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

7-1-1943 Volume 61, Number 07 (July 1943) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 61, Number 07 (July 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/226

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A RACHMANINOFF memorial concert was presented on June 1, in Carnegie Hall, by the American Society of Com- posers, Authors and Publishers (ASCAP) The program was devoted to the com- positions of the great Russian master, and the participants were the New York Philharmonic-Symphony Orchestra, con- ducted by Howard Barlow; Fritz Kreisler, Lawrence Tibbett, Gladys Swarthout, and Sergeant Eugene List.

TRAl'BEL, „ HELEN Metropolitan Opera so- prano, will make her STLBESTS He WHT BOB JOBES COLIEdE p? first, operatic appearance .Wr outside this country 'jr*' r when she sings this HERE, THERE. AND EVERYWHERE summer at the Teatro CHOOSE THE BEST THE Colon in Buenos Aires, IN MUSICAL WORLD BECOEBHE MO Jf:- jfgfr Helen under the direction of Traubll Fritz Busch. Ten per- formances of “Tristan GARDNER READ, young und Isolde,” with Lauritz Melchior and a ob Jones College, which American composer of number of other leading American opera Normandy, Missouri, has singers, are included in the season at the stands for the “old-time won the award of one Colon and the Teatro Municipal in Rio thousand dollars offered de Janeiro. religion" and the absolute OSCAR WAGNER, Dean of the Juilliard ent day artists. It was he who brought by the Trustees of the Graduate School, in New York City, was the then relatively unknown Kirsten Paderewski Fund for the DR. EDWIN FRANKO GOLDMAN has authority of the Bible, offers awarded an honorary degree of Doctor Flagstad to the attention of Gatti- Encouragement of Amer- written several new marches to be played of Music at Muskingum College, New Casazza in 1934. can Composers for the during the season of summer concerts to Bachelor Concord, Ohio, on May 24. best work for symphonic “S"” courses leading in Park, York, DR. SETH BINGHAM, organist and which began Central New or chamber orchestra. on June 16. One of these. Hall Brooklyn, choirmaster of the Madison Avenue THE WISCONSIN FEDERATION OF MU- His winning composition is “Symphony of Arts and Bachelor of is dedicated to the citizens of Brooklyn, Presbyterian Church, New York City, was SIC CLUBS, cooperating with the Milwau- No. 2, in E-flat minor.” David Diamond is in recognition of their enthusiastic sup- honored recently when special services kee Journal, will provide opportunities the winner of a similar prize for the best Science degrees, and in the port of the Goldman Band concerts for were conducted in celebration of the for young artists of the state to be heard piece of chamber music, with his “Quartet so many years. thirtieth anniversary of his assuming this in public, through a series of twenty-six for Piano and String Trio in E minor.” important post. Dr. Bingham’s own com- Graduate School of Religion radio broadcasts to be given over the positions featured the musical program ALBERT STOESSEL, distinguished con- radio stations of the newspaper. The first VAUGHN DE LEATH, singer and com- of both morning and evening services; courses leading to the Master ductor and violinist, collapsed and died concert of the series is scheduled for early poser, who had the distinction of being and there were many special guests in within a few minutes on May 12, while in December. the first woman to sing over the air, died attendance. of Arts degree. Beginning conducting members of the New York on May 28, at Buffalo, New York. Known Philharmonic-Symphony Orchestra on DEEMS TAYLOR, President of the THE NATIONAL GUILD OF PIANO as “The First Lady of Radio,” and “The the stage of the American Academy of with the school year 1943-44, American Society of Composers, Authors TEACHERS reports that in place of the Original Radio Girl,” her right to these Arts and Letters, during the annual cere- (ASCAP) has been titles was well founded, for it was in 1920 and Publishers , anticipated twenty-five per cent decrease monial of the Academy and the National Medal by the that she sang Swanee River into the in- courses leading to the Doctor awarded the Henry Hadley in enrollments for this year’s auditions, Institute of Arts and Letters. Mr. Stoes- National Association for American Com- there actually was an increase of between verted gramophone horn microphone of sel, although but forty-eight years old, posers and Conductors, as the one “per- fifteen and twenty per cent. The 1943 Dr. Lee De Forest, thus beginning a of Philosophy degree will had won wide acclaim for his work in * forming the greatest service to American auditions were held throughout the coun- career which paralleled the amazing de- various fields, most notable of these being 1942-1943.” velopments in radio. Her compositions, music during the year try on June 2, 3, 4, and 5. A total of one also be offered in the field in connection with the Juilliard Graduate hundred twenty-eight cities were repre- among them several outstanding hits, School, the Chautauqua Institution, and five hundred. ERIC SEMON, for many years one of sented in the enrollment of some fifteen number more than religion. the Oratorio Society of New York. Before of Europe’s leading concert managers and thousand students. becoming a conductor, Mr. Stoessel estab- the European representative of the Met- THE KOUSSEVITZKY MUSIC FOUNDA- lished himself as a violin soloist, making ropolitan Opera Company, died on May LESLIE HAYS HEWARD, for thirteen TION, at its annual meeting, approved his debut in 1915 with the St. Louis Sym- conductor of the Birmingham compositions to be 20, in New York City. Mr. Semon was a years awards for symphonic phony Orchestra. He was assisting artist leading figure in the impresario field and (England) Civic Orchestra and formerly written by Igor Stravinsky, Bela Bartok, last Opera If you can attend college for only one or two If you are still in high school, we on Caruso’s tour of the country. was identified with the inauguration of conductor of the British National and William Schuman. The Foundation Later he succeeded Walter Damrosch as the careers of some of the leading pres- Company, died on May 3 at Birmingham. also authorized grants for chamber music years before entering the service of your advise you to come to the Bob Jones conductor of the Oratorio Society of New compositions to William Bergsma, now at York. For many years he had been mu- the Eastman School of Music, and Robert country, we strongly advise your coming to College Academy (a four-year, fully- sical director of the Worcester Festival — M. Palmer, an instructor at the Univer- and the Chautauqua Institution. (^om ni •titiond sity of Kansas. Bob Jones College for this year or two of accredited high school) for special TEACH- MRS. CARRIE WIL- DR. HENRY S. FRY, for THE CLOSING DATE of the Patriotic THE CHICAGO SINGING ERS GUILD announces the seventh an- LIAMS KROGMAN, com- character preparation and intellectual and Christian training enter thirty-one years organ- Song Contest, conducted jointly by the before you nual prize song competition for the W. W. poser of more than a ist and choir director of National Federation of Music Clubs and Kimball Company prize of one hundred thousand compositions, spiritual training so essential St. Clement’s Church, the National Broadcasting Company, has now. upon your military service. dollars. Manuscripts should be mailed not 14 in Philadelphia, has re- been extended to October 31. All details died on May Bos- earlier than October 1, and not later than his position. concerning the contest may be secured ton, at the age of eighty- signed from October 15. Full details of the competition West 57th three. Mrs. Krogman Dr. Fry has had a dis- from Miss Rhea Silberta, 200 may be procured from E. Clifford Toren, Plane, Violin, Voice, Pipe was born in Danvers, O^an, Speech, and A>U tinguished career in mu- Street, New York City. 3225 Foster Avenue, Chicago, Illinois. Massachusetts, but re- sical Philadelphia, not Mrs. Carrie Dr. Henry childhood in Williams only in his official ca- THE EURYDICE CHORUS AWARD THE NATIONAL BOARD of Delta sided from uuthxud adJLUional S. Fry Krogman cW of 1943, to stimulate choral compositions Omicron, National Music Sorority, an- Boston. She spent sev- pacity as organist of a voices, is announced by the nounces a National Composition Contest of leading Episcopal Church, but also as for women’s eral years studying in Europe. Many chairman of the committee, Miss Susanna open to women composers. The award were written aMoue Hetfulasi academic choral conductor and teacher. He has her piano teaching pieces tuition Dercum. The award is for one hundred will be a one hundred dollar War Bond. very active in the American Guild under pen names. Her first music lessons been manuscripts in solo voice, dollars, to be given for the best composi- Unpublished mother, for Organists, and is former Dean of the were received from her who FOR DETAILED INFORMATION of tion of three or more parts for women’s string, woodwind, brass, piano, organ, and WRITE Pennsylvania Chapter. Dr. Fry, whose many years was a church organist. Later voices. The contest closes October 1, and small instrumental ensembles will be ac- instruction was pursued under Henry vast storehouse of knowledge has proved full details may be secured from Miss cepted. The closing date is extended to in Boston. At fourteen she had so valuable in giving practical answers Dercum, Chairman, The Eurydice Chorus September 1; and full details may be Koerber operettas which she her- to readers of The Etude through the Award Committee, c/o The Philadelphia secured from the chairman, Mrs. L. Bruce written several monthly column, “Organ and Choir Ques- Art Alliance, 251 South 18th Street, Phila- Grannis, 219 Lake Shore Drive, Chicago, self coached. Her piano pieces, many with Illinois. widely tions Answered,” will continue in his ca- delphia, Pennsylvania. attractive verses, have been used. pacity as editor of this department. (Continued on Page 474)

JULY, 1943 "FORWARD MARCH WITH MUSIC" 425 0

Editorial Free Helps f mtJP Which Teachers, Professional Musicians, and Other Active Music Workers May dBCB q) GJnfifT® I Obtain Simply By Asking For Those Wanted. || PUBLISHED MONTHLY By Theodore presser Co., Philadelphia, Pa. MUSIC FROM THE PEN COMPOSITIONS I 1 Words and W,usic OF CHAS. GILBERT SPROSS BY MANA ZUCCA EDITORIAL AND advisory staff Editor Gives a portrait and biographical This booklet gives a biographical DR. JAMES FRANCIS COOKE, Yeargain, Assistant Editors list Songs sketch a portrait of this com- Guy McCoy and Ava sketch and a complete of and “I hate to see a load of empty bandboxes go along the street and (giving the ranges and the names of poser and lists of her published Vocal Robert Braine Dr. Henry S. Fry George C. Krick Dr. Rob Roy Peer? Piano Solos, Violin Blanche Lemmon Peter Hugh Reed I hate to see a parcel of big words without anything in them.’' text writers) , Part Songs, Anthems, Solos, Choruses, Deiro Karl W. Gehrkens Pietro William Piano Solos, Violin numbers, and Pipe numbers and Band and Orchestra Dr. Nicholas Douty Elizabeth Gest Dr. Guy Maier D. ReveUJ Edna Fort Paul Koepke N. Clifford Page Organ selections by Dr. Spross. numbers. William Hazlitt (JUST ASK FOR "THE JOHN CHURCH CO. (JUST ASK FOR ’"THE JOHN CHURCH CO. 1883 BY THEODORE PRESSER - (1778—1830) BOOKLET JC-100G") BOOKLET Z-70") -FOUNDED Famous English Essayist

CATALOG OF THE SONGS FOR HIGH VOICE This Booklet Supplied This booklet gives full page CELEBRATED JOHN To Teachers and Profes- excerpts of 15 celebrated songs (Contents for 1943 CHURCH CO. SONG by contemporary American sional Musicians Only— illustration in- wisest, sanest, cleverest musical criticisms you can find Composers and the biographi- USICAL INSTRUCTION through and COLLECTIONS (Giving PROFESSIONAL PRICE cal notes and portraits en- the interpretation of passages as performed and you will soon discover that they do not carry any idea hance it. cludes Full List of Contents of LIST OF JOHN CHURCH CO. VOLUME LXI, No. 7- PRICE 25 CENTS (Ask for "Catalog JC-30B") by the teacher, performances of artists at concerts, of the music such as that which the audience, that actually Each Volume) PUBLICATIONS IN BOOK M WORLD OF MUSIC 425 FORM. records of the playing or singing of artists, and the radio heard the performance, had presented to its ears. Criticism This valuable catalog in listing SONGS FOR LOW VOICE the contents of famous Classic, Here are portions of 15 well Covers the whole range of col- EDITORIAL television broadcasts of eminent performers. is therefore most valuable to those who previously have Opera, and Oratorio songs or vir- established songs. Composer lections for Pianists, Singers, Words and Music 427 tually embraces the Vocal Mas- portraits and biographical Violinists, Organists, Choirs, Musical instruction by words includes pedagogical de- studied or heard the music to be played.” terpieces of all ages. sketches are included. and Choruses. MUSIC AND CULTURE that is, those who (Ask for "Catalog JC-30A") interpretations the teacher, and in addition, The great teachers of piano jn the past ; (Ask for "Catalog JC-30C") (Ask for "Catalog JC-K40") Grieg—Nationalist and Cosmopolitan Percy Aldridge Ora inner 428 scription of by Music Gave Me a Career Deanna Durbin 429 lesson have been responsible for the A New Era tor American Composers Deems Taylor the thousand and one A REFERENCE 430 PAMPHLET OF 2nd VARIEGATED The Artistic Possibilities of Good Jazz Raymond S itt 431 HANDFUL OF SONGS aids, lists of advice, hints upon education of the foremost vir- and 3rd GRADE PIANO PIECES —Some Old, Some New (Thematic Folder) Left-Handed Musicians Waldemar Schweishei; er 433 A useful pamphlet for every piano teacher, analysis, hand position, atmos- tuosi, have been by no means Gives music portions of MUSIC IN THE HOME giving thematic portions of 31 good teaching 15 fine songs every pieces. singer should know. Preserving Your Records in Wartime Peter Hugh Hard 435 phere, historical observations, confined to pianists who them- (Simply Radio Sponsors Increase Use of Great Music Alfred Lindsay Morynn 436 Request a Free Copy of "JC-13A") (To Get This, Ask for "Folder JC-30K") The Etude Music Lover's Bookshelf B. Meredith Cadman 437 traditions, and so on, together selves have been world-distin- THEODORE MUSIC AND STUDY with the suggestions to be ob- guished performers. While it THE JOHN PRESSER CO.. 1712 CHESTNUT ST.. PHILA. (I), PA. CHURCH CO. The Teacher's Round Table Dr. Guy Maier 438 musical books and is true, for instance, that Alex- Those Puzzling Fifths Fred J Naff 439 tained from Problems in Choral Singing Albert ander Villoing, the teacher of The Basic Principles of Good Voice Production (Part Two) Wilbur Alonza Skilet 441 magazines. The Organist as a Business Man Roland Diyi/le 443 the pupil is, Rubinstein, as well as Carl Band Music and Patriotism Lloyd Frederick Sundenmin 444 During a lesson Its Ali in the Mind Rend Le Roy 445 in a sense, the orchestra, and Czerny, the teacher of Liszt, A String Approach to Mozart Joseph s yeti 447 A Teaching Aid and Reading Questions and Answers A Delight l Dr. Karl W Gehrkens 448 the teacher is the conductor. were very excellent pianists, ar5™e Needs Kathryn Sanders Ri mer 449 The Thrill.Yf of the Bagpipes AIi>in C W> ,fe 450 The teacher assembles in his as performers they could not Technic of the Month—Just Before Dawn. Op. 28. No. 2, oy Robert Franz Guy Maier 471 all the necessary fac- be ranked with the most cele- STANDARD HISTORY MUSIC mind of brated pianists. Classic anti Contemporary Selections tors leading to a fine perform- OF MUSIC Flitting Fireflies N. Louise Wright 451 ance and makes clear to the Czerny, who in addition to u Johann Strauss. Op 367 452 Sabbath Sunnseo Latest Revised and Enlarged Edition .Sawyer-Pr :ley 454 pupil how these may be corre- his torrents of studies was a Fragrant Mignonette Stalling* Seales 455 Nelle music, By JAMES FRANCIS lated to best advantage. In voluminous writer upon COOKE Venetian Moon (Barcarolle) Gustao Kl im 457 1 S g Utt rflleS Wilmot Le; „„t 458 indicates in his autobiography Fi n= iT fS | . doing this he may perform Finale, from Sonata inD .Joseph Haydn 459 he took to convey local and Instrumental Compositions illustrations, but if he does too what pains The author, who is esteemed here and abroad as America, My Home an au- Alfred Wi <'er 461 through words how the pupil thority and a gifted writer on music subjects, has drawn Sacred much of this he may also on 1 V.V.V.V.'.'.'.V.'.V.'.'.V.Viryima an 462 his .§ C. Sher on rich reservoirs of experience gathered from teach- W^ood^nd’Vl , play given passages. ing, research, travel, and personal acquaintance with Out of the Deep weaken the pupil’s powers of should (Organ) (’ Mark in 464 world-noted music folk to make possible the interest Sandal Dance (Four Chapter Headings of a Hands) '.V.V.V.V.'.V.'.V.V .Frances Terry 466 same may be said of content, judicious scope and practical arrangement of self-development. The few of the many subjects Delightful Pieces this book. In a style rivalling a graphic, well-told tale, for Young Players covered in this volume S d Leschetizky (also a pupil of this book successfully fulfills its mission to impart S Forever 468 Words have their limita- How Music Began a use- tos^Dn?? rr2;r ful knowledge of music history from the earliest known What Polyphonic Music Was and A Sailors Czerny) whose fame as a facts, instruments, and composers to the epoch-making Dance Margery McHale 469 tions, it is true, but they are , How It Came to Be living composers, and the present eminence of the art in Technic the What Early England Gave to Music of Month teacher of real pianists in- education, in our social life, in the band and orchestra Just Before Dawn the tools which the teacher The Wonderful Bach Family and field in opera and in Robert Franz, Op. 28, No. 2. Maier 470 radio and motion pictures. It is an Arr. by Guy Some Musicians Who Lived at cludes among his pupils such ideal text book for class use because the logical and THE JUNIOR must employ to mould his the Same Time ETUDE 484 practical arrangement simplifies the work of the teacher Eli2obeth Gesf THE LISTENING ROOM How the Organ, the Violin, and and makes the subject clear, pupil’s first giants as Paderewski, Ham- interesting, and entertaining MISCELLANEOUS careers. When we de- the Piano Influenced the Art of class The magnificent new Fine Arts Building of the University *>f Texas was to members. Each chapter is just long enough Music for K^y Lines for and Gabrilowitsch. As a story lesson assignment Hand Position : signed as part of the extended plan the master architect. Dr. Paul bourg, and is followed by a set of test rindun ste n 432 seated ourselves in The Etude a campus by Johann Sebastian Bach, the Greatest questions Its historical charts, index, and colored Music Cret. Dr. E. W. Doty. Dean of the Department, saw to it that in this most mod- of the Polyphonists of Europe a virtuoso he never touched Map are also great teaching aids. It includes editorial chair, the wise foun- Franz Joseph Haydn and the De- ern of music buildings there are special rooms for the school's large collection over 200 illustrations and phonetically gives the pronun- velopment of the Sonata and the ciation of in "Listening Room." the heights reached by several hundreds of names and words of foreign origin vS »,?££ vwmw'::::.'::: der of The Etude, the late of records. This picture shows students the Symphony Nearly Shostakovich HUStsFSSk W H " 8 900 names and well over 100 subjects are indexed’ Talks on War and Music 44! Christoph Willibald Ritter von making this of his pupils. In the French a superb, permanently valuable reference e 442 Theodore Presser, made clear Gluck and the Reform of the volume Americans All! Gladys M Stein on important composers and vital music data. Opera Recital • School, Diemer, Marmontel, Preparation • jii to us that there were no words Robert Schumann and ' the Age of ' Nat,0na1 Morale Strength- .' 442 Musical Romance Cloth Bound— MusifaTSdd&B?^ 1 ! ! ! ! : 1 Adams in the dictionary of language which could describe any and Le Couppey, pianists all, are famed for their pupils Price, $1.50 any Some Famous Opera Writers of the , Nineteenth Century Pert ^ . ::uau Z7JB% musical passage so that a reader could hear how the music rather than for their own performances. Richard Wagner and "the Music of SWater* Bushell 446 Voice s.‘ dne Questions Answered . . the Future" „ M 473 Likewise, Leopold Auer, teacher of several world-known Organ and Choir Questions Dr_ Nicholas Douty actually sounded. He said, in effect, “Look through the Great French Composers of the Answered Fry 475 Violin Questions Answered Dr. Henry S (Continued Nineteenth Century Robert Braine 47/ on Page 478) The Modern Art-song and Its Com- posers Theodore Presser Co. Recent Great Virtuosos of the Piano fbe'Zloj ,ht P ' “< Pkila - P‘- *”ier Co r PJ ‘S h <. ‘943.TV'Theodor, Music in America Everything In Music Publications and Great Britain. h Preuer Co., for V. S. A Masters of the Early Twentieth Century S 1712 Rica. B livia Newer American Musical Lights CHESTNUT ST.. PHILA. (1), PA. Cuba, Dorainica^R^bhc - Colombia. Costa ECU d°r LeIss'iv^V,El Parorrs.o.. o ' - - SuS *' ISalvadof,Salvad<"- GuatemalaGuatemala,£ PsS^T — ? Mexico, Nicaragua. STd " * r “ Sp4,n' and four£d,$? Uruguay.. Canada and New- . ts.n75 a year. All other counlnes, * 3.50 a year. Single 1 & r copy.< Price 25 cents. 426 f] "FORWARD MARCH WITH MUSIC” JULY, 1943 427 THE ETUDE — — . — , ,

IFE MIGHT HAVE BEEN very different for Music and Culture Music and Culture me if I had never studied music. It might L be interesting to speculate on the things that could have happened—and didn’t—but it is far more interesting to think of all the good things music brought my way, unexpectedly, and and Cosmopolitan not many years after I first began to study. Grieg—Nationalist You see, almost as soon as I learned to talk I began to sing too. My sister Edith was the mem- Music Gave Me a Career ber of our family who felt that my voice should politanism—was in evidence, and caused him be trained and who put aside part of her earnings Personal Recollections of Edvard Grieg worry and frustration, though it possibly con- as a school teacher for that purpose. Although tributed also to the richness and many-sidedness I took part in school dramatics and sang at An Interview with of his artistic output. church festivals during my childhood, I was far Written Expressly for THE ETUDE by more interested then in activities like swimming “Much I owe to the Lands that grew— and roller-skating than in professional work. But ^t)eanna More to the Lives that fed— it seemed that I was destined for a public life. But most to Allah, who gave me tioo In 1935 a lady who had heard me sing II Bacio rainier Separate sides to my head.” at a neighborhood function told an actor’s agent SECURED EXPRESSLY FOR THE ETUDE BY VERNA ARVEY & —Kipling about me. The agent told the M.G.M. Studios (then on the lookout for a young girl singer to Grieg’s musical affinities and preferences show play Mme. Schumann-Heink as a child, in a pic- to be postponed indefinitely Deanna Durbin, born Edna Mae Durbin in Winnipeg, Canada, on December 4, 1921 IN CELEBRATION OF THE CENTENNIAL how innately cosmopolitan was the very fibre of ture that had be- singer’s illness is now one of America's leading screen stars. She is an American of English-Welsh his tonal life. He worshipped Mozart with especial cause of the great —and finally descent, her parents having brought her to live in Southern California when she was zeal, which is not so sur- shelved) . I was auditioned, placed under con- " prising when we remem- tract, released, and then signed by Universal a year old. She is the first star to grow up” on the screen through a series of hit films, produced to fit her particular age at the time the picture was ber the clear and “pure” Studios, where I have worked ever since. each written and Part at an early age began to Two : attended public schools in Los Angeles, and sonorities (the absence In my mind one thing is certain music brought made. She study voice. teacher, de Segurola, praises her musical instinct, her ability of “muddy” timbres) this all about. It is entirely responsible for my Her Andres original contracts for radio to adapt herself and to put into practice what she has learned, the unique and thrilling common to them both. career. The and pic- tures were all signed with my voice as the first quality in her voice, and her facility and easy comprehension. Her films include "Three This is the second section of a most in- Bach, Chopin, and Schu- acting second. Of course, Smart Girls," "One Hundred Men and a Girl," "Mad About Music," "That Certain teresting article by Mr. Grainger, who was, mann were other prime consideration, and my as long as the audiences who see my films write Age" (for which she received a special Academy Award statuette for 1937-38), "Three in a sense, an artistic foster son of the favorites. Among his "It's Date," "Spring Parade," "Nice Girl?," . Editor's Note. to say that they enjoy my work, I don’t worry Smart Girls Grow Up," "First Love," a great Norwegian composer time-mates he felt the whether it’s my singing or acting they like bet- "It Started with Eve," and now "The Amazing Mrs. Holliday." Miss Durbin is the only closest affinity with Cesar ter. But it does seem, on looking over their letters, actress now on the screen who was originally engaged as a singer and who has Franck and cited the inability that they think of me as a musician more than remained a singer in every film ! Editor's Note. RIEG WAS much chagrined by his pianissimo variation in to identify himself with the Norwegian Franck’s “Variations as an actress. G peasants and to feel at home with them Whether it would be possible for other young Symphoniques,” in which birth and asso- singers to accom- in their daily life. Grieg was by the violoncellos play the (By “middle-class” plish the same de- ciation a middle-class man. melody, starting with the A Stubborn Vocal if ever succeed I mean that large human element in all modern pends entirely on This quality may be an asset I notes C-sharp, B-sharp, Problem well nations in which personal, individualistic, ma- the individual. in finding enough time to sing in operas, as A, and G-sharp, against to terial ambitions outweigh a sense for larger group Many say to me, My most stub- as in films. Up to now I have been too busy downward - flowing ar- responsibilities—such responsibilities as are apt “I’ve been studying born vocal problem think about an operatic or a concert career. Al- peggios in the piano, as definite plans, be- to sway the artist, the aristocrat, the soldier, the for so long! When was the middle though I am not now making a passage which he started sailor, and even the poorest and most ignorant is something going voice. This had cause the world is too topsy-turvy, I have (Grieg) himself might to been badly neg- on the roles of Mimi in “La Boheme,” peasant or yeoman) . The genius in Grieg (that to happen me?” to work have written, both in the heightened moral sense that drives a single man It is good for them lected, although Marguerite in “Faust,” and Zerlina in Mozart’s matter of its harmonic to feel responsible for the feeling and thinking to wonder, because the high and low “Don Giovanni.” and melodic character- of his whole nation or race) urged him to rise wondering will registers were in While I have been very happy in films, I cannot istics and the mood it out of his middle-class beginnings into becoming make them eager good condition. In deny that they are hard taskmasters. Every film utters. (Ex. 6 below) an all-round Norwegian. So, as part of this all- and more able to addition, I was requires an interval of preparation (that is, of Much might be said roundness, he tried to mix with the peasants forge ahead. At the singing with my selecting, learning, and pre-recording the songs) about the “North Sea to take part in their festivities. On such occasions same time, they mouth closed, several months in which to make the picture, Hansa League period and the Danish occupation. mood” that informs composers hailing from the it im- for the press the communal beer-bowl is passed around the The language must remember which made then a period devoted to interviews dispute—whether Dano-Norwegian North-Sea girding as lands—composers such possible to release After that, if all goes well, there’s a week—per- table and every feaster is expected to drink from (“Realm-Speech”) or the Rural that even after Speech (or “New Brahms, Cesar Franck, Grieg, Frederick Delius, it. But here Grieg’s middle-class squeamishness studying, things good tones. My haps two weeks at the most—of rest. When that Norse”) should be chosen as the official tongue and Herman Sandby. There seems to be some voice had been is over start picking out songs for the next (his sense of “personal cleanliness”) found him of the country—has rocked may be slow in we Norway for over a climatic influence out. “When I saw the great bowl approach me, at work here—some Rem- coming. They must forced, from sing- picture. Making pictures is not easy. hundred years. The difference between the two its rim dark with tobacco juice, my heart sank Ex.O have a great deal ing prematurely. I When songs are chosen for a picture, the selec- languages is about as great as that between within me,” he told me. This urge “to feel at one of patience, and had to work for an tion is made jointly by my teacher, the producer standard English (corresponding to Dano-Nor- with the peasants” is a more vital necessity for patience is a lot hour every day for and director of the picture, and myself. We take wegian) and the “Broad Scots” (corresponding a Norwegian artist than a non-Norwegian might to ask of youth— a year in order to into consideration chiefly the requirements of to Rural Speech) in which Bobby Burns wrote be able to guess. In Norway the peasants always especially in these smooth things out the scene: that is, whatever song suits the mood his poems. Grieg—because of his coastal town have been the backbone of the country—artisti- times. They must and to remedy of the scene. If there comes to our attention a and middle-class origins and partly, perhaps, due cally and otherwise. The population of Norway love their work those faults. I still particularly effective song that does not fit into to Bjornstjerne Bjornson’s influence—was always is very sharply divided between peasant and on the very much over a take a daily one- the script at all, a special scene is written to fit it. Dano-Norwegian side in the language dis- townsman. The two elements look amazingly dif- long period of years hour voice lesson I have no preferences as to the type of music pute. Yet many of his very finest songs were ferent. The peasants, living on frugal fare, have composed with no promise or when not working, I most enjoy singing; usually whatever songs I to poems in the Rural Speech—notably TWENTY-ONE a picture working on at the moment claim top place broad, calm faces and magnificent frames; the the eight songs of prospect of public DEANNA DURBIN NOW but when am the “Haugtussa” (“Maid of town-dwellers—overfed, as usual—look compara- the success. To those In her latest picture, "The Amazing Mrs. Holliday" is in progress I am in my affections. When a song is in English I Mountains”) cycle (poems by the Jaederen to get in the lyric and melody at the same time. It tively peaked and undernourished. peasant-poet, Arne Garborg) who undertake lucky a learn ; and the twelve such steady, selfless hour of work every day. impresses itself on my mind better that way. unsurpassable songs to words by the work, good things are more half True Norwegians rural Tele taken slowly, marken poet, apt to be given in the end. Learning to sing, and In my younger days I was too busy growing Songs in foreign languages are more A. O. Vinje. These latter include The peasants regard themselves as the true such to sing well, is a long, difficult process. This is up to notice any different stages in my musical of course, in order to get a coherent .feeling for gems as Spring ( Last Spring ) , Wounds Norwegians and look upon the townsfolk of brandtian fog of the sea, the soul— in the past six months there them. After the songs are chosen, I simply take the ( Heart-wounds The Old the soil, and all a very involved way of saying that no success development, but ), Mother, and On the that coasts as interlopers, as survivals of the foreign Way Home. So continually and uniquely, in such com- can be achieved without the proper preparation has seemed to be a change in my voice. It has them home and sing them at my lessons until they here again Grieg’s dual personal- settlements foisted upon Norway during the posers, produces a soaring yearning heavier, more dramatic and less lyric. are thoroughly learned. (Continued on Page 474) ity-divided, between “local color” ecstasy of and background. become and cosmo- wistfulness that is ( Continued on Page 472) MUSIC” 429 428 "FORWARD MARCH WITH JULY, 1943 "FORWARD MARCH WITH MUSIC” THE ETUDE ,

Music and Culture Music and Culture

than it had previously received. In short, I be- came assured then and there (as I am more than ever convinced now) that good jazz is good music. It is an art of its own. With further evolution, Composers element in our musical New Era for American The Artistic Possibilities it will become a major A expression. Pioneer the Office of War Information. The result is that Gershwin the history of never at any time in the the Society it might well be asked of me, did not An Interview with But, have we been on so friendly a footing with the of Good Jazz George Gershwin accomplish these very same entire radio industry, and we expect this condi- tion to increase all the time. After all, our need ),'eemS ^Jaylor 2 is mutual.” Mr. Taylor believes that ASCAP, in acting as A Conference with Well-known American Composer, agent for its members, is able at the same time Critic, and Radio Commentator to create a healthy condition between the crea- President of ASCAP tors and the user of music. “But,” he pointed out, l^aijmoncl Scott “the Society’s activities on behalf of the com- Composer of Many Popular Works poser are not limited to the radio industry. In SECURED EXPRESSLY FOR THE ETUDE BY ERIC PERDUE MARSHALL the field of general licensees—that is, taverns, hotels, and theatres—ASCAP has worked out an BY DAVID EWEN equitable and unified schedule which is used by SECURED EXPRESSLY FOR THE ETUDE all our offices throughout the country." Accord- ing to Mr. Taylor, “This eliminates the danger of discrimination.” NOVEMBER 1937 issue of The Etude idea of serving our customers as well as our mem- popular music, an N THE Scott is one o f the most vital figures in present-day this service activity, Raymond editorial (“Justice for Genius”) bers is a comparatively new one, and I am happy Aside from the Society appeared an only jazz composition but jazz performance as Interest in the original force who has influenced not I explaining the aims and purposes of the to say it is already bearing excellent results. evinces a great development of musician he has brought to jazz a sound musical background in number of ways. well. A seriously trained , American Society of Composers, Authors and the creative arts a First and A Practical Service music he has brought his sound jazz instincts and his mastery of jazz Publishers, more familiarly known as ASCAP. foremost is the ASCAP Fellowship Competition, and to serious and leader of the famous Raymond Scott Quintet, he has Briefly, this editorial outlined the early struggles “The radio industry, whose need and use of which was begun in 1939. “This competition,” Mr. techniques. As the founder performances by ceaselessly exploring new of the Society’s founding fathers to establish ASCAP music make it the foremost licensee of Taylor explained, “is open to all students in in- introduced an altogether novel note in jazz famous. At the legal recognition of the creators’ rights under the the Society, is already enjoying the benefits stitutions of higher learning. Dividing the coun- effects. Over the radio his original style has made him nationally for of this service policy,” try into eight geo- of unique radio program called copyright law of 1909. This struggle recogni- present time he is experimenting within the framework a the society for the Mr. Taylor pointed graphical regions and his jazz art, provide an tion has been carried on by "Jazz Laboratory" in which he is trying to widen the scope of greater part of the twenty-nine years of its ex- out. “In May 1942 the appointing a com- performance. Scott has outlet for new jazz works, and develop a clicheless style of istence. But the men managing the affairs of first of a series of mittee to judge the become famous also as a composer of numerous small pieces in which he has utilized ASCAP feel that at long last the time has arrived scripts was sent to works, ASCAP annu- techniques with extraordinary skill. He is best known for In An Eighteenth Century for the Society to enter upon a new era of closer, our licensed radio sta- ally awards fellow- jazz opening theme of Mozart's "Sonata in C major"), friendly cooperation with the men and organiza- tions. These scripts, ships to those stu- Drawing Room (utilizing the on. The Ballet Theatre recently RAYMOND SCOTT tions that use the works of this vast catalog of devised and produced dents who, in the Powerhouse, Twilight in Turkey, Toy Trumpet, and so music in commercial enterprises. under the direction of opinion of the com- presented "Quintet," a ballet operetta arranged to some of his better known jazz things before 1930? Gershwin was a pioneer, and Since the appearance of that 1937 editorial, the Robert L. Murray, our mittee, have written now composing his first original score for ballet, entitled "The pieces. Scott is composer; but Gershwin did not lamentable director of public re- a remarkable Society has gone through a long and an outstanding work presentations in Carnegie Hall attract much attention.—Editor's Note. Gremlins." His accomplish what I felt was needed. He was the struggle with the radio industry, a struggle lations, furnish the in the field of music first step in the direction I had in mind—a major which, happily enough, has ended on a basis of stations with a pro- creative writing in the step, of course—but a first step only. Gershwin equity and cooperation. ASCAP has also elected gram which takes the theatre. So many of had proved in his “Rhapsody in Blue,” “Piano a new president, the well-known composer, critic fullest advantage of our leading members Concerto,” and (after 1930) in “Porgy and Bess,” and commentator, Deems Taylor. Mr. Taylor suc- our extensive musical have begun their mu- that jazz rhythms, jazz harmonies, jazz spirit ceeded Gene Buck, for more than two decades a catalog. At the same careers in college sical grown Because of my appreciation of good music, my successfully transposed into the larger valiant leader and fighter for the rights of the time the scripts, pro- UST AS MOST serious musicians have could be that the Society feels family brother, Mark*, particularly de- the rhapsody, the concerto, the American composer. fessionally written, up in an environment of classical music, so —my — forms of music— it expedient to stimu- jazz setting. My father cided that a sound musical training was indis- opera. To have proved this, and proved this as In the field of American music probably no provide the broad- encourage I was raised in a late and J boy- pensable. I entered the Institute of Musical Art, eloquently as Gershwin did, was of course a other artist is better known than Deems Taylor. caster with a profit- owned a record shop in New York, and my talented young men feeling in the store playing jazz where I remained for four years, specializing in monumental achievement. We are still Certainly no one has done more to stimulate and able commodity. For order hood days were spent and women in the piano, but also devoting myself to theory, repercussions of that achievement in the form educate the general American public to an ap- while these programs records for our customers, thousands of jazz rec- the that we may further all this period ' the greatest com- description. I developed during this harmony, counterpoint. During of diverse musical works by preciation and understanding of fine music. He are sent free to the these ords of every the ambitions of of immersion into musical study, I never lost my posers of the world, all utilizing the jazz idiom. has accomplished this by his pleasant and con- stations, they may be period a fascination for jazz music which has youngsters. Some of me. the jazz music which affection for jazz. versational talks on the air, by his own musical sold by the stations to never deserted But Style our members who be- in for the first time, I began to A New works, the articles and books he prospective fascinated was not that of the rather stereo- Then, 1930, and by many sponsors. ca- me gan their musical formulate my own ideas about jazz and its re- I felt increasingly that to translate jazz written the subject. But our interest at I popular songs of the day, but rather that But has on am happy to learn are typed reers in college jazz-writ- lation to good music. I began to distinguish good rhythms, colors, harmonies into the large musi- the moment in Mr. Taylor rests in his capacity that practically all of of the less orthodox jazz-playing and Rodgers and Hart, jazz (as I had always done more or less uncon- cal forms was not enough. Jazz was much more as president of the leading performing right the stations which do ing developed in New Orleans, and later in Chi- Columbia University; sciously) from the manufactured, silly tunes that than that. Jazz was a technique of its own, a society in the United States. receive this service cago. I was, to a less degree, acquainted with Oscar Hammerstein would have a temporary vogue, and which language all its own. It was necessary to bring He brings to this job a characteristic reason- have readily sold the DEEMS TAYLOR good music as well. Our records brought me into II, also at Columbia; paraded falsely under the banner of jazz. I real- over into the serious musical forms other impor- ableness which makes him anxious first to get programs. At the contact with the foremost instrumentalists and Cole Porter at Har- classical ized that jazz, real jazz, was a language all its tant jazz materials which have become the bone the facts, and, once this is done, to proceed in a present time the stations are operatic stars of the day in the great provided with vard; and also idioms, since materials of calm to the conclusions. many others.” Mr. Taylor might music thrilled me, too, but not own, with its own vocabulary, its own and tissue of jazz music 1900, logical and manner This seventy-eight hours of programming annually. repertoire. Good have added his for it strongly that this language serious music is altogether unconscious. desire to know the whole story before proceeding Obviously, own name to this group, in the way that jazz did. I appreciated good its own accents. I felt which this is of tremendous help to the was at New York University that he first wrote say, of a was an important one artistically—important be- It is not possible in space as limited as this to is undoubtedly due to his earlier newspaper smaller station and is greatly music more objectively, in the manner, appreciated by all music for (“The jazz materials which four comic operas, one of which appreciating a beautiful painting on the cause it was American to its very roots; because enumerate the important training. broadcasters, who, in these war times, are having man Echo”) was produced it spoke for America. I was convinced that it are now the basis of all good jazz music. Books “In ASCAP,” Mr. Taylor said, “I see not only difficulty in maintaining on Broadway. wall—from a distance. Jazz, however, was to me personnel. subject organization for the protection of our more personal. It was part of deserved larger and more ambitious exploitation have been written on the subject—a an mem- “The latest series of scripts, called The something much ‘Marching Nathan Burkan Memorial Competition analysis study. But it is pos- bership rights, but far more important, an organ- vibrated with the nervous and excited which demands and to Music,’ was designed to provide a me. I ten-minute But of * Mark Warnow, famous conductor of the Lucky Strike Hit Pa- point out few salient examples to prove ization that can serve the American public by program ASCAP's interest in the development strains of the wailing trumpets and trombones. sible to a which would follow five-minute news rade. Raymond Scott’s original name was Harry Warnow. When young men and limit entered the field of popular music professionally, he decided to that jazz has created new effects. educating commercial users of music so that they broadcasts. These are women of ability does not I knew even then that if I were to make music he patriotic in theme change his name to Raymond Scott not to capitalize on his broth- and itself to the field Society Jazz has discovered altogether new resources may take full advantage of our repertoire. This recently have of music, for in 1938 the my life work, it would have to be in jazz. er’s reputation. received the cordial approval of inaugurated the Nathan (Continued on Page 471) MARCH WITH MUSIC” 431 430 "FORW'ARD MARCH WITH JULY, 1943 "FORWARD MUSIC” THE ETUDE contact of that keyboard, my fingers sensed the larger musical forms compositions written especially for him include Music and Culture Music and Culture become a master of unfamiliar, but indescribably the utmost something welcome. Richard Strauss’ Parergon zur Symphonia Do- and feel that I can use them with My fingers, in their attack and release of each mestica and Panathenaenzug, Ravel’s “Concerto flexibility. to key seemed actually mated that exquisite key- in Movement,” F. finger-tip for wind playing. players used to try look with snobbery and One concertos by Korngold, of the Kolisch String Quartet, lost a The old jazz Just as we no longer resistance neither board action : the too much Schmidt, S. Bortkiewicz, R. Braun, and J. Labor, he a small boy. He holds the violin to sing with their instruments, and they created condescension upon jazz in general, and are no when was nor too little, and the resilient “come-back” im- and Chamber music such as “Variations on an with the right hand and thus had serious me- an instrumental style all their own. I suppose shocked when it appears in our symphony longer like the quite mediate—not sluggish, instrument in our Original Theme for Piano, Clarinet, and String chanical difficulties when studying at the Vienna the source of this instrumental style is the Negro halls and in our opera houses, so, I am home. Trio,” by Ernest Walker; a “Piano Quartet” by Conservatory with an orchestral group. His violin spiritual—for most of the great jazz players of sure, we shall begin to realize more and more To say that my fingers fairly flew would Hans Gal, and various works by Labor and F. (a Stradivarius) had to be adapted to left-hand yesteryear were Negroes. The spirituals were rich that authentic jazz has a definite role to fill in be exaggeration, but for the first time I experienced Schmidt. Wittgenstein’s “capacity for wide spans playing. In such cases the order of the strings with shouting, with effects of crude and ungov- good American music. Gershwin was only the the real joy of playing. A speed and ease hitherto and quick leaps” enables him to perform with has to be reversed, the bass bar has to be moved ernable force. These dynamic qualities were beginning of such an important trend. When unknown were present, and although a few one hand, works which offer difficulties even for and the bridge is reversed. brought over into their instrumental music when serious composers will begin exploring all the false were apparent, the conviction the ordinary pianist. has concertized through- the Negroes of New Orleans turned to wind in- will study it care- notes was born He possibilities of jazz style, and Violin Once Fingered with Right Hand that I could really play. Many were the congrat- out Europe, Canada, and the United States. struments. fully, they will realize that it offers them new ulations offered: no one had ever before Alexander Scriabin (1872-1915), through over- However, up to the time of Amati, Stradivarius, Altogether new instrumental colors have been and rich possibilities for artistic self-expression. heard like that. They did not know the practice at the piano, temporarily lost the use and Guarnerius in the sixteenth and seventeenth created by jazz. A jazz player might hum in his Equally important, they will find an audience me play reason, from that night I have realized what of his right hand. During this period of single- centuries, it was customary to finger the violin throat almost simultaneously as he sounds a of millions waiting to hear their music—millions but good keyboard action means. handedness he wrote the Prelude and Nocturne, with the right hand. The famous violin virtuoso, note on a trumpet and achieve an exciting ef- who are sensitive to it, who understand it, and

