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

5-1-1941 Volume 59, Number 05 (May 1941) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 59, Number 05 (May 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/250

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it' » f A f ’\Jf ? I» ***v ASCAP STATES ITS POLICY OF CO-OPERATION WITH ALL MUSIC EDUCATORS, ASSOCIATIONS, AND RELATED GROUPS:

music educators, teachers, _, HERE HAS BEEN some misunderstanding upon the part of institutions, and others, music of our members has been withdrawn by ASCAP from use by X to the effect that the copyrighted educational and civic programs. This is not the fact. broadcasters in non-commercial religious,

stations (network controlled) will not permit The radio networks and most of the important to be per- by any member of ASCAP, regardless of the nature of the formed on their airwaves, any music composed and presented by a church, school, club, civic group, or music program, even if entirely non-commercial, students or classes.

the Government requires that the franchise granted This situation exists notwithstanding the fact that to and necessity,” and notwithstanding that broadcasters be exercised "in the public interest, convenience it has policy of ASCAP to grant a always been, is now, and always will be the FREE AND UNRESTRICTED LICENSE groups, musical clubs, etc., to include in their TO all churches, colleges, schools, educational institutions, civic compositions copyrighted by our members—provided only, that radio or other programs any and all musical purpose of commercial profit. such programs shall have no commercial sponsorship or

Any such institution, or group, may have such a free license immediately upon application, authorizing the non-commercial inclusion of any compositions of our members in any program to be broadcast from any radio station.

and our pleasure, and always has been, to thus co-operate with music It is our privilege educators, supervisors and others in encouraging the development of musical culture in our country.

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Please address requests for such free licenses, or for any information, which will be cheerfully given to American Society .1 Composers, Aii,hois & 30 Rockefeller PlaZa New York City February 1, 1941. #

TIE *

GRACE MOORE gives THE NATIONAL SCHOOL MUSIC COM- HERE, THERE AND EVERYWHERE IN her first New York re- PETITION FESTIVAL, Region Five, which THE MUSICAL WORLD cital when she appears includes California, Arizona and Nevada, at Town Hall, New York takes place in Fresno, California, May City, during The Town 9th and 10th. Hall Endowment Series MARIAN ANDERSON, Philadelphia con- PAUL HINDEMITH has been commis- concert course for next ARTURO TOSCANINI tralto, received the annual Bok award of sioned by Benny Goodman to write a season, which includes received a surprise birth- ten thousands dollars as the person who concerto for clarinet. Mr. Goodman is other such distinguished gift on his seventy- had done most for Philadelphia during also negotiating with the Russian Gov- day artists as: Richard Tau- Grace fourth anniversary, the past year. The award was made at ernment for Sergei Prokofieff to compose Moore ber, Gregor Piatigorsky, 25th, when Mad- the historic Academy of Music in Phila- a similar work. March the Don Cossack Chorus and Dancers, Frances Alda and delphia, on March 17th, when Deems ame Lotte Lehmann, Jose Iturbi, Robert Gold- of friends pre- Taylor presented Miss Anderson with the THE FAMOUS MONTREAL FESTIVALS of a group sand and Lawrence Tibbett. sented the maestro with scroll and check which represent the 1941 will take place in the little chapel a bronze bust of Giu- highest honor her city can bestow. of the College in St. Laurent from June THE UTAH STATE SYMPHONY ORCHES- the work of Arturo 10th to June 19th. These delightful fes- seppe Verdi, Toscanini TRA recently did an unique bit of lobby- in the late Vincenzo Ge- THE INTERNATIONAL SOCIETY OF tivals were started June, 1936, by ing, when its members entertained mem- mito, Neapolitan sculptor. CONTEMPORARY MUSIC is giving its Madame Athanase of Montreal and Wil- bers of the State Legislature and then- eighteenth festival—for the first time in fred Pelletier of the Metropolitan Opera wives with a buffet supper followed by THE PHILHARMONIC-SYMPHONY SO- the United States—in New York City, Association of New York. This year, Sir an orchestral concert. The concert had CIETY OF NEW YORK, in observance of during the week of May 17th to May 25th. Thomas Beecham will conduct the Fes- the desired effect of exacting a promise its centennial next season, has engaged Heretofore, the annual Festival has been tival. that the State would take the proper nine distinguished conductors to appear held in the most important cities of steps in the future to promote the de- KOUSSEVITZKY, famous con- with the orchestra: Leopold Stokowski, Europe. Composers of all nations were SERGE velopment of Utah talent. Boston Symphony Or- Serge Koussevitzky, Bruno Walter, Dimi- invited to submit works for performance ductor for the chestra, has passed his final examina- THE BRISTOL-MYERS COMPANY of Hill- tri Mitropoulos, Walter Damrosch, Artur during the Festival. Americans present- tions for citizenship to the United States side, New Jersey, is providing the em- Rodzinski, Eugene Goossens, Fritz Busch ing their compositions this year are : Ed- and John Barbirolli, regular conductor. ward Cone, Aaron Copland, Russell G. and is soon to take the oath of allegiance, ployees in their chemical plant with four Harris, Emil Koehler and Paul Nordoff. together with his wife, and his niece. hours of recorded music, during the work- workers to “go through THOR JOHNSON will direct the annual ing day, to enable NATIONAL FED- the with a minimum of fatigue.” The May Festival at Ann Arbor, Michigan, THE day programs are made up of opera and swing from May 7th to May 10th. Featured ERATION OF MUSIC musical organizations and soloists in- CLUBS annual conven- music. tion, to be held in Los clude: The Philadelphia Orchestra, the GEORGE CHAVCHAVADZE, famous Choral Union, under Mr. Ccompetition Angeles during the week University young Russian-English pianist who re- the Youth Chorus; Jascha of June 18th to 25th, Johnson; cently gave twenty-five concerts in as Jose Iturbi, Gregor Piatigorsky, promises to be the most Heifetz, many cities of Englahd, regardless of Suzanne A ONE THOUSAND DOLLAR award colorful and largely at- jarmila Novotna, Sten, Dorothy black-outs, made for the amateur musical play adjudged bombings and a suc- Maynor, Enid Szantho, Lawrence Tib- tended in its history. the best work of the year by the Na- cessful American debut at Town Hall on Norman Cordon, Charles Kullman Among the many out- bett, tional Theatre Conference is offered by March 18th. Harrell. standing soloists en- and Mack the American Society of Composers, Au- gaged for the "American Music Festival” thors and Publishers (ASCAP). Any resi- ITALO MONTEMEZZI conducted the are: Josef Hofmann, Rosalyn Tureck, THE ROCKEFELLER FOUNDATION, dur- dent of the LT nited States, eighteen or first American performances of his lyric pianists; Helen Jepson and Charles Kull- ing the year 1940, made three grants for over, may compete. All entries must be poem, Paul and Virginia, by the New submitted not 1st. For man of the Metropolitan Opera Company, work in various aspects of radio broad- later than July York Philharmonic-Symphony Orchestra, information write: Professor Barclay and Elsie Houston, Brazilian soprano. casting: one to the Library of Congress, at Carnegie Hall on March 6th and 7th. Leathern, Secretary of the National Thea- the Library to broadcast radio The Orchestra also gave first perform- to enable tre Conference, Western Reserve Univer- the second to the Rocky Moun- NYLON WOUND STRINGS for violin, orchestral works programs; sity, Cleveland, Ohio. ances of three by Amer- viola, violoncello and bass are the latest tain Radio Council, to explore the utility ican composers during the week of March of the wizardry of chemistry. and value of a special radio service in a products 2nd: Morton Gould’s "Foster Gallery”, Colum- Produced by the Dupont Company, they thinly settled area; the third, to Roy Harris’s “Three Pieces for Orches- support of studies of are considered a boon to musicians who bia University, in tra” and Bernard Wagenaar’s "Symphony direction of ROBIN DELL play at the seashore or under any humid radio listening under the HOOD Number Three.” the so-called concerts of Philadelphia, conditions, or who suffer from excessive Paul F. Lazarsfield. Using will make under a new manager, perspiration of the hands. The nylon fila- THE EASTERN MUSIC EDUCATORS panel technic, Prof. Lazarsfield of radio C. David Hocker, and ment provides protection for the natural CONFERENCE is being held in Atlantic an intensive study of the effect Stadium Concerts, Inc. gut, without in any way interfering with City, New Jersey, from May 2nd to 7th. on listeners. of New York City begin the tone quality. Together with Region Four of the Na- tional School Music VINCENTE GOMEZ, Spanish Guitar their summer outdoor Competition-Festi- frequently been heard series in their respective THE JOHN SIMON GUGGENHEIM ME- vals, they will present timely programs in virtuoso, who has MORIAL FOUNDATION recently awarded observance of National and N.B.C. Red Network, will ap- cities on the same date, Inter-Amer- nV er the Fritz of “Blood and June 19th. Fritz Kreisler six out of eighty-five Fellowships to com- ican Music Week. Among the organiza- npar in a new version Kreisler is making his first out- posers to assist them in research and tions participating are the New Jersey a motion picture starring Tyrone All- Snd” summer concert as creative work during 1941 and 1942. Those State High School Orchestra and now in production at the Fox door appearances and Chorus, power' received the honor were: Paul A. Gomez is scheduled soloist in both series. The Essex County who the All-State Orchestra from Pennsylva- studios in Hollywood. & compositions, Symphony Society of Newark, New Jer- Bowles, Marc Blitzstein, Earl Robinson, nia, the All-State Chorus from Maryland play four of his own interest to all sey, opens its season on June 3rd, with Hunter Johnson, David Diamond and Al- and an All-State Band from Delaware. ^hich should be of great Frank Black conducting the orchestra. vin Etler. (.Continued on Page 344) guitarists. may, 1941 289 ! ! . ! — . 1 . ; ns

