to the public. In a new and finely pounds but for the “International Cyclopedia of Music and an enthusiastic friend of The Etude. annotated collection appear the works of Obrecht long been Musicians” by Oscar Thompson, has now been your reviewer may be somewhat (Jacob Hobrecht, also Hobertus) 1430-1505. fa- Therefore, published separately in a single volume. in this discussion of his latest book, mous Netherland contrapuntist; John Taverner, prejudiced For years the writer has found it necessary and Times of Johann Sebastian Bach,” 1495-1545, Professor of Music at Gresham Uni- “The Life to consult scores of such books but he feels that he has had the able assistance of Grace versity; Orlandus Lassus (Orlando di Lasso, in which without doubt this collection of over two hun- The book comes to the reader in Roland de Lattre) Belgian, 1532-1594; Guillaume Castagnetta. dred opera plots is done with such conciseness , substantial box. The box is over one and a half Dufay, 1391-1474; John Dunstable, reputed Eng- a and lucidity that it ranks, as a kind of newer eleven inches wide and twelve inventor of the art of counterpoint, 1380-1453; inches thick, and more convenient, up-to-date work, with that lish The book itself takes up half the and Thomas Tallis, 1510-1585, who with the com- inches high. excellent similar book done by George P. Upton, box. The remaining space is given poser, Byrd, were the first music publishers in space in the which we have found most useful for years and album of four R. C. A. records, played the world. over to an which still remains a valuable and useful guide. Castagnetta, presenting these well Georgia Stevens has selected, from the concert . Grace However, Mr. Thompson has told the opera plots Pius of Bach : Chromatic Fantasy programs of the American X Choir, numbers known masterpieces with few words and retained the essential facts. minor; Prelude No. 1 in C major which are of significant interest to musicians and and Fugue in D Few people can stand the strain of reading a “Well-Tempered Clavichord;” Two-part especially to Catholic schools and colleges in from the book of opera plots continuously. It is a rather major; “Italian Concerto search of material for a cappella programs. Invention No. 1 in C sad commentary upon opera to note that one Chorale: Jesu, Joy of Man’s De- “Mediaeval and Renaissance Choral Music” in f major;” and Gigue from By: Georgia Stevens siring; and Courante, Gavotte Pages: 126 the “Fifth Suite, in G major.” Price: $1.25 As for Dr. van Loon’s text, it is, as usual, BOOKS and his Publishers: McLaughlin & Reilly Company inimitable. In both his written words

AUGUST, 1941 5 7 9 , r

Music and Study

Majors and Minors Again The Teacher’s Round Table I noted in “The Teachers Round Table” for February that Dr. Maier recommends teaching the C minor scale in its “re- lation” to C major, condemning the method of associating scales in their C major and Cond ucied Monthly “relative” positions, such as 4. Slowly, looking at the notes. And A minor, while at the same time he when I say “looking notes” I asserts that the relationship of the major at the keys with their proper minors must be mean just that—watching every note on clearly understood. By the printed page as you play it. The With all due respect to the authority occasional, careful playing over of a of Dr. Maier, I do not agree with his memorized opinion, and I shall present my objec- ter piece in this way is invalu- ffjai able as tions as follows: a refresher and solidifier. Don’t 1. Since no relationship actually exists let students neglect it. between the scales of C major and C Yes, isn’t it has minor, other than a similarity of names, Noted Pianist strange that no one thought why confuse the pupil by establishing and Music Educator of asking your question before? After one? six years of Round Tabling I am 2. The formation of a minor scale, by happy to report that intelligent, stimu- means of lowering the third and sixth ating degrees of the parallel major scale, pro- questions like yours are still pour-

m in . duces a false conception of key signa- period; and give 6 . . My I will her mother plenty of only worry is that tures. For example: lowering the third not be “taffy” (I hope you know what able to answer of them and sixth degrees of the scale of C I mean') some to keep her adequately' major implies a key signature of two. happy, too. 2. If, after instead of three flats, for the scale of two or three weeks of study C minor. unperfections still persist, drop pupil supposed the piece 3. If, ultimately, the is or etude, and give something to know the relationship of the major fresh—and since easier—for a change; but keys with their proper minors, and later return to this Correspondents with this Deport- b°y has always studied the scales (aside from their technical it, not only once but several bas ment are requested to limit Letters times if you decided, at seventeen years, advantages) offer an efficacious medium are aiming tn w, ke to One Hundred and Fifty Words. at “perfection.” On the the plano bis profession. He is for the acquisition of such knowledge, other technicallyterbTfi n hand, always consider certain well advanced, but I feel that why not form a correct "first impression” lesson as * S What behind others of his age by presenting them in their "relative” signments in the “glib" class— in T? as music P( r o re and knowledge the litera- positions (C major and A minor) and to be learned, not tureh,r! ; of perfectly, but casually of the piano. thus eliminate the possibility of future Bb Eb bl D G C F m the surface sense, just ® b y has college to problems, which, in the case of the to develop nr ? four years of technical, reading study “average” student, are seldom adequate- or musical fluency. with °T Sraduate school and 16 best te complete ly solved. rpnprtai achers for a ire general decades of teaching, I have Could you give me a In two outlinn f‘ Pre-reci+al a Piatform neces- never experienced any difficulty in coor- Looks rather ga-ga, doesn’t it? Just the Plans sartiv v course, not Cltal ma terial. every dinating the major scales with their There Is one of the things same, it makes sense. Students would question which I aspiringasniTw stu- "relative” harmonic minors. On the con- yet seen have pupll should learn in hls the key, re- touched upon in your y ar trary, I found this procedure an excellent have no trouble finding and teresting u°* ? Thls would include etudes. page, and that is the Barh ! ,f means of creating a “key conscious" atti- membering that pesky leading tone. Also, best treS' *»d the best technic building. nrent for a pupli during the anS wSkl ^ the part of my pupils. ,or a tude on they would know at once from the -three or four, possibly more-prereaS expressing my views I feel that I a recital By bracket accidental that the key is minor; or examination in sssl opinions of many mu2“' X am also voicing the (or more frequently she), teachers who to locate this key they need only to if well other conscientious music pared, will be “word P tV 1 perfect" '° 4 to answer your question, advocate this method. ascend to the next half step. time and 4 1 have a margin in which wnum be Etude may continue in its prove toTm msinnere, for could only That The I respect the logic and intelligence of his rendering aa to J?' it urn I lovers touch ex c glorious mission of inspiring music slon. and similar h a attitude. N your reply very much; and know many aspects; and it it tongue-in-cheek M. H., one c , everywhere, is the wish of Sister cuit sometimes to OUl excellent teachers who teach minors in sustain“ teres1 possiwy give you or your Montana. piece that in normal h®'n a soimd 5 times ,J ' a4equate or ld ' '°ng advice your way. Yet, I still maintain that, after discarded. To make a be sScb distance good shnw? othel ° S4biert - didn’t you have taught the relative major-minor the Great Day, the piece n So I hope you and Tsk! Tsk! I’m afraid I make my- must kept Rornn let the stu- well in front of the repertota TaWers w all-in; self clear. You are, of course, right when key relationship, it is best to L e ho ask these preparing for an examination' of be dents practice their minors in the usual th,, W1U forgive me for V* you say that key relationship must be three or four on the hst A™ 1 and so on) clearly taught from the beginning. I major order (C, G, D, A, E, a greater variety, but aiso ton™ to Si I laSt an; explicit in saying and in association with their major key- sentence you yourself should have been more swered°'tt. them will do it anyhow; h 0 like it or not, C major noters. Most of questlon aa as an5 that, whether we oouw ! wou : you just can’t go agin’ human nature! a i 0US pianis« and C minor have not only a pianistic ambitions Z stu

AUGUST, 1941 521 » c

Music and Study Radio Aids Music Study in Many Ways impulses, approximation of the vocal ligaments, How Electric Devices Are Now Aiding Educators and the breath expelling action of the dia- phragm, and for this, nothing surpasses rhyth- £, 2v. O. J/. CJUt mic accentuation. If people could perform every Editor, RADIO TODAY action rhythmically, there would be no such subject to ex- music what the inven- thing as a neurotic of the type “Tn^ ADI° has done for nmouci. a new song or musical pro- the least for literature.” citability and loss of control under tion of printing did duction in one-third the time previously required. always Dr. Walter Damrosch provocation, because the nervous systems in these words, A number of home phonograph-radio combina- rhythm would the influence of radio broad- would be under control. But the eloquently describes tions now have recording attachments by means rhythm of the beating in bringing a better understanding of of have to be the perfect casting which records can be made of voice or instru- respiration, and not that of “jazz.” music to millions, young and old—in a way never mental heart, or of music. These units have a microphone listens to “jazz” without visual- before possible in the history of education. Dr. thiough The writer never which the voice sounds are picked up izing group of savages whipping themselves Damrosch’s own Music Appreciation hours have and a then amplified by radio tubes to operate the before going into battle. an audience estimated at six millions, who thus cutting into violent agitation device which cuts the sound vibrations of musical understand- Jazz is stammering music; hence the stammerer learn the fundamentals into the record disk. Incidentally, These remarkable musical interpretation would do well to avoid its subtlety. ing. Music teachers and more musicians presented advanced if piano students, when performing publicly, periods by Dr. Damrosch have been prefer to use the special professional recorders would preserve rhythmic accentuation regardless every week over NBC network stations ever since which give greater fidelity of reproduction, pre- of speeded-up tempo, neither they nor their fin- October, 1928, more than twelve years ago. senting the voice sounds with full-range accu- gers would become “flustered”, because their In addition, there are many other musical-in- racy. These records are made on disks of acetate nervous systems would be under control. struction features presented regularly on the or metal, and can be kept as a permanent record utter- channels. In fact, three-quarters of the Utterance of the vowel E is followed by radio of the singer’s progress. Aw, O, OO, and total hours of broadcasting are devoted to music ance of the vowels E, Ai, Eh, Ah, S eCO dings also another; and this vast volume of help to bring out faults with the same accentuation. These vowels are to in one form or ini„ rhythm,.wJ for/ American homes through correction. They show up, too, the be uttered shortly, sharply, and with vigor. Above music, pouring into r n * n mstrumehts qualities, radio sets, must exert a tremendous of various all things, they are not to be whispered, for, since fifty million s,ich f the.t su growing " P«'ior tone of a two hundred dollar approximation of the vocal musical influence both on youngsters cometIf a full and decisive over a fifty dollar listeners. cornet. ligaments is wanted, and since vocal ligaments and mature been such special programs are only half way approximated for a whispered Then there have A New Recording interest listeners Device sound, the slightest suggestion of a whisper will designed to instruct or in in- tereS ‘ ing strumental music as Ernest LaPrade’s NBC Home device to ald singers is the defeat the end in view. The stammerer should Vofre^Mh-rol reCOrdin 8- tape, avoid whispering. Symphony, aimed to get isolated amateur musi- Z',. °n a magnetic wh“h^1 b® era '' flutes and violins ®d at will, record We must next develop a sure attack for con- cians to bring their unused out made and a new “ desired or down from the attic, and to play - With instrument, sonants as well as the ability to sustain vowel of their cases, the voice toneJ this symphony group’s music coming over ar® picked by micro- sounds. For this purpose we use the following with this phone and ^ UP a crystal 1 int0 powerful combinations, which, at first, are uttered shortly the air. enough currents to L- 4? Music” has been another NBC musical '26 a steel tap tiny areas and sharply—adhering to the one, three, five, “Fun in of magnetization e with hour, giving lessons in band music 0” ™‘Ce seven rhythmic utterance—and then with the instruction sounds. Wheif 6SP011dinB to the instruction book which these vowel sounds sustained for longer and longer with the aid of an was again “ agn6tiZed areas are la run past \hP listeners on request. 6 C° lls 101 periods. It is of the utmost importance that sent to production, ’ then used services the little m" All of these broadcast of Radio Magic agnets generate electrical articulation of consonants and enunciation of currents which can thus given great audiences a taste for and a h ampUfled vowels be exaggerated, because the more the in- have produce the b V the tubes understanding of music, and so have pre- original s ! dividuality out, the better tape d ' Such a magnetized- of each sound is brought record can n, to go into music participation for he aycd more decided will be the different adjustments pared them times ovev and over as many as desired s fj themselves. But also in instructing individuals in ha the of the muscles and organs which form the self again and artist ® a” b® ar bin performance of both vocal and instrumental 1am UUtdV V sounds. the fault. Then lle has scrutinized each Magic and radio tubes are bv m, \ music, Radio now a ln6 a button apply powerful ", ’ he can ' ’magnet L Be, bai, beh, bah, baw, bo, boo playing an increasingly important part. th wiping out ® tape as moves by. doo all the little De, dai, deh, dah, daw, do, tion, e aleas ot voi magnetiza- Checking up on Vocal Lessons and so erasing «, ce Fe, 4 6 be tape clean and Wbole record, leaving t (hard) “ With the new and accurate radio-tube read,, ! Ge fact that hE next recording. The “ recorders, a singer studying voice can record his such T He, hai, made without netlc_taPe records can be own performance and then “listen to himself anv ^ Je, can be Ption material, and “ his the way it erased Ke, sing,” hearing voice sounds to his and uiT makes them over and over again, audience. Without such aid, no singer can get a well suitede Le teaching. for voice analysis in Me, “ correct impression of his own tones, as he hears For, since the sound Ne, them directly. of his own reaches his ear, mostly by Pe, voice bone conduction n6SpeCtrUm “ Two other “ “ “ “ through the skull, the high frequencies are inItmm° Qe, ;“ tor a 8 devel Wolf “ “ “ “ to a great extent, while special ,' °Ped by S. K. (Trill) masked the low tones are voice-anaae Re York City, analysis New “ “ “ emphasized. Thus a singer is likely to think that are laboratory in Se, sai, inaccuracies a his voice sounds lower in tone since he of ® ™oscope” which detects — hears it by pitch “ “ inside his own skull Which any a tone spectroscope .< « “ thus —than it sounds to an voice sonnT Ve ; various 1 “ “ ;; frequency Can b its “ “ “ outside audience. conin' ® resolved into We, The ents In the same way, singers in a resonoscope ' “ group can get uu fz Ye, 8bow the oat to little impression of the composite effect they are wave form hode-ray tube Ze, being and'4 fret? producing for their audience, for each scrutinized iuency of the tone singer’s or —whkfh Harmful a musical voice Faulty Posture own voice to him largely drowns out the sounds instrument be a User’s from irregu- of the others’ voices. But when a soloist f0rm 01 601®3 alongside is Impaired nerve supply can arise or a resn a standA^ vertebrae, quartet have their voices recorded responding tUnln cor- the alignment of the spinal and then lis- pitch, so 6 fork of larities in a thousandth that and, since such ten to such a record, they quickly perceive y d even especially of those of the neck; rough part of a to ®Partures of from a faulty pos- spots or disharmonies which the Such Can be and irregularities commonly result audience hears an lustrum detected as and so can practice Si t * ture, much can be done toward correction, to correct these faults by ” “ "* of special making a succession of recordings — well as prevention, through practice and listening «•£ exercises. to each in turn until the right effect is achieved on Page 560) Thus with the aid of a recording 268 f 1. Stand erect, the ( Continued device, singers 3 great ° scales bank ch ^^^R^r'^^i^ci '^ Uai ‘ reed vibrates ^ ei tone of the ( 522 Continued on Page 580) Music and Study

Plea for a Serious Approach

to Fundamentals of Technic

amore

Robert Elmore, brilliant organist, composer, pianist and teacher, was born in India, the son of American missionaries. He studied in New York with Pietro Yon and also in Philadelphia and in London with noted teachers. He is the organist of Holy Trinity Church in Philadelphia, and is on the faculty of the University of Pennsylvania.—Editor’s Note.

finite variety of expression obtainable on the willingness to work very hard at simple, unin- modern organ, it is possible to cover up many spiring exercises. I must admit that to me, tech- mistakes, with the result that the field is crowded nical practice has always seemed like sheer, un- with incompetent players. mitigated drudgery. But the results make it worth For those who take up the organ because they while, a thousand times over. cannot play the piano well enough to succeed, To improve your manual technic, I would most musicians should and do have nothing but scorn. earnestly recommend that you practice the piano. O PLAY THE ORGAN truly well, whether it It is like those who say they cannot play the Scales on the piano will do wonders for your be in church, concert, on the air, or in any piano well enough for solos, so they will try ac- Sunday morning voluntaries on the organ. Get T of a number of capacities, one must first companying, not realizing that the subtle art of out your metronome, dust it off, and start at the of all have a thorough grounding in the funda- the accompanist is, in its way, just as difficult as very slowest speed, four notes to a beat, gradually mentals of technic. Too many so-called organists that of the soloist, and, in some ways, more so. increasing the speed until you are playing as have no real technical foundation. In reality, But for those who are really anxious to become rapidly as you can, with ease and clarity. Scales they are simply disappointed pianists. better organists, who are not just playing the in- in octaves, four octaves up and down the key- It is very easy to “fake” on the organ. Even the strument as a makeshift, there is always hope. board, and in thirds and sixths, played regularly smallest, most unpretentious two-manual organ with the metronome, are the best tonic in the has more variety of color and effect than a piano, Technic Obtain a Good world for the organist. (It goes without saying and the simplest music can be made to sound The first thing to do is to check up on your that they do not harm a pianist either!) For impressive by using the color resources of the technical equipment. That means, above all, variety, play a few in contrary motion; also, an organ. When you go to your piano and strike finger technic. Do your fingers obey your bidding occasional chromatic scale will be helpful. Be- Middle C, the result is just what you would ex- as easily as they should? Are you, after a reason- sides the scales, five-finger exercises and all types pect: Middle C on your piano True, if you depress able amount of practice, able to surmount any of of studies, based on the five-finger principle, will the key with a heavy forceful attack, you will the technical difficulties in the standard litera- help. The first thirty-one studies in “The Vir- make a loud tone; and if you depress the key ture? If your answer to both of these questions is tuoso Pianist” by C. L. Hanon are splendid ex- gently, you will make a soft tone; but that tone in the affirmative, you are on solid ground. If not, amples of this sort, especially if they are trans- color. still has the same pitch and the same By there is work to be done. By the standard litera- posed into all keys; and the other standard same color, I mean that it always sounds like the ture, incidentally, we do not mean to include the technical works, Czerny, Cramer, dementi, and piano. You could never fool somebody into a most difficult things. Many organists, playing in others, all are valuable. thinking you were playing the violin, for instance. churches all over the country, never have occa- Finger exercises such as these, if practiced But on the organ, the possibilities are limited sion to use music which requires a great technical with a light, crisp touch, fingers raised high, and only by the size of the instrument itself. facility. But they should be able to play the stan- wrists and arms quiet and relaxed, will work You sit down at the console and play your dard music in their type of repertoire without wonders with your organ technic, and make Middle C, and what happens? You hear Middle C too much effort. many hitherto difficult passages entirely play- a trumpet, on a flute, on a clarinet; on, in fact, on The second item on which to check is pedal able for you. sounds like a reasonably good facsimile of what technic. If the bass part of any hymn offers any orchestral instrument; and, besides that, you any problems in pedaling, then you are deficient in Fundamentals of Pedal Technic them not only separately, but all at can hear your musical equipment. The aver- this branch of It is harder for me to give specific advice in in combination. You can hear them at dif- nee age anthem and church solo, too, should be well regard technic, for that is a subject pitches, thereby obtaining the effect of a to pedal ferent within reach of the average pedal technic, as individual and his par- hear tones from all which varies with the , j. d you can the C’s C >( an should the average piece of good, but not neces- above and below the Middle C ticular needs. However, I can say that one of the the keyboard, music. sarily difficult, church organ fundamental considerations in pedal technic is you are still holding down. And you are which To acquire an adequate serviceable manual and is lightness of touch. just the one note: plain, ordinary often overlooked, and that still playing nearly so difficult pedal technic is not as it might The action of the modern pedal-board is so per- C. All these varieties of sounds have come Middle seem at first thought. The principal qualities re- easy to manage, that manipulation of the “stops,” which are fectly adjusted, and so any from the for taking quired are a capacity pains and a heaviness or excess motion of any kind, is not designed to bring the various tone quali- controls foolish. Far better play. only unnecessary but to save of the instrument into ties when it is really needed the woods are full of one’s energy for than Is it any wonder that waste it on pressing down pedals which will so-called, who cannot play the piano to organists, go down with one half the weight used. get by, but who hold down organ well enough to ORGAN great deal of muddy ( Continued on Page 5G2) fairly good ones? With the in- A jobs, sometimes 52.3 AUGUST, 1941 :

Music and Study

Materials for Grade School Music Trills in the Pastoral Symphony Questions and Q. I teach music in the Public Schools Q. Will you please tell me how to play but 1 am not satisfied with my material trills the Pastoral 8;/ in phony of the in for teaching. Could you give me the Messiah"? E. C. "The — M. names of some material for this. Also, A. The following principles usually could you send a list of records for music appreciation. The school has never govern the playing of the trills in this had anything like this and I am anxious particular composition Answers to begin such work.—W. R. 1. Trill only until the beginning of the A. I have no idea what material you last beat of the trilled note. Thus, if are using, but I know that most school the trilled note is to receive three beats, systems adopt some one of the four or trill for only two beats; if it is to re- A, Music Information Service five widely used series of children’s song c:ive two or one and a half beats, trill books. I cannot of course any for only one beat. recommend particular series in preference to all the 2. If the trill is to receive two or more Conducted others but if you will send to the various beats, begin the trill slowly and grad- By publishers I am sure they will be glad ually become faster. If it is to receive to supply you with returnable copies. less than two beats, do the entire trill enb After studying probably as fast as possible. In no case need there these you will be able to select you like be any definite number of notes in the a series which /U better than the others after which you trill. 1 — will of course your 3. Each trill is imperfect, that is, it have to persuade Board does not end with a turn. J(J of Education to adopt the' books you want. 4. If the trilled note is preceded by a The following are the names of several note lower in pitch, begin the trill on widely used series of books: 1. by the note above the trilled note; but if it Music. “Universal School Music Series,” Professor of 5cl\ool Bamrosch, is preceded by a note above it, begin the Gartlan, and Gehrkens. ^ “ trill on the pitch of the trilled note. Dberlin College Music ôur Series.” 3. “Music Education Series.” Musical Editor, Webster's New 4. “Our Songs.” The teachers’ above The Difference Between a Dictionary manuals for all the International contain records suggestions and lists of Concert Pianist and a Virtuoso for " listening lessons—or “Music Appi' e Q. 1. Please give me the definition of ciation” as you name it. these three words: (a) Concert pianist Mursell; 4. Any of procured and organist: (b) Virtuoso pianist and “Psychology of Music,” by these books may be through organist: (c) Accompanist pianist and “Psychology of Music,” by Schoen. This the publishers of The Etude. organist. last book has just been published by the 2. How much practicing is required? I Press, but the other two are up- practice fifteen hours a week on piano Ronald How issued within Long Does It Tahe to and three to five hours on organ. to-date also, having been 3. I love classical music very much but the last two or three years. Become a filusician? would like to know if it would be all I 1 am a school. popular music too. I do not nrS’ t‘ Junior in high right to play am takln re- of V B a subject which play very much of it because some my Radio Helpful or Is the selectl°n of vocation. I am will affect the rhythm verv a friends think it Interested music, is this so? Harmful? in teaching for classical music, 1 in in- I hleh school. I am also you please tell me. where tereÂ , ^ 4. Could Will you make a statement concern- dlr®cting taken obtain a book on the Q. Plano bands. I have might be able to attitude toward the radio and No question will be answered t of composers. ing your in THE ETUDE and 1 am now pianist life of the piano and organ whether they wEonn 1° the phonograph—as to riHiSb School. have been M. cause of "J u cbnr,, „ I —A. have helped or harmed the M'j 'oil"i„1SX durlnB pl« " #».»*»,«. , *? blgh school and I H. „m be tublTbld. 2 , or organist is music? A. * A. 1. A concert pianist — he b»hd. I am now concerts, as concerning harmony. think this one who gives recitals or A. In reply to your question Is a Lri n Do you e^ ect ion plays in church, no hesitation 2 for a vocation? . contrasted with one who reproduced music, I have I believe, also, that the current Dope person natural practice talent°tn hav e to have or plays only accompaniments, or who whatever in stating that the phonograph of distorting beautiful bel a eood compositions hv 3 £ t* musician? ._ perhaps does not play in public at all. highly beneficial to the cause of utilizing them as 6 mUCh f0r “ has been dance music is Instructors/ demand virtuoso is one who has outstanding because, through it, a great many tinctly harmful to A music musical taste Finaliv nuch is one with the cal d°es it cost for a inufQ technical skill. An accompanist people are becoming acquainted in the third place, I feel eduen t^ that the la Snd hOW long does Jt taK ae —W. J. v/ho plays for a soloist—a singer, a vio- finest musical literature as performed by amount of very poor singing h* that is heard linist, and so on. of the best artists and the greatest over the radio is definitely A ” some responsible I Seems select*0 to for t0 me that your 2. It depends on how far you want orchestras. setting up wrong ideals of subjectsA \ of tone is eS- do quam' excellent for one who go. In general high school students In the case of radio, on the other hand, and interpretation, and e that the radio to for more than two or have to be a combination actually proving is y teach music “ not have time my answer will to be a harmful Sc side, in sr day. no. On the favorable fluence at that three hours a of yes and point. Last summer 6 °ne a real musician I fact that great example, fm must have some nat 3. If you want to be there is the indubitable I heard an amateur talent ?n ft hour which rCier t0 be music 8”' advise you not to play much “popular” is becoming popular music in the was put on in a but ” good music small isolated ^ one d° so comm?, eS not havs a SEn‘“? music. sense demanded by Theodore Thomas nity hundreds of miles I£ . to be from an? ?? I you Can° good history of music. place, because of city. Of the ancl pla in tune, if 4. Any long ago. In the second approximately sense of J!® y twenty 5 1 1 performances are persons ™ 1S 11 yoU radio the best musical who participated some B00d ' and about fif'm tast! ? ?e being made available were singers b6tte1' ‘C for the first time and every one of Probably mUS ^ the Psychology them at”t_ ail Boohs on to country people and other persons who tempted—in several cases ”ght? quite m 6 large cities. And, in the fully—to imitate re a opening of Music? live far from current p?pu,a for musicA?? ? B00d many undoubtedly singers. In a r ?aTdl° a here th°s third place, the radio has number of cases who . especially for Q. At the suggestion of Mr. C. V. But- tw can t I? ?. ? amount of people 1 boi1 nstJ the Music Educators National stimulated a considerable had fine natural mental ' vocal and i telman of music'' Headquarters. I am writing at home. Just how lieve that be ‘ Conference playing and singing twenty-five years' ,? you for informational sources on the one knows; t , ey C™raas to important this last item is, no would have sung very are fm?? for music supervisf* following topic. "Musical Aptitude and much moie h! ye believe that it has con- tifully and a lea vn 1 in the Public School but I personally artistically than th? V~ a great Stti. The cost Its Measurement dId deal i ”“ importance. 1940. It is a case, in it 8 System." siderable however of t ? also institutions, indi- depends I am preparing a paper which On the no side I shall have to say that bitter With the sweet 8 the tbe 50 ani’ schools °? individual, in , rectly leads to the completion of my Xbu” a stnri“ v I believe the current practice of many on the whole the radio ant Can nice® Master’s degree on the above topic. Any As With six sat Oh very perform- donâm?^ or v “ will be people of talking through the doing more good d ls n ' e help as to sources of material than harm °r even hUndl ed dollars a y appreciated. W. L. D. of a great symphony as it comes Of course les? * » greatly — ance there are all sort. . working he helps himself mate- over the radio is definitely detrimental aspects to this * °ther the A. I suggest that you search out question but r runs scho°ls the exp®* from ten ? your topic in the to the cause of music appreciation, and that you want my 1®' to 8 * rial along the line of opinion as J® fifteen tWelve hundred do« practice is moving in a direc- S or s??. following four sources: 1. Various articles that such d,1S you to wait Lflfeen hundred. I » ? appeared in “The Music Edu- tion diametrically opposite from that in great “ d that have t° a nax,t f a» and then se” ten years; 2. which we are trying to impel our stu- mteUigent and numbw f cators Journal” in the last more catalogs, dlfterent f college appreciahmof^ at the schools “Psychology of Music,” by Seashore; 3. dents both in school and music. tary of 6 time ask the seCl each sch^ TP average 0 t * expense tell you what 524 per ye . ART CRITICS, and more particularly Music and Study in this case, music critics, fill a sometimes unenviable role. Be- cause they express viewpoints which cated on the score. It was said that have their own inseparable personal other factors such as quality of tone, stamp, they are peculiarly subject to balance, intonation, expression, articu- the attack of those who do not always Dn Adjudication lation and phrasing escaped his atten- think as they do. Even among them- tion entirely. Such a situation, such a selves differences arise without much manner of adjudication is, of course, prodding. Yet in all art there are cer- ridiculous, and certainly detrimental to tain aesthetic standards, recognized the objectives of contest adjudication. values, by which a portion of that art of Above all, the man who is going to may be judged. adjudicate in high school competition In music adjudication, then, results should have a wide experience in listen- are infinitely more satisfying if the ing to organizations of the class which judge be someone who has a reputation Music Contests he is going to judge. In no other way for having done at least careful and can he properly formulate ideas as to competent work in his field of adjudi- the standards of performance he can cation, and if he has in addition a wide reasonably expect from organizations of experience in listening to performances the various levels. The judge who is of the contest class which he is judging. inexperienced in listening to high One can then be sure that he has fairly & school organizations is likely to fall into mastered, through direct contact and one of two errors. experience, the standards of evaluation 1. The performance may be so which enable him to criticize accurately. much better than he expected from Some years ago, in a paper before a young players that he thinks every- clinic at the University of Illinois, the ^JJaroicl (J3ciclt'uncut thing he hears is excellent, and, writer presented “A Code of Ethics for in failing to be sufficiently criti- Judges and Contestants.” My thesis was cal of below-standard performance, that the prime motivation for contests does an injustice to those groups was to stimulate interest in, and raise which have achieved higher stand- the standards of public school music. ards. This was in opposition to the commonly 2. Or, the standards he holds may entertained idea that the purpose of be based on performances of major sicians fail to be satisfactory judges, perhaps, the school music program was to promote and symphony orchestras, and nothing he hears because they are too sensitive. They might be to win contests. All judges, therefore, should in the amateur groups will please him. The easily influenced in their criticisms by some rela- realize their responsibility for helping set forth judge in a contest of thirty-five or forty vio- tively unimportant factor in the performance the proper standards of performance, but beyond linists who could not find one to rate in First that offended their sensibilities, and thus fail to that they should not forget the important ob- Division must have been making this type give proper weight to many of the other attri- jective of stimulating and lending encourage- of error. He was the concertmaster of a near- butes or failings displayed by the performing ment to a great movement. They have it in their by symphony orchestra, and one cannot help group. power to give impetus to the cause of school but feel that he was applying the same speci- I think that each judge should strive to pre- music, and their criticisms and decisions should fications of competency that he would apply pare himself in every possible way before the be such as to further this purpose. to a candidate for a place in the first violin contest season opens. First, he should try to It is my belief that every judge should have section of his orchestra. familiarize himself with as many of the musical and should study the booklet, ‘‘Standards of Ad- Of these two errors one can say little more. numbers on the contest list as he can. The man judication.” Here and on the judge’s score sheets Experts are those who are completely familiar who has a musical organization of his own, and are defined those factors which go to make a with the materials with which they deal. who can actually rehearse and play a goodly good or a poor performance. Fairly definite in- portion of those numbers, is indeed fortunate. structions are given as to the weight to give The Adjudicator Must Have In addition, he should hear as many perform- each factor in making a decision. The judge Experience and Wisdom performances by major concert organizations as possible, should learn first of all to listen to a It has been said previously that the efficient that either on the concert stage or by radio or phono- ance and appraise it in terms of the factors judge must learn to reduce what he hears to be graph. All this will give him direct contact with indicated on the score card. If he is to terms of the various factors listed on his score are the composition, enable him to apply standards helpful as well as critical, he must be specific. card. Moreover, he must learn to retain these of evaluation, and to know exactly how it should this is not meant that he should point out impressions in an orderly way in his mind, or By sound when those standards are observed. the second flute player played B-flat instead he will become so confused before a day’s judg- that The person who listens to a good many per- in the third bar after letter K, but that ing is over that he is likely to commit serious of B formances of the standard works will surely be able to point out the fundamental weak- errors. He must continually guard against a he be struck by the fact that there may be several of the group, such as those in tone quality, shifting of his own standards during the course nesses different interpretations of the same work, and intonation, precision, accentuation, and other of a day’s judging of a class—a shift that may all of them good. He may prefer one rendition This can be used as a basis for making come naturally through fatigue. Perhaps things phases. to the other, but in his work of adjudication he suggestions for improvement of the group that he overlooked in the morning will begin brief will certainly not penalize the performing group judged. to irritate him at the end of a long, hard day, being on the basis of interpretation if that interpreta- and the last groups will be penalized simply be- Draw an Analogy tion is logical and does not violate the rules of We cause the judge is tired. For the adjudicator, the good taste. He must have a more definite reason that the musicianship of the judge maintenance of a constant criterion of judgment Granting for criticism than that he likes another style unquestioned, what are some of the qualities requires concentration and experience. It may is better—although he may comment to that effect he must have if he is to become a success- be a helpful device to keep a small chart on each which with propriety if he wishes. I once heard of a judge? In the first place, there is such a class with a system of notation which will enable ful judge at a state contest of concert playing groups a judicial temperament. Many a bril- the adjudicator quickly to refresh his memory thing as who held a metronome on the bands during the lawyer—if we may draw an analogy—would on performances heard earlier in the day. This liant entire performance, and adversely criticized them a judge in a court of law because of the will call to mind bases of judgment which can fail as every time their tempo varied from that indi- the other hand, be applied consistently. lack of this very quality. On some of the finest judges have not always been Another matter of importance is the careful weighing the values of the the most brilliant lawyers in pleading a case at of various factors mentioned on the score card. The the bar of justice; their asset was the possession BAND and ORCHESTRA judge must not be overly influenced by any one factor to of the judicial temperament. the exclusion or (Continued on Page In the same way, many fine and sensitive mu- 567)