sometimes hear the remark, “Any Op. 9 for the left hand alone, and a left-hand Francesco Geminiana (about 1674-1762) , pupil of fect which jazz musicians call the “growl.” The who, because they grew up with it, feel that it We piano is enough to practice on.” This is concert-paraphrase of a Strauss waltz, which has Corelli, was one of the first virtuosos to hold the trumpet “scream” (or “yell”) is equally elec- is a musical expression of their inmost selves. good not true. left trifying. Technic is not something of the individual alone never been published (G. Abraham) . Even at his violin on the side and to use the right hand New harmonies have been evolved by the con- —it is largely developed by the instrument he final examination at the Moscow Conservatoire for bowing. He lived in England, and his influ- could his technic of the violin scious, constant deviation from pitch which uses. The action of the finger and the action of he use right hand only with difficulty, ence on the was important. marks the playing of our best jazz instrumen- the piano hammer, communicated through that but this was taken into account by the examiners Perhaps the most famous one-armed pianist and he was granted a gold medal. At was the Hungarian, Count Geza Zichy, a pupil talists. In short, the great jazz performers—Bix Key Lines for Hand Position lever, the key, must nicely balance: the player the outset Biederbecke, King Oliver, Leon Rapollo of yester- knows conditions are favorable when he senses of his pianistic career, his right hand still gave and friend of Liszt. He lost his right arm day; Benny Goodman, Louis Armstrong, Jack QU W. Sun that “springiness” under his touch—communi- LEFT-HANDED VIOL PLAYER Teagarden of ^ r to the feeling difficult to to-day—have discovered an en- cating hand a describe, From an old Dutch print by Adriaen Matham (around 1620) tirely new world of tonal possibilities in their but perfectly well known to pianists. T IS SOMETIMES difficult to establish a good Had the instruments, possibilities of which classical first piano I resilient music hand position in young piano pupils during used been more in action, UITE A NUMBER of compositions for piano knew nothing. hours of I the first few weeks of study. They are inclined many weary discouragement would have are written for the left hand alone: either Gershwin knew little about these jazz materials, to play on the outer edge of the keys, flattening 1.been spared me. as practice material for pianists in general, and numerous others like Q them, because he never the fingers, and dropping the wrists. The tuner should see to it not only that the or for the use of one-armed players. Since right- played in a jazz band. The short period he con- 2. To overcome this key-edge playing the writer instrument is regulated from the standpoint of handed persons have special difficulties in per- Left-handed Musicians ducted an orchestra of his own was too brief to 3. often draws with a soft erasable crayon a line on tcne, but also that any sluggish moving keys are forming them, they are considered virtuoso give him important experiences. Only by per- the white keys just halfway between the outer attended to. pieces. The left-handed performer finds it easier forming in a commercial jazz band, and coming 4. edge and the black keys. Then I ask the pupils to to develop the required technic in such cases. into everyday intimate contact with great jazz try to keep the tips of their second, third, fourth, The right-handed player may have to practice L instrumentalists, can one learn the capabilities 9 and fifth fingers inside this line when playing. for months upon left-hand passages, which by and potentialities of jazz playing, as passed on 5. This draws the hands inward on the keys, and the normally left-handed person may be achieved from one master to another ever since ragtime A Scale Contest That Worked prevents the lazy thumbs from dangling below with little work. Of course the great desidera- was born in New Orleans. It is for this reason 6. the keyboard. The little ones may be told that ISS Mary M. Scott, of New Orleans, who is tion of the teacher and student points to as high that, I first < )/*. cl when became conscious of my in- possible. While one Wa f emeu* Scluueidhiveidneimer the area on the edge of a degree of ambidexterity as 2 the keys is enemy terri- a member of the faculty of Loyola Univer- terest in jazz, I decided that I must have a band right-handed, tory and one must keep out. 7.M sity, and is also Dean of the Faculty of the may be definitely left-handed or of my own, with which I could explore the world New Orleans Conservatory of Music and Dramatic it has been proven over and over again that of jazz more intimately I could than do other- ambidexterity be acquired with sufficient 8.Art which is affiliated with Loyola, is an old and may wise, with which I could -attempt endless experi- apparently may enthusiastic friend of The Etude. She reports the practice. At first the difficulty ments with timbres, colors, sonorities, pitch devi- this following plan she suc- seem insurmountable. You may demonstrate ations, harmonies. Though serious jazz has outlined for a highly him trouble. “In 1893 he wore on both arms red composi- by a very elementary experiment. Try to butter The Importance of cessful scale contest. are: tion is my major interest and goal, I Good The conditions woolen oversleeves, obviously homemade and very my refuse a piece of bread with your left hand and note All candidates all to give up my work as a leader of a jazz ensemble must be qualified to play conspicuous,” Engel tells us. “When playing in how awkward and clumsy your effort is. However, Major and all because I feel I must never give Keyboard Action Minor Scales in canon form. public, before he began, he would point to his up my oppor- after continuous daily practice, the left hand The examinations the tunities for research and study and experiment are held in May and right hand as if asking for indulgence.” passing develops ability in surprising fashion. You may with jazz materials. mark is 100%. of all persons are left- ha JJamilto convince yourself of this by trying to sign your Only five per cent The examiners, three in number, are former majority of the human race is with your left first the results handed, while the Early Compositions graduates name hand. At of the school and serve without all persons who are right- T WAS MY LOT, when a youth, will be ludicrous, but it every for a right-handed. Almost to practice remuneration. keep at day Besides starting my own Quintet, the first also right-eyed and right-footed. of hours daily on a piano with a not very re- month and note the difference. handed are I Each pupil is provided with twelve slips of my ensembles, I also turned to composing. In my sponsive action. Up to that time, Friedrich They take aim with the right eye; they kick an I had little paper. Kalkbrenner (1788-1849) wrote sev- compositions I tried to go Each slip bears the name of a Major Similarly, the left- beyond Gershwin by experience with newer and better instruments. eral special studies for the left hand; among object with the right foot. introducing into music not and a Minor Scale. None of the Scales are left-footed. meant for dancing, Consequently it was not realized that them the “Sonata, Op. 42” pour la main gauche handed persons are left-eyed and my slow related. many of the materials hitherto used exclusively their right hand the main progress was partly due to causes which did not principale. Many works of Bach have been tran- Most people consider for jazz dance compositions. For Each of the three judges draws a Major and a long while I lie within myself. “Practice makes scribed for the left hand, such as the “Violin hand, and their left hand a sort of auxiliary. We perfect” that a Minor satisfied myself by writing only little things, be- piece Scale. Thus each judge has only three high degree of ability of advice, hoary with age—was implicitly Chaconne,” transcribed by Zichy; four single all know, however, the cause I was experimenting with my technic and Major and Three Minor Scales to adjudicate. practice and training. believed, but in a blind sort of way. Endless repe- pieces for violin solo by Philipp; and a Gavotte which can be attained by with my means of expression. I wrote If a pupil makes one mistake, a second ex- numbers tition, with small regard for proper by Joseffy. There are fifty amazing studies for the The agility and independence of the left hand conditions, amination like Powerhouse, Twilight in Turkey, Christmas either occurs one week later. (This has after practice, appears as mere in myself or the piano, was surely the left hand after etudes by Chopin; and a “Piano of the violinist, Night in Harlem, and numerous other small pieces occurred only once in Miss Scott's examina- In spite of this, highway to success. But a vague dissatisfaction Sonata in C major,” by Reinecke; and some witchcraft to the untrained. designed for listening and not for dancing. tions.) The continually made itself felt: studies by Rheinberger. C. von Weber’s Per- everyone has an inherent preference for either something seemed Those M. more I utilized jazz materials, the more I felt to making a perfect score receive a medal which depends on be wrong, but I could not determine what petuum Mobile was transcribed for the left hand the right or the left hand, that they could become the basis of a very with the name of the the date im- About this time, an invitation was winner and by Tschaikowsky. Bach’s Chaconne in D was ar- peculiarities of the brain. This inclination is in- extended to engraved portant musical art. For I felt that I was achiev- provide upon it. is noticeable in chil- a piano solo at a small concert. ranged for the left hand by Brahms and for both herited. The difference most The The scale ing in my music, specific moods and atmospheres practice hours just medalists are permitted to appear dren of only a few months. Note two babies born then had been spent chiefly hands by Busoni. Alexander Scriabin (1872-1915) of which no other music was capable. in an evening recital. given on Lack’s Valse Arabesque, and Each recital is wrote a Prelude and a Nocturne for left hand. under the same domestic influences of inheritance although feeling with I think it is possible to use jazz materials, and rather insecure the assistance of a violinist or a singer. environment. One reach for an object at certain points—particularly One of the most famous of left-handed virtuosi and may with wonderful effect, in even larger Miss Scott writes, plan forms: in the right hand skips I decided “We have followed this is Paul Wittgenstein. This famous performer was with his right hand. The other always uses his — to risk it. The overtures, symphonies, ballets, operas. for several years, bene- I am now piano maker’s name is now forgotten. and have found it very born in Vienna in 1887 and studied with Lesche- left hand. Of the Dionne Quintuplets, for in- I paid no ficial. working on my first ambitious work in that di- attention to By providing an incentive leading to per- of these remarkable little sisters are that at the time, for I imagined tizky. He had the misfortune of losing his right stance, four all fection in rection, a ballet called “The Gremlins.” Eventually pianos to be alike. scale playing, we find that the general arm in the First World War. This compelled him right-handed and one is left-handed. LEFT-HANDED LUTE PLAIER playing I hope to go much further, but only after I have But a efficiency of the general in- violin virtuoso, Rudolph Kolisch, pleasant surprise awaited me. At pupil in the to become a left-handed piano virtuoso. The A left-handed Netherlands. Seventeenth Century the first terpretative work is greatly improved.” 432 "forward MARCH WITH MUSIC” JULY, 1943 "FORWARD MARCH WITH MUSIC” 433 THE ETUDE . 2 9

USIC LOVERS and Music in the Home Out Music and Culture How I Worked It music dealers across M the country tell us of C^onte strange conditions prevail- smoother and more polished through a shooting accident, but developed a ing with records these days. treatment of the lyric sec- fantastic technic with his left hand alone. He or the clarity of many experiments, the Certain records, after two tions. Although all the result. After writer de- was fourteen years old when this accident oc- is familiar with start turning the reproduction is good, it VERY TEACHER simple method which three playings, students in veloped a proved most curred, but he continued his music studies, first problems encountered with white, and the performance cannot be said that the re- effective. and later all the phases with Mayrberger and Robert Volkmann, E trying to have them cover sounds harsher and some- cording is as vital as it might Merit Chart was made, on which the born at Sztara in attendance, suf- A names Your Liszt. Zichy was Records with Count should. Perfect muffled. Reports to Preserving have been; there is a distinct of study as they listed, together what position, of all pupils were with the neces- 1849 and died in Budapest in 1924 Liszt prepared ficient practice hours, correct hand manufacturers have to date lack of resonance behind the subjects in separate columns. Also left hand memorizing, all sary the open- various concert arrangements for the scales, arpeggios, studies, and brought no explanation of orchestra, suggesting the re- ing and closing dates of the contest period exclusively, for Zichy’s use. Liszt also appeared important and must be given equal were causes the various cording was accomplished in are equally chart took the form what Zichy in a “three- he should. stated. This somewhat as several times at concerts with attention if the pupil is to progress as troubles. Splotches or white a radio studio rather than a March. be here shown. Suggestions for marking are given in artime hand” arrangement of the Rakoczy Week after week the same admonition may spots on records are caused W concert hall. under the chart. Zichy’s numerous compositions include a book given concerning these things, with no apparent more by the careless use of Tschaikowsky: Manfred—Sym- alone, to which Liszt phonic Poem for Orchestra (after of etudes for the left hand fibre and cactus needles than preface. Zichy, who had the Dramatic Poem of By- contributed a Count Coniest: October 1st to June 1st by anything else. These nee- ron) opus 58; The Indianap- Hungarian Na- , studied law, was president of the dles have a tendency to bu f-^eter Jduab f^eed the Hand Practice olis Symphony Orchestra, tional Academy of Music, and, later on, of spread at the point, and in Memorizing Scales Arpeggios Position Hours conducted by Fabien Sevitz- National Conservatory at Budapest. He was a Attendance many cases they do not ride successful concert pianist and was much sought ky. Victor set DM-940. Jane 10,10,10,10 10 1,1, 1,1, 1, 1,1,1, 2, 2, 2, 6, 7.8, securely in the bottom of the by managers. Most of the arrangements of the This work is generally re- John grooves. Needles remain one pieces were made by him for the left hand. garded as a program sym- Alice of the most personal items S/mphcny No. 2 in B minor; The Minne- phony. Its composition lies between the fourth There were several noted flute-players who Mary connected with the phonograph, and the best Borodin: which apolis Symphony Orchestra, direction of Dimitri and fifth symphonies. It belongs to the group of used the left hand, especially Benoit-Tranquille advice we can offer is to stick to the needle Mitropoulos. Columbia set 528. compositions which were initiated or inspired by Berbiguier, pupil of Wunderlich. He was born the best service. However, regarding non- At the end of each month all the points were If the hand position was improving, but was gives Balakirev, well to point out Readers familiar with Borodin’s Polovtsian the influence of the composer’s friend 1782 at Caderousse, Vaucluse and died in 1838. perfect, the student would receive metallic needles, it might be added and the total posted in red at the head not one point, is per- uses them, and in Dances from “Prince Igor” know what haunting of which the Romeo and Juliet Overture He wrote a series of flute compositions; as flute half point. If the scales were that no technical expert ever of the next month’s chart. On the appearance or a not perfect haps the most successful. Balakirev worked out a section of the country have melodies he could write. Borodin was influenced virtuoso he is said to have had a peculiarly soft first time, no points were given to no laboratory in any of each new chart there was great interest, as the the stu- scheme on Byron’s poem and first sanctioned. Properly shaped, by the Russia of the Orient; the richness of color- symphonic tone but to have been defective in articulation. points dent. we found their use the pupils compared the amount of their submitted it to Berlioz during one of the latter’s Michel ing, the splendid sav- Another left-handed flute player was successful This contest has proved very effective in main- the non-metallic needle with one another. This system was agery, the wild, haunt- visits to Russia. The French composer, how- Blavet, born 1700 at Besancon, died 1768 in Paris, taining interest and developing ability can be used far more also in obtaining perfect attendance, as the stu- during ing melodies of the old ever, did not undertake to write the work. Later who at times played with Crown Prince Frederick advantageously than the dents were anxious to make up lessons in order the difficult stage of piano study, which is so try- Russia about which he he submitted the idea to Tschaikowsky, who of Prussia (later Frederick the Great) needle. to points. ing to many students. semi-permanent win read in books, all were became interested. The Manfred motive which The younger the child, the more pronounced These latter are very reproduced in his mu- goes through all the movements, was suggested are its inclinations toward left-handedness. Only hard on good records; sic. Borodin made ex- by Balakirev, who contended that the symphony, a strong tendency, however, survives the right- the worse offender being tensive research on as in Berlioz’s Fantastic, must have an idee fixe. hand training. Scientific studies of children have the sapphire needle medieval Russia before Except that he reversed the order of the middle revealed that at the age of two to four years, which can be taken in Why Not Better Violinists ? writing this symphony sections as conceived by Balakirev, Tschaikowsky 40.5 per cent preferred the left hand; 21.4 per and out of the pickup. and his opera, “Prince followed his friend’s ideas. cent were indifferent; 38.1 per cent preferred the The only desirable sap- Igor.” The symphony This score is not frequently performed, per- right hand. At four to six years this had changed, phire is the type built If %aJ, W. Ml owns no real program, haps because it is an hour and five minutes in and 18.9 per cent preferred the left; 5.7 per cent into a pickup, but even yet one has been im- length. Another point, the conductor’s task is a were indifferent; and 75.4 per cent preferred the HE QUESTION is often asked, “Why are It should be borne in mind, however, that a here the danger of the plied. Thus, one writer formidable one, since Manfred is acknowledged right hand! Once in school, the children quickly violinists in the average public school ap- student of a wind instrument usually learn jewel needle chipping or can tells us, we hear and one of the most difficult orchestral scores in ex- become right-handed. In addition to writing, Tparently so musically inferior to players of to play a splitting must be taken “tune” in a pleasing manner in about picture in the first istence. As to the listener appeal, this depends training and certain tools help to suppress left- wind instruments such as the clarinet or one quarter into consideration. The of the time required to attain similar movement the gather- upon whether one can sustain interest in a work handed tendencies so thoroughly that, at the age trumpet?” This refers to musical performance sufficient technic hand, great danger in this con- on a violin. On the other ings of princes, and in of this kind;, although there is much beauty in of twenty, no trace of the former inclination which is the only criterion of a student’s music a wind nection is the fact that instrument’s limitations are quite ap- the finale the banquets the score, the music is nonetheless uneven and can be found. Musicians, especially, are rarely ability that is evident to the public. Admitting this type needle can be- parent whereas a violin’s tonal possibilities are of heroes where the protracted. The opening movement remains im- conscious of their natural inclinations. They grounds for such question, the answer is two- come injured, and the % limitless. Russian Guzla and pressive, and the scherzo is wholly delightful, but have overcome the natural resistance success- fold. First, playing a violin makes demands on user may be unaware The second cause for disappointment in the bamboo flute were thereafter the work falls somewhat short. Still, fully. more music talents than any other instrument. that it is damaged. The violin prodigy is a less recognized one but, with- heard while the mighty as one writer has said, for Tschaikowsky ad- The superstition, once entertained by some, For example, the player must, without the mech- out resultant wear on rec- doubt, more prevalent and certainly the one men caroused. The lyri- mirers it has moments of true magnificence that left-handedness is a sign of degeneration is anized help of keys or valves, control the pitch ords is very bad. which presents the greatest handicap to progress. cal passages in the which makes one forget its defects. entirely erroneous. There is, therefore, no reason of each tone he produces and unless exacting One West Coast dealer, This is a worthless instrument or one in much recall Sevitzky plays the slower sections of this work to curb a left-handed tendency. is it symphony Nor neces- proficiency in this is acquired the result is “sour” who has made consider- need of adjustment and repair. phrases of the "Prince better than the quick ones. Considered on the sary to examine the beginner as to his hand to the listener. The violinist must also control able experiment of late One expects to invest at least a hundred dollars music. Borodin whole, the performance is a commendable one, inclination. He is taught as a “right-hander” un- Igor” the quality of each tone. Several factors are con- in with splotched records, a French horn or an oboe, but many have has told us that his but more than one playing has left us with the less he is decidedly left-handed. cerned here: the art of bowing tells us that these white (in itself an the quaint notion that twenty-five dollars will feeling that we are not hearing the work under necessarily warm-hued and ro- Impatience and harshness toward left-handed endless study), the development of an artistic spots do not DIMITRI MITROPOULOS purchase a satisfactory violin. It is a deplorable mantic slow movement the most favorable circumstances. The recording children are of no avail. Left-handedness may vibrato which lends charm and life to the tone, mean that the records fact that violins may be had for as little as five aimed to recall the has been excellently contrived. appear unusual and striking to some readers, but and precise finger placement on the strings are spoiled. He has found with- dollars but it even Griffes: Poem for Flute and Orchestra; The East- is too much to expect that marks songs of Slav troubadours. But the Bardic quali- the left-handed person undoubtedly has some out which no tone can be clear and clean. that after six or seven playings similar an accomplished artist music with evidenced in man-Rochester Symphony Orchestra, conducted can make the records cease to show themselves, and ties of the work are as strongly advantage over his right-handed brother. Left- Besides these pertinent technical features, the such on 11-8349. an inferior instrument, least of all that a opening and closing movements as in the by Howard Hanson. Victor disc handed children learn to use right-hand instru- student must be endowed with that the white or gray marks can be removed the a goodly portion beginner also Listening to this work, with its sensitive poetic may achieve any progress. There rec- Andante. ments as they learn a foreign language. They of general music talents such as a fine with any standard record cleaner, any good sense of exists an absurd has feeling, its rare charm and individuality, we are idea that any violin which In the latter Mitropoulos gives a splendid performance of have to use the proper hand for the violin, the rhythm, a discriminating ear for pitch and ord renewer, or by a damp cloth. been a family heirloom for or so has shows appreciable and reminded of the early demise of its composer. clarinet, as well as for other instruments. timbre, a sense a generation case the record must be carefully dried. Testing this score; one which Prac- of musicianship in matters of in his thirty-six years miraculously acquired virtue and value to re- understanding of its content. If less What Griffes accomplished tice of separate parts is of great help interpretation a number of records afterwards, he found that musicianly to the and a general knowledge of music critic markable degrees. If appreciable in the outer movements was more than a promise, however; as one average student, but practicing hands together structure and notation. age makes any the reproduction was no longer harsh or muffled, fervent and dynamic difference said, it a true achievement. Griffes in the tone it is only be- the English-Russian conductor, Albert once was seems to be more helpful to the left-handed stu- All this seems a formidable of a violin, and that thereafter, with the proper needle, than was array of pre- piece and The Pleasure Dome of cause it was an excellent originally is nonetheless appreciable for his wrote only this dent. Even if a left-handed student uses his requisites for the would-be instrument there was no more wear. We are glad to be able Coates, he violinist, and it may for orchestra, but both show that and has since been used extensively and contin- this Kubla Khan right hand he should not be taught to become sound discouraging, but it to pass this information on to our readers at should be remembered uously individual feeling for the orchestra and been taken care of properly. It should not he had an right-handed, but rather should develop an ambi- that the average child does possess time, because record material is obviously these talents always be J°e and suggest that, had he lived, he might have dextrous skill. Practically all music-technic remembered that the price Uncle times. edu- to varying degrees and, given a competent the same as it was in peace more paid for the instrument necessarily accomplished a symphony or some other cation is designed to develop both hands as teacher (a world of implications does not Two Russian symphonies recently released offer RECORDS here), gratify- orchestral (Continued on Page 481) represent the violin’s value. significant technical instruments. ( Continued on Page 483) ing results will, in time, be evident. material off the beaten path. Even a 482) very fine ( Continued on Page WITH MUSIC” 435 434 "FORWARD MARCH WITH JULY, 1943 "FORWARD MARCH MUSIC” THE ETUDE . ,

Music in the Home over by Carl Paderewski Through Polish Eyes spot, to be presided Van Doren, his- Music in the Home and author. In what torian, critic he calls “Our Paderewski was so much an international per- American Scriptures,” Mr. Van Doren will re- sonage that it is hard to realize that those of atmosphere and scene in create the which memo- Polish blood all but deify their great compatriot. utterances were rable American delivered. Noted Therefore, “Paderewski,” by Antoni. Gronowicz, week will read the actors each utterances them- translated by Jessie McEwen, and just published The Etude should not be hasty to selves. One criticize the in America, gives a new aspect upon the great this change in advisability of intermission pro- musician. It is withal a most excellent and at- but we feel that a large Radio Sponsors Increase cedure, group of the tractive biography. The final chapter, giving the will the regular listeners miss musical talks of story of his last moments, is very dramatic. He Deems Taylor. There is no question that there was very feeble and heartbroken over the agonies Music Lovers Bookshelf is an interrelation of the arts, but dividing a of his beloved Poland. “He called Charles, a hotel musical program without some commentary on servant, and asked him to help him to the piano. Use of Great music seems a strange precedent. Further, one When Charles seemed dubious about allowing Music Any book Here wonders, even in times like this, whether it is him to move, Mr. Paderewski said, ‘Then you reviewed may be secured from absolutely necessary to resort to propaganda of play, Charles. Play the Polish National Anthem THE ETUDE MUSIC this kind during a musical program. for me. As you play, I shall sing.’ MAGAZINE at the price given plus bij- ^di^red cjCinddcu^ ^fldorc^an It was gratifying to find at the conclusion of “But Charles could not play, he explained. postage. the Boston Symphony series that the concerts of Had he not spent his childhood in Vienna, Mr. the Boston "Pops” Orchestra, under the direction of Paderewski asked. Yes, Charles admitted, but Arthur Fiedler, were to be heard on Saturday even so, he had not learned to play the piano. “ nights on the Blue network (8:15 to 9:15. EWT). ‘Then I will play it,’ Mr. Paderewski said, CURIOUS assist COMMENTARY on American Thursday nights This is the fifty- and before Charles could him, he was on radio is offered in the fact toward the piano, which Cdadtman that sponsored (11:30 to 12 mid- eighth season of the his feet and moving A programs inevitably acquire a higher rat- night, Mr. Steinway, had given him. He sat EWT — Co- Boston “Pops” con- his friend, ing of listener interest than his coun- those which are not lumbia network) certs. The orchestra down before it and played. He played sponsored. It is the merchant and not the con- national song with a mighty force. The These Thursday is, of course, made try’s sumer who pays by way of radio, and apparently concerts flowed through the apartment and out at the up of members of music able fortunes for the promotion of Polish in- of 7,000 names. The style is readable. when he makes up a program he does so with time of writing are the regular Boston terests, he had better provide more carefully for “The Oxford Companion to Music” the largest audience appeal in mind. A decade scheduled to con- Symphony. In keep- his own future. He replied, with that “world- By Percy A. Scholes ago it was largely the American idiom of jazz tinue, and many of ing with tradition, sorrow” which already had entered his eyes, Pages: 1132 through which the merchant found it most prac- Mr. Barlow’s plans all seats in the Bos- “When I cease giving, I shall be Paderewski no Price: $7.50 tical to bring his wares to the attention of the will undoubtedly ton Symphony Hall more.” Publisher: Oxford University Press. general public. But even ten years ago there materialize auditorium have “Paderewski: Pianist and Patriot” .were signs that advertisers were moving in an- through them. been removed, and By Antoni Gronowicz A Guide to the Tone World for other direction. One advertiser, forsaking the Then there is the tables and chairs Pages: 216 jazz idiom, presented a series of short programs Tuesday night Children substituted for the Price: $2.50 five nights a week featuring one of our largest broadcast of the comfort and pleas- Publishers: Thomas Nelson and Sons The idea of “making music a living force in symphony orchestras. Another advertiser found orchestra (11:30 to ure of the patrons. the life of every child” has been the ideal of all it practical to sponsor the opera broadcasts on 12 midnight, EWT) The millions of radio educators. Johann Heinrich Pestalozzi (1746- Saturday afternoons. Julius Mattfeld—Librarian A Useful Commentary in which Mr. Bar- 1827) and Friedrich Froebel (1782-1852) stressed listeners will find a piece of Columbia’s New York Station WABC, has said: low may also real- Sigmund Spaeth has done a valuable like enjoyment from it practically in their philosophies. Your reviewer “In this respect, advertisers are not unlike the ize some of his of work for the general musical reader in his the .vantage point of often wonders how these two great and good ancient art-loving princes who invited eminent plans. And there new and comprehensive analysis of the most fre- is their Swiss pedants would feel if they could, by some artists from all quarters of the world to easy chairs. quently heard orchestral works of the great mas- add that fine series on mysterious means, take a phantom ship from lustre to their courts.” Mr. Fiedler has ters, making, withal, a very useful survey of Saturdays from the clouds and sail back to the modern world The latest advertiser to forsake the popular planned a group of the literature of the modern symphony orchestra. 10:45 to 11:00 P.M., and view facilities (if programs for the the which not “every musical entertainment for serious music is the EWT, when Mr. Especially to be commended are his comments season child”) a great number of children have for U. S. Rubber Company which, with the Sunday Barlow conducts •summer upon the works of American composers of to-day FRANCES hearing the world’s greatest music played by the afternoon broadcast of the GREER w’hich will have a yesterday. Philharmonic-Sym- the orchestra for and world’s greatest performers through the records phony Orchestra of New York wide appeal. The Guide to Great Orchestral Music” on May 23, began the young Ameri- “A and the radio. “Pops” spirit pre- a fifty-two-week series of regular Sunday con- can soprano, Eileen By Sigmund Spaeth Farrell. vails in There is now, in fact, a whole library of books certs sponsoring this orchestra. The the music selected and played. Thus we Pages: 532 news of this For the past thirteen upon “what to hear in music.” The last century years the Columbia find a regular program series broke suddenly a week after our copy on Broadcasting containing overtures, Price: $1.45 System has presented on its own produced a relatively few such books because marches, waltzes, symphonic even a Modern Library Mr. Barlow and his plans for the Columbia the Sunday afternoon pieces, and Publishers: The concerts of the Philhar- concerto. the facilities for hearing music were few. Broadcasting Symphony Orchestra this summer monic-Symphony Orchestra of New York during Edition Of the new books of this type, one of the newest A new program, called A New was received. At the time of writing there was its fall Saturday Concert, heard and winter subscription season. Now, at ^ is “How to Teach Children to Know Music,” by no knowledge of Saturdays from 4:00 to 4:45 P.M., Blue A Second American Edition of “The Oxford the Columbia Broadcasting long last, a sponsor EWT— Harriot Buxton Barbour and Warren S. Freeman. has been found for these network, IGNACE JAN PADEREWSKI Symphony being replaced. But radio has a way presents a concert orchestra under the Companion to Music” by Percy A. Scholes has concerts and the season has been extended, on Perhaps the title might have been “How to Listen of upsetting the apple cart over night. direction of Josef Stopak. Each presents just appeared. The publishers state that after And this the radio at least, program it, and to Good Music,” because, after all, children can- to fifty-two weeks. Whether an into the corridors. The night wind caught sudden change of events is only another of those artist, as well as several orchestral works. the publication of the original edition, hundreds or not the full quota of men will be used during bore away its thunderous notes to the street not really know music without going through unexpected things of which we have spoken Some soloists will be selected from the famous of suggestions for further improvement were the summer broadcasts is not stated, below. It rose, it flowed, it ebbed away, and must the necessary musical training. However, that but there players in the received and the author notes that “a consider- before. is NBC-Symphony Orchestra. Out- training, plus a large accessible collection of fine good reason to believe that the orchestra per- have carried a message of courage to many Polish standing names, like able amount of new matter of greater or lesser As gratifying as it is to realize that a series of sonnel will be cut Alexander Kipnis, will also done, let Charles records, such as those suggested and deftly and down very little, if at all. It patriots. When the song was he concerts by the appear from time to time. importance” has been added to what already Philharmonic will be continued has been estimated that more A typical program carry him back to his bed, and he lay there, entertainingly described in this new book, will people listen to offered volume. The huge book con- all summer, it is somewhat disconcerting to find the “L’Arlesienne Suite No. 1” of Bizet; was a voluminous the musical youngster of 1943 advantages the Philharmonic broadcasts each week than smiling happily. He would die with the National give an American the Bruch “Violin tains some 179 full-page plates, giving a large conductor and one of the best radio have attended in person the Concerto,” and the Russian Anthem of his country ringing in his ears. And which were way, way beyond the dreams of better than 3,300 entertaining pictures of orchestras completely out. Sailor’s Dance of Gliere. number of curious and 1892. This presages a What Mr. Barlow has concerts given by the orchestra in Stopak ’s idea is to make in a short time, at eleven o’clock of the night of teachers of let us say, new its 101 seasons the concert historical interest. The work represents the done in promoting appreciation of music for so During entertaining by presenting familiar generation of musicians and music lovers of an the summer programs the orchestra June the twenty-ninth, in the year 1941, Ignacy years and widely loved author’s personality in seeking out odd and un- many past in his summer symphony pro- will be conducted by guest music. Jan Paderewski died. He died with the music of infinitely superior type, particularly in America conductors, but once bits of information not usually found in grams cannot be told in a few Alfred Wallenstein, usual where these facilities are so much more gener- words. How- the fall winter season is resumed Dr. musical director of Mu- Poland in his ears, and in his heart there was Rodzinski tual’s New encyclopedic dictionaries. Thousands of cross ever, admirers of Mr. Barlow will be glad to recently appointed permanent York station WOR, has a new pro- confidence that a beautiful to-morrow would ously provided than in other countries. conductor of the references add to the value of the work. There know that he will be heard as gram called Music “How to Teach Children to Know Music” guest conduc- organization, will be the main leader. For An Hour (Sundays from dawn for all the freedom-loving peoples of the An innova- 9 to are 1200 illustrations and a pronouncing glossary tor with the Philharmonic; and, further, that 10 P.M.. EWT) featuring lighter By Harriot Buxton Barbour and tion of the new series will be the intermission music on the world.” his side. Frances S. Freeman some of splendid plans will materialize. Greer, young Metropolitan Opera All his life Paderewski was a glorious altruist. Warren soprano, Thus, this past month Mr. Barlow with his Donald Dame, tenor, and Benno Rabi- Once, while your reviewer was visiting him, some- Pages: 256 symphony orchestra nof violinist, 1 Price: $2.50 has presented the series are the soloists on this broadcast. one had the temerity to remark that since BOOKS originally Explaining Publisher: Smith & Durrell, Inc. planned for Sundays with the noted the purpose of his latest program, Paderewski already had given up two consider- Australian soprano, Marjorie Lawrence, on r. Wallenstein says: "Now more than ever peo- p e want to hear "FORWARD MARCH WITH MUSIC” 437 music ( Continued on Page 481) JULY, 1943 436 ''FORWARD MARCH WITH MUSIC” THE ETUDE ; — . :