T TTIH1E ETTOE II fmaiqjainQm® y published monthly By. Theodore presser Co.. Philadelphia, pa. EDITORIAL AND ADVISORY STAFF 1 DR. JAMES FRANCIS COOKE. Editor Guy McCoy and Helen MacVichie, Assistant Editors William M. Felton, Music Editor Robert Brainc Dr. Henry S. Fry Blanche Lemmon Peter Hugh Reed Pietro Deiro Karl W. Gehrkens Dr. Guy Maicr William D. Revelli Dr. Nicholas Douty Elizabeth Gest N. Clifford Page Henry S. Sawyer George C. Krick Dr. Rob Roy Peery 2L FOUNDED 1883 BY THEODORE PRESSER 1

(Contents j'or *YF}cuy, 1941

VOLUME LIX, No. 5 PRICE 25 CENTS

WORLD OF MUSIC 289 EDITORIAL “Money Cannot Buy It’’ 291 YOUTH AND MUSIC Men, Women and Song Blanche Lemmon 292 MUSIC AND CULTURE Approaching an Operatic Role .Kirsten Flagstad 293 Our Friends, the Music Critics Song . .Alberto jonds 294 Making Sure of Your .Frank La Forge 295 of Technic in Music Study The Place Robert Casatlesus 297 Sidney Lanier : I'oet, Man and Musician . . .Guslar Again Klein m 299 Music Week 308 MUSIC IN THE HOME ...... Donald Martin Music on the Ether Waves 305 .Alfred Lindsay Morgan 301 Recorded Musical Art Peter Hugh The Etude Music Lover’s Bookshelf. Reed 302 - IS. Meredith Cad man 303 MUSIC AND STUDY Suggestions for the Singer Why Was Lesehetlzky1 Great" Florence , v Leonard 307 Small Organ ...... The Lcltpp r. Brant soil The Teacher s Round Table a,.., sin “Vibratitis” IPffiiam u\n"n, 11! Problems of the French Horn Bruno Jaenicke 313 Questions anti Answers . Karl TV. (tehrkv. That Troublesome Staccato Bowing alien Bryant 315 It’s EASY. . . even for CHILDREN The Lord’s Fiddle Musical Romance in Chile piano. Accordion Teaching Problems ill 316 . with the percussion tones of your Imagine yourself sitting at your piano . Luigi Legnani, Guitar Virtuoso and Compose >o 349 . .(in rge ('. ' Easily attached, the Solovox does not The Tecliuic of the Month—More Staccato. Kric 351 playing a favorite selection . . . and sud- (-Hi U Maie 337 tone of our piano denly discovering that with your right hand affect the normal use or y MUSIC play the piano profes- Classic and Contemporary Selections you can weave into your music a thrilling Whether you Hornpipe (from “Water Music”) Lullaby, Op. 49, No. . Hun del succession of delightful instrumental sionally or for your own satisfaction, 4 -Felt on 317 • May, Lovely May ! Op. 68. No. 13 Brahms-Saar 31s gateway to a whole new world Peach Blossom Time • • Robert effects—as of violin, flute, trombone, cello, here’s your Schumann 32(1 Prelude Elizabeth L. Hopson ! the Solovox T, ' ”‘ ^t> more of rich, colorful music See Etude in Sharp .lYi oboe, English horn, and many C Minor If fa in Byrd 321 Cotton Pickers i»:ik it . . . today at your nearest y.ttchara That’s the Hammond Solovox—new . . . play White Lilacs 322 erett Stei'cns 325 • write to: -John i different from any piano dealer’s. For information, Vocal and Instrumental B Wn Skill . . . exciting . . . utterly Compositions man 324 2929 N. The Watcher (Vocal) you’ve ever seen or heard Hammond Instrument Company, instrument How Sleep the Brave (Vocal) hiy/n i Barne Avenue, Chicago. Or visit the .Toy of Spring (Two Pianos. H 325 Best of all, it’s so easy! You simply Western Four Hiindiittnd8) Alexamlt Matthews Carry Me Back to Old Virginity 326 in "oh I m a n as a part yourpiano — Hammond Organ Studios New York: (Solo for Trombone. Baritone* 328 play the Solovox of ’ Ra8s0on Choral Vorspiel (Organ) or lit A. Bland 330 position on the 50 West 57th Street. 1 alse your left hand in its usual Joyeuse (Violin & Piano)' .’ Bach -Royers Delightful I your right hand on the compact Pieces for Young Players" c F. piano, Richards : My Birthday Cake Solovox keyboard. Fingertip controls give Write for interesting, informative, Step Carefully An Orchard in command of all the different literature on the Solovox. Bloom you instant FREE Little Miss Springtime Ada Richter 334 singing “voices” that blend so exquisitely lynherk Davis 335 Bn TV. Porter 335 . 41 THE Carl Czer. JUNIOR ETUDE n'vised h,, guj, Maicr 336

• MISCELLANEOUS • Elizabeth A. (lest 356 l oict v

Hr. Nicholas Douty 339 Henry S, Fry 343 ' • • HAMMOND • • ft • • lifl - . .Robert 345 Silent Reader Brainc Practice . . st, ‘llt 2!><' leaching i Whitsoii-llohncs Phase pi, - A How by ,V <’H V. Melliehamp 290 to Get Children *' nances 20* 0 ^ r,ll Taylor Railin' Publisher's, ‘tice ' I 10 Notes . • By Gladys M. Stein 30s ovox Stella 31- Whitson-IIolmC8 COMPLETE WITH TONE By the makers of the famous Hammond Organ, CABINET , f.o.b.ChicagO 1 Entered ns second I Hammond Novachord and Hammond Electric Clocks TERMS IF YOU LIKE Jd un. ' 4 U cjgfjfi r “ r jtz**. p- pm-" p"~ “”* 4l*lh),'ThtiTheodore M tYl *»0»,MtinUS Presser Co. fur U. S. A. iXl

B ivia r ' *«#. Colombia, Cost. 290 ’ 5S - 50 a Y«‘- Single copy, Price 25 cents.

TUF. : :

Editorial

inone i (Cannot f/

ANY TIMES HAVE WE VISITED large homes in organ, which he said had cost him a fortune, and then which their wealthy owners have installed magnifi- “played” various rolls, sitting at the bench, controlling the M cent organs. In some cases these men have acquired tempos and the tone quantity, as suited his desires. After the ability to play these instruments with remarkable skill, that he asked us to play the piano. We played a few works and from this ability have derived the greatest joy. In most he had never heard before. Then he told us this story instances, however, these exceptionally fine and beautiful “My father was a country doctor. He died when I was a organs have been operated by the familiar perforated paper child. My mother made a living by keeping a rooming house player-rolls, or they have been played by such expert organ- in town. We had a parlor organ, and my mother wanted to ists as the distinguished and amazingly clever Archer Gib- give me music lessons, but there was never enough spare son who has been a kind of court organist to the American change in the family teapot to permit this. As soon as I was plutocrats, Carnegie, Frick, Rockefeller and others. old enough to earn a few nickels I went to work, and I have These wealthy men, unable themselves to make music, never stopped. I realize now that I might have taken a little

