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

3-1-1949 Volume 67, Number 03 (March 1949) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 67, Number 03 (March 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/164

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Theodore Presser Co., Distributors Radio Music Library Vfo Scribner 133 Pa. 1712 Chestnut Street, Philadelphia 1, MARCH, 1949 . .

America has had an amazmg of America. Since its beginnings, the soil years we have had such FOR MARCH, 1949 magnificent idealists. In recent THE COVER procession of Bi others, for instance, the Mayo The Baton Falls nomhle self-sacrificing figures as, Washington Carver, Jane Addams, Theo- darkened hall Thomas Alva Edison George the depths of the Hoover, Booker T Wash- Far in Ro^evelt Woodrow Wilson, Herbert magic wand of sound appeals. Lre cuuen), Russell The Einstein (twelve years an lAmertean ETUDE masters hands now gently fall, The Ideals Martha Berry, and scores of others. floods our ears. Code of Gonwell ate in music to many And lovely A ideals. Great ideals have come has little to do with FOR —Anonymous Aee individual Note the the entire outlook of the life and have changed The ethereal hands After a lifetime m the military Monthly idealistic subjects deals of General Dwight D. Eisenhower. Published as be called one of the most university APRIL i, I a. of a conductor, ROBABLY music may the presidency of a great Co.. Philadelphia instiluuons. Ideal, have sSvceofourcountryfhe was offered Theodore Presser in the dark- oi modern educational and vast managerial By seen m .hc 'mria lor and cultural opportunities viaritaWj editorial policy rhat u ts ifficul rich educTonll April will bring o pit of a great P so much in our Sh pressure trought upon Etude for ened always meant year more Alcott s lathe , During the past which will delight the comment of Louisa May ramifications. toi tne shower of features staff , were us to refrain from stressing parties to accept the nomination and advisory B. Alcott, when he said. General “Ike” by both major all ages. EDITORIAL transcendentalism Amos history. He Etude readers of Editor-in-chief the inspiration for the meat New England any man m out FRANCIS COOKE, hard working of the United States than upon DR. JAMES selves." We have known many presidency should be engraving cover • om- better military man Assistant Editor die Our idealsTre he did not believe a Guy McCoy, the best had definitely stated why struggled along with his idea . TEEN-AGERS THINK Editor of the March Etude. musicians who have word of honor and abandon WHAT Rob Roy Peery, Music um 1! a « l could not break his Dr. because their lives have not bccn President. He of te , youth GREAT MUSIC Batons came into but have ultimately failed of integrity to an ideal for the ABOUT Dr. Nicholas Douty west once said. If the thus became an example Harold Berkley president in the He ' Maurice Dumesml Eisf~ Page with the Sis- bv ideals A leading college than all 1m Ruth Evans Buhman George C. Krtck shsKr*N. Clifford being training but This L. even move composer, a Fort and mental worldlor aUGme. ”^3 noted 1 dir with knowledge ot Deems Taylor, Pietro Deiro Ppter Hueh when some leader student who leaves our doors Commanding Officer ot the Armies William D. Revellt tine Choir at Rome, antomobtle b|rfy in Europe as Supreme and radio commenta- is like a magnificent ments P music critic, parchment music powered with ideals, he time, raised him to a new pinnacle. wholly rolled up a sheet of not of Sir William in the greatest war of all been a the hood.” The towering mind Freedom College a tor, has _ PRESSER- under at Stephens THEODORE with it. At first the baton with no engine by your Editor in con- 1 ss 3 BY and beat time S his thougl time ago, after an address series of broadcasts FOUNDED physicians in history, summed up Some Stephens unique the conductor Osier, one o £ the greatest Rainey, the President of afternoon was called a "sol-fa and Columbia Missouri, Dr. Homer Price nection with the Sunday words: as supervising harpsichord. Mendelssohn, it on ideals with these way, Dr. Guy Maier has acted Philharmonic concerts. sat at the College (where, by the New York conduct of the Ten Ideals of a high was the first conductor to for some years) gave us a set gifted students from for March, 1949 is said, to have made an effort, mu si oil adviser Musically Contents “To have striven, every college m America has a sum la land have par- standing. ideals this Stephens College Girl.” Almost schools all over the to have been true to certain lamin’ starting in CENTS dynamic illustration featured one ideals (not merely “book ) have had their say. LXVII, No. 3 • PRICE 30 This struggle. set of Ideals. With such ticipated and VOLUME is worth the a > > lll Radio advertisements a alone to our high schools, Hieafetyd T are captivating, and you of the Sparton our colleges and reaching down The results land could unquestionably be fai bctie forward to this activating EDITORIAL number of year s ago. the determining forces in our progress, and happiness of our can look 135 Where does one get ideals? What are Ideals mind at d article with great interest. A Code of success, happiness, and peace of assured. lives which lead some to PRIVATE MUSIC TEACHERS Surely, we are not born to face an Girl: others to misery, failure, and disaster? Ten Ideals of a Stephens College American Singers 1 f rce* The Door to Grand Opera for Young 138 k0 9 it impossible toI™®™ GRAND OPERA mcolll^lonfmsky V 9 WlTond uncontrollabl/destiny which makes ? ability to see loveliness in THE DOOR TO Etude Musical Miscellany .... 139 RECORD Q nd" *ch e ep 1'e is no Beautiful. An a copy practical and literal. T here “i Appreciation of the Fisher (Memor^l Tribute) M Good for 12 months. Only 75f us down! Let us be art, music, William Arms 141 accurate. would drag of [[ James Francis Cooke that as in the recognized beauty have been (Part Nine) for your copy to are confronted w t surroundings as well Nine thousand singers Theodore Presser nr Maurice Dumesnil 142 postpaid. Send that millions in the world now ordinary others. • • the fact for beauty The Teacher's Round Table escaning the dance, and to inspire love m Maestro Wil- VictorvlcwT I. Seroff 143 HRUBY LESSON RECORD CO. bad that only by giant literature, drama, and heard personally by Music Festivals Regenerate ? social conditions so extremely cheerful, Will 12, Ohio economic and maintenance of a buoyantly order to select pos- 13521 Euclid Ave., Cleveland of fate and rise to higher 2 Cheerfulness. Consistent frid Pelletier in are they able to throw off the shackles MUSIC IN THE HOME effort life and a co, dial candidates for "Metropolitan tremendously difficult for these people t ;„Sr„u..ook on sible Radio Programs At Their Height levels of life accomplishment. It is „; Winter's End Metedith Cadman 145 bet- Auditions of the Air," spon- Bookshelf is not a hope for personal Opera Etude Music Lovers understand what an ideal is. An ideal to of by the Farnsworth-Capehart forget self and work for the good sored MUSIC AND STUDY Enjoy terment. It is a strong desire to conductor in Dr. Guy Mai er 14G in Corporation. No other It is a great stimulating .and The Pianist’s Page Andor Foldes 147 a others at the sacrifice of self. ?P™?P™ had such a vast Revisited seeming nniac c. musical history has Musical Europe Burlingame Hill 148 ennobled the great of the world to work in the Gay Nineties (Part Three) .Edward cipfe which has April Etude he Musical Boston Leonard Warren 149 Summer virtuoso organ- experience. In the Confidence clergyman, philosopher, physician, How to Build Theodore M. Finney 150 Dr Albert Schweitzer, remarkable story be- National Association .Dr. idealists. He could continues the Music Teachers McCurdy 151 in of one of the world’s great Choirmasters .Dr. Alexander ist is an historic example this issue, and Organists and Larkin 152 for his amazing gun on Page 136 of Concert Band Curtis H. or America, lauded on all sides The Scientific Radio Cooper 153 have remained in Europe just what must be (Part One) Hugh and a tells the reader Clinic Series Lamb 154 was to lend himself as a physician . . .Elizabeth Searle SPRINGS but his ideal Harp Goes to Public School achievements, to secure an audition which The Harold Berkley 155 Africa, and there he is today, a done More About Fiorillo help the tribes in darkest Gehrkens 156 . . and missionary to . . .Dr. Karl W. lead to fame and fortune. and Answers great continent and an may Questions Henry Levine 157 of idealism and Christianity in that A Sense of Security in Piano Playing Scholastic Advancement beacon ... E. Robert Schmitz 158 Ideals are bred far more in Technic Must Release Music! exemplification of the divine spirit in man. FOREMOST at than in abundance and prosperity. In the ENGLAND'S MUSIC poverty and in privation in any other field, notable leadeis in COMPOSER Contemporary Selections world of music, possibly more than Classic anti Colorado College are Herbert Ralph Ward 159 families of extremely humble means. There y ( prp,wr *27984) have come from England's 13 160 the art Ralph Vaughan Williams, Pathetique" (Presser 7334).... L. Van Beethoven, Op who were born m ihe .Rondo, from “Sonata SUMMER few great names in the tone art of musicians in April (Presser *27995) very master, tells Star,; — greatest living Water MB is one of the few masters sur- Hungarian fantasy ©itson) .^..,..... SESSION lap of luxury. The case of Mendelssohn Holds the Hopes of y e™on Lane 16g why "America wealth. O.Scheldrup Oberg 169 rounded in his youth by . , , • . the Musical World”. Lingering Memories (Presser 28008) 27 girls, (From "More Concert Transcriptions of June music, which operates to raise boys and I am Praying for You (Presser) What is’ it then, about Ira D. Sankey—Clarence Kohlmann 170 prosperity, and high Favorite Hvmns” ) to born in the slums, to great fame, . . . 172 duet—Excerpt) . many of them Hungarian Dance No. 4 (Ditson) (Piano become millionaires had THE WORLD'S MOST position? Some of the musicians who have Compositions August 20 Music, there- REMARKABLE COLLECTION Vocal and Instrumental farthings to rub together in their childhood. song-medium voice^ scarcely two ORCHESTRAL MUSIC Dreams of Yesterday (Ditson) (Secular 1949 opportunities to youth in all classes of society. OF ^ ^ fore offers tremendous (Organ) William A. Wolf 176 ideals. These are often inspired by March of Spring (Presser *27959) feel that basically the answer is— the famous Edwin A. Frederic A. Franklin 178 teachers for compo- We Facts about The Bob-o-Link (Presser 18357) (Violin) Internationally famous aitist because of this, that we have had . And it is violin, voila, violincello, voice . . ideals of a loving parent. Fleisher musical library of Philadel- sition, piano, the Young Players practical music courses for under- advantages of music of the Delightful Pieces for theoretical and life conviction that one of the great which is one of the significant credit. a deep phia, • and graduate A Sunny Morning (Presser 27290) graduate loftier ideals. This it is which has fnecl Fou:ise E Stairs 180 finer kind is that of promoting pillars of musical life in America, Raindrops on the Roof (Presser 27969) PAUL HINDEMITH Michael Aaron 180 enthusiasm for our work in striving to Trail (Presser *27596) years with uncontrollable will be presented for the first time Donkey Master classes, performances us for Dutch Dance (Presser 28009) for the development of these Little Miln TtevlTs 182 a practical, conative agency in the April Etude. RESIDENT STRING QUARTET make ETUDE ( Available for Instruction) ld 192 great and WORLD OF MUSIC Music) ideal is a mental concept of some Louis Persinger, violin, (Juiiliard School of What is an ideal? iAn AUDIENCES Elizabeth A. Gest 200 violin, objective; something to TOMORROW'S JUNIOR ETUDE Frank Castanzo, soul picture of some splendid Symphony Orchestra) noble purpose—a (Philadelphia of money, fame and of Music) merely for the attainment Hazel Griggs tells in highly original MISCELLANEOUS Luigi Silva, , (Eastman School be accomplished, not Symphony) important men Stephens .Dr. Alvin C. White 140 Ferenc Molnar, viola, (San Francisco our fellowmen. All of the Dr. Guy Maier At fashion how she trains little ones to The World’s Favorite Hymn success, but for the good of Dr. Nicholas Douty 185 conducted by Voice Questions Answered. String Sinfonia in other callings have bee Phillips 187 have known in music and to ETUDE readers for over a finer audiences of tomorrow. , . .Frederick and women we well known make Organ Questions Answered. Edgar Schenkman Dr Maier, whose name has been so Harold Berkley 189 high ideals. Questions Answered fundamentally individuals of great and .. teachers in America. In addition to his Violin Chorus, Public School Music decade, is one of the busiest artists and motivated by ideals. Our eai best set- Cali- Scholarships Available in Music and Dance America has always been a land studio work at his home tn Santa Monica rS84 at the P. 0 at Phila., Pa., recitals, his master classes, his Etude is back on schedule and the Entered as second class matter January 16. COMPLETE SCHEDULE OF ACADEMIC SUBJECTS idealists. True, some of their Copyright 1949, by Theodore Presser Co., in large proportion religious readers, he acts in an advisory under the Act of . 1879. COLORADO COLLEGE SCHOOL OF LANGUAGES tlers were fornia and his significant service to ETUDE dates of publication, to our ot Lign , delayed for U. S. A. and Great Britain. the outstanding exception of the Children the work CONTEMPORARY DANCE descendants (with Stephens College, which he visits monthly, supervising of delight, have gone the way of other HANYA HOLM Quakers when he founded the Society of capacity to as George Fox called the pictured is Patricia Alice Vaughan a graduate of Possessions; also in the Philippines, Costa Rica Cuba advanced students. The student war nuisances. Henceforth, Etude $5 00 a year in U. S. A. and zeal of their forefathers. At the Dominican Republic, Guatemala, Haiti, Mexico, Nicaragua, Panama, Republic of Friends) have fallen short of the religious this editorial The Ten ideals For further informafien, address Stephens College. Note in on time. countries except the Guianas. the 1947 Class at comes out Honduras. Salvador. and all South American Revolution the land was bursting with ideals and all other countries. Director of Summer Session time of the American $3.25 a year in and Newfoundland. $4.00 a year in issued by ihe college. cents. has ever known have sprung from Single copy. Price 30 Colorado College, Colorado Springs, Colorado some of the greatest idealists the world 133 MARCH, 1949 134 ETUDE masters: Isidor Philipp for - following Sunday for another great looked forward to the Samuel Rousseau for sol- days ol no radio, ano, Marcel spree of music. Of course, in those Charles feggio and harmony, and and few talking machines, the whole neigh- no movies, Marie Widor for composition. came around to listen. 1 his went on lot borhood to New York on July 4, atmosphere I was born. Returning years and into this kind of equipped, 1917, and feeling myself well of course, was there at each rehearsal Mv grandfather, to manager, only Si ngers French fashion, and my I went from manager American to give his blessing after the opportunities were pain- Young succeeded him. -My Uncle to find that Opera for father, being the eldest son, one knows what depres- Grand to be assigned fully rare. No Door to Joseph was a priest, the first white man through The until he has gone sion means Director mining district to the north. When he Its Brilliant to Cobalt, the experience. Yet, as many lead- as Told by very poor parish where such an Auditions of the Air,” returned, he was put into a desperation of Story of “The drunkards. One ot ers have found, the The Absorbing there were a great many habitual the being without work is sometimes directly to the discussion he did was to form a band, and in rather proceed the first things force which drives one on WOULD you insist drink situation impelling of the Air, but ,f that way he was able to control the Hoover the Auditions to success. When ex-President S 1 shall be had never had Pelletier about my beginnings, by giving the men amusement they despair of a Wilfrid I upon knowing said, “I have known the the band “The Fanfare of Tem- Association before. He called for a job,” he touched not to fruitless search Conductor, of a family of perance,” and made each player sign a pledge places the hearts of many men in high day. The men signed the take more than one drink a who had gone from door to door seek- and kept faith with them, except that some edict pledges ing work. by Jay M save up their drinks during the week of them would After walking for days up and down S These with various drinks on Saturday night. This ancf oU'Istcn and take seven big the lovely Marie Sundelius Part I nvei!;,e brothers”Drome Broadway, > Lundy life in kept on with the band, aggregation. discouraged Uncle, but he her accompanist, and I the engaged me as knit, and the family and bigger. Finally he changed is very closdy which grew bigger Then I had the French' Canada*^ procured was on “easy street.” lea large ext; n for scKjal “L’Alliance Musicale.” The band Polish a happy sense ofhumoi.By upon itself, to a name to good fortune to play for the warm heart and depends ; grew undertakings of the present " and the desire to become a member paid Of all the musical international e er e ce e uniforms, singer, Mme. Ganna Walska, who 01 son of his long *P } V, about the official band America, none is more exciting Inr addi-n^j States do not know more stronger and stronger. It then became The French in , in his field United most generously. century acquired top-most efficiency dents of the Fusiliers) me Auditions the Air, brothers. 1 luy me a scry hard- the Sixty-Fifth Regiment (Twenty-Second Gatti- extraordinary than “The of at the MetropoU tan their French-Canadian of conductor, Monteux, induced to conducting regularly people, who record in both wars. and by the genius of tion vigorous, sincere, devout and had a very fine military as his assistant possible by the radio walk of l e working, robust, Casazza to engage me made conducting the equally difficult they de- - and quickness; and when I conductor of French-Canadian the possess a native Latin for the Metropolitan Opera, and an American the An, he is the Director of great enthusiasts Pelletier from a mu- Auditions of themselves to art they become Conductor at Five started in playing accompaniments lor birth. The rise of Wilfrid National de Musique et d Ait Dra- vote to Conservatoire rise to splendid heights. was of course who came for auditions Montreal, in the Province of Quebec, Montreal, and often The music that our home band played the singers sician in la Provence, de Quebec, m roles for per- Ins matique de it was the only music I heard, and for those preparing rank with the foremost operatic figures of Symphom- none too ambitious, but the Conductor of the Concerts babyhood with American and church. Brought up from formance. . been one of the dramas of a new Music a Family Hobby save that at period, has where he is developing in mu- of conducting auditions pre- ques de Montreal, and such surroundings, I was literally drowned The manner history which has never been fully appeal to seemed to be the hobby ol my family, and musical musical education with special Music than a little tot they put for operatic aspirants was so crude . i held in at our sic.” When I was no more public. The results of The u uncles and aunts assembled for sented to our extraction, a nationall y every Sunday my hands. I learned disheartening that my sympathy a Canadians of French plav< many differ- some of the trap instruments into my so have already given the wor d house early in the day. The men d immediately tions of the Air” so many fine talents. 1 he and the triangle, and as soon as I the young singers was rank, whose which has produced enough to make quite .Kind, with to play the drums Photo by James Abresch new stars of first artistic have been ent instruments, promoted to The auditions were held in galaxy of services of Maestro Pelletier players Irom the was strong enough to hold them, I was aroused. and developed valuable the seven brothers and three other and the Maestro income since they were discovered Company as its That was a great musical triumph an empty, dark auditorium by The Theodore Presser artisans, plumbers, carpenters, the brass cymbals. mailt. secured outside. They were all in behind the proscenium passed the million dollar Maestro I was five, they put a baton huge structure has musical adviser. It is best to let" bakers, and so on. The gatherings for me. Then, when one the most chief cabinet makers, The illuminated with one electric bulb of the sing- Maestro Wilfrid Pelletier, now of Ins mu- like hands and told me to conduct the band. was moods of the players, the moods his own fascinating story of small way represented a musical community my out of repair. me. The operatic conductors, Pelletier tell in a since then. before a miserable upright piano, often ever-changing audiences distinguished the world’s on to They never baton has literally never left my hands ers, and the moods of the of upbringing in Canada, before passing the old Meistersingers of Nuremberg. came out and looked into altogether different sical at the age of seven, was Miss The frightened aspirants each time the curtain rises. had a career which is “Auditions music. They played all day My first piano teacher, forms. present a new challenge has significant accomplishments of llie seemed to get enough there were a few ghost like house. conductors. He is the Canadian lady whose married name the gloom, in which opera is like building a new that any of the othir wide- never tired. The women folks prepared Ida Campbell, a voice Putting on a new from of article cannot fail to have Sunday and sung, there was a sepulchral al- humility, of the Air.” This was a pupil of Louis Moreau Gott- After one had temperamental the artists, there is broad vision, great natural and when the happy day was done, we all was Heraly. She the singer No matter how a man of —Editor s Note. the meals, was “That is all, thank you,” and ideals, combined with a spread interest. schalk and a very able teacher. Her discipline which said, wavs a way of enlisting their interest, their engaging charm and sincerity , I always wondered it there sympathetic understanding was unfor- left with a heart of lead. enthusiasm, which after all, is the great strict, but her than that. and their drilling in better way of holding auditions gettable. She gave me a very thorough were not a secret fine conducting. week, and 1 of of at first was forty dollars a know and this was the foundation my My salary years it has been my great joy to sight-reading, T have For some Then glad to get this regular employment. the ability to tackle any kind of score with delight. was very , whom I regard as since, although 1 Maestro Laliberte, a been with the Metropolitan ever greatest of orches- I came under the instruction of Alfred greatest of operatic, as well as the outside engagements as guest con- had been a pupil of Alexandre have had numerous that, entirely apart from French-Canadian who sea- tral conductors. More than Russian the Ravinia Opera in (nine had a great fondness for the ductor of is a very great-hearted human being. A Scriabin. He (ten years), and his music, he Glazunoff. sons), at the San Francisco Opera artists masters, Glinka, Moussorgsky, Tchaikovsky, strict disciplinarian, he nevertheless fires his San Francisco, , Cin- others. We played their works arranged with the Chicago, mystic force through his own tre- Medtner, and well as at the with a kind of revelation. cinnati, and Orchestras, as for two pianos, and the experience was a mendous artistic sincerity and enthusiasm. Svmphoniques in Montreal, of which I ha\e came to call me the best sight-reader in Mon- Concerts Metropolitan Opera Auditions of the Air was They 193'4. operatic home, how- The engaged in the theater and played been Conductor since My popular Sunday treal, and I was York. an evolution. It originated in the appearance ever, has been the Metropolitan in New trios at the hotel. My first professional concerts given at the Opera during the Thirties. to to study com- night for Emilio de Gogorza, a bari- In 199 2 I made a trip back labors of was as an accompanist It is the result of the combined study and Maitre Henri Paul Busser, pupil of Cuban ancestry who was born in Brooklyn. position with artistic and commercial, of tone of Busser was Professor a large corps of people, a most finished artist, and Gounod, Widor, and Franck. M. Assist- New York. De Gogorza was which I am only one. In 1935 Earl Lewis, then the Paris Conservatoire, organist secrets of interpretation from him, of Composition at Warwick of the I learned many Opera, ant Manager at the “Met,” and Jack the and later conductor of the Grand particularly the art of divining the thought, in at St Cloud, Advertising Co., heard the pro- every respect. Warwick & Lagler the first note a remarkable teacher in case of a song, that the song begins with and was music I had been conducting Metropolitan I have grams of American is not finished Through my years with the of the introduction on the piano and which introduced many young men and women sing- song great privilege of association with such mas- is struck. In other words, the had the this was developed until the last note Ilassel- ers to the public, and from a plan as Bodansky, "Wolff, Serafin, than a duet between the singer and ter conductors of series of contests on is a unit, rather others. Later which led to the creation a utters has a mean- mans Panizza, Gennaro Papi, and many the pianist. Every word the singer national scale, which has turned into a great portal of Bruno Walter, George Szell, a accompanist must catch that meaning as 1 became the colleague ing, and the special debt to to the opera. and Sir Thomas Beecham. I owe a a part of the artistic whole. indicated previously, I had accompanied all the the first opportunity to As a fifty-cent seat Maestro Papi for giving me since 1910 I heard my first opera from in the regular auditions at the Opera In upon a tour of the Scotti Opera singers Montreal Opera House. It conduct opera. It was that time in the top gallery of the tluT first day of my engagement in 1917. At 1 was still a very young man. Papi “Mignon.” I was so en- Company in 1919. dismal discouraging to was Ambroise Thomas’ persuaded Scotti, "tryouts” were frightfully and ambition developed bursitis in his arm, and tranced that from that time on it was my the aspirants. A great opera house is really two build- objections, to let me conduct “ sixteen I was engaged after many sits, and to be an opera conductor. At ings—the auditorium in which the audience one of my favorite operas. Scotti thought management as pianist, and remained which was soaring, stage loft behind the pro- by the opera experience, but Papi over- the equally large, I had not had sufficient Imagine two huge buildings lit only by an two seasons. , well, so scenium. , , and the performance went Quebec established a musical came his fears, of a dilapidated piano. Till The Province of career that had ever been electric bulb in front fortunately I was launched upon a scholarship for foreign study in Paris, and young singer, naturally nervous, was supposed to fill life dream. years of age. The my , , c wonder I this scholarship a£ seventeen this huge gloomy cave with glorious music. No won present I have conducted hundreds ot one. I did not Up to the experience was an altogether thrilling nearly all of them were scared out of their wits. The performances and fifty-seven different opera scores. I Opera Concert Gala of American Music Conservatoire at Paris, as I wished to study of half a dozen members of the Metropolitan attend the more exciting or delightful life. audience consisted as I could, the cannot imagine a be- intensively and fill out, insofar staff, hardly discernible in the black hole more performance, is a new and thrilling Opera at the Metropolitan Opera House to promote music in the American idiom, is I was very Every opera, every This concert, given , 1932. by Maestro Pelletier weak spots in my previous training. to yond the orchestra pit. This (Continued on Page 195) experience. Never once have they been perfunctoy Pelletier is on the podium. The artists, from left to right, are: Edward Johnson, the instruction of the three a remarkable assembly of American talent. Maestro fortunate to come under Shilkret, Gladys Swarthout, Lawrence Tibbett, and Arthur Anderson. 137 Frederick Jagel, Grace Moore, Queena Mario, Nathaniel MARCH, 1949 ETUDE 136 received the manuscript of a A music publisher I Live? He returned it to , ,wi “Whv Do r^noser with the following letter: “Sir, the an- contained in the title of your song swer o the query by messenger boy. ^ because you sent it William Arms Fisher