APPEARS to be much haziness Music and Study Music and Study HERE among students, and even some teachers, T concerning the propriety or impropriety, in modern development and practice, of consecutive Round Table fifths in musical composition. All the rulebooks The Teacher’s prohibit them. Yet the student often is discon- by discovering them in some standard ECENTLY, during an evening of certed asks an explanation, he does not music at my home, a group of stu- work. When he receive one that fully enlightens. Puzzling Fifths R dents tackled me, stood me in a always Those corner and pinned me down with, “Now His cantabile is a kind of Recently we heard of a teacher who, asked cleared up by stylization of precise have not been adequately Monthly fifths in standard, tell us some reasons why Chopin Conducted the Italian bel canto. Chopin "was concerning some consecutive a teachers or writers. greatly is a great composer, why his place in the influenced by the old orchestral work, replied that instruments Italian operatic classic, ranks of the top dozen seems assured, “school” whose methods to the same harmonic laws as are by of vocal com-* are not subject his specific claims to fame are.” what Chopin Classicist position he succeeded in if in it a adapting p er voices. That is false reasoning, fact was L, 3red J}. Heavens! Was I in a point-blank spot! fluff fectly to the piano idiom. camouflage of ignorance. There is a differ- tried to convince my listen- not And did I hem and haw, hedge and spar, But first I his glorious fjHaier That melodies are purely in the advisable, harmonic treatment of and ooze platitudes like, “Oh, because he ers of one matter; that is, that Chopin ence pianistic illusions is proven by the wrote such immortal melodies; because was essentially a classicist. I was fully fact voices and instruments; but the factors are tech- that when Chopin’s themes are Bronx cheers would Mus. Doc. sung vo- psychological. The limitations of true he was so unique; because he was the aware that scornful nical and vice triad. He shows how this may be avoided through cally or on sustained instruments they imperfect fifth followed by a perfect, or perfect composer for the piano—” and greet this statement; but since I feel that enjoin some restraint in vocal writing. Noted Pianist are not nearly intonation resolution first of the mixed chord’s seventh, thus so beautiful or effective as versa; because each part moves a different in- so on, ad nauseam. Yet, I could tell by there is ample justification for such an The vocalist must hear the tone mentally before and Music Educator on the piano. Have you ever wondered terval (that is, in conjunct motion, one part will making the progression (in minor) German the faces of the students that the assertion, I tried hard to win the stu- more he can emit it; thus, certain progressions, instru- why Chopin arrangements for voice or move a whole tone, the other but a half-tone) sixth, French sixth, dominant; and remarks: I oozed the more skeptical they became. dents over. I showed them that Chopin’s leave the singer confused other instruments have never mentally correct, may “It that these parallel So, much humiliated, I asked the un- own idols were Bach and Mozart; that become That puts squarely before the composer the may be noted, however, of are this Deport- popular? I am sure it is because they and uncertain. But the laws harmony believers to return in a week when I like theirs, his compositions in their fin- Correspondents with are decision of which theory to accept regarding the fifths are often to be found in masterworks, ment are requested to limit Letters not transcribable ! Of the hundreds of his identical for all media of tone production. would try to nourish them with more sub- ished state are so immaculate, so fas- to One Hundred and Fifty Words. perfect-imperfect fifth progression. Let him try especially in those of Mozart.” Again, he offers no immortal melodies, which arrangements, several factors must be recognized. What stantial reasons for Chopin’s eminence. tidious in design and content, so shorn But out such combinations, and determine for him- explanation. For some mysterious reason, how- other than the Nocturne in E-flat and basic reason for the prohibition of con- The only trouble was that when I con- of non-essentials that only a classicist at is the ever, test the pianoforte proves that this that popular defamation self whether they effect the result he desires. The a at sidered the matter leisurely and calmly heart could achieve such perfection. Fur- of the middle secutive fifths? Second, what does one mean by writer inclines to their admissibility. particular chord progression fails to produce the revised, altered, changed, and cut until section of the Pantasie-Impromptu, I’m I found enough reasons to fill a book. . . . thermore, Chopin never permitted any- consecutive fifths? Finally, if theorists condemn Always Chasing Rainbows, can feeling of unprepared key-change! So a week later, fresh as a daisy, I con- thing but the purest musical thought to he despaired ever of satisfying his in- you re- them unanimously, how do some composers, with satiable hunger for perfection. His own call? fronted the doubting Thomases and tried enter his work; nowhere do we hear him impunity, disregard the law? spirit demanded of him such spotless 3. In his use of chromaticism. It was Prout my best to condense, to be brief and to describe his personal feelings at the time simple, Aid from Chopin led There is a thoroughly sound, yet reason the point. I skipped lightly over the ob- of composition. His flame burned solely music that he agonized over every single who the revolt which under- fifths the mined the solid system of for the ban. A succession of perfect in vious attributes of any significant com- to create music; that is surely a mark of measure. And, like the true classicist, he so-called dia- I don’t profess to know all the answers, but I was forever tonic tonalism of the classic masters. same two parts creates the impression of a sud- poser—fertility, and freshness of motives, the classicist as contrasted to the roman- shearing off measures, sim- He offer two for consideration. Prout, in his “Instru- themes, harmonies, plifying notes and clarifying was really the forerunner of Wagner and den change of key without adequate preparation forms, of proportion, tic, isn’t it? . . all texture, ex- . Don’t forget that the mentation,” Page 135, makes one statement that of contrapuntal craftsmanship, and all romantic cising non-essentials. Like Mozart, he the moderns. for it. Harshness does not result. Changes from vaporings about the conditions possibly will aid some students (the italics are the others; and didn’t even bother to under which Chopin’s compositions were struggled ceaselessly to reveal the simple, 4. In his extraordinary ability to pro- one key to another are necessary to prevent duce beautiful mine) mention those abstract qualities of orig- created were perpetrated first by Madame stark, living heart of the music. I asked and appropriate irregular- monotony; but to satisfy the natural expectation ities of form and phrase. “It is an important rule . . . that each group of inality, inevitability, universality and all Sand, then successively through all the my students, “Does that sound to you Chopin is a of the ear, they must be effected according to the rest of like master of period contraction and instruments should make correct harmony by it- the “alities” with which the rest of those driveling nineteenth cen- a Romanticist or like a Classicist?" exten- recognized formulae; for (with rare exceptions highbrow books bristle. tury And, by the way, Chopin’s habit sion, of phrase clipping and overlapping. self. It is perhaps superfluous to say that this sentimentalists down to our own of con- limited to closely related tonalities) the ear is I tried, rather, to present to the stu- James Huneker. stant revision became almost a fault, Everywhere in his compositions original, does not apply to the natural horns and trumpets, for disturbed by abrupt change. Because, therefore, dents a few specific characteristics of In his daily stint of composition, he indulged in so many changes in his surprising phrase lengths and shapes to which, in consequence of their incomplete scale, a progression of perfect fifths destroys the feel- Chopin’s creative approach which I think Chopin was a relentless music that the resulting editions persist, adding fresh luster and deeper taskmaster. He have many licenses are necessarily allowed . . . (foot- produced poignancy to recurring or “reminiscent” ing of stable tonality, such progressions have serious confusion. All the va- note) See, for example, the eight bars of con- rious “original” editions, French, material. At each repetition the theme- come under universal textbook ban. Ger- secutive perfect fifths between the trumpet and man, and English, differ significantly character is enriched, its beauty intensi- the ophicleide in the overture to the ‘Midsum- from each other and from Chopin’s fied. Who else, excepting possibly Mozart, According to Merz mer Night’s Dream.’” Nowadays, trumpets and manuscripts. There are other complica- could perform such miracles? horns universally have valves, so that a con- tions too; many of Chopin’s pupils who 5. In the transcendant range of his But there are three kinds of fifths; perfect, have had the master’s alterations written emotional canvas. Who else covers as temporary composer is without Mendelssohn’s augmented, and diminished (imperfect) . It still in their music by his own much territory as Chopin- the entire excuse. hand, and all is a moot question whether one type can imme- the various editors—each of gamut from tender, fragile loveliness to But if some licenses appear mere compromises whom dis- diately succeed the other artistically. As much as plays similar proof that his edition is the breath-taking bravura and awe-inspiring to meet existing limitations, others are not. The sixty years ago Merz enunciated this principle: one and only! heroics? . . Then So what to do? ... I think Are you unconvinced? . opening of Saint-Saens’ Danse Macabre is a series “An imperfect fifth follow a perfect one the best editing is the I only ask you list of the may Oxford original to compile a of perfect fifths in the solo violin. Dvorak and edition, based on the manuscripts, “moods” in which Chopin excels—the in- and vice versa, though it is deemed best to let plus Grieg freely, on occasion and (be it a set of used them — copies of the first French edition, ventory is endless—and compare it with the imperfect fifth follow the perfect” (Karl noted) for special purposes. It must be concluded, originally in any all. possession of Chopin’s other composer’s list. . . . That’s Merz: “Harmony and Composition,” published Scotch then, that specific and exceptional instances exist pupil, Jane Sterling. These are 6. In his revolutionary employment of 1881). Percy Goetschius (one of the ablest and carefully in which the very auditory impression which corrected and revised in the embellishment. If the old classicists had most comprehensible of theorists) bans all pro- composer’s own hand. known brought about the rule against consecutive per- Chopin’s method of ornamenta- gressions of fifths, and offers copious reasoning Well! Without waiting to see tion, his marvelous manipulation of fect fifths is desirable, and might justify them. whether f against even the perfect-imperfect progression. I had convinced the students of Chopin’s mordent, slide, turn and trill, and through ' Again, that gives the modern composer the re- “classic” But Chadwick is rather ambiguous (George W. approach, I went on to remind them his reinforcement and emphasis of for himself whether or revised sponsibility of deciding them of a few ways fundamental treatment Chadwick: “Harmony,” published 1897, in which Chopin’s melodic notes, his not to use consecutive fifths. I would say, let his 1922) . In lesson XIII, discussing inversions of the genius manifested itself. Here of repeated tones of passing they are by means conscience be his guide; but let him be very cer- 1. His diminished seventh chord, lays a taboo on the DR. PERCY GOETSCHIUS unique ability in mixing con- chromatics; in fact, his whole “embellish- he sonance and tain that it is conscience and not carelessness. To dissonance to suit the ing” theory of creating the illusion of imperfect-perfect fifth sequence in one instance; One of the most distinguished of modern American pe- consecutive fifths, if you culiar needs theorists, to whom scores of composers owe their him, then, we say: Use of the piano. No other sustained tone—how much would have in the next, describes “an exceptional progres- composer, technical background, is Dr. Percy Goetschius. wish; provided you do so intelligently and with a matching harmonic and been added to their technic! sion” (virtually identical) in which the first fifth non- Jersey, 1853. The Etude harmonic tones in Born at Paterson, New definite aim. To use them haphazardly would be damper-pedal solu- is imperfect, but “it is not recommended”; and ninetieth year. tion, has congratulates a good friend in his reproduced the magical folly; but if they express something worth while, piano Here I paused for breath; then took later, showing the opposite resolution (that is, sonorities of a tonal pat- Chopin. Debussy and the what if their use is logical in the immediate students to the piano to show perfect fifth to imperfect) , says the consecutive Ravel sometimes seem however, to approach or I meant by ornamen- numerous instances occur of consecutive tern, go ahead. The laws of harmony, to ex< Chopin’s technic of fifths are “quite correct.” But nowhere does he But el Chopin, but final fifths, are not . analysis including the ban on consecutive ; tation, his extraordinary ability to adapt fifths in works by composers of reputable of the total character elucidate the ban on the first, the “non-recom- perfect of their composi- vocal opened arbitrary. spring from the laws of physics, tions proves coloratura to the piano. We of “correctness” standing. Their music sounds good. What, then, They ephemeral, surface, mendation” the second, or the and “im- a volume of the Nocturnes, for instance, of nature. One must learn them thoroughly to pressionistic” against cf the third. is the answer? Chopin’s intensity whose re- power and chief themes, repetitions and consecutive perfect fifths make them serve his purposes; and if he would grandeur. The tart That brings us back to the exposition of cause Chadwick warns of flavor of currences are everywhere overflowing specific pianishc percussion exposition of the German sixth chord; in violate them, he must have a sound, is present without with page namely, that consecutive perfect fifths convey in his the life-giving beautiful examples. The first mix his chords and substance! the auditory major, formed from the diminished seventh re- reason for so doing. He must of the very first minor, impression of abrupt, unaccounted- 11 Nocturne in B-flat brains, FREDERIC WrUing Unique thrill from the notes, as Opie did his pigments, “with CHOPIN ’ ing melodies for key change. Both logic the keyboard solving to the tonic; in minor, formed forwinthe Opus 9, No. 1, is a complete essay on and piano. Like no other From a rare contemporary drawing by Gotzenberger composer he pianistic one, demonstrate that this not occur with an subdominant seventh resolving to the dominant sir.” in 1838 gives the piano coloratura, as is the second does an illusion of singing. ( Continued on 474) 438 Page 439 "FORWARD MARCH WITH MUSIC” JULY, 1943 "FORWARD MARCH WITH MUSIC” THE ETUDE — ” —

choral singing “Towards 1912, seemed threat- Music and Study Music and Study in the world of sports ened by what is called the people preferred ‘spectator spirit’— hearing music it, and the future of to making the great looked doubtful. But within choruses a very few years, this tendency was offset by two unexpected developments, neither one of which grew out of ‘professional music.’ The splendid work The Basic Principles Problems in Choral Singing of the college glee clubs and a cappella groups awak- interest in choral ened new singing—and the radio was revealed. A Conference with the late miracle of Both of these rounded the circle of what the ‘spectator spirit’ of Good Voice Production had begun; from an enthusiasm for mere listen- began once more to feel ing, people the desire to take part in music themselves. oeSSei “Undoubtedly, the widest outlet for ~s$(bert Sloe$5e(. the new With Practical Working Exercises for Young Singers participative spirit has been along orchestral Distinguished American Conductor lines. Improvements in broadcasting and record- ing are directly responsible for the development SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT of amateur orchestras all over the country. have increased, Choral groups too, but not in the Withur ^^Ifonzaonzci *Shile5 same proportion—and this, I feel sure, is due to if Mr. Stoessel made this statement for The Etude only a few hours before his untimely the fact that we have not yet perfected the broadcasting and recording of 1 great and sudden death on May 12, while conducting members of the New York Philharmonic- choral Part Two masses, which would inspire other potential Symphony Orchestra in the Auditorium of the American Academy of Arts and Letters. choral masses to go forth and do likewise. Still, the number of small choral units that have come into being during the past decade or so is most action of the breath and lips; previously; that is, have this ah to focus as did WILL THIS BE YOUR OPERA OF TOMORROW? plosive encouraging. I look back with pleasure to the while h, from hidden, is made with that l. Or, that is to say, the ah should be felt No one in America perhaps, had wider experience with Scene in a television studio. Armand Tokatyan is being televised , the goodness of community effort that had its year I ‘rode circuit’ through Westchester County, of the glot- to resounding and focusing just in front of the organization and training of choral groups than the as Canio in "I PagliaccL" You may see scenes like this in your the identical performance be roots in community loyalty and provided the training scores of small local choruses for late Albert Stoessel. American born, Mr. Stoessel began the home in post-war days. tis that is evident during the actual the upper front teeth and behind the upper lip, finest kind of community thrill. Westchester Festival. his career as a violinist, turning his attention to choral act of whispering; s, in is, as a final at the base of the bony structure of the nose. work when he became convinced of possibilities for “To a certain extent, this New England inter- the “I believe that the development of good choral consonant, should never be hissed any Exercise No. 11: Begin with the lah already musical development that group singing affords. est in choral singing paralleled Britain’s enthu- units is vastly helped by the organization of an than in cultured speech; it is to be made mentioned, and continue in like manner with l Mr. Stoessel was born at St. Louis, Missouri, Octoger 11, Imperative Relaxation more siasm for the oratorio, which dates from the time annual Festival, for which all may work 1894. He studied violin with Wirth Hess and Kretsch- and in by the normal action of the breath upon the as the preface to the other vowels, e, i, o and u, of Handel. It should be remembered (especially which all may take part. mar at the Royal School of Music in Berlin. He toured Another thing that can front teeth, as the breath comes freely from the using the Italian pronunciations; that is, lah in building choral HE THROAT MUST be freely expanded as a violin soloist with Caruso in 1921. From 1923 to programs) that Handel’s ora- spur choral enthusiasm is wise program (loo). building. (open) for the production of spontaneously lungs without undue rushing, and through the (ah), le (lay), li (lee), lo (low), and lu 1930 he directed the New York University Music Depart- torios were de- It takes expert unobstructed throat. Sing these with pure legato quality for about ment, which granted him the degree of M.A. In 1930 he T free, naturally pure, and restricted tones. signed to please the became head of the Opera and Orchestra Departments of presentation to im- things might be Exercise No. 9: On this same previously men- fifteen minutes each day in one period. Each public, and are not To acquire this freedom many the Juilliard Graduate School. He succeeded Frank Dam- part nijoyable vi- l should l its full duration, but this must tried, but only one way is right and sure; that tioned pitch of G, sing apple. The liquid should be given rosch and Walter ‘church music’ at also Damrosch as conductor of the tality to some of character of the word; be handled deftly lest a “show-off” style intrude is, let your throat alone. Allow it to expand to suffice as the finishing Oratorio Society of New York in 1922. In the same year all. Handel was an the longer orato- yawning. then you will sing correctly, app-l, not app-ul, with any possible emphasis of the l. he became conductor of the Chautauqua Institute at Chau- enterprising impre- some extent, similarly as in the act of Exercise No. 12: initiate these Italian- tauqua, New York. Since 1925 he conducted the Worcester rios. and when Never try to hold it in position. app-el or ap-pul. Very artistic temperament may Now sario who found it (Mass.) Festival. Among his compositions are a three-act these works are be given such words by the right sounding of this sounded vowels with m and n. Sing mah-na, necessary A new picture of a “free and open throat” may opera, "Garrick," and various orchestral and chamber to do mi-ni, with free action of given by less-than- be had by speaking the words quoted and ascer- liquid l. It tends to encourage the tone forward me-ne, mo-no, mu-nu works . Editor's Note. something to meet expert choruses, taining that implied consonants are ade- in a perfectly natural fashion to a decided musi- the tongue, lips, and jaw, but not with increased expenses when the the they can become cal degree. In the correct articulation of this action thereof. Permit the throat to expand regular theaters quately articulated. When these, or any similar dull. For that rea- words, are erroneously articulated, the throat liquid character, the tongue should be touching openly, to be free that the tone may not be were closed during behind course, it is only the sound waves son, the ‘young’ cannot “open”; but, instead, it has a loosely against the roof of the mouth, impeded. Of Lent. What he did remain serves itself the upper front teeth, subtly. Many singers use that come from the action of the breath on the chorus tendency to contract (close) . Hence if such dan- was to compose not best bv beginning gerous throat are at the appel instead of the truly correct app-l. vocal cords; that is, only sound waves, and he BACKGROUND of choral work in and present ‘sacred conditions overcome throat. is the reso- with briefer, less very beginning of your course by correct appli- tone, are created in the Tone America reveals trends that may be put operas,’ which dif- To Encourage Forward Tone difficult works. In “free nant development of these waves. T to use in shaping its future. Let me offer fered cation of consonants and vowels, and a from ‘regular’ opinion, the tone maintained, Words, such as trundle, nimble, humble, and This exercise should be practiced adeptly with the Worcester Festival as an example; in its operas my with an open throat” is many only in that ever superseding any possible best and most in- so-called tenors will discover that they were crumble, and other words having such conso- adequate activity eighty-fourth year and in vigorous health, it they were based on nantal endings as die, or ble, are efficacious slothfulness. As many repetitions of the con- demonstrates what choral singing has meant in teresting works meant to be baritones, and scores of those all- sacred subjects, consonant-vowel combinations to start too-prevalent “steamboat-whistle sopranos” will mediums for the encouraging of forward tones secutive group of America’s musical development. The Worcester sung to English with which Cho- forward to such an extent that there is an ex- as possible should be sung from one breath. Un- Festival began as a convention of singing groups words, and pre- are the easier be amazed to find their voices are by Nature, tremely musical quality to the vocal tone, coming like the production of the consonant l, these which, in their turn, had the background of New sented rales and Cantatas contralto. without loose motion of the jaw for portions Exercise No. 8: following sentence from spontaneous freedom throughout the phys- prefixes require a England psalm singing. That, to me, is significant. stage action. Mu- of Bach, Speak the ical realms of production. Twenty minutes a day their respective productions, and the execution It points to two natural desires for of his Passions, and ten times consecutively; plainly, naturally, slowly, self-expres- sically, Handel’s fashion ex- Masses. articulating but with- of intelligent practice with sonant groups like of this exercise in the consecutive sion. One is the communal feeling of well-being oratorios are parts of the each consonant adequately no result in your plained again requires much use of the tongue to- out exaggeration: fountain is hidden in yon- these will have a most gratifying that comes to people from singing together. The different from his If people come “A der G, singing tone. So take two periods, ten minutes and jaw in loose style. It is to this looseness that other is the stimulus that grows out of carrying operas. In gether at all to mountain.” Now, sing it on the pitch of this they of attention should be de- to second ar- each, every day, and be faithful to such prac- the greatest amount normal communal singing to a high point in the are quite unlike sing they want line of the treble staff; take care to tices if you seek real spontaneity and freedom voted, instead of to the actual motion or position form of a convention or festival an ‘event.’ the sing the best, and ticulate fountain as it should be; that is, foun- — Passions and organ or part. them tain, not fount’n, or hidden should be in tone production with consonants and vowels. of any involved The various New England choirs and psalm- Cantatas of Bach, Bach gives foun’en; more hid-den, not hid-en, or hid’n; and yonder should Exercise No. 10: Assuming that you have now singing groups would study certain works during which were specifi- that best—in Care in Elementary Stages one. come as yon-der, not as yond-er, or as yond’r; enjoyed an appreciable amount of success with the entire year, and then meet in convention to cally intended for senses than l, In the elementary stages of voice development, mountain is moun-tain, and the singing of this liquid you should now sing them together, climaxing their individual 1‘hoto from the impressive only as the church. It is © by (Jeoffrty Landsman Apart observation should be vocalize lah (ah as in father; Italian a) . En- more careful study and efforts with the pleasure—at once competitive from ALBERT STOESSEL purely musical val- is unmusical and undesired as moun-en, mount’n, Handel that given these three liquid consonants than other his mount-un, tone should be en- courage this ah sound to remain forward on the and communal—of taking part in a great mass the oratorio devel- ues of Bach, and so on. The l, and n; although all couraged forward whole time of singing these lips where and in the way you produced the l consonants; that is, m chorus. Some of the early programs were made oped. It is works are interest- the interesting to note that the New Eng- must be given adequate observation and consid- up of excerpts from the great oratorios and ing to sing. In his each words, and this should be done by the powers dra- land choral festivals presently polyphonic structure, more singable, added orchestral part of of eration. These liquids are so much the mind through existing impulses . matic cantatas of the day which are less than accompaniment—the gets its share of carrying the melody and the first provided by a quintet however; they are so germane to the natural great and have not endured. But the programs finding itself the center choir of relaxation therein. The other consonants in this in which William Mason played. of interest. No VOICE ele- From this be- voices sentence of humming tone, which is the fundamental themselves are less significant than the feeling ginning need feel itself just inner part of a must be be mutually considered, grew the participation of an beautiful, free, and spontaneously the Boston four-part course; as of by the ex- ment of all that made these festivals possible; a feeling of Symphony Orchestra. chord! Bach offers the most work- f, fountain, is made able form of 488) musical ( Continued on Page 440 JULY, "FORWARD MARCH WITH MUSIC 441 "FORWARD MARCH WITH MUSIC” 1943 THE ETUDE ”

give a solo recital, or perhaps Study dents two proficient Music and Dr. Diggle was Lorn in London, Eng- Music and Study pupils giving a joint recital. Americans All! and received most of his musical After teaching many years, a teacher may land, need education there. He has been organist which has di- few months’ or a few years’ vacation, on account of attractive personali- HAT KIND of group is it a in order of St. John's Episcopal and choirmaster others with of The Etude since it to be able to enjoy teaching again. To those ties. And we have known rected the policies who Church in Los Angeles, California for produced vocal tone. Through correct use of these Theodore love music, and wonder at the miracle of the highest type of technical train- was founded sixty years ago by musical thirty years. He has written the use of W nearly failures liquid consonants, as well as through which appreciation which has come to them ing who have been dismal Presser? The principles of Americanism for as a heri- hundred published com- The Organist about three other exercises given in this article, you may are so well tage, music teaching is an interesting owing to a lack of personal mag- it stands in music, as in everything, and positions; most of them for organ, and automatically set you voice in tune; in other the art. netism—that something which or- expressed in the following ten points from fascinating been played all over the involun- they have words, pure, efficient intonation comes 1. are reprinted ganists need to have in large quan- “Land o’ Lakes News” that they world. He was naturalized in 1914. tarily from the free resonances that will be evi- tities. Whatever the conditions are herewith.2. —Editor's Note. dent if these exercises are rightly used. When Business Man at the present time, we should en- Ten Points as a 3. Songs Embody Our National we have free resonance the tone will be on pitch ur deavour to cultivate the faculty of that the potential artist is truly gifted They cost so little to a (assuming 4. Morale Strength leadership. It exists in all of us sense) because They are worth so much! with a delicate, musical ear and ; lesser or greater degree, and like with 5. then the vocal and aural organs will act deal every other faculty that is worth You cannot bring about prosperity by dis- l? arts T DOES NOT TAKE a great no intrusions evident within their natural func- 6. CL Ma, having must be trained with care. thrift. thought to realize that in originated the right circum- couraging of tions. There will be 7. musician, In the affairs of everyday life, tol- You cannot strengthen the weak by weaken- R. CLARIS ADAMS is President of the I this day and age a stances under which to assist in achieving the erance and consideration for other 8. ing the strong. Ohio State Life Insurance Company. whether he is an organist, a pianist, very best and richest tone possible for the in- The branch of people’s feelings are necessary for You cannot help small men by tearing down M following is from an address mhde at the a vocalist, or in any other voice given you by the Maker. 9. dividual sense peace and happiness, though revolu- big men. First National Victory Sing at Columbus, Ohio. the profession, must be in every “How wonderful is the human voice. It is in- the The day tionists may think otherwise. Such You cannot help the poor by destroying There is nothing more significant of the spirit of the word a business man. deed the organ of the soul.”—Henry Wadsworth tolerance does not necessarily imply rich. of a people than the songs they sing. If you know of the artist as depicted in the Vic- Longfellow. weakness. There is, however, a dan- You cannot lift the wage-earner by pulling what people sing you know what they are; more torian novels has long been a thing ger that, being firmly convinced that down the wage-payer. important still, what they aspire to be. of the past. When after long experi- 10. our ideas regarding church music You cannot keep out of trouble by spending Is the race confident and strong? Is its ence one has learned what to avoid, civili- absolutely it and organ playing are more than your income. zation sound? Is the citizenry united? Are the it is possibly a little late to put sound and right, we may refuse even Shostakovich Talks on War You cannot further the brotherhood of man people loyal, brave and true? Do they hold into practice. Hence, if I preach a their not definite bias to listen to anything that does by inciting class hatred. country worth living for, worth working for, small sermon with the agree entirely with our own ideas. You cannot establish sound security on bor- worth fighting for? Is our cause worth while in favor of a more business-like at- and Music and stubborn attitude may organists, it is Too often this rowed money. are we worthy of our cause? The answers to all titude on the part of stu- alienate and estrange the very peo- You cannot build character and courage by these questions are always revealed in our self- to the young organist or organ ple we wish to help, or, worse still, Soviet Composer, SionoreJ 'll jailer Srt taking away a man’s initiative and inde- revealing songs. dent I shall be preaching. ofi those who could materially help us. pendence. Whatever Gods we profess, we sing the Gods These modern days are no easy We cannot ride roughshod over peo- You cannot help men permanently by doing that be. That which we say we say with our time for any who desire to become “/“T^HERE IS a saying, ‘When the guns roar ple’s feelings any more than a busi- for them what they could and should do for minds. What we sing we sing with our hearts. professional musicians, especially as the muses are silent.’ This is true in re- ness man can afford to be rude to his themselves. What we believe in we sing about. That which organists. Standards are high and gard to those guns that roar to crush life, clients. we love we weave into the music which wells in must be so if progress is to be made; joy, happiness and culture. That is the way the The organist who has developed a our souls. demands on the individual become guns of darkness, violence and evil roar. We are business-like personality will uncon- The great need of America today is unity of more exacting as time goes on. To fighting for the triumph of reason over obscur- Recital Preparation sciously adopt gentler, more human, spirit and the dedication of self to a great com- make a success, our equipment must antism, for the triumph of justice over barbarity. and perhaps more effective, methods be strengthened and in every way There are no nobler and loftier aims than those mon cause. Music is a form of spiritual expres- and make friends live to gain his ends lu (Esther 2)ixon. sion, which of itself creates spiritual values and increased. The organist cannot which inspire us to struggle against the dark with the congregation. He will play helps to by the organ alone; he always has Mus. Doc. forces of Hitlerism. bring about spiritual union. We dedicate gentle melo- of them into church with T USED TO BE the custom to choose a group ourselves in songs because we can sing in our been and always must be a man “In this great Patriotic War, our writers, artists dies of an inviting and meditative of recital pieces early in the term and work souls things which we cannot find the words to many parts. He must acquire, either and musicians are doing much intense and fruit- I kind. He will entice them from time on something unusually difficult as a “show say in frigid prose. by training or actual experience, the ful work, because in their creative activity they to time with the hymns they love, off” for recital night. Some jealous-minded Singing together brings people together. In the power and ability to teach, more are armed with the most progressive ideas of our and then, by guile, induce them to mother might even slip her “young hopeful” songs especially that kind of teaching epoch. And when our guns roar, our muses sing to of America, the free people of a free nation as play them sure way very tangible reward. Equally as important love those he likes himself. He can the city for a few special lessons, so that he find free expression a level for which is wanted in schools. Here is a with a powerful voice. No one can ever succeed upon common that distinc- jolly in time, by personality alone, steady income that technical equipment is personality, tunes and due the out of our hands.” would make a flashier appearance than the little their common faith which binds them together. of securing a regular and in knocking pen personal character that can make or break have them “eating out of his hand” and willing to boy next door. will, with his income as an organist or organist- tive Wherever we live America begins there. The na- sing- capacity one. It cannot be created; it is a gift for good help him to the best of their ability, even to Now, the attitude seems to be to work together tion is a communities choirmaster, give him the same earning composite of far-flung developed, Surely this matter of personality Such or ill. However, it can be trained and ing in the choir. as one large class; to admire each other’s im- different in It is all as that of a doctor, lawyer, or clergyman. character but one in spirit. business man, the attention of every organist and of the greatest and it is vitally important to any should have provement from one recital to the next; to notice America—cities, villages, countryside, whether work would prove congenial and or otherwise. We have all known men musician in the land, for on it you rise or fall. Arousing Interest Through Color when one boy quits stumbling, or help in many ways. The organist must be the professional one has started gracing the shores of ocean, planted on the fer- hands and you time he who, with mediocre equipment, became successful Its development is in your own memory work, or another uses the pedal, or that tile prairies, or nestling ageless hills. general practitioner, but at the same among the alone will be responsible. one has studied interpretative must be fully qualified in all the work he has QLl,, 111 Stein playing or num- I am particularly happy that in Columbus, bers first-rate organist, from the modern school of thought. Perhaps Ohio, this typical American City of the Midlands, to do. Not only must he be a Keeping Up-to-Date one might have lovely, relaxed drop chords the but he must have equal ability in all other while movement to unite America in song is hav- business-like you will keep IKE MANY other book lovers I keep the table could Again, if you are another has specialized on fast finger movement ing its auspicious It branches of the profession. A doctor who beginning. It will spread. abreast of the times. Organists are usually a in my studio reception room well stocked and chromatic runs. take care only of a case of chickenpox, or a Organ Articles will wing its way across our vast continent. It will Coming such are L'with music books, so that the younger stu- rather self-satisfied people and being Modern teachers are usually careful about giv- contribute our clergyman who could preach only on hell fire much to the spiritual unity of inclined to get into a rut. We must aim to be dents may enjoy reading them, while waiting. ing any two advanced pupils would not far. organists, we Etude has arranged with many the same piece at people. It will add to the strength of the go very Too many The pic- moral progressive, open-minded, and tolerant of new While these volumes contain numerous the same time. If the teacher is careful fear, are in the same boat; they can play the of the foremost organists of to-day about her nation, at a critical hour, when the strength of of the tures, the children seemed to prefer magazines ideas. A few years ago ninety per cent teaching repertoire, it is usually a simple America organ, but all other branches of the art are a for a series of significant articles matter is the hope of the world. the electric organ, when it with showy covers, and at first seldom opened to select in this profession looked on a group of recital pieces from the list closed book to them. which will appear regularly first appeared, with something akin to horror. the music books. each pupil has been working on and also, department. Never before have we through predicted, and or- After watching this for some time I tried cover- The First Requisite The most doleful things were indirect guidance, to allow the pupil to think he been able to secure the services of papers. These Musical Bells ganists were weeping on each other’s shoulders. ing the books with bright colored is selecting his favorite number for Dddities — Here then is first requisite of a business- high authorities on church public per- the so many organist pins, and changed once a To-day it is taken for granted, and an were fastened on with formance. It is so much better to select a number like organist—he must prove himself a profes- music. play one is as outdated as one who month. To attract the students’ attention still already well mastered for IS a who cannot recital rather than to m sional in the full sense of the word. For such tracker I pasted on the paper covers would refuse to play anything but a more cut out and choose a number a little beyond the pupil well-trained organist the situation is full of hope a The Turks forbade lest the progressive attitude the most striking music pictures that could be of which the ringing of bells action instrument. The same number he is never quite sure, to play sound and full of possibilities, and this should be a should disturb the repose of souls which, must apply to modern music, new methods of found. in public. source of encouragement to us all. It is doubtful they supposed, wandered in new. Despite what a few col- The plan worked very well, in fact almost too A progressive teacher will the air. pedagogy—anything read to improve her- to whether at any time in the history of this coun- The “Black Bell” St. considered nearly all of the music well, for now sometimes it is almost necessary to self, and find out the most of Patrick is lege professors may say, interesting ways to be the try the enterprise of church musicians has been oldest bell in Ireland, people of Head- is worth playing, and, as a busi- use force to get certain youngsters away from the present recitals. One teacher has the as published to-day been very suc- ford angel great as it is to-day. The necessary training ORGAN believing the bell an ( Continued on Page 474) books. cessful in having one of her to be a gift from ness man, it is up to most advanced stu- to is long and arduous, but the result will bring a St. Patrick. It was originally of silver. MUSIC 443 442 "FORWARD MARCH WITH MUSIC” JULY, 1943 "FORWARD MARCH WITH THE ETUDE / — ” —