have had what to them was the next best thing : they have time out for music study and music practice that would have enjoyed not only the possession of a magnificent instrument, gratified one of my great aspirations. I get a rare amount but the majestic inspiration of of pleasure from my music, but as organ music in their own homes. a matter of fact the very thing in However, as we have observed, it which I am most interested, which has been impossible for some of is called ‘the mystery of music’ is them to conceal a deep feeling of still a closed secret to me. I would regret that, earlier in their lives, give almost anything to be able they did not have the training to do as you have just done, play which might have given them the the music I am interested in. At intense pleasure of playing music the present time I am in the posi- and enjoying the experience of tion of a business man with great “making” every note, instead of wealth, who has forgotten the com- watching the little perforations bination to the safe.” pass over the pneumatic player. The late Dr. Charles H. Mayo of Perhaps it reminded them of the Rochester, Minnesota, one of the old vaudeville comedian’s wheeze greatest surgeons of history was about the time he played the Not- another famous American who tingham curtains instead of a owned a valuable automatic pipe music roll. organ. Lacking a musical educa- The case of one western Croesus tion, “Dr. Charlie” played the in- bordered upon the pathetic. He was strument with joy as “the next a rugged, American “self-made” best thing.” But he, too, was con- man, typical of the pioneer spirit scious of a great hiatus in his life, of his Yankee ancestors. Someone owing to the fact that he had never has defined a Yankee as “ a man had a musical education. Dr. Mayo who ain’t leanin’ on nothin’.” once said to us Strong, self-reliant, keen, human, a AN ORGAN WITH A HISTORY “I get something from being at “man’s man”, he had forced his Everyone who knew the internationally famous Dr. Charles H. Mayo, the organ which is of a recreative upon spending an way over the Great Divide of what of Rochester, Minnesota, knew that he insisted and reconstructive value and which hour a day at the organ installed in his home in 1913, because the we Americans call success and now world's most famous surgeon found a release from his daily strain I can find in no other way. It helps else. He told the Editor of rested in the happy land where he through music that he could find nowhere to rest and rebuild me, every day. The Etude that one of the privations of his life was that he had could gratify all his desires. Arriv- never had a musical training, and was obliged to depend upon an I would have given anything to console only. The organ ing in this paradise, he found that automatic player. This picture shows the have had a musical training. They itself was in the basement of Dr. Mayo's home. he could have almost everything have organs that are automatic. but the few things he wanted most That is, you can start them going off and listen to I like sit of all. One of these was a musical education which, like love and then go them ; but to at the and many of the worth while things in the world, must be instrument and vary the stops and dynamics so that I feel earned and deserved. “Money cannot buy it.” Our plutocrat’s I am, in part at least, controlling the music. We have home was situated in a large estate splendidly landscaped brought- many musicians to Rochester to provide instru- so as to take advantage of the rolling terrain and beautiful mental music for the community, but we tell them that lakes. His mansion was baronial in its stateliness and fur- we are not so much interested in the music they make nished in splendid taste. He showed us his beautiful pipe as in stimulating and training our own young people to be Continued on Page 338

1941 291 MAY, —

Youth and Music

OLLEGIATE MUSICAL COMEDIES are made—not born—and into their fashion- Men, Women and C ing goes a chaotic blend of thought, Song energy, hours that rightfully belong to slumber, embroilment, coffee, “cokes”, aspirin and minor elation or despair that turn into major elation or despair when the completed show has the sparkle of sun on snow or the dreariness of fog Xemmon over mud. Here, as in commercial ventures of this sort, foresight in the matter of provoking the laughter and arousing the enthusiasm of audiences is dreamed of, hoped for and searched award you, or you and your collaborators, seven and prayed for, without avail. Audiences dis- hundred and twenty dollars, apportioned in one easy attempt. While hope of putting on a bring the winning concertingly like what they happen to like. monthly checks. We will also show ran high and money lasted, the boys had a commercial producers Out of writing the book and music and lyrics plays to the attention of delightful time in the metropolis living in the motion picture fields.” clouds, for such a musical play there has been, in the in the theatrical and both figuratively and literally. But when potential past, little enough gained. If the show was a With a prize of such real and value hope flickered feebly and money vanished, they “flop”, its creators could indulge in a few vain at stake, college students burst into immediate were forced down from New York’s more expen- regrets over the time wasted; if it went over action. Where there had been feverish activity in sive mountain peaks to sleep on practically any- heroes and there was now frenzied pen push- thing flat with a bang, they became campus years gone by, and longitudinal. At last, their pooled with the idea of becoming a ing, floor walking and discussion. Campuses rang resources secretly toyed were no longer able to fend off col- Hart or George and Ira with original tunes. Hilarious, sentimental, das- lapse, and second Rodgers and their midsummer’s dream of blitz- inner situations developed under writers’ fin- kiieging Gershwin. But that was all: local glory, tardly Broadway went the way of many such return from gers; angels, sex, the nobility anything and schemes. dreams of fame. There was no other — So they packed what they had not such youthful and wholehearted effort, except everything came in for a ribbing; subjects ranged pawned and went back to New Haven. cold in head or a few days in the over the alphabet from amours to zealots. When A slip on the ice. perhaps a the Irritating to us; funny as a the last bright ideas were interpolated, the final riot to the infirmary. other fellow. Capitalizing on that 1940 the decision of the Amer- curtains rung down and the last playscript and acknowledged Then came and weakness in human nature, Bill submitted, jittery competitors awaited the Stucky set the ican Society of Composers, Authors, Publishers score record of that gullibility down on or ASCAP, as it is more familiarly known—to decision of the judges. Their verdict: seven out paper; the New York experience had begun seem to help the cause both of musical shows and stu- of the eight regions had won awards; and the funny to him, too, in retrospect. With John dent writers by putting some money in the jackpot colleges of the winning students were Yale Uni- Gerald, who had already attached some fame to of skill Columbia University, the University of himself by writing this college game of and chance. “Write a versity, incidental music for a college University, Oklahoma production, full-length, original musical show,” they said in North Carolina, Indiana he wrote a show about that summer effect, it three copies University, the College of the Pacific and the interlude which turned “have produced and make out to be a witty, scintil- Wyoming. lating revue that of playscript and score, and we will appoint three University of lampooned, practically every foible of that judges who are specialists in the fields of music, sophisticated island known as Man- Yale Winners Capitalize Experience hattan. He and Gerald creative writing and the theater to judge your even stole the title of a were two seniors, John Broadway show, work and decide on its merits. The United States The Yale winners “Too Many Girls,’’ changing just William Stucky, and their playscript one word. They called will be divided into eight regions; you will com- Gerald and theirs "Too Many Boys,’’ pete only with those institutions of higher educa- had its basis in fact. For Bill Stucky, the writer and accurately so, for not one authentic woman book, was one of a group of Yale men who stepped through tion in your particular region. If your musical of the their stage door. The ones who play is adjudged the best one submitted we will went to New York in the summer of 1939, expect- did appear had size (Continued on Page 352)