Miscellany epicure among mu .cans. the greatest December 18, 1948) Etude Musical Rossini was (April 27, 1861— art In one of h.s letters, He regarded eating as a fine ideas on the subject with disarming he expressed his Church, Boston, Massachusetts by Nicolas Slonimsky at the Arlington Street I know of no more de- Memorial Service ““Next to doing nothing, than that of eating, by winch I. lightful occupation lose is mean eating properly. What for the Cooke’s memorial tribute follows: of course, service for the Dr wrote, after a performance -stomach. 1 he stomach is the twilight memorial time. wonder a critic eating is for the N impressive rated as the most seri- No knew heart A held at Boston s all feel that it has Quartet playing is conductor s right hand great orchestra of our pas- Arms Fisher was I am sure that we TRING of this piece, that tire conductor who leads the A late William My friends, chamber music. The players seldom beautiful Arlington Street days lapse since the Pa«t g ous type of left hand was doing! stomach represents to my mind the distinguished and been best to let these performing not what his sions- an empty provrded tributeMo S look as though they were music for the p< 1949. The music was meeting together in smile and Ives has not written any new grunting out discontent, or squeak- Church on January 4, William Arms before never have bassoon or piccolo, Heald, s friends And string quartets he isbegin organist, and Henry crushing hours one a solemn ceremony. but it is only now that stomach, on the contrary, is the Woodworth, memory. In the first Gertrude Stein a twenty-five years, ing forth envy; a full by John his thinking subtitles. To paraphrase accomplishments of following program. are so stunned that even any fancy ning to receive honors for Ins pleasure and the kettle-drum of |oy. As baritone, in the and loved ones quartet is a string quartet. triangle of begin to quartet is a string' tha in . But we gradually string And so it happened the firtma donna, loss is impossible. . string poem, o many years ago. I hold it to be preeminently the line doesn’t some composer write a written foity for love, and beautiful life of Why a Pulitzer prize for a symphony brain her cavatina ^which in- PRELUDES- realize that after a long be an improvement over received the diva singing in our ORGAN and beauty a string rhapsody? It would on! calling in which ideals years before! Time marches the heart. I o eat and Chorale achievement in a Quartet No. 1. String the ear and entrances whic monotonous titles: String ’ * * toxicates adore Thee hour of triumph the * are the four acts o the Now let every tongue are paramount, death is an on. to sing and digest, such Karg-Elert pride No. 2, and so , L«atro love, tears but with Quartet opera-goers are superstitious. The like the foam Improvisation not be solemnized with enough to get hold of Italian called life, which vanishes Choral should momentous 'Musicians who are lucky abolish the seat No. 13 opera buffo ordains is right Remember those Regio in Turin decided to Anyone who allows it Whate’er my God and joy and exultation. that unique American composer, from a bottle of champagne. Handel string quartets by and change the number to 1- bis. Concerto for Strings Walt Whitman; in refraining from ir> the orchestra without enjoying it is an utter idiot. Air from words o£ Charles Ives, will have difficulty # * * to evaporate in Andante Cantabile I reading the composer’s indications Pleased to my soul at death smiles when # • * * • “Joy, shipmate, joy! quite a jolt Chorale , , , long, The second fiddler will get Lord closed, our liie begins. The the score. tongue can tell Thy glory, cry. Our life is part: “Join in again, Professor, What ship is clear at when he reads in his from subordinate clause-, and com- long anchorage we leave. The “Beat time Rollo There was a young man What happens when Choral Prelude from the shore. all in the key of Cl” Or later on, she swiftly courses is demonstrated by advertisements bursts into bloom last? she leaps; Charles Ives is a typically mas run amuck, A Rose With all his eccentricities, Sale columns ^ shipmate, Joy!’ his appeared in the Wanted and For Joy, American phenomenon. He lived practically all that Arioso musical magazine in 1900: grieve for him who Danbury, Connecticut, and his first of a SOLOS: Fisher a friend passes we cannot life in Sleep William A rms When in military band con- Who had a peculiar Sleep,Si eep Darling,da because of our loss, lor the impressions were received in a Russell E Sanborn has left us We grieve Piano wanted, for a ypung lady, a beginner to us by h.s absence ducted by his father. Dana McLam C,=l,v explicable loneliness brought legs. : 1U,. felt this deeply is unlike anything on with carved INVOCATION lives. Christina Rossetu Although the music of Ives ' from our from a N GOD ST,“ ISB manner: manuscript paper, his life reads like a page Francis when she wrote after this Businessmen.” After Piano for sale—the property of a lady leaving TE S Jam* “Who’s Who Among Successful ?Su William Arms Fisher insurance remarkably elegant walnut case. Rest, Pilgrim, Rest not weep: Our being graduated from Yale, he joined an England in a SOLO: Greeley not, O friend, we should no Rev. Dana McLain “Weep rankles music for him- \YER- full of rest, no sorrow company, which prospered. Ives wrote • • • • Dvordk-Fisher friend of friends lies * below. performed or Coin’ Home . . he sleeps self not caring much whether it was SOLO: breast. Fallen fast asleep arrangement by William Arms Fisher in his ever wrote carried an American Words and laughs above today, as lie wal not. Every piece Ives The great Anton Rubinstein, even at the peak of He wakes and with four move- BENEDICTION: , follow so. story with it. The “Concord Sonata,” At his Muiet walk in love tomorrow', his career, was always nervous before a concert. POSTLUDE: In Paradisum let us entitled: Emerson, Hawthorne, The Alcotts, ORGAN Ewing ments recital in , a music lover accosted him in front Photo by Harris & ever writ- : -j death as is the most difficult composition brought up to look upon Thoreau, of the hall with a desperate plea for an otherwise Those who were the pi- deeply. Not ten for piano. In the Hawthorne movement, ogre always suffer Fisher unobtainable ticket. a kind of haunting William Arms a ruler to press down the keys feared death When only anist is supposed to use disposal.” said Rubin- since my childhood have I “I have only one seat at my hrst illustrate Hawthorne’s Celestial Railroad. Only one Of an egg that was horribly companions passed on. At to to it.” little lad one of my in the best in Ameri- stein, “but you are most welcome a tasks he undertook and his belief pianist so far has mastered the entire Sonata, and But a great clergyman, Henry times,” exclaimed the music I was inconsolable. distinguished. Kiikpatrick, and “Thanks a thousand and ex- can art, were always . has memorized it. His name is John preached the funeral sermon scholarship, is Ward Beecher, devotion to higher lover. “Where the seat?” that death Next we think of his he has also recorded it for Columbia. tearful children present and lus is replied Rubinstein. plained to the research; his precision to “The seat at the piano,” release. He his love of painstaking Other compositions by Charles Ives also refer horrible tiling but a beautiful contribution Fie explained his astonishing was not a responsible for an enormous There are Three Places in New * * • • * and measured words that taste were American subjects. told the little ones in quiet His was the privilege o and songs with such could no longe to American musical art. England, and Fourth of July, when one has suffered pain so that it younger American com- Walt Whit- a concert- descends kisses helping to develop many titles as The Housatonic at Stockbridge, It is a rare compliment to an artist when the Angel of the Lord monu- be endured, the honor to produce many William Booth. Enters Heaven. At goer considers the price of the ticket too low for the carries hts soul away. posers: His was man, and General the eyelids of the sufferer, and “Musicians Library one That he used the malodorous ladi- little works, including the his own expense he published a collection of pleasure received. When the eccentric pianist, \ of heavenly rest that a mental It was a moving vision of the greatest achievements songs, and distributed it gratis Penn- that anyon widely considered one hundred and fourteen mir de Pachmann, played a concert at Reading, understand. I don’t believe gifts as a child could publishing. Apart from his major comer. He explained that the book was sylvania, a member of the audience stopped at the in music to any heard his words ever forgot them write moving verses fraternity, who who composer, it was his fate to “thrown, so to sp6ak, at the music box office as he left the hall, and handed in a one- deeply convinced that he was music William Arms was he set to a Lai go by free to dodge it on its way— ”1 must song, “Goin’ Home,” which for this reason will feel As a missile to silence a dollar bill. “What’s this for?” asked the cashier. life. I am sure that he for a going home to a new Antonin Dvorak. So popular has perhaps to the waste basket.” Now' it is a collector s got more than my money’s worth,” replied the cus- the grave of Mark his great teacher, have known ot the epitaph upon splendid Czech masters a handsome price on the this poignant fragment of .the item, and would fetch tomer, “and I want to pay the difference.” have Twain: “New World Symphony” become, that many black market. folk song * * * * * that “Goin’ Home” is an American Ives said once: “A month in a Kansas wheat field pathway between the friendships thought From a jokester’s old overworked “Death, the starlit and that Dvorak borrowed this three years in Rome.” And he frankly of tomorrow. of the spiritual type is better than of yesterday and the reunions original with the or any A story is told about a cornet player named Plemen- which of course, was really has little interest for European modern music, theme, * # " * way, of Framingham, Massachusetts, that while filling music for that matter. He was steeped in screen between modern a saw liie as a kind of nebulous where lie quotes the Manchester, England, in 1893. A an engagement in a neighboring town, he executed Shelley Arms was born in San Francisco, the classics, and in many of his works he It happened in He wrote: William series of brilliant “Where this world and another counterpoint with John opening bars of Beethoven’s Fifth visiting opera company was scheduled to give a per- variations on a march tune. studied piano, harmony, and four notes from the Eater, mistake, on earth did you get all these flourishes?” inquired well known organist of that day. Symphony as a sort of spiritual motto. But his own formance of “Rantzau” by Mascagni. By the live call life. Paul Morgan, a is the veil which those who mas- a lot of for “Tannhauser" the astonished bandmaster. Hemenway pointed at the “Death and fugue with our American music is so ultra-modernistic that it takes company had a set of costumes he studied canon sleep, and -it is lifted.” Music at a result, the Alsatian page which was covered with fly specks. “Right here. They Parker, later Professor of living with it to penetrate its meaning. shipped to Manchester. As ter, Horatio W. The flies that made must have singing with the eminent quite recently the music of Ives had few and peasants in the Mascagni opera had to be dressed up all these fiorituras mys- Yale He then studied Until lifted for William Arms, and the Finally pilgrims. had an excellent ear for music.” The veil is now teacher, William Shakespeare. rare performances. Symphony conductors were afraid as medieval years, he gave far more English voice teries, to which through the Conservatory with * * * composition at the National of it, because it was so rhythmically involved y* are now made clear to he studied ***** thought than do most men, Dvorak, later becom- simultaneous quotations from American airs that they t A celebrated bass singer who was touring Russia in with Antonin Conservatory together. In in the early 1900’s finished his last encore with a In h DvoYak’s assistant at the National didn’t know how to hold the orchestra the year 1897, Richard a song * words the ing Strauss published difficult to encompass in a few the for he was famous. The audience burst It is most of that institution ranked with one of his symphonic movements, there is an episode low F which as a supplement to the magazine The title active, able ancl when the faculty “Jugend.” lifeline of achievement of so s long - was Dvorak two village bands are supposed to be play- into wild applause. When it subsided, someone of the song was key greatest music schools of the world. He in which simply, “If.” It was written in the personage. As does an artist, we must see shouted from the balcony: “Bravo!”—on a note idealistic a companion in America. On the ing at the same time, but in a different tempo, so an of D-flat major, but the end major. To fore- best will think favorite pupil and was in D Street Church highlights. Those who knew him Sym- while the other plays octave lower than the singer’s note. Historic Arlington the first performance of the New' World that one band plays three bars warn the musically orthodox, Strauss added this foot- Boston’s outstanding type of American night of the * * * the William Ellery of him first of all as an in a box with the master. four. The poor conductor is supposed to beat time p note at the end of the wish church, known as his phony, William Arms sat song: “Vocalists who may This famous rich culture. His dignity, his poise, at introduced Carl as lhe gentleman of singing in New York and with both hands in different directions, with the up- The hostess a party Goldmark to sing this song before nineteenth Church, was founded in 1729 in the For a time he also taught the end of the Channing his aristocratic gentility, his pride society matron. “Mr. Goldmark is the Lane. courtesy, beat in the left hand coming against the downbeat to a composer century are advised by the transpose the Presbyterian Strangers m Long ” composer to Church of the hand, or the downbeat of the left hand of ‘The Queen of Sheba,’ she said. “O, indeed!” the last 1 19 in the right six bars a semitone lower, so as to finish the piece against the third beat of the right hand in march lady Replied, “and is that a very good situation?” in the same key in which it began.” MARCH, 1949 138 invaluable to musico The World’s been source references then in Boston, after 1895. In 1897 he became editor have Notts that Washington knew Ditson Com- ists. “The Music and publishing manager of the Oliver Hundred and Fifty ^ears Favorite Hymn Music in Old Boston,” “One pany in Boston. The Ditson Company is the oldest the United States and date back of Music Publishing in music publishing firm in America. Its roots as accu Presser United States’ stand alone Dr. Alvin C. White Theodore holding Festivals in the by to 1788. In 1926 he became vice-president, are repre valuable historical records and this position until 1931, when the company became rate and to coast. Company of sented in libraries from coast — 1925 affiliated with the Theodore Presser retiring Abide With Me may lav claim to being ( 1848 ) Arms was extremely modest and HE hymn one of the assets of The Presser Founda- William Philadelphia, honors with a silver the favorite of the English-speaking world. As William Arms and abhorred those “who sought tion. I soon realize’d that it was to achieve- T editorial printed in ETUDE in Centenary Biography could not be won by real a result of an A the rebuilding of the great catalog along hook.” If honors Fisher that none ot a hymn census, Abide With Me led character, he would have 1999 " regarding lines was due. This alone establishes ment, backed by more modern sent in I all tluTlistof 32.000 hymn titles mm over of them. . him as one of the foremost factors in the progress , , „ Part Nine he always called the America. As the favorite hymn, it had a vote of 7.301; his time. His devotion to one whom music in America during with .'-.190; who worked with him so many faithful Nearer My God to Tliee was next Lead, I been in his company innumerable gallant lady,” Although had favorite with 1.161: while attended him when great infirmities came Kindly Light was another times, it was during the years from 1931 to the present years and Francis Cooke 3,432 lists. Among by James beautiful and sincere. Rock of Ages was the choice on that I came to know him intimately. A business re- to him, was most William Arms pre- Abide With Me as their I.norite hymn lationship sometimes leads to unfortunate revelations. The great musical works which those claiming world are now Carrie |acobs Bond; and it also was opposite was true. My pared and made available to a modern was the late With William Arms, quite the adjoining his office. This room was and presented by thousands and chosen by Amclita Galli-(.ui< Theodore Ford, in the room regard grew with the years, and I am grateful and being used, taught, the biography of Mr. lord kept the 'I.mchester, This installment in fine watches and clocks, and of musicians. Music is one of the most similar survey was made by ' full of humble in the recognition of the debt I owe to him thousands A leaden of Avlc )l employed so that six he-t presents two noted watchmakers continually powerful symbols of the resurrection. in’ 1929 to determine the English Presser two expert for his wise and prudent advice and support in many definite and Guardian” Ford. Although^ tinker with these of the composer, places there wen- really no Presser and Mr. Henry he might step in at anytime and idealistic projects in which we were interested. Al- From the dead notes on the page hymns. For the first five life Mr. respects, they an un- The philanthropic ideals ot artists the great singers bring to life the to Abide With Me. O G- Our Help, in many exquisite mechanisms. though many years his junior, I was never at any time the great and challenges very different other in their atti- were markedly different. Mr. Presser left in fields in which heaven inspired thoughts of the masters. In this mod- resemblance to each thy two men made to feel my inexperience, even canny which it had is reflected to the profession and art from adept. His lovable qualities soon ern world they are sent through the air to homes and Jesus, Lover of My Soul. business. This similarity his all he was particularly tude toward became philanthropic lie in- lifeless things, but as singing, liv- Parker, during hi-. Sunday night Presser s persona lily come. When Mr. Ford impressed themselves upon me, and 1 was glad to sit everywhere, not as At a later date Seth highlights Mr. in certain of sums in hospitals and other from souls long, long past. More than his listeners to submit ilm ten fa- any othei vested no inconsiderable at his feet and learn. 1 found a real friend upon ing messages broadcast, asked better presented m which could not be he was assured that they could 3e- is living art. With every perform- hundred tub weir sub- charities, when whom I could always depend, and our relationship any other, music a vorite hymns. More than six installment will have to do way. The following self-supporting. was never broken by any breach of confidence from ance the life of the master is reborn. mitted by listeners, who voted The Old A d Cross, beneficent pa- come Presser’s unusual and of speech, their bodily manner- is a moment of deep and unforgettable im- Abide II ith Me as the with Mr. In their manner the first to the last. These are the characteristics which This Nearer My God to Thee, and c** they in his Jus their gestures, their methods of reasoning, Theodore Presser distinguished him as a gentleman and a devoted port to all who are here to pay personal tribute to favored. attimdi isms, Mr. and Mrs. three most appeara nee they were the idealism and exalted character of William Arms wrote the words were psychological twins. In Their Home in Germantown mentor. The Rev. Henry Frances Lyle, who ployees. Mr. At different. Both were tall and rangy. Presset was William Arms held many posts of honor in national Fisher. Let us have no thought that he is dead, but of Abide With Me. was born at Ednam. mat Kelso, somewhat This picture was made in 1914, when Mr. his youth had sandy hair; his eyes were that lives more than ever. William Penn once at I Unity Presser in Teachers organizations. He was for two terms president of the he now Scotland, June 1, 1793, and was graduated Presser Home for Retired Music prominent nose. When young, building the Music Teachers National Association (founded by the wrote: “They that love beyond the world cannot he "perpetual un ite" of blue and he had a very Piesser s College, fjublin. He became adjoining his own suburban residence. Mr. six-feet-one in height. Later, the hard work late Theodore Presser in 1876), and for three years separated. Death cannot kill what never dies. Nor All Saints’ Church, Lower Brixham. Devon ; Eng- called ‘‘The Horace he was Presser Home PRESSER has been stooped. Mr. borne was later demolished and the can spirits be divided that love and live in the same R of years at a desk made him somewhat president of the Music Publishers’ National Associa- land, in 1823. The words of the hymn wn written “The Andrew Carnegie of property. Mann of Music,” at a desk, was more erect. Both is located on five acres of garden tion. a member of the American Society of divine nrinciole.” attse of Music, Ford, who rarely sat now He was just a few days before his death in 1817. B John Wanamaker ol M Music” “The agile to a marked degree. Indeed, they were Composers, Authors and Publishers, the American unable to emit nue his last compari- men were ill health, he found himself Ford of Music.” The pinch my- Arms have rejoiced in the lines of and “The Henry alike in many ways that I had to Association of Authors and Conductors, the Harvard William would pastoral work and prepared for a southern journey. pronounced. The analogy so much number son was perhaps^ the most the restriction. Many of the large Musical Association, and many other musical groups W. E. Henley which have brought calm to so many: final service was planned, at the close A communion it is most illuminating recipients now hold Conference Music was so striking that of Presser Scholarship including the National of Educa- of which he retired to his chamber and v >te this Both men had and and well worthy of comment. leading positions in American colleges tors, The Boston Art Club, the Puddingstone Club, “So be my passing! \ . with immortal hymn. A few days later he passed of dissimilarity, but also the Twentieth Century Association task accomplished and the long day done. many radical points j music schools. and My “Peace, joy” on his lips. The hymn was included in were essen- early traits in common. Both Both Mr. Ford and Mr. Presser were His researches carried him into many fields, in- My wages taken and in my heart three numerous a book of poems published by his daughter both engaged in projects was often seen at business cluding religion and philosophy. He was particularly Some late lark singing. tially utilitarians, risers. Mr. Presser years later. other which he ut -t; and pos- Two hymns to as many people as .. seven-thirty. Once, while visiting to give permanence to the history of Let be gathered to the quiet west, to bring happiness as early as anxious Ameri- me that have had a wide currency in Christian worship accessible make these pleasures at his famous Greenfield Village at can music and his many books, pamphlets and papers The sundown splendid and serene.” si hie and to Mr. Ford are, l Cross - Jesus, My Have Taken, and My outlay, through the re- was at the least possible Dearborn, , an appointment Soul; the King of Heaven. distribution costs. duction of production and made for me to meet him at his morning Memorials to the famous hymnologist have included democratic, and Chapel. Both men were innately - services at the Martha and Mary a tower and a chapel which were added to All Saints’ of class snob- sal- wholly without any intimation After a sleepless night of anticipation 1 Church in 1906, and ten hells and a carillon machine dynamic, persistent the berv. Both men were lied forth at seven. When I reached

to three . play of his hymns. In 1932 the Rev. 1 Long, with initia- workers. Both were bubbling over Chapel, Mr. Ford rode up at seven-fifteen on then vicar of All Saints’ Church, appealed to all practical, and— old tive. Both were exceedingly his favorite means of transportation-jn Christians throughout the world to commemorate the both were dreamers. bicycle. eighty-fifth anniversary of the writing of the hymn much The two men never met, but were Both Mr. Presser and Mr. Ford were demo- by singing it in their churches on November 20 of Theodore Piesser interested in similar ideals. cratic in the extreme. Mr. Presser knew no that year. but Henry Ford, had a keen sense of humor, caste or class distinction. He could be inter- to observe, was insofar as the writer was able ested in the humblest of people, and his wide Musical respect. Henry Settings for the Poem lamentably limited in this human symjaathy drew all kinds of people exclusively focused The tune, Eventide, popularly associated with these Ford’s mind was almost isf MMM to him for counsel. Once in Detroit Henry while that of Theodore Edison verses, is one of the few surviving compositions of upon his work, Choristers Ford asked me to go through his lines. Easter Dr. William Henry Presser sought broader culture in many Americana (one room of which Monk (1823-1899), in his day a Western College for Women. Museum of no such hobby as had Mr. At Presser Hall, came well-known English organist and composer. He taught Mr. Presser had covers eight acres). In the automobile section we vocal music in king’s College (at the age ol twenty- automobile made in 1867. My host lay self, when talking with Henry Ford, to a steam six), at the National Training College, and at Bed- his back under the car and asked me to he to realize that I was not conversing down on lord College, all of London. editor in all of his plants, the floor was He was musical with my mentor, Theodore Presser. down beside him. As ot several plate. took hymnals, among them the standard “Hymns, ' Henry as clean as a freshly washed dinner He Like ' Theodore Presser, Ancient and Modern.” His last post as organist was pocket, as one might draw forth a foun- Ford’s philanthropies were large, but from his vest at St. Mathias Church, Stoke Newington, England. small metal wrench. Removing a tiny brass little known to the public. Both tain pen, a It is said that Dr. Monk composed in ten minutes car, he handed it to me, together with seemed to want to conceal their bene- valve from the the sweet, pleading chant that is wedded permanently identical one which he carried in his factions. The first scholarships grant- an apparently to Lyte’s swan song. saying, “It used to take a day for the ed to colleges were accompanied by vest pocket, Another musical setting of this well known hymn to make this old valve by hand, but we can strict injunctions that die student workmen was composed by Mr. Samuel Liddle of St. John's valve equally as good at the rate of should not be told who was the bene- make this other Wood, England, son of a Leeds schoolmaster. Liddle a day.” factor. Mr. Presser’s idea was that in a thousand obtained a fellowship at the Royal College of Organ- years Mr. Presser provided a cafeteria for concealing his identity the student re- For many ists in his teens and, before he was twenty-one, the in the business. No one was excluded. ceiving a scholarship would not be his employees scholarship in composition, of the Royal College of at which he or any other by accepting charity. How- He had a “commons” table Music, open to the whole humiliated of the . who so desired might sit. On one side of ever, so many of the Presser students employee At the latter place ol learning he was a pupil of Sir truck drivers and on careers by reason of Mr. Presser might be one of his Charles Villiers Stanford. Efe made notable was mainly known as side might be a visiting, college president or their gifts and labors, that the win- the other an accompanist, having played for more than twenty restric- Scholarship became a bank president. There were no individual years for Mr. H. Plunkett Green. ning of a Presser Liddle composed Mr. tions. The only considerations were honesty, good Looking Toward the Organ many notable songs an iionor, and the Trustees, after besides the world-famous hymn. Presser Hall cooperative Continued on Page 196) passing, decided to remove behavior, and a ( One particular successful song entitled Oxford, Ohio. Presser’s In the chaste, Corinthian interior of the old Arlington Street Church. A Farewell, Western College for Women, ( Continued on Page 191) 140 MARCH. 1949 ETUDE unglamorous, this modest award enabled on: him to say jokingly later "If I never Regenerate France? it’s because / know write a fugue, how to Will Music Festivals write one!” a Great Nation Modernistic Scales Are Awakening Dramatic and Musical Spectacles Recently my teacher told me to prac- How scale ofot Cc. Major wunwith methe right Round Table dectice the The Teacher’s and the C-sharp Major Scale hand, left hand at the same time. Buda- with the ROM Hollywood Bowl and Tanglewood, to by Victor I. Seroff It sounds very badly to my ears and I performances during pest and Athens, outdoor puzzled. Do you think it is ad- Tavor atn F very definitely hold top Mozart Fantasy Conducted by the summer festivals visable to practice scales that way? I The thousands of en present time X am studying with music-loving audiences. At the Dumesnil, Mus. Doc. would very much like to have your barbecues are Mozart for Maurice these intellectual the Fantasy in D Minor by valued opinion. thusiasts who flock to Aix also boasts of th hear and see much and medicine are in Marseille. a piano competition next spring, and I (Miss) L. E. W., Oklahoma. aware of the fact that they cure innumer- French-American — well water that is supposed to information about the Eminent same works in the metro- natural spring would like some better presentations of the ever drunk that season, but ailments—the only water I have it must be played. Lecturer, regular winter able way in which Conductor, this sounds strange to your earsl politan cities during the Pianist, So not taste like a liquid. In the chromatic scale of the second the outdoor spectacles somehow actuallyY does Well, it isn’t any more discordant than the smoky tang of Aix suggests a to start group tells it all, as otherwise, presto, would it sound correct and Teacher added enchantment. A new And that what we currently read in new musical seems to lend an for the surrounding lulls slowly, get faster with the crescendo, music festivals is develop small town in Colorado, in concerts outdoor drama and ar. Aix slow down again as you fin- publications, or hear and of such climate are remarkably simi and then in a re- France. Although the three fes- vegetation, and cases, but rearranged ino in the south of ‘ ish the scale, so as to be playing rather in some over the air. If you persist in this prac- he another Oxford, said on independently except for the dates of can become you enter the following tempo duced form. tice your ears will become accustomed tivals work interested in *e buildmg up slowly as each other in buildin0 citizens who is intensely is a good one to use. they complement youi primo? I would like to play it that The Richter book queer sounds of those consecutive performances, is too gay for the g to the Festival in Provence of his home town. “Paris what the judges know harmony yourself, comprehensive whole-the good-lookin way but I don’t know And since you minor seconds. Is it advisable to do so? one Bigonnet, a idea of making Aix-en- students,” he added. Roger would say about it. Also, do you think be your friend s guide, south of France. The jnanagem why couldn't you Why, certainly, and here's the reason: in the engineer, took over the or has been developing in the former French I should follow the tempos given, showing her how to leave out one note Provence another Salzburg of his lather-m musically and mechanically speaking, long time. Casino in Aix, after the death should it be played a little bit faster? southern France for a of the or more—here and there? If this is done minds of people in prisoner during the slow this process is “against the grain," it lawyers in 1938. He was a German I think it sounds entirely too will Chabrier and Pierre Guerre, two law cleverly and correctly, the chords Victor time he told me, to pmider with the tempos given. Thank you very “rubs the wrong way;" therefore it is been working on a scheme for war and had plenty of good as the original ones, and from Marseille, have -meaning life in much. (Miss) R. E. H., Washington. sound as valuable, because in order to overcome “What’s it all about? — but it took the energetic Comtesse the problem, enjoyment she will receive from the the past ten years, sure. the this unusual difficulty one must develop Comtesse Jean Pas- general, not the Casino, I am brighten her life in Pastre to give it a real start. La an a - music she loves will ’ tried to create Here’s welcome question, for it in- great flexibility of muscles and brain. lives in her his return home he, too, a (mother of Princesse Dolly Murat) On he the years to come. tr£ that would attract artists and volves one of the loveliest compositions After all, it’s only one more application and has been known for her mosphere in Aix Chateau de Montredon coming art center of ever written by Mozart. Sure, it is com- saying: most, last spring of Aix as the of the old “He who can do of the arts. She arrived early too, dreamed Wants Basic Harmony patronage Comtesse arrived with her two paratively easy to play, and short too; can do least." accompanied by two concert and theater man- France. When the . in Aix managers, he offered the but what beauties are contained in these Will you please give me the name of preliminary fanfare enterprising Parisian theater But I would go farther than these con- from Paris and without any the with this Depart- agers putting at their disposal few pages! It is in turn dramatic, pro- Correspondents a good, first class book on harmony trasting Minor seconds. While one hand fullest cooperation by merit are requested to limit letters said “Let’s do it.” and h s It will prepare one for writing mu- restaurant, little theater found, brilliant, graceful, joyous. also to One Hundred and Fifty Words. that Casino premises, plays the C Major scale, why not play all admonition that tone coloring sic? There are so many harmony books with the simple calls for a wide range of other scales with the other hand, includ- A Festival in the Making business connections, market that one could invest a is now the director and varied attacks. Really, it is a “must” on the they “go easy the first year.” He ing the Minors. (Interesting, this fight been asked, in both Europe and the generous a quali- fortune in books and still find one’s self I have often while the Comtesse, a lady of for anyone aspiring to become between Majors inquiring let- of the festival deficient on the subject, a most im- and Minors!) Then you States, and have even received great gusto Master. “Waldstein,” moreover, the pi- United her fifties, circulates with fied interpreter of the Divine In the can use development of a proportions in portant one as you stated in your use any key for your basic scale; ters-as to how one goes about the performance, ex- to your idea regarding the chro- anissimo shading makes control prac- artists and critics after each As the Major re- forth. I think the 'among Omaha class. Thank you very much in C fingering everywhere, festival, how much it costs, and so praise and encour- scale: congratulations. Yours tically impossible. in her husky voice both matic my advance for the information. gardless of black account of the Aix pressing keys and awkward answer is furnished in this brief is way to play this passage Von Biilow’s alternative suggestion is the proper (Miss) R. L., Iowa. positions; a8 — or use it only in one hand, Festival. evident that pianist , . , to me it was and other similar ones. Flexibility is ad- good. And as to whether a great ncn From the way she talked with the normal fingering for the other; Aix-en-Provence was once the capital ot that progressive success visable, for Mozart (and Beethoven too) would play the scales that way; well, the feels entirely confident of the Yes, I can recommend play families had she of St. Sebastian a fine book three against four (one hand going area where the old and titled French year’s festival budget “The Martyrdom, often wrote out in actual sixteenths, very name of Biilow answers the ques- Aix of her pet project. As this which will get you started just right: up three octaves, the other one four); country seats and still have their castles. 3-0,000), Theatre at Orange thirty-seconds, or sixty-fourths — some- tion, for he was the foremost pianist their to only six million francs (about Produced in the Roman “Harmony for the law, amounted Book Beginners,” by Pres- cross hands; ancf never forget that houses one part of the Marseille University— a relatively small times with numerals for uneven groups of the Liszt school, a first-rate conduc- the performance was conducted on ton Ware Orem. I had several oppor- "variety” is the essence effective prac- arts, while the faculties of science technical at- of literature, and the Richard WaRner’s —free, cadenzadike measures for which tor, and a musician whose is not Bayreuth with tunities of meeting its author and he ticing. scale. Aix and complete knowledge of Reinhardt and Richaid modern composers would use a more tainments impressed name, nor Salzburg with Max me as a musician of wide Naturally, the above is not recom- convenient notation in small type, with the art, from its germs to its very latest not Prague, where fo™ei- knowledge and an Strauss as inaugurators. It is educator of high mended for the early grades. But ambi- aflorc no bars at all. developments, were rivalled by few con- Edinburgh, which could ideals. The way in which lv East met West, nor Orem’s books tious advanced students will find it very companies For the tempos, you may suit your- temporaries and surpassed by none. for two or three theatrical are presented is simple, progressive, to act as host and profitable indeed. After some ten min- the European Con- self. Play as you feel. The metronome well as several orchestras from easy to understand. Where other theorists utes of “polytonal” try a as marks reflect the conception of one edi- Overcoming a Handicap practice, just become entangled tinent. in a labyrinth of plain scale for fun: your fingers will fair- tor only. Other editions will have differ- Here is a problem that I believe can nebulous pedagogy, he remains clear, ly fly over the keys! are ent markings. be solved and again prove that the old And if your ears Concerning the Performances concise; and direct in his approach. sore? “Where there’s a will there’s a Pro- Well, relief is near at hand: play What will the judges say? It all de- adage, to invite artists of international vided you proceed carefully and study a beautiful Aix could not afford pends on whether they are artists or way,” still holds good. I have a friend Adagio by Mozart. quiet location in each lesson diligently, reputation, but could only offer its who is interested in hymn playing, but you will have no pedants. For fairness’ sake—and your to it, trouble in acquiring Cezanne country (as natives like to refer she is minus a thumb on the right a good knowledge Crossed Hands the own—I hope they belong in the former work in Aix and several ot hand. I fully realize that is a big dis- of basic harmony. for Cezanne did live and category, and are not the kind Debussy In Gershwin’s Rhapsody in Blue, ot Since represent the country in the region advantage. Although she could never you mention your desire to Page his canvases had in mind when he once proposed 17 in my edition, this particular citizens to provide hope to span an octave with her right write, I ought to and the “bonne volonte” of its call your attention to part is to be played Aix) that “first, the examiners should be . . . with crossed hands. re- hand, I believe she could learn to play to listen to it with a another fact concerning composition: Would you music for its own sake and examined!” if please tell me whether the performances were well enough to receive great enjoy- harmony right attention. Almost all the corresponds to “vertical” writ- hand crosses over the left, or vice- lio-ious ment from the study of hymns. All in the court of the Archbishop s Octaves Glissandi ing, counterpoint and fugue correspond versa? Is there any specific rule regard- conducted outdoors pieces would have to be refingered for ing L’Hdtel de Boyer d’Eguilles, or to parallel. Both are equally impor- crossing of hands? palace, the court of In Beethoven’s “Waldstein” Sonata, her, but I believe it can be done to a of the Tapisseries. Ot tant. When at one time Vincent — (Sister) M. de L., California. in the court of the Museum Op. 53, I find glissandi in octaves for limited degree. Would “My Own Hymn d’Indy ot decided to festival program, the presentation both hands, and also an alternative Book” by Richter be a suitable book to teach counterpoint and fugue the one week No, Tune” was the most completely suggestion for playing them. Do you teach her from? I myself have a good exclusively in his composition class there is no absolute rule reg; Mozart’s “C-osi Fan at the Arch- this the Schola mg passages It was given in the court of consider alternative a satisfactory musical foundation and it includes the Cantorum in Paris, the re- with crossed hands, and satisfying. may small stage had been erected wa y of doing it? Would a great pianist study of harmony. Your suggestions will sults proved so unsatisfactory well suit yourself and select bishop’s palace where a that he wh over play them that way? My hands seem be greatly appreciated. soon restored ever arrangement the palace wall with a charming awning harmony to the curri- will prove most t against too small for the octaves. — (Miss) C. S., Indiana. culum. tenient. a la Salzburg. Hans Rosbaud, So I will advise you to take up Different pianists currently the stage— all very much - (Mrs.) W. B. B., New York vhat seems who, after the war, took over the another Orem book for further study to be contrary realizatii an Austrian by birth full Your question is most welcome, for The Each one is and who should be given “Manual of Fugue” will lead you entitled to his own com Munich Philharmonic, Glissandi in octaves were easily per- it gives me an opportunity to bring a through the non, of course, wonderful programs given in the Bavar- intricacies of fugue con- and crossing-like o credit for the formed in Beethoven’s time (and even word of cheer to many who find them- struction in nary fingering-is came to Aix and for three weeks led “by a short time, and this will determined by the ian capital, Weber’s; see the “Concertstiick”) be- selves under similar handicaps. Please dividual shape ensemble through some twenty- prove most valuable to you. Both books and length of hands, hand” his operatic cause of the easy and gers, extremely pliable tell your friend that with a little appli- mentioned may be and forearms. rehearsals. secured through the five . , action of the keyboards. M hy the best But with our cation and study she certainly will be publishers of ETUDE. not try various possibilities Singers were engaged from La Scala (not modern construction they have become able to play hymns. This kind nd out which the orchestra—forty-five members of musi- Debussy himself recognized one gets most easily i Theatre Antique at Orance ones, of course), but the neces- your The exceedingly difficult, f know of only a cal composition does not call for fingers? You the ( Continued on Page 196) a strict sity of such a study. He entered cannot go wrong 1 people. in all—was composed of a con- way, feet high and the auditorium seats 11,000 few concert grands, made with special observance of the chords as they are test and additional The great wall is 114 at the Conservatoire and in practice will lil action, on which they 1882 demonstrate 143 are at all playable. written. They can be not only refingered won an “honorable mention.” that your choice was Although rect. 1949 142 MARCH, ETUDE New Conductors whence the broadcast emanated) and four mem- /from David Ewen. Boston Society of Ancient Instruments- OF THE BATON.” By bers of the -DICTATORS Pub- viol, Albert Bernard, Publisher, Ziff-Davis Paul Federovsky, treble descant Pages, 310. Price, $3.50. Bookshelf Zighera, viola da garnba, and viol, Alfred Gaston lishing Co. Music Lover’s feature of this charming Etude Dufresne, violone. The half- expanded edition of a completely revised and music (so appropriately heard at 11:30 P.M. 4 including hour of In ETUDE in , on Christmas Eve) was the performance work reviewed recen to Midnight biographies of new conductors y Programs for Consort of portraits and End Radio of the Christmas Concerto Viols and Winter’s come into prominence. Or«an by the eighteenth-century composer, Francesco Manfredtni. Mr. Biggs, throughout the month of De- in Retrospect cember, brought his audiences unusual and seldom- Music Christmas, from At Their Height played works devoted to the vast .MEMORY MAKES MUSIC.” By Margaret (Mrs. literature. This proved a welcome variation Price, S-.5U. organ Winthrop) Chanler. Pages, 171. in programming and one which might be pursued lisher, Stephen-Paul. Alfred Lindsay Morgan further with good results. by just when many of us were despairing that no pro grams in adult music education would be forthcom- Broadcasting ing this year, the National Company 1 who does not stress sentiment announced its seventeen-week "Pioneer of Music” the frequently quoted line of the knowing individual u in Amer ADIO belies Sr woman give it some phase of truly cultivated for sentiment’s sake, but instead aims to series, a new step in home-study the "Uni- called her “the«only English poet, Thomas Campbell—“Coming intelligence, and treatment. V ar- series, presenting training, high before.” To be sure, distinction by perceptive harmonic versity of the Air.” This new pro- ica” With splendid R- events cast their shadows Brahmin of music live stem ing’s formula in music-making would seem to grams by leading orchestras throughout the nation, means, this American coming events are anticipated, but the best are l ree her rom Norse Heroes is life span carries her theories by from the poet’s reasoning that “the heart of man began on February 5. The plan behind the programs for years, and her Grail, and then documents strengthened by what has gone before. We remember atooad right down Black Acker. for the in in the Seventies music dramas of Wagner. .” By Helen older than his head,” which surely accounts is a survey of "pioneering” movements orchestral • childhood in Rome references to the various SONS OF a program enjoyed and chalk it down in our memory. her sals ° “FOUR jazz. Her critical a such idea, and Publisher, T homas Nelson wide popularity of his radio show. What places Ring- the first program, entitled “Pioneers of latest Broadway PP™ obviously Wagner had some 255. Price, $3.00. How strong a part memory plays in the turning of music, and to the Quite Pages, uses, in are acute and humorous. of her thesis is uigenious program ratings. wald’s arrangements above all others Waring Harmony,” played by the Kansas City Philharmonic die music of her time Miss Heline’s exposition and Sons. the dials is proved by changing many. We took is often an elusive quality of reflective of Hans Schweiger, pre- very interesting to When remembered pleasures are not consistently sub- our estimation, Orchestra under the direction and will be found Norway from the days of the Vikings emanates from a knowing head the book. The history of repetition of favorite broadcasts, dis- feeling, which surely sented music by Monteverdi. Beethoven, Debussy, Symphonies Again much pleasure in reading have thrilled thou- stantiated in Grove’s Beethoven has been the basis for sagas which assump- guiding a knowing heart. and Stravinsky—all innovators in har- modern appointment is manifest. Despite the general Schoenberg, Acker has selected four sons of second Christmas broadcast that sustained our HIS NINE SYMPHONIES/’ sands. Miss tion of many listeners—personalities alone do not The monic development. "Pioneers of the Symphony” fol- “BEETHOVEN AND Walls of Dissonance Ibsen, Edvard Grieg, and 407. Price, $7.00. The Norway, Ole Bull, Hendrik of interest and enjoyment was the annual DuPont “Cav- by St. unit/, llaydn, Grove, C.B. Pages, sustain interest in leading programs. The content lowed on February 12, with music By George Par- has storyized their lives in this Press. MODERN MUSIC.” By Ian Fridtjof Nansen, and of radio enter- I.iszt performed bv ih Baltimore Oxford University “PATHWAYS TO field the program also counts. In all types Beethoven, and Publisher, England. Pub- volume in highly colorful prose. The Pages, 55. Price, 3s, 6d, net, interesting sustained. One poor pro- Orchestra conducted by Regin d Stewart. rott. is signifi- tainment interest has to be Symphony famous for the great Grove’s new one to most musicians. It Sir George Grove, Arthur Unwin. will prove a gram can greatly alter audience appeal. So, to para- February 19 brought “Pioneers of Ore hesti atioii" with wrote the Ana- lisher, modern heroes are musicians. of Music and Musicians, Uni- cant that two of the four line, in radio “Events that have cast Beethoven, Berlioz. Wagner, Dictionary Lecturer in Music at Birmingham Miss phrase the poet’s music by Gossec, Gluck, Crystal Palace Con- Dr Parrott, is particularly well done. Program Notes for the the lands Her biography of Grieg before” are most eagerly awaited. by the Columbus' Jytiad guides and “dolmetscliers” to their shadows and Rimsky-Korsakoff, played engaging writer and an in- versity, like all formerly Instructor in Current Literature certs for forty years. An reciting some of the Acker was there are ineffaceable shadows of the past, (Ohio) Philharmonic Orchestra directed I - Izler Solo- starts his book by Hence, culled from Ins voluminous of cacophony, University of Minnesota. defatigable student, he of other days about at the which time does not always help to dim when they mon, and February 26 illustrated “Pioneers of Ro- was first lamentations of the musicians for this splendid work, which events of the morrow. For notes material contemporaries. It is difficult to are no longer anticipated manticism,” with works from Weber, Mendelssohn, work was out of print for some their venturesome published in 1896. The Beethoven s Seventh Masters this reason one laments the now defunct broadcasts Schumann, and Wagner, rendered by the New Or- that this think of Vogler saying about Musical Paintings by the but we are now happy to announce have Great of the Philadelphia, lloston, and Cleveland Orches- leans Symphony Orchestra conducted by Massimo time, Symphony, “The extravagances of this genius valuable book is again available. quite ripe Lawrence Howard. tras, and that inimitable Columbia musical offering Freccia. reached the ne plus ultra and Beethoven’s “MUSIC IN PAINTING.” By Publisher, “Invitation to Music.” The lack of spon- it is quite understandable music size). Price, $1.95. of the past— The new “Pioneers of Music” series is designed as for the madhouse,” while Pages, 24 (sheet fine programs. True, three ok Experience well have said of Corporation. sors has removed too many part of NBC’s long-range scheme to provide organ- The Voice that a genius of Handel’s ilk might Pitman Publishing the Saturday broad- than mem major events of the week remain— ized education for people at home everywhere in the Barbereux- “He knows no more counterpoint WITHIN.” By M. Gluck, has selected ten outstanding casts of the Metropolitan Opera and the NBC Sym- “EDUCATION FROM Mendelssohn said of Berlioz, Lawrence Howard United States. The series is planned under the guid- $2.00. Publisher, Chris- cook.” He recites how Picasso, Augus- York Parry. Pages, 82. Price, such paintings of musical subjects by Pablo phony, and the Sunday program of the New ance of the of orchestration is such a frightful muddle, College of Music of the University House. “His Hogarth, Antoine Watteau, Louis Philharmonic-Symphony Orchestra. But to American topher Publishing one ought to wash one s tus John, William Southern California. In accordance with arrangements an incongruous mess, that Cosima 1 ura, these three major ex- Ochtervelt, Ercole Roberti, listeners who have had so much, made highly intelligent and handling one of his scores, and how Le Nain, J. by the NBC network with Max Krone, director Mme. Barbereux-Parry, a hands after and commented upon them crowded into two .days’ time—do not suffice. the mis- that it was and Matteo Giovanni, events— of the College of Music (USC), the University issues of singing, after having Gounod said of Cesar Franck’s Symphony perienced teacher insight. The publishers have pre- There is just reason for critic Virgil Thomson’s recent meth- to dogmatic with rare critical weekly study guides and other materials, and reads her voice because of incorrect the affirmation of incompetence pushed fortune of losing paintings in full color, making this book assertion in the New York Herald Tribune that radio, and returns method by which she might of the most stupid of all appraisals was sented the to home-study students all reports regu- ods, determined to find a lengths. One “is gravely misusing its privileges with gift. in general, larly fate. She has devdoped a famous British theoretician, Ebenezer a delightful submitted. A handbook, written by Ernest La- save others from a similar that of the regard to serious music and skimping its obligations.” latest book, one of the Prade, NBC director of music research and network enthusiastic following and her Prout, who said that Joachim Raff was only major musical event of the week unspon- large and The supervisor of former works, is largely an ex- composers, the other two being Wagner “Pioneers of Music,” also is issued. There as 'in the case of her three German sored is the program of the NBC Symphony, now which she has de- is a registration fee of ten dollars for all who wish to position of her personal findings, and Brahms. heard at a less desirable time because of loss of spon- Time can be certain of participate in the home study. This seems a notable veloped into the Barbereux System. Who, then, but Father sorship. Yet, the National Broadcasting Company reviewer has passed the job educational project, which not only is decidedly worth- musical prophecies? Your deserves credit for continuing its famous symphony while, but also assuredly enjoyable. It is unfortunate on to posterity. broadcast in the 'face of hard times and reluctance of Richard Wagner The Seership is a very interesting one that the broadcast is planned at undesirable time Dr. Parrott’s pamphlet sponsorships of such an eminent mu- an of commercial MUSICAL recommends to its readers. -Saturdays from 3:00 to 4:00 P.M., EST, as the opera MUSIC, BASED ON THE which ETUDE cordially sical offering. It is lamentable that the Columbia “ESOTERIC broadcasts interfere the WAGNER.” By Cor- not similar gen- or vice versa, according to SEERSHIP OF RICHARD Broadcasting Company has shown Publisher, way one reasons. It is our hope large group of Pages, 274. Price, S3.00. erosity to radio listeners and retained its famous that a inne Heline. Bells, Old and New listeners will turn of to that Erich Leinsdorf their dials to this unusual hour The New Age Press. “Invitation to Music"—a program which com- “CHIMES AND ELECTRONIC CARILLONS.” By music, for the idea behind the series—to trace the pany could point with the greatest pride. Marked in serious attempt to read Pages, 146. Price, $3.75. Publisher, evolution of orchestral of This unusual book is a Paul D. Peery. the memories of many of us are the countless half- music from the beginning the alcade of America,” heard on December 20. Christmas of Wagner the doctrine of Day Company. the seventeenth century to fail to into the masterpieces The John hours that “Invitation to Music” made unforgettable the present—cannot is carols are as cheering to the holiday season as door with the theory that there sustain interest and further develop music apprecia- esoteric Brotherhoods, The advent of electronic bell effects has brought for program presentations of works either unknown and window decorations—as the lighted Christmas which represents good, and a a White Brotherhood a w'orld of interest to the whole subject of bells. There ar ail too seldom heard. tree and- the festive board. They inevitably gladden which represents evil. belfries Black Brotherhood is a great romance to the bells in ancient Out of the many fine radio offerings during the the heart and evoke nostalgic memories. The DuPont from Hollywood, the trade maren a- Pioneers of Program (Beethoven The writer, who hails and in carillon towers. Your reviewer, who has visited Christmas season of 1948 there remain three memories Chorus, made up of one hundred seventeen youthful Music” “1 he Schools Z and brotherhoods, says, thrill of watching ’ Buffalo center of isms belfries, well remembers the that deserve recalling, though anticipation of re- voices under the direction of Philharmonic Orchestra inner many Frank J. Clark, Jr„ wnv° belonging to the Uilbam Steinberg, conductor; o here spoken of are institutions in Giralda Tower in the Cathedral of Seville peated events is a long, long way ahead. On the gave a memorable program that merited -“Pioneers be- the bells more than Nationalism world, and not the exoteric bodies on the (Glinka. Smetana, Grieg, Albf’nlz, Villa or spiritual revolving completely around, as they rang out Thursday before Christmas, the Fred Waring Show the one-time spot it received on the airways. Inci- difficulty o os, Gilbert), physical world. The great electronic amplifica- the Utah Symphony Orchestra, Mau longing to this, the air. Now, however, by means of brought “The Song Before Christmas,” a truly fas- dentally, Mr. Clark, able conductor of the" chorus, the relationship rice Abravancl, 9— for many people is to understand keyboard secure magnificent cinating retelling conductor: “Pioneers o tion we may at the organ of the story of the Nativity in studied choral direction and radio technique 1 he two with Impressionism” spiritual and the physical world. everywhere. Biblical verse (Debussy, Delius, Griffes, Ravel), tin between the bell effects that are exciting organists and in the Christmas music of eight Fred Waring. united state, Indianapolis Symphony are not mutually exclusive, but exist in a carilloneur, a singer, and centuries and many nationalities. The script was or- The third Yuletide program which Orchestra, Fabien Sevitzkv Mr. Peery is a musician, a we recall with conductor; though extending beyond -“Italian the higher interpenetrating His book is by far the best upon the ganized and arranged by Roy Ringwald, of whom a pleasure was one of early music of the Christmas Pioneers” (Locatelli planes ot a choir director. Sgambati, Respighi, lower or physical. These two worlds or addition to word or two is in order. season, played Casella), the Svm the your reviewer has seen. In For quite a number of years, by E. Power Biggs on the Baroque San Antonio and reacting subject that phony Orchestra, Max 2- being are continuously intermingling electronic devices of Deagan, Mr. Ringwald has been making unusual choral ar- organ in the Germanic Museum, Harvard University Reiter, conductor; April a description of the new rcndi other, for the wheel of Rebirth turns rangements for the Fred Pioneers’* (Lully, Rameau, Debussy one upon the Stromberg-Carlson, and Maas, he dis- Waring Show. “The Song Berlioz, into the psy- Schulmerich, The Famous Painting of Madame U t carrying the embodied up l< tts*3ur£h unceasingly, and carillon technique, Before Christmas” is one of his best works. Sentiment - Symphony Orchestra, Vladi bell acoustics, chime r ? i M^ down cusses Guilhermina Suggia by the Noted mirmV Bakeleimkoff, cho-spiritual levels and the so-called ‘dead’ frequently plays a strong part in the Waring pro- conductor; April 9-“Englisli Pin thirty-five pages of music especially adapted neers embodiment.” and gives English Painter, (Purcell, Handel, again into materiality and bells. grams, and to some listeners it is often injudiciously Elgar, Williams. Britten) to bells, chimes, and electronic same orchestra the provinces of the White Grail and the exploited. In the Ringwald arrangements presented, and conductor: April 16-“Czech Pin 'She states RADIO mers 145 we usually discern the fine hand of a sensitive and (Smetana, Dvorak, Weinberger, Martino' Rochester Philharmonic (Continued* on Page 204 MARCH, 1949 144 ETUDE m y