1941 AUGUST, —

Music and Study

S MUSICAL TALENT INHERITED? I There are few questions of greater interest to music lovers. No sooner does a new lumi- Is nary appear in the musical firmament than the Musical Talent Inherited? admiring public begins to probe for evidences of similar ability among his ancestors or his children. And every home, where an encouraging music report follows the practice hour, has echoed to the query: “I wonder which side of Bu Stephen Wed the family he gets it from?” People “inherit” blue eyes, a loping gait, a tendency to longevity. Dynasties have been marked Emmanuel Bach (1714-1788), by distinguishing features; we speak of a Bour- and Wilhelm steward of the Esterhazy estates in Raiding. Friedemann Bach (1710-1784) . Johann bon nose, Hapsburg lip. Then why should not Sebastian, Hungary, a and spent most play- who lived from 1685 to 1750—cutting across the of his leisure in an aptitude be inherited too? A bent of mind as ng tne piano and younger generations regretting all he had missed is older and —inherited from as an well as a curve of feature? The supposition aitist. Little Franz’s was capacity for musical precocity logical enough. Unfortunately, however, logic his forebears a music which he also discovered its by his absorbed his handed on to his sons. But in addition to reaction to has never been conclusively proven. The abso- those er s playmg- Brahms’ family transmittable gifts, he possessed a solitary father defied his lute inheritability of musical talent is still a de- genius „ f dy„ USlc; he picked of that he derived from no one and gave to UP the rudiments batable point. On the other hand, much evidence no one. vinifn fla ’ Ionce110 flute, Similarly, Francois Couperin stands ™ . and horn playing can be brought forward to indicate that musical as the as w h° C0uld ’ bec Music greatest of his line, which distinguished itself n- .. ame Director of Town families usually produce musical children. And for m na 1Ve Ie ' de: and musical ability for two hundred years. Between Played both contrabass the many exceptions to the rule are not nearly and hn. n r ^ ambUrg - T11 a 1650 and 1826, eight Couperins served as organists ™“ Sullivan, son of so important as a clear understanding of what memheI V, T ' Napoleon s and in the Church of St. Gervais, in Paris. The guard at St. Helena, we mean by musical talent. father f SlrI- Arthur also held this (the musical half of Gilbert love of music inherited. eagerness “great” Couperin post, but lifted and A can be An °Wed himself, by his unique gifts, to an eminence a decided Sift for musie to live with music, to take it in and give it out, and beT bandmasteh which none of the others attained. The Puccini r at the Royal Military are normally found in the descendants of musical School nWS ndhurst - Sir Arthur of his another musical family. first . spent part people. It is nearly impossible, of course, to clan was The Gia- childhood ®andhurst world como Puccini was known as organist, teacher, of , and entered the separate inheritance from environment in dis- music n 6 composer in the early 1700’s. Michele ° f his enthusiasm for cussing the advantages of a musical home. Let and studied milflaTbands ^ Donizetti. Michele’s son, us suppose that Mr. and Mrs. Smith love music; under But Giacomo, the composer of “La Tosca,” “Madam Butterfly,” and they talk about it, listen to it, try their skill at Musicians Who Stood “La Boheme,” outranked them all. Alone performing it. When their children grow up 16 r verse side we Most of the musical giants sprang from fami- ? of the medal, doing the same thing, it is difficult to determine findTeveraTml CaI lies which had shown decided musical inclina- giants who had no musical whether they have inherited the tastes of their inheritance ev Mozart’s father broke away from the r - Haydn Neither parents (with a possible inference that they tion. family had Handel Tni f had none. 6 ' tradition of book-binding to become a musician, HandeI S precocious abilit would be actively musical in very different sur- was so deliberately ? himself known as organist and d’is Ur Sed by of their inborn desires) or and made com- the child ,° his father roundings, because ; would sletl ? “T poser. Beethoven’s grandfather rose to up to the satisfy whether they are simply influenced by their par- the his passion fm- r. f attic, to esteemed post of Kapellmeister at the court of upon pi ession by Playing softly ents (with a possible inference that their activi- an old clavichMd' i the Electoral Archbishop of Cologne. Although Standlng there in disuse ’ ties are imitative rather than natural and might He taught himself his grandson was but a small mil m Secret regu- he died when child, larly > Pausing different surroundings) . Suf- to not be the same in listen out fT tepse the old gentleman’s fiery musical enthusiasms stant 011 the stairs, in con- fice it that, whether through inheritance, envir- dread of bein ? and his bright scarlet uniform! —remained vivid a the forbidden onment, or a happy mixture of the two, musical joy memories throughout Ludwig van Beethoven’s r SchubertI nor Schu- homes generally produce musical children. In mann had a « f , life. The Kapellmeister’s son, Ludwig’s father, ‘nUS ‘ cal background; this sense, then, musical ability may be said to although Schubert’s a singer in the Electoral Chapel. lather 5c became And enough of 1’ hoolmaster, knew be inherited, or nearly so. the art T ta. young Ludwig’s environment was musical—if so of ach his son the rudiments On a larger scale, though, we find the exact violin nlavine- dignified a term may be applied to the cruel abumanns family were opposite to be true. Musical genius—or any other cultured people^whlch system of forcing the child to practice day and ap ^ “ kind of genius, for that matter—is seldom, if oeship, at least, night, so that his precocious gifts might in- *th^22?“" ever, inherited. Even in families which for gen- environ crease the family income. »ent alone is demon- erations have been distinguished by more-than- stratedTTwT Carl Maria von Weber’s father devoted his average musical talent, there is always one who rather bombastic self to the showier aspects dwarfing those who follow him as of stands alone, 1 U 1 music, serving as town bandmaster, viola player, ChannelS by hiS well as those who went before. In more ways than Jewish stepfather, Ludwte and leader of a strolling band of singing actors GeIIr one, genius is a thing apart, unaccountable, un- te etlVe mus cal abllity seems known as Weber’s- Comedians. The travels, re- ac?v i to share ex- predictable. And in this sense, supreme musical actly thetT same inheritable and hearsals, performances, and intrigues of this non-inheritaMe ability neither inherited nor passed on. characteristics as creative is earliest talent. troupe formed little Carl’s schooling. The celebrated Most of£ 0111™ ! performers come from f„ Musicians with Musical Background older Weber was vain not only of his own accom- at lamillesT the very least, “liked" - who. that musil Johann Sebastian Bach remains the best ex- plishments, but of the fact the great Mozart their parents many Cases were accomplished ’ ample of both inherited and non-inheritablc had married Constance Weber, kinswoman; and Clans, » who guided the mateur musi- all gifts to efforts tastes of tu capacity. He inherited the of a he spurred his young son on for which ' musical tmed to become e children des- to-dav’s * t notably musical line; yet he eclipsed all the he was not yet ready, in the hope of making a hand, tarS ” there are but few 0n the other “musical Bachs,” the later as well as the earlier “second Mozart” of the child. Beethoven and has lifted the mantle the “star” family was famous for music for Weber may be said to have succeeded in ones. The Bach spite of deis " of his from the slloul and produced more than fifty their surroundings. parents or hand I”' over two centuries, 1 d -en. One of the ** °n to hls <*ild- renowned artists. The family was founded by Mendelssohn inherited an ardent love of music outstlnrtiT inherited eXatnp1^ of directly Veit Bach, who left Hungary to establish a bakery if not a professional background. His parents interpretive Thin Damrosch 7 ls that ot Walter in Thuringia, about 1600. PI: carried his little were patrons of the art and notable who succeeded IT amateurs' Damrosch, M father ’ Dr. Leopold zither with him when he went to the mill, and who threw open their great home twice as cohd.Tt a month Opera 1 o£ played he waited for his flour. The for splendid musical parties, Company. the Metropolitan upon it while at which friends and in- most distinguished members of the family family members took active part Schumann-Heink Mr™ * in the plavinp- S Johann Ltezt “got” f°lld of she clude Johann Christian Bach (1735-1782) , was the son ol a her voice say*ng that man who had -qu ahtv f dreamed fove Christopher Bach (1642-1703), Karl Philipp m vam of a musical career. of musie her mother and her Adam Liszt was from heT of Geraldine randm°ther. The parents Farrarai ®J 528 < Continued on Page 5G0> THE ETUDE 2 . .

REGORIAN CHANT! The magic of ancient Music and Study tonal beauty implied by these words has a G definite and subtle appeal for every musician and music lover. Entwined as it is with the rich lore of mediaeval legend, having been throughout the centuries a familiar element in the life of Christian people, it is in our day very much alive and assuming a place of increasing The Charm of importance. This importance is felt, not only by those who have to deal with sacred music, but by composers, professional musicians and intelligent listeners. Mediaeval Tonality Original Form Carefully Preserved The history of the rejuvenation and authori- zation of the original and authentic version of Gregorian Chant melodies, during the nineteenth and early twentieth centuries, is just as moving room as the record of its ancient career in the life of WdU X Q, the Church and in the daily lives of men. Greek music had such a strong hold upon Christians that such leaders as Ignatius, Bishop of Antioch, St. and Ambrose of Milan, in the third and as melodies to be sung in unison, without the any -pitch, but for purposes of simplicity is placed fourth centuries, began writing hymns to these assistance of instrumental accompaniment. Even- with the lowest note on D. melodies. Then followed many centuries of fluc- tually the organ became the customary assisting tuating fortune as far as instrument in the churches of Western Europe, the authenticity of the Ex.l chant was concerned. Brother Leo, of St. Mary’s counterpoint developed, and the composers of College in California, once said in a talk on Music church music based all their motets on melodies in Speech: “The United States is the only coun- from the chant books, and on the modality in- try in the world where potent propaganda is herent in them. Finally, with the coming of har- maintained to lower the standards of civilized mony, the custom arose of accompanying the This scale has half steps between two and three speech.” singers on the organ with a background, partly and between six and seven. This is entirely dif- harmonic, partly poly- ferent from our familiar harmonic minor and phonic, but always in gives rise to many lovely antique progressions. the mode of the chant, The rule is that the chords must be constructed *,.«•! •{I'- and it is this phase of out of notes included in the scale, and the gen- the whole subject which eral rules of good voice leading must prevail; has the most direct “six-four” chords (those with dominant in the appeal to the general bass) are not desirable. This permits such ele- musician of to-day. mentary harmonizations as A famous conductor program anno- and his Ex. tator once visited the studio of a Gregorian Chant expert. “Our concertmaster,” they said, “is going to play the ‘Gregorian Con- certo’ of Respighi, and we do not know anything about this kind of music. This is a phase of musical knowledge with which we never had an opportunity to become ABBEY ST. PIERRE OF SOLESMES thoroughly familiar.” This is true of many The chord marked X illustrates the only form This all but describes the problem which the fine pianists, violinists, singers and other musi- of a dominant seventh allowed, the second inver- Catholic Church in Western Europe had to face cians, simply because they believe the subject sion, and this only when utilizing notes actually throughout the centuries as official guardian of to be so vast and complicated that they would found in the mode. this ancient and beautiful music. Human nature need several years of arduous study to encom- The next step is to invent simple short melo- is weak, and there were many periods of deca- pass the difficulties involved. This procedure, dies in the Dorian mode. These may run lower dence. Men of courage and steadfast faith have however, is true only in the event that the can- or higher than the octave illustrated but must always resented the attempt to paint the lily. didate wishes to teach the chant, and to direct consist of the eight tones pictured. Simple melo- Consider the attitude of the average staunch the singing of this music in churches and schools. dies may also be found in books of the chant, American patriot if someone attempted to “touch A very good command of the modes and an some of which are listed at the close of this arti- up” Lincoln’s “Gettysburg Address” with a few understanding of their tonalities can be accom- cle. After considerable playing along the lines of fancy additions and ruthless deletions. Thus it plished by anyone who can play four parts on “a separate chord to accompany each note of the was that brilliant men and women of religious a keyboard instrument, by daily experimentation melody” experiments may be made with any of orders and of the laity gave their lives and their and a little practice. Furthermore this is a most the following: goods, under the sponsorship of the Church, in fascinating activity, because, whereas in our sec- 1. Pedal points with passing tones. research and patient toil—in order that this ular music up to and including the romantic 2. Consecutive thirds or sixths (two or three) great literature of rich melody may now be used period we have only two modes to experiment 3. Use of secondary sevenths. in all its primitive purity, and hallowed rather with, the major and minor, in the Gregorian 4. Simple contrapuntal movement. than spoiled by the toil of the ages. The study Chant we have four, and each has strong indi- 5. Elimination of voices (at times using three of this mediaeval tonality offers rich rewards to vidual characteristics and its own definite appeal. or only two) the earnest seeker after knowledge. For instance, the Dorian mode is derived from Example 4 illustrates passing tones and consecutive sixths. The Gregorian Chant was originally conceived the scale, Example 1, which can be sounded at

AUGUST, 1941 529 54 98

Music and Study It should be said that in the authentic chant melodies there are cases where a flat is allowed Ex. on the sixth degree of the Dorian scale and the fourth degree of the Lydian; but, in order not to abuse these privileges, they should be thought of as concessions, and an attempt should be made to keep the mode pure and austere, so as to be free when possible from the modernizing The influence of the accidental. Dorian and Lydian modes, having a more ready appeal The conventional endings for melodies in this Before leaving intensive work on the Dorian to modern ears, have been exploited to a greater Dorian mode are major-minor and minor-minor. mode, it would be a pleasant and profitable diver- extent than the remaining tonalities, faome experiment Melody on the top, ascending and descending, sion to write a short composition, either for solo will prove, however, that in the hrygian and as in Example 5. instrument or ensemble, or for voices, utilizing Mixolydian modes lie hidden a *ealth this mode. Then it is that the musician feels the of beauty and power, both lor Ex. e ln ‘;er r practical value and full aesthetic influence pos- P etation and for symphonic devel- sible n The with a knowledge of mediaeval modality. ' orchestral> organ, piano, and violin S * f Writers like Franck, Ravel, Wnief r.° D’lndy, The Remaining Modes ReS lghl ’ Debussy- Casella, mod- ernfl ^ and many The Phrygian, Lydian and Mixolydian Veal SUbtIe Uses of modes tie^ T? the mediaeval tonali- are now illustrated and, to gain S me Cases complete hold ’ passages dis- of tinvnifh ^ are definitely them, the same procedure as outlined for d beIon gmg The chords in these endings are simple the to one mode or another. major Dorian mode may be followed. Manv fin Each has its own 1 works of such proportions as and minor chords, but this does not preclude the , color, possibilities and appeal. Pierne's "chil*™1 The Phrygian ™ 3 Crusade ” offler fine examples opportunity of using secondary sevenths when of the use nf r! seems more severe in its minor-minor cadences Grceorian modality where desired. Therefore, the last two chords in Exam- the mvsti in places the Lydian soft and sweet as Plato lamented' °l the ages must where ple 4 could be played in this manner if desired: the * be fait, and and the Mixolydian full of vigor and sunshine.' X TS°n lty and Philosophic of the , ?5 depth Ex.6 Example 8 gives the Phrygian and austere n nri its conven- thUnder out statements of eternal tional endings, half-steps truth toTs,m, with between 1 and 2 6 and to in ° tremendous to trust and between 5 and 6. the handle™ Open harmony and figuration. Ex. and see'Thet?1 e eSt °f ““ S5&™ your eagS“ BoC*s Pertaining AccomDa°n- to Gregorian * Practical experience has shown that if the — Gregorian enthusiast will stay patiently with the ' e a D°m ' Greg°ry HUS Dorian mode, in practice and in thought, until Grammar of Plainsong Example 9 shows the Lydian, with its tonality is well established half-steps in his mind, it will en e Cti between 4 and 5, and 7 and 8. eS ° f stanbrook Abbey greatly facilitate acquaintance with the modality Accompanimenta t n ?i, 5. yrlale Ex. ' • Heur Fotiron of the three remaining modes. Accompaniments to the £ y The yna -- Achme BragerS There are several interesting phases of work yet Simplicity of Piaf„t ’^Us^in Field 0 P ' Gregorian ' to be done in the Dorian mode, before turning Chant Discography the attention to the next mode. First, there is Treatise the whole question of transposition. It is most on Accompt. vital that musicians should not think of the Gregorian Chant Dorian mode being in any way bound to the Example 10 gives the Mixolydian mode, half- Accompaniment “key of D.” It is a mode, not a key, and its melo- steps between 3 and 4, and between 6 and 7. Plainsong biU dies and harmonies can be played at any pitch Accompaniment ® on the keyboard. Try consistently to transpose these harmonies which you invent to Dorian melodies, and you will free yourself from the Incomplete fetters of any key or pitch. Measures Then, again, there is the beautiful improvisa- Gregorian melody tory practice of placing your ^9 j). P(an! somewhere in the center of your harmony, or it lower voice, somewhat after inverting to the Music students are prone to disregard the the 16th century polyphonists. the fashion of proper value of the note or notes immediately organists often make use of this form in Fine preceding the first measure of a piece. In fact, the chant, after they have trained accompanying the shorter the value of the note (or notes) in choirs be independent of accompani- their to the incomplete measure, the longer the pupil ment. holds it. He thereby gives the piece an indefinite Example 7 is a setting of the opening melodies 1 23456 or indistinct start. 1 & 2 & 3 & “Sequence for Easter” day in the Dorian of the A successful method of correcting this common mode—“Victimae paschali laudes.” Simple chords, error is to have the pupil count the remainder a few passing tones, and the melody is in the of the incomplete measure in advance. Have him tenor voice. start counting with “one” and progress through Ex. 7 a complete measure, with “ands” if necessary. ese will then play these “extra” their ex^ ’ He notes in their correct value. la nc proper rhythmic place. The musical examples given illustrate the practical application of this method in many different types of incomplete measures.

01361' HopkinsonV'Tlfe Mipte 9 Was Frar Printed o^MMlnerva '' anonymously which y to i781 a h With ‘he lal and ^Music comMUee trlbul a«' Arnstadt Them. Con in 1706 censored w sistory cousin, Maria f°r all Barbara tn ^ °wing where ' Sln® * n he was organist the chu: 530 Music and Study

united in methods and aims, producing efficient Temperament violinists by the thousands. for the Violinist As is not unusual in violin pedagogics, this theory was produced from incomplete observance of the facts. For, all the violin tones are not movable. Due to the four fixed tones of the open strings, it is impossible to effect “perfect” intonation on the bowed instruments. We will at- Stdorothy ISrandt tempt to explain this briefly. cjdadlc06 The little bug in the ointment is called an “enharmonic error,” which is not unknown to violinists, but whose villainy is underestimated. This error, also called a “comma,” amounts approxi- LAYING IN TUNE is the violinist’s most ments instead, equal temperament, with its due mately to one-fifth of a semitone; the observance important and most vexing problem. No mat- regard for instrumental technic —so that “per- of which interval marks the difference of Pter good play- how the rest of his technic might fect” intonation is no more uncontested than it ing “in” or “out” of tune. The G and E strings be, it all can be lost to his listeners on a wave is legitimate. But science went the dissenters one of the violin, as well as many of its harmonics, of “sour notes.” The problem goes even deeper better, by discovering that the intonation actually differ by this error; yet, even violinists properly than most violinists realize; for the individual used by artists of the instruments was neither trained in just intonation fail to notice it while interpretation of the meaning of “playing in of the two systems advocated, but deep, was a playing—if at all; which demonstrates the in- tune” can “make” or “break” one’s technic to dark mystery! The instruments themselves solve sensitivity of the ear to “perfect” intonation. begin with. It may appear extravagant, but it is this, and other scientific and many professional The four fixed tones of the open strings, as nevertheless true, that one’s intonation controls mysteries. well as the harmonics, occasion innumerable en- his tone, his technical facility, and his interpre- Because of the movable nature of their tones, harmonic errors while playing; until it is laugh- tative possibilities. the were bowed instruments supposed to have able to call the results “perfect” intonation. In- To play -perfectly in tune has been the ideal held no obstacles toward the production of abso- deed, the violinist thus produces, in the end, an of the profession for long that so the mere lutely perfect intonation; and upon this fallacy intonation far less “perfect” than equal temper- thought of using tempered intonation amounts pedagogs built hopelessly and academicians have ament, one of whose objects is to eliminate the to heresy. The bowed instruments are looked enharmonic errors between the in- upon as the chief champions of “perfect” into- tervals. nation whose cause they serve with great un- Tempered intonation recognizes only willingness. But they were helpless to prevent twelve tones within the octave; while their would-be perpetrating masters from this there is no limit to the pitches of false and unattainable ideal; so violinists were mathematically perfect intonation—it doomed along with their instruments. For this runs the gamut of the siren. However, ideal was built, and has been sustained, on falla- practice and sensation have limita- cies. tions if theory has not; a conservative It has always been supposed that the violin calculation of “perfect” intonation in- and its bowed brethren were ideal for the pro- volves fifty-three tones between the duction of theoretically perfect intonation; and octaves. The technical advantage of consequently, violinists are supposed to play “per- twelve tones over fifty-three is ob- fectly in tune.” Any critic could disillusion one vious. regarding the latter; while one’s haphazard Using just intonation, each of the training in intonation generally would forestall violinist’s fingers, in its natural capac- any such possibility which the instrument would — ity of intoning natural, sharp, and overrule in any event. Furthermore, it is ex- flat, needs to distinguish at least four tremely doubtful whether the average ear can different pitches for each of these de- even distinguish “perfect” intonation; which ceiving notations instead of only one. erroneously is thought to be instinctive! The This means twelve different pitches violin is far from ideal for “perfect” intonation; which each finger must be able accu- and “perfect” intonation is far from ideal for rately to intone, at split-second notice, violinists. within a short stretch of string; in- The problems abounding intonation in violin stead of the meager three which never formally are recognized by the profession; would be required by temperament. nevertheless, the fact is that the bowed instru- It is a case where in numbers there ments are notorious for their difficult and indefi- is, not strength, but weakness. Tem- nite intonation, a condition which has been no pered intonation would require that great incentive toward their study. Everybody the fingers command a total of four knows that the violinist must “make his own hundred and thirty-two pitch-place- notes,” while the pianist has only to depress a ments (four fingers, three tones, four key; and that the violinist must play “perfectly strings, and nine fingerboard posi- while the pianist in tune,” not only enjoys tem- tions) while natural VIOLIN BY J. B. GUADAGINI, 1755 ; intonation, at but never has to think intona- perament, about instruments the rate of fifty-three to The of this maker, said to have been a pupil twelve, re- tion. This distinction, we are glad to say, is en- of Stradivarius, are held in high repute. quires the staggering sum of one tirely undeserved; for the bowed instruments thousand, nine hundred and eight. within themselves a very simple and very possess This means four hundred and seventy- definite system of “playing in tune,” a system inefficient technics, from which artists and vir- seven placements for each finger over the full has evaded their uninquisitive “masters” tuosos managed to escape only by pure accident. which compass of the instrument; against one hundred centuries. Were it not for this initial error, present-day for and eight (which is quite enough!) required by Not that the profession has made no effort to teachers would be much more effective; a group temperament. It is evident from these figures matters. Though violin history makes no mend that the violinist attempting to produce “per- it is fact that some mention of the scandal, a fect” intonation labors under a forbidding han- split by seventy-five years ago the profession was dicap compared to the player employing temper- attempt of the “moderns” of that day to dis- ament. it is an VIOLIN And tempered intonation which art- card the impracticable perfections of just into- by Robert ists o^ the instrument use while earnest students for bowed instru- nation, and to perpetrate the struggle along with ( Continued on Page 564)

AUGUST, 1941 331 T -

Music and Study

The Father of

the Viennese Operetta

Franz von Suppe and the Viennese Dperettists

i ^olin obindon.

