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

7-1-1947 Volume 65, Number 07 (July 1947) James Francis Cooke

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*rv>- THE- FIFTEENTH ANNUAL Bach Festival CHARLES IVES, American composer, of the Baldwin-Wallace College Con- has been awarded the Pulitzer Prize for servatory of Music was held in Berea, 1946, for a “distinguished musical com- Ohio, June 6 and 7. Under the direction position in the larger forms of chamber, of Dr. Albert Riemenschneider, the festi- orchestral, or choral music.” Mr. Ives’ val included a number of the shorter prize winning work was his Symphony No. cantatas, with the Mass in B Minor being first performed in New York in April 3, perforated on the second day. The various of last year. programs enlisted the services of the Baldwin-Wallace A Cappella Choir, the i'sucilvlvrdecital THE OUTDOOR CONCERT season has ^Oonc^S Cdoncenonceri ananad Opera Workshop, and the Festival or- s. J^or gotten under way in all parts of the chestra. country. On June 16 the Lewisohn Stadi- SINGERS um concerts in New York City opened a ON THE PROGRAMS OF LEADING THE AMERICAN SCHOOL at Fontaine- NEW AND FAVORITE SELECTIONS FOUND season of forty concerts; on June 19 the bleau, France, of which Robert Casadesus Watergate Concerts in Washington, D. C. is the director, has an enrollment of fifty- began its season of eighteen concerts six young musicians, of whom forty are played by the National Symphony Or- pianists. The school opens on July 1. AFTERWARD chestra. Robin Hood Dell in Philadelphia By Olive F. Conway 50 had an auspicious opening on June 23, when Dimitri Mitropoulos conducted the Low JUST 3tiele Choirs^fioir 3rinvisible FOR first of twenty-eight concerts. The six MME. LOUISE HOMER, world-famous AT DAWNING V HEMS JaaN weeks opera season at the Cincinnati Zoo n national Orchestra conducted by Fistou- THE EIGHTEENTH ANNUAL CHICAGO- contralto who for nineteen years was a Charles Wakefield Cadman 50 began on June 29, while the Hollywood By lari. This same work was given its first LAND Music Festival, sponsored by the leading member of the Metropolitan Low Bowl season will open on July 8. High Medium Medium Low performance in the United States when Chicago Tribune Charities, Inc., will be Opera Association, died May 6 at Winter it was played by Carmelo Carrozza in held at Soldiers Field, Chicago, on August seventy-six. LEONARD BERNSTEIN, young American Park, Florida, at the age of BLUE ARE HER EYES Philadelphia on May 17, with piaho ac- 16. The festival will feature contests in For the past eight years Mme. Homer had 50 conductor and pianist, scored a sensa- By Winfter Watts companiment by F. Cusumano. On this various classifications—vocal solo, dance, lived with her distinguished husband, the tional triumph late in April when he High Medium occasion it Was the feature of a program choral, band, instrumental solo, accordion, composer, Sidney Homer, at Winter Park, made his debut with the Palestine Or- presented by the Pietro Accordion Band and baton twirling. A series of prelimin- w'here she was honorary adviser in voice chestra in Tel Aviv. On May 1 he con- A DREAM of Philadelphia, directed by Arnold E. ary festivals will be held in various cities College. She made her debut ducted the same orchestra in the first at Rollins By J. C. Barflett 50 Crowe. during the weeks preceding August 16. Metropolitan Opera as Amneris performance in the Holy Land of his own with the reigning High Medium Medium Low Low symphony, “Jeremiah.” in 1900 and thereafter was a THE EMINENT AMERICAN educator, or- LOUIS KAUFMAN, noted Hollywood vio- favorite of that galaxy of stars which in- FORGOTTEN ganist, conductor, and Bach specialist. Dr. linist, whose unseen solos have featured cluded Caruso, the De Reszkes, Fremstad, THE SEVENTEENTH ANNUAL festival of By Eugene Cowles 50 Albert Riemenschneider, has retired ds over four hundred film scores, has been Destinn, Amato, Melba, Nordica, De Se- American Music of the Eastman School active director of the Conservatory at awarded the Musical Courier Magazine gurola, ScottI, and Journet. High Medium Low directing, of Music, Dr. Howard Hanson, Baldwin-Wallace College, Ohio. Dr. Rie- Citation for the “best instrumental solo” had an impressive opening on April 29, in GARDEN menschneider has held his present posi- in film music for 1946. His solo in Warner MRS. ALLENE K. BIX BY, composer, or- GOIN' HOME in MY Rochester, birds the Eastman Theatre, New tion for nearly half a century. He wall Bros. “Of Human Bondage,” for which Arr. Fisher 50 ganist, teacher, whose piano educational By Dvorak— Yorjc. A radio version of Dr. Hanson’s remain at the "College in the capacity of Erich Korngold wrote the score, brought works for beginners are widely used, died High Medium Low opera, “Merry Mount,” on May 3, was an an advisor, devoting more time to his re- Kaufman the award. April 21 at Binghamton, New York. Mrs. outstanding event. The closing concert markably fine Bach Library, .as well as Bixby, who was bom in- Tunkhannock, HOLD THOU MY HANDS on May 5 had Dr. Serge Koussevitzky as doing special work upon the completion THE VIRGINIA MUSIC FESTIVAL, the Pennsylvania, studied with Paul Bliss. By Graham Godfrey 50 guest of honor at the Founders’ Day pro- of his notable editions of the Bach first of what is expected to be an annual Many of her choral and instrumental Low gram. Chorales. His plan is to present his im- event of major importance, was held at works are included in the catalogs of the mense Bach Library to Baldwin-Wallace Charlottesville, on June 13, 14, 15. The Theodore Presser Co. IS THE KING OF LOVE MY SHEPHERD THE 1947 PHILADELPHIA MUSIC FES- as a memorial to his parents. A remark- National Symphony Orchestra, under By William R. Spence 50 TIVAL, sponsored by The Philadelphia In- able fact is that between Dr. Albert Rie- Hans Kindler, gave three concerts, in two ALFREDO CASELLA, internationally High Low quirer Charities, Inc., was held in that menschneider and his father, Karl Rie- of which a world-famous soloist was known Italian composer, died March 15 city on June 13. Featured on the long the presented. At the first concert Mona menschneider, long-time president of in Rome, at the age of sixty-four. He PACK CLOUDS AWAY program were the New York Philhar- Berea institution, a total of one hundred Paulee, mezzo-soprano of the Metropoli- wrote many important works, his last By Frances McCollin 65 monic-Symphony Orchestra, the U. S. with the University of Vir- years of service has been given to Bald- tan appeared being a “Mass for Peace,” written w-hile Low H Marine Band, the Washington Redskins win-Wallace College. This is perhaps a ginia Glee Club in Brahms’ Alto Rhap- Germans, Rome was occupied by the and Q Band, Fred Waring and His Pennsyl- concert featured John record for service to an educational in- sody. The second produced there in December 1945. PR Philadelphia Scala STRESA , 4YRr vanians, and the La stitution. Powell, Virginia composer-pianist. Corps de Ballet. Robert Merrill, of the By Wintter Watts 50 ERIC DUDLEY, director of the Cornell Metropolitan Opera Association, was an High University Glee Club for twenty-five outstanding soloist, and Paul Whiteman years, and since 1903, of the First Presby- was master of ceremonies. THE SWEETEST STORY EVER TOLD terian Church Choir of Ithaca, New York, By R. M- Stults 50 died in that city on May 21, at the age of High Medium Low PRIZE WINNERS in the fifth annual seventy-four. For some years before the young composers' contest of the National World War he was director of the Ithaca TAKE, O TAKE THOSE LIPS AWAY Federation of Music Clubs have recently Conservatory of Music. announced. The major prize of one By Garth Edmundson 35 been Medium hundred dollars for a work for orchestra FREDERICK KITZINGER, conductor, went to Willard S. Elliot of Houston, who at the age of nineteen was an as- second prize of fifty dollars THE TIME FOR MAKING SONGS HAS COME Texas, while sistant to Otto Klemperer at the State in this classification was given to Samuel By James H. Rogers 50 Opera in Berlin, died May 23 in New York Thomas Beversdorf, also of Houston. First mtmorp City. He had accompanied the late High Medium In of Mobort A. fFilliamt, Quarlrrmanttr C. S M, tort in tkojirot battlo Ikt SouiJk prize fifty dollars in Class for a of Faoifio of 1, Emanuel Feuermann, ’cellist, on a world TO A SAILOR SON choral work, was won by Rosalind Burg- recently conducted H ARVKT GAUL tour, and more had TO SOMEONE inski of Lynbrook, Y. Second prize of N. operas and operettas in the United States. By Geoffrey O'Hara 50 twenty-five dollars in this classification Medium went to Penelope Svendson of Forest Hills, N. Y. First prize of fifty dollars in Competitions WHITE NOCTURNE music work, -was Class 2, for a chamber A PRIZE of one hundred dollars is offered By Paul Nordoff of Ithaca, Y., with 50 won by Sidney Cox N. by J. Fischer & Bro., under the auspices Medium a second prize of twenty-five dollars go- of the American Guild of- Organists, to ing to Irwin A. Bazelon of Oakland, Cali- the composer of the best composition for fornia. the organ submitted by any musician re- siding in the United States or Canada. The Oliver IHtson Co . deadline for submitting entries is Jan- on - \y a emp - ty PIETRO DEIRO’S Concerto in E for Theodore Presser Co., Distributors uary 1, 1948, and full details may be Accordion its world premiere on had secured by writing to the American Guild 1712 Chestnut Street, Philadelphia, l.Pu, Fdii /J, March 14 in London, when it was played of Organists, 630 Fifth Avenue, New by the noted Norwegian accordionist, Mme. Louise Homer, with her famous composer husband, Sidney Homer, and York 20, N. Y. 420) Toralf Tollefsen, with the London Inter- Dr. Hamilton Holt of Rollins College, Winter Park, Florida. ( Continued on Page

JULY, 1947 "MUSIC STUDY EXALTS LIFE” 361 " .

Editorial AS WE BEGAN this editorial performance of Ralph KuWif Vloiii/i a part of their time to motion pic- Pubiicolumi A. Vaughan-Williams’ impos- UME ettto: ture music. It is interesting to in- engrossing London Sym- ing and quire whether they are making by HARVEY S. WHISTLER coincidentally came through I phony uSic an a permanent contribution to “on the air” in our study. Let us m MODERN this HOH M A N N-WOHLFAHRT Beginning § PUBLISHED MONTHLY their careers by their work in Method for Violin, Vol. I. First Position imagine man who never had $0.60 By Theodore Presser Co., Philadelphia i, Pa. a exciting field. Composers have to London and was un- MODERN H O H M A N N-WOHLFAHRT Beginning 1 been written symphonies, oratorios, EDITORIAL and ADVISORY STAFF Method for Violin, Vol. II. with the tremendous First Position ... .75 familiar part of the present day repertory DR. JAMES FRANCIS COOKE, Editor in Chief this lovely and operas which are far more a of the English metropolis. Is there anything m INTRODUCING THE POSITIONS Violin, Ethel M. McKray, Assistant Editors history is to for Vol. I. Guy McCoy and than when they were first heard over a century ago. What Editor pictures in his mind which Third and Fifth Positions 75 Dr. Rob Roy Peery, Music musical work which would make of the vast genius and labor that has been put into a Harold Berkley Dr. Nicholas Douty Karl W. Gehrkens Dr. Guy Maier wonderful world center? The melodic bits become INTRODUCING THE POSITIONS Ruth Evans Buhman Maurice Dumesnil Elizabeth Gest Dr. Alexander would resemble that for Violin, Vol. II. McCurdy good picture is shown, let us say, for Pietro Deiro Edna Fort George C. Krick N. Clifford Page and woof great motion picture? The Second, Fourth, the jolly folk dance, the warp Sixth, Seventh and higher positions .75 William D. Revelli Peter Hugh Reed employed here and there, at least three years and then the films are canned and stored in DEVELOPING English only in the imagination of one who DOUBLE-STOPS for Violin. A complete of the material are course of study in double note Hollywood. Will they be opened for future genera- - FOUNDED 1883 BY THEODORE PRESSER the vaults in and chord development has become familiar with these elements. I 2 j turned into concert arrangements, to been. It is only by tions? Will the scores be still as abstract as it always has Music is musicians ? Publications for other bowed be performed by living instruments: association that we attribute to will they be forgotten, and FROM VIOLIN TO VIOLA. dontenti Or A transitional method for those who for ffnfij, 1947 of creating pictures already possess a it the power fallen rose petals? knowledge of violin disappear like , playing does . . . 1.00 minds. However, one in our pictorial music depends VOLUME LXV, No. 7 • PRICE 23 CENTS Much INTRODUCING THE POSITIONS for Cello, Vol. I. The Fourth not need to have had an exhaus- Position. . . 1.00 That is, the THE WORLD OF upon line and volume. MUSIC 361 realize INTRODUCING THE POSITIONS for Cello, tive experience in music to Vol. II. Second, Second-and-a-Half, melodic line goes up or down, as Third, EDITORIAL and Third-and-a-Half Positions that the art has a great effect up- j ^ the fortunes of the players ascend Music and Moods SOLOS FOR STRINGS. moods. Listen ! There came An indispensable collection 363 on our of easy, melodic material for or descend. The heroine trips up- solo playing or unisonal string class MUSIC AND CULTURE on the radio just now the majes- performance. stairs and the small boy slides A Musical Tour of Europe can Violin Solo (First Today Marinrin 1 tic clash of a cymbal, which Position), Viola Solo (First 365 Position), Cello Solo (First Posi- They Hail from the Red River Valley down the banister. What could be tion). Radio Groce V Win I 366 and circum- and , String Bass Solo (First and Second Conducting As a Career \ only mean the pomp Positions). Each 50 367 more suggestive than the ascend- The Teacher's Round Table .."i:;" Moor c "n" T 368 stance of an unforgettable Brit- Piano Accompaniment Hearing and Musicianship the descend- ^ ZZlZljH, Curtil II 7U , 369 ing major scale and ish historical event thus portrayed MUSIC IN THE HOME ing chi'omatic scale? What are in Williams’ score. Our hypo- Recordings With Varied Appeal ... . scales anyhow? Nothing but musi- So. ' Etude Music Booksheu 370 thetical ignoramus may never 738 Campbell Ave. “ 374 writes: cal stairs. Dr. Rubsamen * MUSIC AND have heard of Napoleon, but when CHICAGO 12, ILL. STUDY “The visual movement most The Pianist's Page he hears the bells in Tchaikov- is Dr - Cu Maier frequently reflected in music How Businesslike Are You’ V 372 “1812” You Don’t Tce ,e BP'd 373 sky’s Overture he knows "Decide" to Be a Sin'oer P that of an ascending or descend- Basic Policies '.' Thomas L Tlinm.i 375 and Traditions of t 0US that they must be connected with MUS,C School ’ The Organ-Piano .’ -"‘urtce 376 CombtaaUon f ing line. One of the cliches of Secrets of Intonation Alexander McCurdy 377 some powerful moment in his- Music for Wind Ensembles William H Stubbms 378 cinema music, -for example, is the Musical Richard Franko tory. Thus, in a general way, by Improve Duels. Goldman 379 ascending or de- Some Emmett E. Blind use of a fast technique Fundamental Principles of Bowine 380 association, music molds our Questions and Answers *" Clarence Cook 381 scending scale, staccato, to ac- Dr - READING The Theory Behind Music Karl w Gehrkens 382 moods. Developing the Boys' Choir Edward Dickinson 383 company someone running up or Coleman Cooper 384 Even without direct associa- Your MUSIC down stairs. The rise or drop in EXPRESSION tion, music may have a powerful Classic and pitch is obviously a transfer from Contemporary Selections effect upon all of us. For years, Breath of Heather (Ditson) Reminiscence the visual field, while the staccato (From "Moods and 385 your Editor has always endeavored Characters"')' '(Presser Observe Warner Bros. Photo imitates the short noises made by Improvement Valse Piquante editorials when it (Ditson) Mortimer- Browning. 386 to write these Piano _ . w Fantasia ' rl ERICH WOLFGANG KORNGOLD in Only 1 Week in D Minor (Presser 7353) L,"; •™ Wilhelm Kern, Op. 725 388 hurrying feet on the steps. This ’ the Tote Birds in W A ’ Mozart was possible to hear, at same Bohemian-American composer, whose opera, "Die Broad-well Teaches The Broadwell the Meadow - Revised by S. Noted Technique is a com- (Ditson) Lebert 389 particular transfer, which mu- plete pe Shepherd Boy Stadt," and other major works won him international fame. His Relaxed Freedom system of intelligent practice (Presser 4946) Morgan West 392 time, a fine musical program “on America, th« .... notable. fhe Beautiful - —G.• D. *. film production have been sent ,.. **,->• — Wilson, 4 contributions to American to you each (Presser)esser) t p Op. 394 other Now you can play music, as beautiful week. It develops and (From Eighteen sically illustrates many strengthens Hymn Transcriptions") the air.” He has invariably found as your mind imagines it; your mental-muscular co- Wnrd with bril- Arr ' ’ by ctar ce hl ways of going up or down, can liance, ordination induces ™ *° ™ nn 395 with perfect control. Develop ; clear, clean accurate that writing became more facile instant playing. A brilliant rising fall- sightreading, ready memorizing, technic is acquired thoughts seemed to flow easier, be traced back to medieval composers who wrote and during a soft musical background ; flawless technique, in weeks instead of months Sonatina, from through the mental- or years. the Cantata, 397 lines for the words asccndit and descendit of the ^ on WI'I1 conditions apparently in- ing melodic muscular coordination and keyboard notice the improvement in and the editorials written under such one patterns of Robert week. 398 visual impression of a storm at sea, for instance, can Broadwell. spire a larger response from the reading public. Why? That is a Mass. The 399 rises Eliminate Learning Blocks Endorsed and Recommended psychologists. be effectively reinfox-ced by a melodic line that gradually U 19302 problem for the The > Lily Broadwell Technique applies mod- by Musicians g Strickland 400 falls to the surge of tempestuous waves. In the Drfam Bubb?^B bb S the Music Teachers National Associa- and accompany *1 r Presser 27523 Frances M. 402 At the 1946 convention of syc °*°® > • Light i’™ > eliminates the unseen Concert pianists, organists, Hand in H I ,i lf 1 professional (Presser blocks that bar 27826) Anita C. Tibbitts 402 film ‘Rebecca,’ Franz Waxraan depicts the collapse of a buniing every person's way to musicians, famous teachers, MvDxv^bJolly Days (Presser tion, Dr. Walter H. Rubsamen, of the University of California*, rapid students 27804) " J. Thomas 403 learning. It cuts tiresome practice all are enthusiastic glissandi in the entii'e over the sound Burton Arant 404 impressive paper, “Descriptive Music for Stage and house by means of ci'ashes and downward to one-third. It induces JUNIOR ETUDE read an relaxed play- method and psychological applications ing, makes will accept this transfer of a downward practice simple and logical. of the Broadwell indicating an extensive and brilliant survey of the basic oi'chestra. An audience Piano Technique. MISCELLANEOUS Elizabeth A. Gest 416 Screen,” aux-al line, even though the SEND COUPON FOR principles by which music becomes illustrative. The examples we visual movement to a descending FREE BOOKLET " TECHNIQUE from Dr. Rubsamen’s observa- noises made by a collapsing structure certainly do not descend in • have been purloined Wrwbmb'" . . .Dorothy Greener 364 shall employ Dr. Nicholas 407 pitch. other hand, a rising and falling movement is some- BROADWELL STUDIOS, Dept. 6TG Douty tions. Readers of The Etude often must have wondered, while On the Frederick Phillips 409 COVINA, CALIFORNIA Fortunes in Movie Music interpreted musically by a gradual inci'ease and decrease (Letter) Harold Berkley 411 attending the moving pictures, what processes the composers times 420 Name_ employ in providing the great variety of scores. Many of the in dynamics. Thus, in Waxman’s music for the film ‘Suspicion,’

re Presser Co., that they are so temporary. They deserve a much juster fate that rise and break against the base of a cliff.” Broadwell ~ *~ City $2.50 a T able to see anything particularly holy in M year in U S A j n than that. We never have been n n PIANO COS Cuba. it TECHNIQUE Nici“;u Dominican finest talents in the world have devoted the irreplaceable music of Brahms because was “pure,” “ab- State_ pTikZZXtln “Xft ,?P^ a p ‘L^. Some of the musical Singie^opy* solute,” or “absti’act.” Brahms just chose to write in that non- Music * A letter to The Etude from Dr. Rubsamen giving valuable information about the pictoi’ial way, whereas the mind of Wagner was essentially of The Etude. "MUSIC STUDY EXALTS LIFE” of the Movies appears on Page 420 of this issue THE ETUDE JULY, 1947 363 - — —

have every year more and more interesting and that makes we Music and Culture and there you have it. It’s the sentiment ago, in London, in up VIVID impression I have brought Music and Culture distinctive scores. Years the days ^HE MOST | enthusiasm the song.” solemn Sunday I out of Europe, is the tremendous the silent film, one night we at- of the present day of Many of the foremost composers in a representative theater. X for good music. Over here, we are accustomed but tended the movies The graphic He wrote little or nothing without a dramatic have written for the films, with splendid results, Europe’s shortages in terms of material orchestra filed in and placed gray covered al- to hear of picture in mind. Certainly, Brahms, in many of his for the adaptations in the great films little shortages are most part, the the music racks. The film things—food, clothing, heat. Well, those Alfred bums of music upon began most beautiful songs, was thoroughly atmospheric. are left to specialists in the field, such as people stand in dire need of practically and the music commenced. The musicians played vast. The Mote the Wiegenlied and the Sapphische Ode. Dr. Newman, Weil, Forbstein, Rozsa, Korngold, Warner But when you are there among them, you through the album. The pieces hadn’t everything. Musical Tour of Europe Today Rubsamep calls attention to the fact that Mendels- days of the radio, straight the A Janssen, and others. Even in these need for the with what appeared on realize that there is an even greater sohn, in the would slightest connection the screen. •Scherzo from “A Midsummer Night’s the public attending the cinema by the millions builds the life of the soul. Every- series of hackneyed, old sustenance that Dream,” writes it does They were merely a tunes. light staccato passages in the upper hear more of the music of these men than amazed to find people the plain, music was actually where I went, I was — woodwinds and strings to picture that the In one death scene the that of A Conference with the ethereal caper that of the great masters, save for the fact everyday people—hurrying through the scantiest kind ings of Puck his the Light Cavalry Overture by von Suppe. The audi- and merry elves. Mendelssohn was Elysian Fields, or at least that part of them inhabited crowd into absolutely unheated upon the of meals in order to so enamored with passages of this type that many of been the ence, with its mind focused story shown on by the famous composers, for years have and poorly lighted halls so that they might enrich his later works < Rondo Capriccioso, the screen, apparently gave no thought to the in- Scherzo in E happy hunting ground for some of the arrangers of themselves with music. When faced with such a minor, and so forth) contain suggestions of these cinema congruity of the music. It seems only yesterday, when Hollywood. This is as it should be and the spectacle, not once, but over and over again, you feel arjorie oCawrence delightful fairy whims. every music shop had moving picture albums for the audiences gain by these raids upon the great classics very humble, and very grateful to be a musician! Harms Eisler was commissioned by the Rockefeller of the public comes to old-time moving picture pianist, with prescriptions world. The unsophisticated “It is interesting to find this identical music-hunger Internationally Renowned Soprano Foundation in 1940 “to experiment with cinema for love scenes, fire scenes, chase scenes, comic scenes. music know its Beethoven, Brahms, Wagner, Tchaikovsky, showing itself among peoples of different racial traits in an advanced idiom which would interpret been done since then, in the music natural Rimsky-Korsakoff, and Prokofieff, vicariously. What has of the and different immediate backgrounds. In England, phenomena of various kinds.” films, marks a startling advance in A pupil of Bruckner, The improvement in the music of the cinema has talking a new for instance, one finds a definite increase in music SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT Fuchs, and SchSnberg, and an operatic form musical art. conductor of been epochal. Starting with literally nothing notable, of interest and musical awareness which can be in- international experience (Metropolitan Opera Com- terpreted only as a result of the war. During the pany, New York) as well as virtuoso , a pianist of high concerts were given everywhere war, public morale Marjorie Lawrence, beautiful Australian-born soprano, had ability and an accompanist for Caruso, Farrar, Ysaye, in town in the National Gallery, in halls, in factories, asserted herself as one of the most eminent artists of the and others, he was well fitted for this commission. rooms. The people flocked to them, but at that time day when she was suddenly stricken with infantile paralysis. One of his creations was for a film as would have meant known “White there was no means of knowing whether this music At a crisis which, for a less gallant spirit, Flood,” depicting her superb forces, made a the ceaseless snows of the Arctic, Ever Play in a String Quartet? interest was not perhaps as much of an emergency invalidism, Miss Lawrence rallied for which Eisler "comeback," and has developed her already wrote “a light, fragmentary etude matter as the concerts themselves. sensational career to new heights of musical and spiritual for solo violins and orchestras, in which high and ex- distinguished Miss Lawrence had scarcely ceedingly integrity. During the war years, rapid notes for the violins reflect the aerial bij Conditions of Music Abroad H)orolhif Cjreencr a week to herself. In addition to a crowded professional quality of snow drifting over the mountaintops.” in Well, we do know now! To-day, the emergency and schedule, she has sung in encampments, in hospitals, and One of the from a tour of war- most ingenious of the musical painters the blitzes are over—but the music habit remains. The front-line areas, and has just returned of moods is Miklos Rozsa, who, in depicting Ray in their factories, racked Europe during which she sang for British royalty, LOT of rumors have been circulated about quartet graphed one measure beforehand by an "oink” from same people who were given concerts the of the Legion of Honor of the French Milland awakening from a drunken spree in “The players, all concert halls and paying earned the Cross but they’re exaggerated and many of instrumentalist beginning to get into are now crowding to the Lost the mood. Republic, and was chosen as the first artist to perform for Weekend,” used an entirely new combination - them grossly untrue. It is not true, for instance, to hear good music; and their standards A The counters in an admissions In the following con- amateur quartet occupied Germany. of instruments, including the theremin, nova- session count the Allied staffs of the that you can tell a quartet player from an ordinary only are of the highest. Here, we enjoy a certain versatility and of the in the rests. They're too busy any other time. But ference, Miss Lawrence tells of her experiences chord, and high strings, sul ponticello, which pro- person he’s artists of reputation are fre- Note. when walking down the street—that is, when they have a in our entertainment; conclusions she draws from them. — Editor s duced a vague, unearthly measure rest, you can be sure to effect. unless he meets another quartet player. hear quently guests on radio comedy programs, during a decisive “1-2-3-4!" That's to show that they The composers for the cinema, with almost un- The conversation performances they vary their habitual reper- in these cases might start in a luke- know where they are which limited facilities at their command, and are being magnanimous and with no warm manner, but don’t let this fool you. tory with lighter things. The British music lover does A gleam sud- about it. They are generally the ones, iron-clad fetters of tradition to hold them in check, too, who suddenly denly comes into the eye, each spars for an opening, shout “Second not enjoy that sort of thing! For comedy he goes to already have originated ending!” when everybody else has taken are the people to have it. Any week, astonishing instrumental ef- artist reputation is billed, he London, so eager and then comes the inevitable. Simultaneously they the first. comedians; when an of fects which will This causes immediate panic, the whole concerts by five major orchestras, unquestionably find their way into shout: bot- his best style, form, and for instance, brings “Been playing any quartets lately!?’’ From there tom falls is expected to deliver —in the orchestral literature of out of the quartet and everybody opera, and several ballets. the future. What a pity on, it’s every stops and standards are of the best possible recitals, Covent Garden man for himself. Toe to toe they slug it screams selections. Thus, the that Berlioz is not alive Shut up!" at the counter is in use every day and twice on to hear some of the effects, out. who promptly crawls feel free to express himself The vast Albert Hall “We’re playing the Beethoven, Op. 59, No. 1 under his kind and an artist may whether magnificent or bizarre. chair. Saturdays and Sundays. I have used the term ‘too you know the Scherzo: didi da-da; did! da-da; dldi didi to the highest limit of his powers. The cinema composers also have because war time earnings are over now, naturally inclined didi-da!” “At present, there is almost too much music in much music’ but the racers and money toward the leit-motif treatment of Wagner, and tuners always seem te be ’celhste. and the people have not enough If there’s a third party present during the outburst whether the less A cellist takes the bit in musical performances sensitive members of the audience shifts his mouth with anything that to go to all the he sadly from foot to foot, tries to look interested, oo are aware of the return of the s like black notes desire! leit-motifs or not, we but when he finds —even if it's an Andante move- they the two quartetists are attracting ment. (And are willing to go so far as to say that they are sub- just try to tune your own “It is at that point, perhaps, that MARJORIE LAWRENCE questioning glances from passers by, he moves instrument when consciously affected by off a S tU ing! over. The new these tone symbols of persons few feet and be always is.) However. 'the the British radio takes and becomes intensely interested in a window Voiift « or moods. cellist can afford to be of the BBC is really thing if American artists toured there, as ambassadors display of vegetable cutters autocratic, and he always is. Third Program and kitchen knives. Sort of He s the One of the obligations of the composer for the backbone, the structural an important experiment in bringing of good will and good Tinderstanding. The light-and- a “never saw them before in my life” vertebrae of a quartet attitude. People ' cinema is that of not making the music obtrusive. tha hen s teeth ’ to the people the highest type of music heat situation in Paris (and in other French cities) brush past them, but the quartetists are oblivious. - It; s always best to In Walton’s They salsa 0 ^ is still rather think back to performances of magnificent musical setting for the Olivier Thomas Beecham. The broadcasts each citizens, willing to brave any degree of discomfort if ng WUh a recordin by the Buda- ful. The late John Philip pest Ouarter Th - g only they could have their music. Sousa often told us that a violinist 1S 13 interest lasted between four and five hours, Have a sing something with a trill ing to watch. places popular piece of music He goes the needle n, He was simply a piece that was along swiftly m record and the audience reaction was most “Germany, too, is coming on artistically, although up to the trill and then spills ’ doses the top of the machine, heard so many times out some- leans to vr ^ that the public could not forget thing that sounds Se picks enthusiastic. This is all the more im- it is somewhat more difficult to generalize there, be- suspiciously like a Bronx cheer on up the Addle and bow-all in it. a the two « ndSA portant in view of the fact that the cause of the various zones of occupation. One of the piccolo or a baby getting rid of that last the strains re- The popular song boosters unwanted Srder *n>m the go upon the principle mouthful of Farina. a nd° ambleSAA BBC puts on other programs at the most important opera companies, at present, is in It’s over so suddenly * °n the first note, that if a tune is dinned into the minds that you Quartet of millions hardly know what’s happened. T same time. The people have a choice the Russian sector, and the Russians, certainly, are enough times, “Pardon me,” you ask ^ general’y g°°d friends. They’d it cannot fail to be a hit. Most of these have to beA they choose the best! doing everything in their power to stimulate good politely, “would you mind singing that again?” hA n° room for and repetitious factory-made hits “Not at be sensitivity. They must are so short-lived that all,” able f “In France, the situation is some- music. There is also a secondary opera company, of he says obligingly and begins liltingly- 6aC* musiC they are really not hits at all. “Ta-da slings ’ but to withstand the Compare them with dada” and and arm* / what different. Whereas Britain had necessarily secondary quality and it, too, draws then-“br-r-r-p! . . . the Schubert’s Serenade, ta-da-da.” “What was °/ riShteous other three. They Handel’s Largo, Mendelssohn’s have to mk-P great music all during the war, France capacity audiences of music-starved citizens. Every- that? That Br-r-rp!?” ’ bUt Spring you ask. He looks slightly til6y also have know how to Song, Schumann’s Trdumerei, Rubinstein’s hurt. dish it out had virtually none. The German oc- where, in Germany, the elements which might “That was a trill,” he says scathingly. “And be Melody, and Wagner’s Evening Star. how would Beside these, you sing a trill?” cupation of France caused many or- termed musical accessories are in a deplorable con- most of the vlcinuy- so-called popular hits of today are body is safe. chestras to disband, forced out the dition. The scenery is bare, poor, faded. Lighting is There is, of course, no answer to For examnieample transient this question. ’ Athere are the four Ilartfor contraptions. After bovs whn pqii u largest proportion of normal music, inadequate, and, of course, there is thinking it over, no heat at all. you decide the only way to 1 the If a piece is associated sing a trill could S-tet. Yo and controlled the opera. But the true Musicians rehearse in their overcoats, with a certain sentiment, is br-r-rp, like and blow upon that. MSis^rf° r aslcinrt- , it almost always is associated S' but you do. “Trazom gallant spirit of France rapidly re- their fingers to keep going! In with some mood created Quartet what does (h i bombed-out Frankfort, players fall into many classifications. by an event occurring when it first There the “ « you wait * asserted itself, and it is a joy to be opera 4s given in a single large room, formerly oc- was heard. m We are the grunters, the wheezers, know of the counters, the turn report that conditions a prominent business man who never could able to the cupied by the Board of Trade. But the people over- the-page-and-drop-the-book-on-the-floorers’, °,h listen to Grieg’s Solveig’s Song without becoming the ra- " ““ th!" *h°ut which made France a leader in musical look these and any other difficulties. They want cers, the tuners, and so on. «u5h.Xt2o violently ill. 0 culture, are coming back. However, music! It was very interesting Why? His little girl, long deceased, used “Trazom to note that Frida The grunters and wheezers “feel” the spells Mozart to play it upon the violin. Victor music. This backwards!” help is needed to get things properly Leider, the great Wagnerian soprano, is now going Herbert once said habit is by no means limited to to amateurs. Some righted. At the very least, the people in for stage direction. us. “A good Irish song sounds like every other good of the She put on a special per- players from famous quartets get emotionally Irish song. Take The Last Rose carried of France deserve admiration and en- formance of ‘Haensel und Gretel,’ the first to be of Summer, The Lon- away and huff and puff donderry their way through a couragement for the zeal they devote presented in Air, Kathleen Mavourneen, The Little beautiful the American zone. And everywhere, Red slow movement. It’s a little disconcerting Lark, Mother for the Deo em S to coming back to their artistic level. there are ballets, such Machree, and mix them up in a b, °°d veins, HUSBAND, DR. KING orchestral performances as pot pie in the first few rows to have moke'your fu„r d MARJORIE LAWRENCE AND HER THOMAS a lovely phrase b7 ; ^ the very best, it would be a splendid tele- At can be put on, and many ( Continued 9 ' The first photo standing, since she stricken with poliomyelitis. on Page 374) ot once-Editor 586 y ° Ur PSy ‘ was 364 of Th". EmoV)' "MUSIC STUDY EXALTS LIFE” ” JULY, 1947 "MUSIC STUDY EXALTS LIFE 365 THE ETUDE —