for which every student flying’ practice, , “blindblind > B P by assignments. ... A phrase or must rece > p over the keyboard with hands C r s« small part of a piece; a scale a S “flips” or a hundred other some slow mSpeggio;or arpcng ' playing Revisited be m Ven for without Europe short wgmo"" Musical keyboard Such brief drills looking at s the practice period are the Pianist’s Page (jf The immediate concentration, Emulators I know for by Andor Foldes £ “warming up. Virtuoso relaxation and swift Hungarian-born American its grandiose wtth ’ Keyboard” Concerto (K. 537) even nt Author of Keys to the under the heroic and Mus. Doc. title will flourish by so-called ad- that I arrived penniless Guy Maier, tion’’ Concerto constantly frustrated T was nine years ago by by the more majestic if 5 I am bent upon making demanded come to me for help and for in the United States, Noted Pianist and vanced Players who homeless war-torn P ' myself, after fleeing Ins wife, (R 8 h^e cap; little because their elementary home for Andor Foldes and beaiuse y^u I can do very new al Editor’s Note: When Educator 2atch out. Don’t think w, I hope that 1 would be Music s' the basic principles of good It was my anxious to America in th&ea a few of a have not instilled Furooe writer also, came the spirit of one or te.acnteachers this great and wonderful a gifted Hired , distorted approach is so music in with the opened Their bad, lowed io make War II, he was imbued positions that the door is destruction, and revo years of World use a similarsimitar futile to try make shift remedies world, free from bombs here with the in your face if you deep-seated that it is new America, America. Fie did not come may find it slammed leained and have on the deck of the S.S. Ibirit of principles are t ion Now I stood a Yankec- until sound first citizenship papers, teaching America to become « these principles are of possessor of American latitude of of a composa- Among the proud l in flames. ^ dissertation on the “style become automatic. Ocean as the ship Europe that was Any of key-up «>ntact, with out on the Atlantic hed version of the introduction to the mean g already mentioned; ind looked he made Thought-Checks only an elementary course those which was to be nty first stop ~ excellent musical equipment Some stimulate secure, accurate, relaxed play- neared Great Britain, With his function is solely to finger-tip feel; with the largely his works. Its strong prepara- concert tour. This encounter and traveled widely, in trains on tours, at the keys; easy, swift on a European friends rapidly classes and lessons, student to deeper study. ng without looking excited me very country and its URING as floating life of the old continent with the thinking teachers and students, and many others such musical n become acquainted in letters from tion over leaps, not toured Europe since arriving American music by m - late at night, the loose thumbs, instantaneous much as I had has promoted D thing in the morning, well-trained, I first came to needs Fie first experi- elbows, When words a shocking States in 1939. _ other are some which Here I am reminded of of up and down touches, the United will, great enthusiasm. In . . . Here if 3 mastery little thoughts pour in. Mozart * slow-fast control, play as much Hungarian "eZtilers well-known woman’s college, \merica I felt it my duty to American in the highest helpful: ence.’. . . At a of himself an I hope you will find by a brdhant an 1 York and in other parts he made Concerto was played instructor is the music as possible in New de ded “Coronation” that the beginning In Europe word. Last summer he program at which he \Ve° all* know the position was reversed sense of the ff artist on an orchestral ,7cm, n.ui, ttacier the country. Now made^f°a young of all. It is the lie once knew. He to play Next day ti e most important the audiences a fair amoum to the Europe finest artists have the courage Prokofieff’s Third Concerto. observe determined to g‘ive back \f i. Only the also played Yet it is tragic to I was been giving concerts and enough. Ordi- of the music who teaches the elements. works; works that had "the old country," singing pieces slowly and softly was discussed by student-members rcs of new American piano tour of their concert beginners’ teachers feel any deep Pp“‘- names imam but he went as an Nielsen insensitive, uncontrolled, or and “appreciation how few American composers -hose prominent people, Hans Jacob pianists are too department’s first year theory w ly. Badly penned by nary setting the pupil solidly on lm Most ot these DE d )S the title truly slow tempo; it class. Upon being asked bility for to me ten years ago. Hungarian . ETU -director-producer, in at as a . timid to play lyric pieces a (how I despise that word!) lor years, ui scarcely anything American, not Norwegian actor elements hold back students Europe. colorful.f^ f to produce not only a tine preferred, the students over- taught almost unknown in very graphic and . the new 1948 version of takes a first-rate pianist which concerto they unhappiness but often to names were will find his article role of "Peer Gynt" in often and long the instruc- not only lead to fear and but to play sustained pianissimo whelmingly voted for ProkofiefE. “Why ? drama at , Norway. pp music-making. Memories Ibsen’s great “Because the Prokofieff Concerto has hatred of Happy tor queried. the fast and loud. That s reply. to my mind. I saw into Anv piano-thumper can play more melody!” was the astonishing Little episodes came back huge ship slowly pulled first through my head as the about. Soft, slow, heart-warming, lamentable state of affairs. If the of Aaron Copland after my hours and all he knows or cares This is indeed a pianists are like the im- broadly smiling face Southampton-a few more represents one of or Bach C. The minds of many brand new- the harbor of moving control between (say) Brahms f - his Piano Sonata-then emotionally choosing j at of and students, in • utter performance of interstellar space . would be in London. technic. Have you ever observed Russian, I could at mense vacuum station WQXR m December on a the final goals of all and Prokofieff had chosen the glimmer ol a par- New York radio played in London was fragile void with an occasional £ in which The last time I had hunger for clear, hearers often com- ness and of Roger Sessions, alter how hearers in a concert least condone it, since unschooled un- 1949 I recalled the letters It was a tew days All this is due to the moronic, beautiful Spring day in 1939. savor it in hushed absorp- lack “mel- ticle of light. making great process Id pianissimo and how they plain that Bach, Brahms, and Beethoven they have he assured me that he was Czechoslovakia. The whole wot thinking, life-long repetitions to which to me Hitler’s march into an artist satisfies their craving? an overabundance of thematic Sonata, which he dedicated things to tion when _ ody,” when it is simply his Second Piano the anticipation of worse however delicate, is But Mozart! subjected themselves. perform for the League was jittery with controlled pianissimo, or frustrates them. , promised to (;OnsisU:c If your lines that confuses lies in and which I had program at Wigmore Hall that you are pro- of the pianist’s greatest difficulties Sessions ever come! Then, my audible to you, you may be sure sings so straight from the heart? Where else One in New York, even before the intcnn s Who else routine wiili conscious of Composes Beethoven, and Brahms before Trouble is that the hearing unadorned, reconciling necessary drill and paper. I rmnemliered of Bach. jecting it to the last row. can you find such outpouring of direct, a note of the work on the second halL Just right through the years o wrote and Bartok and Koddly in through years of thought. . . . This goes the Utah co sion. of most pianists has so degenerated divinely simple melodies? voice of Leroy Robertson, Hungary s fore life. In study the happy natural for me to include practice, and constant exposure for such utter study from first lessons to professional distance last year to be as it was thumping, percussive The only explanation I can find whom I called on long programs now my of the prime objectives poser, composers in my previous impurity of the piano tone that they play mp the deplorable education of and teaching it should be one him upon winning the twen most to the musical depravity is in con the first to congratulate was to be an All-Ameri- that! others how to con, bine Competition I recital in 1948 for the B.B.C. or instead of and let it go at home, school, movies, radio. All listening to teach ourselves and dollar Reichhold ever to p pp, our youth— drills ty-five thousand of the first such programs and drill. For good thinking Roy Harris l can program, one has been overlaid with so much extraneous sight and centrated study the breakfast I had with Programme recently pu > recollected on the famous “Third unadulterated melody goes for young and old beginners try Lake s hurried visits to the city, be presented pian- sound material that pure, New York during one of his pieces by Roger Ses- It is not enough to play musically. Many and advanced This time I was to play 2. but actually unheard. lished “Daily Dozen"; for intermediate for the first ttme ins American series. / the music. With not only unen joyed when I played for him Franko Goldman, Aaron ists play musically without playing (Maier-Bradshaw) is being These I had sions, Paul Bowles, Richard truth of the matter is that the young people players “Thinking Fingers” a beaten-up old upright. sheen they create the illusion of cap- The teach- Ballads” upon Thomson, and William Schumann. slick, surface melody with sound enthusiastically used by hundreds of progressive “Contemporary American Copland, Virgil fashioning a of our generation can only hear already recorded for my newly-won inends- turing the composer’s essence, thereby publishers ot All these gentlemen were my alas, only sings with the still, small ers. These may be secured through the effects. Mozart, Music” album. , were works beauty and setting false standards. Their Piano all these compositions spurious 19: 11-13). The youth of ETUDE. taken out my papers to be- Americans-and be sure, but to voice of God. (See I Kings Yes I had technically in the nine years performances are glibly musical, to realized that with which I had identified myself cannot hear our Amadeus—which, don’t for- of this country, but I I sufficient. They are not aware, our day come ’a citizen been here. I felt that play musically is not country, fiom every that had passed since I had get, means “beloved of God”—because of the racket. not had also become my London example, that the works of Beethoven and Brahms Groups: Teachers should America “on toes.” The musical eyes of for “Musical Enjoyment” classes for young if7. Restricted Age composers ware now ar ° had to be my different styles of thought Let’s start groups standpoint. American “f must be recreated in vastly confine themselves to teaching restricted age I felt af re- were upon me. and old; and let’s begin with bebop, jazz, Prokofieff, than others ever had been There is little or no difference in to be- my heart and presentation. of pupils, or for that matter, limit themselves their works. It was my Gershwin, and such sound effects which they under- sponsibility for the success of conception between their Chopin and their Schu- will their own A Timely Reunion to Schumann, Schu- ginners or advanced students. Not only their future I would must stand; then work patiently back privilege to have a stake in mann; and their brilliant Bach disarrangements joy in teach- London, however, while at the Brahms, and the others, holding out development stagnate, but much of the wholeheartedly and without reser- My first evening in been turned out by Liszt. Just be- bert, Beethoven, present these works capacity. Upon just as well have ing will off. All arc belter suited audiences. spent there in a different for the post-graduate course. He and his divine wear of us feel we time before European Broadcasting House B B C.. was present their wares with musical articu- Mozart vations for the first that on that cause they to one or another of these categories, but for your with them, else I arrival, wile and I discovered melodies will remain incomprehensible until we have to make a great hit Broadcasting Corporation our my lation they often succeed in flimflamming critics and It was necessary the British was to play his hrst own happiness don’t fall into habit of teaching thoughts raced Home of night Wilhelm Bachaus first implanted some understanding of his eminent the in my mission. These same audiences through life-long careers. them would fail in the auditorium of the B.B.T. successors. young children exclusively (you'll get to hate recital since the War achieve an understanding of a composer’s styles l arrived on that clay To if you do!) or cu-razy!)- Fortunately, the fact that we had searching. ’teen agers (they drive you requires a lifetime of intense, intelligent I was one of Bachaus If have preponderantly America, and the fact that manifest a wide you taught young children from The works of every great composer Recently I came across the first instructions away, and we were \f 4. and want to intermediate old friends, brushed all red tape which requires a separate widen your age group to divergence of styles, each of given to us rookies of the Coast Guard Reserve at the tickets for the occasion. This was grade adolescents, you must be able to play for them. provided with two of interpretative approach. The Mozart Sonatas in the late war we were beginning target called for kind range where, all rules of the B.B.C., which exact almost They won’t respect you otherwise, and you'll have contrary to in B-flat (K. 333) and A minor (K. 310) practice with our 45’s. The little pink slip says: advance. difficulty summer tickets to be distributed weeks in opposite intellectual and emotional holding them. Why not spend next diametrically of the studio—seating about five 1. Concentrate exactly on what you are doing. learning a dozen pieces or The atmosphere qualities and dynamic conception, and call for quite good classics and modern persons, in a dimly lit hall with panelled are 2. Do everything always the same. some familiar Chopin can en- hundred different methods of technical projection. Both numbers, so that you streets. all, keep relaxed. provided a parallel to the dull London transfer the style of one 3. Above thuse your students by playing their pieces authorita- walls Mozart; yet any attempt to to our seats. We tively to Its polite ushers led us expectantly to the other will result in failure. How aptly such exhortations apply to piano study when you assign them? It isn’t necessary Sonata fear as to the outcome. Wilhelm “shot” be a bull’s eye! “Shells” memorize such “per- had confessedly some So it is also with two such apparently kindred works where every must must compositions or to play them was one of my childhood idols, and I was a Minor (K. and C Minor fired with machine-gun speed at infinitely compli- fectly. It is with Bachaus as the Fantasias in D 397) be enough to perform slow' pieces cruelties of little afraid after so many years and the (K. 475). The texture of the former is spare and cated targets. We have one significant advantage- smooth, singing quality, and rapid or brilliant pieces his playing might not live up to the golden bleeding heart unbared with shots are delivered at close range, in key con- fast and loud, the war that stripped, its throbbing, all our with “show” and dash. I’ll wager well memories of his earlier recitals, which were so every note in hopeless tragedy. Its brief, concentrated tact directly from the key-top. students won t notice the will stand imperfections, but mind. Lights were lowered, a hush capabilities the is pianist practices his quick in preserved in my intensity requires one set of from Blessed the who “flips” goggle-eyed admiration at Also, they your powers! the hall, a side door opened, and mind and finger; the long, diffuse yet also daily, in order most swiftly to cover his targets. He will be stimulated went through pianist’s to work at their pieces with re- gray hair “quickest Bachaus, somewhat slimmer and with more tragic Fantasia in C Minor with rich texture, epic must get over the keys with the mostest,” newed zest and zeal. I remembered, slowly ( Continued on Page 198) demands quite another. Each and still stay relaxed. This can be accomplished only W hat s than style, and episodic form more important, your reputation as a player, Center in Oslo, Norway it. Radio Broadcasting plane. by “flipping” . . . Don’t neglect and The New Fantasia stands on its own consequently as a teacher, will grow by leaps 147, can be vastly And can anyone assert that the roccoco D Major Aims and accuracies improved also and bounds. MARCH, 1949 m ETUDE ,

results obtained seemed justifiable. derivation and the thoroughly occupied he college instructor, by academic year research own work during the in his months is fraught during the summer with Confidence France How to Build m in Paris undoubtedly num- The° N a tiorial Library Nineties even the latest published Gay among its accessions with in the bers Conference Musical Boston composers, but US catalog is much A mu ic by French concert season m Pans ends fairly bs arrears The Warren holiday of the fourteenth of Leonard Pursuing a Specialty “iv After the national and critics seek vacations at American Baritone lulv many musicians Distinguished During a hr. el visit to Pans Hill distance from Paris. Opera Association Burlingame a to obtain, Leading Artist, Metropolitan by Edward of 1910 1 was fortunate A in the summer of Lotus Laloy, critic, libret- through the kind offices of Debussy, an interview , , ,fnA earlv biographer Composer 1 Articles by the Noted Boston modestly deprecated the idea Third in a Series of SSh he composer, \Z by Rose Heylbut at Harvard Umvers y the founder of a new school, despite Music - be E. Ditson Professor of d 1 he could Formerly James musical style were cur- pro- features of his songs that the fifteen-minute the fact that ten tering the kind of composers in France, .Spam, England, aware Leonard TT arren 8 can seldom repeat a rently affecting America became of gram favors-for, in radio, you assisted by the Library in Germany. (I recall a the (dee Club enough f arose. In addition, a slight degree when he emerged from is that he works hard R. Spalding, head of the need ' J and to even years ago, song. The result HEN Professor Walter possessed extensive files Debussy that Strauss s A the Metro- eyes on a bigger the “Allen A. Brown” room statement by VJL City Music Hall to win salary—but if he has his Music Department for well over twen- text humorous of Radio his good Harvard critical essays, technical of a large railway terminal the lie isn t prepared of musical magazines, reminded him the Air. During and it really comes, W organized his famous course 1 he Ap- Hero’s Life politan Opera Auditions of opportunity ty years, musical biographies. direction.) A and a large assortment of passengers rushing ... every pronounced are some scores of semi-popular "high-brow music” books filled with for it. All he knows preciation of Music," he brought of Congress offered a engaged in a season 1947-48, state of At this time only the Library before, French critics had Hsag Rigoletto to he grumbles about the bad into terms of sympathetic understand- few years the most distinguished numbers. Then and democracy opportunity for research. Later, the New whether or no Raul ''.ere not Mr Warren with music, ine this course was comparable debate as to Warren at- There’s nothing wrong the untechnical student in of Phila- spirited heard here in years. Mr. music. ing. For Library and the Free Library Debussyan method. 1 .me has have been of the fellow who into the styles York Public obvious plagiarist of lies in the thought-process progressively and painlessly initiated awakening to an % spectacular rise to the accidental gif trouble delphia became equally progressive in established the negative m tributes his without working high. Audi- in the fugue, the suite, the definitely and abundantly does not thinks he can aim high and structures employed scholars. driving power which con- the needs of music students and of a voice, and a unless you can deliver, and the symphony. He discovered that once th Jl work. Born tions mean nothing sonata, and out in his musical to be satisfied with his own in your sample-box. methods of obtaining co- Romain Rolland pointed allow him tinue to deliver, what you show these hitherto mysterious As loved singing. for French composers were York, he sang because he shall I earn the money unity had been made clear, an assimila- novel “Jean Christophe,” in New “But,” you may ask. “how herence and anti- Leonard Warren yeais o] there s became small groups often v "denUy privately and, after a few All I can say is that tion of the musical contents of these forms banded together in He studied lessons and coaching?” ot an Amer- teacher eno h sym- 1 he tolerance advice a famous inner drive is strong “S relatively simple. A taste for and enjoyment of pathetic to one another. when lessons, sought the of always a way, if your the time, some ten years back, earnedJ° at- varied convictions and HERE was a profession, since own way was simple. I phonic music was aroused which spontaneously ican visitor towards their advance- told him to seek a different push you toward it. My source pi despondent. I wanted who without Building and later to judgments was often a I was extremely typical W arren a week in a chorus; I went tracted students to the Music objectivity of his I was, not for him. The thirty-five dollars T for solo work—and there singing was for the particular I longed' enough increasing numbers. No less a figure pronounced partisan of a ment, a place in dinners to put by money concert halls in amazement to the mind, f went tor to go out and get himself lunches and up.iint and in a chorus. In a low frame of reaction was chorus. It was Whitefield Chadwick told Mr. Spald- chief source of libel vu stuck step was to that would lift me out of the than George esthetic creed. A Passing a Fannie Farmer candy City Music Hall. His next lessons his son into a of progiessiye ar- a walk, between shows. Radio part of tire game. The ing that this -course had transformed the discriminating encouragement in the the An. As a struggle—but stragglings to see an advertisement card Metropolitan Auditions of for companion. Year after year this alike, was centered in La store, I chanced enter the seek no audition or opportunity delightful concert tists, French and foreign in our candy, to sing at the main thing is to UoiU can have CONFIDENCE was to go to Cleveland, 1 hat size, as a knowledge of the results several years hi lore window: You winner, he not prepared with confidence. course gained in Revue Musicalc, founded printed in large letters. Martin, which you are supported said, the word “Confidence” party Mr. George A. Presi- or next year, or in attained through it spread among the undergradu- late Dr. Henry Prunieres, ably it birthday of may come tomorrow, War I by the Confidence. I went into which opportunity departure was that period. Something inside me clicked. Sherwin-Williams Company, conics, though, you mjist be ates. Furthermore, this significant the leading critics and musicologists of their dent of the ten years. Whenever it by the smallest quantity of Air. Warren colleges and schools of music over series of concerts the shop 'and bought the Auditions of the adopted by many important was an annual then sponsored ready. Or . . . Especially all I could afford. On the results comparable to us auspices cheapest candy, which was but he went. After a wide area, since it achieved also established by this magazine. Under haj. to borrow the train fare, some blotters with the same CONFI- Singing attained in literature courses. Emboldened by took plat e in i 1L counter lay said, “Warren, I shall One Method of those a “Congress of the History of Art of them. Then he had sung, Mr. Martin No slogan. I picked up a handful this success, Mr. Spalding then conceived the idea of results to tbc Anui DENCE this as a pleasant side of getting ready, I can summer of 1921 with inspiriting and pasted it on never forget you.” Accepting On the purely vocal appreciation more detailed in nature, con- were open I cut out the word CONFIDENCE method, a system, a courses in ican visitor. Private collections of paintings approval, Warren thought no only that there just isn’t a I pasted inside my make-up way of expressing say composers. Thus, the late 1 everything I used. One There must fined to the music of a few Congress; visits to chateaux in on, days later certainly, there are no tricks! to members of the From that moment it and went home. Two school—and Heilman of Harvard over in- box, and it is still with me. more- about we re still Professor William Clifford Paris were supplementary and call. of books on how to sing, and neighborhood of changed. Instead of letting my- in the night by a telephone be thousands a period of years analyzed the music of Brahms, conceits. mv thought-pattern he was aroused means, quite simply, spiring backgrounds for many lectures and in myself, my Auditions looking for the answer. That I strove for confidence— conductor of the Tchaikovsky, and Franck, ultimately concentrating with the illumi- self get low, Wilfrid Pelletier, answer, and never can be. Our Here one could come into contact then something else happened: wouh[ like that there is no single the works of Brahms alone. Later Professor Bal- on work, my future. And the wire and asked if Warren individual. upon nating interpretations of eighteenth century music confidence. was on like our fingerprints, are completely Beetho- that you can’t just snatch at that he wished voices, lantine similarly treated the music of Mozart, l'.uro- I realized

being written at of three articles is im series agrees ’.‘[ William D. Reveili, who a metal ) is added to request of Dr. n the instrumental conductors d'amore should be in- T that among basSS "an vith me general lack o ffe° our schools there is a i teacheisteachers' nin and teaching of: in all bands, Lum be included regard- knowledge pu with Clinic Series , Thfharpmust & specifically stringed wiH deal Bassoon It is the sole instrument es- less of size. of the basic teaching

