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

3-1-1944 Volume 62, Number 03 (March 1944) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 62, Number 03 (March 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/219

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EUGENE ORMANDY, conductor and musical director of the Philadel- . phia , will go Qualities . to Australia in May, at The the request of the Aus- tralian Broadcasting Pieces Should Have Commission, as the first Successful Elementary Teaching “lend-lease” conductor APPEALING TO PUPIL Eugene Ormandy to represent the United EDUCATIONAL POINTS States in a foreign coun- PLEASING TO LISTENERS try. As an accredited representative of MELODY the Office of War Information, Ormandy These Favorite Easy GRADE ATTRACTIVELY PUBLISHED will be flown across the Pacific in U. S. ADHERENCE TO Army planes. A minimum of sixteen con- Such Qualities certs is scheduled by the Australian Pieces Have Broadcasting Commission, with Ormandy to direct the symphony of HERE, THERE, AND EVERYWHERE In ad- GRADE TWO—Legato and Staccato Melbourne, Brisbane, and Sydney. IN THE MUSICAL WORLD dition there will be many army camp Composer Price Keys Title weeks the GRADE ONE—Various Cat. No. 'J performances during the ten M- L. Pm"'" - 25 19219 Humming Birds’ Lullaby noted maestro is in Australia. He will an opportunity for Composer A descriptive little number giving Cincinnati, where for ten years he was Cat. No. Title return in time to open the regular 1944-45 LEOPOLD STOKOWSKI has accepted legato practice. * * ^ of Mayor La Guardia of on the faculty of the College of Music. Grey .35 Orchestra. the invitation Hawaiian Niffhts ...... Frank H. season with the Philadelphia be boYh "played 'and* sung.* 25292 hear Very popular with young pianists. In fancy one can New York to organize and conduct a in the dreamy waltz melody. > guitar and ukulele 840 l n the steel orchestra sponsored PROKOFIEFF’S PIANO ' Writien* mostly Introduces the complete symphony °T^ ®i^j e ^.g|^ niece is* very* popular*. Key of G Easy chords in thirds and sixths. THE MUSIC TEACHERS NATIONAL AS- eighth notes. Key of F. City Center of Music and Drama, No. 7, Op. 83, quarter and acciacatura. will hold a convention at his debut by the $£***»{#* SOCIATION CRECOR P1ATIGORSKY made Bunch of Flowers Ceo. L. Wings, Lullaby...... R. * -25 York City Sym- which in 1942 in Rus- 66313 Just a Singing 6850 Folded F»*J” the 4 to be known as the New that seems ever popular. the Key of G. Splendid study Cincinnati, Ohio, on March 23-25, as an orchestra conductor on February A pretty little waltz song A very popular number in sia the Stalin’ prize, melody. phony. The orchestra is to number eighty won notes only. Key of F. in legato and staccato. Left hand first in two years. As at previous meet- in Denver, Colorado, when he directed its American ....Bert R. Anthony .25 men and women and is to be selected by was given 15111 A Winter Tale ings, this will be a joint convention with the Denver Civic Symphony Orchestra maior and provides This little song without words is in C audition. It is hoped to begin the con- premiere, when on Jan- Key ot B flat. melody. Association of Schools of consisted of Weber’s used as a first recital number. practice in legato playing. Left hand the National in a program which quently excellent “ cert series early in March. uary 11 it was played by N. Louise Wright F. £. Farrar .30 American Musicological Overture; the ’Cello Con- i a I iftl. Waltz 6755 Fairy Footsteps Music and the “Euryanthe” waltz with its slightly synco- provides splendid practice Vladimir Horowitz at a Children enjoy this sprightly A dainty little composition that Society. The themes to be stressed in the Haydn; eight Russian folk- hand melody. Key of D. rhythm and accent. certo,” by pated rhythm and tuneful left in legato and staccato playing, in THE HYMN OF THE SOVIET UNION, private recital before a various meetings and discussions, as an- songs of Liadoff; and the Marche Slave * Gavotte L. A. Bugbee .25 7514 y 9634 Maytime Revels, Russia’s new national anthem which of- group of invited guests Horowitz «" *F*.* No'fhofd^ExVs giving practice in stac- the associa- A Simtle^waltzin the Key* of Hands A pleasing and attractive number, nounced by the president of by Tchaikovsky. For Small fingers on the same note. the Internationale, was in the Soviet Consulate large notes. GRADE TWO— cato playing and in changing Quarles, are the relation ficially replaces Composer Price tion, James T. H. Engelmann .25 P- A. Schnecker .25 Philadelphia Orchestra on in . The work had a nota- 2262 Four-Leaf Clover. Waltz Cat. No. Title _ E 3846 Rustic Dance read- played by the .25 for the right of music to the war effort and the NATIONAL MUSIC WEEK, this year en- of F. Grade lVi. Large notes. Dancing Lesson R An excellent recital piece. Staccato work this superlative artist and Key 6849 The First y ; JF; January 14, when an All-Russian pro- ble reading by Louise Wright .25 hand and easy chords in the left. justments which will be necessary in the its third decade, will be celebrated lo/ton The Owl .25 tering of the extra gram was presented by the conductor, he was rewarded by the members The melody alternates between the hands Printed in 8372 Indian War Dance Platon BrounoS .30 field of music when peace comes. Church of 7-14. The movement, in G and C. the week May fifty, appropriate text. Key of D minor. A charming little easy piece easy but most effective. The entire accompaniment Ormandy. The new anthem was audience of about one hundred and large notes with Peen .35 Very choral folk music; piano, basis in Eugene The Chariot Race. — -ty open fifth on the tonic chord of E minor, music; and inaugurated on a nation-wide .25 18868 < consists of the • • -Helen L. C-ramm V , leading musicians Siek Mama Doll. . the delightfult lcht fuifctset "The'The Oil selected competition, the winning including many of the 19658 The very easy little galop from staccato. great favorite with boys. radio, by girl to play and sing. Key of A played A , and vocal music; chamber, 1924 and expanded in 1940 into National A cute song for a little Time Circus.” Key of C. composer, A. V. Alexandroff, and the two of the city, with “their unmistakable and minor. and recorded music; television, opera, and Inter-American Music Week, has authors of the text each being awarded emphatic recognition of his interpretative Left Hand Melody and public school music—all will receive now every indication of becoming inter- Melody GRADE TWO—With 100,000 rubles by the Council of People’s art and by the evidently warm interest GRADE ONE—With Left Hand detailed attention. The opening day ban- national in scope. The keynote of the Composer Price Commissars. they manifested in the sonata.” Cat. No. Title quet speakers will include Dr. Howard 1944 Music Week, according to an an- Composer Price Petals Paul Lawson .30 Cat. No. Title 7235 Rose celebrates his immensely popular second grade piece. It is a most Hanson, who this season nouncement by C. M. Tremaine, Secre- .25 An American BRAZILIAN SYMPHONY ORCHES- N. Louise Wright of G. ALBERT SPALDING, noted THE 10860 Circling ’Round pleasing little romance. Key twentieth year as director of the East- tary of the National and Inter-American Four-measure phrases. All half and quarter notes. K- R. Forman .25 concert and or- TRA, conducted by Eugen Szenkar, closed Key of G. 7779 June Morning Dr. James violinist, has cancelled right hand chords. hand with staccato chords in man School of Music, and Music Week Committee, will be “Use Mu- Easy A singing melody for left chestral engagements in order to go to its season in December with a record right. Key of F. Very popular. The Etude Mu- the ’ the Cooke, editor of War and • 30 Francis to Foster Unity for the Singer •• ;?' sic 16338 The Big Bass “J’f! Walter Rolfe .25 operations to serve number of concerts presented. A total of 18611 In Merry Harvest Time sessions the Italian theater of accompaniment. sic Magazine. At the other pa- Peace to Follow.” Information concern- extra^large notes: An easy melody with chord as an assistant and counsellor to the seventy orchestral concerts was given, of Priscilla Risher .25 will presented Roy Harris, details of the 17811 Merry Brook Anna pers be by ing programs and other 3 of civilian head of the Psychological War- which fifty-two were broadcast, a record 22786 A bright, lively little recreation piece. /8 time. Key C. Earl V. Moore, Edwin Hughes, Warren observance may be secured from Mr. A ^^^'1eht'nd'melody piece in* Narcissus David Dick Slater .25 fare Branch of the Allied Forces Head- unique in the musical history of Rio de 2-note chords. Keys of C and G. 14123 D. Allen, Alvah Beecher, Dean Douglas, 315 Fourth Avenue, New hand accompaniment is in is frequently used as a study Tremaine at This favorite little number quarters. Janeiro. No eighth notes. in phrasing and expression. Theodore Finney, Leon Carson, Jr., Leon York, N. Y. * 2 ’ Peasant’s Son* F. F. Harker .25 24642 12189 The Ruddick, and Gilbert Chase. waitz* in C* major*. Few* acJenKi A little song without words that may also be used as . a SYMPHONY, a new work by A CONCERTO FOR SAXOPHONE, by A Sh&t figures THE SIXTH left hand alone. INTERESTING AND REVEALING quarter and half notes. solo for Lincoln’s immortal Paul Creston, which the composer wrote Sidney Steinheimer .25 Roy Harris, based on Walter Rolfe .30 12916 The Soldier’s Song are given in the report of the National • Waltz ; sections VLADIMIR MIASKOVSKY’S “Twenty- to the possibilities of the E-flat alto 1 5447 Daddy’s A pleasing little reverie, the opening and closing Gettysburg address and dedicated to the show expression and legato playing, Key "Direct Financial An interesting study in are written entirely in the bass clef. Music Council on the of which fourth Symphony,” his latest work and fighting men and women of America on saxophone as a solo instrument, had its of F. Appropriations for Music by Cities for his third symphony to be written since all battle fronts, will have its world first performance on January 27, in New Finger Dexterity 1943.” of thirty-one cities GRADE TWO— re- the Year A list the war began, had its first hearing premiere on April 15, the seventy-ninth York City, when it was played by the ONE—White Keys Only for FREE Catalogs of Real Help to the the received a GRADE Ask Price throughout Composer it played Cat. No. Title cently in Moscow, when was anniversary of the death of the Great -Symphony Or- (Pieces having neither sharps nor flats) Piano Playing. Such a request will total amount of $508,833.98 in appropria- Teacher of 5 ° Orchestra * State Symphony under chestra, with Vincent J. Abato, the bass 3978 In the Twilight by the Emancipator, when it will be broadcast and pieces along and it pro tions for music, the individual amounts you graded lists of studies is pleasing to the student bring Its dreamy melody the direction of the conductor, Radinsky. over a coast-to-coast network as played clarinetist, as soloist. practice in finger dexterity. $600.00 to $90,170.00. portions of attractive piano pieces. vides excellent ranging from with thematic F. G. Rathbun .40 by the Boston Symphony Orchestra, con- 3450 A Muy D®y 1 ' picture of °° large notes m and pleasing, this piece gives a happy Dr. Serge Koussevitzky. The RAFAELO DIAZ, oper- Appropriate text and extra - Musical ducted by ? teaching piece. ARTHUR EDWARD SMETANA’S OPERA, “Dalibor,” in an Wallace A. JohnsonfohnIon .52 5 May. It is very popular as a 24425 My First Dancing Lesson. composer was commissioned by the Blue atic tenor, who for a arl W. Kern .35 composer, mostly in the left hand. Song: of the Leaves C JOHNSTONE, English translation by Paul Eisler, was Melody Prospective Teacher 4228 finger of years was a r.a.mann * 30 Teacher or in the number Any flat and flat, giving practice Network to write the symphony in Polka caprice in B E conductor, editor, teach- given its first New York performance in pupil.* S*,ngie notes only. of the Metro- assist *, he Examination Any dexterity. interests of American culture. The work member Spaulding .25 May Secure for .35 er, died on January 23 that city on February 26, when it was On Parade . .Geo. L. Brownies Bert R. Anthony 11557 The Scouts Are 8232 Arrival of the is in four movements: Awakening, Con- politan Opera Associa- Appropriate text the set In Fairyland. Wilkes-Barre, Penn- di- jolly piece for small boys. All These Instruction Works A snappy little composition from at presented in concert form under the A Nolan Kerr .25 or of tion, died on December With Me .Robert Good finger training exercise. flict, Dedication, and Affirmation. 24010 Waltz hand sylvania. He was eighty- rection of Mr. Eisler. notes; five-finger position in each •••••• Daniel Rowe .30 York City. All single . 12090 Cheerfulness 12 in New <»** Sp work in the three years old. Born in First Effort h f--4Z{ FOR EVERY DAY dainty little "Valse Vive.” Nice finger 16829 My and Fro and The MUSIC PLAY A HANS RISCHARD, widely known Swiss Prior to his singing with very first pieces entitled To hand. London, he received his PIERRE LLBOSHLTZ and Genia Neme- Vwo Piano Playing Price, $1.25 right Opera, to • Metropolitan Fa e , "Sle The Gateway / of pianist and teacher, who had been the the Mabel Madison Watson .30 25109 Jack and Jill flU £* *"*J music instruction from noff will play the two-piano concerto Rafaelo Bold first piano books for very young beginners of cross hand 245 j6 pirIu8 The greatest of all very Ascending and descending arpeggios. Plenty Arthur Edward teacher of many American pupils, died he had been a mem- Diaz and clever verses. little beginner. William Mason, Wil- Harl McDonald with the Philadelphia Bass clef practice in ages 5 to 8. It just fairly captivates the work. Key of G. time. Dr. Johnstone % Washington on December 26 at Kirbyville, , ber of the Boston Opera ^en * 25 liam Scharfenberg, Sam- Orchestra in Baltimore and 22657 Hickory Sticks this Company. Mr. Diaz was born in San An- Cross Hand Work BEGINNER’S BOOK hands. 18 and 19 at the Ann Arbor aged sixty-one. Mr. Rischard came to GRADE TWO— First practice for interlocking uel P. Warren, and Dr. Leopold Dam- on April and twenty-three years of age, tonio, Texas, and studied in his native Title Price, $1.00 ^ early pioneers (Michigan) Festival on May 6, with the country when Cat. No. By Theodore Presser 5003 Jolly Darkies •• •• •* rosch. He was one of the clever Conservatory piano. Exceptionally very best selling pieces in this grade. A to conduct master classes at the Cincin- city and then at the Stein ’ 938 phrasing. This is a veritable "first reader” for the One of the late Thomas Edison in making composer conducting. hand pmctice in* rh^hm* and middle section ot tnc with the Extelk-ntTft popular with teachers everywhere. imitation of a banjo occurs in the remained in Berlin. His first appearance was in ^ * ^ phonographs. For nati Conservatory of Music. He 22545 T piece, the left hand carrying the melody. music recordings for C,* modern in style 1918 made his Yhe iteys *of* G and - in position ten years, during Boston in 1911; and in he An ™owIlfz‘in C. W. Kern .25 music editor for the BALDWIN WALLACE CONSERVATORY that about climax. 4320 The Song of the Katydid many years he was with a brilliant .. . STANDARD GRADED COURSE As- and as a study in style, Annual Bach which time he toured as a concert pian- debut with the Metropolitan Opera A captivating little piano piece, valuable American Book Company and also taught will present its Twelfth * rhythm and melody playing. sociation. One of his most successful '’'“Tf^^iMngaVian^iYwfof^ Z OF STUDIES University, Washington Uni- Festival on April 21, 22, and 23. Two ist throughout the United States. He Keys of C and B flat. at Cornell A few easy runs are introduced. g then to Sherman, Texas, to become roles was that of the Astrologer in “Le By W. S. B. Mathews In Ten Grades, #1.00 ea. and at Teachers College in St. secular cantatas, the “Coffee Cantata,” went versity, Ameri- piano educational work. Gives the “Peasant Cantata,” will be pre- a director of the conservatory at Kidd- Coq d’Or,” which he sang at the America's most outstanding Louis. He was widely known in the edu- and the Grade One is the ideal first best selected studies for all grades. PA. hundreds sented. Also on the program will be three Key College. He remained there for fif- can premiere of the work in 1918. book for beginners of all ages over 10. 1712 CHESTNUT ST. PHILADELPHIA 1, cational music field and wrote study 192) Presser Co. large cantatas. Numbers 4, 39, and 93. teen years, after which he returned to ( Continued on Page Theodore of school songs. MUSIC 133 MARCH, 1944 'FORWARD MARCH WITH ; ; , ) — ,

Editorial

TIME CHANGES, BUT THE FUNDAMENTALS OF TEACH REMAIN THE SAME... 1 THE miTOE ^ 1 runD, MONTHLY PUBLISHED .HE YEAR 1944 probably will come to be known as another ford (1863-1932), descendant of Governor William Bradford of By Theodore presser Co., Philadelphia, pa. I Colony, had (over half a century ago) a strange sense : iV annus mirabilis—a year of miracles. In the welter of war, the Plymouth ADVISORY STAFF EDITORIAL AND T civilization seemingly has been foundering. Quite the con- of prophecy in 1885 when he wrote, in a letter to his friend, Pro- DR. JAMES FRANCIS COOKE, Editor trary is true, as a new era is rising from the depths of ruin. fessor Marshall L. Perrin, “Pm afraid I can’t swallow Bismarck. If Guy McCoy and Ava Yeargain, Assistant Editors Section he is necessary to Germany, it Designed and written by well known teachers and educators, the Dr. Rob Roy Peery, Editor, Music Your editor, some years ago, com- then Page JKJBANK METHODS are the original systematic, graded courses of Harold Berkley Edna Fort ElizabethfGest N. Clifford seems to me Germany had better go. It r Hugh Reed. menced collecting material for his instrumental study. Used by successful teachers everywhere. These Pietro Deiro Dr. Henry S. Fry George C. Krick IL-U' Dr. Nicholas Karl W. Gehrkens Dr. Guy Mater William D. Revelli methods are imitated, but have not been excelled. Douty “Musical Travelogues,” which first ap- is true the consolidation of the German • RUBANK ELEMENTARY METHODS .... -FOUNDED 1883 BY THEODORE PRESS ER- peared serially in The Etude between Empire was an immense thing, but L CLARINET Hovey $.75 BASS (E|, or BBj,) .Hovey $.75 cannot help thinking it is better that CORNET or TRUMPET Robinson .75 XYLOPHONE or MARIMBA the years 1903 and 1936. By journey-

TROMBONE or BARITONE Long .75 .. Peterson .75 the German Empire should split into HORN (F or E|,) .'...Skornicka .75 TYMPANI Whistler 1.00 ing many times across Europe, meet- VIOLIN Book 1 Potter .60 DRUM Yoder .75 VIOLIN Book 2 Potter .60 (Contents j^or ^fVjarcL , 1944- ing large numbers of artists, teachers, ten thousand pieces than that a bar- FLUTE or PICCOLO Petersen .75 SAXOPHONE Hovey .75 CELLO Ward .75 and students, and visiting most of the barous Middle-Age despotism should be OBOE Hovey .75 STRING BASS Ward .75 BASSOON Skornicka .75 BELL LYRA Whistler .75 in the VOLUME LXII, No. 3 PRICE 25 CENTS notable centers of culture, he endeav- kept up very heart of Europe to • RUBANK INTERMEDIATE METHODS ored to give a picture of the musical be a drag on the whole civilized world.” CLARINET Skornicka $.75 DRUM Buggert $.75 THE OF MUSIC 133 CORNET or TRUMPET FLUTE Skornicka .75 WORLD background, as well as the general in- Music, in our modern times, makes Skornicka .75 SAXOPHONE .Skornicka .75 TROMBONE or BARITONE OBOE Skornicka .75 EDITORIAL tellectual development of the times. such ceaseless contacts with economics, Skornicka .75 .75 VIOLA Ward The Birth of a New Era • 135 HORN (F or E^) Skornicka .75 (E[j-or BBjj) Skornicka .75 BASS These records now have a peculiar his- industry, religion, and government that MUSIC AND CULTURE • RUBANK ADVANCED . . . it METHODS Make Haste Slowly! dean Dickenson 136 torical bearing, as many of the cities, can no longer be looked upon as a CLARINET Voxman-Gower $1.00 OBOE Voxman-Gower $1.25 The Everlasting Quest for an Ideal Leonard Pennario 137 CORNET or TRUMPET TROMBONE or BARITONE buildings, and schools described have thing apart from the big problem of Gower-Voxnstfa 1.00 Gower-Voxman 1.00 The Young Conductor George Szell 139 FLUTE Voxman-Gower 1.00 BASSOON Gower-Voxman 1.25 American Musical Firsts Alvin C. White 140 been pulverized by war. Thought, how- living. In our country in the present SAXOPHONE ..Voxman-Gower 1.00 Groat Yesterdays in Music Dr. Edgar Stillman Kelley 141 ever, is far more lasting than material crisis, musicians have made a mighty MUSIC IN THE HOME contribution to the war effort and The Art of Toscanini on Records Peter Hugh Reed 142 things. The “glory that was Greece” and The Etude Music Lover’s Bookshelf B. Meredith Cadman 143 the “grandeur that was Rome” are now naturally are tremendously concerned MUSIC AND STUDY about is to be the outcome. They RUBANK METHODS are distributed by preserved largely in the masterpieces what CHICAGO 12, ILLINOIS The Teacher’s Round Table Dr. Guy Maier 144 all music dealers and jobbers. Getting Ahead Through Competition Alfred Walther 145 of the great dreamers, thinkers, and realize that, as in the case of a cancer, Building Public Musical Taste Erno Rapee 146 historians of these nations, rather than if the patient is to stand a chance of What is “Bel Canto,” Anyhow? Francis Rogers 147 Watch for the Minor Details Trank Patterson 148 in the few relics of the resplendent living, the cancer must be rooted out or * Worship Music ..Dr. Joseph Wade ll Clokey 149 Teaching the Stringed Instruments Gilbert Ross 150 past of the countries in which their destroyed. The war gangsters are * The of Instruments Robert Schulenberg 151 Care Reed creations came into being. doomed. They must be extirpated if civ- * Some More Kreutzer Studies Harold Berkley 153 Questions and Answers Dr. Karl W. Gehrkens 154 ilization is to on. real peace is - £very.lodij wi\l tli ^Jh eAe The musical culture of the Europe of go But Are You Drilling Parrots or Training Musicians?... Helen Oliphant Bates 155 Fundamentals at the Piano E. Robert Schmitz 156 yesterday is deathless. When all of the not to be achieved by a miltary opera-

Technic of the Month—Prelude in G major, Op. 28 : No. 9, by Frederic Chopin Dr. Guy Maier 177 bestial crimes of the warring gangsters tion. After the destruction of the men Community Song Books MUSIC have been wiped out properly, the splen- who have been responsible for the great Classic and Contemporary Selections did tokens of past civilization calamity they have brought to the Inexpensive Pocket and Octavo- a must ^ Elegy Josef Hofmann 157 SONGS OF Size Collections of Favorite Songs and Star Kisses Clarence Kohlmann 158 not be mutilated in our minds. That in- world, something vastly more far reach- FREEDOM Choruses, Old and New, Patriotic WILL HIS DREAM COME TRUE? Painted Clouds Walter E. Miles 160 put forward. Contains America, My Home; Come On, deed would be biting off our noses to ing must be The world and Standard, for All Occasions. Menuetto, From “Sonata in F Minor” L. van Beethoven Op. 2, No. 1 162 America!; Hail, Lana of Freedom!; V for Alfred, Lord Tennyson, poet and prophet, in Cadets on Parade March Herbert W. Lowe 164 ! rid Victory; The Stars and Stripes Forever — spite our faces The magnificent Bach cannot permanently get of murder The Star-Spangled Banner, and 13 other Graceful Gliders Jean Beghon 166 his "Locksley Hall,” written in 1842, fore- • FAVORITE SONGS Ave Maria (Arr. William Hodson) 167 the joyous Haydn the incompar- by more murder, intolerance by more stirring patriotic songs. by — — saw the League of Nations when he wrote: Price, 10c each $1. 00a Dozen 100 Copies, $8.00 OF THE PEOPLE Vocal and Instrumental Compositions able Mozart—the glorious Beethoven intolerance, hate by more hate, fear by Contains Come, Ye Thankful People Homeward (Secular—Medium) Cecil Ellis and Homer Tourjee 169 "Till the longer Alouette Fairest Lord Jesus Gloria Patri war-drum throbb’d no ; ; Elevation (Organ) Giuseppe Stabile 170 the graceful Mendelssohn—the dreamy more fear. The birth of a new era, in e BURST OF SONG The Quilting Party; Soldier's Farewell; ivere Wing Foo (Violin and Piano) Cecil Burleigh, No. 1 171 and the battle-flags furl’d Crusader's Hymn Old Zip Coon, and 159 Op. 1, Contains Captain Jinks HealthandStrength ; Schumann—the stately Brahms ! Form, which new inventions, new materials, ; ; Betty’s . other songs old and new, for all occasions. Wooden Shoe Dance (Duet) .Frances M. Light (Arr. by Milo Stevens) 172 In the Parliament of Man, Poily -W oily -Doodle ; Dear Evelina; When Substantial cover and binding. 128 pages. ’O Sole Mio (Duet) Eduardo Di Capua (Arr. by William M. Felton 172 in if you will, and new and finer living conditions, They Ring the Golden Bells ; Deep River, your own mind a com- the Federation the world.” I to II Copies, 20c each, postpaid of and 72 other songs everyone enjoys singing. Delightful Pieces for Young Players (2 to 99 Copies. 15c each, not prepaid posite photograph of these masters and almost beyond the realm of fancy, Price, 10c each 75c a Dozen 100 Copies, $5.00 100 Copies or more, 13c each, not prepaid Church Bells (Piano with Words) Ella Ketterer 174 now Cloud Ships Lewis Brown 174 place beside it another composite pho- is awaiting us. It will mean nothing COMMUNITY AND The Little Defenders Elizabeth L. Hopson 175 PATRIOTIC SONGS PATRIOTIC SONGS March of the Trombones Ada Richter 175 tograph of Hitler, Tojo, Mussolini, Laval, Quisling, Yamamoto, unless a new world-understanding, based upon lofty ideals of human Technic the Month OF AMERICA Contains America; The Star-Spangled Ban- of Goering, Himmler, von Rundstedt, von Falkenhorst, von brotherhood, is inaugurated. Samuel S. Fels, vcell-known manufac- ner the Goebbels, ; Long Wave Old Glory; God of Prelude F. Chopin, Op. No. 9 Contains America, the Beautiful American / 28, with Lesson by Dr. Guy Maier 176 ; Nations ; Hail, Columbia; The Red, W hite, Hymn; Flag the Constellation Bock, and the whole mess of filthy mass murderers. The contrast is turer and philanthropist, has pointed out that in all national gov- of ; Old and Blue; Tenting on the Old Camp Glory Is Waving; the National Anthem, THE JUNIOR ETUDE Elizabeth Cest 188 Ground ; Annie Laurie; Dixie, and 28 and 15 others. startling. Surely these villains bear no spiritual or moral relation ernments and municipalities it is necessary to maintain police Many of the numbers are others. Octavo size. arranged for 4-part singing if desired. Price, 15c each $1.50 Dozen MISCELLANEOUS a to the fine old Germans who created the proverb, “One peace is departments. Only among the various governments of the world, Price, 1 0c each $1.00 a Dozen Sir Walter Scott's Influence on Music Katherine B. Morgan 138 • Questions MUSIC FOR Voice Answered — Dr. Nicholas Douty 179 better than ten victories.” however, is there no police supervision. Unquestionably, we shall FAMILY FESTIVALS Organ Questions Answered Dr. Henry S. Fry 181 Violin Questions Answered Contains Alleluia; Comrade Song; Cornish Harold Berkley 183 The paternity of the murder-making philosophy cf the Germany require an international police to keep the gangster nations in Ditson's May Songj 4-H Brother The Little Red The Etude Musical Quiz Charles D. Perlee 187 ; that everyone abhors, has been traced back to the abnormal mind order until that time when they may realize that the only solution Community Song Sheet Lark; Thanksgiving Hymn; John Peel, and Band Questions Answered William D. Revelli 192 14 others. Originally compiled for 4-H Letters from Etude Friends 192 Contains the words only of thirty- groups. of Nietzsche, the very opposite of Goethe and Schiller. It was, how- of human problems which has yet proved effective is based upon eight standard and patriotic favorites. Price, 10c each $1.00 a Dozen Entered as second-class matter January 16, at The meter of each song and its key 1884 the P 0 at Phila Pa ever, the “Iron Chancellor,” Prince Otto Eduard Leopold von Bis- the Golden Rule. Lord Tennyson foresaw this in his “Locksley under the Act of March 1879. also are given. A favorite with gather- ), Copyright, 1944, by Theodore Presser Co., for U. S. A. and Great Britain. ings of all kinds. Theodore Presser Co. marck, who welded together that fabulous juggernaut known as Hall,” when he wrote in 1842 the prophetic lines which are pre- $1.50 a Hundred $12.00 a Thousand Distributors for The Oliver Ditson Co.

ar n - 5 U S nd 0SSeSS Argentina. Bolivia, Brazil. “Prussian militarism,” which has been, from the start, a scourge sented under his picture on this page. Note the far-seeing eyes of 1712 Chestnut St., Philadelphia, Pa. - Colombia, Costa Jf R.ca,e Cuba,r r Dominicanr! VRepublic,ur c ‘T' ^ Ecuador, El Salvador. Guatemala. Mexico, Nicaragua 0f 5 Spaln mankind. An American philosopher-historian, Gamaliel Brad- the poet and prophet and ponder his lines. P ' - PerU and Uru eua >- upon - Canada and NeV foundland, $2.75« 7S a year. Alla r'r . other countries, $3.50 a year. Single copy, - Price 25 cents. (Continued 182 - I on Page ) 135 1 54 "FORWARD MARCH WITH MUSIC” THE ETUDE MARCH, 1944 — -- —

it, you’re lost at the start. ability you bring to Music and Culture young singers to exhaust the “I earnestly advise Music and Culture towns before they try facilities of their own home (or any of the great metro- their luck in New York to New York! politan cities). Everyone crowds The and semi-professionals city is full of professionals who have learned their business, have conquered their conduct nerves, know how to dress and themselves, how to sing an audition Make Haste Slowly! how to face a microphone, and part. The inexperienced be- The Everlasting Quest for an Ideal for a musical comedy ginner is at an immediate disadvantage amongst such A Conference with "The Nightingale of the Air competition. I well know that certain individual sing- ers have asserted themselves despite such tremendous From an Interview with The twenty-four appearances of Leonard Pennario, obstacles, but they are the exceptions who prove the now only nineteen years of age, at concerts with large Don’t tackle the big towns until you have built rule. symphony orchestras, have been hailed with such your own townsmen through ^ean ^t)icLendi on up a following among sensational applause by musical experts that we are aCeonard J-^ennarlo kinds of, appearances—church, concert, musicale, all beginning to realize that an American virtuoso who Distinguished American Cnlnratura Soprano radio at home. cannot fail to attract international attention has Private, First Class, A. II. S. Star of the NBC "Album of Familiar Music” Program A Serious Business arrived. He already has sixteen of the major concertos in his repertoire. So extraordinary have been the Astonishing New American Piano Virtuoso “One isn’t ready for any kind of appearance, though, comments upon Pennario’s playing and so sensational until he is very much at home in the two separate have been his appearances that The Etude is deviating and Composer and very different departments that make up per- from its hard and fast rule in the matter of criticism SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT formance values—vocal production and musical in- and is reprinting newspaper opinions in order that terpretation. As to the immensely our readers may be assured that the public reception SECURED EXPRESSLY FOR THE ETUDE BY JAMES FRANCIS COOKE serious business of vocal production, warrants us in informing our readers upon so unusual I work on the theory that everything a talent. must be completely natural. There HARMING JEAN DICKENSON, as radiant as The New York Herald-Tribune paid him this trib- should be no more strain in singing the exquisite roulades she pours forth, is pos- ute: “Leonard Pennario, who made his New York sessed of than in talking. That comfortable the Relief Fund. The value of such appear- C remarkably good sense (in addition to debut last night with the Philharmonic Orchestra, is The Chicago Herald-American called Pennario “an to Army sense of ‘talking ease’ should be pres- a remarkably fine voice). Young enough to be ex- a sensationally brilliant pianist. Endowed with incisive ace among the virtuosos of today,” while the Times ances, in promoting public morale, is inestimable. At ent in the production of every singing cusably flighty, she is anything but that. She has temperament, schooled prodigiously, he digs into a dubbed him “the new poet of the piano.” the Army encampment all musicians are part of the steadily tone. A good way to insure this is to regarded her career as a long-pull investment bravura passage in the Horowitz manner, gives it The Chicago Tribune, after calling his' appearance military band. Therefore, in the band at Palm Springs, find the tones on which the voice rather than an overnight speculation, and has placed depth as well as edge. Last night he took over the “his second resounding success in two seasons, in a Private Pennario plays the cymbals, just as Percy feels most comfortable, and then the goal of artistic integrity ahead of spectacular suc- to Liszt ‘E-flat Concerto’ with a sweep and a power that superb performance of Chopin’s ‘Concerto in F Grainger played the saxophone in one of our Army cess. Perhaps that is one reason analyze why the voice feels easier ” bands during World I. He also appears as a why she has won left the orchestra panting behind him—panting, but minor,’ wrote of his “effortless brilliance,” “Horowitz- War her there. Once this has been discovered, success. She was born in Canada, where her applauding along with the public at the finish line.” ian excitement,” “sensitivity of mood and color,” “ten- “one-man show” for the enlisted men and officers it is secondary father’s profession of mine engineering had taken the but a step to duplicate The New York Sun added: “A pianist in uniform derness and unforgettable beauty,” “radiant ease of a la Alec Templeton—for his “boogie-woogie” is as family. Next, the Dickensons went to India (which the cause in singing other tones. Al- communication,” and finally predicted that these qual- good as his Bach, and his improvisational arrange- stole the show last night—and it was a show! . . . Jean barely remembers), ways, this must be recognized in then to San Francisco, and The audience loved it, and the demonstration at ities “put the young pianist high in the brief list of ments of popular tunes and numbers requested by then terms of the feeling to Denver where their musical history properly in one's own Carnegie Hall at the close of the ‘Concerto’ was the those who hold in their hands the future of music.” the audience are as expert as his playing of the begins. throat. Little Jean had always amused herself with When the voice feels easy, most protracted of the season.” These are indeed astonishing tributes to pay to a classics. singing free, but did not determine upon her career until comfortable, soaring on all tones, tall, dark, modest, unknown Mr. Pennario says that his greatest thriU was last the mature age of thirteen, when her voice was dis- one has mastered placement and young soldier in the United year when Dmitri Mitropoulos selected him to play covered. That was in Denver, where she also went evenness. States Army! the Rachmaninoff “Concerto No. 2 in C minor” at to school. When her parents were called to New “Much damage to vocal health re- Leonard Pennavio was born the Rachmaninoff Memorial Concert of the Minneapo- York, Jean decided that sults she must complete her edu- from any attempt at forcing. in Buffalo, New York, July 9, lis Symphony Orchestra. More recently his perform- cation before she did any more moving about, and Some young singers cherish the no- 1924, of Italian-French ances- ances of the very modern Arthur Bliss “Concerto” and matriculated at the University of Denver as a candi- tion that, to be effective, they must try. Both of his parents are the Chopin “F minor Concerto” with the Chicago date for the degree of Bachelor of Music. She wanted sing loudly. This is a great mistake. native Americans. Neither is Symphony, the Liszt “Concerto” with the New York a sound musical training, partly for the sake of a Quality is of far greater importance a professional musician. Leon- Philharmonic-Symphony Orchestra, and the “Con- vocal career partly and for the sake of having a pro- than volume, and it is the natural ard started to study the piano certo No. 3,” by Rachmaninoff, with the Los Angeles fession in her hands, if there proved to be no career quality of the voice that must be at the age of six and a half Philharmonic Orchestra have been received with great in her throat. She has never regretted those years both developed and protected. Where years. Among his first teachers acclaim. In the field of composition his works, which of intensive musical schooling. As her vocal surety de- JEAN DICKENSON musical indications require forte were E. G. Fischer and Laura include among others, in manuscript, a Ballade in G- veloped, she began accepting small engagements. tones, those tones must, of course, be Kelsey of Buffalo, and Olga sharp minor, a set of variations upon Molloy’s Kerry “I sang anywhere and everywhere I got the chance,” produced. But for general singing and Steeb and Samuel Ball of Dance, a March of the Lunatics, and a fantasy, Mid- especially enthuses Miss Dickenson. “Anything was welcome if for practicing, piano and Los Angeles. He finally came night on the Newport Cliffs, show the same torrential, solved the problem in terms of her own good sense. mezzo voce tones are far it meant experience before a public. I sang at Morn- preferable. Trying for volume under the instruction of Guy artistic virtuosity that is manifested in his playing, She accepted neither. “I explained to both companies over any ing Musicales where my reward was a corsage! I sang length of time roughens the edges of the which presages in time unusual things that I still had six months Maier, with whom he has in American of college work to complete tone and injures natural at Luncheon Musicales where my reward was a lunch quality. studied for five years and to musical achievement. Modest, unaffected, balanced, and hoped they’d give me another chance next year.” —which I dared not eat as I had to sing Immediately gratefully attributes and sincere, Pennario displays a mature viewpoint And back she Went to Denver, to school whom he after. and to work. Humming Exercises in Practice When I got my first fee of five dollars, I felt his major development. His which is altogether gratifying. He speaks French and NBC, however, followed her there with the offer of a that I had definitely ‘arrived!’ After a year or so I “Try to sing away from the throat Spanish fluency, coast-to-coast sustaining program sent as much as general education was received with and his acquaintance with cul- got out to the na- possible. an opening in radio in Denver, where I sang Well-resonated tone must vibrate in the in the parochial schools of tured and scientific movements in the worlds of yes- tion from Denver. While still a senior at the University classic songs, ballads, cavities back of the opera, everything—and devel- nose and under the eyes it Buffalo the public schools terday and today is notable at his age. Miss Dickenson was building a national audience. — never and One may say, oped excellent drill in repertoire. The important thing, comes from the throat. In learning to as did Sponsors and managers heard her there, arch the tone of Los Angeles. He completed Schumann, when he first encountered Chopin’s is and by the upward it is though, that I didn’t think of myself as a profes- helpful to think of it as lying first year Opus 2 (the Variations time she had received her degree her career was high—not his at the University upon Mozart’s La ci darem la sional singer; I was still a student, working in pitch but in physical position. hard and waiting for her. I find it helpful to of Southern California, where mano from “Don Giovanni”), “Hats off, gentlemen! A getting experience arch the tone on the side.” upward by using humming exercises. he studied composition under genius!” Editor’s Note. “In speaking to other students,” observes Miss Dick- With throat and jaws perfectly relaxed, I divide each Ernest Toch, and orchestra- enson, “I don’t pretend An Important to be in possession of absolute tone into three sections. Meeting First, I hum it; then, I vo- tion under Lucien Cailliet. He “ LL ART is a quest for an ideal, an ideal wisdom. I can counsel only those steps A which that proved calize it on the repeated syllable All this time Miss Dickenson’s family ming ( ming-ming then was inducted into the ZA even the most gifted perfectionist never reaches. was in New helpful to me. And the first counsel is—make haste ming-ming) , the final -ng of which -A- A. York, and she visited them at holidays. Within six slowly! throws the tone military service and has been This is largely because when one has advanced Build yourself a sure, secure musical back- upward better than a pure vowel sound would- located at the Air one step in any phase of human culture, months of her graduation she came East on such a ground before you offer then Army Base immediately yourself for auditions. And I finish the exercise on EEEEE visit, armed with a letter of introduction to Andre (or any bright ’sound in the Ferry Division of the a whole new field of ideals opens up and the eternal when you do, accept any kind of public opening that that will keep the tone up). Taken as a whole Air Transport quest goes on. This was one of Kostelanetz. Not too confident of herself, she put will give you experience with worthy the Command. The on and the things that music. Don’t exercise sounds like this: off presenting the mmmmmmmm : -ming-ming Government wisely has seen I learned in my earliest years from The Etude, which letter until a week before her be afraid of jobs that are small and ‘unglamorous.’ ming-ming: EEEEEEE. Working my way up it that, as in the inspiration the start. return. When Mr. Kostelanetz had heard her sing, So long as the musical standards are and down to case of was my from honest and good, the scale this way places however, he took her my voice where it should be. in Rus- “In the life of an artist the achievements of yes- at once to CBS where she was any sort of public work is useful in teaching you au- “Finally, try to listen to yourself. offered a contract. Returning home in a daze, to tell dience-reactions, A good way to sia, so rare and tremendous terday always must fade before the opportunities of projection, personal and vocal con- check up on your own of her experience. sounds is to make a record a talent has been given leave today. In fact, this is a fundamental aspect of art, Miss Dickenson encountered a fam- trol. So much for little jobs! At the other end of the every now and then—not as a ily friend who had connections at NBC and who scale are the big openings. ‘work of art' but as a to employ his great gifts to no matter what one’s medium of expression may be If you have a chance at yardstick of progress. The facilities for the advantage literature, suggested a second audition there “just for the fun them, don’t take it until you feel certain making records of the military —painting, or music—ideals, ideals, ideals. within your- are geneially available of it.” The result of the second and not very expensive I service by appearing in uni- In my boyhood I seemed to feel instinctively that if audition was a second self that you are ready. Professional success, as I see W n ' contractual ° t0 keep track offer from NBC. While her, family was it, lies in the perfect balance of °“e s needs form at symphony concerts in I fell below the very best I could do, I had failed. between one’s abilities and la°cks discussing which contract the East and the West. The Therefore, I resolved never to be content to accept, Miss Dickenson and one’s outlets. If your outlet is bigger than the with any The coloratura—or any ( Continued on Page 178) 1EONARD PENNARIO profits from his services go mark below an ‘A’ in school, and I can look with 13b "FORWARD MARCH WITH MUSIC THE ETUDE MARCH, 1944 "FORWARD MARCH WITH MUSIC’’ 137 destroy can be wiped out. As a part be that would of Music and Culture a fine artist, the day will come when he will Music and Culture effort comes the preservation of those spiritual upon his own problems. that obliged to work independently will make our country ideals of living which a land He will find himself returning year after year for worth fighting for, providing not only physical and advice and guidance—after he has left his mentor material sustenance, but the higher things of the satisfaction upon the fact that in my school work, in a more formal sense—but the ultimate test of mind and soul, which distinguish a fine, humane until graduation, I never received a mark under ‘A’ a pupil must depend upon what happens when he civilization from a bestial existence. Music is cer- in any of my studies. I say this with no suggestion of relies wings. The capable teacher will upon his own contributing tainly one of the things to make this Young Conductor boasting criticism, The or smugness. It was merely what seemed to give his pupil all kinds of germ ideas and which our fighting men will come back me an indispensable policy. It required hard work, but these must be developed in the pupil’s own brain a country to and exalted in the privilege of calling but not necessarily ‘grubbing,’ because ‘grubbing’ and soul or they are worthless. triumphant really ‘God’s Country.’” means the this, their home land— work without pleasure, and I make it my “Every pupil, therefore, has his own aspect of A Conference with business to enjoy everything that I do. work he selects for study. It is no easy matter to * Simon and Schuster, publishers. “Music, from the very start, had an immense in- divine what the composer is seeking—to penetrate the terest for me. I wanted music all the time. They tell creator’s meaning. Much may be gained by studying me that I even demanded music at my meals and the composer’s life, the period in which he lived, Cjeorc^e ^zeli refused to eat if I did not have it. We had no piano his nationality, the musical conditions of his day. in our home but I had a toy instrument upon which For instance, the social, historic, and artistic back- Distinguished Conductor I used to make up tunes. It was my inseparable com- ground of the Italian Domenico Scarlatti (1685-1757) panion. Finally my older sister prevailed upon my was notably different from that of the Austrian Sir Walter Scott’s Influence parents to get a piano. From that time music seemed Mozart (1756-1791) who was born one year before SECURED EXPRESSLY FOR THE ETUDE BY STEPHEN WEST to photograph itself upon my mind, not as notes but Scarlatti’s death. Obviously the two composers de- as tones, a part of my consciousness. Just as one mand a different kind of treatment. Of course, the on Music usually remembers words, I seemed to remember teacher will indicate these differences, but the student, music, and through this gift, and hard work, acquired by means of hard study and personal research, must assistant to the basis for a large repertoire. acquire that wealth of information which will ‘condi- lu Jsatherine 8 W