Scene from "Step'n' High Harold Sectional ASCAP Rogers’ musical Award, a' Presented piay by the students of the HE STUDENT WHO APPROACHES operatic Music and Culture work should already have passed through Tseveral stages of development. First, his vocal equipment should be in good order. This means more than simply knowing how to produce good tone; it implies sufficient control of his Approaching an voice to enable him to produce various grada- Operatic Role tions of good tone, at will and with security. In second place, then, he should have some experi- ence in applying purely vocal principles to the interpretation of music. He begins this applica- A Conference with tion with songs, progressing from briefer, sim- pler works to- the- more advanced lieder. And, as he achieves this progress, the student should be careful to strive for the psychological penetra- ten tion of character and mood in each song he Internationally Renowned Soplano learns, remembering that his singing is the ex- Leading Soprano, Metropolitan Opera pression of his conception of the song’s inner meaning. the very nature of the song form confines But Secured Expressly for The Etude by PAIGE vocal and interpretive efforts to a comparatively BURTON short space of time. The duration of -most songs can be counted in minutes. Thus, while the student of more than she commands. Gradually, the char- lieder must be prepared for acter becomes fixed within certain psycholog- great concentration of his ef- ically and stylistically accurate limits. fects, he is spared any con- Next, I try to probe deeper into the personal siderable sustaining of mood. forces which shape the nature of the character In the preparation of operatic I am to portray. This requires much reading and roles, the opposite is the case. research, and also much discussion with experts Here, the sustaining of mood who know the role. An operatic coach (or teacher) assumes important proportions. of sound musicianship, experience, and integrity The operatic performer must is invaluable to the singer. I am fortunate in be- extend his effects, not during ing able to study under the direction of Mr. Her- an aria, not during an hour, mann Weigert, of the musical staff of the not even during the scenes in Metropolitan Opera, who, besides being authori- which he is on the stage, but tative in his field, understands my work. When during an entire performance. I was asked to prepare- the part of Kundry, In singing, in acting, in feeling, which I had never sung before coming to the in relation to the other person- Metropolitan, I referred the management to Mr. ages in the opera, he becomes Weigert. If he said I could do it, I would; other- the character he portrays, from wise not. Mr. Weigert saw no reason for my de- the time the curtain rises until clining the role, and so I learned it—with his its final descent. It is this ele- assistance—in eleven days. ment of sustained continuity of An experienced and understanding coach mood which differentiates an makes study easier and helps one to avoid errors, operatic performance from an which is infinitely better than having to un-learn evening of lieder, even if the them! As a girl, I used to amuse myself by learn- actual time required for sing- ing arias and even entire parts, without assist- ing the role should be briefer ance. I learned the words and the notes, of than that of a recital program. course, but nothing of historic values, of nuance, It is this sustained fidelity of of traditions of diction and style. No inexperi- character portrayal, then, which enced student could! Such an equipment repre- becomes the important consid- sents a lifetime of study in its own right. When eration in approaching a new I was first invited to sing at Bayreuth, I was operatic role. made aware of points of diction and style which no young singer could absorb from a study of Mental and Imaginative Ap- words and notes alone. I was told to watch out proach of Primary Importance for the explosive crispness of diction values, in pronunciation How to achieve it? As always, the German of consonants. I was Walkiire" initiated into the Wagnerian style of singing, I find it difficult to set down Mme. Kirsten Flagstad in the costume of Briinnbilde in "Die systems of rules for other sing- which excludes the possibility of a portamento unless it is expressly indicated. The ers to follow. Singing is so in- experienced dividual a matter that one hesitates to venture and explore the character for which I am to be coach, or teacher, makes the student aware of upon general pronouncements. Indeed, the ulti- responsible. The psyche of this character is of these and many other points, thus sparing him a false step. mate value of singing is largely determined by first consideration. Who is she? How does she many individualities of constitution, temperament, and think, feel, and act? Why? Why would different Portrayal of Character Must Grow Happily enough, there are no fixed behavior be unsuited to her? The actual singing approach. from this personality Psychological Truth verities in art. Two interpretations of the same is simply my means of bringing widely, yet both be “right,” to life. Discussion with one’s coach also role may differ may brings to both reflect an honest and sin- read- light the truest, most effective in the sense that Certain facts come to light after the first means of giving- light the intention of the is set, life to the character cere effort to bring to ing: the period of time in which the opera through music. Once the composer—which is the goal of all earnest in- the manners and customs of that time, the his- fundamentals—of time, place, mood, historic ac- terpretive work. For this reason, I cannot tell torical or legendary accuracy of the part, the curacy, and such matters—have been established, others what to do. But I am glad to speak of my prevailing mood. Thus, from the very start, the one must search the score for the means of em- own experiences. basic groundwork is built. A heroic figure who phasizing these points’ in singing. At this step, actual vocal work To me, the beginning of a new role roots in dominates the outcome of a Wagnerian legend the begins. The singer masters work. Before I sing will require a very different approach from a words and music, never as independent brain work rather than vocal things, note of music, I sit down with the score lady of mediseval Italy, let us say, who suffers but always in the light ( Continued on Page 338)’ a single MAY, 1941 293 Music and Culture

Our Friends,

the Music Critics

From a Conference with Merto h l‘li S DistinguishedDistinnuishf Pianist and Teacher

Secured Expressly for The Etude by Jay Media

Alberto Jonas zoas born in Madrid. He Rubinstein. This would give studied at the Madrid Conservatory and him more or less the right to then, under Gevaert and de Greef, at the attend a piano recital and give Brussels Conservatory. For thirty years he a comprehensive and distinc- many successful tours of Europe tive opinion upon what he has made ALBERTO JONAS the United States. From 1905 to 1914, heard. Very well. He might Photograph and taken from the painting by Alice Boscowitz. the ideal of piano while concertizing in Europe, he taught in have his own famous Viennese portrait painter. Berlin and had many noted pupils, includ- playing, but his nature might ing the famous precocity, Pepito Ariola, be cold, warm, or tepid and little sympathy with never in a thousand who startled the world as a child pianist. permit him to have very years would be able to play that this one Ethel Leginska, Elizabeth Zug, Eugenia the rival performer. Now suppose same hundredth as well as the artist) than to be ignored completely. Buxton, Ellen Ballon, Leonora Cortez, Le- critic was assigned to “cover” a violin recital in Roy Anspach, and Ruth Luty (now his as- the next half hour. He knows literally nothing However, unintelligent criticism, widely spread, literature. Still he must can ruin sistant) are also among his pupils who about the fiddle and its an artist unless he is so “strong” that violin playing. The he can gained renown on the concert stage. Since pose as a great authority on survive it, like Brahms, Chopin, Schu- taught an next night he attends a symphony, or a choral mann Rubinstein, the World War, in 1914, he has and Wagner. Just look at York and in Philadel- concert, or a vocal recital, or a chamber music these torrid remarks artist-class in Hew by critics of another day. phia. His very comprehensive “Master recital, or a recital devoted to violoncello, organ, clarinet, flute, French horn, bass drum, or School of Modern Piano Playing and Vir- English, “bazooka.” This musical marvel is expected to tuosity”, written with text in y P er the be an expert in opera, oratorio, ballet, jazz, and the Hanove”td [Spanish, French, and German, and with Le^ig°perfo “whistling.” collaboration of seventeen of the world’s greatest piano virtuosi, has attracted wide An Honest Confession -ote t0 his liIe - attention. It is now in the sixth edition. C Men?Sg, critic an eastern vlollnlst: “ —Editor’s Note. One honest in metropolis concerto enjoyed My a b’rillianf^n - once said to me, “Mr. Jonas, I am supposed to ure.” He added decidefl-£a11 all about the performance of 4ucL"T occurrence0 know every instru- one’s courage.” increases ment I hear. Of course that is impossible, but WaS century, the I am paid to give my opinion and I strive to the attitude N THE FIRST DECADE of this when thee Vienna of Beethoven astounding confine myself to the broad musical New York Herald made the rather backgrounds three con CritiCS diS d “ S with and not be ensnared by the technical cJtosMho”r“ ^^ I statement that it was going to do away details of “ Cc mmor and E-flat major—all El , O major, step the playing. Many times I am wrong music and dramatic critics. This unusual and I know a by himself hardly word of praise ' with of the proprietor, the that I have been wrong. But what can I foFnF was taken at the behest do? Nor the thlee immortal WMks ’ Bennett. The What can any critic do?” attitude ^of celebrated journalist, J. Gordon Schn ann drously ”? ’ when his won_ doing this in justice to This reminds me of the famous story beautiful “CoiF Herald stated that it was of Mark Performed to m A was critic could Twain, who was asked by a lady in Lornm artist and the actor, since no friend what the he and 1 SeWel ° f experience so omnis- thought of Richard Strauss’ vituperation possibly have a mind or an “Salome” by’ woiUd “Ter would-beh music critics. the right to give a rible,” replied Mr. Twain. “But, cient that he could have Mr. Twain ” said hundreds of sub- the lady, “how dare you great decision upon any of the say that? You have MaS,ers Esca ed plays. Such never written “Cavalier- P that come up at concerts or a piece in your life” “ jects YeV d5ticana ”> by which were based upon snap Madam,” replied the some , Mascagni, of decisions, he concluded, humorist, “and I never have fifteen worthless, laigely laid an egg in have r more Performances judgments and were therefore my life, but I can tell been given ° whether one ^" over “run inadequate time to give is fresh or rotten.” down" the because the critic had by all world, was II Cl - the matter. The noble stand ance ’itics at its perform consideration to taken , , ,-E initial proper by the in p ( Herald wav ~ ar say, might have been trained tinued only a few years. n ' eV also adversely The critic, let us Then the Gounod’s “Fo ... criticized editors fr ° until he had accumulated the tech- that the artists would far Und of and Bizet as a pianist rather have a the greateT 's “Carmen”-tW° an Anton ing nic of a Liszt and the repertory of criticism made (perhaps And ras vouchsafed mankind- Who does °JP® to wtth knOW of the torrent of abuse whichwnrch theth J 294 Pafis (Continued on Page 348) Music and Culture