the band. . sential to . . double reeds. utterly foreign to the apply to the other viols are con- i its will Band 6 Double-bass 1 instructors have studied Part One purely orchestral r nubile school music Concert since they are i n Radio cert band, teachers, and only a Scientific basfoon under competent The the or interest to shown any desire than 40 pieces, 2 percussion vill minority have 7 bands of fewer S 1U is so in- in ! of the instrument bass-drummer should Their knowledge hooper Larkin will suffice. The d ascertain by Hugh by Curtis H. players ° often they are unable to symphony Orchestra tympani. iJ L con- Detrok double on instrument is in a playable ^ should range from a mini- “Ti e or not the 8 Radio concert bands properly to assemble instruments. some are unable to a maximum of 66 100- d!uon and a Ml mum of 31 including for artistic results such radical methods, bands are unsatisfactory 1 h past dim prob- came to tion by just piece with many teachers during with the greatest differential cornetist, \ \’he ii 'talking the average student battalion of , concert performances. nothing about the but rath .general^ tnut.cal N English militarylit; Overemphasis of the in admittedly, “know in starting first on bassoon ability and mem^er^T’cfack 1 find they herent difficulty in reading T Canal as T these expertments^™^^ . is commendable, for weeding My band of drab mud ” their honesty presented 3^ to lack o 1 own charts totaling i although opportunity mainly years later he organized Ins a series of instrumental n and because of the interDretation, due few i include -.bout the band A a woodwinds in We “« the, have been «*** without tying up this marked the beginning^ pieces to illustrate the eight rules that out” incompetent students in New England and 31 42 54 and 66 i" is deplorable. T the final paragraph training and background . ideals in “ <* closing, we quote Wtuate few expensive , century of superb listed above. In teachers is to mm.mize it any ijs vs as to “ practice of such advantageously . Patrick Sarsfield Gilmore, so instrumentated chapter. The Symphony Band The general The transfer may be done = was should be Rcdficld’s working young Irishman it radio band of Prof. secondary sections, in mind the the United States A perhaps attained importance of their seventh grade, bearing brass bands existed in and less stridem. — Orchestra has a the clarinet time beyond the However, sound more mellow “The Symphony brilliance of the of the fin (Pennsyl- exercise i hi iin the flashing higher the proficiency, In 1828, the Allentown woodwinds must be development in America than any- earlier the start, the that time. i brasses and of “ punctuate^, b, before Baia higher state “ wo^is .«» often best examples of intelli- in 1831, the Re asz cannot Innc.ion smoothly possibilities for finer development .i S» ished bassoonist. One of the vania) Band was founded; P band else But the sick moan o in » “seV where of an oboe or the experience is witnessed came into being, great popularity it “sad quack” transferring in my Pennsylvania) aerial transmission. Band, the - - he of gent (Williamsport, nerformance for ; nhprpnt in the Wind- balance is one soonist. organized in in Band inherent all know that practices of my former of Reading was entitled ‘The Symphony one hundred years, and tre- a poor bassoon. We the regular teaching famed Ringgold Band Redfield'sn r-H field’s chanterchapter achieved in less than Pon- be justly proud truly gr eat has instructor, Dale C. Hams of Instruments State of Pennsylvania may study by all who love interest in the_cuU.yat.on o hands high school Beware Inferior 1852 The is woiworthy of serious mendous national year horn to so many top-notch my brasses, he pro- who may form next only d giving birth _ concerning unmistakably to the con- tile, Michigan, of the st«dem of her glory in concert band music. Yet band music, all point prospects or best can be expected endorse, lor and his four best cornet The work. A ba ,-hich we cannot Band in the comparatively section from proper tools with which to saw the clusion that the Wind section from his be we give him the decade of the twentieth century with his trombones, at the position of musical respect- his next year’s bassoon investment, but regard- The first example* he is too lavish will achieve a is the best as one of our uom- near future prospects. In this way he ,.,,od instrument professional concert band established brass instruments N< at least equal to the saxophone or clarinet be checked by a com- expense of his soprano and artistic excellence in and make or price, it should There were noted bands bandf which ability high level of balance year less of national musical institutions. the "tenor trumpets of the perhaps superior to it. achieves a before purchasing it. of na- bones are Symphony Orchestra and evident when we petent bassoonist whose directors were musicians out; and the results are with instru i"n those days means increased stridency. year have been Hooded in the past reputation. The finest ot tenor, consistently fine organizations. schools tional and international alto brasses must outnumber listen to his foreign and domestic that contemporaries Soprano and SMALL BAND into effect, ments by various makers, Philip Sousa. His The lower voices put this method of transfer competent bas them all was John baritone, and bass instruments. To useless. Even the most Pryor, Patrick Con- Red- (Piccolos) a real job of selling are practically included Bohumir Kryl, Arthur more powerful when played in unison. 2 Flutes the instructor must do not play on them I Ins Bellstedt Oreste sound .Soprano his students. He soonist could not and would Frederick Neil Innes, Herman symphonic band as fob 1 Eb Clarinet secondary instruments to the part wav, field assembled a 104-piece his be stopped by a refusal on calibre. Such names 8 within the organization practice can only Vessella, and luminaries of similar clarinets (12 lsts, 12 2nds), 8 Bb Clarinets build up a feeling products, and lows: 8 flutes, 24 Bb to must to buy these inferior then. clari- for example, is a of the teachers veritable household words 6 contrabass Eb 1 Eb Clarinet 7' transfer to bassoon, their were alto clarinets, 8 bass clarinets, that a necessitates some knowledge on type of dance . Bass a demotion this of course, War I, however, a new 2 cors Anglais, 2 Bb Clarinet of honor rather than Since World 4 oboes (2 lsts and 2 2nds), promotion a good instrument. professional concert nets, must part as to what constitutes practically ousted the lsts and 2 2nds), _ con- Oboe too many organizations. We band has , 4 bassoons (2 as it is in all rules for recognizing a good reigns supreme today. every member There is no set of from the field. Jazz or jive saxophones (2 soprani, _ Bassoon student realize that re- band trabass Eb , 8 have the is a good instrument, are no ^.Alto instru- If it plays well, it concert bandmasters cornets, _ is playing a “solo bassoon. Many of the old-time baritone), 2 Bb trumpets, 2 1 Eb Saxophone smaller section can do plays alto, 2 tenor, 2 of a or price. One tiling you Goldman Band, which tenor 1 cnor played only by himself gardless of its make longer with us. The horns, 8 trombones (4 1 Bb Saxophone that his part is is fleugelhorns, 4 French ment, sure that the bassoon selected on the Mall in Central lark, and with fifteen oi twen y however, is to make annually each summer contrabass), 2 euphoniums, 4 tubas (2 Eb 2 French Horns and not in conjunction the French command- 2 alto, 2 or “Heckle” system and not band . Solo section. York City, is the only first-class of such muddy in- Fleugelhorns example, in the clarinet the German New 2 BBb), 4 percussion. The effects Bb others, as, for Buying a French system nowadays. What a pity! 1st demands more per- or conservatory system. ing attention strumentation are extremely unpleasant. Bb Cornets This responsibility in itself an Albert system the pattern of con- - equivalent of buying of radio has altered I cnor presents a greater cha soon is the The advent interest to compare the above Bb Trombones in addition, sell degree. It may be of some fection and dealers still are g performance to an extraordinary Baritone If necessary, in clarinet; yet, unscrupulous cert band with “Pat” Gilmore’s 100-piece band assem- Bb Euphonium to the ambitious student. uninformed than satisfac- ensemble lenge at every opportunity to band of yesteryear was more flutes Bass""" build up the advantages these bassoons The brass bled in 1892 for a farewell tour. It included 2 Eb R. M. Tuba* the “selling” campaign The difference parade, in bandshells, on the rarer school instructors and students. air, on . Bass tory in the open clarinet, 29 Bb . aide to play one of public piccolos, 4 Eb clarinets, 1 Ab BBb R. M. Tuba contained in being is much and in huge audi- and 2 French and German bassoons ocean piers, in amusement parks, clarinets, 4 oboes, 4 String greater opportunities to between the clarinets, 2 alto clarinets, 2 bass Harp instruments well, the fingering; it is on the radio it just their systems of tori urns. But for home entertainment soprano saxophones, 2 and the possibly greater more basic than bassoons, 1 contrabassoon, 2 1 Snare Drum (Traps) further one’s education, tone ot the brass band is far too Las and tonal characteristics. The is generally believed that 1 baritone saxo- the professional line. in the bore alto saxophones, 2 tenor saxophones, 1 Bass Drum (Tympani) job opportunities in that are average listener. Of course, many old- musical lacks the solidity and body strident for the cornets, 1 Eb cornet, students hear the French bassoons phone, 1 bass saxophone, 6 Bb but not least, have the system bassoon, insist that the old-fashioned instru- be done in the tone of the “Heckle” time musicians fleugelhorns, 4 French horns, 2 alto of the bassoon. This can present magnates are averse 4 trumpets, 2 31 Total possibilities hum than our concep- mentation is ideal; yet the radio taking students sounds more like a nasal 4 trombones (3 tenor and 1 bass), 2 tenor demonstrations, by Ltd on a sustaining horns, BAND by personal fact that one outstanding to proposals to employ brass bands and MEDIUM bassoonists, and by the tion of a bassoon tone. The horns, 1 baritone, 2 euphoniums, 8 tubas (4 Eb fine professional to hear in this country still uses a basis. Gilmore’s 36 brasses must have 3 Flutes (Piccolos) are now available by professional bassoonist one-half 4 BBb), 5 percussion. use of recordings, which use, any of the major networks now features a Sojirano does not argue its continued One terrifically strident even within the immense 1 Eb Clarinet instrument. French bassoon but this is sounded artists of the clarinetists still weekly concert by a sponsored band, the fact that a few fine hour Exjrosition Hall (seating ten thousand persons) at 10 Bb Clarinets more than commercial gesture. Many of the bands which clarinet. purely a . .Alto Comparison the Albert system St. Louis. An Interesting cling to regularly prior to World War II, including Hugh Cooper only the “Heckle sys 16™’ performed 1 . . Bass transferred addition to buying The following “rules” concerning the ideal Scien- Bb Clarinet the student has been In Simon’s superb “Armco” Band, are no Now that tenor joint and small side Dr. Frank 1 Contrabass of the sure that both the tific Radio Concert Band deal primarily with the Eb Clarinet of the musical possibilities make broadcast. Radio executives assert that the rank and convinced lined with hard rubber ot a longer of decreased stridency. If carried out in full, 2 Oboes from him in the of the boot joint are are much too brassy to problem what should be expected because and file of the concert bands ' bassoon insures lasting bore dimensions, there is more assuredly a golden opportunity awaiting 2 Bassoons of a fine °r anlza Generally speaking, there nlastic This audiences. the most important components .S of accomplishment? to absorption of please radio Alto sections as way technical swelling of the wood due the concert band of tomorrow. 1 Eb Saxophone . . betxoeen gap between the it prevents lion and this must be achieved be very little or no use to the bas- .1 cnor on a par should those of This lining adds years of 1 Bb Saxophone .... them. Every section should be high school bassoonist and moisture. well as within abilities of a fine the intonation and tone quality Various Theories 1 Baritone for as is there exists by joreserving 1. Flutes must outnumber oboes and bassoons be- Eb Saxophone .... achieve perfect balance, In spite of this, soon with all others, to the average professional. Only very old concert brass tha a myth- the life of the instrument. The proposal to revolutionize the cause of the greater penetration of the double- 3 French Horns organization is no stronger teachers and students throughout often said, “An in the minds of many important improve- writer. Our theory dif- and he inferior instruments lack this band is not original with the reeds. 2 Bb Fleugelhorns . the ranks of the amatem or weakest link.” ical void between advanced by the late .... 1 St fers in some respects with that 2. Flutes should equal saxophones in number, since 2 Bb Cornets whereas no gap exists at a11 ment. of professional, . Prof. John Redfield, formerly lecturer in Physics the latter instruments possess much greater vol- 1 Bb Trumpet .2nd of Intelligent Selection amateur bassoonist with a job,/ob A Matter is simply a fine Correct Repairs His volume, “Music— .Tenor sional Cei- Importance of Music at Columbia University. ume. 2 Bb Trombones ... . . this marked difference of years of experience. first step in alleviating a varying number greatly in 1935, contains a Bass The plus on mechanical improvements, which and An Art,” published Clarinets must equal brasses in number. 1 F Trombone . . . clarine should be other a Science 3. The section and the virtuoso tone conception and production Two the sym- between the bassoon l- inly are the addition ot devoted to the reformation of of woodwinds 1 Baritone stu- range and the value of a bassoon, whole chapter total number must exceed that of Bb Euphonium . . of the bassoon slightly less dynamic increase is the intelligent selection par,’ perhaps with performance, however, certain section a sound. “pp” or whisper key to facilitate attacks band. In actual brasses by about 50 per cent. 1 R. . tra bassoon the automatic phony Eb M. Tuba . accomplished to a degree by with basically a good untenable. dent. This can be control? but register, and the Fit trill key Redfield’s theories proved thoroughly must equal bassoons in number. The 1 from equal in speed control in the low of 4. Oboes cor BBb R- M. Tuba . and musicians tonguing should be and the ferring the best instrumentalists Articulation or high register does the writer, that • to improve some John Redfield believed, as Anglais, or tenor oboe, should play against the 1 Harp String instance, the first chair professional. Slightly less tech- to simplify trills and the larger reed sections. For to that of the average on is not a mere rival of the these improvements are concert (symphonic) band contrabassoon. When an Eb contrabass sarruso- 1 Tympani proficient bassoonist in compositions is required of fingerings. Make certain clarinetist will be a more nical ability on prepared them symphony orchestra. He points out that the band or bassoon that you purchase, and have 2 Percussion the last chair clarinetist could the new orchestra in three months than which does not rates as the dynamic counterpart of the bassoon students added to any bassoon you now own would be in three years. Select the the musical world. He states that the clarinets are the 1 am- them, particularly the “pj>” or whisper key. 42 Total to their proven musical ability and have just as strings undergird with an eye basically good basic foundation of the band, insti uctors and ORCHESTRA of the bassoons now in use are instrument. Many I BAND Many include BAND, ORCHESTRA LARGE bition on their previous great symphony orchestras. Yet his plan to BAND D. Reveili of ( Continued on Page 184) the use only transfer students on Edited by William instruments, but because in proportion to 4 Flutes ask if it is advisable to alto, bass, and contrabass clarinets (Piccolos) of any in- and CHORUS My answer is “Yes”; not because violoncellos, and double-basses exposes his lack 1 Eb Clarinet bassoon. 153 violas, Edited by William D. Reveili of actual experience. Certain high school bands in (Continued on Page 188) to improve the instrumenta- MARCH, 1949 this country have sought * Recording Model Tuba

152 etude 1 Z

great musical hi - Fiorillo Etudes, Fetis, V THE out- wrote, “The work is an t0n „ and critic, as much imagination H nt classic exhibiting O S ol the instru- “, 1 the technical resources Af of ,1S changes or caprices Fiorillo 'whatever may be the About mCIT Etudes will always be of More Fiorillo’s amll fashfon11G taste would analyze the art of violin School to those; w r value oi it. to Public „rac tical application Harold Berkley Harp Goes well over a hunted by The thou ts F Ihese sav that no experienced it i sa[e to but^ , years ago, issue with them, Searle Lamb of today would by Elizabeth teacher stuamsy Were commented eighteen of these of the Moderate, «*> » The first § leve^mchcated^y half S™d maintained at the upon in be noted the elbow being l'^ew^art^outby^teU- not l v® se who may published by the thC * r but little ss&rrr-f about the ^rp^I is that the bmv was used r?g 5 ssLsMa- fascinated by wmetHng the editio^ be ^eAhWof children are important t that again, it should °The mm T-I LEMENTARY school ing them how the Company, And “odern vmhmsqlmw^ver, be heard ; Theodore Presser day; the composer writes ^dications are only ap- in Fiorillo’s all, the considerable this t h en- able to play m ; p in practices Cml the student should be tly a id him performer hear. they aare -oals which This btuay m K Thh others to mttf . othei. .T t for proximate. g careful practice. plays m any Tempo: izxZL’SJu “J^ ;i nd control and aginty 1 are taught music call the necessary s «#» children te. ,l,e Chromatic attaining - ;i“ * a te an under wyf C“ bTiid C: i lictpnprs* to give them i™ te or !l h be found JSfteSd g Paganini technique is u> "l f,e S oi the atsrf&J >c * ;? hand. sx i»‘r“ an immature ' none « „ tenths, ; n X5 r o ‘ es young a number l its music to Fiorillo include Q f the instrument and % ; one standing of the diOteulty . No of them of extreme « icularly oou 1111111 11 tan bc it with flexible yet when you hold their upon the age group .l^ i several boDowiiigwing variants accompaniment bit bored, and depends d American editions,‘Xfl exc has to provide lus own responsive as the string ones, however. an m £J In all ate. sible of performance ®P* tint he still as mice and as Even the littlest valuable fiexible hands. The The melodic hue can be as ing. 21. The most ‘ of style. wi - 'cry oldest oo£ suggested for No. large or y excLe for woodenness coming through an open the harp is one of the are unusually the passage no The of a harp to a breeze in the fact that coxnentwto p i av deserves expressive treatment. black, for simply wit student should be is most musical and prettiest dress (not it started out very average p 1^^ played too dow. I always wear my all instruments; that * should not be models) and on octa notes ol the accompaniment those sophisticated and that gradually, ) Ex. A in descending it marks touch children don’t go for only a few strings, knowiedge, must be expressive. A sensitive fatal than the string - ^ historical interest, t short—they, too, be more as more . ol and best. Nothing can others were added; that j ioj; n literature artistic violinist, play my is essential to the a program with had to be added first In on the bow that you can slide through or pole, at the front, the first finger. its development. feeling _ the column ant backward stre^ f can help tremendously m playing. The chil- the strings, the extreme that this study careless preparation and sloppy strengthen the neck which holds up miss, but they there they T which notes you all the strings were in No . 33 dren may not know that finally, when passages of broken arpeggios and they start to wiggle keys on the piano, Thc°'six feel your own lack of interest eluded only the tones of the white and practice. Not many studies the deserve a good deal ol fold paper Well, you know wanted to me which and whisper and and because harpists sometimes for this type of arpeggio, cluldre the ptaais, Ex. B Save been written children (and not only ) keys, a man invented of those that things disinterested tones of the black to take full advantage than on • makes it essential that each string could make more for all the detached so exist. The martele is needed say. Undoubtedly if Player little more teui do Plan what you are going to Youthful Harp With the older grades you can be a school to play for a group of interested in too " C of you've been invited Clark Irish Harp nical, but they will not be in No. 34 is the maintaining At The ['ll i ffictilll do tell them n ‘ The" clde the request has included. And However, be sure to tell just how muct P through the high-p^ children detail. good intonation and good tone go t • Wrist-and-Finger assure them that the gold is real bring the half of the study. There cost, and Both these variants tion passages in the second interested in these p r * delicate and subtle form. crossings dren are amazingly into play in its most awkward fingerings and string Motion should be two are many matters. moderate tempo, they starplydetached iro„ the require careful practice^Th When taken at a group m»« be in this section that will : and he each' te: noddle - 84. hall wa, between ; be a broad detache. Tempo: J IS “ton. to legato notes. Tempo. bowing should the bow moves i aved, the better organ-like rich- minutes g- tempo is increased, p 35 calls for an As for techniques, it takes only a few [ro as the The Adaeio of No. the iarp, intensity of expression. demonstrate some of the special qualities of ness of tone and considerable not slight, and the interesting, i ay difficulties are points need special attention: (1) and it makes listening much more ev? the leh-tnd Two technical a go° intonation in the numerous chro- some chords—loud, full, resonant ones with problem ol good e that of maintaining an bass foundation, then some brilliant unarpeggia matic progressions, and (2) \e staccato note. Tempo-eventual , the two strings of the finally, some > and after each equalized bow pressure on ones in the middle register, and ol and so For practice m drawing a full quality soft, high, ethereal ones. Explain that “loud production double-stops. 22^ study for tone i. con„eo*„ this Adagio and have is^aii admirable teteique

but I believe the the same tempo, fol- satisfactory: lowing should be Tempo giusto J. = 58 mosso J. = 80 Learn to Transpose piii How to — 60 Playing Piii lento J. Security in Piano bug- o have not told me which of has always been a since you Sense O. Transposition yeiu A the of the during, all solo arrangement Habanera Wr to me. because Answers piano piano m) tea and doing, I cannot give you a very I studied are public that when ( am Questions you playing m Levine felt while Henry 1 ever thc 1 answer. When done in the wf vou by mentioned li" ’]'*., l I definite A white keys were , alK and 1 ’ L piano the black still la P usually sung at about Vfinaersfl l and older, but I P > pianist opera, this solo is your n have prac- important that a . terms? You may know that it is 1^ — since a transcription should H 76, and P flawlessly to play ^ \ °V have played be able ) by ®d vou mayY Comfort should j nd to Conducted as nearly as possible tire gently, Annabel nv m strive to catch tited dd, 7 or before your With own home , In Collaboration of the original, I should think that when spirit 111 sympathetic friends, and yet Mus.Doc. be about the correct tempo her mor beforeoetoic Gehrkens, this would teacher, or in a more formal Karl W. arrangement. ital whatever SgSlSsfe??and I should ike for any solo pla nS white keyboard differs a, accomplish the Y the black and Jostoh LfL?'b£ which i trills in the mid- t r aooearan« and educated playing one Emeritus play the born . procedure _ 4. I would public app Now Levine was m in actual A ^io-ging-in action R T Professor “Just nervousness. Henry ted quickest results. four sixteenth notes to so elusive. A he was rad™ S dle section as seems A security at the keyboard. Massachusetts, where & in the mus- College in the, h^ ensatS Oberlin the coda I would emphas 1 r^It toneses°u?uptt trills in special beneficial. rich beat. The to tear?" L our Harvard University with ts ltion se„se. It child just beginning because with the which gi ^ If you were a Webster’s New follows, not only the form of mstru- studied piano cles and joints ‘ rt the A do is A • ot jier stringed architecture. He supp0 »•>“ Music Editor, violin> or held of tips \ play, .he faster, but also because they who ^ H"nruhC*bh*rd, strengthens the finger tot “„C tempo is inends P find our tones. If not, exponent, ^ flexible. simple. Chddren'earn Dictionary t0 noted Lesch et izky posed would be International into the following triplets more J ea*ed arm weight, “d it k “her! will fit a ' play the ) have frequently PP . . ",B Su ‘vifaSy and naturally to whose articles position sen e t Wt « easily con- smoothly: accorr , This ,Uil , ing first usually has been an p 7 J pieces (which at ETUDE. Mr. Levine simole P be.ween playing »p.d divide.1 critic when ?ou ate elV ol melodies gZStjSS'cXpf&A* operatic coach, music espedaii; ™Cr litt I 7h7s r;hI“S different keys, The them. soloist ^r?Jsin recitals of the hands) in but try to find music player, teacher, finger passages. written in F, but one Assisted by e niere is perhaps with symphony or P go-g to Conscious Learning own, arid soloist Spacing says, “Today I’m he,Theog>Q re Finger ythe child Melcher plagues the piano works for ^ ^^ it, and if he A. learning that edited many So he tries Professor Robert - of unconscious has begin it on G.” A his sense present ^Ua^m it just where he At at once that . r not being sure Presser Company. good ear he finds College Help? t from has a Oberlin Can Our Readers pl St from not knowing if he plays and secondly York City. sounds better” theTeyboard, New For example. • F-sliarj) lb on01 position and ine exercises. course , vague sense of exercise and of into ; fr this instead of B-flat; years ago I was drafted, he s \going.rn n ThisI any key, practice O. Several where > If he any finger on fun to begm a mdody American mining | o£ his trouble. instead of F. It is teaching music in our keyboard, ancl inform me as to the 01 the you would 1 surprised to find at diiferent points on ereatly if in Mexico, and was LffenLgX ”!! as to be secured Jrom camp f‘“r,i£d a„d to transpose is supposed much intei ested. One under the ..ram TIu^^form bright child will learn effect that mvsclf becoming very But practice becomes subcomcioM- a to rfiS conscious have wanted SS. ' to walk. this pedal. youngsters stems trot naturally as he learned by one the camp subconscious learning that employs a difter- Each pupil comes every da \ of ^ the adult usually begin lessons. safest form of learning, Y But - on a grand I have Dractice is the begins by thm The middle pedal or thirty minutes, and problemsj on the allow. This will learning process. He A. for fifteen troubled with location stretch will comfortably ent lor of “selective damper an excellent wav of keeping those who are as far as the “doing” afterward. So piano is a sort found this to he insr first and player to cause insuring 'fgulanty. We keyboard. first step you which enables the enthusiasm and suggest that as a pedal,” up for you 1 to sound after and progress m ability, not know the major certain tones to continue play for fun certain that you are ,ol > le,ns make been struck, the pedal de- public performance. 1 lerc P perfeedy-at keys have ; comfortable at the and key signatures the deaf girl told me that he is not contracting S when ssssFafs^ scales released. Ibis 1. mother of a to suffer and the flats Recde and the keys The Lund muscles, P to four sharps and pressed, deaf girl gave a con- Switch for ctnZ least up example, to sound she had heard that a k • ’ possible, for this: D-E-FJ makes it there lie pe.sonal keyboard( each scale like depress cert in New York. Can seek greater 0 Now to transpose simple octave in the bass, with- '?h°o?who this sharps, F and C of a year to learn a key or an of the rhythm of piano After a while ^ signature, two appreciation it consciously. per- pedal, and it by developing 5-^ liHery take paper and mark into any key. But it will sostenuto (or sustaining) Do you hate any ^ in the write the scale on staff music the out hearing the lone? weight can be focused 7-8. Lea concentration on your part, tor playing other harmotnes- could refer me. 01 half steps between 3-4 and sistent then go on literature to which you tip at the key bottom the keys is re- cases, it finger tl is of music to other Such an effect particular major keys in the transposition without blurring. do you know of any wrist is brought the first nine can- “ Then, as the simple hymn intellectual feat which as a “pedal point. Some up- he valuable to this child » weight ough way. Now find a very is a difficult ferred to would showm to key level, arm it pedal which satisfaction of 0 down melody and copy be learned overnight. right pianos have a middle play, if only for the the finger tune or folk song not should still be felt in Choose a this same result, °'f staff-without chords brings about somewhat " t so easy as it ! on the I can scn '( tip This is not groping for position higher the middle pedal . Do you know where should be no or a whole-step but on other uprights prefer( actions may set There key a half-step What Next? test? I should sounds. Wrong key- Now of fantastic effects Music Aptitude the melody in this produces all sorts experts, so that “ the upper arm and rewrite which can tie scored by in For example, a whole-step finishing considered to be in good real again a half-step or a pupil who is just which are not who aic The finger finger t write it O. i. I have we have anv children pull backwards. is to train the piano and Wagness. Since legitimate piano playing at may note. The purpose the paper to the ‘‘Book Four” of Bernard taste, so far as push them with scales the keys to nrevious far- lower. Take talented I can tip will then grip As the notes spread to make out his books, what pedal is ‘‘ ^ one easy motion. your transpositions that is as far as he put is concerned. T he middle the case of the slipping Lace in play each of This exercises. In prevent the arm from finger Up should extend right Now try suggest that I use next.- piano scores, and in small doses, since farther apart, the certain that they sound would you seldom called for in deliver these in very strain. Or mer and like something off. This causes arm finger .pacing -gh still very apt, and would . lis. h'elp the playing the melody m pupil is actual practice it does not begin to com- mostly for fun. oft 'and the arm ntay your hand at study weight may come play. T he spacin0 r,. .. the arm space, then but without writing it of Graoe pare in importance with the other two sidewise motion. First a different key, very smart little pupil, tip as the wrist de- pause of o I also have a any- the finger follow without this in the case Book damper pedal and the soft pedal. happen to know playing motion should on paper first. Do is just finishing —the A. 1. I do not because fin- and other ten' years old. who scends to key level, be worked out with simple melodies, and she has pianists, but Dr Similar exercises may perhaps a dozen of Bernard Wagness, but thing about deaf relaxing too at Three” gers and hand are “easy” to transpose since she can haidly heard a de.i of fingers, when it becomes very small hands, and Tempo, Triplets, and Trills tells me that he once cases the key sets on not have Ripl much. In some without first writing 1 feel she should well on , ^ ^ the keyboard reach an octave blind girl play fairly because there is ^ both can^you of may even rise 2-4. 2-5, your hand at transposing Four!” What material show. If any 2- 1, 2-3, paper, try “Book Q. l. Will you please tell me how to “Believe It or Not” weight sup- songs not sufficient arm 3-4. 3-5, harmony of one of the recommend? measure from abou 3- 1, 3-2, melody and perform the following readers can give information _ the fingers to hold paper ported by 4- 4-3, 4-5, been using. Write it on Chopin's Waltz in C-sharp Minor, Op. 6j, send it 0 1, 4-2, you have find pianists will they please three, but believe that you would it down. 5-2. 5-3, 5-4. the first two or A. 1. I a? friend has told me that it is done 5- 1, . in the case of 1 No. A this department? at Course,' Books IV Editor of the sensation of arm as a starting point transpose directly “Oxford Piano as I have shown iu Example B. Is this «uaY To get note may be used as soon as possible the test which is a Also any other material. Another inter 2. There is no in the huger tip, it is finger should explore and V, suitable permissible? taic weight the left of a starting the keyboard. your for determining musical supporting Firmers to master trans- volume which might suit reliable helpful to practice the starting note. Fingers to When you have begun to csting most wi Y the'Viotes to the left of the Symphonies, The two tests that are finger on the explore the fair facility, needs is “Themes from the arm on any starting finger should major keys with K_1 ' the position in known are the Seashore and the Weave the right of the hrst Thompson. back of the other hand. starting note For example the relative minors of by John worth someth, g. notes the right of the learn single volume com- although they are and up, keeping L is the them in 2 I know of no the wrist down in the right hand 2 major keys, and work with way at prt in the combination 2-4, nine for small hands there seems to' be no the finger tip, it, will paper, but as posed totally of material ^ the weight in 4 being to the right of the same way-at first on aptitude excep starting finger, and teacher must simply pick and determining musical digging into the flesh the keyboard. Don t —the mus and even notes to the right oi l. soon as possible at books. But if you encourage the person to study supporting explore the at choose among various to strengthen the 4-2, in the same hand just a melody w opposite combination , hesitate to begin with one volume, I awhile under some fine musician the sen- In the one must confine yourself to finger and to increase being to the left of it, far easier to transpose see what the starting finger, and 2, first— it is you will find any of the follow- also a wise person—and focused arm weight. 4 is early stages of to trans- believe sation of notes to the left. In the than four, But keep trying fairly well: “John will explore part fit your needs pens! practice the touch the will ing will 2. Will you also give the metronome . thev the keyboard, finger should actually too, for eventually you Course,^ exercises, At learning the spacing pose chords Thompson Modern Piano markings for the three sections of this As for “scales and , and motions. The learn to space parts, ll what enou-, same action plaving. The finger should transpose all the Book of Bells, Piii in large key before have to Books III and IV, “The .same waltz marked Tempo giusto, should be administered will here also be note. As the finger • position sense over the effective in to . while hovering have learned is to be Bentley; or “Lets Play mosso, and Piii lento? doses so as to help the pupil p correctly you by Bernice B. if you dig into of spacing should 1" strengthened, higher and higher, accuracy practice. Sarah L. Dittenhaver. 3. What is the best tempo for a piano his pieces better—thus making is raised actual Ducts,” by "J bed while the wrist that when the stroke is be sure you know solo arrangement of the Habanera from enough dose the key be more acutely sensed; so In all this activity still more fun; but in small and up to keep This spacin “Carmen”? • moves down note will be played. the minor key signatures spoil music for him made the correct the major and the Middle Pedal Do? so they will not tightening. Try at the key- What Does 4. How are the different trills in Pader- ' e • the arm from without looking for this is the rea joy f°re should also be practiced really thoroughly, “a thing of beauty and a any part fin- ewski's Minuet played? M. W. this on any finger on still further, the spacing It would facili- -J. fine teacln board. To test accuracy secret of transposition. Will you please explain what the That is why the really 1 keyboard and you will Page 183) O to ^ of the able to move ( Continued on if you could have piano is for? One he has ger should be matters greatly middle pedal on the always a two-way artist— the position sensation pedal, 1 find that study in connection refers to it as the sustaining artist-musician, but a year of harmony authority correctly. 1 ne measure 15 pi; something of an 157 calls it the sostenuto pedal. at us the procedure I am recommending, and another have shown in Example B. must also be at least a fairly good with differently on different you Docs it function though this is impossible, 2. No two performers ever use teacher. but even I would appreciate it the course types of pianos? MARCH, 1949 should nevertheless be able in

156 Ml

(or less far) into the farther forward keyboard. eo thumb-problem occurs when Th! reverse of the you fleurette ' third finger from G-sharp to , the G- . , shift la to E) you shorten your reach-again by (THE FLOWERET! from coast to coast natural. Then w line our highways “ l " means of the arm. ‘” d ' d 4 “ UCir „c, SOgS e SlS a sLr “ A Mistaken Concept Mr w. .-in.., P —^ Music! war? Release grows directly * HERBERT Ralph Technique Must The second great problem out oE fingering, and is perhaps, one of the this question of problems in the entire = most greatly misunderstood Andante (J 52)_ with playing. That is the mistaken concept A Conference field of piano develops from finger technique. that piano technique Robert Schmitz free finger action depends on the E. As I have shown, Pianist and Teacher nothing can be accomplished Distinguished use of the arm-indeed, originate, not only m the arms, but in that does not a young student is told to use the body Thus, when his arm, he is actually being led by Gnnnar Asklund his Sneers but not principles! Here, awav from normal technical pre- of one of the commonest sources of cisely is the root born in Pans, whe difficulty-the student begins by concentrat- E. Robert Schmitz was technical young boy, singing work, and later is introduced to the began Ins musical career as a ine on finger the Assumption arm and body assistance. Actually, it should the choir of the Church of idea of in the way about. While exaggerated use o£ becoming imbued with the beaut lesof work the other and and the torso is needless affectation, it is early age he entered the the shoulder Gregorian chant. At an that the upper arm, from violin and a wise thing to remember Conservatoire, studying both Paris shoulder-joint downward, is a vita! factor in de- < e his chief attention to the piano, but soon turned finger technique. If the muscles of the First veloping good subject he won the coveted they will tend to sag (accord- piano, in which upper arm are not used, still a professional tours while introducing a heavy life- Prize. He began ini to the laws of gravity), from the Con- hand, and making student. Upon being graduated lessness into the fore-arm and conducted an o> difficult than it normally servatoire, he founded and finger action much more Ins players the least need or gestures, or Ihng- chestra of his own, selecting many of should be. Without con- shoulder muscles are required to from former First Prize colleagues at the ino-s of the arm, the Schmitz gave the proper muscular support to the playing servatory. With this orchestra, Mr. give just Thus, the initiation of practice and practice- performances of modern works, among fingers. many first with attention to the proper the First Sym- habits should be made the most notable of which was keep source-place of muscular freedom, in order to (since destroyed by its phony of Darius Milhaud advantageous position for playing. orchestral the hand in an Since Milhaud had had no helpful—until the composer). As to practice itself! Scales arc time, Schmitz ranks performances prior to this time comes when the student knows them and is sure works to the world. value. The as the first to present his of them. After that, they tend to lose their i in II oild TI a 1 be only help- After serving in the French Army reason for this is a psychological one. States, where stimulus, inter- I, Mr. Schmitz came to the United ful kind of practice is based on mental played without such he has managed to launch a dual career as pianist est, and awareness. Whatever is and unmusical. As soon and teacher with marked success. His book, “The a basis, becomes mechanical knows his scales— their notes, their sequence, Inspiration” is regarded among the as a pupil Capture of interest in piano technique. Mr. their fingering, their graduated speed—his authoritative works on masteied scales as scales is gone. Their problems are Schmitz makes country-wide tours as recitalist and they remain merely mechanical drills. At that and orchestral soloist, and maintains his resi- scale point, it is lar wiser to supplant scales per se with San Francisco. In the following con- afford E. Robert Schmitz dence in passages from the classic literature, which will theories piano ference, he explores some of his of the same exercise value and. in addition, will provide technique. -Editor’s Note. the ever-necessary stimulus of musical challenge. remem- HE piano student simplifies his task by Limbering Up with Chopin his study and prac- bering that the real goal of pre- finger work. I have T his work at the Here is another device for music. Thus tice is to make which treats of exercising his established. The nearest approach to it may be found pared an edition of the Chopin Etudes keyboard is not so much a matter editions of Busoni, who, as a master each Etude to study-problem for which fingers so that they will be in the fingered according the fingers, as of training those finger aware of the principles of it to the individual of alert musical thought pianist, was subconsciously was designed. According able to follow the directions limbering concept. good fingering without formulating them in words. needs of the individual students, I advise execution of a well-constructed musical in the other hand, seem to be of the Etudes. for bringing this about Many famous editions, on the up with four or five lines from several The system I have developed en- methods fingered on an almost complete denial of the basic This does not imply a study of each Etude in its grows out of years of comparing piano down to and natural logic that was used to finger scales and tirety. The selected passages are calculated to help m the beginning of keyboard technique from solve the problem oE special points (in any method) which arpeggi in the old time! To the solving of some special finger need, some modern times. Those exer- have used; those fingering as a whole (not in just one piece!), one must technical problem, quite as a purely mechanical stand logical and practical analysis, I Thus, from existing understand that the keys are levers and that, to ob- cise might do. In addition, however, these delightfully which do not. I have rejected. own. 1 tain evenness in playing, we must have an even point musical works student’s mind, I have developed a method of my supply stimulus to the materials, that because of contact with all of them. Now, the best way to his alertness, his musicality. 1 always found it can be called a “French Method have suppose or within me every french- present the hand to the keyboard, so that it fits with the student gains enormously his mechanical I am French and have born when pie- proper leverage on all the keys it can touch at one vital musical man’s natural admiration for clarity of design, technical studies can be thus coupled to I say that the time, is to place it so that the thumb and the fifth thinking. In this an incident cision, and logical exactness. (Here may connection 1 remember German, m finger lie on white keys, while the second, third, and of a fellow- French love for exactness differs from the my own student days. Going once to visit logical, lie black keys. That is, basically, ; concrete, and more fourth fingers on the student in Paris, 1 found hard at work practicin that it is less massively him say, fuither, ideal "fit” of the hand on the keyboard. Sometimes scales— propped ua clearer, and easier to understand. I may but with the morning’s newspaper distinguish the the passages we are to play admit of that position. on the ran that these are the qualities which note-rack before him! While his fingers ot com- often, though, they do not! What we have to head- “French School” of piano playing, of singing, More through the scales, his mind was busy with the has its roots do then is to adjust so that the basic finger leverage is lines! fellow position, of art-of anything at all that The end of the story is that this young Beyond such inborn the same. To accomplish this, we must call into play did not hate in a French mind and heart.) win a First Prize. It is not necessary to which it intelligent arm technique. , Frenchness, my method and the viewpoint on an a newspaper before one to practice mechanically will avail themselves ot it. Let us suppose that, in playing, you move the many students their is based, belong to all who let their fingers run on while from its best position on a white key, to a thumb minds wander. When mechanical practice is joined of Fingering black key. In making this move, you find that what ' The Problem to musical stimulus, this does not happen, and prat develop you really need is a longer thumb! Obviously, the tice in Believing that the goal of technique is to takes on fresh value. By studying the problems natural and keys will not move toward you. Neither can you . music rather than fingers, I begin with a several Etudes at the same time, the student avoids instrument lengthen your thumb. What happens is that you musical approach to the keyboard— the the danger of practicing without thought. confronting the pianist overcome the seeming impasse by lengthening your A word of warning, transference itself. The first great problem though, as to the fingering. To my knowledge, reach. And you do it with your arm. Actually, you of purely technical pb'V is that of good, natural work to musical passages: To been lengthen or shorten your arm according to your understanding o£ good fingering has need the classics musically—that on Page 194) no general ( Continued