Music and Study Music and Study Rene Le Roy was born in Maisons Laffitie, a small Paris, and began the study of fown just outside of was only eight years old. His the flute when he N THE YEAR 1917 John Philip Sousa, the father, a shipbuilder by profession and an amateur March King, was still alive to be singled out teacher and continued to instruct flutist, was his first I as America’s leading exponent of the concert him through his eighteenth year, when, following the band. He lived during an era when a band was of his academic courses at the Lycee Ifs in the Mind completion All something of a novelty. To hear one meant, in Music and Patriotism Condorcet, he entered the Paris Conservatoire. On some cases, long, tedious travel to a large center Band from the Conservatoire, Le Roy was to witness a holiday celebration. Of course, there his graduation Premier Prix, and shortly afterwards were the street corner efforts of The Salvation awarded the A Conference with Army units, or perhaps the appearance of some succeeded his distinguished teacher, Philippe Gau- Society of Wind Instru- outstanding traveling band, making a stand at Iff cHloffd idreclericL Wunderman, J^l.2). bert, as head of the Paris some state or county fair. The American educa- ments. After leading this group through several Director of Music, tional system had yet to experience the tremen- successful tours of Europe and giving numerous solo l^ene oCe l^off ‘ dous forward surge of the instrumental program established himself as one of State Normal School, Oswerjo, New York recitals in which he that has so recently become a feature of present- World-famed Flute Virtuoso the foremost flute virtuosi of the day, Le Roy day education. After the first World War there founded the Quintette Instrumentale de Paris, with was a marked ascendency in the emphasis put which he first came to the United States during the upon instrumental music in our public schools. heritage? This calls for serious thought. the War Department. SECURED EXPRESSLY FOR THE ETUDE BY ALIX B. WILLIAMSON 1935-36 season. In addition to his activities as solo- When America joined the Allies in that War, This recognized coordinated unit of the War American symphony Armed Services ist with leading European and no theater of other than extraordinary conse- The Place of the Band in Our Department should insist: That instruments of and as a favorite recitalist, he has ap- quence employed more than a fair orchestra. The Certainly, each army camp should organize quality be provided the men who devote them- orchestras with the Salzedo-Le Roy-Scholz Chamber amateur orchestra or band existed, but to a lim- many bands. It seems only natural that each selves exclusively to music; that sufficient time peared play it well must have an experience and a ca- just formed a new Le Roy- ited degree. The vast majority of our good bands camp or training depot should have a musical should be provided for rehearsal, so that our Music Ensemble, and he pacity for feeling as broad as they are deep. The fill an extensive cross- employed professional musicians. In the training director who would coordinate, promote, and di- military bands are musically as effective as is Foster-Scholz Trio which is to bassoon can be comic or lugubrious, but never camps at that time there were few recruits, in rect many musical activities. the organization they represent; that sufficient country tour next season. Le Roy still plays the sil- gay and charming; the trumpet can be solemn quality proportion to their numbers, who were qualified The Army band should be increased in size attention be paid to the of the perform- ver flute which his father bought him when he was or majestic, but rarely tender; the violoncello to play good grade of music. ances, so that our Army music will of a from its present peacetime standard of twenty- challenge the nine years old, the work of the French master crafts- sings, but seldom dances. So the player any eight to of challenging proportions, thousands of American men who received conceivably be that more their Louis Lot, alternating it in his concerts with a one of these instruments might Our Reservoir of Fine Musicianship man, in order to be more effective instrumentationally music education in American public schools. It in emotional range, yet superb in his own modern replica made especially for him by the limited Prior to 1917 the instrumental program in the and musically. There should be a difference in must be remembered that America has, undis- field. Not so with the flute, whose moods range American firm of William Haynes. His priceless American secondary school was in its embryonic the size of the post, field, and marching bands. putably, the greatest quantity of fine school from wistfulness to jollity, from ecstasy to de- collection of historic flutes, comprising more than stage of development. Before 1900 no outstand- Instead of the present system of ranking Army music in the world. spair. He who would play the flute well must two hundred one of which dates back to 427 B.C., ing high school band is recorded. The large school musicians as warrant officers, where there is little Further amplifications of the program might — compass the range of human passions; must ex- flute of crystal and ivory played by band or orchestra with good instrumentation or no chance for advancement, opportunity for provide: the organization of massed bands for includes the plore poetry and painting and philosophy for the Le a came after the opening of the twentieth century. increased ranks should be provided. The musical special occasions; many formal concerts which Frederick The Great and presented to Roy by illumination they can give to his spirit; must A recent survey indicates that would help to keep the more skilled musical wealthy admirer who wrote, " This instrument be- play with little children and learn to love the at the present time there are members at a high degree of proficiency; many longed to the Flutist King. Now I give it to the simple things that children love; must have over 2,000,000 players registered programs which might be augmented with op- King of Flutists." Editor's Note. shared in deepest suffering and highest exalta- in approximately 25,000 bands portunities for good, lusty group singing. This tion; must know the feel of the rain and the and 40,000 orchestras in the opportunity of capitalizing on America’s accumu- wind and the soil. American public schools. Dur- lated musical wealth must not go unheeded. He must not have allowed preoccupation with ing the past decade thousands Thousands of men who have received their musi- the things of the spirit to blind him, either, to HEN YOUNG MUSICIANS ask me to tell of instrumentalists have gone cal education should the need for keeping his body healthy. The “well- in the American tradition them what they can do to bridge the gap to take their places in our na- be selected and encouraged to further put to rounded personality,” of which I have already between adequate flute playing and great tional life. In addition, there W work the investment which the taxpayers of this spoken, includes physical fitness and presupposes flute playing, I advise them to study the paint- are over 45,000 music teachers country have made. a joy in healthful recreation as well as in work- ings of Rembrandt, read the poetry of Verlaine, in American schools, colleges, concomitant ing and thinking, for a sickly body is at least as Why More Bands? The greatest absorb the philosophy of Schopenhauer, spend a and universities who have con- of upon much of a drawback, to the artist of the flute, this band program would be its effect the company of little chil- contributing, few hours each day in tributed, are and the esprit-de-corps of millions of American serv- as is a sluggish mind or an insensitive spirit. dren, high hill, every so often, to to and climb a can contribute our program ice crisis, RENE LE ROY Live fully and with awareness—in the words of men and laymen. During the present setting sun streak the twilight sky. of national defense. These peo- watch the morale is will Walter Pater, “Catch at any exquisite passion, needed. The America of the future For the secret of great flute playing is largely ple are products of the Amer- are controlled or any contribution to knowledge that seems by require devotion, neither blind nor emotional, while I would be the music, even though the vibrations ican way of music education. in the player’s mind, and for its those who fingers of the performer. a lifted horizon to set the spirit free for a mo- institutions. It will exist for last to underestimate the importance of proper and produced by the These people want to contribute actual ment, or any stirring of the senses, strange dyes, worship and evaluate objectively that ideal for control, or deft fin- In all other woodwind instruments, the their share to national morale. embouchure, perfect breath which democ- a reed. But in playing the strange colours, and curious odours, or work of all will gladly sacrifice—a humane gering of the keys, personal experience and long sound is produced by These people are awaiting a artist’s hands, or the face of one’s friend” racy where we, as members, are cooperatively these flute, the musician’s own lips, so to speak, are the challenge our observation have taught me that none of from War De- of which gives life that, I say, should be the aim of the young flutist functioning for the good of the social group can be achieved without the correct mental and the reed, and the same breath partment. The Army must not (indeed, of any young musician) who wishes to which we are a part. Any force cooperating in on the part to him gives music to his instrument. And so, let musical emotional background and attitude such development good, seem, the excel- bring a new wealth of experience to his own CORRECT FLUTE POSITION the cohesiveness of such a democracy is of metaphysical though it might lie dormant! the would-be virtuoso. flutist’s quality depends almost generation, and to be remembered by those yet Illustrated by Mr. John Krell, formerly The band, in particular, as well as other group lence of a tone In the symphonic field like- First Flutist. Univer- sity of opulence, the emotion, the in- to come. Michigan Orchestra and Bands, now in the U. S. Army. musical organizations created within the military A Well-Rounded Personality entirely upon the wise there has been great insight which he thinks into the music. service, can serve such an aspired objective. flutist, tellectual growth. With less than fifty For that reason I say to the young Secret of Real Mastery his own spiritual richness the flutist pro- The “Cultivate personality. Let music Out of orchestras of symphonic proportions in 1923, director and a well-rounded band musicians should receive equal- What America Has duces beautiful music, and while his fingers, lips, It is only when he has music in his mind and there are be the center of your life yes. But do not make now more than three hundred. In cities ity of Army status, being eligible — his bidding, they this for rank pro- America has, whether popularly known or not, admonition and lungs must be trained to do his heart that the flute player can breathe of less than 25,000 population there are fine or- it the circumference as well.” This motions comparable to that of any other branch pe r " cannot produce any more than a soulless suc- music into the slender pipe in his hands; and a highly trained, performing and directing has a particular connection with flute playing, chestras, though not necessarily symphonic in of the Service. Training centers for musicians sonnel which, organization, could cession of notes unless there is depth of character only when he is convinced that it is the flute, size. Such evidences of under proper for several reasons. In the first place, the flute, advancement during the should be established at each camp, instrument in the world, which in produce a tremendous of fine perform- hu- behind them. more than any other past two decades should be reflected in the turn number more than any other instrument except the quan- would become a part of a large nationally of Because the flute has the widest range of ex- which can express the music in his soul, that he ing units. We could produce the finest force man voice, produces tone which comes straight tity as well as the quality of the musicians who cohesive military unit under a the jurisdiction of bands of not to be pression of any musical instrument (in this case, can begin to free himself from the mechanics are to be found in the any nation in the world. It is from the mind of the player. There are, that is American Army. the voice) he who would rejoice in the freedom and construed that we excellent bands, even surpassing human , of flute playing and Having indicated the data concerning the do not have to say, fewer mechanical contrivances between our power of real mastery. Yet even in those earliest we do. The important thing is to recognize conception and execution of the tone than in rapid development of amateur and professional BAND, breathing ORCHESTRA potential strength performing student days, when the rudiments of players in the United States, we are now prepared and arrive at our the case of any other orchestral instrument. In fingering and embouchure are still to be capacity which is through the other and to posit the question to which this article is perhaps lying dormant case of violin, piano, harp, and ad- and CHORUS and ORCHESTRA learned, the mind comes into play; for the flute, the various camps of the United States; it should stringed instruments, whether bowed, struck, or BAND dressed. What usage will the Army make of the William D. Revel I i Edited by William Edited by although it is a precision instrument constructed D. ReveUi be activated for plucked, it is vibrations make developed music ability which has become its realistic consummation. a string whose What is patriotism? (Continued on Page 482) "FORWARD MARCH WITH MUSIC 445 444 "FORWARD JULY, 1943 MARCH WITH MUSIC” THE ETUDE — — :

and accepted Music and Study Music and Study note with its many overtones, heard Singing Off s Key as a single sound, which reaches the listenei per- ear. And this combination differs with every formance, since the number, quality, and in- with elaborate regard for acoustical laws, is con- partials,” the high overtones trolled to a much larger extent than most other tensity of the “upper each per- instruments inaudible in themselves, vary with by the player’s handling of it. Good reasons have Approach doubt, ARIOUS been String former. It has been proven beyond any given for sine A embouchure, although the writer can give a Tight therefore, numerous scientific experiments, ing off key: throat, lack of superficial description of it and the teacher can, by breath quality the listener’s V support, too much breath pressure, to a certain extent, “show” the pupil how to that the effect of tone — and so on response to the tone—does To the writer’s knowledge, the following achieve it, is, in the final analysis, a product of mental and emotional has almost imper- never been advanced as a source of the pupil’s own understanding of the instrument, have a physical basis in the fine, faulty into- overtones. nation; The actual, earnest attempt at his own intuition of what is needed to produce ceptible variations of good tone Mozart analyze to the sound desired. But science, which has been able to quality. this phenomenon, has never been able to recon- This may seem paradoxical at first sight; Breath control, too, is as much mental as physi- but struct it. The scientists set out to prove that let us consider the situation. Here is cal; that is to say, the intervals at which breath who a student A Conference with a piano key struck by Paderewski would produce ‘whose mind is intent upon what to is to be taken and the way in which it is to be expect in a struck, with tone; resonance, certain released, the technique of avoiding the extremely exactly the same sound as that key good overtones, perhaps intensity length of time, localized sensations. These, unmusical hiss of breath escaping unused, are equal and for the same and other things, are to them- comparatively matters in which the student’s own head must by a hammer, succeeded only in proving to him new ideas about tone. The Joseph Szuieti selves that only did Paderewski’s note differ necessity for that train the lungs, diaphragm, and facial muscles not fundamental tone being true differed, Distinguished Violinist to operate as they should. And as for handling from that of the hammer, but that it to the pitch is overlooked, from its very usualness too, from the same note as struck by other great The student has always been the instrument, relaxation is the keynote, and re- able to “carry a pianists. The variations of overtones are caused laxation is a physical condition which can be tune.” SECURED EXPRESSLY FOR THE ETUDE BY MYLES FELLOWES by factors as infinitesimal as the upper partials — achieved only when one is mentally at ease. Even But with new ideas on voice production “place- themselves, and just as scientists know how hu- ment,” “timbre,” and so on, such details as the way the instrument is bal- so much attention is man life is reproduced but cannot anced in the hands, the velocity with which the themselves given to mental analysis of quality, while prac- synthesize it, so, too, science keys are struck, and the height to which the now recognizes that ticing, that intonation is temporarily forgotten, fingers are raised before descending the roots of the musician’s tone quality lie deep or, at the most, taken for granted. upon the to the string, plus the change of finger on the within his individual precisely, is completely foreign D keys are conditioned by the musician’s getting personality, and that the It is quite easy to start a tone “on key” and by interpretation. recurring D’s, improve the style of the perform- effect of tone lies in Mozart and fatal to his the “feel” of the thing. Each flutist, having a communication of the paying overattention to quality, to build been up reso- all ance. There you have a sample of what Mozart artist’s personality to the audience. “The Mozart player must curb shown the rudiments of producing nance and overtones until the tone is sound from slightly off study means. The melody is unproblematic the instrument, must work out his own style, key—usually sharp. This is especially dangerous SZIGETI MAKES A CORRECTION IN FINGERING emotion; at the same enough, and the technical ‘grade’ is of the sim- and here, as indeed in about the places exaggerated any other branch of music, where the so-called changes of plest yet thought, analysis, and styl- time, he must keep both his tone and — how much no artist, however great, can expect to turn register appear. out Dne Piece Learned Perfectly istic accuracy are needed to make the little pas- his emotional projection free of dry a succession of students who play in precisely As a corrective for this fault the writer has Mozart demands a very ma- sage sound forth as worthy Mozart! his own manner and achieve results 1942 - 43 Joseph academism. Again, of the same found it useful to introduce unfamiliar intervals uring the season of , if ML m. jU,„ the problems of ensemble play- “Recognizing Mozart’s qualities brings us to sort. In the more intricate technical achieve- into the regular the unique and exacting ture approach to vocal exercises. Instead of the Szigeti undertook More than the second point in our discussion. These ‘Mozart ments, nineteen ing, with its balanced give-and-take. too (an example would be double-tongu- HE BUYER of straight major arpeggios, sing them in the minor, D task of presenting eighteen of the music lessons, usually a par- Mozart requires a qualities’ require effort to master, and the aver- ing) (the any other composer, perhaps, , learning to execute these tricks of the trade such as, available violin and piano sonatas of Mozart ent, quite often cherishes one outstanding between the performers, both age mind does not care to combine pleasure with is only half the battle. really transcription of a piano complete equality The important T desire. “Do have Mary learn to nineteenth being a play one outlook and in their playing, so too much effort! Hence, the Mozart sonatas have thing is that the student’s able cooperation of in their musical judgment should be piece perfectly before let Ext sonata) . Mr. Szigeti had the you her begin another,” clarity of his work is never steadily received less limelight of attention. The developed to the point at which decide piano, and devoted five eve- that the beautiful he can she begs the teacher. Of course the teacher Andor Foldes at the fewest of them are given the care and polishing beclouded. This wonderful, clear transparency of when and how to use such special effects. nings to the cycle. As far as can be ascertained, wishes to cooperate with the parent and she real- interpreters; defects which every budding violinist bestows upon ever his writing is unmerciful to izes that argument this was the first time such a Mozart cycle may only antagonize. Still, cannot be covered up by pedal, or any ‘showy’ pieces like Wieniawski’s Souvenir de The Mark of the Master States, and it proved a of playing an illustration will sometimes convince. was given in the United Sarasate’s Zapateado and Zigeuner- of the sheerly technical devices which can Moscou, When the young musician Make the start in a key is entirely com- Although Mozart is considered other has learned to make Would a teacher of writing require that complete success. other weisen, or Saint-Saens’ Rondo Capriccio-so. Let a class to often gloss over less-than-perfect work in his instrument speak, when he has acquired in practice fortable for the voice under study, then transpose either “too easy” or “not easy” to understand, as copying the same sentence, day in and the basis of an approach to us honestly ask ourselves how many of the nine- it large compositions. Hence, addition a thorough knowledge of music and has day out, up a half tone, as the case may be, the five concerts drew a until a page of perfect penmanship was analytic study, a measuring of teen Mozart sonatas we have heard in model a good ear, he may be a competent of ordinary music lov- Mozart is a close flutist—might produced? Or would a drawing and enthusiastic audience performance. The ‘score’ will be four or five, on teacher set the values, not in terms of ‘effect,’ but of an ideal of even deserve to be called a virtuoso ers, devotees, and distinguished —but to be identical vase, fruit piece or other Ex. 2 chamber music average the ‘big’ B-flat (K. 454) with slow model before sincerity, simplicity, and clarity. Let me illustrate the — a master flutist requires something more. For his amateurs from all fields of activity, including the pupils until the children succeeded in mak- have one of the simplest introduction, the short E-minor (K. 302) which accomplishments Flex- what I mean. Here we up to this point are, after all, ing a perfect picture? William L. Shirer, Drs. Simon and Abraham the C-major, and per- tunes imaginable and one that lies well within I recorded ten years ago, purely technical, and technic is something which ner, Marc Chagall, and Clifford Odets. Since Mr. Experienced instructors know the deadening almost any beginner (Mozart “Violin haps the ‘little’ B-flat which Ysaye and Pugno can be built up through to bring the full the grasp of persevering practice, and mental effect of continued Szigeti is the first great virtuoso repetition of the same Sonata in G-major, No. 6,” Second Movement) played so unforgettably. corrected through conscientious application. The The keys the group of Mozart’s violin sonatas to American task. They realize that children, even more than given are but examples. Transpose “This leads to the usual vicious circle: lack of mark of a fine flutist, however, is that elusive study up and far in each audiences, The Etude has asked him to analyze grown people, require variety to stimulate atten- down, by half steps, as Ex. 1 public attention results in a scanty desire on quality which we call beautiful tone. The musi- direction as the produced. for its readers an approach to Mozart. tion and encourage effort. They understand that tones can be easily the part of the pupil to devote himself to works cian’s tone is a reflection of himself of all the Never must “Mozart is not as generally understood as he — with the inevitable slackening of concentration introduce any tones for which there that the concert platform neglects—and this, in thousand-and-one physical and mental and spir- be a strain deserves to be,” Mr. Szigeti states, “and there are that comes with monotony, the twentieth copy to reach them. turn, results in an attitude on the part of teach- itual traits which go to make his three chief reasons why this is so. .The first has up own inimi- of a word or an object Another good variation is to use the arpeggio ers is familiar enough in the literature might be farther from fingering (and one given by a which table personality—and is therefore of to do with the qualities of Mozart; the second, The obvious something perfection than the first one. the subdominant chord, classroom; that is, the extolling of authors who editor) is: which can never be shared with or passed on to with the elements that make music ‘popular’; respected The efficient teacher is always are lectured and talked about but not read! on the alert to standards another person, as can his technical knowledge. and the third, with the present-day str. avert the menace of boredom. For Ex. 2 D (Parenthetically, I believe that pupils should be example, be- Ex.3 the begin- It is tone quality, rather than the more obvious of public performance. Let us begin at 4 2 when fore a child has time to contract an antipathy ji consulted as to their personal preferences factors of tempo and dynamic shading, ning, with Mozart himself. To my mind, Mozart hif. i: ^ which to a much-practiced piece work is assigned them; at least, they should be she presents a new present distinguishes the artist’s interpretation from an one which is one of the most difficult composers to argued with!) The approach to offers the same difficulties in a dif- listened to and uninspired rendition, and which makes every if not the most difficult. Nothing less than per- ferent form. But the new composition, Mozart, therefore, should be to correct these per- of course to the mean- now try this: great musician’s style peculiarly his own. fection will do, both in penetrating regrettable, ten- arouses fresh interest. Even a third may be haps natural, but nonetheless used ing of his music and managing the form which But what, exactly, is tone quality? And why profitably before returning dencies. Instead of avoiding him because his very to number one. Then, be a Ex.3 does the same succession of musical notes, conveys that meaning. There must always in the thanks to this little detour, the student beauties make him ‘difficult,’ we should spend all attacks certain performance same relation to one another, sound differently the divine simplicity in a Mozart studying and trying to under- original composition with interest renewed the more time in which may be treated manner as which can be misleading both to player and to when played by different musicians? Because, the and skill increased. And in the same stand those beauties regardless of their difficulty! now he makes a thor- so simple scientists tell us, there is really no were the chords of the tonic. listener since, basically, Mozart is not such thing ough conquest of its performance. The unfortunate inclination to side-step the What is more The the at all! excludes any the elimination of the ‘corny’ slide, on as a “pure” sound. In every note of music, beneficial feature of this plan is that Also, his music absolutely See how shallow) vir- the important, the initial enthusiasm with difficult and to cling to the (often player produces not only which attention must be unusual tones of the ‘glamorizing’ processes (of emotional or the “prime” or “funda- most children begin their music centered on the tuosity of ‘show’ is one of the greatest handicaps lessons has not and the producing and by technical display) which are quite in order in mental” note— the one written on the staff be- been extinguished by the of their exact pitches; in penetrating to the significance of Mozart. devastating monotony this con- of the Roman- fore him—but a whole series of overtones method there is preserved a balance of many of the more dramatic works VIOLIN that as of practicing nothing else until he has “Another thing, curiously enough, makes “one piece centration “beauty tic and post-Romantic periods, and which make Edited by Robert Braine well. It is the combination of the fundamental learned perfectly.” on all points that make up Mozart difficult to-day (Continued on Page 480) of tone.” a more sensational appeal. This sensationalism, 446 "FORWARD MARCH WITH "FORWARD MARCH WITH MUSIC” 447 MUSIC” THE ETUDE JULY, 1943 —

Music and Study about the modem dulcimer, nor Music and Stud ' ha been able to discover an instruction w I assume that your instrument is a tr and the leaders that is, pending on the community, dulcimer ; its strings are struck first course the general-survey with two little hammers held available. For a Music as a Profession one in ea h offers much. By discussing many types of hand, and in this case it is almost type I want to be a music teacher, chiefly cer Q. Answers tainly intended to be tuned music you attract those interested both in vocal piano. I have taken lessons on the piano Questions and chromaticallv like the piano. Musical Wartime Needs for eight If Older in instrumental types. You give them about years. you have any dulcimers wer music and literature, catalogs, pictures, or information tuned diatonically, but all my referene an idea of the whole field, highlight the entire of any kind, I would greatly appreciate Information Service books and informants state choose the most fundamental and your sending them to me as soon as possible. A Music that t!^6 subject, and modem dulcimer is tuned —C. K. in half steps interesting points. Later it may be practical to Since your father-in-law is a piano to Organize Your Home Community for I tuner' How have an entire course on one of the subjects. A. advise you to do three things: I advise him to find what seems to be 1. talk with your piano teacher and with Conducted by a One community chose “Understanding Our fairly satisfactory pitch and tension of and Heritage” as the subject for the entire some your school music teachers about then tune the strings Hearthside Music Appreciation Nights Musical according to it perhaps Miss the — Bessie Kubach, if you tempered scale—just course. The meetings, eleven in all, were held as he would tunc know her; 2. call at the office of several of zeni a piano. each two weeks, and lasted about an hour. “Music the better music schools in St. Paul and QJJ If any of our readers To-day” opened the series, with a discussion of know of an in- Minneapolis and ask for catalogs; 3. go 'll/ struction book or can give us what the course would do, and problems of music to your public library and ask for the Mus. Doc. further details about tuning the appreciation in general. Many illustrations of book “Music JU dulcimer, the as a Career” by Robert editor of this department will be how music appreciation study heightened enjoy- Anderson, or some other book dealing Professor Emeritus grate- ful to have further information. with music as a profession, and while ment were selected from the local library’s berlin College 2. As to composing an operetta, you are at the library take a look at the I know recordings. of no book, nor even of any chapter, current issues of several music maga- that PROBLEM of the wise use of types. Show them the general line, mention the “Voices of the Symphony” came two weeks Music Editor, Webster's New deals with the subject. ITH THE you turn An operetta is a zines. If you want pictures for your the same length of time after leisure confronting us more than ever, specific subject you would like them to take, and later, with all the symphonic instruments pres- International Dictionary little opera, and an open is essentially booklet, buy a copy of Musical America off the heat in the spring. time at home ask them to develop the matter as they see fit, for High school students and a play set to music. So you with people spending more ent introduction. or some other illustrated In the fourth place, I advise you to must first of W news magazine. communities will find using the illustration and supplementary ma- local musicians illustrated the playing methods, all get a play, and if you cannot find than ever before, many I assume that you have copies of The have the piano left open at all times - a suitable one, I suggest that you ideal time to offer a course in music ap- terial which appeals to them, and which they showing special effects. The groups listened to Etude, but if you do not I suggest that even though it may collect a little more and your this an ' pupils write It yourselves. appreciation now?” some may consider fitted to the group. recordings and named the different instruments you spend a Saturday afternoon looking dirt and dust that way. A closed piano is rdb With your preciation. “Music “vivid" imagination (“goofy,” things Explain that the course will be given only if heard, with considerable skill. through the back issues for six months more apt to gather dampness—which you call it), gasp, with thoughts on the many urgent and your children’s normal enthusiasm is, the minimum desired number register. Many very “Music for Small Groups of Instruments,” con- or a year. In these various ways you will may make the strings rust, the action we must do to win the war. The answer “Yes.” for “making up a play, find plenty of material for stick, and so on. Treat the outside of you ought all music can busy musicians will give time and work to pre- cerned instrumental solos, trios, and string quar- your booklet ... rzxncMa Jfi&k the emphasis will rest on what to And and will as any other piece of fine have considerable fun. Having written also help yourself to decide the case you do see us through these very anxieties, what pare attractive material if they are sure there is tets. Recorded illustrations from the classics your play, the next thing do to whether you want to become a profes- furniture. Wipe the keys off with a cloth will be to set to sufficient interest to justify their work. They are were used. it can do to make us stronger, more militant, sional musician. dampened with alcohol occasionally, and it to music, after which you will probably keep our morale at flood-tide. not willing to make the considerable effort if “Symphonic Music,” explained what the term get your tuner to wipe the dust off the want to write an overture in which all to be told what music does only a handful are there to hear them. In mak- included; its form; reasons for its popularity. sounding board inside each time he comes or most of your tunes are strung to- No musician needs gether. What a spirit whole. It may come to him as ing the project open to the community the num- The speaker went on to give a few suggestions How to Care for a Piano to tune the instrument. If you have good time you and the to keep the ber attending is important. on how to listen to a symphony, to discuss sym- moths in the house it will be a good idea pupils will have, and how I envy you! a surprise that others need an opportunity to Q. Will you please give me some ideas to put several bags of moth balls or understanding. Some do not see the With registration going well, call a meeting of phonic music in America to-day, the. outstanding about taking care of a piano—where it develop this should be placed, general plans, and to organizations their directors. how often tuned, and all camphor inside the case as near the need to learn to appreciate music. Yet, to go back the leaders to discuss make and such Is 1 here a Music I eachers’ matters?—A. D. hammers and dampers as possible. suggestions as to To-day’s Singers,” took over one’s own experience is to trace the definite any changes advisable. Their “Songs and Great up Finally, I advise you always to think Association ? desired, ways of in- the rise of song; song form; illustrations of dif- A. A good piano is worth taking care learning situations which have directed and in- what material is most on of your piano as a musical instrument of, on the time and ferent of songs; songs and artist singers of so I am glad to give you some sugges- Q. Is there a music teacher / guild or as- creased the pleasure and profit to be found in teresting different groups, and types rather than as a piece of furniture. If tions. In sociation, and what is required for mem- the first place, it should stand music. Often, we realize, it was the sheer frequency of meetings will be valuable. You will the present. no one in the family plays, ask someone bership? I have. taught privately for some great in a part of the room that is neither too our get many other excellent ideas, many points of The next meeting was given over to “How to from outside to play or practice on your time, and if there is benefit to be derived enthusiasm of a music-lover which kindled hot nor too cold. In other words, it should from membership in tins >rl of organiza- will profit. With this an Opera.” There was a discussion of the instrument, meanwhile making plans to desire to understand more. view, and the whole course Enjoy not be very near tion I am interested.— M. a stove, radiator, regis- No question will be answered m THE ETUDE V. R. the person in charge can complete unique form of the opera, the criterion: the best have someone in the family begin to take unless accom information ter, or window. If possible place it against partied by the lull name lessons as as possible. and address of the inquirer. Only initials, A. I Preliminary Arrangements make other final arrangements. in music, musicians, drama, presentation. Dif- an inside soon A piano is am glad to be able to tell you that the outline and wall rather than an outside or pseudonym giver., will be published. made to play on, and it needs playing if there is a very fine organisation of music local li- These arrangements, with specific programs ferences in Italian and German opera were illus- one, but if it has to be next to an outside The course may be sponsored by the it is to maintain its finest quality. teachers to which any teacher of music leaders be announced in trated. Operas to hear ( Continued on Page 483) wall then let there be a little space be- brary, by a music club, a parent-teacher group, and names of may now is eligible to belong. It is called Music tween the piano and the wall—a foot if or by an individual interested in benefiting the the papers. Perhaps you possible. Teachers National Association; and all More Arithmetic ordinary life 3 8 plus 3 8 select a musician to will want to mimeo- equals 3 4: but information and community. Let the sponsor In the second place, musically about membership, dues, a piano needs a Q. Will you explain your answer to they are entirely different. entire course. As the graph the entire pro- so on, may be secured from the Treasurer, have general charge of the normal amount of G. J. K. in the In humidity—the air February ETUDE? He said answering G. J. K.’s question I local musicians, gram in detail. It can that the Mr. Oscar Demmler, 217 Dalzell Ave., whole plan will be carried out by should be neither too damp nor too dry. relative value of a dotted-half note assumed that the composition was in 3/4, be done at little cost In was two dotted quarters. That could be Ben Avon, Pennsylvania, a king that you it would be wise to choose one who is familiar the summer or at any time when doors but of course I had no right right in six-eight time, hence how can it to make will be helpful to and windows are be enrolled as a member. with the talent available. and it open, this is automat- be wrong? Especially as G. J. K. says that any such assumption. And now, having ically taken care of this was one of his answers, from which The M.T.N.A. was organized over sixty A good name for the course is important. The those taking the course. —except in a very admitted that much, I win go a step we may assume that he gave other answers years ago, and it was Theodore Presser, damp climate. But when the house is farther and state Etude has outlined “Hearthside Musical Nights,” to the question too. C. K. that the original ques- shut up — the founder of The Etude, who was pri- A Plan of Action and stoves or a furnace are go- tion asked in the Regents’ Examination which already have started in many parts of the ing, the air often marily responsible for bringing the group gets very dry and this A. It is so very easy to confuse music was a silly and unjustifiable one which country. Other names might be “Music at Home Music for illustration is together for its first meeting. The Asso- apt to cause the soundboard to crack with arithmetic and even the music should not have been imposed Front.” of the various evenings’ on the year in Wartime,” and “Music on the Home which is a major disaster ciation holds a convention each so far as the teacher sometimes does it. The real pupils unless accompanied by a musical papers with discussions may be done between Year’s (in Start the publicity in the local tone of the instrument is concerned. So answer to the original question might example. Christmas and New news little humorous by local musicians, this I advise you to 1917 we met in your own city of New of the planned course. A provide in some way for well have been, “It depends on the mu- supple- evaporating Orleans) and, after meeting, all story on amusing misunderstandings which will illustration water during cold weather. sical passage in which the dotted-half ; the by artist re- Two or three gallons a day would not be note appears.” How Is a Dulcimer Tuned? addresses and reports are gathered to- now be cleared up for all who attend will attract mented too much in case of 1. gether and printed in a fine-looking attention. general to allow cordings. The aim an average-size It is true that the dotted half is often Q. Please tell me how to tune and han- Keep the first stories house and this dle a three-octave book, full member to present the — extra humidity will be used in 6/8 to fill an entire measure, and dulcimer. My father-in- a copy of which each for changes in plans that will develop as the should be as law is a piano tuner and owns a receives. which good for the throats and noses of the when this occurs at the end of a period dulcimer There is also a Bulletin course interested composition as nearly but is not sure how to tune takes final form. Ask all those family as it is for it. I am a piano is published During the sounding board of or other division there is no confusion. and xylophone several times a year. as possible as the com- teacher and would love to to sign up for the proposed course, perhaps at the piano! But musically learn to play the the past five or six years the M.T.N.A. it is not correct, for 6/8 dulcimer also. the local generally con- poser intended. With 2. Also library, or at some such In the third place, the piano is will you refer me to a has been trying hard get local groups should a duple measure and it is far easier good source to wide growth of pri- of information about the proper there venient place. Announce the course in the various the be tuned fairly often—and by a first- for the musical eye to procedure of music teachers to organize, and grasp two dotted- of wrmng an operetta. libraries, class tuner. I cannot find one Or- clubs whose members might be interested. Tele- vate record During the first year it really quarter notes tied together as suitable to my may be such' a local group in New indicating group of pupils, and my lack ought to be tuned five or six head swims leans. If write Pro- phone friends to pass the word along. Get sug- there will be no times, but a full measure of tone prolongation than constantly with all kinds of you will telephone or ideas of an original operetta. of fine material, and when it has “settled,” about twice a year it is to read a dotted-half note. In But I am un- fessor Leon Maxwell of Newcomb College, gestions from your local librarian; she may know the certain about the whole ought to keep it in fair condition— procedure, never he will tell yon of interested will unless case of 3/4, however, two dotted-quarter having had such be able, I feel certain, to persons who would be interested because of those training. Am simDlv gifted it is being used for practice many hours notes indicate Vld whether there is in your special rec- a duple measure, whereas a d SHghtly goofy ^"agina- a local group their choice of reading material. often buy tiontion. Pan u , each day, in which case it ought to is Can you help me? neighborhood. need to- be 3/4 of course a triple measure; so in —Mrs. W. L. W. Music teachers With the general plan in mind, canvass the ords needed for the tuned every two or three months. If your the case of triple measure two day to stick together more than ever dotted A. 1. I , musical leaders many course. SONGFEST AT DAYTONA have written ev ®ral of the town to see how A WAAC piano is tuned only twice a year, have it quarters tied would be wrong, nuslcians before, and I strongly advise you to join and a in New / will different plans Sgt. Eloise leads the girls with her ac- York China eo in be able to take an active part, either as Many Marcus done two or three weeks after you begin dotted half would be correct. P “ hands with those who are interested Arithmetic- and have looked speakers musical would be suitable, de- cordion. Only the mascot pup fails to respond. to heat the house in the fall and about careMHMn f and that or as those who illustrate the ,.,y the two seem be ,h, same ,„d ,„ce boe£' o“ working toward the same ends SSX Z’ZZ you are. 449 448 JULY, 1943 "FORWARD MARCH WITH MUSIC" "FORWARD MARCH WITH ' MUSIC THE ETUDE , . 1 —— — — — —

Music and Study FLITTING FIREFLIES

N. Louise Wright’s notable gift for tunefulness, combined with her excellent musical workmanship, is finely marked in this brilliant composition. Note the fz mark under the right hand octave in the second measure, and similar subsequent examples. Obviously the composer intended to indi- of the phosphorescent The Thrill of the Bagpipes cate the flashing little .beetles flitting over the garden. Grade 4. LOUISE WRIGHT

Q Allegro m. M. J = 144 : a — 3 sound until its belly is full" i ^—-v. — -p m. "A bagpipe never makes a t\ i. " — ^ 9 9 I "I* -A .. P v Wai j** wnr W f H l / / > rffri\— — i - “1 Y IRISH PROVERB y. ja X m — * r~ — r ftf > v .7 —> —\ -A*4- _ -J f— := £ ... — at m W—^ 1 M m ~ - ^ t-0-i * 1 ~ 3~ ~ — \ «T 3 .5 3 3° 3 3 6 Jz z f m.J. rnf 9- M. L 49- „ " 9 i ^Itvin lAJ/iih \ | by -A C. 1 - Z L> e_ n m i" V 1 ¥ * | — \ w i m m —» r 9 f 1 *T LiJx r j i / L__ ~w— X * i m UM Bf ^ n X 5 n i 1 a 2 a a 3 2 2 a 2 3 4 4 ! 5 4 4, 4 1 I 1 il L >l 1 1 1 I 1 , 1 i It is thought also that this is the instrument meau) for the extension of the compass upwards upon which the shepherds expressed their joy one well-known specimen having a chalumeau at the Nativity. The early Russians had a form of compass from f' to d’", the grand and the petit 1 ^ 1 o bagpipe called the volynka, which was also known chalumeau having respectively a -a 9 seven and six to the Finns and Bulgarians and used in all of keys, and the former having i eight fingerholes f) L . 1 .i- -J V _ * W _ W K their m ^ wedding ceremonials. Wandering minstrels The drones, four five y W ~ ^ or in number, are all > fl m — i _1_ — f fitted rmrr-rr r r of the North Country, as well as gypsies, played into one cylinder, _ J being brought Into small space " - m - ~ - ~ o o r 1 upon the bagpipes, to whose drone trained bears by the doubling of the if 3 ~ 3 *3* ~ 3 ~ ~ tubes within this cylinder * f. 3 3 were wont to dance in the market places in ex- which is np provided with sliding stops for tuning mp change for copper coins. the drones. This was introduced into the orches- 1 J l r ft - “ tra by Lully, but towards the latter t t 9 Ilf i In part of the L\*~ 9 w fl 1 II , w S V Spanish Setting m~ y m n a. * i-- 9 k 1 — * > p — eighteenth century fell into disuse. The — x u h~M e musette -=^-/-r9- r * The 1 instrument was a great favorite in Spain here described must not 2: —^ LM 9 I*’ 1— be confounded with a A 1 — — — in the early part of the twelfth century. “The totally different instrument of the same name, j i i bagpipes of Zamora” are alluded to in “Don played from the lips like an oboe. Quixote,” and one of the ” most exquisite paint- I 1st time 1 1 Last time ings in the Royal Palace at Madrid depicts an Its Place in England angel appearing to a group of shepherds, one of Coming to England we find that Shakespeare, whom is playing upon a bagpipe. The Spanish A Highland lassie like many other human beings, dancing bagpipe looked upon the to gaito (Arabian ghaida, a species of oboe) the skirl of the pipes bagpipes as an instrument of torture. In his play is practically confined to Galicia, the northwest Much Ado About Nothing,” he says, “I’ll devise corner of the peninsula, and it has had a notable thee brave HERE IS an old story of the punishment for him. Strike up, Scotchman effect on the form of popular music there. It pipers.” He made frequent references who was asked by his friends to play upon consists of four to the in- pipes; soprete, which fills the This recently strument and at one time speaks of “the drone acquired bagpipes. When he bag; two drones ( ronco and ronquillo ) and of had played a tune his friends a Lincolnshire bagpipe,” of the antipathy said, “Ah, noo, chaunter ( punteiro ) . Some instruments have some people Sandy, will ye gie us Annie Laurie?” Sandy looked only have to its sound, and of some who one drone. The usual tuning is in up, diatonic laugh like parrots surprised and said: “What, again?” intervals from at a bagpiper. It was actually b to c", including b'-flat. Addi- a Many people who have not been Scotsman, and no less a man than the lord enamored by tional sharps and flats are introduced the lure by half advocate of the of the pipes often feel that there is very covering time, who publicly declared that the holes of the chaunter or, occasion- little tune to them, if the bagpipe is an English essentially but you have a touch of ally, by means of keys. instrument, English; Scotch or Irish blood, there is the English were the original bagpipers.” something about The bagpipe is now claimed the to be the national He pointed skirl of the instruments that is all com- instrument out that while Shakespeare often of Thibet, the “forbidden land” pelling. speaks of the bagpipes, in opened up to the worlds only he never does so Although a few years ago by Macbeth,” the bagpipes are generally connected Younghusband who had and that it is in Lincolnshire and a piper in the Indian Yorkshire with Scotland and Ireland, neither country can that he localizes the pipes. To Chaucer Army to accompany him. This so claim to have invented inspired the and Spenser them, for the Greeks, natives that the royal also they are English. James IV and musicians of that country the Romans, Assyrians and Chinese all played Scottish kings paid pyparis” at bag- took up the study of the instrument. for “Inglis pipes of a sort long before the their court, while time of Christ. In the early years of the Edward I, Edward III, Henry They are seventeenth century IV, now found in all countries of the world, the bagpipe Henry VIII had native pipers. under the name of the cornemuse although it is commonly believed But Englishmen that the instru- and the musette enjoyed high responded to the bagpipe long ment originated favor in France before in the East. Louis XIV Shakespeare saw the light of day, for we was patron of a selected band In Asia the bagpipe is almost of are informed universal, though players consisting of twenty-four on good authority that the bagpipe at present violinists and not so much in use as it seems to have an was a very popular instrument in the equal number of pipers, who performed with them been in former times. It is used with Middle Ages among the exceeding skill. The and that many a sturdy footman instruments belonging to Chinese musicians, and is met with in the has marched In Persia, Royal orchestra were elaborately miles to the music of the pipes. where it appears to fashioned and the a have been more generally covered reign of Edward III, was an 3 a - with velvet embroidered the bagpiper a i 3 a 1 «- l employed in former ages with “fleur de important 43 1 4 than now. There is an lis ” An engraving personage. If in England there was no — 1— *=+= by Leblond aptly portrays — •^ k — w 1 Indian a 1 1 bagpipe called the toutari which is also Royal Society rrf- “ -:-J BffT 4 gallant of that day, of Musicians, there were institu- i * • - j 1, 1, i-J-— elegantly - • if known as the costumed and dz— MI fc M —9? tziti and titty. It was used to some carrying tions for minstrels, granted to . um ~— a bagpipe across his shoulder, since license was extent in Egypt but is rarely met with stepDins? one to-day. down into a lighted garden Moslan, the bagpiper, to inspect the min- This instrument where the fair ladies cresc. is still common in Italy and it await the music strel s schools, for which paid a fee p / and the summons of their duty he was 9r must be remembered that it was Nero’s boast In kins? of 40s. Probably schools t l France the bagpipe blown from Moslan found that the 1 9 l that the Romans bellows 1 introduced the bagpipe were not 1 , 1 > > to eventually took the form of managed so well as they might be, for ^ — ^=F= the musette, w — Britain. A sculptured bronze in wSS after L Richborough has double the inspection, re- hi reeds bagpiper, - throughout and a Barbor, the 4 3 Castle might be taken as evidence of chaunter ceived t a 2 this. It is with a narrow cylindrical a license to visit the schools for minstrels said bore. To the original that the Italian peasant believes it is the beyond the VII. chaunter, known as le grand chalumeau, sea. In the ninth year of Henry best beloved music of the Virgin Mary. the elder udesay, Hoteterre added a smaller the pipe and bagpiper received 6s 8d one (le petit chain- from the King 480) Copyright British Copyright secured 450 for his (Continued on Page 1943 by Theodore Presser Co. "FORWARD MARCH WITH MUSIC” JULY 451 THE ETUDE 1943 — — — * P. * • • d —— —— / — - • —wf — — r — —l = —4 —j — —^ — L 3