Independence Day in Park Street Music and Culture Church, Boston, July 4, 1832.

The first large school of music in Few men are better qualified to talk about great yesterdays Music and Culture Kelley, born in (HE FIRST TEACHER of mu- America, “The Boston Academy of in music than Dr. Edgar Stillman who was sic in America was the Span- Music,” was founded in 1833. Sparta, Wisconsin, April 14, 1857, four years before the out-

i sharp and clear as Tlish missionary. Fra Pedro de- Marie Dolores Nau was the break of the Civil War. With a memory first cut crystal he recalls events of history as though they were Gante, who landed at Vera Cruz American-born singer to sing suc- clipped from yesterday's news. Dr. Kelley comes from an old August 13, 1523. cessfully in European opera houses American family and is a member of the Society of Mayflower The first book of sacred music where she appeared in 1836. Firsts Descendants. In America he was a pupil of F. W. Merriam, printed American Musical in America, “The Bay Psalm The first study of music in and N. Ledochowsky. Abroad he studied at Great Yesterdays in Music the Clarence Eddy, Book’’ was printed in Boston in public schools of America was intro- Stuttgart with Max Seifriz, Kruger, Speidel, and Frederich Finck. 1640. duced in Boston by Lowell Mason Returning to America Dr. Kelley held many distinguished posts from the Atlantic The first English-built organ to in 1838. os an organist, a conductor, and a teacher, From a Conference with to Pacific. For a time he was Acting Professor of Music at be used in a church in America was The first performance in the America 1910 he taught theory and com- the Brattle Yale University. From 1902 to organ in 1714, so called 'lAJliite of Mendelssohn’s “Elijah” was in hy. ifuln C. position in Berlin. In 1910 he became Dean of the Department after Thomas Brattle of Boston, in 1840. Boston of Composition af the Cincinnati Conservatory, holding con- Treasurer of Harvard College, who first performance at the famous Western e2V. 'tillmanman The of a Bee- currently a Fellowship in Composition willed the organ to where fhe notes for this the Brattle thoven symphony took place in College for Women at Oxford, Ohio, Square Church (Queen’s 1 in the cosy home in which Dr. Kelley and Eminent American Composer Chapel) The whole subject of "firsts' invariably is contentious and some America in 1841 when the “Fifth” conference were taken thirty years, which has and who died in 1713. his able wife have lived for over and Etude Etude will was given with the aid of a sym- readers may dispute Dr. White's statistics. The mecca for many famous musicians. He holds the hon- “Palace Green,” America’s first phony orchestra of been a twenty-three from Miami University (1916), and SECURED EXPRESSLY FOR THE ETUDE BY JAY MEDIA be glad to publish in well-documented corrections orary degrees of Litt.D. theatre was erected in Williamsburg, a later issue any men conducted by Henry Schmidt. Virginia, in 1716. of fact that may be submitted by its readers . Editor's Note.INOTE. The first performance in America The first singing school in Amer- of Rossini’s “Stabat Mater” was in ica was enough to suggest that some day one might push held in Boston in 1717. Boston in 1843. fill room with beautiful music. The first book of instruction a button and the The first violinist of note to set printed Could such a fanciful contrivance ever come through in America was “The foot in America was Vieuxtemps wno wires of wonderful invention, the tele- Grounds and Rules of Music the the new Explained, or an In- dementi’s , Op. 2 (1770) were the first of in 1844 made the first of three American tours. years time (1876) ? troduction to the Art of phone, patented a dozen before that Singing by Note. Fitted to the music published in America, as written exclusively “Rip Van Winkle,” the first serious opera on a Dis- Come it did, and it came without wires. the Meanest Capacity,” published by Thomas Walter for the piano. tinctly American theme was composed by George l< of Roxbury, “Thus it was that when I was a boy I had only Massachusetts, in April 1721. The first American-made piano was built in 1775 Bristow. “The Fashionable the most limited musical opportunities, compared with Lady” by James Ralph of Phila- by John Behrent of Philadelphia. The first performance in America ol Handel's delphia had its those of this amazing age. Then, one night I was world premiere at Goodman’s Fields The first American organ builder to become noted “Judas Maccabseus” was in Boston in 1847. Theatres of London, April taken to a concert given by what was known as the 2, 1730. This opera has the as such was William M. Goodrich who was born in The first American organization, of the numbers played distinction of being the first work of ‘Mendelssohn Quintette.’ One the musical stage 1777 and settled in Boston in 1799 where he began the the Mendelssohn Quintette Club was organized in to be created in was the Overture to ‘A Midsummer Night’s Dream.’ America. business of organ construction in 1805. Boston in 1849. it. of the exquisite, lace -like The first public concert advertised in I can still hear All America “A The term “Opera House” was first used in America The first performance in America of Beethoven’s Concert of Music on Sundry musical tracery held me breathless. I never had known Instruments” was held in August 1787 when it was applied to the Southwark Overture “Leonore” was in Boston in 1850. beauty in the world. From in Boston, December 30, 1731. that there was so much Theater, Philadelphia to forestall the opprobrium The first performance in America of Mozart’s “Sym- The first song recital that moment I could not conceive of any other life in America was given at linked then with things “theatrical.” phony in Minor” G was in Boston in 1850. work but that of music. Charleston, South Carolina in 1733. The first military band to be formed in the United The first music journal of national circulation was The first opera sung in America was “Flora; or Hob States was the Marine Band organized in 1798 and founded in Boston by in the Well,” John S. Dwight in 1852. Amazing Possibilities a ballad-opera given at the Courtroom, stationed in Philadelphia, then the capital of the The first Wagnerian selection was heard in America with a radio is drenched with Charleston, South Carolina on February 8, 1735. nation. “Now every home when the “Tannhauser” Overture was given under tiie Hasselinck of Philadelphia in 1742 made the first the greatest music of the greatest masters every day The first singing contest in America was held in baton spinets in America. of Bergmann in Boston in 1853. in the week. What will be the result of these enorm- Dorchester (Boston) in 1790. “II Trovatore” was first produced In 1745 the first organ was made in America In New York in ously expanded facilities for hearing music upon the by The first opera written entirely in America to have Eduard Bromfield, 1855. musical creative effort of tomorrow in America? The Jr., who copied an English model. its world premiere in America was “Edwin and An- “Rigoletto” The first was first produced in New York in 1857. radio provided a great musical opportunity. Will American composer of church music, Wil- gelina,” a book by Elihu has Hubbard Smith and the The first really liam Billings, was born in Boston, great European piano virtuoso to America take advantage of this opportunity? October 7, 1746. music by Victor Pelissier (of French birth), performed visit America was Sigismund Thalberg who was lessons with The first set of tympani ever seen in America was in New York, “It is true that I had had a few piano December 19, 1796. brought over brought by the Moravians by Maurice Strakosch in 1856. my mother, but my first serious study was done with to their settlement at Beth- The first public performance of “Hail Columbia” was lehem, “Tannhauser” was first produced in New York in geniuses of the of this or Pennsylvania in 1750. by Gilbert Fox, in one of the greatest organ Philadelphia on April 25, 1798. 1859. The first record any other country, Clarence Eddy. He was born to of an orchestra with an American The first great oratorio society in America “The The first operatic player mechanism patented in America was art. In 1879 in Chicago he gave a series of one performance was with “The Beggar’s Opera,” Handel and Haydn Society,” was his organized in Boston built in 1860. September 14, 1752 at Marlborough, Maryland. This in 1815. hundred organ recitals in which not one composition The first performance was the first noteworthy opera performed in in America of Mendelssohn's was repeated. This gives some idea of his immense America. The first complete performance in America of an “Hymn of Praise” was in Boston in The first mention of French horns in America was oratorio (Handel’s “Messiah”) 1862. repertory, most of which was played from memory. was given in Boston The first made in 1756 great concert organ in America was opened had studied with Dudley Buck in America and by Benjamin Franklin when writing of in 1818 by The Handel and Haydn Society. He in Music Hall, Boston, the fine music in the Moravian Church at Bethlehem, November 2, 1863. with Haupt and Loeschhorn in Europe. His greatest The first complete performance in America of The Pennsylvania. first great five-day choral festival in America, teacher, however, Eddy himself, and whether Haydn’s “Creation” was given in was Boston in 1819. the “Peace Jubilee,” The first American was organized by Patrick S. Gil- he appeared in Holland, Switzerland, Austria, Ger- composer was Francis Hopkinson, The first musical journal published in America ap- more and held in Boston in jurist, poet, painter, musician, man of affairs, and one peared in Boston May 1869. many, England, or Italy, his concerts were musical in 1820, and was known as the Floience Edith of the signers of the Declaration of Independence, Sutro (1865-1906) a graduate of the sensations. “Euterpiad” or “Musical Intelligence” and “Ladies DR. AND MRS. KELLEY New York Conservatory of born in Philadelphia, September 21, 1737 and died Music, was the first woman “It was very fortunate for me that I had such an Gazette.” in at their home at Western College for Women. Oxford, Ohio the United States to receive there May 9, 1791. His song, My Days Have Been So the degree of Doctor inspiring teacher. Often I hear unthinking people “Perouge,” the first Greek opera ever performed in of Music. Wondrous Free, composed in 1759 and published in America had a presentation at Terrace remark about the high fees received by certain noted Garden, New The first great 1788, was the first original piece oratorio written in America, John in- is \yorth of music to have York, September 27, 1825 under the 1891 he “TyHAT IS MORE CAPTIVATING, more musical pedagogs. ‘No man’s time all that!’ direction of Her- R. Paine’s “St. Peter” U.D. from the University of Cincinnati (191 7). In been written in America. His “Seven Songs for the was performed in Portland, triguing, than the curtains of memory! We they say, but they do not realize that great geniuses cules Pascal. Maine married his pupil, Jessie Gregg, pianist and teacher of piano, \A/ Harpsichord or m 1873, and in Boston in Forte Piano” was published November The first 1874. Hinrichs, V lift one curtain and there is disclosed a scene are almost as rare as orchids in Greenland. I know Italian opera produced in America was In 1875 John who also had studied with William Mason and Gustav V 29, 1788. Knowles Paine became yet it Rossini’s “II Barbiere the first pro- who has occupied a prominent position in the musical ed- which may have occurred many years ago, that I worked far, far more under Mr. Eddy and di Seviglia” given at the Park fessor of music in and The first choral society any American University. clarity, it had in America was the St. Theatre, New York, November 1825. ucational field and in the work of musical organizations. stands out with a singular as though made far more progress than I might have done 28, h r t elebl ted WOman Cecilia Society of Charleston, South Carolina, organ- Mozart’s “Don pianist t0 tour America Among Dr. Kelley's best-known works are: Original Theme happened only yesterday. One of the beautiful com- under an ordinary mortal. He taught me how to Giovanni” had its first American per- w^ Mm1 ff Esslpoff^ « > wh0 came ized in 1762. over for the season of Variations for String-Quartet, Op. I; Wedding Ode, time is these treasures, which rest be- develop melodies, how to plan the thematic formance at the Park Theatre, New York in 1826. 1876-7 and pensations of my The first band concert in tenor solo, men's chorus and orchestra; Incidental nothing that America was in 1767 when The first notable attempt to produce a Op. 4, for hind the curtains of memory. Perhaps development in relation to the natural evolution of German opera T fi e eC C ' the Royal American Band of Music played in New in “ action organ°rgan in America was builtbuil Music to "Macbeth," Op. 7, for full orchestra and chorus; ever has happened to us is really forgotten. It merely the harmonies. America was a performance of Weber’s “Der Frei- by, Roosevelt«l fl l York. for thZ Cerwntenmal Chinese suite for full orchestra; "Puritania," schtitz” in 1825. Exhibition in Philadel "Aladdin," Op. 10, needs the right stimulus to lift the curtain and reveal “I was eighteen when I went to Europe to study. phiain 1876 "Ben 17, The first comic opera composed and published in Op. II, comic opera; Incidental Music to Hur," Op. us. Memory, ‘that inward eye,’ as Words- embarkation from New York City in “Voodoo,” the first American grand opera on a the vistas to I remember my the United States, patent for soli, chorus and orchestra; "String-quarfef, Op. 20"; "String- “The Disappointment,” by Andrew Negro plot, with the libretto was for the “phonograph or worth called it, is never dead, but only slumbering. 1875. The steamship was the Wyoming, and the trip and musical score by . a speakine mnrh- "Alice in Wonderland," suite for orchestra; Barton, was first printed in New York in 1767. 1SSUed Decem quartet, Op. 2S"; in ten days. The contrast between European Negro composer, H. Lawrence Freeman, had its ber 15, 1877, and the “Somehow, as I now go back through the years was made world first pmrri t .T-n "New England," Symphony No. 2; "Gulliver," Symphony No. 1; The first patriotic song published in America Take You life in America far was premiere at the Palm Garden (formerly the 52nd Home Again, Kathleen.” to the time of my first appreciation of music, certain civilization and our was more “Carmen”a waswl firstt Incidental Music to "Prometheus Bound;" Confluentia, for the “Liberty Song” (In Freedom We’re Born) by John “ Produced in different than it is now. It was four years Street Theatre) in New York, September 10, New York in 1879. things stand out with great vividness. I was then markedly 1928, by Th , string orchestra; "The Pilgrim's Progress," for soli, chorus, chil- Dickinson of Philadelphia, published in Boston in the time, after Franco-Prussian War, and military Ger- Negro Opera Company. "The Pit and the Pendulum," thirteen. Music, up to that had not meant any the August dren's chorus, organ, and orchesfra; 1768. It was the first separately printed piece Louis Moreau more to than it did to the average boy. You see, many had displaced France as the chief continental Gottschalk and William Mason (both symphonic suite; Israfel, song; El Dorado, for voice and orches-' me of sheet music issued in the Colonies. fixing this born in 1829) were the first American pianists other works for chorus, pianoforte-quintet, piano- in 1870, if anyone had said that the radio would power. To help in historical epoch in your of the the fra ; as well as first generosity The book made up of wholly American com- first rank. scientific possibility, he mind, it must be remembered that Grant was Presi- 5 °n gave 1 pieces, and songs. His best-known choral works are My become a would have been first concert ’ forte positions, “The New England October 222 irbi „ m A Psalm Singer,” was pub- The first singing ’ 1881 (after at. It until eighteen dent in our own country, Victoria was at the height anywhere of America (My Coun- ’ th GeorSe Henschel Captain (after Whitman) and The Sleeper Poe). He laughed was not years later lished in Boston, conducting. October 7, 1770 by William Billings. try ’Tis Thee "The History (1888) that Bellamy in his ‘Looking of her reign in England, William I was Emperor of of ) was at a children’s celebration of is also the author of "Chopin the Composer" and Edward famous America’s first successful ." (Continued on Page 185) of Musical Instruments Editor's Note. Backward,’ which sold a million copies, was wild Germany, and Thiers was (Continued on Page 152) 140 "FORWARD MARCH WITH MUSIC’ THE ETUDE MARCH, 1944 "FORWARD MARCH WITH MUSIC 141 — ,

Music in the Home Music in the Home “A Figure for a Book” In 1855 William Makepeace Thackeray was a guest at the “Craigie House,” Cambridge, Massachusetts home of Henry Wadsworth Longfellow. Later, in re- calling this occasion, he wrote: “I had a pleasant little party-kin last night at Cambridge at Longfellow’s, The Etude The Art of Toscanini on Records where was a mad-cap fiddler Ole Bull, who played most wonderfully on his instrument and charmed me still more by his oddities and character. Quite a figure for a book.” The book, a biography, has now been written by Music Lover’s Bookshelf Mortimer Smith. Perhaps it might better be called a portrait’ sketch, as the figure of Ole Bull has become almost a myth as well as a personality. Both Tartini and Paganini went through the same metamorphosis. Few people know that Ole Bull was Ibsen’s model for Any book here reviewed may the violinist’s American Peer Gynt. Sixty years ago be secured from AT THE MOMENT there is at hand only one im- imagination that other conductor in America no Middle Western second wife, Sara Chapman Thorp THE ETUDE MUSIC portant new recording, a performance of the has possessed in such a degree.” One expects such MAGAZINE at the Bull, wrote a life of her famous husband, but wives L X Overture to Thomas’ “Mignon,” performed by a man to evidence a growth, although hearing price given plus Arturo rarely make faithful or accurate biographers. postage. Toscanini and the NBC Symphony Orchestra him a quarter of a century ago, few, if any of Ole Bull died August 17, 1880, near his birthplace, (Victor disc 11-8545). The value of this recording is us, would have admitted there was room for Bergen, Norway, at the age of seventy. Nothing is so great that it behooves us to speak of the man growth. dramatic in the long and curious life of this behind it. Everything more that Toscanini does on records The consistency of his intellect is borne out remains unusual character than the tribute paid to him at his inestimable. It is therefore not surprising to in an examination of the score. Take his reading of find death. With 'a view of giving the reader some sug- him ennobling this product of French opera com- the Brahms “First Symphony.” The opening of gestion of the fine quality of Mr. Mortimer Smith’s igue by his uncanny gifts for lyricism and rhythmic the first movement is not played by him as though ^lljerecllt C^acltman elan. work, we quote the story of Bull’s dramatic ending. h He makes this music seem more important than it were an adagio. The keynote to the tempo of it actually “Shortly before the end came, the wasted old man is, which is another way of saying that his this opening is provided by the composer in the Whispered a request to his young wife, and she went is a more imaginative treatment of it than we usually last two pages of the movement, where he marks hear. “The trouble to the organ and played softly strains from Mozart’s with a performance like this,” said the music to be played like the opening. It does a musician friend ‘Requiem.’ Not long afterwards he relapsed into a of ours, “is the fact that the Tos- not take a discerning listener long to realize as twelve on August 17th he breathed as the procession entered the harbor the guns of the canini record may well make all other performances— coma, and at noon Our First American Music he listens to the Maestro’s recording of this work fort out a solemn welcome. his last. boomed particularly in the opera house—unendurable.” (Victor set collection of thirty-two compositions, mostly for 875) that here is a clearly apprehended “The surrounding hills and the streets of the city A It has been rumored for a long time that Toscanini and firmly edited by Dr. Richard Franko designed reading of the work. More- were black with silent people come to do homage to chorus, annotated and made a great many recordings prior to the Petrillo over, the lucidity of Brahms’ scoring is affirmed Goldman (son of Edwin Franko Goldman) and Roger ban which, Bergen’s most illustrious son. All the boats in the to date, have been held up because the in a highly appreciable manner. Smith, and accompanied with arrangements for band y? ENTERTAINMENT harbor and all the city’s buildings flew their flags conductor has not approved them. Part of the rumor No one quite achieves by a finely the same rhythmic verve half newspapers were framed with deep or smaller orchestral groups, is preceded is true; IN AID OF THE at mast; the the rest is false. Toscanini | did make a series and humor with Rossini that Toscanini introduction makes It obtains. borders of black; all shops and business houses were prepared, descriptive which of recordings; many of these were accomplished with And his playing of Mozart is an inevitable CONGRATULATIONS TO eligible for this department, which reviews books upon joy. Old South Preservation Fund, closed. casket was borne through the streets the Philadelphia Orchestra during his MAESTRO ARTURO TOSCANINI The guest appear- It is illuminating to hear him speak on Mozart. music and not the music itself. Twenty-one biographies ances in the winter preceded by municipal officials and by young girls of 1941-1942. Some of these have Referring to the great “G Minor Symphony,” he Maestro Toscanini is seventy-seven years are given, with In 01d Snuth ©hutch, in black bearing his orders and the many gifts and of the earliest American composers been found satisfactory by the Maestro, old on the twenty-fifth of this month. but difficulties said; “This is a tragic score. The undercurrent much attention to original research. Belcher, Belknap, in reproductive quality have trophies he had received from royalty and musical retarded their issue. How- of its tragic implications are heard from the beginning, only strains of Billings, Flagg, French, Hewitt, Holden, Holyoke, ever, there is just cause to believe that of etfhw&daij Svenin6, Jan. S(j, 4§§C. organizations. The sound was the most those and surely there is no more tragic minuet Jr., in music * Hopkinson, Jackson, Jocelin, Kimball, Law, Lyon, I »**MVVV4 niivti 1 he has o ” ^ WIW1WC1 LI l AtCIit Chopin’s funeral march; the mourners lined the approved will materialize in time. than the At 7.45 o’clock. one in this symphony!” Too many conductors of his Morgan, Read, Reinagle, Sicard, Swan, Tuckey, and On March 25 conductorial genius. There are no representa- streets in subdued reverence, strewing juniper and of this year Toscanini will be seventy- treat the opening movement and the minuet of the tions on records of his Von Hagen. Jr. are represented with the best-known seven, yet there is no noted musician readings of modern works, yet flowers in the path of the cortege. At the Svaneapot- among us today great “G Minor” as though they were expressions OLE BULL, of he performs many in public. His interpretations house where he was born, the procession specimens of their work. who remains at his age more youthful than the Italian eighteenth-century of such hek, in the geniality and charm, with none works as conductor. Watching him conduct, Mussorgsky-Ravel “Pictures at an Exhibition,” FISK JUBILEE SINGERS, halted while a poem written for the occasion was one would think he of the feverishness and intensity with which Toscanini “Landmarks of Early American Music (1760-1800)” was Debussy’s La Mer and Iberia, Roy Harris’ “Third Sym- sung. half his age; listening to his music-making, one invests this music. The Ralph. Waldo Emerson, By Richard Franko Goldman and Roger Smith more one listens to his reading phony, Busoni’s would swear he was a great deal less. For in his in- Rondo arlecchinesco, and of many “At the cemetery the address was given by Bjorn- (Victor set 631) , the more Pages: 103 one becomes impressed with others we could Oliver Wendell Holmes terpretations there is all the energy and the name, deserve to be on records; for stjerne Bjornson, then at the height of his fame as imagina- his musical intellect and imagination in its relation- Price: $1.50 tion they are, in our estimation, unmatched. MR. STRAUSS, PIANIST. literature. tribute to Ole of a young man. He has not altered in his ideas ship to this score. Norway’s great man of His Publisher: G. Schirmer, Inc. There are works — or his tempi in recent times, as many modern critics which he plays in a truly inimitable Bull ‘the first and greatest festival in this people’s manner. We think would have us believe. Recently, we spent an afternoon Musical Honesty immediately of his perform;) r.ces of life,’ he called him—was a majestic dirge full of a the Weber-Berlioz 1. Piano Solo, MR. STRAUSS with the Maestro in his home, and this subject was And so it goes with almost everything he has chosen Invitation to the Dance (Vic: r disc sweeping emotional power that must have been From The Land of The Nightingales brought to record. 15192). No one who has 2. Battle Hymn of the Republic, Mrs. Julia Ward Howe up. His interpretations are inevitably illumin- watched him conduct this heightened by the appearance of the orator himself Sweden has sent to America many human “night- “They ating, intensifying, music could doubt the FISK JUBILEE SINGERS. say my tempi have increased in recent years,” and always lucid. Perhaps some of great fondness he has for it, with his imposing frame, leonine head, and piercing ingales,” among them Jenny Lind, Christina Nilsson, he his and this he imparts 3. Dorothy Q, (with the portrait as illustration,) said, “but they are all wrong. Listen, and tell me interpretations—such as his performance of the to his recording, which is one of eyes. DR. OLIVER WENDELL HOLMES. Kerstin Thorborg, and Goeta Ljunberg. No European if it is so.” Tchaikovsky “Piano the reasons that one acquires Concerto” with Horowitz—leave such great satisfaction “Then a hymn was sung, and a gnomelike little country save Italy has sent so many lovely voices to rom playing 4. The Mother’s Composed performed by us with the feeling that he is not as fully it again and again. Then there are his and man, in strange contrast to the burly Bjornson, sympathetic OLE BULL. the New World. How is it that certain districts in the A Practical Demonstration to the composer as he performances of the Preludes might be. However, such in- to Acts 1 and 3 from stepped out from the thousands who crowded around world produce an unusual number of fine singers? a Traviata 5. The Concord Hymn, Whereupon he had his son, Walter, place terpretations are rare. Moreover, considering (Victor disc 18080). the grave, and placed a wreath on the casket. This on the the music More than anyone RALPH WALDO EMERSON. The writer has heard some critics intimate that the phonograph in purely musical terms, else he makes us realize a recording of the last movement of Bee- one comes to the conclusion the genius of Verdi. was Edvard Grieg saying his last farewell to his sun, language, 8. The Gospel Train, - . * • • the mellifluous a diet rich in oil as well thoven’s “First that the Maestro is Toscanini’s Symphony” which he made in 1921 nearer right in these matters than Wagner is flooded with emotion, but it FISK. JUBILEE SINGERS. lifelong friend.” embodies as fruit juices and fish, to say nothing of bel canto with La Scala Orchestra. Afterwards he played his others are. Toscanini's musical honesty none of the eroticism other Bull spent of his life in the United States, prohibits him that so many 7. Our Orders, - Mrs. Julia Ward notoe As much have been responsible for the beautiful Italian voices. recording made in 1939 with the BBC from indulging in the extensive use conductors bring to the composer’s DR. OLIVER Symphony Or- of rubati that so music. His Prelude WENDELL HOLMES. the book, page for page, is a valuable contribution That, however, would leave Sweden with one conspic- chestra (Victor many others do in such to Tristan,” for set 507). The timing, or speed composers as example, I addressed to the Whittier all, popular of the Tchaikovsky and the Love Death are „ 0 , Poem Fisk Jubilee Sineers, to musical Americana, but best of it holds and 8. uous factor, the fish diet. Moreover, it does not explain Readme, . Johann Strauss. wrougit with j Top„|lori . . Mrs.A.C.L. BW.Toa playing if one prefers, was identical. Following this, If one prefers these rare lucidity and instance, it is intriguing to read the composers played dramatic intensity interest. For the unusual number of fine voices which the Welsh with wider the music sings - the Maestro had the last movement of the Beethoven license and a greater stress and soars. His 0. The Silent Melody, in (January on sentiment Pbrelude to “Lohengrin” program of a concert Boston 29, 1880) and also our own Negroes have produced. “Fifth” than conveys, conveys that DR. OLIVER WENDELL HOLMES. played—first in the acoustic recording made he that should not prohibit aura of mysticism of his life, at which the “artists” one from which belongs to the in the last years The Swedes, however, do have a wonderful rama; - “score” in 1921 with La Scala Orchestra, and then in the realizing the musical worth of his he substantiates its 10. Sieilcano c Tarantella, - Composed and performed by Jubilee Singers, Oliver interpretations. rights to be regarded as were Ole Bull, the Fisk Wen- and are properly proud of their singers. modern recording in While at his home 6 P°en OLE BULL. made 1940 with the NBC Sym- we heard a recording of his of the concert h all. Similarly, his per- dell Holmes, and Ralph Waldo Emerson, in an order f ] T A new and popular biography of Christina Nillson, phony (Victor Tchaikovsky’s J™ nCeS f ’ set 640) . Again, the results he attained “Symphony Pathetique,” as yet unre- Siegfned s Funeral Music and the Rhine suggesting, no doubt, their box office appeal. The 7m^-,? r° by Helen Headland (author of “The Swedish Night- in 1921, in matters of speed, were leased, which impressed us enormously. "e fr°m “ ° almost identical to The reading G tterdammerung” attest to their book is well worth reading and owning. those he evidenced an unusually ,.i»htsiph fto an ingale”), in which the author has provided from her demanded in 1940. Another test made on the sane and divining treatment existence apart from the opera. “Upon word of his death there was a tremendous imagination fanciful dialog, such as might naturally Scherzo from Mendelssohn’s “Midsummer of a score which is all too often treated are seven of Night’s as though it the nine symphonies of Beethoven “The Life of Ole Bull” ennrm'i spontaneous outburst of grief throughout Norway, and fit into the historical incidents of the great prima Dream” music showed the infallibility of his tempi. was the work of a sick man. The tragic Toscanini implications on records, but it is to be well-loved By Mortimer Smith honed ^ f elaborate plans were made to do honor to a donna’s life, make withal a very charming, unusual That the spirit and depths of Toscanini’s interpre- of the work were brought out with salient comprehen- Yhis interpretations of the other the Pages : 220 two— son. The body lay in state for several days, and then a romance. An appendix contains the words and music tations have gained in stature during the years, few sion of the music’s strength and dramatic intensity Ninth” —will be made available in hall, with Edvard Grieg Price: $3.00 who have The art of Toscanini, the tips fT service was held in the music of three of Nilsson’s favorite songs. known his work over the long years will as represented by his U Ur And 11 is als0 record- *‘ to he hoped that his service neigh- Publishers: Princeton University Press Derfnrmlr, , playing a prelude on the organ. After the refute. The late Boston critic, H. T. Parker, °e ° f once said °*; her three Brahms symphonies “Christina Nilsson” will nis f boring peasants bore the casket down to the waiting of Toscanini, “In every composition he practices the will also materialize. into the Lysefjord, under By Helen Headland science of musical steamer, which then turned architecture, and then by imagina- haVe lleard the radio n° programs of Arturo cloudless sky, on its way to Bergen. At the entrance Pages: 173 tion and feeling warms it into ToscnnLT a an art . . . To intellect RECORDS a, Probabl y wished time and time again a convoy of several BOOKS Price: $1.50 Mr. Toscanini adds imagination, for as m»n» f to Bergen harbor it was met by the finely subjective y of bls unrecorded interpretations alrpfidv as those which ranged themselves on either side; and Publisher: Augustana Book Concern y available in steamers good ( Continued on Page 178) 142 "FORWARD MARCH WITH MUSIC” MARCH, 1944 ''FORWARD MARCH WITH MUSIC” 143 THE ETUDE ”