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keep the depressed. For example, if you over of Security in arm suspended, you can scamper Sense tips just A the key surface with finger weight ot Playing touching the key tops. The today piano to be keys offers sufficient resistance Pianists of Page 157) the Continued, from for the finger. There BEAVERS < as a support felt BUSY ( because the keys BALDWIN necessarily step- is no tone, of course, MILO _v note not par- CHOOSE move- depressed. Where the key is Y chromatic or diatonic are not in a with enough momentum h. !vS tially depressed ( ) r. h. over l. ey Allegro J= 84 ' nt their tone, springiness in the nlt " they know to produce thnse who think Eve spacing as a basis for supporting I " will find their can be felt 4 correctcorrectly like the spacing y conScious re- fingers and arms. It is much S— over sharpenea quickly sent y £ecl dumsy touch and go in running don’t stay long enough it interferes cakes of ice. You even fee^i thal ll andanu to the bottom, T75.’about ’ acquired spac- on a cake of ice to sink resistance has feeling but you utilize the weight and enough tem- of the ice to give you just the next 5S»-2?SSBS2t3fS porary support to swing over to so on. cake of ice, and , keyboard,, the In fast playing on the a actually vibrates as it A «P“ ! the thumb under suspended arm '“S finger to finger, and arpeggio pas- moves quickly from as in scale only partially de- EffiLd, 2-1, 3 1. while the keys are T] ; combinations p. s ng the vibrating arm, bobbing instead of ex- pressed. The l the thumb, the ff W different fingers, makes along on 1=4 gives a lin- keyboard feel resilient, and pearly m soft ger touch effect that is passages. passages, and brilliant in loud gSaS 1 held finger. play, the wise on the So no matter how fast you ot arm must never lose the sensation Motions propelled from finger tip to linger in Sidewise Arm being Security never lose your bal- motion tip. Then you will this sidewise sound clear i ns consider ance, and every note will should be hit and clean. Finger spacing “joo. a series of notes is ing aero.. «e ,= for in groups, wherein ( cdom The mov- spanned in one hand position. be felt balance of the arm should 5 „ 5 ing • through one group 2:2 as you are playing into the next of notes and swinging ^rrr-rr * .* like £ 9 1 The keyboard, instead of feeling will be a help- a treacherous labyrinth, let it serve as a sup- ful assistant, if you a prop lor lor your finger tips and port you weave swinging sitorue from sidewise arm pivots. As “e your not lose the fee 01 ">, arm motions, piano playing should -lcu in beautiful sure-footed though on sure finger tips ^4P~J anced on that is firmly rooted of position and torture. tips The sense fun, rather than fi mer the will then be . when which was developed security tell should still bei atm was not moving Bachaus, Battista, move in Double Notes Lturbi, Arrau, when the arm begins to Security develop this leel helpful exercise to double notes keep the fin- Francois, A dig In playing Bauer, Echaniz, balanced motion is to helpful at first to ing of and try ger sp^ng free. It is as we did before 1 one alter till key bed, ° notes separately, & Nemenoff, freely, l aY the Lev, Luboshutz the arm sidewuse, and Do not clutch moving another, then together. pressure. tightens the spite the downward finger tips. This Sanroma, 1 stroke the !£th the Moiseiwitsch, Pennario, To synchronize a finger with a £ree sense 0 smo arm and interferes motion is a “must, 1 sense ot free spac sidewise security. To get the these, and is to be a md practice Schmitz . . . ness in passage work sure balance, again descriptions to „ arKl use picturesque and moving the Baldwin Teachers tncy digging into the keys, renowned pianists prefer the the correct arm motions, many other world suggest rr°ned passage shouid be choice say ' that the make Baldwin the should feel lik Re- the same qualities which out,” or that the arm .ho’ulSte free and el..* for There is a gene finger ups, a car moving on rails. be felt in the conductors, out sistance should great composers, element of truth in such suggestions; be no clutching. of so many of today’s - wd thereh should fast, and the fi a if the arm moves too lo die hSd*.,in S - — music organizations. playing wi l'c hng singers and gers drag behind, the and to get a tree instrumentalists, lags of each finger, If the arm shape, practice at spotty, and muddy. of the chord playing sounds nicture be hind the fingers, the opinion of these experts sequence ot Let the considered labored. To get the proper - at the shou actions, let the arm be free your own use. send the selecting a piano for der, then the finger stroke will your guide in depen arm along. How far along wall upon resistance * dealer today. upon where the next note is, and “S'X” See your Baldwin that you the finger and arm adjustment One stiff have planned to reach that note. standing or walking, on the inward while arm pivot thei ke,b must learn the free ” ht bod,- Clutching at 1 3 1 must not tighten sense ot balance L_ finger tip. The arm easy = 5 with an 2^ 1 2 interferes ^ is felt. 01 up as soon as key resistance " ft » *= «“ 1" etad playing- :S . it were =4- 1 think 4^=* rl <0-l- ZL —m — \ Cfc— must the arm be tight, as though drowning person You i m * f=£= tlie ing of a JHal&tDtn # 0 life,” when but you aie 4 *=£=£=jEaE holding on for “dear ” „ gaining security, rP m Nor must • ” position finger tip reaches bottom. 1°, : the chord j t Take CINCINNATI, OHIO f _ note in a comfortably BALDWIN PIANO COMPANY, anxiety to get to the next InSicauJ and rest the Aft A Prac- !s° supports. ORGANS p. the arm. S as • ELECTRONIC hurry creep in, to tighten feeling them PIANOS BALDWIN - j the keys • HAMILTON * HOWARD until BALDWIN • ACROSONIC ff 9 pivots : the — — 9 A tice finger strokes and arm aSge. .£= hang ol St fhe uie '•{frf f f a free synchronization is attained. lose it. Getting — i mrl never position sense, not literally true in play- One can feel the of things” is also at the “hang only at the key bottom but piano. 183 partly ing the 4 key surface, or with the key only Copyright MCMXLVIII by Oliver Ditson Company ' ‘ r 182 International Copyright sec,1 MARCH, 1949 gl'UVh — 2 \

methods that seem to Before you is why I sug How to Build dends-at the start. Which singer question him- gest that the young Voice Duestions recommend any r- p\frMQ what he really wants 20* Confidence self carefully as to T@©ieti@rs! 20 throat words including „ fore choosing a "i to tie some in- numerous acter of the part comes first—not words, such inferior instruments. In one specific resonant tone, there is sure authority says ofen, your students and their sinuses. instance often." One asking them, & SONS, Inc. nose and the frontal for not music, but the man himself. Then, instance, I recently inspected five in- J. J. ROBBINS fection in the is coned. more piano value a thorough another “ofun." Which parents will get • NEW YORK 19, N. Y doctor, have so- fortified by my researches, I confer with 1585 BROADWAY Consult your throat club of good girl that their struments in one school. Four were im- suggest a 2 I have a glee money, and assurance and ask him to boxs, a tenor, their the costumer about what to wear and possible to play and the fifth was play- examination, and altos, plus four lasting musical pranos hud choice will give them voices. All are harsh, how to look, often subduing personal able only because of the “bailing ware” usually classified as and two hirer voices are I do not know satisfaction. „ color preferences to the colors most in 'Tsoprano he in the changing state. the Best repair efforts of the ambitious student dramatic, and mezzo, and let “How to Choose coloratura, lyric, with the boys except to The booklet, the time. next step is styled. simply means what to do questions vogue at The to who was using it. The musical return Richly the word “high’ gifts. They answers 20 important addition of in unison with the Piano,” establish preliminary familiarity with Finely crafted. the voice is un- them sin* like 63rd ST. a on that fifteen hundred to two thousand in the critic’s opinion instead of the lower most often. If you would 47 mST 47 WEST 63rd ST. dial want to sing the melody people ask the words and music of the score. You dollar investment was mighty small, sim- music usually high Their teaclieis wcit . copy, send the coupon 23, UN- i Protects part of two-part songs. to have a free NEW TORN have ‘broken the back’ of the opera the the NtVJ 23, NX. against damage. Would you please ply because men in charge of those YORK Tones and to sing, regardless. Coloratura With Good High them today. first time you can go through both from instruments failed to recognize the cry- A best way to use them. of suggest the By maker Middle Tones violinist, a leal ar- memory. This memorizing, however, is ing need for repairs. Yet, we allow our- known Weak Isn’t Rubinoff, the ttttttvttttttttktttvttVv nationally 1 . opinions from the step at which serious work Tonk furniture. have heard various merely selves to bemoan the fact that there are tist? I Lessons Begin? LEARN "SWING" MUSIC so^ When Should begins. so few good school bassoonists. I chal- Learn prejudiced Durse to players of all instruments—make your to sing (Q teach Gershwin's _ mgementa of *‘hot” breaks, choruses, obbligatos, HIGH in embellishments, figurations, lenge you to try the following simple pupils free “Music blue notes, whole tones, etc. to advanced piano We will also send MODERN DANCE ARRANGING Special drawer Rhapsodv in Blue test with the average bassoon now being Development” — in Duets, trios, quartettes and ensembles—special choruses Balancing the Role trays for easy who wish to learn it? Your Child’s modulating to other keys suspensions anticipations TONES — — — used in your school band or orchestra. quick ls Ce filing ; recommend theE, child-care expert an- —organ points—color effects— swingy backgrounds addi- . Do you . . J. which a famous come endless repetitions, 5 J . Write today. Now Plug one end of each joint, cover the finding. students. Si. M. T. with confidence Dictionary for voice parents ask about ELMER B. FUCHS tions of bits of business, changes in busi- swers questions 335 tone holes, and blow smoke into the East 19th St. Brooklyn 26, N. Y. and ease for singers Check the all calculated to mold the part into best book of diction starting music lessons. ness, other end under slight pressure. A i The No Once you 'earn the why and are the names fluid, continued whole. Now comes bal- matter of opinion. Here a doubt it will look like a locomotive let- how of high tones, you acquire is a coupon. books upon the subject. i ance, judging where to give and where ting the confidence needed to add C Se of three good off steam. If it does, don’t blame our Graveure; English WM. S. HAYNES COMPANY point emphasis and “High Tones and richness and auality to Y your pZTes Lack of ner-Diction,” by Louis to hold in; where to the student for interna- PROTECT poor results and bad voice. Dr. Freemantel, ” Clara Kathleen Rogers; I How to Sing Them” teacher, Diction by i this part of my coaching voice Flutes of Distinction climax. For intonation, but rather, start tionally famous Alexander Russell. immediately correct, rules and Voice,” by fortunate as to have the help of by gives you all the SHEET MUSIC “Speech am so to look for an in nis the English words STERLING SILVER - GOLD - PLATINUM expert repairman. for mastering high tones Our own opinion is that Giuseppe De Luca, whose fifty years of Frederic book ‘HIGH TONES TONKabmet. You 11 pearly alike in The bocal or “crook,” as it is practical — in a handsome pronounced as often THEM. safe and easy should be Catalog on request experience with operatic tradition is of Freemantel AND HOW TO SING keep it neat, clean, orderly, consistent with the called, is another item of neglect, every singer— the music you song and speech as is often It's a find for to find. Almost hands you — at every step ;S* immeasurable value. And your copy s5C 00 ‘"Syai's’si- tone. 108 Massachusetts Avenue, Boston 15, Mass. clearly written and easy to follow. Order Styles and sizes for bojnes, of good , JvFrerick being split or battered until it want. production is im- 450 sheets.£ that when of the way, diction and memorization are today for only $3. bands. Style 604 shown, holds truth of the matter is possible to play upon. 2 . The Many serviceable name and P 1C*U *!? S FREEMANTEL VOICE INSTITUTE Write for dealer’s it would be better perfected. At last the role is ready for 1912 North a boy’s voice is changing bocals made in this country are 57th St. other styles. Tonk Mfg. Co., Pianos both Dept. E-2, Steinway Hall. 113 West at all until it is moie O 14. sing only after some fifty Magnolia Avenue , Chicago if lie did not performance—but reasonable in 19. New York my4”7- FREE Sample Record price and of good quality. New York or goal to integrate ; unpleasant, and insecure , nn hlan harsh, performances does one begin actually to give me? settled. The Usually bocals are made in three lengths, aaaaaaaaaaaaaaaaaaaaaaaaaAA suggestion to at this period of his revealing Jort. HaJeyou any sounds that he makes — How you can be taught singing master the work! This is a very different virginal one, two, and three; each number sig- blend with the pretty, and speaking by famous teachers through -M. L. D. life will not excellence since 1875 kind of study from the once-over-lightly nifying PAYS nets and altos. How- Famous for musical a greater length (approximately PIANO TUNING TONKabi tones of your girl sopranos Educational Records. Write for record verse and chorus of the fifteen minute t that is a one-eighth to three-sixteenths Profession VeI d i must use the boys, of an Learn this Independent I °£ ever if you Send 25 Centt — to cover cost of poekoging and postage. I have sung an opera what best as you can. radio spot! When inch). Different numbered ,vords jus t problem you must solve as bocals should AT HOME Music very fifty times, I begin to restudy it, not for Sheet Rubinoff, the violinist, plays SONS I • be fitted to the bassoons . Mr. HSTRUCT-O-TONES SIERRA MAORI, CALIF as needed; for 3 JESSE FRENCH^ d;ona from the viewpoint of mastering its dif- indeed. example, a bassoon well . which has a tendency unsteady when ' weak and in Blue is a vei Dept* j xmitT l ficulties, which by that time are familiar, voice tou he a. Gershwin’s Rhapsody to play on the flat mkidlemiddle are so side should be fitted of (he voice music, difficult both greater Start. l fine piece of American but in order to achieve con- with a Number Avoid Technical Difficulties from the only hear you One bocal; whereas, a and good If we could interpretatively. If you can ...j uncrowded technically and profession . . role is . tinuity. The portraying of a not sharp bassoon who LEARN unlimited might require a Number TECHNIC your advanced pupils any e income . . com- MAGIC find among to C- -Development unlike the painting of a picture: the ar- all “How plete independence your own Three bocal. Usually, three years play it well, by d, s — however, a Num- Eight-Measure exercises for first two or are artists enough to i°ulu chU teem » sir? in business with no money tied tist has to put in each individual brush- employing principles necessary tor brilliant have been^ smgmg “Music PIANO ber Two will suffice for almost written uy that you y give it to them. q up in equipment. At home or all bas- but commonly neglected in the early years. le^er, ^ means mark, but the public wants to see the concert plan . find Ellis Cen- soons. eminent ' unable to traveling, work is waiting for One must be aware, GAUGE is a scientific teaching-tuning successful teacher and pupil of r We have been however, of of Cortot, j^nevinno, they areta you. with unified whole, without being conscious .and lec turer and artist teacher. (Exponent voice, and Students. How- Learn sound re- discrepancies in bocal instrument that simplifies learning “ cafled chest tury Dictionary for Voice TUNING and others.) cordings in 30 numbering be- knowl- three days. We pro- of single brush-marks (or the work pains assures accuracy with or without N. Y. will study carefully the __State_ tween different tools EMHALL MUSIC CO.. Box 91, Rochester, ever if you vide recordings, instruction manufacturers, since the edge of music. Action Model and dmnge°of production One, and add to Zone- AT HOME book, all necessary tools. they may have caused!). Great ahovfyou make" books suggested in Answer teacher. numbers are only relative furnished. Diploma granted. a re a to each - these e Com- 318 Write Dept. E for detailed other PBO,*, is that “Diction for Singers and if 7°“ It is shortage of tuners makes this a the result _ Hawn’s here by such means that one begins when manufactured and ;n vi them . rheck - information today. by the **«»<}• problems ot same con- ITABLE and UNCROWDED MUSIC ^ think most of your to build confidence. the IEW COMPANY PRESENTS NEW C above. posers,’’ we And word to cern. PIONEER SCHOOL—50th YEAR. G.I. Lorena, next semitone CAPITOL leautiful La March A he ^ dm CITY Rose March. 45 ; TUNING SCHOOL stress is begins. I know all too well that APPROVED. Write for free booklet. e Our next article will v ,i * Tfolft Amavioon \Tnrpll 211 E. Michigan Ave. Lansing, Mich. deal specifically SCHOOL it is possible to “get by” with quicker with reeds and reed NILES BRYANT problems. 10 Bryant Bldg., Washington 16, D. C. 184 ETUDE MARCH, 1949 k — ? .

SEND FOR NEW BIANO BOOKLET tone, his music was well-nigh Choirmasters eclinspi CLASSIFIED ADS Questions ‘1 Organists as by the prolonged cackling and Drgm and Choir '1 vociferom crowing outside. Koeehlin, Page 151) whose music (.Continued from MUSIC' exchanged is almost unknown in this ' ..vff VNTUn country * yOUR 5c each; quality matched. skilful in tire alone the music the choir especially fields of ? Specialty Shoppe, Delton, Mich. they play, let chamber Burpee s too busy play- music, and piano pieces, although is singing. They are much or- any listening. 1 hus, chestral music and choral works by composition. Orchestration, PHILLIPS ing the notes to do hi m 4 nstoWY, Jeered FREDERICK in Paris. H Private or Correspondence If for a complete are performed Although ^i Theorvt he , they are not able to work dis- Musical scripts revised and cor- tinctly Gallic in taste and S. Butler. ensemble. The most successful organists style, Koech- HWIC^arranged Frank JSStSd. N. Y. know their accom- lin is an independent composer 107 St., Corona, are the ones who inclined 32-46 the addresses of first, a manufacturer kindly send me the names inv you solos. towards polytonal style 0 . Would you paniments as well as they do their when it was manual pedal reed organs-second, Let there be Simplified, au- have one or two manual of two have to still considered revolutionary in „ .rr-u PI4NO TUNING— of firms who may organs third, Someone has said that if you France LE Literature free, manufacturers of electronic ;^mstruction $4.00— reed organs? I have an old organ bearing music in your home the time, sure But Koechlin’s music is the fruit of Elmira, N. 1. small pipe organs. look at the music all thor- 456 Beecher St., — still in exis- makers of be a ‘p^f Ross, the name of . Is this firm And let the piano “notey.” oughly grounded study, and his enough, it will sound articles Some keys are up and down-does Gulbransen tence? 2 manual pedal reed beautiful new that in the eight- on musical technic] ue show acute percep- AT HOME. are bad? Are there 0. I have a We must remember , PI-PIANOyv TUNING that mean the bellows some famous for LEARN White. Pay as has been pumped for Spinet Piano, not unusual for a tion and mastery of the problems Braid would do this work? M. R. organ, which eenth century it was in- firms who has . . for per- Karl Bartenbach, 1001A home made motor, but it tonal richness . keyboard volved. A biography of Gabriel v^Tearm Write years with a conductor to conduct from the Faure, Ind. like to have action . . - Wellslt., Lafayette, now ceased to function. I should fect responsive his revered teacher, is a masterpiece some names with of the organ or piano. In fact, that was of A. We are sending you suggestions on what to get in the way of design. with a your for beauty of the discriminating analysis of the we suggest you correspond get it. I have been the expected thing, and many stylistic ANNOYING OTH- whom of a blower and where to built for PIANO PRACTICING an organ as you cases Quality this methods and emotional contents o£ Muting Device Easily At- view to the purchase of such blowers installed in such great masterpieces were written with his mp Mayo'S told that the years. “America’s Detached bv Anyone without believe the firm you men- possible to obtain 50 music. t'j wish. We do not are noisy. Is this true. Is it in view. State upright, grand hardly likely Smartest Piano mechanism. tion is in business now. It is such an Gabriel Faure, the scope of whose Send $5.00 for mute, full instruc- electric amplification of nrr spinetln bellows would affect the keys in the Fashions” ?- back guarantee. Richard that the gifts, as well as the subtlety of his nSa Money rare Dept, 003, 1 120 The cause may possibly Mayo, Technician way you mention. individuality, is still L.n bom being ™ hila. 1 a. the ade- btreet, I 17, springs. We do not know address of a Latona be defective A. We are sending you the quately and generally iconized in reed organ service man, but are believe will this address of a firm making blowers, which we reed organ manu- is Musical Boston in the country, proved to be an almost unap- for SALE: Guaranteed pipe giving you the name of a quite satisfactory. If the right blower organs Cannarsa be able he proachable figure. This was organs, reed organs and pianos. facturer's representative, who may properly installed there should not on ac- Hollidaysburg, Pa. used and it is orfan Company, recommend someone. noise. As far as we Gay Nineties count of an unwillingness to be inter- to be no objectionable the tone it is not possible to amplify viewed but because l ame at the age of TEACHER dell* H ARE know HIGH SCHOOL magazine entitled, an organ. The make you mention seventy-six led a life of truly mercurial HECOHDS. Lists. E. p. Is there an organ of such ( Continued from Page 148) PHONOGRAPH City, enter a tone, and the need for 100 Duncan, Jersey Diapason." If so, where may I ordinarily has ample activity, disappearing from his apart- Hirschmann, “ The — S. L. lie brought about by lack New Jersey. subscription, and what is the price improvement may accord with his vivacious and scintillat- ment not long after lie i fast re- of course and of proper air pressure, which ing music. His viewpoint, like his musi- turning late iq the evening. Even his COMPOSERS, SONGWRITERS. MU8I- would be remedied by the proper installa- Directors. Diapason is one of the leading a strictly CIVNS, Arrangers, Teachers, A. The cal practice, eras founded upon address was a matter ol uncertainty, for every and al- tion of the blower. Use Mtisicopy Service profitably American journals devoted to organ classical basis which nevertheless ad- in his immediate ncighlxu hood one Service, Box no day! Free catalog, Musicopy Their offices are at 1511 Rim- lied interests. in a pedal board that the free cultivation of expressive Cincinnati 1, Ohio. Q. I am interested COMPANY mitted seemed to know exact b where one of 181, Building, Wabash Avenue & Jackson GULBRANSEIf hall for silent prac- 111. issued can be attached to a piano 816 N. Kedssie, Chicago 61, individ.ua Li ty. France’s greatest composers actually Chicago 4, Illinois. It is Dept. E Fitted) Old- Boulevard, heard there is a difference m the OFFERING: 150 (Tonepost price is $1.50 tice / hate 5 NEW COLLECTIONS WITH EFFECTIVE Scarcely less rewarding was a trip to lived. At a moment of considerable un- $4,200.00. monthly, and the subscription a New” Master Violin; $35.00 to pedal board of a real pipe organ ancl of Zion, 111. fifteen cents. the little town of Chessy where Andre certainty it so happened that Faure PATMOR FIDDLERY. a year. Single copies plays a real AMAZING! N£W! EASY-TO-PLAY ARRANGEMENTS FOR HOME ORGANISTS Revoicing. Hammond; that a person who Gedalge, famous teacher of counterpoint emerged from a taxi at a distance which SO® pipe organ finds some difference when lie 000 used correspondence courses, extensively, in- Hammond. Is and fugue, lived. Some years before, an permitted recognition, and later Faure 3 new— O. 1 have studied music tries the pedal board of the by ETHEL SMITH Large bargain list. 10c. Thomas J. ap- CHORDS books. harmony,, counterpoint, music real difference? I am desirous of DICTIONARY OF American visiting his class at the Paris consented to do me the honor of com- Reid, Plymouth, Pa. cluding there any on. I now have taken but have no AND preciation, and ' so learning' to play the Hammond, Conservatory found him playing eight- ing to my hotel. That I happened to thirteen year back- am wondering organ for a year, with a convenient access to one. I COMBINATIONS part counterpoint from a blackboard, know the Boston composer, Charles SALE: Weaver two-manual pedal conduct- MUSICAL FOR piano. I took a position could obtain a pedal board, and organ, blower within walnut casing. ground in where I correcting it as he went. Gedalge',s share Martin Loeffier, who knew Laurel when reed extend my knowledge measurements of the Write Walter Baghurst, Souaerton, Pa. ing a junior choir to would it be the exact in assuring the solid technical founda- the former was a student in Paris, acted better me. Now I would FOR THE FIRST TIME! this would Hammond. . . NOW! thinking , tion of the more famous French com- as an efficient letter of introduction. organist and con due tot in myself to play the COMBINATION WRITE SONGS: Read “Songwriter s Re- like a position as I should like to teach YOU CAN FIND ANY CHORD OR posers has still scarcely equiv- 1650 — ET Broadway, Could you tell me how to I not near a teacher; 1 been recognized. Faure’s personality was til; exact view” Magazine, small church. Hammond, as am LISTED AlPHABETICAllY , year. a BY THE NOTES — I New York 19. 20c copy; $2.00 such a position. music in grades three to four. I was presented to him by an American alent ol his music. Still extraordinarily go about getting play piano chord, ond combinolion. Idled f The Dictionary contain. hundred, ol on piactice Would a study con eos.ly find also like information little about harmony. sequence lor insfonf reference. You pupil -who also had been a student handsome, gracious in manner, full of 7 would know in alphabetical in You II receive mahogany. Excel- organ P. chords in your most difficult pieces. Weber Grand Piano, the piano, as the one subject help me? J- L. the names of the Pedals for under of this — new chords, arranging the Harvard Music Department. During poetic sensibility, was human to the $700.00. Mr. K. constant enjoyment from trying Y™'*"” he •lent tone and condition. them. of_harmony. this city does not make your friends with your knowledge his vacation, Gedalge Ponath, 5943 Palmetto St., Phila. 20. Phone company in songs, ond omozing amused himself by utmost. Lt was no wondei that his music full of indexed informs on the mechanism of are sending you the name of an The Dictionary is also PI 5-2273. Also information A. We ond Derivations, giving the young children of Chessy possessed lyric charm, pedal lion on Chord Construction the an Indefinable a short time ago had a Notations for Moderr the organ. individual who Abbreviations, ond pre-harmonic training, embracing that supple of several firms Orchestration. the his melodic invention was MUSIC—Composed for your lyrics. Lyric board, and also the names w science of intervals, the relations be- and sinuous, with a harmonic back- arranging and writing by exp. composer. might be able to supply one The old Gard- have been as thorough who WRODOCmRYOFFtk tween the notes of the For prices and details, write: Wayne A If vour studies pipe organ had a "straight pedal SPtmi scale, termed ground of great originalitv. yet never Ave., Pasadena you are to be fashioned ner, 280 So. Orange Grove letter would suggest, modern Js? ton uMimr/MtoMY. solfege, which constitutes as vour board, but the newer types have the Reg tire obligatory departing from the classic spirit. Al- 2, Calif. excellent equipment -5" * congratulated on an radiating pedal board. The foundation of all music reside concave and PROFESSIONALS study in France. though not a graduate of the Paris Con- you are planning. As you but the I FOR AMATEURS OR Bal- for the work Hammond uses the straight style, Gedalge put his youthful class through servatory Faure composition Back Popular Sheet Music to ISoO- probably the best way Hwar MUSH UACHWJM POPILS New Original Organ Solos For General Use had taught Fore s in a good sized city, really not sufficient to make any a lads, Ragtime, Everythnig. List 10c. would be by difference is comprehensive test, wrote for them on there after ilie of Massenet, with an opening to the PUBLISHING CO. retirement E-3151 High, 5, Colo. to connect very serious difficulty going from one HOFFMANN-SMITH columns of your SAVINGS BLDG. DESERT J. Parmentier the spur of the moment a also in the classified out most 228 S. D. TRUST & CARAVAN by C. A. canon in two and finally became its director. He advertising other. A little practice will iron in your city 1. CALIFORNIA parts, which his STATION- There may also tie SAN DIEGO class read at sight (law- was organist at the Church of the Ma- MUSICAL. PERSONALIZED dailv paper. of the trouble. ANGELUS AT SANTA CRUZ Roland with YOUR name whose business is SEND ME AT ONCE, POSTPAID by Diggle lessly to their ERY. Beautifully printed and organ bureau of 1 he Ham- teacher's piano accom- deleine after Saint-Saens, thus explain- 100 Let- a choir We suggest you get a copy CHORD DICTIONARY AT $2.00 EACH and Photocut of ANY Instrument contacts. OF THE paniment. to make such Stainer-Hallett, either from ENCLOSING $ Gedalge then talked ing Both $2.00 Post- Organ”, FOR WHICH I AM List Price 75( each at some the trend towards modal harmony terheads—75 Envelopes, you the names of firms mond length paid. TERMINAL, 4818% Kimball, Chicago We are sending local music store or the publishers of on methods of teaching, with the so spontaneous in his mu- (2) organ pedals, your an element 25. tie aide to supply excellent book for clarity of who might youi ETUDE. This is a very Address _ Special Recording and Radio Arrangements explanation which betokens sical style. undoubt- to a piano by State Maurice Ravel was he attached give you a rather . Zone_ _ the which could self instruction, and will City born instructor. There seemed to edly his the com- be most noted pupil, but Send for price list of violin maker s sup- complete understanding of the Hammond this dhtiohary today by ETHEL SMITH no problem 3117 know on the r

2 Percussion More About Fiorillo 54 ‘ Total THE CONSERVATORY OF MUSIC Page 155) (iContinued from OF KANSAS CITY, MISSOURI FULL BAND Violin Questions control and agility exists for attaining 5 Flutes (Piccolos) WIKTOR LABUNSKI, Director arpeggio m of bowing. The three-part 2 Eb Clarinets Soprano and the mfini its innumerable forms, 16 Bb Clarinets - Jfcl• that can be used -Announces variety of bowing 1 Eb Clarinet Alto provide more material lor HAROLD BERKLEY with them, 1 Bb Clarinet Bass jtnue-Jlf MASTER GLASSES, ROUND TABLE DISCUSSIONS and PRIVATE VIOLIN LESSONS of bowing technique the development 1 Eh Clarinet Contrabass of exercise. Usually than any other type 1 EEb Clarinet Giant Pedal variants given there are fifteen bowing Oboes Maza s Studies 2 Genuine Bergonzi Concerning though a great many A (?) mention for this study, 1 Scale Plates and the New R. F. K.., Michigan. When I Those, re- with its you can BERKLEY can easily be invented. greatly improves Mrs. G. H.. Ohio-The only way Mazas II in my comments I HAROLD more 1 Oboe D'Amore attachment Mazas I or Bowing Carlo should be practiced Trills. 6nd out if your violin is a genuine or the Brilliant quiring short bows 2 Bassoons Tone Articulation, Vibrato and refer to the Special Studies Former Faculty Member of Juilliard School of Music and Smith College Berkley and many others take or send it to an experi- middle, and the point, hy Harold Bergonzi is to respectively. Book III, the Aitists at the frog, the 1 Contrabassoon Studies, Violin Editor ETUDE Magazine enced dealer. I would suggest The Rudolph than the those having extended legato or staccato Studies, is much more difficult 1 Eb .... Contrabass 120 West 42nd St., New York Author: "The Modern Technique of Violin Bowing," "Twelve Studies in Modern Bowing," Wurlitzer Co., necessary in a stu- to be played with the whole other two, and not so bows are 2 Eb Saxophones Alto City. The origin and value of a violin can "Basic Violin Technique" and others A selection of studies WINNING PROFESSIONAL bow and in each half of the bow. Two only by a personal and de- dent’s development. 1 Bp Saxophone Tenor LUCIUS DUNCAN be determined in two three books is published variants not usually given, each of which Teacher tailed examination. There are many imita- from the ACCLAIM MONDAY, JUNE 6 THROUGH SATURDAY, JUNE 18 1 Eb Saxophone Baritone Concert Violinist— “40 Selected following: market, but an occa- volumes under the title of has special value, are the of Schradieck tion Bergonzis on the phenomenal performance of these 1 Bb Saxophone Bass Pupil can understand why you The Monday, June What is Teaching? sional genuine instrument does turn up Studies," and I violin E strings is win- 4 French Horns BUREAU this latter stainless steel II The First Year. WESTCHESTER CONCERT kept as close confused. However, Tuesday, unexpectedly. Dealers have not were a little countless friends among profes- Fleugclhorns N. Y. Pa ' material, and ning 8 III The Left Hand: Lateral and Backward Positions of the Thumb, 3 Bb Solo White Plains. .of Bergonzi- vio- much valuable - Wednesday, Ex. C a watch on the movements edition omits sionals, amateurs and dealers alike. 54 Bank SI. The Second Position. 2 Bb Cornets 1 st 7-0723 lins as they have on those of Stradivarius recommend it. .these exclusive White Plains 9-7808 LO I don’t Cathedral Strings offer Thursday, 9 IV The Left Hand: Advance Fingering. Shifting Position. 2 Trumpets Guarnerius del Gesii. - Bb 2nd-3rd and ! J J advantages: Left Friday, 10 V The Hand: Double Stops. 1 Injurious 4 Trumpet Bass l ol the ta- Is —-^etc. Eb Many Artists Too Much Metal • Perfect Fifths. Saturday, II VI The Left Hand: The Portamento. mous NBC TOSCANINI has proved 3 Bb Trombones Tenor G. B. Virzi T S Missouri. Experience unknown long-wearing I Orchestra are using w • Heretofore Monday, 13 VII The Left Hand: The Trill. The Vibrato. A Handicap in Fingering I instruments. violin has a deterio- 1 F Trombone Bass . that much metal on a qualities. Tuesday, 14 VIII The Right Hand: Holding the Bow and the Basic Motions of repairing oar specialty. and m F.xDcrt H. Z., Illinois—You have my sincere sym- quality of the tone, condi- 2 Bb Euphoniums Baritones Fifth Ave.. New York rating effect on the • Unaffected by atmospheric Bowing. t-VT&j y| R 71 CORP.. 503 fourth 9 pathy in the loss of your left hand tone of a sensitive old never rust. Eb R. M. I ubas Basses particularly on the tions or body acids— Wednesday, 15 IX The Right Hand: The Lower Third. "Round Bowing." no knowledge of any artificial place of TRANSPOSE. linger. I have The use of wire in tone and faultless har- Thursday, 16 X The Right Hand: The Whole Bow Martele. The Spiccato. The 2 RBb R. M. Tubas Basses instrument. • Brilliant finger that would enable you to play the poor policy. PIANISTS—ARRANGERS the tail-gut is especially monics. Portato. i Harp String can ad- _ violin normally, but your surgeon thick XI The Right SINGERS—INSTRUMENTALISTS Available in medium, thin and Friday, 17 Hand: Tone Shading and Tone Coloring. 1 Tympani than I can. How- HOURS OF VALUABLE TIME WITH THE vise you about this better 18 XII Interpretation. SAVE Bow gauges. Price 40^. Saturday, S piccato 2 Percussion if do not attempt anything too Appraising a WIZARD TRANSPOSER! ever, you take ” I suggest that you Cathedral Strings today, from Fee for Round-Table Discussion (12 sessions 11:00-12:00) $15.00 Rule For Music technically difficult, you can do an immense S. IT, New Jersey. Order “A Slide to The with three fingers. You for appraisal either your dealer or direct from. Fee for Class Lessons (Workshop— Limit class to 6 25.00 66 Total amount of playing your bow ) West 42nd St., would have to shift more frequently and Rudolph Wurlitzer Co., 120 WARREN 9:00-11:00. Monday—Wednesday Friday, and Tuesday Thursday Saturday •Recording Model Tuba KENNETH — — — is particularly useful for develop- fourth Frey, West 57th Ex. C make greater use of the second and or to Shropshire and 119 S. Representative Fee for Private Less^ps (one hour) 15.00 per- Sole U. tone-producing is all. I you can work City. I cannot ing a steadily-dra-m, positions, that hope York Chicago 4 . III. St., both in New 28 E. Jackson Blvd. Fee for Seven Private Lessons plus Round-Table Discussions 100.00 “SAMPLE” PROGRAMMES pleasure from your about it, for a bow stroke, and Ex. D is equally valu- into it and still get much sonally tell you anything bow- able for acquiring a lightly-balanced 1. March, violin. description -of a violin or a For Information Write Conservatory of Music, verbal How- The lti/le Regiment Sousa no clue to its origin or worth. 19 East Armour, Kansas City, Missouri. upper arm. offers TEACHERS of VIOLIN 2. Overture, had some good la o'-seem-- to have “36 Etudes of Fiorillo” have CVLtever , youv . The Accurately Transposes A Late Start J and financial Beautiful Galatea Suppe Quickly and opinion on your bow, and it may who desire greater artistic never been labeled as belonging to any or Chords to Any Key critical Single Notes Anyone who stick. But write to 3. or Postal N? ,e > Miss A. C„ New Hampshire. possessOSseSs a very good should, for the "know-how," one “school” of violin playing. They Novelty, Send $1.50 (Cash ))e (hat you p success JACK EPSTEIN Lloyd Walters, 4170 Blenheim St. Tourte Music Engravingt^Printing Sliding is playing Kreutzer s Etudes after eighteen are thousands of imitation BARITONE were one of the foundations of the clas- Jim (Trombone Extrava- Vancouver, Canada there SYSTEM Inquiries to of study has certainly made remark- of workman- FINNEY VIOLIN KEYBOARD Send for Estimates ganza) Losey months bows to be seen, in all grades 1401 Steinway Bldg., New York City sical French school; they were widely St. Chicago 47, III. rapid progress. But the big question is it be a satisfac- 2537 N. Bernard 4. ITALIAN VIOLIN! ably ship. Nevertheless, would used by teachers of the ultra-German Intermezzo, OWN AN d —how well do you play them? Is your into- have the matter definitely The otto s

at the Royal College. A setting also was Salzedo “Short dance rhythms are enjoyed by Code of Ideals composed by Homer Samuels for Galli- good. If you play the anv a bells; the glissandos make an immediate »» indii n