then, are peculiarly RANZ VON SUPPE’S NAME is well known We Americans, indebted to operetta long to the American musical public. We have von Suppe, for Viennese has occu- place on our stage and has Fall enjoyed his overtures, Poet and Peasant, pied a prominent enjoyed, on the whole, a greater popularity than Light Cavalry, Pique Dame, Jolly Boys and others, SUPPE IN THE and even our YEAR 1845 while his operettas, notably “Boccaccio” and the English and French native “Donna Juanita,” have found much favor in this works. heritage was cosmopolitan. Of Bel- country. But we are indebted to this genial nine- Von Suppe’s ur*emally an- gian ancestors who had acquired Italian citizen- Other written for teenth century composer for something more tta lt ’ proved a fiasco ver- ship, he was born in the Dalmatian town of ., in the first than his own delightful compositions—for noth- Sion aTrt as withdrawn. April 18th, 1819, and grew up in the Revised and used in ing less, indeed, than the inauguration of the Spalato, another J! P faied no better. again neighboring city of Zara. He early evidenced a use that T’ “Don’t whole school of modern Viennese operetta. IUCkyT thlng ” strong passion for music, and at the age of ten Pleaded Pokorny. But von ' , It is a fact inadequately recognized that von l 0t taking lessons from a regimental bandmas- 14 °nce m°™. ‘Ms time for Suppe with his earliest works, almost one hun- was “Poet and P f, the Kapellmeister at the cathedral and in the charming form years ago, a light opera type that ter and from In 1 dred produced wwch JTt “ t0 ' in Zara, where he sang and learned harmony and day - At the time, suffer- since as the inspira- !ng from fln , has served ever model and calamities counterpoint. In 1832, at the age of thirteen, he ’ he sold the over- tion for Viennese composers. For twenty years, ture to eiSht° Tr*alers composed a mass, which was sung that year in to a Munich publisher, season in and season out, he had supplied the Whowho reapedreaned a» fortunef l Francis. Forty years later from it succession of famous the Church of St. the r Viennese stage with a great B h neX ‘ tW same theme, rewritten, became one of von ° years von SaPPe produced and lively operettas before Johann Strauss (the a numb er dfnf aUC major pieces of sacred music. “SSful works, “The Country Second) produced “Die Fledermaus”; and when, Suppe’s GU“d Th in 1881, Karl Millocker, his protege, wrote “The among them. But Donizetti His Friend and Teacher in TsTsTame^h Beggar Student,” von Suppe had enjoyed almost movements which shook all^uVopIThetSS century of successful composition. After his father’s sudden death, in 1835, his half a 5 Mme 1 straits, moved ’ but he turned And just as von Suppe was the forerunner of mother, in financial with Franz, the troubleTyeaTTo^good the nineteenth century Viennese operettists, so her only child, to Vienna, where she had rela- Lehar, tives able to assist her. There Franz was ac- were the twentieth-century composers, lumoious of high reputation, Ignatz * > Das 1st Mein Fall, Oskar Sraus and others, his lineal descend- cepted by an instructor Oesterreich h h " ' Girl”; von Seyfried, and devoted himself zealously to ^ AuS«a S ants. “Katinka” re-echoed the “Country SeTtrSiorHymn prototype of “Countess composition, “thanking God for his musical ca- U “Pique Dame” was the e en Uin8: fifteen Donizetti, who was then in years Suppe Maritza”; and “Light Cavalry” was The “Choc- reer.” In 1840 he met wa° vTiw m „d ! for his own productions, and the famous » olate Soldier” of an earlier day. Vienna man extended his — 1 ^^” friendship to Franz as Cava^'^ere^Sng^ well as acting, for a In i865 the librettists, Zell and while, as his instructor. duced Genee nro a work they called, “Fatinitza.” its’ storv In 1841 the impre- was based on the Russo-Turkish War, in which sario, Franz Pokorny, Russian women were abducted and carried off to engaged von Suppe for a harem. The impresario, Karl Treumann im Das Theater in der pressed by the manuscript, had left it ’wti, Josefstadt; and, at that Johann Strauss (the Second), hoping ‘F house, in the same to L St him; but, after it had lain long year, appeared a farce, neglected‘ glected in thefl latter's home, it was returned m “The Results of Educa- Then, on unavall able. a Sunday afternoon Tre tion,” with von Suppe’s the manuscript umann carried to von Surrae , This first P 0 music. effort seated in a dressing-gown ™ he Iound and T? ' was highly successful, lating 5 1 8 tranS' an Italian cookbook ’ and in the ensuing four bed BeforeBetole ^he that night the enmn went to years a score of pieces libretto; and, 1 read the convinced that set to his music ap- hands he hlS a splendid vehicle m peared at this theatre. he Setset tot musical score next day Work 011 the In 1845 von Suppe Fatinitza” opened mi went with Pokorny to proved U"y 5th to ’ 1876 and be von Surnet ' the Theatre an der to graatest that time. It success up Wien and there, in June, was soon pe Brussels, torme 'i in Berlin, London Paris ‘i 1846, was first played one New year the York ' In his best composer vL T remembered sand thirty " ' florins as his slx thou share ''Continued(Com/f on Page 574) 5 32 CLASSIC AND CONTEMPORARY SELECTIONS NOCTURNE When Chopin was nineteen he was already recognized for his great genius and was commencing to pour out compositions with such rapidity that he was welcomed as a composer and pianist wherever he appeared. The aristocracy of Europe, which made Paris a culture center, eagerly sought his instruction as a teacher. The dreamy character of his nocturnes appealed particularly to these admirers. The Nocturne in G became one of his favorite works. The thirds and sixths, which at first present obstacles to some fingers, soon become fluent with adequate practice and are always beneficial technically. Grade 8.

Andantino MM J- = 56 PR- CHOPIN, Op. 37, No. 2 T

534 'TiriP -nrvTT 7?

—

CARNIVAL CAPERS Allegretto giocoso m.m. J = 186 STANFORD KING r w3215:=yl-.rv idTtCfrVri£t=£t=A=*A mP 3 3 \ £ ;»1 £ ,*- « h'* i -Mt -[>-/*- C I f v <4 ^ , c i i DEEP RIVER Who wrote Seep Biver.? No one knows. Some tired and troubled soul, looking into the flowing depths of a Southland stream, saw in it the vision of release to the land over the Jordan. This moving melody is one of the most beautiful of all the Spirituals. When S. Coleridge-Taylor came to America, he identified it as oue of the greatest of the folk melodies of his race and this made characteristic arrangement, which has resulted in a very fine piano solo. Grade 7. „ S. COLERIDGE-TAYLOR, Op. No. 10 Trent, o m.m Ji=8s 59,

Copyright renewal assigned MCMXXXIII to Copyright .MCMV by Oliver Ditson Company Oliver Ditson Compau 538 thter i°hal Copyright secured THE ETUSS august mi 539 WALTZ OP THE FLOWERS FROM “NAIL A” No writer for the baJJet has ever exeeJJcd DeJibes and the Waltz of the Flowers from “Naila” is one of his JoveJiest inspirations. It's gentle un- dulating rhythm must be preserved from beginning to end . Grade 3.4.

540 THE ETUVB 541 AJJGUST 1911 Kg WORLD’S GREATEST PIANO h Ml S®Mi The two volumes described below, streamlined in the fullest sense of the word, are the product of model collections costing double, or more than double, and each song and each piano piece is a selection bein;

fact that popular demand has made large editions necessary has it been [ methods of manufacture ; only the in complete form; there are three hundred (300) songs in the vocal volume at the unbelievable price o tion at the incredible price of three-quarters of a cent (%c) each. Buy these books — both of them — NO dealer in America can supply you with these books; if this is not convenient, either one or both volun READ THIS COMPLETE CONTENTS AND FIND ALL YOUR FAVORIT Opera, Abide With Me <555 /pS. Concert, Love, Grand Sighed First Nowell, Ah! I Have The Joy to the World O Come, All Ye Faithtui Light Opera, Sacred, Folk, Ah! So Pure (Martha) Flag of the Free ’uanita Oh! Dem Golden Slippers Alma Mater Follow Me, Full of Glee ust Tell Them That Oh! My Darling Clemen- America For He’s a Jolly Good Min- You Saw Me tine Sea, Patriotic, Home, Children’s, Beautiful America the Fellow Kathleen Mavourneen Oh. Susanna Among the Lilies Forty-nine Bottles strel, Stephen Foster, Killarney Old Black Joe Spiritual, College, Serenade Funiculi, Funicula Angel’s Kingdom Coming Old Cabin Home Annie Laurie Future Mrs. ’Awkins Popular Songs of Last Night Old Chisholm Trail Cowboy, Mountain and Auld Lang Syne Georgia Camp Meeting Last Rose of Summer Old Folks at Home Autumn Song Girl I Left Behind Me Every Kind — for only 75c. Lauterbach Yodel Old Gray Mare Maria (Gounod) Git Along, Little Dogies Ave Lead, Kindly Light Old Hundred Ave Maria (Mascagni) Glendy Burk, De Legend of the Bell Old Oaken Bucket Ay, Ay, Ay Go Down, Moses Little Annie Rooney O Little Town of Band Played On, The God Rest You Little Brown Church Bethlehem Battle Cry of Freedom Good-bye, My Lover, Little Fishermaiden One More River to Cross Battle Hymn Republic Good-bye Little Sod Shanty Onward, Christian Sol- Beautiful Blue Danube Good King Wenceslas Little Star (Estrellita) diers Beautiful Dreamer Good-Night, Ladies Loch Lomond O Paradise! Bed-Time Go to Sleep, Lena Darling Londonderry Air O Sole Mio! Believe Me If All Grandfather's Clock Lonesome Cowboy, The O Thou Joyful Day Ben Bolt Hail, Columbia Lonesome Road, The Our Flag Is There Big Rock Candy Mountain Hail! Hail! The Gang’s Long, Long Ago Our Little Nipper Bill Bailey All Here Lorelei, The Billy Boy Hallelujah! Over the Stars (Abt) I’m a Bum Lost Doll, The Blow the Man Down Hand Me Down My Palms, The (Faure) Lovely Flowers (Faust) Blue Bells of Scotland Walking Paloma, La Cane Lovely Night Bluebird, The Hark! Passing By The Herald An- Love’s Greeting Bonny Eloise gels Sing Peek-a-Boo Love’s Old Sweet Bow’ry, The Has Sorrow Song Peter, Go Ring Dem Thy Young Love Thoughts Bridal Song (Lohengrin) Days Bells Shaded? Love Wreaths Brightest and Best Hawaiian Farewell Song Piccolo! Piccolo! Low Back’d Car, Buttercups and Daisies Hinky Dinky Parley-Voo The Policeman’s Song Lullaby (Erminie) Call Me Thine Own Holy! Holy! Holy! Prayer (Freischutz) Lullaby (Jocelyn) Calvary (Rodney) Holy Night (Adam) Private Tommy Atkins Maid of Athens Camptown Races, De Home on the Range, Quilting Party A Flying Canadian Boat Song Home, Sweet Home £5. Trapeze Rally Round the Flag Man Who Broke the Carry Me Back How Can I Leave Bank Red Thee? at Monte River Valley of the Regiment Carlo Child How Gentle God’s Com- Maria, Red, White and Blue Child’s Dreamland mands Marie Mary, Darling Reuben and Rachel Christians, Awake I Cannot Sing the Old Maryland! Ring, Ring de Banjo Cielito Lindo Songs My Maryland Robin Massa’s in Adair Ciribiribin I Don’t de Cold Want to Play in Ground Robinson Crusoe Come Back to Erin Your Yard Meet Me Rock-a-bye, Baby Come Back to Sorrento I Got a Robe by Moonlight Alone Rock’d in the Cradle Come Buy My Violets I Guess I’ll Have to Rock of Ages Cornin’ Thro the Rye Midshipmite, The Telegraph My Baby Roll M F° On, Silver Moon Comrades I Heard rtreaa Ia the Bells on God Our Rosalie Cradle Song (Brahms) Christmas Day Mocking Rose of Tralee Cucaracha, La I’ll Sing Thee Bird, The Songs of Molly, Sailing Daddy (Behrend) Araby O! Mother's Sailor’s Grave, The Daisies Won’t Tell 111 Take You Home Kisses Mowing Sally In Alley Daisy Bell Again, Kathleen the Hay Our a Santa Lucia Dancing Lesson (Hansel I Love You Only n Uards My ' Tha Say and Gretel) In Happy Moments Bo„„i? “Au Revoir” P i,h See-Saw Dark Eyes In the Evening by the L°°ks Darling Nelly Gray Moonlight %ee Serenade (Moszkowski) My Gal’s a Serenade Dear Evelina In the Gloaming High-born T d (Schubert) My’Heart a11 Deep River In the Sweet By and By at Thyy Sw We Gather? Voice vveet^ She’ll^ ’Roun Dixie (Dixie-land) In the Time of Roses Be Cornin’ ’J the Do They Think of Me? Mountain . J’se Gwine Back to'bixie mJ ISf p‘®> r McGinty It s She Was Til! Si Down Went Came Upon the Mid- My ~?l y_ Blu Eyea Happy Dreaming of You uigntnight Clearv^iear ofd DuSh"^urcn Met You011 , ono Drink To Me Only I’ve Been d Silentent NNight! Holy N,:Nig* Working on the Kentucky Home 'Sh O Cowboy, The mJ ? Sllc-, Amol Dying Railroad Sweetheart’s the v? ver Threads * n Man Eileen Aroon I'veI ve Waited,Waited HoneyTtenu. the Moon .thethe Gold Nancy Eton Boating Song I Lee*-ee s‘ng Want to See the Old I Again That (Beethoven) Neare,- Evening Home Again My . Refrain G0<] , T Prayer Nelly--j Bly Thee Sister Evening Jeanie With the Light Ruth Evening Star (Tann- d Sleep Brown Hair d and Rest hauser) !t ^ron Soldier’s Jerusalem, the Golden fe’ Farewell 1 Lay MeMc Down S°ng’ of the Volga Boi on your piano, these volumes will T IT A Mm men become your most treasured pos» session. You will never be without them you will never part with them. ONCE ; HAMPTON ''' c,d PI) — - ' s °n Avenue § [email protected] [©IS M INCREDIBLY IL 0 W MACES rn editorial and manufacturing methods. They contain twice the number of songs and piano pieces found in g used on the radio. The engraving, printing, paper and binding are in accordance with the most up-to-date possible to price these volumes at seventy-five cents (75c) each. Every song and every piano piece is presented if one-quarter of a cent (%c) each, and there are one hundred twenty-five (125) pieces in the piano collec- >W before increased costs in manufacture, caused by war conditions, force us to raise the price. Every music tlii|s will be sent postpaid if you remit 75c or $1.50.

EiSONGS £ READ THIS INDEX-125 PIECES BY 89 FAMOUS COMPOSERS Lange Flower Song My Mother Taught Albeniz . . . . Tango in D Lemare Andantino Classic, Romantic, Modern, Me Alberti . . . Heartsease Leoncavallo . . . Minuet (Pagliacci) ipanish Cavalier Amani . . . . , Menuet Ancien Liszt Consolation No. 5 Light, Sacred and Operatic Aubert . . . Country Dance 125 itar Spangled Banner Luigini Egyptian Dance ;tars Summer Night of Bach Arioso Piano Selections by Eighty-nine (89) ;teal Macbeth Forget Me Not Away Loure ;till as the Night MacDowell . , Forest Idyl, Op. 28, No. 1 Beethoven Fur Elise Great Composers of Nineteen Different unshine of Paradise Mascagni . , Intermezzo (Cavalleria) Minuet in G Alley Massenet . . Aragonaise (Le Cid) Bizet Agnus Dei Nationalities — for only 75c. filegie, Op. 10. wallow, The Boccherini Minuet in A . Confidence weet and Low Love Song Bohm Consolation weet Genevieve Angel’s Serenade Braga Spring Song weet Hour of Prayer Brahms Cradle Song , Serenata, Op. 15 weet Marie Hungarian Dance No. S Spanish Dance, Op. 12 wing Low, Sweet Waltz in Ab, Op. 39

, (Don Juan) Chariot Mozart Minuet Scarf Dance Turkish March 'arpaulin Jacket Chaminade . March, Op. 35 Chopin . . . Funeral 'here is a Land Offenbach Apache Dance Happy No. 2 Nocturne, Op. 9, Barcarolle 'here is a Tavern Prelude, Op. 28, No. 6 'hey All Love Jack (Tales of Hoffmann) Prelude, Op. 28, No. 7 'hree Fishers No. 3 Baby’s Sweetheart Paderewski . . Melodie, Op. 8, ‘hree Little Maids Corri . Orientale, Op. 50 Minuet Cui . . . it Willow (Mikado) Pergolesi . . . Siciliana oreador Song Debussy. . . Reverie Poldini .... Dancing Doll ramp! Tramp! Tramp! Delibes . . . Passepied Rachmaninoff Prelude in CJf Minor urkey in the Straw Pizzicati (Sylvia) winkling Stars Romance Dittersdorf . Country Dance Guitars Raff Cavatina wo Donizetti . . Sextette (Lucia) Roses, The Rameau Tambourin, Le wo . Souvenir wum Drdla . . . p*le Ned Rimsky-KorsakowHymn to the Sun Drigo . . . . Serenade (Le Coq d’Or) pliant Chair, The Valse Bluette Folk Song Rubinstein Romance, Op. 44, No. 1 i&nese Durand . . . Chaconne Waltz Toreador et Andalouse i^jinese Dvorak . . . Humoreske, Op. 101 Song (“New World" Cygne) ilfe Largo Saint-Saens , . . Swan, The (Le Jces of the Woods Symphony) Sapellnikoff . . . Lily of the Valley, for the Wagon /pit Op. 9, No. 2 ’Till the Clouds Elgar . Salut d’Amour 3 , Dance, Op. rait Scharwenka . . Polish PleceA PtaifA Roll By Schubert . . , . . Ave Maria Faure . Romance Sans Paroles Song (Merry Moment Musical, GRANADOS MACDOWELL SCHARWENKA raltz Fibich Poeme ALBENIZ DRDLA Op. 94, No. 3 AMANI DRIGO GRIEG MASCAGNI SCHUBERT Widow) Nocturne in Bb Down Field Serenade AUBERT DURAND HANDEL MASSENET SCHUMANN r Lay Us Calmly Danse Lente DVORAK HARTHAN MENDELSSOHN SEBEK e Franck .... Waltzes BACH Speak Russe Two BEETHOVEN ELGAR HAUSER MOSZKOWSKI SIBELIUS re Never Franke .... Intermezzo HAYDN MOZART SPENDIAROW , . . Happy Farmer, The BIZET FAURE ' To-night r e re Tenting BOCCHERINI FIBICH HERBERT OFFENBACH STOJOWSKI in Rio Cinquantaine, La Slumber Song PADEREWSKI STRAUSS. r e re You Ever Gabriel-Marie BOHM FIELD HOLLAENDER R. Traumerei and Romanza BRAGA FRANCK ILYINSKY PERGOLESI SULLIVAN Gillet , Loin du Bal Grand? Warum? BRAHMS FRANKE JUNGMANN POLDINI THOMAS Giordani . Aria RACHMANINOFF r re You There CHAMINADE GABRIEl-MARIE KJERULF THOME' e . . Dervish Dance (Orfeo) Sebek . RAFF TSCHAIKOWSKY Kings Gluck . . . Andante CHOPIN GILLET LANGE 'e Three Valse Triste Have Gavotte Sibelius CUI GIORDANI LEMARE RAMEAU VERDI r Friend We RIMSKY-K0K5AK0IV hat a . . . Berceuse GLUCK LEONCAVALLO VILBAC (Jocelyn) Spendiarow. DEBUSSY Godard , . Berceuse Jesus! Stojowski Melodie DELIBES GODARD LISZT RUBINSTEIN VON BLON in Gavotte in D SAINT-SAENS Comes Gossec . DITTERSDORF GOSSEC LUIGINI WAGNER hen Johnny Strauss, R Traumerei DONIZETTI MACBETH SAPELLNIKOFF WILSON Gounod . Ave Maria GOUNOD Home Lost Chord, The parching Berceuse Sullivan Were Szalit Intermezzo -hen You and I Waltz (Faust) Maggie Young Granados . Playera Thomas Gavotte (Mignon)

Get . Andante Religioso here Did You Grieg . . Anitra’s Dance Thome That Hat? Norwegian Dance, Ecstasy Watch d Op. 35, No. 2 Tschaikowsky Andante Cantabile hile Shepherds Flocks Spring Dance Chanson Triste Their Sweet Dream Strolling Through hile Handel . . . Largo Trepak (Nutcracker Ballet) Sheet Music Park Harthan . . . Bygone Days 192 Pages Verdi Miserere (II Trovatore) ,pering Hope Hauser . . . Cradle Song Quartet (Rigoletto) Size Song, The Haydn. . . . Serenade Rose Triumphal March (Aida) Fickle Herbert . . . Serenade I,n 19 Vilbac Adeste Fideles It Spare That Hollaender . Canzonetta f jman, Von Blon Serenade d’Amour Ilyinsky . . . Cradle Song ht Wagner ...... Grand March (Tannhauser) the Nig For . Longing for Home r k, Jungmann Weber Weber’s Last Thought Chert Shepherd Boy, The °t Kjerulf . . . Sehnsucht Wilson „kee Voodle your local music dealer for the books; if you can’t get them immediately, or- ASK der direct and we will gladly supply LICATIONS you. New York City SARABANBE The brilliant Ornstein, noted for his modernistic tendencies, here expresses himself in a classical form which has almost the severity and dignity of PINK PEONIES

British 546 Copyright 800111*611 THE etude VOCAL AND INSTRUMENTAL COMPOSITIONS

1 ^ = _^_? t- [IN .9wZ>. 0 ~^0~

-& r - > — >- h Li ^ — * ^ f -Jcj?--,

AUGUST 1941 551 GAVOTTE

run etude GAVOTTE

AUGUST 1941 553 RUSTIC IDYL VIENNESE REFRAIN Solo (Clarinet) for Trumpet (Soprano or Tenor Saxophone) (Bb Trombone or Baritone k) (Bass.Clarinet) Andante espressivo ^ Folk Melody

Copyright MCMXLI by Oliver Ditson Company International Copyright secured AUGUST 1941 557 TECHNIC OF THE MONTH ETUDE With lesson by Dr. Guy Maier on opposite page

The lightest arpeggio-playing in rapid tempo,with quick-rebounding fingers and very quiet hands. Grade 3.

THE ETUDE AFTER last month’s tough prob- more elementary exercise for smooth ZA lems in thirds, this study is a thumb connections, thus: ^ cinch. Easy to read, attractive to play, with no special difficulties to The Technic of the Month set your brain or muscles perspiring, it makes an ideal hot weather chore. How true it is that there is nothing Conducted by Quy Wcaier new under the sun! Here I have been thinking for years that I am one of the few teachers incessantly emphasizing swift finger rebound, but dear old Czerny got ahead of us all. Over Simple Broken Chord Passages the study he writes, “For the lightest Czerny Etude, Dp. 335, No. 2E A useful feature of this Czerny arpeggio playing in very fast tempo, study is the work-out it gives the with very quiet hands, and quick Play and memorize the study first scooping the last notes? If not, play weak fingers. There is always diff- rebounding fingers." It was probably in quiet up-chords one to a measure, each group with a slight crescendo — iculty with those 5-4-3 arpeggios a commonplace term with him. How except in Measures 9-13 where three to the end, playing these last notes (Measures 2, 3, 4, 6, and others). I wish more teachers would make chords are to be played in each. As with crisp, spluttering staccato. Practice these groups separately as “finger rebound” a slogan be usual, be able to do this without even Are those pesky to thumb connections follows: pounded into every student’s con- a sidelong glance at the keyboard. (between the hands) smooth or Left hand sciousness right from the beginning! Then practice as written, but only bumpy? Do the arpeggios sound like What is finger rebound? It is the a few measures at a time, very slowly, a single hand? If not, practice these: feeling of active release given by with softly rebounding finger stac- letting the finger bounce back as the cato. High quiet hands, fingers close key is released. The key mechanism to keys. Don’t worry about note wants to spring back, so why should- values; just play them all evenly. n’t the finger follow suit? Now speed up a bit, stopping to X In other words, in finger technic rest at the end of each beat, thus: lji. i.n. the finger acts (plays) in a staccato Right hand Practice the connections in other flash and then bounces back again Ex.G also. This is to rest on the key top. Hence that measures a fine exercise other picturesque expression, “flash- for bumpy thumbs. Don’t curve them bounce.” In slow staccato practice too much, keep them touching the key tops, light as feathers the bounce is exaggerated, while in (that Also practice the etude rapidly, floating elbow will help) don’t slow legato practice the key release and stopping at ends of measures. Keep hesitate to use slight forearm is felt only, not actually done. Even when you play fast, you must rota- the entire piece flatly soft for awhile, tion. How well Papa Czerny must have think each tone staccato. Are you adding crescendos and louder dy- avoid blurring, rushing or Sometimes I recommend an even known all this! able to ( Continued on Page 562)

vi cce&s Why TRAINED MUSICIANS Command a Better Income

YOURSELF FOR A BETTER POSITION WHAT PROGRESS ARE YOU MAKDNG? EQUIP This is Your Opportunity—Mail the Coupon Today! A proof of quality is important for one inter- Your musical knowledge your position and in- UNIVERSITY EXTENSION CONSERVATORY, Dopt. A-260 — in further musical training. Our courses offer ested 1525 E. 53rd Street, Chicago, come today training you Illinois. —are the result of the you the same high quality of preparation which has have Please send me catalog, sample lessons and full information given your natural ability. Additional training developed and trained many successful musicians regarding course I have marked with an X below. will open up new fields, opportunities, greater teachers in the past. new and O Piano, Teacher’s Normal Course Voii income and higher standing in the musical world. NATIONAL HOME STUDY COUNCIL Piano, Student's Course G Choral Conducting Clarinet This The Council is an Association of which we are a Public School Mus.— Begii G valuable training, through our Extension Public School Mus. Advai G Dance Band Arranging Courses, member. It includes the outstanding correspondence G — may be taken at home with no interfer- G Violin the United States with headquarters Advanced Composition ence with schools in at G Guitar your regular work just by devoting to Ear Training & Sight Singing Washington, D. C. Members are admitted only after G Mandolin self-study the many minutes each that ordi- G History of Music Saxophone day rigid examination of the training courses offered. narily go Harmony to waste. The progressive musician, as Piano Accordion We are the only school giving instruction in Cornet busy as he —Trumpet G Reed Organ may be, realizes the of such study value music by the Home-Study Method, which includes Advanced Cornet Banjo and finds the time for it. Well paid positions are curriculum all the courses necessary to obtain in its Name Adult or Juvenile available to those who are ready for them. the Degree of Bachelor of Music. Street No Is Key to YOU can do if A Diploma Your Success! too! It’s up fo YOU! City State

Are you teaching now? If so, how many pupils have the University Extension Conservator you? Do you hold a Teacher’s Certificate? Have you studied Harmony? Would you like to earn 1 5 2 5 EAST 5 3 R D STREET (DEPT. A-2 6 0) CHICAGO, ILL. the Degree of Bachelor of Music?