Music and Study Music and Study

Beethoven

A FTER A RECENT New York recital Getting Ahead Through Competition by one of our most eminent The Teacher’s Round Table # pianists, a metropolitan critic wrote as follows: F “COMPETITION is the life of trade” as the old “Never before has the eminent pianist saying goes, it is the factor which has been the been so completely a law unto himself terns takes care of all necessary changes by I basis of many artistic successes. Invite competition in his interpretations, or played in so Conducted in pace. If arbitrary tempo alterations Lj W(fU WJtLr ambition with good com- the interpreter, at all times. Spur on your improvisational a manner. . . . Nowhere are made by Beethoven’s petition! To succeed in any art or craft, you must was the tendency to indulge in rhythmic propulsion, drive, and inevitability are compete not only with your contemporaries but with and dynamic ideas of his own, regard- lost. the successful and famous of the past. You may never anyone who hopes someday to appear professionally Then there is the “knocking” by adherents of one less of a composer’s indications, more 4. In line with this, avoid playing sec- Water compose organ music as well as the immortal Johann before an audience. Maybe the future will change the of your competitors. If you are a music teacher you strikingly in evidence than in Beethoven’s ond or subsidiary themes at a slower but you can try. You may never sing musician to a minister, a lawyer, or a school teacher, will have to contend with more or less of this. Don’t Sonata in E Flat Major, than chief themes Sebastian Bach, Op. 31, No. 3. tempo ; otherwise unity or John Charles Thomas, but they but the experience of student-day recitals will prove argue. Just prove by the results you attain that your ... romantic will as well as Lily Pons A use of rubato prevailed Mus. Doc. and coherence be sacrificed to in- will not mind if you try to do so. Nor would Shake- invaluable to anyone who has to speak or otherwise method is good. Here again is a reason for checking throughout the four movements of the stability and caprice—arch enemies of speare, if he were living, have the slightest objection appear on stage or platform. up. Perhaps there is room for improvement. Don’t sonata not usually associated with this Noted Pianist the Beethoven style. to your working to surpass his dramatic successes. Almost without exception, a professional or student be narrow minded or stubborn about making method music, and countless details were at 5. Watch out constantly for Bee- and Music Educator If you really wish to advance in music, do not be artist gazes with studious admiration upon a master- changes for the better. variance with the markings on the thoven’s “orchestral” texture. Again and printed afraid to sing or play in public because you think piece by Rembrandt, Turner, Rubens, or Raphael. If you are a student, beware of the subtle propa- page. Fortissimi were as like as again the orchestral analogy is inescap- not to you are not so good as others on the program. Always There is but the slightest possibility of his even dis- ganda of a friend who is not musical or who has not be delivered pianissimo, or vice able; often the music is not pianistic; versa, and point do your best, regardless of competition, and use com- tantly approaching the skill and artistry of these had the opportunity to study. In one case of this kind, a was made of intro- it is instrumentated. Everywhere in his ducing petition as a measure of your ability. Analyze your master painters, but a real artist will keep his great a girl student was making fine progress in playing altered dynamic effects where piano music these examples of orchestral any section of a performance and thankfully accept constructive crit- “competitors” in mind and will try to improve his standard and classical music. A close friend, somewhat movement was re- fingering. Although unconservative, structure afford excellent opportunity for icism. Then work to correct faults or to improve work from day to day. Perhaps the time will come underprivileged, kept ridiculing good music and boost- peated. . . . of Many these surprising Schnabel’s finger patterns often serve to color and timbre contrast. for will be innovations, however, were of performance, not only technically but with regard when a masterpiece produced by him. Who ing jazz until the girl gave up her piano lessons, and pronounced clarify the musical content of a passage, 6. Build Beethoven crescendos care- beauty in themselves, regardless stage manner and appearance and the means employed knows? thereby probably lost forever one of life’s greatest of then- and are frequently of surprising help fully, for hpianos — which are are unable to appreciate themselves and need the competitor. which wagging tongues Here you have the unparalleled illus- forty They exaggerated until the incident sforzandos, not to mention the fp’s because it is less didactic, more im- preceded by a swelling out from to tration of a critic not only condoning p /. an occasional friendly boost to help them along or to Don’t allow a friend or acquaintance to influence really became something to talk about. When before and , other indications for abrupt con- aginative, and more provocative. Louden scrupulously to the last forte unpardonable treatment of the com- get them out of a rut. Self-depreciation is not a bad you to stop studying, saying that you “know enough.” the public, think twice before you act in any unusual trasts. Here, as in all his work, Beethoven I do not subscribe to the indiscriminate tone, then make a sudden “black-out.” poser’s intention, but actually fault provided it is not allowed to develop a feeling of Nobody has ever known everything about anything, capacity. There is often jealous competition extolling leaves no doubt as to his eagerly intention. . . . worship of Beethoven’s compositions; a This is one of the effects with it. It which inferiority fear of competition. and surely you are no exception. There is always marks an all-time low point in Is and a awaiting the opportunity to assail your character or it any wonder, then, that sincere surprising number of pages fall below Beethoven delights to flip, exploit his unique “know-it-all” don’t something more to learn in any art or craft or pro- stupid, music reporting as it is musicians On the other hand don’t be a and your work. Remember that a good choir director has cringe whenever anyone lightly the high level of which he is capable. new instrument. practiced in the center of our musical be so sure that you are “wonderful.” No matter how fession. If you are ambitious to become a writer of one of the most difficult and most generally unap- scorns Beethoven’s directions? It seems to me that Beethoven has pro- 8. Let slow movements sing to the hilt. life. What a hideous example the writer talented you may be you have only to look towards popular songs, you will compose better music if you preciated of jobs, and, rather than enter into local duced a much larger proportion of sec- Due to the limitations of the pre-Beetho- (not to mention the pianist) sets for On Studying Beethoven the top of the ladder to see how far you still have to study Bach, Haydn, Mozart, Schumann, Chopin, controversies it is better to stick to music, and other- ond-rate music than either Bach or ven piano, no composer up until his time per- Tchaikovsky, masters. our own gifted young artists! And what For your Beethoven climb. Overbearing egotism has ruined many a and other Learn to appreciate wise hear nothing, see nothing, and say nothing. Don’t study I recom- Mozart. had been able a setback to the rest of us who have to exact such richness and sonality and cut short promising careers, to say nothing the best of everything in the arts. This cannot be forget that disputes in church, although not uncom- mend using three editions: Most of his early compositions lack ardor been fighting tooth from the instrument. Let your of careers that already had tasted success. done without study. mon, are and nail for the (1) The so-called “Ur” or original out of place, to say the least. text that final touch of conviction and orig- themes throb and pulsate sanctity of the composer! With to the limit! Of course, no one can love everybody, but one can Personal appearance is important in such (Breitkopf and Haertel) or any other inality both compe- which stamp the masterpiece. 9. Watch carefully for examples before it, how will the every hold, pause, develop a likable personality by appreciating others and Beware oi Insincere Flattery tition and performance. If a person new you can find as nearly unedited as pos- Glowing, isolated were to choose pages of music there break-off, silence, or generation learn love, respect, and rever- syncopation. Give by being generally agreeable and pleasantly approach- between teachers of equal ability, one being sible; are, but few sustained As to appreciation, it may be of interest to know temper- examples of Bee- each of these “overtime” in ence for every note, line, and direction which to able. The secret of stage magnetism is simply having a greatest of all amental and eccentric in both habits appearance, (2) An excessively annotated edition thoven topnotch greatness. that probably the musicians, Johann dnd put on Although his speak its message ... In slow the page—often in letters of blood like Schnabel’s; movements personality that is so outstandingly pleasing that the Sebastian Bach, was so little appreciated in his day and the other being likable, well groomed, and having early voice is that of the prophet and especially, and agony? be sure to observe rests by first is And, pray, is it not a sad (3) A poor or doubtfully audience likes you from your smile and de- that his grave was lost for years and his own musical common sense, surely the “odd” teacher would not authentic genius, it took Beethoven until his so- removing state of affairs when music criticism in hands from the keys, foot from lighted to have made your acquaintance. In other be selected. Everyone edition like that familiar American edi- called middle sons failed to consider their father’s masterworks as has a spot in his heart for the period to proclaim this damper pedal. this enlightened land has descended to . . . Silence! werds, like others and they will like you. But beware hard-working, religious tion used (alas) by most teachers and voice authoritatively. of much consequence. Perhaps they thought of him Papa Bach with his twenty such . . . Much of his 10. Beethoven’s bargain-basement values? students. All are staccato is sharper, of insincerity! And don’t try to “bluff” your way any- merely as their father and music teacher, children, who found time to compose volumes of some valuable: the original early music seems to me self-conscious. and of his What possible justification more incisive, and often There’ll that will show can any text for keeping mind and spirit “fatter” than where. come a showdown up composing simply as part of his daily labor. This feel- of the best music the world has had or may ever pure The moods of garrulousness, tempest- Haydn’s performing artist offer or Mozart’s . for being “com- in approaching the music; the . . Especially in your shortcomings and make a come-back very dif- ing is a common one towards persons with whom we have. On the other hand, while one wonders at and Schnabel uousness, and yokel hilarity are too slow pletely a law unto himself” staccato is the thick, heavy quality ficult, if not impossible. when he is edition because of its stimulating, in- labored are well acquainted. The distant attitude assumed by appreciates the genius of terrible-tempered Beethoven to satisfy completely. Some of of interpreting the music of string pizzicato appropriate for Returning to competition, let us display a good Beethoven, vigorating editing and comment; and the his Be certain famous persons toward the general public is and eccentric Paganini, the feeling one has for them early, calm movements I also find Mozart, Brahms, or Chopin? Especially hoven. of sportsmanship whether or lose. Don’t poor edition to show you what not to unconvincing; sense we win undoubtedly taken purposely to avoid familiarity and personally is akin to pity. the lion pretending to in the case of Beethoven whose 11. Don’t try to gloss fear to enter the race. If fear of competition were piano do! By comparing the three editions over the frequent making themselves too common. This practice is car- The days of affectation in habits be a kitten becomes slightly irritating. and dress are over. music, right from “Opus 2” to “Opus 111” muddy ’ quality of thick bass chords universal, there would be no music or stage contests, you stand an excellent chance of having ... It took the lion cub ried on to a less extent than formerly, especially There prevails everywhere a growing appreciation of represents the a long time to caused usually white-hot essence of his an authoritative by Beethoven’s inclusion no football, baseball, or other games or athletic con- folk movie is understanding of Bee- mature; but when he did grow among stage and stars, whose popularity what known as good taste and consistency— a knowl- own embattled self? He agonized up- of the third of the on. Where would of life's pleasure over thoven’s intention. heavens, what chord. If you thin tests, and so much often means more than artistic performance, and edge of the fitness of things seen, done, and heard. a roar was there! The out or the final disposition of every note, tor- A word on Schnabel’s lighten this effect you will destroy be without competition? edition: Beware like of it has never been heard where competition is keen, particularly among the Certain persons in the public eye have intentionally tured over every mark on the printed since! a typical Beethoven of the frequent changes of metronome sonority. actresses. developed or adopted something unusual in dress or page. The first great master of the piano On the other Weak Excuses marks on the same page or in single Beethoven: Specific Points hand look out for There is another sort of competition to contend habit simply for advertising purposes. Carried to ex- and the most meticulous of empty ’ composers, movements. Take them literally, measures; that is, places where music students with, it is and 1. Do not play Beethoven with Perhaps you have known who, when and not the kind to inspire one with pro- tremes this becomes ridiculous, so don’t try to be he rejoiced in exploiting exces- right and left the percussive they make a terrible hash out of sive hands are widely separated recital time around, gave various excuses and gressive ideas. It might called “funny” the rhythmic freedom: avoid “romantic” came be unfair competition, just because some higher-up has succeeded in qualities of this new instrument. For sonata. —the light hand high Schnabel is just trying to ex- rubato. Effective color in the treble, the reasons for not appearing on the program. Perhaps and all persons who are trying to get ahead in then- spite of it. The public becomes bored with oddities. and warmth in left him the piano was a “hammer-klavier” hort you to let the low in the bass—with tempo be a bit flexible Beethoven result from sharply nothing what- it was fear of competition, which was poor sportsman- work have to overlook it or counteract it, as the case There are people who will pay to look at a two-headed full of sharpness and shock. contrasted soever in the —that’s all. And if you object to Schna- dynamics middle. This makes an or of jealousy, which was even worse. Probably requires. Nobody is exempt from this snake other monstrosity, and carefully controlled shad- ship; unfair compe- or some but few would do it His style is outspoken, propulsive, bel’s suggestions excellent effect only for phrasing, dynamics, ings rather than from rhythmic if both extremes for a whole year the teacher worked hard to develop tition which takes various forms, some of which are frequently ruthless, often unsubtle to the point of license. aie played and pedal, remember that what seems 2. richly and sonorously, with pupil’s talent, to overcome personal and technical mild, some insidious, and Always go the limit with Beethoven. the some openly antagonistic. . Don’t make a public appearance without adequate offending effete, modern sensibilities. His plenty of like liberty in his case is the result of a If he calls damper pedal to obviate thin- or difficulties, to arouse interest in the A fellow club member may tell for explosiveness or violence, handicaps you smilingly that preparation. You can easily refuse to perform with a forthright, dynamic style abhors rhythmic lifetime of intense, profound, ness. and rever- give it to him but always coming public appearance, to build up the pupil’s con- your performance was excellent, and then, when you good excuse, but you’ll find it exceedingly license and — with fingers difficult to abominates the “romantic” ent study of Beethoven by a very great 13. In most cases, in contact with key-tops. however, avoid much fidence in himself. Then, for some haphazard excuse are out of hearing, laugh and tell others how “terrible” excuse a poor performance. The audience will not be distortions brought to his compositions musician. damper pedal; 3. Guard against deviations Beethoven’s style is alien the pupil is absent from the recital, which is not only your singing or playing was. This is usually jealousy acquainted with your lack of time for by many pianists, including in tempo practice or the eminent Examine Schnabel’s fingerings care- o it. Use too little of single movements rather than too much disappointing and discouraging to the teacher but a and must be ignored as such, although it may be advis- your indisposition. All that the audience is pianist of the criticism. unless expresslv interested Even the first fully. Many of them make significant often none at all!) directed. Beethoven’s except where Bee- loss to the pupil as well; for an opportunity to make able to check up on yourself. Perhaps you were not in is your performance. If it is good, movement of the extraordinary va- all is well. If very first “Sonata, contribution to the whole field of piano riety thoven himself of note values expressly directs as, for public appearance should be eagerly grasped by as good as you thought you were. it is poor, you will ( and rhythmic pat — a not only Continued on Page 184) ( Continued on Page 184) 144 "FORW'ARD MARCH WITH MUSIC MARCH, 1944 "FORWARD MARCH WITH MUSIC 143 THE ETUDE : ”

horizons, depend upon the height on which you stand! Music and Study Music and Study are, the farther you will The higher you see. But if you ascend too fast, you’ll only get dizzy! “While the really good conductor never compromises with his own best musical standards, he makes con- stant adjustments to the material with which he works. These adjustments generally take two different himself aware Building Public Musical Taste forms. First, he must make of the ca- pacity of his audience and present selections that they What Is “Bel Canto,” Anyhow? will understand. Of course, the art of this is to know A Conference with audience-capacity so well that one can keep a step it, thus introducing into each program ahead of some Masterly Discussion of “Dear Did Voice Production” work that is not entirely familiar (in idiom or style), A but which lies close enough to the audience’s proved Crno &apee taste to be understandable. In this way the conductor becomes instrumental in building public taste at the Musical DirEctur, Radio City Music Hal! same time that he lives up to his own standards, ranad IZ„.tyerd both of which factors require the very closest attention! by “In second place, the conductor must adjust him- SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES self to the performance-capacity of his orchestra. With Professor of Singing, due respect for the magnetic leadership qualities of the entire species of conductor, I am convinced that of Music it is impossible to ‘inspire’ the players to better work RNO RAPEE makes music for more people than than they are physically and technically able to per- any other conductor in the world. As Musical gradu- form! That, of course, is the great problem of ‘young’ Franck Rogers is one of the world's mosf distinguished feachers of the art of singing. After being Director and Chief Conductor of the great E orchestras, whether they be school groups, ated from Harvard U niversity he studied for one year at the New England Conservatory and then went amateurs, Radio City Music Hall, which has recently entered its Paris ( Bouhy and Florence ( Vannucinni for further study. After concert tours (one with Marcella or even professionals. It is the business of the conduc- to ) ) twelfth year, he plans and projects the programs that Sembrich) and a year in opera, he became a teacher. Since 1924 he has been a member of the faculty tor to select only those works that lie well within the of scholarly and lift the Music Hall out of the category of ordinary of the Juilliard Graduate School of Music. The following is the first of a short series technical and interpretative grasp of his players. Our (Another motion picture theaters. Something over twenty thou- essentially practical articles giving the background of the historical development of bel canto. conductor may be entirely capable of giving a mag- these articles so important and so ''meaty" that sand people' a day, every day, listen to the adroit article will appear next month.) The Etude considers nificent reading of ‘First Brahms Symphony'—but if we trust that our vocal teacher readers will insist upon their pupils becoming familiar with them. blending of symphonic, operatic, and popular music his players cannot encompass it, and if his audience — Editor's Note. that Rapee provides for them; and all are satisfied. is not ready for it, he is simply wasting everybody's What is required to supply musical delight for mil- time. lions? philosophies underlie the What musical system . HilLll TU by which Rapee entertains music lovers, jitterbug en- No Compromise Permitted thusiasts, and just plain folks? The Etude has asked Mr. outline Rapee to his theories for successful music- “Again, let me stress the point that I do not hold famous experience with the Argonauts he opened There was also in ancient Greece, Arion, famed as a making. with any compromise of musical Orpheus with his lute made trees integrity. But within fellow-countrymen, the trainer of choral groups. Once, after a festal celebra- “1 And the mountain-tops that freeze a school of singing for his came to this country in 1912, when there were the strict limits of ‘good music,’ there is a wealth of have been past master in the art tion in Sicily, he was on his way back to his native about seven major symphonic organizations in the en- Bow themselves when he did sing. Thracians. He must material that is not so difficult as the Brahms First.’ competi- Shakespeare whether it was bel canto as taught Corinth, laden with rich prizes won in vocal land. I arrived of bel canto, but tire Soon after I met an acquaintance To me, any music that reveals a proper blending of (King Henry VIII—Act 3: Scene 1) later by Tosi, Porpora, the Garcias, or Jean tion. The sailors, covetous of his wealth, seized him asked I doing. ‘I conductor,’ I centuries who what was am a melody, harmony, and rhythm is good. Gershwin’s we do not know. I wish we did know how and were about to cast him into the sea. He begged replied. ‘Good!’ said my friend, ‘That’s fine work! A Summertime, de Reszke, to my mind, is as beautiful and musical permitted to sing just one song of conductor he produced his voice. Perhaps it was only “V emission successfully to be gets around and sees the country. Just a lullaby as any from the classic literature. Sousa’s as Planqon, the famous French bass, valediction. This song was so lovely that the dolphins where is your run?’ I hastened to explain that I wasn’t du bon Dieu,” The Stars and Stripes Forever is a better march, mu- GOOD MANY summers ago I received from once described to me the vocal emission of the incom- around the ship, hearing it, stood by and bore him that kind of ‘conductor’; and, my English at that time sically, than many from the operas. Friml, Strauss, Florence, vocal art may in triumph on their backs, home to his native land. being less than complete, I motions with Maestro di Canto Isidore Braggiotti, in parable Caruso. The secrets of Orpheus’ made my Kern, and Herbert are only a few of the names that this invitation: “Do come and spend the month forever, but we do know that The art of modern song may be said approximately arms to show the kind of conducting I meant. ‘Oh,’ A remain hidden come to my mind as composers of music that is from the Florentine Music Reform, which said my friend, ‘you mean you’re a band leader!’ of August with me here. It is the dead season and to date eminently good and, at the same time, comprehensible almost no pupils, but that will give us all the better followed closely the death of Palestrina in 1594. From “That entirely ingenuous comment stands as the to the least developed “ Orpheus with his lute made trees audience and the least experi- that day to our own, the art of solo singing has been symbol of what music and conducting the chance to talk over, to our hearts’ content, dear old meant to enced group of players: By making the mountain tops that freeze such adjustments voice production.” For a month he and I discussed And studied seriously throughout western civilization. average man thirty years ago. Conductors worked on to his material, a conductor can do more real service Bow themselves when he did sing: Erasmus had come to England a century earlier trains, and music meant bands! Symphonies were singers and singing, teachers of singing and their When to the cause of music than if he persisted in forcing methods. It was great fun, for we were, both of us, en- he found it “merrie” England, indeed, and rejoiced in something alien and ‘highbrow.’ It is hardly necessary unequipped To his music plants and flowers players through classical mazes that his everywhere. Many English for to point to the changes ERNO RAPEE thusiastic students of the art of bel canto. Here and the singing that he heard me in popular thought- hearers cannot follow. Ever sprung; as sun and showers ditties of the sixteenth century are preserved, but no trends that have asserted themselves since then. I now I yield to the temptation to discuss informally “All of which brings There had made a lasting spring. us to a consideration of the till come to that of John point merely to the contrast between then and now. with the readers of The Etude some of the aspects names of solo singers we “Now this is extremely important to the conductor— materials with which a conductor must work—his of that ancient topic, “Dear Old Voice Production.” play, Dowland (1563-1626), who won well-merited celebrity Anyone who is seriously interested in the cause of or to Everything that heard him anyone who takes pleasure in bringing music to players and his audience. I often say that there is no Probably the most famous singer of all time was at the end of Elizabeth’s reign and the beginning of music can find food for reflection, not solely in the the people. Even the billows of the sea. What shall you provide for an average such thing as a bad orchestra there are only bad fact that we have progressed musically, but in the — Orpheus. Orpheus lived before the beginning of au- James’. Dowland wrote both the words and music of audience? How can you be sure that the selection that conductors! The bad Hung their heads and then lay by. conductor is one who fails to ad- thoritative history, so we cannot safely assert that his songs and, like Orpheus, sang them to his own causes underlying our progress. is ‘too hackneyed’ for some, will not prove to be ‘too just to his materials; fails who to draw the best from the details of his biography are beyond all challenge. In sweet music is such art. accompaniment on the lute. He was a welcome visitor difficult’ for others? To my mind, the first step in his music and his men. The real What Is Music Appreciation? conductor has but one But then we are also in the dark about practically Killing care and grief of heart in the great houses in England and also toured on public music-making implies an adequate grasp of goal perfection, always within the scope of his ma- sort of troubadour admired “The amount of good music supplied to and con- all the happenings in the life of the world’s greatest Fall asleep, or hearing, die.” the Continent—a —much program-making. The finest musician in the world terials. What are the our public qualifications of a good orches- poet Shakespeare, who was alive scarcely more than by the aristocracy everywhere. Dowland’s songs are sumed by today means that certain forces is able to project his message only in terms of the tral musician? For my own part, King Henry VIII—Act 3: Scene 1 have been at work within our national consciousness. I prefer to work with three hundred years ago. still fresh and lovely after three hundred and fifty music he manages to filter into the understanding of young and talented men and women. The first requisite frequent hearings. In a sonnet, pos- For one thing, the American people have finished their his public. Born in Thrace, son of King Oeagrus and Calliope, years and merit With this in mind, my best belief is to should be highly developed, native musicalness. The of mention of Orpheus, but he has sibly Shakespeare, Dowland is praised; “whose work of colonization and have begun to enjoy life, de- steer a middle course. the Muse Epic Poetry, Orpheus’ natural gifts for Homer makes no by other ‘musts’ precision, technical veloping the various appreciations that make life en- — ability, ensemble music early aroused the interest of the sun-god immortalized Stentor, a Greek herald, whose voice was heavenly tuch upon the Lute, doeth ravish humaine “At Radio City Music Hall, we present symphonic cooperation, and so forth—can be taught; but the joyable. Appreciation, however, is not at all an ab- movements, condensed Apollo himself, patron of all that is beautiful in Na- equal in power to that of fifty men in chorus. What sense.” operas, program music, and player who is not deeply musical stract, spiritual quality. It is a highly sensitized to start with, becomes ture and in Art. Apollo bestowed upon Orpheus a abdominal muscles Stentor must have had and what Only a little older than Dowland was William popular numbers (musical comedy, ballads, hits, and a clog in the machinery. I am of inex- function of brain and nerves. Like every other physical so on). Just not afraid golden lyre and probably gave him also some in- a resonator! Even today, we speak of the trumpeting, Byrd, a greatly gifted English composer and “the which selections from each category we perienced musicians. If they live long enough and play political orators “stentorian.” function, it cannot develop unless it is properly nour- offer is beside the struction in its use and in singing to its accompani- orotund tones of the as most assured friend to all that love or learne Musicke,” point. The important thing is that long enough, they’ll get experience matter of following recipe for success- ished. Hence, an appreciation of art progresses in none may be either too high as a ment. Calliope had eight sister-Muses: Clio, the Muse Years ago I was given the who in 1588 (the year that Queen Elizabeth’s gallant or too low. No one can routine. I would direct far rather train a completely inex- ful vocal utterance not altogether trustworthy, proportion to the stimuli given the appreciative honestly maintain that the (potential) of History; Euterpe, the Muse of Lyric Poetry; Thalia, — but sailors destroyed the Spanish Armada) published a music lover perienced youngster of musical faculties. You can’t appreciate literature if you never who appreciates fiber than drag along a the Muse of Comedy; Melpomene, the Muse of memorable book entitled, “Psalmes, Sonets, and songs of sadness Gershwin will have an equal under- loutmed fellow read books; of twenty years’ experience who takes you can’t appreciate music if you never standing of Mahler, on the grounds that Tragedy; Terpsichore, the Muse of the Choral Dance; and pietie.” The preface was as follows; both are music as a job which has hear any! Thus, the musical awareness that has grown ‘good to be done for a living Erato, the Muse of Erotic Poetry; Polymnia, the Muse “Reasons briefely set downe by th’ auctor, to per- music.’ It isn’t so simple as that! The Gershwin rather than “The pharynx now goes up, here since the a joy. time when I had difficulty in making enthusiast, however, can be brought, by gradual of the Sublime Hymn; and Urania, the Muse of suade every one to learne to sing. stages, But even the most The larynx with a slam my friend understand what a conductor is, depends musical player needs training! With nine close relatives, expert it is knowledge easely taught, and quickly to understand Mahler, and it is the business of a good Astronomy. each one First, a course, it is not the Ejects a note from out the throat, upon two equal forces, so closely interlocked that it conductor to effect this gradual business of the conductor to in a special form of art, and the whole group under learned, wher there is a good Master, and an apt transition. If you piovi e such is almost impossible tell training. The the to where one begins and the know your audience likes Gershwin (and I musician should have the direction of the super-authority Apollo himself, Pushed by diaphragm." Scoler. am using mas ered his instrument other ends. It’s the old rule of supply and demand. Gershwin here as a type) and should know music be- to out and conduct his studies, is it a wonder 2. exercise of singing is delightfull to Nature, , try them on Meyerbeer map The with ore he comes into Our nation would not listen to good music if it hadn’t his rich, melodic flow, his the conductor’s hands. There is one that Orpheus achieved undisputed preeminence as a good to preserve the health of Man. marked rhythms, his color- proce and been given the habit uie that I recommend of hearing it. And the music ful harmonies—then progress to Schubert; to young musicians, as lyric artist? 3. It doth strengthen all parts of the brest, and doth then to s r o bridge habit couldn’t ‘take’ if the people were not disposed between his teacher’s Mendelssohn, then to Brahms, and work your way, lessons and his We do not know who Orpheus’ voice teacher was, open the pipes. it! Start ’ That is to take step step, - to get very by to Mahler. Musical horizons, like physical hold of the but we are told that when he came home after his 4. It is a singular good ( Continued on Page 178) useiul books that are now ( Continued on Page 185) 146 "FORWARD MARCH WITH MUSIC” MARCH, 1944 "FORWARD MARCH WITH MUSIC 147 THE ETUDE : —

years ago, before the other I remember, war, hear- Music and Study Music and give a recital of Debussy Study ing Maggie Teyte songs, ac- companied by the composer. It was, of course, in many but in one way it proved ways delightful, to be ir _ ritating. For—Debussy played for himself. He dreamed his magic dreams away at the piano with an incom- parable warmth of touch and a wealth of color. But deliciously tender, so it was all so soft, so delicate, that not form the accompaniment did a unit with the Worship Music Watch for the Minor Details not merge with the vocal voice part, did line. And that vocal line, as the reader will know, needs sup- port. In these Debussy songs particularly, it needs the harmonic fabric. explanation of the Because the vocal A Practical Interpretation of the Needs line here is rarely melodic; the tune is in the piano, those of us who knew what Inj ^jJ~rcuiL j^cillerSon and often even to expect Choir Directors could hardly hear it. of Organists and That is excusable—for a Debussy—but it is unpar- donable in (for instance) a broadcast such as I heard program of French songs where the Frank Peale Patterson, internationally known as a music critic, was born in Philadelphia. His grandfather recently, a dis- was president had apparently been placed of the University of Virginia and later president of the University of Pennsylvania and tinguished singer up close 2br. jonepL Waclelf CfoLry took a very active interest in the art and cultural life of Philadelphia. Mr. Patterson received his educa- to the microphone, while the piano was somewhere Ly tion at the University of Pennsylvania, where he was under the direction of Or. Hugh A. Clarke, well- in the background and could scarcely be heard at known authority upon theory and harmony. Later he studied counterpoint with Rheinberger and Thuille Dean of the School of Fine Arts, all, so that the curious, non-melodic intervals of the at the Royal Academy for Music in Munich. After returning to America he engaged in critical work vocal line were rendered completely meaningless. University, Oxford, Ohio and also played viola in the Los Angeles Symphony Orchestra. He then became associated with the Miami That was, presumably, the fault of the broadcaster. Musical Courier and spent some years in Paris, where he came to know many of the famous musicians. It is a common fault.

A Misquotation The Etude reprints, by permission, the following brief brochure by Dean Clokey, One day five or six years ago in a train on my way which was issued by Miami University as a service to the cultural and spiritual from London to my temporary home on the Sussex life of the State of Ohio. It contains many helpful hints . Editor's Note. ANY PLAYERS who have finished their edu- duty as a critic to hear, day after day and night after Coast, I noticed that a young man sitting next to me cations DR. JOSEPH W. CLOKEY (in the sense that they have ceased night, what the city’s halls had to offer in the way was reading a book of essays on musical subjects by to take lessons) fail to critic and teacher. Seeing Well-known American Composer and Organist M awaken interest be- of musical fare. The city, part of the time, was Paris; a well-known that the open cause “something” is lacking. That “something” is at other times it was New York. And the fare, as page contained a warm appreciation of Ethelbert not O UNDERSTAND Worship Music you must first necessarily a lack of talent; it is much more may well be imagined, was always rich in quantity, Nevin my interest was immediately aroused, but my or ones per hundred. understand Worship. Read up on this subject. which blend best with voices are Geigen Principal, find one two good likely to be the result of a lack of observation: they but not always so in quality. There are occasions when satisfaction turned to astonishment upon observing Two exceUent books are: Underhill, “Christian Violin Diapason, Gemshom, or thin-toned Diapason. fail to notice the minor, apparently insignificant from The Rosary T Selection of Useful Church Music de- it is not a “privilege” be critic. that a passage was misquoted. This A Plan for the to a Maxwell, “An Outline of Christian For forte accompaniments use pure Diapason tone tails in Worship;” and the interpretations of the artists they wish Sometimes, rather often in fact, the show was piti- was the passage introducing a counter-melody above Worship.” with lots of four foot. Use a four foot coupler if you I. The Text to emulate. ful enough painful, a repetition of the principal theme. The author of to be or too deadly dull to be sat the haven’t a true Octave. Omit flute and string tone. purpose for which it is These Think of “musical worship” rather than “musical 1. Must be suitable to the minor details are only apparently insignifi- through. Oh, the technic was there! The artists, or essay had altered the counter-melody so as to bring it performance.” Train your choir to this viewpoint and The four foot tone may be heavier than the eight to be used. Avoid: Maudlin sentiment, gloominess. cant. are, They in fact, the very soul of musical ex- would-be artists, played all the notes; even the most into accord with the opening harmony. A note under do not become lax in its observance. foot. 2. No unnecessary repetitions. The way some com- pression. They are the elemental features which ambitious and foolhardy would hardly have the passage informed the reader that the author was had the expressive than Thick flute and keen string tones do not blend well. posers distort the text is positively criminal. create Let your interpretation be rather interest and which hold the audience. A moun- temerity to appear in public without that much prepa- writing from memory; but that hardly served as an impressive. Let your interpretation be impersonal. Re- The traditional combination of Stopped Diapason and 3. Scriptural and liturgical texts and ancient hymns tain is not beautiful because it is a high, formless ration. excuse, for if he had ever properly observed the bar member that worship comes first and that “artistic Salicional usually does not blend with itself. How, are generally safe bets. lump of dirt; it is impressive not only- by its massive All the notes! —That, indeed! But there is so little in question he could not have failed to notice the temperament” hag no place in it. then, can it blend with voices? 4. High literary quality. Nothing but the best is and imposing height but by its infinite and intricate on the printed page a mere sketch, extremely clever way in which Nevin — a mere outline, has suggested Let your interpretation be straightforward, simple, Do not use Tremulant, Vox Humana, Harp, or worthy. detail of light and shade. flower is A lovely not merely of the emotions that swayed the composer during the original harmony without using it. The reader unadorned, almost severe. Err on the austere side. Chimes in accompanying. 5. Must be singable. Some excellent texts have words as a blob of color, but also because of the delicate the high fever of creation. -The composers of the good will observe that the third and fourth beats in Ex- Do not use any sixteen foot stops or couplers in tracery Such an interpretation will undoubtedly be ineffective that are unmanageable for singers. with which Nature has adorned it—its grace old classic time well knew that, and often ample 2 express fully the enough did harmony as In Example 1. in concert. Likewise a concert interpretation will the manuals in accompanying. Ask your organ tuner Three Questions to Ask of shape and form. not bother to set down even the speed with which a surely be fatal to the mood of worship. The church to release these from your crescendo and sforzando 1. Is it suitable? And so with musical interpretation. The composer piece was to be played: adagio, andante, allegro—to pedals. has given is not a-concert hall. 2. Is it of excellent quality? us much, but it is at best only an outline say nothing of what we now call expression. Today Ex.l Have a short period of quiet meditation before the Keep the sixteen foot pedal tone light. Do without 3. Is it singable? of musical thought embodying the wealth of the sen- we have a wealth of signs and symbols, but even’ so, it occasionally. timents service, and another afterwards. Discourage the chat- II. The Music that have given it birth and being—what we almost everything is left to the interpreter. ter sessions. A good rule is “quiet when vested.” Use the expression pedals primarily to maintain dy- 1. Must be of suitable degree of difficulty. We make call inspiration. The rest belongs to the interpreter. I learned much indeed in listening to all those con- Vestments help in maintaining decorum the namic balance, sparingly for “expression.” Pumping following arbitrary distinctions: But even interpretation and the has been built up, has had certs, but I think I learned even more about this one impersonal attitude. the swell pedal is not interpretation. a. Easy. Short Range. Homophonic. Four Parts. its evolution; and so learns each from the former feature of the musician’s life—observation, or the lack generation, Use rhythmic shading sparingly. Use dynamic shad- Avoid: Persistent division of parts. Persistent coun- each pupil from a master. That was of it—by talking with young artists I met When Selecting Choir Music by accident ing sparingly. Sudden changes in dynamics or rhythm terpoint. ^Extreme range. Many chromatics. Modern difficult in the past, but today, with radio, and with at recitals of the great masters of the concert stage. phonograph draw attention to the performance and detract from Remember what the rules of your church are. Don’t dissonance. records, all that is needed beyond innate Their enthusiasm was enormously enlightening. They talent (and, worship. overstep them. Don’t be misled by fancy displays of b. Medium. Medium Range. Divided Parts, if Hom- of course, preliminary instruction) is were loud in their appreciation of the speed and observation. When singing measured music (that is, music with faddy material. ophonic. Counterpoint, if four parts. Chromatics and force that the master had displayed, the technical regular time signature) let your departures from You will probably discard at least ninety-five per Dissonance, if in four parts. mastery, the moments of tenderness, and so on; but So Little on the Printed Page strict tempo be primarily for the following purposes: cent of the music submitted to you. Accept this fact Avoid: Florid writing. of detail they said nothing. In other words, they the it The meaning of To round off square edges of phrase endings. and don’t let dishearten you. c. Difficult. Extreme Range. Florid Counterpoint. a lack of observation is seen in grasped the mass colors, the outstanding features of To provide adequate breathing spaces. Avoid wishful thinking. Know your limitations, and Complicated Division of Parts. Complicated Disso- school: children in the spelling class see the printed the tapestry, but failed to observe the intricate weav- When singing non-metrical music (free rhythm), don’t even think about going beyond them. Chromatics. or written word but do not “notice” which of nance and its let- ing of the threads of color that gave life to the whole. that the flexibility is written into music. examining large quantities of 2. 2 is too short ters is doubled; whether follows remember the In music you will have Suitable length. Less than minutes E I or I follows E. Their description could have applied well as to the In closing the beat unit should of system if And as all I may be excused for quoting another Therefore be maintained at a to use some kind a you don’t want a for use as an anthem. Over 3% minutes too long for readers of detective stories know, actual old-fashioned player -piano, for which the perforated experience. uniform tempo. headache. is a suggested plan eyewitnesses are the despair Having some business to discuss with quite Here for getting at the general use. of the law-courts where paper rolls were cut with geometrical precision. There, Percy Grainger, Solo passages, except recitatives, are likely to draw right material in the easiest way. Poorly written their statements differ in important I arranged to meet him in a piano 3. Flawless in construction. music particulars. indeed, was technical perfection at its best or worst ! — house in New too much attention to personalities. It is often better 1. Discard on the score of text. Throw all is insult Deity. It is sometimes a discouraging feature of music York. Upon my arrival, I found him in out pieces an to the —unlimited speed, impeccable accuracy. But as to the technical room, to have such passages sung by a group. whose texts are unsuitable, un-literary, or repetitional. 4. a Distinctive Idiom, and Evidence of teaching to have to realize little the busily correcting one of his own Must Show how most tal- expression, one could make it loud or soft, slow or piano recordings. Conceal all mechanics as much as possible. If it 2. Discard on the score of difficulty. ented pupils notice. The piano pupil will He was marching up and down the Throw out all Real Inspiration. fail to ob- fast; nothing else was possible. No single note could room while the can be arranged the organist and director should be pieces which are beyond your capacity. Watch for 5. Must be effective for voices. You can’t always serve that certain notes are struck a little ahead or be operator ran through the master- accented. The left hand was as loud as the right, record on the player-piano, bar out of sight. range (especially tenor), division of parts, counter- tell by playing an anthem on the piano. behind the rhythmic beat, that certain inner notes and if the melody was being stopped every between the two it could or two, are every few notes, by cor- The “watch me” type of directing is suitable for point. Three Questions to Ask accented, or that a moment of hesitation may be not be heard at all. Mr. Grainger with a rection of one the concert hall but not for the Church. Avoid it. 3. Discard all pieces that are obviously interposed so that the full, velvet sonority of a chord kind or another: a note or chord to trite, unin- 1. Is it of suitable difficulty? e advanced or retarded, Develop the ability to sing accurately and to inter- spired, or commonplace. As soon as you discover 2. Is it as a piece of music as, say, Chopin may be felt. And the violinist may produce the wave "Putting It Across" an accent increased or de- good a creased, the pret correctly without visible direction. Make your in- evidence of musical unworthiness, and sweep of sound, accuracy of intonation, sparkling In operator making the required changes discard immediately. nocturne, or a Schubert song? addition to expression, there is the matter of with (i think) structions definite concerning holds, retards, attacks, 4. will left passage -work yet none of these is sufficient to a penknife, or noting on the You now have a small stack of music 3. Is it effective? — carry “putting it across,” getting it over the them footlights. Paper roll. and cut-offs. for intensive criticism and selection. Be an audience unless combined with the intricacy of Even if the happy if you III. The Mood performance is only for a few friends, this I was deeply Rehearse stand-ups, sit-downs, page turns, etc., Secular glissando, of accent, and the rest, possible to the clement is present. To impressed by the extraordinary in- 1. Must be Free from Association. The hold their interest the artist ricacy fingers and the It of the fabric of the Mr. until they are silent and unobtrusive. Have music, following devices usually will establish a Concert Room bow. is the same for the singer, must give something of himself, but, at the interpretation, and by same time, Grainger’s so on, ready before hand. Distribute music the conductor, the own memory of it, his chairs, and atmosphere interpreter of any form of serious must play for his audience, carefully enunciating and the certainty of the own intentions is needed. Don’t put it on the music. —which, apparently, been so that no hunting a. Melody that is suave, “tuneful,” chromatic, se- points he wants to make. As an illustration of had not what u y realized seats. For in the v quential, obvious. These are the devices a good many years it was my privilege and this means the mechanical production of the 1 ORGAN of the popu- following incident may be of gO- f* value. m | master-record. For soft or mezzo-forte accompaniments the stops ( Continued on Page 184) lar song. ( Continued on Page 189) 148 "FORWARD MARCH WITH MUSIC” THE ETUDE MARCH, 1944 "FORWARD MARCH WITH MUSIC’ 149 —