Music and Culture Music and Culture T IS ONLY in recent years that musicians have begun to prepare themselves exclusively for a I career in conducting. In former years, the con- ductor usually rose to that position after he had played 1 in an orchestra, or had been a vocal coach. I believe that the young musician should know what he wants to do, and build for it from the beginning. My own career was built in that way. I began with the idea of Radio Conducting As a Career conducting, and did not vacillate. I became familiar with all of the instruments in the orchestra, and clarinet, and the French horn, studied the ’cello, the Conference with in addition to the piano. In general, the conductor From a must have (1) A good working knowledge of the piano. (2) He should play one string instrument. (3) He should have a working knowledge of one wood- lAJeber wind instrument, one brass instrument, and understand all of the percussion instruments. It is not possible to become a sound orchestral con- Well-Known American Conductor ductor, or to convey the correct interpretation of a demand certain phrasings from musicians score, or to EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT unless one has a knowledge of the instruments in the SECURED orchestra. The piano is the fundamental instrument for the conductor. It is the most comprehensive, and has the fewest limitations. Without a knowledge of Henry Weber has had an extensive career as an orchestral this instrument, the conductor has set a tremendous of radio. Born in Chicago, he was handicap for himself. Being able to play orchestral conductor In the field of Music, the University of scores at the piano is part of the conductor’s back- educated at the Vienna Academy an ground. He will not become proficient in score playing Vienna, and at the University of Chicago. His debut as unless he has acquired a firm piano technique, and a opera conductor was made in Bremen in 1919; and from 1924 _Ia ‘ J superior knowledge of this instrument. to 1929 he was conductor of the Chicago Civic Opera Com- back- The conductor also must have a cultural been musical director of Station A FAMOUS CHORUS OF MEN FROM THE RED RIVER VALLEY pany. Since 1934 he has ground. Good taste is his stock in trade. He should WGN. In 1940 he was appointed artistic director of the have a well rounded education with special emphasis Chicago City Opera Company — Editor s Note. on the humanistic side. He should know Latin, and Greek, and should have a knowledge of the modern They Hail languages, German, Italian, and French. It would be From the classic Red River difficult for a conductor to study the song Valley receives more rehearsal time than he would ever re- literature, or opera scores unless he knew foreign ceive in conducting an opera. As a rule the opera con- languages. He could not expect to have an interna- ductor receives only four hours rehearsal for a fuU The Amphitm Chorus of Northern tional career, and go to other countries to conduct Minnesota and Dakota three act opera performance, and it is here that without a good knowledge of the language of the coun- eveals Success clarity, and accuracy in the conductor's technique will Formula for Male Choruses in the try where he plans to carry on his work. In conduct- Average American City count. This is why I feel that the best training for the ing, there are opportunities all over the world. young conductor is opera conducting. Among many Breaking Into Radio Conducting other things he will learn how to conserve that im- portant element time. It is difficult to say just how the young conductor ly Cjrace Conducting in radio has taught me two things, and U. lAJatlins can break into radio, and begin to conduct, because they have meant a great deal. The first is accuracy and so much depends on his background, and his versatility. attention to detail. This is so extremely important be- There is no schooling for the conductor that will com- ITIES small and large all of a the- cause the microphone, and the audience are so close over America are dis- keenest critic could pare with the theater. To conduct any kind desire.” Then it was that covering the social and publicity this group rehearsal time, is to the conductor. One finds that he must approach the value of a h“ndred singers atrical venture, where he can have cracka-jack from pargo, North Dakota, conducting of a concert hall orchestra, and the radio C male chorus, made up of foremost „ and the most valuable training that any conductor can Moorhead Minnesota, men citizens. knew that artistically speakin- orchestra, in an entirely different manner. The second There probably is no quick ^ B’ finest spring board for a means of pre- Amphion “had arrived.” ™ have. Opera conducting is the senting the thing learned in radio was how to secure tonal balance civic standing, ideals, and quality that conductor. I know because my own career was built in excel the This is absolutely essential concerts of such a group, when it of the opera in the orchestra. when one takes time A Variety of Vocations this way. The greatest conductors come out to make tours to other parts. is working with an orchestral body in a radio studio. HENRY WEBER Although houses. Here one is faced with more unpredictable How can it is strictly a professional through work in radio does the ear become at- a “top notch” choral group be developed group Amphion situations than in any other field of the art. A con- Only professional si nger in in the average American city? How can such its ranks. From faster pace in tuned to the balance of the various groups of instru- radio when popular music is played, more microphones a group theth^ffactoryT Tthey come, ducting technique can be acquired at a be drilled, from trades and concert work so of it is visual, and the music, fewer micro- without waste of precious time to the offices from field of conducting. ments. In much are used, and in playing symphonic mem- the school-room, and from opera than in any other bers, so that it will the farm. There conductor can watch his players; but in radio, all of phones are used. command the enthusiastic praise men, are’sales- In symphonic conducting, the young leader is apt of teachers, a funeral director, qualified critics? What are the secrets of success an abstractor a this is discounted. The orchestras are smaller, and the A good conductor generally knows how to get along for judge, a janitor, an to deal with better musicians, but he is not likely to the everyday citizens optometrist, lawyers, keep his eye the radio control room. with high choral ambitions? doctors in experience, in a brief period of time. To conductor must on with people; but even then he must have the oppor- surance men, creamery workers, get as much The Amphion Chorus, of Fargo hotel men, mecham^s' For a symphonic program we seldom use over fifty-five tunity to work with a group of men for some time, in the Red River a printer, a grain become a radio conductor one must have an extensive Valley, North commissioner. Twenty-five forty to forty-five men for a light Dakota, and Moorhead, Minnesota, ’way businesses’ knowledge of opera, symphonic music, concert music, or sixty men, and and then they will really begin to understand him, his a ‘ up on the borderline of Canada, a “ ma ,re musical program. ideas, ideals. The conductor must work out prac- knows the answers to srs." operetta, and swing music. and these and similar questions. fall These vigorous "Men of I would advise the young aspirant to finish his tical things first, so that his organization will not the Requisites for admission are a West on Wings of Song” have unparalleled love of music a rea Studying the Score apart. Then he can refine the group to his own per- claims sonably good voice formal schooling, and his musical education, and then to distinction. In and some experience fact, they believe Amphion unique in choir or with opera company. A conductor who is musical director of a radio sta- sonal taste. As a rule, when an orchestra begins to chorus, a willingness to work, try to become connected an A in the field of American music to cooperate his ideas across to-day through its Thus in the third rate company is of no value, because this kind tion, must spend a considerable amount of time in know a conductor, he can put more triple role Red River Valley of the of (1) being a top flight professional North famed myself advantageously. If the conductor is a specialist in the chorus, world over for the the does not give rehearsal time. As there are so few opera study. I have trained to hear orchestral scores <2) sponsoring production of No 1 an annual artists’ course in the Harri wLA aid of playing of Mozart, and plays a considerable amount of com- these one ’ companies in this country where the young conductor without the the piano, taking the scores to my munity hundred men have during a , and (3) financing its period orchestra will own organization of one years developed 6" DANIEL L. PRESTON can obtain experience and training, I believe that it is desk, and reading them as one would read a book. If it his music, the begin to play everything hundred into a powerful force il members without one dollar of aid in ia Director the Mozart style. In radio, the orchestra player from M. o, the MM, w,„. ol the Amphion Chorus still best for him to go abroad. Europe has many opera is a new work, I take the separate choirs, the string in patrons or other benefactors. Not u„d,r only has the group L. Preston, companies, and there still is more opportunity for the parts, the woodwind parts, and the brass, analyze the must be versatile. He must be able to play symphonic spent director, they have inspired $70,000 on community betterment in the past the oigamza-orgamza form, the thematic construction so music, as well as dance music. When my orchestra has tion of many other male 6 R^ssian bassi ” youthful aspirant over there than there is here. He and that I under- e even years, but the Amphion budget choruses the tLA. —the lyric contours of is balanced at The hieh ° rS must make a name for himself, and have a good record, stand it, and it all makes sense. In the thematic mate- been playing only dance music for a period of time, it is the name Amphion was imPeccable of all present writing, and there is chosen from the the ensemble work a surplus %in the ological mvth choirs and then his opportunity will come if he is persistent, rial I mark what is to be emphasized here and thero. necessary to build up an approach from the dance to treasury. Probably story of the lyre player Amphion. no other chorus has attained whosFmu' style, again com- sic caused the stones and does not get discouraged too easily. This angle is important in radio, because the orches- the classic before attempting symphonic parable distinction to move into place of without the backing of some 0 very quickly fall style. in- aC d n f rtmC ™ Some Notable tras are smaller, and one must use every means to build music. An orchestra can into one stitution. ati°nS W6re being built Activities - at T The repertoirer t r heb Technique of the Radio Conductor up what goes through the microphone, and make it r of Amphion ' Amphion When the Amphion is drawn from 1,,7 Artists’ Course is top news for Chorus appeared in concert at reputable 1 VEry music loverf sound important. Opera in English source. In it will be The technique of the conductor in radio should Town Hall, Sigmund Spaeth declared: found wm-Vo” the Red R^er Valley. In co- “It is quite from the 1 ”8 on with favorite microphone possible stately dignity of Palestrina St Moorhead evolve itself. He should be sure of his technique when My in the radio studio is the It is my feeling that opera in this country should that they are the finest group of to the dash State Teachers College and male singers madness of Concordia rnu “overall mike.” It is an ideal in modern arrangements °’ he takes up radio work. He should be so sure of his pickup but it can be not be performed a foreign language. In the United m America to-day.” And Mark Andrews of old Russian S tbe chorus has in the past eleven wrote: “I have songs. It has Mk years brmurhf f used with only small orchestra. never required years of careful orty' intentions, and be able to make them so clear .to his a Several microphones States, opera should be given in English, and in France heard a chorus more perfectly blended. studv and I v five concerts and theater produc- The gent work to perfect the ^ tions to n men, that he can take an orchestra through a work are used to emphasize the various good parts of the it should be sung in French, and in Italy in Italian. quality of tone, diction, organ tones mmun ity. and precision were all that the of tht h Among artists presented Which Robert A. Simon “ have been t° f° without a rehearsal. Time in radio is one of the most orchestral choirs; thus we get a blend or balance from The only hope for opera in this country is to sing it in Heifetz > Harold Bauer, Marian An- dersonderson, Pir-hAi” important elements. It is also a very important ele- the orchestra. When the “overall mike” is used the English, the language of our people. The Chicago The- 366 Richard Bonelli, ( Continued Page 413) "MUSIC STUDY EXALTS on ment in conducting opera. Today, the radio conductor audience will hear more clarity, and less blend. In atre Of The Air has been (Continued on Page 410) ' LIFE’’ <• ' - ' > - THE ETUDE JULY, 1941 "MUSIC STUDY EXALTS LIFE’’ 367 Music and Culture Music and Culture The wide prevalence of some degree of deafness has been made known to the public through the great number of people who have adopted hearing devices of many kinds. Dr. Curtis H. Muncie’s charts, showing tests indicating im- l he Old Do s and "Do Nol’s’’ provement upon hearing, through the employment -of his of the Well, my fellow Round Tablers, here I operation for the improvement of the condition cutting, are startling. Un- am back from a wonderful trip to the Eustachian tube, without resort to paper shortage these charts could not Conference of Southern Music Educators fortunately owing to be included in this issue. in Birmingham, Alabama. X traveled by Hearing and Musicianship specializing Dr. Muncie is a distinguished New York otologist, air, in one of those splendid, big Round Table D-C 4's, Teacher’s The tubes in deaf- on the function and treatment of Eustachian and as always it was speedy, quiet, and Dr. ness in which field he has become a foremost authority. utterly comfortable. Between reading a Muncie demonstrated that the Eustachian tubes—seemingly From a Conference with magazine and enjoying a steak dinner, Conducted by unimportant canals which connect the throat with the middle one hearing since their least impair- hears a few names: . . — highly important in Cleveland . ear are immediately on the hearing. He has achieved Pittsburgh . . . Knoxville. Then Birming- ment reflects through re- ham, the balmy atmosphere, Another angle of the problem amazing results in restoring defective hearing with stars a^umeinii : students 1/Ylaurice construction of the Eustachian tubes without the use of ),-. Curtii Wluncie twinkling in the sky. The do count, but . . . unevenly; M. Conference who who, in 2 cutting surgery, using only his sensitive fingers. Dr. Muncie lasted four days and it was indeed a fact, adjust their counting to their Foremost Authority on Otology French-American wrong has made a special study of hearing in relation to musician- A great one. A record breaking attendance Eminent playing instead of adjusting their playing ship during his thirty-four years of research in deafness, and was on hand, with activities going and on all Pianist, Conductor, Lecturer, to their right counting. Yes, of course, has treated a number of famous singers, conductors over town: orchestras, bands, interview he tells about the choruses, you have one or more of this particular musicians. In the accompanying auditions, forums, chamber and how the hearing can music, and and Teacher type. Here our old friend, the metronome, structure and function of the ear SECURED EXPRESSLY FOR THE ETUDE BY DORON K. ANTRIM naturally, a Piano Round Table led be safeguarded. — Editor s Note by is valuable for checking purposes. this editor. I found the participating As for your last statement, you might teachers very progressive, well informed keep a copy of this issue near at hand. on up-to-date developments, and alto- After your little lecture on counting, pick dispute that the most prized possession of the musician gether efficient and competent. The “De- “»to ONE can well it up, The least open it, and read aloud the' first Without it, he’s almost hopelessly handicapped. bussy Clinic” proved to be a highlight, |\l is his hearing. starting from a very soft pianissimo few lines of this, my answer. Then sim- -L hearing impairs his efficiency. This is particularly true of the and it was thrilling to find such interest defect in which allowed a gradual crescendo with- ply say: tones, distinguished from the "You see . . . It is Important, player, and others who make their as among the audience. Three cheers for the singer, string out getting to any crashing fortissimo because it's in The Etude." slight hearing loss will often affect one s sensitive- old South; courteous, friendly, wide pianist who does not. Only a and entirely might other- foreign to his reserved and dis- to pitch. considerable loss can blight or ruin a career which awake whenever musical advancement is ness A tinguished conception of pianism. misfortune any less serious to the concerned. Cadenzas and Concertos wise have been noteworthy. Nor is such a require an unusually high degree of hearing both in quality Returning to the North, I found among Are there cadenzas for the Mozart D teacher. Musicians Correspondents with this Depart- minor the number of musicians whose loss the letters which had accumulated Is Counting Necessary? Concerto (K. 466) other than the and sensitiveness although estimate places on ment are requested to limit letters Hummel Would and Beethoven? Is It ever per- their efficiency as one in ten. my desk, a few which call for a clarifica- to One Hundred and Fijty Words. you please comment upon the of hearing is such as to impair necessity for counting? missible to play a concerto without the for granted. He tion of the relationship I think I at least “And yet, the average musician takes his ears pretty much between this de- try to use good cadenza, or to cut the cadenza? A student psychology with students does his automobile. He has the latter partment and the writers. First, but who is now working rarely gives them the attention and care he among the older ones think counting is be- on this concerto finds the cadenzas trouble and insure maximum service. It does the “Do not’s,” may I request that no low their dignity and they are stubborn pretty dimcult Thank you checked up frequently to forestall for about it. I your help in this. intervals with an audiometer test, long questionnaires be sent, especially When make them do it they not occur to him to have his ears checked at often cry and it ends up being the kind — (Miss) E. H.. North Carolina just good the when they are to be used for which takes only about twenty minutes and tells by chart how school pa- From an Old Legend of a nightmare every teacher tries to lot of grief later on by en- pers, or theses. This obviously avoid. Little Yes, hearing is. Such periodic check-ups could prevent a should be I know you are an authority on Debussy children can be taught to there are other cadenzas for the clap stages, tremendous advan- taken care of by and his music hands and count without difficulty, Mozart abling one to get at incipient trouble in the early a the correspondents and would you tell me the D minor Concerto, and I recom- legend but the older ones who do not feel treatment and cure if taken in time. themselves, and they are at college pre- he had in mind when he composed rhythm mend to you those tage. Deafness is much more susceptible to are a problem. If I could by Fcrrucio Busoni, La Cathedrale engloutie ( show them that cisely The Sunken test, the average person is unable to tell whether there is any to learn how to handle and an- you say it and Carl “Without such a Cathedral )? I wish absolutely must be done it Reinecke. Both are pianistic RECONSTRUCTED OR NORMAL to tell a music club well advanced. Metropolitan THE swer such questions. Then, please would help.—C. C. G., Nebraska. and impairment in his hearing until the trouble is fairly A RECONSTRUCTION do not audience the background of this compo- brilliant. But if your student has dif- EUSTACHIAN TUBE friend. He didn’t know that he had send in anything like this: “At Page 179 sition. I have hunted in vain for informa- ficulty with the singer once came to me on the advice of a D—The reconstructed Eustachian tube (normal). Hummel cadenzas I fear Small bones of the ear, the malleus, incus, and OF THE PROLAPSED of tion on this piece.—Mrs. M. J. W„ Kansas Of course counting pitch and insisted his hearing was perfect. Yet a test re- E— Beethoven’s Sonatas, third line, fifth is absolutely neces- that the above been having lapses of stapes. may well be a little too cochlea, which receives sound measure, So-and-So’s sary, and it plays no favorites: considerable hearing loss in one ear. Restoring the hearing in that ear C—Part of inner ear. the EUSTACHIAN TUBE edition, do you it imposes much for vealed waves means of nerve end organs. In old Brittany, that French her. However, here is a valuable by province itself upon us with thirty per cent Nerve of hearing through which impulses received play the trill with, or without ending. beginners and professionals suggestion: restored his sensitiveness to pitch. Nature has endowed B— so picturesque with its rugged country- no less a Mozartian authority at C are conveyed to brain to be interpreted as Demonstrate alike! Concert pianists required for conversation. Thus most of this reserve hearing A prolapsed Eustachian tube is here shown diagram- on paper.” Who can be ex- often have to de- than Isidor more hearing than is sound. side, rocky coastline, granite dwellings, Philipp says that the Hum- A—The semi-circular canals which control the sense of matically in the process of reconstruction. Note ad- pected pend upon it too, is conscious of conversation deafness. But the nature of to have all music, in all editions, when dealing with ex- mel cadenzas may be lost before one balance. hesions and pre-isthmus lesion ahead of the Anger. and yellow shrubbery, there is a wealth tremely are very satisfactory, but handy at any moment? The measure in- complex and intricate his profession imposes more severe demands on the musician. He needs most of of legends and superstitions. composi- too long and too heavy. They be volved Modernism tions. The classical must twenty-five per cent may be a serious ought to be written down, in every repertoire itself his reserve hearing, and a loss of twenty to has made very little headway and most is arranged and shortened. By examining case. Next in line: fingerings. This prob- replete with pages where the handicap. folks adhere to their ancestors’ meter calls the musical text closely lem varies according customs; for careful examination, you should have to the individual to say the least. no The Deceptiveness oi Hearing they also use the Celtic dialect in their trouble in detecting the superfluous hands. It is a See, as one example teacher’s job to size up a among many the passages homes. One of the most popular legends and finding the proper way to “Hearing is extremely tricky for it is the one sense which is not wholly de- student’s hand and to choose, among slow movement of Beethoven’s is that one according Third work out several to which some of Concerto in the cutting and “welding.” pendent on the individual. We know that we see; we know that we smell and possible fingerings, the one which c minor: anyone beginning the land was once engulfed by the en- Strangely enough, taste. Our hearing is dependent upon the functioning capacity of our ears as well will best fit that particular case. its study must pause Beethoven's cadenzas How and make sure of for croaching sea. And now when the fisher- this concerto (and for as of the speaker, or if it is music to which we are listening, upon the pitch and could anyone judge this blindly? Also, exactly where the subdivided others as well, men go out on certain beats fall- including please clear days, when then the his own!) can be tenned awk- volume. For this reason we do not know sometimes whether we should hear a do not set any time limit because practicing of the “ornamenta- the water is smooth and transparent, ward, unpianistic, certain sound not, for person with one hundred per cent hearing does you “are in a hurry and need tion passages will and completely “un- or even a an answer they claim be adjusted accurately that they can see the silhou- grateful." not hear everything. Furthermore, it is possible for a person to have one hundred for such or such date.” Due to the great and subsequent Sometimes I come to think ette of the ancient performances will pro- city rising towards ceed with that in such instances gave per cent hearing in one ear and be totally deaf in the other without knowing number of letters received, they have to the required smoothness. Beethoven them from the depths of the* ocean and You way to a be filed, classified, and answered, are not alone in genuine sense of humor which of the deficiency in the poor ear unless accidentally discovered or a test is made. which of the ages. your contention, The cathedral stands in the and prompted him Many musicians have a loss of fifteen to thirty per cent hearing in one ear with- is only fair, in order of reception. Finally: other teachers report similar to make trouble for the middle, and from its towers comes problems It pianists. up the . out realizing it. lost hearing high do not write month after month, some- js a fact that students Didn't he write, at the head There are others who have the capacity for sound of the bells. of adolescence One hears the power- let of his cadenza tones but hear low pitches perfectly. Still others are just the reverse. There are times even more often; give the other us say twelve to sixteen, for the first movement of ful chords of the organ, the chanting are ant to his Round Tablers a chance. of suffer from fourth concerto: “Cadenza, senza those who hear better than normal in a noisy environment. Others hear better And now, to the the exaggerated self-conscious- ma priests as they go through the aisles cadere”? “Do’s:” Please stick to one question, and ness. Good psychology Well, since cadenza in Italian in a quiet environment and when there is much music about them their own in a procession. It lasts will help to show to the but a short while, them suggests also hearing becomes relatively defective. Some people hear the telephone ring limit of one hundred and fifty that counting is the act of “falling, or a fall,” but for soon the vision recedes, by no means “un- words. Expose and nothing dignified.” we might put not the voice. On the other hand, individuals with a high bone conduction hear it clearly. However well remains Tell them, for instance it this way in English: but the little ripples on the sur- that Cadenza, meant it may be, too many details, too he gr®at Conservatories but without ‘fizzling,’ or falling better than normal over the telephone but may not hear ordinary conversation. face under , of the blue sky above. It is in- Europe much dilution of the solfeggio,”,f jvhich off. And look Hearing idiosyncrasies are numerous but they are usually pathologic. main point creates teresting is based on at those terrible trills, to know that Edouard Lalo’s counting with confusion and 11 off notes, The ear is one of the most marvelous and delicate precision instruments in the hampers an accurate un- *** f° toward the end. . Sure well known opera Le Roi d’Ys r Which contests’ derstanding deals with are held enough, world. Its are and appreciation of the hddTnVand awards granted. Beethoven had his little fun! As main parts the outer ear terminating with the ear drum, the middle the city of that name which was forever Tell thpm subject. Keep the perspective unobstruct- that after all, what to discarding ear connected with the throat by the Eustachian tubes, and the inner ear con- submerged when the conductors of cadenzas entirely, it was ed by dramatic develop- phony tried in unimportant side issues. Try to oichestras do is in Paris years ago, but the experi- taining the cochlea, the true organ of hearing, and the semicircular canals which ment of the story caused the flood reality count- make your problem gates mg to their ment was control the equilibrium. delicate endings one of general in- musicians with short lived, for let’s not forget The nerve within the cochlea receive to be thrown open. Debussy’s imagination their baton terest. Bear in mind Mention the that if the sound waves through the perilymph fluid but these sound be that the aim of this couldn’t help fact that in dancing composers wanted no cadenza waves must being attracted by such a schools' they department is to help the greatest most instructors count provided no space for delivered for the person to hear. Any interference along the line of conveyance num- subject, and he wrote a Prelude too, and with the for one (see, ber of which pupil, so instance, Etude readers, whenever possible, affords that the feet follow Mendelssohn and Chopin). And may result in deafness. The tone range of the normal ear for practical hearing marvelous opportunities for a the cadence at the of the music. ally, is sixty-four vibrations vibrations. same time. display And do not soldiers regarding difficulty: since caden- to 8,192 The low limit and high limit are greater of varied and shimmering tone drill 1to With the the husky counting zas were than this, but practical hearing is within this range limit, which compares favor- cooperation of everyone, we of “Hup twn tv, originally mere improvisations, colors. He played it himself in public will proceed further a four?” cider students there is no ably with any musical instruments made. on the road to who ' objection to arranging any more number of times, and pianists do might well rhythm ’ would S one of them hear through three different pathways; enlightenment and knowledge. derive profit in a way better “We through the outer ear, through My an- heed the fact that in from a course that will be this performance his in Dalcroze suited to the Eustachian tubes through ticipated thanks to all of you! Eurythmics, now a particular shape of hand, or HEARING and bone conduction. Thus nature has planned a crescendo was built up most available to AUDIOMETRIC TEST OF carefully, many wi 1 give of hearing even music schools. more facility for pyrotechnics Audiometer and Muncie automatic tuning forks in foreground. way though any one of these pathways ( Continued on Page 405) 368 of a given kind. "MUSIC STUDY EXALTS LIFE" JULY, 1947 "MUSIC STUDY EXALTS LIFE" 369 THE ETUDE ^

daughter of quarreling Swiss Farmers. The Para- Music in the Heme Music in the Home anu “The Walk” dise Garden is an inn depicts the Mingling Voices lovers trip from the Fair to the Inn, where they earth. Sir Edward C. Bair- HERE ARE good and bad pressings spend their last hours on This is music of “Counterpoint and Harmony.” By . of F.R.C.O. Pages, 408. Prict, $5.00. records being made these days. If one set poetic pathos which Goossens plays with sym- stow, Litt.D., Mus.D., The Concerto Macmillan and Co., Limited, and Stainer T seems to have noisy surfaces we suggest pathetic understanding. is music of Publishers, that you ask permission to hear another. We have serenity and poetic beauty far removed from the and Bell, Limited. Music Lover’s Bookshelf Music at the University The Etude found by shopping around that one can acquire a Recordings With nineteenth century concertos. It is meandering Dr. Bairstow, Professor of has given us a work that is not at all like better set more often than not. However, it has and rhapsodic, the sort of thing one enjoys at of Durham, excrescenses which sometimes come been brought to our attention that many record leisure. The violin sings like a bird at times; it the complicated is progressive buyers take a set home and later in virtuoso concertos, from college halls, but rather a practical, claim it has bad never obtrusive as rather it melodies and not contrived para- surfaces. Often the reason for this is not attribut- weaves in and out of the poetic orchestral back- book in which real presented. Musicians for years have won- able to the manufacturer but to the over-use of ground. Albert Sammons, for whom the digms are Any book here concerto har- permanent needles. pickup Varied Appeal dered why counterpoint could not be taught with reviewed may A with a built-in was written, plays it wfith “rapt, lark-like ecstasy.” in be secured from stylus is not good for as both sciences are integrated countless plays—it is limited, Prokofieff: Piano Concerto No. 3 In C major, mony, inasmuch THE ETUDE MUSIC composition. Dr. and when it is used too long it musical structure and in the art of MAGAZINE at the can produce a bad Op. 26; played and conducted by Dimitri Mitro- which, together price given on playing surface on the best record set. The aver- Bairstow has a fine pedagogical mind poulos with the Robin Hood Dell Orchestra. receipt of to pro- age sapphire needle, according to scientific his sound musicianship, has enabled him or check. tests, Columbia set 667. with cash to the begins to wear around five hundred plays. As the duce a book which is a valuable contribution The recording here is not by any means as good wear increases, the damage to a record becomes study of music. The tenor and the alto clefs are used as Columbia has accomplished in other concerto more and more noticeable. Those who own pickups in four-part writing throughout the work. recordings; it is often coarse-grained, frequently with a built-in stylus are warned to have their diffused and badly balanced. The work is a strange points examined under a magnifying glass—or mixture of mechanistic effects and brood senti- Jazzvirtuoso better still a microscope—to determine when to By I d2. WereJltli (2acLman ment; the piano part is technically very difficult. “Horn of Plenty.” The Story of Louis Armstrong. get a new needle. Since a great many recordings ij Mitropoulos handles his dual roles Goffin. Translated from the French by James being released these capably but not Robert days are purely for com- Allen, always as successfully as two artists might have F. Bezou. Pages, 304. Price, $3.00. Publisher, mercial consumption and do not always represent Russian music workers who are done. Towne & Heath, Inc. the vast number of infinite details the devotion of some the artist or artists at their best, comprehended we believe it of of as hopeless radicals. Brahms: Sonata in F Minor, Op. Louis Armstrong, born in “the lowest Negro slum bring interest to each page of his book. In com- often thought best to concentrate on those that offer the best 120, No. 1; which William Orleans” on the Fourth of July, 1900, has become, world-famous Dr. Albert Einstein, in musical and interpretative value. Primrose (viola) and William Kapell New menting upon the of the most (piano). Victor set 1106. as all Jazz and Swing fanciers know, one for instance, he says of a visit to his home: Sound Science Handel-Beecham: The Great Elopement; Sir Mozart: trumpet players in his field. From poverty literature, I was amazed, when Charles A. Culver, Ph.D. Thomas Beecham and the London Philharmonic Quartet in E-flat major, K. 493; George prominent “Speaking of violin “Musical Acoustics.” By he rose to become an international figure Princeton and went The Blakiston Orchestra. Victor set 1093. Szell (piano) and members of the Budapest String and ignominy I visited Professor Einstein in Pages, 215. Price, $3.00. Publisher, his Quartet. in the realm of popular music. Loud and strident, stacks of music on his shelves and piano, Mendelssohn; Reformation Symphony, Op. 107; Columbia set 669. through the Company. could pierce any musical bulwark and his high unerring good taste of this of one of the best planned Sir Thomas Beecham and the London Philhar- The question always arises as to which instru- trumpet at the catholicity and A new and revised edition always amazing. The French author of this with a smile that a subject in monic Orchestra. Victor set 1104. ment—the viola or the clarinet—best suits notes were ‘amateur.’ The Professor pointed out and the most understandable books upon biography has caught the brilliant colors and flashing two presented to informed. It is a The first is a ballet that Sir Thomas arranged Brahms’ last two Sonatas. In our estimation, there his Bechstein grand was one of the which many teachers are not fully highlights of this remarkable virtuoso and it becomes gift of honor: the other school senior level, from the works of Handel; the story concerns the is greater expressive variety and beauty of tone in distinguished Germans as a book for students of at least high that a French touch, with a Zola-like atmos- Hindenburg. the subject. Dr. elopement of the playwright Sheridan with Primrose’s viola than in the clarinet of obvious recipient being—incongruously enough— because of the technical nature of the Weber dramatic back- phere, was needed to bring out the “After I sent the Professor my edition of Tartini’s of the Physics Department of daughter of Linley, the composer. The scoring is (Musicraft set 27). This Sonata Is a work of a Culver was former head ground of his unusual careei You will find the book stacks, he wrote: deftly accomplished and the work hangs together musical poet ruminating on the past; tinged with Concerto to add to the Carleton College, Minnesota. exceedingly readable, whether or not you are a “hep- thanks for sending me the concerto very well indeed. Purists may consider Sir Thomas melancholy and the soft hues of autumnal ‘“My hearty guilty of shadows. cat.” which you played so incomparably. I hope it will modernizing Handel, but few musical The performance here is one of admir- Tonsorial Musical Art listeners will deny that his able musicallty give me fresh courage to manhandle my fiddle performance of this especially on the part of the violist “I Heard Them Sing.” By Ferdinand Reyher. Pages, fingers: the fiddle, incidentally, music is a delight from beginning to end. The Mozart Quartet is Master Violinist with my old The the second that the com- ” 226. Price, $2.00. Publisher, Little, Brown and Com- noted British conductor gives a wholly persuasive Strings Attached. Reminiscences and Reflec- doesn’t deserve anything much better!’ ‘ — uv* UIIU uuc 1UO “With pany. reading of Mendelssohn’s Fifth Symphony, finest chamber Joseph Szigeti. Pages, 358. Price, $4.00. All in all, the book is a highly intelligent, spon- to yet we works in which we find a perfect tions.” By If music is a thing which should bring happiness of the exciting feel not even he can make Mendelssohn’s “Refor- blend of emotion Alfred A. Knopf. taneous, and entertaining preview of the art and intellect. Mr. Szell plays Publisher, its devotees, there apparently is no phase mation”—with its religious implications the piano Etude already have had the pleasure period in which Szigeti has lived and fiddled his way as appeal- part with technical skill and a nice Readers of The which produces such joyous gravity or serious hilarity ing in its entirety as his Scotch and feeling for 11 of this work, printed in advance into people’s hearts. Italian rhythmic freedom. The members of of reading Chapter as the musical masterpieces of the barber shop. Symphonies. Both works are excellently recorded. the in our October 1946 issue. Szigeti, born Budapest Quartet are admirable in their tonal of publication Ferdinand Reyher, Philadelphia-born world traveling Prokofieff: American Musical Review Symphony No. 5, Op. 100; Serge warmth but the September 5, 1892, in Budapest, is a pupil of the great to many balance of the ensemble is not so newspaper correspondent and contributor Koussevitzky and the Boston Symphony Orchestra. well master, Jeno Hubay, and after succeeding “Music Comes to America.” By David Ewen. Pages, integrated as it might have been. Hungarian leading magazines, has produced a book of homely Victor set 1095. s professor in the class of violin vir- 295. Price, $3.50. Publisher, Allen, Towne and Heath, Beethoven: Sonata in C minor, Henri Marteau as appealing Americana. He takes his readers to Pro- Sibelius; Op. 13 (Pathe- and Symphony No. 4 in A minor, Op. 63; tique); Artur tuosity at the Genoa Conservatory in 1924, was induced Inc. now and Rubinstein (pia'no). Victor set 1102. fessor Ben Halper's Tonsorial Parlor, which Artur Rodzinski and the Philharmonic-Symphony Beethoven: Stokowski in 1925 to come to America. Since A republication of a work issued in 1942 by Thomas Sonata in C-sharp minor. by Leopold then breaks out with well lathered barber-shop har- Orchestra of Op. 27, of series of silhouettes New York. Columbia set 665. M ° 0nli9ht): then he has made America his home. Y. Crowell Co., consisting a cracker barrel, ^ xv.il uuiiai uuiuru Vladimir Horowitz (piano). monies. The book is as American as a Prokofieff has T , , the musical progress in America, some of which have displaced the noted Finnish composer Its appeal may not Victor °set in 5 His career has been that of a dignified artist of upon skillfully written. It be long lived but few will thii and is amusing, picturesque, and in popularity of late, yet a new h n: been published in The American Mercury, The Balti- recording of the about that. It is given Waltzin ‘ book, but rather a novel a good performance C sharp rn ' essentially a musical by Ik . n or, Op. 64. No. 2; and is not Sibelius . Etude, Ground, Coronet, De- Fourth reveals a clarity of line and intention Kurtz M^n ri°Jil S< n more Sun, The Common and well recorded. : le background. Borodin’s tone poem with 9y and s P rin g Song from Songs with a “barber shop chord” in his symphony that is Without \i ^ - cision, Tomorrow, and the Theatre Arts Monthly, to- not always apparent in the orientalism is heard w ° rdS less often today than in form ’ Vladimir Horowitz (piano). Victor Prokofieff score. The first movement of the disc ll- gether with much new and original research material. latter is times. It is well devised descriptive music, 95 i 9 diffuse and Koussevitzky, and this nf Fundamental Steps stressing inner voices, makes recording should revive interest in it. Rimsky-Kors Hinde- it even less comprehensible. A Soviet Aspect of Tchaikovsky “Elementary Training For Musicians.” By Paul Despite his more imagi- kow’s brilliant opus depicting the “legendary ivuuuistem i piano) Associated native handling ai . Victor disc 10-127 Pages, 237. Price, $4.00. Publisher, of the Scherzo and the notable Finale heathen side of “Russian Symphony: Thoughts About Tchaikovsky.” mith. the Easter holiday” is a virtuoso excePtlonal Pianistic (the sco , artistry in both of tl Inc. best movement of the work) I still think sonatas r By Dmitri Shostakovich and others. Pages, 271. Price, Music Publishers, , Rod- designed to show off an orchestra. m n Needless to say tl bringS a roman tic tl Aryan, refugee zinski’s performance was warmer and more “Path?tinu^> warmth to $3.75. Publisher, Philosophical Library, Inc. Paul Hindemith, German-American appealing. Philadelphians do a superb job, av°ld and Ormandi ng the Pedanticism of recer and recognized as one Beecham's version of the Sibelius , a What do the modern Russians, often assailed for from the tyranny of Hitlerism Symphony is more straightforward rendition of the perform an ro Serkin| music is far mo ' The work est: composers, has been for thoughtfully and tellingly played than Rodzinski’s, persuasive than mation hv -/, Profits, in our their harsh cacophony, think of the most widely played of the foremost present day Stokowski’s performance Ubl Steln s but the latter nonetheless turns of it M warmer treatment of tt Peter Ilyich Tchaikovsky? The ques- time on the faculty of Yale University. This has in an unusually im- Fiedler turning to sunny Italy music HornwH f Russian master, some brings us a delightfi tZ Pays the ubi His pressive reading. Both sets are well Quitous “Moonlight” in fascinating. Here is a list of the hard to his mind -to the problems of Education. recorded, with the light work based more rlA,v i tion alone is turned on folk material of the Piedmonte. manner than string tone in the latter being most pianists; his tons under the direction is unusual, in that it does not immediately more mellow. section. It is music to which qualitv k evf™°‘' pronounce names of writers who, new book one may find it dmarnv hard - beautiful and the an of an advanced work Khatchaturian: Gayne— Ballet Suite; Efrem Kurtz resist whistling. The smoothness clarity of Shostakovich, have written this book: Boris Assafyev concern itself with the intricacies reproduction of all these recon bls perf°rmance and the Philharmonic-Symphony reveal an exactin Keldysh, B. Yarustovsky, Daniel is really a kind of drill manual for musical train- Orchestra of New ings is good. artist The f (Igor Glebov) , Yuri but 6legy ° f the York. Columbia set 664. chopin 'waltz is sub Vasili Yakovlev, Professor Arnold Al- ing. He says in his Preface: “The music student enter- Delius: The Walk to the Paradise stantiated huTnA Zhitomirsky, Borodin: Garden from Xaggerated bv Horowitz, h: general insufficiently On the Steppes of Central Asia; Village treatment - and shvang, Ksenia Davidova. ing a class in harmony is in Constant Romeo and Juliet; Eugene Goossens of h °V and tl Mendelssohn pieces is admirable fc basic principles—governing Lambert and the London Philharmonic Orchestra. Cincinnati poetic fppiino- Shostakovich comes right out with the statement, prepared with respect to Symphony Orchestra. Victor r " disc 11-949 6 * 1 1 is more their Columbia disc 71956-D. Delius: Ah appreciable in h: “There is not a single Russian composer of the latter Rhythm, Meter, Intervals, Scales, Notation—and Violin Concerto; Albert performance^ tbeh'r'f*’LisZt Sammons and tl waltz than in the Schuman been evident to most Rimsky-Korsakow: Russian Easter Overture; Liverpool Philharmonic piece Nineteenth or early Twentieth Century who is not correct application.” It has Orchestra, conducted bv Eugene Ormandy and the Ma indebted in some measure to Peter Tchaikovsky.” Later American teachers that the superficial studies sufficient Philadelphia Orchestra. colm Sargent. Columbia set 672. “With Strings Attached,” by permission of the publishers. aspire to reach an Columbia set X-267. The first From he notes: “Whenever I take up my pen to write some to meet the needs of those who is an intermezzo from the * composer’s . Sinigaglia: Danza opei c — sex, ObU. involuntarily turn to the methods amateur status are entirely inadequate to the Piemontese, Op. 31, No. 1; Arthur -a modern tragedy of boy Szigeti with his wife, Wanda, in their Garden at Palos score, my thoughts agreeable and girl lovers son an Fiedler and the Boston “Pops” Orchestra. Victor bussy IT' Ave Maria; and t Verdes, California used by this unsurpassed master of the art of com- student who looks forward to higher levels in musician- disc Aarr * oc,ues ) - La plus 11-9446. 11-9571 que lent. Victor d position.” Thereafter Shostakovich in his tribute to ship and composition. This demands time, and accord- The music of Russia may have gives a fine but short orientation of the ing to the old Continental ideal, was best acquired altered to a more b highest character, without the stigma of clap-trap Tchaikovsky proletariat ° ' ' character in modern times but the coloring R ondA° P 33; and SchUbe acquaintance has master’s work in relation to musical art. under the baton of a martinet. For the purpose in- victor fifsc publicity and Hollywod ballyhoo. His in scoring still prevails. IS’ book is admirable. Khachaturian’s “Gayne” has RECORDS been world-wide and his observations of the great per- If you are a Tchaikovsky enthusiast, and millions tended, Hindemith’s all the qualities to 1 N °cturne in E minor, Op. 7 plan, along the lines of action make it popular—rhythmic variety, and Sarasate^ he has met are charming as well as graphic. are, you will find many lights upon the works of the The book is original in Rom " A " sonages daluza ‘ 11-95 Jascha vlctor disc musical training, has Russian master and perhaps you will be surprised by in time, action in space, and coordinated action. 370 Heifetz Sm(violin) and His memory, doubtless due to his "MUSIC STUDY Emanuel Bay (piano). EXALTS LIFE’ "MUSIC STUDY EXALTS LIFE" 371 THE ETUDE JULY, 1947 : ,