Scholarship Award of five hun- Theater, is head of the opera depart- t&C sent a J^KKOUHCitty spring to a student ment of the New England Conservatory dred dollars in the further study and musi- of Music, and of the piano department o be used for Details may be se- of the Longey School of Music. • al development. the secretary, Ray- cured by writing to "COURSE FOR PIANISTS Orchard Road, THE MINNEAPOLIS SYMPHONY Or- World of Music mond E. Sparks, 160 The chestra, conducted by Dimitri Mitro- Solvay, New York. poulos, has been engaged to present the JUNE WEYBRIGHT LAWRENCE TIBBETT, distinguished musical portion of the international h Everywhere” convocation to be held next sum- Goethe “Music News From baritone of the Metropolitan Opera As- colleagues mer in commemoration of the bicen- sociation, was honored by his the occasion of his tennial of the great poet-philosopher, on January 21, upon Well, scarcely—for no spells are cast, Wolfgang von Goethe. BRILLIANT NEW Method! twenty-fifth anniversary with that or- Johann no witchcraft practiced, no ^spirit to both staff, artists, employed. . . . That has immediate appeal ganization. Management, manifestations the American JOHNSON will retire as piano teachers and students die Opera Guild, and EDWARD — Musical Artists, of which Mr. general manager of the Metropolitan . . Matchless contribution to piano pedagogy Guild of . _ re- THE METROPOLITAN OPERA AS- in mak- Opera Association at the end of the THE LEAGUE OF COMPOSERS Tibbett is president, all joined will open its an- Price .75 late Paul Rosenfeld SOCIATION annual spring occasion. The event was 1949-50 season, according to an BOOK ONE — The Beginner’s Book — cently honored the ing it a gala March 21, in Baltimore, George A. MEMORIZE MUSIC develops his Art, where a tour on Mary- Tibbett’s adding nouncement just made by TO intelligent music reading projected so that the student Museum of Modern marked by Mr. HOW The principles of at the further Di- four ports: Reading Up and Down From The discovered by him land, the first of fourteen cities to be extended list Sloan, Chairman of the Board of note reading skill to his fullest ability. In program of composers another role to his already by Dr. James Francis Cooke Down From the Space Notes of The Treble Clef, enlisted the visited during an eight-week period. the addi- rectors. It is planned to have next sea- Middle of The Staff, Reading Up and was presented. The program A of parts sung in opera. With Reading and Down From The Space Notes of The Bass Clef and Introduction To in- total of sixty-one performances will be son, which will be Mr. Johnson’s fif- Up services of a number of vocalists and tion of the role of Balstrode in Benjamin informative volume is understandable, Musical Playing. given. new feature of the tour will is teenth season in a managerial capacity, “magic” formula in this compact, strumentalists who played works by Ed- A he Britten’s “Peter Grimes,’’ his total The performance in Dcs Moines, tak,e on the aspect of a special tribute basic and practical. gar Varese, Stefan Wolpe, Leo Ornstein, a Iowa, more than seventy. His debut was made headed: The Follow-Up Book — Price .75 where the company never has played. as Lovitzky in to him. from Dr. Cooke’s wide experience in chapters BOOK TWO — Charles Mills, Roger Sessions, and Roy on November 24, 1923, Great benefit is derived original Weybright compositions, the student progresses gradually company-orchestra, Through familiar and Harris. The entire ballet, “Boris Godunoff.” Simply Cannot Memorize" and consistently, being introduced to chords and intervals, staccato and legato playing, chorus, and principals will make the NORMAN CORDON, opera singer, has "I

’ planning, key signatures, tone shading, the appoggiatura, accents, and native phrasing, finger THE NEW ENGLAND OPERA THE- trip. THE ANNUAL grand opera festival settled in North Carolina, his "Playing by Heart" the student's First piano duet. state, where he has assumed the job as Musical Memory ATRE, Boris Goldovsky, director, re- held at San Antonio, Texas, which has Matveis of director of the North Carolina Music presented Bizet’s “Carmen” in THE INTERNATIONAL SOCIETY institution in the South- Memorize Who Can Carry a Tune" to and Price .50 each cently become an "Anyone Can WORKBOOKS accompany BOOKS ONE TWO — Project, the main project of which will Boston, as it was originally written—with for Contempory Music opi ned its con- presented on February 12, 13, Unusual Workbooks to offer additional “teaching through testing” of the principles and west, was Practical Steps in Memorizing “11 be to make North Carolina a '“singing spoken dialog. Many sections, generally cert season on January 21, at the Mu- 20. and included the operas, materials in the first two books. Each page is scientifically planned to accompany definite 19, and Upon Memorizing state.” The program will concentrate on A Symposium sections of Books One and Two. omitted, were restored, while later ad- seum of Modern Art in New York City, Trovatore,” “Der Rosenkavalier,” “La music in the public schools. Remember to Forget ditions, including the ballet of the last with the Second Quartets of Arnold Boheme,” and “Lohengrin.” The Metro- In Preparation act and the recitatives composed by Schoenberg and Leos Janacek, per- politan Opera Association was drawn teacher on The Signature Book • FOUR Scale omitted. formed by the Pro Arte Quartet, as- and the two-hundred- TINO MATTIOLI, a voice BOOK THREE — Key BOOK — The & Chord Book Ernest Guiraud, were upon for principals memorization, but one based upon accepted College of Here is no dogmatic system of music WORKBOOKS to accompany BOOKS THREE and FOUR sisted in the last two movements of the made up of local sing- the faculty of the Cincinnati reader. voice chorus was principles and adaptable to the immediate individual needs of the BOOK FIVE — The Dance Form Book • BOOK SIX The Classics Book the San Music for more than sixty years and who — THE JEWISH MUSIC FESTIVAL, Schoenberg opus by Patricia Neway, ers, while the orchestra was See This New June Weybright Course At Your Music Dealer NOW! years ago in Italy was a teacher of Helpful hints are contributed by such world-famous musicians as: — which began on February 12, Shablat soprano. Antonio Symphony, all under the direc- many died January 22 in Cincin- Shirah, the Sabbath of Song, enlisted the tion of Max Reiter, regular conductor Toscanini, ninety-five years. In his AMERICAN ACADEMY of MUSIC, Inc. • 1619 Broadway, New York 1 N. Y. efforts of one thousand organiza- Asso- nati at the age of , Jewish THE AMERICAN MATTHAY of the orchestra. Harold Bauer Guy Maier earlier days lie had been a ’cellist and a SOLE SELLING AGENTS • MILLS MUSIC, INC. tions who planned programs all over the ciation held its annual meeting recently served as accompanist Maurice Dumesnil Isidore Philipp country. Symphony orchestras which in Chicago, at which event important CREDIT TO WHOM credit is due. pianist and had had also played in Rudolph Ganz Moriz Rosenthal cooperated by presenting Jewish works addresses were made by Dean Clarence The plan of the American Federation of to Adelina Patti. He Verdi and in quartets with on these programs during February were Burg, of Oklahoma Ciiv University: Musicians, as announced by James C. a trio with Heinrich Gebhard Olga Samaroff Saint-Saens and Joachim. those of Detroit, Indianapolis, Balti- Arthur Hice of Philadelphia: and Cara Petrillo last year, in providing free mu- Percy Grainger Silvio Scionti for public more, Cleveland, Portland, St. Louis, Verson, of Chicago. Announcement was sic for veterans’ hospitals, Victor Seroff a former Howard Hanson and Washington. made that the Association would pre- parks, and for juvenile delinquency pro- CONSTANTINE WEIKERT, was a child Josef Hofmann Reginald Stewart grams, called for the expenditure of professor of music who Liszt, Wagner, Sigismond Stojowski FRANCIS COOKE, in 1948. This exceeded the prodigy and a friend of Edwin Hughes DR. JAMES SI, 736, 721.62 Editor of Etude Strauss, died in Englewood, Williamson program for 1947 by $300,000. The and Johann Ernest Hutcheson J. Finley eminent teacher, author and January 12, two days money was derived from a fund created New Jersey, on Price, $1.50 musicologist ) ninety-eighth birthday. Mr. ON by royalties paid on records and tran- before his f arrangement .with Weikert had studios at Carnegie Hall 4 scriptions under an Hall, and for forty years recording companies, which was ter- and Steinway Approval of Readers: faculty of the Dwight School Representative of the Enthusiastic EVERY COUNT minated at the end of 1947, in compli- was on the Act. The for Girls at Englewood. 1 ance with the Taft-Hartley TO MEMORIZE I now that I have read through HOW funds were allocated to seven hundred "And the very firsf thing do, enthused me that I'm almost crazy to start in former violin- MUSIC, is to tell you that it has so locals. Each local was scheduled to re- HENRY SCHLITTLER, 9 teaching." G. O., Tccoma, Wash. Orchestra, di- on my day's work — ceive 59.40 per member for the first five ist of The Philadelphia of per mem- rector of the Musical Fund Society to comment on HOW TO MEMORIZE Jlr^John Thompson thousand members, and SI. 78 "I am very glad to have the opportunity and for seventeen years dear and concisely written. — E. T., Man- ber thereafter. The management at the Philadelphia; MUSIC. It is an informative piece of work, Theatre in MODERN COURSE FOR THE PIANO performances was in the hands of local managing director of the I-ox chester, N. H. 2 in Stone- unions. performances that city, died December desire every Over ten thousand ”/ be available in every good library. I now will of Philadelphia. Mr. hope this book will were given a year. In the first two years hurst, a suburb himself." Mrs. M. M. Van H., Mounds, music student I know to own a copy for was a violin teacher at Combs "TEACHING LITTLE FINGERS TO PLAY" the Fund spent over 53,000,000 and gave Schlittler Okla, A book in which the beginner is given on opportunity to "Play a Tune" at the employment of musicians, Conservatory. to thousands every music lover."— VERY FIRST wonderful book. It should be in the library of LESSON 60c at the same time furnishing music to "This is a STOEVING, F. U. S., Lima, O. "THE FIRST GRADE BOOK" those who need it most. CARL HEINRICH PAUL writer, "Makes haste slowly" $1.00 distinguished violinist, composer, MEMORIZE MUSIC when I firsf "With a sigh of regret, I wish I had had HOW TO 24 in New York Neb. "THE SECOND GRADE BOOK" RENE FRANK, Pikeville College, Pike- teacher, died December began piano sfudy many years ago."— Mrs. E. J. F., Humphrey, Designed to advance the pupil musically and pianistically of eighty-seven. $1.00 ville, Kentucky, is the winner of this City, at the age searching for, hut also many illustrations "Not only have I found fhe help I was "THE THIRD GRADE BOOK" year’s Award of the United R. I. have already used with success in. my teaching."—H. B. G., Providence, Continues the musical development of the pupil widely known or- that I $1.00 Temple Chorus, in its Fifth Annual WALTER HOWE, since 1944, director his golden experiences of study, "THE FOURTH GRADE BOOK" Competition for the best new work for ganist, director, and "Dr. Cooke shall certainly be rewarded for sharing Designed to carry forward both musically (Massachusetts) Fes- with those who read his book and apply its teaching." and pianistically $1.00 women’s chorus, based on a text from, ‘of the Worcester work and exhaustive research 16 at Andover, Port Arthur, Texas "THE FIFTH GRADE BOOK" or related to the Old Testament. Mr. tival, died December Mrs. W. P. W., In this book the fifty-nine years student becomes increasingly familiar with works from the Frank’s winning chorus makes use of Massachusetts. He was Masters .....$1.00 been organist and choir- Verses 13-23 of II Samuel, Chapter 6. of age. He had master in various cities, and while in Write for complete catalog founded and con- THEODORE PRESSER CO. BORIS GOLDOVSKY, founder, director Norfolk, Virginia, A RELEASE from Haydn International News President with of the ducted that city’s Handel and of the United States New England Opera Theater, has 1712 Chestnut St., Philadelphia 1, Pa. Photo accompanying this picture the Norfolk Opera refers solid gold a plat been appointed director Choral Society and to the membership card and musical and President as “The World’s also served for a time as Ike WILLIS Best signifying Honorary Life Membership choral conductor of the Worcester Mu- Company. He MUSIC CO. Known Prano Player” and shows the annual summer James the Musicians’ William Crt sic Festival, succeeding the late Walter choral director of 124. EAST STREET, C. Petrillo, Union. FOURTH CINCINNATI .2, OHIO President of the New York. American (left). Chief of the American Fede Howe. Mr. Goldovsky, in addition to his series at Chautauqua, Federation of Musicians presenting Page 194) the tion of Labor, smilingly looks on. activities with the New England Opera (Continued on 192 193 ETUi march, 1949 4

THE UNIVERSITY his own ideas. OF AlICHlf ix, always experiment with Must BANDS, with the idea it the necessary cooperation and support, here to go into the Technique of develoii' Music Teachers “I make no effort to com- better marching bands and 8 The Door without which it could never have suc- what I think a young Release Music band leade details of will sponsor believe, however ship, their first annual j/' ceeded. National Association poser should study. I Opera section of this article different and that Page 158) tional Drum Major Contest, May Grand (In the next that each case is quite (iContinued from 21 191) sight Pelletier will give in detail the ('Continued from Page includes Ann Arbor, Michigan. The contest Maestro an integrated course which hie Metropoli- and counter- music their composers signed to create interest in factors which have made the singing, dictation, harmony is, to release the drum from Page 137) aids the composer major ( Continued amaz- craft that eventually extended forms time they wrote ing, especially for male tan Opera Auditions of the Air so point, keyboard exercises, put into them at the participant' expression, then the student productive of a large number of in his some mention of lus- to play with a and to develop participation at ingly ex- and analysis with them— it is necessary all levels’ all content to complete his in which practically stars of the Metropolitan should be Page 204) distinguishing between The deadline for entering the way the younger ( Continued on careful sense of is April - was end. He may 1 15 throughout the world ercises as a means to that s musical even- and all information miera auditions Opera Association.) mechanical evenness and and entry blanks conducted. Surely, there could and ^Jbuw the purely mechanical view- may be secured from Ja< k F. were ness. From Lee, Chair be something better! point, we tend to stress evenness of scale; man, National Drum Major should ( Contest Sunday night Amer- standpoint, University The success of the from the purely musical of Michigan Bands, Harrh L- Youth Concerts at the Metropolitan 1 collections however, there is no such thing as an Hall, Ann Arbor, Michigan. ican and brilliant. In one of scale! That is because was spontaneous absolutely even this ar- illustrations accompanying certain degrees of the scale tend nat- AN AWARD of one thousand the ALBENIZ, I. dollars of the younger of Iberia Suite No. I 1 .00 a group in certain directions, and guaranteed ticle is shown urally to move publication is offered electri- by artists of that day who seven moving naturally to eight; four the Pennsylvania College for American . ALBENIZ, I. Iberia Suite No. 2 1.00 Women audiences. True, they were all moving naturally down to three; and Pittsburgh, for a twenty minute fied the modern organ upon their fine careers, but they ALBENIZ, I. six, to five. absolutely even scale composition in three started Iberia 1 An or four Suite No. 3 .00 movements the spirit of represented to the public Pis (musically speaking) would tend to de- The contest is open to citizens of DEBUSSY, C. the music. Their voices were fresh piano Selected Compositions 1.00 feat these natural stresses, and would United States. closing youth in The date is Sep- quick, sharp, and vigorous, their minds make the resulting playing mechanical tember 1, 1949; and all details RAVEL, M. may lie bodies lithe and Selected Compositions 1.00 and clear, and their and lifeless. Now, it is quite valuable to secured by writing to Mr. Russell classics G. Most of all. they were not bound strive for the perfectly even scale in pure Wichmann, Pennsylvania affile SCRIABINE, A. Selected Compositions 1.00 College for wornout conventions with scale by the load of work. But as soon as the scales are Women, Pittsburgh, Pennsylvania. for which opera had been encumbered SCRIABINE, A. 12 Etudes (Op. 1.00 taken over into musical passages, it is 8) In many of the great opera houses the natural meaning—the movement, the A PRIZE of one thousand years. dollars is of- the scenery, costumes, and SCRIABINE, A. 24 Preludes I) of the world (Op. I 1.00 stresses—of the music that should domi- fered by the Trustees o( the Paderewski stage were so ancient, fusty, ** casts on the & nate. .Here we have the core of the prob- Fund for the best quartet or quintet for looked * STRAVINSKY, I. and archaic that they j decrepit, lem of playing Bach, Mozart, Haydn. piano and strings requiting Selected at least Tussaud’s waxworks come to Compositions 1.00 Some authorities suggest that these works twenty like Mme. minutes for pea l -unance. The calling for life. The new world was should be played with the absolutely me closing is VILLA-LOBOS, H. The Baby's Family date April I. 1919; and full needed the older 1.00 chanical evenness youth. It respected and of the pure scale. 1 information concerning conditions of masters of the art, but it wanted, when < think otherwise! The masters wrote their the competition 0**' will he sent upon re- voices and younif faces. o* works as musical expressions possible, young oS of feeling. quest addressed to the Secretary of the Metropolitan Certainly, The Youth Concerts at the they wrote them according to Paderewski Fund, 290 Huntington Ave- birth of a different kind the musical laws and forms represented the e of their day, nue, Boston, Massachusetts world- ,e‘ ',e E. B. MARKS of opportunity in the operatic e MUSIC CORPORATION but what they wrote was not laws and \A <' younger folk were glad o'*'*" to RCA BUILDING NEW forms, but music. Hence, one which the o0 * YORK, N. Y. the inherent THE CHURCH OF THE ASCEN- wel- to seize, and one which the public ye music must be ' . ae**'*- found and released. SION, Neyv York City, oilers an award le0'e Hence, again, comed with joy. n the student must distin- of one hundred dollars for an original Lewis was quick to see that ° cv.iM‘« guish between scale-notes, Mr. Earl and musical choral yvork for mixed voices, to be sung . ve0ni plan to conduct the auditions- through notes which follow their natural a ° pattern for the first time at its Mansion Day but thor- cre of movements the radio was not only feasible, ,or and stresses. In this sense Festival Service .ffOlrtUNrt'tt May 10, 1949, under oughly practical. It would seem with all 0* certain degrees of the scale 2® are actually Vernon dcTar, organist and choirmaster. O'* more the extremely lucrative opportunities .vCELltO important titan their resolution; - As sung in the Seymour Nebenzal The text to be used is that of Psalm 24, succeeds that a °We and when a composer awaiting the singer who * CULTURAL DEVELOPMENT Production, "Siren of Atlantis" with intended such "The earth is the Lord’s,” in the ver- great flood talent would be developed. Maria stress, it is a defeat of of Montez, Jean Pierre Aumont music to overlook sion found for in the Episcopal Book it was hard to get and Dennis O'Keefe it by playing with mechanical, As a matter of fact, unstressed Common Prayer. dosing date is Music, speech, and art evenness. The the kind and quality of talent that the without additional March 25th, and all details may be se- Metropolitan Opera demands. This was The greatest interest in any music is cured from the Secretary, Church of the partly the fault of bad auditions. When the living emotion, the human 9u,or message Ascension, 12 West Eleventh Street, New leaves the teacher s it reveals This must the young singer 4 academic be retraced and York City. tu' Oriental studio, probably has all the teacher | iion released. And the he - best technique is Y that can give voice has been Cji which enables obedient him. The r fingers to carrv the NATIONAL FEDERATION of some °* °Wo 6 “trained,” and he has acquired in POt(r/ intentions of an alertl Music s, musical Clubs announces the seventeenth 5, mind* y kind of repertoire. But that is only the w ty" "* Biennial Young the ef "W, Song Artists Auditions, beginning of the professional prepara- >ts *•March 27 to April 3, 1949. ican Broadcasting Company could pro- W/ One thousand offered Slobelt JCax The World of dollar prizes are vide the auditorium, the orchestra, and Zaruhi Music in four Elmassian, classifications: piano, violin, the audience, both in the studio and brilliant West (' voice, Coast lyric < Continued and organ. auditions JMusic 1>y from Page 193) Preliminary “over the air” where millions would lis- S0,Ute aPO,O soprano concert star, who will be and °Uth held in the various states ten in. the greatest mu- orUy *y has introduced and success- This could enlist for 9o, districts 1949. 0 th tJMichel Competitions* during the early spring of sical probably ' fully featured Oriental cJMiclielet jury in the world, and hi Entrance blanks and all details may be the plan is °h sch Song Price 50 cents best one. However, such a °°l in *** secured by A. connection IERICAN GUILD writing to Miss Doris extremely expensive, and unless it were of OF Hunn, National 701 18th St., ganistsS S 1S romotln Chairman, to be subsidized by a sponsor it would .P g a Nation; Des Important and recurrent in the musical score of the OpenOn™ r Moines, Iowa. be impossible. Fortunately, a sponsor motion pic- Competition in Organ Playim UHNtJSlTl ture, "Siren the finale of was found, the Sherwin-Williams Com- of Aflanfis", the haunting, exotic strains of Oriental which will take place W i THE .ki connection with the FIFTH INTERNATIONAL pany, manufacturers of paint and chem- Song by Michel Michelet cast a hypnotic 1950 National B spell. All the subtle, enmal COMPETITION for Musical Perform- icals. The advertise and Convention. There will plan would also be pr« ers, the c> passionate tempo of the East is reflected in the and Geneva, 1949, will be held at bring wider Opera Com- I®® brief and poign- reS,onal semi-final prestige to the BOB contest therr,7latter to Conservatory of Switzer- pany itself. rendered ant pathos of Oriental Song. Conceived with take place during Music, Geneva, Sherwin-Williams so’ a moderate range the R< land, gional Conventions September 19 to October 2. The a great service to operatic art in Amer- c— E), Oriental of the Guild Song is practical for in I ( almost any voice. late contest is vi- ica, spring of 1949. The open to singers, pianists, although of course it received in contest is ope, to any organist oloncellists, oboists, bassoonists, and in- return huge prestige through this form twenty-five years of § terpreters of violin and of dignified "der °" ] sonatas for publicity. The Metropolitan y stipulation Lin OLIVER DITSON CO. piano, of all nationalities. There are Opera Auditions of the Air are now P ‘ ayed 3 for th^A redta first and varibus sponsored Theodore Presser ^ , Co., Disfribufors GO nh second prizes in the by the Farnsworth-Capehart classifications. The deadline for submit- T elevision and Radio Corporation, with 1712 Chestnut St., Philadelphia I, Pa. be secured by tmg registrations and all great generosity. writing to Mr M e is July 15; Wright, details be Mr. Chairman, Imerican and application forms may Edward Johnson, Director of the GuUd o secured In- Organists 630 Fifth Avenue, from the Secretariat of the Metropolitan, great artist and fine busi- Roomuomi/UfcHOP ness New York 20, N. Y. ternational Competition for Musical man, immediately saw the potential- Performers, Geneva, Switzerland. tties of the new audition plan, and gave 194 195 etude MARCH, 1949 is placed in the pit with the or- literally breath-taking. The voices Theodore Presser Theatre is for operas at the ThC chestra. As a matter of fact, except of plays and waging late Debus- . is an old story the beautiful overture (very (Continued from Page 141) Antique at Orange Zf years sian in style), the action in the first act PIIMO enjoy! French. For at least thirty BOOKS you can ‘The by any music what- in their energy performers such as is unaccompanied welfare of his employees'’ was tireless and in their con- greatest French spirit. The he ever. his wage centration upon difficult problems. his brother Paul Monnet, near to his heart at all times. In Both Monnet Sully, Sarah Originally this play which the two MUSICAL contributions and men were devoted to puzzles. fcbch, La Grande scale he watched the Henrv Madeleine and Debussy, wrote employee Ford once told me that he never and the Russian basso, Feo- “poets,” D’Annunzio the output of each individual worried /Bernhardt), was pre- asked to explain played their star roles in close collaboration in 1910, and rewarded him according to his own When what he meant' dore Chaliapine— NOISES sented by DiagelefE and the Russian Bal- fitness and he said, “1 have always been very judgment of the employee’s fond th at dusty let, with Ida Rubenstein as Sebastien COLLECTIONS and sound effects for piano management of puzzles. If a business or life theater stands in a large DELIGHTFUL worthiness, His methods of problem The in THESE sheltered by the Champs Elysees Theatre in Paris WHY An entirely new type paternalistic. He be- is presented to me, the more difficult one side of which is of publication by Ray Carter. It contains were essentially it square, designed its wall—the 1911. Decors and costumes were eleven original piano teaching His em- is, the better. I haven’t any time It is famous for pieces based on the everyday longed to a paternalistic age. to waste the hills. has SELLERS original struc- by Leon Bakst. Since then, the play BEST sounds and noises children hear— "The Clock", "Church Bells", and they were upon worry. My only aim is to solve remaining of the ARE ployees were his family the only one Paris Op£ra and "Music Box" are a and nine been given only once, at the few of the subjects chosen by Mr. Carter heart. was the puzzle.” On trips away liont is three hundred Us sincerely dear to his He home I ture—which in- was chosen for for teaching pieces. Each subject has fourteen House in 1922. The legend which 1. Every piece been tastefully illustrated. always made it a point to bring one hundred and father; and if the employees were good, back a feet long and as of the spired many canvases of such painters musical value. PRICE 75* hard-working, puzzle for Mr. Presser, wlm got and forms the back real faithful, intelligent, and into the feet high Titian, and Dela- virtually intact, al- Mending, Mantegna, piece is an original was father: if they were not, habit of asking, “Quick! Where is it?” This wall is 2. Every he a kind stage undergone very little change two of the original seventy croix, has piano. he could be a bitterly severe disciplin- Botli men were hard taskmasters. They though only which he ivork for columns re- in the D’Annunzio version, felt tired out many of their fellow white marble presents arian, but always a just father. He workers magnificent French, and the 3. Every piece 50 BIG-NOTE PIANO PIECES beautiful wall in wrote directly in old very strongly his business success with their incandescent concentration, “It is the most that main production used decors and cos- special musical said Louis XIV. The Orange a for the elementary pianist was by no means the residt of his own ef- •while they themselves remained fresh, my kingdom,” Ampitheatre reserved for tumes as designed by Bakst. problem for the forts, but due to the accumulative brains, vigorous, and inspired. I have known “eradins,” or A collection if any perform- new expertly arranged for the beginner. The variety not look too large, 1 doubt very much experience, patience, service, and labor Mr. Presser to work for hall a day with the audience, docs student. of contents is suggested I witnessed by this cross-section of titles: "Come people, 1 he ance could surpass the one of a large number of faithful workers. a group of men, perfecting iwo yet it scats eleven thousand Back To Sorrento", "The Emperor Waltz", "Narcissus", or three could one find "Loch Romans in the at Orange, and where VOLUME I. ' built by the Lomond Ten Little Indians", Henry Ford had the identical opinion. paragraphs of an announcement, only to theater was , "Semper Fidelis", and selections perfect setting? The marvelous one can readily imagine such a' Elementary from "Swan Lake" and "Nutcracker". he escorted through his vast tear it up, declaring that it was first century and Once me worth- sometimes in colors, at Kuhnau, those days. I re- lighting effects— pieces by Haydn, Kirnberger, industrial in Detroit. less. He would return to the what it looked like in 18 development When same task visible pictures others. PRICE $1.00 somewhere that per- others projecting scarcely Mozart, Purcell, Scarlatti, I remarked, the next morning with a ch member reading “You must be very proud of ar and suc- wall like a vision, com- botli the old Greek and that crossed the this great work,” he exclaimed, “Work! cinct version of what he wanted to say. formances, in ^ fairy-like spectacle. Actors theaters, began at dawn. “Hie pleted the Nonsense! I have about one hundred His insatiable desire to reach ultimate Roman Vera • I1EUJ "JUmBO-nOTE" • descended the from the Comedie Frangaise, with VOLUME II. BOOKS thousand employees the perfection would wear his crowd came, climbed and who do work.” out associates. stellar role as Sebastien, 4 ’ Korene in the and Intermediate / T* „ I. .. . of the ampitheatre, shouted and Upper Elementary Recent additions to the "Jumbo-Note" Library: Both Mr. Presser and Mr. Ford were steps Orches- to pre- supported by the Colonne while the police tried were E. Bach, Beethoven, laughed, Parray. 33 pieces by C. P. GAY NINETIES • SERENADES • Paris, conducted by Paul Sthubert, COWBOY SONGS serve order.” In those days the citizens tra of Borodin, Grieg, Reichardt, is so .beauty of this performance others. CHOPIN PIECES • SPIRITUALS • LATIN AMERICANA were paid by the Government, two coins The Schumann, Tchaikovsky, that I would urge anyone who per person, to attend the theater and it fantastic arts and who III. A complete Piano Catalog who is interested in the visual VOLUME Available on Request was the audience, not the critics, East 43rd Street France at that time New York 17 • 3 Will Music Festivals Regenerate France? there, which play plans on being in Upper Intermediate 35* each book determined, then and • 275 Livingston Street it. Muffat, Brooklyn 17 should of the year, to be sure to see pieces by Hassler, Mendelssohn, they preferred and which author 30 • The Arcade Continued from Page M3) performance Schubert, Telemann, Cleveland 14 « ( Seats were re- On the afternoon of the Purcell, Rubinstein, receive the laurel wreath. ITest 7th Street $1 ' 50 Angeles 14 • 700 of Orange was hardly rec- others. Los CHAS. H. HANSEN MUSIC COMPANY served according to rank. the little town so-called cadets of streets the Paris Conserva- sented, for the second year of the Avig- the ognizable. The narrow, crooked 1674 BROADWAY NEW YORK 19, NEW YORK In front sat the VIPs-members of tory. These boys, for the most part in non Festival, three plays: Shakespeare’s with visitors—arriving by for whom soft arm chairs were teeming their late teens or early Government from twenties, have “Richard 111;” “Shelidrazadc,” a comedy bus, motor car, and bicycle— , won were brought in and thick oriental car- train, many prizes for their skills. Theirs by Jules Supervill with music by Darius neighboring regions, from Avignon and COURSE pets were laid out—so that patrician feet MICHAEL AARON PIANO is the Dean of Judges, youngest orchestra in Europe. Led Milhaud; anti of I) anion,” from Lyon, Aix-en- National Guild of Piano Teachers "The Death contact with the dusty Marseille, and some r need not come in by an experienced conductor like Flans portion of the FIRST NAME IN PIANO METHODS! by George Buchner. This last is not the following Provence, and Paris. A THE Rosbaud, they floor. The row's immediately sounded exceptionally opera on the Von just to see “Le Martyre de in Modern Piano Instruction same subject by G. were occupied by those wearing decora- crowds came New Note well as they played stay • *60 in their white shirts Einem, which given so much pub- Saint-Sebastien,” but many came to was tions for their services to the State, or by in the packed court of operas- music lovers. licity when it had its premiere last yeai nights to attend two HANS BARTH members of the colleges or professions. for two VS There were concerts of chamber music in and Saint-Saens Salzburg. Unfortunately this theatrical with such read- “Alceste,” by Gluck, dedicated to the There still remain signs LOO works of Rameau, a con- group, re- Ever since Walkuries HCHN.C Pianist — Composer while it lias a few members Latin, “Equitum “Samson et Dalila.” rCHAa AARON pTnO — Pedagogue cert of spiritual ings as LQG III—in music at the Cathedrale cruited frpm Frangaise, opera was given in Orange Sequence — Natural Progression the Comedie Gradus Tres.” Further up sat the Plebei- (Wagner’s Perfect Uninterrupted de Saint Sauveur, symphonic full speed Announces concerts could not measure up to the magnificent a few years ago) galloped at and serenade cus. But whether Pleb or Patrician, ev- concerts, all devoted to background The horses across the stage of the against which it played. eryone could see and hear equally well, on live Mozart compositions. But the most of an REFRESHER COURSES out- performances were given in the small con- Theatre Antique, announcement T piano books FOR PIANO TEACHERS standing performances for those Roman architects -were \ OUTSTANDING were those of the court of the in production has always brought Palais ties Papes, built summate masters of the art of building operatic Course A: Nuovo Quartetto Italiano. Course B: No festival is the fourteenth century after the first great crowds. CHOPIN BOOK a complete theaters. The acoustics are remarkable YOUR success unless it can an- Will include how to teach Will analyze teaching pieces boast of French Pope, Clement V, made Avignon Some visitors have been coming by GUY MAIER and master a new discovery, even today when three of the original Selected and Edited and the little Aix Fes- his residence, score or more years, but compositions by composers of 4 centuries, refusing to go to Rome. walls are the theater has, of nually for a Edition by the gdted and play the 25 branches of in- tival was no exception. gone, and especially compiled in o Chopin Centennial Tin’s was one dramatic relatively few foreigners among 23 Chopin compositions cluding details of fingering, pedaling, case where the course, no awning—which the Romans there are Mazurkas, Nocturnes, Wollzes, Polon= «, technic, new ways to tone This is Selected and edited from Preludes, teach Nuovo Quartetto Italiano (P historical atmos- this is because Orange teacher fingering production, dynamics, background and the used instead of a ceiling. Here, then, them. Perhaps Meticulously edited, excellent pedaling and moods and individual Borciano, E. Pegreffi, fes- Etudes, Sonatas and Ecossaises. memorizing, pedaling P. Farulli, and F. phere of the city for a beaten path leading to the or the family member and proved too much during the most prosperous Pax Romana off the to every teacher, student, professional interpretation. A period will be devoted Rossi) will here is a book indispensable to very soon take its place in theatrical or perhaps because the group of limited skills. tival grounds, exceptional music. • keyboard harmony. the art of era—the envy of modern times—were who just likes to play and enjoy practicing. the front rank of great chamber other time of the year music given the plays of Euripides, Aristo- traveler at any Questions answered groups. This foursome plays old and prim- everything A Breath-Taking Spectacle phanes, would find only one very b Stanford king by heart and they and Sophocles. ABOUT MUSIC x (the three men and hotel and a few empty cafe houses. LET’S LEARN one young The old guide who conducts visitors Then came the barbarian invasion, itive "Hans Barth's Refresher Course is the most thorough, woman) sit so close little town of expertly presented, and inexpensive together through con- would associate the with accompanying descriptive stones and the Palais des Papes, as he destroying the Roman Empire, and the Who — 1 6 piono solos course that I have been privileged to attend." swinging their bows and Holland? ^ et their own heads with the history of musical forms as the Symphony Concerto, (they cludes his telling of one of the dramatic theater became a refuge for those who Orange representative examples of such principal Mrs- Edward T. Stallings, are Italians), that carries the Outstanding Wilson, N. C. one naturally stories the Royal House of Holland Opera, Operetta, Chamber Music, Waltz, etc. fears that in the history of France, shakes lost their homes. These emergency homes Overture, Orchestral Suite, fe°cher wh° earnestly desires to improve her teaching the hectic traffic of of Orange-where noted for early grade pianists, methods, this course is bows may his title of the Princess form, with proper hand positions head it it now. were ^themes illustrate each "aJvtu^f" at and says: "And look built right on the premises of the any moment become one diplo- musical quiz, LOO dangerously en- is, incidentally, only the composer s and a tempting Now there is here— theater, there plus photographs of Mrs. tangled. They a group of artists the costly white marble and John G. Hartje, New York City play with astounding representative, the Consul of Hol- pol- here in this castle everything has granite from columns matic d P ' Y grafeful hr fhh Hne course ish and perfection, where the magnificent —° real inspiration. Sorry for every teacher although possibly a other function but to bx william krevit missed it" who been so quiet ever days of the being land. He has no PLAYING FOR PIANO bit too sweet for an exacting since the used in the process. Not until the CHORD critic. year, as host at this festival. Pope—now there is a every night, late act, once a Bessie M. Sterling, Jersey This year’s Aix Festival murder years of the nineteenth century was Early Keyboard Harmony in Short, Tuneful Pieces for City, N. J. was of neces- either physician by pro- The Three Basic Hand-Shapes of by stabbing III’) or the He’ is really a French impor- "The most inspiring course I have had in thirty sity modest, (‘Richard the theater restored to its present status. READING and BETTER MUSICIANSHIP. This years of study and teaching." but judging by the delicately FINGER STRENGTH, IMPROVED SIGHT enthu- guillotine (’The As the French very note reading Bertha M. Daarud, siasm of the audiences, Death of Danton’).” This year actor from fession. today's piano teaching books bridges the gap between Columbus, Ohio it is easy to be- Jean Herve, the consul tant addition to Every will Shenoz is only a in hand with the visual image lieve that it will man who sells postcards the put it, “Dr. keyboard playing by coordinating a touch pattern the will quickly assume Comedie Frangaise, presented to a and Courses be given during July and August greater volunteer had photographs of the hand and hand-shape, In North Carolina Ten- proportions, that the suggestion that you honoraire.” of the chord structure. Fully illustrated with the Vedettes will capacity house, Gabriele d’Annunzio’s nessee Illinois, Rhode Island join better see he plans, to are presented in proper sequence with the visualization, and New York City. Each course the enterprise go to Orange where “you will told me that all chords and chord positions four morn- and that the link “Le Martyre Saint-Sebastien,” a mys- Jean Herve ings, lessons and which real de David” preparation. LOO interviews, afternoons. Aix is establishing dramatic performances.” Arthur Honegger’s “Le Roi basic hand-shapes and between the Drama tery play based on the well-known do Festival at After leaving old Avignon your im- year, but whether he Avignon and at Orange next Write for Free Plano Catalog! Dept. K-3 the one -it legend to which Claude Debussy wrote For circular and further Orange will be agination might readily carry you back earnest hope that information, write to definitely worthwhile the does or not, it is my to the or music. It should be classified as 'a Y. At Avignon— tenth or fourteenth centuries, Saint-Sebastien will be- l i I a it i| p I I 1619 Broadway, New York 19, N. Box 273, Yorktown Heights, Westchester just a couple of “Le Martyre de A U p County, N. Y. hours’ play with it neither an IHU. 14 driving distance even to the days of the Roman Empire, music, for is there, just as M I L L O MUdlUj Chicago 4 Lo* Angele* from Aix-a rather a great annual event but when you later, oratorio nor an opera. No one sings on come teurish French theatrical arrive, half an hour Salzbuig. company pre- the “Everyman” is in ' in Orange, Roman stage, 196 the sight of the old and the chorus of two hundred 197