AUGUST, 1941 559 ) ; — f —-

the singer is self-conscious, the 6. Standing erect, with head for up, to ‘sound’, I was quite familiar with Coaching OpEra coach must strive to break down this chin in, and abdomen drawn in, singing and the meaning of musical barrier and build up an attitude of swing the arms around, windmill values. My mother had a beautiful ( Continued, from Page 515) security. Above all, he must be scru fashion, not both arms together, but natural voice, . and an innate love of pulously honest, giving encourage- first the right and then the left arm. singing. Early and late the house rected. In an ensemble work such as ment where it is deserved but never start with forward and backward resounded to her cheery voire and ’ allowing mntinn onH n^nnrrn tVin Unnlm.n i.J 1.1. . 1 an opera, rhythmic precision is of a singer to overreach his motion and change to the backward the hymns and ballads and" airs she tremendous importance. The coach limitations. and forward motion. sang seemed as familiar as the home must drill for this, emphasizing the At an audition, it is possible to de- These exercises should be tect at once whether 1S a down beats of each measure. Some the candidate ticed, at least, morning and” night, mendou^advanta^for vm any cnild ‘ of the disciplined artists begin has been wel1 or badly coached. The and not only by most stammerers, • -. but by A bov hrnno-hf , lrf ,4 PP - &nt up in different hnnUnn. buildingbuilriine ofnf thet.h p phrase,nhmRp thet.bp durationHnrat.inn aii cjnp-PVQ that ic if thou „ ij sur- their musical work by beating time, aii singeis tnat is, if they would roundings of holding might have had a strenu- to get the pulse of the rhythmic notes, the purity of the preserve youthful bodily functions ous time of it, vocal line, all evident within the first adjusting himself drive as a whole into their blood. and voice. to music, few measures of singing, climbing over the mental Both Caruso and Farrar did this. tell as And now a word to the stammerer. handicap plainly as words that sets it apart as some- While they sang, they beat time whether the aspir- The prevailing idea seems to be that thing alien to everyday ant knows what he is about, or the first and life. along with the coach, fixing each exclusive cause of stam- “I cannot say whether I whether he merely has a good voice mering is have ‘in- measure in their memories, first general nervous disorder; hented' my and high hopes for the future. Natu- voice from my mother. rhythmically, then musically. Only and, while it is true that some so Voices are not generally rally, that candidate who shows au- cumcLeaafflicted thoughtB A to later did they begin to work at in- evince considerable excita- be inheritPd thoritative terpretations as such. preparation is the more ““ ty by far the gl ’ eater are might be welcome. It is therefore , : possiblePossible that The coach must underscore the of highest composed in all effort - the structure save speech. of t-v,the r, importance that the audition candi- throat and the difference between musical phrasing, Also, the percentage of stammerers vocal cords transmi vocal phrasing, and interpretive date begin his work with the most among the ttable as that of thousands of neurotics is nt!!! T „ phrasing, which are by no means the reliable coach he can find. It is far exceedingly small. 1 sha11 not attempt Therefore, - it 6 same. The role of Manon offers ex- easier to learn a new role than to would P°*nt. But I that be well if all so afflicted would thp f know un-learn the mistakes that result Ula musical amples of all three passages where remember this, and not make a atmosphere my — mntw Cre ted the telling depends from inadequate coaching. And truly mountain in °ur home one effect on pure of a mole hill. of fhp ^ was fine operatic coaches are all too rare! St influe voice; on expressive effectiveness, Fortntfrf nces of my life, The young man who hopes to be- e y such apart from voice; and on musical ’. an atmosphere can find better be erpnt line. Only when rhythm and phras- come a conductor can no Is Musical Talent h°me regardlGSS ofi^gi^ ’ ing are secure does the coach start training than to prepare himself for look Inherited? A the duties of coach. Let him to m " work on individual interpretations. Pr°feSSi I Sing ing S He this is his general musicianship, his piano (Continued frpm Page C ic!7or ltsfts cannot do unless he able 528) owno sake,T is a work, his knowledge of scores and memhpr , to follow the orchestral score; to my h°me to-day. wife were highly gifted amateur is an a My play the orchestration, languages, dramatic singers, pm opera through on the piano and °r " acting, and, above all, of operatic who made music a part of ganist; iurta to clarify diction and enunciation in E « lgl1 sch home life and encouraged °o1 years tradition. Then, even if he never be- their bril- together, she niav^ whatever language the opera is yed my accompani- liant little daughter . conductor, he can to play at music ments forrn! - comes a major me- anri i , - sung; and to suggest dramatic rou- • we * — hear1 1 anda” make nonetheless valuable service as at any other good game. The music in ^ tine. render our home hp it CaUSe we love to music by preserving and further- father of Fritz and Adolf Busch . Our two was • Actually, the vast field of operatic children lnv muslc havc a noted violin-maker a ’ ing the great traditions of opera. and a dis- taste for it coaching scarcely explored. * have he „ has been een 1 fnends; tinguished musician. Artur Bodan- -- -**all with Inasmuch as the great operas are of wudu- theirMxejur lives t h zky remembers music as part whether not know foreign origin, this work has been of mvJ pbnrf',. life is i . e 4-u ^xmaren win om

Voice Questions lion

—^hiiwerecl Lj DR. NICHOLAS DOUTY ARRANGERS- COMPOSERS- No question will be answeredin THE ETUDE unless accompanied by the name and full address of the inquirer. Only initials, or pseudonym given, will be published. COPYISTS-

A Fine Voice Which is Constantly Hoarse of Voice Questions hopes that your evaluation Now v- A pupil mine You Can Type Music of has a hoarseness of of your voice and your talent is a just one, which she cannot rid herself. She comes to her and he wishes you every success. lessons so hoarse that nothing can be accomplished. Sh e is a with contralto with a rich tone The Deep Bass Voice quality. Lpon my adrice she has had her throat Q. Will a boy of eighteen, nineteen or examined by a physician who found nothin twenty (lam eighteen), who has been declared wrong. Nor does she hare a cold. What adrice a low bass for his age and who sings in choral can I give her to correct A MUSICIAN’S TYPEWRITER this hoarseness and work and who attempts to add notes to his what exercises should I give her? — C. D. H. higher register between times, in any way les- sen the fine, natural qualities of his 'voice, and For years musicians, music teachers, A. You have Indeed a problem difficult to hence be compelled to stop singing a number and music students have asked for a solve because years Its cause Is so difficult to diag- of before he ordinarily would t Thanking typewriter that they could use in ar- nose. In spite you of her hoarseness you say that sincerely in advance.—It. A. B. ranging, composing, and copying. Now your pupil has a contralto voice of rich quality. A. You are quite L. C. Smith & Corona offers to the musi- Three causes Immediately suggest themselves. young and you must be careful not to strain your voice singing cal public such a 1. Does she smoke too many cigarettes? Does by too machine at a reason- loud, too long at a time, she drink too many cocktails? Does she stay too high and too low; able cost. It is practical, convenient, as we have so often pointed out to all hours of the morning, dancing In out in this col- and just the thing for anyone desiring umn. The deep bass voice is rare, the a smoke-filled atmosphere, on the plea that most to write or copy music—available now usual male voice being the baritone. Fine, she will be young only once and that she in L. C. Smith Office Model and rich, manly deep tones are not enough. Some Corona should amuse herself? Does she suffer from Portable. higher ones must be added as you already indigestion? If any of these four things is the seem to know. The problem of posing and develop- cause of her hoarseness the remedy is clearly Price: Corona Musician’s ing these tones Model Indicated. Cut out the smoking or the drink- upper can only be solved by time and much careful teaching. It is largely ing, get to bed earlier and watch the diet. $75.00 a problem of breath control 2. Does she practice too long at a time? and of resonance. John Charles L. C. Smith Model slightly Does she sing in a chorus and scream the Thomas manages them beauti- higher. fully and so Deferred payments may be arranged contralto part so loudly that her vocal cords does Pinza. Listen to them carefully are continually strained and congested? Rest and try not to imitate them so much, as to analyze and the use of common sense will soon restore how they do it. You need the advice of her to normal in this case. a goed teacher who is willing to bring you along slowly and 3. The third cause might be bad voice pro- not force you out be- duction although, as you have written that fore the public until you are ready. If you do not do this we think it likely her voice is of fine natural quality, this seems that your voice will deteriorate the most unlikely cause of her trouble. Per- in time. haps she may be pushing up her so-called chest tones too high in the scale. In this case Position of the iHoutli in a Lyric Soprano. down scales are indicated, commencing on a Q I i m twenty and I have studied singing for one ear. I hare not been able comfortable tone in the upper middle voice , to get satis- and descending to the low tones without any factory fy the following questions: change either of tone quality, of volume or 1. Should the middle notes be sung in the of resonance. Please read Marian Anderson's head or with the th wide open as all low fine article upon this subject in the October otes i • formed? I Vrile for Further Information 1939 issue of The ETtrnn. You are an experi- 2. Should the notes from high F to high C be sung enced singing teacher and we feel confident with the mouth wide and smiling? I notice L. C. SMITH & CORONA TYPEWRITERS INC. that you will soon be able to find the true Jeannette MacDonald sings all her tones smil- cause of your pupil’s hoarseness and eliminate ing with the mouth open. When I do this I form Syracuse New York weak, unplaced tones. When I form my high notes with my upper lip over all my teeth making an oral shape, I produce velvet smooth What Does One Need to Become an Accom- tones. Ijatcly my high tones sound scratchy plished Artist? TAKE of and worn and I feel that I am singing incor- CARE Q. I hare read your column with great rectly. interest for the last few months. What do you Your Phonograph Records .1. When singing the vowel E, should the lips need to know to be artist an accomplished be parted or should they form an oral shape, They are precious! Protect What background is required Languages, them with a TONKabinet! t causing the notes to become a rich head tone? literature, music, dancing, dramatics? A handsome piece of furni- That is the way I produce E.—R. A. G. ture that adds beauty to any J am twenty and I hare studied singing for music room and keeps record . three years. / was a pharynx case. My voice collections In flndable order. 4 A. Although all human beings are built There's a size for every record * was small, but now, under my teacher’s direc- to harmo- upon the same general plan, yet each one of collection; a style tion it has grown stronger, fuller and more nize with your other furni- us is slightly different in design and in his mature although as yet I hare not much ex- ture. reactions to the stimuli of life. These differ- WRITE TODAY for free pression but that will come. My voice is a high descriptive folder and nearest ences make us individuals, personalities. Miss PIANO TUNING lyric soprano coloratura. I've dealer's name. TAUGHT and I can sing Lily MacDonald, Miss Moore, Mme. Pons are to pianists and otner studied the vole of Gilda, in “liigoletto.” musicians all sopranos, yet each one holds her mouth I have had the background of French and in a slightly different position, a shape which Italian but I do not speak them fluently. I each has found (perhaps unconsciously), to speak Polish, t hare studied piano also. I be the best adapted to her individual tone. TONKzLinets know I hare a long way to go but I know I'll C > for sfn’et music not imitate any other singer's mouth and . — School get there. I will appreciate any information Do of Pianoforte Technology lip position but try to find the one most —for phonograph records — 5149 AGATITE AVE., you may give me, either by mail or in The CHICAGO comfortable to yourself. Etude.—II. K. 2. We object most strenuously in almost ls our custom to answer all questions every issue of The Etude to the three register Excellent merchandising opportunities are to be found in Etude advertising in the columns of The Etude where they reach system. A smooth scale is almost impossible columns many thousands of readers rather than by with this method of production and if you mall, where they reach but one. Your ques- persist in it you will soon have three different tion shows two things: First, that you have kinds of tone instead of one. Find a teacher a very good idea of what the singing artist who will explain these things to you and a success; second, that your read, as we have suggested to others, Miss be a Good one or your voice Anderson's article In the October 1939 issue wmiiH r, ha V lmproved so much. Continue of The Etude. ^ndvinrr L . tT d ' No slnger ever knows 3. Endeavor to produce your high tones ahnirt „nTh too much 7 of her forcing them, squeezing art- can a woman comfortably without tr h t, CUltUred? ' T y0ur llst of throat, or stiffening the jaw. As the mouth, rpm,1rerl nHri ° things the 0d l00ks fl parts of the vocal apparatus ™wmlf° ' a flne gure. grace- tongue and other nd Phasing personality must assume slightly different positions which will helniclp to+ „ f „ . make you a "good mixer.” with every different vowel and consonant 86 French and Italian to be free and movable. beof enormon °\ will sound, allow them ue to you. especially if tnethe various voweivowel sounassounds soiuysoftly anuand sing and sno v Y* you apeakSpeak U them with an accurate pro- look in a mirror to see what positions your mmci'itinn . without accent. In America naturally assume. These posi- Polish will mouth and lips belp you very correct ones for afraid y™, much we are tlons will be, generally, the B em du ite self-confident you. oval shaped mouth may be not lsir-u + and Perhaps an suffer from stage much na'rinJ! *1° fright as best for you, but we could not tell without s the usual debutante. The Editor seeing and hearing you. AUGUST, 1941 561 j “brightly,” ter way of fingering or pedaling it, and “sadly,” for example, fession is not the main question. If A Plea for a Serious you should not adopt the new way. carry much weight and register im- children of to-day are permitted to Not at all. But make the change a mediately. They seem to invite in- have a fare of chaotic musical trash, Approach to Fundamentals music, definite one, marking it in the stant recognition in the mind and blatant noises, inane and mawkish and abiding by it definitely, never the emotional response of Technic of a child. tunes, we must expect a race of neu- reverting to the old way. As a summary of the main points rotic weaklings with peroxide intel- ( Continued from Page 523) In this article we have spoken only herein offered and perhaps adding a lects to match their artificial faces of some technical fundamentals of few more, be sure to start with a and their imitation lives. is heard these days, and a playing playing. None of our readers how- definite plan or story; keep the grade The flood of great music, the large part of it is due to sloppy, which ever, should make the mistake of uniform throughout; do not use talking cultivate repe- machine and the radio have heavy pedaling. Therefore, thinking that I am solely interested tition to the point of monotony, but brought to lightness in pedaling and, besides, the world, has unquestion- in technic because of that. Technic at the same time be careful the bench not to in- ably had an effect upon the subcon- check your position on is important, only vastly so, but as troduce too many themes or scious to play. It ideas mind of the entire public every time you sit down a means to an end. That end is music, into one short number; edit clearly which is important to make sure that you must surely condition our and when organists play before an and carefully, particularly absolute center watching musical progress during the next are seated over the audience or a congregation they pedal markings for the piano and century. This imposes respon- of the pedal board. If you are too far must give them music. They cannot a great bowing indications for sibility difficulty the violin; upon the makers of records to the right, you will have do that very successfully if they are also certain syllables on high and reaching the stops and notes at the notes the broadcasting companies and so occupied in finding the notes and for the voice posi- as well as awkward presents a challenge the left, and vice versa. The ideal trying to play them that they can- which, on skips, and, above all, denote the whole, they tion on the organ bench is one from not lose themselves in the beauty of have met splendidly. phrasing in any and all They which you can control the entire teaching lave keen obliged to yield to the music. material. (( ! without If these things are done, the “jitterbug” console and pedal board No, technic is important, but only appetites of thou- the student will gradually come sands, and shifting position. to hence have sent a great your as something to be so completely feel dynamics regard naturally and without deal of musical the The third point to make in mastered that it may then be for- gibberish into effort, just as he learns to read notes home. We cannot to pedal technic is that it is a waste gotten. Our ambition should not be expect the average at sight almost automatically person to of time to practice, as some do, hold- our play- after form a taste for the aus- to have people say of a time that is, — automatically in the ere classics over ing onto the bench with your hands ing, “My, what a wonderful technic night. Musical cul- sense of a subconscious feeling ture of the while the feet play the pedals. If you that organist has!” but rather, “How for higher order is a slow the fitness of the content process of expected to play only pedal solos, plays!” of the personal achievement. Yet beautifully that organist music he plays. practice; eie is a the this might be a justifiable Therefore, I call on all organists to wide gap between Thus the mechanics of music severe but to become accustomed to sup- check up on their technical equip- must Palestrina Mass, or the Bach be recognized as a foundation * u ue g , porting oneself with the hands while ment, so that nothing may interfere upon and the trash of the cheap which to build structure, an.ce practicing, and then to expect those which in kail. Within is with the beauty of their music. turn, this gap there flowers into spiritual an ln hands to play the manuals, while interpre- mense is ? amount of music that tation. Then is the original the pedals do the same passage, is concept aenghtfully entertaining inspir- of the creative artist, and It is far better the and just wishful thinking. composer > although richly rewarded by not necessarily to learn from the beginning to bal- the understand- Profound, is MusicThatLittleFolksLike ing and thoroughly still musicianly. If par- without hanging onto musical rendition ents would ance oneself 0n watch the type of music ( Continued from Page 514) by the interpreter. Then the hands are free -nB the bench. *t0 the k°me and strategi- to play with ease. diatonic melody as being l bclue to adhere to the music which is with- nn/n! ! The principle of balance is all- range from Middle C elody singable. The - sense or reason, the sub- important pedal playing, and it is good one to Pnm 0US in to its higher octave is a Subconscious anal effect u the taste, touch Musical to^v ^ Pon directly related to lightness of remember. Again it is wise to choose y notking of the systems nnri nervous and position at the console. The and attractive Education ral interesting subjects ™ Welfare of their children, three stand together as a sort of people will enjoy mightmi be titles which young ( Continued from Page avoided. pedaling trinity, each with its own accompaniment should 509) lecen singing. The runs from t controversy between three together Hans Bach, born ti-, „ %. importance, and the follow the voice rather closely but in at We, 1 oaclcas mar about 1561, to ting stations and form a firm foundation towards the does depart for a Wilhelm Friertr ASpad the event that it Ernst over the proper reward for Bach who was the p*pvv“ acquisition of an easy, graceful care should be taken to born in BU short space, burg in 1759 C S °f the composer, has de- and who died priveri *i? pedal technic. avoid dissonances or clashes between in Be, ®d h® American n 1845 at the age of FnJ homes of hear- There is another bit of advice the piano which might eighty-six T VJ S the voice and last male descendant lumber of the finest com- which I should like to pass along the of j q n PosiH f V upset the singer and withdraw was by the composers therefore a • foremost in regard to organ technic, which contemporary of Amp proper support. Mozart, Beethoven, °ther nations this: the Schubert, during ’ to me is truly vital. It is attractive title page is also im- ve the An Wagner, Chopm, ^last half This is, any diffi- Mendelssohn of mm-! century. fingering and pedaling of portant, as this item often sells a Sc, a leal loss to the country cult be determined in as a wi-ini’ passage should piece creating interest before the ' 6 by identified* £th and the removal of a suk- advance, marked on the music, and time to open the conscioii., student has had three centuries. S ‘ n"UenCe may be more In that toflean 0f notable S then adhered to. There see the contents. The choice time°ttp ce t music to duced twenty musicians ducafcion the State.f than one useable fingering for a par- of di J American and of this initial page requires a tion. Music, L UCat have seen during that °rs are earnestly ex- given passage. Indeed, I ingenuity, in that it should period t, Pecting th'ft ticular kind of trade or Jllstlce for genius wdj certain bits of music where a num- and decorative. professiTw^h soon be genpv be descriptive Bach family, and was ly that ber of successful fingerings might number, the chief this imnnvt recognized so In the matter of editing a Uy concern. When antTna may have been used, one as good as the a child began not be tional asset the composer must make known his ey * one and and ears ‘0 ^^Jeopardized, other. But if you choose to dynamics that is, m the intentions as — TAabout him, hef constantly ® it, your playing will be much heard T stick to fingering, bowing, phrasing, speed derful music. be He had nm, * more secure, for your fingers will recbniG and all nuances which comprise the same opera- in of the Month trained to perform the is better to — composition of music. It ” lHUed tions every time you play the piece. from Page 559) be over zealous in this matter than namj as 111 This is an aid to memorization, 3 When not sufficiently detailed, for the read- the main point can you are sure y°j security in per- oTthfs play ] , well as to all-around sense the meaning edUoSfl SWlftly er must be able to is that children easily - smoothly applies to pedal- of to-day Thpv, formance. The same thank y°U * of the composition he is reading at those marvelous touches may als° add brie trial and re- invention’s S of rf ing. If you decide, after which he may work out The mPer sight, after mg machine tion pedal - Transpost- ways, on the pedal- and the radio —which T jection of many technic and final finishing fortunate are 1 reco at best for you, the musically as and C-shnA nimen6—to C-fl that seems to work the child 1 ing practice. The use 01' ’ playing touches by further of the Bach family, or °ut can be done with then stick to it, and your not, depend chanve^nf English terms in writing dynamics upon ^Angering. surety. of how the music reprodnt to- on will gain in poise and f LS plan, although this e ault ol that if, is an excellent transmitted is administered Au ry dog days not mean to imply gust. . - I do from cus- to *thh youl ^, lldy time, you idea seems a departure Whether or not these a cooling woos the ear like after playing a piece some chfldr P . words, “faster,” “slower,” destined essing on a new and bet- tom. The to take up music mg breeze, refresh- happen to stumble as a r body an? ing Soul~"then do- all right! you are 562 M i f — f — I

Orgm me Choir Questions

_Answered ly HENRY S. FRY, Mus. Doc.

Ex-Dean of the Pennsylvania Chapter of the A. G. O.

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. Naturally, in fairness to all friends and advertisers, we can express no opinions as to the relative qualities of various instruments.

Q. I am the director of a choir in a well cumstances. For fairly hearty singing you known church of this city. TFc recently hare might try the following registration: Great had a change of organists and thc present in- Organ—Full (omitting Trumpet and Fif- cumbent has thc habit of holding a pedal note teenth); Swell Organ — Ope n Diapason, after the hands have been lifted from the keg- Stopped Diapason. Viola da Gamba, Traverse board. In mg chorus one of mg man// demands Flute. Piccolo and CENTURY gives you the world's best music, beau- Oboe. Pedal Stops—to bal- .” tifully printed on the best paper, every bar in the is “attack and release To hear a pedal note ance manuals—Couplers—Swell to Great 8' standard size, each note certified to be correct, as continue after mg signal to stop is distressing Great to Pedal 8' and Swell to Pedal 8'. the master wrote it! What more can sheet music bel — You There are over 3,000 compositions in the Century to me and contrary to my wish. I finally con- can add to or subtract from this combination catalog, all 15c— (20c In Canada). veyed my wishes to thc organist, who replied, to meet requirements. The registration for When you buy music, tell your dealer what selec- and I agree with the reply: “There arc good melodies, marches and masses will depend on tion you want and be sure to say. “In the CENTURY organists that do.” Hut if it was wish, the numbers EDITION, please.” That means you will pay only my the to be used. If the masses used are 15c— less than half what you usually pay. And you habit would not continue. 1 wish very much of the Plainchant type, the accompaniment can t buy better music at any price. to have your views on the matter.—L. W. C. should be light, with sparing use of the pedals THOUSANDS OF SUCCESSFUL TEACHERS use or pedal and recommend "CENTURY CERTIFIED EDI- stops. TION" exclusively—because they know it is all that A. We certainly are in accord with your good music can be Its This is possible at half the price or less. Ideas in this instance, and would not coun- Q. I hare been endeavoring to secure in- now, for Wicks builds super-fine small modest price aids them in enrolling more pupils, and organs as well as parents greatly' appreciate the saving. tenance the holding of a pedal note after the formation regarding a hymn book that was large. All material and quality work- hands or the choir have finished. Unfor- published some twenty years ago, entitled manship are the same in both. We urge you to inves- Century Piano Solos, 15f! each tunately. as you say. and as your organist “Hymns of the Riven Rock” by C. H. Rutenbcr, tigate now — don't delay — the ease with which one claims, the habit of holding the pedal note who, I understand was an organist. (Capital letter indicates key—number, the grade) I hare of those exquisite instrumenls may be purchased. A 511 Anvil Chorus (II Trov ) C— 3 Verdi has been acquired by many organists, but we exhausted every resource, but have met with Wicks Organ will provide you with many, many 3064 Clayton’s Orand March. Op. 100. 1>— 3 Rlako years *3123 see no valid reason for the practice. As choir- no success. Will appreciate any information Country Cardens, F—J Traditional of ecstatic satisfaction. 3063 Cradle Sono. Ej>—3 _ llrnhms master. you are entitled to ask for the dis- you can give me.—M. II. 1902 Oancn ot Hours. C— 1 . PonchlelU continuance of the habit, unless it is particu- 190 Doll's Oream. Op. .\„ Oestcn 202, 4. C- 2 larly desired by the authorities, A. have endeavored to secure Informa- cently created by a 1433 Dreaming. Meditation. K — 2...„ Meitner church which We Dream J.673 ot Shepherdess. Op. 4 5. O— I l.abltzky is not a proof of its musical value or desira- tion for you. but have not met with success. 2i06 Edelweiss Glide, (Simp) O— 2 Vamlerbeck bility. We are printing the inquiry, hoping that some 1204 Etude. Op 22. No !. Ah 5 Wollenhaupt ‘. III Farewell to the Piano. ) —:< Beethoven reader may supply the information, which we •818 flower Song. Simplified, K— 2 ... t.uimo .last will be glad to give you, If received. e rud** Dream. Q. recently I hare bought an old reed ri. £ r' Waltz, ltb— 3....!lcc(hovcn 521 Golden Star Waltz, c— 2 Strrabbog organ, and as I play only fairly easy piano 627 Gypsy Dante. Dm— 3 .. I.idincr pieces, I do not know anything about the organ. Q. I am organist and choir director of a '222 Humming Bird. Waltz. F-2 Schiller tell small volunteer choir in church, it Hungarian Rhnpsody No. 2. — I.lszt Can you me where I may secure music a and was WICKS Cm 7 2262 Hungarian No. Dante 5. Easy. Cm- 2 Itrahrr.s written for this type of organ : books about recently brought to my attention that the 2251 Impromptu in Ah. Ah— 4 Schubert the method playing; simple book minister had appointed two of my choir singers 69H Invitation to the Dance. (Ip. 65-Dh—5 Weber of or a of 2 a l **e Lantern, P*J A C— 1...... Hopkins organ stops that I could use X. If. as members of the music committee, thc minis- 270ivn LaJ Paloma. — . Bb—4 . Yra-Jler Tu ltchell member. protested 272 Largo. G— ter bring thc third I to this FI 3 Il. n l,' n GAMS 2467 Llebestraum • arrangement , saying that it gave the r i A. You might investigate the following two 'y of thc VaMc y, ,,,, 14. E— 4 — Smith for choir members control of thc director. The HIGHLAND e J- books your use: ‘‘Landon's Reed Organ ILLINOIS L 8 Pr,,n ch 0oM ' A - C— 1 Hopkins 1613 Little, !! ., minister informed me that he always saw Hondo. c— t Martin Method” (contains a chapter on "Stops and that Love Dreams (Waltz). A- ( Greenwald their management”); “Classic and Modern justice was done. To add insult to injury, one Mareh of the Soy S Scouts, C—l Martin music committee choir has a P E 3122 May Night. I Gems”; "Two Staff Organ Book". Felton; of these, members ORGANS s I'.iImKrca

'Mg Mirttary March. I If you are interested in . Nu D — 3 . sXSSt "Reed Organ Selections for Church Use"; any most meagre knowledge of music, while I hare a small organ Moonlight Sonata- (Simp). I m -3..IU, ihovert for your church, of which may be years experience in line. This mem- inquire about our 11/6 Nocturne, Op, 9. No 4 i i.nnln secured from the publishers had of my P 2. Eh— — ~ AKTONB pipe organ. Tone ?308 Norwegian (iradle Songi l‘ of The correcting the Restoration 3 ! More" Etude. ber of the choir resents my , T? 1024 and Rebuilding also additions to your On the Meadow, Op. fij. No. 2, G—2 Mchncr calls present (S> Itla) errors made by her section of the choir— organ. P'/Jlenti . E—3 Delibes 8jo=54 Preludes. Op Q. I best interests 2S. i have been \„. T , told bg a prominent organ- it “knocking.” I feel that thc of 531 Priests' March (Alhnlla) • V I .Mendelssohn ist of our community that the ?.' Piccolo was cannot be screed under this arrange- TIIE DAVID MARK 368 Pure ns Snow. Op. Eh the church COMPANY 31. — 3 l.anco derived from the ORGAN BUILDERS 2429 Robin's Return. The (Simp) G—2 3 Fisher Diapason, contrary to my ment, and that much trouble and dissatisfac- 1210 Warsaw Romance Sans Paroles. I —3...„... Stnnhbng former beliefs. From what is thc Piccolo de- tion arc bound to arise from it. Please advise New York 1312 Scales and Chords, 2 Kohler rived T- JO. IT. 696 Serenade —C. vie if such an arrangement is customary. (staendchen) .Dm —8-Schubert • I.lszt 2196 Serenade (Staendchen), Dm—3 Schubert —E. M. I?. 655 Shepherd Boy. The, O—3 Wilson A. If by “Diapason” you mean “Open Dia- pason", we would not consider “Piccolo” a A. The arrangement of the music com- Piano Duets, 15^ eaeh desirable name for a stop derived from that mittee certainly appears unusual and unwise Piaimts—Send for free booklet show- (4 Hands) source. The Piccolo, in a Unit organ, prediction as to ing might to us, and we consider your how you may greaily improve your 3079 A Bunch of Daisies (Vnlse), C—1....Martin be derived from the unimltative flute tone results to be a correct one. Can the matter technic, accuracy, memorizing, sight- 1984 Amaryllis, Gave, de Ixmi \H' ' family (Stopped Diapason). reading and playing thru mental- 1826 Barcarolle. Offenbach A T stop derived not be corrected by the church authorities, muscular co-ordination. results. Talcs of Hoffman. F—3. Quick Practice effort 924 Chop Sticks. I.ulll from the Open Diapason, should, minimized. Used hy famous pianists, Wall*. C—l De in our or is the matter entirely In the hands of the teachers nnriu *3124 Country Rlmlnnla Mn nltl rrn I irn, Gardons. F— 3 Tradition.-.! opinion, be named Fifteenth or Super-Octave. minister? In the latter event you may have 3078 Elizabeth Waltz, f — 1 Marlin _Cuvina, 925 Golden Star Waltz, 0—2 strenbbot The following is quoted from Wedgwood's to rely on his practical promise to see that California 930 Invitation to the Dance. Op. 03. I>b 5 Weber "Dictionary of Organ Stops”: "The Piccolo Is justice is done, although that does not seem 1366 Lustsplel. Overture. Ki Keler-Reta —4 „ a super-octave stop of more liquid fluty from what you give 1640 March Mllitalrc, D 3 Schubert and to be the case as your 1471 Over the Waves. Mrx. Waltzes. G —3 Itnsas tone than the Fifteenth.” Fifteenth “A experience with the music committee choir 941 Poet and Peasant. Overture. I» — I Suppo super-octave Diapason, bearing the same remember. 3129 Shadows 3 4.™_.„I/0umey SWING on the Water, PIANO! F— — Principal 4' lation to as does the latter to Learn to play real Swing Piano. Send for free Home Diapason 8'.” I am, organist Study Folder. TEACHERS: write Pian® Trios, 15# each Q. at a church that has for business offer purchased CHRISTENSEN STUDIOS, 52 Kimball instructive Ensemble Numbers for Six Hands a Hammond organ. TUc arc wonder- Hall. Chicago (Three performers on one Piano) Q. Is there any way in which a pedal key- ing where the tone cabinet should be perma- ordinary parlor 3089 A Utile French Doll (Lull.), F—l...Mopkins board can he attached to an nently installed, to get the most from it. It. 3092 An Old Moss-Covered Church, C—l... Hopkins or reed organ ?—G. Iv. would be possible to hare thc cabinet in back, 3096 Barbara (Waltz), (12 M. Greenwald renter 3071 Big Drum Maior, The(Mnrch).F— 2 .Hopkins and high or at one side of the choir 3088 Big Bass Fiddle (Huta'esque), F—1..Hopkins A. Pedal keyboard can be attached to reed loft, high in bracket and thc chimes on thc 3097 Cuckoo Song. C'— 2 Marlin or piano. Used reed organs, containing opposite side to balance. the latter 3094 Floral Parade. The (Vnlse), C—2 Marlin organ If arrange- 3070 generally avail- Golden Rod (Wallz). O— 1 Hopkins two manuals and pedals, are ment is not good, where should the chimes be 3093 Humming Bird (Waltz), C—2 Schiller such an Instru- placed 3095 able, and if you can secure and where should the console be situ- CONVERSE COLLEGE 3°; Idle Moments (Waltz). C—2... Lirhner your purpose. You should ated Ernst Bacon, Dean, Spartunsburg. s. C. c,,°? 1 Pictures (Waltz), C— Hopkins ment it might serve 3072o252 § Sunshine Waltz, C—2 Hopkins note whether a "straight” or a modern con- sweet Memories (Reverie). C—1 Hopkins “““V radiating pedal board is included A. tho Soldiers. HH-1 Hopkins cave and We cannot advise you as to placing of COLLEGE, DEPARTMENT Numbers so , OF MUSIC designated aro not available in Canada and act accordingly. the cabinet. Since it seems possible to try the Galesburg, III. ”“ r catalog contains over 3.000 compos I- cabinet at different KNOX Jamea MacC. Weddell, Chairman. ,, n points it might be well 0f PIAN0 SOLOS. DUETS and Catalogue sent froo upon request TRIOS Vini ifi a list of organ stops. to experiment, l 0L Enclosed find and place it where it is N i , P'ANO. DUOS—TRIOS and Q. most OUA°irfcTA R a BANL .. i',J0il combinations for hymn effective PH0NE an ' 1 P,AN0 Kindly name some —or you might write to the makers — A NDOLiN0 IN , rTM$?5 nnil GUITAR VOCAL. Also, masses.—p. C. for advice. Frnen>l,|p n .. , tunes, melodies, marches and The location r of the chimes should catalog — win bo mallcU FIlEE‘to be subject to the same condition “effective- SHENANDOAH congregation CENTURY MUSIC A. You do not state size of ness.” If the piano is to be used with the Courses lending to PUBMSHING CO. for singing of hymns, nor whether it is hearty Hammond instrument, the console could be the B. Mus., and B. Mus. Ed. degrees. Rates 254 West 40th St., New York City singing which you accompany. The amount of reasonable. In the heart of the Shenandoah organ required would be dependent on cir- Valley, Dayton, Virginia.