Music and Study long The one-half, one-quarter, or sustained damper Music bring and Culture pedals which he requires serve to into clearer focus 2he dazzling superstructural design which he builds over the living, throbbing foundation. Witness for example his magical use everywhere of consecutive seventh and ninth chord “bottoms” for the sharp pro- jection of the higher overtone textures. The Pianist’s Page Poof! goes also that “whole tone scale” label. Com- Haw Businesslike Are You? paratively seldom in his riper periods does Debussy employ long wholetone or pentatonic successions, since he knew, perhaps better than we, the poverty of such tonalities. His so-called exotic effects are more often 2b, Wccuer produced by composing whole pieces in the old Greek modes. He uses these modes lavishly, especially in his later periods. A good example is the Toccata (“Pour Noted Pianist and le Piano Suite”) composed in the Aeolian or sixth Music Educator scale-step mode. •

contend that the business a detriment to their peace of mind, and to their teach- Debussy's Directions ANY TEACHERS side of their profession should never be men- ing. If you would become a good Debussy interpreter During investigation I had occasion to make a tioned, as it interferes with art. It does—but my follow the precise directions which he gives in all his M discovered this notice at- dental appointment, and definitely—not, however, for most of the reasons given pieces. When you can give a convincing reason for tached to appointment card. Debussy s Last Period by the majority of teachers. my momentarily disregarding the composer's direction in demand for professional And what of those last painful years of Debussy’s Music teaching has been a haphazard business ever “Due to the unusual some disputed spot—as I shall try to do later in the services existing at the present time, and in fair- life, the period during which the critics pontificated since the first music teacher hung out a shingle. Clair de lune—only then may you momentarily stray. to patrons on our waiting list, it is necessary that his creative capacity had deteriorated? We know Pupils and their parents, usually the mothers, request ness Otherwise, I advise the most accurate and literal read- to require at least twenty-four hours notice, re- . now that these were years of exploration in fruitful lessons, and you set aside certain periods of the week fields ing of his explicit markings. gardless of the cause for cancellation. and of experimentation along new paths, with for them. The pupil intends to take the lessons as “Otherwise a charge for the appointment must results that are by no means meagre. scheduled, but sometimes it is not convenient, so you made.” To be sure, the “Twelve Etudes for Piano,” and the The Clair de lune make up the lesson later, or cancel it altogether, which be “Blanc dentist said it had solved many situations, but et Noir Suite” for two pianos of this last period If you will think of the Clair de lune as a rising gives your budget the jitters, and you are irritated. My it still not an ideal arrangement. The mem- are not understood by the public, or in fact by most arch of tone which reaches the apex of its curve in Sometimes you schedule two or three different ap- that was dental association feel that they should not pianists. But give them time! . . for so bers of the . The next years will Measure 41, from there descending gradually to the soft pointments for one lesson. This has gone on see penalized for patron’s negligence. these highly original masterpieces fully explored dark shimmer of the final Measures, 66-72, you will long that most teachers think they will always have be and appreciated, I attached the same notice, worded differently, to especially now in the face of the pre- understand why the piece is an almost perfect example to continue with the same unbusiness-like procedure. vailing Parents or pupils did notify me of a sterility of the pianistic produce offered us in of formal design. If, in addition, you can picture your- Some teachers, who charge large fees, have secre- my statements. this generation. These cancellation twenty-four hours in advance, but the “Twelve Etudes” and the three self resting at the edge of a lake or the sea (with taries who make it quite clear to parents of prospective pieces of the were missed, and situation, financially, had “White and Black Suite” are astonishing someone you like very much, of course!) waiting in pupils that lessons are to be paid for several weeks in lessons my examples of musical improved very much. Then I decided to make a and technical fecundity. Their the soft, velvet starlight for the moon to rise—then advance, and are to be taken as scheduled, with no not strength lies in their drastic change. During the following week I sent a Debussy sparse, economical, quasi- you will understand how to play Measures 1-7. Think refunds, no makeup lessons, no credits for missed les- “March Mozartean style and content. letter to the parents of all pupils, and then sat down 26, 1918: The great offensive is on at last, There is hardly a note of three-quarter meter instead of nine-eighth, and play sons. This discussion is not for them, but for the and we are breathless padding in the pieces which surprise their in fear and trembling to wait for the telephone calls with excitement. The hundred and delight at in strict time with soft pedal and with clear, translu- thousands of teachers in towns and cities who do men who arrived last every turn. They are quite T I sure would come in, transferring pupils to other night on leave were called back unlike the piano composi- cent singing .- fine work, w ho produce out- was tone . . (metronome own bookkeeping, who do about J. = 52—56.) to the line again today, poor fellows! It looks tions of Debussy’s earlier periods; and for office management is teachers. This was the letter: serious. as “modern Like the slow rhythm of the waves let your music standing pupils, and whose . . idiom” . For two days now Paris has been bombarded by one of them out-Schoenberg's Schoenberg as “roll” lessons, practicing, dusting, run- San Diego, California. a in two-measure swings—Measure 1 is active, squeezed in between RUTH TEEPLE REID a gun, 75 miles away. During fifteen pioneer essay in the so-called twelve Dear Mary and John: minute intervals tone scale. (See (louder) Measure 2 is passive, ning the vacuum, and so forth. from The (softer) thus dawn to dusk the Germans have been terrorizing Etude Pour Les Notes Repetees.) For my entire music teaching career I had been That I may fully use my time and talents in teach- the .” While inhabitants of the city. . you are taking a ing pupils I have always preferred to manage the . summer off to get acquainted annoyed by the necessity for doing something about my ready on time. those with last period little business When lines were written in my World War I Debussy works, study also the charm- missed lessons; making them up; rescheduling them business end of my teaching with as Tuition is due and payable monthly in advance, and diary there ing set of short was no time to record that Claude Debussy “Epigraphs Antiques,” composed in in an already full schedule at the request of mothers as possible, changing the regulations. and requirements pupils will be enrolled on that basis. If I should be had died 1915. These that day in nearby Paris. Three days later, were written for piano duet, but sound who did not mean to be unreasonable, but who had as circumstances required. For several months I have unable to give a lesson it will be refunded. Lesson time when his body was borne through better on two pianos. Their titles that the present system of giving music the city to be buried match the supersen- — UVUW.U uau iiutca iUl LWU lull given no thought to what these extra hours of labor been aware used by me, with telephone calls, car trouble and so in Pere la Chaise, the sitive music: To entry reads: Evoke Pan, God of the Summer Wind; beats. Count aloud, and continue the two-measure ac- might mean to me. There are always so many good lesson time needs reorganizing. Former methods of forth, will be made up. Extra time given at lessons “The frightful battle is still raging. For a Nameless Tomb; That the tivity been setting aside time for pupils who took their lessons The Germans Night May Be Propi- and passivity character throughout the piece. reasons why pupils miss their lessons: They have shall be considered “overtime” and will be used if and have gained some ground, but the Allies are holding tious; To Thank the Rain in the Morning, At Measure school; when they could; made them up later or cancelled and so forth. 9 the moon rises slowly from the horizon. ill a day or two and have work to make up at where necessary, as make-up time. Tuition for missed like bulldogs. . . . Debussy was buried today. Notice them, is not conducive to steady progress in music, nor What a how calmly it emerges to the same theme as they haven’t practiced; the child had to go to the lessons will not be refunded, nor credited, excepting for tragic moment for the world to lose such a man!” Measure see her was in the to my peace of mind. Neglected and Brilliant 1, excepting that the span of the “rise” is doctor, and the only time he could the reasons stated above, in this paragraph. With the Germans Pieces hammering at the gates of Paris, now three octaves, her music lesson time; a daughter During September there were 22 missed lessons. You It is desire intention to charge for Pianists neglect some of Debussy’s most rewarding and the syncopation of the first afternoon, during not my nor you this was scarcely the moment to ponder on the pass- measure will agree, I am sure, that something should be done music. At least half a dozen of the second has disappeared. Brush the tones lightly and had to have a permanent. something you will not receive. It is with the idea ing of one shy, book of sensitive spirit who had long been ill transparently book several months ago I about this. No business could remain solvent very “Preludes” . . account of little are unaccountably passed by; the long . again, hold the dotted half (Meas- Going over my putting a modem system into my business and exhausted, and whose creative de- output, according lightful ballet written ure 10) for its full the startling discovery that in one month les- long if 25% of its budget was suddenly cut off. You methods that these changes have been made. I believe (about 1910) for piano, La °Boite value. At Measure 15 Debussy made to the critics of his day, had slimmed in quantity directs steps and a Joujoux the Romance of the Toy Tempo Rubato. Pick sons to the amount of fifty-five dollars had been can- would probably take to remedy the situation if it to be to your advantage that we have a definite slumped in quality. Chest—is almost up the tempo here a unknown. And and four pupils had changed their lessons to your monthly income was cut $55.00. Studio expenses what has happened to the exquisite sure to sound the exquisitely repeated celled, and understanding of these provisions and the reasons for v, “Petite Suite” of cnords (pianissimo!) different days temporarily. The shock to my finances do not diminish when pupils miss lessons. them. I shall glad to talk Debussy’s first period? Its four short like silvery ripples. Play the low be these provisions over with Debussy's Rating Today movements written originally for piano a tS f toned and was like a pitcher of ice water poured over me, and Public schools are run on tax money—your money, you, before you sign and return this contract, if and duet ^' richJ • • (like the y- • Hold the damper ^lT , n But now, almost thirty years later, let “Epigraphes Antiques”) dal aI1 thr°ugh the worst of it was; this situation had been going on and mine, and yet we do not receive a rebate on our when you wish. us look at sound enchantingly on two ? Measures 15, 16, 17, to the last chord the score. Who are the most beloved pianos. Pianists are warned asure I®- for years and years, and was likely to go right on un- taxes when our children miss one day, or several French composers? against a published “ar- tkm't forget the two-measure rise and Cordially yours, Bizet, fail ^ Gounod, Ravel, Debussy, with the timid Claude rangement” of this suite for two pianos. m Measures less I did something pretty drastic about it, at once. weeks of school. Private schools, music schools, uni- CONTRACT . . . The W. 21, and 23 how the melody Achille original ’ gaining each year. He has not inched ahead in version is far superior on all ac 1V® J as though versities, and some of my music teacher friends have San Diego, California. counts. , a masculine voice said, “I popularity, he has Few students you New Method is Devised leaped ahead. For ever learn ’ °a ing”— A known for years that it is both necessary and desirable a long time his the glowing Isle Joyeuse '| and subsides in 22, anri Measures 20, 194 Clair de lune has been selling to the tune of Debussy’s most brilliant piano h the to take long view of the business of educating thousands piece, which makes a ,™ feminine answer, “Oh. I'm glad that Music Teachers! Has that happened to you too? Of a Young oi copies per week in corking final voi, l I have read the aDove letter, covering the require- this country alone. number for any ’ ’ • Many of his program. Among other Which may sound dangerously like a course it has. In taking stock of my pupils and their America, and they require their students to register other ments for enrollment in the TEEPLE compositions are not far behind in popularity. dashing items the Toccata and the ad b UTdum people. for least semester, their RUTH REID Fireworks are of .° - but conveys the idea! parents, I found them to be fine, reasonable at a paying tuition a semester f l Almost everybody knows the Arabesques, the course, the most popular; for a n™ lat MUSIC STUDIOS and I agree to abide by each and all Minstrels, brilliant piece for not d°ubtful direction, un poco mosso, at The fathers were educator-administrators, professional in advance. Tuition is not refunded, regardless of the the Submerged Cathedral, the Maid With the too advanced students, teachers the out,.!! , of them. It is my understanding that these lessons are Flaxen often use the Prelude secori<* theme in 27: up top-flight executives, with substantial in- reason. Hair, until v»pr h! Measure men, and the Reflections on the Water, the Afternoon a in A Minor from the “Pour le Piano to be taught by RUTH TEEPLE REID, personally. of Suite.” metric unit has been eighth notes, comes men who run their businesses and professions And so, beginning the first of October, 1945, pupils Faun. Debussy’s high popularity At Mpncnr, — rating runs counter 27 nd for several Parents’ Signatures to Pages thereafter this with secretaries and book-keepers. I took my problem will register, and lesson periods will be set aside for all accepted measurements for such appeal. His uit bennm!S S1Xteenths? • Bubbles ’ automatically setting the pace pupils. suggested one of for five months or more. melodies possess neither the faster to the fathers of three They them Use of this reserved sentimentality of Tchai- May I prick m he a couple of popular Debussy preceding Tempo Rubato sec- price cover the their responsibility. One or two mothers called to ask questions about kovsky nor the sugar of Chopin. bubbles’ ! two alternatives; either raise my to time will be Missed lessons will not They do not strain Pool! goes that “impressionistic” al ady or seduce. label. This item an directed a gradual accel- losses sustained by cancelled lessons, or stop giving be made up, although pupils may request permission what arrangement I would make if their children con- They are neither obvious nor lush. Could ferando Ti if- ? plied to Debussy is vapid and misleading. ) theii secret Debussy was “ iate * refunds, credits, make-up lessons. to change the time or day of their lesson, tracted a contagious disease and were not able to take be that, like the lilies of the field «5?o :° under cer- they a master of tight u e 27. . form and spare content. Like tLjsr. t. Even if the preceding tempo toil not, neither do they Mozart’s is hpiri iho I also consulted several of the best teachers in San tain circumstances. their lessons for two or three weeks. I was tactful (I spin? his « ^ Pace wiu compositions emerge as pure, concentrated actually sound faster, Whatever it is, essences’ Trf firm mark up another miracle; the public 3 Diego, and found nearly all used the same system I Pupils who arrive late will receive the balance of hope) but in explaining that in the future, music There is nothing vague or approximate about nd simUar melodic shapes, increase has taken Debussy to its heart like nobody’s them the tonp used. They wished they could change the system, but their time, as any other arrangement works a great lessons and house rent or car payments would be put business! Debussy’s line and color are cleanly n° te of is cut; his music the third beat (C-flat) He not only one of the most favored then^ecreasp frankly admitted they didn’t know how. They agreed hardship on all pupils who follow. Pupils should upon the same basis. Rent is not refunded when par- Frenchmen requires a Mozartean clarity and a ??d hesitate ar- but one of the most delineation which sbghtly on the final D-flat. beloved composers of all can be produced As vou J f that the constant irritation of a shifting income was range to arrive at the studio five minutes early, to be ents go on a vacation, remaining several weeks; it is only by a perfectly controlled the moon rising, technic. (Measures * measures 27-36),27 YTAT*finally * ( Continued 374) 372 on Page "MUSIC LIFE "MUSIC STUDY EXALTS LIFE” JULY, 1947 STUDY EXALTS 373 THE ETUDE

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followed, General the huge reception that Clay re- Study you for a given period of time. people could have Music and Music and Study marked that if the more ‘good will* venture into the unknown had Publicizing this new own job would be easier! as such music, his not refunded when people are in a hospital, and so not occurred to me, but the news got around, “And coming out of such experiences, I believe that have called, requesting forth, and cars are repossessed when payments are not things do. Other music teachers be more than ever have we, in America, should appreciative forthcoming time. copies of the letters. Pupils in my normal classes on musical riches which we are inclined, off on the of the perhaps, The legality of the “contract” before the asked for it, as they say they wish to “get was checked for granted. Looking at miracles for to take somewhat the world letters were printed. It is legal, and binding. right foot first.” The change has worked care- picture as a whole, let us remember that music is the One parent requested a paragraph, written in, which one studio. The mothers of pupils are much more language, the one substance, that reaches all have definite practice one hearts “Decide” to Be a Singer! would cancel the entire contract if the family should ful to see that their children You Don’t periods. and that can do the greatest good in bringing the move to a town or city more than fifty miles from periods, and the parents respect the practice peoples of the world together in closer understanding. San Diego. This I was glad to do. Another parent put Interrupted practice is a thing of the past. The fathers I were the State Department, I should subsidize forth the argument that doctors and dentists are pro- have said, “Why didn’t you do this years ago?” Pupils If finest artists so that they could go to Europe A Conference with fessional people too, but do not charge for cancelled come on time, making a habit of it, for they know they our and America there musically!” appointments, if made far enough in advance. I ex- will get only what is left of their lesson period. Tardi- bring plained that when going to the doctor’s office, a flat fee ness is a habit, and seldom necessary. When you know is charged for an office call. A patient has the doctor’s it to be, you can do something about it, if you wish. attention for from three to thirty minutes, likewise the Bills are paid on or before the tenth of the month, and Ok omaA X OkomaA dentist who has a fixed scale for different types of they really are, when parents sign a contract so stating. The Pianist's Page work. The appointments are made according to the If you try this method, you will be relieved when you Distinguished Baritone work to be done. count up your pupils; multiply them by your lesson fee, (Continued from Page 372) Music teachers charge a certain price for a definite and then realize you will have that income every month flooding the water, the trees and you with its chaste period of time. That time is set aside for the pupil, from the day you put your parents on a contract. You SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST white waves of light, (Measures 37-41). From Measure once or twice a week usually for the entire school sea- can look ahead to the future, realizing that the steady, 42 to 65 the rays become more and more oblique, son, or more. Why, therefore, should music teachers reliable income enables you to plan ahead, which is the light fades, the shadows deepen, until in Measures have to schedule that thirty minute lesson two or three something many music teachers are not able to do 66-72 the moon disappears behind the pines, of millions Americans through his magnificent times to earn the fee? Parents agree that they can under their present arrangement. This program has leaving Thomas L. Thomas has won the enthusiastic admiration of you (and your friend!) in the starry- velvet darkness. voice and his completely natural, unaffected interpretations. Best known for his many broadcasts over never pay the music teacher what the lesson is really been in operation for several months; long enough to all the maior radio networks, he has also earned distinction for his recordings, and on his recital touri worth. They understand that they are merely paying test its practical working ability. Only the cooling murmur of the water and a fragment throughout the United States. Born in Maesteg, South Wales, Mr. Thomas grew up in the typically Welsh of the ardent second themq, float through the air. atmosphere of music appreciation. His town (of five thousand) had its own local orchestra, two oratorio Teachers should not assign the Clair de lune until societies, and numerous church choirs each of which gave special oratorio performances; and from the they have carefully Angered it, especially Measures was faithful visitor at both rehearsals and performances. Even in such a THOMAS L. THOMAS age of four on, young Thomas a 37-42. These measures are better A Musical Tour of Europe Today controlled if Measure general musical atmosphere, young Thomas' household was specifically gifted. His mother sang and his 37 is begun softly, if crescendo rather than accellerando father (after beginning his career in the coal mines) won three notional awards for flute playing, pursued is thought, and if the left hand dotted quarters his studies as Fellow of the Royal Academy, in London, and became flautist of the London Philharmonic. (.Continued from Page 365) (on “ r I \ HE PROFESSIONAL singer is often asked a the beats) In the United States he has played flute obbligati at concerts for celebrated soloists including Lily Pons. are well accented and consciously held back. question which it is not easy to answer. Aspiring Thomas can remember no period of his life when he was not vigorously active in music, tracing his public But, of course, it is in Measures 41 and 42 that students A. students want to know exactly how a successful recitals—all crowded. including stage hands, presented me with a diamond performances back to his fifth year when he appeared in children's cantatas. When he was eleven, the go haywire. It is a pity that these two climactic meas- career may be built. There is but one answer: learn “It is most stimulating for a musician to visit these replica of the Legion of Honor cross. Many of those Thomas family settled in Pennsylvania, where the boy continued singing in amateur performances through- ures should so often ruin the performance. Therefore, the vocal craft and then put it into active use! It is lands, and to realize the truly important need for dear out elementary and high school. He entered Johnson Technical School, prepared himself os a mechani- colleagues had been there when I made my debut; for students who are technically wobbly, I alter the seldom a satisfying reply, however; many young people cal engineer and draftsman, entered business, and became an assistant executive in an engineering firm music . . . not as an entertainment or a bit of or fun remembered me as a young girl—all of them had un- left hand slightly, thus: seem to feel that there are special and mysterious when he was but twenty-two years old, finding his best recreation, all the while, in singing with the local a means of passing an evening, but as a vital factor dergone the cruelest hardships and could have found ‘secrets’ which, once mastered, can unlock the door of glee club. And then the lure of music grew too much for him. He came to New York, sang in various in human life and human rebuilding, without which, use for their francs without buying a diamond cross successful singing. ‘How do you breathe?’ they ask; churches, and began a difficult attack on the air waves, from which he emerged as victor after ninety- apparently, there is no true completeness. It is for a won- me! I have no words to describe the magnitude six auditions. voice and musicianship earned praise; each time the praise ‘what do you do with your chest, your diaphragm, Each time the young candidate's derful thing to see, your and a fine thing to ponder on! of that emotional experience. And, question, is has ever heard of him!" And so Thomas deter- at the end of the throat, your back?’ foundered on the "Yes, but who he? Nobody are not And at that point, I am properly Here a few, but thousands and thousands of opera, although Amneris does not appear all mined to make himself heard. In the following . conference. Mr. Thomas tells readers of The Etude what at in the stumped possibly people, — because I have my own theories — Editor's Note. poor, uncomfortable, burdened down with hard- final scene, there was such tumult in the house that I a professional career in music actually means. about singing. I believe that singing must be entirely ships and bitter memories, all turning to music as the had to be wheeled out twelve times! natural, entirely simple—entirely unhampered by me- first and most important soul-tonic to make them “After that, I was invited by Generals McNarney chanical restrictions whole. I of ‘method’ or ‘school’! wish I had a lot of pictures of some of the and Clay to sing some Christmas concerts for the seven ‘learn’ to throw a ball—to understand the differ- stand beside him all his life, making signs as to what halls I saw—bare, decayed halls, badly lighted, yet troops in Germany. I had planned to appear etc. in the The Importance of Musicianship ence between a catcher and an outfielder? Well, he is and what is not being properly done. He must learn crowded with people in overcoats, hunched up to keep Scandinavian countries and to be home for Christ- himself, his sensations. “How do I breathe? Truly, I haven’t the least idea. I doesn’t learn it—he absorbs it, as part of the very air to guide through own And warm, yet looking ecstatically towards the platform mas—but I couldn’t resist that invitation! After my breathe he breathes. That’s the way music ranks in Wales, and that requires intelligence. The born singer doesn't where there was simply—music. I should like in giving naturally. The purpose of breathing is, not to send concert Berlin, General clay asked preparatory - me to give the exercises first, thus: is easily can't simply to sing, but to keep alive; if a natural breath the it a splendid start! The Welsh people have a natural get discouraged —he —he has got such a picture to every comfortable, warmly clad, well first concert for the combined Allied — staffs. The audi- feeling for vocal music. The smallest town has at least to sing! fed person who complains of being bored! kind that you drew as a baby—is good enough to keep ence of four thousand, in the Titania Palast, was en- Ex. 3 you alive, it's one oratorio society, and everyone is part of it. I well tirely by good enough to let you sing. It seems to invitation and included some 1,200 ‘screened’ Value oi Practical Experience A Thrilling Experience me that the chief function of the good vocal teacher remember seeing the men of our town come home from Germans—those who had passed tests for loyalty and is simply to keep you doing natural things in a natural a day’s hard work in the mines, eat their supper, “Intelligence and persistence, then, count for far “My own wonderful experiences abroad impressed me democracy and are held fit to lead in the rehabilitation way. Of course, if there are functional difficulties, these freshen themselves up, and then set out to walk five more in the long run than rules out of the book. Re- even more deeply with the gallant spirit alive there. I of their land. It was a most ‘glittering’ audience, since or six miles to rehearsal. All evening, they would polish pursued studies in all the military must be overcome—but such difficulties are not natural. cently, I listened to a young chap with a phenomenal my own France and began my career appeared in full-dress uniform! I was Where the vocal tract is normal up the ‘Elijah’ or the ‘Messiah,’ working at phrasing, voice. He sang a song of Brahms; I recognized its at the Paris Opera, where I was accepted as pension- assisted by the Berlin Philharmonic, and sound, the only and sang Tchai- at expression, sending out naturally pure tones enjoy- naire directly kovsky problems that can possibly arise, in this entirely nat- — melody—but the words? I asked him in which language after I came from Australia. Since the (who had been banned by the Nazis) and ural act of singing, are due to acquired bad habits. And, ing themselves! Then they’d walk back home, around he had been singing, and he answered, in German! first requisite at the Paris Opera is the ability to sing Wagner (who had been banned since the war). The one in the morning, and be up and ready for the next French program leaflets alas, we have many of them! What the good teacher Now, I started out by saying that this fellow had a fine in without foreign accent, there are very few were printed in four languages At must then, is day’s work in the pits at six. The whole family learned English-speaking pensionnaires. I remained there for LJT. do, to guide his students so that bad voice. Actually, though, I am not too confident about the oratorios the most minute details of every phrase three years, and became the youngest Brunnhilde, and habits do not arise. After that, the wisest thing is to — his success—because he lacked the intelligence to per- leave —and when the great day of the performance arrived, Salomd, ever to appear at the Paris Opera. these ~v nature alone. Either you do breathe naturally, fect his language work before setting out on auditions. For « ouxpiifcuig now tms simplifies the passage, and or you don’t. If and one heard these glorious works sung by a massed reasons, I have always kept a deep love for the French ow impossible you do, keep on doing so and forget Evidently, he hasn’t realized that no conductor, or it is even for a listener familiar with about it don’t question and doubt chorus of 1,200 of one’s own townspeople, one felt that manager, is going to take the time to teach him what people, and during the early years of the war, I went ANNOUNCEMENT 40 detect — and examine your- it; ' • • • The right hand of Measures i £ self! If you not breathe he had a proper share in it all. if realize there to sing for the troops. During the occupation, of 414 and1^4042 remains do naturally, your teacher will he ought to know. And he doesn’t that at the THE ETUDE takes pleasure in unchanged. help course, I could not go and deeply regretted my enforced announc- Be sure you to overcome whatever faulty habit is holding start, how far can he expect to go in one of the most to play the first theme’s return (Measure Singers are Born ing that it has you back. And once this habit has been overcome, for- highly competitive professions in the world? I have absence. What was my joy, then, when, in October of acquired a short series 1 ) very clearly; of otherwise it will is fade out, since it get about it! “Now, the mere study of rules out of a text-book an idea that this young man is one of those who decided 1946, I was chosen as the only soloist at a great gala articles of unusual interest written m the high from reaches of the treble. To project put on by the Red Cross to raise melodies “The technical aspects of voice production have, doesn’t give that approach. It surprises me, sometimes, to become a singer! funds for penicillin. in this thin register effectively requires swift, fine At the invitation of the French Government, I comparatively speaking, but little to do with the all- to hear a lad say that he learned OV Man River, “Thorough musicianship, sensitive taste, sound feel- was 1011 t° UCh ' * ’ and do,1,t forget around and such applause when he sang it at party, flown to Paris, and I can assure you that I did my Andres De Segurola thatSrp'etol” picture of a vocal career! Naturally, a singer got a ing, a knowledge of languages and of all the other very best! We raised an must have a fine singing voice and he must use his that he has now decided to become a singer. You don’t craftsmanlike essentials, alert intelligence, persever- encouraging amount for the 61 ed^^ " eminent leading ® on of tbe Clair de lune will soon penicillin (Sir Alexander Fleming spoke at the con- baritone of the Metro- hpTnhiitv, ^ T voice properly. The point is, however, that neither decide to become a singer—either you are born a singer, ance—all these are quite as important as a natural N0t a wishy" washy, emasculated version, voice nor ‘method’ or are not. one is singer will cert), and the musical and patriotic enthusiasm evi- politan Opera Company for but a cii mi can be mastered by studying a book you The who born a have voice and sound production habits. And when our young many years 1 y asier yet richly denced at affair sonorous arrangement of rules. And even when they have a voice and a sense of judging when he is using it the was a thing to remember. whirh i j been mastered, the candidate for honors has mastered them—what then? Later, and now a distinguished teacher grade of voice. students can ay problem of channeling correctly. will by of I was decorated with the Cross of the Legion of Honor. mabTv ToTOT P> P^- them into a career still remains He know the feeling ease and Ah, then begins a second cycle of ‘musts!’ He must Mr. De Segurola teachers can teach without conscience We drove to the Quai d’Orsay, and Madame Bideau, literally "knew every- qualms to be settled! freedom that permeates his entire being when he sings. develop himself through experience. How does a great the wife of the Premier, presented me with the award. body" in opera and his “My own experience inclines me to tackle the ques- His teacher will show him what to do, of course, but doctor perfect himself? He studies, of course—but he recollections of 1"1161 that Debussy like is a That, of course, was a magnificent experience—but the great sinsm^nm^ - Mozart, tion from a very different angle. Having had the ad- no teacher can do it for him—neither can a teacher climaxes natural aptitude and thorough study with stars are g cornposer - most interesting and Every curve, every color, even more touching was a sort of second award that nmfn phrase, vantage of a childhood in Wales, I believe that the practical experience, in every least aspect of his pro- significant historically. SUng to the hilt can followed. I was invited to sing Amneris The series will No human voice first requisite for the serious musician is, quite simply, fession. And the gaining of experience, which alone in ‘Aida,’ at be- produce Tif SdtaEf mering ' s arkling my ‘old home,’ the Paris Opera, gin in the September P melodic line which musicianship. Where I grew up, music was in the air, brings surety, is easy matter, in any and between the third issue. DebiTsv7 ev t independent no the ianist feet, and fourth acts, the entire company of my colleagues, P ’.S hands and as a popular diversion, quite as baseball is in the air VOICE profession. My own experience of ninety-six auditions Where wtn^* JOOfind more enchanting and subtle in- here. How the strumpntni , does average American boy of six or gives me a very sympathetic (Continued on Page 406) umental melody than 374 in (Continued on Page 406 ) "MUSIC STUDY EXALTS LIFE" THE ETUDE JULY, 1947 "MUSIC STUDY EXALTS LIFE 375 Music und Study HERE are more and more requests for infor- use of the organ with Music and Study mation regarding the T other instruments. There are questions as to repertoire, and there are questions as to the effective- ness of other instruments with the organ. Also ques- tions are asked regarding the proper technique in registration so that the particular instruments will go well together. In future articles we shall discuss the various combinations. In this article we shall deal The Organ-Piano Combination with the organ and piano, which is perhaps the most widely used combination and one for which the most information is requested. Later, I shall write on the organ and violin, organ and harp, organ and ’cello, organ and trumpet, and organ and ensembles of ln Sbr. JlLaruL WcCuU strings and woodwinds. f CASADESUS GABRIEL PIERNE* To say that there is a wealth of material written for CAMILLE SAINT-SAENS JULES MASSENET ROBERT Editor, Orjjan Department CESAR FRANCK ISIDOR PHILIPP the piano and organ is to make a decided misstate- ment. There is little written that is good, little that can be even made effective. Some of it is so bad that is delight, I have found that the use with the piano of too it is ludicrous. Some of the things, however, that have some by Haydn. The Schumann A minor a super couplers, celestes, and tremolos which are been written, for example, by Clifford Demorest are also the Grieg, and others. Perhaps the most effective many I do not Basic Policies and Traditions arrangements by Mendelssohn. This is played speedy, does not make for good blending. effective; and here and there we find is the one in G minor this a rule because there are many which are effective. However, our wealth of material, so seldom these days, but it is one of the most beauti- want to make organs on which, if one does not use super couplers so to speak, is found in the things that we can make ful concerti of this period of composition. It is not a there is brilliance at all. Again there are many available and adaptable ourselves. In making these long concerto and its movements are connected. The no organs which have their celestes so well voiced that arrangements, we can consider two things at the out- concerto is one that practically every good pianist Df a Famous Music School fine pianist they will fit into an ensemble of soft stops and should set, first the use of the organ as the solo instrument, plays. (It always thrills me the way every with careful thought the using the piano as the accompaniment; second, the knows the entire repertoire of his instrument, and we be so used. I am sure that organist can very soon tell whether or not the tone use of the piano as the solo instrument with the organ organists know so little of our instrument’s repertoire.) will with the piano. The tremolo, for example, as an accompaniment. The Mendelssohn Concerto affords the virtuoso pianist used go the Paris soft Some of the Principles Indicating Why excellent opportunity for technical display and for if it is not too violent, perhaps should be used in fast throbbing type; The Organ as the Solo Instrument real elegant tone and poetical feeling. The second combinations; but beware of the Conservatoire Has Been Historically Successful We can begin, of course, with the Concerti by piano part which may be easily arranged for the it just cannot be used. When the super couplers are such as four foot octave or a two George Frideric Handel of which a number of editions organ lends itself better than most of them. The used with stops a of are available. They are arranged, for example, in the orchestral effects are endless, the ensemble of the foot stop, they will squeal and sound terribly out pitch tierces, Breitkopf and Haertel Edition so that the organ part organ seems to fold itself well into the ensemble with tune with the piano. Off stops such as and the piano or cembelo part are printed on the the piano. The solo orchestral sound which one can nazards, and mixtures have to be used with care. Then same page. They are most effective with a small obtain from the organ may be used time and again, if they are used with super couplers as well we get a 1/Yjaurice 2)umednil chamber orchestra, but they can be done very well throughout the Concerto. One must not forget the terrible sound from the two instruments. When play- with the use of the piano only. The organ parts are Tchaikovsky B-flat and many others too numerous to ing with a piano, it is always better to be a bit on the Member Df the Juries and Examination Committees for Many Years not easily done but are worth working on and prepar- mention. conservative side than to take too many chances with ing well. The possibilities for ensemble even with the There are shorter numbers which may be considered. bizarre registration. Take your chances when you are piano give opportunity for some thoughtful prepara- The slow movements of any of the concerti mentioned playing alone. the begin with are Numbers not wish to use a OWARD end of the eighteenth century a posed respect. At his death in 1842 Auber succeeded tion. The most useful ones to above may be used when one does period of great musical Five, Number Five in major gives the organists want to use the piano Advance Preparation Necessary ALEXANDRE GUILMANT activity manifested itself him. The author of “Fra Diavolo,” “La Muette de Two, and Ten. F whole concerto. Many GUSTAVE CHARPENTIER possibilities for in importance of practice cannot be stressed too T in Paris. The turmoil of the French Revolution Portici,” “Le Domino noir” and organ an excellent opportunity. The with the organ in Preludes or special numbers The other operatic favorites had had a widespread effect on the Arts; the inventive registration are endless. The tutti passages regular services or in special services. We must not strongly. The organist should have his part well poets of the past was kind and fatherly, a man of fixed wrote inflamed verses and Odes to Liberty while the habits for are so well written that one can use a part of the full forget that we can arrange such things, for example, polished before he even meets his pianist. He should whom precision and order always came first. musicians, their inspiration kindled by patriotic en- His period organ and still have it sound as though much more as Jesu, Joy of Man’s Desiring, very effectively for have his registration worked out well in advance. Then was one of tranquillity and prosperity for thusiasm, exalted the new order in compositions often the school, organ were being used. The lilting passages can be piano and organ. One way may be for the organ to do when the rehearsals begin he can experiment. A lot of and he occupied his post for almost thirty combining sincerity with grandiloquence bombast. done on the brightest quality of tone with all sorts of the chorale and let the piano do the running parts what he has prepared may be wrong, but the whole and years until death took him in 1871 during the Franco- movement, background will great help. is always so much Previously in 1784, King Louis XVI had signed a decree Prussian off pitch stops and light mixtures. The slow and again one may wish to arrange it so that the be of It war, at the ripe old age of ninety. Then Am- establishing a music school in which Gossec one of the most lovely passages ever written, can be piano does the chorale and the organ does the running easier to make a change here and there for the better acted as brose Thomas was called, and the famous author of real things as the one knows well what he wants to do and has director, and Piccini taught voice. Out of this played on the warmest kind of combinations with part. This is also possible with such when embryonic “Mignon” continued the splendid work of his pre- effect. There also opportunities for exquisite use his practiced it. In playing ensemble music of any kind organization the Conservatoire was born in are some chorale, Stieep May Safely Graze. One must 1800, when decessors. He, too, served for a long period of twenty- solo stops in this slow movement. It is possible to use imagination and do the thing which is most effective it is important for the artists to see each other and Bernard Sarrette took over the directorship and five years, until he passed away in launched a new and ambitious 1896. Theodore all of these concerti with telling effect; I simply take with the 'organ available, and the pianist who col- be able to hear the other well. This is very difficult if more program. Dubois occupied the chair until his resignation in 1905 this one for example. The parts where the piano plays laborates. not impossible, sometimes. Every effort should be made Sarrette was well fitted for this position, as he com- and next in the line came the bined exquisite and distin- are not virtuoso type things, and any good pianist can Questions arise regarding the use of the piano and to have the piano near enough to the console so that GABRIEL FAURE' the musicianship of an excellent band leader gutshed composer, Gabriel Faure, whose enjoy playing real pleasure. There are There are cases the proper balance can be secured. are inclined to with the efficiency of a forceful activities ex- AUBER them with the organ in accompaniments. many We promoter. Under his tended until 1920 when a DANIEL-FRAN(JOIS growing deafness obliged him opportunities for producing beautiful tone and for the in which this is unwise. With a large chorus there may think that it is entirely the responsibility of the or- guidance the scope of the school was broadened until o cede the directorship to Henri Rabaud. the organ. With limitations placement the balance, the curriculum included Thus one sees weaving of the tone from the piano to be physical due to poor of ganist to effect good but much depends upon more or less what it does that during the long term of one hundred and forty careful thought out attention to detail, the organist organ which make it practically impossible for the the pianist. If the latter takes pains with his instru- nowadays: piano, voice, all branches of string and years only seven men assumed that can make his tonal build-up simply melt into the chorus to get the rhythm or at times the pitch. It is a ment and the organist is careful with his part no woodwind instruments, organ, theory, harmony, directorship' This coun- is an amazing fact, eloquent in itself, and at once piano tone. great help to have the piano play a part which will doubt some fine work will result. terpoint, composition, chamber music, orchestra, and comes to mind it when the question is The concerti Pietro for the organ are cer- give the desired sound. With a large chorus in an The tuning of the piano to the organ is sometimes dramatics. Those asked- what is it by Yon early years were very fertile, and on tha makes the Conservatoire de tainly worth serious consideration. Here again are oratorio like the Brahms’ “Requiem,” the organ is a major difficulty. There are many organs that are the staff one saw the names of Gretry, Mehul, and Paris such a high “ls 1 ltutl0n ’ and Probably the pieces which were originally written for use with or- most effective (when no orchestra is available) when tuned to 435 and most pianos are tuned to 440. In this Gossec again. When Cherubini i . finest all-around took the helm in 1822 music school in 1 the world? chestra, but now arranged so that the piano can take used in the massed effects, allowing the piano to take case it is much better, if not the only thing possible a still greater period began. Soon the institution grew The answer can be summed up in three the orchestral parts. The pianist must consider his job the rhythmic background. to have the piano tuned to the organ. If one begins considerably, both artistically and materially. Apart tradition, formality, and discipline. seriously, seizing every opportunity possible to make Recently I heard a performance of the "Messiah” to have the organ that is at 435 put up to 440, he really from his musicial eminence, Cherubini’s firmness of First let us consider “tradition.” the part that he is playing as striking as he can. The sung by a chorus of about five hundred without or- runs into trouble and expense, and then many times While it would character and somewhat disciplinarian make-up im- been easy h,™ for each new (Continued organist again has a big part and it goes without say- chestra. The organ was placed in the rear gallery. The does not get results. An organist must remember that o£ 51) EUGENE YSAYE ing that the organ part is effective and brilliant. Pietro conductor arranged the accompaniment for two pianos, if it is cold in the building, the organ is going to be AMBROISE THOMAS Yon knew how to make an organ sound well. The giving a lot of thought to making each part inde- flat; sometimes a tuning fork will show it to be concerti by Sowerby, Delamarter, and others, require pendent, allowing the organ to be used with the chorus several vibrations off. However, when the building is such a large orchestra and the organ is used in such a only in the climaxes. I must say that the performance heated, it will come up to its normal pitch, whether big way that they are not good with just a piano part. had its thrills. The pianos were used only in the it be 435, 440, or what. Everything depends upon the I am sure that if an organist makes an effort, he can choruses; the organ was used for the accompaniments pitch when the organ was voiced in the factory at 70 get plenty of material from the suggestions above for of all the solos and for the recitatives. It must be degrees Fahrenheit. If an organist finds that he can- the organ as the solo instrument. noted that in the arrangement for the pianos, the not get this information himself, any organ builder Here we find an endless supply of material. Almost organ did not double any running parts that were can tell him in a minute or two. Almost any organist, any piano concerto is a possibility. If the organist has given to the pianos. It is not wise to double much of however can, with the aid of- two timing forks, obtain a lot of imagination he can adapt an accompaniment anything at any time when one is playing with the the information for himself. The time to make the which has been originally arranged for a second piano, piano. The secret of making the piano and organ melt survey, of course, is when the church is heated or at and have a piece that is wholly satisfactory. One may is in the ensemble. For the most part it is up to the 70 degrees or thereabouts. If an organ is old and has start with the Bach concerti. There are a number of organist, who must be careful of his rhythm, and must not been cleaned for a number of years, the pitch will MARCEL DUPRE' VICTOR MAUREL the Mozart concerti which may be arranged, and also take much time to experiment with registration. sag; in this case, if the (Continued on Page 408) THEODORE DUBOIS HENRI WIENIAWSK GEORGES MATHIAS 376 CARLOS SALZEDO JULY, 1947 LIFE’’ 1 "MUSIC STUDY "MUSIC STUDY EXALTS LIFE’ EXALTS 377 THE ETUDE £