ETUDE MARCH , 1949 — —

and his Musical Europe Revisited the excellently ex- Beethoven Fourth Concerto. He 0 a < well as by Saey- wife invited us for a real Danish lunch- highly dramatic music of nress'ive, fashionable Coque d’Or Res- P its new version is eon at the DUMESNIL WHERE SHALL I STUDY? Page 147) “Peer Gvnt” in GO TO ( Continued from T heart of Copenhagen, and MAURICE for taurant in the the town, and invitations nie talk of more-than-satisfying meal, they clinics and workshops with the original Nor- after the PIANO nerfomances Danish Radio been pouring m from took us for a visit to the piano. me with their talent and sincerity. cast have I , Private Teachers (Western) Private (New York City) over and sat down at the The wegian House, where we met Mr. Peder Gram, June 6-18 Teachers strode Stockholm, Copenhagen, and Gaffney, S. C.— dinner jacket in lei- Piano Concerto of Rawsthorne, a copy London. the Danish Radio, Eberly An announcer in the music chief of Limestone College, J. Wdgus numbers to of which was given to me by the Tuxen. HAROLD HURLBUT EDWIN HUGHES surely manner presented the alert 0t Pauline and the first conductor, Mr. Eric also met Miss 27-July 1 Paris— New York— Hollywood PIANISTS PREPARED FOR PUBLIC PERFORMANCE consisted of Bach s and extremely able editor of Oxford jn Oslo^we to see the grandiose Peru. Neb.—June , follow. The program active music It was a sheer delight 1 Member Natl. Assn, of Teachers of Singing AND FOR UNIVERSITY, COLLEGE AND TT..n pert and very Robert T. Bentord No. the A Ma- University Press, Alan Frank, is one of the seats about two thou- State Teachers College, 1 Developer of Singers of Metropolitan Opera, Ch CONSERVATORY TEACHING POSITIONS G Major French Suite 5, Dagbladet. concert hall, which the daily paper 1 cago Opera, Hollywood Bowl, Radio, etc. His boo k WINTER TEACHING SEASON: SEPTEMBER TO JUNE (with the Turkish the better examples of contemporary pi- of pack the auditorium jor Sonata by Mozart Sir finest com- sand persons, who III.—July 5-22^ I “VOICE FUNDAMENTALS" (J. Fischer & Bro..N. Y For full information address: of Norway’s Chicago, Rondo ano writing, and Mr. Seark’s ltallad is also one night during Pub.) was endorsed J. Henderson (critic, 338 West 89th Street York Y. Mendelssohn’s charming for She capacity every Thursday S. Michigan 1 by W. N . New 24, N. March), the New Musrn to Roosevelt College, 430 Y. president of 1 Sun), Amato, Bispham, Jourriet, and others of tha t Tel. SChuyler 4-0261 piano solo, also recently published posers and for a series of Capriccioso, and finally the gigantic in I the regular concert season Dir. of Music 1 great era. MONTHLY SESSIONS IN WASHINGTON, D. C. the auspices of which Joseph Creania, London, struck me as a fine keyboard Society” under which are very similar 2150 Beachwood Dr.. Hollywood, Calif. Wanderer Fantasy by Schubert. piano recital in orchestral concerts August 1-5 work of a serious composer. rave my all-American afternoon events. Colorado Springs, Colo.— CHARLES STUDIOS Bachaus began to play, and after a to our NBC Saturday LAGOURGUE scheduled Glenn, Musical Arts I relaxed. His was still the Radio House originally Dr. Gladys M. DEL PURVES VOICE PRODUCTION—SINGING few minutes if. Nor- The ' «ek Contemporary Norway in a Amarillo, Tex. Concert pianist Teacher COMPLETE MUSICAL EDUCATION grandiose style, the same completely open late in 1940 was kept Conservatory, — Mr. Lagourgue our next stop to is the author of "The Secret"—Daily we proceeded to during Purves-Smith Piano School Vdeal Exercises. authoritative manner, and the same in- After a successful B.B.C. appearance wav permanent state of “preparation” city, undoubtedly one REGISTER EARLY I 2934 Avalon Avenue. Thornwall 3-9797 Expert in solving all probems This regime of the SINGING and comparable technic. It was a wonderful we left London and journeyed to New- Stockholm. the whole tenure of the Nazi Berkeley 5, California SPEAKING the world, had Ko/ce—7huskiness, nasality, throati- most beautiful in “ready” welcome to Europe after so many years. castle, where we took the boat for Ber- of the was finally pronounced ness. Also stammering corrected. pre-war charm and and none of its it was I felt that at least some of the best gen, Norway. In Bergen, a city of about lost shortly after the liberation, when play at Cape Cod ISABEL 35 West 57th Street, New York as gay and festive as Study and HUTCHESON grandeur. It is just in the Fall S P R E N G El EL. 5-2367 things on the continent had not changed. one hundred thousand inhabitants, there again opened with great festivities Teacher for Piano Teachers we enjoyed seeing it Supervised recreation the classi- are still traces and landmarks ever and 1 Modern Piano Technic: The golden values of some of of the of 1945. . , Group work for Teachers: Rosenberg, the . instruction we met Hilding oak-paneled, Individual piano 1 Coaching concert pianists: Conducting "Piano EDITH SYRENE LISTER cal standards were just as bright as when great genius of Edward Grieg, who was Here great studio, with its Ciamp whom it was The piano Write for FREE information to 1 Teachers Forum." AUTHENTIC VOICE PRODUCTION of Swedish composers, to suit I had left for a happier world. After the a native of the city. Just a few miles dean movable and adjustable walls BROOKS MAYS MUSIC STUDIOS 405 Carnegie Hall, New York City to see again. 1 he last a great pleasure of acoustics, is ad- MR. STANLEY SPRENGER 1 l005'/2 Elm Street, Dallas 2, Texas Phone C-6214 concert we went backstage and shook outside of Bergen we visited his country requirement I Collaborator and Associate Teacher with W. Warren a reception of every Shaw we met was during hall St. Philo. 3. Pa. LOcus^S^ A. M. Endorsed by Floyd S. Muckey M. D. & hands with the master. The same fire house at Troldhaugen, which he made time joined by a smaller fiddle-shaped i/NlDl IClllDlLlS 252 Van Pelt C. M. Demonstration of_ correct of in New FlolRl iBlOlYjS action of vocal the Consul General music events. They I EVANGELINE chords shown at Columbia Univ., Cornell still lit up his eyes as we were trying to so famous with his wonderful I Vcdding for solo and chamber LEHMAN; Mu S . Doc. Medical the privilege of play- Clinic, Univ. of Vermont, York where I had fiddle insures I TEACHER OF SINGING Music Teachers Assoc., East- piece together the years that had- passed at Troldhaugen. There still stands his claim that the shape of a 1 Composer ern Speech Conference, Hunter Physicians exquisite piano of "Sugar Cookie Soldiers", "The Good- College— ing some of Rosenberg’s results acoustically. ACADEMY night & Artists since we had seen each other. It was piano, where he wrote sonic of his most the best possible MUSICAL Star"— Pub. Theo. Presser. America. 1 his " for the first time in about this PHILADELPHIA 1 Author of "Reflections on the Art of Singing Wednesday: Troups good to see hear is music still had my doubts Music School Music Studios, Lancaster, Pa. and him and to make beautiful pages, and there the little months before our While I Pennsylvania’s Oldest Pub. Theo Presser. was just a couple of Radio House charteredChartered sure that although so was cottage, agreed that this .lanl Szanto, President-Director 1 Monthly Recitals No charge for Auditions much changed, one-room about two hundred views 1 certainly Founded 1S7 „ and we exchanged 1870 • Philadelphia 3. Pa. Tel.: To. 5-8413 (FRANK) (ERNESTO) trip to Europe streamlined eleva- i 6 17 Spruce Street altered, or completely lost during the feet away from the house, right on the with its glass walls, DIPLOMAS AND DEGREESn EC REES Address: 167 the world on two - COURSES LEADING TO 1 Elmhurst Av. Detroit 3, Mich. about the state of studios and sound- DISTINGUISHED FACULTY LA FORGE-BERUMEN STUDIOS war, his heavenly piano playing, which shores of a beautiful lake, where tors, air-conditioned Direction sky-blue old friends, Special Department for Opera and Stage Voice—Piano continents. We were already one of the most to this very clay seems out of this world he went to compose whenever the noise proof rooms represented Write for particulars and catalogue those studied for the first EDNA GUNNAR PETERSON Among who have with Mr. La Forge are: had met Mr. Rosenberg I have to me, was still here in all its as I building, designs that Marian Anderson, richness of the “big” house got on his . rves and modern Lawrence Tibbett, Richard Crooks, first visit to Concert Pianist—Artist Teacher and Mme. Matzenauer. time in 1937 during my great was my pleas- and beauty. he to it to date. How 1 22? So. Harvard Blvd. Los Angeles. Calif. wanted “get away from all.” admire his seen MOO Park Ave., Corner 89th St., New York had learned to in Di- FE. 2597 Sweden, and during the short visit Tel. Atwater 9-7470 It is interesting that Norv greatest which ure when easy and verv workmanlike- style, offered an COLLEGE England’s Young Musicians Gram’s office I was MUSICAL living composer today, Harald Saeverud, suaveness of rector CHICAGO reminded me a little of the the Radio Or- I THE SAMOILOFF The next also invitation to appear with RICHARD McCLANAHAN day our host—we were the chose a spot near Bergen for living with just a touch ot » 1 BEL CANTO STUDIOS & OPERA ACADEMY Darius Milhaud, of their Thursday night — or Exponent TOBIAS MATTHAY house guests chestra on one I The only place where you can learn the original of the very gifted young and working. He has built for himself a seriousness. -.SiSSL, National Association Schools Private lessons, class lessons in Fundamentals Swedish reserve and which I .grate- of North Central Association and 1 Samoiloff Bel Canto Method which developed such concerts in March 1949, Member Summer-class, Southwest Harbor, Me. English composer, Richard Arnell, and house in Racial—about twenty miles out- delightful hour? for children and non-professionals outstanding voices as NELSON EDDY, BIANCA We also spent some branches of music, special instruction 801 Steinway Bldg. New York City accepted! all 1 SAROYA, DIMITRI ONOFRI and many others. his charming wife, gave a party for us side of Bergen on the top of a hill. ot fully Chicago 5, Illinois Now Garaguly, the conductor Address Registrar, 60 E. Van Buren St., 1 under the direction of Zepha Samoiloff. with Carl Here he lives with his American-born Swedish equiva- I Write for Catalog, 3150 West Sixth St., Los Angeles 5 Konsertforeningen—the E. Amsterdam Phone FE 8294 No charge for EDWARD TREUMANN wife and their three boys, quite far from Or- to Quaint Audition lent of our Philharmonic-Symphony On the Kas- cot hustle and bustle of humanity. Saev- with justifiable departed from Copenhagen’s Recommended by Emil Sauer, Moritz chestra—who told me We Von Moszkowski i CONSERVATORY DR. FRANCIS L. YORK erud, a big, lanky Norwegian with deep he had re- one of the Danish Sky- AMERICAN and Joseph Hofmann. pride about the great success trup Airport on I Advance Piano Interpretation and the Theory work blue grateful Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. eyes and wavy blonde hair, is an of our hearts and required for the degrees cently with performances of works liners with easy CHICAGO of Mus. Bach., and Mus. MUSIC— Tel. Columbus 5-4357 OF Mas. New York City affable day. After art 1 Special Chopin interpretation. and altogether charming person. Samuel Barber. of a perfectly spent in all branches of music and dramatic Summer Master Class—June 15 to August 15. own Aaron Copland and memories Offers courses DETROIT CONSERVATORY OF MUSIC ( arrived When one penetrates behind the cus- occasion to play hours in the air we year. Faculty of 135 artist teachers Detroit, Mich. In Stockholm 1 had only three 62nd Music tomary airport, and Member of National Association of Schools of rhieaeo Norwegian shyness, one finds a Stravinsky as wi ll the Dutch Hattstaedt. Pres., 573 Kimball Bldg., Chicago ! Schiephol, MME. GIOVANNA VIOLA (HULL) works of Bartok and at Send for a free catalog-Address: John R. Dramatic Soprano deep human soul and a interested Harris and ourselves in quaint, olcl I Private Teachers (New York City) man as the compositions of Roy soon we found Teacher of Singing — "Bel Canto" ! in everything connected with music. His at the Swedish National Experienced European trained Artist Samuel Barber Amsterdam. , . , Coaching Opera, Concert and compositions number than thirty- pleasant- where we stayed, The Arthur Baecht Radio more Radio. Here I was amazed and At the Park Hotel, Correct voice production, ] defective singing corrected five, and recently he some re- competence international gathering ot SCHOOL OF VIOLIN Beginners accepted has had ly surprised by the technical we found an HERBERT RENISON 7-8230 markable Europe The oc- "From the beginning to finished artistry” Phone: Trafalgar Mon., Tues., Wed., Thurs. successes far outside his native of the engineering staff of Radiotjanst— musicians from all over 75 South Orange Ave., South 608 West End Ave. New York City 1 country. celebration Concert- Orange N. J. Only last season Hans Kindler for Broadcasting Com- the twenty-second Distinguished South American Tel S.O. 2-3084 the Swedish name casion was performed one of his works the International So- 1 Public Recitals Orchestral Training orchestral pany. Instead of the usual microphone of the Festival of Pianist, member of the Artist Faculty of CRYSTAL WATERS with the National Orchestra I Music. The res Symphony test, I was asked to play anything ciety for Contemporary Concert Singer Teacher * diffei- Department. HELEN ANDERSON — in Washington, D. C„ and this season and every year in a the Piano Voice Building, Breathing, wanted for about fifteen minutes, rival is being held Concert I was Pianist Diction, several of our conductors time Amsterdam r Expression, Style. topranking was then presented with a tape recording ent city, and this Interesting course— piano, harmony In preparation for plan saw some of performances of his works, which of my own playing. Thus I was able to for the event. We Many Successful Radio, Screen, Stage, ( chosen Pupils have Norwegian, Swedish, Artist Teach- 1 166 W. 72nd St., Concert, Opera. penetrated to this country also. were in won Instruction from eminent N. Y. C. Te |. Sc 4-8385 judge whether the microphones our newly Write for Circular Saeverud’s most to a friends again, to- 405 spectacular success the right place, could achieve and English students at E. 54 St. New York City ( and Danish, is available to talented date has acquaintances as ers MARY BOXALL BOYD Tel. Vo-5— 1362 been the new incidental music much better balanced piano sound than with such old } gether of their he wrote to Firenze, the Italian Sherwood, from the beginning 1 (Pupil of Leschetlzlcy) Ibsen’s “Peer Gynt.” Right ever before. Luigi Dallapiccola of Pianist—Teacher—Coach—Program Building now seen for LEOPOLD Oslo audiences day after day pack whom I had not studies. Certificate, Diploma, Degree "The results she can obtain are miraculous" WOLFSOHN j composer the solemn Ernest Hartmann, edi- I Writes Leland Hall— Prof, of Music—Smith College Pianist building of Dct Norske Denmark years; Dr. Violin, Organ, and teacher j A Quick Look at twelve courses in Piano, Voice, Address—Steinway Hall—Nola Studios— Teatret, where a actor-direc- Universal^ Edition M Teacher of Aron Copland, Elie wonderful tor-in-chief of the 113 W. 57th St., New York City, N. Y. Siegmeister c Unfortunately we could devote only Instruments, Public tor, . Cello, Wind 1 (Also 9 Chambers Terrace, Princeton, and many artists Hans Jacob Nielsen, is doing won- Austria, and D N J.) and teachers. j- half a day to Copenhagen—the "Paris of Vienna, Tel. 2079 M ders with a completely of musicologist from Conducting, Theory, Hotel Ansonia, B'way at 73rd St., New York City new staging to schmidt, the German School Music, a the the North” as it is jokingly referred classical Norwegian drama. “Peer cost. r by the we tried B< accommodations at moderate Gynt ’ Danes themselves—but of view the Dormitory I ROY CAMPBELL JACK EPSTEIN is to Norway what “Hamlet” is the American point Composition. to make the most of the few hours and From because Session Teacher of Successful Singers of to the English-speaking write mainly under G.I. Bill of Rights Summer BARITONE world. To tour Festival was interesting Courses for veterans 1 Radio — Theatre — Pictures — Concert — Opera l went on a whirlwind sightseeing perform- new music to this play be like first European write Arthur Wildman, "STYLE-IZING" for Radio and the Theatre Concerts — Opera — Teaching would it featured the 20. For free catalog, I attempting of the city under the guidance of my Second opens June —Studio— Music Studios Palm to replace Mendelssohn's im- Sessions’ monumental Beach, Fla. ], ances of Chicago 5, 607-8 Carnegie friend, the excellent Danish pianist, Vic- ex- South Michigan Avenue, 1 Hall New York City Inquiries to , mortal the baton of the Musical Director, 1014 Telephone “Midsummer-Night’s Dream”with Symphony under Cl 5-9244 1401 Steinway Bldg., New York City L tor Schioler. I met Mr. Schioler a a contemporary had of the Concertgebouw score. What seemed to few City cept conductor Illinois. be months earlier in New York Beinum, and the the impossible was accomplished by Orchestra, Eduard van when I went backstage to congratulate conducted STUDENTS-MUSIC LOVERS to earn Liberal Commis- Nielsen and Walter Piston, f r Saeverud. The production Sintonietta by yp sions him upon his truly magnificent playing tie selling ETUDE and all Bernstein at FI J other major magazines. of Peer Gynt” Leonard ^ g *T is a unique theatrical at his d(-but Hall. He by our own MUSIC SCHOOL ^ No Cost or Obligation. Write for complete details recital at Town Orchestra of The (J T C experience. Although wife of the Residentie ’ today to: a neither my also appeared with Detroit Symphony helm A |l nor the I understand a single Nor- ETUDE SUBSCRIPTION AGENCY Among the young word in Orchestra over the air and gave a very H are prac- SHERWOOD’ generation of B wegian, of the fact that there Association of Schools of Music 2400 WALNUT ST.. 1'IIIl.A. 1. we sat for fine Because Member of National IMF PA. 1 : four hours complete- account of himself when he substi- you distances in HoHand and ly absorbed in the found tuted on Ru- tically no audience and short notice for the ailing Page 204) ourselves (Continued on deeply moved by' the action on dolf Serkin in Cincinnati, playing the 199 198 ETUDE MARCH, 1949 Charles Dickens, Barbemay, and Sightreading junior Etude Contest Walker by Gertrude Greenhalgh The Junior Etude will award three at- you enter on upper left corner of your tractive prizes each month for the neat- paper, and put your address on upper would walk past the window best stories or essays and for right corner of your paper. ARBEMAY had just come home again, est and OBERLIN articles he had puzzles. Contest is open to all Write on one side' of paper only. Do B from school and dashed upstairs to noting overlooked, and answers to She had add them to the list from and girls under eighteen. not use typewriters and do not have any- tell her mother the good news. memory. He boys examina- repeated this process so often A, fifteen to eighteen years of one copy your work for you. passed all her grammar school that he Class High. trained his memory to be B. twelve to fifteen; Class C, Essay must contain not over one hun- tions and was promoted to Junior strong and age; Class An attractive college town lends quiet recall years. dred and fifty words and must be re- she said, ,“I am so happy! reliable. He could everything he under twelve “Mother,” professional in a window. Don’t winners will appear on ceived at the Junior Etude Office, 1712 charm to this school for And I’m so glad you insisted on my saw you think you Names of prize fine could apply Dickens’ method in a future issue of ETUDE Chestnut Street." Philadelphia (1), Pa., taking piano lessons. There is a to your this page musicians. contributors will first. Results later issue. orchestra in Junior High and I want music reading?” The thirty next best by April in a

it be fun, “I think maybe I could. I'll try it honorable mention. Subject for essay this month, “The Sym- E to join it, if I can. Won’t on receive class in which (repeated from November). playing with a big group like that?” a few windows tomorrow, and start to Put your name, age and phony” Thorough instruction in all branches “Indeed it will, Barbemay,” answered strengthen my memory on my way to artist teachers. High enjoyed play- school. I’ll leave a little early of music under ELIZABETH A.GEST her mother. “I thoroughly so I will I in have time to stop at the ing with the orchestra when was windows.” Charles Dickens and Sightreading, cont. standard of admission. Special train- school. One can learn a lot from play- “That’s a good plan. Then apply it orchestra and choir di- ing in ensemble groups.” to your music,” advised her mother. And was- she selected? She certainly her teacher surprised? She was delighted, CONSERVATORY ing in band, Quiz 42 “I know," said Barbemay, slowly and “Then, when it comes to music,” had a little time to practice too, and told her other poor sight- No. con- was. She rection. director spoke to us tinued Barbemay, first as the selection reading pupils to try the same method. (Keep score. One hundred is perfect) thoughtfully. “The “the thing I’ll her memory training, being a great help, Barbemay about the advantages of joining the or- observe will be the title of the piece, was not to be made for two or three For besides 1. How many white keys does the key- died since 1900: Massenet, Godard, chestra. said good reading is then the composer his the time came, the said it was really lots of fun, and the He sight (and dates, if weeks. But when OF MUSIC Write for catalogue describing Ober- board of your piano contain? (15 Grieg, Stephen Heller, Verdi? (15 more than a necessity for this, it is an they are given), then the key signature, orchestra director complimented her, best part of it was that you could do points) points) of your friends to courses and its 10. absolute must. But I’m not so sure I can lime signature, phrase marks! expression saying he was delighted to find such a it alone, or get some lin's conservatory 2. is the proper for the 8. What name What is the difference between a qualify in sight reading. I marks, fingering, sight reader. And was join in. Try it sometime. You know staccato dots, ties, rests, reliable, accurate equipment (200 practice kettle-drums? points) triad and a chord? superior (5 (15 points) always liked to memorize better, and time dots, pedal marks, accidentals—myl 3. Clara 9. Who was Wieck? (10 points) Which composer wrote more sym- Miss tells modern organs, etc.). Brown often me reading is what a long list I will have' But I’m rooms, 26 4. Which of the following terms relate phonies, Haydn or Mozart? (15 my weak spot.” sure I’ll be selected school pianist. You Answer to Quiz Letter Boxers to tempo: mezzo forte , alia marcia, points) “Well, Barby, if you follow Charles wait and see! I think I'll take a walk mosso, sforzanclo, giocoso? meno (5 1. Fifty-two; 2. Tympani: 3. The wife Music, Bachelor Dickens’ method of observation it will down the street right away to art started. Degrees: Bachelor of points) pi- soon grow into a strong habit with you Good-bye!” she of Robert Schumann, a brilliant —» r called, as she ran down Music, 1 Master of 5. How many half-steps are there from —J D 1 — E— — of his of Music Education; -4- ‘ r and help you to improve. anist who performed many 4-4 1 V Did you ever the stairs. A-double-flat to D-double-sharp? (5 44—^ U— 4. Alla — hear that ‘Habit is first at her concerts; a cobweb, then (Continued on next page) compositions Master of Music Education. points) ” a cable?’ marcia (like a march), meno mosso 6. What theme is given with this quiz? What is the signature of the relative Barbemay smiled. “Oh, Charles Dick- (with less movement); 5. Nine; 6. First (10 points) major scale of B minor? (5 points) ens!” she exclaimed. “You read a movement of Mozart’s Sonata in C; 7. of the National Association story Replies to letters on this page will be FRANK H. SHAW, Director Member 7. Which of the following composers Answers on next page of Verdi his to me when I was sick in bed. Massenet (1912), Grieg (1907), forwarded when sent in care of the of Schools of Music. Remember? And then you took me to (1901); 8. A triad is a chord of three Junior Etude Box 539, Oberlin, Ohio see one of his stories in the movies. Uncle Sam’s Mail Bag tones (root, third, and fifth of the scale), Remember?” following excerpts are taken from Beethoven’s while a chord contains more than three The Tenth Symphony not permit printing “I do, indeed,” replied her tones (root, third, fifth, seventh, ninth, letters which space does mother. The Junior Etude is always glad to “And what was his method forth), or combination of four in full: Beethoven, as everyone knows, wrote teas greatly excited of ob- find in the mail bag, letters from every and so any and desired to have servation?” nine symphonies, all of or more of these tones; many people, which are very the sketches of the tenth symphony State in the U. S. A. and also from other Dear Junior Etude: “It was very simple and did chord for triad; frequently played today in concert halls brought to him again. not take countries. When the letters are of in- however, use the word piano, the B-flat clarinet, and He intended it much time I play the and also in to acquire. When walking 9. Haycln wrote one hundred four sextette. radio broadcasting studios, absolutely for the terest, and space permits, they are in- siii°- in choir, mixed chorus, and Philharmonic So- on the so every music student street, whenever he saw a store authenticated symphonies, with many hear from other readers. College has many oppor- ciety.” cluded in the Letter Box. I would like to Roosevelt in tunities to hear them. window which numerous articles were others attributed to him, while Mozart Rosalie Bennington (Age 15), Some of the sketches of themes for this You all like to read these letters, too, But, a week before wrote forty-nine; 10. F-sharp and C- Minnesota. he died, Beethoven symphony have appeared in print. One don’t you? And many of you like to OF MUSIC wrote to of his sharp. SCHOOL one friends: “A sym- writer says answer there was an introduction in. them, as well. On the page with of Etude. It I am an enthusiastic reader phony completely sketched is lying in the key of E-flat, a soft, quiet the Letter Box direc- piece, fol- you will notice the has helped me a lot. 1 study piano and my desk, as well as a new Overture and lowed by of studies in a powerful Allegro in C minor. tions to “send replies to all Letters in composition and love all music. I would Offering a full schedule other things.” This would, of course, pity care What a Beethoven did not live to of the Junior Etude,” or “Replies like to hear from anyone. have been his tenth symphony. few Applied and Theoretical Music A complete his tenth symphony and the to letters must be sent in care of the Sally Lieurance (Age 16) , days later, his friend Schindler said: ‘‘He Nebraska. new Overture and the other things! Junior Etude,” or “Replies to letters will be forwarded when sent in care of the piano and I I am a boy who plays the Junior Etude.” These directions JUNE 22 - AUGUST 19 1 would SESSION— hope to become a concert pianist. SUMMER seem easy and perfectly clear to most of March Birthdays and Other like to hear from music lovers. our Letter Box readers, yet every month •Floyd Tuzo (Age 18), Dates some letters ask- come in the mail-bag Bermuda. Shorter Master Classes in Piano and ing for the addresses of so-and-so, and March is the 2 birthday of Bedrich and called “The Father of the Waltz”; so-so-and-so, whose letters appeared in Dear Junior Etude: Coaching July 5 to July 22 lessons for two years and — ( piano Smetana (1824-1884), who was born in also the father of Strauss, such-and-such, and issue. I have taken Johann junior such-and-such grade. In school I am the country that used to be called am ready for the third Bo- (“The Waltz King”), who wrote The You may answer as many letters as melophone and fifth grade. I also play the hemia but is now a part of in Czechoslo- Emperor Waltz, The Beautiful you care to, but the method of memorizing Blue when addressing like it very much. My In residence this summer: vakia. He is called the father of Bo- carefully until it Danube, and other well liked envelope, give the writer, is play the piece through waltzes. name of the to one hemian music and his perfectly. I can not play just most famous opera brings Rimsky-Korsakoff’s then add “in care of the Etude, is memorized Maurice Dumesnil—Piano Master Classes Junior memorizing. I also like to is ‘.‘The Bartered Bride.” nart at a time in birthday (1844-1908). Nearly everybody 1712 Chestnut Street, Philadelphia 1, with my friend play duets and play them Frederick Schauwecker—Coaching Maurice Ravel’s birthday is has Pa.” lately and heard his “Sheherazade Suite” on Simple, isn’t it? All mail thus ad- Joyce Basitian. We had a recital (1875-1937). He was a French composer the dressed solos, and a duet with Joyce. radio, if not in concert. is promptly forwarded to the I played two Karel B. Jirak—Composition from boys who play the who spent most of his life around Paris, March 21 is complete I would like to hear the birthday of the great addresses. Then, if the orig- Dear Junior piano. Bauer \oice though born near the Pyrenees. Most Bach, inal Etude: . , Joseph — Johann Sebastian (1685-1750). writers care to reply to your letters From your friena, music students have I’ve been taking dancing lessons for sevt heard his Bolero Nearly all piano students they can give (pro- Clayton Meyer (Age 11), play some their own addresses years and it is fun. We have ballet, Hawaiia: studies with a and his “Mother Goose Suite.” South Dakota Combine music compositions of his, and those who have vided you remember to include your tap, singing and dancing combined, ar others. vacation! Roosevelt College is is the birthday of Karl not learned any should address in We had a recital at our Junior Hit do so. your letters!) and Mention for Philipp Emanuel Bach (1714-1788), son it was a big success. The costumes we: Honorable located on Michigan Avenue di- Arturo Toscanini, the great Italian And one other thing: does Uncle Sam beautiful. Dancing and music are my hobbit Essays: of Johann Sebastian, and composer of conductor of insist Sightreading-Memorizing rectly facing Grant Park and symphonies, celebrates his on letters carrying a five-cent From your friend. Solfeggielto, which most of you play. birthday Eisenklam, Carol Kay Williams, Mary on (1867-living in stamp when going countries Renee May Council (Age 12), Evelvn Lake Michigan. Close by are to foreign Robert M. Jones, Sheri Vieira, March 8 is also the birthday of the York). D. C. Therese Gregory, New He can frequently be heard Portrait and Signature of (except Canada, Porto Alecci, Peggy the City’s famous museums, li- opera Dickens Hawaii, and Martha Louise Austin, Catherine Italian composer, Leoncavallo conducting an orchestra co All Kennan Hol- on the radio. ) letters have been forwarded, Joyce Clough. Arthur Jannery, braries, theaters and free sum- ; (1858-1919) composer of the opera March 26 is whetherT Prize Taylor Smith, Shirley the clay Beethoven died on display or not they carried the five-cent Winners for lingsworth. Wynness he would stop and James, Ann Lawson, mer concerts. “I Pagliacci” (pronounced Pal-yat-chee), in Vienna in 1827. take a stamp, Sightreading-Memorizing Rehn, May Wentz. Doris good look. Then and the Junior Etude put the Essays June Jackson, meaning the players, or actors. he would take out .Janice Clarke, Betty Wilson, is the birthday of his extia two le^ Ethd Write for complete schedule Mussorg- little note book and cents on the envelope, but Landis. Carol Knght, R°seWa is the birthday write a list of the Class A. Allen of Johann sky, the Russian please Nadine Nickell (Age 15) , Iowa Tess Winte composer of the opera remember Anna May Russell, ; articles he saw in the window, about the stamps when Class Hunter. Strauss (1804-1849) composer of waltzes “Boris as far as you B. Rita Packer (Age 14) Texas Willis Stone, George Henry New- Michigan Avenue, Chicago Illinois Goudunov” (1835-1881). are addressing the , Madge White, 430 South 5, he could remember. If he had your letters in Class time he future. C. Molly Jones (Age 9), Georgia comb and Nancy Havens. 200 201 etude MARCH, 1949 — — —— — —— — —