AUGUST. fV4t 363 . —,

The constant attention demanded by Articulation is one of the most suggest that those purchasing the Temperament for the just intonation, pending the alterna- neglected essentials of technique; set acquire a copy of Gay’s play. The tive of playing even more miserably each note in a quick run should Modern Library includes it in “Fa- Violinist out of tune, might explain to some stand out and sparkle, but usually mous Plays of the Restoration and extent the lack of expressiveness in they run together and blur. Using Eighteenth Century.” The thirty-odd ( Continued from. Page 531) the average violinist’s playing. Most resonant intonation, each individual songs which make up the recording it grace-note or semi-breve, dogmatic theories of doubtful “per- violinists merely “play the violin,” tone, be are delightful entertainment. the attention fection.” however expertly; only a few can commands it should “I Hear America Singing” by In contrast, each of the pianist’s “make the fiddle talk." The composer but seldom does receive; for its cor- Kleinsinger (Victor Album M-777) is mere rect intonation also insures its tone. five fingers must command some can put a lot of “music” into a a cantata based on poems of Walt tones; In this violinistic temperament an fifty placements. Thus we see that succession and combination of Whitman. It is moulded along the individualizing even temperament could relieve the but the printed page is at best but of the tones occurs, lines of Robinson’s Ballad, for Amer- opens new possibilities violinist of his intonation burden the barest skeleton of his thoughts which in the icans, although by no means so to cap- “fingering” of a composition; tones only to the extent of its being twice and feelings, which he hopes spontaneous. Whitman’s patriotism of the of the same pitch differing slightly that of the pianist; while just into- ture. It is the particular task and philosophy mainly impress the stiff notes and in timbre and volume, according to nation is eight times the task. From violinist to give the listener in this work, rather than but life. the sympathetic reinforcement they this high pinnacle of perfection the rhythms not only utterance the music, which the composer has its few receive from open strings and har- violinist looks down on the pianist Resonant intonation, with “drawn from the American people.” “takes monics. with a disdain which certainly pitch-placements, practically The solo part, delivered by John fingers gain an We have not exhausted the discus- should be tempered. care of itself;” the Charles Thomas, is divided between accuracy unobtainable sion of resonant intonation by any We have represented the bowed in- independent recitation and song. Thomas is ac- violinist is means; we have simply attempted to struments as unwilling champions of in just intonation. The companied by orchestra and chorus. completely uncon- present its basic advantages to stu- “perfect” intonation; possessing un- left almost as In a patriotic rally, this cantata teacher. Its vio- cerned with the elementary subject dent and tonal indispen- would heeded the panacea for all the certainly go over well. That it as the pianist sibility needs no enlargement; once is linist’s intonation ills, which latter of “playing in tune” effective and even stirring times the ear apprehends the at free to heed the most subtle prod- resonant few extend far beyond their seeming, would deny, but it is conjectural tones, it never can be tech- dings of his creative genius. content with whether seriously crippling the whole one will want to hear it the advantages of any others, which thereafter become nique. The instruments stand op- Not the least of ffiany times. The work has been intonation is its tan- simply “out of tune.” posed to their “masters”, since they resonant violin given an impressive performance tune” Thus “perfect intonation” comes create their own twelve-toned tem- gibility. Heretofore, “playing in and recording. within the aural and perament—which we have introduced was an intangible problem which digital reach of pupil. the violinist; and his technic elsewhere as Resonant Violin Into- strained between teacher and is en- hanced as much by his new nation (“Paganini’s Secret”; The Each had a different notion of “play- accuracy was as by its tonal and technical Etude, December, 1938) ing in tune,” and the teacher’s im- Anderson sings m provement. So do the instruments 7 , this natural and legitimate no better than his pupil’s. nglish Though and Castagna in French. gains a confused notion themselves solve the problems which intonation of the instruments has The latter Strange as it unwitting have weighed upon earnest students may seem, neither of remained undisclosed to the profes- of intonation through the e em teachers since lent vocalists jus- the equally- and the beginning of tin!f f does full sion in general; artists and virtuosos use of both the just and o ^ this famous aria, in his training, violin pedagogy; while at the same contralto of the bowed instruments have al- tempered systems ^astagna sings time solving many of the smoothly with- to sight-sing by the violinistic but ways used this v-iolinistic tempera- being taught “U‘ eal fervor, and the mysteries of science and musical and Anderson is ment, unconsciously or otherwise, to convenient Sol-Fa method, handicapped admonished to history. by a poor translation, accounting in next moment being ' a more or less degree; Vei Se side reli- - Castagna does the piano. The teacher v. great part for their superior power follow someth ? better “his scales,” and, with Dalilah’s Fair and quality of tone, their accuracy giously practices Svrlnr^ Returnin only twelve 9 (Columbia Disc of intonation, their technical ease since he recognizes Momentous Additions llOW-r!? intonation in- to hlle Anders°n struggles and surety, and their volatile expres- scales, while “perfect” with an e™ (each Gn Worse volves at least thirty-six scales tion English transla- siveness. the Record nf a 1T Tonic) Library 0Ur! viens aider the with a different pitch for the tes-., (Vi } ma fai- This temperament created by i i is an o8>casta8na ’ intonation sdisc ' his ( Continued violin and its bowed brethren is a the state of from Page 516) s:rTe pupils. c°n;r equal match for that of his corded- excellently re- two-fold phenomenon; accenting best but th . it is not far the recording of the waltzes Anderson The su- With resonant intonation, made record, equally tone and intonation. we have heard. nearly ? „ for the pupil to have any is less perior volume of tone possessed by necessary sa act accuracy be up- A fine set of selections from y when “ear,” nor can his John each of the twelve semitones “The Beggar’s Two rm® pre-conceived ideas of Gay’s Opera” emanat- ucan or pitch set by any Frederick chamber works, fingered at a certain place ing from London, well “ “playing in tune.” The violin tones sung by Three HaB‘°grapha- is the key to this ‘perfect violin into- Audrey Mildmay and Roy Biblical as “fixed” as those of the Henderson wNarratives” (Victor nation. Resonant intonation is ex- are quite Set M-7R9, L as simple to iso- of the Glyndebourne Opera Com- add H0y ™' exacting require- piano, and nearly tet No 3” Hai “Quar- plained to the most Michael , gain freedom pany, Redgrave and others Co ' place; late, once the fingers reveal dmb‘a Set M-450), ments of science in another has been released by the f The student has an Victor (Album ° f created by sympa- of movement. emotion bought and but briefly, it is direct his M-772). “The Beggar’s Opera” tha t guide to (writ- T1 110 * ever-attending 111 resonances arising from the can realize composers thetic and the worry of teach- ten in 1728) was both a burlesque tiA" , harmonics. The vio- study hours; Played Jacobi work, well open strings and “play in tune’ is on the Italian opera presented by iren ~ . dis- ing beginners to by idge Jacobl and Cool- linist has only to use his ears to Handel and others Quartet the the teacher’s overbur- in the early part °re lifted from stood. ’ m readily cover it for himself; the resonant It under- while the instruments of the 18th century, in London, ls e power. It is dened mind; and stories on the Biblical tones are outstanding in notoriety for a satire on the Walpole of Job Rf, A lose the undeserved administra- '™' off a log.” is in its and J°shua, and as simple as “rolling and indefinite intonation. John Gay wrote the play, first intonation their difficult and and Sections felt Only when this natural Pepusch arranged the beautifuiiv° deeply do tionality. music ’from y expressed. of the bowed instruments is used music of „.. Here is drawing the attention to tone, popular tunes of the times. h d tonal possibili- In The dramatic but nonetheless they achieve their full double-checking, songs are by no means intern* r dou- intonation gains a extraneous ties; resonant intonation nearly “ore an is tone and intonation coincide; to the plot of the piece, since many any violin. And since emotion; ° f thought than bles the power of a fascinating tonal of them clarify the action. Although lt violinistic accuracy becomes °f urther only in employing this can enjoy these the evidence game. Similarly, resonant intonation one musical excerpts fertility A f does the violinist at- skill. hls contrapuntal temperament that aural development without a knowledge of the play, The four „ strength, and encourages the forms ements tain his full technical without which listener will find them Of prelurt are in the and discrimination far more each and interpretative force. artist; one is amusing and attractive is cast fugues, and atten- any musician is a poor when inti- m a In eliminating the exacting acquainted harmony. different modal apt to lose sight of his main objec- mately with the action Most of jus ’ upon the eai by workable Iiairis are tion imposed in And since Victor does , themes o tives—tone and interpretation— not provide a and n in the futile effoi harmonic “'esting, the intonation, to gain mechanical mas- printed text and the diction textu,'„ but the player is the struggle of the notony. tencis keep it absolutely true, is not toward mo- singers especially The iA ( the music. tery. good, we enabled to concentrate on h'ayed by ls wel the «othRoth String Quartet 564 THE ETUDE A

VIOLIN QUESTIONS Introductory Jhiwerd hj. ROBERT BRAINE Offer.: No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published.

A Good Repairer Needed day. I do not think he made violins in the R. H. R.—1.—The name of Abraham Pres- year 1738. although it is possible. You can- cott. Concord. New Hampshire, maker of not go by labels in old violins, as they are violoncellos and other instruments, is not mostly counterfeit. There is not one chance listed among eminent instrument makers, in in many thousands that your violin is gen- works on the violin. He may have been a uine. Better have an expert examine it. It is skillful maker, for all that. Maybe some of difficult to sell violins, the price of which our readers may be able to enlighten us about runs into the thousands. Customers for these this maker. 2.— A good repairer can no doubt violins are usually confined to rich collectors, repair the cracks in your violoncello, so that musicians, concert artists, and dealers in it will be as good as new, but do not have the violins. work done by a carpenter, or "fiddle tinker.” Repairing violins, violoncellos, and other Playing with the Back of the Bow string instruments is a difficult art, and takes J. H. F.—For a special effect the strings of years to learn. © Here is an easy, inexpensive the violins are sometimes struck with the back of the bow. Hector Berlioz, famous writer on way to introduce THE ETUDE in its new Absolute Pitch instrumentation, says on this point, "In a "dress," with its many delightful new features, L. F. J. The gift of "absolute pitch,” which — symphonic piece, where the terrible mingles to your pupils and musical friends. For only has, is in many cases you say your daughter with the grotesque, the back of the bow has also quite rare. 35c we will enter a 3 months trial subscription a sign of great talent, and it is sometimes been employed in striking the Louisville are all and send the current June, July and August Chicago, St. Louis, and strings. The use of this whimsical means your daughter could obtain large cities, and should be very rare, and maturely considered, issues to anyone not already a regular reader. education in any one. a good musical and moreover, it has a perceptible effect only Clip this ad if you wish or simply send us 35c note that your preference is for Chicago, I in a Itiri/r orchestra. The multitude of bows (U. S. stamps acceptable) with each American cities, may name and which is one of our largest then falling precipitately string Trial subscriptions on the pro- address. Don't delay! This offer is good and very musical. However, if you have rela- be converted later into for the duces a sort of snapping ncise. which would regular subscriptions tives in any cf the three cities I have named, Summer months only and will not be made be scarcely noticeable, if the violins were few with credit allowance an advantage to have her make again year! it would be in number, so weak and so short-lived is the for the 35c originally this while she is pursuing her home with them, sonorousness thus obtained.” OFFER EXPIRES AUGUST 31, 1 94 If her musical studies. She is quite young (twelve years) and to get the full advantage it would be better for “Hopf” Violins cf study in a large city, THE ETUDE MUSIC MAGAZINE 1712 CHESTNUT ST., PHILA., PA. is studying. F. L. There is an enormous number of her to live in the city where she — of "Hopf” violins scattered all over the world, In this way she could get the advantage bad indifferent. attending concerts, operas and other musical some good, some and some only two Hopf's. who were violin events. There were . of any note David Hopf, who worked She could also play in the student s orches- makers — Quittenbach, near Klingenthal. ln 1760, IMPORTS Learn Piano Tuning At Home tra of the conservatory or school she attended, at recitals and con- and Christian Donat Hopf, who also worked Brand now, English Our Temperameter and she could herself play in RECORD POLYDOR-SERIES makes it easy to would be able ln Klingenthal, about 1736. These two are learn precision tuning. The piano certs. In a city like Chicago she records— never before sold at these Jow prices. Sur- is the among German makers. They made having a phenomenal come-back. to hear some of the greatest violinists of listed faces superior to domestic records. Finest artists and Our violins of medium quality, which are graduates are earning $5.00 to $15.00 yjorld. in itself a remarkable advantage. some orchestras in outstanding classics. 10" records only dealers 'ay and independence. You can do eminent teachers of tne listed in catalogs of American at from 75<*. Send today for new, FREE catalogue containing There are many me same. Here is a hundred to two hundred dollars, accord- hundreds of selections. Exclusive with field that is not violin in Chicago, and many excellent schools one over-crowded. Free Booklet. quality. Besides the violins of these cf music and conservatories. ing to The GRAMOPHONE SHOP, Dept. F- there are quantities of imitation BRYANT SCHOOL - 53B - AUGUSTA, The best arrangement would be if you could two makers, 18 East 48th Street, New York MICHIGAN of only nominal quality, move your famiiy to Chicago, so that your "Hopf's.” which are even less. For some daughter would have the advantage of home and sell for ten dollars, or other Hopf violins are valued, es- life, in addition to her musical studies. reason or amateurs, at far more than their r\ O you lake advantage of pecially by VIOLINISTS — EXPERT ADVICE — APPRAISALS the many r°al worth. In works on leading violin makers, Sarto-y Consult a Recognized Authority ^ excellent merchandising A Bow "Hopf's" are dismissed with only a line oppor- the E. N. DORINC, 1322 Ave., F. E. w.—1.—I fail to find any information or Hinman Evanston, III. tunities which or two. while whole paragraphs, even pages ETUDE Advertising on violins made by C. A. Hero’d and Mathias Send 25c for copy America’s only Violin journal given to makers of real note. Columns offer Hemike. There are thousands of violin makers are "VIOLINS and VIOLINISTS" you? who have only local reputations. 2.—In a catalog of violins and violin bows. I find the following information about the Sartory bow. S T.—Albert Spalding, eminent native about which you inquired; "Sartory. Paris, American violinist (born Chicago. 1888). was round stick. Silver mounted frog. Fine playing trained at the Bologna Conservatory, and by bow. Price, $125.00." Lefort. He made his ddbut as a concert artist France. Ger- in 1905 at Paris, then toured in Musicians’ Incomes many England. Scandinavia. Russia, Holland. successful tour in S. L. I.—The U. S. Treasury releases figure Italy and Egypt. He made a every since made many year giving details of the highest salarie America in 1908-9. and has received by the leaders in the various profes others He was in the service in the World sions he has written and business enterprises. These figure War in 1917-19. As a composer are compiled each year from the Income Ta: two violin concerti. orchestral variations, a reports of the individuals named. Jaschi violin suite and a sonata, many miscellaneous Heifetz famous violinist, received $100, Off pieces and songs. for working honors in one film for Sam'l Goldwyn America s own violinist, he has won Inc., and musical Leopold Stokowski drew $80,000 fron for himself and his country in every the Walt American Disney Productions for musical worl capital of the world. He is the only animated violin- on cartoons. violinist—and one of five world-famous Louis B. La Scala Mayer, motion picture magnate ists—to be asked to play at the great Along with “ <' Countway. Massachusetts soai Opera House in Milan. Italy. manufacturer,1 . three were the two highest salariec Krelsler and Ysaye. he is one of only ln 1938 appeared as soloists with - Mayer received $688, violinists who have 369^ and Countway Conservatoire Orchestra of Paris. Cinema $469,713. the famous actors; and actresses received highei sa.aries than musical artists. Claudette Col. Orchestras actress, Membership of Symphony E*”' received $426,944 anc musical organizations, it is little Shirley Temple, r. g.— mong $307,014. These figure! how long the great- sym- are all for one year. really remarkable phony orchestras of the world remain in existence. often with practically the same mem- Value of a Gunriterius bership. This is the Fiftieth Anniversary sea- S. A.— A genuine Joseph (del Jesu) Guar- son of the Chicago Symphony Orchestra, and neiius violin sells for from $25,000 to $35,000 represents the thirty-fifth year of the con- and even higher ln the case of choice sped- ductorship of Frederick Stock. During this mens, it is not known how many violins o' there but few changes in the this time have been maker are ln existence at the presem personnel of the orchestra. AUGUST, 1941 565 — V

lass approached her doom. This, of my connection with this organiza- A Symphony of the course, she never reached because of tion has been a most happy one. Of cunceaiea signals from their masters a safety device which stopped her six course there is sadness in the Sawdust circus and do not know the difference be- inches away from Paradise. The or- man’s life, especially when one loses tween “America” and a fat mackerel. ( Continued from Page 513) chestra feverishly played “hurries,” a friend by death and the show must The trick, however, requires great “storm music” and “battle scenes,” inexorably go on. Fortunately, as I patience and kindness upon the part as the stereotyped orchestra books have said, the Ringling “Doc” made you believe you had. The Brothers, of the trainer. called this supposedly exciting music. who have always been men of ideals, show consisted of Billy Dale, a come- Circuses in these days are far safer I sat on a kind of bicycle contrivance had a very strong feeling that good dian who played a wheezy organ than they were at one time. The con- behind the scenes, which turned the music was invaluable in raising the struction when I played the cornet, and Pul- of the tents is stronger, saw. Once in Arkansas we had to tone of the circus. Their successors len’s wife, who did a serpentine dance and the discipline of the employees play this act in an old loft, and the realize that the popular demand for is to this kind of music. This, with a better because more intelligent only scenery showed a parlor with better music is increasing all the men few crude moving pictures, made up are employed. The old days, highly decorated wall paper. A saw time. The band just has to be good. the show. Then the “Doc,” well when tents were blown down by mill in a parlor was somewhat out We get the best players obtainable. groomed in cutaway, with pince-nez comparatively light play winds, are gone. of place. This absurdity did not make They together almost inces- I have and flowing ribbon, got in his fine known, however, of a case the slightest difference to the audi- santly at both performances, making many work. That cutaway coat and Cleve’s years ago, when a tent was ence. They got the same thrill, which a total of seven hours a day. The own line of talk were better than a degree in and a near panic was I assure you was far more real to modern circus must be synchronized from Harvard, Edinburgh, or Vienna. averted because the day down to the split second. band kept right them than that from a present I have one on playing, One look at him proved that no one never missing a note. The cinema earthquake in which multi- hundred and seventy-five cues at could doubt he was a great specialist. drmn head was broken tudes are killed. In the “real show” each performance. If a lion roars, or through, but The pills came in big jars like the drummer elephant snorts, quickly procured an in- the audiences screamed and women an or a clown tum- verted pickle jars—thousands of them metal water pail fainted and everybody had a good bles, I have to be ready to “pick it and “the which the “Doc” put up in small show went on." There time. The sophisticated youngster of up” with the band. For this reason, are very few packages and sold for high prices. I accidents in the these days has seen so many mur- I never use a score and am always' circus of to-day. am sure that none of us knew rthe SS standing, back to a complete medical ders in the movies that he views the band, with my ’f l whether the pills contained arsenic „r nC dms own cornet in hand. I .!‘, two Physicians, is them with the calm he has when conducted for cirri ,! or putty. They probably had a light earned with the all the “Big Show” three years show in case of ac- eating a lollypop. He knows it is abroad. dents physic because invariably people to the performers. done in Hollywood and that some- Greatly to my surprise, I found it A staff of came back for more, like squirrels nS fellow turn- much easier to get fine players detectives accompanies where there must be a in the shnw . after peanuts, and gladly told how ’ “d ing a camera. The thing that gets England than in either Paris or Ber- “Actionable charac- beneficial they had found them. After ters Y a the movies, is where lin. They were quicker with the cues, the Hin sling Broth- me, when I go to ers-Barnn , a long, closed winter, those pills made & lBailey the fellow who turned the camera and smarter in every way. It seemed lot is not a very them jump around like grasshoppers. safe placenlo ^for stood while the earthquake, or the almost impossible on the European them. The Doctor had regular hours for The moral tone shipwreck, or the prairie fire went continent to speed up the show to of the circus in consultation for men and for women n on. I keep thinking more about that American standards of exactness y D S and probably sold more pills. He had fn“?aro^in ^-. camera man than I do about the and liveliness. r:“ m ^tl a high opinion of music as a means show. The circus music of yesterday, the N for drawing audiences and making van- “Lancers” and the quadrilles, m Wh d inkS The minstrels were not yet have mTband ^ ^ to people buy. He used to say, “Give a gradually gone into the iTl1 Catchc a°tch ished, and in 1918 I went out with “silences.” paid one at it he is man good nff of 0 music and he’ll reach for were sixty The show of this present year, which Ce and dis Gus Hill’s Minstrels. There don’t drink j niissed. I his pocketbook a whole lot easier.” to mind far transcends people in the show, including twen- my any cir- 61 '' 1 d° Of course, not believe such “Docs” in these days if cus ever given anywhere, in its lavish CTY’,^ ty-eight in the band. I wonder strain 11 thS would soon run into the local medi- of my work the people of America realize the equipment, requires music on a simi- if iYhY cal laws and would have a short ex- popular demand for music supplied lar scale. The very beautiful “Old istence, but at one time there were by the minstrels for over seventy- King Cole and Mother Goose Fan- scores of medical shows in America. required a special score five years. tasy” which Cleve Pullen, the “Doc,” was, how- had to be just as “spiffy” as the Nor- mother in tears has I left ever, a good musician and, for the Buffalo Bill and His Wild West Show man Bel Geddes costumes. I have a en a circus now dea °f the short time I was with the show, I Finally, I began to realize that if feeling that in these jittery When slie Y times all my sisters in good PreTbvw ' learned many new musical tricks. I was ever going to do anything every child under ninety ought to rIans ati11 see me -. come to I also went out with National I would have to strike out for the circus this year. It is theylake the music see a better e ‘" Wl,al 1 to have accomplished Stock Company, which opened up in things. I was beginning tonic than all of “Doc” Pullen’s pills. h bigger ’ » ls very music. gratifying to Baton Rouge. They played “Uncle hear more and more fine The new streamlined circus is so me. Josh Spruceley,” and our band of Sousa was a kind of god to me, dressy that it might have been eXplained wha t night so might bYcalled ^ fourteen was dressed in “Rube” cos- and I once stayed up all staged by Florenz Ziegfeld. It is far The longer you a tumes. By arrangement, we would go that I might hear him and his band more elegant than the Cirque rJ ZTT" to different came my first big the Cirque de Paris p parts of the town and in St. Louis. Then d’Hiver or and, fc wh 101 0 play like clowns, knowing that all chance. I was engaged by Ranch of course, far bigger. The world has rrY Y tr the members would come together for their huge Wild West Show, the never seen such a colorful circus as which was the in- later at one place, previously agreed chief attraction of that of this year. Yet (Sh! Keep it a n f Bill. No man ever are JheriYYhYneS„gYLe upon, and give a concert, usually on imitable Buffalo secret) peanuts still five cents a the rs es dignity tiumpeting of the the post office steps. It was a wonder- sat in a saddle with more bag. elephants, the The glamour of the lights, ful way of drawing a crowd. I not and poise than Buffalo Bill. the crowds of Elephants Do Remember people—well, took the sweep of his arm, as he took off his “circusitis" is incurable‘curable, only led the band, but also once you audience, was some- I am often asked whether music catch it. tickets and played in the orchestra. hat before an Colonel F. Cody was has any effect upon animals. All that In addition to this, I must explain thing to see. W. gentleman, soft I can say is that horses and ele- that I turned the “Saw Mill.” This a most likable yet commanding. He was phants do seem to remember musical was the climax of the show. The spoken, music and often cues. I have known certain heroine was pursued by the relentless very fond of horses, the door of his tent going through a routine, to wait villain who, bent upon getting her stopped me at for musical matters. At that g. chord. Likewise, elephants, out of the way so that he might come to discuss when a learned to luckless time even in his old age he was they hear certain dance music, will 7° Play a cornet into a fortune, lashed the mj remarkable shot. It had become al- without direction, hurry to get WOuld 0° to maid to the plank in a saw mill. There on a Heaven T) automatic with him, and he tub to go through their was a real circular blade which tore most routine. missed a flying target. Seals, which are supposed concealed lasts, raising rarely by many — through two the Ringling Brothers- to have unusual ~vr,r joined musical blinding clouds of sawdust as well I intelligence h & Bailey Circus in 1919, and because they can toot -? :. as an ungodly din, as said luckless Barnum out tunes on r;z whether the man next door 566 tub etudb The Piano Accordion WHERE SHALL I GO TO STUDY?