YOU AND YOU X This the finest of ail waltzes. The Rat is 1 1 is the famous waltz from Die FledermausAThe. Bat), by.Johann Strauss, and is.one of a practical 0—

full of amusing p- H.hu r rtr 1 joker, who has won this name as a bat. The. opera is situations but / ^=: r ball costumed i ^ because he once went to a fancy dress with, Ff=rflH #TS 4P 7 P> f4 r i Imd P4 7 ^ 1-' out the suave survived for nearly seventy years —UFj ~;S. f ^r-- melody, as well as the electrical tingle of the Strauss music, it would not have ,nor would -f =P4 p it jr X4 have been considered worthy of X the repertory of the Metropolitan. cresc. V Fine mf Tempo di Yalse m.m. J- = 63 JOHANN STRAUSS, Op. 367 • — — ; 1* * t=S$=U#JEr* t*|* « * > rp , •hi 3 2 Yt•- - - 1 ”22* * 4pP 4 4— r M= -< 4 1X4'•=4±±= zip* -V 1 & q M=ty 1 £-H . r 4=4-5^ gft 4 W - * |-= =pf,

M . * - r ^ .. pbp- - t J^\| 1 ^ ft : 4 1 . ^ . / V m 7i±&, I -I 1 IV IV v r ^— — — m 1 * * 1 U_J W V * 0 ft, b — r •? -I- —«u.f L P . P .ft < rriw ^ 7 M —t — p_L -0 P Trj-r 1 t_^p 2 0 - —L— j J * n v ^>4 — 1 T _y ' 1 n ' r #4 m m imm YJ~ — > > > 1 «• . 00~^ 0 ^ t~ -J^T5 » P m m m Tto *r *P 44P p: p p m r r v • i P • — -m r 1 • 3 2 3 > -*b r n m l l J r „ _• p -J CP li _ T • —/ m 1 1 m 1 r

' ‘ “ - 1 Pm 1 1 « • • "P rz T-n -4 L_ —fr > II 1 r — Ff— fa — f -fag u _ -4f r f Jf Fine 1 f |1 112 b. "> --p-k 1- [ 1 B- fh-i . f 0 A 4 2 j Epf • | 1 r . 1 — i - y — - 1 f ^ . 4 b 1 - 1 / r— f? •y _J - # ‘ II N L — 1 n ^ p — n J / br~ # * A 1 — r~ Y—k> - j 1 f — P J J • >1 4 « 1 r- f~7~~ar^ -2f\ m sz 4J Jr r r p ## U. ..ill. — J L \ ^ P.. ^ > •fc 1 p 1). s. al Fine : I h- p }— 1 -1 J. h 1 . pafe-a f-j— » =Cq=n — — —m J. f #-rtnarrUlT- f -0 ^IrPt* • ' . vv 177« 1 1 •11 1 - pb*^ . • i — Ui_ J kf tn , # .. r r r -Xfff % gb _4. ,- *_ ~rv5 " J —Z-m — s — x ---}—— > — m— I f -# 1 1 1 T — — W 9 9 -t W— — f 1 W m m m T • 0 1 A . 4 — — k i \ A 'ifFT n *L i_.^ iff! • — 1 * V F- f-rp » J L-I \_ — u p -M4-U 4k —0 :=1"" - }— : 1 r fb- J»e»iJ :r— |r j b-gj « « ==t~ I K= W ’trB X TT ttp - P r i— r r » ^ yy • f pr h N K 2* j- : 5* j. -fij \A7 T ® pL® rj- » • < * 4 Mg r A 1- r 0 t4i i" - Hp- 3=^ 3i =! ^ J pyx 3% -Iff -pi *- - 1- *£f ' • rf=^f i rjjfi — apS* - #J XI 1 hii- =^=ntt f ./ *- =£ j t f h 1 \- ( *): nj 3{S= ’tjFFF 2 — m *44=i= * —pi jhm 4 — •: — i=t «H« r J 3 3 at #-«U ir— 71. as •a ^ r4^-4 1 .,: /^=F^ Tf te.1 1 ~ _c_i put |e_L r ' ' — 1 r-Ji — ^ 1 r r ‘ Y pf¥ rfrVi — ~JZ — 2 » 1 — 1 f riirrrr Ft J ^e:1 r : —-—i —— p j fihffFF -J i p-Hi yF 1irfT~ Bfeg^=p if r»p ^ y* p ”F \ X . D. C. al Fine • m- i0- f . ** _ J / ^F=“" , 1 — — p: 4^=p 5 LfX-J 1 =t# • 1 \ 1 : —— : ;=^ / «* X * m l m a ; — J — 1 1* F 1~~ &•*- ® S ^— — — ~ {_ ^ —^ 77= GU |—3-'"! ^Xuj=y=i XX r^' ; 1=^5 — J r

>- // w S i |. .• (F- 4^ r ? f- • - JF * >dit |p i ¥ o‘ 4 • 70i 1 -— ^ — , S h-y5 0 | 1 rrr^xrVr - r r — — 1 7 =P= “P 4 -H • ; If y.ff=7 K 7 ffp y 1 ipM ! 1 1 T5 V Xf r pp ppp 1 q?:K P p ip- -0- 0 0 bi -0* f 1 * q< 0 2 1 1 Ld —a =p^ *" 411 , 1 c 44 — IP'±=4 Jt Hi -p##- f fbx 1 pp- * 27 • ZT-— 0~ — — p— p r ( 11 &=M f - J -=4—1- FA H* > zk\ * - -F^=f 11 1 1 -0 -0- #4 452 From here go back to % and play to Fine; then go to A. JULY 45 THE ETUDE 19i3 — 1 & —^ — —

FRAGRANT MIGNONETTE This light and f Juent composition is marked by long phrases, mostly of four measures. The continuity of these phrases should be observed carefully by

* w * SABBATH SUNRISE HENRY S. SAWYER Arranged by William Priestley Moderato m.m. J = 88

f

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2 2 1 2 2 1 9 |g* * rf • ' E E , f ? m A- j® 1 1*T » e e— rht=t a — — A S. a l Fine *L Ml - * t-^y i- 1 — -M > — e U> > u 1 • * r -f-H — t¥—- «J £ — * t—4 u i eeeeeieei J T-i m M 1 British Copyright secured Copyright 1942 by Theodore Presser Co. Copyright secured British JULY 1943 455 THE ETUDE 3

ON A SUMMER NIGHT

VENETIAN MOON BARCAROLLE

JULY 191 CHASING BUTTERFLIES SU th a " reat economy of notes FINALE, The and yet without any sacrifice of interesti FROM SONATA IN D JOSEPH HAYDN grace notes with theh? Y' WILMOT chords in the second section are nl tu 0 q LEMONT1 more joyous than in section are piayedaw/withwith the firstrw beat.vL* Grade 3. (CearicW T Haydn was, never, his “Sonata in D,” w hich, save for the somber, gypsy-like middle movement (Largo e Sostenuto), is as jubilant as an „ Lemont) apple orchard in May. The Finale, Presto ma non troppo, is suggest ive.of zephyrs through the branches. Play this with a very light arm and with great Allegretto °P-4, No. 2 6. fluency. Grade i Presto ma non troppo m.m.J = 144 3 * 4 3 4 1l ^ 4 £ m m i m £ P i % p & ii m m i Si?

International Copyright secured 459 THE ETUDE JULY 1943 460

THE ETUDE REALIZATION Sydney King Russell* WOODLAND FLOWERS V,RG,WA strings and first finger only. CLARENCE M: COX Moderato c.sheRMan For open

stretched to save- ’ UeDe . Fy-mgfv , er - ror’s sur ge and swell, I hear Thy pre-cept, All .swell.

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* Words c °py r >ghted and used by permission Copyright 1943 by Theodore Presser Co .

British Copyright secured British Copyrig-ht secured Copyright 1938 by Theodore Co. Presser 463 THE ETUDE JULY 1943 Hammond Organ Registration < (10 4 *) ) 00 3322 #10 OUT OP ( THE © 10) 00 4532 210 DEEP 0 (11) 22 6555 421 (DE PROFUNDIS) Ma CKLiN

-MANUALS

V poco agitato U—1 ^3 f» * • ^_ pooo rit. |7 —

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Copyright 1942 by Theodore Presser 464

British Copyright secured THE ETUDE 0 4 ^ —

SANDAL DANCE SANDAL DANCE PRIMO

8 m 8 4 3 2 3 3 £ 0 m m-d # £ mf P grazioso cresc.

* 1 0 i J3J £ f $ — J i 3 2 2 4 1^4

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THE STARS AND STRIPES FOREVER

—— — 1 0' 9 fer-i~=£ 0- •V— 0 5— •— • a a • - - T a a . p leg he saws a way_ Did- die, did-dle up - on his fid-dle, Did - die, did - die day. i P A SAILOR’S DANCE

Copyright 1943 by The John Church Company 5 2 International Copyright GRASSHOPPER GREEN Allegretto M. m.J.=76 HUGH ARNOLD

5 .

have you seen Mis-ter Grass-hop-per Green’ Have you heard him play? He has a fid-dle that

Copyright 1941 by Theodore Presser Co. 5 4 468 British Copyright secured British Copyright secured - . °Pyright 1943 by Theodore THE ETUDE Presser Co. 469 JULY 1943 4 3

JUST BEFORE DAWN English translation by G.M. (Ein Stiindlein wohl vor Tag) ROBERT FRANZ, The Technic Op. 28 of the Month , N With lesson by Dr. Maier on opposite page Arr. by Guy Maier 2 Allegretto m.m. Jr - 88 92 Conducted by 3 a a dawn, at Qu» Wale,. t f Just an hour be - fore the my win - dow bv „ 4 59"

J LIjL TJIJIUltJ UdWll, UJJ. CO, 1\0. C

lit Robert Zdranz

ERE IS ANOTHER transcrip- ticed staccato and legato, and re- tion for the piano solo of a peated two and four times, ought to H tender, whimsical song by a “do the trick” for you. lesser nineteenth century romanti- The melodic germ A tim-id swallow sang his little song, 5 5 cist, Robert Franz (1815-1892). As in Scarcely heard at all by the other arrangements, just enough Ex. of the text is given to convey the mood of the piece. Players liking a —gL recite bit of realism may want to the ttSii lines as the little song is played. Such declamations with music are often also appears seven times; note the effective if care is taken to enunciate charming left hand imitations in the text clearly and to hold the music Measures 11, 14, and 28. down to and pp. In Just Before p For the tricky right hand passage Dawn, the declamatory effect is in Measures 20 and 21, the following heightened by that unexpected last exercises are recommended; again line. repeat two and four times. This song-scherzlno is valuable as a study for lightness and clarity in five-finger groups—single tones, Ex. AUll.H. 9 thirds and sixths. The key motif 1

Ex.l

which appears no less than seven- teen times, hands singly, together, in thirds, sixths and tenths, must be immaculately rendered at each ap- For accuracy and smoothness fol- pearance. This simple exercise, prac- low fingering strictly throughout, especially the slightly unusual direc- Ex. 2 tions to use the right hand 5-3 at

the beginnings of Measures 4, 6, 12, and 14. Practice the sixths in Measure 9 Today there’s only one thing that counts — victory. But in Ameri- with high wrist; work often at left can homes everywhere plans for the years ahead are being made hand of Measures 11 and 12, 15 and

. . plans that include the Organ. To these families 16, and 18 separately; use little or . Hammond no pedal throughout; and at all times beautiful Hammond Organ music is as much a part of the bright let feather-weight elbows poise your future as a comfortable home and a good car. the keyboard as body lightly over We cannot make Hammond Organs again until victory comes you play. and our war job is done. But you ANOTHER HAMMOND INSTRUMENT don’t have to wait till then to try this

fascinating instrument with its mar- swal-low in th g t|W> velous range of rich, colorful organ 1 shy - ly sing my l it - for American Composers tones. Most Hammond dealers have tle song, But A New Era you scarce - ly notice me! set aside hear and Page 430) one so you can _ ( Continued, from play it any time you like. Try the jl r i Burkan in The accumulative effect of all these Memorial Competition Hammond Organ . . . learn how per- The Solovox attaches to your piano, memory of the who, from projects, Mr. Deems Taylor believes, attorney fectly it fits into your design for living. is played with the right hand. Gives real and direct bearing the founding of ASCAP in 1914 until has a very you brilliant instrumental effects — membership. “The And remember — those War Bonds his death in 1936, had been general upon ASCAP’s violin, trumpet, flute, trombone and shows in de- you’re buying today will pay for a counsel for the Society. The purpose more interest ASCAP many more — blending with your young men and of this competition is to encourage veloping worth-while Hammond Organ tomorrow. left-hand piano accompaniment. pub- the study of Copyright Law, analyses women, the quicker the general Free — Write your subscription to hammond times, monthly magazine about organ that the crea- for of the need and justification for, lic will come to realize music the home . Hammond Instrument Co 2929 North Western Avenue Chicago talented for , the social benefits derived from, and tive artist is not merely a community, but is the wise public policy of enacting member of the participating in affairs out- HAMMOND ORGAN Copyright 1943 by such law, and to induce original and actively Theodore Presser Co are impartial whole side his immediate field which thinking upon the MORE THAN 1000 HAMMOND ORGANS ARE DOING WAR DUTY WITH . THE ARMY, NAVY AND MARINE CORPS 470 472) subject. ( Continued on Page British Copyright secured MARCH WITH MUSIC" 471 TEE ETUl)E JULY, 1943 "FORWARD 9 ™ — —

device for and then piano sonata? There is little doubt in Grieg, was a marvelous comparing these Grieg— with n, Nationalist and my musical sensitivity and moaning “nature- the mind (especially when I recall engendering voices” ( iniif i of the wailing atl0n the subtle development section of the compassion. sounds heard last development, ture) that Grieg, na' Cosmopolitan movement) that the piano so- In this humanizing through the d nata, had it been scored for orches- Grieg’s most personal contribution of unnatural harmonSat^ Voice Ucestiuivs tra, would have proved a favorite creation of what we call “un- able to clothe the ( was the melody Continued from Page 428) with i n m ltsf among later nineteenth century natural harmony.” Natural harmony first presentation. SAMOILOFF symphonies. It was a work in sonata is that in which the harmonic sug- quite distinct from, let us say, the An form (the “Sonata in F major for gestions of the melody (its key and Interesting Remark BEL CANTO STUDIOS & OPERA ACADEMY occasional melancholy of Russian Violin and Piano, Op. 8”) that node anchorages, its modulative sal- In connection music with this Pnn ^ _JnswerJ Ly DR. NICHOLAS DOUTY and the sombreness of Span- stirred ANNOUNCES Liszt to write Grieg the letter lies) are obediently carried out in °P. 24 ! pass on an ish music. We discern this North Sea interesting^’ which, read in the Norwegian Stor- system perhaps is the harmony. This mark that Grieg let fall in mood strongly at the root of such ting converse SPECIAL TEACHER S TRAINING COURSES (Parliament) secured for Grieg, its best in such composers as tion seen at with me. He had told creations as Brahms’ “Rhapsody” for at me that about the age of twenty-six, a life- Beethoven, Schubert, Brahms. Un- the folksong alto, male chorus, used in the In answer to many requests and orchestra, the long stipend Ballade was from the Norwegian natural harmony is that in which originally, Cesar a rowdy drinking No question will be answered in THE ETUDE unless accompanied by the from readers of Dr. Samoi- Franck “Symphony,” Grieg’s Government. song, with full name the harmonic behavior runs partly words to the inquirer. Only initials or “Den match. I asked and address of , pseudonym given, will be published loffs book, for further in- Bergtekne” (“Taken in the him why he or wholly counter to the harmonic had not stated these Hills”), Delius’ “The Song of the Significant Contributions facts in a struction in his methods, suggestions of the melody. foot. High Hills,” A “natu- note to his composition. Dr. Sainoiloff is offering Vaughan Williams’ first Despite all “Because this, it is not in the ral” harmonization the “Norfolk Rhapsody,” of melody the original mood of the a special vocal Teacher’s and Herman bold externalism of musical form song and it, Sandby’s notes E, G, C would be the triads of text was so totally Course. Academic credit “Sea-Mood.” (which we may compare at variance with to the III, V, VI, in C major. When I asked Grieg which get - the mood I had evolved in Makes Her Yawn. personality and the tremendous perseverance for this instruction can be orches- rich - quick, catch - as - catch - can " the Pal Singing tral suite lade Grieg Can She Ho About It? end courage necessary to overcome every ob- arranged. Write for fur- he admired most he an- adventurous opportunism replied. But that What of the clash sevefiteen years old. a contralto stacle in his path toward success. It is the swered: Ex.7 is of Q. I am “Beyond all question, Saint- earlier great musico-historical combination of all these things, plus a great ther information concern- nineteenth century—the era inter- with a range from D below middle C, to A Saens’ deal of good luck, that brings him to ‘Algerian Suite’.” (Is it of millionaire est,” I continued. middle C. My voice is masculine and star- ing the Teacher’s Train- not a manufacturers, colo- Whereupon Griep above dom. and trouble is yawning. Whether I the absence of any one of them strange proof of the isolationism nial came to the pithy resonant. My ing Course. of imperialism, and railroad ex- part of our not. whether may lead to failure. However, a more moderate our con- have had a good night’s rest or musical life that the present versation: is lively success may be achieved even in a profes- • sit- pansion), nor in his “That the song I am singing is and fast , or exploitation of difference the sional uation in invariably after singing a career, by a singer of more moderate North Africa does not in- folk-melody between you and me. slow and legato, Private class les- that Grieg achieved his in our approach talents, if he has the superior qualities of and vocal spire few measures I yawn. Even when 1 hum or our orchestral conductors to most significant to folksong. You character, personality, strength, perseverance, sons are available Dr. contributions to approach it as sing with the mouth half closed 1 yawn. What from a luck. present such timely scientist, this unmusical and masterpieces as the art of music, but while I > ill can I do to rid myself of Samoiloff and his associate rather in his approach it 2. A girl may commence the study of sing- Saint-Saens’ “Algerian Suite” wholly and transcending developments of the An “unnatural” harmonization of as a romanticist.” ing when her body and mind show signs of teachers throughout the year. Gustave Holst’s “Beni Mora” maturity. She should put herself into the Suite?) resources of modern harmony re- the same melody notes would be the The two opening chords of Your que tion is interesting because hands of a competent teacher, who will be Of all the great composers that sources Grieg’s A. he that he received, undoubted- triads of C major, E flat major, previously th result of singing is so rare. content to bring her along slowly, carefully, Have you read had and mentioned "Den Berg- yawning as met “in the flesh” he found ly, from teachers and some books suggest that without straining her voice. Just what age Bach, Schubert, Chopin, and A fiat major. tekne” are another Some Tschaikowsky epoch-making throat should assume a yawning position she must haVe reached varies with the indi- the most sympathetic Wagner, but to which he example the "THE SINGER'S HANDBOOK” added of unnatural harmonization. to facilitate the emission of the tone. Your vidual. Of course, occasionally a genius arises and stimulating. Grieg said that mighty and additions of his own. Apropos Ex. 8 “masculine and resonant” tone quality, who defies every rule. by Dr. Lazar Samoiloff? their meeting in Leipzig rt confined to the deeper sounds of 3. There is no average range of voice, but was an un- of the exploitation of folksong, one your ran e broken the contralto vi.ice, suggest that, influenced if you can sing every note of two octaves with stream of enthusiasm and is reminded Published by THEODORE PRESSER CO. of the aptness of the perhaps by some of the very successful a good, well-controlled tone, and can say the mutual response. saying attributed to Sir Thomas singers of popular songs that one hears so words clearly, yet effortlessly upon each tone, But we do not need the above Beecham: frequently on the air, you sing all your tones there will be comparatively little of the usual Write far Cafa/ogue-610 S. VAN NESSAVE., LOS ANGELES, CALIF. “These little tunes have cannot sing. Some extraordi- testimony A New in the so called “chest" register. In order to music that you of Grieg’s expressed spe- done more Era for American have a range* a few tones to ruin music in my life- preserve this tin k. masculine, resonant sound, narily gifted singers cial preferences among time, it be that v u drop your chin, thus open- longer. composers than any other single factor.” may (one Austrian, ing the mouth unduly wide, lower the two German, one Po- If, in seeking Composers musical counterparts larynx, open your throat to its greatest ex- Again the Young Soprano lish, one Belgian, one Saturday Night FREEMANTEL will French, one of the elements The human tent, even stretching it. force your tongue to I years old and I have been told we know in human purpose behind un- Q. am fifteen train YOUR VOICE Russian) to divine the ( lie flat upon the floor of the mouth and raise that my soprano voice has possibilities. My cosmopolitan life, the ecclesiastical natural harmonization Continued fro, . Page 471) Serenade polyphony of (if one may “I attended a concert given by Mary Stewart, a scope of his the uvula as high as possible. These ere ex- range is from A below Middle C to G before compositional life. This the be so EVERY SATURDAY NIGHT former pupil of Frederic Freemantel. I was so thirteenth to bold as to guess at actly the things one does when one yawns C, although I can reach higher notes seventeenth cen- such elusive High impressed by her fine singing I travelled 10.000 is evident enough in for the quality 9:45 P. M. EWT his own music, turies be linked wtih stirs of the life-force!) the general good. In other words, and, if our theory is a correct one. after a when singing the scales. People say miles from Shanghai to New York for the privi- the medieval seems to be lege of studying with Mr. Freemantel.” in which the few minutes of singing with both the vocal is pretty good. Please suggest a few simple, Columbia Network winsome melodiousness ideal of similar to America’s leading (Signed) Priscilla Pote-Hunt Christian brotherhood, that behind paradox composers, au- exag- songs that I can work on. I have of genuine folksong and in and the speech organs held in this semi-classic (as distinct from the theme-dominated literature: to shed thors and publishers arc far-sighted gerated position, you experience an uncon- been studying piano and some organ and I See Broadcast FREEMANTEL STUDIO form-music of new light upon 205 West 57th $», New York. N. V. the elements of popular trollable desire to yawn. Try singing simply. am in the band and the glee club. When I get melody as the Protestant era be linked old subjects, to open new enough to realize that they are not When in N. Y. with the doors for Open your mouth just wide enough to pro- to college, which will be in two years, my we find them in Haydn, Beethoven, an escape working personality-led mercantilism from suffocating ‘within an ivory tower,’ but duce the syllables you desire, allow the tongue parents say I can take voice training. I know Write for Tickets founded plati- TRAIN Schubert, voice , and so on) is paired with on tudes. through to move freely in the mouth, and the larynx that I am too young to do much with my the Industrial Revolution, then When Bernard Shaw their music, and in the en- the - pens the yet, but is there anything that I can do to im- JESSICA seven hundred - year - old poly- modern following couragement and uvula to a ume their most comfortable harmony may typically of young people, they it until I can take regular phonic-harmony be considered Shavian paradox, positions. In other words sing as easily as you prove and preserve traditions of the analogous the reasonable are developing can. voice lessons? to that surge of modern man tries to a consciousness of Avoid using too much breath pressure. adapt I sing, my throat fills Northern French, British, Burgundi- himself Of course this is pure theory upon our part. 2. Sometimes when compassion (vastly to the world. democratic ideals. says there DRAGONETTE expanded from The unreason- and I have to clear it. My doctor an, and Netherlands We could both be much more certain after a up Beloved Soprano We build, strengthen the vocal organs schools of com- the able man tries throat. What can I America’s not with singing lessons—but by sound, sci- Christian brotherhood ideal to adapt “And this personal audition. is nothing wrong with my positions, of the world to brings me to another entifically correct silent and vocal exercises, as they came filtered to the Middle himself. Therefore do about this?—M. S. and absolutely guarantee complete satisfaction Ages) that has given us all progress goal for which the work- with results. Write for Voice Book. FREE. Sent to no him de- Society is one under 17 vears old unless signed by parent. through Bach, Wagner, and the pends on The Young Contralto of Fourteen A. The ever-present question of what is to League of Nations, the unreasonable ing, PERFECT VOICE INSTITUTE, Studio B-558, 64 E. Lake St., CHICAGO the rights of man ” he and that is to further the cause of the very young girl other • done with the voice more recent composers, and is small throws Q- I have a girl of fourteen in my Junior nations, votes for women, desirable light upon of American almost every batch of questions sent mixed with child the limi- music. America has been Choir who sings alto very well. Do you think curs in the elaborate formal labor tations of The same advice is offered in laws, the Societies for the reasonableness. called ‘the she is too young to sing with the Senior Choir? The Etude. thinking Pre- In the bread basket of democ- and we wish you would read of the sonata-symphony vention of tone world I have been told by several teachers that she most every case Cruelty to Children unnatural racy.’ While in many former issues of Masterpieces of Piano Music inheritances. and harmonization this is true, we must not is.—Mrs. G. C. Y. ir answers printed Animals, accomplishes it is well to conscientious a somewhat lose e magazine. In a few words, Vincent objection to similar sight of the fact that at the lias been termed the library of Piano d’Indy, perhaps uneasily war, end-it A. Without a personal audition it would be member that very few girls, no matter how Socialism, cooperative enables us to same Music in volume. than organiza- sense quite new time we are going to be in the quite impossible for us to answer your ques- appear to be, have, at fifteen, one The more stirred by some awareness of ature they may the tions, and meat-abhoring suggestions in the tion with certainty. singing teachers endure much strain without 200 selections by great composers con- strange vegetari- most well-worn post-war period the principal incu- Several >ices which can Franck-Grieg affinity ' who have is both privately and that anism. 0 n timeS ' USed bator heard the young girl say that she irm. By all means sing tained in its 536 pages, comprise 53 ’ diatonic and of democratic culture. We will too young. Have doubt their learn to sing easily and Grieg himself so keenly ^ent!) i you any reason to your glee club, but Classic, 75 Modern, 38 Light, 25 Sacred sensed, in Some may feel pentatonic intervals. that this compas- This not only word or their ability to judge? It is always shout. Do not scream at football games his otherwise excellent light-shed- have the tremendous job of ?ver to and 29 Operatic Compositions. This vol- and beauti- sion ding effect dangerous to bring along too atmosphere of night clubs, (they may prefer to may be a young voice ir in the smoky truly of constant fully call it gauged if we take safeguarding the best things of the rapidly. worth while ume is a source enjoy- devoted book on Cesar Franck, f° lk Why not leave her where she is for you really want to do anything “squeamishness”) has ' -neloay older a mod- ment and entertainment to the pianist gone too far employed In tradition, carry year or two and see if her voice does become voice when you are older. Be repeatedly asserts that „ ;, Gri± but will also ith your “Grieg is no in some respects. Ballade for Piano, more mature in including singing, and who delights in good music. Certainly Op. 24, the quality? •ate in everything, symphonist.” “the cult first giving responsibility of creating and ex- appear- If that be true—if of the chord” it natural ok well after your health and your For sale at your favorite music counter or sent (which I would harmonies, one pressing in good POSTPAID upon receipt of price. Money re- Grieg be not de- to each a newer culture. Does ice.-Your musicianship will stand you thoroughly at home in scribe quarter One Need Natural TalenS and a funded if volume does not meet with your ap- as the musical note (such as find yourself able to take equivalent of I, l V V I natural Voice to ead when you Illustrated ’ 1 *•> and “The Become a Great Singer? proval (NOT SOLD IN CANADA). the thematic argumentations, so on. ana American composer welcomes lessons. We hope you modu- Tolstoyism and iular, proper singing folder with contents cheerfully sent upon Woodrow Wilsonism) Q- Recently I read article in The Etude latory excursions, this opportunity post- an efficient vocal teacher when you and balancing to serve. The which ill find an request. of went so far, in the hands stated that one need not have extreme your progress of Scriabin, war Tally go to college, and that form lengths evolved by the world will see a new era begun natural talent to become singer. Does this “classic- Cyril Scott, Debussy, Ex. a you for your time and trouble. A MUMIL PUBLISHING CO., INC. and others, as for mean that with even ill repay ists”—why was it that so all creative men. This is especially proper training one might “Art Songs for School and 1140 Broadway, New York, N. Y. many of his to justify the become a ttle book called swing-away-from-the- professional? Enclosed find for which send post- earliest true of is to be recommended. $ and most enduring those of us who write the 2. What is udio” successes chord, the proper age for a girl to begin fills up” once in paid Masterpieces of Piano Music. inaugurated or developed If your throat "sort of were achieved by music of the vocal lessons? 2 Paper Cloth in sonata-form works the nation, and when you are singing, there must be ( ) ( ) Schoenberg, Stravinsky, 3. while when Arthur Fick- What is the number of octaves in the the actions of the —in the three violin time comes I I safely .me phlegm there, which Name and piano so- enscher, know that average vocal range? ? and Roy Harris. But the In a good vocal range and the vocal muscles dislodge, natas, the piano cult speak the mind entire G. van T. reathing concerto, and the of the of ASCAP’s there is nothing the matter Street. chord, vitally furthered by our doctor says membership will A. it cannot be serious. When when I say that we In order to succeed in a professional ca- ith vour throat so City & State reer of Paper Edition $2.00 Cloth Edition—$3.00 E7-43 472 not be found wanting!” the first rank, the singer must have a — "FORWARD ne natural MARCH WITH MUSIC” voice, a strong body, a pleasant HI- WITH MUSIC” 473 THE ETV JULY, 1943 "FORWARD MARCH — !

Music Gave Me a Career classics of which would be Amapola, in the belief that the boys would respond best to such music. To my . ( Continued, from amazement, Page 429) almost every audience The Organist As a Business Man 0rga.\ uii started calling for Ave Maria! This Choih Uuestiuns is To further proof of the high level of say that a song is pre-recordea, (Continued from Page 443) music appreciation in our America. and that the screen actor or actress No matter how hard the day’s later just mouths the words or sings work has been, I am never lightly (this looks more too tired for you to play it even if it does not par- without doubt you natural!), will i Parn music when I get ar" while the visual part of home. Fortunately, ticularly appeal to you. Your listeners Hungs which you "™e -An6wereJ Lj HENRY S. FRY, Mus. Ddc. the picture my. husband sho„,d is being also is fond of music as are entitled hearing and to judge is M made, is to say that what to a which equally valuable. a recreation. Since no NomAf’ the film audience one in my fam- for themselves. One of the depressing us 13 perfect f Ex-Dean of the Pennsylvania Chapter of the A. sees is not what it and. we repeat G. O. ily is musical enough to play ft hears. And yet this is an in- things for the progressive organist very easy to get I'm Ready true. It has strument, into a rut. to we have to fall back w all be done this way for technical on is to look over recital programs and do things we know are phonograph records, bad, but reasons. of which we service lists and note the to us Recording songs before the amazing hear the other No questions will be answered for Concert have a great many. fellow make in THE ETUDE unless accompanied by the full picture is Our tastes em- smallness of the the name and address made makes it possible to average organist’s same sort of mistake of the inquirer. Only initials, or pseudonym given, will be pub- brace many will puU us ™ cut out different types of music, lished. Naturally, in fairness to all friends and all bothersome sounds. For repertoire. Unfortunately, it is too about as quickly as P advertisers, we can express no opinions Work, Now!" from classics to anything. as to the relative example, if one were popular songs. often the case that the bigger the qualities of various instruments. supposed to be Just From a rather long singing as music has been the experience Ready, and able to turn in a fine in a scene outdoors and great- reputation the smaller the repertoire. have we j* A COPY an est single factor found organises performance because of supreme airplane came in determining the We must take time unbusinesslike I do* in Canada overhead, its drone to hear new in small matters, in her command of progress of my career, as. for instance confidence would overbalance the so I have tried music, both vocal and instrumental. in timing cannot music. to make the matter of answering TEACHERS:—You can encourage parents to keep up tempo. When the it an indispensable letters children's music lessons if you don’t discourage As far as I know, I part of With so much of this excellent and Q. Wr lire in a small town, and our falter a split-second from the score have had no music showing just them with the cost of music. CENTURY EDITION better heard outside than in the church. Re- my daily home-life. common courtesy cost of pieces at a church is large. special One might e at only 15c—keeps the minimum not Our rather irregular cently we have been told that if made an ...it is then that professionals, microphone problems. I say being broadcast there is no R we sing excuse cently a publisher —yet. doesn't restrict your teaching in any way. choir consists young folks that I live with, and sent out one of of high school open ceiling of just wire screen it would rem- teachers and students alike turn to for it just as I through, music! to be hun price has been sing in the studio, or ignorant of it, and it is sur- Remember, this standardized not age, a few past high school age. A newcomer edy the trouble. We were planning a wood or dred fifty copies an inferior Edition. If you are the musical world’s standard of of a new achieved bv printing feels that at home. So far, I prising organ regarding this, we would urge you this choir, which has sung in cement ceiling, but were afraid this would give have preferred how much an organist may at all skeptical accuracy, the a number with a sake and for the benefit church only film covering letter most earnestly, for your own since last summer, should sing d us a very closed tone. Would copper screen be microphone learn from asking that you secure a copy of Century and camera to the orchestra. How many of your students, cappella. Is it advisable to try this as a a that it be other existing edition which better than the ordinary kind? Our organ is acknowledged by and compare It with any radio microphone. of you mailing be familiar with, we are regular thing t They do not have a great deal If something goes have listened to the fine organ vou mav have or may and located on the side of the choir. Do you think ELEGTRONOME an enclosed Century will prove positively and con- postal card certain that of musical background. Would it be wise to that a U.S. Pat. Off.) wrong in films it The recitals Less than practical location? Where would you (Trade Mark Reg. can always be Teacher’s given by E. Power Biggs clusively that it has no superior. done on thirty sent it back. try to make them grow musically by starting suggest that the singers stand during the serv- over It is this sort suitable Hassles and a multitude of Stand- again, but radio is Sunday mornings? of All the d cappella immediately f V. H. ices, a one-time Here is an oppor- are available in ‘’CEN- —M. when the organist must play and conduct ELECTRIC METRONOME thing that gives the ard modern compositions thing. profession at this i indardlaed 15c price, irrespective the choir? they stood facing the organ they A radio performer has to Bound Table tunity for organists who live in a TURY" If be the black as to whether the Edition contains two or twenty A. It might wise to let try eye. be the choir a would sing to the wall. Would that destroy Simply plug in, flip the switch, and it nearly perfect, because smaller places to pages. there’s no hear one of the cappella singing at rehearsal occasionally, to some of the tone? When they face the altar begins beating out the tempo, with Again, as poor Here are a few selected at random from our going back. Once a ( Continued world’s business men ascertain their ability in that direction. The they do not see the movements of the organist. to program has been from Page 438) most talented players at they catalogue: supreme accuracy from 40 208 given larely take advantage church people will probably not want it ex- —S. M. M. per minute. Change tempo right that’s all there is the cost of of modern ad- beats to it. This turning a dial, and clusively and if the choir has the necessary yet vertising ea. while it’s running and with one hand, thought methods to sell CENTURY PIANO SOLOS, ] alone makes for a little in E-flat major, how few are interested themselves 5 C ability the k cappella feature might be used of ceiling to matter what your instru- Opus 9, No. and to do even A. We should think the lack at that! No 2— so and their wares. service once in a while. nervousness. on through the volume. this. Of the thousands of (Capital letter Indicates key— number the grade.) at the choir loft would not be conducive to good ment, your practice will be doubly results, and advise a screen of some kind. If valuable, and your performance doubly One of organists in the country, 132 Amaryllis (Air of Louis XIII). E—4. . . .Ghys the best illustrations, The wise how many Heller two-manual and pedalboard and espe- man will set aside a 746 Avalanche. Am—3 Q. We have a wire screen is used cover top with material effective' when an ELECTRONOMH A do you 1321 Barcarolle Hoff F 3. Offenbach New Experience cially rewarding, is the couple know by name? (Tales of m'n), — Mason and Hamlin Liszt Organ that needs that will form a cover such as canvas. The sets the tempo. famous Berceuse of hours a day for Make a list 514 Beautiful Blue Danube, D—4 Strauss — Metronome practice, attention. are near Buffalo and In in D-flat, which and you will find 1606 Betty’s Walt*. C— 1 Martin some We advantage of copper is that it would not rust the film, “The we also examined study, that the ones service guarantee in writing Amazing Mrs. care- and reading. you 2750 Big Bast Fiddle. The. C— I Hopkins reliable repair man 5.year fully. Do not leave it Rochester equally, and a as quickly as ordinary wire screen. We are ad- Holliday, . . . But now, alas, know are the 147 Black Hawk Waltz. B|>—2 Walsh there was since space has until the ones who organ from either city would be all is that a new experi- evening when advertise 2416 Blue Butterflies. Yalse Cap.. I> — 4. Leon Dore for reed vised that keen cement preferable, and *12.50 run out for you are tired, PRICE our this Surely it 516 Bridal Chorus (Lohengrin). Ub 3. . .Wagner A. with ence when I had to month’s Round and is not expecting — right.— B. if wood is used it be plywood or cedar Music Store or sing two songs need relaxation. too much 1963 Bunch of Daisies. A, Yalse. G 1 Martin See it at your Table, won’t Arrange things — varnished surface. We advise placing of console in you take your copy of to ask 999 Butterfly. The, Etude. Em— 5 1.avalle write to us for 6-day trial offer Chinese. The sounds the so that that you keep your familiar with names of of the words you can have name be- 1704 Butterfly. Op. 81. No. 4. 3 Merkel A. We are not so that singers can face the altar and still see Berceuse, study it carefully some time to D— are for a few fore the 968 Crimson Blushes. Caprice. 4 Lester the cities you name, and different from ours, yourself in public in the G— repair men in the organist at the console. The wall you men- and many weeks to prepare the middle of community 2973 Dance of Goldenrods, F—3 Fitzpatrick firm for a detailed discus- the day. suggest that you communicate with the tion might act as a reflector of tone if they FRED.GRETSCH mfg.co. of the closed sounds For the m which you live. Especially 2671 Dark Eyes. Dm—3 Grooms (such as one sion of Chopin’s past several is this 2541 Deep River (Transcription). C 3 Grooms we are sending you by mail, the choir * “coloratura” or embel- years I have — whose name faced it, but we would much prefer 'A' Makers of Musical Instruments Since 1883 that sounds like necessary if 1385 Edelweiss Glide, Waltz. Kb—4 . . .Vanderbeck your needs and asking them to name tz) were hard lishing style which taken two hours you are doing private 3-Villoldo stating facing the altar. YORK to we are after 2738 El Choclo (Tango Argentine) . Din— 60 BROADWAY, BROOKLYN, NEW planning for lunch daily can render the service you sing. In this next teaching or 1018 Elegle (Melody). Op. 18. Era— 4 Massenet someone who case my method of month? for my own work. trying to build up a busi- Martin Only on rare occa- 1614 Elizabeth Waltz. C— l wish. Q. Will you give the names of some compe- learning ness 1225 Fairy Wedding, Waltz. 2 Turner the words was to sions as a teacher. Even C— organ firms capable organ repair work? hear the has anything been without the 1304 Falling Waters, Reverie. Kb—4 Truax tent of allowed to Leybaeh specifications of the Chinese interpreter incentive of 209 Fifth Nocturne. Op. 52. Ab—i Q. I am collecting I have in mind a fair-sized church organ which say them, then interfere with this getting any returns from Floral Martin plan. While it 1959 Parade. The. Yalse. C—1 large organs of the world. I have heard a needs a complete overhauling and I would like to write may such 217 Flower Song, Op. 39. F 3.. Lange them down in have cost advertising, your — following organs, and I my own way me some money, I reputation as 1070 Flowers and Ferns. Tone Poem. G—4..Keiser lot about the three to get prices from a few manufacturers capable in am sure 1109 Mack would send English. Other songs it a professional is General Grant’s March. F—3 would like it very much if you of doing this work.—J. H. K. in the same World has kept me enhanced by some 238 Gypsy Encampment, Behr of Music physically fit Am—2 specifications of the instruments—The film are Vissi and sort 628 Gypsy Rondo. G—3 Haydn me the d’Arte from “La Tosca,” mentally of advertising, the organ alert. Once and deserves 2379 Hanon Virtuoso. Pianist. Part 1 Burdick organ in Philadelphia— the habit is Wanamaker A. The policy of The Etude will not permit Carmena, Kashmiri careful 2203 Hungarian Dance. No. 5. A—5 Brahms Tabernacle at Salt Lake City Song, The Old. 1 formed you thought as to in The Mormon column. Continued will never what to spend 1645 Hungarian Rhapsody No. 2. Cm—5....Bendel our recommending organ firms in this from Page 425) willingly give organ in Westminster Abbey, Refrain, the Recessional, and how to 1013 In Rank and File, C—2 Lange and the new We suggest that you consult firms you wish to and Mighty spend it. 1015 Kamennoi Ostrow. Rubinstein F2—5 London, England . J. H. on the information you secure. Lak’ a Rose. As a 2097 La GHondrlna. The Swallow. G—3..Serradell consider and act SIDNEY business man subscribes to 2694 Let ’Er Go! (March) F—3 Wood HOMER, American suggestion is that you communicate Another interesting composer A 1319 Love and Flowers. Em—3 Aldrich A. Our experience whose Surprising Revelation magazines and the instru- Q. Will you please give information about songs have been used widely papers that will keep 2117 Love Dreams (I.iebestraum). Ab—0 Liszt with the builders or owners of came in by 313 Melody in F, Rubinstein attached to the piano for pedal the film, “It Started It is him in F— 4 mention, asking for specifications. pedals to be With many leading artists, surprising touch with his 1891 Menuet in G. No. 2 G 2 Beethoven ments you was awarded the how little reading competitors, — Philadelphia, practice of organists? And can you furnish me Eve,” when there their 1813 Minuet (Don Juan). G—2 Mozart Address the Wanamaker Store. was no orchestral honorary degree of the average problems 1175 list organ manufacturers who build Doctor of Music at organist does and difficulties, so the Minute Waltz. Op. 64, No. 1. Db—3.. Chopin about that organ, and Austin with a of during the 2972 Moonbeams Fitzpatrick for information accompaniment for my songs the annual commencement organist on the Lake. C—3 Connecticut for the organs for churches?—D. C. B. and I exercises of KecMly should subscribe to as many 1186 Moonlight Sonata. C2m—6 Beethoven Organs Inc., Hartford, had 328 Morning Streabbog Salt Lake to sing five compositions the Curtis Institute of Music some SS musical Prayer, Melodte. F—2 organ in The Mormon Tabernacle, in “"f thirty with Phila- organists magazines 1226 Mountain Belle. Schottische. 2....Kinkel if they as he can afford, F— of conditions you might A. We suggest that you get in touch with piano—on the delphia on May 14. had 35? Over the Waves. Waltzes. G 3 Rosas City. On account screen appearing read the n no other — specifications needs, to biography of way can he 361 Poet and Peasant, Overture.. D—4 .Suppe in securing the some organ builders telling them of your play Horatio Parker gain so much have trouble my own accompaniments. by his knowledge Westminster Abbey Organ from the or address the private party whose name we This daughter, Isabel and help for little of The THE TOWN Parker Sem- so cost. are sending you by mail, who has a pedal was particularly HALL ENDOW MENT SERIES ei VIOLIN AND PIANO DUETS. ea. builders. hard for me because Here is a have recently 15 c sale. When have se- AW ARD FOR 1943 book I should have made some inquiries, board and bench for you I am not a , which consists of an ex- pianist. I had to pected and I Each number has for Violin & Piano installed cured a satisfactory pedal board have it in- sing, act, engagement on most organists to was astonished at the small separate parts Lately we have had a pipe organ the Town Hall endow- be interested Q high. stalled by a practical organ or piano mechanic and synchronize A 1 to 3 easy to medium The choir loft is extremely the actions of my ment series, m and yet, of the percentage who — A— Very our church. has been given thirty, subscribed to only 1 /•oiNtjfi hut rpaches into who can do the work. The policy of The Etude hands to Emanuel none had B— to B—3 Easy to difficult .1. In-ft line simultaneously. But Vardi, read it and one C—1 to C—3 Medium to concert solos will not permit our recommending organ manu- booklet show- the most viola player, and Roland Gundrv only four had even magazine and the high percent- riaumioPianists—Send for Jre$fret memorable of heard facturers in this column. ing how you may greatly improve your experience of all violinist. it. Of course age who 2178 Beautiful Blue Danube. A—3 Strauss technic, accuracy, memorizing, sight- was we got never looked at a musical ogt the same old 1272 Boat Song. A — 1 ' reading and playing thru mental- working with 1144 Lester , Mr. Stokowski. excuse of Paper. Crimson Blushes. -Caprice. B—2 Quick results. Practice effort This having no time. Grooms muscular co-ordination. happened in FRITZ To which 2667 Dark Eyes. B—2 my second film, KREISLER was a distinguished we say that if The life 1835 Dream of the Shepherdess. C— 1 Labitzky and was you can of an organist is by no Vogt member find tinTe 1275 Dream Waltz. A — 1 wonderful for of a group fS 2408 me at the time. which recently re- any nUmb means Hungarian Dance. No. 5. 3 Brahms Now of thlngs a bed of roses. It is as hard B— my only ceived American citizenship ^ 1457 La Paloma, A—3 or B—2 Yradier regret is that I papers The 1 as any 1745 Love and Flowers. 2 Aldrich was too awed business way, other life and can be hum- A—3 or B— noted violinist, there as 1890 Menuet In G. A 3 or B 1 Beethoven by nis greatness, bom in Vienna, had re- h! ? f should — — and too impressed be found time for rum or as If 60 Over the Waves. Waltz. A—3 Rosas ceived honorary improvement exciting as you like it. It 2 29 Poet Suppe RING BINDERS FOR SHEET MUSIC by his citizenship in France and Peasant. Overture, B—3 personal charm long S requires 1151 Star of Hope. Reverie. B 1 Kennedy and fine mu- when he fled to run will all the skill — Musicians! Preserve Your Valuable Sheet Music that country following pay g00d we possess and 500 Traumerei and Romance. B—2 Schumann sicianship, to settle fiends* a great 2666 Two Guitars, Grooms leather ring binder down and learn the Nazi coup in Austria. deal of patience more some- B—2 in a handsome simulated from — 1744 Valse Barcarolle. A—2 Offenbach with hinge tape to give bound book protection him when the As a imes flexibility. bound with opportunity was business man you than we have to give. As in all with loose leaf Music, at should keen The Century Catalogue contains over 3.000 corapo- patented hinge tape perforated to fit binder, hand! NIKOLAI your eye P walks sitions and LOPATNIKOFF has on what of fife some consisting of PIANO SOLOS—DUOS lies flat on piano or music rack. Makes lovely been the other feim have more luck TRIOS VIOLIN — TRIOS Lately, awarded the — and PI ANO — DUOS gift. while touring army camps, prize of $1,000 offered Ooing. Attend ran others. and QUARTETS — SAXOPHONE and PIANO — bv as There is sure to be many MANDOLIN BINDER, green or brown $2.50 a surprising the Cleveland Orchestra possible, and GUITAR and VOCAL. and gratifying for a musical and Heartaches Hinge tape. 12 strips, perforated . . .50 thing arrange things along the road of life. work Ask can’t on Binder, in gold. . . .20 happened. I m honor of the orchestra’s so thSU t your dealer for Century music, and if he Your name planned to sing five twenty- you may hear e green supply you, Our com- pop- fifth services in niff light is showing, how- send your order direct to us. Ash for prices on music taping service for anniversary. The plete catalogue will you FREE on request. ular numbers, winning composi- ever, be mailed music libraries the nearest to the churches. There is so go ahead, church, school, instrumental tion is entitled “Opus Sinfonicum.” always^ keep going, and “y °’ possibil^ e y°Hr CENTURY MUSIC PUBLISHING CO. MUSIC MATERIALS COMPANY »P a few potaS^ best be a little better—and 1033 PLEASANT PLACE OAK PARK, ILLINOIS 474 your OCA Uf..t in ni at V/ I. ,i V 'FORWARD life should be a happy one. MARCH WITH MUSIC" "FORWARD MARCH WITH MUSIC” 475 THE ETUDE JULY, 1943 f . ' 5 „ . — ) ;