The Clarinet and Saxophone Mouthpieces Music and Study LARINET and Music and Study saxophone mouthpieces should always be kept clean and sanitary. They must C be cleaned after every use. This may be done simply by twisting the end of a soft cloth and drawing it through the bore, being careful not to allow the cloth to rub against the tip of the mouthpiece. A draw swab or wire core cleaner should not be used. The metal Teaching the Stringed Instruments weight or wire of such cleaners can easily damage the The Care of Reed Instruments delicate tip of the mouthpiece. Hot water will warp or discolor rubber and is likely to crack crystal mouth- the universities, good or bad, that product of carries pieces. If there is a rubber insert for the teeth, water of instrumental music development the burden back will cause it to loosen. Cork joints will also come off earlier school years, determines its into the character, if subjected to hot water. A rubber mouthpiece should destiny. by CjillcrL l^o65 and guides its never be put in the case with the ligature tightened by Robert ^cbufenber "Good Fiddling" on it; the pressure exerted by the ligature screws will warp the face of the mouthpiece if continuous pres- the director of a high school Recently orchestra sure is left on it. The cork joint should be greased In the February issue of The Etude Mr. Schutenberg presented a most interesting and helpful discussion asked what I considered the first essential in the occasionally with commercial grease or vaseline. on the subject of The Care of the Brass Instruments." This month Mr. Schulenberg presents invaluable We are pleased to present the first of a series of two articles by Mr. Gilbert Ross. The second will appear building of an orchestra’s string section and advice and information on the care of instruments of the woodwind family. The woodwinds are more in the April issue of The Etude. seemed A mouthpiece that has to be forced into the barrel expensive and less durable than the brass instruments; also, Mr. Ross has had a distinguished career as concert artist, teacher, and scholar. He has appeared in surprised when I answered: “Good fiddling.” Never- joint is likely to cause the barrel to crack. If foreign it is much more difficult at present to make replacements; hence it is most important that we give greater attention and care than ever before recital and as soloist with orchestras in most of the important cities of Europe, the United States, and theless, I think this answer is valid. Despite the un- matter has been allowed to dry in the bore of the to the woodwind instruments of Music University and as Asso- now used as a part of our band and orchestra equipment . Editor’s Note. Canada. He has served as Assistant Professor at Cornell (1931-1935) deniable, though secondary, importance of organiza- mouthpiece, it should not be removed by scraping with ciate Professor and Professor of Music at Smith College (1935-1943). He is now Professor of Violin and tion, leadership, discipline, spirit, morale, and honest a knife blade, but it should be dissolved by swabbing Head of the Department of Stringed Instruments, School of Music, University of Michigan. effort, the essence of a good string section is able in- the mouthpiece with a cloth saturated with alcohol; or, dividual performance and achievement. This alone will if there is no insert, by leaving the mouthpiece in a not positively assure good orchestral results, but ten percent solution of sulphuric acid its for a few its case. This is a most important detail. be applied with a cloth draw swab and always before absence will certainly serve as an insurmountable minutes. It should be suspended into the solution by a All woodwind instruments, by nature of their con- playing. About once a week the dust that becomes experience with relaxation, muscular coordination, control, timing, syn- barrier. string in order to keep the cork dry, being sure to HE WRITER has had much struction, are obviously more complicated and thus deposited under the keys should be brushed off with a problems at the university chronization, the attainment of some manual and Just what is it, however, that makes “good fiddling?” wash off the acid by dipping the mouthpiece into cold easier stringed-instrument to damage than brass instruments. Keyed in- small, soft, camel’s-hair brush, if such a precious through dozen or more years’ service on digital dexterity, and the production of an agreeable The answer, in its broader aspects, is simple: “Able water. A solution made of one-fourth muriatic acid Tlevel a struments should be taken to a repairman periodically article can be found in these days. Manufacturers the faculties of various colleges, and he has had ample sound. All this is a matter of physical skill, and the students and able teachers”—a combination of poten- and three-fourths water also may be used to sterilize for check-up. a Many times simple adjustments will usually season wood instruments in raw linseed oil to at first hand to observe and crystallize re- acquisition of so delicate a skill is tremendously time- tialities far too infrequently encountered. Student and clean mouthpieces without inserts. Rubber mouth- save opportunity expensive repairs if noticed and caught in time which a little turpentine has been added. However, sultant ideas. Both the quantity and quality of the consuming. failure may be attributed to several things lack of pieces may be left in this solution from five to seven — by an expert. this alone is not enough to keep moisture from enter- the universities and colleges The four years of a col- a receptive mind, minutes; mouthpieces of granadilla wood, string material fed up to and about one In assembling a woodwind instrument, be careful ing the wood. Never assume that because an instru- from the secondary schools have been noted; also the lege education are quite failure to put into prac- minute, l^hen all the foreign matter has been dis- not to twist the rods and keys. On the clarinet the ment has been properly seasoned, it will not crack. precise texture of the material and its many and inadequate for the double tical application whatever solved, place the mouthpiece in a solution of common center joint levers must not be jammed together, or diverse shortcomings have been observed. Perhaps our job of both acquiring the teacher has imparted baking soda and water, and afterwards rinse with they may become bent and thus throw the mechanism The Saxophone position on the outside, as it were, permits a certain (from scratch—in more and the student has re- clear, cold water. out of adjustment. This may be prevented if the stu- After playing the saxophone, always remove the perspective and objectivity not so readily available to ways than one!) such ceived. This latter is ur- The mouthpiece cap should always be kept handy dent will form the habit of raising one lever by press- mouthpiece, clean and wipe off the reed, and drain the teacher who lives on such intimate terms with skill and putting it to its gently important Bits of and placed over the reed and mouthpiece when the ing on the rings while assembling the instrument. excessive moisture out of the bell. Also use a cloth or high school stringed-instrument problems as to make destined use. I think it is theoretical knowledge instrument is not in use. Striking the mouthpiece clarinets Some have patented devices which auto- chamois to dry out the neck and bell. As in the case a sharp focus on such problems difficult at best, and fair to say that the study filed away in the mind on a chair or music stand may easily chip the tip and matically raise one lever. of the clarinet, blot the wet pads, especially the small often quite impossible. of a stringed instrument will never make a fiddler, ruin it, and many times a reed is broken by catching To clean a clarinet use an inexpensive draw swab ones near the top of the instrument which are more Recent surveys, conducted by worried universities cannot be launched at the and unless the stringed- it on clothing. The careless student usually finds reeds made with a small piece of chamois, a strong cord, accessible to moisture. Always replace the protective and music schools, would seem to indicate that the university level and still instrument student can an expensive item. To sterilize mouthpieces and reeds, and a small metal weight. Swabs with metal cores are joint cap and mouthpiece cap before the instrument is study of stringed instruments in this country, in the serve music, alone the be persuaded to allow swab them with a cloth saturated with alcohol. not good. The wire is likely to scratch the inside of put into the case. If the neck fits too tightly, try rub- master for which it exists. past eight or ten years, has suffered an alarming de- whatever goes into the the instrument and will invariably leave lint in the bing a little paraffin on it. cline (and in some localities taken a nose dive), while A much earlier start is es- ears to come out through The bore. Care of the Clarinet Be sure to use a strong cord fastened securely to Be careful not to bump the mechanism or lay the the study of piano and wind instruments over a com- sential, and this fact sug- both hands, achievement Most of the cracks in wood instruments are caused the chamois. Do not use a chamois that is too large instrument down on the rods or keys. Many times parable period has enjoyed an enviable upsurge. This gests the imperativeness will be very meager in- by humidity. The air, when dry, has a tendency to and likely to become stuck in the instrument. If the students will complain that certain notes respond with unhappy situation has invited no end of speculation of a strong stringed-in- deed. absorb moisture wherever it can. Wood will soak up cord should break and leave the swab stuck, it may be difficulty, especially the strument program dipping low B-flat to C-sharp. Usually as to possible causes, and many theories and explana- The problem of teacher moisture and expand, and when the dry air absorbs removed with patience by making a hook at the end there is some key or rod that has been this dwindling down into the second- bent out of tions have been advanced. Undoubtedly failure may be, in some of of the moisture from the wood, the wood shrinks. Because a piece steel wire and snagging the chamois and adjustment which permits a small leak. Of course, interest in stringed-instrument study is the result of ary and even primary respects, traced directly of the thickness of the wood of the clarinet, it cannot pulling it in the opposite direction from which it was difficulty in blowing may be caused also strongly suspected schools where the ma- by faulty pads. an evil combination of known or to the universities and first drawn. expand and shrink evenly. The pressure exerted by the Do not attempt to push it through. This Many saxophone players never swab the inside of their circumstances, not the least of which is that of un- terial of the lower-age colleges w'hose solemn re- inner wood causes the outer wood to crack, and exces- will only wedge it more securely. Cloth swabs are not instrument, thinking groups is still pliant and that it is not necessary because inspired and frequently inadequate string teaching at sponsibility pre- it is to sive pressure may cause the crack to extend through so good as those made of chamois, as they become there is no danger of the instrument cracking. The all educational levels. It is our purpose here to show supple—therefore easily pare teachers for the wood to bore. frayed and may catch the register the the Thus, one is inviting trouble on key-post. saxophone should be cleaned just as though it that the interrelationship between the universities and molded. were enormously exacting sec- when he does not thoroughly dry his instrument after Perspiration from the hands should be dried with a made of wood. very to stringed- The universities will in- A good swab to use for the saxo- the secondary schools in matters pertaining school assign- piece ondary usage. small of chamois. Corks that have become worn phone is a chamois draw type, similar instrument study offer such constructive criticism as evitably reap the results to the clarinet ments. Inadequacy in If a wood instrument could be kept in an atmosphere or split should be replaced. An emergency or tem- except boldly suggest rem- of pre-university study. swab that it has a small, circular brush which might conceivably be valid, and to - instrument stringed of even humidity, there would be little danger of its porary repair of a loose joint may be made by winding allows the chamois to spread in a larger edies. Stringed-instrument play- bore. If the teaching, then, may be cracking. A humidity gauge would be a valuable gadget a little thread around the cork. ers at the higher level saxophone is not frequently cleaned, a very disagree- laid to five chief short- to have in band rooms. During winter months in rooms To prevent loose and noisy keys, the mechanism A Dual Responsibility will be plentiful or scarce, able odor will result. all more or comings, of a that are artificially heated, there is the greatest dan- should be oiled very sparingly with a commercial key To prevent noisy and loose keys, The universities and the secondary schools share a good or bad, depending the mechanism less negative character, ger. Such rooms should oil or non-gumming clock oil. small bottle of clock upon what be kept at a relative humidity A of the saxophone should be oiled in the same way as dual responsibility in shaping and giving direction to happens long GILBERT ROSS plus several contributory of about fifty degrees. Too much moisture may cause oil may be purchased from a jeweler for twenty-five that of a stringed-instrument program at both educational before such players attain the clarinet. though less severe ail- springs to rust and wood to crack when drying begins. cents. Use the end of a toothpick or wire to put just levels. Honors for success or blame for failure must be university age and status. ments. first of these drop oil Stringed The Instruments that are used in a damp atmosphere or a of on each bearing, key hinge, and other The Flute equally divided. Achievement or deficiency alone at instrumentalists in the high schools will carry points will be considered here and the remainder will at night football games, and so forth, points of friction. This will keep the action smooth over into the institutions of higher should be Wood flutes should receive the same attention and either level will not reflect upon higher or secondary learning precisely be reserved for discussion in a subsequent article. warmed with the hands before blowing, and dried and prevent wear. Many times sticky keys are due to care as education, as the case may be, but upon both alike. those assets or deficiencies to which, through the char- wood clarinets. Flutes, wood or metal, should Let us take up first the lack of true allegiance to thoroughly both dry mechanism. Too much oil should acter and quality of their a on the inside and outside after using. not be used or be cleaned regularly with a piece of silk cloth This interdependence results from the fact that each, earlier musical training and string and a media and string literature. National band- Repairing cracks is an expensive job, and every pre- allowed to run over on the body of the instrument or cleaning in the particular field under discussion, will in sub- experience, they have long since been conditioned. rod. The head-joint crown or end-snapper consciousness is an established fact. Howt this came caution should be taken to avoid having to make such it will accumulate dust and slow up the action. stantial degree determine both the quantity and qual- Viewing the situation the other way around, the qual- should not be removed when cleaning, in case the about is a purely academic question, since the same repairs. The bore of a wood clarinet should also be oiled ity and direction of the with end cork has been accidentally moved, it ity of the other’s product. secondary school string- combination may be easily of factors can never be turned to sim- Metal instruments, of course, will not crack, but a good quality of commercial bore oil or pure olive oil. program and the texture of its product will adjusted. The cork should be moved in or out so Study in many fields: philosophy, psychology, law, be deter- ilar effect that —indeed can never even be found in the often become corroded and discolored. Also, the ac- A new instrument should be oiled every other day for languages even the theory, history, and appreciation mined in large measure by what the universities turn the small line on the end of a flute cleaning rod is — orchestral field. Orchestra in the the first several After out through the music education shyness has followed cumulation of dust and saliva will soon leave the weeks. that the instrument exactly in the center of music—may be successfully initiated at the uni- curricula. It is this wake of the embouchure hole. The of band interest as a negative by-product instrument in a very undesirable condition. The drying should not be oiled too often, or the wood will become versity level. This is not true, however, in the case of mechanism of the flute should be oiled occasionally thereof. Some credit for must oil soaked and impair large-scale band success effect of moisture on the pads of any instrument is the tone quality. The oil should as suggested for stringed instrument^. The mastery of a medium for be the clarinet. Should the pads become assigned to the many exceedingly able wind- especially detrimental, causing them to become hard the re-creation of a musical literature demands much a little sticky and produce a clicking sound, it may be instrument specialists have BAND, and band conductors who and cracked. Pads must be soft and smooth in order corrected more than the assimilation and digestion of theoretical ORCHESTRA provided by dampening a clean cloth with a little enthusiastic leadership and initiative in that to cover the tone holes properly. Hard and cracked knowledge. Beginning study on a stringed instrument alcohol, and slipping the cloth between the field, laid a secure pad and and CHORUS groundwork, and are now reaping pads should be replaced, as they are often the cause of tone early ' and hole while the key is gently has practically nothing to do with music. The the harvest. BAND ORCHESTRA pressed. Repeat this Moreover, the very nature of this instru- squeaks and technical difficulties. Wet pads always aspiring violinist are given over almost Edited by William 0. Revelli process several times and the film months of an Edited by William D. Revelll mental covering the pad medium is itself the band conductor’s silent should be blotted dry before the instrument is put in entirely to such purely practical problems as position, will be removed. Care must be taken ally. The fact not to soak the that a band is ( Continued on Page 187) 150 "FORWARD MARCH WITH MARCH, 1944 "FORWARD MARCH WITH MUSIC” MUSIC” THE ETUDE 151 — 3 ”

the case of many of the composers of the Prussian troopeis Alas, in Music and Study them back at the keyboard, as the earned fortunes, Music and Study past whose works have the only the Parade March. The brought down their feet in received was that of performance. imaginable. reward they The result was the most mechanical playing gratification of public performance is something which felt that this was a very injurious and pads. Always have a clean silk cloth in the I always have never enjoy. I remember a case to playing some composers pathetic harmful style, which not only made beautiful wipe off finger marks and perspiration. incident in Vienna, where some of Smetana’s compo- inconceivable, but in some instances hurt the muscular Never polish the keys or body of the instrument. sitions were given. In the Green Room I met his and nervous systems of the student irremediably. It Polish of any kind is certain to accumulate on the pads who had come to the concert to express her course, but so is a new sister, Some Kreutzer Studies of More was faultlessly accurate, or key hinges, making the mechanism slow and dam- appreciation of the performance of some of the alarm clock, which no one desires to hear. aging the pads. If the head and foot joints do not fit master’s compositions which he himself never had “Fortunately for me, my technic was ‘set’ when smoothly, rub a little paraffin on them; do not use oil. the heard. I went to Stuttgart and I devoted my time to Flute joints should not fit too loosely, nor should they the whole, are very simple Their Application to Techjiic studied in Chi- “Composers, on people. N THE JANUARY issue of The Modern These variants permit a rapid trill have to be forced together. Care must be taken while study of composition, although I had remember one time when I went with Mrs. Kelley Etude we commented on six of cago with N. Ledochowsky, who as a child had known I to be developed while the shifts are assembling the instrument, not to twist on the rods Prague. As we approached piano style to visit Dvorak in the door I the Kreutzer “Studies,” suggest- taken at a quite moderate tempo. and keys. firm Chopin and had heard him play. Chopin’s Use a grip on the body of the instru- goat eating hay, and it was of the Stuttgart we encountered a impos- ing ways in which some of these When the general technic of the ment and assemble with a half-turn; do not push the was the very antithesis of that get near the entrance. We tried again another adapted to the requirements School. Chopin’s famous fellow countryman, Lesche- sible to may be student is sufficiently advanced, the joints together in a straight thrust. Always replace the mind. in the day and the goat changed his Madame Dvorak, of modern technic. We shall now third variant given in the present protective end caps when putting the instrument away. tizky, caught his spirit and reincarnated it Ledo- who met us at the door, was very amiable and secured proceed to examine more of them edition should be used as a spiccato Occasionally the playing of his pupils. I have always valued embouchure and head-joint should Doctor. I offered father and his mother a meeting for us with the the largest from the same point of view. Per- study, for it demands a high degree of be cleaned with alcohol for sanitary reasons. Be sure chowsky’s influence, as both his peculiarly fa- price possible for a criticism of my Piano Quintet if haps it may be as well to point out coordination between the two hands. to wipe off the black substance that often accumulates had played with Chopin, and he was look over it; precious traditions of the greatest of he could spare the time to whereupon that some of the suggested exercises may be too stick. The stick must tilt slightly towards the player No. 25, in G major. At first, to ensure true intona- on the joints and which causes them to become sticky. miliar with the pile of music, saying composers the piano. he turned to a six-foot he would advanced for a pupil who is studying Kreutzer for when the lowest note is being played, it must be tion, this study should be practiced in unbroken Like other keyed instruments it is advisable to have for have to look through all that before he came to me. the first time. For instance, the spiccato variants of vertically above the hair for the middle notes, and octaves; that is, the flute inspected at least once a year by a repairman. “My richest experiences in Stuttgart came from as- wife exclaimed: ‘Oh, Doctor, sociation with such minds as Seifriz and Speidel, both My disappointed begin Nos. 9 and 19 may call for greater facility and co- must be tilted slightly away for the top notes. This This amused him. The Oboe and the Bassoon musicians of rare learning and masterly technical at the other end!’ He took my ordination than he has yet acquired. These should principle holds good for almost all forms of arpeggio work from me, kept us two hours; refused an honora- be returned to for specialized study when his technical bowing, and is the only means by which an equalized The oboe has the most complicated mechanism of training. Seifriz owned the score of the entire ‘Ring gorged rium, and invited us to come back in another month, equipment is more advanced, for they offer material tone production can be secured. all the woodwind instruments. It is a difficult instru- of the Nibelungen.’ I had it for weeks and after we had kept certain travel engagements. To this for the development of bowing technic not to be found The original bowing also should be practiced at the ment to play when in perfect condition, and an im- myself upon it. Wagner, of course, was known in heard we readily agreed, but alas, before the date of the en- in the “Caprices” of Fiorillo and Rode. frog, the bow strokes being made entirely by the possible one to play when the mechanism is the least America but ‘sans radio.’ Relatively little was gagement, this wonderful composer had gone to Hand in hand with the acquirement of fundamental wrist and fingers, and the bow lifted from the string bit out of adjustment. Making adjustments on the oboe of his works outside the big music centers. It was at his Later, the notes having been mastered, a number eternal rest. technic should go its application to musical expres- after each stroke. When the study is practiced in this is a job for a repairman who understands the instru- a concert given at the residence of the American of different bowings should be used. Chief among sion. The Kreutzer “Studies,” sound and virile music way, the string crossings are made by combining the ment thoroughly. It is an instrument that must be Consul in Stuttgart that I heard for the first time them, of course, is the well-known bowing so fre- Encouragement for Young Composers though they are, give little opportunity for expressive rolling motion of the forearm in the elbow joint with handled with the greatest care and should be given to the Preislied from ‘Die Meistersinger.’ It affected me quently met with in solos and so rarely studied in playing, and they should be supplemented by such the bending and straightening of the fingers. This a very responsible student. An oboe will continually very much, as had the Mendelssohn ‘Midsummer “It always has been the privilege of elder com- etudes: composers. studies as Book Two of Mazas or the “12 Caprices” exercise is of inestimable value in developing flexibility give trouble if the player does not give it constant Night’s Dream’ music. A bottle of champagne could posers to welcome new Sometime, because of de Beriot, Op. 109. The student learns to apply and control at the frog, and it should be studied until Ex. 6 attention. It is very difficult to clean the upper joint not have made me more excited. I was literally en- of the frailty of health and the vast dem' d upon pure technic to musical expression more readily in completely mastered. of the oboe with a swab because of the small bore. tranced and became more and more certain that their time, which should be reserved for their per- studies of this nature than if he relies exclusively The ability to produce pure legato Many players use a trimmed turkey feather. Oboe and music was unquestionably to be my life work. sonal creations, it is impossible to hear or play all on a and even when solos, for in these studies the same technical problems crossing strings is essential for every violinist, bassoon reeds should be wiped dry after using to avoid the new music one would like to review. I do think and Early Creations in expres- this offers warping and splitting the instrument. The reeds should that it is no more than just, that a fee should be recur in many different forms, and always study almost unlimited opportunity for flexible acquiring it. then be placed in protective cases. The suggestions “When I returned to America I became an organist paid when an appraisal of a work is requested. The sive and phrases. The legato exercises should begin with in In the following notes, variants identified by number one group to each bow, with the whole bow, in offered for other woodwind instruments apply equally Oakland and in San Francisco, California. For two vocal student expects to pay for an audition Why and When practicing this brilliant and effective bowing, years I was music critic of the San Francisco Exami- refer to those given in the Oliver Ditson Edition. the separate halves of the bow; then two groups to to the oboe and bassoon. When one is cleaning the should the composer give his sendees without remun- the student must always remember that the last note ner. But my innermost personal interest was in No. 8, in E major. The broad, strong phrases each bow, in the same three ways; finally the whole bassoon, the protective cap and metal bow of the joint eration? of each triplet requires a slight accent if it is to sound composition. I had completed my ‘Macbeth’ music of this study greatly encourage the student to produce measure in one bow, using the full length of the bow should be removed and cleaned. It is usually recom- “The composers of the younger generation are in- clearly in rapid performance. This little point is often and it was produced with gratifying success. Lieuten- a full and brilliant tone. Once the notes have been mended that oboes and bassoons, because of their clined to think that the great American composer forgotten—with the result that passages of this nature, John Philip mastered, the tonal ideal should be held constantly delicate mechanism and expensive reeds, be eliminated ant-Commander Sousa was very much has not been bom. They also conclude that much of such as those in the Mendelssohn “Concerto,” often excited about it and wanted to play it. before him. The study should be practiced with a from marching bands. Also, the tone of such instru- He was a the eccentric music which is being written today is fall far short of their intended effect. splendid, unselfish soul with a rare musical sense broad detache in the upper half of the bow and with ments would be of little value against the more pre- of somehow vastly better than what has been produced The study should also be practiced with the wrist- divining talent, which he employed to encourage his a vigorous martele in the upper third a vibrant dominating brasses, clarinets, and drums. in the past. They do not take the trouble, for instance, — and-finger motion at the frog, taking a bow to each contemporaries. brilliance being the ideal in both bowings. Musical instruments represent a fair-sized invest- to examine the extraordinary flashes of melodic origi- note and lifting the bow after each stroke. This “When I wrote the incidental music to General Many bowing variants are possible, nearly all of ment, both to the school and to the individual. They Lew nality to be found in many of the compositions of motion is so necessary for a well-developed and co- Wallace’s ‘Ben Hur’ (produced by Klaw and Er- them having some special virtue. There is one variant, are practically impossible to purchase at the present Gottschalk, or the fine academic development in the ordinated bow arm that every opportunity should be langer). Harpers owned the book and demanded that however, whose possibilities are often overlooked only. In alternating time; therefore, we must take good care of them and works of J. K. Paine, the splendid creative work of between the middle and top taken to practice it. a composer of standing should do the ‘symphonic’ Variant 6. If taken in the following manner, at a strings, the bow should rise fall assume the responsibility of keeping them in perfect such men as Chadwick and Hadley, the real mastery and only just enough The fifth variant given in the Ditson Edition should mechanical condition. is musical background. MacDowell was offered the op- of tempo of about 1=76, it has unusual value for the to clear one string and take the next; It hoped that some of the MacDowell, or the extraordinary originality of the more motion not be neglected; it requires considerable agility in suggestions that have been offered will portunity but rejected it. The play was a tremendous martial development of tone: will have a deteriorating effect both on the quality be of some aid melodies of Sousa. Someone rightly has said the middle of the bow and is, besides, frequently success, having had over five thousand performances. of in carrying out such responsibilities. of the latter, ‘No one has been able to trace the Ex. I Pt. W.B. FrogW.B. Pt. the tone and on the smoothness of the legato. encountered in solos. It earned millions for its author and its producers. I have found the bowing (shown source of Sousa melodies. They are distinctly his in Ex. 2) to have No.J29, in D major. Another study for the smooth My fee for writing the music was only seven hundred own.’ Few real value for quite advanced students who were composers can claim a similar distinction. changing of strings which should be practiced in a fifty dollars. seeking increased agility in the middle of “Composers need leisure for work, and when bur- the bow. variety of bowings. The difficulties of intonation are “My next conspicuous success was my Chinese suite, The detached notes are, of course, played spiccato. dened with the cares of making a living, much The two staccato notes at the point should be considerable, and the student should be content with ‘Aladdin,’ in which the widely played Lady Picking Space does not permit a more detailed examination genius evaporates. Mrs. Kelley and I have been very taken martele; those at the frog should be played taking four notes to the bow until his left-hand Mulberries appears. I was very much interested in of this study, but it can safely be said that any bowing grateful for the generous Edgar Stillman Kelley Fel- with the wrist and fingers only, the bow leaving the technic is under secure control. Later he can take Great Yesterdays in Music knowing the candid reactions of a real Chinese to this that may be imagined will benefit the student if lowship at beautiful Western College, of which Mrs. string after the legato up bow and after each staccato he eight, then sixteen notes to each bow. work. When it was given by the Berlin Philharmonic, works on it carefully. Alexander Thomson is the able president. This has note. The four legato notes in each group should be All four indicated variants can be studied with a nine members of the Chinese Legation were ( present enabled No. 19, in D major. One of the best trill studies ever Continued from Page 141) me to do much that would otherwise have played with as full a tone as possible, and no accent good deal of benefit to the player, for each involves and seemed to be delighted with it. It should be been written. Unfortunately, its value as a trill exercise impossible. I hope that men and women of should be allowed in the crossing of the strings. This a different problem in changing strings. The study remembered that part of my life was spent in San means for the young student is often considerably decreased will see the wisdom of making similar bene- method of practicing the study calls for three distinct should also be practiced detache in the upper half President of France. Everything in Germany was Francisco, with its conspicuous Chinese population, factions by the fact that he has to give so much attention to to many institutions in the future. It is often styles of bowing, and cannot but be of immense of the bow and, with the wrist and fingers only, near booming. At Stuttgart the Conservatory vied with the and I may have absorbed some of the atmosphere. the rapid shift at the end of each group quite easy to secure contributions for buildings that benefit to the student who carefully works it out. —a point the frog. Ccnservatorium at Leipzig as the great music center “Naturally, my great musical thrills have come bear overlooked by most editions in their indicated variants. the names of the donors. However, who has ever As soon as the pupil’s bow arm is sufficiently de- In all these bowings, the most consistent attention of the world. from performances of my major works, such as the known a Ex. building to do any thinking or creating? veloped, No. 14, the spiccato variant (two bows to should be given to the amount of motion used in cross- “The Stuttgart Conservatory was founded in 1856 ‘Symphony No. 1 —Gulliver—His Voyage to Lilliput’; Buildings are vital, of course, but how about an in- each written note), should by all means be studied. ing the strings. The least possible vertical motion by Siegmund Lebert (correct Faiszt, ‘Symphony No. 2—New England’; ‘Alice name, Levy) , in Wonder- vestment in brains? Presser The innumerable string crossings induce that light- Hall at Western College, should be used (see note to No. 9) . The more the Ludwig, Stark, Brachmann, and Speidel. all were land’; and my oratorio, ‘Pilgrim’s Progress.’ hand They The which was the is necessity made possible through a gift of The ness in arm which a prime for a or arm rises or falls, the less smooth will be the legato, men trained in the strict German traditional methods. first performance of my ‘New England Symphony,’ Presser Foundation, of good performance of this bowing. course has been of immense the less sustained will be the tone. When the study is The Lebert and Stark ‘Great Piano School’ was one which has had over fifty presentations here and value in the musical work of the college. No. 13, in A major. A veritable gold mine of a study! practiced detache in the upper half, the of the most used piano methods ever published. abroad, was given at a great music festival forearm Even at Alten- The richness is barely indicated American Society of Composers, Authors and Nevertheless, a mine whose should move as if only one string were in Liszt wrote of his burg, Germany, where it was use, the some Transcendental Etudes for the played by the Royal Publishers etc. has been one of the means of enabling in existing editions. change of string being controlled entirely books, dedicating them to Lebert and Stark. The Orchestra. Richard Strauss and Sinding It is suggested, therefore, that from the were repre- many creative left-hand technic are plentiful here, the variants as in Ex. 3 workers to continue to produce, and Problems of wrist and fingers. If this is done, the sustained quality method, or rather the way in which it was taught, sented on the same program. We were all guests of has be used until the pupil can make the shifts with ease. compensated for the unfortunate losses which and the pupil should be given ample time to master of the tone will be greatly enhanced. was repressive and angular in the extreme and was the Grand Duke during the Festival. The principle is their ignorance of business has brought upon them. them before his attention is directed to the bowing even more obvious and necessary properly criticized. It called “At the premieres at the when each note might have been the Norfolk Festivals, and at It offers so valuable. encouragement to young people about to exercises which make the study When involves a change of string, but the original ‘goose-step method.’ The pupil at the key- other presentations, I have enjoyed that technic can be precious sen- take up the of bowing comes to the fore, and the career of a composer, as it gives them the thought VIOLIN well acquired in this study. board held his hand as though it were in a vise, lifted sation of artistic accomplishment which is, after all, assurance is being used in the upper third, the that they will be compensated for efforts original bowing Edited by Harold No. 37, in F minor. The number of students his fingers as high as possible, and then plumped the greatest compensation a composer may expect. Berkley who have which at one time thing to be noted is the varying tilt of the bow were frittered away.” first progressed far beyond (.Continued on Page 182) " 152 FORWARD MARCH WITH MUSIC” " THE ETUDE MARCH, 1944 FORWARD MARCH WITH MUSIC 153 , — 3

an echo? Or should the Music and Study is written, if necessary playing the tenor pianissimo measures give Music and Study part with your right thumb in order not effect of dying away? s out any notes. The the widening their field of application, thus : “Beethoven to leave second is to great of Signs are just one of music shows orchestral influence. When playing a note that a many the chords in the many branches of by this master, imagine that it is scored your hymn tunes are merely the so- composition that of What is the Most Difficult “primary triads”; music instruction for orchestra. Think of the varied characteristics called that is, the would be improved by instruments. Try to decide which instru- Composition? chords on I, IV, and V of the scale. The the different more thorough analysis. should play certain passages. Some measures chord on I in the key of C is C-E-G, and ments composition, if any, has the In the same way, a of the wind choir, while Q. What Answers it is the same chord even if will suggest the resonance Questions and the E or the rejDutation of being the most difficult ever should make it brass section, or happens to be at the teacher others will sound like the strings, the written for piano, and what is its approxi- G bottom. In the clear to a pupil why one drum-rolls. Strive to produce these orchestral ef- mate grade?—L. M. key of D the chord on I is D-F#-a, the and position at the piano is here again it is the same fects on the piano.” A. far as I know, there is no one Conducted by chord even if So better than another, and in three-part form offers the alert teacher it is inverted, with A piece composition which has this reputation. the Fjf or the A at why some uses of the the chance to give a pupil artistic precepts that will are considered among the bottom. The general principle But the following of hands and fingers produce of similar structure. filling in help him to interpret other works difficult ever written: Alkan’s harmony is to add more tones the most better tonal results than “Sonata, Op. 26” by Beethoven, of the same name to a chord. The Andante from Etudes. Beethoven’s “Sonata Op. 106,” w. Thus to teacher might others. illustrate this point. An indifferent JU “fill in” the chord will Brahms Variations on a theme by on I in the key of C lose the opportunity to broaden his pupil’s under- Paganini and Liszt’s Etudes d’execution you add more C’s and E’s and G’s. In The "Why" Behind Mus. Doc. standing by a phlegmatic direction like this: “Watch transcendante. It is impossible to assign a general you will find that the effect Tempos is the ritardando and crescendo in Measure 26.” grade to such works as these. Is it not better if you add C’s rather than Professor Emeritus E’s, Suppose that a pupil is much more enriching it would prove to the are all ex- but we are How sufficient to know that they a fine conservatory and is now getting in too deep for arrives at learning some such piece student’s imagination if explained thus: “This is an tremely difficult? the necessity of practicing Dberlin College this page so at this point I will leave you faced with as, let us say, the Prelude, important measure in the piece because it prepares hours a day, with probably and turn you over to your harmony four or five Op. 28, No. 4, by Chopin, for the return of the first melody. Here teacher. the listener two or three hours more on theory and Music Editor, Webster’s New “This piece How can Musician and you say; we want to create the feeling of expectation. Professional history, he often decides that he just played largo." hearer in a International Dictionary is to be we do it? Many factors help to put the love music that much. About Grace Notes or Amateur? doesn’t Such a superficial direc- mood of anticipation; but two of the most effective I am trying to say is that in What Q. 1. How should the grace notes in the tion only encourages imi- are: First, a change of tempo, usually to a slower daughter has studied piano since Q. My my opinion the majority of people who following excerpt from Godard’s Second depth is in the volume of twelfth grade tation. More one, or a pause. Second, a change first grade. She will be in the Mazurka be played? Would it love music ought to look forward to be permis- notes, fall. here is our problem. Frances needed to develop mu- This may consist of one or more accented this Now sible to play a triplet of sixteenth notes THE FINGERING RIGHT tone. sure, does fine amateur musicians rather GET has talent but we are not nor being on the last half of the second beat? My sicianship. Everyone who an abrupt shift from one degree of power to another, she know, whether or not she should study personally be- pupil seems unable A charming portrait of Judith Carol Malott, student at the Cin- than professionals, and I to play the grace notes attempts to play this Pre- a diminuendo, or a crescendo. piano exclusively or whether she should just before the last half Conservatory of Music. The photograph is by Juliet Hall. lieve that music would be enjoyed more of the second cinnati three-part form use some take a general college course with a music beat. “Most compositions in for their own maj or. if such people studied just variation of the above devices in the Ex. 1 combination or Also, Frances should be studying this pleasure rather than for the purpose of retransition that leads back to a restatement of the summer and her teacher has given her making a living. And yet if a young section. In the Andante by Beethoven, four books on theory and suggested that first thematic man or woman feels that he just cannot and she study some history too. In an answer we produce dramatic tension by playing slower to a letter in the June issue of The Etude be happy unless he works professionally with increasing fullness of tone.” you suggested at least two hours of prac- in the field of music, then of course he 2. a. How should one play the trill in the Parrots The teacher could go on, then, to point out other tice a day. Of what should that practice third measure of Bach's Bnurree from Are You Drilling must be given a chance to try it. But examples. In Bird As Prophet, Op. 28. No. 7 by Schu- consist? Frances has never been told just "Second Violin Sonata," edited by Eck- must face the fact that out of the how to practice and she has never worked he stein? mann the plan is much the same as in the Beethoven longer than an hour at a time. I am no many who try, only a comparatively few Andante. One measure played piii lento, and an in- musician and feel that I need advice. We b. What does the fingering 3 5 mean? succeed. crease in volume from pianissimo to piano, produce do not look forward to a concert career c. What is the best tempo for this Bourrie? So far as your daughter is concerned, MusiEians? desired feeling of suspense. for our daughter but one which is defi- or Training the nitely music-centered. Should we then my advice is that you tell her all these After hearing several illustrations of this kind, 'the have her take some other degree but with things and then ask her to decide for pupil will begin to appreciate the dramatic significance conservatory work? Or should it be “music herself. Perhaps she will tell you that passage. This will help him to or nothing?”—H. P. K. of the retransitional actually she wants to be a nurse or a interpret tripartite compositions in both the smaller A. Your problem is a common one, for if after A. 1. It would secretary! But she hankers mu- be quite incorrect to and larger forms. No question will be answered in now that music education has become sic and yet cannot make up her mind THE ETUDE play this figure as a triplet. Your pupil discov- unless accompanied by the full name Whenever possible lead the pupil to make democratized to such an extent we are just to do with it, the and address ' inquirer. must persevere; what then best of the Only initials, practice slowly, seeing to eries for himself. If you lecture to a pupil and give or pseudonym given, will published. discovering that a great many children plan will probably be to have her choose be it that the eighth-note G comes exactly instructions * without offering him the opportunity to have musical talent and would like to a college where she can spend about on the second half of the beat, with the he absorb the in- is an expression of Chopin’s advance his own opinions, may become professional musicians. I YOUR PUPILS parrots or musicians? If you lude should know that it do not half of her time studying music and time for the two grace notes taken from RE still be injustice done to his native country, formation and carry out the directions, but mean to imply that we are producing a have drilled a parrot he may play the piece grief over the the other half in taking such subjects the first half of the second beat. It will is more conducive to Poland. This knowledge not only will make it clear to only an imitator. Discussion huge crop of geniuses for there are ac- i- you have taught him creditably, but he will be as English, foreign languages, history, like. Playing duets is be helpful to practice this with- A pupil: “The in- excellent too, and measure of telling a your the pupil why the tempo should be slow, but also will mental growth. Instead tually only a very few who have out- so on. the of helpless about learning another one without and By end two years your daughter probably has some friend out the grace notes, and then when they its height at the top of fashion give to his playing a soulfulness that will raise it terest in this piece rises to standing talent. But there are thousands she will assistance. He can only repeat, in the mimic know what she wants to do, who would be glad to practice four- are added, feel the pulse of each beat page,” help him to find and analyze the how to above the level of mechanical performance. the third of adolescents who have sufficient mu- and, after all, it is she ought of the talking bird, what you have shown him who to hand music two or three times a week. distinctly, giving a little additional stress questions like these: musician, he will climax by sical ability so that if they love music make the final decision. It is life execute. But if you have trained a her Tell her to correlate her theory study to the third beat. Eventually, of course, II. Show Pupils How to Apply is the most dramatic part of for “What do you think enough to work at it for a period of that is being planned. be able to think and feel, and to decide questions with the music she is playing at the it must all be played very smoothly. General Principles this piece? What is the character of the music at four or five years after graduating from himself. All the schools that you mention are piano. In these various 2. a. Ex. Delicate? Humorous? ways Prances giving pupils general principles that can be ap- the climax? Is it sad? Tender? high school they will probably be It is important for a teacher to study how to present By able good, and in the meantime your daughter will enjoy her study of think the climax of music and will pieces, teachers can make their ex- Joyful? Brilliant? How do you in some to that it will develop musician- plied to other way make a living by means should continue her study of music at the same material in such a way time be preparing herself high dividends in musicianship. Let us this piece should be played?” of music—in most cases by becoming ship. Here are some fundamental requisites: planations pay whether she is to be a professional or for the more difficult analyzing in material that contrast these two methods of presentation: By stimulating a pupil to do his own teachers. My own feeling is that too many an amateur. The ide.a of adding theory X. Teach pupils the “why” of the tone language. college music study will bring forth. b. In this trill use the third finger this manner, you will help him to recognize and build to 1. “Play this passage with more crescendo.” young people are expecting to become and history this summer is excellent, but II. Show them how to apply general principles for b-flat and finger for C. in any composition he studies. the fifth 2. “Listen to this melody as I play it for you, and up the climax professional musicians, and my advice such work is difficult to do by oneself other pieces. and c. J=72 should be satisfactory. it gains in intensity as it rises to the highest is always the same: Before How to Fill in Chords When III. Develop their aural sensitivity. see how you decide she ought really to be working under a III. Cultivate Aural Sensitivity * natural tendency is definitely to become note. When music ascends, the a professional mu- teacher. She ought to practice at least Playing Hymns which an I. The "Why" Behind Signs for it to grow louder; and vice versa, when a melody Thus far we have considered ways by sician make certain that, in the first two hours a day, but the total time Who Wrote the Cradle Song? descends, it is apt to diminish in tone.” instructor can help a pupil to understand the “why” place, you have at least reasonably high might well be divided into half-hour Q. I am a boy fourteen years of age. in First, let us consider the “why” behind marks of ex- grade Q. In my childhood (over forty years he can aid him in seven in piano. My problem is this: of the monotonous In the first example, the instruction only teaches a of the tone language, and how ability both in music and along general periods of concentrated work, perhaps ago) I learned Men- pression. Many a lesson consists I often have occasion to play a Cradle Song by But hymns at forget this pupil to do as he has been told. And it does not help applying general principles to other compositions. intellectual lines; and, in the second with some theory study in between or certain church groups. delssohn; all but a few measures of which repetition of promptings like these: “Don’t — I think I play them judgment, you must tram fairly now elude me. Could you please tell me phrase forte. Can’t him with anything but the few measures during in order to develop musical place, that you love music so deeply even a game of tennis or a date at the well, giving good leadership, but I accent. Remember to play the last can only the exact title and opus number of this crescendo occurs. still further. It is also essential to cultivate a stu- that are play them in the four notes pro- this is marked piano?” Calling attention which the you willing to work at it for soda fountain! Tell her to plan each piece?—H. W. N. you see, part vided in the Hymnary. When I try to add The second illustration gives the pupil a key that dent’s aural sensitivity until he can decide for him- long hours every day during a period of half hour with the idea of accomplishing to signs in this manner is little more than parrot drill- chords in the base I always have trouble. pedaling, tonal only outward symbols. will open a new realm of thought. He can begin to self between good and bad effects of at least four years. Music is a lovely something tangible so that by the end Could you help me? I know other people ing, because such marks are play these But analyze all the melodies he plays to see whether they coloring, phrasing, and interpretation. mistress but a terribly stern one too, and of the period she will be able to do chords. How can I? H. R. They must be learned, of course, and observed. Suppose, for example, that a pupil is careless about there are too many young people teacher who wants his pupils to become musicians conform to, or depart from, this fundamental law. something she couldn’t do at the be- A. Apparently you are about ready to the is Largo, espressione, pedaling. Merely showing him how a composition especially girls beneath the printer’s ink to the reason for If the lesson on the con gran adolescent — who have a ginning. The pieces you mention are fine study harmony, and I advise you will delve to ask from “Sonata Op. 7” by Beethoven, a teacher might should be pedaled will only make an imitator of him. romantic but superficial desire to be- but she ought also to be working at your piano the signs. some teacher either to give you train reminders to accent, help a say: “This piece needs to be rendered with richer In order to develop musical judgment, you must come musicians without understanding etudes and other study material. Most some instruction in simple Instead of meaningless harmony or A. The seeking is point where they are disturbed by the in the composition you are why the emphasis is needed. Is tonal coloring.” Such a direction would help the pupil his ears to the least that becoming a fine mu- pianists are not good sight-readers, and else to suggest a teacher of student to understand harmony to not a Cradle It is of passages. sician involves hours Song by Mendelssohn. pulse? Will it bring out an important to play this Largo, but it would not give him any sound muddy and years of gruel- Prances might well spend a half hour whom you may go for lessons. it for rhythmic In the Berceuse by G. Delbruck. far as I can Listening exercises to make him pedal-conscious ling work, with the necessity of sacrific- in reading So Likewise, a pupil should be given some rea- guidance in the interpretation of other works by the each day new material such meantime you may do two things note? by find, it has no opus number, but I am master. will prove helpful. If a student is not even irritated ing all sorts of pleasures in order to as hymn tunes, folk songs, accompani- yourself. playing softly. Is the phrase a repetition of same The first is to play the bass note son for sure you could get it from the publishers intended to sound like Explanations could be made to count for more by by the sound of mixed (.Continued on Page 180) reach one’s goal. When such a person ments of vocal or violin solos, and the an octave lower in addition the preceding one, and is it to where it of The Etude. 155 154 "FORWARD MARCH WITH 1944 "FORWARD MARCH WITH MUSIC’’ MUSIC’’ THE ETUDE MARCH, — — — — — — 1