The Bellows in Interpretation Private I eachers iWestem) Private Teachers (Western

ROSE OUGH DR. FRANCIS L. YORK (J3ii Pietro <2)e/Vo VOICE Advance Piano Interpretation and the Theory work required for Former Assistant to Lazar S. Samoiloff the degrees of Mus. Bach., Mus. Mas., Ph. in in Hollywood and D. music. Reopened Her DETROIT INSTITUTE OF MUSICAL ART As Told to ElVera Collins Voice Studios at —8TH AVENUE OAKLAND, CALIFORNIA Detroit, Mich. HEN WE HEAR someone say Telephone Glencourt 6115 merges into the that a certain accordionist one tone leads or Private Teachers (Easton next. Another selection may require EDNA GUNNAR PETERSON W has a fine technic, we are in- an entirely different right hand touch, Concert Pianist KATE S. clined to interpret it as meaning that —Artist Teacher CHITTENDEN to produce a staccato or some other 229 So. Harvard Blvd. Los Angeles, Calif. Pianoforte — Repertory — Appreciation he has developed skill in rapid pas- effect. It is important that the bass sage playing. This may be true, but accompaniment and bellows action it constitutes only one small part of LAZAR S. SAMOILOFF correspond with the right hand ALBERTO JONAS accordion technic. He who desires to Voice teacher of famous touch. Accordionists should avoid a singers become an accomplished player must Celebrated Spanish Piano Virtuoso stereotyped accompaniment, for the Teacher of many famous pianists realize that every part of accordion 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 bass is intended to complement and 6IC So. Van playing must have its individual Ness Ave., Los Angeles, Cal. On Thursdays in Philadelphia, 132 South 18th Street. enhance the music of the right hand. Tel. Victor 1577 or Locust 9*109 technic. These parts form a veri- Not connected with any Conservatory. It should never detract from it. ELIZABETH SIMPSON table mosaic, and all are essential to To illustrate this point, we present Author of form the perfect pattern. Neglect of "Basic Pianoforte Technique" EDITH SYRENE LISTER two contrasting musical examples. Teacher of Teachers. AUTHENTIC VOICE PRODUCTION one will others. Coach of Young Artists. handicap the Pupils Prepared for Concert Work. The first was taken from Anton Class Courses 905 Carnegie Hall, New York City It matters not how talented an ac- Collaborator and Associate Teacher with the late W. Dvorak’s Largo from his “Symphony Warren Shaw cordionist may be, nor how keenly and Endorsed by Dr. Floyd S. Muckey from the New World.” Wednesday: Troup Music Studio, Lancaster, Pa. he inwardly feel the interpre- St., may Berkeley, Cal. Thursday: 309 Pressor Bldg., Philadelphia, Pa. tation of his music, he will not be (Frank) able to project that interpretation to (Ernesto) Private Teachers (Mid.West) LaFORGE-BERUMEN his audience if he has neglected the STUDIOS necessary technical preparation. Does Voice—Piano EVANGELINE LEHMAN, Mus. Doc. Frank LaForge teacher of Lawrence Tibbett since 1922 ‘ ~ it seem like a paradox when we say - New York COMPOSER and VOCAL COACH . that, although technic is always as- This passage calls for the right hand Dr. Lehman has coached some of the most famous sociated with part the singers of the Paris Grond Opera. Terms on the mechanical to play close to the keys, with application. RICHARD McCLANAHAN Representative TOBIAS MATTHAY of playing, yet a highly developed fingers prepared so that the first 167 Elmhurst Ave., (Highland Park), Detroit, Mich. Private lessons, class lessons in Fundamentals technic is the only means by which chord may flow smoothly into the Lecture-demonstrations for teachers 806 Stelnway uidg., New the mechanics of playing can be so second. The effect may be entirely ARNOLD SCHULTZ York City Teacher of concealed that the performer can tell ruined unless the bass accompani- Piano Author of the revolutionary treatise on FRANTZ PROSCHOWSKI his musical story? Musicians who ment is played accordingly and un- piano technique Riddle of the Pianists' - Vocal are considered "The Fingers" Teacher artists employ a very less the bellows are so manipulated published by the University of Chicago Press 200 W. 57th St., Tel: COlumbus definite technic in every part of that they aid in bringing out the 622 FINE ARTS BLDG. CHICAGO, ILL. 5-2136 their playing but do it so skillfully crescendo from mezzo piano to forte ALLYN Ph.B., RIZZI that it is completely submerged and in both the first and second meas- RAYMOND SMITH, A.A.G.O., THE STUDIOS Dean the audience fin- Voice (Bel Canto Method) Piano-Coach is aware only of the ures. The third measure begins a Central Y.M.C.A. College Gemma Rizzi-Operatic ished School of Music Dramatic Soprano performance. crescendo which increases for the Prof. Augusto Rizzi—Organist-Choirmaster-Composer Complete courses leading to degrees. Coeduca- President—Young America Grand Much has been written of finger climax of the fortissimo. The key to Opera Co. Inc tional. Fully accredited. Day or Evening. Low tuition. Graduates of the Both Royal Conservatory of Naples technic, « bass technic, bellows technic the bellows action in this passage is Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois 278—6th Avenue, Brooklyn, ™ N. Y. STerling 8-0763 and all other technics; but one form to manipulate them as one would in- of FREDERIC FREEMANTEL technic has rarely been discussed. hale a deep breath, with increased EDWARD E. TREUMANN The reason is that accordion artists pressure toward the end of the Voice Instruction Concert Pianist—Artist-Teacher (Partial vocal scholarship available through ' T Von Saner, and teachers use it unconsciously breath. There must be a continuous Moritz Moszkowsli The Music Students Advisory Council, Inc.) without than a series of 1 s "'" S37 rather ' stopping analyze it. For flow of air ' 57,h to Studios: 205 West 57th Street s&EriS want of a call perfect coordination of New York City Phone Circle 7-5920 ' ty better term we shall gasps. The Summer Master Class—June to Sept.—Apply - it the synchronization of the par- right hand touch, bass and bellows ticular kind of touch being used for will produce a perfect climax. the right hand corresponding While on the subject of climaxes, with a See THE SUPER upon stu- A~ touch for the bass accompaniment we would like to impress 3or Jltert ACME and the correct bellows manipula- dents that the smooth approach to tion for both. A bass accompaniment a musical climax is considered a sign -Accordionists which might artistry. It is never difficult to play be perfectly suited to of Special Summer one type of right hand touch would an individual measure, such as the Emirse be wrong for another. This answers fourth measure of Ex. 1, fortissimo; itself one would the question of students who cannot because if it were by the understand does merely accent it heavily by an abrupt ‘Pjetfo’ why their playing personalized sys- not RATES. Instructions given INCREASE not sound like that of an artist, even bellows action. However, that is tem at REDUCED under YOUR artist professionals. Course includes 10 private INCOME! though they play the right notes in the desired effect in this particular lessons under the supervision of Pietro and additional features. Send today for free de- Easily —Substantially —Pleasantly the right be a gradual time and observe all signs passage. There must scriptive literature and rates. — Take Subscriptions for — for tonal shading. leading up to the climax, and the PIETRO DE1R0 ACCORDION HEADQUARTERS THE ETUDE MUSIC MAGAZINE Summer Course Division When an air in the bellows must be so ar- — Write for particulars — accordionist plays tone 1237 West Girard Ave., Phila., Ponna. 1712 CHESTNUT ST. PHILADELPHIA. poems or the type of legato music ranged that it is increased with ease 46 GREENWICH AVE., Now York, N. Y. PA. which simulates an organ, he uses a and with enough reserve held for the your Music certain right hand touch. His fingers fortissimo. These little points seem Tell Loving Friends about THE ETUDE and ask them to give you the privilege of sending in their subscriptions. remain close to the keys and, as the unimportant, but they really spell Ask jor Catalog of Rewards for subscriptions you send melody progresses, he prepares each the difference between interpretive successive THE ETUDE 1712 Chestnut Street Philadelphia, Pa. finger in advance so that ( Continued on Page 575)

AUGUST, 1941 569 j Die Dtcun on A "Year by Year" Piano Course

• The works of a nationally acclaimed pedagog and lecturer, these methods for the piano hold a By unique place with teachers everywhere. Outstand-

ing among their features are the author's sane

approach to his subject and his sound psychology, JOHN M. the same distinguishing qualities which mark his famous talks and which have revolutionized piano WILLIAMS teaching in America.

Mr. Williams at the keyboard

FIRST YEAR atthepiano THIRD YEAR at the piano By JOHN M. WILLIAMS Price. $1.00 By JOHN M. WILLIAMS Price. $|.00 A universally acclaimed book for beginners. Written with Mr. Williams' cus- This book takes the student into the playing of the eisic-r - . , ,ISS1 S principles for which room pieces. The work here {- and drawing tomary authority, it presents in careful detail the splendid again involves about in enn-ii '' ° f this distinguished. and pieces along with the anchor's eMrds“ pedagog is hinK on Z ITadvTn and bass US Pra lce The begins introduction to "Middle C". The treble An interesting assortment of finger exercises ' book with an covering varinn, r ? material is arranged is interspersed throughout the book. “ ° f KCmic clefs are used from the very first and much of the earlier Among ,he comn™ rf - Chopin, ^ ers re P resented so that only one hand plays at a time, thereby allowing for full concentration Concone, Koelling, Heller, etc. are on that hand. The author has also, for the encouragement of the student, dig- part nified most of the exercises with titles. Large notes are used in the early of the book, and the majority of the pieces have words. Several duets for teacher and pupil add variety. book are included Four prefatory pages on the most advantageous use of the FOURTH YEAR atth E PI along with added suggestions as the work progresses. ANO By JOHN M. WILLIAMS Also published in Four Paris—Price, 35 cents Each Price. $1.00 Mr. Williams' Fourth Year at the Piano has been nl.mnr.wl . . Sp C a c°ns'd- eration for technical advancement. While a ? number of i j interesting pieces are contained in this work, it also • provides excellent r r !! mitt tors of dexterity, action, me of the pedal tmtained chord SECOND YEAR atthepiano , elc The LE again supplies his useful suggestions on the best use of the ' Price L0 ° book and Ids S ' * the student on certain By JOHN M. WILLIAMS planations to points are especially appropriate book with This Second Year at the Piano continues logically from the first throughout, special emphasis on the playing of pieces. It is copiously annotated and exer- and helpful suggestions as to the most beneficial study of each piece numbers are in- cise are offered. Preparatory exercises to the more technical or FIFTH many styles YEAR at the cluded. A variety of best-selling teaching pieces, representing piano work, will be found in the book. By JOHN M. WILLIAMS Price, $1.00 In his Fifth Year at the Piano, Mr. Williams concentrates • hn» I ln tion. Explicit and carefully prepared .analyses of the variou 'Kp cces n ,W«- TUNES FOR TINY TOTS are a special feature. A clear understanding of manv nrrmr the book playing, 6 puints Price, 75 cents in all piano will come of close ' u »eful By JOHN M. WILLIAMS attention to the SIS™ * Valuable technical material is involved in nStructions rudiments in the - ' time” music book designed to teach the studv of Th- u* we Dresent a happy attractive pieces, largely from V manner. A most engaging pre-school method, it enjoys a the later composers and nian practical are i y an easy and | jj the child's interest from means of little to the last, rite work advances, by the first page of this book consistent ease. Pieces tenth entertaining texts, included melodicsmalndies and exercises,rc with ^ among the delightful features of this book, and the arc invaluable additions. There ate also helpful diagrams author s stud yraggestmns an ia numerous pieces, will iui i^rriinine ren and ink sketches, illustrating the desired, they can be colored with crayons. delict ever" 3 . If Oleoclore SPFCIAL SPANISH EDITION Prefer Co . para Chitjuitincs . in a splendid The Sninish edition of this book, Melodiiis Montoliu. retains all the fine points of the original. Everything M-ansl ftfon by Placido dc i„ Music song texts in their Span.sh version, and the many Publications Of snecial interest are the in U. S. A. illustrations. Price, 7S cents 17,2 CHESTNUT STREET, PHILADELP H| A, PA. :

exercises, and give him treats in the The Qualities a Pianist form of children’s concerts, which Must Possess wedge some timeless masterwork Seventy-Fifth Anniversary Year (which is new to the child and even ( Continued from Page 511) more exacting upon first acquaintance than it will be later on) be- not allow the integrity of his enthu- tween nursery songs and lighter mel- siasms to become jeopardized by the odies (with which he is somewhat CHICAGO MUSICAL COLLEGE wealth of musical riches that are familiar and naturally prefers) . And flung at him, without effort of his RUDOLPH GANZ, President if his gifts marked, we groom own. No matter how small the com- are him for the status of infant prodigy. munity in which he lives, his dilem- Member of the North Central Association of Colleges and Would it not be more wholesome to ma is not of finding good music, but Secondary Schools; Institutional member of the National Associ- initiate him into the beauties of some of choosing from among many aural great music from his earliest infancy ation of Schools of Music. delights, the one that pleases him onward, letting him hear it at home best. He hears the opera, great sym- under usual home conditions; mak- A Professional school of music conferring accredited Bachelor and phonies, eminent recitals at no ing him naturally, easily familiar greater expenditure of energy than Master of Music Degrees with major in Piano, Voice, Violin, 'Cello, with it; giving him a chance to be- twisting a dial-button or putting on Organ, Orchestral Instruments, Musicology, or Composition. come as aware of it as of the popular a record. Compare that with young ditties? This, of course, presupposes Bach who, after petitioning the coun- home conditions in which the child Faculty of internationally and cil at Arnstadt for leave of absence can absorb the benefits of great from earnest duties, walked the fifty nationally famous artist teachers. music naturally. Still, a child can leagues to Liibeck, to hear Buxtehude grasp what he hears at home, be it AID play the organ! Certainly, I do not STUDENT AVAILABLE TO A NUMBER OF DESERVING STUDENTS. music or speech, and good music wish for a return to the conditions should therefore not be kept a of Bach’s day. The ease with which FALL SEMESTER OPENS MONDAY, stranger to him. Then a truly gen- good music is put into our grasp is eral musical education could be built SEPTEMBER 8. a magnificent thing provided we ac- — (in contrast to a merely technical cept it as a stimulating rather than one) the goal of which would be the a softening influence. If we value ad- , Write now for Free Catalogue; Address the Registrar amateur’s—literally, the lover’s—ap- vantages cheaply because we get preciation of great art. them easily, we have only ourselves Let the student find his way into to blame, not the mechanical prog- CHICAGO MUSICAL COLLEGE simpler and deeper relationships be- ress which makes the advantages tween himself and the world about R. A. Elmquist, Business Manager possible. Instead of using the radio him. There is no need to be forever as a means of combating boredom, 64 EAST doing things and spending money in VAN BUREN STREET, CHICAGO, ILLINOIS the student should let it sharpen his order to enjoy one’s self. Sitting in powers of discrimination, raise his sun and thinking can be charm- standards, help him become more the ing recreation. We often hear the aware and more appreciative. Dis- curious word “highbrow” applied to crimination, critical awareness, and great music. In reality, there could LAST CALL enthusiasm are among the qualities calculated, less so- .... to Join America's most distinctive that be nothing less and can build him into a better distinguished phisticated than Schubert! To my course for pianists and teachers: musician. The greater the work of T>e, mind, the height of “highbrowism” art, the more demands it makes; the GUY MAIER'S CLASSES by the “boogie-woogie” 'Paul is reached listener who follows this line of Asheville, North Carolina type of music, because it is sheer UNIVERSITY greater demands upon himself rather August 18 to 22 calculation. (The fact that its per- than the line of least resistance, be- PIANISTIC PREPARATION (Mornings) ....$15.00 formers do not realize this does not THE SCHOOL OF STYLE AND REPERTOIRE (Evenings) comes more discriminating. 15.00 alter the sophisticated manufacture BOTH COURSES $25.00 Great music grows The Joy of Music Making of the music.) Mu&ic from the direct opposite of the The offers accredited courses in Piano, Voice, MISS MARIE SHANK, Secretary chief drawback to the excel- tendencies, and the “boogie-woogie” Violin, Organ, Public School Music, 801 (ackson Bld’g Asheville, lence of our mechanically reproduced N. C. restless tension which makes them Harmony, and Orchestral Instruments. music is its tendency decrease per- to possible. A return to our primary Confers Degrees of B. M., A. B., and sonal music-making. The superficial sources of happiness—inner quiet, M. M. argument Distinguished is, of course, that one does communion1 with nature, meditation, faculty including better by listening than to Toscanini the ability to command fresh, un- ARTHUR C. BECKER by attempting less perfect perform- jaded enthusiasms—can do much SERGEI TARNOWSKY a**ce one’s t)f (Lmcmnuli self. I do not agree with toward bringing the student on terms MME. MARIA KURENKO this ALBINO GORNO. Dean SIDNE1 C DURST. view. Certainly, Dr.of Studies the average of harmony with himself and hence RICHARD CZERWONKY music lover cannot duplicate the art he hopes to serve. WALTER KNUPFER s eer with the Faculty of internationally known artists omw,. performance standards of a aid we can give our stu- SAMUEL A. LIEBERSON courses lead to Artist Diplomas in applied music great The best to B. Mus. degrees (vocal or theory); b s Mnt artist; Sch, Mus. and but he can duplicate the the level of of offers Ed.. B. Ed. Pub. M.Ed. in col- dents lies far beyond The Dept, Drama a 3-year Course with Univ. of Cincinnati. ei laboration Close assocln P 'sonal creation which the consists in tlon with noted Cincinnati Symphony Orchestra art- technical facility. It Address Registrar Bulletin Professional lst brings for and with WLW. instruction in radio , to his and which broadcasting and recording: complete , work, turn away from studios ne teaching them to Weekly college broadcast over Station very element that makes his DePAUL UNIVERSITY WLw! softness, the restlessness, the For Catalan anil folder write: Performance the Room 401, 64 E. Lake Street, Chicago, 111. notable! That is the im- Office of the Dean that has made the world portant thing. materialism H 1228 Central Parkway Cincinnati, Personal communica- help Ohio on look as it does today. Let us grows only from personal effort. How them not to take it easy. Let us en- fortunate it would be if we them in the adventure of LIBERAL COMMISSIONS strike a just balance in the courage Music Lovers to earn fj \ us p ec me exploring their own minds. Let securing subscriptions for THE ETUDE. Part or ? thods of introducing v *l . < it takes S lildren instill into them the courage full time. No Cost or Obligation. Write for com- T? to music. As it is, we ar i nClmed standards. In such Address to wait for the child to to live with lofty plete details TODAY! shmi, lgnS approach art on a 0f musicality himself. If a way. they will CIRCULATION DEP'T tliP C i! 6 Weak> surer foundation, and reach a higher THE ETUDE MUSIC MAGAZINE alone we leave him tif 1712 CHESTNUT ST., I'lItLA . PA. they are goal than mere surface relationships nounnort “oderately pro- - we have him play finger can ever provide for them. AUGUST, 194] 571 ful and exciting. The subjects for the the Silence of the Night, and with couple of boys rang it. The train had New Horizons in Music August broadcasts of this program the chorus both artists will later per- rugs on the floor, and there were are as follows: August 2nd Herbert form excerpts from — “The Pirates of zippers on the curtains. There were for the Radio Ward, Explorer and Artist among the Penzance.” beds with some more beds on top. Congo Cannibals; August 9th—Our The beds could be made into chairs ( Continued from Page 517) Nearest Neighbor in Space; August in the daytime and beds again at 16th John Ericsson, Swedish-Amer- Youth Overcomes a — night. There were places where you Welsh, French, German, Russian, ican Inventor and Engineer; August wash, and they were pushed into the Swiss, Hungarian, Finnish, Greek, 23rd—Chemistry and American Inde- Handicap wall when you finished, and there -Nor- pendence; August 30th—The Norse- Austrian, Dutch, Swedish, and ( Continued from Page 508) were toilets that turned into seats. wegian descent have been asked to man in Greenland. We went into the Beechnut Building.

participate. OLUUC11W, -Lilt: ' Radio, the Voice of Defense If you like a bit of close harmony in the electives lor these courses now and then, tune in on a Thursday Radio plays the part of the Voice more handicrafts than are to be u x animals. ana of Defense in this country. NBC had We got candy at 8:30 P.M., EDST, to the CBS net- found in those given to boys gum from programs and the Beechnut Girls. Some work. It’s quite possible that from three regularly scheduled girls who can see; otherwise their of the children saw a machine that stations the network along these lines: “Frontlines of most of the on education is the same. All courses at talks. A lady Mercy” from 11:15 11:30 pressed down keys, and you will be able to hear the voices of —Sundays to the Institute are subject to the ex- the machine started words. group gentlemen A.M., EDST, Blue network; “I’m An to say some of amateur aminations of the Board of Regents We couldn’t American”—Sunday from 12:15 to understand the machine who are carrying on the barber shop of the State of New York who wisely wery well, but it was hear it. tradition singing. This program is 12:30 P.M., Blue network; and “Nat- show no fun to of favoritism. The busses ional Farm and Home Hour” Mon- had musical horns. They picking up its group from a different — So that living may approach nor- sounded like ‘East Side.’ section of the country each week. day through Friday from 12:30 to mal family Side, West conditions, pupils of the We saw many ” 1:15 P.M. and Saturday from 12:30 to kinds of cars . . You see, it’s being sponsored by a school live in cottages which accom- TheY saw the of society called SPBSQSA, a name 1:30 P.M. EDST, Blue network. modate twenty Fair, no doubt pupils with a house- nat; if “Frontlines of Mercy” is a series de- you attended this Fair your- which stands for The Society for the mother and teacher. Parties, dances > you signed depict dramatiza- find their descriptions Preservation of Barber Shop Quar- to through and festivals many of — which the ringing to tions and discussion the work of the pupils life your own memories tette Singing in America. There are plan themselves—are or Amer- given- it. They saw the they many famous names among its mem- American Red Cross. “I’m An and there are likewise Fair, and many field nave an ican” restates the values of American equally accurate mental pic- bership—and they all take the trips made, in order that they may offered in coopera- every sight with- musical activities of these various democracy; it is experience and enjoy in that comes contact with eir radius quartets seriously tion with the U. S. Immigration and outside influences. of observation on all very indeed. The latter have rvf ;!? Although the most striking feature Naturalization Service. It features included visits trips. Written accounts to the S. S. Norman- h k h weekly a distinguished citizen of S. younger and students of radio always has been its enter- die, the S. Queen Mary, the Bronx confirmrnnfi older foreign birth. Agriculture’s part in this fact. tainment value, the value of radio as Terminal Market, a fire station the a facile a disseminator of news during the the nation’s defense program plays Museum of Natural History, explanation for this the Hay- ptl°n a prominent part in the broadcasts den ' seeing say, present world war crisis has given it Planetarium, the Metropolitan S^pv persons often haVG of a new status. Radio is compiling not of the “National Farm and Home Museum of Art and the an lmusual sense Bronx Zoo tonnif” an Hour.” Last year and the exP* anation which the only a talking history of World War year before they blinri « featuring promptl The “Telephone Hour”— took field trips . y scotch. not, II, but also a collection of oral rec- extraordinary— thev O They are to the P tenor James Melton, soprano Francia World's Fair. am ’ SUper extra ords of the events that led up to it. Every boy ’ sub - ab or and girl in in LI Mutual’s White, Donald Voorhees and his 57- the Institute had the they are normal WOR, in New York, has privilege of Persons T®?’ just the at- h compiled and is adding to a piece Symphonic Orchestra, and tending the Exposition ° handica ed by daily at Flushing blindness. PP library of recordings for Christie Mixed Chorus—still remains New York, for a to be used whole day and see rC ° whatever educational purposes a one of the most popular of all musi- ing its thousands of thrilling me this handicap the sights blind mr . postwar cal programs on the air. Heard over To us possessing 6 W°rk dili en their generation may decide. No vision, it seems educYtmn S tly. and other the NBC-Red network from 8 to 8:30 incredible that mus ‘ be use station in the country is ac- sightless youth could gained by the this show ns'5 credited with such a large library; P.M., EDST on Mondays, see the Fair, yet we use this term instead of the usual ad five Bpr.f Se there shares the honors of the evening visedly. In their °( this f are approximately ten thou- descriptions of the £tu^ Y act, the intel- sand with the “Voice of Firestone” pro- trip “we saw" and th °f the si was record sides filed in chrono- “I saw" are ex for manv vr ^htless follows it from 8:30 to pressions y ar letardetl logical order. gram, which frequently - Then quite Even the news broad- ’ encountered as electrY v i!* 9 same station. Those who Their word pictures 1,lumined casts from abroad are preserved. In on the of sights and for the world Melton those yitl the admire the voices of James scenes seem conclusive seem er eyes, Braille, days to come it may be that we proof that the radio \ Francia White may be interested they did see and ’ 0Ucb ~system will rehear some historical events of and enjoy everything and othp • typewriting of their selections that came under inventions 11- the past—such events as the nervous to know some their inspection lumed and devices scheduled for the month of August. even the young children W°rld for ‘he blind. With speeches of Hitler after his entrances seemed to these Melton is announced visualize perfectly 6111 aids and into the Sudetenland, Czechoslo- On August 4th, every object ods modern meth- song with of edUcation vakia, and Vienna, or the speech of to sing the Spanish love which they came in contact ‘hey may now be- Here come i „ olm Princessita and Tschaikowskv’s None for example, are a ed and valuable citizens the late Neville Chamberlain an- few paragraohs wbnho e Miss can capably, even nouncing our time.” Ray But the Lonely Heart, and from a letter written by skillfully, Der- peace “in pupils of ttje foim work of White is to be heard in the aria, second grade: many kinds. Lyon, head of WOR’s recording divi- Blind “. young people who can Puccini’s . speeches In quelle trine niorbide from . We had a ride on pass sion says: “Our recorded the moving regents examinations and docu- “Manon Lescaut.” On August 11th, chair in the General college en- will someday provide living Motors. We saw trance examinations, perform Melton is to sing a spiritual De Ol’ a make-believe city, chem- ments the like of which no students where the cars istry and physics aria, Ah! experiments as- when the Ark’s a-Moverin’ and the were only toys, but it looked semble have ever had. I think that as if automobile motors how- fuyez douce image from Massenet’s they were moving. And and radio“ history of this war is written, we heard a transmitters and receivers Miss White is to sing recordings will be of “Manon,” story about 1960 as we went around power °^erate ever, the news machines such as pro- Gounod’s To Spring, and together in the chairs. ^hspeedV even greater interest. They will We went on some real lathes, and excel in differ- they will sing La Golondrina. On trains. They ts and vide perfect proof of the were standing still as these cra fts, the on students at t J T August 18th, Melton is to feature a track 6 Institute ence between what actually hap- at the World’s Fair. We saw ask no nitv do, Rimsky-Korsakoff’s The Rose tw thought En- where the engineer 1 °nly pened and what everybody stands, and we sympathetic ' the Nightingale, the familiar undemandi^^' slaved saw where the fireman Wg ° f their was happening.” puts the coal problem. For a h for knowl- lyric of our grandparent’s days, I’ll One of the trains “ hleve™®ent Man’s unending search had sliding doors' their concert such as of the broad- Sing Thee Songs of Araby, and will We saw a C ® es ‘hey edge is the inspiration streamlined train. We only expect ” join his colleague in the fifth had t “The World Is Yours act to go up quite a few 1 ° f tde technical cast called steps before we skill the h T* the NBC-Red net- duet from “Manon.” On the 25th, got into the aUty and heard weekly over train. In the train ‘he finesse of 5:30 P.M.. Melton will sing another popular saw we their nn work on Saturdays 5 to some bedrooms and That they are blind Spanish song, Ay-Ay-Ay a little means f,; seeks to show , Miss White kitchen. on, EDST. This program There was a bell *** color- will be heard in hanging tional ^ the addi_ science can be fascinating, Rachmaninoff’s In over the side pproblem^Dlem that of the engine, ep.,. of surmounting a and a voe handicap; which they 572 did. :

Fhetted Instruments AMERICAN Getting Ready for the Fall Season CONSERVATORY Eu Cjeorcje E. E\ riel