Making Sure of Yonr Song

HEN RETURNING FROM A CONCERT in trying to catch three balls at once. The attention with a little practice; and the time required is Wilmington, Delaware, one Tuesday, Law- is scattered and does not have a chance to focus well spent and saves tedious hours later. It is rence Tibbett and I stopped at the Metro- W upon one thing. Take the words first; commit always desirable to have a “piano background” politan and discovered that he was scheduled to them to memory. Write them from memory ten if possible. sing Valentine in “Faust,” with Chaliapin, on times. This may seem childish and may recall Now you are ready for the melody. Play it over Friday evening of that same week. Tibbett real- the first few grades at school. Nevertheless, it is on the piano just to become familiar with it. ized that this was a real opportunity, but he did part of the study routine which all my pupils Practice in this manner not only the melody of not the part; having sung only the aria. know follow. You are not merely committing words, the song but the prelude and interludes that only three days to prepare a part He had which remember; you are making them as much a part occur. Take the upper notes of the prelude and requires longer time. normally a much Could he of you as your hat or shoes. They become woven interludes and learn them along with the melody. it? He decided he must. It was his do chance into your thought as something you might have This is important. If Tibbett had not learned the to make or break his career. either written, yourself. entire score of “Faust” in those three days, he time waste. There was no to We went over the Now if you know how to read music on the would not have known his entrance cues. To miss entire score and mapped it out for study piano, pur- you are lucky; if not, you can acquire a cue by even the slightest margin is to ruin the for Tibbett, poses. Fortunately he was well what is called “singer’s piano playing” without whole effect of the song or aria. grounded in musicianship. While The rhythm of a song is learned not a pianist, he knew how to in conjunction with the melody; play the piano, and this ability that is, the time is marked firmly is such a great advantage to with the foot while the melody I constantly stress- singers am is played. I have found the foot its importance. I have seen ing tapping to be the best way of much heartbreak among singers, establishing orchestral rhythm, singers with beautiful voices, which is lacking in so many because simply they did not know singers when they come to sing how to play the piano well with orchestra. The foot tapping to study enough and prepare is used only when learning a their songs. One should learn song, so that it does not become the rudiments of music in early a habit. The singer must feel the youth, and that is when Tibbett pulsation of the rhythm within learned them. him, for it is only then that he Tibbett took the score home, can be said to have a genuine sat down at the piano and hardly sense of rhythm. The most diffi- left it during those three days. cult operatic arias can be studied Beating out the time with his in this way just as well as simple foot, he learned his parts. It was songs. a wearisome grind, but because 4 There are a number of opera of it, he made the role his own. singers in Europe—well along in He not only sang Valentine on years—who still hold their jobs Friday night but did so in a sen- because the conductor knows sational manner. That was the that, although the voice is no beginning of his success, and it longer pleasant, the singer’s reason that was for that he was rhythm is perfect, the parts are entrusted with the part later of thoroughly known and there will Ford in “Falstaff.” be no need for extra rehearsals. Many people have the idea that One should not require the con- everything voice is in the suc- ductor or accompanist to do any cess of a singer. The fact is that of this preliminary work; in fact, most beautiful the voice in the it cannot be done by anyone but world is of very little value to its the singer himself. After a num- possessor unless he knows how ber is once learned, the accom- to learn a song thoroughly and panist can be of greatest assist- to prepare a part quickly how if FRANK LA FORGE WITH FAMOUS PUPILS AT HOME ance. As for learning “singer’s necessary. Nowadays Standing left to right: Lawrence Tibbett, Frank La Forge, and Richard rehearsals piano playing,” I have known Crooks. Seated left to right: Mrs. Lawrence Tibbett, Lucrezia Bori, and are made as brief as possible be- several singers Mrs. Frank La Forge. without the of the expense cause involved. slightest knowledge of piano who day you are given some- One started in this way and gradually to sing and expected to know it thing the next. great effort. To admonish singers, who do not acquired enough technic to cope successfully with opportunity it When comes, comes with a rush. play, to study piano is largely a waste of time. the slower solo pieces. Even with his glorious voice, Tibbett would not They are usually past the age of finger exercises. All this may seem mechanical and in a sense have been able to take advantage of his big To learn to play piano it is it is, it the well, necessary but does not make for mechanical sing- chance if he had not known how to study, how to to begin at an early age and hands ing; in fact, when mind just the reverse. A person who sings make every minute count. are pliable. The next best thing is “singer’s piano in a mechanical way, without expression, will A song is compounded of different elements, playing” which is simply learning to play the often be able to release his emotions by going among them: words, rhythm, melody. To begin melody with one hand while beating the time through this routine. When you have learned a a song with all of these in mind is like firmly with the foot. This ability studying can be acquired song in this manner, words, melody and rhythm MAY, 1941 295 a

Music and Culture sing it in Italian. Her reply was, “That is per- necessarily, and it is really hard for her to keep fectly all right—just so long as it is something the nail joints from buckling in. we do not understand.” This seems to be the The opposite type of child with fat bulging become fixed in your subconscious mind. This prevailing feeling in many of our smaller cities. “paddies”—to match her other proportions of means that you can forget about them con- Whether one condones it or not, the fact remains bodybuild—as a rule does not require much tell- sciously, and it leaves you free to give entire that the singer is expected to sing in one or more ing. The inherent strength of her hands makes attention to interpretation, to put the utmost foreign tongues. That being the case, why not correct conditions come almost by “second nature.” feeling into the song. sing in good Italian rather than bad French? However, there is an “in-between” type whom When you have cut your diamond to the shape If singers would learn thoroughly the rules of nature has endowed with a “forgettery” ap- desired, then you can begin to refine, to polish, Italian and stick to them, they would satisfy the parently, instead of a memory, and who, although to beautify. Take the words again and examine general craving for a foreign language and would capable of doing the correct thing by physical ludicrous effects them for their appeal and emotional value. As not produce the so often heard. endowment, remains careless and incorrigible to Italian an example, consider the song, Passing By, by It is a small matter pronounce quite in the matter of hand positions. is without doubt the best language for Edward Purcell-Cockram. This song is like a well; it The correct treatment of the child who can, across in attic the voice, with its many vowels and vowel end- faded love letter one comes an but who does not or who will not, is through an lace lavender. ings. And who will say that Italian is not just trunk, together with some old and appeal to the imagination. The real trouble is simplicity as be- as beautiful as French? I will go even further It should be sung with naive mental, and as such we must deal with it. Saying and say that it is much more beautiful than the speaks its character. The first verse goes: nothing about hand positions or curved fingers, type of French usually heard. A vast repertoire let the teacher mark out a phrase or so of num- is available in Italian, and many of the French There is a lady sweet and kind, bers, letters, or notes in the child’s notebook. pleased mind. songs do not suffer when given a good transla- Was ne’er a face so my Each is to be captioned: “Tiptoe Study for the Italian. It be more desirable I did but see her passing by tion into may to Week.” Show the child how to play it, on her the language in which it is writ- I love her, till I die. sing a song in And yet “tiptoes.” After all, do we not think of dancing ten, if the singer knows that language. Other- fairies and happy skipping children chasing but- wise, there is always Italian. We can readily see that the first three lines are terflies and kites and rainbows with the very purely narrative. To try to give any emotional sound of that word, “tiptoes?” Well, so does the value to these words would be ridiculous. It is the child. By thus appealing to the imagination, we emotional values you give to “love” and “die” in Creators of a Famous Song produce curved fingers naturally. Let us hold to the last line that will quicken a response in your this plan for a time, and when ready to incor- porate it audience. into the lesson, say, “Let’s make a tip- After you have selected the sentence or words toe study out of this exercise this week. A great big A-plus for which have emotional value, the next step is to Mary Jane if she can make it a practice conveying that emotion in the singing perfect tiptoe study.” If you have been enthusi- voice. This is quite a study in itself. Madame astic enough to gain response to the idea in the Mojeska, the great Polish actress, was asked to first place, you will be able to give that big A-plus. recite in a salon in London. When she finished, And gradually you can make all compositions the entire audience was in tears. She had recited into tiptoe studies and produce curved-finger the Polish alphabet. playing without nagging. The speaking voice conveys various phases of emotion, partly by inflection. The average speak- ing voice has a range of approximately one octave. When you say, “I’m so happy, I’ve never Help for the Poor Sight Reader been so happy in my life,” the voice is pitched t/Jif / Icll V. II'fel high and is slightly staccato. But if you say, “I feel miserable to-day,” your voice is about as The problem of the very poor low as your mood. Substitute “la-la” for the sight reader is one common to all teachers of piano, syllables in both sentences and see if you can and a very puzzling one in most convey the emotions suggested by the words. instances. Let me cite the case of a child who Study the words of the song; find out what has exceptionally slow eye action but a perfect words are important, whether they are narrative ear. When this child comes “ h,s 50n ' he or emotional, what emotions they convey and sits at a table of proper height andRfis given score then strive to get that emotion into them. The paper of over sized staves. lie places treble art of a great singer is built upon these smail and bass clefs and listens as the teacher details. plays a simple melody from starting a given I often asked point. At this am how many languages a singer work, he is ver-y and writes y capamcanabh should know and if it is necessary to learn readily. After foreign languages in order to sing well in them. several melodies h.™ which has come Wntten h£ One ol the loveliest songs from the comes ’ Obviously, better results are achieved if one to the piano and is unquestionably "At Parting" with mu- plavs f,™ v New World script. °Wn knows the language, and especially is this so He seems to sic by our recently deceased and widely lovsd com- be less an, rT with English and French are phonetic James H. Rogers (right), and words by sees his own which not poser, the notes before him medical specialist. Dr. Frederick Peterson (left) is to Th^6 next"Tt*steI languages. A phonetic language is one in which noted mark off the melnriv of New York who also wrote much verse as an avo- C°n' ect rhythn the letters making up the words are pronounced and perhaps to cation. Shortly before Dr. Peterson's death he visited hamornL written, S° me chords of h,! as as in Italian, German, Spanish. To composer at his Pasadena home own which the where this he finds first i ea ‘'' ' meet the present day desire for foreign lan- memorable snapshot was made. correctly ^ then muSt plaC upon the staff guages, I would advise singers to learn Italian and to sing their foreign songs in this tongue the ch a way that wheI lesson” is° ' do not over ToV"ne has R' instead of attempting French when they eight measure two or three simple displays “Lei’s Make It a ‘Tiptoe’ Study’’ S WhiCh know it. I have heard some ludicrous create and he has halped “ in "which c resulting from the feeling that one must sing hI SUL Ih connection and Play easily S WUton-JJoLe* ^ ' French. } wUh this , are U Work the flash card s helpful—used j„\. A certain baritone was to sing with a Women tWo ways - placin Vision The task of teaching them, one At first, for one of his solos, the young child at a time" Club and had chosen, to pla- tag n the music rack and llaV the young man had with curved fingers is almost the child nlav tn° Fugitive, by Massenet. As insurmountable h theni; 1 gave some cases. There quickly then, as he reads nio - exposed to French in any way, I are many factors lettino- w never been involved i, the mi” did with great ease this “straight finger” problem; ute before ^ card tor a haW it to him in Italian which he and in the cal rei^r of and llav ft 01 he went to the Womens some children I believe it memory tag him play and satisfaction. When is monstrn„J , what h has was to sing it sist. I refer here to 5een - Club, the president asked me if he the frail chiS When it who has so", told her that, since his Italian thin little hands that score, 1]° P°ssiblc to use regular nuis in French; and I the fingers resemrn we v.f ’T than his French, he would toes of a bird. This fully SUle that his reading was so much better type of child has weTk a grade m sight Vnt W6r T1) builds than his usual worlt ' upP conMconfid 296 enee and ease. A LTHOUGH MUSIC IS A UNIVERSAL lan- Music guage, each nation approaches it in terms and Culture of its own distinct psychology. Thus, in presenting my personal views on piano study, I am conscious of reflecting French study methods, as well. The French really envisage piano study in terms of two goals, one within the other. The larger, more extensive goal is music; the smaller The Place of Technic goal, included within it, is technic. Technic is never to be looked upon as the ultimate purpose of study; yet, it is so necessary to the making of music (which is the purpose of study) that it assumes considerable importance. Hence, with- in Music Study out losing sight of the place of technic in the larger scheme of music study, we French place A Conference great value on technical studies and devote much with time to them, thereby achieving an ultimate freedom difficult to obtain otherwise. The first step toward technical progress is the