the result of the employing Music tonation is of this thba and Study the breath-embouchure control factor in of intonati Richard Franlto Goldman has been Associate Conductor of Music and Study n ' of ear then, to hear and atten- The use the the develoPme the Goldman, Band since 1937, and has devoted much concordance must be phases of band music, pioneering on behalf of a “feel” for the first consider™ tion to various and new works and exerting considerable influ- tion. No one can tell, except by experience, whether of both old h'6 ence on the enlargement of the band repertory. He is con- can achieve this desired state of proficiency, and f sidered an authority on early wind instrument music and on that reason most professional players smile tolerant/ early American composed music, and has conducted many one of their students asks a when question such / premieres of original band works. In official posts, Mr. Gold- Music far Wind Ensembles able to play in Secrets of Intonation “when will I be tune?” A feeling man has served as Music Consultant to the Pan American fo! intonation is much akin to the possession Joint Army-Navy Committee on Welfare and of musical Union, to the During World II, Mr. talent—one either has it, latently and potentially Recreation, and to the USO. War 0r the Army and served three years with one does not. Such a question cannot be answered Goldman enlisted in The Extent and Value of the Literature Office of Strategic Services (OSS). Since the end of the The use of the breath-embouchure method the of in war, Mr. Goldman has resumed his composing and writing. tonation control is the first method which Wiffiam is used by His newest book, "The Concert Band," was published by Lf J4. StullMS players and although it is instinctively all used from Rinehart & Company in December, 1946, and has already beginning, its development the very goes hand in hand been acclaimed the outstanding work on the subject, indis- Goldman in- with the other developments in performance technique pensable to all musicians. Other books by Mr. N OUR previous discussion of "The Band’s Music" (Pitman, 1938) and "Landmarks the Problem of In- until the first development of playing technique has Fortunately there is another method of intonation clude tonation we found that of Early American Music" (Schirmer, 1943). Mr. Goldman intonation in general is a been made, these words will mean little. The two control in addition to the breath-embouchure control Paganini, to I relative matter, and in is at present working on a biography of Niccolo considering the clarinet in variables involved, breath and embouchure are com- which may be used to advantage by most players be- articles stories in various even horn and bassoon, can orchestras do not do their job well or completely unless relation to intonation in general, be published in 1948. His many and Oboe and clarinet, and that certain physical pensatory and must be understood fully. increase of yond the beginning stages, and this An method con- publications have attracted wide attention. A country-wide amount of original musical material, they succeed in arousing musical curiosity at the same and wholly mechanical problems were met which boast of a certain must breath pressure will cause a -slight flattening of the stitutes the crux of our information. This Mr. Goldman's father, Edwin Franko necessarily method is tribute will be paid to but this appears to be less widely performed. The time that they develop performing ability. If the desire be compensated for if we are to be able to pitch. A decrease of breath pressure will cause a sharp- the use of the various intonation and resonance Goldman, on January I, 1948, the occasion of his seventieth “play in tune.” finger- brasses, of course, have unfortunately little solo litera- to explore music has been effectively stimulated, stu- ening. An increase of embouchure intensity will cause ings of which there are literally birthday, when the Goldman Band will appear at Carnegie dozens, varying of knowledge, for example, dents will find an outlet in the performance of en- In the present discussion we shall conductors ture of musical value. To my endeavor to pro- a sharpening of pitch and a decrease of intensity will course with every instrument, and with Hall. It is expected that one or more symphonic vide ourselves every player the only interesting solo written for trombone by an semble works on their own initiative, without the with a technique of compensation for will conduct the organization. All proceeds will go to the cause a flattening. It may readily be seen from this, but constant enough in practice to be allowed their as gen- is the Recitative and Prayer from incentive of contests or other external factors. When physical and mechanical problems which will League of Composers' Twenty-fifth Anniversary Fund, in the acknowledged master be that a combination of these factors will cause a com- eralizations. helpful. name of Dr. Goldman, for commissioning original band works Hector Berlioz’ “Grand” Symphony for Band. And this that happens, something of a new constructive value pensating action which must always be guided by the Every player must know his own instrument Editor's The first step in attacking the thor- from serious composers. — Note. seems to prove my point, since this splendid solo has, has been achieved. It is a value which the students can problem must of desire to maintain a constant tone quality. oughly and completely. We have shown post-school or days, for course be the indirect means of providing oneself how the until the present, remained almost unknown! take with them in college the with The increase in speed of the breath through the in- mechanical a basic and physical problems of the clarinet certainly be used performance of house music or ensemble music is a knowledge of the instrumental technique in- strument ac- Solo material of this sort should without subsequent flattening of the pitch count for its great variability, volved in playing the clarinet. and it is only by the T IS IN THE FIELD of ensemble music that the more widely, as should the ensemble material which pleasure which they may always continue to enjoy. A basic study must be which is the result of mere increase in breath pressure, most careful attention to all of the made of the problems of the tone, possibilities of the wind instrument player can find his best oppor- forms its complement. The original literature for wind In a brief article, one can do little more than give a technique, and and the opposite effect of the tongue, opposite use of this resonance and intonation fingerings that the for which suggestions the writer again refers best can I tunity for developing musicianship and acquiring a ensembles, both wood- very quick glance at to the previous articles in this column. A teacher who knowledge of style. It is a lamentable fact, however, wind and brass, is con- the type of music which F:n<] crn^ would present his students with the ttotot.cn Franz Schubert (originally written for horns) embouchure . the same pitch. It will also to more is used and in preimepressure e Musicianship is Important Control of Breath effect this is a sol, it,™ J.-V at ‘hese so-called are of ceded that it has a great importance and that it is extended and complex works involving larger numbers Pressure am0Unts tu , alternate fingerings to the same thing. Many This is of course a major educational problem which We must also players speak S°ni The first type are fingerings worthy of study. It is always there, waiting for such of players. Among the most rewarding of the classical be able to alter the breath pressure °f playmg on wvLh^' those alternate by the “sharp” side or “flat” side nf tn affact should be of equal interest to both teachers and stu- either increasing or °. n]y the mechanism instrument time as curiosity impels the performer to seek it. works are the octets of Haydn, Mozart, diminishing it under all possible H , of the Beethoven, and writer believes thal 0 no I circumstances. in’ *ecfsufh change the as is dents. am always distressed when I come across, as We must . tone-hole combination, such None of this true in the field of wind instrument written for be able to increase the speed ?f ^ Schubert, a standard combination of two ternate I occasionally do, players of the breath in its fingerings third line music. Here young who are extraordinarily passage through the instrument for ? for B-natural the emphasis is often on band perform- oboes, two clarinets, two horns, and two bassoons. This C annel proficient on their instruments, without increasing its :' The second finger- but who give the im- pressure and vice versa. And we ing^L type of alternate ances, and in rhis field the works of the masters can combination, as I have shown in my book, ‘The Con- — <-* must be able to increase or ~ yS E aifferent for the pression not only of knowing nothing about music, but diminish the pressure of instnimprIf tone-hole combination be known only in transcription (with rare exceptions.) cert Band,” was the standard military band of the last the embouchure by infinitesimal and may also such of not even caring very much for it. School bands degrees. Lest the un- affect the mechanism, In learning wind instruments, players are not always and eighteenth century. The works written for such octets BAND, as tht/Tternate initiated remark that it is all fingerings staff very well to say what orchestra on for B-flat above the given the opportunity of studying musically interesting therefore have a most important historical as well the 1 as we must do 61 ' but give no answer as to how, we remark Alternate fingerings of the first type will !! works, and few of them ever become aware of the ex- musical place in the sphere of or again that such and rend// ldentical band wind instrument fineness of control both for breath and CHORUS Intonation and resonance results; Edited those of tv tent of the original solo and ensemble literature avail- music. Musically, the Rondino of Beethoven and the for embouchure is again the product by Wi!li 6 second ty a of practice, and am D. R eve ||; pe will render in every case able to slightlyy diffd fferent them. Perhaps the flute, which has a splendid Serenades of Mozart rank high, for they are completely PUch and a slightly different reso- BAND and ORCHESTRA nance A literature, is an exception; at least this literature ap- 378 careful study characteristic works of these masters. For performances of ( Continued on Page 412) "MUSIC STUDY pears to be reasonably well known and often used. in EXALTS LIFE’’ schools, where two oboes ( Continued on Page 412) THE ETUDE JULY, 1947 "MUSIC STUDY EXALTS LIFE’ 379 Music and Study Then he Music Study provise. played composition and of his own which were in the highest degree grand and wonderful. 1 He e > compasses difficulties HE CONTEST of Skill like and brings the effect'S out of the pianoforte of duel was traditionally an ear- which I neve dreamed.” However, Beethoven Tmark of the Middle Ages. The almost contest of skill, and the met his Waterloo upon meeting duel, did not Woeffl Principles of Bowing become antiquated in a contest of skiil. Some Fundamental until less than one Musical Duels Beethoven and hundred years ago. In our early Woeffl had been mutual friends Ameri- in their can history, famous associations for quite personages such as a few years. Woeffl- Alexander Hamilton, Andrew Jackson, had superior training in that he had and others became involved in duels. been a student of Mozart’s father on bowing, while excellent, Alexander and ANY ARTICLES Hamilton lost his life in this Lu mmett £1. (Slind Haydn’s brother. He was a real \ (Clarence Cdoob artist very helpful to the advanced student, are by way. and ^ and virtuoso in his day. Aristocratic sometimes a little too erudite and abstruse to If a challenge were once extended (as friends arranged the M meeting for the be grasped by the young intermediate pupil. I have in the case of Alexander Hamilton) the two artists. First they performed their reading these articles to inexperienced contestant found, while had to accept it in order to own compositions, then they and majesty. Some may object that it is impossible roll it gently up and down the string. Now ask him exchanged pupils, that a great deal of elucidation is necessary in keep his social prestige. There is per- themes and improvised. to inject very much cling into this stroke. Nevertheless, what this does to the tone. As a rule, will be slightly Chevalier to the listener. he haps only one von order to get the intended message over incident in musical his- Seyfried relates in regard the cling is there if the stroke is done correctly, al- bewildered, and perhaps may not be able to give the to this soiree: tried to make this article simple and tory of a duel being fought I have, therefore, by mu- “It would have been difficult, though it may not be as great as in the slow stroke. correct answer. You will probably have to tell him sicians. perhaps direct enough to be Readily comprehended by young impossible to award the palm One can easily prove this by attempting to play the that it makes the tone a little higher and a little lower. In of victory students, even children. Nor will this article deal with 1704, on a bright sunshiny day in above mentioned composition pianissimo, but, of course, Next, have him place this third finger the string to either one of the gladiators in respect accomplishing certain re- on in December, two musicians became the different methods of in- to technical skill. Nature was this would come under the later heading of “quick, the first position and attempt to roll it back and forth volved in particu- sults, but only with the results themselves; for, of a duel in the Hamburg Mar- light strokes.” just as he saw the roll. larly kind to Woeffl in bestowing their pencil Explain that the finger ket Place. The duel upon course, all good teachers strive to inculcate into was caused by an him a Le grande detache, although the extreme exemplifi- must not slip on the string, nor must the pressure be hand which enabled him to span the principles of artistic bowing, and have argument over a performance of “Cleo- students a tenth as easily as other cation of this bowing, is not the only way in which relaxed, but that the finger must simply roll back and patra.” This opera had been hands en- their own particular ways of trying to accomplish this written by the quick, clinging stroke is used. passage which forth. Of course, in order to this compass an octave. Woeffl could play Any do he must at once Johann Mattheson, and Handel was the end. passages of double notes requires using the bow rapidly and with a strong tone conquer the temptation to allow the first finger to rest understudy. After two in tenths with) To begin, the whole art of bowing may be summed performances, will fall under this head. In the playing of rapid against the neck the violin, the rapidity of lightning. Difficulties consists in using the of because this locks the Handel refused to give up his place at up in two general categories: it which are impossibilities to other slurred passages of short groups, it is sometimes ad- hand and prevents a free motion. If he has great diffi- the clavecin (Mattheson being a part pian- bow at different speeds and with different pressures. visable to the full in order to get the maximum culty in keeping his ists he plays with the greatest of ease objectionable to some use bow hand in the correct position while time actor on the stage) because he felt The word “pressure” may be without once disturbing the the amount of tone, and also to impart a masterful and attempting the vibrato, it is sometimes better to let him he could play the accompaniments as quiet pos- teachers, since it is so readily associated with un- finished appearance to the performer. In teaching try it in the third position at the beginning. Although well ture of his body. He could play whole scraping of a beginner. Nevertheless, it cannot as Mattheson, if not better. Both BEETHOVEN AND HIS FELLOW skilled MUSICAL DUELIST, DANIEL STEIBELT passages in a such passages to a young student, it will generally be modern methods advocate keeping the hand free in young men (Handel being nineteen) moderate legato tempo be denied that there is quite a difference between the Daniel Steibelt (1765-1823) repeatedly found that he unconsciously “skimps” the bow, using the third position, it may help to get the vibrato started were skillful swordsmen. downed Beethoven in musical duels. In with one and the same finger (as in the firm, clinging stroke of a full-bodied tone and the Mattheson that day, many misled prophets felt that Steibelt, a very facile pianist, Andante only a portion of it, in his fear of scratching the tones. if the hand is allowed to rest temporarily against the finally proved to be the more dexterous was a of the Mozart Fantasia, the light stroke of an extreme pianissimo. Perhaps it might greater musical figure than Beethoven. Steibelt is now literally unknown. long passage The third of our four fundamental bowings, the slow violin. Later, the correct position can be assumed. I and was assured of the victory, only to in the sixteenth notes in be well to substitute the word “clinging” for the word the tenor soft stroke, is perhaps the easiest of the four, because am glad to say that the majority of young students find that his sword struck a large voice) . Such a pianist is with- “pressure.” Since each of the two above classifications, it concurs at once with the natural tendency of the readily acquire a good vibrato, and do not often commit metal button on his opponent’s coat and out a peer in his art. He was always speed and pressure, can be divided into two sub- generally the offence of snapped off short. equable and clear also because soft tones, we will consider inexperienced player. To get a strong tone making their vibrato too “wire,” thus Miracles do happen, and it was only lected Bach as the he had divisions, loud tones, and winner and Marchand left the scene been trained involves a great deal of study and practice, while a obscuring their intonation, a fault quite common this stroke of fate that saved George F. in the school of Mozart. He used art only the art of bowing under four general heads: slow Handel’s life of action before comparisons could be made. for humanity from as a means to an end and never slow soft soft tone might be said to be the point from which among singers. a premature death. Handel dropped Clementi, who was to exhibit his acquire- clinging strokes, quick clinging strokes, born four years before Mozart, ments and one starts in his efforts to acquire a strong tone. One his sword, embraced his combatant, and they were thus with such sincerity of purpose he was* strokes, and quick soft strokes. Let us consider the outlived his rival in the concert field forty-one friends again. years. always very accessible to should always use this stroke in the playing of a Concentration Important He was invited his audience." nature and application of each of these strokes. by the Emperor Joseph II to In later life, meet dreamy melody, such as Traumerei. Here again, in Handel became famous as a virtuoso on Mozart in friendly First we will observe a general law in bowing, or it Let us remember that the normal child, attending combat in 1781. dementi’s talent • the clavichord. At one time Beethoven and Steibelt Compete physics. For a firm, teaching such melodies to a child, it is sometimes a the elementary schools, he was invited to a mas- as a performer was phenomenal might even be called a law of does not have a great deal of and Mozart, who pos- little difficult get him to use the full bow. He un- querade in Venice. Soon he found a clavier and began Seyfried relates that strong tone the bow approaches the bridge; and for a to time for practice—perhaps an hour a day. Later, in sessed the most fertile mind of all musicians, Beethoven’s improvisations were playing and entertaining was con- unique, consciously shuns the lower half of the bow because it the guests. “It is either Saxon sidered a colorful, impressive and climactic. light, soft tone the bow drifts away from the bridge junior high school, most children protest that they can genius. Then the Emperor gave each a theme Beethoven’s- or the devil,” exclaimed playing, in the bow is more difficult to play softly at that end. A good, but devote Domenico Scarlatti, who had upon which to improvise. exalted moments, embodied tempestuous towards the end of the finger-board. I say only about thirty minutes a day to the violin. the The Emperor was so flabber- somewhat rare, example of the expediency of the slow reputation of being the world’s greatest clavier utterances so forceful does this because the young student will often be When this is the case, the only thing to do is to face gasted by both performances that he could that the framework of the stout- player. not make a soft stroke is where one occasionally has to execute a final est structure was scarcely unaware of the fact until his attention is called to it. the issue calmly and to make the best of the situation. decision as to who was the better performer. able to withstand it. A dis- In friendly rivalry they staged rupting easily be passage with as little bow as possible in order not to It is a contest of skill for Many years later, volcano or a wildly foaming would The necessity for this action of the bow can true that thirty minutes, frittered away in sense- Clementi made the following state- cataract the the public on the clavier and organ. They depict his attempt to draw a get too far from the end of bow at which a subse- less, misdirected practice will tied for ment. Until then I had never heard playing so superbly as he tore up and down proved to the pupil by having him accomplish nothing; but honors in their anyone play with quent passage of separate notes is to be played. clavier playing but as an organist so the keyboard. strong tone with the bow away from the bridge and it is also true that the same amount of time spent in much intelligence and charm. I was Handel was declared an easy particularly The last stroke to be considered, the quick, soft winner. impressed by an adagio Music critics will invariably observing the resultant “scratch.” careful, concentrated drill will often produce astonish- and a number of his extem- admit among Beethoven’s porized contemporaries stroke, might be called the most poetic of the four. It ing results. variations on a theme which we many had a technical skill as great, if. Contest Between Two were obliged is also the most difficult, and we may safely say that a Queens to vary alternately, not greater, as in the Fundamental Bowings Many years ago I read an account of a gifted young each accompanying the other ” case of Woeffl, but in improvisa- The contest of skill between Queen ion Beethoven’s student does not generally acquire it except under the Elizabeth of Eng- Mozart was less gracious in genius always shone refulgent, Now let us begin with our four fundamental bowings. violinist who achieved actual virtuosity and never his opinion of his rival. most teacher. It land and Mary Queen of Scots is one eethoven tutelage of a good consists in drawing the of the most in- He called the great Roman a never met anyone who could approach The first one, the slow clinging stroke, is very well practiced more than one hour a day. If this account mere “mechanician” with even rapidly over the strings absolutely teresting in the annals of history. James Melville, lm r°visation Air bow with no cling, true, pol- a great knack in passages in thirds P upon a given theme. His imagination exemplified in the opening note of the Bach Jor G was and I can readily believe it possible, it would ished but not a penny’s “f but with the lightest, most feathery contact possible. diplomat, was forced to be the judge. Queen worth seemed to be this work will indicate two things: of feeling or taste. Mozart, his electrified and at times his soul would String. Every pupil who has studied namely, that children who are entire life was result is a sort of whispering pianissimo, which, Mary, desirous of knowing the skill of her rival on the pour forth required The practice prejudiced against Italian players. magnanimous beauty of tone. appreciate the extreme care and judgment made to many hours a day sometimes waste throne, He had no patience while very soft, has great carrying potentialities. sent her favorite courtier, Lord Melville, with The story beautiful, thrilling A of the time, on the display of digital dexterity of Beethoven’s meeting the redoubtable if the note is to be played with a much and that children who are taught this delicate mission. which many of certain eminent teacher has called it “velvet bowing,” Queen Elizabeth immediately the virtuosi of his Daniel Steibelt is tone, especially if the customary crescendo towards the intelligently to utilize every minute of their limited day made, to the neglect perhaps the most familiar of all the made things difficult for of taste which seems an admirable name for it. This bowing the astute gentleman by ask- in tempo and of skill. child to acquire the time often accomplish more in expression. However, this Steibelt’s reputation musician end is made. Sometimes it helps a the long run than those ing very personal questions about criticism was as a can perhaps best be exemplified and observed in the Queen Mary’s ap- made in a moment of " as far superior clinging stroke if he is told to imagine that the hair who go about it the hard way. irritation. In later years to Beethoven’s. Beethoven had pearance and ability in general in relation a con- work of a fine string quartet, where it can produce an to her own. fession made by Mozart en ™any compositions of the bow is a strip of adhesive tape, and that it is There are many subdivisions of these bowings that sounded less .. but they were not as yet “Does she play well on the lute jaundiced than f* effect of breath-taking and etherealized beauty that and virginals?” asked Uie one made in 1781 to the sticking string as pulls it along. will forth by. when brought Public - to the he be brought the competent teacher as the Elizabeth. “Reasonably, into juxtaposition Steibelt, polished, and having adequately describe! for a Queen, your Majesty,” with Clementi notes by no words can s praise of his rival. great de al, had of a The clinging stroke is not limited to long student progresses further into the intriguing art of was the diplomatic answer. rnuci if become somewhat Joseph Gelinek, Uon by it still more difficult when it bowing. the famous organist, reason of success of r.n opera, any means. In fact, is When the child reaches the point where he is That night Lord was born • wfri Hundsdean, cousin to Queen Eliz- Bohemia. in Romeo and slurs which Teaching the Vibrato He was a beautiful performer Juliet,” produced in is applied under the exigencies of long able to use discriminately the many and varied effects abeth, led him to the court to hear and a volumi 1793 . the Queen play nous composer of meetmg cross the times; as, for example, in the Since this article deals wholly with tone qualities, available, variations of the conventional Was held at the Fries strings many he will be in a position similar to that of the upon the virginals. Melville assured Lord Hundsdean order in home of Count Mozart heard him play vL 00 passages near the end of the first movement of the a word here on vibrato might be permissible. A good young artist who is learning skillfully in ’ to mix his colors that she played exceedingly Prague in 1787 and recom F01* the original composition Bee- well. Queen Elizabeth thoven V* . mended him to Count Kinsky, nit hls Trio Beethoven Concerto. In such passages the greatest care vibrato is a necessary qualification to any tone, al- and convey his impressions to canvas. He has learned thought she was alone and who appointed hta in B-flat for 'cello, clarinet and when she found Melville music director niannfnri order that absolute though we are told that many artists of the past, among in Prague ' and control must be exercised in a new joy in life, for he is beginning to speak there she asked and Vienna. Gelinek’s P 111 ’ steibelt played Quintet for the beau- him in a very curt manner why he vari™ Strine-c ™ a Joachim, tions are lost forever but the story lan0forte uniformity of tone may be exacted from the strings. If them the great Joseph did not use it quite so tiful and mystic language of music perhaps the most had come without permission. of his first ’ Then Steibelt, yielding to the — He replied eruditely: ,t! universally as it is used today. In beginning with Beethoven will live as lon^ Sun the company, the bow is used up too quickly the last few notes will to teach potent language we have! Nor is this achievement so The beautiful melody which I won rapturous applause by heard ravished and great KiT ^ an evhihu- child vibrato, I have found the following little master a trick Czerny tells the story: a fetching a suffer in volume and quality. difficult, as we are sometimes led to believe. If he will drew me within the chamber, I wist not how.” “One day Gelinek trick in arpeggios plus met my Father on the °' The second of the four fundamental bowings, the quite successful: have him draw the bow on the A street and he remarked t! m an^° witb both the spend a few minutes of his time every day practicing ears «f hands which caught that he had been invited to a of gr0U quick, clinging stroke, is given its most pronounced string, and while he is doing so, place a round pencil these four fundamental bowings slow clinging strokes, Contestants Improvise Upon Themes soiree that evening dlings as was shown by their applause, — break to Beethnvmfo f (a rubber eraser is still better) a lance with a new pianist. S lde form in what is termed le grande detache. It consists round on the string and quick clinging strokes, slow soft strokes, and quick soft Jean Lavis “Den woHen P being injured to touch the Marchand was famous for his organ play- wdr piano n f refused zasammenhauen!” (We’ll cudgel him nd time in drawing the bow instantaneously from end to end strokes—instead of merely pursuing the prosaic routine ing at the French Court. While well) Th! „ * that evening, on a visit to Dresden day Czerny asked A w, vf° with slight each stroke. very good Gelinek how the affair ter 3 second a pause between A of time and intonation, he will accomplish much. He may he was challenged to hari^,, * meeting was scheduled. Steibelt 4 a contest of skill with Johann out. sumrispri tf “Oh,” he replied, “I’ll never 6 C° example is the beginning of the Praeludium and Al- use single notes, or simple melodic passages, or studies Sebastian Bach. Bach’s forgef yesterdav m^ mpany by Paying a new Quintet, and reputation as an organist was devil himself was an obvinnsi' legro understands the in that young man PrePared of Kreisler. The composer who adapted to the purpose in hand. It makes little differ- towering. Both masters played their own (BeS/en^I improvisation consisting of a VIOLIN compositions never heard such playing. set of vnri/f particular character of this bowing will generally use and He improvisedP o h 115 °n a had ence so long as he is conscientiously striving to improve improvised upon a given theme. The judges se- ““ « * aem. theme which Beethoven Edited by Harold Berkley •hid, I him i „, used in hid -r'f it for the expression of musical thoughts of dignity „ ver heata the Week was his grasp of the principles ( Continued on Page 410) before ’ Such a challenge too obvimus! 380 to be overlooked. Page 406) "MUSIC (Continued on JULY, STUDY EXALTS LIFE" 1947 "MUSIC STUDY EXALTS LIFE’’ 381 THE ETUDE — ”