produced by the slight lateral motion upper arm is Music and Study made out towards the fifth finger to help back up the fingers on that side of the hand. Conversely, the thumb. Thus, lateral motion is toward the the func- JOSEF HOFMANN motion of the arm is to accommodate ELEGY tion of lateral forward and backward recitaJs. Play it in very the fingers while the motion A new and very distinctive composition by the worJd-famous piano virtuoso, Josef Hofmann, performed with great success at his the arm previously spoken of is to produce good of legato style, with careful attention tothe important phrasing marks. Grade 6. leverage. Andante M. M. J = 58 5 Fundamentals at the Piano Training the Child ma esjpressivn e legato 4 trained to make these The child should be arm ad- u P" 2a 4, U 1 -i 3 , K justments from the very beginning of its studies. Give > FT i « • — ar 1 — i • — f / * W A*—S c 0 m n J n w v L # -0— : 1 with chance to acquire a drilled intelligence. 1 • —J I S'. An Interview the child a If ft“ — —' 7 — j M * 9 2 — «i . a 9 » —! ^ u the fundamental motions at the piano are presented -w -i \ tJ “yl ? as a game, the same as the child would be taught to -j r* wood blocks, he will become interested t play a game of %S} t pp f^olert Sclimiti and will learn willingly. < P One cannot put too much stress on fundamental

establish rules that will not induce T"- i J'A--v. Nfc A_ Distinguished French Piann Virtuoso training to bad p & T rrELj ~L=-Jlj. Jj- . io-g A— 9— J— 1 i —g? — Q habits in piano playing, both from the mechanical and a .— — 1 -J—— Teacher i 7 « -T* - 5 * |~-pr- * and * ' _ • physiological standpoint. Freedom of feeling which ’— f 0 J 1 — the — L i w~m T r Jt r %^ freedom of musical conception should means be ll 1 also . to pleasure in playing the piano. ^ 2 1 ^ 45 created, leading tL-/ 3 r SECURED EXPRESSLY FOR THE ETUDE BY ANNABEL COMFORT Technic must be learned first, eliminating the feeling r of constriction. If the child rides over a bumpy road on a bicycle he win feel the bumps, but if he rides over the same road on a tractor he will not notice the same principle in playing the piano. HE TRANSCENDENTAL ABILITY of the great the first and fifth fingers will be hanging off the keys. bumps. It is the will have not ride the bumps by going around them; re- artist cannot readily be acquired by the student To bring them back onto the keys, the arm Do the arm is always move them with a superior technic. T unless the underlying principles of such art be to be moved forward. Consequently form. The majority of moving backward and forward to bring whatever finger brought to light in simple The Finger Stroke pianists play largely from a natural, intuitive musical that has to be played, near enough to the edge of the conjunction with the two types of arm motions, sense. Seldom do they stop to analyze what they are key; otherwise, the second, third, and fourth fingers In excessively, would be one can apply various kinds of finger strokes. They doing, and if an analysis is attempted it is usually not would have to be curved in and will range from utter relaxation of the fingers to the scientifically correct, because the pianist is not trained placed in a cramped position to get to the edge of the most active muscular con- from the start to think in this manner. Instead of keys to approximate the trol, and will vary from hoping to acquire a technic through the subconscious same point of touch as the high, rounded finger to practice of innumerable repetitions, is it not more the first and fifth fingers. the low, extended finger. satisfactory to have a conscious idea of what is to be The forward and back- obtained? ward motion does away Suppleness of finger con- trol will create different The piano teacher is the doctor. He must have this with this excessive curv- conscious knowledge and must understand the work- ing of the fingers, and it qualities of sound. ings of the fingers and the muscles, so that he can gives them freedom and In this method the ex- teach the pupil the correct playing motions from the provides relaxation for the treme touches should be beginning. If the pupil’s finger and arm motions are arm. drilled first; that is, a correct in the beginning, they will be correct at his There is one situation fully curved touch which Carnegie Hall debut. where these forward and produces the stroke from backward motions of the the hand knuckle. Then The Old Standard Method arm will be unnecessary. train a second elastic Let us consider the five fingers of unequal length. This occurs when the five finger action, producing a In the old, standard way of playing, wherein the arm fingers are covering the tone on a partly curved and hand were held quiet, if the first and fifth fingers notes, E-FZ-G$-A$-B, finger. One may also train were placed on the edge of the white keys, the second, which was Chopin’s favor- a semi - extended finger third, and fourth fingers would naturally be farther ite position for introducing action without curve but in on the white keys and nearer the black keys. This the study of the five-finger acted upon from the placed the second, third, and fourth fingers at a dis- exercises. In this position knuckles. advantageous position, because with the fingers near the short fingers, one and A good preparatory ex- the edge it takes less effort to press a key down than five, are on the edge of ercise for the finger stroke it does when near the black keys. Placed farther in the white keys. Since the is to extend and flex the on the white keys, these fingers will have to use more long fingers two, three, fingers, using various de- effort in order to depress the keys which tends to a and four, are on the black grees of flexion and ex- tenseness of the arm. When the backward motion is keys at a point equally tension and combining used without loss of the level at the wrist, the form close to the front edge of them in a stroke that of the hand remains undisturbed or unchanged. the black keys, we have will be enacted from the The reason is the simple principle of leverage. Sup- now realized equal lever- knuckle joint. Children pose two piano students are sitting on two opposite age for all fingers, which have weak fingers because easily lift each other up is the most advantageous ends of a seesaw. They can E. ROBERT SCHMITZ they are not trained to and down in this position, but if they move in toward position to play. use conscious, intelligent the pivot, or the middle of the seesaw, it will be much It takes only a little thinking. They push the more difficult to work it because more effort will be more effort to move a white key down when played fingers out and they break rather than pull the fingers needed. The piano keys work on the same seesaw near the black key, but if the effort of playing many into a curved position. key is white keys next to the black principle. The pivot or middle of the piano keys is added up, the When a high, curved-finger stroke is used, a soft, or make of total amount will be considerable. If behind the board on which is the name an artist is play- shimmering quality is produced. Endow your students ing long passages, a difficult the piano. and concert program, with two maximum colors, black and white, or two habits of there is a considerable saving of energy Beginners start immediately with bad by obtaining maximum finger strokes, fiat and curved fingers, and to up equal leverage through this method. leverage by imposed finger drills. In order make they will be able to produce the grays and the in- will instinctively The function of the arm is for these inequalities, many students to make it possible for between colors gradually. But remember the law of hand, press the wrist the fingers to play. All positions disrupt the normal posture of the and placing of the opposites, and train the students’ fingers for looseness side; and will apply pressure fingers are taken care of by arm technic. down, turning it on the While these or for control, for heaviness or for lightness. various hand positions, thereby creating arm movements take place it is necessary to through consider The greatest trouble in finger technic is generally impede their playing brilliant the finger that played previously as being habits which will later the pivot on the result of an absence of arm technic. The arm must octaves, thirds, or anything difficult. which the arm oscillates from one position to the next. place the finger, whether it is curved or flat, at the The action of this pivot finger must be in sympathy position from where it can strike with a normal key The Arm Leads the Fingers with the direction of the arm movement and must leverage. If the finger stroke is well trained from the play minimum amount of effort, the stu- insure legato through the adjustment period. To with a Lateral abandoned flat or extended to the absolutely flexed dent should employ a backward motion of the arm, so motion is an auxiliary motion, which is also extremely and muscularly controlled position, it should be able second, third, and fourth fingers will be valuable to obtain perfect leverage. that the The arm has two at all times to receive the various degrees of weight important motions, brought to play on the edge of the white keys, while to and fro, and side to side. of A the arm desired according ( Continued on Page 180) Copyright 1943 by Theodore Presser Co. British Copyright secured "forward MARCH WITH MUSIC” 156 THE ETUDE MARCH 1944 157 — — —

46 46 3 ' 1 — I /i jP M i)=h- *rT ;:j I \* l|? rr y W 0 *r L~f

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STAR KISSES CLARENCE KOHLMANN A scherzo with a suggestion of the theater. It must be played lightly and deftly, but avoiding monotony. Grade 3^. scherzando M.M.J = 5 Allegretto 120 4 5 4/^ a 1 #- 4 tI 3 1 2 1 S * 5EE £

-i-i i i JEEI & '5 5 4 £ f

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\(3rd time to Coda) 2 3 4 -#-6 o =g= CODA

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3 3 3 • 5 3 -1 5 5 3 5 , 5 by Theodore Copyright 1942 Presser Co. British Copyright secured 158 THE ETUDE MARCH 1944 159

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a ttirrvpo w z 1 2 1 ® i ^T~'M CLOUDS S-1£ * « PAINTED delicacy, » * ,i .. a touch of suave after the T3 , he Derformed with - s reci a • H pupil y H in.brightening up the n a 5= NoveJty pieces of this type always are welcome — y=i Grade 4. TT MTT TTQ i 3 3 and Mr. Miles’ own very popuJar Sparklets. WALTER E. MILES U 5 the Doll Dance , y manner of Nola, A N r it. * — —» — m f ;=f c ) * t=— k % a h i 1 =aT f=H • J 1= M 5 [ji. i A. A —

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# From .here go back to the sign (£>) and play to Fine-, then play Trio. Copyright secured Copyright 1943 by Theodore Presser Co. British THE ETUDE MARCH 1944 k — r -

MENUETTO FROM SONATA IN F MINOR

When Beethoven published his “Sonata in P minor" i. of age and had a strong influence upon the younger composer’s life. Yet there already Jet the performance drag. youthful Titan. Note the metronomic marking, and do not L.van BEETHOVEN; Op. 2, No.l Allegretto m.m. J- = 63 5 4 5 4 3 r •

2 l 3 2 4 4 8

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THE ETUDE - A V )

CADETS ON PARADE MARCH HERBERT W. LOWE Grade 3.

11 1i2 °8~> » s- (ad lib ' " ~ G — ^ l I P=SE,j * hft ft- iA-—-i. FIFE AND DRUM S - TO F=^ :3^=Ir= $ -rv ^3* r mf 1 mf m w f w _ t P P jt J*: J* ! L • & K I r* • • ^ — 1 • * — « J" ft «H- A A f 0 — _=! — r— — -k * • •f A- f — A =— A M * —u fit i Hi 1=^=5 i—ft 4 -ft— ¥* 44 •* [• ft w m PAP g Copyright secured Hawley. Copyright MCMXVIby Oliver Ditson Company International IS Words by Annie Andros 165 . . . THE ETUDE MARCH 1944 ,,r 1 — :

1 1 GRACEFUL GLIDERS 1 0 full speed. It will delight young folks of both sexes “Zowie!”excJaimed a lad who, after sufficient practice and “finishing off,” learned to play this work at who will find fun in “gliding” through it. Grade 3|. TEAN BEGHON

l.h. CODA tW m 1=' l=i

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% M 4 & f m3m f • 4 AVE MARIA FRANZ SCHUBERT Arr. by William Hodson

is which Schubert composed to words of Sir Walter Scott in The Lady of the Lake. The One of the most beautiful melodies ever written this Ave Maria , outlined in the arpeggio bass must be words mean “Hail, Maryland the song is a prayer to the Virgin. Pedal very carefully, as indicated, as the harmonies

L

1942 by Theodore Presser Co. Copyright British Copyright secured 166 THE ETUDE —-

CECIL ELLIS and Tyrone King HOMEWARD HOMER TOURJEE Andante sostenuto, moltqespressivo

- 9j cheer; Home to a hap - wel come my foot-Steps are turn - ing, Turn- ing to love and py Home-ward - she! - ters I own; Home,where the roof tree Home,where the gar - den I plant - ed Lives in the soil

- - ger arms " a ' - round the cor Ea Ring - ing true and clear. Just a Foot - steps in the and love a - lone Fac - es at the win Love, k

British Copyright secured Copyright 1941 by Theodore Presser Co. 168 169 THE ETUDE MARCH 1944 Sw. Oboe ELEVATION p iGt. Soft Flute 8' rrepare^^ With Hammond Registration g 0 fj. gtr j n g s GIUSEPPE STABILE Ped. Soft 16', Ch. do) 00 4651 320 k to Ped. @ Moderato

MANUALS

Copyright MCMXLIII by Oliver Ditson Company 170 International Copyright secured THE ETUDE — £ - 7 1 " — •

SHOE DANCE BETTY’S WOODEN SHOE DANCE BETTY’S WOODEN SECONDO FRANCES M. LIGHT Moderately M.M.J= 116 ' Arr. by Milo Stevens

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’O SOLE MIO EDUARDO DI CAPUA

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*-7 77—* - ; > X i %«=1 t= -trT-i Yt— s \ ^ — -M—£ 0-1 £ # L0 i- 0 ^ 1- 1 3 5 7^-S? Copyright 1936 by Theodore Presser Co. w 172 THU ETUDE CHURCH BELLS THE LITTLE DEFENDERS ELLA KETTERER

CLOUD SHIPS Grade 2 . Andante m.m. J-=46 3 LEWIS BROWN

Copyright MCMXLHI by Oliver Ditson. Company 174 British Copyright secured British Copyright secured Copyright 1943 by Theodore Presser Co. THE ETUDE 175 MARCH 1944 . .. v->v:, : r JSSk PIANO TEACHERS' '-,y PRELUDE The Technic nf the Month % :

Conducted by laier SPEED DRILLS (SS) Lfliy H Cards in Place for Teaching Beginners Back of Keyboard Sight Reading

Chopin: Prelude in E Major, Dp. 28, No. 9 Complete Set of 32 Cards, Keyboard Finder and Book of Instructions — Only 50/

Drill No. 1 hu ^dredei SIGHT-PLAYING easily and quickly learned by tiny tots, For stressing visual or beginners of any age, with these Speed Drill Cards. accuracy Makes teaching easier and quicker for class or individual instruction.

EASY TO USE-Speed Drills consist of 32 cards with AVE you ever wondered why the Other points: The E major Prelude is complete and easy-to-follow instructions for their use. On E major Prelude does not enjoy an excellent study for developing fifth- each card is a picture of the note on the staff which cor- H the popularity of some of the finger melodic power. How can the “little” responds with the key on the piano keyboard. Thus, other short Chopin pieces? I think it is finger fail to receive benefit when, in the student learns through his eyes, rather than the written because its solemn, ascetic severity cre- twelve measures, it is required to ring out or spoken word, the location and position of each note. Drill No. 2 ates such an “unChopinesque” effect with trombonic intensity no less than For instant recognition AN ADVANCED STEP—Speed Drills are an advanced of keyboard positions that, since no one expects such a com- sixty times? To accomplish this, practice step in aiding the student to quickly identify the note on position from Chopin, it is not held in throwing the hand freely and rotatively the i staff with the key on the piano. These handy cards the same affectionate regard as, for ex- toward the reinforced fifth finger, while stress visual accuracy, recognition of the keyboard posi- ample, the Chopin Preludes in G, F, playing the triplet accompaniment very tions, producing rapid visual, mental and muscular B-flat and E-flat, or the Nocturnes in lightly staccato or slightly non-legato, coordination. F-sharp and E-flat major. To prove this, thus: THE LARGE NOTES make vivid mental pictures. This try on your musical friends the trick Ex. 2 ^ - feature is important, but best of all ... children like Speed which we perpetrated with the Prelude — "1 Drills. They should be used at the first lesson, and the f l Drill No. 3 in A minor, No. 2; play the Prelude to pupil should have a set for daily home practice. For stressing rapidity them, giving no clue as to the composer. playing the keys SIGHT-PLAYING is becoming more and more of a re- I’m almost willing to wager that those P quirement of pianists, and students at the very start, should measured bass-footfalls, the square-cut Don’t hesitate play the left to hand be trained to attain it. Speed Drills will lay the foundation theme, and the relentless triplet accom- strongly, uncompromisingly, and with full for proficient sight playing. paniment will bring up the word “Bee- arm throughout; its confident, inexorable GET YOURS TODAY —-Speed Drills may be obtained thoven’’ in no time at all! The piece par- progress must keep step’ at all points with from your local music dealer, or send direct to us, the pub- takes startlingly of the quality of a the full majestic sweep of the right hand. lishers. Complete set of 32 cards with instructions, only 50c. Beethoven Adagio. An intense, religious Memorize carefully all those thirty- fervor pervades its course from start to second notes which occasionally appear Drill No. 4 JENKINS MUSIC COMPANY, Kansas City Mo. For stressing rapid vis- finish. ... A noble procession, moving in either hand (Measures 3, 4, 5, and so 6, ual, mental and muscu- lar coordination through the world, turns eyes ecstatically on) . Don’t play them sloppily! Give them heavenward where dazzling shafts of more incisiveness than the corresponding light converge in a magnificent apex sixteenths, and play them invariably

(Measure . 8) . While the procession con- after these sixteenths. This is most im- tinues, the moving beams pour out their portant. DIAMOND, TOO! white light until earth’s every dark cor- The E-flat of the melody in the first KEEP the ner is purged by the purifying stream beat of Measure 8 is usually played with (final measures). the third eighth of the triplet. The trills It is always difficult Measures 3 and 4 sound well is to produce two in played Absur , the setting? . rly pitched effective climaxes in a short composition. thus: f pr0 p e ,in piano ? lt ,s ° neglect. Here, the first is easy if you start softly What of your ^n van ’,shes from enough in Measure 5 and do not antici- tuned, d ,0 °’ and ** diam °" ' pate too soon the blinding light of that ** piano tuner ~ thrilling your q A-flat major chord in Measure Consult ,

8. . . . The second climax is harder. Start Measure 9 very softly but with rich “bottom”; build the crescendo in section The AMERICAN SOCIETY of PIANO TUNER-TECHNICIANS, Inc. levels, and make a tremendous ritard in Address correspondence to 6747 N. Sioux Avenue. Chicago, III. the last section only, thus:

Ex. 1 Tell your Music Loving Friends about THE ETUDE and ask them to give you the privilege of sending in their subscriptions. Ask for Catalog of Rewards for subscriptions you send ~ THE ETUDE 1712 Chestnut Street Philadelphia, Pa. J J.. ij 1. j L ij tjr~ J . !.. i Clip this ad •— ~- , —*-* —1 2— for your postwar file - =d —T — -4- j Practice them very carefully. . k— — —of things you'll want first. If you treasure your nyy sheet music, protect it from loss or damage in 1 .0 a TONKabinet. Keeps music filed and at finger- tips. Beautifully sryled; made by the skilled furniture craftsmen of the TONK Mfg. Co. Tchaikovsky's Wit By George Berg

r- Tchaikovsky always seemed shocked with the lugubrious and solemn titles of many of the Brahms songs. One day he said in desperation, “I wouldn’t be at all surprised if Brahms would someday compose a song ” 176 with a title ‘The Grave Is My Joy.’ MARCH, THEETUEE 1944 "FORWARD MARCH WITH MUSIC” 177 — 23*2I1l1

Except for scales, I find no one set ill&i more beneficial "r exercises than anothe- The goal of all practice, however, should° ill inx:; ” Is “Bel Canto,’ be to learn things correctly the first Voice “&U Sellers What tim m With There is nothing more wasteful of vocal and mental energy than the sorry busi ness of learning wrong, Anyhow? unlearning, and oCeadin^ ^j£)ea(erd ddivePij wl ere then trying to relearn correctly ! Lf DR NICHOLAS DOUTY ( Continued from Page 147) Easis of Good Interpretation "Interpretation can be learned—bu in the the name I remedie for stuffing and stamaring the results are best when No questions will be answered in THE ETUDE unless accompanied by full Piano Educational studies are Works initials, pseudonym given, will be published. I speech. planted in a soil of inborn _ and address of the inquirer. Only or ability. We means to procure a by... 5. It is the best know that some people are endowed I perfect pronunciation, and to make a with greater gifts of Kathleen dramatic projection ^Jn&n&cJulned luf Wcdten. R.alfe #....^y I good Orator. than others—but even these LOUISE ROBYN others can Teachers have told us how grateful they were where Increasing numbers, Rolfe transcrip- pupils 6. It is the onely way to know learn to master the means of In ever for the Armour pieces. Written so that expression are becoming standard for the better on sound benefit of a tions full of thickened mucus. During the will enjoy playing them, and based I Nature hath bestowed the The basis of good of Century's belief that of Limited Means and passages MARY interpretation is, teachers; proof indeed, The Girl practice, it is no wonder that her BACON f ran teaching MASON 0 progress ”of the cold, some of the mucus guift is so rare, as Rolfe is the ideal simplifier of music. Here is a I good voyce: which course, the ability to feel Walter Unlimited Ambition there works gain in popularity every year. the emotion loss of fluency, feeling, and down into the pharynx during sleep, so Without discernible interested in partial listing of Kathleen Armour's numbers I there is not one among a thousand, that the Q. 1 am twenty-one and I am remaining in BERNARD which a given song or part contains. musical values, this superb musician brings is likely to be some infection Edition at 15c a copy. WAGNESS But vocal work as a career. My voice has never available in Century I hath it; and in many, that excellent guift greatest music to those who are not yet skilled the bronchial tubes and in the vocal cords feeling this emotion one’s self is and I have 3467 Auld Lang Syne G— but half enough to play the original versions. been classified. My range is long the reason why you find I is lost, they Art to express themselves. This is 3148 Babette L— JOSEPHINE because want the story! The more been told that 1 am either a mezzo or a dra- important £. HOVEY half i Louis XIII it so difficult to sing and why your range has 3462 Camptown Races (Foste*) — PERRY s 3213 Amaryllis. 0—2 King I Nature. matic soprano. My voice has fine possibilities, 3468 Carry Me Back to Old Virginny G— • .Tsehaikowsky to make other people feel it. It 3382 Andante Cantabile • been reduced. What else could the poor doctor is per- and Out • — 3383 Andantino, F—2 Lamare I have been told, and my interpretations are 3155 Darting In 7. There is not any Musicke of Instru- for you, besides removing the thickened Dark Eyes Dm- fectly possible for a singer to 3356 Avalanche, Op. 45, C—2 Heller tech- do 3175 feel a very good, but I need teaching in most applying Dixie (Emmett) £— LOUISE ments whatsoever, comparable to that 3538 Blue Butterflies, G—2 Dore mucus from your nasal passages, 3469 ROBYN song so intensely (' theory, harmony, Goodnight Ladies | that the emotional 3357 Butterfly, The, Op. 81, No. 4, —2.. Merkel nical aspects. I know some the membranes, and 3463 heat and medication to 3154 In Rose Time B-flat— TECHNIC TALES I which is made of the voyces of Men, 3179 Chicadee (Symphony No. 8). F—2. Beethoven singing, I not well advanced. —Book 1 $0.75 values become blurred and sight- but am control your cold? He Bells G— Introduces in ‘putting it 3358 Christmas Eve, Op. 43, G—2 Heins giving you medicine to 3470 Jingle 15 essential principles in first it be possible for me to get a scholar- Dutch Dance F— year where the voyces are good, and the same 3216 Elegie, Em—2 Massenet Would physician, not a magician, and you have 3145 Little piano technic coordinating mind, across.’ That is, perhaps, the is a £— 1 eye, and hand. greatest 3388 Finlandia, G—3 Sibelius ship or a part-time scholarship? 1 have some believe 3146 Luise Illustrated. well sorted and ordered. Beethoven not given him a fair deal. Nor do we difficulty the inexperienced 3386 Fuer Elise, Am—2 saved and can give a lot of time to study TEACHER’S performer Fontaine Bohm money that your home treatment can possibly be 3156 Moonlight Watz £— MANUAL TO TECHNIC TALES— 8. The better the voyce is, the meeter 3545 La must A:.i 3 Bohm evenings and week-ends. I am within commut- 3471 By Bonnie Lies Over the Ocean C— Book 1 guard against. The test of 3363 La Zingana (Mazurka), — thorough or as efficient as that of a art is Gautier either as 3150 Nannette F— it is to honour and serve there- 3364 Le Secret (Inter. Piz. ), F—2 distance New York City. TECHNIC TALCS— 75 God not ing of physician. Your voice will remain 3464 Susanna (Foster) —4 Book 2 \ \\\ merely feeling, but feeling plus com- 3176 March Militaire, C—3 Schubert trained Oh £ Continuation Would you please recommend a reliable 3465 Old Folks at Home (Foster) £— of Bopk 1 with: is chiefely Widow Waltz, 2 Lehar any trace of the in- with i 5 lessons for and the voyce of man munication. 3220 Merry F— below par as long as second year One of the best Military Polonaise, 0—2 Chopin institute? would I go about get- 3466 Polly Wolly Doodle F— study including marcato chords, means of 3221 musical How fection remains, but will gradually return to £— triads, to be employed to that ende. 3547 Pas Des Fleurs, (Naila), G 2 Delibes 3151 Roaming Up and Down two-note slurs, etc. communicating the values — ting a scholarship?—V. E. A. —1 of a song is 3548 Poem, 0—2 Fibich normal as soon as it disappears. In the mean- 3153 Shepherd’s Lullaby. The £ TEACHER’S MANUAL Omnis Spiritus Laudet D'ominum. Singing in the Glen TO TECHNIC TALES— to analyze the 3366 Polish Dance, Op. 3. Dm—3 Sohwarenka for warm weather, so that you may 3144 £ f Book dramatic story of great city of New York is the home of time, pray Soldiers All £— 2 the ( No. 2.Beethoven A. The 3157 Since singing is so a thing, 3180 Prayer, A, Symphony 2),G— fresh air. good words. Every Rachmaninoff singing teachers in the world, go out into the sunlight and the 3472 Star Spangled Banner G— TALES—Book 3 (Chord Crafters) song tells a story, 3222 Prelude (C#nu. Am—2 some of the finest . 75 and it 3192 Two Guitars £—2 ROBYN-HANKS I wish all men would learne to sing.” 3395 Priests’ March, F—3 Mendelssohn of international reputation. C HARMONY—Book 1 75 is the business of the Capriccioso, C 3 Mendelssohn men and women 3152 Wandering Minstrel, The — A Junior Course, singer to envision 3223 Rondo — Lessons in Voice Culture for students of any age, in These quaintly enthusiastic paragraphs 3368 Rose Fay, (Mazurka), C 2 Heins There are also many fine music schools in that She 1 Had Four written this story as — 1^ A Modern Piano Method for Beginners harmony, keyboard harmony, and ear- a whole—its plot, its mood, 3369 Rustic Dance, C—2 Howell able to instruct you give lively city whose teachers are Q. I am fourteen and I have had four les- training. us a suggestion of the high 3224 Second Mazurka, G— 3 Godard 3196 Parti— _ its effect. Mood and effect of the vocal art until you is _ , ROBYN-HANKS must color 3552 Sonata Pathetique, (Exc. ),Dm—3. Beethoven from the rudiments sons in voice culture. My range from B Learning the Letters on the Keyboard HARMONY—Book 2 75 esteem in which the art of song was concert, ROBYN-HANKS HARMONY— Book 3 the first note sung. Try to think 3398 Tales from Vienna Woods, G—2 Strauss are ready to appear publicly in recital, below treble staff to G, first space above. All 3197 Part II— 7S of your To Spring, 3 Grieg Notes, Bars, Measures, Time Signatures KEYBOARD TOWN held in good Queen Bess’s glorious days. 3225 F— or opera. Several of these schools and some of tones are clear and have volume except song in terms of its story 3400 Valse, Op. 64, No. 2, Am—3 Chopin my 3198 Partlll— Includes mo,re than value, regard- are on the lookout for easily in some _ „ 75 little melodies for early Would that Master Byrd had told us 3193 Waltz in A-flat. Op. 39. No. 15, —2. Brahms these private teachers certain high ones, which come Writing Exercises, Five Finger Exercises training ing the 1 in note reading. music merely as additional em- 3327 Waltz of the Flowers, F—2. .. .Tsehaikowsky vocalists of exceptional talent to whom they are songs and in others are a strain. My teacher 3199 Part IV—The 2/4 Time Signature ROBYN-CURLITT .... ,<: more about his “good Master” of singing 3372 Witches Dance, Ain—3 MacDowell Introducing the 8th Note bellishments of willing to give free scholarships or part-time says it is the way that they are approached. 3200 Part V— Folk ur'u) sound that emphasize Songs Famous Pictures ROBYN-HANON .. 7? above partial listing of Century’s and his “apt scoler.” Did he himself The is but a scholarships. The expression “exceptional tal- Is this correct? Ask your dealer for Century music. If he rote cards the effect you wish to produce transcriptions by Walter Rolfe. We shall be happy ffirPiao.-B ft ithers ^ This, of thing. If you feel softly? cannot supply you, send your order direct y teach singing? Did he really find it a to .send you our complete catalogue listing over ent” is the crux of the whole 2. Why is it hard to sing high notes course, presupposes clear, to us. Our complete catalogue, listing over free, unforced, 3600 numbers at 15c a copy. It's free on request. that you have an exceptional voice, good looks, I invariably increase the loudness as I go up Co/or "knowledge easely taught, and quickly Ask your dealer for Century music. If he cannot 3600 numbers, is FREE on request. Cutout- MARY un-mouthed diction— personality, and are sufficiently ad- scale. Qiutrh BACON MASON for the story must supply you, send your order direct to us. a pleasing the Canti learned?” If so, he must have been original FOLKSONGS an come through in the vanced to sing from memory in the 3. I sang only once before an audience and MUSIC PUBLISHING CO. w* AND FAMOUS PICTURES .. 1.00 words. Enunciate CENTURY First instruction extraordinarily “good master.” Alas, we CENTURY MUSIC PUBLISHING CO. languages and in the original keys, a short I almost ruined my first number because of N. Y. in notation, rhythm, scales' your words as clearly 254 West 40th Street New York, etc. Cut-out and as naturally diversified songs with good tone and stage fright. My muscles became tense and I pictures and flash cards add in- know nothing of the vocal methods of 254 West 40th Street New York, N. Y. recital of terest and value. as you can. Never interpretation and good control. In what way can this M « B.h-ouMmojj distort your mouth or diction, originality of had no breath !j his day either in SSICS England or in Italy your to several of them and ask be overcome? D. L. D. uaIT.,?.!;S AND FOUNDATION face in singing. Forget the mechan- intonation, write — HARMONY where there was so much singing. 1.00 ics of singing, for an audition. fourteen the female voice is seldom -econd year material including and work towards the A. At simplified (In The Etude for 2. It is, of course, impossible for the Editor longer, c. assies and elementary harmony next month Mr. fullest ATTENTION settled. As you grow older and study possible communication • of the Questions to recommend a particular BOY MUSIC Rogers will discuss the accomplishments of Voice you will find that your voice will be more ASSOCIATED 75 mood and effect XYLOPHONISTS or an individual teacher in a city AiirstPiano method especially of your story. Just how MARIMBISTS— institution steady, under better control, and richer in for boys 8 to 16 of the great masters of bel canto, Tosi, very many. DU LT A PPROACH tothe P,AN you are to achieve this Four-Mallet Arrangements of “Aloha Oe.“ “Long, where there are so color. In four lessons one can scarcely learn fl Porpora, Mancini, must remain a Long Ago,“ “Beautiful Dreamer,’’ “Songs My as h cards ° and Garcia.) matter much about the very difficult art of singing. MUSIC PUBLISHERS, INC. of individual effort and ability, Mother Taught Me.’’ Also Hymns. j Should He Study with a Man or a Woman? scale the vocal cords m but PRICE SOc EACH, POSTPAID 2. As one ascends the it is certain that you can improve teacher suit my approximated. To produce BERNARD WAGNESS Send to Q. Would a man or a woman become more firmly presents your powers of been studying with a high tones without increasing PIANO COURSE— communicating through EVAN A. HALLMAN voice better? 1 have the resulting PREPARATORY BOOK 50 repetition and 1052 SPRUCE STREET READING. PA. woman for six months and I have a second the pressure of breath and thus singing more New logical, and practical procedures experience. Test yourself based baritone voice. I am seventeen and am inter- loudly, is a process that requires the greatest OUTSTANDING WORKS on the laws of physiology, psychology, and out on your hearers! pedagogy Try to find out ested in becoming an accomplished soloist. balance and control. It takes a great deal leading to real achievements with why one beginners. of your songs arouses greater Our Monthly Break Bulletins —C. H. S., Jr. of study to accomplish this well. FOR VOICE AND PIANO PIANO COURSE—Book enthusiasm than bring you original arrange- 3. As the technical control of your voice 1 , 00 Make Haste Slowly! another. Discover the ments for building up extra Reading cards covering PIANISTS! A. It all depends upon the ability and the increases, as your musicianship improves, and three octaves, rhyth- type of choruses of popular hit-tunes with novel breaks, tricky BRAHMS— song that suits best. she is a fine mic drills, keyboard harmony, etc. you Listen figures, effects, riding the melody, sincerity of your teacher. If as become more accustomed to singing .75 Interesting5 bass boogie woogie you Four Serious Songs (in 1 vol.) . S pieces to play. to other if you are singers and see which of their etc. Send a dime for sample copy. _ teacher and knows her business and before an audience, your “stage fright” will CHRISTENSEN STUDIOS, 752 Kimball Hall, Chi;ago 4. Illmor. ENSEMBLE BOOK—Supplementary to Piano ( Continued from Page songs are improving, why change? She will tell you gradually decrease. A certain amount of KORNGOLD— Course 136) the more successful, and why. Book 1 . - 60 — . 7 freely if she does not understand your particu- nervousness is usually present even in the Little Love Letter PIANO '. Fiom the COURSE—Book l' inn results of your observations, TD A I K1 we prefer to PIANO COURSE— lar case. Especially in the beginning greatest singers, but it only urges them on Marietta's Song from Book 3 i nn build up your reserves singer with a voice accomplishment. The TECHNIC FUNDAMENTALS '40 voice, for that of communication. a man to be taught by a more lofty heights of "The Dead City" 60 matter—must remembei a baritone voice. SECOND YEAR ETUDES '75 And always—make haste similar to his own. You have cold singer is seldom nervous. that natural quality slowly.” LESTER— For developing style and accuracy is far more vita, If you can find in your neighborhood a man THIRD than and the other Chinese Lullaby 60 YEAR ETUDES ... 71- volume, range, technic, or any othei with an excellent baritone voice How to Perform Stainer’s “Crucifixion” EIGHT CHORDAL ATTACKS 75 Results GUARANTEED! qualifications of musicianship, tem- mechanical accomplishment. necessary some helps or interpretation MARX, I.— Fourth grade material covering The hall- We build, strengthen the vocal organs— T might try him. Q. If you have ail chord- not with singing lessons—but by sound, sci- perament, and personality, you 60 attacks. mark of the coloratura vocal exercises, books to go with “The Crucifixion” by John Nocturne is lightness oi entifically correct silent and could not only explain to you but could and absolutely guarantee comnlete satisfaction He Stainer, send to me at once. Any suggestions Woodland Rapture 60 quality. To be sure, we associate with results. Write for Voice Book, FREE. Sent to no exemplify with his own voice, which is some- speed one under 17 years old unless signed by parent. that accompany it would be appreciated. and agility times very helpful. Nevertheless a good teacher MITTLER— JOSEPHINE HOVEY PERRY with any light voice, but PERFECT VOICE INSTITUTE, Studio 5583, 54 E. Lake SL, CHICAGO in irrespective of sex, and a A. Dr. Stainer has been very careful to 50 PLEASURE PATH TO THE passages where is a good teacher, Soft Through My Heart PIANO . these . 1 00 are not required, The Art Find good one some- means of metronome marks, the Pre-school material using of Toscanini poor one is a poor one. a suggest, by the black keys’ as the pure natural in “The PONCE— the first approach. quality of the how, and stick to him until you learn how to approximate tempo of each movement Familiar rhymes and stories tones .50 introduce must be Crucifixion.” One can scarcely go wrong if Estrellita (Original Edition).. foundation instruction there to please listeners. This Schools—Colleges sing. BUSY WORK FOR these marks are followed. BECINNERS . natural SANIUAN . 60 quality must on A writing book furnishing never be interfered Records The words of Christ (baritone) should be entertaining and in- with. The Effects of a Severe Cold Upon the Voice Invocation to Oggun 1.00 structive busy-work for young piano The coloratura must resign sung with great dignity, and the quality of beginners herself SCHOOL cold MORE BUSY WORK ' - Q. Since November I have had a bad rather SIBELIUS— ... 7 never to try to sing Isolde! ( Continued OF tone should be round, full, noble, and Neither may from Page 142) MUSIC head. I went to a THE HOUSE THAT JACK BUILT 7I CONVERSE COLLEGE which has stopped up my tenor, to a great deal of the Black Roses 60 quality be Ernst dark. The whom Clever preparatory material covering neglected in the development Bacon, Dean, Spartansburg, S. C. all he did was to clear the hard- reading doctor, but narrative is given, should be careful to enun- The Tryst .60 and playing in four octaves. Attractive of agility. head, give me heat little The acquisition of technic, ened mucus out of my ciate the words and to follow their meaning pieces and illustrations. reproductions. I give RICHARD— therefore, One cannot hear a man treatments and cold capsules. Now qualities that he uses. The STRAUSS, must be along strictly Department of Music in the varied tone natural like this myself the same treatment at home with a Tomorrow (Morgen) .50 lines. Since play music and not want it KNOX Galesburg, Illinois duet between the tenor and bass must be the voice of lighter only it does not work. quality James MacC. Weddell, Chairman heating pad, as he did, greatest expression and emotion. is perpetuated for all sung with the STRAUSS, J.-KORNGOLD— by nature a more flexible time. To be sure, COLLEGE Catalogue sent upon request. voice range was three octaves, but now, instrument My It is better to sing the hymns as Stainer has Tales from the Vienna Woods 1.00 the some of us have fared better others, cold, I have only one octave development of agility than because of my written them, although in some performances should not that will loosen since some of us have left. Can you tell me anything hymns are used to re- Oliver Oitson present any serious problem. home -recording CONSERVATORY some better-known Co • The colo- OF MUSIC the mucus?—Miss E. H. ratura equipment. But even so, home-recording place them. Theodore Presser should work faithfully WadoE. Miller, Pres. 25 WEST 45TH STREET Co., Distributors, 1712 Chestnut St Philo., at scales SHENANDOAH describe a bad cold in The choruses are self-explanatory. Just sing Pa. and equipment does not give the full satis- Courses leading to A. In your letter you staccati, progressing them as the composer directs. Fling Wide the to any pas- faction the B. Mus., and B. Mus. Ed. degrees. Rates the head quite clearly. At first you had a sages that a fine commercial recording very dramatic and forceful, NEW YORK that move quickly and reasonable. In the heart of the Shenandoah running nose, and following this the head be- Gates must be lightly. can provide. suffer slightly. Valley, Dayton, Virginia. came stopped up. Now you find the nasal even if the tone quality should 17S "FORWARD MARCH WITH MUSIC” MARCH WITH MUSIC” 179 THE ETUDE MARCH, 1944 "FORWARD . •—