j£U Distinguished French Pianist and Composer

Secured Expressly for The Etude by RQSE HEYLBUT

attention to the fact that, while the ruins tone. It should always be remembered that key of C major is the “easiest” to read, a beautiful tone is one of the greatest assets to because of the absence of sharps or the successful artist. flats, it is not necessarily the easiest The acquisition of strength and speed leads, to play. Chopin himself preferred the eventually, to the making of music; in itself, it key of E major, is quite unmusical. It is entirely gymnastic, or pointing out that mechanical, and for that reason should be ap- the way the hands proached apart from music as such. I do not fall in striking E, believe in practicing technic by selecting a F-sharp, G-sharp technically difficult passage from some major and B affords them composition and working on that. The student the most natural should acquire technical mastery over the prob- piano position, the lem as a whole before applying his knowledge to slight lift involved any one manifestation of that problem. For ex- in striking the two ample, it is a mistake to use Chopin’s Etude in sharps correspond- G-sharp-minor as an exercise in mastering the ing exactly to the sheer technic of double thirds. The process must natural arching of be reversed. The student should have worked at the fingers. An- the entire problem of double thirds, in all keys other good posture and rhythms, for years, before he is ready to exercise is to place attempt this etude. the hands in cor- A technical foundation must be acquired in its rect position on the (Above) M. and Ma- own right before it can properly be applied to dame Casadesus with notes of the dimin- musical interpretation; and the surest path to their two sons. Madame ished seventh chord such technical foundation lies through Casadesus is also an the tra- (C, E-flat, F-sharp, ditional accomplished pianist. system of scales and exercises. Nothing A, C) and to play (Right) Robert Casade- can take their place. Every piano student, re- this chord as an ar- sus at the keyboard. gardless of his degree of advancement, should peggio, first slowly devote a fixed proportion of his daily practice and then with in- hour to the sheer gymnastics of technic. correct posture of The creased speed. little beginner, hands. who practices no more than thirty the The Again, the point at minutes a day, should early be trained to spend “correctness” of which the acciden- ten of them in scales and exercises. posture derives, not The ad- tals occur corre- vanced student, rigid who works upward of four hours from rules, but from years of observing the of natural hand posture, sponds to the needs a day, should devote at least one most comfortable and the most full hour to practical way to thus aiding the acquiring of comfortable facility. scales, exercises, and formal best technical studies. play. The posture is the one we call After the hands have formed the habit of cor- Actually, such a division of time accomplishes “Chopin’s position.” It consists in holding the rect posture, they must be made strong and more than the mere strengthening of finger- hands immobile and relaxed, with the wrists flexible. The development of strength, or force, muscles, important though this the wrist is. In addition, it flexible, and knuckles level, and the may be greatly facilitated by attention to the aids concentration and self-discipline. Technical fingers arching downward from the knuckles in way in which one plays. Never play from the drill is neither musical nor pleasant. fashion, It is harder a rounded so that the cushioned finger- shoulders. Indeed, the source of strength that to concentrate upon it than on playing tips seem to “look down upon” the some keys. If wrist lies behind the heaviest chords should never go lovely work, from beginning knuckles are either too high to end, enjoying or or too low, fatigue beyond the hand, the wrist, and very little a (less melody and harmonies as one goes along results and, with it, forced, harsh tone. Yet than half) of the lower, or forward, forearm. If this very enjoyment himself tends to take the keenest Chopin is said to have perfected this the source of strength is allowed to go beyond edge from self-criticism. I am by posture, and the enormously difficult no means im- technical that—into the upper forearm, the elbow, or the plying that the student should not enjoy feats he was able to perform attest its value as a shoulder resulting his —the sound is harsh, instead work. Far from it! But a limited basis for sustained playing. Further, Chopin time of concen drew of forceful, and opens the way to fatigue, which trated and critical technical drill, quite regard