Music and Study Who Is the Father of Modern Music and Study n LADY who is doing a very good piece of Music? YOUNG work in teaching piano, organ, and ’cello re- Q. Could you please tell me who is «, marked that she dreaded to offer her pupils Is a Tie? father of modem music? A What My history more than the sketchiest statements concerning teacher in high school insists any Q. One of my friends and I are very puz- that it Bach, but my music teacher music theory because she felt that if her pupils could zled about a tie. We believe that we were thinks it miehl be Gershwin. However she is to use the knowledge of theory that taught that a tied note is one not only of not sure « determine a way Answers ’ so Questions and will you settle the matter?—F. S. degree but of the same value of time. We she imparted to them they might easily fake and not Music have searched dictionaries Behind and theory master nor attempt to jnaster the more difficult pas- The Theory books but have not found anything to up- A. The term “Modern Music” is vari studies and pieces that she gave them. On hold this view. Can a quarter note and an sages in the ously interpreted. Some historians eighth note be tied? We are beginning to con" first thought her idea sounds logical but after giving Conducted by sider that modern think that they can.—K. S. music began at groundless because the aver- about it consideration it seems of the Art 1830, in which case, such Teaching Children to Understand the Background A. A good many years ago I wrote a composers as age pupil will not try to figure out ways to use theory. Berlioz, Schumann, Chopin, definition of tie in my first book, “Music and Wagner The theory behind music is far more important than would be included. But others Notation and Terminology,” and it still think of most teachers or pupils realize. Perhaps it is slighted modern music as beginning seems good to me, therefore I will quote with Richard because the teachers, themselves, are not familiar Strauss, Sibelius, and it for you: “A tie is a curved line con- other late nine- enough with the theory of music to present it in a inion teenth century composers— necting the heads of two notes that call especially way that is both understandable and complete. Cer- for the same tone. It indicates that but those who were not “romantic” enough to ask a question, that Emeritus in ten- tainly, if a pupil knows Professor I one tone is to be sounded, this tone hav- dency. believe that most musicians pupil deserves a fair reply and something far better Clarence Dickinson, eminent ing a duration equal to the combined Dherlin College think of the “modern” period as remark, “I said so.” That is no reason. The American music boosts of three noted musicians by the name of Dickinson— follow- than the Oberlm value of the two notes.” ing the “romantic" noted theorist and professor of history and the criticism of music at The definition I period, but no single fact that somebody said something never made a fact. organist: Edward Dickinson, Editor,- Webster's New Sherman Dickinson, professor of music and musical librarian at wrote much later for the Webster Dic- Music composer is ordinarily named person who gives that as the answer to Conservatory (1893-1922) and George as it? [And the ,n Chicago in is a professional writer and newspaperman, born tionary is a little shorter, Vassar. The author of this article, however, but it says the International Dictionary “father.” “why” may expect disregard in the future.] attended the music teacher. When the family settled in Rochester, New York, he same things, and you will see that 1900. His mother was a there Your history teacher Is probably Ordinarily a pupil is taught, on mastering the scale science. He has written upon a large di- Eastman School of Music. His principal training was in the field of is nothing in either definition to indicate all five . • viding , , s music into major, that by playing up the C scale for , , Editor Note. two periods, of C variety of subjects. — that the value of the two notes must be “ancient music” and “modern music ” notes he will come to G which is the next scale and the same. In fact, notes of any value may and in this sense Bach might be thought be tied together. Note too that the defini- of as the "father” of modem music. But tion quoted above strong- The foregoing facts can be presented to a compara- provides also for the that is not the way musicians because it is midway between the tonic and the out strain. Many a promising voice has use the elementary music student, and he can soon be enharmonic tie, such as F-sharp tied to term. est note other than the tonic in the scale. tively G-flat, been spoiled so far as adult singing is to realize what he is doing in performing. Sev- for example. The fourth note is called the subdominant because made concerned because the boy began to eral years ago one of the magazines carried a story it is immediately below the dominant, “sub” being the sing in public while his voice was still Latin being due “below” just as “super” mentioned above of some child’s unusual knowledge of A Mother Gives I I oo to Latin word for Information immature. This is a deUcate subject, and Am Old Begin Violin? the fact that his mother sang him to sleep to her is the Latin word for “above.” to Recent letters about the age at which probably Q. Several years the boy’s voice teacher is ago I studied piano for dominant” own melody for the Latin words from Virgil: “Arma children learn to play the piano have in- a year The fifth note of a scale is called “the already disliking me intensely! But or so but gave it up for several cano— terested me very much. When my own lit- tonic it the strongest note in the virumque reasons—one of which was lack of interest. because next to the is tle girl was three years old what I have told you is the truth, she went to and I am now 22, and music has the scale. If a child can become so familiar with Latin by such stay with her taken on a scale—dominating grandmother, who was a it. is my opinion that such a deeper boy might significance for me and is now an the picture, most a plan it seems that no harm would be done to- a mu- piano teacher. She heard music constantly Here is where relativity comes into well devote most of essential part of my dally life. and soon began the time that he I have two is actually no sic student if his teacher made corrections by saying: to pick up little . alone, melodies friends obviously . . G, when played and play them. spends in studying music who are pianists, and nothing Now she is four and a half, to practicing it is played “No, the mediant” or “No, the dominant,” instead of would please me more than to be stronger than A, F, E, or B; but the minute and she can play a number of easy piano the piano and making himself able to a good play the violin with — on it becomes saying, “No, play that ‘E’.” or whatever note is re- pieces either as they are written them -I mean to in a scale, run, or cadenza beginning C or in an- musician. He will want to sing play sonatas other key. She does not read the some, of and other such material. I the strongest note in that scale, run. or cadenza; and quired instead of the one played. music but should insists on having course, but he ought to sing lightly also like to take up the piano the printed page before in a like manner, if the scale or cadenza, or run begins [A magazine article as this offers no room for a her as again, and I wonder whether this would she plays. Perhaps in time she will and words having to do with tempo, and this means that he probably ought be teaching cf music theory to ele- harmful so far as progress on D and has F-sharp in it, A becomes the strongest complete treatise on learn to connect the notes with what she dynamics, not to sing on the violin and so forth. In many in public at all, is will plays, but ways certainly concerned. I could not afford note; and if the scale begins on A and has C-sharp in mentary students. What has been pointed out here at present she does it by ear en- not profes- tirely, it will be a decided advantage to work in a large auditorium sional instruction and she also plays melodies she where he on both piano and violin, it, E will be the strongest note in the run. take an elementary student a good many weeks to but I hears at church. To her music is just on additional material on the would be tempted to strain should like to begin to study the an- same his voice. The sixth note of the scale is called the submediant master. Then the teacher may consider inversions.] other game, and she can’t violin under a teacher and work at the understand why level, rather than to go on at once to other children just bang on the piano by myself. What do you think because it is the same distance below the mediant piano when the more difficult of making real book. It is far better all this? J. An Eleven-Year-Old "Theorist" music is such fun.—E. H. About Long and Short — L. M. above the next tonic as the dominant is above the to learn to play simpler material per- A. You have not asked me any ques- given or original tonic. This is by no means a brilliant An eleven year old girl began music lessons late in fectly and beautifully than to go con- Appoggiataras A. My tions, but I feel like telling you that you advice is that you study violin reason for the name beyond the facts that the sub- the month of January last year. For some reason or stantly to more and more difficult things, Q. Would you please explain for a year are very fortunate to about long as an experiment. By the end dominant is immediately below the dominant and the played entirely ear, and correctly, the have such a bright and short appoggiaturas. other she by most of which are probably done very and if they should of this little girl, and that I believe be Played with time you and your teacher will supertonic is immediately above the tonic. of Brahms’ Slumber Song. She had picked it you ought the bass or played before melody imperfectly. be able to to begin at once to point out to her the tell whether with further study The seventh note is called the leading tone because out after hearing it on the air. Her music teacher relationships you would be able between what she is play- A. long to play with real satis- in relation to the rest of the scale it seems to lead the showed her how to write it on paper and then how to appoggiatura produces faction ing and the notes on How About an en- to yourself. guess is that you the staff. This a Boy With Only tirely different My performer subconsciously to the tonic above. write a “left hand” for it. When this child began her effect from a short will should very quickly lead to actual ap- not, for the violin is a very difficult tonic triad of any key is chord made of the could see little use in “theory,” under- One Hand? poggatura—or The a up piano lessons her mother acciaccatura, as it is instrument standing of the score, so that in a short now to play well. And yet your tonic, the mediant, and the dominant. The dominant but the child, who ordinarily is very much of a tom- Q. I have a boy pupil eleven years old usually called. The long time little appogiatura is great interest Kathryn will be reading simple who has only one hand— in learning to play it may triad is made up of the dominant, the leading tone, boy, insisted that she wanted to know what she was the right. He is an accented tone, receiving music for herself. believe studying voice already and half of the enable you to I also that she has won sev- value of the overcome the obstacles and the supertonic. It is noticeable that the distance doing, and started to become, four months later, one eral medals as well as a printed note or ought soon to begin some real scholarship at mu- more. But that would stop most age. in these triads is three, or a third. pupils. studies in- lessons sic festivals. the short people of your between notes When of her teacher's best Exercises and He plays the piano moderately appoggiatura is under a fine teacher. played as Anyway it well but I do not know what quickly is worth a try, and even though another third is added, for example, to C, E, G, that is, stead of being so much dull, hard work became to her sort of ma- as possible, sometimes on terial to get for him. and I the you never become DICKINSON the hope you will beat but often a violinist, you will ap- EDWARD the B above the G, or to the chord G, B, D, F above a definite step toward a goal. be able before it, this to advise me.—D. C. depending preciate all string Instrument much the D, a chord would be formed which would be called performs Chopin’s Polonaise W/iaf Shall 1 Give Her on the type of music music For every pianist who Next? A. There is in which it appears published a considerable more because of the experience, so your a “seventh chord.” The first example would be the in flat on the concert stage, there are perhaps one- Q. I have a talented ten-year-old and also on the be the seventh note A- girl as amount of music for player’s tastes. You time which has one sharp which may my pupil. She has small right -hand alone,- find will will not have been wasted. If at the tonic seventh in C and the second example would be hundred-thousand pianists who have taken music les- hands and al- a fairly complete above the or the note immediately below it in which though she and if you do not have discussion of the end G will soon finish the John access to a good of a year you decide that the road is the dominant seventh in C. In any scale the seventh sons merely to play songs of the day for their own appoggiatura and other case it will be the fourth note of the C major scale. Thompson Third Grade Book. I do not feel music store there in embellishments too Canada I suggest long, you can then back to the note of that scale leads to the tonic above; but when a pleasure and that of their friends for singing in camp that she is ready for m my book “Music go In a similar is taught to find the scale of the Fourth Grade that you write to the Notation and Termi- study way the pupil Book because of publishers of The nology of piano. In the suggest chord of the seventh, or a seventh chord, is formed or at some informal gathering. To this great majority, the difficulty of some of a copy of which meantime I D major and then that of A major. Here a stop is the Etude, asking them to send you may that material. She will take the Thompson you a selec- cure from se- you secure some other second-grade the added note, or the seventh, must resolve down. theory as related to transposition is vitally important; the publisher reached and the pupil is taught to go down five notes Third Grade Velocity Studies’’ and tion of fairly easy material of The Etude. con- for right piano book—so as to have fresh material This is a harmonic law that in strict, four part har- more so than they often realize. A young girl who tinue her practice of from C and find F, and then to flat the note imme- scales, but I don’t hand alone—both pieces to know and studies. work at and carefully, mony is never violated and in dispersed harmony but plays the ’cello moderately -well insists that it is far what else to have her take.—C. D. B. — go through it diately below C, and so on. Ask them to include some easy duets fit re a nook compelling A. I suggest in on Copying yourself to see everything rarely violated. Great care must be taken in speaking easier to perform in a sharp key than in a flat key on that you give her the which the pupil No mention is made of the fact that the sharp scales has a part with both on the which is meant: chord whose root is third book of some other Music? page—not only notes but also fin- lower with to distinguish a that instrument. A friend of this girl, though actually series, perhaps hands alike so that when are formed on the dominant of the scale the Crosby he plays just gering, pedal indications, of ex- the seventh note of a scale or a chord to which a a very poor pianist, knows enough of the theory of Adams material; also some iIitati marks the subdominant sharpened each time; and that the with one hand the musical effect he?e °n B new third-grade will , Ld wjha^a cUentent — pression, and so forth. hymn seventh note has been added. In C the chord based music to transpose many simple things at sight. The pieces. You might write ’ severely handi- Play some flat scales are formed on the subdominant with the be complete when you yourself capped, who is ahle to play the C m tunes and so on the seventh note of that scale is B, D, and F; but result has been that Jerome Kern’s Look for the Silver the publishers of The Etude, asking hewritef SiC bUt folk songs every day, too, seventh or leading tone flattened. secondo part. Make certain that it°’£ pencil an°d r"-r, as them to he knows be to to develop and to any chord of the scale a seventh may be added. Lining which was written in E-flat has been trans- send you a selection of third- transcribed accordine 'J^ve sight-playing ability The result is that at some later date the pupil runs at least the first nine major key signa- ® L Plication a standards. i n feeling The music of the more common hymns and male two into in this latter grade material, and you could then pick Can vnn 0 for the keyboard. Learn to into the dominant seventh, and thinks that posed by the E major and key tures and that he is learning which b°°k phrase, out to trans- would be useful transpose, quartets is written usually in four part harmony which has proven most satisfactory. what you like and return the intelhTnT train yourself to observe the some difficult point of music is before him; rest. pose simple melodies and harmonies one to copy music frightfully Make certain into c^ectly?-^ harmonic structure, the is called close harmony because it is governed by a Transposition is not nearly so hard to do as it that this pupil knows various keys. Tt the modulations, while actually the names of notes, their meanings, and A. which states that in four part harmony her key signatures thoroughly I suggest that repetitions of them, like. When harmonic law sounds when mentioned. All that’s really needed is and that As to a boy of eleven you secure a and the their uses are simple and often merely matters of studying 1 she is learning singing, “Musical ® Py you can no two adjacent voices may be more than an octave ability to transpose very simple Handwriting” hv T do second-grade material with relativity. to recognize which note of a melody is which I feel that I ought to warn you and \ things into his facility go apart. Music written in more than four parts, a single the scale the in the is other keys. See to it also parents qp to the third grade, but re- The first note of a scale is the tonic and gives its note of of key which piece writ- that this is dangerous unless that she is forming the — he member that easy voice with accompaniment widely spread out over a ten. For example: if the key be major simply write habit of noticing is lucky it is better to play name to the scale as C, G, D, A, F, and so on. A enough to have a teacher k al; the fingering, the who the use of a material key board of a piano or organ, or spread among several a Roman I under each A; a Roman II under each B; pedaling, and signs encourages manuscriot f° with facility and intelligence The second note of the scale is called “the super- him to sing lightly and with- Untain pen' the three-pointed than to different is said consist of dispersed or a Roman III under each C-sharp so on. Next take K blunder unintelligently through tonic” which means above the tonic. instruments to and harder 382 pieces. mediant” “Open Harmony.” a sheet of music paper and ( Continued on Page 405) "MUSIC The third note of a scale is called “the STUDY EXALTS LIFE" THE ETUDE JULY, 1947 "MUSIC STUDY EXALTS LIFE 383 —

Music and Study BREATH OF HEATHER Scotch to the core, this unusual composition will give a k ind of character relief to student recital programs. Where there is an arpeggtoxn theleft Developing the Boys’ Choir hand as well as in the right, play the left hand first, followed by the right hand, with no perceptible time break between the notes. Grade 4. Andante(J = 60) JOHN KLEIN

A Conference with

C^oieman\^olentcut hooperC^o

Founder and Director of the Apollo Boys’ Choir

SECURED EXPRESSLY FOR THE ETUDE BY GUNNAR ASKLUXD

The current music season marks the tenth anniversary of the avidly to tone and style, and finally sought an interview Berry of the Berry Schools. Here he developed his Apollo Boys' now Choir, America's first and leading organization with Dr. Urbanek, the Director, to whom he opened his heart famous summer program of intensive music study, nature of boys' voices. The development of this outstanding group on the subject of boys' choirs and their conspicuous absence lore, and regular camp activities. is a labor of love on the part of its director, Coleman from the American scene. In surprise, Urbanek said, "But The following year when the Vienna Boys again Cooper, and his mother, toured Mrs. John Olin Cooper. why don't you found a choir yourself?" America. Mr. Cooper's new group was ready to sing for Born in Birmingham, Alabama, of a thoroughly musical Thus Coleman Cooper found his life's work. He was at that them. Delighted with their work, the family, Mr. Cooper underwent a Director invited Mr. childhood experience which time teaching piano, from his and class selected eight little Cooper to visit Vienna. Six weeks later Coleman laid the foundation for his later Cooper set activities. Possessor of an boys, infusing choir enthusiasm into them. Next he recruited soil for a rich and fruitful half year of observation and study. unusually fine boy soprano voice, young Cooper wished des- eight more voices from among local boys and started work. He lived for perately to more than four months with the Vienna Choir sing. Since, however, there were no boys' choirs After three months, however, he felt that he himself needed Boys in Schloss Wilhelminenburg in the South, he lacked opportunity; moreover, (formerly the castle of the whenever further training. Taking all his savings, he went to New York, Archduke Rudolf), ate with them, worked with them, ab- he did sing, someone was sure to remark in astonishment, attended choir rehearsals at St. John's Cathedral, Grace, "But sorbed the atmosphere surrounding them, met the musical you sound just like a woman." The result was that he and St. Thomas Churches, and took a brief course with celebrities kept his mouth shut, who came to coll ot the Schloss, and attended but did a lot of private thinking. Father Finn of the Paulist Choir. M/hen his money gave out, each of His high school and college the choir's public performances. He furthered his years were spent in earning he returned home to Birmingham, reorganized his working own work under scholarships in voice, piano, and art; Bruno Walter, and did additional observing building a sure back- methods, and set to work again. ground in Paris, Dresden, and various cathedral towns of musicianship and taste; and continuing his private Then Mr. Cooper on the Conti- found that mere rehearsals were not nent and thinking. Then, in 1934, the great Vienna Choir Boys in England. Returning home, Mr. Cooper perfected organi- enough. Feeling the need of a period of concentrated study the development of the zation (Wiener Saengerknaben visited Birmingham its Apollo Boys' Choir on the basis of ) on and practice, he opened his first summer camp in a rustic his wide research. second American tour. Mr. Cooper, enchanted, listened lodge In the following conference, Coleman on Lookout Mountain that belonged to Miss Martha Cooper tells of his methods. — Editor's Note.

n mHE VALUE of any boys’ choir depends upon than mere rehearsals. Therefore, the initial period of I two work harm to the developing elements. The first is the quality of mu- extensive training was inaugurated voice; and, in the second at our first sum- place, X -sicianship that the young singers the charm of the boys' choir lies precisely, in are able to mer camp and is in part as follows: Each morning three the unique project; and the second, the combination of vocal hours are unearthly quality of this natural voice. devoted to the study of music—voice, piano, tone and spiritual sincerity with Hence, the chief consideration complete which they project theory, and so forth. Afternoons and must always be evenings are for naturalness, it. This made it advisable to approach the training athletics, without straining for range, volume, color, nature study, sightseeing tours, of the Apollo dramatics or effects. Boys on the basis of something more games, story telling, and other camp activities. Later we” shall speak of the general Preliminary Groundwork education of the boys, but So that the for the moment, boys may understand exactly what let us say they are merely about, we begin vocal work with a thorough that the quality of study of the vocal apparatus. them charts musicianship is greatly in- We show depicting the organs of the explain fluenced by an apprecia- vocal tract, and the action of the tion of beauty, breath, the cords, and the chambers which we o resonance. Next, we begin exer- have many opportunities elementary vocal cxses in breathing and in the to encourage during the production of tone. Since most children’s summer camp period. voices are too ‘white’ or too front we give cove “Our music ’ r and resonance by having study be- , 6 S s' ng gins ’ unison, simple sylla- with a thorough hi xir scales on dark We begin 011 the background of music. We syllable loo, sung with the lips rounded, but not give the boys lectures on too rounded since a too-rounded ip ormation may the history of music—and tend to produce a hooty tone. As '” as we bear for these we use the very that the voices are beginning to gain excellent e change the ‘History of Mu- syllable to lah. This brings the o the center sic’ by Dr. James Francis of the mouth, and preserves the Cooke 1 ained without allowing —on the elements , 'A. £, the voice to drop too far of Th n music, on the We take the syllable low (pronounced as in rudiments ^f ;, ? ., °rd that of music, and on means the opposite of high), which musical aunir, . theory. One C r Cts any too-forward and cannot suf- finanv ? ? development; ficiently y ’ we take lee. stress the im- -i.. The object is, however, to pro- e hat portance of a solid musi- centers directly under the upper lip nnt t™ ,? , , cal ee ' background in devel- °ne can readi ly test for correctness bv th i oping the boys’ choir. finger In the center and As fppiiTvr u of the upper lip to the ieenng the vibration. vocal work itself we always 1 ngm strive to pre- Unison sca]es on these syllables, we proceed fa ^ serve slmp e the natural quality exerci ses. still singing in unison, we cover the nge of the boy voice from nhddle to that and elim- moves nn tt C F in an exercise inate all forcing, e n° tes and back back in the one . up three and THE APOLLO BOYS' one and f ?, CHOIR °r h ' first place, forcing These exercises are vowel may sounds iiKt sung on the J indicated,i always ( Continued on Page 408) 384 " Copyright Oliver Ditson Company MUSIC STUDY EXALTS LIFE” MCMXLVII by International Copyright secured THE ETUDE JULY 1947 385 REMINISCENCE “ forpia ”' Mrads <"• - < * -«*«« P„y it Moderate «me MORTIMER BROWNING

Copyright 1946 by Theodore PresserCo. 886 British Copyright secured THE ETUDE lULY 1947 VALSE PIQUANTE FANTASIA IN D MINOR was given the of works. The the slow ballet tj pe, a i.it > cliromatic This delightful work number 397 by Dr. Ludwig Ritter von Kochel. in his great chronological thematic list Mozart’s The late Carl Wilhelm Keru, famed for his melodic educational pieces, presented, in this lovely waltz of composition was written in 1782, the year of Mozart’s marriage. The composer was then twenty- six years of age; and his amazing genius was just although he had coming into flower, had his compositions published for eighteen5 years. Grade 5-6. W. A. MOZART Andante (J = 72) Revised by S. Lebert

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Copyright MCMXLVn by Oliver Ditson Company 388 International Copyright secured JULY 1947 THE ETUDE 389 390 391 THE ETUDE •JULY 1947 — e »

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This beautiful hymn of rejoicing, peace, and plenty is frequently used in church as a postlude,for it makes an ideal ecclesiastical march. Grade 4.

•SAMUEL A. WARD 5 4 Arr. by Clarence Kohlmann L^J4== * i# .? r it t i 1 1 I 7 } f f i t: i t f

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THE ETUDE Copyright MCMXXIX by Oliver Ditson Company British Copyright secured JULY 1947 397 — ;

SONATINA FROM Sw. Voix Celeste, Soft Flute 8' THE CANTATA /‘GOD'S TIME IS THE BEST” Ch. or Gt. Flute 8'

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LITTLE INDIAN CHIEF SECONDO LITTLE INDIAN CHIEF

Con spirito (J = {96) LIL\ STRICKLAND 1PRIMO LILY STRICKLAND 8 Con spirito (eJ = 96) H — 8' 1 fa 8 — 1 r -z -s- - f 0- ^ — p- * —* r f - nf f f I® f > > > f I ~~ — ^ h y 1 > > • I

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A SUMMER MORNING HAND IN HAND Grade 1. MARCH Grade 2.

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British Copyright secured r' theetude the minor It must be emphasized that key’s relative minor. Music of a key is not that Behind minor of C. - Theory A minor is the relative The of A-flat. C- minor is the relative minor minor of E, DAYS from Page 383) sharp minor is the relative JOLLY 0continued minor of E- and C minor is the relative which you wish to , ,_ into Flat thetv kevy Suitability of keys is traditional. select writing in the key tb rich and romantic; transpose ^ P of keys are said to be selected the key minor I ^ brilliant and militant; signature. keys . written I sharp you have exceptions are com- ' fla written II keys sad; but the E ’ you have t . Where Friml’s Song of the fl HI write monplace. Rudolph you have written but far from F* where Vagabonds is in F minor Bar- quite war-like. Offenbach’s method of trans- sad and ruleTf thumb from “Tales of Hoffman" is ro- to all voices carolle ^ nn equally applicable more common in the key o P0S h the com- mantic but the result that key. Chopins nTrts with or D than in any flat P piece may be trans- G dashing harmony of a A-flat is far more V°iPt e the melody. Polonaise in as simply as can romantic. Sousa s Stars Sea Amte and gay than it is P° that you Dave a in for a moment Forever is military and A me middle-C, and Stripes of C below while J. Bodewalt fTmadp up E-flat and A-flat; and the G rag- above mlddle-C a. noisy, .gay, trfdle-Cldd E Lampe’s Happy Heine— ® piece is in the is in . antj that the forty-five years ago time two-step of 1 N A i B-flat with a trio in E-flat.

the XVUth Century An Italian Virginal of

Musicianship srsrrj;immedi- and B-flat that’s Hearing 1 write the B flat ’ middle-C and the B-flat from Page 369) ately below ( Continued you will have an octave lower. Now thaCs mentioned; now Jpn the two I s just ear is de- which But if the inner note of B-flat scale is blocked. its te the third hope to hear. It had w C and now stroyed we cannot the Virginal be the D above middle S B-flat scale possible .. have nine., PIANO the dominant of the are destroyed BEFORE THE write although the drumheads VOGUE LONG in the example structure which is F, and ‘ and inner above middle-C.J rovided the fluids will be the F first tubes function nor- of keyboard inshh- F transpose the Eustachian development enable you to and bon stage in the long Practice will can cement the small One time at sight- mally We hear fairly easily and in together and still One of the “f lhe middle ear Every rule has its exception. The bones of the head ca School ofMusic quite well. ea teachers at the Eastman vibrations to the inner was studied carry sound said that harmonic law ordinarily quite deaf once violated and a Person who is might learn how to goes, may stil so that one asaiiair conditioning the long run as far as than a and that its violation in better in teaching the made art. Nevertheless

observed to theexte, strictness must be ded and jamous hear possessed four in 1582. fifths must be avo ^“ofMsTnability to Berlin that parallel picture when it cou is followed by »- out of the when the dominant chord »«»« « * The Virginal passed the tonic note that — in musical qual. y, the submediant chord the improvements chord must be duction. not keep pace with appears in the submediant of the Harpsichord and beauty of appearance d le lying ease turn routine of music those instruments m °In the customary just as in be Clavichord.... are usually P^sented showing t us teaching, keys Piano. Send for folder ’ the C, G, D, . displaced by the following order; of the piano. and B; and the min tracing development A, E-flat, E, A-flat, and other illustrations present the P keys which supposedly harmonic mino, continue in a modern lem of being pure minor Improvements A till the la^t. the Jesse French. or melodic minor are left piano, like that A minor w distinguished does seem, however, 'SgsS technical team of signature is sharps nor flats in its consultants and skilled a independent to play than is A- in easier key technicians collaborated and five sharps, re- French major with four flats You’ll thought in mind a developing the new models. spectively. With this i jsrs'sfis*- in r®® e ” 1 ’ ... and see teacher can do little harm P hear exciting improvement is studied, exclusive styles and scale _ i the after each key open the tubes can new beauty in key; thus Eustacnian tubes relative minor of that Deficiencies of the New York’s Alfons Bach. expected to deafness The mg created by might reasonably be basic causes of can be in y Here is a piano you the fact that there may reflects immediately C major, and abnormality assurance. melodic minor, an recommend with a pure minor, a hearing. advan +v»ic when you drop harmonic minor is sufficient that a hey ment to offset the demand signature with a flat or a sharp in its in the presented next as a step forward will not oe rs It as pupil's musical education. to equa^ s minor enough they remam find “teaching pieces m "Hshould easy to continue to re- within an elementary ears would keys that are - closed, your the token shown dent’s ability. By m n PP P in presented t happens frequently sharp minor should be “ThaS what after E major has pupil immediately air many P I pounds of taught but while there are «-t °n smd^sevenTenUrs with four sh rp who can play a piece f; INDIANA can INC.. ELKHART, are but few who OE B. a, a.* SELMER,,p LM ER its signature there drums, a DIVISION A VO Walts w ear ithy Eustachian OE THE PUHO play Chopin’s C-sharp Minor hea 0 *TH * E VOLUTION I OF A SE.UES gentleman to 1 ts THE r„ RD out causing that good A ,, rnts ac along in his grave if he doesn’t 40S ” turn over. LIFE Copyright 1946 by Theodore PresserCo. secured STUDY EXALTS British Copyright »MUSIC 404 TUX STM* JULY, 1947 ” r — — I