Meets the Modern Demand for Rapid VlOLIM OUESTIDIVS Progress and Basic Bare #ld Violins _jinswerecl [tij RDBERT BRAINE yy) Technical e haveh sold from our collection many outstanding rare Italian Development and French violins in nearly every state in the union. Our corre- will be answered in Ho questions THE ETUDE unless accompanied by the lull name spondence files attest enthusiastic satisfaction from the purchasers. tnqutrer. Only initials, and address of the or pseudonym given, will be published. Our prices are low: each instrument representing an excellent value for investment. Tonal worth, healthy condition and authenticity are demanded from each rare violin we offer. The following are a few examples available, with many others from $100 up. Playing family, and is now used by them in Violin Duet making THE student should take up their violins. ANTONIO STRADIVARI, 1722. Widely known on the c —Every violin BERNARD t Carlo concert stage $20,000 if another violin Bisiach’s Florentine work rooms are WAGNESS study of violin duets, One thp CARLO FERDINANDO LANDOLFI, Milan 1771. full of violins in every stage of construction, can be found who can play the ac- of the handsomest master violins we have ever student from the first rudimentary part. Playing violin duets is forms to rows and handled. Fine condition S1600 rnmDanying rows of violins pleasing pastime, but an excellent ‘in the white’ (not yet var- ANTONIO GUADAGNINI, Turin 1856. Ex-Wurlitzer not only a nished PIANO the student’s technic as ) ranged in cupboards. He usually keeps Collection. A wonderful solo tone $1200 Improving COURSE means of his violins three NICOLO BERGONZI, Cremona 1760. Thus labeled, for violin make an years or more ‘in the white,’ The “Pleyel Duets” and a clever copy of Carlo Bergonzi. A few re- well exposed to sun and dry air, and then medium for starting duet playing. var- pairs $800 excellent nishes them with slow deliberation, the process beginning books are entirely ln the first MANY OTHER EXCELLENT OLD FRENCH AND Logical . Practical . The taking several months. Not before the fourth ITALIANS $500 up For Private or position. Class Instruction ernard year does he consider a violin ready to be OLD TYROLEAN, LESSER FRENCH AND ENG- Wocicfnea played on.” LISH WORKS $100 up A Labels The Bisiach family native of Tacoma, Washington, Bernard forms a dynasty of Warmer- l l with you ln con- not, anw.de activities, became L R T.—I quite agree famous craftsmen. Carlo, after an early train- ^trades accepted provided instruments are shipped prepaid for ap- more a United Stalls Vizln l^ His lecture tours over a ' Incredible It is when we con- ing under his praisal. 10 day trial, with usual references to be furnished. We have i period how father’s direction, PREPARATORY of years identifies! him .s sidering studied and BOOK interests everywhere, and -like faith which people have several interesting booklets on the subject of rare old violins which the notable child worked in Amsterdam, Paris, success o I, sider the and Germany. 7a iZ an^T' request, a list of Provides naii ^ IVAtiNf -ST a position to be reckoned with in hm pasted ln will be sent free upon together with complete our the the field of the labels they find No one since Stradivari, Type of First Lessons pedagogy in regard to Carlo Bisiach says, stock. invite inquiries from teachers, collectors, professional No one who heard Mr. ' We and Wagness lectures can fame, ,h the inscriptions they find on has possessed in and stimulating old violins, or such high degree the qualities amateur violinists. effects. Hence it ,, with 9 Beginners of PIANO S £ F> 1 1 S just pride that Inside of the instru- and Pre-School Age Require ZJ "If"'" . the backs or on the inspiration needed for the creation of a ments. If they find an old violin ln the violin. This inspiration must extend from the Its new, brown paper preliminary logical, and prac- attic, which has a piece of search after, and choice of. wood tical EXCELLENT the magic name of to the attainments of the acustica procedures lead to TEACHING PIECES pasted inside bearing or tonal Jfrancis Brake Ballard once conclude that the quality, from the design of the instrument real achievements with very Stradlvarius. they at to ‘ - ESPECIALLY • its varnish, Km. 408 - 320 42nd STREET YORK, N. Y. SELECTED is a genuine Strad.” worth high up which influences the quality of EAST NEW young beginners. The tac- AND HIGHLY violin Supplementary Piano thousand “ However, the truth of the the sound. tile, aural, in the mental, visual, RECOMMENDED hundreds of and FOR THEIR TUNE- matter is that the labels ln rhythmic faculties are The Child Violinist Instruction thousands of imitation Cremonas mean ab- An Important and Interesting Journal co-ordinated in synchro- FUL AND Material PIANO TUNING PAYS APPEALING QUALITIES solutely nothing. T. Z. B.—In regard to your little son, who, VIOLINS and VIOLINISTS nous use through phrase-, although only seven years old, shows such Tells of the Lives—Illustrates the Work of the You can now learn precision tuning. Our new wise Great Masters. Information on many subjects reading. A most help- Title By Bernard Concerto talent for the violin that many competent Teraperamcter and Beat Gauge is an infallible Grade Key Wagness A “Lost'’ Playing Making Repairing iolins ful Composer Price judges — — V guide for Home Study. Eliminates guess work preliminary book to article in this who have heard him play advise you Subscription $2.50 for single any F. I. S.—Commenting on an 12; copy 25c assures accuracy. piano course At the “Violin to fit him for the profession, I assure you that or method Barn Dance (2) (G) column about the “lost" Schumann WILLIAM LEWIS & SON, 207 S. Wabash Ave., Chicago Be Independent! Wanness THE there is much you can do for him immedi- At the Derby ENSEMBLE BOOK Mr. F. Ivan Sorrell. Villagran, of Profusely Illustrated Catalogue of String Instruments. Make Money Quickly and Easily! (2) (A minor) * Concerto." beginning Northup ately. notwithstanding his tender age. Your Also Neto Brochure Rare Old facilities yr. needs in private or This book provides ‘‘I in posses- Modern for oral students. 40th cL Band Concert at the Duet and Second Piano Mexico, writes as follows: am VIOLINS— ILoTnLucLI^* Fair (114) (G) pans f,„ pieces first task should be to make him love the violin. VIOLAS—’CELLOS—BOWS Diploma granted. Write for Free Booklet. Unglow . Book 2588. of this con- Price, Beau iful One of the Bernard sion of the Schott Edition BRYANT SCHOOL. 78-B. Augusta, Mich. ... 50 cents Dreamer Wagness Piano i, , , , , ,, (2) (D) if was Let him hear a great violinist play. The deep Wagness . accompaniment Tcachet s Pubished^ ,n response certo (the version with piano Manual Supplied Free On Request to an insistent demand from many affection for the instrument which caused many U instead of accompaniment for orchestra). I Cello, ,h ' s The ( 1 y 8 c<>UrSC in f,rst 111 " young players to resolve to make its mastery 14 ) (D) Wagness P'' - - action obtained this in New York two or three years These aecondoSec2 andIT D their life dates to the Dark Eyes (2) (D minor) Second Piano parts can be played preface to work usually back time Buy More War Bonds and Stamps for Victory Wagness A by the ago. Allow me to quote from the Davey acher, parent, or a slightly when they heard a famous violinist interpret Jones and the Pirates more advanced pupil. this edition by George Schtinemann, dated some of the masterpieces written for this Price, 75 Berlin. July 12. 1937: ‘The original manuscript e cents greatest of all instruments. They were thrilled u i still exists. It is inscribed. ‘Concerto for Vio- BOOK ONE by the tones, and felt that , they could never lin with Orch. Accompaniment. Diisseldorf, lh C shlp themselves, could pro- lOblong “ ', ““*' SECOND the be satisfied until they, Shape) Hail King ™ YEAR Sept. 21 to Oct. 3. 1853.’ On October 7 of hS"I and the Snow Queen, ETUDES duce such lovely music. As a child I had a The same year. Schumann had already sent it to A First (2) (A minor) j, great leaning towards the violin, but unfortu- Grade Book for Beginners a , ‘upplcim-m Joseph Joachim in the hope that he would in- the pupil's work in B, ok relatives leaning in the oppo- Hobgoblin, The 1 .'.'. Two nately my had a (A . minor) . violin that This book ( ) Wagness 3 8 " nl0tbod dicate any passages for the solo may . . be used ,o bring : I as they leaned considerably to follow the Preparatory Home on the Range Points .special site direction, and Book or k introd^ V 1 were too difficult, ‘inexpedient if not im- TRIAL , UCtS or OFFER as a very wIZ SOme first instructor Mr - stronger than I did, it looked as if my ambi- jsL .' most i . with the .' g.native average-age Hunting .' Song. .' found piano beiin The (2) (F) Ld benefitfi Wr possible.' A copy of the score that was 1'”5 le Wagness 3 8 nd ner° us tious plans for a violin-virtuoso career were m° St com iete presentation Hymn to '? «? *y annotated through- in corrected in P of the Sun out Too ther ’ r Joachim's effects had been readm» (2) (F) pJL A ’ However, one S ng thrn C Studles selecred from standard doomed to go down to defeat. r clucationaj several places without doubt by Schumann °°^' rhythmic drills® Garden (i) works — when things will turn out quite ne fecr ? 1 Tcdenr never knows Z: nent 0f keybo d i” Sm'v"' t Price, 75 cents himself—for exactly the same changes are to barmony fundamentals, ear differently from the direction in which they wQssues frainfnV ?niand t , f' score 3 g, technic, be found in a manuscript of the piano combined with interesting musical seem to be headed. C <254)' (A minor, Nason bearing hand- * makeS .41 this inscription in his own I was P piano playin« eSons a flight Indian '“"d The papers in Cincinnati, where . ng experience third writing: ‘Concerto for Violin with Orch. Acct.; year etudes living at the time, were full of the approach- Piano Score.’ All of the improvements are that time one y .supplementary ing visit of August Wilhelmj, at Teacher’s Manual Grade material in concerned with passages difficult of execution, ’ I be- Supplied Free On Request ’ Three Grade of the greatest violinists in the world. Little Brook " Y Four ' The thirty-'thu, studies and these MSS. ETUDE are THE A-Murmuring include definitely authentic. All of visit, and read . wnrlc k expected (2) (C) Piaget 35 Czernl came interested in his Magic Forest y> fj ejler, Burgmuller, Loeschhorn, became the property of the Prussian State (3) (E-flat Lemoine Terror everything I could about him. I made such a ) WagnessS 30 March oi a on with those supplied Library in 1907. house that at Victory (I) (F) Waeness to ^ g by Mr. nuisance of myself around the ' m ' n piano score S. Stamps Preferred) f 6an, Post. 104 extra Orchard S ' Invaluable “The solo violin part of the to take me to his con- (U. In Bloom An «> are given bints for practice last my folks consented CCt% /j K(1 2 ) ( C ) througho'IT . first Ping ^ ^ Da™ -30 agrees minutely with Schumann’s own evening of the great event. I was Pong 1 F cert. On the BOOK ( ) ( ) p manuscript. passages 1 The changes of a few sit still when TWO that I could hardly , July, and August, 1943 Plantation Serenade so excited Good during June (2) (C) w that were made later and approved by him where the con- Practical and Interesting Sandman's S 35 we reached Pike’s Opera House Song The 12) On Request w,: : it'”n Bradiord 40 various attacks anything Just think ... only WWotdenen q m° c emnl T else of his I can think of: also some be a violinist and nothing else. dlers ln *he Haunted a ,n Each this (if purchased singly), not to mention innumerable °°f Forest important adjunct P| y ^- phase of °f the themes remind ‘Con- mately $ 12.00 worth of music /2 1 me of the Brahms ’ nd,vidual| discussed certo.’ Nason ically . y and photograph- a resemblance some- other delightful features. .30 illustrated p r r that may have had ' material for thing along eacb > s also included to do with withholding it with rffital rf; Joachim’s ' CS com ^ Pose^ especially to clarify the rom circulation during life-time.” PIANO! points at hand his WING for free Home BOOK play real Swing Piano. Send THREE n to Price, 75 cents write for business qffer Music Magazine Materiais Garnish v Folder. TEACHERS: THE ETUDE selected from Foster and Used b) Stradivarius 52 Kimball Hall, Chicago other popular writers of fsTENSEN STUDIOS, 1712 Chestnut Street foikloie songs, combined I. S. N with the classics, selected —A special to the Christian Science etudes Sa Philadelphia, Pa. and original compositions, make ^s ’ concerning the violin varnish this a most interesting book Jsed by for the student of Stradivarius, the world’s greatest violin find enclosed for which send one trial subscription to THE ETUDE to this grade. Presents all Please major and font naker: ‘ Stradivarius "SWING" MUSIC minor scales and revolutionary intuitively conceived the EARN methods of chord course *» analysis iver for t*le necessary violin varnish. He ,<* NAME Copious illustrations n of pianistic problems _ a blue notes, whole tones, etc. involving the arm itdon e ^is should be scientifically Ee“uKmenL aerations, hand, and fingers THEODORE PRESSER \rsrf e^ ^ ADDRESS CO.. anc* so J»rfce, S i.00 DiMhvi. had recourse to a celebrated 0n ' 1712 CHESTNUT ST., °f the University of Padua (Italy), PHIl A., PA. (List additional names on a plain sheet of paper) 476 lvanus revealed his discovery only to the tin** Please send additional trial subscription coupons. his disciples. This famous secret Q into the Bisiaoh familv of tnnlin makers THE ETUDE r / MARCH WITH MUSIC" 477 JULY, 1943 EORW ARD good one, it is imperative that the made many grants which we say “eloquent,” Words and Music New York informed teach* student have the mature guidance of enabled colleges to acquire libraries There never was a Latin to-day? I never The music teacher time when h Greek or must do far ( Continued from Page 427) an able teacher. Nothing could be of master educational records. These, pupil needed verbal Latin except when I heard more than this. His remarks guidance m2 heard no must more harmful for the privately assembled The responsibilities radio, and I couldn’t inspire, engage, STUDY? student’s together with of the Pope on the elucidate, intrigue- I GO TO violin virtuosi, seasoned the WHERE SHALL was himself a virtu- broader progress as for Greek. yes, than to make the collections and the collections in music educator have increased a word. And charm the pupil and lead him oso. Many of his pupils, understand however, blunder of imitating, monkey-wise, created a great cordingly. This yen for talking to the to higher efforts. public libraries, have requires the never had no On the other hand, have achieved far more fame as per- any develop t one recorded performance. the teacher ment of oral ~ the Greek ‘Kandy too much talk at reservoir from which expression, f that runs a lesson defeats its formers than had their master. ar mo Greek (New York city) Records have now become a serious supplement his growing person- precise, persuasive, ” purpose and bores the pupil. Private Teachers In may engaging Kitchen.’ Private Teachers (Western) similar manner, Maitre I. Phil- and in part of the educational materia mu- al collection of records. These rec- spiring than think of language A teacher of wide experience | ipp, in the past. No “You evidently and a brilliant, scholarly, and able sica in teacht^ HADLEY (Inez Barbour^ hundreds of colleges, schools, ords have revolutionized the whole can go very far in these means of communication,” the highest standing, both in Europe LUCIA O’BRIEN LIVERETTE MMRS. HENRY pianist, whom many look days without only as a upon as and progressive studios in think of and in Soprano the America. scope of potential possibilities of mu- a fluent, scientific grasp ventured. “Did you ever America, made a practice of 1 VOICE dean of living piano teachers, Very upon the we Au comprehensive libraries of sical education in America and have language in which he as an instrument of taking adequate time every morning Ej Graduate of Samoiloff's Teacher’s Course also has been eclipsed as a teaches language E{ Reasonable terms. virtuoso priceless records are He nur now accessible made every step a thrilling adven- must know what that you could not even to review his lesson program for the Phone NO 2-1030 EX 1141 by should _ his noted pupils. to be said 'and thought— g THE HENRY HADLEY STUDIO millions. This is largely the devel- day. 616 N. Normandie Ave. Los Angeles, Calif. York City|=t ture. know how to say you had the right words Every pupil’s work was given [§] New No one ever thinks of it in unmistakable think unless th Street , Tobias Mat- opment of the idea of By Appointment Only. Sus. 7-0100 one of the In recent years your Editor has terms that will lure your thoughts, even though detailed, individual attention, and he thay, the noted English pedagog, the pupil to shape as foremost of living musical educators, to 1 ROSE OUGH a visited scores of music departments ever-increasing efforts. not express those words vo- made it a point to distinguish each virtuoso, but his pupils, Harriet Dr. Frances The teacher you do VOICE E. Clark, founder of the of colleges in many parts of the lesson with some well-worded state- | Cohen and Myra who knows more than one Former Assistant to Lazar S. Samoiloff ALBERTO JONAS Hess, have won Music Educators National language cally?” Confer- country and has watched with great often will have again,” he said curiously. ment about its principal points. This j=n in Hollywood Spanish Piano Virtuoso great distinction. a more ready “Say that Her Voice Studios at Celebrated ence, who some use of ki Reopened famous pianists thirty-five years ago interest the operation of “it is oply was done in such a manner that the CALIFORNIA Teacher of many One of record li- his own mother we proceeded, S 1931—8TH AVENUE OAKLAND, Endicott 2-8920 the tongue. I Tel. reasons for In “Well,” ST., N. Y. C. j this is that was engaged these 6115 ' WEST 85TH by the Victor Talking braries with groups of in the teacher would surely have some co- hi Telephone Glencourt these gifted students. In practical days there are encasing your thoughts Studio 407, educators manifested Machine many people hy On Thursdays in Philadelphia. Company to develop 9409 I records fact, in the latest gent idea to drive into the pupil’s '14 St. Tel. Victor 1577 or Locust extraordinary analytical and most modern who do not realize how the language that your thoughts PETERSON ' Chestnut minds and for educational purposes. study of best EDNA GUNNAR Not connected with any Conservatory. the Dr. Clark, of these college music buildings, the other The more skillful you mind—something the student could | ability to convey in words certain or languages increases the take shape. “Mother Clark,” as she is in- things relating affec- recently dedicated beautiful edifice dividual’s powers words, the more accurate, not very well forget. Small wonder to technic and inter- tionately of expression. Once, are with 229 So. Harvard Blvd. Los Angeles, Calif. known to the members of at the @ pretation. This University of Texas, the plans in a western forceful, the more prac- that this teacher was a leader in a FE. 2597 EDITH SYRENE LISTER enabled the pupil to the great university town, the the more § organization she founded, provided for a great AUTHENTIC VOICE PRODUCTION work out his own digital special section in which president of the institution the more persuasive, the more metropolis. and artistic is still active asked us tical, S. SAMOILOFF 405 Carnegie Hall, New York City and is eagerly sought is located LAZAR problems rather a splendidly equipped rec- to talk they are and the more The teacher who arrives at the | Teacher with the late W than asking him to by with one of the local tycoons convincing Voice teacher of famous singers C jorator and Associate educational groups in [|J many parts ord library. These lesson time with a few impromptu, ^(yarren Shaw and Endorsed by Dr. Floyd S. Mucke’ imitate blindly some individual record libraries, to- who made a boast will be your business presenta- E] From rudiments to professional engagements mod- of the country. that he had able Troup Music Studio, Lancaster, Pa. Through intimate, gether is “short-chang- Beginners accepted. Special teachers', courses Wednesday: with phrases 1 I stammering i i-s 1 I el set by the teacher. It the superior methods of amassed his them ‘sales talks’ if you vs inn n ..rmr D M P H n r! a n h n Pn is also a fact millions, despite tions; call will teach all summer at his Studios. neighborly association with her for very s Dr. Samoiloff that present-day teachers, will lead mas- ing” the pupil. The real musical Write for catalogue—Special rates for the many eminent virtuosi, to an little schooling of will. The more language a man S who years, we have noted any kind. The mil- duration. how her work altogether different plans his lesson in advance. s have elected to teach, have, and vastly high- lionaire better is he able to think in educator (Frank) (Ernesto) in some has developed proclaimed this in a ters the Ness Ave., Los Angeles, Cal. from a struggle to a er standard way with [3 610 So. Van instances, been definitely of musical performance that and that is why ancient He ponders upon the words LaFORGE-BERUMEN STUDIOS second- realization of a triumphant inferred that education, par- his own, class as ideal. in the future. In no prepares to express him- Piano “pianogogs”! Starting other country ticularly higher education, and modern languages are given so which he ELIZABETH SIMPSON Voice— with a few scores of really was of Lawrence Tibbett since It is desirable in the world are such of to- lesson is a prof- ^ ink LaForge teacher that the student advantages so largely a waste attention in our colleges self, so that every I] Author of "Basic Pianoforte Technique" good records, the of time and money. much 89th St., New York number has 1 100 Park Ave., Corner should now generously provided, Artists. study as many recorded and this can- He itable experience. The great teachers [jD Teacher of Teachers. Coach of Young mod- run into opened the conversation day.” Tel. Atwater 9-7470 thousands and the demand by say- [3 Pupils Prepared for Concert Work. Class Courses els of interpretation not fail to have a powerful got for as possible. But bearing ing that he he exclaimed, “you prepare their lessons in advance [3 in Technique, Pianistic Interpretation, Normal for fine records of real educational took very little interest “Say,” in order that he may upon our musical future. [3 Methods for Piano Teachers. not mistake a value is constantly in the local university. something there!” their pupils, just as a lawyer pre- increasing. 609 Sutter St., San Francisco; poor recorded All this has increased E _ , interpretation for enormously very gratifying Every Ej Webster St., Berkeley, Cal. RICHARD McCLANAHAN a Later the Carnegie Foundation Now take them dead languages,” Later he made a pares a brief for his client. 2833 MATTHAY of the need for the capable, Representative TOBIAS and shall and his interest en- lessons in Fundamentals he mused. “For instance, what good gift to the college lesson is a distinct and different Private lessons, class Private Teachers (Mid-West) Lecture-demonstrations for teachers in its work continued. tity and is not to be dismissed with | 806 Steinway Bldg., New York City Many music teachers do not lay few improvised and not partic- a 1 RAYMOND ALLYN SMITH, Ph.B., A.A.G.O., - enough stress upon the importance or helpful ejacula- ularly pertinent S Dean W. J. RESZKE at the Y.M.C.A. College of the language they use pupil pays the teacher, not [g Central tions. The h] School of Music Voice Instruction lesson. Musical lexicographers, in Coeduca- for his lesson hour, but for what the [3 Complete courses leading to degrees. 2122 Bethgate Avenue, New York City Evening. Low tuition. definitions for dic- [3 tional. Fully accredited. Day or 3-4042 crystallizing their puts into that hour. This is Tel. Sedgwick teacher 306 S. Wabash Ave., Chicago, Illinois tionaries, sometimes spend hours j! Kimball Hall, MONDAY: Trenton, N. J. WEDNESDAY: Perth Maier has Pa. a point which Dr. Guy Amboy, N. J. THURSDAY: Allentown, and days in consulting scores of stressed indirectly in our Teachers DR. FRANCIS L. YORK reference sources, to insure pre- Interpretation and the Theory work for years past. ^Advance Piano Round Table for the degrees of Mus. Bach., and Mus. E. TREUMANN cision. S required EDWARD 05 Pianist Artist-Teacher Gq DETROIT CONSERVATORY OF MUSIC Concert — Ej Detroit, Mich. MUSIC ENGRAVING jnd Josef Hofmann. WM. S. HAYNES COMPANY New York Cityr Band, Orchestra and Octavo work. We Teachers (New York City) Piano, Private j also engraved titles. | Flutes of Distinction specialize in book work; estimate. STERLING SILVER—GOLD—PLATINUM Send your mss. for FREDERIC FREEMANTEL A. C. NULSEN CRYSTAL WATERS OTTO j|D Voice Instruction Catalog on request 774 of Voice P.O.Box . Teacher WHAT PROGRESS Cincinnati, Ohio E] Author of 24 home study lessons, ARE YOU MAKING? EQUIP Mass. 124 Government Place and YOURSELF FOR A BETTER 108 Massachusetts Avenue, Boston, Ej "The Fundamental Principals of Voice Production Radio, Screen, Concert POSITION Them Thu IS Your ^Singing"; also "High Tones and How to Sing Opera, Pedagogy Your musical A proof of quality Opportunity—Mail the Today. knowledge your position is important for Coupon 57th Street — and in- one inter- Studios: 205 West E. 54th St. New York City}. Book in Two Parts g 405 come today—are ested in further A Revealing New Circle 7-S420 the result of the training you musical training. Our courses rtlNew York City Tel. Vo. 5-1362 have offer PLAY A DEA GAN MARIMBA PARAGON OF RHYTHMIC COUNTINt given your natural ability. you the same high quality of Additional training preparation which has RHYTHMS will FOR ALL MARIA CARRERAS open up new developed and S Easy master . . . fields, new opportunities, trained many successful e n e to | Private teachers in the larger cities will find[z greater '' Pianist musicians f ij Renowned ie n,0rmati0n PARAGON OF HARMONIZING income and teachers g ardi nVco in advertising their| and higher standing in the past. ursT , always popular . . . pianists. Accepts this column quite effective in the musical world. T^ow" applied to HTeacher of successful concertizing performance-expansion and charm- the thousands of Etude readers^ Piano, richly satisfying. OF HARMONIZATION! ll! students desiring courses to national home Teacher's Normal Course FOUR KINDS This valuable study Voice D=j presentation. study with anE training, through council explanatory circular ng who plan to pursue advanced our Extension ^ tU£* en * Send for The Council is an °' s Course Write Dept. E. 78th Street, New York City Courses, may Association of which p Choral Conducting S 169 East established teacher away from home. be taken at we are a ubhc r ELLIS PERFIELD 8-0311 home with no interfer- member. J School Mus. EFFA Tel.: BUtterfield It includes the — Beginner’s Clarinet J. C. Ave.) New York City H ence with your outstanding correspondence DEAGAN, INC., CHICAGO East 86th St. (Park regular work just by devoting LJ ublic School Mus. 103 to schools in the United —Advanced D Dance Band Arranging self-study the States with headquarters Advanced many minutes each day that at Composition D Violin ordi- ashington, D. C. Members narily go to waste. are admitted only Ear Training Cuifar The progressive musician, after b Sight Singing as rigid examination of SPECIAL NOTICES & Colleges and ask them to give busy as he the training courses History of Mandolin Schools— Loving Friends about THE ETUDE may be, realizes the value of offered Music O Tell your Music such study We are in their subscriptions. and finds the on'y school giving Harmony Saxophone ANNOUNCEMENTS you the privilege of sending the time for it. instruction in Well paid positions are music Pian0 Accordion SCHOOL send by the Home-Study Method, Cornet— OF Ask for Catalog of Rewards for subscriptions you avai able to those uiho are ready which includes Trumpet for them. Its MUSIC Pa. m curriculum all the courses Advanced Cornet CONVERSE C0LLEGE 1712 Chestnut Street Philadelphia, necessary to Spartanaburg, S. C.o THE ETUDE obtain g SPECIAL NOTICES Ernst Bacon, Dean. the Degree of Bachelor of YOU can do it Music Name .... too! It's up to YOU! Adult or Juvenile A D.ploma Is WANTED: Second-hand Hammond Or- Your Key Street of Music to Success! No gan. Care of ETUDE—AF. Department KNOX Galesburg, Illinois City James MacC. Weddell. Chairman SCHOOL OF MUSIC & ARTS -Woods every- Catalogue sent upon request. R1VERDRIVE Saint Mary -of -the . for State . SAFE: Postcard views from COLLEGE the Are you where, used classics, songs, records, University teaching& now? back 84 Riverside Drive COLLEGE Ex If so, pupils have orchestrations. (Dept. E.) Courses in Applied Music, TENSION how many Lists IOC Fore’s CONSERVATORY York City Conservatory of Music. (-^onderuatoru y U High Street, Denver, Colorado. MUSIC New Theory, and Public School Music, leading to de- Do you hold a OF B.S. with a major in Music Educa- 1525 Teacher’s Certificate? Wad* E. Miller. Pres. grees of B.A. and EAST 53RD G. KOEHLER, Director organ, harp, violin, other in- STREET (D EPT. - Have you SHENANDOAH FREDERICK tion. Piano, voice, A 3 4 1 ) studied - leading to harmony. Beautiful, well- CHICAGO, Harmony? earn Courses Dormitories struments; composition, ILL. Would yQU |ike t0 equipped buildings, spacious campus. All sports. the Degree of ANNOUNCEMENTS B. «U... B,*™ Catalogue. Bachelor of Music?... ,b, «g-JSS Catalogue on request Special Summer Session Write^Box^^^Sain^Iarj^Mhe^Woods^Indiana^for 478 SINGING MADE Book one dol- , EAST— "FORWARD MARCH Eastern Studios. Chambersburjq_Pa, WITH MUSIC’ 479 THE ETUDE "FORWARD MARCH WITH MUSIC” JULY, i 1943 ~ i I