tion. By cultivating get the Are Yon Drilling Parrots the aural capacities arm is moved backwards to of your pupils in this manner you will fingers to the edge of the keys. Then a Worship Music increase mm their powers of discrimination, forward motion of the arm brings the immmmrnmmm and therefore or Training Musicians? their ability to decide for thumb to F. These forward and back- ( Continued from Page 149) ^Latest Mrddilions to themselves. ward motions of the arm do away with Organ \\u Choir Uuestions The suggestions under ( Continued from Page 155) made in this article excessive passing of the thumb b. Rhythm that are only an introduction to the im- the hand, which cramps the hand. employs rapid dotted SCHIRMER’S LIBRARY notes, triplets, syncopation, portant phase of education that seeks to The same principle may be applied to rhythmic se- harmonies, choose for the first experi- quences. These are the OF MUSICAL CLASSICS develop independence of thought in mu- arpeggios. Regardless of the size of their devices of the ment a passage that is glaringly dis- PIANO SOLO sic students. dance. cordant But if you will use them hands, children can play all kinds of Beethoven German Dances. Arr. by Isidor Seiss (1653) 75 when badly pedaled. Play it first .Answered HENRY S. FRY, Mus. Doc. c. Harmony that 1$ as a nucleus from which to build ever- arpeggios, for an arpeggio is not pri- employs chromatics Brahms Variations On a Theme by Haydn (1662) 75 without change of pedal, then with cor- expanding reserves of musical marily dependent the ability to modernistic dissonance, successive Liszt-Busoni Mephisto Waltz (1649) 1-50 rect pedaling, and ask him which sounds discem- upon dom- ment, inant seventh chords, Weber Miscellaneous Compositions. Edited by William Mason, with better. you will be able to lead your stretch, but rather on the ability to “barber shop” 75 Gradually you can advance to No questions will be answered in THE ETUDE tinless accompanied by the full a biographical sketch by Philip Hale**(1667) pupils upward to such heights move the motions give chords, diminished seventh chords, tests on excerpts that require finer per- of artistry arm. These arm dom- name and address of the inquirer. Only initials, or pseudonym given, will be pub- HANDS that TWO PIANOS, FOUR they will no longer be a sense of relaxation to the pianist. They inant ninth chords, abrupt Naturally, in fairness to all friends and advertisers, can express opinions ception to decide which is the most effec- considered modulations lished. we no Mendelssohn Rondo Capriccioso. Arr. by Perry W. Beach (1659) Set of two parrots. These are to the copies 1-00 tive method of execution. liberate the mind so that it may be given the devices of the swing band as relative qualities of various organs. Mendelssohn Scherzo from Incidental Music to “A Midsummer Night’s Instances over to the musical composition and its 2. It should be objective, rather where the pedal is changed than Dream”. Arr. by Isidor Philipp. Set of two copies 1.25 interpretation. motions subjective. Impersonal rather (1655) 1.50 even though the harmony remains the The same may than per- Rachmaninoff First Concerto for the Piano sonal. Solo passages Saint-Saens Second Concerto for the Piano, in G minor, Op. 22. Edited by same might be the next step. be used for the playing of double notes —except recitatives Try the Isidor Philipp (1405) 2.50 pupil on some and octaves going from the white to the —will generally sound better if sung measures where the same Fundamentals at the by Tchaikovsky Romeo and Juliet, Overture Fantasy. Arr. by F. L. York (1654) 1.00 chord is black keys. the entire group. Avoid repeated but where the pedal is sentiment, Widor Toccata from the Fifth Symphony for Organ. Arr. by Isidor 1.00 changed to secure The backward and forward motion of “sweetness,” vocal display. Philipp (1660) . Set of two copies more rhythmic pulse Piano Q. I would like very much some information “musical” with the exception of the octaves or clearer the arm is most effective 3. It Must Create It is small about three feet VIOLIN SOLO melodic progression. Then se- when perform- the Mood of Wor- on an old organ. — mentioned for the second trill. Although we The First Thirty Concert Studies for the Violin, Op. 123. lect illustrations ing a singing melody touch. In melody ship. No rule can be applied wide and a little over three feet high. The have used the trills beginning with the upper De Beriot which sound indistinct ( Continued from but a great Study-Version by Harold Berkley (1658) 1.25 Page 156) is two keys less than four octaves—no auxiliary in teaching, have not been satis- with playing the falls deal range we pedal, even though it is arm back and is caught of true worship music has Rode Twenty-Four Caprices. Study Version by Harold Berkley (231) 1.00 properly these stops and two foot pedals. The name on the fied that Bach intended the auxiliary (upper) changed. Let your pupil by the extended finger tip, and then the characteristics; Tongue Organ, C. M. Needham note to accent, “melody” listen to rapid to a organ is “Silver have the when the VOICE AND PIANO musical concept. All motions find the approxi- passages in the lower arm rolls up on the finger tip and is a. Melody that is diatonic and Sons.” I am anxious to know note was distinctly the lower note. for Medium*Part of the Voice, Op. 9. With half of the key- their rather than Concone Fifty Lessons the legitimacy as interpretative age the instrument, and whether or English texts by Phyllis Lintott and others (1668) 1.00 board, played first with means, ready to fall back onto the next finger. chromatic, rugged rather than mate of and then with- suave, not valuable. From what I since the direction of motions not it would be at all Q. I am working on several of the Bach Gems of Sacred Song (Low Voice, 1656; High Voice, 1657) 75 out pedal. This will help as well This action is similar to a trapeze per- too obvious. him realize that learn the Needham Company is older than the Chorales have Book VII Peters edition, but Studies in Bravura. Provided with explanatory text of as the various positions and the inner , — Lamperti Vocal a too free use of the former, who pulls himself up and then b. Rhythm that is Hamlin Company, and the organ a pedagogical nature by Estelle Liebling (1633) 75 pedal in the lower conditions free, speech -like, Mason and believe that I would make more headway if of the apparatus (the and seventy years old, Voice, register of the piano causes whole lets himself down. prose-like, not restricted might be between sixty I had Books V and VI. I also need to do some Mendelssohn Sixty Selected Songs (Low 1644; High Voice, 1645) blurring of arm by bar lines or and English texts 75 and hand) produce characteristic but that is not definite information.—G. S. reading concerning the Chorales as my edition German tones. In a chromatic scale, and in trills, time signatures. effects; it is therefore evident does not give me many hints concerning tempo Or play that such rotary motion can be used c. A. The Purchasers’ Guide for Musical In- CLARINET some Bach, first with much to advantage. Harmony that is diatonic, based or registration. Can you suggest something? on Clarinet Studies. Eric . motions must be selected according to struments does not list the Needham Company, Wiedemann Thirty-Two Compiled by Simon (1647) . .75 pedal and then the By learning these motions in the ele- triads rather the publisher The Etude carry Peters with just enough than seventh chords. if any Does of to musical effects desired, so that but we are publishing the inquiry and bring out technic mentary stages, one acquires correct Editions? If not, where may I purchase them? PIANO QUINTET occasional accents or important mo- Three Questions to Ask of our readers send us information about the is really an interpretative means even —E. T. S. Schumann, R. Piano Quintet in Eb major. Op. 44 (1648) 3.00 notes. Continue to tion habits that remain unchanged 1. Has it instrument, we will forward it to you. We can- train your pupil’s ears in the in any secular association? beginning. you as to the value of the instru- on contrapuntal the progress of the pianist’s study from 2. Is it not advise A. We suggest your consideration of the music until he is aurally The two impersonal? motions of the arm, the the earliest ment. following works: “The Liturgical Year” (Bach conscious of the fact that to the final stages. While 3. Does it create a independent lateral, and the backward mood of worship? Chorales) edited by Reimenschneider which 3 East 43rd St. " ^ melodies stand and forward these motions are practiced in secure a out more clearly when motion, their full- Q. Can you tell me where I may contains a chronological index, suggestions for may be used advantageously or played with a in ness at the beginning, they become piano with pedal board, or a Pedal Organ, interpretation and registration, and also quotes minimum of pedal. the playing re- of scales. In the C major duced a two-manual reed organ with pedal board? I edition of “Bach’s Organ In the same way, work out and integrated in the advanced tempos used. Novello listening scale, start with the have been paying for organ rental, but would 18’ con- exercises thumb on C with stages to a point BUY WAR BONDS Works” volumes 16, 17, and 19 which that will help performers almost not noticeable, AND to practice in my home. with the arm forward on the rather have some way tain Chorale Preludes by Bach with introduc- other key. When the but the inner workings R. R. PLAY A DEAGAN MARIMBA phases of technic and interpreta- of the psysiolog- — tion by Ernest Newman. Volume 20—the second and third fingers are played, STAMPS FOR the ical mechanism will remain correct. VICTORY mail. Chorales—also contains comment by Ernest A. We are sending you information by K Easy to master . . . Under ordinary conditions the pub- For new pipe organs—address any of the pipe Newman. 1944 CATALOG lishers of The Etude carry Peters editions, but always popular . . . organ builders. under present circumstances the stock is lim- kxkxxx: richly satisfying. and at present they do not have volumes Q. Will you send me information and prices ited, JUST PUBLISHED! with two or three V or VI of that edition. Write Dept. E. on used or new reed organs, Important Works heretofore avail- electric blowers?— manuals and pedals, and able in foreign editions only— for J. C. DEAGAN, INC., CHICAGO R. H. A Q. Can you send me the address of a com- Piano solo and 4 hands, 2 Pianos, pany, preferably in this State, that deals in Violin, Viola, Cello, Chamber Music, A. We are sending you information in ref- two manuals and pedal reed organs. Also of the Miniature scores, etc. erence to used and new reed organs would like details of used organs of this type. three-manual in- Catalog sent on request WM*. S. HAYNES COMPANY type you wish, by mail. The What is an organ of this type worth? Are they free Q strument may have to be built to order, as the used very much?—F. H. Flutes of Distinction usual type is two manuals only, and pedals. (XXXXXXXXXXXXXX) A. We are sending you information in ref- INTERNATIONAL MUSIC CO. STERLING SILVER-GOLD—PLATINUM “Trio Sonata” erence to reed organs, by mail. The price de- Q Q. I am studying Bach’s size and type of the instrument. 509 Fifth Ave. York I7,N.Y. Adagio movement, page 69 in “Historical Or- pends on the New 0 Catalog on request instruments are used quite gan Recitals,” by Joseph Bonnet and am hav- We imagine these DOOOOOOOOOttO 108 Massachusetts Avenue, Boston, Mass. ing a great deal of trouble with the trills in extensively. the third measure, first line, right hand, the build pipe organ for second line, first measure left hand. Please Q. I would like to a help me with their correct meaning.—R. B. B. my home. Have read all the available articles N EVERY COMMUNITY in our library on organ, and find it not suffi- YOUR PLAYING there are ambitious We offer them without Widor-Schweitzer edi- IMPROVE BUY WAR BONDS AND men obligation to you. A. In volume one, cient. is the price of “The Contemporary and women who know the Tliis What for booklet show- advantages of great musical organization Bach’s “Organ Works” under the head- Pianists—Send free new now in its 39th suc- tion of American Organ” by Barnes and “The Electric ing you may greatly improve your STAMPS FOR VICTORY / inspiration and ideas for their essru following: how musical ad- We are the only school giving year has developed ing “The Ornaments” we find the technic, accuracy, memorizing, sight- vancement. It instruction in music and trained many musicians Organ” by Whitworth? Have read of two ways is to those our Extension the by the Clavierbuchlein, reading and playing thru mental Courses are Home Study Method 17 SUCC f tea “On the third page of is admitted to the^pipes; in one which includes in hers - To you in which air effort ot the greatest benefit. its teaching c‘ F we offer the same Bach gives muscular co-ordination. Quick results. Practice 11563 advsn'Z :S u T written for his son Friedemann, neCeSSafy t0 1Ch is one pallet which lets air in from famous pianists, teachers and obtain Degree h3Ve been iven ’ way there minimized. Used by ^ of Bachelof « » *em. Don’t wait ‘explication.’ ” This “explication The most successful of Music.* anv lnni1 ,T.16 the following chest into an upper one on which students. No obligation. A New Popular Text Book .... musician, of course, is WD1 bring a lower the very t-JtpA you our catalog, illus- includes the kind of trill you mention, and is Broad well Studios, Dept. 64-C Covina, California busy one. Yet he is the one pipes of different stops, but of the same note, who finds extra time for ion in the Bonnet edition, on the second Scientific Piano Tuning and Servicing Openings in the given rest; the other in which each pipe has a sepa- something worth while. And to such music field are SThSM a one Extension v“Sr musical works. This illus- • 63 Cuts • 151 growing page preceding the pallet. Which is the better? Which 27 Chapters Pages Courses are the greatest very rapidly. There are This Is rate way boon. It isn’t always YOUR Opportunity—. tration is on a quarter note which may be of Technical possi- big paying MatLMail' ttlcth, r * roorv, way is most economical? Which way is more T Answering Etude Adver- Glossary Terms ble to give up an interesting positions for those _ Coupon TODAY! dotted quarter. class or position and ' * ; extended to the length of the would you advise me to $3.00 postpaid who are readyady for practical? Which way go away for instruction. them. The Widor-Schweitzer edition says further: tisements always pays: build my organ? I am enclosing list of stops ALFRED H. HOWE Dept. A .4I0 “Observance of these directions will insure I would like in my instrument.—F. K. - The Home Study Method is which delights reader 116 Pinehurst Avenue New York, N. Y. equally advantageous to Do you correct performance. Begin as a rule with the L and the ] the beginner hold the Key sample ,essons or the amateur. Because the markedirked with and full information permit yourself The price of “The Contemporary Amer- work can be an Xbelow^’ regarding course I have higher auxiliary and do not A. done at home in spare time, with no to the a "0 to be put out by the (for a modem ear) ican Organ,” Barnes, is $2.50; and of “The interference best teaching ’ Teacher s Normal Course with ones regular work, i Piano,p| Harmony harmonies or the Electric Organ,” Whitworth, is $7.50. The lat- many minutes each day may J Student s Course Violin harshness of the resultant be used 00 Cornet—Trumpet The trills ter, being published in England, price and de- which ordinarily go to waste. position—a Diploma? “«—Beginner’s Cuitar increased difficulty of execution.” T Puhl.vb C ^I'D ! Advanced Cornet c h ° o1 Mus - to be livery cannot be guaranteed. The two methods . Advanced Mandolin to which you refer, may be intended n AdvancedA^ — Voice =J Composition Saxophone included in the illustration given for a quar- you describe are (1) The Slide Chest, which Look Back I Choral Over the Last Year It is up to YOU. rain n g & Sight Singing Conducting Piano Accordion On your . edi- cheapest and (2) the Individual Valve H HistoryHlcJ ofi A A Clarinet ter note, marked “idem.” There is, in the is the own decision will Music Reed Organ bass What progress have you made? rest your Dance Band Arranging tor’s mind, however, objection to this inter- Chest, which is the better, provided is Ferhaps you have future Banjo wanted to send for our success. Fit yourself for pretation, because of the “clash” that occur* set off on separate chest to simplify the rob- ‘ catalog and sample lessons be- Name. fore a bigger position —the fact that the upper (auxiliary) note gets bing question. Both methods are practical, but 1 just to — demand • look into them. That is your Adult or Juvenile. privilege. larger fees. the accent, will not end the individual valve chest is most practical. You can do it! Street and that the trill No. 1 properly unless a triplet is played in place of If unification is intended use the second or individual valve action, as the slide chest is City. the last two notes, which triplet is not in- Wa Engravers cluded in the illustration. Putting the part not practical. Your Pedal Organ specification fV . State suggested preceding includes an Open Diapason 16', and unless this Are you teaching at the start (by the O now? i f „ • • - If so, the trill), before the first accent, will remedy stop will balance your other specifications, How many pupils have you? Lithographers 5L Do you these objections, the exception of con- which do not indicate a very large instrument, UNIVERSITY EXTENSION hold a Teacher's with CONSERVATORY' Certificate? 16' Write to us about anything in this line (Address secutlves (octaves) in the second trill, between we would suggest the inclusion of a Bour- Depf. A-41 0) 1 525 E. you Studied Harmony? 53rd ST., CHICAGo/lLlT and practical. Your Would you the left and right hand parts, to which Bach don as being cheaper more SEND FOR ITEMIZED PRICE LIST like to earn the Degree of Bachelor of possibly had no objection. This treatment may diagram of space available also indicates that 180 not be according to the Bach tradition, but the 16' Open Diapason pipes would have to be 'FORWARD MARCH WITH MUSIC” is one way of making the passages sound mitred to be accommodated. THE ETUDE MARCH, 1944 ’'FORWARD MARCH WITH MUSIC” 181 — — —

Some More Kreutzer Studies Two American Singers (iContinued from Page 153) AMERICAN Prominent on RADIO PROGRAMS and Engaged by Kreutzer without working on this study not to mention musical understanding THE METROPOLITAN OPERA COMPANY is surprisingly large. There is no justifi- and imagination! Fortunately, there are BERKLEY the study many fine etudes ^Answered ly HAROLD cation for this neglect, for which will enable him CONSERVATORY contains deal of fundamental to gain at least a great the technic, and one No questions will be answered in THE ETUDE unless accompanied by the full name DONALD DAME technic for both left and right hands. of the best is this study by Kreutzer. JOHN BAKER and address of the inquirer. Only initials, or pseudonym given, will be published. TENOR Taken very slowly, it is most helpful After he has learned BARITONE the notes of the for improving the intonation of a student study, the s^MUSIC student must learn to dif- who, through carelessness, has allowed ferentiate sharply among three separate CHICAGO his ear to insensitive. styles 58th SEASON become As an of bowing: the staccato call also (...) Concerning by Maggini Many fine works for this combination exercise in free bowing, it is equally the semi-staccato (v- ^ for the use of a piano. There are a number of Accredited ^), and the del C. E. H., North Carolina.—I am afraid courses in piano, vocal, violin, organ and all other Mrs. classical that require also two branches of valuable. To obtain the most benefit tache ( ). compositions The main melodic that it is quite impossible to say from your Music and Dramatic Art leading to line flutes or two oboes. (5) If by a violin quartet from it, the student should practice it is played either description whether your violin is a genuine semi-staccato or at- you mean four violins, then there would be no In fact, it is always impos- in the following manner: tache; Maggini or not. to the DEGREE—BACHELOR OF MUSIC the accompanying notes part for a cello; if, however, you refer generally to judge the authenticity of a violin from staccato. sible string quartet, then the cello will take the DEGREE—MASTER OF MUSIC I do not know of any written description, for the better makers edition a lowest part. (6) For books of violin music, I which makes these been imitated so cleverly that a de- differences quite have suggest that you write to the publishers of of a good copy is almost exactly that Under Authority State of Illinois clear, but the following scription The Etude, and ask to have catalogs sent to quotations may genuine instrument. Maggini was one of help the of a you. In them you will certainly find much student to an understanding most copied of makers in the last hundred Unsurpassed faculty of 130 artist instructors, many of national and of the that will appeal to you. But be sure to specify the necessary technic: and fifty years, for his mannerisms of style international reputation. exactly the sort of music you wish—that is to themselves to easy imitation. In Germany lent say, for violin alone, for violin and piano, or France, particularly in France, many ex- Baker on his Only two or three and for more than one violin with or without Mr. Thorough preparation for concert, radio, opera and teaching inches of the initial Maggini were produced. I Prominent Radio posi- cellent copies of piano accompaniment. Radio Programs Mr. Dame on his tions. Weekly recitals, lectures, school of opera, training in students* up bow should be taken on the string, have seen some Maggini copies by Vuillaume I am glad you have found the Violin Ques- lias sang Artists Regularly Radio Programs symphony orchestra, bureau the rest of the were really fine violins. If you wish to for securing positions. stroke to the frog being that tions so interesting, and I hope you will find Their has sung know the value of your violin you should Feature on made in the air. Before the down bow them as interesting in the future. . . .Densmore have it personally examined by a recognized ROADWAYS . Programs Songs BLUE ARE HER EYES is played, the student should see that expert. One thing I can tell you—the label (O. D. Co.) Wafts The Prolific Hopfs Published by SUMMER MASTER his right arm—from the elbow, through in your violin is certainly not genuine, Mag- SCHOOL (O. D. Co.) died long before 1695. Miss F. M., 'Texas.—I am afraid I cannot tell the wrist to the knuckles—forms a gini THE ROAD TO HOME The tone of a genuine Maggini is dark and you very much about your violin, for the THEODORE Three Summer Sessions — May 11 to straight line parallel Strickland FORGOTTEN Cowles June 21, to the floor; and rather heavy in character, though of a lovely name “Hopf” appears on a tremendous num- PRESSER CO. June 22 to August 2 and instruments. From about 1680 D. Co.) (O.D. Co.) August 3 to September 13 that his fingers, particularly the fourth quality. Occasionally one sees an instrument ber of German (O. the nineteenth century there finger, are slightly that has a brighter, more soprano, quality, to the end of OLIVER curved. The down It must be members of the Hopf JEAN Burleigh Speeia 1 Summer Courses in Public School clearly understood that the but they are very rare. Because of the sombre were more than twenty Music, School of Acting, RECESSIONAL. . De Koven DITSON CO. bow is then played by the entire arm, making violins in Saxony, and nearly (T.P.Co.) Childrens Musical Training semi-staccato notes (s- -7-) quality of tone, and the fact that most family ( Robyn System), Oxford Piano Course are held a (J.C.Co.) the change to the top note being considerably oversized, they are all of them contented themselves with brand- made fraction of a second longer Magginis are THE JOHN than the after professionals. Gen- ing just the one name on their violins. The LADY MOON Edwards Member of the National Association by the arm falling in the shoulder joint. not much sought by of Schools of Music staccato notes ( • • school Bartlett CHURCH CO. ) . The bow, therefore, uine specimens range in price between $1000.00 earlier Hopfs appear to have founded a A DREAM (O. D. Co.) The two sixteenths are played softly, but which later followed must leave the staccato notes while and $2500.00, according to condition; though or style of their own was (O. D. Co.) Send for free catalog. Address John R. with still closely Hattstaedt, President a clearly articulated martele, at producing higher prices have been paid for exceptional by their successors. As they stayed so HOUSE THAT JACK tone on those marked semi- PUBLICATION HEAD- the instruments. to the one model and used only the family BUILT Homer point—and the whole process re- staccato. LIFE. .Mana-Zucca QUARTERS—1712 Chest- This is by no means easy name to identify their work, one is forced to I LOVE peated to nut St., Phila. 1, Pa. (J.C.Co.) AMERICAN again from the fifth . (J.C.Co.) CONSERVATORY OF MUSIC eighth-note. do, and a considerable amount Chadwick the conclusion that they thought quite well Practiced of slow Violins by in this way, the study is an practice of themselves and their product. Nevertheless, may be necessary before York. I am afraid there is little 572 Kimball excellent the S. D., New — the typical Hopf violin has a square, rather Hall, Chicago, 111. preparation for chord playing, student’s your violin. Chadwick’s bow arm acquires the requisite I can tell you about crude-looking appearance. Good wood was as well as good practice for the auto- was a commercial firm doing business in Lon- - sensitivity. But neither student generally used, however, and many Hopf vio- matically nor don early in this century. Whether they are correct placing of the bow at teacher lins have a very fair quality of tone. If in good BepenbabtUtp RARE OLD VIOLINS should grudge the time business, I could not find out. They the frog. spent still in condition, they are worth at the present time on it, for to make violins for the mastery of part-playing employed some workmen between one hundred and three hundred dol- H>ince 1874 H>erbing a Clientele Perhaps one reason our customers find so When the pupil is advanced enough them, but most of the instruments bearing adds immeasurably to the resources lars. They had a rather wide popularity in diapers much satisfaction in old violins from our MILL1KIN CONSERVATORY to play of brand were imported from Germany, of ©ifScriminating string OF MUSIC the study fairly rapidly, the their Germany at one time, and for that reason a violinist’s bowing is: SELECT ONLY FINE EX- OSMOPOLITAN technic. the brand being affixed in London. The Stradi- collection WE DECATUR. ILLINOIS second variant given in were quite extensively copied. I have never SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. the Ditson Edi- Many nothing, all, others of the Kreutzer “Studies” vari us label in your violin means “Germany” on REQUEST AMPLES WITH EXQUISITE TONE. After SCHOOL OF' Offers thoro training in music. Courses tion—to heard of a Hopf with the word CATALOGS and LITERATURE MUSIC leading to be played in the lower half can except that possibly they used a Strad of that Bachelor of Music Degree. be adapted along under the name; consequently, I am tone is what all players want; sonorous, SHIRLEY GANDELL, M.A., Oxford Diploma and Certifi- lines similar to instruments. branded te ln la Voic of the bow—should by all date as a model for their better University, England, , Vi °lin one President. '’ > Organ, Public School means be those inclined to think that your violin may be soul-satisfying TONE! f? ,1 l’° , we have been discussing: responsive, 4 010 year. Accredited. Offers Music Methods and what However, the pernicious custom of inserting Son courses Music Kindergarten Methods practiced, for it requires a good of the many copies made for export purposes William c^ClVlAr and in all branches of Music. Certificates, deal of has been said all styles and in these two articles Stradivarius labels in violins of this is the diplomas and degrees. Desirable board- Bulletin sent free upon request controlled agility. some thirty or forty years ago. If 207 South Wabash Avenue—Chicago 4, III. Send for New List. $100 up. ing accommodations. should point qualities is so widespread that they may not Located in down- out to the student ways case, I cannot give you any idea as to its town musical W. ST. CLARE, MINTURN, Director No. Chadwick AMERICA'S ONLY JOURNAL center. 42, in D minor. Polyphonic play- in which have had even that justification. PUBLISHERS OF Box E, 306 S. Wabash Ave., Chicago. he may invent further variants value. VIOLIN AND ITS LOVERS ing is violins vary in price between thirty-five and DEVOTED TO THE FRANCIS DRAKE BALLARD not part of the natural idiom of and adaptations that apply to his own about a hundred dollars, according to the the violin, and before a violinist can expended on The Maker Pfretzschner "VIOLINS AND VIOLINISTS" ROOM 408 viohnistic problems—and the student quality of the workmanship give a good performance produced some Mrs. D. W. L., Tennessee.—There was a Edited by Ernest N. Doring of one of the who is them. I am told that the firm 320 EAST 42nd ST„ NEW YORK (17), N. Y. BALDWIN-WALLACE wide-awake enough to invent makers named Pfretz- Specimen Copy 25c— 12 Issues for $2.50 unaccompanied fugues fairly good bows, but I have never seen any, large family of violin DETROITINSTITUTE of Bach he must exercises for Ger- himself is making experience. that worked in Markneukirchen, CONSERVATORY OF MUSIC have acquired a very tire right so cannot speak from personal schner OF MUSICAL ART special technic— kind of progress! many, during most of the last century. G. A. BEREA, OHIO (suburb of Cleveland) Since 1914 has prepared ambitious young Pfretzschner appears to have been the pro- Affiliated with a first class Liberal Arts people for About Instruments and Music College. careers in music, dancing dra- of commercial firm; that is, he em- Four and five year courses leading to degrees. prietor a MASTER-MADE VIOLINS Faculty matic art. All Instruments, voice theory Sister C., Rhode Island.— (1) The of Artist Teachers. Send for catalogue M. D. number of workmen on a piece-work pJtnaoUns or informa- ployed a !ia« composition, sacred music, conducting, cam- great The finest hand product of a maker of interna- tion to: strings used on a violin have a very cellos, bows panology, radio technique. Accredited. basis, and produced violins, and tional reputation. Superb in appearance, perfect ALBERT RIEMENSCHNEIDER. Di- influence the tone. violin never sounds Dean, Berea, Ohio as and defies. Faculty of 70. Catalog. on A grades, according to the demand. big soulful tone. $100 and $200. . . , of varying in handling, a A. C. Jackson, Bus. Mgr., 52 at its cheap strings are used. Then ILL. Putnam Ave., Detroit, Mich. best when The violins usually followed, more or less 28 E. JACKSON CHICAGO, Ask for booklet and free trial offer. the strings have to be of the right thickness. Repairing and Revoicing closely, the Stradivari model, and generally HILL PRODUCTS .... APPRAISALS Exjtert If they are too heavy, the tone will be dull; were coated with a light amber varnish. A Repairs by John Hornsteiner Chelsea Fraser if they are too thin, the tone will be thin in The Birth of a firm of this sort turned out instruments of 2025 Stark Street Saginaw, Michigan New Era obtain strings of the best quality. You can several different grades; so your violin might firms that ad- QltfbriattiJnfilitutF quality from any of the violin be worth twenty-five dollars or a hundred nf(|)ugtr sorry to say vertise in The Etude. (2) I am dollars. ( Continued and fifty from Page 135) that I cannot tell you anything about the Confers Bachelor of Music Degree, The name of Pfretzschner is usually asso- VIOLIN PLAYERS LEARN "SWING" MUSIC Master of Music Degree, transcription of Violin Playing Artist Diploma value of your violin from your of the family Basic Principals your ciated with bow making, some Jaspan. 18 Short Lectures. Secrets Quick course to players of all instruments—make WARD LEWIS, Dean of have an idea of by Carl arrangements of "hot" breaks, choruses, obbligatos, the Faculty of the label. If you wish to quite excellent bows. Hermann of Violin Playing Revealed. Price S3.o0 own having made embellishments, figurations, blue notes, whole tones, e<.c. Beryl Rubinstein. Director (on leave of absence) We have been endeavoring its value, you should have it examined by a 1620— 14th St.. N., St. Petersburg. Fla. 3411 Euclid Ave., Cleveland, O. to make Over and over Richard Pfretzschner worked with Vuillaume, clear again, during the past recognized genuine Joseph Guar- MODERN DANCE ARRANCINC that music and expert. A very good copies of Tourte and special choruses musicians are three jears, in and made Duets, trios, quartettes and ensembles— The Etude and elsewhere, we nerius del Gesu would be worth up to suspensions anticipations especially fitted to assist in Voirin. —modulating to other keys— — promoting have pointed it is also pos- points color effects—swingy backgrounds out that it is our firm belief $30,000.00, or even more; but BUY BONDS AND —organ — the world-pervading WAR Write today. understanding upon that sible to buy a violin with a correctly-worded the world is on the threshold of the An Amati Copy ELMER B. FUCHS Buy which the Guarnerius $10.00. viola is VICTORY More War Bonds and Stamps for new era of mankind label for (3) A STAMPS FOR 335 East 19th St. Brooklyn 26. N. Y. Victory must be greatest spiritual revival Florida. As stated on the label, based. Meanwhile, in history, and that known in England and America as a “tenor” Miss J. H., — all sensible people this French copy of an Amati. movement is to have a vital part in the violin, though the French name, “alto,” is your violin is a know that it, it to discuss the Golden really the same shape There being nothing further to identify Rule redemption of civilization from the wilderness more accurate. It is of with larger, might have been made by any one of five earn LIBERAL COMMISSIONS war-hungry maniacs is of as a violin and about one-seventh Music Lovers to useless wars and more wars. At this moment, in different makers. Violins by the vari- These fiends though the dimensions of violas vary rather hundred ETUDE. Part or must be destroyed—lock" nianj Amati family have been securing subscriptions tor THE CHICAGO MUSICAL creeds and religions, giant forces al- widely. Some are no more than fifteen-and-a- ous members of the COLLEGE stock, and barrel —before we eighteen copied in France by violin makers of every full time. No Cost or Obligation. Write for com- Founded 1867 by Dr. F. Z.egfeld have a' ready are at work with globe- half inches long, while others are RUDOLPH GANZ, President powerful conscientiousness. Some “clearing” of a few years inches. fifth lower than a degree of talent and CONFERS DEGREES OF B.MUS., in which to encircling projects The viola is tuned a plete details TODAY! Address: B.MUS.ED.. M.MUS., M.MUS.ED. to bring this about. Dur- . . . it is al- made instruments of real quality; others Member of North Central make a workable League of violin and the technique of playing Association and National Association of Schools of Music Nations and ing the coming said about their product, the CIRCULATION DEP’T ALL respite from slaughter, all most exactly the same. In a string quartet, the well, the less BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN achieve an international know all about your ETUDE MUSIC MAGAZINE AND NON-PROFESSIONALS understanding thinking people must join wholeheartedly in viola plays the second lowest part—which is better! If you wish to THE Address which will endure, in should take or send it to an expert 1712 CHESTNUT ST., PHILA., PA. Registrar, 60 E. Van Buren St., Chicago 5, Illinois order to sidetrack this spiritual probably why it is called a “tenor.” (4) A violin, you revival to resolve the world dis- form an opinion future wars. complete string ensemble consists of first and for appraisal, for no one can cords into harmony in the glorious era. description. new second celli, and double-basses. from a written 182 violins, violas, "FORWARD MARCH WITH MUSIC’’ 183 THE ETUDE MARCH, 1944 "FORWARD MARCH WITH MUSIC . — J