WMM/mi You Don’t “Decide” to Be a Singer TEACHERS’ : Voice TEACHERS/ ( Continued Questions PIANO LOOK from page 375) understanding of ATI IfI Fillip this problem! cert, at which deserving talent is allowed TO "To a certain extent, the ; PERENNIAL i young singer to prove what it can do. If every town gf XKt,i can help himself by CENTURY S522L2T on accepting any sort of in the land were to follow that splendid SPEED DRILLS musically worthy engagement he can find. system, FAVORITES CFXTttfY t. ffW\uy the chances for the sound de- f ^ j. a « Don’t be ‘ashamed’ of 4- * .Answered Ilf DR. NICHOLAS FOR starting in a chorus velopment of our younger artists and for ti DOUTY or — an ensemble group— -L for Teaching Beginners ESSENTIAL — where, by the that of our national music as well—could way, you will rub shoulders TRANSCRIPTIONS are a with the most be immeasurably advanced. The young feature of Centur aware and With Three Voices have ever heard or thorough musicians to be artists Edifion. Whenever you are A Singer ever will hear. I have Sight technical chosen are not ‘local talent looking f or very erratic Reading material found anywhere. a well Q. I am possessed of a voice, heard her take B-flat below Middle C and A- Don't feel that you are neither are they edited simplification, very mildly. amateurs. They are look to Century putting it, I can assure, The ex- flat above High-C with equal ease. Her voice a failure if Edition you do not begin with its quality range from a positively is fresh, flexible, im- carefully chosen from first . tremes of and her musicianship ideal. among promising v . you'll very likely Finder portant find it there at Complete Set of 32 Cards, Keyboard and solo work. But the student, 20 fj° Waldteufel raphy of her, en,ary 20c A. The fact that your voice, during your she might be willing to furnish feature is important, but best of all ... children like Speed Ruili '"'"'s for Piano, Song of India, 0-2 Book No T Rimsky Korsakoff periods is, to quote your words, you with all the necessary information. 4. Drills. first lesson, Spring “good” own We They should be used at the and the Drill No. 3 M ' 75° Song, Q-2 Ma, ° r a " d Mi "»r Scales Mendelssohn are very grateful for Cho?ds and Prinoioai Tales “on a par with many concert singers today," your kind words about pupil should have a set for daily home practice. For stressing rapidity from the Vienna Woods. Musical Strauss if the is om* column and shall endeavor to continue to Duels Traumerei, seems to indicate, statement accurate, playing the keys Schmitt; - C F-2 Fhe Finger Exercises,' Schumann that you have fundamentally something fine deserve them. is becoming of a re- Part 2 \o n°ol |S Two Guitars, F-2 SIGHT-PLAYING more and more ( Continued arr. Armour build business Century’s from Page 380) Valse to upon. It is your to find out quirement of pianists, and students at the very start, should Lente, Copprlla, F-2 Delibes what the trouble is and endeavor to eradicate « | Waves Guidance for Boy’s Changing Voice trained to attain it. Drills will lay the foundation Beethoven’s of the Danube. be Speed Sl , friends Am-2 °“ r eal r *° Sh0W demanded that I vanovicl it. There are quite a few good reasons why Q. In the June 1939 issue The Etude there *, you this material. he and is considered of proficient sight playing. heiH ‘ricannot/ If take up one of the greatest for supply you, send your the gauntlet. Finally per- Ask your d.al.r your voice may be erratic and we shall en- appeared an article by G. F. Schirmann, “Mak- order direct to he went to ormers for C.ntury Edition. ° ur C0 the of all times. He I, he can- ,e ca,ol °gue listing piano, picked was skillful in deavor to state them in their proper order. ing the Boy Choir a Success should be • £’ncc over 3800 up the bass part of not supply GET YOURS TODAY — Speed Drills may be obtained numbers is you, !e „ d your FREE on request. bteibelts attention of ordor dir „c) )o us However, to judge your vocal ability with any- grateful for a letter from him on the advisa- Quintet, inverted it Ws hearers and from your local music dealer, or send direct to us, the pub- and non- in holdinghnirtT I Our complete thing that resembles assurance, should bility continuing to vocalize the m them spellbound catalogue listing we have of boy while chalantly drummed with his style, over 3800 num- lishers. Complete set of 32 cards with instructions, only 50c. CENTURY MUSIC out the first few finesse to hear you three times: First When you are he is passing through the period of voice PUBLISHING CO. measures and progression bers is FREE on request, with one finger. of his well- in good form as a tenor; Second— change. 1 a teacher voice and I have 49 West Then he began When you am of Drill No. 4 63rd Street New York ordered ideas. 23, N. Y. to improvise upon sing as a baritone; Third When your voice is two outstanding boy singers both of whom are the “motif” thus ob- Although CENTURY JENKINS MUSIC COMPANY, Kansas City Mo. For stressing rapid vis- tained. only a friendly MUSIC PUBLISHING a positively raucous monotone. Here are some about to enter that period. There are conflict- 6, ual, mental and muscu- Guests pricked their ears rivalry at CO. and with first facts in your case that immediately suggest ing theories upon the subject, but his article lar coordination curtailed the contest gathered 49 West 63rd Street smiles listened with momentum I New York 23, N. Y. amazement and ater themselves: 1. You have never studied singing in The Etude reflects an understanding and to the music thus separated the two and being produced at white music lovers the chances are that you know little or experience which I feel I could trust. Please VOCALISTS f Vienna into two nothing heat. Beethoven’s camps and about that very complicated art. There answer this question in your columns. TRAIN pronounced fecund skill forever . once divided the cognoscenti is a very old and unpleasant saying that the —Mrs. G. R. G. again in developing large and of the Viennese PIANO-EXCELLENCE-PRIZES beau- into two factions man who pleads his own case in court has a Acquire tiful ideas out of at the Austrian intelligently and easily the an apparently insig- Court fool for a lawyer. Yet very many people be- A. Mr. Schirmann’s article, “Making the Boy asset nificant tor of immediate motive was functioning althouSh in lieve that they can learn how to sing properly, Choir a Success," gives in detail a system of without caScases friend,friendlyv most restraint. and amiable, how to develop their laryngeal and breathing voice which is both i SIGHT Steibelt aware of the enthu- was a com- guild instruction for the boy’s SINGING mon feature of diploma winners muscles, and control of all the attributes that interesting and scholarly. feel sure that We build, strengthen the vocal organs- siasm and applause the artistic life We not with singing lessons—but by sound, sci- PRINT YOUR OWN MUSIC that was forthcoming of two exercises, This text is centuries make a fine singer without lessons. It is a mis- any choirmaster who follows it faithfully will entifically correct silent and vocal highly left ago. If i In the Cosy — Inexpensive — Full Details $1.0Q endorsed by the room in n the contest ... and absolutely guarantee complete satisfaction the midst of of in, taken idea. Find, as as can, only in the quality with results. well known authorities. the per- as in the soon you someone find an improvement not Write for Voice Book, FREE. Sent to no No Stamps, Please formance. duel, a chaUenge one under 17 years old unless signed by parent. Never again did were made national who knows something about the use of the of the boys’ voices but also in their musician- he attend rife piano-playing III. a contestants, In auditions PERFECT VOICE STUOIOS. Studio 558 3, Kimball Hall Bldg., Chicago 4. A. 0. LAHTI, Box 1231, Anchorage, Alaska Price soiree at which Beethoven order to keep the* voice and study with him carefully and well ship. We hope that you have received a per- $2.50 was present. quo^had for a year i to accept it. K r or two. By this time you will be sonal answer, from him, upon this subject he most Human Pafmn Membere " >t'? a<><':i ot Buslnoae disastrous of ’tSisl'tiittiJS contest of natTre n* ' al, onal skill was SoS Guild of Pi.i no Teachers.) better able to judge whether or not you ever which seems so dear to your heart. Neverthe- staged between th® Se AT LAST! A COMPLETE TREATISE ON DON’T TAKE CHANCES! CHAS. R. Beethoven and the re- COntests will be able to become a successful singer. less his article does not give any advice as to STICKNEY latedated interest se- MCLST N K Ks~ 1 ° y “‘h of the TRANSPOSITION and S n\'v r If expires nowned pianist, caused Pnze. and ^ D NG ’ a Si i.OO Cash 2. The singer your Etude subscription this 138 West Ave. Hummel. greater striving ,b) Ilouiid t^ c is an athlete as w ell as a vocal- the treatment of the voices of boys during the problems transposition. 26, Hummel t covering ALL of Los fc) r fc Angeles 31, was or § An audition ‘. Nc 'v ' l,rl‘ City; and month be sure to renew promptly and avoid California perfection Before r® , V ' ist among' repute, and rt sWu ' ,|!l nt ' ntemational and a musician. He must practice regularly, period of “break” or “change." In the March Send for folder to the author musical artists to theowrhn''C Be running the risk of missing a copy. «1> Another " MOsT OUTSTANDING, Charles Lagourgue, 57th St., New York 19 $150 COShrno, Pr,ze^ day in, day out, in order Etude there is article by 35 W. ance In New * nn<1 'e) A Debut Appear- to give his body the 1942 issue of The an York. strength E U to withstand the arduous work neces- John C. Wilcox especially designed so that °E Your Marketing Place sary to success in already experiencing the T FIVE MosV'oifTNTAV-m^ WINNERS—to Each of the his chosen profession. No the boys who are t-tude ANDIJ' Advertisers Open the Prize of ,G ,rom Coast to Cash weak Music Lovers to earn LIBERAL COMMISSIONS Doors to Real The 5100.0O. Coast a or flabby person can hope to be a success much dreaded “Voice Change” may not be Opportunities Pianist’s upon the operatic stage, hall as discontinue their singing lessons un- securing subscriptions for THE ETUDE. Part or Page 3 G H0 in the concert forced to tho 1.> of a recitalist, TKN Mo'sT ( °'’u?I™¥i WINNERS— Each or as soloist in oratorio. This you til the voice is settled (which is the more usual full time. No Cost or Obligation. Write for com- Cash Prize AXDING from Coast to Coast a (Continued from. of $50 have never work without the Page 374 ) done and you should start imme- plan) but may go on with plete details TODAY! Address: diately. One wonders loss time involved. It might be the Maid Wlth U,“ S C0VERN,NG ENTRY how you could expect to unpleasant of CIRCULATION DEP’T the Flaxen 1. TT T r\ Hair, The Eve- they A SL’Piru be a good tennis player, without constant prac- worth your while to study carefully Mr. Wil- P T \T T' O give., School. ColleiliL?? *1?- the Judge as a High U bare, r**? r THE ETUDE MUSIC Granada - the bones 1047 8t D *Pl° ,nA Winner in the tice with MAGAZINE Afternoon of a Faun National Piann - a good racquet and tennis balls, cox’s article and make up your own mind. nUlU 1 ‘lUired of each P y ' ,,tr Aud,Uons shall be re- U l\ S and Z S d Cnt^nt. against h a ST.. dozen 1712 CHESTNUT PHILA. , PA. . other of his masterpieces’ f°rmati0n an opponent better than yourself. Golf 2. We have pointed out several times in this bu.s."ser 0n is learned ^ fortunate and how to In rapid Gro™ioh 1 on the links, not by reading books, column that some few boys are sing them passages when Debussy * PhonoiSmh r J u n or 1“ 12 -Tnob calls 01 rnJ '.'!fi 7. and cellent -^ eX_ 2 to 4 0 f the Kn,ra«'t playing Of from baseball on the field, to escape the phenomenon of “Voice for specific comixisi Li on « not by perusing criti- enough By Frederic Freeman percussion, use analysi^of^h of ^ontr! s, *ng one tel the close, which . style, at least must be°hv ! cal reports key-contact style pianistic numbers '' tncr,can Composer. Choice of in the newspapers. Therefore prac- Change.” Without a decided “break" their variety see the critical left to Entrant Here’s good news often played by the Ce, PraCtice their vocal cords Protects tor cverv singer, extreme fin- by ’ Prac *ice You will learn a lot in voices gradually deepen as It the Schmitz Robert th A HANDS you Music you want particularly those ger-tips in in Musical the Army music from will, „'„y Der . a light, swift ot the bear the name and address and come out of it a finer specimen lengthen and thicken so that in the course of pluck . . . or °f En^rarnutuu. and vousness oyer bv 1946; for °Ctob«' the name and address teacher. dirt or high tones. In this young of hls mer ^ can manhood, both mentally and three or four years they become tenors oi has special “Uckle.” on the peint rw^ °u , TONKabinet damage. new, practical other hand, n F: book, just off his finer nothin V physically. 3. boys present no that file sheet the than S Record s 0f 0 s,, all the There may be some physical rea- more rarely basses. These drawer-trays • chords the article 0 f EJch i. accompany press, Mr. and broken chord nt^rx*n V? son it neat, or- Freemantel tells yon in clusters are b^Lm ^ Properly of Records shall become the why you can but they are very few music easily; keep best in Schawe theGuiM anPnH<* f «« sing tenor one week, baritone problems to the teacher Richly styled. clear realized the December Entrant. >n case |>e returned to the findable. Every understandable language, how with wide finger-pads, 1946 Kr vhZ Tr e ne^t, and usual, derly, clean, . a raucous third. lucky. However, the more Beautifully to have reinforced monotone the It and very quickly accessible, the thrilling top |„„ student is sheet is so es so by free forearm possible that you boy, finds it difficult or almost crafted. vital to success. rotation and full a have chronic nasal catarrh, more normal it almost hands you the one He says, "Nothin, arm own Debussy’s r infected • can ,top rebound. penetrating- and tonsils, or some malformation of impossible to sing when his voice is changing. you want. At your dealer's. you jrom !ingine them By makers of thoughts on sePtum. You might conceivably have Nature, rather than the singing teacher or the Tonk Mfg. Co., 1980 N. Sensitive, successful masicn the a bad Nationally interpreters of De- volu^^^of heart, or some disturbance of the di- choirmaster forces him to stop for three or Magnolia Ave., Chicago 14. 0 collected critical his December shall by Known Tonk <,Py bussy-and indeed Ffr^tT ^ be announced gestive TONES AND HIGH of all writinL ca oublirfhed functions. Any one of these things four years until his voice settles at about the Furniture. HOW TO SING THEM! composers-are sieur ed , n CMl COUTier Croche “Mon- ® iSSi^lld ?£i£SZ' *1 Tia those who help the , 8 * 7 ke your voice sound badly, if of seventeen, eighteen or nineteen, ac- the creator pour Dllettan te th* and age out his king Hater - ) 3 FREEMANTEL < Vi 1 the vigor VOICE Press) in, I 'varded , occurred at the his individual voice and INSTITUTE i,^ ’ers a^ lrZES shaI1 b

been memorized previously. - in Work Developing the up repertory, we learn 12 about thirty" ..vy/,0Mxv* songs a year, so as to Classical teachers ev- have three ton erywhere are finding programs ready. We use old TEACH Record Insurance! Boys’ Choir liturgies the answer to the prob- Choir Questions * and END FOR music: di Lasso, Haydn, Organ YOUR COPY Schubert M modern piano lems of teaching popu- zart, Mendelssohn, old lar music, in our mod- ' English ^ * > ' 384) the WilpS® A $$ .. !&&»§?$« ( Continued from Page madr°' . - up-to-the-minute gals, and some contemporary by note ern, America^n method. Based on sound works. New Thematic Catalog CHRISTENSEN principles of music, it will help, not hinder preceded a consonant preferably L PHILLIPS by — classical studies. Fran- Answered L FREDERICK moo, mah, Selection of the Choir WAY and M (loo, lah, low, lee— Boys chise contract will give opens “The Apollo Choir teach and advertise our ) because a consonant consists 1 , 5 c* riaht to mow, mee — of twenty U community. Our 43rd year. Write vowel. Further, these three boys, between the i n your the throat for the ages of ’“thod1 for com- nine complete details. Enclose $2 to strict and marked and fourteen, all of them d0* for exercises are sung selected for page instruction book 9 | which the boys beat themselves special musical aptitude and 1944, it is just possible the rhythm, for general Q. I have studied organ for a year and a mann died in but popular piano The Etude might be able to -two-four, three-four, four-four, and intelligence. We try not to foster play half, am sixteen years of age. and have the publishers of anv to his work. pipe organ. I thought I could give you information pertaining six-eight time. We insist on a well de- ‘professional’ attitude. Some of professional urge to build a them LIKE a the manuals buy two old reed organs and use Actone is used and recom- fined accent. will develop into fine singers, but hand church here The their SHEET SERVICE on my organ, and buy some second Q. I am assistant organist at a foremost networks, exercise begins on goal at present is “our BREAK mended by the “Another excellent to sing for the I enclose specifications (specifications very old tubular pneumatic love pipes. which has a fine transcription companies, brings there any years old. It record and low do, skips the octave to high do, and of it, and to make the world I. given for a three manual organ). Is (name) organ, about thirty-two ’AT THE PIANO" lovelier the and collectors. COURSE instrument ? solo effects, but disc jockeys, embellishments, on to construct a unified is rather limited as to comes back down the normal scale. This, by their singing. For six weeks figures and tricky book how each year youTreoks/novel suitable for above the average Single copies 25c, stomps or coin. Is a reed organ Vox Humana ones it is capable of are far too, is sung in unison on a single syl- we go on extended to fill in. best insur- concert tours ready the reed stops be like to see the pipes of the Yes, the experts agree: The and ten consecutive issues. this organ? Can some of tonally. I would The Send $2 for records is outstanding piano series lable (too, lah, low, lee, and so forth). during the summers spend another borrowed and augmented, and how are present organ used in the construction of ance you can buy for your six solo scales, weeks in- couplers constructed? Do you know of any a somewhat larger organ, with more Transcription Needle. The And then we work on staccato camp. The school season is METHOD the Actone based de- CHRISTENSEN get used pipes work and having on the the Illinois company from whom 1 can stops, using the present case wear to the abso- t"his time preceding the now familiar voted to regular academic Kimball Hol l, Chicago 4, Actone reduces record studies, with Suite 754, P. B. action. (Specifications list- and consoles? — A. electro-pneumatic needle is vowel sounds with either b. All the adding minimum because each h or the additional device of correlating ar- ed.) What stops would you recommend lute to insure MUSICAL drills outlined thus far are sung in uni- tistic awareness. suggest (about 8 ranks), keeping the organ as straight individually Shadowgraphed* APPROACH For example, we take A. An organ of the dimensions you like to see some stops fits the record I son with open throats and cautiously fo- our boys AT HOME impossible for home con- as possible. I would a perfect point that to great art galleries to teach LEARN PIANO TUNING would be almost Great Melodia better to confine like Swell Vox Humana and Actone pays dividends of, I cused tones. struction. and it would be groove. The them the expression of rhythm through TONOMETER the stops you recommend be WITH OUR NEW PATENTED to a smaller two manual style. added. Could the maximum in BEGINNING AT THE your efforts dimensions of less surface noise and PIANO .$ .60 line and form; we read great literature Sim- have difficulty, added without changing the | teaching-tuning Instrument Even here, however, you might tone. Ask your dealer A scientific as- which are submitted herewith. dear, undistorted I AT THE PIANO Working Toward Tone Perfection to them calling their attention learning, eliminates guesswork, and unfortunately, the books on home organ the chamber, — Book I ) to the plifies as. Needles todayl Q0 idea the cost?—S. B. for Actone Transcription rhythmic flow even sures accuracy. building which were on the market before Any of I “When this preliminary groundwork of prose; we insist AT THE PIANO Book II print, and there is each needle — 1.00 tuning, action regulating, the war are now out of •In the Shadowgraph Process, has been carefully that they attend fine concerts We teach precision be: covered, we test the and en- in one practical, available to guide you, 'Die additions we suggest would magnified 200 times and shadowed I AT THE voicing and fine repairing little material A. The is PIANO — Book III A 4’, Melodia outline of a perfect j oq boys for their natural registers of range, deavor to keep them ever alert to the and complete correspondence course. book we know on organ construction Great—Trumpet 8’, Flute d’Amour against a scaled easy best a tolerance of piano tuners exists today. "The Con- 8’); Swell—Cornopean 8, point. If if deviates from I AT THE PIANO — Book and assign beauties of nature. great shortage of in general at a moderate price is 8’ (or Clarinet IV 1 .00 parts. Then we do the same field After 2’, .0015 inches, it i* discarded. Here is a well-paying, uncrowded Organ,” Barnes, which 8’, Violina 4’, Flautino Vox .0002 to to earn temporary American by Rohrflute I exercises in parts (alto "Once a year in an effort to months you can begin 8'. TWO PLAYERS AT THE and soprano, with secure two or three find in your local 8': Pedal—Flute PIANO ...... 85 School established in 1898 Ap- vou will undoubtedly Humana Product of I an interval the finest talent available, money Our the pub- be necessary to A of a third between) . This we send let- for can be supplied by It would undoubtedly has proved for veterans under O. I. Bill. Send library, or it the ters to 1000 Etude. The keyboards from for larger chamber space, but a con- dual advantage of familiarizing the supervisors of public school free booklet. lishers of The arrange would hardly be satisfactory with the representative of the original TEACHING PIECES lads with part singing, music all over the country two reed organs ference and of changing announcing reed organ the best way to arrive NILES BRYANT SCHOOL as regular organ consoles, and the manufacturer would be the exercises into scholarship auditions for boarding device, above, and the Needles Since 1892 THE BELL AT THE interesting music stu- 16, D. C. is a mechanical tremolo at the best choice from the Famous for Fine FOUNTAIN. . . .Gr I Box 5565 Washington Vox Humana dents P.O. Humana required. Possibly the rather than mere drills. The registers for and asking them to choose from and altogether different from the Vox amount of extra space THE JESTER cost. .,| organ. could estimate the GrJ the unchanged boy voice usually extend their best boy singers those who might stop on a regular pipe manufacturer MARCH OF THE from wish to | WILD below GEESE. . . .Gr II F middle C to C above for become members of the Apollo appreciate information as to Being a young church organist, I am Adver- second alto, Choir. Then Q. I would Q. Answering Etude MINSTREL and A below middle C to the we go personally to some clavier to attach the mechanical workings of MAN Gr I I can obtain a pedal interested in twelve PIANISTS* TEACHERS where pets second E above for first alto. Second so- or fifteen key cities to hear them. practice purposes, or a small pipe organs, especially when something tisements always pays MOUNTAIN SUNRISE to a piano for sound- Gr ll-lll pranos usually The best Piano music that is different organ with pedals. Do you order such as ciphers, stops not sing from middle C to are invited to enter the Apollo two manual reed out of the reader. » quartet settings of the also tuning; and wish to learn to fix IS and delights MY RED UMBRELLA G above the staff, Choir School know of any male ing, Grl and first sopranos at 6957 Lakeshore Drive in Whltford Modern Piano Course it be better to Robert Prayer" and “Communion Services these things myself. Would from first line Dallas “Morning another OUR SILVER E to high B. There are, for further training. As soon as $1.50. The Clock and The Piano (Piano H. G. S. organ factory or with KITE Grl — of the Episcopal Church?— work in an of Solo) a list of books course, exceptions in both directions! they have acquired the desired vocal Solo) 40c. Swing Prelude (Piano repairer? Can you send me THE PROMENADE C. Rhythm Gr ll-lll “These habits music cou.nter or practice on organ maintenance?—D. W. Perfect Control of exercises have been devised in and memorized the current rep- 40c. At your favorite Your best plan as regards For A prob- SHEPHERD'S CALL order to protect and ertoire, they direct. Write for catalog and copy of would be to buy a used set, and Gr ll-lll perfect the greatest become members of the pedals be to both sent free tuner would find a way to Your best plan would probably beauty of the boys’ choir concert The PIANIST magazine, ably vour piano A Exact- SKYLARK —its tone. There choir and are entitled to the are sending you organ manufacturer with a view Gr I II if teacher. it to the piano. We contact an seem to be two privileges of charge. State attach work by employ- Unvarying— general ‘schools’ or the- pertaining thereto. The activ- firms who might be able to to learning something of the SUNBEAMS the names of you toe Grl ories of tone. The ities this and also those who might ment in the factory. We are sending Electrically Austrian school tends season include participation in supply such pedals, tar ROBERT WHITFORD PUBLICATIONS organs for sale. We a few organ companies not too TUMBLING CLOWNS toward great brilliancy— forty-two concerts have two manual reed names of Controlled Gr l-ll doubtless be- in thirty-eight states, service settings home. If you know a service “Publishers of Distinctive Piano Music** glad to list the following from your own cause of the very nature of climaxed by are helper, doubtless you WALTZ REFLECTIONS the German several engagements with Penna. man who could use a Gr ll-lll 18 North Perry Square, Dept. 5E, Erie, for male voices: in language. This is major considerable information exciting to hear for a symphony orchestras, three na- Communion Service in A, Stamer (alto, could pick up WHITE SWAN while, Unfortunately all the organ books Gr ll-lll but ultimately becomes tionwide broadcasts, 2nd tenor bass); Missa Sancti this way. too bril- and joint appear- 1st tenor, and repair seem to be entirely liant. the Evangelistae Titcomb (T T BB) on maintenance On other hand, there ances with such Joannis available. There is, Copies of above sent for is the eminent artists as Helen in C H. J. Stewart out of print and no longer your examination English school, S. COMPANY English words; Te Deum organ con- which—perhaps Traubel and Frances Yeend.’’ WM. HAYNES Benedictus in however, a very fine book on as a (T T B B)‘ Te Deum and American Or- gesture against 1st & 2nd struction—“The Contemporary over-brilliance—becomes Flutes of Distinction George C. Martin (Alto, COURSES dull A flat, Stainer Barnes, which may be had from BEING OFFERED and can all-too-often bass): Te Deum in D, gan,” by degenerate tenor and of The Etude. into STERLING SILVER — GOLD - PLATINUM & bass); Te Deum1 in toe publishers hootiness. We believe that (Alto 1st & 2nd tenor toe best West (T T B B): Jubilate Deo BERNICE FROST tone lies between Bb John E. committee of -alt the two, sharing Catalog on request B) Q. As a member of an organ Concert artists— teachers -students the Bb. Franke-Harling (T T B AT THE in writing for advice on the the sensational FRANZ Electric Garrett (T T B , our church I am say ^ avoid Mass. in F. George M. over »oth 108 Massachusetts Avenue, Boston 15, Deo our particular Metronome is a great improvement ^ . instrument for sets'of"sets of pitfalls.rdtfaVI T’ J. Stewart £" deep, sealed and ties and cover Combination recommend some books on a space 9x5 feet. Literature from the Ups. and Q 1 Please sets of pipes such as dia- Accuracy guaranteed. Built to last a lifetime. Private Piano Instruction that are simply the way of stops or The of pipe organs building is your Music Dealer or mail coupon today drills we have I EXPLANATORY BOOKLET building pason, flute, and so forth? The Order from outlined will heln contain many illustrations; 2, < | written and ceiling about produce this Continued from price frame with a high arched 110 vail 50 cycls desired placement. Page 377) EFFA ELLIS PERFIELD you consider a practical $13.25 — There \d What would twenty-one feet high. The denomination is Only *1250 C Se fUrther manual organ with harp $16.00 220 volt 60 cycli aid* to T 03 East 80th St. (Park Ave.) New York City for a small two O. — NAME- °i ; securing organ W tenu* Lutheran.—H. F. and maintainingT cannot be brought only How may l get m On 5 year written »olt 50 cjcll it. To help up. the and chimes? 3, Oper- $16.75 — 220 the bovs thing organist of the Ocean guarantee. understand, for to do is to have the piano tuned Clarence Kohlmann, suggest that the ates only on 1IO instance, that A. First of all we would volt. 60 cycle A. C. TO ’DAY TRIAL tones oHg to the Auditorium?—J. B. M. STREET- mate not in the organ. However that the Grove space you mention is hardly sufficient throat, but in be sure Schools—Colleges balcony the d a heat in like an adequate organ. The 9x9 Send No Money Phragm, we tell the building is for anything them that a be approximately Organ,” by Skinner, Franz Mfg. Co., Inc.. Dept.E-7/47 tone is like A 1 “The Modem space will provide only just about toe bare Conn. a bubble that what it is to be con- written work. It can be 53 Wallace St., New Haven 11, rests on the at the time of the SCHOOL Dract'ical and simply organ builder should be your CITY breath float* a necessities. The i -ZONE- -STATE- up mto cert or service. OF publishers of The Etude. Two Send the FRANZ ELECTRIC METRONOME the head, and After all, there is nothing supplied bv the in this matter, and also to a large extent plus shipping needs room MUSIC to Build a guide —and I’ll pay $12.50 on delivery, out. togg t worse CONVERSE COLLEGE excellent books are “How location of the Too much air than an out and other in the specifications, as toe If, after 10 days’ trial, I am not com- forced into V of tune organ Edwin Gerschefsfei, Dean, Spartansburg, S. C. by Milne, and Motom charge. piano. Chamber Organ,” chamber and toe acoustics of toe church pletely satisfied, I may return it for refund. bubble will explode Lewis, but both of these organ it-and lo wm Organ Building." by a bearing on the effectiveness of stnctions ^ Prepare Department of Music 6 access to a have quite from piano well, KNOX If you have tongue or teeth. and organ music Galesburg. Illinois are out of print. your organ. The following is offered as a basis Name. After don't ever Thomas W. Williams. Chairman equipped library, however, it is (Please Print Plainly) THE these unison and try to perform without ade- fMrlv well for consideration in toe matter of specifica- BOSTON MUSIC Dart COLLEGE Catalogue sent upon request. there for reference. COMP ™c s be found 8’, 8’, we begin - quate hkely they may Open Diapason Melodia sight-singing on rehearsal, do a lot of experiment- of organs was tion: Great; Address. ^ so the manufacturing 4’. Swell; Corno- f°° CONSERVATORY Since 8’, Harmonic Flute. ing, be 2 & duration, and Dulciana careful of the then for the war's 8’, tuning and OF MUSIC Oboe 8', Rohr Flute 8’, Salicional Zone State the WadeE. Millar. Pre*. be pean or City organist still scarce, it would 4’. and the pianist will derive SHENANDOAH material is Dulciana 8’, Harmonic Flute Pedal: Bour- money order for $12 50. we pay leading to we suggest that I If you enclose check or — to the Much ,, Courses this question, but 16’, 8’ (or applies. word,. satisfaction to answer 16’, Bourdon Gedeckt return privilege which fc,„ ln “‘|j and also give much tho r,. Mus., and B. Mus. Ed. degrees. Rates manufacturers, whose don Lieblich ^shipping charges, same 10 day correspond with the couplers and tremolo. 408 pleasure to the reasonable. In the heart of the Shenandoah vou Clarence Kohl- Flute 8’). Regulation listeners. are sending you. 3, "MUSIC STUDY EXALTS LIFE” valley, Dayton, Virginia. names we ETUDE THE JULY, 1947 —

known as otosclerosis. In is Some Fundamental the earlv f its effect on the singer is just the revt^ ^lAJe Principles of Bowing of nerve deafness, for through (guarantee . . . bone n duction he hears his voice louder Page 381) th ( Continued from it really is. A person so afflicted will f a time hear in the YOU’LL ENJOY manner described THESE he is seeking to perfect. h^ cause the vibrations set up let me remind the reader by the v In conclusion 6 HAROLD BERKLEY are augmented by the sinuses .Answered Lg that this article is not addressed so much acting CONCERT a sounding board and are TRANSCRIPTIONS FOR RAND to the specially gifted child who is taken transmit^ by way of the cranial bones out of school and given unlimited time to the inn By WILLIAM TEAGUE ear. In short, he will hear Violins any variation of the spelling bring more light is to the average what Duiffoprugcar for practice, as it appear! palled to the During the immediately to be twice the S Caspar Duiffoprugcar subject. years with a fair volume he actually v O M California— American youngster who, D1 V have made any violins, preceding and following the First World War duces and is thus • ;„Y' known to amount of adaptability and talent, is moved to sing n maker of lutes there were very many obscure violin makers I HEAR A mom °J he w as a well-known RHAPSODY softly than he should. Ug W in France and Italy whose fame, if any, re- seeking to gain sufficient command of the Furthermore hu u^rs The great number of so-called own voice will sound fn°d g made, most of them, mained strictly local. Varieni may be one of HIGH violin to enable him to play fairly well better than nuiffoprugcars were ON A WINDY HILL it ar have very little these, or it may be a fictitious name invented tually is. He will and Germany. They as an accomplishment, for his own en- hear by way of Y France by some workman whose own name was not hk as antiques, and are worth today WE COULD Eustachian tubes, since these =lne except so euphonious. So it is Impossible to give you MAKE SUCH BEAUTIFUL joyment and for the enjoyment of others. are usually seventy-five and one hundred and MUSIC larger between even an approximate value for your violin. than normal and prolapsed few fine makers, such as due dollars. A Such an instrument would have to be judged Full to atrophic X Chanot. made some very e abo- Band $2.00 changes in their and —Symphonic Band $3.00 walls and vnmaume higher on its own individual merits. lining membrane. and these command a The dates you give for Duiffoprugcar “Diseases which cause pDrice. disposal Value of Pfretzschner Violins Hearing and Musicianship deformities of f“L wrong to me. The books at* my * * * the his Miss A. S., Vermont. Pfretzschner was the Eustachian tubes and deafness of his birth at 1514, and are- givTtTdlte family name of many violin and bow makers colds, ( Continued from Page 405) infectious diseases about 1571. OTHER such as influ- death in Markneukirchen, Germany. I can find no NEW CONCERT BAND enza, scarlet fever, measles, mention of one whose initials were G. A. These PUBLICATIONS tonsilitis or Violin Makers different air pressures, unhealthy ones any other inflammatory Two French violins are usually worth between one hun- process involving Michigan.—Paul Bailly was bom L , remain closed, or they collapse re- c H dred and one hundred and fifty dollars. You CAISSON and the nose, throat, and France, in 1844. After serving SONG ~ , T nasopharynx Mirecourt. age, and to be Oruber- fuse to function Get in seem to be doing well for your league normally under ‘load.’ an audiometer test apprenticeship in his home town he worked after any of these his ambitious, too. Keep on with your good prac- (Full Band $1.00 Symphonic Dizziness and deafness in Paris. He also worked — Band $2.00} invariably follow. diseases. There are for J B. Vuillaume ticing and you will go ahead fast. sonic drugs which and spent a few years Fortunately we have learned for a time in London CRADLE OF how in the cause deafness such to Paris LIBERTY OVERTURE (Grade as large doses of America. In 1898 he returned 2] Johnson majority of instances to apply in Viola and ‘Cello Solos corrective quinine and there are acute died in 1907. He was an excellent infectious where he J. A. M., British Columbia. There is not much PERFECTED (Full Band $1.25) measures, to reconstruct the Eustachian diseases his violins are well liked, which cause a degeneration workman, and music for viola or ’cello solo with string or- tubes to the of orchestral playing. Today they end that some or part of the nerve of especially for accompaniment, and of what there is, TRIUMPHAL MARCH hearing such as meningitis. hundred and five chestra the hearing worth between three this country, Shostatovitch-O'Neill may be restored. "Here are are very little is available now in some precautions to be dollars, with some exceptional speci- (Full Band $1.50 ob- hundred most of it being of foreign publication. How- —Symphonic Band $2.50) “The common types of deafness affect served. seven hundred and Keep buttons, hairpins, matches, mens bringing as much as two concertos for cello by musicians of ever. there are Secret Formula, known and used only by in different ways. One of oils, (2) There was a large family A GRANDMA'S RHUMBA the lotions, out of the fifty dollars. Boccherini. Nos. 2 and 3, for which you may ~ ,, ears. Don’t blast first is ringing in the named LeJ eune, but I can find no Armour, means greater life and strength in ears. The beginning when you blow makers be able to obtain the scores and orchestra parts. (Full your nose. Do it gently family flourished in Band $2.00 of deafness in one named Anciame. The regarding the first of these, every Armour String. It’s a part of the care- —Symphonic Band $3.00) a singer is usually mani- the For information Wear a rubber cap when and Belgium during the end of the fested by an swimming. If France you should write to the Music Division, fully-timed tanning process developed and uncertainty of pitch. When your ears century and the beginning of the are not tip-top, don’t dive or eighteenth New York Public Library, 42nd Street and Sample the pitch is flat or sharp, or LeJeune violins have sold supervised by Armour specialists . . . another Conductor Parts of Above Sent there is some swim under nineteenth. Some Fifth Avenue, New York City; regarding No. On Request water, or go in for flying. dollars. (3) confusion in producing for much as three hundred College Music Archives, step in the Armour process of turning the the tone, it may They 3. write to the Smith re like a fine clock—your ears Antonio Loveri are a cheap be caused by ‘imbalance’ Violins labeled Sage Hall, Northampton. Mass. There is also a finest lamb gut into perfect Armour Strings, of hearing marvelously product worth at the very * * and delicately adjusted. The German factory Concerto for ’cello by Tartini, but I am afraid When the hearing is better by rigid quality control. in one ear best most one hundred dollars. They were im- at present. rule for keeping them in good con- the orchestra parts are not available than in the other, tonal a New York values will not ported in great numbers by there is a very fine concerto by The perfection of Armour Strings is the dition is to keep yourself in For viola, be the same in good health.” jobber who gave them their euphonious name doubt that he SEVEN STIRRING both ears. The Handel (though some musicians result of six important steps ( Getting MARCHES singer endowing them : 1 ) listening to with, doubtless, the idea of entire work) edited by Casadesus. his own voice does wrote the finest raw materials; Protecting quality not get with an aristocracy their workmanship did will not be able (2) PRICE $1.00 EACH an accurate For this, too, I am afraid you impression. Distortion time. by constant refrigeration; (3) Controlling and not warrant. to buy the score and parts for some inaccuracy of tone production are likely However, conditions will improve before long, quality by laboratory tests; (4) Precision CHIEF OF STAFF to follow. a note of these Retfenberg Certain pitches are No Information and I suggest that you make splitting of gut; An exclusive Armour JUNIOR HIGH (Grade I). not true (5) Melville because Unsigned, Arkansas. I can obtain no in- and inquire about them of imbalanced hearing. Radio — different compositions process; Polishing to exact di- Conducting As M. F. Clancy. meantime, tanning (6) AMERICAN PATROL formation at all about a maker in a few months from now. In the OUR BUGLER spoken has ever Etude might mension desired. When you specify Armour Missud No expert to whom I have a letter to the publishers of The an amateur not (March heard of him. He was probably to light some solos with which I am Strings, you know you are getting the best Ed.) Meacham festal Nerve Deafness bring Day Roux a Career who made violins as a hobby. familiar. because no other manufacturer duplicates “Some GRANDSTAND singers complain of More Musicians use Armour Music the Armour process of perfecting strings. (Grade I) Melville difficulty in AMERICA THE BEAUTIFUL. locating Continue Your Study Matter of Personal Taste Missud accurately the direction A Strings than any other brand of cer- (Continued from Page 367) T. S. G., Malaya. I was delighted to hear an appraisal of your tain sounds. E. J. C., Ohio. For This is invariably the violin is so it to The caused by from you, and to know that violin, I suggest that you send unilateral’ deafness. well and intelligently studied in Malaya. The Wurlitzer Co., 120 West 42nd Street, Others cannot sing organized Rudolph by ARMOUR well with this idea in and it all excellent. Lewis and Son, Quality Controlled when they are tired. mind, books you are working on are New York City, or to William This is not 'en- is tirely on this radio For more advanced technical work, I would Avenue, Chicago. You could due to the reaction program that new trans- 207 South Wabash of fatigue Dancla, the the firms. (2) I the upon itions, which I suggest the 20 Brilliant Studies of relv completely on either of singing mechanism. am commissioning from Thirty violins It is partly Caprices of Dont, Op. 45, and the First of no present day maker whose VIOLINISTS, ATTENTION! NEW ENSEMBLE to the due American writers, are being have know IVil/uim c£euHA- aru?Son MUSIE presence of nerve used. I Concert Studies of De Beriot, Op. 123. It would equal of those of Stradivarius or deafness are the on a new violin if your present A ound that the good spectacular claims Don’t waste money Chicago III. smger with this English translations in our be better for you if you could find a Guamerius, though some glorious voice 207 South Wabash Ave.— 4, type of deafness one is faulty. I can give yours a DESIGN expert standard be ^oirig if you want FOR WOODWINDS ences a decided opera and operetta editions do teacher, of course, but you seem to have been put forward. However, and expert repairing at low cost. Stradivari’s SPECIALISTS IN VIOLINS. BOWS, REPAIRS, etc. THE KING'S drop in a violin, PRAYER hearing when steadily along the right path. So why do you six hundred dollars for is at last! Let me explain. WRITE FOR INFORMATION (Woodwind Sextette) ner not adapt themselves to pay five or secret out to an hour radio ask the violin? satisfied with a OF "VIOLINS and VIOLINISTS" AND FINALE and ‘his me if you should stop studying you would probably be better PUBLISHERS By GEORGE terieres^erfe Program. FRASER, M.V.M. violin KLEINSINGER res wTthwith theth voice They are literal translations, At twenty-one you have a lifetime of develop- instrument than you would with CHELSEA America's only journal devoted to the LOHENGRIN. ACT 1 placement good modern 'Not and they this is al- Saginaw; Mich. Specimen Copy 35£—$2.50 per year. Price n voice used to are stilted, and not singable, and ment and pleasure ahead of you. Go on work- violin at the same price. But 2025 Stark Street $2.00 (Brass describe this condition an old Sextette) are made ing as hard as you can, practice slowly, and matter of personal taste and of the might better be stated, for people who do not under- ways a 'not = will be By RICHARD in heaSig get a good teacher if possible. (2) The prices for which the violin NOW AS NEVER BEFORE WAGNER stand the various sort of playing — Arranged languages. I have in- quoted for listed are all The violin responds to every requirement MUSIC FOR by AUGUST the violins you have used. Collection Fine | SAXOPHONE, H.'SCHAEFFER - sisted A Large Of of the artist. that my writers make these trans- reasonable, and the makers are all well Price $2.00 Investigate today BASSOON and CELLO lations known. You mistake with Guillmont . _ _ _ singable, understandable, and could not make a Perhaps a Reader Knows VIOLINS fSWAi ACOUSTHEORIST By BORIS KOUTZEN any one of you is the I am sorry, but I can Y. 19 SUITE FOR QUARTET Practical for radio. them. But the violin for F D DeO., Oklahoma. Old & New, With Concert Tone HJfJII 1391 6th Ave. N. C. sx'vss.s one that gives you most pleasure to play on. information whatever regarding a Price $1.25 OF We should obtain no REDUCED 40% ALTO SAXOPHONES have at least fifty opera I shall be glad to hear from you again to named Francois Guillmont. No V°‘“ violin maker Send For New List. & CO. “ companies in know to have ever heard of JOHN KARKERT By ELLIOTT wTaTeSht America; and it is my be- how you are progressing. one in New York seems * WEST I5TH ST.. NEW YORK II, N. Y. CARTER S'.tooTbd b°nC con ' the label DRAKE BALLARD 141 duction. As ief that wondering if you have read FRANCIS SUITE IN FOLK Price $3.00 a result he talk* u they would exist and thrive, if him. I am VIOLINS OLD & NEW STYLE Material you have, then he Collecfor-Dealer Repairing. Send for Catalog opera were for Finger Exercises in your violin correctly. If Expert Quartet of Bb Clarinets given in this country with hundreds of European Chippewa Rd. Tuckahoe, N. Y. within 3 klng good B. S., Minnesota. There were many makers must be one of those 50 I Folk divertimento the normal range translations, language. has remained Song—Lullaby—Folk Dance—Canon To tho in our own named Hopf working in Klingenthal, Germany, makers whose fame, if any, For Strings and Four rat have ; Woodwind a during of whose violins By ROGER GOEB Instruments wonderful training ground this the eighteenth century and the first strictly local, but some country. By WALTER would be half of the nineteenth. not give a find their way to this to Fall Music in Your Church? Score and Parts PI5TON for our young singers who now As you do managed to Looking Ahead $3.00 first name, violin would have to be de- Score and Parts $6.00 nave such I do not know to which member of The value of your difficulty in finding an opera the merits of its work- family you refer. But generally speaking, termined entirely on the 5 where they all quality. And that would CHILDREN OF THE CHURCH” can gain experience. these makers produced about the same manship and tone “SINGING “‘srirr expert. Your Music Dealer The grade examination by an Has Them Too! opera taste of has of violin, which is worth today about require a personal the American sacred numbers and hymn tunes een one hundred and One is a fine collection of nineteen well-known retarded by the movies. movie is fifty dollars at most. (2) A of in- own voice and the best books of finger exercises is Sevcik’s ROY PEERY for Junior Choir (Unison and Two-Part), will be inchned understandable, and not as expensive as arranged by ROB much ?^Slng preparatory Trill Exercises. His Preparatory louder than an opera several responses, and five numbers which respectively lend themselves BROADCAST he performance. However, the pub- Double-Stop for eluding W° Exercises are also very good MUSIC. Uld ' INC. Much noise causes ic is Palm Sunday and Lent. Price, 60ft can CICTU lUPimn confifonTh- becoming more theater minded, strengthening the fingers. Zion, for use at Easter, Children’s Day, Christmas, 580 FIFTH AVENUE cases and FIDDLERY, NEW of nerve deafness concert audiences po- PATMOR (Tonepost) YORK 19. N. Y. are usUiuallUh!\ are growing, and state of fatigue y m a No Information 1712 Chestnut St., Rpph,„,Cth°Ven ential opera audiences and will Regarding Varieni Music Publishers had this will grow, THEODORE PRESSER CO. Phila. 1, Pa. of deafness type .. Alberta. There seems to be no informa- and Dealers 6 t0 6r0W if giVen ^ 410 ' °Pera iS available regarding a maker who labeled now. English Guarantee.! refu.,1 Call or wnlo ’MUSIC ls V1°uns Pietro Varieni Neapolianna, nor does uislmments. STUDY EXALTS LIFE” » "MUSIC STUDY EXALTS LIFE” 411 THE ETUDE JULY, 1947 J - . ) ;