MAY , 1941 297 1 V — . Pischna, and fifths, re addition of studies such as those by with its insistence upon thirds and and Culture the start of Bach “Inventions.” After the third Music quires the same depth of touch as one of the the student’s individual needs should gov- calmer “Intermezzi" of Brahms. Again, a technic year, course of study. Every student needs the Chopin is very different from the ern the applicable to the pleasure value, provides the very dis- the drill given by the studies recommended for less of its one just mentioned—yet quite similar to ap- makes music study valuable. can first three years; after that, no set system is cipline that proach to' Debussy. Scarlatti and even Haydn do the drill of exercises, I am advisable. Only the developing needs and abilities Advocating as I be approached with the light, volante technic we the means of adjusting sheer of the student himself can now gauge the direc- often asked about associate with the sound of a harpsichord. But precision to the re- take. The founda- technical, or mechanical, Mozart cannot! He requires a depth of thought, tion that further study shall or interpretive, playing. during those three preliminary years quirements of musical, tenuto quality, both in concept and technic, tion laid fingei a of the plan of study, we have style. In French, should start the student upon the bridge between At one end that is comparable to no other thoughtful musician- and the larger, gymnastics; at the other, that we approach Mozart as though we the smaller goal of technic to we say is a bridge constructed ultimate goal music-making. ship. How and when were playing on eggs; too heavy an approach will of technical facility does not join them, so that break the eggs; too light an approach will sound musical interpretation is sound mechanical, and precieux and meaningless. Such interpretive con- inadequate finger-work? not defeated by siderations are so intimately bound up with cannot rightly confine the latter Silent Practice with Musical technic that we to Merge Technical Facility How to a mere matter of facility and speed. Interpretation An Aid to the Soft Accompaniment Touch And yet facility and speed must come first in parts; first, of in- This bridge is constructed of two order of study! For the first year study, B, ,•« _Jciijlor exercises to be f 3 RatL the progressive difficulty of the deed, they dominate the scene. For the early progressive advance- played, and, second, the years, I recommend the following plan of study. In playing certain types of compositions those thought. At the ' ment of the student’s musical First year: scales, arpeggios, held notes; easy in which the melody should stand out clearly and ex- very beginning, the student plays scales Czerny studies; also, studies from a collection above the accompanying harmonic structure applies the mechan- doigts" (“Finger ercises As he advances, he such as “Le rhythm des the main difficulty with the inexperienced per- to such formal and the simpler little ical principles of his exercises Rhythm”) by Stamaty, former lies in securing the proper balance in Moskowski, studies as those of Czerny, Kullak, volume of tone between the two parts. “Silent of Chopin Kessler, and the like. “The Etudes” Practice” is of inestimable value as a direct and though they aie are not to be included here, for, in China immediate aid in the acquirement of a soft ac- difficult than most Church Program called studies, they are more A companiment touch. prac- compositions and should never be used as Sections of pieces that are to be studied, call- from a period tice drills. When he has emerged ing for subdued accompaniment, will provide himself in possession •V W * 49 ... of studies, the student finds material fully adequate for silent work in prepa- their application to of technical principles plus ration for the soft accompaniment touch. The continuity * 111 » sn the rhythm, phrasing, precision, and finger tips, in well curved position, should rest way, then, he builds of musical ideas. In such a * ffi K ft « If lightly upon the keys, and no sound should be repetitive exer- the first step of his bridge from allowed to escape as the keys are depressed to after he has cises into musical thought. Only the full depth. a few Till: DWSPRISG practiced exercises in double thirds, and At each practice, after the silent work is done, third application of double (v. r-Iv.ii.in .m l H. Alexander Matthew*) formal studies in the |. it is well also to have the tones played with the student ready for the Chopin softest possible tone. (Note the words, “softest technic, is the : I.’.f-f /.? ?:5 • mx I-/VB 1

G-sharp minor. in; of christ Sh 1 (w-Paris Conservatoire during T(h ° but to determine the type Chopin’s life- W rk ’ A short, well-planned prac- no? only to perform, tice each a of the composition time, and enjoyed the admiration of the y Wl11 serve the style great ’ not safeguard required by * only as a technic composer. He deserves to against be better known. Second hpping back uit before hirm ° «« rut, but at a more advanced year: scales, exercises, continuation of the : eal use arrives studies and lasting efficiency in the Whenwnen already begun, plus Of the . technic he wlu fln(j that new exercises—like the “Ex- soft accompaniment consideration.der of touch. together. ercises Preparatoires” by I. X I y bound Philipp, 0r and style are the sty^ each composer has system of velocity by Hanon, which 'his hidivid? a'i serve the Through' needs of the growing hand—and a 0 and *e further work in movemtm contro1 01 the body, not the easier “Preludes" of Bach. !T{ Tnthe b Third year con feet, make a dancer; coordinSy in B-flat minor, tarnation and review of preceding tion snirf ? LS?f delude work, with 1 ° f the body the noises e, the th? > not For— ' at I ert ’ make a singer .—Francesco LamV 298 THE ETVtf —

Music and Culture

Sidney Lanier:

Poet, Man and Musician

(j3ij Cjuslciu emm

"Music Is Love in Search of a Word"—Sidney Lanier

HE WAR BETWEEN THE STATES still goes gether they sang their way out of the world of on. The struggle has narrowed down now war and into the land of dreams they both knew T to only two States, Georgia and Maryland. so well. A valiant battle rages within their confines While serving as a signal officer on a blockade a war of love, as it were—over the Life and runner, the twenty-two-year-old Lanier was Works of Sidney Lanier. captured and sent to the prison at Point Lookout Georgia, his native state, served as a base for in Maryland, at the confluence of the Potomac the activities of the first thirty-one years of his River and the Chesapeake Bay. Here the delicate life, from his birth at Macon on February 3rd, Lanier spent nearly fou:* months under pestilen- 1842. But these were tentative, formative years, tial conditions that make the death-rate of fif- and the real Lanier, the Lanier we know to-day, teen to twenty daily readily believable. But SIDNEY LANIER IN HIS EARLIER YEARS through it all—a description of The poet was fifteen years old and was already distressing days may be these manifesting his talent. The picture is loaned to THE found in his first and only novel, ETUDE by the Johns Hopkins University Library of “Tiger Lilies”—Lanier dreamed his Baltimore. poems into being and made trans- lations from Heine and Herder. was to prove fatal only sixteen years later, and Many of Lanier’s fellow prisoners to rob not only Georgia and Maryland, but all have written of the cheer and com- America, of one of its sweetest singers, one of fort he brought to their dismal, the first true poets to emerge from a land laid disease-laden surroundings during waste. the hours he played upon his flute The Restless Spirit Wanders which he had smuggled into prison After trying his hand at teaching and the law, by hiding it up his sleeve. One of not to mention a period his improvisations was remembered as night clerk at a by the young Virginian, John Bani- hotel in Montgomery, Alabama, Lanier turned, his eyes northward, to that glamorous land of large universities and libraries, symphony or- chestras, famous people. This singer of songs was eager to try his wings. As John Saulsbury Short tells us in his excellent monograph, “His scant equipment, when he set out, was an antiquated flute, a few poems, and open-eyed ambition.” His original destination was New York, but he (Above) Sidney Lanier's Home at Macon, Georgia. (Right) got no further than Baltimore. It was in this Sidney Lanier's Desk at Wesleyan College, Macon, Maryland metropolis, Georgia, where Lanier lived. Standing beside the desk housing both the Peabody is Miss Ida Stephens, a graduate of the class of 1940. Conservatory of Music and the Johns Hopkins Miss Stephens is the great, great niece of Alexander H. University, that Lanier spent the rest of his Stephens, vice-president of the Confederacy. days. Both of these institutions, their fame brightened by the association of this poet-mu- came into being during that pathetically brief sician, are becoming increasingly proud of the span of eight years which followed his settling in honor brought both to them and to Baltimore Baltimore in 1873. It was in those last eight years from the time of his arrival in September, 1873 of his life, in Maryland’s largest city, that he until his death, at thirty-nine, in 1881. wrote “Sunrise,” “The Marshes of Glynn,” “The On that famous trip north Lanier stopped off of his to play the flute Symphony” and other major works. And so for Asger Hamerik who, as di- Georgia and rector of the it is that Maryland do battle to Peabody Conservatory of Music honor one of their most illustrious and famous was busy with ambitious plans for a large Pea- figures. A gentle smile must break through his body Symphony Orchestra. The discerning Dane great beard as, perched on some distant Par- was enthusiastic over Lanier’s playing Lanier contemplates this friendly nassus, he struggle ster Tabb, who first heard it while lying in bed, had had only a few lessons worthy of the name— and adopted states. between his native ill with fever. Many years later, Father Tabb, and spoke very encouragingly. That night is no stranger to war. This gallant then tune on to Lanier wrote his wife, Lanier a well known poet, passed the who had remained at gentleman, armed with a flute and the Edwin Litchfield setting of home in the Southern Turnbull who made a South until the young voyager coulu a poet, served through nearly four years it, later published under the title, A Melody from find a safe harbor pen of that promised shelter for his Civil War. On the march or in camp at Lanier’s Flute. family: “It is therefore of the a possibility that I may when cares were light or heavy, Lanier When Lanier finally emerged from Point Look- be first flute in the night, Peabody Orchestra, and so turned to his beloved flute, and to- out, he had already contracted the disease that we might invariably dwell in the beautiful city among the 1941 MAY, 299 —