pipers, but they The Thrill disappeared, and it of the is to scena); Bidu the militia of Ireland that the A String Approach to Mozart Your Records Sayao (soprano) with Irish Preserving orchestra soldier is indebted for the conducted by Erich Leins- Bagpipes dorf. restoration of the pipe to its place of Columbia disc 71451-D. honor in ( Continued, from Page 447) in Wartime The the army. It is the Gaelic soprano recreates her char- ( League that acter Continued, from. Page 450) claims to have restored admirably without exaggera- AMERICAN the Irish pipe. Nearly fifty years Page tion. The recording is ago is the tremendous improvement in thing no one set of (iContinued from 435) satisfactory. the Gaelic League exercises and performance. In the reign took up the lan- our standards of performance. The the like, of Charles guage to perfect a Mozart I, the life revival, in combination with stvl disappeared for awhile polished perfection of organizations No such thing exists. My the encouragement best advffie composition. The mood here is re- CONSERVATORY from the English of Irish pastimes, like army, its place the Boston and the Philadelphia is for the student bo break arts, literature, song away fml at first but this gives way to being taken by the and music, and orchestras, or of individual artists flective bagpipe or the the shackles of < so on, giving a very conventional s movement with suggestions hautboy. The “almaln prominent place like Heifetz, Kreisler, Elman, was w a dance whistle” later — and to make to the bagpipe. himself as rhythms and coloring. replaced the bagpipe. musically of oriental yMUSIC King George suppose—unknown fifty years ago. aware as he can. Radio Whatever he does Rapsodie Espagnole; The Cleve- Sponsors Increase Vn always included his Compared with them, the perform- Ravel: CHICAGO 58th SEASON Scottish In Early to improve his purely musical piper in his staff, Times possi Orchestra, direction of Artur and every morning ances of Mozart’s own day must often bilities land Founded in 1886 by Hattstaedt, today American will bring good to John J. The Conserva- promptly at eight Before the sixteenth his com- Rodzinski, Columbia set X-234. Use of o’clock the century the have been improvisatory and hap- Great Music tory of is pipes plete musical stature. There Music outstanding among institutions for music education in would play outside Irish pipe did not differ hazard. is There is a voluptuousness, a radi- his majesty’s much from We know, for instance, that royal road to this country. Its graduates are to be found occupying positions of honor window. the Scotch Mozart study—or coloring, For many years the pipe of the same time. Mozart wrote the ‘big’ to ance of harmonic and a King ‘Sonata in that of any other composer, and responsibility in every department of music. counted The Irish for ( on the bagpipes to rouse had a chaunter with six B-flat, for Regina Strinasacchi, that rhythmic fascination to this music. Continued from Page 436) him of matter—except solid except in wet fingerholes and two and under- sought to do in his Member oj the National Association Schools Music weather, when he drones. The an- Mantua, to perform with him at a standing What Debussy of of would tiquity of musicianship. And not allow his favorite the Irish bagpipe is shown certain concert. that re “Iberia,” Ravel sought to accomplish piper On the day before quires more The Faculty—One hundred and thirty Professional and Teaching Engagements Major by the than the practicing artist teachers, many of national and in- Forsyth, to stand in fact that it is mentioned in that concert, 0 f this score. —Graduates of the Conservatory have the rain however, Mozart was technical in that is easy to listen to. ternational reputation, including: pian- to play. the Brehon studies. I am Hence this been much in demand as teachers and In the crozier Laws of the convinced ists : Heniot Levy, given by Wil- fifth century barely ready with the violin part Rodzinski plays this music with a new Rudolph Reuter, Al- also in concert, opera, radio, orchestra, and that it is a program of mine will feature len Spencer, Collins, ham of There is a drawing bad thing to subdivide Edward Kurt lyceum and choir work. The News Bul- Wykeham to New of the Irish pipes had not written precision of detail which is admir- Wanieck, Louise Earl Blair, College down the piano part one’s the tunes of Broadway’s Robyn, letin containing a list of about 300 suc- Oxford, in a musical equipment into masters of Mabel Osmer and others; Voice: Theo- in 1403, there is a manuscript in the British at all. Thus, sepa- turns to cessful graduates holding responsible figure of Mu- he sat down at the rate able, but one back the older musical comedy dore Harrison, Charles LaBerge, John an angel seum dated pigeon-holes labeled and operetta, folk positions in Universities, Colleges, Con- playing the 1300, describing the Irish piano, at ‘Technic’ Wilcox, Elaine De Seller; Violin: John servatories, bagpipe. concert time, with only a ‘Tone,’ Stokowski recording to hear the songs, spirituals and Public Schools will be Chaucer’s who ‘Interpretation,’ and semi-classical Weicher, Herbert Butler, Scott Willits, sent upon request. miller performed - accompanied King Edward blank and so on on it “a to page before him! There had sensuous coloring of the music more selections. Stella Roberts; Organists: Frank Van bagpipe Calais. There Musicianship must be Dusen, Edward Eigenschenk Theory: Tuition is reasonable in keeping with the well couth he is also a notable been, blended from ; blowe and por- naturally, no rehearsal; Strina- fully revealed. The present set, how- times and may be paid in convenient in- sowne.” trait of all these and a great Mr. Wallenstein, while creating a Leo Sowerby, John Palmer, Irwin Fischer. an Irish piper dated deal more by School Music C. Dissinger, Ann Trim- stallments. Complete particulars given in 1510 sacchi played her part almost ever, offers better balanced recording. — from at way of penetration, popular program for the summer, ingham, Henry Sopkin. catalog which will be mailed on request. the brush of the celebrated sight; understanding Mozart drew his part from Beethoven: Quartet in E-flat, Opus 127; Students* Self Help The management Albrecht Durer. analysis, love, and has not, however, abandoned, to the Accredited Courses are offered in Piano, — A Factor in Irish A set of pipes his care. It is often makes every endeavor to assist needy Gaiety be- mental conception of Budapest String Quartet. Colum- Vocal, Violin, Organ, Orchestra and Band what the difficult The time of writing, his more students to find part-time employment. longing to one of the for the student to serious Instruments, Public School Music, Chil- In Ireland the pipers of Lord balanced ensemble realize Many find work as teachers, bagpipe is of greater should sound like bia set 537. dren’s Piano Work, Class Piano, Musical accom- Clare’s regiment this. He fancies that and highly valued chamber orches- panists or part-time positions antiquity than in is now in the Cluny —and the the correction Theory, Dramatic Art and Dancing* working Scotland. One performance was a With each succeeding work that for commercial houses, etc. of Museum in Paris. great of his own immediate tra program known as “Sinfonietta” the ancient Irish success! problems will Degrees— historical tales Whatever else that rendi- the Budapests record, one discovers Bachelor of Music, Bachelor Dormitories—Desirable living and board- About the make him the (heard on Tuesdays, 11:30 to 12 mid- of Music dating year 1760 the tion musician he dreams Music Education, Master of ing accommodations can be secured at from the reign of union may have had, it King Con- certainly did of values in the playing which have and Master of Music Education are con- the Conservatory Dormitories pipes, so called being. Yet, night, EWT) . In his role of Musical at moder- aire the from being the most faithful ferred by authority of the State of Illi- Great, 35 B.C., speaks worked not have the polish, the ad- ate rates. Particulars on request. of from the elbow study, the vice anyone not been apparent in previous re- Director of WOR, Wallenstein has nois and recognized as a guarantee of the nine pipers (hence giving rise exacting can give is to assure our from the fairy hills and devoted care that accomplishment. Students enrolled at any time. to the phrase are student that corded performances. There is no presented first performances of hun- of Bregia.” It “more power to your given these problems alone is alluded to in Irish that great work to-day. elbow”), came into Simi- are the least of question that this foursome is the dreds of important works during the For free catalog address John R. Hattstaedt President poetry and general vogue. lar his task. To project , prose which the experts instances can be cited of The wind is supplied other his playing in a foremost string quartet now before past seven years. believe to date from the by a bellows great works the musicianly manner, tenth cen- — ‘Don Juan Over- 111. tury, acted on by the elbow, he must become the public, not alone by virtue of An oasis in the mixed variety of 579 Kimball Hall, Chicago, and there is in existence whereas the ture’ (which Mozart a musician. To do an il- Irish Piob wrote down this, their splendid bal- luminated Mor (or war pipe) is he must hear musicianship, fine entertainment heard on the radio Irish manuscript blown during the night preceding as much music of the from the mouth. its Prague as he ance, and technical coordination, but year 1300 in which The name is a cor- premiere) can and make as much music still remains the Saturday morning a pig is repre- , the Beethoven ruption of the Gaelic ‘Violin as he also because of their greater imagi- sented as gravely Uilleann (el- Concerto’ can, applying the results of broadcasts Of the NBC String Quartet engaged in playing bows), (first performed practi- the and Uilleann is the his ‘problem’ nation in performance and their network 10:00 to 10:30 A.M., \l bagpipe. Until recent years correct cally at sight by practicing along each (NBC — hard- name of these Franz Clement) step ly a parish in Irish domestic pipes. End ever of the way, of course, but greater freedom of expression. EWT). The NBC String Quartet is GUY MAIER Ireland was without The so many more. con- its name, which by a centrating Faure: Incidental Music Pellcas and \ professional piper, strange Angli- “Indeed, in first on music. To find a to not always the same group of mu- SERIES and delightful cized the light of to-day’s OF SECTIONAL are the corruption was for better Melisande, Opus 80 (3 Sides), Rim- for descriptions of the a century performance approach to Mozart, then, lis- and sicians, a strange procedure a country written “union.” standards, even cham- \ MASTER CLASSES merrymakings, ” It is an elaborate ber ten to his works in sky-Korsakov: Dubinushka, Opus 69 (1 name organization presenting cham- the Sunday “patrons ana music or Haus-musik concerts, in re- the complicated (home cordings. side) crossroads instrument; the Play his ; The Boston Symphony Or- performers, who dances, given by to give it quartets, devoting ber music. The RICHMOND, VA., July 1-6 trav- chaunter, the « its original name eiers °f seven finger-holes, special chestra, the eighteenth a which clearly care to the inner parts. direction of Serge Kousse- vary, are chosen from the NBC Mrs. J. Montague Holland, Sec’y. 104 West 30th St. and nine- thumb reveals its Study teenth hole and eight keys, non-profes- his vitzky. centuries. Many has a sional sonatas as the ensemble Victor set DM-941. Symphony Orchestra and are not 8-13 of the older chromatic character—requires the works BUFFALO, July generation scale of two octaves same they are It CONSERVATORY now living remember from loving and exacting —that is to say, practice would be senseless to deny that always confined to four musicians, Miss Elsie Stein, Sec’y. 703 West Ferry St. the a' to d"'. In addition virtuoso prepa- days when Irish to the drones from the full violin Debussy’s another soloist OF MUSIC country life was still ration which young and piano scores “Pelleas and Melisande” since upon occasion MINNEAPOLIS, July 15-20 there are three pipes performers be- gay with known as reg- rather than did School of Music, Lasalle at 12th St. music of the pipes and the stow quite as a matter from the violin parts not overshadow this score, but sometimes joins the group, and such MacPhail ulators, and fitted of course upon Established 1867 picturesque with keys worked alone, watching the latter Mozart / I movements the showy for is the Brahms and 22-27 of the na- by the war-horses of the give-and- more elaborate and more works as MILWAUKEE, July 1 wrist of the player. both the Oldest Independent ™ dances. A familiar The drones _iolin take of the voices ambitious in are heard. Familiar America’s Mrs. Margaret Diefenthaeler, Sec’y. il Irish tune is are and the piano and making them its intent than this clarinet quintets The tuned to A in different repertoires. The sound / School Devoted Exclusively to 781 North Marshall St. Return from Fingall octaves situation, then, forth. Technic music. The present favorite works of the chamber which the and the sums itself must be per- work was written and and Allied Arts Pipers played regulators are capable of up to fected, Music CHICAGO, July 29-August 3 at Clontarf, giv- to be sure, but only as a four years before as music literature are generally chosen when ing a rude g ^ tMs: Mozart Debussy’s opera, / Sherwood Music School, Fine Arts Bldg. Brian Boru defeated harmony. The pipes were u ^ ‘dif- means the Danes, one ficultHoZ’ because of toward the end of making the incidental music to an English pro- for these broadcasts. A complete school of Music, South Michigan Blvd. called Woolen by certain qualities thousand years ago. Shakespeare in his that music live Some authori- Merchant are distinctly of an its full life—never as a duction of Maeterlinck’s play, star- Plans for the 1943-1944 Columbia’s Dramatic Art and Dancing. TOLEDO, O., August 5-10 ties call it of Venice,” and there inward na the “Gathering” are ture showy’ goal ring been Mrs. Elizabeth Gould. Sec’y. 2245 Putnam St. to which six and have nothing in its own right. Mrs. Patrick Campbell. There School of the Air have recently Courses lead to degrees. the clans fine sets in the National to do with / marched to battle, Museum the outward A good example are exciting and stimu- I and in Dublin, ranging ‘show’ (of speed of how artistic three pieces here: the first is the formulated. An ASHEVILLE, N. C., August 12-17 others say it’s in date from 1760 tech mastery Registration: the dirge to which me, endurance, must be achieved Prelude of broadcasts is planned. Mrs. Kathryn King Carow, Sec’y. 98 Woodward Ave. they to 1850. Although the or ‘schmalz’] lies in the to the play suggesting the lating series marched home afterward. name Union has gradually St s ory of the primarily September 3, 4 was also crept to the Royal Academician who forest scene of the opening; the sec- These programs, designed \ Insh supposed to be derived forefront Begin: September 7 soldier has always from of student and was showing his ond, nonetheless ap- Classes the period of the Union audience attention pictures to a charm- Fileuse, is an entr’acte depicting for classrooms are \ yielded to the magic of the between mg young bagpipes England 6lements lady. She was delighted Melisande spinning pealing to the older folks at home, Special Students May Enter at in war. In and Ireland (1800), there of inter- an in the third act; 1745, for instance, the preStion^rt^’pretation, further, impressed by and assured by many Any Time. \ Answering Etude Adver- T1 are numerous to-day’s them, and asked the finale, Sicilienne, is asso- and we have been Irish brigade in references to players perform im the service of Ce S m a burst of ciated programs of the Union Pipes” haTC Pro enthusiasm, just with the tragic closing scene readers that the musical Write for catalog tisements always pays t France, which included between the the o ^sed™o ow he \ the old Irish years 1750 p nfwf managed to secure his won- m which have been followed with guards and 1780. They p c n is the occurs Melisande’s death. in particular and delights the reader. JJ of James II, marched came into go:i, derfuiiy telling I on to vogue at the isr0r effects. ‘Well, my dear Verdi: La interest at home. close of the s Traviata Ah! fors’ e lui great the field sixteenth s of Fontenoy to the Platform, a y, he said — skirl of century, but the and have thus thoughtfully, ‘as nearly the pipes. Yet in instrument was madTthe as Ireland itself little Mozart style even can see it, it’s much improved in the more difficult just a question was heard of the instrument eighteenth Project. What t f putting after century and Burney are we to do the right colors on the the revolution of praises it highly abouti t° right 1688 until its revival in Not lower our spots!’ The over 1780. Uilleann pipes are standards, certainly same is true of fifty years ago. The made in It remains, u.S1C old Irish Dublin, Belfast then, to oza rt’s. or any other com- and maintain , ARTS Cork, of VOCAL Volunteers and the and there higher Se r S- ^ old Nineteenth are standards in The CADEMY limited “Pipers’ terms colors on the right contributors. Admission to excep- Admission by Competitive Clubs” in each of Mozart’s-mozart f „ . . ore t l,an 100 rish Light Infantry of these own s spots Za m had bands of cities. qualities. make the voice, repertoire, effect-but knowing scholarships. Students receive training in Audition Only Alas, i can the right colors tionally ZZ7ed\ZTersimentea singi FuU 2d partial recommend and the right spots panpart in operatic productions. Graduates 480 no one make-up m addition„jjstinn mto tuninglakine (Continued acting, lanauaees solfege.1 and Pa. on Page 482) * ’ orchestras, and choral groups. 1920 Spruce Street, Philadelphia, FORWARD MARCH nationally known opera companies, WITH MUSIC” ore note appearing as s oloists icith THE / MARCH WITH MUSIC" 481 ETUDE JULY, i943 "FORW ARD . "

tell if a bow needs repairing and can A String Approach generally diagnose the many ilk Left-Handed Musicians violin is subject to. to Mozart Given more playable instrument* (Continued from Page 434) which are kept in good (Continued from Page 480) repair the standard of violin playing must neo ambidexterity is fre- Sextette from The subject of “Lucia di Lammermoor” depends upon more than fifteen essarily be raised. (Donizetti) discussed in psychological Th. Leschetizky 10 quently Entreaty, minutes of trilling with the fifth fin- Romance, Op. 267, No. 1 journals. Generally medical H. Lichner IIBLLII ger. It depends upon the deep, stud- and most authorities stress the Believe Me, If All Those Endearing ied musicianship of the performer. speaking, Young Charms W. P. Mero of ambidextrous training. 4 Take time, then, from the conven- Band Music and value Deep River (Spiritual) P. W. Orem 4 of piano compositions tional veneration of ‘war-horses’ and Here is a list Sextette from “Lucia di Lammermoor” hand: (Donizetti) P. W. Orem ‘show’ to discover for yourself what Patriotism for the left 3V2 Left Hand Technic I. Philipp 5-7 the beauties and the difficulties of (Continued from Composer Gr. Theme, Op. 10, No. 5 E. Pirkhert 4 Page 444 ) Title truly Tunes for March of the Midgets Daniel Rowe 3 Mozart are. When you have Five Little COLLEGE Fingers Mildred Adair 1-2 Left Hand Proficiency—20 Original Study grasped beauties, the difficulties Five Little the Is it not love or devotion for Francesco Berger 4 Pieces and Transcriptions a subli- Six Bagatelles . will begin to seem, not less difficult, mated ideal? That ideal Lagoon, Op. 165. . .Georg Eggeling 5 A. Sartorio 3-5 to-day is on the 1 W. Fink 4 certainly, but more grasp-able, too. Romanze Op. 200. No. Lovely Dorothy (Weber) A. Sartorio 4 CONSERVATORY OF MUSIC America and its institutions Greulich and way Drawing Boom Study. Carl W. 4 Souvenir de Handel (Intro. Celebrated Then you have the soundest possible of living. It F. L. Hatch 5 must be constantly nour- Traumerei (Schumann) Largo) A. Sartorio and Robin Adair hand-hold upon an approach to ished. A lasting patriotism Annie Laurie Studies for the Left Hand Alone, Op. 1103 feeds not Marcella A. Henry 3 Mozart. A. Sartorio 3-5 A professional music school in an attractive on shoddy emotionalism, but '“Martha" (Flotow) upon a Gem from Ten Melodious Study Pieces for the Left reincarnation Marcella A. Henry 3 college town. (Member of the National of those values held Hand Alone, Op. 1136 A. Sartorio 3-4 Home Sweet Home. ..Marcella A. Henry 3 dear to any group of people. Nocturne, Op. 9, No. 2 A. Scriabine 8 Association of Schools of Music.) It must Shepherd’s Lullaby . . Marcella A. Henry 3 Prelude. Op. 9, No. 1 A. Scriabine 6 Better be expressed in order to become con- Evening Song. Op. 31, No. 1 Why Not Hollaender 4 Fairies’ Nuptial March Thorough instruction for carefully selected tagious. Patriotic A. hysteria is not what Sole Mlo) Geo. L. Spaulding 3 Venetian Serenade (O students in all branches of music under artist teachers. Violinists? is wanted. A sound, equilibrated emo- R. Hoffman 4 Monarch of All Geo. L. Spaulding 3 Meinxlious and Instructive Valse Sentimentale Geo. L. Spaulding 3 in and choir direction. tionalism is what is Twenty-eight Special training band needed; that 4-5 Left Hand Etude s. August W. Hoffmann Waltzing Nymphs Geo. L. Spaulding 3 (Continued from Page 434) which is conceived and . . 4 nurtured in March. Op. 43. No. 5 . Ferd. Hummel Serenade, Op. 350, No. 3 F. Spindler 5 Write for catalogue describing Oherlin’s conservatory American idealism. Patriotism which Polka-Mignonne 'Duet for two left Valse Caprice Paul Valdemar 4 C! Koehler-Heberleln courses and its superior equipment (200 practice violin, such as Milstein’s $25,000.00 possesses inherently hands) Melody Paul Valdemar 3V2 good values must Long Ago, and Melody from JUILLIARD SCHOOL OF MUSIC Long Autumn Leaves Enrico Mineo 4 rooms, 23 modern organs, etc.). Degrees: Bachelor of Stradivarius is worthless musically if become a part of L. Koehler the corporate body “Oberon" Home Sweet Home James M. Wehli 8 in need of repairs or adjustment. Festival Polonaise Richard Krentzlin Bachelor of School Music; Master of The that cherishes them. Good Waltz in A-flat, Op. 39, No. 15 (Brahms) Music, ERNEST HUTCHESON, President bands will Romance Richard Krentzlin seventy separate parts of a violin are develop Sara Scott Woods 4 Education. and feed such patriotism. Voices at Even Richard Krentzlin Music, Master of Music made Nocturne in E-flat (Chopin) .Mary Wurm 8 INSTITUTE and fitted together with great Patriotism is Fifteen Etudes for the Cultivation of the OF MUSICAL commonly known or Valse d’Adele Geza Zichy 7 Oberlin, Ohio. ART skill and precision. Left Hand. Op. 55 (Two Books) Frank H. Shaw, Director, Box 573, Their dimensions expressed by (29 Pieces) 3-5 GEORGE A. WEDGE, Dean such verbal catch E. R. Kroeger 5-6 Left Hand Recreation Album and quality of workmanship have phrases as: “Let’s sustain morale,” Individual vocal and instrumental instruction. immediate bearing on the acoustical Classes in Theory Com- “Remember Pearl Harbor,” ‘ Sustain position, and all branches properties of the of music education. tone. If they become Loyalty,” “Enliven Hope and Devo- loose or Courses leading to diploma and B. warped or cracked the vio- tion,” and S. and M. S. degrees in instru- "Quicken Appreciation.” mental, singing, lin’s tone is impaired. Glue and public school music departments. becomes It creates a state of loyal belonging- Musical Wartime Needs loosened, changes of temperature ness; it establishes a cohesiveness Catalog on request. Page 449) cause contraction and consequent that (Continued from Room is above self-interests, whether 122, 120 Claremont Avenue, New York warping of parts. For many reasons UNIVERSITY they be religious, sociological, interest BOSTON or po- first were suggested, and the class for background. In this way all violins need constant care enwooJ and litical. It is a condition of mind. It for those who OF MUSIC watchfulness was prepared for the meeting to is maintained, not only COLLEGE if they are to produce is an everpresent something that subject, but also for OF MUSIC preparation for careers tn the best come, an application of the informa- are new to the CONSERVATORY • Thorough possible results. Further- collectively music. B.Mus. or Diploma in Voice, Plano, becomes analyzable. It of music. Divisionof LindeniooodCollege DETROITINSTITUTE tion. next meeting was given those with some knowledge Violin, Cello, Brass, Wood-wind more, only The prepara- Organ, OSHOPOLITAN experienced violin mak- may be for Women. Thorough argued that patriotic zeal in music under Percussion instruments. B.Mus. In OF MUSICAL ART SCHOOL ers over to listening to an excellent re- Questions should be encouraged and tion for careers and OF should be allowed to distinguished faculty. B.M. Church Music, Musicology. 1 914 has prepared ambitious young MUSIC repair or once established will a Composition, people , SHIRLEY burn forever. suggestions invited, as to how the degree, certificate and diploma M.Mus.Ed. in Public School for careers in music, dancing, dra- GANDELL, M.A., Oxford adjust violins. cording of “Pagliacci.” B.Mus. and Umwrsity, England, For example, a violin piano, voice, violin, organ, A11 instruments, voice, President. Such a notion is absurdly It in Music. A.M. through Graduate School. theory, d9tli year. Accredited. false. course may be made most helpful. instruments, pub- composmon, sacred music, Offers courses bridge may cost from harp, other Club, Orchestra, Band. Fac- conducting, cam- in all branches of fifteen cents har- Chorus, Glee panology, radio technique. Music. Certificates Bands could arouse, weld, course lic school music, theory, Accredited. Di- diplomas and degrees. and in- Other Subjects should be made clear that the ulty of distinguished musicians Includ- 1 Desirable board- up but usually mony, history and appreciation p n S a d - ®5rees Faculty of 70. Catalog. ing accommodations. a new bridge on a spire Boston Symphony Orchestra A.A C.r Jackson,?I ^ Bus. Located in down- a heterogeneous nation through character. Much of music. Well-eauipped stu- ing many Mgr., 52 Putnam Ave., Detroit, Mich. town musical center. violin Art is introductory in is worth seventy-five The eighth meeting, “Musical dios, beautiful buildings on members and the Stradivarius String DUBox* E. 306aue S.S- Wabash cents or the — Ave.. ChicagChicago.o. aesthetic power of musical should be acres near St. Louis with opportunities of Bos- one dollar emo- and the Piano,” took the discus- listening to the records 138 Quartet. Cultural because of the labor tion. up its frequent concerts, operas, Attractive dormitories. Catalog. and Patriotism is intangible. ton. skill an sion great encouraged. other musical attractions. For millikin necessary to fit it to of the instrument, and the view book, write Alfred H. Meyer, Dean BALDWIN-WALLACE conservatory of music the violin. Patriotism viewed objectively makes worth-while aim catalog and The violin literature Illustrations Perhaps the most Harry Morehouse Gage, Pres. 53 Blagden Street Boston, Mass. CONSERVATORY OF DECATUR, ILLINOIS repair man, however for a more of the piano. MUSIC conscious citizenry. Patri- course can have is that of in- Box 1243 St. Charles, Mo. BEREA, Offers thoro training is of no use unless were furnished by talented students the OHIO (suburb of Cleveland) In music. Courses leading to the pupil or his otism Bachelor of Music Degree. stimulates the consciousness of recognition of the beauty a first cI ss Diploma and Certifi- parents creasing the Liberal Arts College, e n realize the violin’s and by artist recordings. ? VO,C i0 ‘ in condition year co“rse leading to r a "’ Public Sch o1 a belongingness ? degrees. Faculty ° to a group. Patriot- is aim that is nf A rf. t m , MuMusicsU MethodsMethod d'M V° J great music. It an 1,St ^eac iers - and Music and take in ® er, d f° r catalogue or informa- Kindergarten Methods action on it. This “Sacred Music,” discussed the place tlon*t() is where ism makes Bulletin the democratic ideal and far-reaching, for sent free upon request the music teacher of debt at once modest ALBERT RIEMENSCHNEIDER, Dean, comes in. music in the church, the Berea, Ohio w. ST. For ex- throb. Patriotism seek CLARE, MINTURN, Director ample, in one may even be at the owed a lifetime is not long enough to of(T)usir college in Iowa there heart by music to the fostering in- QkbflaitiTnaftlufr of the ideal. The great wealth of musical beauty, yet is a glass-enclosed case fluence of the church. In this meet- understanding containing of instrumental Artist Diploma talent latent in Army is instant. Bachelor of Music Degree, Master of Music Degree, the different parts of ing as in all emphasis its appeal Confers THE a violin in all camps others, the Dean of the Faculty TKe&tre CLASSIC GUITAR will be influential only in pro- Musicians have a real opportunity WARD LEWIS, 8 f stages of was feSSi a ‘ construction. on listening to beautiful absence) 3411 Euclid Ave., Cleveland, O. °'? Screen - much leave of Actimr Musical Radio. From the portion Beryl Rubinstein, Director (on ^^dy and era - Broadway to its service in Summersummer stockStnpk Th«tiTheatre ? °P also Studio rough exploitation. American such a community Appearances assured Manv eradu- slabs of maple tnusic, rather merely dis- to offer 192 and spruce to educational than in S5. °zgesssr, ttJ&W'ttJSSsr irv- ^ Bloor St., W., Toronto, Canada the finished institutions have devel- times when people need a worth- product cussing facts concerning it. the student oped great unusual teacher learns quantities of musician- while interest as relief from the how and why “Modern Pipe Organ Music and the EDITH HARCUM, President of ship. This is a an hour of Buy More War Bonds for Victory each piece and challenge and a charge Organist,” stress. To give them each procedure. He that gave the group a better learns, must not go unheeded. music is to send them for example, that the understanding of the instrument, stimulating HARCUM JUNIOR COLLEGE purfling The encour- is an inlay challenge to our Army is: to work refreshed and for protection, organ music, and the art of the back Mus. D., Head of Music Department THE PRACTICE not just Whai is JOSEPH BARONE, going have less leisure " HOUR to be the - a black line; done with aged. Since they ^ . he learns what the organist. Two-year music major leading to diploma should be a delight, musical endowment in its must use it as well as not a chore bass-bar and that exists The than ever, they in instrumental music, voice or composition. soundpost are; how midst? last meeting summed up the It wil! be if the piano is Our bands are certain to play can. in condition, but no student can nd linings are course and presented “Music for they possibly Curriculum offers harmony, composition, history and appre- do justice to himself or ^ made and a part in the com- his teacher if discordant notes and fitted. He knows giving courage to our citi- Children.” Music appreciation for If ciation of music. Glee Club and Ensemble. unresponsive action d what and where the zenry Differences in teaching hamper his practice while sustaining real need. We ought PP f* members of Philadelphia 6r bl°cks are those demo- munity can fill a ** Distinguished faculty includes > why appreciation to illus- f A skilled technician can restore ^™ pegs hold or cratic children, and taste a run-down Pniano and don t hold; principles which they believe condemn lack of musical Orchestra. make study profitable instead and can recognize tration and discussion of music writ- not to of expensive the to be right. share the love Graduating appearance with Philadelphia Little Symphony. good points of a Bands and all types of ten for we do nothing to Be sure your tuner is a qualified technician. violin as well as the children, formed the topics. if bad ones. instrumental music become potent which we have gained Beautifully situated in college community of tradition and He can make minor a It is well to timely, of great music HE AMERICAN SOCIETY of repairs factor in keep the course the musi- charm. Cultural advantages of Philadelphia. PIANO TUNER-TECHNICIANS himself such as the successful employment with the generosity of replacing strings emphasis on what is being done through tuners, of our nation’s we have been REQUEST. BOX E, BRYN MAWR, PENNSYLVANIA and tail pieces. human and material o-day, rather cal great with whom CATALOGUE ON He learns to resources. than in the past. The 482 class to associate. "FORWARD MARCH should be encouraged to read privileged WITH MUSIC’’ 483 THE ETUDE WITH MUSIC JULY, 1943 ,

The Junior Etude will Class A, fifteen to eight- Instrument Club Outline No. 23 award three worth while My Favorite Fingers and Wings Junior Junior een years of age; Class prizes each month for the Etude in Class A) Review fifteen Class (Prize winner B, twelve to ; most interesting and orig- C, under twelve years. The clarinet is my favorite musical instru- ^Jlermia 3darrii raier inal bu 3, when did the piano take stories or essays on a ment. It has a mellow tone which is pleasing to About Names of all of the prize a Contest swiftly mov- harpsichord given subject, and for cor- the ear and suited to soft music or place of the in winners their con- the and ing tunes. Variety of tone and fullness are rect answers to puzzles. general use? tributions will appear on other qualities of the clarinet, and these char- The young pilots were merry in to play for him, Contest saying, “You is open to all boys and others make it blend well see piano concertos did girls un- this page a future issue of The acteristics, with the their quarters after the big event of boys, playing the How many der eighteen years with other instruments. With this wide varia- piano does not only h of age, whether a Ju- Etude. The thirty next best contributors ’ any kind Beethoven write? nior Club tion the clarinet can express almost the season. The winning of their develop your fingers, but also member or not. Contestants will be given rating of honorable men- quick- a of mood. It may give one a cheerful feeling are grouped wings after months of self-denial ens your musical sense instruments make a string according to age as follows; tion. feel energetic or pensive. and develops c What or make him The clarinet has three distinct qualities of and hard flying, nights without your mind as nothing else can quartet? I SUBJECT FOR THIS MONTH tone; its lower tones are dark and gloomy, the sleep, surely called for a bit of fun, myself was a flyer in the first some of the differences tones are soprano and the high ones are World d What are middle now that shrill and exciting. A good clarinet player uses the training was over. Dick War, and they told me then that between folk-songs and art songs? ft the all these equally well. When a person learns Halset was merriest of all, bounding men who could play on musical in- are some differences be- to play a clarinet well, he should have a feeling e. What about the long room like a school boy. struments learned to fly of accomplishment, for it is a difficult instru- a plane more classic and the roman- All tween the entries must be received at the Junior Etude Office, 1712 Chestnut Street, Philadelphia, Pa., not ment to learn. “Sit down and play something for quickly than those who could not composition? later than July 22. Winners will appear in the October issue. Donald Applegate (Age 15), tic style in musical Edited, by us on the piano, Dick,” urged one of because playing instruments Illinois trains -CONTEST RULES — the pilots. us to do different things with each Terms 1. Contributions must contain not over one hundred and fifty words. ELIZABETH A.GEST Dick pulled up the bench and hand simultaneously.” 2. Name, age and class (A, B or C) must appear in upper left corner and your address in the difference between a the upper right corner of your paper. If you need more than one sheet of paper, be f. What is My Favorite Instrument spread his long legs toward the ped- sure to do this on each sheet. The adjudicator had a lot more to glissando and a cadenza? 3. Vt rite on one side of paper only and do not use a typewriter. als and his long fingers over the keys. (Prize winner in Class B) say, but Dick’s mind had wandered 4. Do not have anyone copy your work for you. Then three terms that indicate a 5. Clubs or schools are requested to hold a preliminary contest to submit not more than is the drum suddenly the music of a gay as he looked g. Give and I believe my favorite instrument proudly at his six entries (two for each class). own in playing. because it puts so much rhythm into a person. Highland Dance filled the room. slow speed 6. Entries which do not these requirements will eligible prizes. clumsy hands. Why, of course, he meet not be for Drums make one feel alive and full of pep. “Swing it, ’ his friend indicate get and have fun. shouted. But would play well! Perhaps, h. Give two terms that a They make one want to out someday, there is a Dick did i ot I think that now, during the war, swing it; in fact he it will fast speed in playing. become easier and easier. to make people feel full of pep and scarcely heard Per- Distorted Fingers great need the call. haps, vigor in order to keep their spirits up. A Fine someday, he might become a Idea All at once he Keyboard Harmony The drum is called the battery of the orches- felt as though he flyer himself and be Dedicated to the Weak-Finger Players able to do won- because without it the orchestra would have were back in his tra home town, a boy derful names of the triads on in other words, no things with those clumsy i. Give the By Frances Taylor Rather nothing to run on, or bn ^Adeline again, sitting instruments, (Aturry in a large hall and fingers! the seven degrees of the scale. rhythm. It is also one of the oldest joints, it was used back in the days of David. Be- waiting his turn to play in the Fes- Poor, weak, distorted finger as “Dick Halset next,” Play them, hands together with- fore nations were civilized we find them each John and Bob were walking home tival. Miss the adjudicator j. Unsightly, cramped, and bent, in the recital, received the following Green had told him he using their own type of music. But whether from their had called, and Dick out stumbles, on any two major (Anyone wishing to answer letters on this Music Club meeting. “That letter: simply must play well remembered Will never bring fine playing, that nation be the ancient Syrians, Norsemen, —not only well, envelope in care of is going to be how he stepped forward, no longer and any two minor scales. page may address their Indians, or jungle tribes, beating upon a sur- a fine recital we are Dear Dad: but perfectly, she had said. Nor real development. And Dick apprehensive, the junior Etude.) face of some sort formed the basis of their to have this month, Bob,” said knew because he was look- fashioned by he : instruments, John. We are having an ensemble could not play very well, Musical Program music. Thes crude recital ing ahead to Enclosed please find my answer to the puzzle were the fore- “Yes, I think so, too,” much less future years. Of course concentrated, steady drill, the primitive people themselves, answered (duets, trios, perfectly, for his and my essay. I hope they reach you in time But quartettes) given by the fingers he runners of our present system of drums. Bob, “because played his piece as never Arrange your musical program from I almost forgot to send them as my brother I think we all get tired were clumsy and his before, as With unremitting care, Sally Sizer (Age 14), members of our Music Club, mind was slow army last week and I was of having and it is knowing in his own pieces learned during the past sea- was drafted into the Ohio nothing but solos; I think heart that he who is so young and had to Will put those crippled weaklings being planned just for your enter- thinking of him, the was doing his level son. each one play his favorite leave at the last minute. I hope the war will ensembles will be popular with best. . . Have In super-fine repair. tainment and pleasure. The pieces soon be over so he and all of our other boys everyone in the audience Now Dick Halsey, piece, playing it better than ever be- can home to those they love and those as well as will be short and the pilot, was listen- come recital will last who love them. I’ll do better in the next with us performers.” ing to himself playing fore, together with his least favorite curved, and do your best My Favorite Instrument exactly thirty minutes. the Highland contest. „ ... Keep fingers “I Mothers, From your friend. wish my father would come. He Dance to his co-pilots, knowing, one, playing it just as well as his To overcome this ill. (Prize winner in Class C) aunts and cousins are strictly un- too, Dwicht Reneker. never comes to that have no well, any of our recitals.” invited, so please he was playing well. “Very favorite one. Those who Pennsylvania (Age 11) Distortions must be conquered My favorite Instrument is the violin. I have come. Refreshments years “Neither does mine. Let’s good,” he choice in the matter play any play with skill. been taking lessons on the piano for four get them will be served. laughed, whirling around may Dear Junior Etude : If you would and hope to continue until I go to high school, to plays an important part in my life come to this one.” on the bench to face of the pieces they learned during the Music violin maybe play Yours for his astonished high school then I want to start the and music, as I play solo trumpet in our “All right. Let’s write friends. “I past season. me in the orchestra. After I have taken piano them special Every one of think I did rather well.” I play piano also. Music for the fathers was pleas- hand, and of time I will be able to cross I go lessons for that length invitations.” is a medicine. Every time I get antly surprised Then he put his violin much better and it will come when he received the hands up to his for about ten minutes play the “I have to the piano and play interested a better idea than that,” invitation, little metal The Etude easier to me. I was never very much signed by his wings which he was I am like a different person. own son or and I heard grandfather play. said Bob, “let’s I studying in the violin until my ask Miss Gray if proudly is one of my lesson books and am we daughter; and needless to wearing on his coat. Yes, the he was younger he played in an orches- say, every Keyboard Puzzle musical education, as I wish to When can have the whole recital hard for a this same violin just for father schoolboy hands I grow tra and now he is going to have attended the recital and con- had come a long be a composer or music teacher when the fathers.” fixed up for me. Then the fun will begin! He sidered it way, thanks to by Beck up. favorite composer is Bach. a great success. many hours of prac- Emma My that some day he will bring it up, and your friend. also said John, of course, thought that tice, From a fine “How did you like and now Dick while I play the piano he will play the violin. it?” Bob asked to grasp Halset was going How many keyboard instruments Barbara Jean Erickson (Age 12), idea, and so did Miss the meaning of music. Some day maybe I will play as well as he: I Gray. They his father afterwards. He to use them, not only to give Wisconsin remembered pleasure can you find in the square? Start think that anyone who has a chance to take called her on the ’phone that evening how, as he waited, tense to “Fine! I never knew pupils’ his friends, but to serve his lessons on an instrument and does not do so is recitals and uneasy, coun- List and talked it over. In a day he heard the adjudicator Letter Box foolish. For me, it is music and fiddle! or two, could be so good. I’ll try flying through come to the next the clouds as a from (Age 11), the father of each pupil, speak to the students Letters have been received recently Elinor Tibbits taking part one, too. Don’t who were soon skillful pilot. forget to count me in.” Elaine Harris; Jeanne Grobengieser; New York oyce Ann larjorie Trombley; Billy Pace; Barbara Winter; Anno- ;eed: Julia Bume Davis; Sara Brink. m Jean Howick; Phyllis Kline; Rosella harden Prize Winners for Endless Albert and the Cash Register notes by Ida Tyson Chain Puzzle in April: Wagner Do-Il-With-Music by Qertrude Dewdrops are the notes Game Class A, Wiletta Stroh (Age 15), CjreenkcifcJi 'IVafber Little tinkly tunes Dwight and Roy Reneker (Age 11 and 9) With which an elf Dunn Missouri composes To waken By Therese Roden See letter above all the roses. (Age Albert had just returned from the ing, the Class B, Rose Marie Mikell 14) and Miss Brown says it is because player is chosen to leave store with the e Carolina groceries his mother I do not feel the decide what South keyboard. She says while the others York had asked him to buy, and taking I should Class C, Angelina Pietak, New be able to read by feeling ItMOR Etudf. bsent one must do upon return- the sales slip out of the bag he Red Cross any place, direction. Mention for Endless the keys instead of looking at them. move in any room—he must pick up Honorable thoughtfully :o the added the column of So now, if Blankets The path from one instrument to of an- the grocery clerk can look article, stand in front Chain Puzzle: figures at the next is Letters the groceriesw and^A X Cst W tilL not continuous. an open t i • ° at the OuiiiC LiiiiC th through Eleanore Hazel; rp| i • same Butti; f . time wounded go April That i and send* in** some who must Pass some player, Marian Slomka; John Honorable Mention for s correct he said. “That punch the correct 'more knitted tlmet” f may be used more than once. After this Margaret R. Walker; Arthur amounts on his squares ln wheeled chairs before they or some similar act. Rose Ann Urycki; clerk is O.K. I (four-and-a-half inches) Brown; Frederick R. Smith, Jr.; Essays: guess I had better adding machine for recover. some one St. Julian without making any our Perhaps someone you know fided, “it” returns and Lillian Gogel; Judy try that Junior Etude blankets. Marvine Shaffer; Zona Holmes; plan on the piano.” mistake, it Even and Conrad; Lucile Thomas Still; Elsie Hewitt; James seems to me I should though may be using a blanket that you piano, playing louder Conrad; Thomas Still; Peter C. the weather is the Cunning- Peter C. Conrad; Audrey Garvin; Susan Slat- “How can you play a sales slip catch up to him warm now the helped Dear Junior Etude; from the Simmons; Esther Smith; Jean Marie and do the same Red Cross to knit! “it” wanders away Chris- tery; Jimmy Oettel; Marilyn Albertson; Ruth on the piano, still needs these a ye heard Jascha Heifetz and Yehudi r as ham- Doris Edwards; Dorothy Johnson; Albert? That just does on the piano. That’s blankets Squares have recently menuhmF he nears Lamothe; Forsting; Edith O’Neil; Etta June Boatin; Eli- what Miss Brown and will been received from play here in Cuba and I have decided softer and softer as ’Czeck; Julia Colby; Jeannine need lots more of Elizabeth ° itan and tine Kenley Peck; Jodell Fowler; Mary not make sense!” exclaimed his calls the touch them as Cromartie; Jean Anderson; Alfreda Studying the violin myself as soon as I Corbiel; Leona Lamothe; Vermeil nor Goertz; system.” the Hulnke; Very often difficult and Marie Claire Devera Wendt; Nellie Kyer; months go by and Jane Bervig; Patricia Miller; Billy bought a violin last month and I love bjective. Ancrum; Merci Mae Whaley; Frances Faison; mother. “Good for there will be Francis; the Robinson; Samuel Goodman; Har- you Albert. Try it. re Polly Matson; Phyllis Olson; Vernon pieces I hear on the radio or on done in this way Szinyava; Ethel Beverly Smith; Elizabeth Anne And , . are Dorothy Undedcu ,oldiersululer „ rn 1 things Sonya Goldman; Albert smiled. “That is ?° t0 be Stone; Katherine have many fine violin records. I y old Hennigsen; Joan Payne; Ruth Anne Berry; a scheme remember, ‘It’s a wise ml° . .f Caredcared Miller; Marv Holmgren; stun .L „ wrcrct sDoken. When Elizabeth Anne Goodman; Muriel Em- , . , man for. y the piano hpincr Rivers; T who The men like uf “t erry . now because when I started Elsie Bowie; Mary I’m bnght Mattson, Mildred Tillapaugh: Ella Juel; U““oymg Tate; Annolyn Howick; Jean Marie Cunningham; going to try out. You I learns colors , music I was too which berger; Mary Helen know something new every ra, voung to know Tate; Leatrice Brunswig; Joyce E. Ra- day’” of these blanket,1 ! cis: Marylin Pearson; Margaret w as my favorite Lamothe; Dorothy Pigeau, Helen e s’ and .f l instrument. Rita Jochem; Irene always have trouble with sight > as the are Lmscott; I benold; Ruth Caplinger; Virginia Johnson; read- his mother said 111 y Constance Saunders; Joan Graf; hope my English is all Sma11 and soft^ [the Janice right! Armstrong; Alfreda Pietak. - y are very useful Bowley; Priscilla Palmer; Rachel How- From your friend, Rachel Fay 484 ard; Priscilla Field. Josefina Erquiaga (Age 13). "FORWARD MARCH WITH Havana. Cuba MUSIC” WITH MUSIC’ 485 THE ETUDE ”FORWARD MARCH JULY, i94 3 — . A