had time to practice it, instead of making • • 1894-1944 • a mess of some difficult sight-reading • 1894-1944 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 Don’t give your audience a chance to feel sorry for you. Perform in p ablic only tfust flultlisltad! Newest Volume in the Radio City Series of Albums Watch for Minor music that you know so well that you need give but little thought to anything COMPLETE LIBRARY OF PIANO MUSIC but interpreting the piece Details in the best BY THE WORLD'S GREATEST MASTERS possible manner. MOUSSORGSKY This series of albums—now including 38 volumes—contains the finest com- omui Technic is the means by which 148) ( Continued, from Page one positions of the most distinguished composers in the world, including: displays his musicianship; Selected Piano Compositions it is not an TSCHAIK0WSKY BACH SIBELIUS end in itself. The exception to this might CHOPIN Observation and memory; those are Volume No. RIMSKY-K0RSAK0FF BRAHMS be the performance of some shallow 38 SCHUBERT the essential tools of the interpretative com- M0SZK0WSKI LISZT position that has no other purpose in CHAMINADE GRIEG SCHUMANN musician : to observe by what means and collection of the famous composer's being than to The finest masterpieces serve as a pyrotechnical among many other distinguished masters devices life may be breathed into the . . Especially adapted for teaching and home use . . . show-off number (“fire-works music”). . Each Volume—60c Net COLLEGE composer’s inspired work, and to have More than one inexperienced teacher Carefully edited and fingered ... An invaluable addition the means and devices always at finger- has suffered mental anguish and financial music library. The new RADIO CITY ALBUM catalog, corn- tip to use with every new piece added to to any enpp 1 loss by s' rfttl' contents, will be sent upon request. appearing on her students’ re- plete with CONSERVATORY the repertoire. PRICE 60c Net OF MUSIC cital program with a Chopin Etude The general public does not, cannot, or a Liszt Rhapsody that she played well in On Sale Direct From realize what it is that delights them, but at Your Favorite Music Dealer's or her student days, but could they do so no A professional music school in an well know when the life-giving ele- • Radio City • New Yorl attractive longer owing to lack of practice time. EDWARD B. MARKS MUSIC CORPORATION • R.C.A. Building ment is absent. As a painter said to me college town. (Member of the National Her inborn enthusiasm for the music in the Paris salon in the spring of 1941 • 1894-1944 • 189 4-1944 • Association probably carried her away from • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 • 1894-1944 of Schools of Music.) (oh, yes! this great art exhihit was held the realization that even the simplest Chopin Thorough as usual in spite of the German occupa- instruction for carefully selected Etude formerly required hours and hours tion) : “The public applauds only the Bonner’s one-act opera “Celui qui epousa students in of practice. all branches of music under artist teachers. vitality of the painting, but only the une Femme Mutte,” (The Man Who OHN artist is Building Public Musical Taste at the I Special training trained to see by Married a Wife”) , produced WILCOX in band what means Dumb and choir direction. faculty member American Conservatory of it is attained, the intricate detail of light Theatre des Champs Elysees in 1925. Music, Chicago, will be guest teacher at Write for catalogue and shade, ( Continued Page 146) describing Oberlin’s conservatory the focus-points, the accents, from On March 30, 1925 for the first time the COLORADO COLLEGE courses and its superior depth of perspective, the things sug- at Carnegie Hall, New York, an opera equipment (200 practice June 26-August 19, conducting a Vocal Clinic for gested but not actually seen, that make for all orchestral instruments, valuable school for listeners. Even better, composed by an American, written by an teachers and giving personal lessons to singers rooms, 23 modern organs, etc.). The Teacher’s available Degrees: Bachelor of an only fairly good painting and speakers. better than those containing the most important and perhaps, is the use of records which can American, was performed by an entirely Music, Bachelor r Hundreds of teachers from 35 states have found] of School Music; Master of the best of photographs. The painting the most difficult passages from the be played over and over again at will, American cast, to the accompaniment of Lhelp £.nd inspiration in Mr. Wilcox’s Clinics. Music, Master of is difficult enough, but it is not nearly Round Music Education. Table standard orchestral works. The student and which thus afford a real intimacy an all-American orchestra, and directed Write for special announcement and outline of study course to Dr. WM. A. BLAKELEY. Director so difficult as is the seeing of the object with the music. most remarkable Summer should not play these instead of his as- The by an American conductor. School, Colorado College, Colorado Springs, Colo. Frank H. Shaw, Director, to be painted.” Box 334, Oberlin, ( Continued his record 'story I know concerns the man Ohio. from Page 144 ) signments; he should supplement opera to be given And so it The first American is in music: the playing of passages who fell in love with Dukas’ Sorcerer’s regular lesson work with these Joseph the notes—that is in France was “Fay-Yen-Fah” by nothing! All that mat- Apprentice, and played it two or three instance, the long pedal in both recita- as drills. Crocker, Philadelphia Conservatory ters lies underneath, beyond, behind, Redding (Charles Templeton tives in the first “If the young clarinetist, for example, times a day, every day, for three years! only to be movement of the “Sonata the Monte Carlo Opera uncovered by intense, pene- through the When the record wore out from con- librettist) at of Music in D minor, Op. 31 No. 2,” or reads his way thoroughly trating, all-seeing on th first 1925. 216 observation of the in- book, will have provided him- stant use, he bought another. This, I ad- House, February 26, South 20th Street page of the slow movement of the clarinet he Maria terpretations of the great; only “C operatic broadcast heard in Ezerman Drake to be Minor self with invaluable help in sight-read- mit, is carrying things to extremes The first Managing accomplished by Concerto.” Director having every device of of great- but it was certainly a good way of America from Covent Garden, London, Faculty headed So, it’s all very ing, in technic, in rhythm—and, by color, expression, and emotion simple. If you want to COLLEGE OF FINE ARTS always at est importance, he will have this drill familiarizing the man with his music! was in 1931. Olga Samaroff, Mus. D. enwoo hand. reveal the soul of Beethoven you have J the point is that one enjoys music Courses leading to Degrees SYRACUSE only to in the very passages that he will later be And The “Star-Spangled Banner” was first UNIVERSITY play him as he directs, ff he like learning in proportion to the understanding one speaks the truth in called upon to play. It is sung when fresh from the press, in a CONSERVATORY OF MUSIC an alien tongue, you Nine Major Courses questions in has of it. Consequently, the more you leading to Degrees must learn his the answers to examination small one-story frame house long occu- Division of LindenwoodCollege of language—not translate Bachelor of Music and Master of Music know, the more pleasure you will get. for Women. it in advance! The only other counsels that BOSTON UNIVERSITY Thorough prepara- a feeble, approximate version of pied as a tavern by the Widow Berling, tion for careers in music under Piano Violin are applicable to all young orchestral “Ultimately, I feel sure, we shall de- a distinguished Music Education your own. Enigmatic faculty. B.M. Getting spots there will next to the Holliday Street Theatre in Co£fer/e c/lfft/dec degree, certificate Organ Cello Composition Ahead for the most velop as a nation of amateur music- and diploma Through always be in Beethoven’s musicians are—to strive in piano, voice, violin, organ, /oice Harp Piano music, but many Baltimore. Offering complete courses in Piano. Voice. Organ, Teacher Training perfect performance possible at all times; makers; and the beginning must al- harp, other instruments, less than are Violin, Cello, Brass, Woodwinds, and Percussion instru- pub- commonly thought For Theodore Thomas, the first “great” lic school music, theory, har- Summer to learn accurately the first time so that ready have been made, because there is a ments, Public School Music, Composition, Church Session— July 3-August 12 these Orchestra, mony, history and appreciation Competition you must apply your musicianly Music, Musicology. Chorus, Glee Club, Band. Regular Fall orchestral conductor in America, was a of music. Term Starts September 6. unlearning and relearning be avoid- commercial supply of records to be had Faculty includes members of Boston Symphony. Bache- Well-equipped stu- knowledge; and may dios, note, I did not say, “your lors and Masters Degrees in all musical subjects. Dorms. beautiful buildings on ed; and to get to know as much music which present great sonatas, trios, and native of Essen, East Friesland, coming 138 Send for personal acres near St. Louis with Bulletin E (.Continued, from Page 145) interpretation.” Catalog. COLLEGE OF MUSIC, 73 Blagden St.. Boston. its frequent concerts, Harold L. the like, with one part missing. The to America at the age of ten. operas, Butler, Dean Not for a as one can. other musical attractions. College moment must we forget For of Fine Arts that fills catalog and view “Finally, then, there is the audience to music-maker plays the record and New Orleans was the first city in book, write SYRACUSE UNIVERSITY, music, for Beethoven, feel discouraged and dejected, was a militant Harry Syracuse 10, N. Y, but will be considered. audience, musical- in the missing part personally. If there permanently. A Revealing New Book in Two Parts Morehouse Gage.Pres. crusade. He lived A good America to establish opera Box 1244, also be tendered in and interpreted an St. Charles, Mo. some harsh criticisms ly speaking, is brings measure were not a demand for such ensemble era much like one that a Clara Louise Kellogg was the first of W PARAGON OF RHYTHMIC COUNTING and derogatory the present; the first advertising that may re- rev- units, the supply would probahly not ALL RHYTHMS olution of knowledge, understanding, and ap- donnas to attain great W FOR COLLEGE OF flect badly upon your for democracy, a time torn by American prima MUSIC future. preciative participation to the works it exist, and so this newest commercial de- PARAGON OF HARMONIZING COMBS —Est. 1885— passion, excess, violence. international renown. fll\)ieiie Every performer, whether So, if you take applied to Complete musical education. Preparatory X IKe&ire a circus hears. These qualities can be acquired velopment augurs a healthy state of art. • S lllden S seeking up the department » professional engagements cudgels for first American for children. Teachers’ training coached for Stage.o Screen,o Radio and clown or a virtuoso violinist, him you, too, must Maud Powell was the I FOUR KINDS OF HARMONIZATIONS C0ur leading -i presented in nro has an by hearing as much good music of all It is this which makes it possible for us - to diplomas and degrees. ! concentrate 192?fto occasional your resources, internationally suc- Send for explanatory circular j Chestnut St., Philadelphia, Pa. “off-day,” but don’t present grit your kinds the Music Hall to play music to the woman to become an teeth, and as possible, and growing familiar at yourself with one through sail grimly into the battle. cessful violinist. She organized the first EFFA ELLIS PERFIELD carelessness with it. The radio, of course, is an in- millions.” JUILLIARD SCHOOL OF evei count the 103 East 86th St. (Park Ave.) New York City MUSIC=== or insufficient preparation. Nobody can cost; don’t temporize, woman’s string quartet in America. aon t camouflage, affoid to risk his reputation and above all, don’t ERNEST as a per- whine. The first record of the degree of Doc- HUTCHESON, . . President former simply to assist some . Many a thrill awaits you along well-mean- tor of Music granted in America was to ing friend the way if you go SCHOOL OF MUSIC or acquaintance in making up “all out” for Beethoven. RIVERDRIVE & ARTS a program on Henry Dielman, who received this dis- short notice. If you are in Musical Firsts 84 Riverside Drive JUILLIARD SUMMER SCHOOL good condition American tinction from the Georgetown University. and are always ready to New York City first pipe organ west of the GEORGE A. appear before the public, then The WEDGE, Director by all (Continued from Page 140) FREDERICK G. KOEHLER, Director means oblige. But do Alleghenies was built by Samuel Wake- not hesitate to Dormitories refuse if ill health or lack of field; the great-grandfather of the famous time would request Special Summer Session July 3 to August 11, 1944 make light opera com- “Poia” by Arthur Nevin, was the first Catalogue on a satisfactory performance im- A Music Bath “The Little Tycoon” composer, Charles Wakefield Cadman. possible. posed by Willard Spencer, was first pro- American opera to be given in Berlin, Take a Instruction music bath once or twice a duced (April 23, 1910) in all branches of music and music education Whether you are a professional at the Temple Theatre, Philadel- or an week for amateur, a few seasons. You will find it phia, Frederick Shepperd Converse’s opera One-week do not play or sing a January 4, 1885. NOTICE TO SUBSCRIBERS "refresher'' courses in repertoire and teaching aids number is to the soul that is beyond what a water bath is to The first widely successful American “The Pipe of Desire” when produced at you technically. Fre- the conditions, of which are beyond our control, body. This elevates Opera House, New Due to War lime many quently piano teachers find and tends to opera was Reginald de Koven’s romantic the Metropolitan Special program for themselves maintain in receiving second issues on all new and some renewal Etude high school students tone to one’s comic 18, 1910, was the first Amer- delays playing to a gathering of mind. Seek, there- opera “Robin Hood” produced in York, March friends, one fore, every publishers Etude of clean opportunity for hearing Chicago in ican opera ever sung on that exclusive subscriptions are almost unavoidable. The of The whom will always suggest a 1890. Catalog on request “fire- it. Purchase satisfactory service to subscribers works piece that some kind of instrument for “Cavalleria Rusticana” was first pro- stage. It was also the first one ever sung are striving desperately to render she had heard played the home and see during the regular occur. one time and would “so that its beneficent duced in America in Philadelphia in there in English but request their indulgence when such delays They may be 120 Claremont much like to harmonies Avenue Room 122 New York hear it again.” are often heard. Let music be 1891. season. assured that satisfactory adjustment will be made on all com- 27, N. Y. It is much better, in a a as much a part opera to be pre- case of this kind, to of a day’s routine as eat- “La Boheme” was first produced in The first American plaints of this kind. postpone the per- ing formance or reading or working. America, sented in a Paris theatre was Eugene of the piece until you have November 28, 1898. —Oliver 184 Wendell Holmes ' FORWARD MARCH WITH MUSIC” MARCH, 1944 "FORWARD MARCH WITH MUSIC” 185 THE ETUDE Z 8SI

of it—because no amount of theoretic ad lack is bound to make itself felt. But vice can give him the sureness and the that is a very different matter from dis- The Etude Musical Quiz flexibility that are to be won only through missing the inherent artistry of the “ The Young Conductor the actual business of doing the ” work American as inferior. Actually, that is by - oneself. Perhaps the greatest and from Page 139) most no means true. Even with their com- SCHOOL OF MUSIC r Qrown-Ups (.Continued useful task confronting ambitious L CUL 2. PJ.. EASTMAN young paratively limited chance for routine conductors today is working up national stage training, many American artists score-reading, and a knowledge of in- sympathy in the cause of creating more are distinctly superior to certain of their The consistent and intelligent listener of great advantage for opportunity for the CAN struments. It is of training of experi- LEARN TO PLAY European colleagues. Given the time and of to-day knows almost as much about the young conducting student to be pro- ence! the chance for greater experience in music as the average musician. Responsi- ficient on the piano, which is the only in- “After noting the development The University of Rochester that the practice, the American artist is compara- ble for the dissemination of all this mu- can be played polyphon- young conductor THE PIANO strument which should have, I in world. must ble to the greatest the sical information are. radio and its com- ically. If one is a good player and can state (paradoxically, perhaps!) that Hanson, Director For Years "Grown-Up” Music Beginners Felt That an my mentators, excellent instructions in our Howard read scores easily, he has immediate and own start was highly unorthodox. Instrument Calling for Single Note Reading was Their Only I be- public schools, and the increased number Chance personal access to orchestral literature in gan as a pianist while still Raymond Wilson, Assistant Director to Enjoy Making Music. To-day, Through These Spe- a young child of fine books and articles on music. How cially- Pi epared an active way. This personal activity is and although gradually Teaching Stringed Books, They Find the Greater Advantages of I came to think much do you remember? Count two the Departments Piano, From Which Melody, Rhythm, and Harmony May not to be equaled by a mere listening to longingly of the baton, my actual Undergraduate and Graduate train- points for each correct answer. Fair: 50; be Brought Forth by a Instruments Single Performer, Are Opened to Them. recorded symphonic interpretations. Sit- ing lay not at all along those lines. How- better than average: 60; good: 70; ex- ting back and listening to others’ work ever, I got the Piano Teachers Everywhere Are Enlarging opportunity to step into Their ( Continued from Page 150) cellent: 80 or higher. Pupil Lists is not a hundredth part so advantageous the breach SUMMER SESSION 4 In Using These Books, as substitute for a conductor 1. Which of the following singers is not as penetrating the music oneself; draw- who was ill—and thus I became • • « a con- precisely that and nothing else is its ing forth the emphasis of melody, har- ductor. I had never a baritone? June 26—August 4, 1944 conducted before, but greatest attraction and most vital asset. mony, A. John Charles Thomas • and color through one’s personal at seventeen, I was GROWN-UP BEGINNER'S BOOK appointed assistant The easy proficiency of many wind in- - — efforts. The piano makes possible such to Richard Strauss B. Lawrence Tibbett For the Piano — in Berlin. struments, the immediacy of achieve- By William M. Felton personal penetration. My own piano work “The final test C. Lauritz Melchior FALL SESSION (whether in my case or ment, the promise of early group partici- Here is a book of piano instruction material for grown-ups, high has been of the greatest assistance to me in that of anyone else) D. Giuseppe de Luca C 1 boils and geniality of age p lp,ls 1 down to pation, the brightness l ? ol,c ge young men and women, that really le »!t’° ( S f"! in my later career, and I have never neg- this: 1944—May 26, 1945 de te goal— either one is a 2. the September 12, * Ji,T not the digital dexterity of the born conductor or much band music, the uniforms, march- Of these, the instrument having virtuoso—li^uo wbut theti? ability to play the many fine compositions of lected it. In addition, the playing of one is not. That is me late grad e and tbe playable why it is a bit difficult ing, football games, the ready glamor— highest range is: - ’. arrangements of classic and standardstn'nrf d compositions, chamber music and participation in or- to prescribe For further information address that are available. It begins with the exactly what the young con- things, plus a determined A. An oboe rudiments, but quickly these are the has the pupil playjng interesting melodies chestral performance, whether as string, rapid ductor must do. The born conductor the part of band con- B. A clarinet 8 acquaintance with fundamental technical re- aggressiveness on l" l wind, Secretary-Registrar problems. Keyboard illustrations assist or percussion player, is invaluable quires comparatively ARTHUR H. LARSON, in correlating the notes of little by way of (which might well be more often C. A piccolo e Printed pag With the keys ductors • of the piano. for o ^ Everything in the the development of ensemble feeling stimulation, incentive, ,k s de s, c.d for the adult and corrective in the orchestral field), that D. A French horn . student-the music will appeal emulated School of Music , to Eastman the adulJ IntelP!, igence, the pieces and team spirit. and exercises are arranged fo? hints to put him right. On the other to draw the students; ay ng b fully-matured hands. While serve as a magnet 3. The greatest of the Bachs was Pi i J intended for use with a hand, the C ey’ th explanations are so clear and easily aspirant who is not a born are precisely the inducements Rochester, New York !u^ j; T understood that I Difficulty of Gaining and these A. Johann Sebastian Bach 4 self ‘ help st '“lent Experience may get much assistance from the conductor may take in any assuredly study’ ‘rdTt amount of that the orchestra cannot, and B. Karl Philipp Emanuel Bach “The young conductor's greatest prob- externally applied teaching without desire offer. Further, the force- go- has no to C. Johann Christian Bach lem, of course, Is to get the necessary ing ex- very far. Again, in other fields of mu- fulness of these appeals to the immature PROGRESSING PIANO perience in active work. In D. Wilhelm Friedemann Bach STUDIES the conserva- sical expression it is quite possible that mind assures the band conductor a way '~JUILLIARD SCHOOL OF MUSIC For the Grown-Up Student tories which maintain school orchestras, a performer 4. The composer of several great tone By William M. Felton may continue his profession far less strewn with the hazards of im- it is quite possible to begin this experi- poems was without ever being more than adequately possible instrumental balance, personnel ERNEST HUTCHESON, President ence. I think the most helpful way is for acceptable. A. Johann Strauss Mind, I do not say that this shortage, and player mortality than that the editing Plamly ma ked and the young conductor has been most ? ‘. to learn the full is desirable - B. Richard Strauss thorough. T?fcher win be ,f !: or even common -but conductor. ART deHehtefw It is now open to the orchestra OF MUSICAL score thoroughly, INSTITUTE first by reading, then possible; especially, perhaps, have C. Oskar Straus among or- Hence, far too many teachers who GEORGE A. WEDGE, Dean by playing on the piano, and then simply chestral members and minor soloists. But specialized in stringed instruments dur- D. Joseph Strauss Engelmann, & trying it sb, iaSrfCadman, Kern and others too numerous with the school orchestra, al- the conductor to mention among the moderns can never be merely ade- ing university training are tempted to 5. One of the following operas is not by Individual vocal and instrumental instruction. Classes in Theory, Com- Price, $1.00 ways under the supervision of quately competent acceptable. The very nature of sacrifice the very thing for which teachers. and do Puccini position, and all branches of music education. The important thing, however, his task of MELODIES leadership makes it inevitable they have been prepared, and which they A. “Tosca” EVERYONE LOVES is to leading to diploma and B. S. and M. S. degrees in instru- make this practice -conducting a that sooner or Courses An Album of Piano Pieces later he be classified as are presumably best qualified to under- B. “La Boheme” for the Grown-Up Music Lover frequent and regular part of the cur- good or mental, singing, and public school music departments. not good. His inborn abilities will take, for the immediate better showing riculum—a once-a-year C. “Madame Butterfly” Compiled and Arranged by William concert is hard- have the most to M. Felton do with deciding the with the band and the greater economic D. “La Gioeonda” Catalog on request. ly better than no training at all! classification. security promised by this early success. “It is when the young conductor 6. Which piece of music is played between Room 122, 120 Claremont Avenue, New York leaves of this and the The great musical utterance conservatory, though, that his real Manual Technic Act I and Act II of Beethoven’s only ip|P!PlMfSSjs==s countless past eras dot the orchestral difficulties begin, especially in America, opera “Fidelio”? “The most visihle portion of the con- horizon, and since the re-creation of this In Europe, every conductor A. “Fidelio” Overture serves a prac- ductor’s of equipment is his manual tech- music depends upon the development “ tical apprenticeship in an B. Leonore” Overture No. 1 opera-theater, nic, and this, well as and to a certain extent, can instrumental skills—strings as " practically every city has one. There C. Leonore” Overture No. 3 ' be trained. Most essential winds inconceivable that stringed- PLAY WITH he begins as coach, in this regard —it is PLEASURE working chiefly at is D. “Battle Symphony” a loose, and at the same time firm, instrument study at the high school or An Album for the the piano, with singers and occasionally Grown-Up Piano Student wrist: also a generally allowed to lan- 7. of the following composers so with instrumentalists. harmonious action any other level should be One Next he is pro- of the Compiled and Arranged by William forearm. Stiff, forced motions are guish through shortsightedness, economic crippled one of his fingers that it kept M. Felton moted to an assistant conductorship, fatal. However, the use to which the con- pressures, or for any other reason. Some- realizing his ambition to be- ape who have completed the where he may be entrusted him from Ii-n' first books of instruction and pieces as well as with actual’ ductor u It pianists of limited attainments, puts his motions is how universities must devise to send or with little time to practice, can get a lot conducting more impor- the come a virtuoso pianist. n8 th se of fun out backstage. Only after years P npmbers - Diere are arrangements of tant than the ? folksong and ballads, gems from the gestures themselves. His forth stringed-instrument specialists of the operasnn»l and overtures, selections from of such groundwork A. Claude Debussy the classics, pieces in light rhythmic style Many does he aspire to goal are well-known as radio “signatures” and movie “theme is not merely to give cues and to sufficient breadth, horizon, and insight musif.” None of the arrange take his place before the orchestra. B. Sergei Rachmaninoff 5 0" techmcaI r fi Thus, P ° aency than that acquired by the pianist able beat time reliably, treasures along KTade ^hroe'musTc to pfay his ‘training in experience’ but to mark the time to perceive the precious is wholesome! according C. Robert Schumann gradual, to the character of the music the orchestral way, to recognize their in- and thoroughly professional; Franz Liszt and the type of them. D. BOOK OF PIANO PIECES and all the while that instrumental groups he trinsic worth, and to seize BOOK OF PIANO he is acquiring it, DUETS guides. It is and 8. Which of the following composers em- he is constantly the suitability of the gesture The band and orchestra (or winds working with and ob- FOR ADULT BEGINNERS FOR that is important, strings) intrinsically in conflict. ployed counterpoint the least? ADULT BEGINNERS serving experienced conductors. and this grows out of are not Alter the first few months of learning When at the the Here is an album of 19 conductor’s knowledge It is Each contributes something of merit. A. Bach geography” of the numbers that will last he takes up his own of music. keyboard and in getting have a long, useful, and pleasure-giving baton, he may the the right finger to do life business of manual They should can exist side by side the right thing at the around the piano in be expected to know technic, then, not and B. Handel right time, the average home. It is something more there is then the chance to begin ideal for this to indicate esteem. It enjoying purpose, but some older be- than theory. mere externals, such as en- in an atmosphere of mutual C. Wagner one’s own rendition of some at- ginners will find it especially helpful to trances and cos'- tractive music. That is where this book their piano “It is releases, but to express in is to be hoped that the element of com- progress by enlisting the aid' impossible to duplicate this D. Puccini comes in. It provides clever, easy-to-play ot playing in- visible fashion VtusicOl arrangements mates, younger or older, who valuable training the conductor’s under- petition Between band and orchestra, of favorite melodies from in America is not ‘ have a little more piano-playing experience. or any standing 9. One of the following operas olS classic, folk, operatic and standard sources Neither other of the music. There are, of which exists in some places, might be otvS dtrva part ts difficult to play, being per- land that does not maintain dc^ I^ along with a dozen original compositions by haps what many course, part of “The Ring.” 3 M^ \ favorite would be assigned to the aver- opera-theaters, many more aspects of the ‘visual’ eliminated altogether, and that the com- 100<50 contemporary composers—27 pieces age younger carrying on " student in grade 2, or early permanent part of A. Gotterdammerung c m a11 Price, 75 cents grade seasons the problem of conducting, such petitive spirit be rather turned against 3 Price, $1.00 in many cities. Short of this, I as the contribution sphere. B. Siegfried think it would be an of the eyes and the an objective par within each excellent thing’ if general facial expression. Serious not arise, and C. Parsifal assistant conductorships could But I am afraid overlapping should Published by# be created these m in the cannot be covered in a tarief dis- indeed need not exist at all in the case D. Das Rheingold various American orchestras. Thus the young cussion. of string orchestra or string quartet. It American conductor could ° be My S ch0 given the experiences with American opera is essentially the development of string " of Theo doi~e opportunity of developing Answers at' 0 esser Qo. and convince cl finding himself under me that the American artist is players for which I am pleading, and A«° the guidance of by •0—6 la— and in close no means inferior to the European. this development will not be forthcoming 0 f 1712 CHESTNUT STREET, PHILADELPHIA, cooperation with, seasoned PA. Certainly, — 1 (71 8)om inomouod) a— conductors. Otherwise, he lacks the opportunities for unless and until the necessity for some Q—L -O 9 I confess, the varied V stage experience recognized 1 (auogtxeq Suis og pasn young conductor that the Euro- group-participation outlet is !a—h 1 —£ :o— must have a hard time pean enjoyed in qSnoqgp ‘aouag -e si .loiqopjgo 186 normal times, and such and a suitable vehicle provided. aq o— "FORWARD MARCH 1 WITH MUSIC 187 THE ETUDE MARCH, 1944 "FORWARD MARCH WITH MUSIC” “

Harry’s Idea— Continued My Wish for My Country signature, the expression marks, and if you use the Guides at all times, Wlvricn Srownfield directions on the music. I i,by any other then your hours of practice will be lost without them.” very well of would be spent.” (Fill in the blanks to make titles of Virginia, in “Indeed you would,” Miss Freeman “I have already started follow • to well-known songs or marches) the River Valley, on the “Well, Harry, I think your these rules,” said Harry as took (New York c;t agreed. he (Western) Private Teachers y ) ’tis . I Gray Private Teachers My , names for the violin strings are very his violin and bow from the case. sing. Thou art America the . West, and on the Home on — good practice guides in themselves. And when he put the violin and DAVIS MARIA CARRERAS white May we Keep H. FREDERICK Long may the , with Energy and the Pianist If you practice bow back in the case thirty minutes Successful Singers Renowned Fires — in all Teacher of Many AUTHORITY" which is our our fingers later, “INTERPRETATIVE '1 correct Arch in your and Miss Freeman too knew that All Branches of Singing Taught. Beginners Accepted N. Y. Herald-Tribune land. — Banner, wave over Maryland, beloved Studio: 606 Templeton Bldg Salt Lake City, Utah hands, if you Delay at phrases which he had started to follow these rules Teacher of successful concertising pianists. Anchors 3-0316 (or 4-5746) fpr appointment Ohio, On the With and Colum- Phone Accepts talented students. more practice than others, and of very good violin practice. for Free Circular need Write Tel. Bu 8-0311 • York City - of the Wabash, and on bia of 169 E. 78th St., New

Kentucky also , I pledge myself nl My ; to the LUCIA O'BRIEN LIVERETTE MRS. HENRY HADLEY (Inez Barbour) - • Land, In the Stars — in forever. Hidden Instruments Puzzle VOICE Soprano flf Graduate of Samoiloff's Teacher's Course ELIZABETH Authority on the Art of Singing, Oratorio, Concert, A.GEST Reasonable terms. Recital and general repertoire. Will accept a limited Phone NO 2-1030 EX 1141 l Alfred 3. DUe number of taiented students. f Calif. Junior Club Outline 616 N. Normandie Ave. Los Angeles, THE HENRY HADLEY STUDIO 15 W. 67th Street New York City Find a musical instrument hidden 5. Mary brought some aspic colored 7-0100 Harry’s Idea No. 31, Rossini, Mascagni, Puccini. PETERSON By Appointment Only. Sus. beautiful red. EDNA GUNNAR in each sentence. (The first one is a Concert Pianist Artist Teacher LISTER a. f. 6. I helped Jess pin Ethel’s apron — EDITH SYRENE The Italian composers have been What is meant by coloratura? o-car-in-a.) If WUL W. Stewart Angeles, Calif. AUTHENTIC VOICE PRODUCTION great opera writers, and continu- Keyboard Harmony on. 229 So. Harvard Blvd. Los 1. There was no car in any garage FE. 2597 405 Carnegie Hall, New York City “So you have ing last month’s outline on Verdi g. Select a simple piece 7. When Ethel turns her charm on Collaborator and Associate Teacher with the late W. renamed your violin hand and the fingers written in to the picnic ground. on my bowing so we walked Warren Shaw and Endorsed by Dr. Floyd S. Muckey strings, have you, Harry?” asked his are included the opera composers, the major mode in this issue of I can see why she is popular. LAZAR S. SAMOILOFF hand, too.” there had to Wednesday; Troup Music Studio. Lancaster, Pa. 2. When we got we use teacher of famous singers teacher, Miss Rossini (Ros-see-nee) Mascagni The Etude. 8. We saw an okapi, an orang- Voice Bldg., Philadelphia, Pa. Freeman, with a smile. “I’m so , Change it at sight to Thursday: 309 Presser glad you named that your From rudiments to professional engagements “Well, (Mas-can-ye) a tub and a table. outang, and zebra in the zoo. not exactly , and Puccini (Poo- the minor mode of the a renamed them, Arch string, Harry,” Miss Freeman same key. Beginners accepted. Special teachers' courses (FRANK) (ERNESTO) 3. On the way we saw two Boeing Dr. Samoiloff will teach all summer at his Studios. Miss Freeman,” replied Harry as he declared. tschee-nee) . Name at least one Play in good rhythm and without 9. The orang-outang enjoyed an LA FORGE-BERUMEN STUDIOS “Arched fingers are very Write for catalogue—Special rates for the placed his violin case on a bench opera by each of these composers. stumbles. airplanes overhead. ear of corn Ethel gave it. duration. Voice— Piano in important and an arched left hand Among those who have studied with Mr. La Forge are: her studio. “I’ve just added some- b. Can you name any other well- Program 4. I would take off my coat if I felt 10. I like to go and rummage 610 So. Van Ness Ave., Los Angeles, Cal. is necessary, too, so that the part un- Marian Anderson, Lawrence Tibbett, Richard Crooks, thing to their known Italian opera in places like that. and Mme. Matzenauer. names of E, A, D, and der the thumb composers? Your musical program must fol- warm. around will not touch the 1100 Park Ave., Corner 89th St., New York G. The first letter c. The world’s first opera ELIZABETH SIMPSON in each name is bottom of house was low the character of last month’s Tel. Atwater 9-7470 the finger board.” ' 1 the real name of each built in Italy in 1637. In which city Author of "Basic Pianoforte Technique string.” “Sure!” exclaimed Harry. program, as it is not possible to pre- ‘ “I didn’t Teacher of Teachers. Coach of Young Artists. “How nice!” exclaimed was it built? RICHARD McCLANAHAN Miss Free- remember sent operatic numbers on the Regular Practice Pupils Prepared for Concert Work. Class Courses that, but I don’t let my piano Representative TOBIAS MATTHAY man as she d. In in Technique, Pianistic Interpretation, Normal placed Harry’s music on which Italian city is the fa- except in simple Class Florence Private lessons, class lessons in Fundamentals hand touch the finger arrangements, and Prize Winner in A— for Piano Teachers. board, do I?” Methods Lecture-demonstrations for teachers the stand. “Have you mous La Scala opera house? (It named them “No, also through recordings. If you hap- Seckora, Age 17, New York 609 Sutter St., San Francisco; you don’t Harry, but some 801 Steinway Bldg., New York City for Webster St., Berkeley, Cal. your favorite composers?” has been damaged by a bomb in pen to 2833 people do. What have you called your know a singer, perhaps she Prize Winner in Class C—Mary Helen “Oh, no, each the present war.) name stands for a D string?” will come to your meeting and sing District of Columbia JAMES MORRISON Tate, Age 10, (Mid-West) rule that I should follow in my prac- Terms some arias Private Teachers “That is my Delay string,” said from the above compos- (Send answers to letters care of Junior TEACHER OF VOICE tice. I decided that might help me Harry e. What is a ballet? ers’ opera for Etude) with a grin. “You ought to like you. Perfect vocal technic and Artistic Interpretation. remember some of the rules you have that Dear Junior Etude: DR. FRANCIS L. YORK name, Miss Freeman.” Theory work STUDIO: III WEST 82nd ST. been telling My mother began teaching me to play the Advance Piano Interpretation and the me.” “I required for the degrees of Mus. Bach., and Mus. surely ought to and I do,” Answers to My Wish for piano when I was five years old.. I am very NEW YORK CITY “Why of course Red Cross Afghans Regalar Practice much interested in music but do not belong to Mas. it will,” Miss Free- laughed his teacher. OF MUSIC “Now maybe you My Country The Junior Etude. I have just completed your DETROIT CONSERVATORY man said. “What in. I Detroit, Mich. a splendid idea!” will practice more on The Red Cross is now asking for (Prize Winner in Class B) puzzle for this month and have sent it EDWARD E. TREUMANN the difficult My Country, ’tis of Thee; America, the The Junior Etude very interesting. “The E string I call larger find Concert Pianist—Artist-Teacher the Energy parts of your exercises afghans than they were for- Jones, who owes From your friend, and pieces.” Beautiful; Red, White and Blue; Star- This is the story of Jimmy Recommended by Emil Von Sauer, Moritz Moszkowski string because you merly practice. One Leontine Daniels, EVANGELINE LEHMAN, Mus. Doc. always say I “I will,” Harry asserted. using, so we need many more his musical career to regular and Josef Hofmann. “Delay- Spangled Banner; Maryland, My be “made Louisiana. and Vocal Coach should be energetic squares sunny afternoon, one that seemed to “join- Composer Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. when I play. I ing at phrases I to make each one. The Junior (N. B. There is no “belonging to” or don’t play just right Maryland; Beautiful Ohio; to order" for a hockey game, Jimmy, who was has coached some of the most famous Tel. Columbus 5-4357 New York City try to put my fingers On the ing” of any kind to be done in connection with Dr. Lehman on the strings is going to Etuders have contributed enough noiselessly escaping by the back door, was to singers of the Paris Grand Opera. Appointment by Summer Master Class—June to Sept.—Apply now. take up a large part of Banks of the Wabash; My Old Ken- The Junior Etude. All readers are invited with energy and firmness so that the squares thus far summoned for his usual practice period. “Ah, make use of our columns, write to our Letter correspondence. my practice from now on, believe tucky to make twelve and send strings Home; Dixie Land; In the Blue Mom," he cried, “can’t, I skip practice just Box, enter our monthly contests Studio: 167 Elmhurst Ave., Highland Park (3) CRYSTAL WATERS will he stopped.” me.” afghans. These readers enter our con- Ridge have been given to this once?" kodak pictures. Many ((Detroit), Michigan “Yes, Mountains of Virginia; Red every month. So all readers can , Teacher of Voice and then your notes should the Red Cross to “But you know, Jimmy, that regular prac- tests regularly “And now for your G string.” River Valley; be used in our mili- consider themselves “Junior Etuders.” Get Radio, Screen, Concert be in tune. Little Gray Home in tice will help to make a good musician of you.” A poorly stopped string “Oh, yes, tary hospitals busy with the pencil, Juniors, and let us hear Private Teachers (New York City) my Guide string I call it,” the where the wounded expect me to be a Opera, Pedagogy makes a note that has West; Home on the Range; Keep “Oh, but you don't from you. a poor pitch,” Harry said, soldiers and sailors Paderewski, do you?” he asked. 405 E. 54th St. New York City “but I don’t mean that it the are being cared noted Home Fires Burning; Anchors Tel. Vo. 5-1362 his teacher. “And I’m sure you guides me. for. “Come on, Jimmy, let me hear that new FREDERIC FREEMANTEL My guides are the key Aweigh; reluctantly remember to draw your Columbia, the Gem of the piece,” coaxed his mother. Jimmy Honorable Mention for bow with (Continued capti- Voice Instruction in the larger will find on Next Page) Ocean; Stars and walked to the piano, and soon he was Private teachers cities energy.” Stripes Forever. piece. 24 home study lessons, Thanks to the following, sent vated by the catchy tune of his new Author of this column quite effective in advertising their many of whom December Essay: Production and Yes, I think several knitted That week he returned from his regular music "The Fundamental Principals of Voice thousands of that, too, and I re- squares each: Grayce Simp- and to Sing Them" courses to the of Etude readers son; because a lovely Jams Ruth Smith; Rosemary Bruhl; Sonya Singing"; also “High Tones How Carolyn Smith; Priscilla Field; Constance lesson with a beaming face, who plan to pursue advanced study with an member to curve my fingers, for I mother Gloria Goldman; June Perkins; May Morris; Studios: 205 West 57th Street Saunders; Rachael Howard; Anne Felton; gold star rewarded his sacrifice. His call Agnew Wade; Jerry Davis; Vir- New York City Phone Circle 7-5420 established teacher away from home. my A string, Arch. I don’t forget Janice Bawley; Priscilla Palmer; Joan Graffam; whispered to him proudly, “something good Grace Petty; Best ginia Allen; Louise McCormick; Naomi Follin; then to My Friends Bridegton Junior Music Club. Bridgeton, will come from this. I feel sure of it.” arch the fingers of my left Antonia Ezzy; Tellman Whiteside; Maine; Mrs. R. R. Rodwell; Ten years have passed. Jimmy now conducts Joan Holly; Helen Price; Ora McPherson; Ella Kremer; Prentiss; Belle Becker; his own orchestra! Russel Hirst; Flora by Paul Souquet Selma Swanson. Marianna Anders; Dorothy Is this not a good “push” for regular prac- Allen Wahl; Daisy Leigh; Doreen tice shirkers? Weber; May Schwartz; Bruce Whitcome; Edna I have Daniel Belzile (Age 13), Wren; Billy Neflers; CLASSIFIED ADS some friends I dearly love, And | Change of Address speak to me in magic sounds iviaine March. They visit me each day, When I sit down to play. YOUR VIOLIN TRANSFORMED INTO The publishers of the The Etude, in A MUSICAL GEM, or no pay. You be the an effort to render the best possible judge. Information free. V. L. Schwenk, service to subscribers, request that at Richmond, 111. least five weeks notice be given when Etude Contest dol- Junior SINGING MADE EASY'—Book one a change of address is desired. The lar. Eastern Studios, Chambersburg, Pa. on upper left corner of your routine of preparing wrappers for the The Junior Etude will award three at- you enter upper right FOR SALE: STEINWAY CONCERT mailing of The Etude is such that ad- neatest paper, and put your address on tractive prizes each month for the GRAND ABSOLUTELY LIKE NEW'. SUB- dress changes cannot be guaranteed ur paper. Joseph Holstad, and stories or essays and for answers corner of'y° STANTIAL DISCOUNT. best Grove. Minneapolis, Minn. for the next issue unless this time is Write on one side of paper only. Do not 337 Oak to puzzles. Contest is open to all boys and allowed and it is especially necessary do not have anyone solo girls under eighteen years of age. use typewriters and WANTED: Clean copies Brahms at the present time because produc- songs Peters edition, German words only, copy your work for you. tion and mailing procedure is slowed Class A, fifteen to eighteen years of age; one copy each—volumes 1, 2, 3 & 4 for high contain not over one hundred each volumes 1, 2, 3 & as a result of War time conditions. Class B, twelve to fifteen; Class C, under Essay must voice, and one copy — up must be received at the 4 for low voice. H. S. D. care of ETUDE. The cooperation of subscribers and twelve years. and fifty words and First Mozart in a minuet, Chestnut Street, their indulgence, if delays do occur, Then Schumann, in his Traumerei on junior Etude Office, 1712 FOR SALE: Teachers sheet music piano And Chopin, Names of prize winners will appear materials, man- will appreciated. In giving notice To tell, with charm in a polonaise. Pa., by the 22nd of March. century ed. some—books, be and grace, Whispers, with a Beethoven, Bach, this Philadelphia (1), for smile, Relates and Handel, too, page in a future issue of The Etude. dolin guitar duos century—discounted of change of address kindly give the Of buckled shoes and a thrilling story, Results of contest will appear in June. cash quick sale. Fine-toned valuable old periwigs, “Come with me and let I know and hold dear; The thirty next best contributors will re- old as well as the address. us dream Of clanking most Vuillaume violin —imported bow leather new Of fans and ruffled lace. spurs and warriors, Subject for this month’s essay, “My First For just a little while.” Their music grows from day to day, ceive honorable mention. case. All excellent condition. Fiebach, Of bravery and glory. Nashville, Michigan. And shall from year Put your name, age and class in which Lesson.” 188 to year. "FORWARD MARCH WITH MUSIC FORWARD MARCH WITH MUSIC ” 189 THE ETUDE MARCH, 1944 —— — ——