AT THIS TIME OF THE YEAR, are ideally suited to the study of -/MUSIC when a new musical season is music, which requires concentration CHICAGO 56th SEASON not far distant, many young of all our faculties, for then we are artists are hopefully looking into the free from the interruptions and de- Founded in 1886 by John J. Hattstaedt, today The American Conserva- future with the expectation of earn- mands made upon us during the busy tory of Music is outstanding among institutions for music education in teaching season. It is ing a large share of public acclaim. concert and this country. Its graduates are to be found occupying positions of honor While we thoroughly believe that a gratifying to know that one is thor- and responsibility in every department of music. or musician should take time off during oughly prepared to play a radio Member of the National Association of Schools of Music the summer months to indulge in concert program when called upon The Faculty—One hundred and thirty Professional outdoor exercise and thus keep to do so; in fact, nothing gives one and Teaching Engagements artist teachers, many of national and in- —Although the. management does not assurance ternational reputation, including physically fit, we also recommend more self-confidence and pian- guarantee positions, it has been most ists: Heniot Levy. Rudolph Reuter, knowledge. Al- successful in assisting students to find that a few hours daily be devoted to than such len Spencer, Edward Collins, Kurt remunerative situations in colleges, acad- specializing in the fretted Wanieck, Louise Robyn, Tomford Har- emies, music schools and in concert, improving technic and adding new Teachers ris. Earl Blair and others ; Voice opera, radio, orchestra, lyceum and choir compositions to one’s concert reper- instruments will also find that the Theodore Harrison, Charles LaBerge, work. John Wilcox, Elaine De Sellem Violin: to good ; toire. We have known players of summer months can be put John Weicher, Herbert Butler, Scott Tuition is reasonable in keeping with the Willits, Stella Roberts; Organists: times and may be paid in convenient in- guitar, mandolin and banjo who year use. Some teachers offer special rates Frank Van Dusen, Edward Eigenschenk ; stallments. Complete particulars given in in and year virtually to to beginners, thereby keeping their Theory: Leo Sowerby, John Palmer, catalog which will be mailed on request. out adhere Irwin Fischer. the same program numbers, giving studios open at least a few days each Students’ Self Help—The management Accredited Courses are offered in Piano, makes every endeavor to assist needy is an opportune time to as an excuse that “these are the week. This Vocal. Violin, Organ, Orchestra and Band students to find part-time employment. catalogs Many find work pieces the public like best.” us it send for music publishers’ Instruments, Public School Music, Chil- as teachers, accom- To dren’s Piano Work, Class Piano, Musical panists or part-time music, in order positions working seems that, having played these of fretted instrument Theory, Dramatic Art and Dancing for commercial houses, etc. numbers up with modern teaching so often, the artist is en- to keep Degrees—Bachelor of Music, Bachelor Dormitories—Desirable living and board- abled to material. The alert teacher knows of Music Education. Master of Music ing accommodations can be secured at “put them over” with ease the Conservatory material and methods and Master of Music Education are con- Dormitories at moder- —a fact which the audience is quick that teaching ferred by authority of the State of Illi- ate rates. Particulars on request. nois and recognized as a guarantee of to realize. his instruments are constantly for accomplishment. Fall term begins September 15th. and he will give his To get out of this rut one should being improved, foresight in For free catalog address John R. Hattstaedt, President experiment with new compositions pupils the benefit of his The mere just off such important matters. the press. An experienced 576 Kimball Hall, Chicago, 111. enrolls as a pupil player will study the reaction of his fact that a person anxious to learn to audiences to his concert numbers shows that he is must guide him and, by adding new numbers and oc- play, and his teacher studies by using the casionally eliminating an old one, properly in his and pieces for recre- build up an interesting and compre- correct methods to keep him interested. hensive repertoire that will please ation in order his examine the listeners and add to his reputa- Now let us briefly available tion and success. studies and teaching music of the fretted instru- While the musical public is well to the teachers mandolin there are aware of the high standard set for ments. For the Trains students for active musical careers in L|. Professional their chosen field. Progressive faculty. the etudes and technical exer- A Conserv- violin by such artists as Kreisler, methods, atory occupies own building. Piano, voice interesting School violin, cello, reed and brass instruments, Heifetz, cises properly graded; of Music church Elman and others, a great and choral music, theory, music education and many beginner, intermediate and expression. Fall semester begins people are still in the dark as pieces for in a University Environment September 16. to comprising suffi- Write E. CLIFFORD judging a performer guitar advanced students, For Free Bulletins Write Northwestern University TOREN, Dir. on the 3201 Foster Avenue, or to provide a course Chicago, Illinois! mandolin, and a carelessly select- cient material School of Music. EVANSTON. ILLINOIS ed to six years. Most program coupled with a slipshod of study from five been produced by performance will only harm the Df this music has writers who well LAWRENCE cause of the fretted instruments. classic and modern ^SMOPOLITAN COLLEGE So needs of serious students ^SCHOOL why not use a part of your knew the OF CONSERVATORY OF MUSIC be GANDELL, M.A., Oxford cation to the mandolin. The same may SHIRLEY APPLETON, WISCONSIN polish up your technic of } University, England, President. review classic guitar. Methods, 37 Mi year. Accredited. Otters courses Carl J. Waterman, Dean your said of the Certificates, old pieces, paying j in all branches of Music. Courses In piano, voice, violin, 'cello, organ, covering diplomas and degrees. Desirable board- theorv lcular technical exercises public school music and choir directing ieudlnn in attention to tone qua etudes, ing accommodations. Located in down- B all Bachelor and Master degrees. aSing phase of guitar playing, by town musical center. and expression until t every Box E, 306 S- Wabash Ave.. Chicago. arp Wel1 and modern writers for nigh Perfect; to memo the classic e new are available in abundance; compositions, rememl vuitar Establishetl 1857 i at variety of original com- ° y°ur needs d and a "great , memory Pn actice and classic transcriptions as well as your fingers? positions pi; a imiYV conservatory ave of the advanced °Hen wondered whether are at the disposal I BALTIMORE, MD. verage concert artist. There is, r LaAOXImJ radio listener realizes student and OTTO ORTMANN, Director ours for more recrea- of thoughtful the however, a need work on ] One of the Oldest and Most Noted Music Schools in America. he for the first and second artis t which preceded tional music fiff ee . original compositions _niinute Performance over year student, ^i pieces " of modern — reminds us of a defini and arrangements 01 difficulty. We firmly be- that scientific principles should become the common pos- the word, vacation: “Fo of medium "It is high time guitar would professional musicians, and that our musical instittitions should °f antlci ation lieve that the classic scssion of all P > we”ks of If . number of stu- introduce lectures giving a more defined and rational basis for correct and Preparation and one v attract a still greater orf realization." publishers of the higher varied ‘tone production' (touch) on the pianoforte, which now is largely a dents if the ." e would employ matter of chance and individual temperament —Maria Levinskaya. th°U6ht of popular music , we wish to unpres type ]tY make this y°u is that the summer month capable arrangers, to AUGUST, 573 »

music available to the younger gen- recreational and concert numbers. eration of amateur guitarists who The teaching material for plec- are just as much interested in mod- trum guitar is still somewhat limited, ern music as they are in the classic. although there are numerous so- PLANNING A CAREER IN MUSIC? Another aid to the teacher of the called “methods” on the market, some classic guitar would be the oppor- fairly good, others not so good. The tunity to obtain instruments at a • Next to talent, thorough, professional Courses lead to certifi- main trouble is that most of them training is the most important element in cates, diplomas, and de- moderate cost. From our own experi- are not scientifically graded and it of a musician. Sherwood pro- grees in piano, violin, the success ence we have learned that beginners requires a lot of ingenuity the vides ambitious students with highly spe- cello, voice, organ, wind on are usually unable or unwilling to cialized training, at moderate cost, under instruments, theory, composition, public part of the teacher to select the invest more noted American and European teachers . . . school music, conducting, microphone tech- than twenty or twenty- proper ones to insure steady progress sound reasons for choosing this school for nique, dramatic art. Dormitory accommoda- five dollars in an instrument, and of his pupils. There is also for your career-preparation! tions at moderate cost. Write for catalog. room American manufacturers would do more recreational NEW TERM BEGINS SEPTEMBER 15 412 S. Michigan Ave., Chicago, 111. and concert music well to try to fill this want. While the in the intermediate grades. Institutional Member of the National Association of Schools of Music writer has always been a strong ad- A tremendous amount of music has vocate of using high grade instru- been published for Hawaiian guitar, ments, which naturally are high and teachers can easily fill their priced, there are great opportunities wants frbm the different catalogs. in the lower price field that should The “methods” for Hawaiian guitar, not be neglected by enterprising however, do not contain sufficient manufacturers of classic guitars. JUILLIARD SCHOOL OF MUSIC technical matter, and teachers would The teacher of the tenor banjo welcome additional books containing ERNEST HUTCHESON, President should have no trouble finding the intermediate and advanced teaching material necessary technical to keep exercises for this instrument. a student busy for four or five INSTITUTE OF MUSICAL ART years; This department will be the catalogs glad to be and of publishers of of help to GEORGE A. WEDGE, Dean any teacher or student in banjo music Include quite a number the matter of selecting the right Individual vocal and instrumental instruction. Classes in Theory, Com- of banjo methods, books of technical study material for any of the fretted exercises and a position, and all branches of music education. great variety of instruments. Courses leading to diploma and B. S. and M. S. degrees in instrumental, singing, and public school music departments.

Catalog on request. Room 122, 120 Claremont Avenue, New York (Continued from Page 532) of the Vienna proceeds alone. ^ . aays,dnvluu Bulletins of recent record releases sent music and, eld Wanderer. same. ’ withTh!within thth! ument A on request. tinntion ofnf + e ded free these two produc L 6P ~ <* by the munici Complete Catalog of RCA-VICTOR REC- several Ctl0ns V^naa announcements 1 juvenile effortsefforts, ancand marka his | hp grave 15 cents ’ he Von ORDS—Price, neyneveineve ' sfau tempted grand or aat-* - PPe, andMire- opera ese asa the creator of CO 1*0 s ITIO x s co mi E< 'TIOD nose opereftt’ ? »I A normal, hearty p ei.„ n„ . a had a distinct lind it a great convenience nd style You will mode of life ln his of"!dIS your records by mail from and inter™ own th 11206 Har- to get fineness .. \ , and oimHarry Woofer? B. “musIc* Suppe, nevertheless yon S borview Drive, Cleveland, Ohio. indul^f’ ac ter was ™plicity of his THEO.DORE PRESSER CO. few idiosyncracies d m a . dance and aimiJh? work ected in his mus ni«v a\o JA/Z like friends. S to hum. course. Informa- 1712 Chestnut Street, Phila.. Pa. He wouldUld his — U players. Quick mail have , '’ “ radio B, hav!Tno0 geoiageois Bood-nature.g00d natured, tion free. Erskine Studio, Dept. — his studystudy,Study heat —~exn™exm- . eveneyen on thp no,, in Bosedale Ave., Oakland, Calif. the coldest and the soul o£ wm!”nter th! lit T* °ne ”m Whlch he . hundred 574 5- ears ago, has i its vitality and inspiration down to 1880 “Donna Juanita,” our own day. Franz von Suppe 1881 “The Beggar Student,” Viennese Operetta Through Karl Millocker the Years 1885 “The Gypsy Baron,” Johann Strauss (Sohn) 1846 “Poet and Peasant,” Widow,” Franz von Suppe 1905 “The Merry Franz Lehar 1847 “The Country Girl,” FALL TERM 1907 “The Waltz Dream,” Franz von Suppe Oskar Straus Suppe STARTS SEPTEMBER 8 1858 Paragraph 3 ... Franz von 1907 “The Dollar Princess”. .Leo Fall 1862 “Pique Dame”. .Franz von Suppe 1908 “The Chocolate Soldier,” PROFESSIONAL ARTIST COURSES Oskar Straus 1862 “Jolly Boys”. . .Franz von Suppe For those desiring special coaching in any Luxembourg,” 1865 “Light Cavalry,” 1909 “The Count of branch of Music or Dramatic Art. Franz Lehar Franz von Suppe ,” 1911 “Der Rosenkavalier TEACHER TRAINING COURSES 1865 “Beautiful Galathea,” Richard Strauss Bachelor and Master degrees. Franz von Suppe Leading to the 1922 “The Rose of Stamboul,” 1874 “Die Fledermaus,” Leo Fall Faculty of Nationally Known Artists Johann Strauss (Sohn) opportunity of 1924 “Countess Maritza,” We would appreciate the giving you complete information about any 1876 “Fatinitza” . . .Franz von Suppe Emmerich Kalman of our courses in which you are interested. 1877 “Nanon” Richard Genee 1928 “Marietta” Oskar Straus Lehar Write today to Jeanne E. Howard, Registrar of Smiles”. . .Franz 1879 “Boccaccio” ... Franz von Suppe 1931 “Land MEMBER OF THE NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC

25 E. JACKSON BLVD., CHICAGO, ILLINOIS The BeIIdws in Interpretation (Continued fr0771 Page 569) released immediately after 1/ \ playing and merely playing a group buttons The bellows should be \ of notes. being played. enwooI / manipulated that they produce The first four measures of Chopin’s so / \ constant flow of air for the stac- CONSERVATORY OF MUSIC Polonaise, Op. 40, No. 1 illustrate an a by Ditisionof Lindcnwood College / \ cato effect but are not influenced entirely different touch for the right must tor Women. Thorough prepara- to play jerkily. Sufficient air tion for careers In music under / \ hand with its bass and it a distinguished (acuity. B.M. corresponding little to bring out the degree, certificate and diploma bellows action. be reserved / \ of the second in piano, voice, violin, organ, bass solo at the end harp, other instruments, public school music, theory, har- / 75th YEAR \ and fourth measures. mony, history and appreciation A complete school of music, dramatic accordionists feel that they of music. Well-efluipped stu- / art and dancing. Courses lead to degrees. Some dios, beautiful buildings on Special students may enter at any time. spend the time and concen- 138 acres near St. Louis with / cannot its frequent concerts, operas, REGISTRATION— fepiiis finer tration necessary to study the other musical attractions. For September 6 catalog and victv book, write / 4, 5, \ They prefer to Write for catalog points of playing. President, / \ new com- Box 1241, St. Charles, Mo. 2650 Highland Ave. Cincinnati, Ohio. learn an endless chain of perfect- positions without ever really institute of what avail is it to learn nrTDATT They must be played allegro con brio. ing one. Of UfilKUll MUSICAL ART selections, if not one of them This can be produced best with a fifty BALDWIN-WALLACE DR. FRANCIS L. YORK, Chairman in such a way that it flexible wrist hand so can be played CONSERVATORY OF MUSIC DR. EDWARD B. MANVILLE, President for the right ac- story? We urge (suburb of Cleveland) of the National Association of that it fingers tells a musical BEREA, OHIO Member Music Schools. carries the hand and Founded 1897. All branches of Music and Dramatic playing Affiliated with a first class Liberal Arts College. Art listen to their School of Sacred Music. Faculty of 70 artists. Accredited with its cordionists to and five year courses leading lo degrees. Faculty action, rather than playing Four Teachers' Certificates. Diplomas and Degrees. improve- Teachers. Send for cataloguo or informa- strive constantly for of Artist with the note and to tion to: H. B. MANVILLE. Business Manager fingers alone. Each Putnam. various types of accordion ALBERT RIEMENSCHNEIDER, Dean, Berea, Ohio 52 Detroit. Mich. must be brought out distinctly and, ment. The stepping stones which while not exactly staccato, yet de- technic are to good musicianship, tached. It can be readily discerned pave the way OBERLIN Conservatory should be neglected. Thorough instruction in all that this would call entirely and none A Division ot Oberlin College. for an music. 46 specialist teachers, excellent equipment will answer questions brandies of different kind of bass accompani- Pietro Deiro (200 practice rooms. 23 modern organs, etc.) Degrees: Mus.B., Letters School Mus. B.. A.I5. wlih music major. Delightful college playing. Ohio. accordion ii. Catalog Frank H. Shaw. Dir., Box 581, Oberlin, ment as well as a different type of about 1 ow addressed to him m care bellows manipulation than that used should be Chestnut Street, for the Example of The Etude, 1712 1 . The basses should MILLIK1N CONSERVATORY OF MUSIC Pennsylvania. be played almost staccato and the Philadelphia, DECATUR, ILLINOIS Offers thoro training in music. Courses leading to Bachelor of Music Degree. Diploma and Certifi- cate in Piano. Voice. Violin. Organ, Public School of Music Music Methods and Music Kindergarten Methods The World Bulletin sent free upon request (Continued from Page 507) W. ST. CLARE MINTURN. Director ssa? - SHS i8th,rxr^„reBe °n june QlpfaplatiBJnatitutp nf(Qubit season foi the awards during the coming orchestral THE WOMEN’S works in the fields of Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Division of£ the Com- best new * D and dramatic Faculty of Nationally Known Musicians America^by Aiding °the chamber Dorn kmlrAllies awardedf composers and foreign the first nrise of three can-bom ^ BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio eligi- ' citizens are 31 3 in now American ' thelr song con- who are W Jo wo!' * * — ll0,, e IOT “le 3Wa —— * * * D S ° entWed “ Me ana ne MvZl j \ Amerman of one hundred KREUTZ, young Only a hundred or so 'aJid Mty dXrs'wem ARTHUR "But what is the fate of Schubert’s six hundred ? a d this year’s award from skill ivhich ‘he songs entitfed Prepare composer, received have really lasted—those, namely, where he displays that lyrical ZS of Amencan Ealph Herrick and the National Association he learned with so much patience and application. A song remains what it My Own foi h Amenta by Conductois it taken a lifetime Allie Wrubel. Third of Composers and has always been, five minutes in which to say what has one hundred prize Snow movement of his dollars was won by Ada R ter of the Blue to learn.”—The Observer. 8 Etina Suite." A - "Wright “Paul Bunyan nSJ , for wings Over America. Continued on Page 580) — ***** ( 575 AUGUST, ic, 4l '

(

Great Composers and Strange Instruments

1-1tj f-^aul! JoucfoUet

Uncle John always had a fund of after having been popular for quite interesting musical facts that made a number of years. It seems that the his visits memorable events to his tone, while very sweet, had a bad nephew, Bobby. And this visit would effect on the nerves of the per- be no exception. former.” “What are you going to tell me “That’s interesting, Uncle John. about to-day, Uncle John?” asked What was the other instrument you eagerly. Bobby, were going to tell me about?” “Well,” mused Uncle John, “sup- “Do you know what a hurdy-gurdy pose we consider a couple of strange, is, Bobby?” obsolete instruments for which some “I remember Mother telling me of the great composers wrote music. about the hurdy-gurdy man who Did you ever hear of a harmonica, used to play on the He had a Bobby?” street. little dressed-up monkey on a string.” “You must be fooling, Uncle John. Bobby saw his uncle’s eyes twinkle. Everyone knows what a harmonica “That is another example of how Horse Steps High is. Why, I can play one myself.” A the meaning of a can be Uncle John laughed. word changed as time goes on. The word “I’m sure you never played the one harmonica’ now suggests a different instead I mean. I refer to the instrument black of the first joint on the key in- instrument originally Tommy’s beautiful little vented by our own than the one curving it, then Benjamin Frank- horse was beginning to take prizes in of lifting the finger, called by that name. The old-fash- of it. lin. He called it the armonica. there, playing just on the fatty end It was ioned street-organ with harness races here and also was confused teacher be- known as the ‘musical glasses’ ” throughout the country, whenever “See here, Tommy,” his the hurdy-gurdy by the fact that pianist are “What was it like, Uncle John?” held at county gan, “the fingers of a both were used street- such things were “It consisted of a by the Italian legs of a horse because series of bowl- fairs. The boy was elated about it, similar to the musicians and both instruments then set shaped glasses arranged on a himself sat they must be raised, curved, spindle were played especially because he It had a treadle operated by turning a handle. on the cushion part of by the foot in a funny little, old-fashioned phae- down exactly which caused The hurdy-gurdy was very P°P' horse could the glasses to revolve ” horse all the end of the finger. A ular during century, ton or cart and drove the “How was it the eighteenth perfectly timed played?” asked Bobby for a very long neither take such although it existence by himself. Every day, “What kind of sound had been in feet down each time did it have?” tor ' time, Tommy drove his horse along gaits nor put his hundreds of years before. It waS if he didn’t Uncle John explained. town near exactly as the time before, “The player shaped like guitar. lonely roads outside of moistened a lute or small and bend his knee. The his fingers with water It the green foothills, teaching him to raise his hoof and had four strings. A handle turned his knee sets the direction squeezed the glasses as they a do perfectly five different gaits. A bending of turned wooden wheel covered with rosin, The curving of the finger around, increasing or which “gait” is the style in which a horse of the hoof. diminishing the came into the pianist’s contact with sets the direction of a tone by more or less pressure strings steps or trots. The trick for the horse joint of the and caused them to sound.’ finger tip. Don’t you see, Tommy, fingers. The tone was said is to be able to continue in one gait to be very Who wrote music for the hurdy- better get busy and give sweet. No less composers gurdy, without getting out of step, or that you’d than Mozart Uncle John?” fingers some harness racing and Beethoven little black your wrote •• “Joseph rhythm, into another. The music for it Haydn.”’ technic?” “Does anyone play horse had to learn to pick up his it now?” Bohhv “Thanks, Uncle John,” cried Bobby Miss Philips, you’re sure wanted many in pretty slender feet high, bending his “Say, to know. excitement. some- “I only hope “Won’t I have smart,” sighed Tommy. “No, the instrument 1 knees so that he could make his fell into 0 tel1 at the meeting of long to teach my disuse nnJ ?/ next that it won’t take as our Music next steps as high and as perfect has Club!” prize winning gaits as it as the ones before. fingers them to my horse. One morning, when Tommy went taken to teach think of it,” he added, star to his lesson, he was in a bad humor Come to music before him, broken one ing at the sheet of because his horse had triplets, like staccato notes, gait and had lost a prize at another "things passages, and even syncopated fair. Today his piano lesson was not scale might be termed the 'gaits the prize-winning kind, either. He rhythms persisted in playing with the whole of music.”

Musical Transportation B, Wr*. Paut (Kern) of 7. Show Fill in the blanks with methods man (Schu- 8. The Wild transportation. mann) H 1. Swing low, sweet Built for A 9. On a (Negro Spiritual) R Bumble-Bee Two (Dacre) 2. of the (Grieg) 10 - of the Dwarfs M (Rimsky-Korsakoff) 0 ocean blue Hu- 3 We the N to Musical bert and Sullivan) Answers Dutchman 1 4 Transportation C ‘Wagner) Flight; 3. Sail; 4. (Han- 1. Chariot; 2. A Where E’re You 5. rFlying;lying; o.5. Walk;walk, 6.u. Wings;vvjii&o, 7,i. Boat; del) « tt . n Bicycle;1 /rtrr. 1 q • 10.in MarchTVTarnVi (Mendelssohn) 8. Horse; 9. On of Song ,

A Musical Map The Minuets Were Read and Approved By Priscilla M. Pennell CFor Your Fun Book) Walter was so enthusiastic about By Alctha M. Bonner the trip across the country which he was going to take with his father The Grand Opera Club held its regular meeting last week at the that he had to tell his music teacher \M!L home of Lucia Di Lammermoor. After about it. a short business meeting, conducted “It’s going to be great fun,” he IX-’' by the president, Butterfly, confided. “I’ve studied the map so Madam the meeting was then turned over to many times that I know just what Aida. An interesting fol- routes we’re going to take and what program lowed given by Mignon, Louise, towns we’ll pass. Even if we lost the Dickinson, North Dakota, Junior Club in costume playlet Martha, Natoma, Hansel and Gretel. map, I think I’d know the way.” Also a vocal quartette given by the “How would you like to make a Putting Life Into Music Meistersingers, accompanied by the musical map, so you will be just as Sba,isij eJ.ec Chimes of Normandy, played by sure not to lose your way when you % the Flying Dutchman. The Juggler of play your pieces from memory?” “I wish my playing sounded rhyth- “Yes, it is," replied Florence. “Now Notre Dame also entertained with asked his teacher. Miss Farwell. mical and peppy like yours,” Della try the right hand part, and be sure some tricks. A delightful social period “That would be great,” replied remarked wistfully, as she listened to bring out every accent.” concluded the meeting, at which time Walter, “but how can you make a to Florence playing the piano. This bothered Della a little; but the guest of Honor displayed his map of music?” “It isn’t hard to' put life into Magic Flute. The meeting adjourned, “Just try and see,” suggested Miss music!” declared Florence. “It’s to meet next month at the home of Farwell, handing him a box of colored mostly a matter of keeping good Samson and Delilah. pencils. “Pretend the piece you are time, and putting the accents where j j learning is uncharted territory and they belong. When I get a new piece the ac- you are going to map out the routes; of music, I first learn where What Am I? but look it over very carefully so you cents come in each measure, and the By Mrs. G. A. Risch will be sure to make a good map.” rest is easy.” My first, second, seventh, third and Walter studied his piece in silence “That may be true,” Della ad- fourth mean pure and undimmed. for a few moments. He noticed that mitted, “but I usually forget the ac- j j j My fifth and sixth mean not out. it was in three parts and that the cents, and that deadens the whole My sixth, seventh and eighth are a last part was like the first. performance.” some snare. “I see this is going to be a round “Do get your Metronome, paper, and let A ^ What musical instrument am I? trip,” he remarked, “for I will come music, and a sheet of Clarinet. to study accents," Answer: tack over the same route I started me show you how out on. It’s like setting out from begged Florence. j j j j

the materials Dear .7 : Maine and going into New Hampshire And after they had rxion Etche I started taking violin lessons when I “First I’ll was and coming back through Maine before them, she said: six years old in Europe. My teacher gave me correct position, so I did not have any trouble again. the write out a table of accents, showing Now I’ll have to mark when i changed teachers. Before I left Europe different routes.” where they come in the I was able to see the Danube Nights, which were very pretty. The boats were measures: lined with When he was sure of the length of types of colored lights, and if you wished to go on a trip you would pay admission to the the “When I begin working on a new 8 boat, and first phrase, he underlined it with Tn Ln then the band would play nil the wav down the red piece,” she continued, “I set my the river and back. Now I play in nia’nv con- pencil and marked it Route tests, in church and at parties. a fairly slow soon it, too, was easy. Then the girls One. Under he Metronome going at Fr frit the second phrase, Angelo Uacaloff Then I read the left hand clapped together, Della following the (Age 10), drew a blue line and marked it Route speed. California. instead of playing bass notes, and Florence the treble. Two. Then he third (bass) notes; but, noticed that the Etfiie : clap “If you would try this method of JrNioit on the piano, I simply •ad the letters In the Junior phrase was like the first. He was them Etude and to the Metronome studying rhythm and accents,” Flor- enJo> them very much. I have pin veil the back them in rhythm et several on Route One again. The fourth clnrii for years and plav in out- ence concluded, “you’d learn your high school hand and orchestra phrase which was from the ticks.” and in the different as pieces far more quickly, and Band. And, of course, I plav the that’s easy!” cried Della, new too. others, he underlined in green. Route “Oh, , notes of your playing would be just as peppy From your friend. Three. she tried clapping the bass When he found two phrases Rt rii Kline (Age 10). in time to the Metronome. as mine!” almost alike, he gave them the same a piece Indiana. r°ute number but marked “Detour” where the difference occurred. The Advice chords in the bass were the towns \ C. Burgess along the way. By IBcirtla “This is Patricia played treble, easy,” said Walter. “I didn’t Patricia and Patience were two uet). and Pa- know a map could so short hail tience played bass; alas, poor Patricia make the music little 77raids, the one had much clearer. two little kept losing her place. They started All I have to do is to the other had braids. These ,*'n the ‘ routes and where to change, the metronome, steady and slow, in T ’ Won t hopes it would keep them together; _ _ ,,. have to worry about forgettingf r my piece „ when lo! The metronome spoke in a hen deep and “Tho’ I Walter at the re - voice gruff: can’t citt? ™ ery0ne Praised knew make music, I’ve heard quite enough, thp + him. He tes so if you wish to play pieces .:f‘“ well that could pay to know, Woodland Melody Club, Pierre, South Dakota, ( he t0 in costume playlet Ule 5cenery (expression! like these, keep eyes on the notes but elono- tif Way don’t look at the keys.” ’i, and make others en- joyinv it with him. They thanked the old metronome t .Trxion Ei Our Mozitrt Music Club is composed of buv: for his advice (Patricia and Patience and girls under high school age. Our nuuitlih include tho musical meetings program. ims f quite nice.) If you’ve • have manners ness meeting, games and refresh- ’his some trouble in keeping your past year we have studied Am Unior Etude had posers. bo nmi.t Contests will ,ed in August, place, remember this story it may Front your friend. but will be re- tried a duet. (’twas — sumed next maidens once month. • Min- help your case. Mozart’s exquisite “Don Juan

577 AUGUST, 1941 . P

THE COVER FOR THIS MONTH—The LET’S STAY WELL! Song* of Good Health cover on this issue of The Exude is by an for School and Home, by Lysbclh Boyd artist who is not new to The Etude but Boric and Ada Richter—Mrs. Borie’s deli- it has been a number of years since his cious Poems for Peter in their musical name was signed to a painting used for settings by Ada Richter have won such an issue of The Etude. Mr. Wilmer Rich- hearty response from parents and teach- ter, who resides in a suburb of Philadel- ers that this companion volume by the phia, is a very successful commercial same collaborators has become a neces- artist and we are glad that he has found sity. Called Let’s Stay Well!, it is aptly time in fulfilling commissions for adver- named, for it has special bearing on the tising agencies, lithographers, and others laws of cleanliness and good health, and to carry out the idea he had for this tends, through the process of memoriz- inspiration in Etude cover which has its ing, to imbed them in the minds of beautiful suite by the “A Day In Venice” young singers. The texts are, in them- beloved American composer Ethel- the selves, masterpieces in the field of juve- Nevin. bert nile literature, and their universal appeal to children is easily predictable. Mrs. PROFESSIONAL PRE-SEASON PREPARA- Richter’s melodies have been carefully TION—The wise and successful person conformed to the limitations of young looks constantly ahead. With system and voices and are definitely easy to learn. regularity his schedule of activity is Some of the titles in this entertaining planned to the most advantageous use new collection are: Just Soaposing; of his time. And certainly no one can Sneezy Wheezies Again!; Chew Chew Train; in more profitably look to the days ahead Tooth Brush Drill; Fresh Air than the busy musician who, during the Your Tires! and Bunnie Rabbit Beans. - leisure hours of summer, has his finest What more imaginative treatment of im have been omit- opportunity to outline his work so as to only confuse the pupil, portant fundamentals can be found? to the teacher serves & begin his winter season with the matters ted, but a preface Advance of publication orders for to point out the method of procedure In an effort to “sugar single now of detail well in hand. coat” the lesso- copy of Let’s Stay Well! are pre- which the author considers most favor- period and maintain being cents The choice of the right materials pupil interest som taken at the cash price of 50 successful use of this book. An ef- eachers have sents a major problem for the musician able to reached the point postpaid. Upon publication immediate de- words and they wher and teacher. And what better way is fort has been made through almost apologize tor livery will be giving pU pi] made. prepare for these illustrations to connect the various aspects exercises and scales, there, in which to with the result th needs, to studio stock of of musical notation, etc., with the pupil’s not all pupils possess than order a that first qualifica Presser previous everyday experience so that he tion of a good supplies today from the Theodore pianist, a well-develope now, may look on music as something familiar finger technic. It Co. A letter or post card mailed has been sain h, . , ** “hectic” of rather than something strange and be- dren do not like Elizabeth Robinson—It ^ rather than during the days exercises and scales S'* ^J Pected before Etude fall, will bring to your studio at once a wildering. author, however, has found e,,. the next issue of The pieces over this really do advance supply of music, chosen according to your Appealing teaching enjoy them when they appears that all ar? p« boo needs, from which you may make your composer’s name are well known to music subscribers to this usual high th eir selections as you require them. Simply teachers everywhere, here the will have received as the production specify that you wish the music "On Sale,” standard has been maintained, The exercises in this copies. With book meet ~ book will testify. requirements. the.‘ s ad which means that you may keep teaching melodious pieces in this For the most tin on this book so f& r m e is complete with words, and no longer than hoP materials so secured until next June, Each piece one page and vanced we can not illustrated in an attractive preceded by : advance when the unused music should be re- the book is interesting explanatn to continue the matte., ? turned for full credit, and when settle- manner. A particular smufis" offer beyond this month- all teachers of beginners will m each study in pSnt con- ment should be made. Since clever fashion It is impossible to Sale” supplies please want a copy of Little Players for refer- stance, stretch Yoursel) “ teacher In requesting “On i s an ®evT ceive how any the privilege of ordering a of the fingers tensi° ishing to make clear the kinds of material you ence, we offer over a one-octave to guide young piano pupils single copy now in advance of publica- Relap Race is a 88 *' 0 need, suggesting grades and the approxi- running scale T interest in and an appreciation ex- tion at the special cash price of 20 cents, divided between the beautifiu mate size of your class. Our staff of hands, one hand? themes from the music of postpaid. lowing the other; d fo ' c pert clerks will do the rest. Broad ; , °mPosers the op- 18 leapin ;nr7 would pass by Presser catalogs about on the keyboard- ity a Any of the numerous to obtain a copy of this book PIANO, A Very First Exercise toes is a light Tit f, i and folders are yours for the asking. STUNTS FOR sLcToZZZZ V advance ric of publication cash P ^.‘