— tut jjsicn will hpr. slightly sharper °me HERE and/or additional AND THERE aI res nance will result. °" PIANO COMPOSITIONS In order BY RICHARD ADDINSELL to prove our rules we will f , for example several of the most known of gener^® Up until now Richard Addinsell’s these intonation and reZ! y stirring "WARSAW CONCERTO" NEW WORKS BY ADDINSELL 06 has been available fingerings, as shown in the in these two outstanding arrangements diagram”UJdsram composition destined to Page 378. on “INVOCATION”. . A fervent and moving As may COMPLETE PIANO SOLO. become a worthy follow up to “Warsaw Concerto” 75 readily be seen the 1 00 ment of these fingerings THEME *60 MUSIC TO "ALICE IN WONDERLAND". .. Addinsell’s music to is of great "T' E’E in the production favorite. now make available songs of a more even ^}® this Lewis Carroll perennial We and the achievement 6 \\ e are now proud to present the latest version and piano selection from this highly acclaimed Broadway success. of a better intn of this work ... a a tion and resonance. two piano, four hand arrangement It is suggested by the famous pianist-composer A BOAT BENEATH A SUNNY SKY • BEAUTIFUL SOUP 50 PER COPY an individual tw fingering chart Percy Grainger. Complete set 1.00 for earh0 3.50 PIANO SELECTION instrument be constructed by each play for his own instrument. ? This will ££ thought, time and study butDut it u l • • » !• well^ WRITE FOR OUR COMPLETE PIANO CATALOGUE worth the effort. It must be remembered that clarinets become out of tune over a period and must of S fltapp Inc. • • be brought back to M & &>., RKO BUILDING ROCKEFELLER CENTER NEW YORK 20, N. Y. adjustment by an expert. No amount of intonation resonance fingerings can overcome a mechanical basic difficulty. For this reason Monteverde, Banchieri, and others. An- Quartet, United States Navy Band, the ChaPt mUSt be occasionaU checked. y re- other central part of this literature is the Don Cossacks, the Chekhov Theater —— A Beautiful Number The German music of the middle and late Studio Players. discovery of new lingering possi- century, derived from the Success and glory bilities is, so far as seventeenth have not come, how- the writer is con- cerned, an “tower music” of such cities as Leipzig, ever, without difficulties and discourage- inexhaustible source of in- formal expression in the works ments. In 1933, terest, and no one can and given when the chorus was in- The Green Cathedral rest with satisfac- Pezel, Reiche, Schein, and others. In vited to represent hon on the belief of North Dakota at the that he has finished JOHNSTONE Music by CARL HAHN with the matter. this music, the brass player finds an op- World's Fair in Chicago, skeptics called Verses by GORDON performing truly the With the technique portunity, not only of plan “a wild idea” and predicted of compensation High Voice—Range cl to g Sd ln fine music of dignity and importance, but failure. Drought and crop failures plagued tWs articlp " c more Catalog No. 30050 Price, 60Detroit "MUSiC ompositions of he factor is the unceasing zeal which has choruses in Symphony, or the Amphion STUDY EXALTS such masters as Gabrieli, Minneapolis Symphony, Westminster Another LIFE hoir, of Daniel L. other communities can travel—if, as one Chorus of Fargo and Moorhead. Apollo Boys’ Choir, Roth String and expert musicianship THE ETUDE EXALTS LIFE’’ JULY, 194 7 "MUSIC STUDY 413 . ”

of the judges are based. varies from one decisions year to a maximum of and so on. legiate” or ways are not prac- M<5hul, Adam, Monsigny, voice In addition there Or: “What’s the use wasting so "chummy” Basic Policies Boieldieu, branches of instruction. As to the were several American listeners who attend the five years. If by that and Halevy, Victor co time the student much time on those silly old-fashioned ticed. The atmosphere is kept one of . Masse, A. Thomas, E. Gui- and dramatics departments, what an ar- open to the public during the du Conservatoire” are often has failed raud year sfu “Concours to conquer the first prize, he exercises?” good manners, and cases (Debussy’s teacher), Delibes, Uch That simply would not be seriousness and Traditions of Mas- ray of celebrated names it displayed: J. B. activities are a wonderful drilling nV by the atmosphere which pre- must leave the school a Famous senet, Faure, nuzzled with only a minor tolerated. serious conservatism in when discipline must be enforced are ex- Widor for composition. The for all concerned, A is Faure, Moreau-Sainti, Taskin, Mme. Paul- as it prepares there. The auditorium is packed award; and the same violin faculty included then/ff vails applies should two order, and it includes the study of phras- tremely rare. Kreutzer, Rode, ine illustrious “socie- the great event toward critics, former laureates. Music Viardot, and the which all musicians, consecutive years pass without his School Dancla, Alard, and effort ttdth taking ing, tone production, dynamics, and last There is no place at the Conservatoire Massart in whose class are directed: the or so a taires” of the Cornedie-Fransaise, Talma, final public contest fifteen minutes contestant any award at all. ( Continued Fiitz Kreisler took r Every but not least: style. “What is style?” one for champions of revolutionary ideas. Ex- from Page 376) a brilliant first prize in the awards. Samson, Mile. Mars, Got, de Feraudy! Objections have introduced, sometimes so scared that he Most notable is the 1887. Cdsar sometin,” is complete freedom may ask. Style is approach perimenting is not permitted. Instead, a director to tear Franck and Alexandre Guil- the right to down what his predeces- On the pedagogic side, the general aims been raised against the principle like a convict going to his doom. left to the teachers as sor had mant taught organ, followed of the looks to the choice and the composers through an assimilation solid foundation is established which done in order to now by contests. One is the reading give himself of the tuition were: to interest, train, and argues that worst experience at use of the method which they find evolution later on. The Marcel Dupre. Habeneck, Taffanel, nervousness The con- of their personalities, their distinctive makes possible an importance, he always refrained Paul educate the can cause participants written especially venient from Dukas, students at the same time. to lose sight of a manuscript to adopt. In this there is abso- are exemplified by doing Vincent d'lndy were in charge in a fe characteristics, and the period in which results of this system so. Instead, he chose to build of This was carried minutes the fruit by a prominent com- upon conducting. out in several ways. In of an entire for the occasion lutely no interference and the authorities they lived. Debussy who “went through the the Zimmerman, Henri Herz, year nf Thus Conservatoire students Claude foundations previously laid. the piano department for hard work, and it whole list has played As a re- Marmontel, instance, re- has been suggested poser. When the never meddle. But they take note of the do mill” like everybody else under the guid- sult G. Mathias, A. Duvernoy,’ that not play a Beethoven Sonata like a the educational standards citals were organized outside and private- a summing-up of jury retires for deliberation. results grew Raoul Pugno, the grades and read the and offer criticism when it is Chopin Ballad, a Bach like the ance of his intelligent teacher, Ernest steadily Louis Diemer, Ed. Risler obtained at Toccata , became more and more ly by the teachers, usually the examinations excitement of the secure I. Philipp, in the small and exercises At this stage the audi- needed. The Conservatoire has always Schumann Papillons, and Debussy’s Guiraud, then placed this “know how” at tested, and Alfred Cortot were on the might he Sunk- productive. The finest Salle Erard. Concurrently some “exercices a fairer way to its peak. Amid loud chatter found this regime mu- piano faculty. determine their ence reaches of freedom most profit- en Cathedral as if it were Liszt’s Liebes- the service of his epoch-making innova- sicians deemed Franehomme, Delsart, A. real it an honor to be on the d'dleves” (student's exercises) were held merits. But this has courtyard an unofficial verdict able artistically Hekking took care of never gone through in the because it allows a large traum. Chamber music training, too, is tions. Composition is not dissected as if it staff, or to be called as the ’cello, and Fetis, in members of the Bazin, the concert hall of the Conservatoire because after all the emerges, representing the “voice of the share of initiative to each professor compulsory were matter of equations or algebra, Batiste, and Lavignac, of Conservatoire k and with regular meetings at a examination committees and theory itself. All different juries for and solfeggio. branches were called primarily a school of people.” If the decisions of the jury creates a wholesome competitive spirit its is not carried out through the Let us mention virtuosi, of operatic which sonatas, trios, quartets, and quin- and tuition contests. Among the here, in upon to perform professors one passing, that there and the programs artists, and the degree coincide with it, well and good; otherwise between the different classes. But here tets are analyzed and carefully rehearsed books-of-all-purpose which are as pre- found prominent solfeggio is considered one of self-control figures such as were ambitious ones, featuring sym- which riot is likely to develop Gretry, of the most necessary they demonstrate at the something of a once more, tradition reigns supreme and under the supervision of an expert. There tentious as they are valueless. The writ- and indispensable phonies, contest is concertos, or scenes from operas. one of hissing, cat-calls, and insults there is a general the capital factors on which including acceptance of certain are classes for orchestra and vocal en- ing of music can never be transported the letter hurled at the adjudicators. A from recognized principles. The dictum of Hans semble as well, and it all combines to de- into the field of scientific research and Paris informs me that the 1946 violin von Billow: “Three things are necessary velop a high degree of musicianship there is only one way in which it can be contest brought another instance of these in order to play the piano: 1. Technic. among the participants. All these activi- taught: through “constructive criticism” regrettable occurrences. However, they 2. Technic. 3. Technic” is scrupulously ties, however, are based on purely artistic as Massenet, Faure, and Widor did so are the exception and more often than observed among pianists and all other grounds and taken as such, •exclusive of successfully. Inspiration, which Gounod not the judges and the public pick out the instrumentalists. When a student has “credit hours” which do not exist in the once said “comes right from Heaven” is V4CCCCt>5 same favorites: then the contest closes been assigned to a class, he remains there curriculum. Admission to the Conserva- the number-one indispensable requisite. Vi cce*$ harmoniously in a thunder of applause, as long as he is in the school, which is toire is through a contest, and the aver- The methods of the Conservatoire do not with loud cheers, and fond embraces from an excellent thing since it gives the age number of piano applicants reaches sanction discord perpetrated for the pur- exuberant relatives. teacher an opportunity to study his pupil about three hundred every year for no pose of sending a few “blue stockings” Let us examine now a few important in detail and at length, much in the same more than six or seven vacancies. This and snobs into ecstacies; they strive to Why TRAINED points concerned with the tuition itself: manner as a family doctor would do. alone gives an idea of the high level of develop each young musician’s individual MUSICIANS there are no individual lessons, but classes Then the right method can be applied, such contests. gift. But he must have the gift, for there of twelve pupils during which each one one that will fit perfectly each individual As to the words “formality” and “dis- is no room for freaks. Command a receives instruction and at the same time case. cipline," they imply an attitude of re- The purpose of this article has been to Better Income benefits from the advice given to all the One never hears, at the Conservatoire, spect on the part of the students, and illustrate the virtues of Tradition. No others. Originally, boys and girls were statements or questions such as these: “I dignity on the part of the teachers. A channel could be more adequate than

separated; but later on the co-ed system am going to ‘take’ from so-and-so . . . line is drawn between friendliness and The Etude, which for so many years has was adopted and it produced remarkable (for three months at most, very likely!). familiarity. While there prevails kindness adhered so closely to the high ideals set University results because of additional emulation. Then I will change schools and take from on one side, and deference on the other, down by the late Theodore Presser. It Extension . never trespassed “col- (.Continued Page 420) . line is and on Conservatory As to the duration of the studies, it so-and-so . (three weeks possibly)” the - THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC - 1347 MEMBER OF Extension Courses by noted teachers, leading to Diplomas, and Degree No entrance requirements of Bachelor of Music. except for Degree curses. Credits You can earned by using prepare yourself for a your spare better position time for advancement. by studying at your convenience by the Ex- tension Method. lllUStrated IN OUTSTANDING lessons sent without obWHoobligation^to you. Check coupon below. aterial A DISTINGUISHED Te aching M FACULTY OF ARTIST TEACHERS — WHAT PROGRESS ARE HIGHEST STANDARDS YOU MAKING? EQUIP YOURSELF OF MUSIC LITTLE FRIENDS OF MUSIC LAND FOR a BETTER POSITION INSTRUCTION Your By Eula A. Lindfors. A Musical Drawing, Coloring and musical knowledge—your A prool ol quality HAPPY DAYS position and in- is important for Writing Book for Little Fingers. one inter- the class or individual in- come today are the Urther Coupon Todoy! Book I for result of the training mi CC" Gaining. book that gives the Price, $1.00 you Our courses offer struction. A have gwen your you the , beginner a foundation in natural ability. Additional ame ' 9f 9UaIity earliest train- Preparation which piano study through actual partici- ing will open has developedd , ON OUR WAY TO MUSIC LANII up new fields, and trained in rhythm, sight reading, new opportunities, many successful musi- FORWARD STEPS plation; greater cians and hiuarmony and transposition. By By Sister Stanilaus, S.P. A primer in music giving the income and higher teachers in the past. 9 ai e Eighteen standing in the regarding P ,essons and full pieces in easy keys suitable for indi- Heidelberger. musi- course I information Pauline basic fundamentals. cal world. hav« 'nf u i Price, 50 cents vidual. or class instruction by Elizabeth Blackburn . be'° ' NATIONAL HOME STUDY piano. Teacher W Price, 60 cents COUNCIL s Norma, Martin. Book II, continues exactly where he Council is ££ V#fc* Pauline Heidel- an Association of Piano. ^D Book I ends. By This valuable which we are a Siudents Course Price, 75 cents training, through berger. Price, 50 cents WHERE THE TONE FOLK LIVE our Extension member. I, includes the Courses, may outstanding correspond Public School 1 ) Choral Conducting be taken at home with Mus-Beginner's A Play Games and Sing Piano Story Book by Gertrude no interfer- 01 ,hG UlU,ed S,a ence with your ' eS With headguar- Public School 0 Clarinet MUSIC AND PICTURES Rosemond. regular work jus. tersterFaFwat R Mus-Advanced bays by devoting to Washington, D. C. busy sell-study Members are admitted Advanced 0 Dance Band Arranging By June Weybright. A Beginning Book for Price, $1.00 the many minutes each 6r Composition day that ordi- eXamina,ion ° f narily the lining courses Ear Violin Young Pianists. Encouraging the coordination go to waste. The offered.* Trainings 0 chief purpose of this progressive musician, Sigh, sin of Book I. The as ging Music and Art on the child’s own level. indelibly upon usy as he History 0 Guitar book is to impress may be, realizes 0 f Music the lessons the value of such We are the Price, 60 cents the student's memory s only school giving DAYi>, Udy and finds the time instruction in O Harmony 0 Mandolin encountered in HAPPY for it. Well paid music by the Heidelberger. positions Home-Study Method, Book I. By Pauline are available which includes 0 Saxophone to those who are m its Cornet-Trumpet Price, AO cents ready lor them. curriculum all the courses PIA\0 PLAYGROUND necessary to ob Reed Organ book tain the Advanced 0 II. A supplementary Degree of Bachelor Cornet Foundation Book by Agnes Steadman. Much Book of Music. used with HAPPY DAY5>, YOU can do it too! 0 Banjo to be It's up to YOU! Name attention is given in this book to control, execu- A D, PLOMA Book II. Price, AO cents | S Your Key to tion, phrasing and the reason underlying a par- — _ Success!success! Street Age. . No. ticular choice of fingering. City Price, $1.00

* State.state Are you teaching now?.. . „ so you?. ... n * how many pupils have a TeaCher ' Have yous,udied s Certificate? Hal o Write For Our Complete Catalog the ' " ° Degree of W Uld y0U like ,0 earn G 747 Bachelor of "MUSIC Music’?.' STUDY EXALTS LIFE” STUDY EXALTS LIFE THE ETUDE JULY, i 947 "MUSIC 415 • s l . I - . J t . ( ' It — — —

Program Patriotic Junior Etude Contest

-/lihto will award three hu oCeonora Silt The Junior Etude at- you enter on upper left corner of your month for the neatest paper, and put tractive prizes each your address on upper ’s meter they are played; or essays and for answers right corner of your paper. 10 HE BOYS in Miss Janeway he has to and best stories plan- learn marks of expression Contest is open to all boys and class of piano pupils were and other to puzzles. Write on one side of paper only. Do T monthly marks like rests and those eighteen years of age. not use typewriters ning the program for the which tell girls under and do not have any- when the pedals are to be ° A, fifteen to eighteen years of one copy your work for you. recital. used. Class o\^° “These are of Class B, twelve to fifteen; Class C, Essay must contain not over one hun- “Let’s have a patriotic one,” sug- some the things he age; under twelve years. dred and fifty words and must be re- gested Ned. has to learn with his brain. Then he Names of prize winners will appear on ceived at the Junior Etude Office, 1712 said Dick. “We’ll has to make his arms and wrists “That suits me,” and issue of The Etude. this page in a future Chestnut Street, Philadelphia (1), Pa., by begin with The Star Spangled Ban- knuckles and fingers play them on The thirty next best contributors will re- the 22nd of July. Subject for essay this O ner. Then one can play, Marching the keys. Violin honorable mention. month, “My Hobby.” Need not refer to . ... ceive ope Voic e ' co<’; Through Georgia. One, Dixie. One, “The right way for his hand to name, age and class in which music. Results in Vne bB be Put your October. cd of M 1*7, Bill the rest, Marches.” held when he plays, is to in 'school ' Yankee Doodle and hold the s S ‘ oJ rse publi 0 erG VVildman. “And knuckles little 0 c ,md “That’s great,” agreed Harry. a higher than the ’6 S ur 9 B D' rume" ' vetof A^ Chicago I’ll write the paper.” wrist, and to curve the fingers nst for so rseS rrn ^ f° ’ en Cou n . A^ “What about?” asked Ned. that their tips touch the keys. The application„+; 0 -^chigan Quiz No. 22 Honorable Mention for Answers to Quiz ndJcting-— “Wait and see,” Harry told him thumb is a little separated from the an Sou catol 0 9 412 mysteriously. fingers. Its tip joint is bent so Original Poems 1, Three-four; 2, A small wind in- that For c+°r1 Patriotic Music n Dire When the time for the recital it strikes the keys with its side edge strument, similar in appearance to a . Guardi, Jacklyn Richter. Maxine Lee fsAusical 1. Is the music of The Star Spangled trust’ ”? Ida Dio came, this is what Harry read: instead of its tip. piccolo, of metal or wood; 3, Parker. Burnie Burton, Harriet Brown. Dolores made Illinois HOC*- Banner written in three-four, 6. Which is Virginia Lee Epes. Helen Boyle. Vir- SC American composer “This paper is going to begin with “The fingers have different degrees Lewis, Samuel Francis Smith; 4, England 5 Silverman. Charles Walls, S,C four-four or six-eight meter? called the “March King,” due to riddle, will ginia Vail, Nancy Au5iC asking a and the answer of strength. The thumb is the strong- uses it with the title God Save the MU f Behrens. Mary Therese Gregory, Clara Austria. Music. Piano, first violin in my teacher’s orchestra and “A person who plays the play Ceramics; also facilities for 9. Did the tune of Yankee Doodle piano has fifth fingers over and over, that will have also played in quartettes and trios. My ing and to work as is pianist and also July originate in this country or else- the founders of our Coun- soon make those weak fingers, strong. sister, Jenefcr Anne, a academic courses. Summer course try studies theory. She is eight years old and where? worked. First of all he has to “There is up. Super- one thing to remember would like to hear from girls about her age and August. Ages 14 years 5. In which American 10. What country think out what has to be done, to interested in any instrument, and patriotic song uses a tune by though. The third finger must not who are vised recreation. Excellent cuisine. Fall play the piano, I would like to hear from girls about my are these words found? “And this Haydn for its national hymn? and he has to learn press the key down so hard that the age. We live too far away to enter the Junior September 15th. Write for descrip- about these things He term be our motto: ‘In God is our has to learn hand and wrist are stiff, for that Etude contests. Answers on next page tive booklet. the names of the keys; I going to tell you something about he has to will make the weak fingers stiff too, am Australia. Most of Avenue learn the names of the notes on the our music over here in Mrs. Win. Henne, 3001 Pacific and then they cannot play. The our State capitals have symphony orchestras music page which tell what keys Why Must I Study Scales? to weight of the arm is what should and famous conductors visit here, including play; he has to learn Sir Thomas Beecham. Eugene Ormandy, • DRAMA • OPERA that those hold that finger on the key, and that COLLEGE of MUSIC notes are sounded Eugene Goossens and Sir Ernest Macmillan. in different ways. will by yiadyiCjlaclyi SIutcLinion leave the other fingers free to Also many famous singers and instrumental- Tenn. One right after Helen Hunt Dobson (Age 15), INSTITUTE of SAN FRANCISCO the other, like a ists have given concerts here. Many of the MUSIC and ARTS play and grow strong. Frances Geleski (Age 13), Mo. scale; one symphony players also belong to our radio Why must I study scales, chords, and arpeggios; see when the notes skip, like SESSION JULY 7—AUGUST 15, 1947 how many of each “Now what is the answer to the orchestras. We have a string quartet which SUMMER MASTER and arpeggios? That’s a question an arpeggio; one where they you can find and put them in your are riddle—Why are the fingers on the tours the country, as well as playing in Bris- Dear Junior Etude : SINGERS & TEACHERS music and I play LOUIS GRAVEURE—CLASS FOR many very young students ask their practice laboratory bane, and gives many concerts for school My hobby is studying for examination hands of a piano player like the clarinet, E-flat children, with whom it is a \ery popular piano, violin, string bass, B-flat BELLEVUE HOTEL GEARY AT TAYLOR teachers. And here is a thought that and study. baritone ROSS McKEE, Director United States? organization. clarinet. B-flat bass clarinet, will alto help to set you straight, if you In Sydney is Junior Orchestra and E-flat alto saxophone, C melody “The answer to Harry’s riddle was there a saxophone. happen to be one of those Choir giving regular concerts, the members saxophone, and bassoon. I play fifth or sixth young not long in in coming. Everyone de- being all under the age of eighteen. We also grade music on the piano, and I play violin pupils who would like to skip I COURSE that have and this Orchestra. Original Poetry Contest Results clared: — an Amateur Hour on our radio the Dayton Junior Philharmonic THE DUNNING part of your music lesson. has helped many young musicians. hear from Junior Etude readers. “Because right would like to of Improved Music Study they are. and of a I could go into ever so much more detail your friend, To have a flower you must first Music From ought to be, free and independent.” but I hope this brief account has given you Dorothy Smith (Age 13), Gladys M. Glenn, B. Mils., M. A., Mus.D., Dean have a plant; to have a plant you (Prize winner in Class C) an idea in Australia. Ohio of our music over here TEACHER TRAINING FACULTY, CENTERS AND CLASSES must first have a root; to have a root Music, it is soft and pretty. (Above two lines quoted from the From your friend, ANNOUNCES 1947 AS FOLLOWS: Music, it is loud Noeleke Chenery (Age 14), FOR you must first and strong; DECLARATION ) List have a seed in the OF INDEPENDENCE Australia. Letter Box Music is the wind that whistles Voe Boyce, 105 Hyde Park Place, Tampa 6. Fla., Continuous. ground. The seed comes life, space does not permit Elsa De to pushes In the tree tops, all day long. etters, which limited Grosse Pointe, Mich.. June 23rd. received from the fol- Mildred Briggs, 666 Washington St., itself through the earth Dear Junior Etude: rinting. have been 20ttL and finally Riser. Viola Musical Arts Conservatory, Amarillo. Tex., June Music is the bright, Koch. Margaret Ann Mildred M. Busch. gay warbler, Although I am only in fifth grade in music ding: Ann Francisco, you have a beautiful blossom. Renee Council, Diana Carrick, 940 S. E. 68th St., Portland, Oregon, July 7th; San Bursting out in joyous song; I have had played iitchell. Janelle Hogg, Jean Warren some experience, as I have Bantel, Music is Ayers, Betty Ann You might say you are not inter- the cool lake rippling, in recitals, plays, church, and at parties and renan. Virginia Faintly To Louise Auston. Battv Va, July 28tli splashing, all night long. Beelh oven am also I grad- iarjorie Daniel. Martha MinnieV/cogbill, 2727 W. Grace St., Richmond 20, ested in anything but the flower, but soprano soloist in our choir. Alice Foster, uated Pauline Watson, Lola Ave., Bellefontaine, Ohio. July 8th. from high school. oaden. Barbara Adda C Eddy, 136 W. Sandusky that would show a lack of imagina- Music is the birds at dawning. (Prize winner in Class A) Smuske. Eunice Smuske, Continuous From your friend, ancv Mason, 6262 Oram St., Dallas. Texas, Music is the humming bee; Grace Tudor tion. Also, to have a lovely piece of Irma Rosa Hernandez (Age 15), McKinstry. 3735 Ashland Ave.. Detroit 24 Mich June 23rd. Almost everything has music, To you, who gave the world your life, Florence Adams music Texas Potomac Ave., Dallas, Texas,. Aug 4th and not be interested in the Yes, even you and me! The angeled music in your brain; Laud German Phippen. 3508 7th. Ruth The hosts S. St. Mary St., San Antonio, Texas. July things from which it grew would Mariner (Age 10), of heaven and earth salute Stella H. Seymour, 1419 Massachusetts. And may you smile your fame. R 251 S. Miller Ave., Burley, Idaho. Continuous. show lack of and claim E. Corinne Terlmne. a imagination. Lansing 15, Mich., July; Santa Barbara, C 0 Elizabeth Todd, 1007 W. Lenawee St., To have a beautiful piece you must To you, who lived a life so sad. C O Calif. June. have We know you had your hell on earth melody; to have melody you Spring’s Refrain K summer school In disappointments, sorrow, woe, s Classes are to be held in connection with 1 must have harmony; to have har- (Prize winner in Class In sickness, several colleges and conservatories B) deafness, from your birth. T N curricula of mony you must have rhythm It is raining all U and key around, h §> presenling the fundamentals of music so lhat maximum You did G is an interesting and effective plan o£ On the trees and not die, as all men know M The Dunning Course relationship. Your scales, on the ground; shortesl possible lime. It is designed for 1 re-School, Elementary, Junior chords, and There’s nothing as death; H musicianship will be developed in the It is raining here and there. STATUE known to us E strong college and conservatory freshmen. arpeggios OF LIBERTY, You and Senior High School pupils and prepares them to be are these elements of the Flowers are blooming NEW YORK still are living, still you write everywhere. Your ENDORSED BY THE WORLD’S LEADING MUSIC EDUCATORS piece pulled apart and put into your music with your pen and breath. M. ^A IT IS P classes earn 4 semester hours college credit Drops against the window pane, struck three or Teacher training practice laboratory for study. four together And I L R when taken as a part of an institution’s curricula. Singing such a sweet refrain; in a furthermore, as I can prove You did U N O So think of your piece Spring’s soft music’s in the air not die, as all men say; A as contain- Write for information and schedule of classes to all For I have heard too N O L ing the And the world is gay and fair. He has to learn you—felt you Y elements of scales, chords, how the Within Dunning Course Executive Headquarters, 1710 Tyler St., Amarillo, Texas Shirley McCall notes your music heard today. I R I (Age 14), D. C. are made differently L to show in what Lillian L. Loree (Age 16). O E T N Michigan. 416 R T H A THE ETUDE 417 JULY, 1947 ° «