THE COVER FOR THIS MONTH—Presi- The studies are designed in manuscript, will be to cover ntal parts, SINGING CHILDREN OF THE dent Roosevelt (in a letter to Mr. C. M. wide range of technical me SUN-A Book of any number. problems such on a rental basis. The time re- of Indian Song, To this end most of the ALBUM OF FIRST POSITION PIECES FOR Tremaine, who for years has as avafiable for Unison Singing, by done Amer- rapidly repeated notes, is estimated parts are to be published in score its sweetness, legato thirds for performance to Thuriow Lieurance.— with VIOLA AND PIANO.—Despite ica a great service and 1 d Here is something as Chairman of the sixths, left and right new three others, making four noble hand octaves, arpeg between seven and eight minutes. m the way of song harmony parts warmth and richness of tone this National Bureau For the hp° books for home, school in Advancement gios for both hands, melody printed edition of this all. These have been designated as instrument of the string family has fre- of work sus copy of the and community use. Music and which work he is a This excellent col- A, B, now con- tained against an arpeggiated two piano parts, C, and D so as to simplify their quently been neglected, but now that it is tinuing accompani- providing the may lection of Indian songs, as Secretary of the National and work, arranged and use in group ment, chord studies, embellishments at the special advance compiled playing. Parts A and B “coming into its own”, the Theodore Inter-American Music and ordered now by Dr. Lieurance, distinguished Committee affili- phrasing. The easier will provide duet material, trios can be Presser Company to meet the need for major and publication cash price of 50 cents, composer and ated with the National minor of arranger, contains 16 favor- Recreation Asso- are played from A, B, and C, quartets pieces beginners is going to keys introduced. Those teachers Delivery will be made imme- ite Indian and for viola ciation) made some significant fa- postpaid. melodies, including such well- observa- miliar with the original from A, B, C, and D. The piano, played publish the popular ALBUM OF FIRST tions compositions of after publication. known songs as By the on the worth of music to the United diately Waters of Min- from the Conductor’s this composer will know that these netonka, Score, will supply POSITION PIECES FOR VIOLIN AND States in war-time. These prob- Where the Blue Heron Nests, observations lems are presented with harmonic support and amplification. PIANO in arrangements for viola and inspired melodious and By Singing Waters, and the cover on this issue, and with Wi-um. In ad- When more than four fluent music which is a pleasure players wish to piano. Mr. August Molzer has taken care the photographic help to play dition, several heretofore of the Harold M. unpublished participate, judicious “doubling” in the of the matters of transposition and edit- Teachers who have not already songs are Lambert Studios of Philadelphia and the placed also included. Care has been various an order for this useful book PORTRAITS OF THE WORLD’S BEST- parts will do much to enrich the ing to make of this a volume of real artist ability of Miss should do taken to keep all the vocal Verna Shaffer of With Thumb Nail parts in a music and develop a proper feeling for worth to the young viola student. Com- so now while the special advance of KNOWN MUSICIANS, Philadelphia, we have a poster cover pub- comfortable range suitable for unison balance. Sketches . Too often it is neces- positions by Papini, Kern, Quiros, Green- which on lication cash price of 25 cents, postpaid Biographical singing. the thousands and thousands This collection is still in effect. search through book after book will be made up of nine- wald, Zimmerman, Franklin, Haesche, of copies of THE sary to This book of unison ETUDE MUSIC MAG- songs, complete teen favorite numbers, among which will and Tourneur are included among the before finding a compilation of informa- AZINE going to subscribers and displayed with piano accompaniments and inter- musicians, but with the be Aloha Oa; Home on the Range; Coun- twenty-two pieces of Teal educational on newsstands * * tion on various esting program and in music stores notes, will be issued inex- try Gardens; The Skaters’ Walts, by musical value in this book. throughout advent of Portraits of the World's Best- the country will acquaint WE’RE FOR pensively in convenient “community song Waldteufel; AMERICA—Operetta in Two Acts pictures and short the enchanting Theme from Prior to its release from the press, a many with these Known Musicians, the book” notable statements on for Mixed Voices-Book by Theda size which will be easy to handle Sibelius’ “Finlandia;” the popular Largo single copy of Album of First Position Fitzgerald, biographical sketches of over 4500 com- music from our President. and will fit Into a handbag or pocket. Lyrics and Music by Marian Hall.-The' A by Dvorak; and Dark Eyes. Pieces for Viola and Piano may be re- posers, conductors, artists, teachers, and definitely patriotic single copy of this new book may be or- Instrumentation for served at the special advance of pub- nature of this delight- assembled in one vol- the First Ensem- publishers will be dered ± ful work makes its publication now at our special advance of ble Album, published with four harmony lication cash price of 50 cents, postpaid. particu- This book is being compiled under ume. publication cash price of 20 M4KE-A-NEW-ETUDE larly opportune at this time. Its engaging cents, post- parts in score, will be provided for: However, the sale is limited to the United FRIEND TRIAL OF- the direction of Mr. Guy C. McCoy, who story, sparkling dialogue, paid. Delivery will be made as soon as Elutes, B-flat Clarinets, (Bass Clarinet States and its possessions. FER—In an effort to meet governmental and catchy included a wealth of fine material. pare a similar volume for piano has the work comes off the press. restrictions on paper duet. melodies augur well for its popularity ad lib.), B-flat Trumpets, (Cornets), E- consumption, some This For quick reference the names are ar- book will contain twenty popular with amateur groups, flat Alto Saxophones (E-flat Baritone publishers have discontinued short term and high school alphabetically; also In the case of 1943 hymns in easy effective ranged offers. four-hand ar- and junior college dramatic Saxophone ad lib.), Trombones, or Bari- The publishers of THE ETUDE are societies. Americans the states of birth or adoption rangements, easy to read and thoroughly The leading tones, F (English Horn) E-flat trying very • parts require the Homs , hard to avoid this because it services indexed. Although of necessity brief, pianistic in style. An effort has been are Violins, made of five sopranos, two Horns (Alto or Mellophones) , is felt that such offers are the best means mezzo-sopranos, one include important facts ORDER SUPPLIES EARLY FOR NEXT SEA- to keep the primo and secondo the biographies PAUL BUNYAN-C/iornl Cycle of creating ADVANCE OF parts at contralto, two tenors, one baritone,' BALLADS OF Violas and Cellos. With two harmony new friends and readers. PUBLICATION one each personality, his dates of birth SON—Teachers and other active music an equal grade level so that parts can about for Mixed Voices and Narrator—Ballads by Therefore, we are be bass, and several non-singers. Besides parts there will be books for D-flat Pic- trying to meet the interchanged the and death, and the places of birth and workers should not delay preparing as OFFERS between players at will. The customary Ethrl l.oui-e Knox, Music by May A. Strong. colos, Oboes, Bassoons, B-flat Saxo- restrictions in other ways and again we solos and duets, there are early as possible for next season’s music first verse of each hymn will accompany death. Founded on two favorite episodes in the Clarinets. String Bass, are offering our annual All the books in choruses for boys, girls, and mixed phones, and E-flat summer trial sub- of this list are in voices. useful in compiling program needs. Summertime ordering of supplies the music which, in every case, will Especially legend, Winter of the Blue will supplied scription of three issues preparation for publication. The be Production will require no Bunyan “The Tuba, and Bass parts be for 35c. Sub- expensive cos- for reference work in music in anticipation of needs to start the Fall placed in a key suitable for congrega- notes, and Death of Paul's Moose book, in percussion book, scribers Will welcome this low Advance Offer Cash Prices ap- tumes and there are no difficult Snow,” and “The in one and a opportunity to tional staging appreciation or history classes, this pub- season is a wise procedure since this may ply only to orders placed or group singing. Niagara," this work promises real there will be parts for Timpani, Drums, introduce THE ETUDE to their musical NOW. problems. All of the action takes place in Hound, be done under Presser’s “Early Order” Delivery A few of the lication will also make interesting read- ( postpaid ) will be made hymns which Mrs. Richter the novelty in the way of choral material. and Bell Lyra. The Conductor’s Score friends in this inexpensive way and in gymnasium of the Livermore Junior Plan with an enjoyment of all the credit tvhen the books are has selected to appear ing for all who are interested in music, many cases published. in this book are: College, locale Combining the efforts of a gifted poetess (Piano) will give helpful suggestions as to will find one of these trial Paragraphs of the play, which may be and examination privileges that would be describing each pub- Come, Thou Almighty King; Nearer, either professionally or as a layman. composer, of interesting ensemble subscriptions the most acceptable My festively decorated with balloons, and a well-known American the formation given placed gift for lication appear on these pages. God, to paper on an order in September. Thee; Onward, Christian Soldiers; While details of publication and print- of the Madonna” groups from the smallest to the Full Or- some special occasion with a minimum flowers, streamers and shakers of various whose “Slumber Songs In other words, “On Sale” orders are of Sweet Hour ing are being a single copy of Prayer; Praise God, from completed is widely used, it bids chestra or Band. outlay. colors for Act II. (for treble voices) charged to the 1943-1944 season, and mu- Album of Favorite First Whom all Blessings may be ordered at the special advance However, Position Pieces Flow; Jesus, Lover fair to achieve real popularity. A single copy of any or all of the parts we urge every one interested For Viola and A single copy of this operetta sic secured “On Approval” and ordinarily Piano 50 of My Soul; may now of publication post- in Ballads Rock of Ages; Lead, Kindly cash price of $1.00, figment of im- you need may be reserved now at the ad- this trial offer to send in his order as of Paul Bunyan—Choral Cycie be ordered at the special advance of Paul Bunyan, hardy subject to 30 days examination privileges Light; and Abide pub- paid. early as Strong .40 with Me. minds, sprang into being, a vance of publication cash price of 15 possible to avoid disappointment Child ^ lication cash price of 60 cents, postpaid, aginative may be secured in the summer months s Czerny Arnold .25 While this attractive book is part, and 35 that might possibly result Favorite Hymns— Piano Duet in the delivery to be "superman”, around the gleaming camp- cents for each instrumental from antici- Richter .35 process of made as soon as the book with return privileges extended to Oc- First Ensemble Album Monger preparation, a single copy lumber camps. cents for the Conductor’s Score (Piano) pated additional restrictions on paper may is released. fires of North American tober 1st. With help shortages paper Parts, Each. .15 be oidered at our special consumption. advance of pub- repetition and constant retelling Copyright restrictions will limit the sale _ .. Piano Conductor .35 Here, by limitations, and war-time transportation Oemsof . lication cash price Masterworks forthe Organ. Tonner .60 of 35 cents, postpaid in this work to the United States and its of his exploits, he became a high light of problems, this “Early Order” advice is Portraits of the World's Best-Known Copyright restrictions ± limit the sale of ± of fantastic possessions. Musicians |gg for the our native lore. Possessed important this year. If not familiar with this Volunteer Choir , by I-nwrt‘nr«* «vca*« Rhapsody in book to the United D Minor Federer !50 States and its RHAPSODY IN D MINOR, for Solo Piano unlimited endurance, and an Singing Children ing.-The success of for strength, the “Early Order” plan just send a postal , . cantatas “THE MUSIC AMERICA LOVES BEST”— of the Sun. . Lieurance .20 possessions. and his Sixteen Short Orchestra, by Ralph Fedrrrr.-This com- capacity for food, he was The foregoing Etudes Lemont .25 Christmas and Easter, through which Mr. unprecedented request to Theodore Presser Co., Phila- is the title of a remarkable Thy God Reigneth Cantata poser’s — Keating .40 many admirers will be delighted fictional joy and inspiration of details. long the delphia (1) , Pa., for new 350-page catalog just issued We're For America—Operetta Keating has won so excellent a reputa- ± by RCA * to know that we now have in preparation Northwest, for Fitzgerald-Hall .60 _± tion, our sturdy workers in the Victor. This catalog contains all currently has created a need for a more gen- THE CHILD’S CZERNY-Selected this splendid new work in a larger form checked the extravagant available Victor Studies for eral work by him. announce- whom no limits and Bluebird Records. the Piano from his Hence this FOR THE OR- Beginner-Compiled by pen. Reflecting anew Mr. Feder- their hero. GEMS OF MASTERWORKS Here is a listing - Hugh ment of his first cantata, enterprises of of recorded music of all ±— Arnold.-A er’s non -seasonal -Compiled and Arranged by Paul ± new sugar-coated exercise inventive and melodic gifts, this this work requires GAN categories from folksongs book designed for use at almost time of A performance of to symphonies for young piano striking concert any Tonner.—Careful editing and arranging, students brings the number will fill a void the chorus of fair attainments, and and from “boogie-woogie” to “sweet the famous Pfanstiehl year. As in the cases of his former a mixed organist in WE STILL HAVE ATTRACTIVE PREMIUMS needle, which is famous exercises of Carl long apparent in the field of easier con- done with the beginning swing.” Czerny to the works, the services of a baritone-narrator. What will please the lover of considered the finest young cert the text, made up of original and also outstanding volume. Established premium workers may still phonographic needle students of today. literature. reflects mind, make this an — good music is Arranged for selected music throughout, however, the classifying of groups available. This remarkable needle treble and writings, has been provided by The include works of the great have an acceptable, if not wide, selection which bass clefs, the exercises Conceived as a work in one movement, judgment concerning The contents and the listings unde- composers’ sells have Elsie Duncan Yale. the composer’s wise securing subscriptions to names. for $1.50 is guaranteed for 4,000 been limited to the this Rhapsody in masters easily adaptable to the medium of premiums for This easier keys of C F D Minor embraces a which will place it within catalog is handsomely produced playings, and many have a" While it will make no excessive vocal vocal demands, have been select- THE ETUDE, even though priorities have tested it to d and inclu de only succession of tempi which sug- societies of the small organ and with the front the common at once demands, of numberless singing and back covers printed double this number of playings. rhythmic Thy God Reigneth will give the grasp to their use in both eliminated some of the premiums reg- The figures. Containing charming gests the varied moods of a concerto. ed with an eye in four colors, and beside the Pfanstiehl ample opportunity everywhere. ularly featured. Herewith we list several two inside needle gives genuine and illustrations, and clever Following the to all concerned. There church and home. Names of composers titles in lieu of opening Adagio, there this work may be or- color covers there are 16 pages of vital lasting satisfaction are fine choral passages for mixed voices A single copy of Franck, Men- very interesting pieces of merchandise at a lower needle numbers, pleasure is comes an engaging like Bach, Brahms, Handel, information added to the neces- Molto Moderato, in and special advance of pub- dressed with beautiful color cost per year, and saves the sary for male voices, and also a lovely dered now at the Schumann, and Tschai- which are available: nuisance work of founding a which the solo instrument provides an postpaid. delssohn, Mozart, spots. and good basic trio for cash price of 40 cents, bother of changing needles fre- technic. ornamental treble voices. There is an aria lication attest to the superior quality of NEW AMERICAN COOK BOOK— background for a well de- as soon as the book kowsky The Theodore Presser Co. Record De- quently. It is a each for soprano, bari- Delivery will be made useful volume containing over 5000 tempered, flexible steel A single copy of The fined melody in alto, tenor, and the contents. most partment gladly Child’s Czerny the accompaniment. tone, will send a copy of this shaft which has been honed and polished may now be Then and a melodious duet for soprano is ready. feature of Gems of Mas- recipes and household hints for the mod- ordered at the special there comes a beautiful Andante The special catalog to anyone sending a request for to within l/20th a ad- and alto. Too, home. This book may be had for two thickness of a human vance of publication cash Religioso for the at times, there are ap- terworks for the Organ is the fact that ern it accompanied by the hair price of 25 soloist alone, the theme propriate nominal price of of absolute smoothness. Each cents, postpaid; of scriptural passages to be read staves, thus alleviat- new yearly subscriptions to THE ETUDE. delivery to be which is later stated in the accom- it is written on two 25 cents to cover its cost. Pfanstiehl made as Just address needle is delivered securely soon as the book paniment ^ Pastor or a special narrator. beginner’s difficulty of learning WEBSTER’S NEW AMERICAN DIC- is released from the beneath some engaging octave ing the the Theodore Presser Co. Record Depart- sealed in a plastic container press. An idea of TIONARY—always “a must” in the home. to insure the figuration in the the general appeal of this to read from three staves simultaneously. ment, 1712 Chestnut buyer solo part. The closing work ALBUM, For All Band Street, Philadelphia, receiving a perfect unused and Allegro, can be derived from titles of ENSEMBLE been given to provide This dictionary contains 60,000 terms with its vibrant material for the the Arranged by Great care has Pa. This Record Department, despite war genuine Pfanstiehl needle. e Individual chestra instruments, for the small two which should be available to people in solo and accompanying numbers, among which for suitable registration conditions limiting parts, is preceded are: There exists a need the available stocks of by Thy God Reigneth; The S. Monger.— as well as for the Ham- the up-to-date home, school or office. It SIXTEEN a lovely Andante con Moto, in which The Stars; useful manual organ records, is serving SHORT ETUDES more generally record buyers in all FOR TECHNIC an The sea is His; ile material of course adaptations may be secured for two new yearly AND appealing cantabile alternates be- Peace, Be Still; O pos- mond Organ, and parts of the country PHRASING, by Cedric W. Lc crest extended range of on Victor Red Seal FAVORITE m„„,-TWs tween Fair; The Valleys; The Purple th a more made to meet the needs of those ETUDE subscriptions. HYMNS—In Easy Arrangements 0f Short the two parts. usual band may be Records, Victor and Bluebird studies is Bis; The provided in the This is of the Popular for Piano Duet-Compiled and planned for The printed Lilies; O Fear Not Ye Who s than playing on large instruments. BON BON DISH— one Arranged by the third and fourth edition of Mr. Federer’s is this Records, Victor Record Albums, Victor grade piano student, rust Him; estra collection. Especially publication cash very few articles of this type that we are Ada Richter.—The enthusiastic response new work will Forget Not God; and Reign The special advance of t will be published in the comprise parts for first O er pre-band and pre-or- Children’s Records, and in fact every- which greeted popular Music Our Lives. music for postpaid, per single able to supply. It is made of wrought Mrs. Richter’s My Own Mastery and second pianos, the a price is 60 cents, Senes, to which latter being , - Wonre the interesting thing that is available today in the great Hymn Mr. Lemont has C0 as soon as the aluminum, Butler finish, 814" long, 414" Book , a collection of easy reduction Py °t this fine cantata may Delivery to be made and ef- already contributed such of the original orchestral ac- ormj copy. line of Victor and Bluebird Records. fective successful books ^® reserved press. Copyright wide, 3" high, with an attractive handle. piano solo arrangements companiment. at the advance released from the of well- as Facile Fingers and However, for use at school of „ special book is Our Record Department also can supply known hymns, has Eighteen Short and “PubUeatton cash limit the sale of this book to One new yearly subscription to THE prompted her to pre- Studies for Technic regular orchestral concerts, or with price of 40 cents, restrictions and Style aid ( next ) orchestras °rders will States Continued on page of a popular type, the instru- diatei ‘« be filled imme- the United 486 y after "FORWARD MARCH WITH MUSIC publication. THE ETUDE MARCH WITH MUSIC 487 JULY, f 943 "FORWARD — '

ETUDE—not your own—will bring this premium to you. POUR-PIECE PEACH CRYSTAL SALAD BOWL SET consisting of 10% x Problems in Choral Singing 11%" crystal salad bowl with 10!4" crys- tal fork and 5" spoon and a dressing ( Continued from Page 440)

spoon . . . made of clear sparkling glass in graceful, artistic style. This attractive TLt democracy—and you recall the Irish- a requisite candidates and useful set may be had for two new for admitting man’s definition of yearly subscriptions to THE ETUDE. ‘democracy’ as to a chorus. CRYSTAL TRIPLE ‘somewhere where everyone is as good “In examining candidates for ad- SERVER . . . can be used as everyone else little ’ as covering dish to keep two and a bit better ! mission to the choruses which I am vegetables warm or using each piece sep- “There are also a number of splen- privileged to direct, I use a system arately, WL//, as practical serving dishes for did modern choral works, of course, which, I believe, is calculated to re- three vegetables. The Server closed meas- which the young' choral group could veal the innate musical qualities of ures 11%" long, 9" wide and 3(4" deep. study to advantage. Sowerby, William the aspirant rather than his acquired The set may be earned by securing two Schumann, and the English William skills (which yearly subscriptions to THE ETUDE may not even be indica- Walton have given us stunning new tive of musicalness!) . First, of course, choral things, SERVICE UNDER DIFFICULTIES—Al- which are excellent in I test the voice quality by asking the though conditions arising from the War their real, expert, practical treat- candidate to sing a few arpeggios. (ddtude ^yfJiclAummer have presented difficult problems, affect- ment of choral lines and not merely When I am satisfied as to timbre and ing normal service adversely, The Etude good in theory. And, of course, a range, I test for musical ability. I ^Yiuiic staff is endeavoring to overcome study -ddeatured these ob- of the old music of Palestrina, never hand the candidate a sheet stacles and requests its patrons to be just Di Lasso, and others, is always valu- of as reasonable new music and ask him to read as possible, when there is Captivating August Music and Articles able—again because of the it. cause for beauty Instead, I test his responsiveness complaint. Some of these con- to Make Your Vacation Season and interest of the polyphonic ar- to tone ditions are beyond our control and wher- and rhythm. First, I strike rangement of the Profitable ever possible, we are bending backward various parts. a number of unrelated notes on the “As to practical to make adjustments that will completely working considera- piano (within the candidate’s sing- satisfy tions, the young the complainants. chorus should sing ing range, of course), and ask him When a change as much of address is desired, as possible without accom- to sing them. The accuracy with subscribers are asked to send paniment. in notifi- This strengthens security which he reproduces the pitch and cation of the change, with the old and and musicianship. When new a chorus the promptness with which he re- addresses, at least four weeks before depends upon an accompanist, it sponds indicate his ear -quotient. the issue affected—longer if possible. grows lax in its own responsibilities Thus we will be enabled to get the new of tune, intonation, and rhythm. Practical Tests address in the routine of mailing and Neither do choruses need insure continuous service without inter- to be ‘big.’ Next I play a few chords and ask ruption. A group of fifty ‘live’ singers (with- him to sing the upper voice of one, out deadwood that has to be dragged the middle voice of another, and so along) furnishes ample mass tone on. This indicates not only ear-abil- for even the greatest works. Indeed, ity, but musical ability in recognizing when the singing group is too vast, and following voices. Finally, I beat it has to work against mass volume a clearly recognizable rhythm and for lightness, crispness, and clarity. tell the candidate that each beat When one reads, to-day, of the sheer represents a quarter-note. Then, mass volume that was the pride of keeping this same rhythmic beat, I the great Boston Peace Jubilee, for ask him to beat half-notes, or dotted Yours for instance, one HERTHA GLAZ Only 10c! marvels that any clear half-notes, or eighth-notes, singing and so could be heard at all. At that on, against my pattern. If he suc- “DO IT YOURSELF” event there SONGS was a chorus of ten thou- ceeds, Hertha Glaz, he indicates his prima donna of the Metro- feeling for politan sand, an orchestra of six hundred, a Opera, found that if she wanted rhythm and his ability to maintain ‘to 8 et anywhere” the assistance she could band of two hundred, and a couple one rhythm obtain from others was insignificant beside OF FREEDOM against another. If the what she could do herself. Compare her of cannon, all ‘in action’ successful efforts with your own, and together! candidate makes a satisfactory may you (A BOOK OF 19 STIRRING show- learn much. AND ing on all four INSPIRING PATRIOTIC SONGS Value of a Cappella Singing tests, he is, in my THE SACA OF AND CHORUSES) opinion, eligible for choral work. THE WESTMINSTER “One of the very best means of Skills in reading, CHOIR These are the numbers in it : phrasing, shading, promoting One of the most remarkable stories in AMERICA (My Country, 'Tis musicianship among sing- and musical of Thee) . Henry Carey other elements, can all history is that of the Westminster AMERICA be de- Choir , MY HOME Alfred Wooler ers is to practice chamber choral and the Westminster Choir College, AMERICA THE veloped in the choral both directed by Dr. John Finlev I work itself. William- singing. son BEAUTIFUL Samuel Augustus Ward This is the vocal equivalent Certainly, they President of the College. They have CALL OF AMERICA, are no drawback to made Princeton a mecca for the greatest of chamber music and imng conductors, THE H. Alexander Matthews quartet play- a choral candidate, who have employed the but they should Choir in foremost metropolitan symphonic COME . ON, AMERICA! . .Kenneth M. Murchison ing. It consists in distributing the not be held concerts of the works of great masters. DEFEND AMERICA Arthur Hadley as necessary pre-requi- You parts, one to singer, will be thrilled with Dr. Williamson’s GIVE US THE TOOLS William Dichmont a and making sites. The only ideals. GOD BLESS AMERICA ‘musts’ for choral James Francis Cooke each individual responsible for the HAIL, LaND OF work are voice quality, musical FREEDOM! effect abil- George Chittenden Turner of music that might be sus- ity, “INFORMATION, PLEASE!” MESSIAH OF NATIONS, and the desire to participate. Of the millions who listen to “Informa- THE tained by a full choir of John Philip Sousa voices in “What we tion, Please!” on the air. most of them need to-day is the ‘fan’ MORNING STAR OF public performance. to the lightning quips of LIBERTY Madrigals and interest in choral P Frederick W. Vanderpool Adams , who mixes philosophy singing—the en- * ,v MY FLAG George Johnson even oratorios are ™ ton. You will have a “oicn c” with most effective thusiasm of OUR FLAG IS PASSING BY the baseball devotee e “Innocent Merriment With minutes H. P. Hopkins who i A« mere when Music in In ten STARS AND STRIPES sung in this way. Better than The Etude for August. is equally at home as participant FOREVER, THE John Philip Sousa any ‘effect,’ however, on STAR-SPANGLED is the training the amateur BANNER, diamond and as critical DEVELOPING THE that chamber A STRING John Stafford Smith choral singing gives observer at the World ORCHESTRA will you he doing ? TORCH OF FREEDOM P. Lincoln Mitchell Series' who what in independence, sight-reading, TO THEE, O COUNTRY! Julius Eichberg and takes part, Harold Berkley, greatly demanded teacher whether he hits the ° v V FOR VICTORY Elmore-Reed general ball ohn. formerly of the Faculty of the musicianship. , himself, or T School, Councils. Probably there is WHEN THE FLAG GOES BY. . .George makes has had wide experience raid on of local Defense B. Nevin known his desire . time you read of an American “The matter of sight-reading often °fchestras and tells in two fine N ten more they’ll be in action Next The complete text and the full melody line from the grandstand, ust minutes to J J? ow to SO about training one. of one of these Corps operating now in your are given in ‘take out tragic footnote the majority of cases and on a looms as a problem in organizing Don t miss the first section next month. enemy positions-with its dozen.or more four-part the pitcher!’ I —American fighters risking life and limb vocal harmony is given. (Incidentally, would community. Give it your full co-operation. Obtainable at choral groups. feeling it men-ask yourself: any music store or direct My is—not to not be interesting to lost planes and ships and from the publisher. if musical THE SPIRIT OF conquer one more bridgehead on the road worry about it. audi- THE SPIRITUALS If none exists, help organize one. The best way to learn ences became E today for freedom? (THE FULL PIANO ACCOMPANIMENT TO ALL equally vocal in Ncgl soprano who has ap- to freedom. “What more can I do to read their nparp/i4 i^'8 , S THE NUMBERS IS AVAILABLE IN “SONGS at sight is to read at sight! e d nB r61e in "Porgy and to this magazine for a free booklet, estimate of performing Brs? ,™. e i?. l that will save Write OF FREEDOM”—PIANO ACC. BOOK artists’) it '-sbt hundred times, is also a can I do tomorrow $1.50) Unquestionably, the ability She And in what will you What more to read is this spirit of SjJlSSf starts her season in ten more minutes— “You and the War,” telling you what to do enthusiastic th rec,taI at the Ocean Grove this and help them win THEODORE develops with practice. and AnHt^in A. the lives of men like PRESSER CO. That is why aware Mlss EIzy *eels that music and be doing to help this war? participation that win and how to do it. This is your war. Help win 1712 CHESTNUT ST. I has brought a g he greatest factors in PHILADELPHIA (1) PA. think it unfortunate to make the ??? i war?” an choral singing 1 ot the Race problem, and her the to its BTtiAk. hi! ?, present level of article bristles Because it’s up to you as much as it’s up * * it. Choose what you will do now! ability to read well at sight stand as achievement; with interest. * it will carry it further ” to them. Unless you—and all the rest of us Americas 488 you find your place in "FORWARD MARCH WITH MUSIC” at home—are devoting every spare minute To help Government has or- EVERY CIVILIAN A FIGHTER of for Freedom, the THE ETUDE our time to fighting this war as civilians, War Corps as part Contributed by the Magazine Publishers of America the Citizens Service their chances of victory are slim. ganized 1

which RICHLY Lams with enjoyable mus

THEMES FROM THE GREAT PIANO CONCERTOS

Arranged for Piano Solo by HENRY LEVINE ' Prii

The wave of popularity newly accorded the rparster coficerteff for piano has made this album a necessity. So>efe are ten of^-tne most famous themes in the piano literature.d&rfved from the^oncertos oj Beethoven, Chopin, Grieg, Liszt, Ma^Efowell^-Mozart. Rachmani. Rubinstein. Schumann, and Tschaikowskj In preparinjpfchis collection, Mr.J^ewne has exercised hnpeccaj taste and gre^t artistic skill. As^-a' resultt"Tie has retailed their full essencp-'a'nd beauty with conspicuous ^a€cess,

THEMES FROM THE GREAT SYMP1 Compiled by HENRTLEVINE

This album occupies an enviable posjfetfm among piano collectioi^by virtue of the lofty musical heights^lt represents and the we; cultural possibilities it holds. A storehouse of gems, ^twenty-four favorite^fhemes from twenty-one of the works by Beethoven, Brahms, Dvorak. Fi^fick, Haydn, bert. Schunrnnfi, and Tschaikowsky.^/Mr. Levine’s adaptatioijs^are thoroughly pianistic and preserv; notably the intrinsic beauties of tb€ original. CHAI

An Al Sacred Compos ions for fh Piano Como ents of this /bopk reflect discernment /and care on the/part qf the compiler, and are h a special/Suitability to church Arses. /Also adaptable to recreational and teaching OR PIANO 'hen desired. / / / / he piece* have ever before appeared/ in a JOHANN STRAUSS Airiong/them Are: Hosmer’s/ Cantflene; )veZy Chanson ( MaMard7s Edster Morn; MoonlightgOder Ndzarethjby Rplandf Diggle; Sabbath Tms notable collection includes twelve at Johann Sunrise by Sawyer, and On Mount Olive by Kefrn. Strauss’ most captivating tunes. In splemnd pianisi versions of medium''grade, they represent the “Waltz

King” at the heights of inspiration and success/ and 1 with gayety. charm, and eternal freshness^/weave PLAY ITH PLEASURE' L . anew their ageless spell. / Among the twelve waltz An Alb for fh*/ GroWn-Up favorites in thfs Strauss CLASSICS FOR THE Piano S ent album are: Roses from the South; Voices of Spring; 5 Compif and Arranged by WILllAM FELTON Sounds from the Vienna Woods; Artist's Life; Wine, PIANIST Women, and Song ; /Sweethearts, frolm "The Gipsy CHURCH Price, PLEASURE “ '* $1.00 Baron"; and Blu Danub Here is/a Compiled by cqllectibn of Second and feasy thifrd grade pieces of/specnal appeal to the/kdult Along irfthe first LUCILE EARHART year of learning \fo play/qiand Piece;. Among the forty-nine/ numbers in/this boqk are the / Stephen Foster melodies. Beautifkil Price, $1.00 Dredmer and Jeanief with the Light Broibn Hair; the infectious iuiuiMa.fsnfl A splendid new compila- Gypsy melody. Two Quitarq; the Coronation March from/ Meyerbeer's “The Prophet"; Griegis Norwegian CONCERT TRANSCRIPTIONS tion of thirty-eight fa- OF FAVORITE HYMNS Danfie; Schubert’s fine Military March; the popular vorite numbers by classic Mexican/ air. TheJSwallow, /and Strauss’ Sounds from By CLARENCE KOHLMANN Price, 75c composers. In point of dif- the Vienna ficulty. its contents lie be- Here is material response to a pressing need for a tween grades four and collection of this kind. Comprising twenty standard five, and are made up en- hymns in third and fourth grade arrangements, this tirely of the more medita- MELODIES EVERYONE LOVES book is ideal for use in the home or for instrumental tive type of music. Among An Album of Piano Pieces for (he Grown-Up portions of the church service. It also will serve nicely the numbers included are: Music L as more elaborate support for congregational singing. Haydn's gracious Allegret- Compiled and Arranged by WILLIAM M./FELTON Among the hymn favorites included are: All Hail the to (in A) ; Bach's serene Power of Jesus’ Name; Come, Ye Disconsolate; Day Is Air (from the Overture Price, $1.00 the pensive Dying in the West; I Need Thee Every Hour; Onward, No. 3 in Dl: The success of Mr. Felton’s "Play with Pleasure” MEL0DIE5\ Christian Soldiers, and Sun of My Soul. Berceuse by Jarnefelt; led to the publication of this second album for grown- Mr. Kohlmann’s achievements are well known. As Adolf Henselt's Song of ups who are progressing in their efforts at keyboard EVERYONE enjoyment. This is an organist for many years at the famous Ocean Grove Spring, and Schubert’s advantageous collection of a LOVES fine variety of perennial favorites. The Auditorium, he has won special fame for his elabora- placid The Stars. contents are for third and fourth grades. There are tions fifty-six num- upon simple themes. bers in this eminently successful book. PUBLISHED BY "WILLI AM „M /ELTON THEODORE PRESSER CO. MUSIC PUBLISHERS AND DEALERS 1712 CH1STNUT STREET, PHILADELPHIA, PA.