and , ' Booh, Ada Richter—The ingenuity Pole illustrates 5 Thic°K 10 Especially helpful are the thematic pam- by "thumb under” b00k cloes give a successful m SCa: nofc attempt to inventiveness of this very passages for both of Hi c phlets, Bits of Pretty Pieces for Little hands senar? 10glap llica ea for Pole l information about writer of teaching materials piano Vaulting is a ' 1 “ of H G ( Entertaining stunt glea °® Pianists Grades 1 to 2V2 ); lor w ? k hiusic masters. What it d compel the constant enthusiasm of hex- feet an easy pedal “ do iQ f Piano Pieces (Grades 3 to 6) ; and Songs |tUdy presen woi real pleasure eighteen The? ° t melodies from the are the publishers, and it is with studies in a ' of *h of Exquisite Charm. Also useful all dlng Se Breat composers arranged that we make this first announcement duet for teacher or that tn catalogs, Handbook of Organ Music; and piDll ? may will welcomed widely the table be pla ed by ppils “ of a book which be novel characteristics 1 first y p Choirmaster’s Handbook; Chorus Direc- of th?.“ r everywhere. There is the Work year and a ha °l study - “ Teach- by piano teachers “stick-men" illustrat?™ a > wllh u° W » tor’s Handbook; A Guide to Hew s is a here to remind readers of these charm the Whioh muslcal selection there ers the Violin; and the no need youngste? W Parae,a ? on Teaching aph 01or someth'"® many successful books by Be , two telling Teaching the columns of the among the first about»H„ ? ti Guide to New Teachers on to get „ beginning with My First this useful opy composer or rcumstah Mrs. Richter, book by 1 the circur Piano. placing , surrounrH Class y°U1' B the cor Song Book and Kindergarten Book, now at the special ordl sition creation of the advance or ren?' recently including Oion cash PUblicatlc eSented and more My price, 25 cents, in lamp - AU the text matt LITTLE PLAYERS, A Piano Method for Very postpaid 1 a able type such as is beS Kerr— youngsters . Young blj Robert Nolan o f ' . Beginner*, pi lmary ages and th children a ’ This new method, designed for Picture of 1each learned instances A, composer, and in of the first grade who have not such ere also are other pic logical approach to the = Advance \iliication as L ll to offers of read, a P Offers 1 places portri combining iote incidents ? or scenes study of this subject by inn the to em- Uves of the compos* and note presentation. In addition AUGUST 1941 Tearhn touch, Who know their classic phasizing the necessity of a legato Posers wiif books in this list lealize good hand posi- All of the are in preoararmn will what a treat this the author has stressed be f n - publication. The low Advance Offer 1 y°ung location of the no es, Cash Prices that Pupils in consid tion, the value and ply only to orders placed NOW. Delivery thp author of fundamental (postpai IV iarly _ has chosen P al and the understanding: will be made when the books are published. 4- att * Paraeranh ctlVe • aid accomplish- S Ha melodies from rhythmic figures. To m describing each publication follow on these Udel exercises of p-j ®®eth°ven, H ing the latter, various Schubert Mozart, es d Mendelss ‘ character are P> ™“ Child's Own Book of Great Musicians— Stunts for Piano mann °hn, Chopin, strong rhythmic r,’ , Sousa Tapper .10 ahms enabling the Pupil, two ' Wagner, and Verdi, throughout the book, or t! in y Concert Transcriptic 66 S6lections plays, to expiess —Pic.no ... Poser. from each as the teacher Thp ! i skipping. P ld J Keating's Junior Choir Book. . pian mic bodily movements Lawrence these anri o pupil in P side t or swaying from Let's Stay Well—Children's Songs, i-3 readin the to ping, marching Symphonic certain S stories is so vital Borie and Richter Skeleton Scoros-K„4* 0bins°" t or flow which * n ha e his her in side) the pulse Little Players— Piano Method. Kerr No. (i ° r Simulated or —Symphony in G Minor in° Y ities. music that lasting 0 might The has explanations, which &dVance of ‘“Lengthy' Permits thP Publication Prior derinB of a single cop: to Publicationn,u 578 for 40 cents. R tance is expected with the placing of an among its pages. The titles include The has been exercised to keep the selections ularly designed for children of kinder- advance order and, of course, in the ad- Christmas Ballet; March of the Toy well within the range of the juvenile garten and primary ages, and carrying vance offer is included delivery post- Soldiers; Dance of the Candy Fairy; Rus- voice. This collection prepares the Junior on to supplementing the material in the paid. sian Dance; Arabian Dance; Chinese Choir capably to meet any and all de- first section of the average major first Dance; Dance of the Reed Pipes; and the mands that might be made upon it. There instruction book to which a child must Flowers. are two-part arrangements from the move from a kindergarten method, as to SYMPHONIC SKELETON SCORES—/! Lis- popular Waltz of the this is in process of publi- works of the masters; represented are insure continued smooth progress. tener's Guide for Radio and Concert, by While work are being Bach, Handel, Schubert, Grieg, Beetho- My Piano Book, Part 1, is something Violet Ivatzner cation, orders for a single copy of 25 cents post- ven, Liszt, Mendelssohn, Tschaikowsky, like the stool which a Pullman porter No. 6—Symphony in G Minor Mozart taken at the cash price upon publi- and Sibelius. There are effective settings puts down to make the stretch from the Due to the enthusiastic reception paid. Delivery will be made of THE LORD’S PRAYER, THE BEATI- station platform to the railroad car a which has attended the publication of cation. TUDES, and six PRAYER RESPONSES; matter of easy accomplishment rather these scores, we have been obliged to MONTHS OFFER original settings of some well-known gos- than a great physical effort. Usually the augment this series with the next book INTRODUCTORY THREE is the deadline when intro- pel texts and selections for use during average first instructor starts off at a which, when published, will be No. 6 in —August 31st subscriptions for three summer Christmas, Thanksgiving, Lent, Easter, pace and with such materials as to be a the series and the series then will include ductory will be ac- and Communion. little difficult for the youngster who has the following symphonies: issues of The Etude at 35c cepted. Do not delay in sending your A single copy of this volume may be been taking things by easier stages in a No. 1, Symphony No. 5 in C Minor this low rate ordered at the special advance of publi- preparatory or kindergarten beck. This Beethoven summer subscriptions at immediately."Give some musical friend a cation price of 25 cents, postpaid. Copy- new work by Mrs. Richter helps to con- No. 2, Symphony No. 6 in B Minor name. The right restrictions limit the sale of this tinue those easy stages for a desirable Tschaikowsky treat by subscribing in his amount paid, 35c, will be credited on a book to the U. S. A. and its possessions. period. No. 3, Symphony in D Minor Franck full year’s subscription, the price of which No. 4, Symphony No. 1 in C Minor Brahms is only $2.50, if the music lover wishes to CONCERT TRANSCRIPTIONS OF FAVOR- FINE MERCHANDISE FOR SUBSCRIP- continue the visits of The Etude, and we ITE HYMNS, for Piano, by Clarence Kohl- TIONS TO THE ETUDE—Many music lov- No. 5, Symphony in B Minor (Un- will. munii Almost everyone loves to play the ers, teachers and students obtain, with- finished) Schubert know that he — hymn tunes and we know countless musi- out one penny cash outlay, serviceable No. 6, Symphony in G Minor Mozart cians who will look for- and attractive articles of merchandise For those who are unacquainted with CHILD’S OWN BOOK OF GREAT MUSI- Thomas ward with joyous expec- through securing subscriptions for The the publication of this series, we shall re- CIANS—JOHN PHILIP SOUSA, by time of the tancy to the day when Etude Music Magazine. The following peat the description. It was the author, Tapper—The addition at this selection catalog Child's Own Book of this volume will be re- taken from our will give Miss Katzner’s intention to make it pos- Sousa book to the is leased for publication. an idea of the standard, wanted mer- sible for both students and those who are Great Musicians series timely and fitting. Mr. Clarence Kohlmann, chandise which is given as a reward for merely musical enthusiasts, to follow the both of the the compiler and arranger each $2.50 subscription secured: melodic thread of these symphonies with The compositions are being of the hymns in this vol- Bread Tray: This Bread Tray will be the greatest ease possible. Only the mel- "March King” and more fre- ume, is eminently quali- favored by many because of its attractive ody line is given, with clear indications heard more shape. It is 10 long " quently as America turns fied for this task, because Vi" x 5 IL* wide. Fin- as to which particular instrument is wide expe- ished in chromium, it is easily kept clean to patriotic music. The of a long and carrying the melody. It is often difficult notes of his Stars rience in all phases of musical activity in and bright—will not deteriorate under to follow the thread of espe- stirring the melody, daily use. Your reward for securing cially Stripes Forever, Lib- the church. two in very rapid movements, and it is and Pride, Many of our patrons are familiar with subscriptions. quite obvious how with erty Bell, Columbia’s easy it will be, Mr. Kohlmann’s fine transcription of Can Opener: A new can opening ma- the possession Hands Across the Sea, of one of these volumes, to the numbers of the Union, Aviators, Silent Night, and in this chine which quickly and easily opens follow the symphonic motifs, with their Keeping Step With the Gun, etc., volume there will be found similar bril- square, round or oval cans with standard development, without El Capitan, Man Behind being burdened embellishment, with that ease rims. Fastens on wall. Eliminates danger with inspirational music at liance and the accompanying parts. are serving as of execution which characterizes all his of cuts. Awarded for securing one sub- rallies, on radio and concert The greatly reduced size of these patriotic contests and piano compositions. scription. ( Not your own.) volumes, in contrast programs, on school band to the large size programming Hymns long loved for their inspired Desk Clock: This inclined plane, New scores, is another instrumental soloists are factor in their favor, Love To Tell the Haven clock has a solid mahogany with greater frequency. melodies, such as I base when carrying them to concerts. these numbers latest Story; Saviour, Like a Shepherd Lead with a cream -color stripe, polished brass Each life of Sousa as related in this volume includes the analysis of The hands, etched gold-color numerals Own Book series, Us; Sweet Hour of Prayer; Sun of My out- the various musical are addition to the Child's forms which intro- Soul; Onward, Christian Soldiers, and lined in black and an accurate move- ound in interesting and entertaining and its respective symphony and is been included, with ment compensated for temperature of our foremost many others, have lese are clearly duces to the child one marked as they appear. original and suitable measures to changes. Size 4" high, 3%" wide. Awarded os> composers whose music is so some 1 t° 5 inclusive already are on the American for securing four subscriptions. child becomes broaden the scope of the respective num- market and the typically American. The price of each is 35 cents. bers. Most of the arrangements are in Volume acquainted with this popular composer No. 6— all necessary finger- Symphony in G Minor that is fasci- grades 3 and 4, and LET THE ETUDE ADD TO YOUR INCOME y Mozart, may and bandmaster in a way be ordered now, at the highlights ing, pedaling, and dynamic marks have —Many of our musical friends earn sub- pecial the book relates the advance of nating; publication price of pictures for the been supplied. stantial commissions by taking subscrip- cents, Sousa’s life, provides postpaid, delivery to be made as of publication price of a Etude from the book, space in The advance of tions to The their acquaint- soon as published. child to paste into his ver- single copy of this volume may be or- ances who are musically inclined. Any back for the child to write the special cash price of 40 responsible person can Sousa’s life and then dered at the make arrange- NUTCRACKER sion of the story of SUITE by Tschaikowsky, A touch, a needle cents, postpaid. Copyright restrictions ments for placing subscriptions to The to the "own book” r r,,,‘ to add Music for Piano. which limit the sale of this book to the United Etude at a substantial profit to himself . r ! Arranged by also provided with D lch, and thread are r As the third of of States and Its Possessions. by addressing the Circulation Depart- sfnv; ? in her group be bound. A single copy es W1th the book may ment, The Etude Music Magazine, music (the others are Cin- series may now be Phila- this new book of the derella and Jack and the publication at the OF PUBLICATION OFFER WITH- delphia, Pa. ordered in advance of ADVANCE Beanstalk) Mrs. Rich- postpaid. This month a very promising , special price of 10 cents, DRAWN— ter here contributes an piano educational work is withdrawn BEWARE OF MAGAZINE SWINDLERS—It early grade adaptation of Etude from the advance of publication offer. is again necessary to warn our musical CHANGES OF ADDRESS—If The Tschaikowsky's delectable home, This withdrawal means that no orders friends that every care should be exer- followed you to your summer Nutcracker has hereafter at the low cised in placing a magazine Suite. Long at ieast four weeks will be accepted subscription be sure to advise us familiar through orches- the city advance of publication cash price, and with a stranger. Many fine men and advance of your return to ei’f° in for those teachers who did women earn their livelihood through where, and P rmances every- go astray. Always fortunately that no copies may subscriptions reason of its ex( uisite advantage of the low advance of securing periodical and are Presentations! l new addresses when take ™ D-ive us both old and 'VaIt cash price it means that each able to present unquestioned credentials it is a primp Disney’s Fantasia, Your co-operation will publication faV0 taking changes. responsibility. Assure adults rite with children and of these teachers will receive a copy of a as to their yourself alike . . you good service. help us to give of the man or Richter’s aU her work, Mrs. book bearing a fair list price, which is of the reliability woman no money until teacher as a Practical double the very nominal advance of pub- calling on you. Pay you is ren.'Z™ JUNIOR CHOIR 1 KEATING’S registered read the contract or receipt rangements 111 these sPlendid ar- fAWRFNCE lication price under which they carefully tier ?. majority of churches eSplte the the orders. presented to you. Accept no ordinary score doesn’t fact that this £o“-w"h Junior their advance r and sponsoring direct repre- b yor|d its “day organizing this month from stationery store receipt. The full essence ! grade three, a valua- The book withdrawn aliaa compilation will be Etude carries the offi- tained. ®avor have been re- Choirs, this offer is My Piano Book, Part 1, sentative of The library. Choir- advance to the Choir receipt book of the Theodore Presser ble addition publica- by Ada Richter, price 50 cents. This book cial 1 welcome this new publishers of The Etude. Look lated famous suite is re- nasters will young pupils and it is a practical Company, in the of the prob- is for 10153161 it so ably solves offering a cut rate. We giving l an£uage of youth, Jon because solution of so supplementing out for the agent a fiilioY. con- teacher’s neanin them, Eat* chorus responsible for the work of is e to the music. It confronting instruction material in the latter cannot be charminelv .,^ Z Book has the Junior Chon protect you. young ra d thr°UghOUt and tained in this the usual preparatory book partic- swindlers, so help us to pianists and every care part of wmwill ^findH many delights oeST carefully selected 5EMENT 579 AUGUST, 1941 y T ° T

musical director and scorer at MGM sheets covering such instruments as JOSEPH BARONE, founder and conduc- On Adjudication of Studios. The staff which Bakaleini- the trombone, clarinet, saxophone, tor of the Philadelphia Little Symphony, koff directs includes Roy Webb, Ber- cornet or trumpet, French horn, is the winner of the 1941 certificate of Music Contests nard Herrman, Franz Waxman, tuba, euphonium, flute, oboe, English merit conferred by the National Associa- Werner Heyman, Anthony Collins, horn, bassoon, Xylophone. tion of American Composers and Con- ( Continued Page The rec- from 567) ductors and Paul Sawtell, all of whom have ords prepared by well known author- for "outstanding work in the advancement of music.” unalterable human element. Judges distinguished careers in the compos- ities on each instrument present the are ’tis err. human, and human to ing and arranging both of radio and rudiments of these instruments, fol- PAUL LEMAY will again act as conduc- But music contest adjudicators can motion picture music. Two musical lowed by complete compositions as tor of the Duluth Symphony Orchestra prepare themselves fully and to the productions will call heavily upon the played by the expert. With these during the 1941-42 season. best of their ability. They can take resources of Bakaleinikoff’s depart- aids, the student, guided by his own their job seriously, be kindly though ment. The first is titled “Street Girl” musical instructor—who need not THE MUSIC GUILD was recently organ- just in their criticisms, and if they and has to do with the fortunes of a however, be an expert in the particu- ized in Philadelphia, Pennsylvania, to have made mistakes they must philo- small group of amateur musicians. lar instrument—is able to compare give serious consideration to all vocal sophically overlook the minutiae in The other, the recently acquired his amateur performance with the and instrumental compositions sub- order to see the larger endeavor to “The Mayor of 44th Street,” calls for recorded playing of an authority and mitted; to present programs including further valuable an unusually full musical back- see where both an immeasurably improvement is needed. material selected by the manuscript movement. ground. With over twenty-five com- And, while Radio committee Magic is thus and certain classic works; posers, arrangers, copyists, and other doing great and to There are many points about con- things for the student recommend to other organizations test adjudication workers listed in the department’s of music, it is the performance material which one could go also helping his next of the best into lengthily and controversially. personnel, and with the new direc- door neighbor endure what selected by The Music Guild. Any com- used to posers For example, I would strongly oppose tor’s plan for further developments, be agonizing practice wishing to submit their composi- periods, I have tions asking a judge this department soon will employ the told you how the to the Manuscript Committee of to turn in his reports various electronic The studio’s history. pianos Music Guild should send them to: before the entire class which he is largest staff in the can be muted down Gian so that Carlo Menotti, 15th Street, criticizing has finished playing. Each A final bit of news from the RKO little or no sound emerges, 251 S although Philadelphia, Pennsylvania. radio convention is that, after using the practicer himself class does, to a certain extent, set hears full piano streamlined rooster in sha- volume in its own standards, and it is some- a silent, his earphones. Now for the what unfair to force to dowy form on its main title same thing has been a judge done for violin eight years, Pathe News has again practicing. £ompelitioni render A special final decisions before all con- muted violin crows. used, £ testants have been heard. I would turned to a specimen that which can be heard only a A PRIZE dol- long search, a rooster whose feet away, few OF ONE HUNDRED also deplore the system of having After a but attached and lo the ors publication is offered by the stenographers to crow would be sufficiently impressive strmgs is a contact Ltncago serve the judges at microphone Singing Teachers Guild for the contests; to announce world events was found through which, in best settmg Mesa it is certainly a distraction his earphones th* (or solo voice of The California, a blue ribbon fowl, the budding by Arthur Mann- to dictate while a musical group is in Violinist can hear Owen Peterson. It took days of bowing himseU must be earlier than playing, for in attempting to give the best of his breed. away at full concert rw if mailed not vo£ml ™bei lst a °d not October patient waiting, however, before he while sweet L later than stenographer the material to be peace continues !>' ‘to wb 1 c °mplete information write fed a 00d vvoi. .a ; would perform—after being over the neighborhood. alter Allen transcribed, concentration on a musi- Stults, P. O 604, Evanston, of raw hamburger by I Imo is cal performance must mini- quarter-pound All such queries must contain be at a mpcd a cameraman who wanted to speed and self-addressed envelope, or mum. Stenographers may be useful rthey n vocal action. will be ignored. in filling out score sheets, having up the bird’s scores ready, and in taking down a The World of Music IC AppEARANCE IN' TH few general after perform- MAPtvJ,V f comments ( MCDOWELL Aids Music Study Continued from Page CLUB AUDITORIUM; ance, but it should be the attitude Radio 575, Clty o 1 ’ offered the winner !he nU of the judge to attend fully to every GAIL kubik, Vo “ n,; Artists Contest SP°”- in Many Ways recent winner sored byK Sc phase of the Jascha of„r Th MacDowcl! Club. Only stu- performance which he Heifetz dents , f award for F , public Page 522) • have »ot appeared in is called ( continued from certo, conducted C ' reritni upon to adjudicate. his V score foF * ' eW ^ enter. AP* eminent the gl Plication City may As adjudicators, music contest documentary .... a musical film nûst be filed before September to its own frequency when Ships," on Prank ên r 30th critics fill an important trust. Black* P ,Calion blanks procured to the instrument. Music" bv wri*^ may be sound is fed program over R to The Young Through their care, their application the NBCu Blue ArtiSur* MacDowell Club are thus in vibration, work on July n 11 "' When the reeds first. ® 81, 166 Street NC to the high purposes of a worth York EaSt 7,rd ’ a phonograph can be made of the City* while movement, school music in CARROLL whole bank of reeds with the widely GLENN, young SnnH America can move to hitherto unat- lina violinist, South Ca vibrating reeds showing as bright won both thf tainable dollar cash °"e thodM heights. spectrum. award to lines in the sound the v N PERKINS weI1 k: Contest at the S Artl: ' the way, in connection with biennia? V ™m»sero7hf hynins by . dled hoi And the National 11 1 at her Federation ” Riverdalo~on accurate tones for the musician, let 'of Mu™ -Hudson, New York, on recently held in Los Clt 27th nt Gay Musical Films that on your short- Angetes 6 age me remind you Schubert Memorial Snd Perkins of seventy-five. Award also'' Unded radio dial, at 5000 kilocycles or during ntes 1.922 the HVmn Sociel wave the meeting anri , Open the Seasun The Si u° S megacycles, you can hear day and morial 1 umet; the comP°ser of two 5 Award granfs entitw. .. ffle ( Continued from Page 518) £ Stonehurst.Hymn Tt night the U. S. Bureau of Standards’ ances with the Z Bpe and Philadelphia F "RiverrîVeidale A note of 440 cycles per sec- and the New York eS Hymn Tunes.” (though as yet standard • RKO Radio, which Philhamo c ' tone is heard continuously phony Orchestra next Sy untitled) promises to be the most ond. This season F, Ralph rnv won the Naumburg 188 Gle or composei date. except for a one minute interruption Foundnu* vocal team eanist, ambitious Kyser “filmusical” to in 1938 minutes, for a code or and the Town Awi in Passed away at his 1 of Con- every five m v New Vr!^’ The recent appointment iste Award S A ty the ’ on and provides an following sixty June 10th - H( as head of phone explanation, eaF -seven vS? stantin Bakaleinikoff served years of age. Mr. Cox depart- accurate pitch for tuning. as 01 RKO Radio’s studio music DR. TALI ESEN the ards ^ and choirmastt have also been used to give MORGAN Grppn„ ^ company’s policy Records choral director mpos Presb ment continues the and voice ? New York yterian Churc instruction in music, particularly in at his Cher level for the home in ' d the of envisaging a new high Asbury PmA -5 Church pi rst Presbyt instruments. nf backgrounds of orchestra and band on July 1st, at ers 0rriStown> the First - anc and age N J - musical settings „? PresWesb - most With the recent growth in school Dr. Morgan was the N. yterian its films. one of the founder j. Church of Or Heading ternational of ft* musical organizations, which now 1 staffs in Holly- Correspondence f carefully assembled Music in an enviable number over 75,000 in the United Scranton, Pennsvi, 01s wood, Bakaleinikoff has 13 directed the ’ a in the field States, it is very necessary to supple- choruses 0? A™ record of accomplishment Methodist Church Cent musical instructor f n,. , 1929 to 1936, he ment the local 0 of film music. From York; the First N with specialized aids, if he is going Method^ t was musical director for Paramount Mount Vernon, New Utth he to try to teach a dozen different in- York anFf productions; from 1930 to 1935, ington Square MethokSF Wai music de- struments. Church Episcw® was in charge also of the in New York °! Another organization now makes City Columbia Studios; and, years he was musical Seventt partment at direct held y En el been available records and instruction ocean Grove 0 ' several e h' for past five years, he has ,N. ' ^Patents the AuSSS,. Vlces on ' he perf . m 0£ ed Ior ‘He hrteinwayStein the 580 piano. . .

-> SERGEI RACHMANINOFF . . ,c™, master of ihe keyboard FOR THE MUSICAL HOME . . . and one of the foremost composers of the century, has no patience More delightful musical entertainment with dull or stultified music, nor with pedantic or extremist compositions. In “Music Should Speak from the Heart,” he sends a great message to American music lovers. > FOR ACTIVE STUDENTS . . More practical stimulation ETHEL BARRYMORE . . Leading lady of the American stage, is an exceptional pianist. Her discussion of her “Adventures in Music” will fuscinate thousands of readers. ^ FOR PROGRESSIVE TEACHERS . More profitable fortification MUSICAL LIFE IN CAIRO . . . H.r.y Mayer. American piano virtuoso, was for seven years at the head of the piuno department of the Conservatory in Cairo, Egypt. His story of music in the great center of the much discussed near East is one of the most vivid The Etude hus presented.

MAJOR JOHN A. WARNER Chief of The New York State Police is a virtuoso pianist who pluys concertos with many of our foremost orchestras. This brilliant Harvard-bred son-in-luw of tbe Hon. Alfred E. Smith tells in vigorous and entertaining style of and the business mail's need for music. _H_h. HE August ETUDE ¥ Ethel Barrymore DARIUS MILHAUD . . Leader of the famous group known the list of right), for future articles (at as “The Six” in France, tells what this little coterie of revolutionists hus done for musical history. issues, give you a foretaste of THE RUDOLPH GANZ . . Swiss-American pianist, composer. teacher, und conductor, achieve- presents the great opportunity which the ETUDE at its point of highest immediate international situation makes for “Musical Independence in America.” ment. No individual reader could pos- RAYMOND GRAM SWING . . Widely admired radio commentator, is also a fine piunist. In liis characteristically direct style sibly purchase otherwise this advice, in- he tells the value of music study to workers Major John A. Warner in ull lines. struction, inspiration, or entertainment English-Americun piunist, whose HAROLD BAUER . . personal charm and brilliun! playing huve won him admirers every- at hun- a price that would not run into where, tells “Some Things I Have learned from Teaching.” You will learn much from this article. dreds of dollars. A MASTER LESSON UPON BACH’S GREAT “AIR” Sidney Silber, virtuoso teacher, and Lcschelizky pupil, of Chicugo, presents a singularly clear und helpful lesson upon his masterly transcription for piano of the Bach Air on the G String from the orchestral “Suite in D.” The composition, which is sure to be widely played, will appear for the first lime in the September Etude.

American composer, pianist, vocul FRANK LA FORGE . . i authority, who has known and tuught more famous singers than any profitably upon “Back MUSIC other man, talks vivaciously and Stage with FOR ALL IK EVERY ISSUE . . . Great Singers.” minds of Contacts with the brightest most gifted musical and a a The fumous actor of stage und 'he comparable LIONEL BARRYMORE day have pieces composer. For the first time this widely brought forth an array of new screen is an able pianist and Wilh you to loved individual tells '“How Music Hus 'he superb articles described. THE ETUDE invites a Helped in My Life,” u wonderfully humun musical feast prepared. such as it has never hitherto and engaging article. Erneit Hutcheson

EDWARD BURLINGAME HILL . . a For years professor of musical history at Harvard University, hus written for The Etude a series of four memorable authoritative articles on “Russian Na- tionalist Composers.” Such urticlcs as this make The Etude valuable 1 for years to come. 10" 5 faSu&erip** fl of the Metropolitan Opera c<,rrth FREDERICK JAGEL . . a Tenor !• » Canadian Postage ii Canadian Company, was once called upon, with only twenty-five minutes' 0 .. that 25c a Year Extra (Moor lcl1 notice, to take the place of the great Mnrtinelli in Verdi’s “Aida.” Over and over again this always reudy American tenor has stepped in, to save the day. He tells how “Preparedness Lends to Success."

Australian- American ERNEST HUTCHESON . . o Eminent pianist and teacher. President of the Juilliurd School of Music, gives TUDE The Etude a remarkable conference upon “Unifying Piano Study.” Muny piano students will exclaim, “That's just the advice I needed!” / magazine of the few living pupils of music MME. SGHOEN-RENE . . a One the great Manuel Garcia is now professor of singing at the Juilliard School of Music. Her discussion of “The Traditions of Fine Singing” . _ Theodore Presser Co., Publishers ’ 2 P is invaluable to vocal students. c H«STNU? STREET, PHI U "' 1,111 ' ! philco^i942

Wifi you few Triumphs in Radio @nd Phonograph Invention!

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lift, no need to move decorations; just tilt EW developments, new triumphs have just been to forward bringing the grille, place your records and tilt it back again. announced from the Philco laboratories, And now, for 1942, comes a new sensation N records . . . radio and and greater enjoyment of the 1vou new .... i a «Ai PA»7/vi mdyipyk m/iv enjoy.flfiinv Philco Automatic Record Changer with the amazing & which only Philco owners may formance t0 ? delights on all bands revolutionary Stroboscope Pitch and Tempo Control. Thanks and Fre \, . . . that to the "Music on a Beam of Light" Stroboscopic principle, the phonograph world ... is famous applied for the first invention which startled 1942. The scraping steel needle time to the phonograph by Philco engineers, you can greater than ever for hear your records with absolute fidelity «*. Instead, a permanent jewel that needs of pitch, exactly « forever. l is gone 8raP l reflects the music as the music was played in the recording studio! a.BoamofLi ||* > plays an floats over the record and And BhJSc^ p[^h lc no changing with Stroboscope ,° Automatic Record you enjoy simpler, more gentle, more, of Light from a tiny mirror to a photo-elec- reliable, more Philco F Tem on a Beam M System- Arneri^ P° Control. 1 record wear are reduced by automatic record changing than ever before! Authentic 11 and Foreign cell. Surface noise and HepptewhiteTmp R( tric nut or Pront rec- Frequency Modulation is yours in a new, Mahogany. Cabinet, choice enjoy glorious new beauty from your different PhU, 0 !; r 10 to 1 . You yours on Rccordina Easiest Monthly Unit ' Tilt-Front Cabinet, there's no lid and better way. The exclusive Philco FM System adds a Term ords. And, with rhe n"'"; ^ Denver and I V, radio-phonographs, portables, auto radios . . from $9.95 & radios, ° $50°“ see and hear them t,