inversions. dealer, or, if de- •hords, and A chapter is Gilds from your local music THE COVER FOR THIS MONTH-For the de- CONCERT TRANSCRIPTIONS OF A SECOND PIANO PART to the Fifteen Love; Rock of Ages; When Morning to each of the eleven UORE examination from the publish- voted different in- Piano, and others. sired, for photographic material utilized in this is- PAVORITE HYMNS—For by Clarence Two-Part Inventions of BACH, by Rug- the Skies; Abide With Me; tervals within the octave, with illustra- from a ers. sue’s front cover musical whimsy on the - After Clarence Kohlmann gero Vene-This is a valuable addition to This collection was designed modulation Kohlmann in Easy Arrangements for oft-remarked tions of a to each interval The keys selected are Favorite Hymns vagaries of March weather, an unprecedented success with his the duo-pianists’ repertoire. The student practical viewpoint. Arranged by from the twelve different keys. The scored appear Piano Duel—Compiled and we are indebted to the H. Armstrong Ma- volume of Concert Transcriptions of will obtain an added interest in the those in which the hymns usually Minor modes, flrst Richter, presents for the home, the Roberts Photographic jor and Modulation to Therefore, these duets may Ada Library of Phila- a Favorite Hymns, it was perhaps inevita- study of the Two-Part Inventions of in hymnals. Parallel Key, and Modulating Sunday studio recital, the church or Sunday delphia, Pa. with a should follow-up with a sec- Bach, and the teacher will lend dignity serve as the accompaniment to ble that he of music unique in Perhaps Melody are also explained. A supplement congregational singing, or can School a collection none of our readers will need volume. We predict this new book to her program by including these as School or enter- provides brief musical ond its field. It enables young folk to any identification of the music, but just examples of in- containing, as offertories during the service. be equally successful, as novelties. This new material fills out im- be used inspire, their teresting modulations to all will tain and shall we say, to help any whose memories may fail possible in- of familiar Here is another album which will make does, a choice selection and plied harmonies without introducing a playing and tervals. it library of elders and themselves by them, the first musical phrase is the favor- a nice addition to the music well-loved hymns, including such new contrapuntal style. The book will be religious numbers Reserve a single copy of place beside singing the beautiful “Finale, Allegro con fuoco” from the Practical Love That Wilt Not Let Me Go; printed in score form with the original the home, and should find a ites as O Mrs. Richter has selected for her book. Symphony Number 4 in F Minor by Keyboard Modulation now at the special other popular duet collections frequently the Cross Of Jesus; Softly and Inventions engraved in small notation are in the of Publication Beneath As the hymn arrangements Tchaikovsky; the second phrase is the Advance cash price of 50 Calling; Fairest Lord above the used during leisure hours. Tenderly Jesus Is Second Piano Part. the hymnal, they also cents, postpaid. Delivery will copy of this same keys as in well known “Spring Song” Op. 62, No. be made On, O King Eternal. These In Advance of Publication a single copy Those wishing to procure a Jesus; Lead be used to accompany groups sing- 6 by Mendelssohn. This number also fre- School exercises, weddings, etc., and as soon as the book is delivered from book as soon as It is published may do may day the transcriptions are done in the smooth, of this book may be ordered at the spe- assembly press. Publication ing. Price, 75 cents. quently is identified as his “Song With- in school auditoriums where for which Mr. cial cash price of 35 cents, postpaid. so by placing an Advance of ^Iljarclt 1 944 flowing, impeccable style out Words No. 30.” programs frequently call for martial mu- order at the special cash price of 60 Kohlmann is famous, while retaining the OUR LATIN-AMERICAN NEICIIBORS-/ cents, postpaid. The sale of this book, or religious spirit of the original hymns. THE CHILD HAYDN—Childhood Days of in true States MUSIC FOR LENTEN AND EASTER PRO- ADVANCE OF PUBLICATION Special seasonal needs also are met Piano, Compiled and Arranged by Famous Composers—by Lottie Ellsworth Coit however, is limited to the United Ada Like its predecessor, this new book GRAMS—Ash Wednesday, marking this practical volume, with Christmas, Richter-There are many folk and its possessions. the who believe not go beyond a medium grade of and Ruth Bampton—The Child Haydn is numbers in- does opening of the Lenten season already is OFFERS Easter, and Thanksgiving that a knowledge and appreciation of the third book in a new series of music Interesting Teaching of difficulty, and will prove a source in- past. Easter generous contents. All are REVERENTIAL ANTHEMS by William Baines Sunday, April 9th, is but a cluded in the the music, the language, the habits, and and enjoyment both in the appreciation texts for children. Teachers All of the books in this list are in spiration field of and Recital Numbers few short weeks away. Comparatively within the playing abilities of the average the customs of our enthusiastic over the two -Mi-. Baines’ signal success in the preparation publication Latin-American and in the home. have been most for . The Church prepara- little time remains for the selection of performer, and registration is provided neighbors will do more than earlier volumes. The Child Mozart and church music has prompted the the Piano low Advance Offer Cash Prices ap- any other To be sure of obtaining one of the first For music for the special choir programs ex- both for the Hammond and standard tion of this new collection of anthems ply only to orders placed NOW. means to cement cordial inter-American at the special Advance The Child Bach, both in Class Instruc- copies, order now contain a pected by churches on this great feast, Delivery organ. relations. Even if the from his pen. Since it will By the (postpaid) will be made playing of Mexi- Publication cash price of 45 cents, tion and Private Instruction. Unques- of are sure it Palm Sunday^ and Good Friday. As choir- when the books are published. The cash, postpaid, price at which a can, Central and South tionably co-authors have produced number of his best works, we American music postpaid. Delivery will be made as soon the Gifted masters, organists and those in charge of Paragraphs describing each pub- single copy may be ordered in Advance immediately will win favor for itself with doesn’t accomplish everything some ex- comes off the press. The sale another work that will find its place be- selecting lication appear on these as the book friends for American music are making preparations pages. of Publication is 60 cents. pect, the lilting this enter- choir directors, as well as new rhythms and ingratiating limited to the United States and its side the other two books of for these days it might be interesting to is While it will contain chief- melodies certainly will highly educational series. the composer. Composer prove intriguing. possessions. taining and mention two brand new publications that Album of Marches for the Organ composed especially for 60 THEMES FROM THE GREAT OPERAS-For Ada Richter, who has been This third volume, now in preparation, ly new numbers The Child Haydn Coit-Bampfon .20 exception- are appropriate and which undoubtedly Piano Solo Levine Reverential Anthems also will contain Finger Fun , Compiled by Henry with it, Adler .20 ally successful in teaching and producing SIXTEEN SHORT ETUDES for Technic and is designed to acquaint young people Evangeline will prove interesting to clergy, choir and Gems of Masterworks for fhe Organ of Mr. Baines’ anthems which, Those who have already acquired Mr. materials for young folks, the childhood incidents of Franz Josef several Tonner .60 has gathered by Cedric W. Lemont—The already congregation. Griffith J. Jones, noted Phrasing, published individually, have More Concert Transcriptions of Favorite Levine’s two previous books Themes together a fine assortment Haydn, who later in life was known as already of the dances resourceful “Music Mastery Series” will LEHMAN choir director, in collaboration with Hymns Kohlmann .45 From the Great Piano Concertos and achieved popularity. Each anthem has and songs of our neighbors “Papa Haydn” or “The Father of the extraor- Nutcracker Suite Piano Duet to 11 ie south boast a fine addition in these at- Bom in Detroit, Michigan, this Hazel Crooks McRae has compiled an Themes From the Great Symphonies soon been chosen or composed with the aver- Oberlin Tschaikowsky-Felton 1.00 and has arranged them as piano Symphony”. Perhaps no other composer’s dinary musician studied at effective Our solos tractive studies, an addition which in recognized as an Lenten Choral Service Behold Latin-American Neighbors. ... Richter .40 will welcome the news that they can age volunteer choir in mind, and there Conservatory. She was Practical now that are within the playing childhood offered so many colorful ex- Fontainebleau Con- the Lamb op God (300 in Keyboard Modulation Peery .50 capabilities every way will sustain the splendid name honor student, in which a voice add to their is a limited amount of solo work involved. C. Decreus, M. Reverential Anthems Baines .25 music libraries his new col- of pupils in the second periences as that of Haydn’s. Each inci- servatoire by I. Philipp, speaking choir Piano grade. Those the series has won for the quality of en- She received and solo speaking parts Second Part to Bach's Fifteen Two- lection, Themes From the Great Operas. In addition to the material for general Dumesnil, and M. Dupre. Part Inventions melodies coming from dent is filled with a human touch so Mtmstere de Affaires are employed and excerpts of choruses Vene .35 song sources will gaging teaching material it includes. the Silver Medal of Second Piano Part to To those have yet to use, there will be anthems for Christmas, Government Thompson's Tuneful who enjoy these have, between the staves, characteristic of Haydn, which never Etraneeres for the French from The Messiah (Handel) Seven Last Tasks verses giving These Sixteen Short Etudes prove Institute of Musical Art , Benford .35 works, Lent, and Easter. in 1933- Detroit we urge an early acquaintance. English fails to appeal to youngsters. degree on Sixteen Short Etudes Lemont .25 translations of the native texts. understanding of conferred a Doctor of Music Words (Dubois) , Gallia (Gounod) The anew the composer’s , Themes from the Mr. Levine is Prior to publication, an order for a Great Operas Levine .40 noted for the unusually In Advance of The authors have successfully inte- her in 1940. Crucifixion (Stainer), and Cliristus Thy God Reigneth Publication one copy needs of piano teachers and students, Cantata Keating .40 fine sense of discrimination the single copy may be placed at the special Twenty Piano Duet Transcriptions and judg- only of this book grated music, picture, and story within PIANO SOLOS (Mendelssohn) are introduced. of may be ordered at the for they are the result of careful plan- This work Favorite ment Advance of Publication cash price of 25 Hymns Kohlmann .60 which he uses in the arrangement special cash the comprehension of children. The pic- Reverie :\- 35c should be especially appropriate for Good price, 40 cents, postpaid. ning to meet those needs. The familiar Autumn and selection of his material. cents, postpaid. (On the Terrace of Saint Germain) This is tures will arouse their curiosity, and the autumn Friday or Holy Week Programs. The time major and minor keys have been used to tone poem picturing golden exemplified in A enveloped in a the present superb col- music is well within their technical leaves and a landscape required for its presentation is 30 NUTCRACKER SUITE by P. I. Trrchaikowsky, set forth interesting work in scale play- haze. Excellent study for sing- about rangements and the quality of the music lection, which has been THY GOD REIGNETH—/I General Cantata soft veiled chosen with his limitations. The book will include easy ing touch in both hands. (Cat. No. 26321) minutes. Keating arranged for Piano Duel by V. illiam left right hands, arpeggio Lawrence presents an- that has been selected from the writings M. ing for and the Volunteer Choir, by Lawrence Keating 4. usual good taste and discernment. Mr. of the ever favorite Gipsy for —Gr. Fidton-Pianists who octaves, broken arrangements other of his fine Easter cantatas, so pop- of Bach, 1 enjoy ensemble work work for each hand, 40c Brahms, Mendelssohn, Franck, Levine has included, only -Choir directors will welcome this new Ballet In White not existing will Rondo; the Andante and Minuet from ular with volunteer choirs, entitled The welcome this outstanding arrange- octaves, legato thirds and sixths, repeated brilliant recital valse so characteristic Handel, Tschaikowsky, Chopin, and Liszt. transcriptions cantata by Lawrence Keating as a direct A well bal- of excellent quality, but the "Surprise Symphony”; the Emperor’s of the ballet in its graceful and Triumph op the Crucified (60c) based on ment of Tschaikowsky ’s Nutcracker notes, embellishments, and melody (Cat. No. 27092)—Gr. 5. , is still chords, melodies. There time this month to order a number of new answer to the query, “What Shall we anced transcriptions of world- Suite. Hymn; the Andante from the “Clock texts written and selected by Elsie Dun- a copy of Gems op Masterworks for the It is one of the most popular or- work sustained against an arpeggiated difficult Fairies 5(* c famous operatic melodies, which he in piano sing between seasons?” Not too Dawn has chestral Symphony” and one number original recital and teaching can Yale. Organ at the special Advance of suites ever written, familiar to accompaniment. there is A highly Publi- made especially for this volume. educational feature for the average volunteer choir, number picturing graceful dancing figures both duet form. One other (Cat. No. These publications, together with stand- cation cash price, 60 cents, postpaid. The young and old in radio and concert While Mr. Lemont’s book is in prepara- interesting variety in the choral reflected in a mirror lake. The contents may well be described recordings of Haydn’s much Gr. 4. as audiences. be is a helpful list of 26808)— ard and modern cantatas, services, carols, sale of this book will be limited to the “the tion for the market, a single copy may numbers, duets and trios for women's cream of the crop”, and have been music which will create interest through From Old Tuileries Days 30c U.S.A. its Although of Pub- anthems, vocal solos and duets, and or- and possessions. there have been many ex- ordered at the special Advance solos for Soprano, Alto, Tenor, style of an 18th Century brought within the range of ability of Suggestions will be found for voices, and Written in the the cellent listening. this is a charming composition. gan and piano solos may be obtained for solo arrangements of this work, lication cash price of 25 cents, postpaid. Baritone. The scriptural passages gavotte, average pianist. The appeal of this book dramatizing the story. Detailed explana- and (Cat. No. 26733)—Gr. 3. examination by writing to Theodore Pres- it is obvious that this SECOND PIANO PART— fit/ Robert T. Ben- is not duet arrangement have been selected by Elsie Duncan Yale, 35c to the expert few but to the many tion as to the making of a miniature A Juggler In Normandy ser Co., 1712 more definitely Piano Beginner, Chestnut St., Philadelphia 1, ford—to Tuneful Tasks—by John Thompson- who love opera preserves the color and FINGER FUN for the Little a frequent collaborator with Mr. Keating, This humourous study piece will make an and play the piano rea- stage including appropriate settings, number for recital. Good Pa. select the Ideal luscious qualities the attrac- excellent display You may music you wish for first training material in two- sonably that Tschaikowsky put by Myra Adler—As a result of and may be read by the minister or developing equalization between the well. which will instill interest on the part of for in the (Cat. No. 25753)—Gr. 4V2 - to examine from the Presser and Ditson piano playing is this book of Second original score. Mr. Felton's treat- tive way in which these studies are pre- specially selected narrator. A single copy hands. Your order will be reserved for imme- young pupils in a play-work project. Catalogs of Easter ment of this complete the March of the Cookie Soldiers. .50c Music, which catalogs Piano parts to the widely used Tuneful diate delivery, score gives one all the effects sented, and because of their of Thy God Reigneth may be ordered as soon as the book comes Teachers wishing to have a copy of with irresistible humor and in- we gladly will gratis, of true orchestral work, these Filled supply or expert Tasks by the well-known American edu- off the sweep and breadth. usefulness in early grade at the special Advance of Publication fectious gaiety. Successfully used by New press, upon receipt of the special Child Haydn as soon as it appears Music Hall Rockettes music clerks will The The York’s Radio City make a selection for cator, John Thompson. The melodic and Nutcracker Suite is derived from new studies will quickly establish them- cash price of 40 cents, postpaid. Make direction of Erno Rapee. (Cat. Advance of Publication cash price of the press may do so by placing an under the 40 from 25926)—Gr. 4. you, based on a description of your needs. rhythmic characteristics of these de- a ballet entitled “Gasse Noisette,” com- selves with piano teachers. Each of them certain of securing your copy by ordering No. cents. Orders may be accepted only from order now, remitting with the order the As wartime service, both by the publish- lightful posed in 1891 the limits of Morning Canter 40c first year etudes will hold the those residing in the for the Imperial Opera, has been conceived within cash price of now. United States and low Advance of Publication (In the Forest of Chantilly). A lively ers then of hand bril- and transportation agencies, is not attention of both players, while the uni- its possessions. located in St. Petersburg. The only a five note span for the sake piece clearly describing its title. The cents, postpaid. A single copy only contrasted formity parts of the key 20 liant opening passage is nicely as prompt as in normal times, early or- of grade will make the inter- this ballet known to us today position, only common time and ADVANCE OF PUBLICATION OFFER WITH- like’ theme. (Cat. No. 26322) may be had at that price. with a song aie the given Gr. 4. dering is essential if last-minute disap- changing of parts an interesting studio PRACTICAL numbers which make up this of C are used, and all the work is DRAWN-One of the most frequently re- — KEYBOARD MODULATION— Antique diversion for teacher and suite. in treble and clefs. Musical Clock In the pointments, because of delays, are to be pupil or for two For Class Private, bass TRANSCRIPTIONS quested works among these special Ad- , or Self Instruction TWENTY PIANO DUET pupils. , by The provides the Shop entire suite is Miss Adler’s Finger -Fun ' the avoided. Rob Roy Pcery-The included in this ar- by Clarence Kohl- vance of Publication offers during excellent study in pianissimo problem of modula- OF FAVORITE HYMNS, This is an Mr. Benford has conceived his adapta- rangement for piano duet, and the parts best material for early technical training of past few months has been Ada Richter’s playing. (Cat. No. 26732)—Gr. 3. tion is often a difficult one for the mann-After Mr. Kohlmann’s volume tions with understanding inex- have been we have seen for sometime. The notation Mother's GEMS OF MASTERWORKS FOR THE OR- and special perienced organist kept within a comfortable Transcriptions of Favorite Favorite Hymns in Easy Arrangements A Scandinavian or pianist when first Concert consideration for the original, grade of to be used will larger the aver- Lullaby -30c GAN-Compiled and Arranged by Paul and the playing for the difficulty for both players. be than be such a favorite, for Piano Duet. It is somewhat surpris- opening church service, Hymns proved to Valuable study in legato playing. Descrip- result is a useful and engaging contribu- Teachers age, and there will engaging rhyme at the close Tonner—Judging from the many Advance offertory, or will find it most effective, either be an repeated requests for ar- ing and not a little encouraging in these tive of a Scandinavian mother postlude, or at any there came bits of Viking tion to the easy literature for time of day telling her child of two pianos. by using with each study, designed to entertain as The 25751) Gr. 4. Publication orders being received there when successive numbers are in individual numbers or the en- rangements in piano duet form. troublous days to note the general in- folklore. (Cat. No. — Advance of Publication cash different are thousands of organists interested price, 35 keys. Many books tire suite on their pro- well as instruct the pupil. The prescribed compositions will Water-Lilies 40c in present modulation in piano ensemble devotees of Kohlman terest in matters spiritual as exemplified cents, postpaid. Graceful embellishments and the bar- obtaining book this composition, but few grams. The book will work will cover; Diatonic Succession; In- to hear of an early publica- a of kind. Many who books aid the begin- also be a delight be delighted in the advance sale of this book and the carolle rhythm make this a composition ner by tervals Repeated Notes; arranged of imaginative and poetic qualities (Cat. are the fortunate owners of a fine Ham- giving the concise directions in the home where members of the fam- up to the Fifth; tion of a collection of hymns constantly increasing demand for Mrs. ALBUM OF MARCHES for No. 25750)—Gr. 5. FOR THE ORGAN- modulation at ily and Legato Staccato Phrasings. four hands. The contents mond and are excellent pianists find it the keyboard as found spend their leisure hours enjoying and for one piano, Richter’s My Own Hymn Book for piano A busy organist writes, in “There is always Practical Keyboard order single of this little Piano Duet Transcriptions more convenient to read organ music Modulation. Clear piano duets. An for a copy of Twenty solo (with words). The piano duet col- a need for good organ marches,” duplicate of Theodore and enough for self instruction, book should be placed now at the special of Favorite Hymns is not o. printed on two staves as it will appear it presents Single copies of this new addition to lection is now ready and copies will be that is just what this album aims to pro- well be- the shortest route between Advance of Publication cash price of 20 solo album. It includes such Presser Co. in this collection. Church, school, lodge, various keys the “Presser Collection” be ordered the all ordered it in advance of vide. In addition to the regular postlude may Christ I sent to who Chapter I presente the cents, postpaid. This will assure the re- loved hymns as: In the Cross of ryt 1712 CHESTNUT ST, PHILADELPHIA 1, PA. VJC and home organists who play two-manual Fundamentals' prior to publication at the bargain Ad- publication. The special price offer is requirements of the service, marches are such as degrees Love My Shepherd of the scale, intervals’ ceipt of one of the first copies to come Glory; The King of instruments will appreciate these ar- needed for Church Festivals, vance of Publication cash price of $1.00, withdrawn and copies may be obtained special Sun- triads, dominant and Nearer My God to Thee; O Perfect diminished seventh postpaid. from the press. Is; Advertisement Advertisement 190 191 THE ETUDE MARCH, 1944 ^ —

Band Questions == (competitions === Answered THE COMPETITION for the fifth an- 1 Stillman fU nual Edgar Kelley Junior Schol- arship of the National Federation William 2). oi hf IZeJli will College Music Clubs be limited to residents “AmemcA's most UhusuaL of states in the Central Region, compris- WontI, A Merit-Point System ing Iowa, Illinois, Wisconsin, Missouri, Kansas, Arkansas, North Dakota, Q- Could you recommend a music merit- South Progress Always Dakota, Minnesota, Nebraska, Texas, point system for my high school band?—F. B., and Oklahoma. The competition Texas. This is one of scores of letters recently re- is open to ceived by The Etude from old subscribers. musicians under sixteen years of age, and A. I would suggest the Prescott Sys- S Shower o State auditions are scheduled for 1 U THE jltude: Febru- tem. It is excellent for motivating stu- April. Received your notice of the subscription for ary, March, and AH details may be dent practice and gives due recognition ’43. Enclosed you will find the amount. secured from Miss Etelka Evans, Cincin- TO STUDENTS S'eatureS for I take this occasion to congratulate the man- EXCEPTIONAL OPPORTUNITIES individual accomplishments. nati Conservatory of Music, Cinn., OFFERS agement of The Etude upon its progress since Ohio. ART. I became a subscriber, which is forty-eight INTERESTED IN MUSIC, SPEECH, AND A years ago. What a vast difference between the THE NATIONAL FEDERATION OF Twelve-Year-Old Pupil issues of 1894 and 1942! MUSIC CLUBS has announced the sec- Q. I have Yes, I’ve seen it grow from baby to a a pupil who is studying the alto a ond annual Young Composers’ clarinet man, and it has helped me so much in Contest and she is not- doing very well. She my and art with- work. So I want to thank you once more for for total awards of three hundred dollars violin, pipe organ, speech, is a very thin, frail child, twelve years of age. Voice, piano, the help received from The Etude, and I wish She has considerable trouble The major prize of one hundred dollars tuition. in attacking the you continued success for the years to come. the regular academic tones. is for a composition for additional cost above We have tried medium and soft reeds, I might just mention that the above forty- chamber orches- out but the results are unsatisfactory. She also eight years have been spent at my present tra, with a second prize in this classifica- plays piano in position as organist our orchestra and does a fine of one of the churches of tion of fifty dollars. There also are prizes job. this city. Previously I engaged at Should she stop playing the alto clarinet was another of fifty church in and twenty-five dollars for com- and give more attention to this city, for six years. the piano or should positions in other she —J. H. A., classifications. Full de- continue with the clarinet?—E. S. H., Missouri. Missouri. tails may be secured from ihe National Chairman, Miss Marion Bauer, 115 West A. I believe phy- the young lady is not old Seventy-third Street, New York City. A splendidly equipped enough to play the alto clarinet. It is a gram were the Guilet String Quartet; large AN AWARD OF ONE HUNDRED instrument and requires a person Virginia Morley and Livingston Gear- well-trained DOLLARS is to be given by Monmouth sical plant and a with a long span to adequately cover the hart, duo-pianists; Fredell Lack, violin- College for the best four holes. or -Lht-Iine I believe she would do better if she ist; and Mr. Shapero, composer -pianist. Psalm tune written for a ver-ion of the were to wait a year or two, talented faculty combined and in the Eighty-fourth Psalm, for congregational and meantime devote herself to the piano. In ERICH LEINSDORF, newly appointed singing. The version to be used I speci- addition, I suggest that she do some conductor of the Cleveland Orchestra, fied in the leaflet of regulations. All com- with a wholesome Christian at- physical exercise every are day, especially and recently inducted into the Armed posers eligible to compete and the HANDEL REDIVIVUS swimming, skating, and sports which judge of the contest will be Daniel Greg- will Forces, made his last appearance for the Col- develop her breath ory Mason, Emeritus Professor of Music mosphere make Bob Jones Wilfred Lawson a> George Frederick Handel control. duration with that organization on Jan- in the very successful London film revival, at Columbia University. The closing date uary 16, when now being shown in America. he directed the orchestra for submission of manuscript is March 1, They Want a Band in a benefit concert for ideal institution for students the Pension Fund. 1944; and all details may be secured from lege an “THE GREAT MR. A. I am a piano teacher in For the balance HANDEL” a small school. of the season the or- Prof. Thomas H. Hamilton, il.'m tor of I One of the most beautiful moving The boys and girls have no opportunity for pictures in chestra will have Dr. Frank Black, Ru- the Monmouth College Conservatory of degree technicolor yet produced is the English film band work, yet there are several interested either in taking a upon that who have period in Handel’s life when he was constantly requested dolph Ringwall, Vladimir Golschmann, Music, Monmouth, Illinois. engaged in writing the “Messiah.” Sixteen the school authorities to views from this exquisite film, which has run organize a school band. I play saxophone, but Sir Thomas Beecham, and Eugene Goos- for months in theaters in London and speech, or art New know nothing of the instruments of the brass sens TWO PRIZES OF $1000 EACH are to with a major in music, York, will be presented in The Etude for April. as guest conductors. family. What can I do about this situation? be given for string quartet compositions, Mrs. C. K. G., North Carolina. by CREAT PIPE ORGANS WILLIAM KAPELL, the Chamber Music Guild, Inc., of in music, speech, following his sen- Washington, D. or including courses IN AMERICAN MANSIONS A. I believe it would be C., in conjunction with a grave mis- sationally successful appearance Archer Gibson, P.A.G.O., one of the most dis- with the the RCA Victor Division of the Radio tinguished take for you to undertake the conducting of living organists, is- credited with Philadelphia Orchestra in January, Corporation having inspired when of America. One of the prizes with a degree in the introduction of magnificent or teaching of an instrumental group he or art in connection organs in palatial American mansions. Many played the Khatchaturian piano con- will be awarded for the best string quartet millions of dollars are without now invested in these some preparation in the tech- certo, has been submitted from instruments. Mr. Gibson is a philosopher as engaged by Eugene Or- the republics of Latin well as a musician, nique of teaching and and the interview with him playing the vari- mandy to appear America, while the other prize will be field. m corning Etudes will engross with the orchestra for another you. ous wind instruments. I suggest that, as the next three seasons. given for the best ensemble work sub- BUILDING MUSICIANSHIP soon as possible, you take a course ap- mitted from the United States and Can- ada. The David and Clara (Damrosch) Mannes. two of plying to methods of teaching wind in- contest closes May 31, 1944, the outstanding THE ELEVENTH figures in New York's field of ANNUAL NATIONAL and full information education in musical art, struments, and in addition may be secured by tell of a great and take some FOLK FESTIVAL will be ? 1S nctlve work that has been accomplished in held in the Acad- writing to The ., private lessons from Chamber Music Guild, building musicianship in the American me- a good teacher of emy of Music in tropolis. Philadelphia on May 10, Inc., 1604 K Street, N. W., Zone Wash- cornet and clarinet. Many colleges now are 6, 11, 12, and 13. As in previous ington, D. C. offering years there MAKING THE concentrated, refresher courses will variety of CHURCH MUSICAL be presented the folksongs, dances, Bob Jones College offers a wide MESSAGE MORE EMPHATIC which would be very practical for you. and THE JUILLIARD games of many different nationali- SCHOOL OF MU- of Arts and Richard Maxwell, who has Students soon lose confidence SIC courses leading to Bachelor supervised the music and respect ties, some of has announced its annual competi- for the radio programs of the greatest American whose people now reside in clergymen, tens for a teacher who has no tion for the publication the how it is done. fundamental this country. of orchestral Bachelor of Science degrees, and in background in the playing or teaching of compositions by American composers. The REACHING FAME winning composition School of Religion courses lead- these instruments. LEONARD will be published by Graduate THE HARD WAY BERNSTEIN’S symphony, the Juilliard School, with the composer "Lamentations to the Master of Arts and the Doctor of This is the dramatic story of Jan Peerce. whom of Jeremiah,” was given retaining control of the copyright and ing minions have heard “over the air” and others its world premiere receiving all royalties Graduate have heard at the Metropolitan. How he on January 28, when and fees. The con- Philosophy degrees, and in the achieved success is a typical American romance, it' was on the program of test closes March 1 and all details may full of incident and interest. the Pittsburgh to the be secured from Oscar Wagner, Dean, School of Fine Arts courses leading The World Symphony Orchestra, with Jennie Tourel, mezzo-soprano, 130 Claremont Avenue, New York City. of Fine Arts SO YOU’RE GOING as soloist, and with the Master of Arts and the Master TO PLAY A CONCERTO! composer conducting. Bob Jones College, which stands of Music PRIZES TO THE TOTAL $2000 The Bob Jones Reginald Stewart, piano OF degrees in music and speech. virtuoso, conductor, in United the "old-time educator, who is now at ihe head of the Pea- States War Bonds are to be without apology for body Conservatory and ( Continued from Page 133) A splendid oppor- the Baltimore Sym- NEW CHAMBER SYMPHONY by awarded by the National Federation of College Academy affords phony Orchestra, in a very inspiring interview Rich- the absolute author- gives aid Arnell, Music Clubs religion" and real help to aspiring students. young English composer now to federated music groups tunities for high school training especially THE LEAGUE OF COMPOSERS, at its a resident which, during the period from September in- of New York City, was given ity of the Bible, has had an opening concert 1, 1943 ROLLING HER WAY of the season on Janu- a first to April 1, 1944, present programs to young men soon to enter upon performance on January 19, valuable TO TRIUMPH ary 30, in New York City, when which in the crease in enrollment of fifty per included on its it was played opinion of the board of T by the Columbia \ ou will be thrilled this, Concert judges most military service. by one of the bravest program the "First String Quartet” of Orchestra, significantly serve the nation’s last years. and cheeriest “struggle’’ stories we have ever Bernhard Herrmann tvar cent in the two conduct- efforts. Donor of the awards is Don- read. Miss Kingsbury, now president of a great Randall Thompson, which was commis- ing. mid-western musical organization, started with ald \ oorhees, noted American conductor obstacles most girls would have thought insur- sioned by Mrs. Elizabeth Sprague Cool- and musical director mountable. She aimed for the top and got there idge of a number of out- with flying colors. and was awarded the Coolidge Medal THE standing For detailed information write ROCKEFELLER CENTER CHORES! radio programs. The first prize at its world premiere in 1941 at the is $500, with TERS, the membership of which smaller awards down to $25, AN ALL-NIGHT SINGIN’ Library of Congress. This consists offered was the first of men and women whose “only for public performances of IN THE MOUNTAIN BACKWOODS New York business ad- music given hearing of the work. Other dresses are in by amateur musical organiza- Americana and music in Rockefeller Center, the backwoods make recent- tions within the specified a thrilling picture of rural musical works heard for the first time were ly dates.” Full in- JONES, JR. achieve- opened their fifth annual season formation DR- BOB ment. You will be delighted with this fine Harold with may be secured from Mrs. Ada genre Shapero’s “Sonata for Violin and article. a concert of Negro spirituals Holding T Piano,” and David and Ameri- Miller, Chairman, W ar Service Diamond’s “Concerto can folk songs. Committee The chorus is under the of the National Federation of for Two Pianos.” Participants in the pro- Cleveland, Tennessee direction of John R. Jones. Music Clubs, 28 Everett Avenue, Provi- dence, Rhode Island. 192 "FORWARD MARCH WITH MUSIC” THE ETUDE

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” Music of the New World”. . .presented by

NBC Inter-American University of the Air

"Folkways in Music”— programs planned to demonstrate the relationship of music to the lives of the peoples of the Western Hemisphere, the songs they are known by— is now continuing in Course II of this important series.

Presented by the National Broadcasting Company in 19 weekly half-hour broadcasts on Thursday evenings (11:30-12:00 E.W.T.) through to June 29th, these programs feature a wide variety of folk songs, national dances and symphonic music based on folk material. Music lovers find great enjoyment in these weekly presentations of the historical and authentic music of the Americas—gain new appreciation of its influence and meaning. These programs are a part of NBC’s policy of devoting a large portion of its broadcasting facilities to cultural and educational features on a variety of subjects, each presented under the direction of recognized authorities.

"Music of the New is World” but one example of the many public service programs of the National Bioadcasting Company and the independent radio stations associated with the NBC net- work. Literature, science, the arts, history, religion, public and international affairs receive similar attention in programs equally enjoyable.

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