ORGAN TRANSCRIPTIONS FIRST CHORAL BOOK SIX CHILD SCHUBERT ECHOES FROM OLD VIENNA ORGAN MUSINGS Choruses FROM BACH THE ONLY DEATH AND THE POOR HOUSE A Collection of Secidar Days of Famous Composers For Piano Solo Original Compositions By Edwin Arthur Kraft Chi Idhood A Collection of Two-Part Treble Voices Coit and years has been thrilled, for by Lottie Ellsworth These tuneful pieces recall the en- and Transcriptions for the Organ ETUDE for Kraft has chosen for his of Mr. contents Ruth Bampton stimulated and sustained by enthu- Music directors will find a variety chantment of Vienna in its lilting days. Innumerable organists throughout the in his new book of organ transcriptions readers. Here original compositions, eighth They will create, musically, a picture of use of the cloth siastic letters from its choruses, mostly far-froni-hackneyed numbers: This is the world make constant as six An- in New York: by such contemporary composers this popu- life in the city of dreams, smiling faces, bound collections for organ published by is one from a friend dante, from “Italian Concerto;” Jesu, book in Worth, Paul and the waltz. series be- Franz C. Bornschein, Amy Mine; Saviour series of music the Theodore Presser Co. The "Editor of ETUDE: Hopkins and Jesu, Thou Art O Sweet, lar Bliss, Glen Barton, H. P. booklets Bright melodies and graceful musical gan with The Organ Player, and has O Saviour Kind; Sarabande, from the appreciation Enclosed you will find a William Baines. The charm and range students. lines are being emphasized in making ujj been continued with the successful Or- “Second English Suite;” Sarabande, from for young order for $3.00, for as The Hazel Tree, this collection, a fact which is established Chapel Organist, money of such numbers English Suite;” and highlights of gan Repertoire, The Lindsay, the “Third Subdue The which please renew my subscrip- Schumann; Whistle and Hoe, life are by the inclusion of such pieces as Bir- Organ Vistas, and more recently. Lighter Us by Thy Goodness. Schubert’s and Winter Nocturne, Koepke, will ap- with four scak’s Viennese Dance; De Leone’s Sou- Moods at the Organ. tion to ETUDE. This forthcoming authoritative edi- interwoven choristers. venir of Old Vienna, Viennese Whispers, arrange- peal to young melodies in Most of the compositions and I hope you have not crossed tion is a distinct contribution to the of his be ordered by N. Louise Wright; and Valse Vien- pre- Only single copies may solo ar- ments in Organ Musings have been files as I think my literature of music for the “King of In- easy piano me off your at the special Advance of Publica- one noise, by Hubert Tillery. The grades of pared especially for this book, and are now Bach Organists can scarcely rangements and subscription expired with the postpaid. struments.” tion Cash Price of 30 cents, duet arrange- difficulty will be three and four. not to be found in other collections. The afford to miss this opportunity. To as- piano November issue. As I have been with a list of recordings, Single copies of this book may be re- original compositions will include works Bull etin of Interest to All usic Lovers sure the arrival of a first olf-the-press ment. Along many years, I A Monthly M at the special Advance of Wolf, a subscriber for TO SCORE for constructing a immature served now by such composers as William A. AN INTRODUCTION copy, order a reference volume now at directions you realize that ONLY included. Publication Cash Price, 40 cents, post- William E. France, Harold K. Marks, suppose READING the special Advance of Publication Cash stage will be of Publication Cash paid. Charles E. Overholt, Ernest H. Shep- DEATH OR THE POOR HOUSE by Carl G. Schluer 30 cents, postpaid. The Advance March, 1949 Price of post- Broadhead, from sending a single copy is 25 cents, pard, Paul Koepke, G. F. would prevent me be Price for One of the first books of its kind to THE DITSON ALBUM OF and Norris A. Pynn. New arrangements my remittance. ADVANCE OF PUBLICATION OFFERS offered to the music teaching profession. SOUSA'S FAMOUS MARCHES ORGAN SOLOS especially made will include Wieniaw- ETUDE has always been a An Introduction to Score Reading pre- Adapted for School Bands ETUDES ski’s Romance; Haydn’s Allegretto; FIFTEEN RECREATIVE Many organists, who have seen the and com- All the hooks in this list are in preparation for publication. out exposition of very real source of joy of sents a well thought "first” THE PIANO Chopin’s Prelude in D-flat; Schumann’s Here is an excellent collection FOR “Ditson ” for various instru- crazy world, The low Advance Publication Cash Prices apply only to single problems involved in the reading of the lovely Legende, by fort to me in this of the finest mart lies in ar- by William Scher one for organ. Funeral March; of Sousa’s twelve ments have demanded opportu- copy orders placed prior to publication. Delivery postpaid will scores. Although even well-trained pro- Tschaikowsky, and Liadow’s Berceuse. and I want to take this ( ) rangements suitable for the average The Oliver Ditson Co. will soon pub- Adhering to the general style of the made when the books are ready. fessional musicians seem to stand in awe The expertly designed registrations in- nity to thank you for all you are be school band. The contents will include book of supplementary pi- previously published albums in the score-reading, it is a lish this new of the magic in special clude those for the Hammond organ. doing. Sincerely, The Stars and Stripes Forever: Semper studies. Each study is short and series, this one will include some technic which is almost indispensable to ano single to a patron may be re- All the Year—Twelve Character- Noah and the Ark—A Story with Music sellers, such A copy Clifford." Through Fidelis; Liberty Bell; Washington Post; devoted to a special phase of technic; arrangements of Ditson best Dorothy Piano Ketterer .30 for Piano Richter .35 conductor, and piano and istic Pieces for the embryo Sweetest served now at the special Advance of Manhattan Beach, and others. Parts will the book ranges between grades two as Cadman’s At Dawning; The The Chapel Choir Book For Three-Part Orgarv Musings 80 organ students will also find it of great and Publication Cash Price, 80 cents, post- Mixed Voices (S.A.B.), with Organ Ac- be included for D-llat Piccolo; C Pic- difficulty. Each Etude ts Story Ever Told, by Stubs; and Bartlett's 2nd EDITION-COMPLETE TREATISE ON The Ornament Family—For Piano.. Robyn .40 and three in Peery .40 value. There is a veritable treasure- paid. companiment 1 si its will Broadhead’s Second Piano Part to Streabbog's Twelve colo; 1st Flute; 2nd C Flute; and 2nd given a descriptive title, adding to A Dream. Also there be TRANSPOSITION The Child Schubert Childhood Days of house of masterly scoring from the pages covering ALL problems of transposition Easy and Melodious Studies, Op. 64 Oboes; 1st and 2nd Bassoons: E-Hat upon the Verset; End Summer, by Marryott; Famous Composers. .Coit and Bampton .25 appeal, with special emphasis of THE ARIi Send for folder to the author Gauntlett .40 of such great composers as Mendelssohn, NOAH AND , of Purcell’s Charles Lagourgue, 35 W. 57th St., New York 19 Chopin Preludes With Study Notes. Maler .75 Clarinet; Solo or 1st B-flat Clarinet; 2nd right and left hand scale pas- Whitehead's transcription Story With Piano Six Organ Transcriptions from Bach. Kraft .30 Schumann, Haydn, Palestrina, Mozart, alternating A Music for The Ditson Album of Organ Solos 50 B-flat Clarinet; 3rd B-flat Clarinet; E-flat legato and canta- March Maestoso, and others composed Songs of Worship A Collection of Songs Weber and Brahms. sages, rhythmic studies, by Ada Richter Echoes from Old Vienna For Piano Solo .40 for the Church Soloist, For High and Alto Clarinet; B-flat Bass Clarinet; B-flat chords, left especially for this book. The inclusion of bile playing, staccato, broken inter- Low Voices each .40 The book is constructed, part by part, This familiar Biblical story is Fifteen Recreative Etudes for Piano.. Scher .35 Soprano Saxophone; 1st E-flat Alto Saxo- and pedal Hammond registrations extends the use- to progression. hand development, chord with easy-to-play-and-sing piano First Choral Book-w-A Collection of Sec- Stanford King's Party Piano Book 60 assure gradual Part I— spersed phone; 2nd E-flat Saxophone; B-flat chromatic scale passages, and in- fulness of this collection. ular Choruses for Two-part Treble 30 Sousa's Famous Marches Adapted for Vocal scores; Parts II, III and IV intro- work, pieces and colorable line drawings. Di- of Publication Reading. .Schluer .80 School Bands— Individual Scores .25 Tenor Saxophone; E-flat Baritone Saxo- triads. The special Advance An Introduction to Score duce the alto, tenor and soprano clefs; terlacing rections for dramatization are included. Conductor's Score .75 post- Ivor Peterson’s Piano Book 65 phone (treble clef); Solo B-flat Cornet; book may now be Cash Price of this book is 50 cents, Part V leads the student into combina- A single copy of the One copy may be ordered at the Ad- Technic Tactics Twenty-one Short Studies States and Keyboard Approach to Harmony. . . Lowry .75 1st B-flat Cornet; 2nd B-flat Cornet; 3rd special Advance of Pub- paid. Sold only in the United for Piano Stevens .25 tions of the C clef; Parts VI to IX are reserved at the vance of Publication Cash Price of 35 Little Pieces from the Classic Masters Ten Choral Preludes and a Fantasy For B-flat Cornet; 1st and 2nd Horns in F; lication Cash Price, 35 cents postpaid. its possessions. For Piano Solo Beer .30 concerned with the transposing instru- cents, postpaid. Organ Matthews .60 3rd and 4th Horns in F; 1st and 2nd ments; Part X, miscellaneous orchestral Little Players Growing Up—A Piano Book You Can Play the Piano, Part III A Book — E-flat Altos; 3rd and 4th E-flat Altos; 1st KEYBOARD APPROACH TO ALL THROUGH THE YEAR Kerr .35 for the Older Beginner Richter .35 combinations; and finally Part XI, play- LITTLE PLAYERS GROWING UP and 2nd Trombones (bass clef); 1st and Kerr HARMONY Twelve Characteristic Pieces for Piano ing a full orchestral score at the piano. A Piano Book, by Robert Nolan 2nd Trombones (treble clef); 3rd Trom- by Margaret Lowry by Ella Ketterer Your first-from-the-press copy of this This sequel to Tunes for Little Play- bone (bass clef); 3rd Trombone (treble “singing and playing” ap- SONGS OF WORSHIP LITTLE PIECES THE new book will be reserved for you upon ers, contains melodious little pieces, with In this new Consistent with the FROM clef); receipt Baritone (bass clef); Baritone study of harmony, the this popu- A Collection of Sacrecl Songs CLASSIC MASTERS of the Advance of Publication gay verses, stressing legato, staccato, proach to the success of (treble clef); Basses; String Bass; Drums; unfolds chord by chord PIANO BREAKS the Church Soloist Cash Price of 80 cents, postpaid. time subject matter lar piano teacher are for For Piano Solo Timpani, phrasing, rhythm, scales, chords, Our Monthly Break Bulletin enables you and Conductor’s Score. familiar piano idiom rather than twelve original on for High Voice or Low Voice Compiled and Arranged signatures, accidentals and ties. Some in the these to build up and glamourize the songs We are offering each part for 25 cents voice writing. the Hit Furade with clever breaks, novel explanatory material and practice drills with the usual four-part pieces, one for each A useful collection for the church by Leopold Beer THE ORNAMENT FAMILY and the iigures and tricky boogie effects. J. Conductor’s Score at 75 cents, songs and excerpts from the master of the year. For Piano, A Preparation for Playing precede a few of the numbers, and the Folk month Send 20 cents for latest copy or $2 for a singer will be this interesting assortment for the special Advance of Publication aid the The simplicity and beauty of selected mastery expressive composers appear generously and The story-like form year. Mention if teacher. of sacred songs. The contents are being the Bach Ornaments of musical terms and old dance forms of the 17th and 18th Cash Price. At these prices, only one harmonization at the THE AXEL CHRISTENSEN METHOD by Louise Robyn playing are greatly emphasized. The pupil in learning of the directions and assembled with a view to devotional copy of each may be purchased. P. O. Box 185, Wheaton, III. centuries from Bach, Couperin, Handel, piano as well as on paper. The Advance the attractive illus- as book is attractively illustrated, and is to qualities as well melodic appeal for this prac- Purcell and Rameau will charm young The elements of be in of Publication Cash Price for trations make this a the listener, the grades of difficulty an oblong format, with a bright, and this series and older grade three pianists alike. For of studies YOU CAN PLAY PIANO! colorful tical book is 75 cents, postpaid. delightful set of will be limited to easy and medium. THE cover. There will be notes to this delightful volume, the Advance of are linked by means the pieces for study pur- Songs for the general church year will Part Three teacher stressing the value of prac- Publication Cash Price is only 30 cents, of a story element tice to both CHOPIN PRELUDES poses for pupils of the second grade. A make up the contents. A Book for the Older Beginner teacher and pupil. postpaid. and stress the play- Study Notes by Guy Maier be ordered at the spe- The special Advance of Publication Reserve your copy now at the special With single copy may ing of the basic orna- by Ada Richter Advance provided with cial Advance of Publication Cash Price Casli Price for a single copv is 40 cents, of Publication Cash Price of In this edition we are STANFORD KING’S PARTY ments. Nineteen illus- The steady demand for continuation 35 cents, postpaid. postpaid. Be sure to specify the key de- a cents, postpaid. clear analyses and helpful annotations of 30 PIANO BOOK trative exercises are of Mrs. Richter’s the an sired. You Can Play concerning each of these preludes as included, together Piano! THE CHAPEL CHOIR BOOK has decided this gifted lady to effective rendition. The This album, compiled by a well-known with explanatory IVOR PETERSON’S PIANO aid to their most For Three-Part Mixed Voices TECHNIC TACTICS provide a third part for her popular presented in a most American musician, will be a diverting ACCORDION BOOK reading matter is Soprano Alto and Baritone) Twenty-one Short Studies for Piano notes, suggestions for method for older students. Here Pub- ( , publication. piano enjoyable style. Special Advance of Unique in plan, it will offer Here is with Organ Accompaniment by Milo Stevens teacher and a ques- again the pupil’s interest sustained by a varied and resourceful Col- postpaid. much in the way of is lication Cash Price is 75 cents, musical fun for so- tionnaire. Reserve means lection of music for the piano accordion, Compiled and Arranged interesting teaching material of attractively presented material, This cial and recreational gatherings. In fact, assembled by Rob Roy Peery your copy now at the Advance of Pub- both technical and recreational. By this and arranged by the famed PRELUDES AND combines essentials to a' sound technical with its content of novelty numbers, old- Swedish TEN CHORAL lication Cash Price of 40 cents, postpaid. plan the grown-up student can develop virtuoso and Victor recording FANTASY In this book for intermediate groups, foundation with melodic interest for the time ballads, service and patriotic airs, artist, A a repertoire Ivor Peterson. Tfiis material has parts are in moderate range, yet are student. The work of a well-known of pieces he enjoys while Organ, by H. Alexander Matthews the com- songs from the Gay Nineties, etc., it is been arranged For SECOND acquiring skill especially for this book, harmonious and singable. Contents in- it utilizes both the major PIANO PART through dependable train- post- poser, and designed especially for evenings of home and, besides Simple preludes, offertories and To Streabbog’s Twelve Easy ing at the keyboard. original a generous group of Mr. clude seasonal anthems, original com- minor modes, and presents the studies amusement about the piano. The music and Along With upon well-known hymn Melodious material, eterson’s own compositions, includes ludes based choral transcriptions of a variety of easier keys. material Studies an excellent assortment of fa- and of positions and in The is arranged for about grade two-and-one- rahms tunes, not intricate in design Op. 64, by Basil D. vorite selections, Hungarian Dance, No. 5; Invi- favorite hymn tunes. Sale of this book is designed for the second grade student, Gauntlett especially arranged, em- found in lialf, and lyrics are included for singing. ation to the about average difficulty, are braces an Dance, by Weber; Themes is limited to the United States and pos- Set of 8 plates portraying 8 important is intended to cover such excerpt from Nevin’s Narcis- and matters Among the contents will be A Bicycle This second part contains font collection especially for the young musical composers: Paderewski, Beethoven, melodic and sus; the Lustspiel Overture,” by Ivelar- this sessions. Advance of Publication as scale passages divided between the Toreador Song from “Carmen;” year The Chopin, Tschaikovsky, Schubert, Mendels- Built for Tivo; Daisy Bell; Little Annie harmonic material greatly adding bounds organist. Hymns for every church to the Oh from the Vienna Woods, Liszt. Portraits in Sepia Promise Me, by the i L’ Cash Price is 40 cents, postpaid. sohn Grieg and hands; interlocking arpeggios; broken Rooney; Ta-ra-ra Boom-der-e; effectiveness De Koven; , are included The Man of the original compositions H Strauss; season, and for general use, print under china glaze on fine earthen- Theme from Schubert’s “Unfinished Rubinstein’s Melody in F; chords; rapid five-note groups; staccato on the Flying Trapeze; Hinky Dinky and making a fine erne Gilds the Skies is ware. Biography of each composer on back two-piano, four-hand from Tschaikowsky’s “Symphonie and When Morning ' 1 Symphony,” and Ave for Your FREE Copy! of plate. 8>/2 in diameter. $10.50 per set, chords; crossing of the hands; wrist rota- Parley Voo, and Ain’t Gonna Rain work. that composer’s at Hammond Send No A separate copy of the original letique,” the fantasy on a hymn tune. post prepaid. Maria; Rachmaninoff’s Prelude (Bells of and the Russian folk song, tion; chromatic scales; double thirds; Mo.’ studies is required l wo included. SPRING CHORAL GUIDE No C.O.D.'s for the first piano Moscow); . registrations also are trill mordent. and the Theme from Chopin’s and the and Orders for single copies are being ac- part. This excellent addition copy will be reserved for Containing Twelve Complete Secular Choruses to your “Fantasie-Impromptu.” copies of this book may be re- Your single ANN STEWART Single copies may be ordered now at cepted now at the special Advance of music library is ened of the special Advance THEODORE PRESSER CO. available at the special Reserve now at the special Advance of you upon receipt P.O. Box 708 the special Advance of Publication Cash Publication Cash Price, your copy now. The special cents, MORRISTOWN. NEW JERSEY 60 cents, post- Advance of Publication Cash Cat '° Cash Price of 60 1712 Chestnut St. Phila. I, Pa. Price of 40 n * >r * of Publication Advance of cc > 60 cents, post- Price, 25 cents, postpaid. paid. cents, postpaid. Publication Cash Price is 35 paid cents, postpaid. postpaid. 202 MARCH, 203 ETUDE 1949 Advertisement appearing in Rio de Janeiro. X tempera- Musical Europe mental conductor deserted the company, EIGHT COLLEGIATE DIPLOMA HOLDERS RECEIVE $100 EACH: and after trying two others who were Revisited hooted off the podium, the Lydia Robbins, Paris (Adi Bernard) Clarance Zaar, Wash. (Gene Fiset) management from Page 199) asked Toscanini to take the baton. David Mitchell, (R. C. Johnson) Gloria Roberts, N. J. (Doris Frerichs) (Continued He did, conducting the entire opera without Arthur LaBrew, Mich. ( B. Robosson) Mary N. Hudgins, Texas (Silvio Scionti) travel from one end of the country can opening the score. His ovation was tre- LaVonne Thomander, N. J. (Winifred Buck) Corinne Van Zanten, N. J. (Carl Roeder) hours, all to the other in less than six mendous. This fortunate chance, Conceit- for The major orchestras—the three which the young musician was well pre- TWENTY HIGH SCHOOL DIPLOMA HOLDERS RECEIVE $50 EACH the Residentie of gebouw of Amsterdam, pared, launched him on his brilliant of Irene Caputa (B. Robosson) Barbara Harter (1. L. Guy) and the Philharmonic The Hague career. It is of interest to recall that Thomas Mullady (E. Berumen) Jack Guerry under the dynamic leader- Rotterdam “” was the opera that also ihtro- Sona Aronian (G. Ondricek) John Sutton Flipse—collaborated to ship of Eduard cluced Toscanini to audiences of John Gratz (W. P. German) Jack Roberts this make this Festival an outstanding suc- Robert Robinson (C. Berryman) Beverly Hall country in 1906. cess, they played on alternate eve- Janet Cohen (M. G. Reed) Hugh Biringham as Musicians Marcel Ruegg (D. Frerichs) Polly Hoisted nings in Amsterdam. tre- Tommy Fairey (M. Landrum) Monte Davis I enjoyed our stay in Holland Margaret Benedict (M. Harman) tie: Donna Phillips mendously, although 1 myself had to Helen White (E. Folliard) George Eason 'work” several times. Especially interest- Maryann Nachowicz (Sr. Matilde) (Silvio Scionti) ing was my concert in Maastricht, where The Music Teachers Winners of Arfist Prizes of $ 250 each announced in February Issue I played the "Emperor” Concerto in the Beethoven Cycle of the Maastricht Sym- National Association NATIONAL GUILD OF PIANO under the energetic young con- TEACHERS phony (Continued from Rage 195) Library BOX 1113 AUSTIN, TEXAS ductor, Paul Hupperts. In this small city of about seventy-five thousand peo- tory of music, all taught with good mu- ple, a packed hall of two thousand sical examples from the literature and greeted us, and the excellence of the all exercises either sung or played in Price, $3.50 each volume QkfarlanbJnHlilutr of fl)usir orchestra both amazed and delighted me. class, seems to me to offer tie most to A week before, Yehudi Menuhin played all students of music. I firmly believe in Bachelor of Music Degree, Master of Music Degree, Artist Diploma the Beethoven Violin Concerto with the offering composition to first year college BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. same ensemble, and he told me later, students, concurrently with theory. This when we met in Paris, how he, too, was is usually a very late start! It should be- SONG VOLUMES Charter Member of the National Association of Schools of Music most pleasantly surprised to find such gin just as soon as the child can be Brahms, Johannes. an excellent orchestra in so small a city. taught simple notation. T his problem James Huneker Forty Songs. High voice; Low voice. Our visit to the broadcasting city of leads us to an entirely different subject. William Foster Apthorp Franz, Robert. Fifty Songs. High voice. Schools—Colleges Hilversum was very nice, also. All four “The interpreter approaches musical Foster Apthorp Forty Songs. High voice William radio stations of Holland have studios theory from an entirely different angle. Jensen, Adolf. SCHOOL here, and my recital over A.V.R-O.. call He usually considers the learning of Liszt, Franz. OF Carl Armbruster voice Low voice CONVERSE COLLEGE MUSIC letters for Algemeene Vereeniging Radio theoretical nomenclature and the solu- Thirty Songs. High ; Edwin Gerschefski, Dean. Spartanburg, S. C. Omroep, was one of the high spots of tion of exercises an imposition upon his Schubert, Franz. Department of Music little time energy. voice KNOX our stay in this wonderful country and He is occupied with his Fifty Songs. High voice; Low Galesburg, Illinois Bos Thomas W. Williams, Chairman of painters, musicians, and tulips. technical development and considers voice Low voice Coenrad V Additional Songs. High ; COLLEGE Catalogue sent upon request. Fifty When, on our return voyage, I finally theory as something far removed from Schumann, Robert. CONSERVATORY saw the torch of the Statue of Liberty his interesting music making. Unfor- W. Henderson OF MUSIC Fifty Songs. High voice; Low voice J. SHENANDOAH L. E. Hill, Pres. flashing at me, I felt both happy and tunately, it very often is! However, if Courses leading to the B. Mus., andB. Mus. satisfied. I was back from my post-war he were to consider three-part, fourth- Strauss, Richard. Ed. degrees. Member NASM. In the heart Low voice James Huneker Songs. High voice ; of the Shenandoah Valley, Dayton, Virginia. trip to Europe and I felt I had accom- species counterpoint in the same light PIANO VOLUMES Forty Student Residence plished my mission. Many European lis- as Czerny, Op. 49 F lor five fingers, he Editor Tchaikovsky, P. I. Title Huneker Piano, Voice, Violin, Cello, Composition, Radio, Speech, Send $1.00 for Composer voice Low voice James teners and musicians would henceforth would have a somewhat better attitude. Forty Songs. High ; Painting, Ceramics. High School Academic and Music Carl Armbruster School credits. Vocational and Psychological Guidance. Ten Rote Pieces for the Pre-School Child have a changed opinion about American Both the composer and the interpreter Bach, Johann Sebastian. Richard. Lyrics for Tenor Supervised recreation. Personality development. Wagner, and contemporary music as a result of my need to be musically literate. They need Vol. I: Shorter Piano Compositions Excellent cuisine. Write tor booklet Dept. 22 0 Ebenezer Proust Wolf, Hugo. Dr. Play Myself Book No. 1 tour (or so I felt), and this to Compositions Ernest Newman knowledge read and to hear and to write music Vol. II: Larger Piano voice Low voice MRS. WILLIAM HENNE Fifty Songs. High ; 3001 Pacific Avenue See February Etude Advertisement warmed my heart. with facility. Each needs to perform in Beethoven, Ludwig van. some manner. to spe- The tendency Vol. I: Piano Compositions EFFA ELLIS PERFIELD d’ Albert cialize is a great hindrance to musical Eugen SONG ANTHOLOGIES 103 East 86th St. (Park Ave.) New York City Vol. II: Piano Compositions development. -SMOPOL.ITAN Students should look into Songs and Airs. Chopin, Frederic. Early Italian . Winter’s End history a bit more often in this regard, James Huneker voice Pietro Floridia Bononcini. High voice ; Low SCHOOL OF Forty Piano Compositions Vol. I : Caccini to MUSIC Philadelphia Conservatory to inspect the diverse development of CLARENCE EIDAM, President Airs. Radio Programs Italian Songs and . . ROSSETTER G. COLE, Dean Of Music Founded 7877 the old masters. Grieg, Edvard. Early Bertha Feiring Tapper voice; Low voice Pietro Flortdta 45th year. Offers courses in all branches Compositions II: Provenzale to Suptiani. High Mama Ezebman Drake, Director (Continued from Page 144) "The third group, is a Piano Lyrics and Shorter Vol. of Music. Confers certificates, diplomas the audience, T. Finck R. Drake, Dean High voice; Low voice Henry and degrees. Member of N.A.S.M. Allison special case entirely. One can scarcely Liszt, Franz. Fifty Mastersongs. Located in downtown musical center. Orchestra, Erich Leinsdorf, conductor; voice Low voice Eminent Faculty High ; Box E.306S. Wabash Ave., Chicago 4, III. imagine a symphony or opera audience Twenty Original Piano Compositions Modern Russian Songs. Courses leading to Degrees April 23—German Pioneers (Bach, Bee- composed of the- to Moussorgsky 216 So. 20th St. LO 7-1877 people well-schooled in Twenty Piano Transcriptions Vol. I: Alpheraky thoven, Brahms, , Hinde- August Spanuth Ernest ewman ory of music, and I ‘God to Wihtol N hasten to add, Vol. II ; Moussorgsky mith), the Oklahoma Symphony Orches- Ten Hungarian Rhapsodies JAMES MILLIKIN UNIVERSITY forbid!’ That goal should not be con- BOSTON UNIVERSITY Mendelssohn, Felix. Modern Scandinavian Songs. SCHOOL OF MUSIC tra, Victor Allesandro, conductor. sidered Goetschius in the formulation of formal Dr. Percy to Winge. High voice; Low voice DECATUR, ILLINOIS Toscanini, who returned to the Twenty Piano Compositions Vol II: Lanee-Muller NBC theory courses, Offers thorough training in music. Courses leading to but is certainly a worthy Reinald Werrenrath c.it. of Wunc Symphony podium on February will Mozart, degrees of: Bachelor of Music, Bachelor of Music r 8, consideration for the general courses in Wolfgang Amadeus. Reinecke Education, Master of Music, and Master of Music Carl voice Cecil Sharp Offering complete courses in Piano, Voice, give in all, eight concerts—six orchestral English Folksongs. Medium J Education. Organ, music or Twenty Piano Compositions One Hundred Violin, Cello, Brass, Woodwinds, and Percussion in- appreciation or orientation, Member of the National Association Schools of Music operatic. Medium voice Granville Bantock struments, Public School Music, Composition, church and two As the musical high- Folksongs of All Nations. Bulletin sent free upon request whatever other title happens to be in Schubert, Franz. One Hundred Music, Musicology. Chorus, Glee Club, Orchestra, Band. light of his present series, August Spanuth voice Low voice ST. CLARE MINTURN, Director he will present Masters. High ; W. Faculty includes members of Boston Symphony, Bache- vogue. If the practical musician, either Selected Piano Compositions One Hundred Songs by Ten lor’s and Master’s Degrees in all musical subjects. Dorms. Verdi’s ‘‘Aida” in the broadcasts of Schumann, Franz, Rubinstein, Jensen Catalog. COLLEGE OF MUSIC. 73 Blagden St., Boston. composer or performer, is taught cor- Vol I‘ Schubert, March 26 and April 2. In order that the rectly Strauss Henry T. Finck -The DUNNING COURSE the many sides of theory, then the Vol II Brahms, Tchaikovsky, Grieg, Wolf, of IMPROVED MUSIC STUDY complete opera may be presented in two ANTHOLOGIES BALDWIN-WALLACE audience will of hecessity be considered. PIANO Hundred Songs of England. High voice; Low voice Granville Bantock Gladys M. Glenn, B.Mus., M.A., Mus.D., concerts, the performances will start Moritz Moszkowski One Dean of Education Faculty No composer wishes to be misunder- German Piano Vol. I and Vol. II voice He er Hopekirk CONSERVATORY OF MUSIC earlier than the usual Music, Seventy Scottish Songs. High ANNUAL CONVENTION CLASS 6:30 P.M. hour stood, nor does j J. BEREA. OHIO (suburb of Cleveland) the interpreter seek any- Modern Music. voice Julien Tiersot Colorado Springs, Colo., Aug. 1, 1949 extend Russian Piano of France. Medium and until 7:30. The artists chosen thing but von Sternberg Sixty Folksongs Maurice Dumesnil, guest artist after- Affiliated with a first class Liberal Arts College. complete appreciation ol his Constantin Dr. for to sing the leading roles Vol. II: Liadoff to Wrangell of All Nations. Medium voice Granville Bantock noon Lecture Series and Clinic (5 days and Four and five year courses leading to degrees. Faculty are efforts. Sixty Patriotic Songs The direct problem is then to open to all non- Dunning Course* teachers) of Artist Teachers, fiend for catalogue or Informa- (Aida), Twenty-four Negro Melodies High voice Rupert Hughes tion to: (Rhadames), find by Thirty Americans. for information and class dates address the exact point where the com- S. Coleridge-Taylor Songs EXECUTIVE HEADQUARTERS 1.® HAROLD W. BALTZ. Dean. Berea. Ohio Eva Gustavson (Amneris), and Giuseppi Transcribed for the Piano by AS poser s craft and artistic ideals and the Valdengo (Amonasro). Miss Gustavson, interpreter’s skill and aesthetic sense and new to American opera audiences, will the understanding and receptive capaci- NAZARETH COLLEGE Est. make her first American radio appear- ties of the flRiene X TKeaire 1894 audience all meet happily to- 4 Dramatic, Lyric and Dance Arts ance in this Toscanini presentation. PRESSER CO., DISTRIBUTORS RocUt,r, n y. gether. This ideal situation could he CO. THEODORE STAGE • RADIO • TELEVIS “Aida” is the opera in which Maestro more DITSON complete courses toward B.A. and B.S. de- nearly OLIVER Offers Technical and practical training essential to a pro- achieved if all children grees in Music Education, Vocal, Instrumental and Toscanini made his now legendary fessional career, teaching and directing. Class and first were taught to Theoretical subjects. Special work given in Litur- private. read and write and hear gical Music. Faculty includes Religious and Lay appearance as conductor at the age Enroll now. Accredited for Vets. of and sing notes at Penna. Teachers of distinction. All advantages of musical an early age with only Philadelphia 1, Annex for teen-ages and children. nineteen. At that time, St., Rochester obtainable, as opera, concerts, etc. Special he was a ’cellist the Chestnut Write Sec’y. Shubert, 1780 Broadway, N. Y. City 19. same amount of facility that they 1712 summer courses for Religious. Write Registrar. with a touring Italian opera company learn their native language.” 204 ETUDE

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