THK COVER KOI! THIS MARCHES, Arranged MENDELSSOHN’S MONTH—Back in THE CHILD roUSA’S FAMOUS ORGAN WORKS, Edited 1945 The TSCHAIKOWSKY, Childh Etude Music Macazine offered Solo by Henry Levine—The pre- and Revised by Edwin Days of Famous Composers lnr Piano Arthur Kraft—The prizes to , by LottiJ students of the Philadelphia I'll this book of all of the most personal library worth Coil and Ruth •*" ntation in of every organist should School of Industrial Hampton—Seventh Art for Etude cover marches of the “March King” is include the organ masterworks MAURICE DUMESNIL designs. an already highly successful famous of Men- Although the first prize winner series th’ musical event. Such a delssohn, Three Season 1947-48 was new addition will be welcomed an important Preludes and Fugues, Op. presented on the cover of with great before been possible, 37, the Sep- has never and Six Sonatas, Op. 65. tember 1945 enthusiasm by the many music grouping Dr. Kraft’s issue and a number of pur- teacher copyright restrictions. Among distinguished whose courses because of editing of this soon-to-be- Piano Clinics in Technic & Repertoire. chased covers that were have been enriched runners-up to I marches included are Semper published volume PUBLISHER’S MOTES earlier books. It offers the twelve in which he has the prize winners have been the same Master Classes ( demonstration & comments; private used subse- popular The Stars and Stripes Forever, adapted these for quently features as its forerunners— Fidelis, the modern organ will as Etude covers, the somewhat simplified lessons; consultations). A Monthly Bulletin of Lovers Bell, El Capitan, Washington be appreciated by the seasonal atmosphere Interest to all Music arrangements, carefully selected Liberty contemporary of the second prize list of Thunderer, King Cotton, Man- American recordings, brief post, The organist. A single copy may be featuring or all of Debussy's winner kept us from making use account of the Debussy Programs any of that com Beach, and High School Cadets. ordered now at cover until poser’s life, and directions hattan the special Advance of piano repertoire author of to play this issue. for actin? by "How & teach Debussy"; Levine’s easily playable new Publication Cash Price, 75 cents, This cover, which won second and staging famous incidents Henry postpaid. "Claude Debussy, master of dreams" (Dumesnil) Also available for prize, is in hi! will delight the pianist the work of Miss Bernice career. transcriptions E. Ledford who or fourth guest teaching, 3 days to 3 weeks. was usually plays third grade FANTASY IN F-SHARP MINOR, for Two a student of the Philadelphia The oblong shape, large notes, who Mu- illustra Pianos, seum School tive pictures music. Four Hands, by Ralph Federer— of Industrial Art back and drawings will Important: no promotion nor sale of materials in in make it book be Those 1945, but for some especially attractive One copy of this may secured who are constantly searching for months she has been BASIC STUDIES FOR THE INSTRUMENTS to children of connection with above activities. following be publication if ordered now at the original compositions for successfully the career of tween five and twelve, for upon two pianos- a free OF THE ORCHESTRA, by Traugott Rohner— whom it is de- lance commercial signed. special Advance of Publication Cash four hands will be interested in the new artist in the city of In As a text for music For information, address ROBERT E. July, 1947 organizing and developing the school appreciation postpaid. work by Mr. MORLEY Philadelphia. classes or a project for Price, 70 cents, Federer. It is written in one orchestra the instrumental music teacher integration of 167 Elmhurst, Highland Park 3, Mich. music, art, literature movement beginning with an impressive will find this work of much assistance. It and drama, works of this Maestoso section which leads to an Alle- will he series are ideal. ETUDES FOR EVERY PIANIST anil How to ADVANCE published in nine instrument books gro TWO TIMELY OF PUBLICATION In advance of Revised and con spirito passage, a slower and lyr- TOPICS FOR TEACHERS and a Conductor’s Score, the publication, a single Study Them, Selected, Edited former in- copy ical theme 1. Improving own may be ordered at the Maier This book has been planned marked Andante con moto, an DILLER musicianship, reper- cluding Violin; Viola; Cello; Bass; Flute- special Cash Price by Guy — FLORENCE FENDER BINKLEY -QUAILE toire, and 20 cents, ’ Allegro Agitato and then to a stirring musical knowledge. 2. Oboe; postpaid. for students of intermediate and early Examin- OFFERS Clarinet-Trumpet; F Horn; E-flat Associate Teacher of Guy Maier School of Music ing materials Grandioso finale section. It has interest- now and setting up a well Horn-Saxophone; and Trombone-Bass- advance attainments. Its contents are arranged ing thematic and melodic announces Normal Department for the train- classified studio stock of of the outstanding articles of the material which music All of the books in oon-Tuba. some and this list are in MORE THEMES FROM Is so characteristic of Five Day Refresher Classes for ing of teachers in modern materials ready for first THE UREAT CON- of Month” series which the composer’s pupils in preparation for publication. The Assuming an elementary playing ability “Technic the the opening of i.ER ros, for Piano Solo, Compiled musical offerings. Busy Piano Teachers methods of teaching music. the Fall season. low Advance Offer Cash Prices on the part of and Ar- have appeared in The Etude. Dr. Maier a j>- the students the exercises ranged by In the field of ply only Henry Levine—In While the work Is being prepared for Meridian, Miss. July 21-25 education there is no to orders placed NOW. are designed to develop technical making his has made these available In permanent Adult Department for students such ability selection of thing as “standing still.” Delivery (postpaid) will be materials for the initial publication, an advance of publication Meridian Music Teachers Assn., Those who made and musicianship through the practicing vol- form by compiling this volume of eigh- who wish to specialize in do not add to their when the books are published. ume in this very popular order may be placed for a single copy at 504 12th Ave., own equipment for of scales, intervals, and arpeggios series of teen etudes of selected composers with piano and musicianship. teaching Paragraphs describing in ‘Themes,’’ Mr. Mrs. J. W. Young, Pres. automatically fall behind each pub- many Levine drew entirely the special Advance Offer Cash Price, the lication appear variations of key, rhythm, and on each study accompanied by the original Junior Department for children current educational on these pages. concertos originally composed 50 cents, postpaid. Olcla. City, Okla. Aug. 11-15 procedures and dynamics. Interspersed are harmonized for piano “Technic of the Month" article. The com- achievements. and orchestra. In Florence Fender Binkley Studios and young people. While time is available in “Time Teasers,” this new book he has which is an original fea- posers included are: Heller, Czerny, St. the summer The Adventures of included 1120 NW 40th many teachers take Peter the Piano—An ture, ten favorite themes from ADVANCE OF PUBLICATION OFFER WITH- 66 East 80th Street up spe- Illustrated and melodies from the con- Liszt, Chopin, Lebert, and Stark. cial courses, Story for Children best com- certos but of course there posers. written for other instruments, DRAWN—Piano teachers will welcome the For detailed circular address above New York are Dorothea J. Byerly .50 Special attention pre- This book is 21, N. Y. thousands is given to the senting which being published at who do not find this these in playable announcement of the withdrawal this possible, Basic Studies for the instruments strings, of course. arrangements the suggestion ouch of the for of many teachers and stu- teachers, however, can Orchestra Traugott pianists of average month of a collection of piano studies set up a Rohner Be sure to specify the ability. Rach- dents, may be ordered at the pi ogram of Student’s Books, books desired in now Ad- self study for increasing each .25 maninoff, Tschaikowsky. just added to the popular Music Mastery their Conductor’s placing an order for single Beethoven, vance of theoretical Score .50 copies of each Grieg, Publication Cash Price, 60 knowledge of at and Brahms Series. is usual music and C E h0e the Advance of Publication are represented. As when works hitherto AMERICAN An Album cents, postpaid. CONSERVATORY bioadening of Sacred and Cash Price, their acquaintance te'Meditative? fr , 25 In advance of with mu- Music for P,anists Young and cents for each instrument book publication a single copy announced in advance of publication are sic history 0ld and of and musical Peery .40 60 cents this book may OF MUSIC—CHICAGO personalities for the Conductor’s be ordered at the spe- issued, the special introductory price is through Score. Offers courses in all branches of music the centuries. The Child Tschaikowsky— cial Advance MUSIC MADE EASY—A Work Book by Mara and dramatic art Childhood Days of of Publication Cash Price, now withdrawn and copies may be ob- The refurbishing ramous Composers 40 Ville— 61st year. Faculty of 135 artist teachers of one’s own cents, postpaid. Sold This entertaining new book was local dealer, for technic Lottie Ellsworth Coif and CHAPEL only in the U.S.A. tained from your or Member of National Association of Schools of Music also ns not to be Ruth Bampton .20 ECHOES—An Album of Sacred and and designed overlooked. Wise indeed Its possessions. to follow Robert Nolan Kerr’s examination from the publishers. Send for a free catalog—Address: John R. Hattstaedt, President, 579 Kimball Building, Chicago Elia Ketterer’s Book of Piano Med.tauce Music for Uld b the fceacher Pieces...... 35 Pianists Young and Old, All in One, wh0 makes it a but its cleverness and adapt- pointnn f f t Etudes for Every Pianist Compiled and Arranged to be equipped Maler .60 by Rob Rov Peerv ability with the theoretical make it equally useful as supple- Studies • -An Twenty-four Short for Technic and knowledge Fantasy in F-Sharp experienced church KING MIDAS— of music found in Minor— For Two Pianos choirmaster Can/ala for Two-Part Treble mentary material with the course Four Hands well any method. Both Sightreading, for the Piano, by L. A. Wil- MILLIKIN CONSERVATORY OF MUSIC provided by Ralph Federer .50 equipped for compiling oices, Lyrics Dr. Orem’s celebrated books such a re by Celin Thaxler. Music by private teachers and early grade instruc- SSMOPOUTAN King Midas— markable volume, niot covers the period between advanced DECATUR, ILLINOIS H rmony Book for Cantata for Two-Part—Treble Dr. Peery has May A. Strong—’This SCHOOL Beginners. Theory Voices chosen highly original and tors will find this ideal for basic instruc- OF MUSIC Thaxter-Strong second grade and grade three-and-a-half and Composition .35 nd meditative well- EIDAM, President Offers thoro training in music. Courses leading to of Music, Art music, some of integrated work is tion in theory, CLARENCE of Inter- Mendelssohn's Organ Works which if suitable for mu- whether as a background providing in tuneful etudes practice ma- ROSSETTER COLE, Dean Bachelor of Music Degree. Diploma and Certifi- weaving Melodies, Kraft .75 has never before been sic festivals and Manual of arranged of upper elementary for class-room 43rd year. Accredited. Offers courses cate in Piano, Voice, Violin, Organ, Public School Fugue More Themes from and jun- sight singing or for in- for passing thumbs, phrasing, shift- the Great Concertos— P1all UCh °f the ior terial in all branches of Music. Certificates, Music Methods and Music Kindergarten Methods THE0D0RE For material is high school grades. PRESSER Piano Henry Levine thl h °i from It is written for strumental study. diplomas and degrees. Desirable board- S^Perf^fo’ .40 the choral ^ ing hand positions, scales, chords, thirds Bulletin sent free upon request ° PersonaI Service Department literature of Bach, Bortnian- two-part chorus ing accommodations. Located in down- , , will be Music Made Easy— and requires no solo Variety of center. ' presentation glad A Work Book sky, Franck, Gaul, and constant and sixths, and repeated notes. Both ma- town musical W. ST. CLARE, MINTURN, Director ugeest daiJy study Maunder, and 'oices. The Box E, 306 S. Wabash Ave., Chicago 4, III. f materials for Mara Ville .25 Men- tuneful music expresses the drill are given to refurbishing delssohn Easy-to-play such fundamentals as jor and minor keys are employed. These technic or will Selected Second arrangements diversified quote on Grade Studies for Piano such moods throughout this dra- note values, music symbols, time signa- books which as Adam s O Holy ia fresh, original piano etudes provide that may be bought for David Lawton .25 Night and ic summer Fame ’s’ composition. The piano tures, scales, Palm Branches, accompani- rhythm, accent, ties, slurs, additional material so often required with bi° Sousa's Famous Marches—Arranged provide seasonal ment is gmphy ’ musicaI for music not beyond and history^ Piano Solo the ability of the tetrachords. Clever use of poetry as progressive teacher al- ete. Henry Levine .70 11 feStiValS pupils, and the ‘ An average pianist. part of(Dufiit hstlist ^^ive of the text, attractive illustrations, With regard to Twenty Teachable Tunes— For piano ofof^Told favorites ways endeavors to have such material getting music ready in includes Humper- An order may be provision Opal Louise Hayes 11 placed now for a of space for the writing of sym- 60 advance for next season’s .25 enm9 Prayer s constantly oruhand. Price, cents. Artist teaching needs and the “Fin ngle copy at the bols Bachelor of Music Degree, Master of Music Degree, Diploma You Can Play the Piano, Part landia”f* ^ ?, f? Advance of Publication and notes by the eater Two. .Richter .35 Choral by pupil are impor- *1° g help in this direction Sibelius Cash Price, 35 3411 Euclid than I In the cents, postpaid. tant features of the book. BERYL RUBINSTEIN, Mus. D., Director Ave., Cleveland, O. that offered by the Presser United States and Early its posses One copy Charter Member of the National Association of School, of Music Order Plan. Drop a secured at the special Ad- postal card request YOU CAN PLAY THE vance today to the Theodore PIANO! Part Two-T SELECTED of Publication Cash Price, 25 cents, Specialized Daily Exercises Presser Co. 1712 Boob for the SECOND GRADE STUDIES, for Older Beginner, by Aria xwzTsdB Postpaid, will Chestnut St., Philadelphia Richter xmo, Compiled acquaint the teacher with 1, Pa., asking —Continuing the c“- by David Lawton—This is the I principle that the older a wide usefulness of this book. MARGARET DEE °. details of z sequel work \ the Early Order Plan W to Mr. Lawton’s successful Se- which beginner wants to play things with Mary-of-thc-Wflods Piano Teachers' Summer Refresher permits getting teaching which lected First Grade BASIC Saint materials he is familiar, Mrs. Richter Studies and will also 1. PRACTICAL PROJECTS IN PIANO TEACHING now for has included e ELLA 2. examination and for the THE ADVENTURES published in the KETTERER’S COLLEGE TEACHING TECHNIQUE (Exposition of new start of in Part Two OF Music Mastery Series. BOOK OF PIANO for Girls. Applied Music. DEE-MAIER book) next season’s of this method interesting PETER THE PIANO Conservatory of Music teaching " Illustrated ' is excellent iECES, for School Music, leading to B.A. and 3. Auditions, Conferences and Student Demonstrations without any im- and Story for second grade supplemen- Piano Solo—As this book goes Theory. Public playable arrangements Children bv a major in Music Education. Piano, voice, 4. Musicales mediate cash outlay. of such fa- .Hea I) tary material ° press, B.S. with vorites as j Byerlv This from the writings of Par- we are pleased to announce the VIOLIN organ, harp, violin, other instruments; composition, July 7th through 11th Ciribiribin, fanciful The Lonesome tale Beautiful, well-equipped buildings, spa- the adventures refates Bi o lowing complete harmony. Road, Man on the Flying of a piano *hro, Streabbog, Bugbee and contents: Banjo Song, cious campus. All sports. Early registration advised. MARWOOD STUDIOS Trapeze, Mexi- named Pn^eter,B Box 16, Saint Mary-of-the- Woods. Indnaia from his lonelv o ler. The V Tranquil Catalogue 781 N. Marshall St., Milwaukee 2, Wisconsin can Hat Dance, davc in o i composers mentioned, well Waters, Cadets on Parade, Red River Valley, Levee r W e LE TUNES to his USe nown for lnty Ballet ’ for Pian °’ Song, The delightful experiences outstanding children’s ma- Z,? Dancer, The Jolly Spook, b« Opalo i , Old Chisholm Trail, fn th P f TECHNIQUE 50TH _/ Lou.se Haves— Loch of °me terials, Hie YEAR An expert teacher Lomond, a musical little furnish studies Juggler, Marche of Note the Day is Over, gW AUhoueh n for legato and Triomphale, On I I ikl A professional music school OF beginners has and sev- s ates. D C D flKfiene written this book of ex- accato passages, Petite By D E % in an attractive college town. TKe&tre eral Negro spirituals. Classic repeated notes, cross- Mazurka, A Spanish Dance, O l Star making. Students seeking professional engagements supplementary material, composers ing hands, parkies, Thorough instruction in all branches of music. Special train- coached by Stage. Screen. Radio and presented in pro- ranging are represented scale passages hands, The Swing in the Orchard, HAROLD BERKLEY ing in band and choir direction. 46 artist teachers, unsur- ductions for showing to B’way-Hollywood Talent Scouts and by selections in both public. B’wav also Summer Stock. Spring course C r° firSt from Bach oice passed equipment (200 practice rooms, 23 modem organs, etc.) opening. m grade melodies, rpeggios divided of the SECY SHUBERT. 1780 BROADWAY, N. Y. Beethoven, Mozart, between the hands, and Cello, Will-o’-the-Wisp, The Degrees; Mus.B., School Mus.B., A.B., with music major. divirieri h / Grieg, and Tschai- presents a systematic n the hands syncopation. °°“ Sprite, This invaluable book Catalog. Frank H. Shaw, Dir., Box 577, Oberlin, Ohio. ’ pieces in kowsky. and The mlde n !f Brownie. all the grade one-and-one-half, Sixty pattern for doily practice, including all in easy ma- clever drawings -™e The titles ®ach®rs will The essential technic, in cdo T' of some of the included recognize many of Miss the seri- k ys e b°°k scales, arpeggios K elements of technique so essential to ' ’ to be attraction 1 T!? Published in the etc., are for the numbers are: The ef s mos nnn, f continued as in Part pre-schoolThUrt Tambourine Dance; *' Popular pieces among violin playing. It is superb for One, with h th f , ous student of one who W ' while *nv ° “ be «""««• carefully can ifead will l Rubber Ball; reg0 ’ ng titles. whether profes- chosen ™ Fairy Bells; The performers, etudes from Czerny Pend Diverse rhythmic use by skilled mm"”!.'™'’ hours enchanted ijc/i nan MUSICAL with eirLs CHICAGO COLLEGE Kohler, the Rides anc and other writers book Her Broomstick; The Magic i tempi, contrasting styles, sional or amateur. 4 e special of educational . ~ Advance of stream; a ri a Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President . Publication n material. One copy may Pickaninny. wide range of subjects make this s Pnce 25 cents be ordered now .*« »» PRICE, 75 CENTS CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. > Postpaid, In u J one copy at the special « the United States rmingly may be ordered w Advance of Publication 1Catlon and its possessions nn!n varied collection for the Member of North Central Association and National Association of Schools of Music at once. Price, 50 Cash a copy 1 CO. Cash Price, 35 cents, cents nnstno^ may be ordered special approacliing THEODORE PRESSER OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND ’ now the third ALL BRANCHES NON-PROFESSIONALS postpaid. made ehvery to he at van!. grade. The Ad- when published. dvance of °f ST. PHILADELPHIA I 418 Publication Cash Price, 25 Puhlication Cash Price is 35 1712 CHESTNUT Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois cents, centscent postpaid. > postpaid. Advertisement fULY, THE ETUDE ic>4 7 Advertisement 419 — — .

ble Indemnity (Rozsa, 1944) ; The Belle (Kubik, Fortunes in Movie Music Memphis 1944) docu- mentary: Song of Bernadette (New- GUY MAIER Citizen man, 1943) ; Kane and (Herrmann SHALL I GO TO STUDY? Well-Established PIANISTS TEACHERS—JULY 28 TO AUG. 8 this month, "Music A THE FESTIVAL COURSE FOR & editorial for All That Money WHERE The 1941 ) ; Can VIRGINIA INTERMONT COLLEGE Walter H. Rubsamens Buy Mo^s." refers to Dr. 1941) BRISTOL, VA. convention of tte (Herrmann, ; Our Town (Cop- DR. R. L. BRANTLEY. President address made in 1946 at the at Lie Mice 2000 ft.) in the Allegheny Mountains on the Tennessee border is a city of 35,000 National Association land, 1940) ; Of and Men Bristol, Va. (altitude Music Teachers (Cop- (w»»t»m) Private Teachers (n.w York city) hotels, buildings ond a million dollar airport. Beautiful Intermont College on Rubsamer.some Teachers Success with excellent public Dr. JSSft rZ tvur asked land, 1939) ; The City (Copland, Private and 1939 ) its outskirts offers an ideal setting for the summer's Festival Course. . . . Comfortable rooms music and moviK pertinent questions upon documentary; The Informer meals may be had at the college for reasonable rates—Viz, for six days, $25.00 (double room), $30.00 kindly sent the fol (Steiner DAVIS HELEN ANDERSON available pictures, to which he has FREDERICK Have (single); for twelve days, $50.00 (double), $60.00 (single). . . . Good practice facilities are Piano Beginners Dr. ^sameri is m 1935) - Concert Pianist Thousands of Young cn the campus. Towing valuable response. History at the University Virgil Thomson and Teachers of Singing — Classes strnotnr of Musical Douglas Moore Not^AssT'^of Interesting course piano, harmony With This Book Ten Teachers and Young Peoples Repertoire “•" b — Gained a Happy Start in Music Pianists Repertoire Classes also have written excellent ” Many Successful Ten Advanced music for SL?“nd b w Pupils Five “Practical Projects" Classes by Margaret Dee SS L " " " " documentaries. CH A 144 W. 72nd St., N. Y. C. Tel. Sc 4-8385 Five "Teaching Technic" *OCM.,d °; c';„ " i l,i', Five "Maier Technic" " May Etts To The Etude: Among the best of the ointment difficult “musical <« lor 4-57441 for app Five "The A. B. C. of Reading" Classes by Frances Clark questions are not too MARY BOXALL BOYD Your films,” that is, revues, feature-length Ail-inclusive course fee— hasten to to answer, although I must —gxrOLD"HU“RLBUT (Leschetizky) Two weeks—$50.00 cartoons, biographies of composers, Music Play expressing my Hollywood Pianist and Teacher One week—S35.C0 remind you that I am Paris New York— 17) are these: — Youna Student's Fee (under —Two Weeks—$10.00 other Teachers of Singing 'Of all pianoforte teachers with whom I have had personal opinions, plus those of Member Natl. Assn, of A Song to Remember (1945) either as pupil or associate. Mary Boxall ; Rhap- to do. Boyd REGISTRATION FOR THE COURSE AND RESERVATIONS FOR ROOMS AND MEALS critics like Lawrence Mor- Hollywood in Blue (1945) is. in my opinion, the best."— Leland Hall. Prof, of sody ; The Three Cab- jsacusV eats AT INTERMONT COLLEGE SHOULD BE MADE AT ONCE. Address all inquiries fo Modern co Y. Pub.) at Smith College. Day late Bro., N. Piano Every Script and the Fischer & For ton, of ??„?ficMTAl!" (J GEORGE D. HOWELL. MANAGER alleros (1945); Cover Girl (1944); 1 Amato, B.sphom, presume to speak by W. )'. Henderson. Add. 113 W. 57th St., c/o Nola Studios, Steinway Music, and do not ^endorsed original in its entire make-up and c/o Maryville College, Maryville, Tenn. This is the Army (1943); Yankee - Hall, New York City, N. Y. Summer classes for .... is distinctively of the movie industry. journal, Hollywood, Collf. for the whole Baochwood Pr. teachors and students. Doodle Dandy (1942); Fantasia 2150 presentation. It has an irresistible appeal to young Although there are several thousand ANGELL (1940); One Hundred Men and a Girl SYDNEY LEE the sound performers, arrangers, composers, EDWIN HUGHES folks 5 to 8 years of age. It capitalizes (1937). PIANO TEACHER BALDWIN-WALLACE for motion SUMMER MASTER CLASSES Child copyists, etc., available Eminent Teacher* “The lovely FairvUnd of “The pupil’s progress is in pro- Has Your Walter H. Rubsamen One of America's FOR PIANISTS AND TEACHERS Music” picture in full colors pedagogic principle: CONSERVATORY OF MUSIC more Beginner* ns soon the advantage of piano study with picture work in Hollywood, no Advanced Pupils or Talented captivates the punil NEW YORK CITY: JULY 7-AUGUST 9 as the book is opened. BEREA, OHIO (suburb of Cleveland) Solicited portion to his interest.” a member of the approximately 750 of them are Correspondence WINTHROP COLLEGE: JUNE 9-JULY 5 (Size 8-% x lO*. May be than detached for framing.) Affiliated with a first class Liberal Arts College, Denv er. Coto For full information address: performer who 2045 Clarkson St. five year regularly employed. A _ NATIONAL GUILD hour and courses leading to degrees. Faculty 338 W. 89th Street N.w York 24, N. Y. of Artist Teachers. Send for catalogue or Informa- THESE POINTS has a regular yearly contract with a "“Isabel Hutcheson Tel. SChuyler 4-0241 NOTE of PIANO TEACHERS tion to: Basic Policies ALBERT RIEMEN SCHNEIDER, Dean, Berea, Ohio studio earns from 7,500 to 10,000 dol- Teacher for Piano Teacher* Inc. work tor Teachers: CHARLES LAGOURGUE STUDIOS lars per year, while the top composers Modern Piano Technic: Group pupil. The child, not the teach- A goal of achievement for every student suitable 1 . Direct appeal to and Traditions of a concert pianists: Conducting Piano VOICE PRODUCTION—SINGING to his age and advancement. that, from 50,- Coaching earn much more than COMPLETE MUSICAL EDUCATION er, is addressed in all of the text. (NOT A CONTEST) Teachers Forum." dollars per year. Ar- STUDIOS Lagouraue is the author of "The Secret"—Daily THE MANNESh 000 to 75,000 BROOKS MAYS MUSIC simplest, shortest words, ap The Better Teachers Are Members 14 Exercises Complete Treatise on Transposition text is in the Famous Music School Polios Texa s Phone C-6Z Voca I — , 2. The rangers and composers whose services IOO51/2 Elm Street, 2, (not Chapters in every large music center etc. Classes held annually at proved by exerts for the child’s vocabulary FOR INFORMATION WRITE MUSIC SCHOOL are not always in demand will aver- (Continued from Page 415) EVANGELINE LEHMAN: Mus. Doc. The College International of CANNES, France New York Address: 35 West 57th Stree* baby talk). Professionals • Amateurs • Children Vocal Studio IRL ALLISON, M. A. age from 10,000 to 25,000 dollars. under- Individual training. step-wise grading insures complete FOUNDER AND PRESIDENT Class and Individual Instruction limit myself to will be noticed that I have often written Creative, 3. The It is rather hard to Send for reprint from the Etude: EDITH SYRENE LISTER Artist Instructors • Orchestral Instruments standing and regular progress. Box 1113 AUSTIN, TEXAS twenty prominent composers of film in the past. This, because information is "Reflections on the Art of Singing AUTHENTIC VOICE PRODUCTION Michigan iin DAVID & CLARA MANNES. Directors still 167 Elmhurst Ave. Detroit 3. is book of fresh ideas, new and especially if I include foreign scarce and it is impossible to evalu- 405 Carnegie Hall, New York City 4. The book a 157 EAST 74th STREET NEW YORK 21. N. Y. music, Collaborator and Associate Teacher with the loteW. the child s interest. limit ate whatever changes the great catas- O'BRIEN LIVERETTE pressive ways of awakening musicians, so I may exceed the LUCIA Warren Shaw and Endorsed by Dr. Floyd S. Muckey trophe and its aftermath may have Several years assistant to Wednesday: Troup Music Studio. Lancaster, Pa. nearly one hundred charming pic- by a few names. In my opinion, the 5 . There are Thursday: 304 Presser Bldg., Philadelphia. Pa. Philadelphia Conservatory ROY CAMPBELL most talented and original composers brought to the Conservatoire National de LAZAR SAMOILOFF torial illustrations. of Successful Paris. What are the destinies of this great Now Teaching in His Academy (FRANK) (ERNESTO) “cutout” portraits of great Of Music Founded 1S77 Teacher Singers working in Hollywood (some com- 6. There are twelve Angelos S. Calif. of mute between New York and the film institution? Will the unsettled conditions 3IS0 Wtst Sixth St. Los LA FORGE-BERUMEN STUDIOS 216 South 20th Street Phono Fo 8294 Radio - Theatre - Pictures - Concert - Opera Piano Maria Ezerman Drake, Managing Director capital) are Bernard Herrmann, Aar- which still prevail react in some fashion Voice— sixty-five delightful juvenile pieces, . There are “STYLE- IZING” for Radio and the Theatre FRANCIS PARKS Among those who hove studied with Mr. La Forge are: 7 Faculty headed by upon its HENRY ~3 Haydn, on Copland, Hugo Friedhofer, Mik- policies? Or will it persevere Anderson, Lawrence Tibbett, Richard Crooks, classic and modern, including pieces from Olga Samaroff, Mus. Studio Organist, Conductor & Vocal Coach Marian D. — Matzenouer. los Rozsa, Darius Milhaud (only one along the sound principles which gave it Individual ond class instruction in Organ. Piano and Mme. Bach,Daui, nauuu,Handel, Mozart, Wagner,r Courses leading to Degrees 607-8 Carnegie Hall New York City Verdi, aenumann,Schumann, T • Light and MOO Park Ave., Corner 84th St., New York Telephone Cl 5-9244 picture to date), Ernst Toch, Franz so much distinction in the past? One may and Theory. Vocal coaching for Concert, Schubert, Brahms, Beethoven, Chopin. Grand Opera with particular attention to breathing, Tel. Atwater 4-7470 Mendelssohn, Daniele 5 Waxman, Amfiteatrov, Hanns hope for the latter course, and conclude enunciation and proper pronunciation. £ twelve biographies of great masters. . There are Tell Your Music Loving Friends about THE ETUDE and ask them to give are cteariy..... vi.u.iM, 8 Eisler, Adolph 320 Market St. Telephone YUkon 6-1816 How note values Deutsch, M. Castel- by quoting the eternal words: “Time RICHARD McCLANAHAN (Illustration In book is threetree times this size.) you the privilege of sending in their subscriptions. Son Francisco II Californio nuovo-Tedesco, Louis alone will Representative TOBIAS MATTHAY This drawing (given in actual key size) Gruenberg, tell.” game-like method of using Private lessons, class lessons in Fundamentals note piano keyboard shows the THE ETUDE 1712 Chestnut Street Philadelphia, Pa. Bronislau Kaper, EDNA GUNNAR PETERSON 9. There is an excellent 36 provided counters that aitnnly and David Raksin, Al- Summer-class, Southwest Harbor Me. quickly identify the keyboard. New York City chart. fred Newman, Werner Janssen, Gail Concert Pianist—Artist Teacher •01 Steinway Bldg. ingenious method of Kubik, and George Antheil. I do not 22? So. Harvard Angolos, Calif. 10. There is an altogether Blvd. Los EDWARD E. TREUMANN CLASSIFIED ADS mean to imply that these men write of Music FE. 2597 “counters” for teaching the notes. The World Artiit-Teaeher most of the scores: Concert Pianiit— in the back of on the contrary, THE SAMOILOFF is a guide to teachers Recommended by Emil Von Sauer, Moritz Moszkowxk 11. There YOUR UNWANTED MUSIC exchanged PHILIP OcCOGAN’S "The Violin: ( Continued 361) How some of the old studio standbys like from Page BEL CANTO STUDIOS t OPERA ACADEMY Hofmann. piece for piece, 5<* each; quality matched, to Construct and How to Graduate It." 24 and Joseph each volume. The only place where learn the original 7th Ave Burjjee’s Specialty Shoppe, Delton, Mich. left- of this original and thought-provok- Max Steiner, Herbert Stothart, Vic- you can Studio, Carnegie Hall, Suite 837, 57th St. at Samoiloff THE an- Bel Canto Method which developed such S-43S7 New York City PIANO TUNING AT HOME. ing book. $2. Miss Sadie DeCogan, 341 Orms tor Young, Roy Webb, UNITED TEMPLE CHORUS Tel. Calumbux LEARN and Erich outstanding voices os NELSON EDDY, BIANCA 15 to August 15. sequel St., Providence, R. I. nounces the Competition Summer Master Class—June Every Day” and its Course by Dr. Wm. Braid White. Write Karl Wolfgang Fourth Annual SAROYA, DIMITRI ONOFRI and many others. Now “Music Play for Ind. Korngold are much more Bartenbach, 1001 Wells St., Lafayette, YOUNG WOMAN, College Education, of the Ernest Bloch Award lor the best under the direction of Zepha Samoiloff. frequently in VIOLA are self ex- PIANIST! Play popular hits, standards, Secretarial Experience, with Good Gen- the lists of credits. In on MME. GIOVANNA Days in Music Play” new work for women’s chorus based Write for Catalog. 3IS0 West Sixth St.. Angeles S “Happy with breaks composed by Phil Saltman, eral Knowledge of and Intense Interest in England, William Los Dramatic Soprano Walton, Ralph a text taken to the Old Phone FE 8294 No charge for Audition — m teacher radio pianist. Music, Wishes position as Secretary to a from or related of Singing "Bel Canto expensive “teach- leading Boston and Vaughan -Williams, Teacher planatory. They require no Up-to-date, new ideas monthly. Sample Musician or in Musical Institution. Avail- William Alwyn, Testament. The award is one hundred and Experienced European framed Artist able after August 15th, ELIZABETH SIMPSON and Radio Bulletin — 25 cents. KENMORE MUSIC New York Citv or John Ireland, and Arthur Bliss fifty by Carl Coaching Opera. Concert to understand them. Neighborhood preferred. are dollars and publication Author corrected er’s course” in order COMPANY, 581 Boylston St., Boston 16, Mrs. J. IT. Sheri- of "Basic Pianoforte Technique" Correct voice production, defective singing dan. 76 Wendt Ave., Larchmont, N. the most prominent; in France, Fischer, Inc. The closing date for entries Mass. Y. Teacher of Teachers. Coach of Young Artists. Beginners accepted teacher be every lesson a joy for the PIANO PRACTICING Georges Auric, Arthur Honegger, is November 1, and all details may Pupils Prepared for Concert Work. Class Courses Phone: Trafalgar 7-8230 They make HARMONY, Composition. Orchestration, ANNOYING and New York City Musical Theory. Private or Correspondence OTHERS? Mayo’s Muting Device EaSilv Alexandre secured by writing to the United Temple in lechnique, Pionistic Interpretation, Normal 8 Weft 84th Street Tansman (formerly of Methods pupil. Instruction. Manuscripts revised and cor- Attached or Detached by Anyone without 726, for Piano Teachers. and the Hollywood) in Chorus, the Ernest Bloch Award, Box rected. Music arranged. Frank S. Butler, harming mechanism. State upright, grand ; the U.S.S.R., Proko- 7? McAllister WATERS Hewlett, York. St., Room I, San Francisco; CRYSTAL 32-46 107th St„ Corona, N. Y. or spinet. Send $5.00 for mute, full instruc- fiev and Long Island, New Shostakovich. • 2833 Webster St., Berkeley, Col. — Teacher tions. Money back guarantee. Richard Concert Singer PROMOTE YOUR MUSIC, Extra, Profes- I do not quite Building, 8reothing, Mayo, Piano Technician, Dept. 003, 1120 understand your THE PHILADELPHIA Art Alliance an- Voice Remarkable Books sional copies. Musicopy Service, Box 181, DR. FRANCIS L. YORK Expression, Style. T hese Latona Street, Phila, Pa. Diction, Cincinnati 1, Ohio. 47, question about "musical” Euryd- Advance Piano films. Per- nounces the twenty-third annual Interpretation and the Theory work In preparation for required “BACK POPULAR MUSIC TO 1850.” Bal- YOUR SONG Professionally Harmonized haps the best scores ice for for the degrees of Mus. Bach., and Mus. Screen. Stage, for dramatic pic- Chorus Award for a composition Mas. Radio, 1 and Arranged. Free Publishers’ List. Special Chopin interpretation. lads, Bags, Everything. List 10c . Classics Write tures during women’s hundred Concert, Opera. Published in Two Ways for Details. H. Saffran, 512 Urban Ave., the past ten to twelve voices. The prize is one New York City Axe Exchanged For Old Popular. Fore’s, E-3151 DETROIT CONSERVATORY OF MUSIC 405 E. 54 St. Glenoiden, Pa. dollars. 1> High, Denver 5, Colorado. years are these: The closing date is October Detroit MIrh Tel. Vo-5-1342 1947 and full secured bv FOR SALE: Violin, by owner. Beautiful VIOLINS WANTED—any condition, low ; details may be Volume Complete at $1.25 each Joannes Baptista Guadagnini. Turin 1772 priced, for students. Describe fully. Subur- writing to The Eurydice Chorus Award Each raw) , spitfire with Hill Certificate. Glorious tone. Sacri- ban Music Studios, Stuyvesant Ave., Irv- (Walton, 1943) • Thin Committee. Miss Katharine Wolff, chair- fice or will trade. Pictures and full in- ington, N. J. to Come (Bliss, 1936) in Four Parts at 40< each ; Desert’ Each Volume formation on request. Write Theodore Victc man, % The Philadelphia Art Alliance, MELLOW HELL-TONE VIOLINS: (Alwyn, 1943). ideal for class use) Marchetti, 472 E. 5th Ave., Columbus, a - in parts are Praised and recommended by 251 South 18th Street, Philadelphia 3, P (The editions Ohio. Francis Mac- Russian—Alexander Millen, eminent violinist. Reasonable. Bas- Nevsky (Pi SHEET MUSIC, Ten cents each. Classical, These Books, Which Have Delighted com Hale, 2110 Thomas Place, Ft. Worth kofiev, 1938). THE THIRD INTERNATIONAL Com- Any Active Teacher May Have operatic, teaching, standard and popular. 7, Texas. American-The petition of Musical Performers in Geneva, Inspection at “On Sale.” Big list and other good things free. Best Years of of Teachers and Pupils, For Home Walden, Music Publisher, 130 West 66th VIOLINS Revoiced, and PATMOR TONE- C Switzerland, September Thousands Lives (Friedhofer, 1946) will be held from St., New York City 23. POST fitted, $25.00: Tonepost (only) fitted, ; The Killi (Rozsa 22 to October 5. Young artists between $10.00. Guaranteed. Patmor, Zion 111. 1946); The HOOKS, Bought and sold, on , Stranger ORGANS, (Kap the ages of may com- ORGAN MUSIC and ORGANISTS. James C. 1946), Suspense fifteen and thirty FOR SALE: Violin with certificate (Amfiteatrov, 1946 piano, Andrews, Box 565 Sta. A, Champaign, 111. pete in these classifications: singing, Rudolph Wurlitzer stating made about Hangover Square (Herrmann, 1 1945 violin, closing SHEET MUSIC—3 St . Three, $1.00 Cur- 1 840, Mirecourt, France "after model clarinet, and trumpet. The of The Lost Weekend rency. Ambraw Serenade—In Memoriam Antonius Stradivarius." Can furnish Wur- (Rozsa, • date be 1945 ) t is August 1. All details may phila. pa Neath Hawaiian Skies Adult — Profes- litzer’s measurements and description. H. Mask of Presser Co., 1712 chestnut st„ 1. — Dimitrios (Deutsch, secured the Inter- Theodore sional — Tailormade. Frank Cottingham, L. Castle, 706 Coral Way, Coral Gables, 1944 from the Secretariat of Objective er" IMPORTERS 532 Ityerson, Elgin, Illinois. Florida. Burma (Waxman national Competition for Musical P MUSIC PUBLISHERS, DEALERS AND Address 1944 Unknown (Toch, formers, Conservatory of Music, Geneva, 1944 ) Do LARGEST STOCK OF MUSIC OF ALL PUBLISHERS Switzerland. WORLD'S 420 MUSIC STUDY EXALTS LIFE” THE ETUDE

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