Henry L. Mencken ‘Take this to her and tell her that elaborate compositions at first sight Music and Culture adopted sons. marked the resemblance many years it is fresh from the mint.’ It was ’A is a marvel to all who have heard the great libraries and midst of the ago when, writing as “Free Lance” Ballad of Trees and the Master,’ just him.” He then goes on to praise music, the religion and the art that in The Evening Sun of August 1st, as we have it, without erasure or melodies of Lanier’s music, “so full we love—and I could write my books, 1913, he had this to say: “Both were correction.” of the coolness and freshness of the and be the man I wish to be. I do Southern born; both found oppor- Many famous composers—H. Alex- woods.” thank God even for this dream.” tunity in Baltimore; both died here. ander Matthews, Daniel Protheroe, In a day when the music of Wag- The dream came true, and Lanier The verse of each is confined to a George W. Chadwick and John Al- ner was still caviar to the general, Carpenter, was made first flute of the orches- single volume of moderate size; each den to name only four Lanier liked the strange, new music tra. As for his playing, we can do was distinguished as a daring and have made settings of this famous of Richard the First on his initial no better than to quote Hamerik, iconoclastic critic. Poe died at forty; Easter lyric, using either its title or encounter. He returned to his rooms were its first line, “Into a distinguished musician and com- Lanier at thirty-nine; both the Woods My after a concert in New York, on poser of real ability: “In his hands given resting place in death by Master Went.” It is also found in August 15th, 1870, and wrote his the the flute no longer remained a mere strangers. Both labored manfully “Methodist Hymnal,” Hymn wife: “Ah, how they have belied material instrument. Its tones de- against infirmity; both tasted the Number 132. Wagner. I heard Theodore Thomas’ veloped colors, warmth, and a low most bitter poverty. And both have orchestra play his overture to “Tann- Composer as Well as Poet sweetness of unspeakable poetry. He been the victims of that flamboyant, hauser.’ The Music of the Future is While Lanier’s would magnetize the listener. I will sophomoric, parochial over-praise poems have been surely thy music and my music. Each set music never forget the impression he made which passes for criticism in the to by a number of com- harmony was a chorus of pure aspi- posers, he himself did a bit on me when he played—his tall, South.” of corn- rations.” Such discernment at that at the peak of posing. The fiist composition bearing handsome, manly -presence, his flute This was written time was as rare as it was keen. his name as author and breathing noble sorrows, noble joys. a campaign to erect a suitable me- composer When Lanier thus tilted his pen as was called Little Ella,, a “dated” Such distinction, such refinement! morial to Lanier whose grave in ditty a lance in defense of Wagner, he had Baltimore, of frankly sentimental appeal, writ- He stood, the master, the genius!” Greenmount Cemetery, in no idea that six years later they ten for a young lady, Miss In 1879, two years before his death, had remained unmarked since his Ella would both be important figures in Montgomery, of Montgomery, and after a period of procrastination burial there in 1881. Frederick R. Ala- one of America’s greatest celebra- bama, who befriended him on on the part of the Board of Trustees Huber, who has since become direc- the tions. This was the Centennial Ex- Baltimore, boat that bore him down the Chesa- of the Johns Hopkins University, tor of municipal music in hibition held in Philadelphia in 1876. peake Bay from Point Lookout Lanier was finally appointed as lec- was active in- the agitation which Wagner wrote his “Centennial In- the prison to City Point, Virginia. turer in English literature, a post finally attracted the interest of auguration March” especially for the When Lanier had his try-out for for which he had prepared himself press. Considerable prominence was occasion. Lanier, for his part, wrote Hamerik, he played his own Field- by intense self-application during given to the appearance at McCoy the words of a cantata, “Meditation the cam- Larks and Blackbirds. One of the few his Baltimore years. Hopkins is just- Hall, as a speaker during of Columbus,” which was set to mu- settings Lanier made of the poems of ly proud of his “Ode to the Johns paign, of Dr. Edwin Mims, of Van- sic by Dudley Buck and performed other writers is his setting of Tenny- Hopkins University” which ranks derbilt University, author of the first at the inaugural ceremonies on May son’s “Love That Hath Us in the high among poems of this type. A definitive biography of Lanier. The 10th. The orchestra was conducted Lanier’s brilliant Danse Lanier Alcove has been arranged in hall was crowded, and there was Net.” des by Theodore Thomas. Moucherons is an attempt to describe Gilman Hall which houses the uni- music consisting of some of the The waters of history have now a swarm of gnats into which he and versity’s large library. Gradually, more celebrated settings of Lanier closed over the agitation that waged brother Charles wandered, early under the friendly guidance of Dr. poems. The upshot of it all was that his in the press over Lanier’s poem on a warm morning, in the summer which, John C. French, Librarian, a collec- to-day his grave is suitably marked foolishly, was published in of 1872. While Lanier often referred tion of Lanieriana is being gathered with a giant boulder of pink gran- advance of the performance and be- to this humorously as his “Gnat fore the together which is second only to the ite from his native Georgia. The public had heard it along Symphony,” it remained for Gustav family’s archives. boulder bears a bronze tablet on with the music. But, at the time, Strube, teacher of composition at the which is included this inscription: there was a great “to do.” Lanier’s A Memorial Room Peabody Conservatory of Music, to poem was not at all what many peo- “I Am Lit With The Sun” full-length work known as Just recently a Lanier Room has write a pie expected. As always, he was ex- Lanier Symphony.” been opened on the second floor of a line from one of his greatest “The perimenting with words and forms It is unfortunate that Lanier did and Gilman Hall. Overlooking the broad poems, “Sunrise,” written during his making the way easier for that not live to write the music that green campus, this large, square last days, when suffering from a other exultant American Walt Whit welled up within him. That he had a man. tower room, directly beneath the fever that hovered almost constantly The success of the perform -meo students one hundred and four de- great gift is attested to by all those vindicated huge clock that brings the around' all of Lanier’s pioneering classes, with a real sense of appreciation who theories. for their various grees. The , on time huge udience, soloists7 beauty that Lanier heard him. After a concert in Brook- ,.i , centers about the formidable Vic- Writing of the cl’oms stamped and his lyn, in November of 1873, he received S. cheered. desk used by the poet for seemed always to bring out of Wiote Daniel torian Coit Gilman, president contrap- and suffering, we are re- a note from Alice C. Fletcher, that J is a strange sorrows , many years. It P nS UniVerSity ' distinguished ethnologist ' Lanier several dozen minded of the conditions that sur- who de- had tion, in walnut, with wCied•" it voted her life to the was an opportun- secret rounded the creation of “A Ballad study of North it-v nf r, i-*'.. small drawers, pigeon-holes, ™e t0 Master,” one of his American Indians. Wrote test uPon a grand sliding panels. of Trees and the Miss seme h , * compartments and heory of famous poems. It was written Fletcher: “Your flute gave me that vel’se. He had When the desk was opened, some most come off victorious.”t time when for which I had ceased to months ago, one of the compart- in November of 1880, at a hope, true and unable to American music, and ments yielded several manuscripts, Lanier was quite ill awakened in A Victorian 1817 North Cal- my heart a feeling of Quiz- - fragments of compositions by Lanier. leave his house, at patriotism that *. morn- I never knew apt of vert Street, in Baltimore. The before. When Swamp to think that quizzes A number of Lanier’s books, many arem,”® , brought a letter from a Robin (one of Lanier's USlve his letters, a dictionary he used, sev- ing mail compositions) That u Product of our time, ill, offering Lanier a came upon the wings 18 not th eral chairs and a table—all these and friend, also of melody I e case is evidenced friend found bv » r Lanier Room bottle of new tonic which the worship in my native °f questions more—will go into the Landu JV1 ? and answers help. While it was out and Tongue.” Siven to Mrs. which will further contain a vast had found of Lawrence Turnbull bV Lanier to get the Adelina ^mer’s available to of the question for Patti, in a widow. It - amount of memorabilia slightly ex_ seemJ tha t dul medicine, he did not want to appear 0 0d 7 °’S students. Incidentally, one will enter ' 0nCeWr0teo£Lanlei ’ a ': number of Baltimore actual unappreciative and so, although the ' H7?evearHe leveals tot me Parlors1 18 were the Lanier Room through the a world of F*! heightened bv “young bad, he asked Mrs. Lanier soul ? a door of the poet-musician’s former day was 1 aib make the trip. She writes; “As hTh Baltimore home located at 33 Den- to y USiC ^ C°‘ltainedr” smeu ^ a ques- number of I went to change my house dress for Rolaim Men musty tkim mead Street (later 20th Street), ^ th6n y0Ung one, he began to write music <*- ^^men who paid since make way for a a warmer on tic o the New v u vSS w torn down to ® them- I Jimes, had to a sheet of paper. had been gone to say:sav ‘ this ““ answer parking lot. He iT a ul “ thoroughU Paid a caI1 dul- Lanier paral- from the room perhaps fifteen or florid style, master of °he evening, The career of Sidney exeonTn^Tf„L inedg fltho winter of Edgar twenty minutes. When I came back liant brU~ of 1874. His answers lels at many points that passages -with t handed me the paper, the utmost ® Victorian 10 . quiz Allan Poe, another of Baltimore’s he saying, and grace. •” SaSe . . are found, His facility pan, below. reading Space permits us to list t Continued 300 on Page 342 ) Music in the Home

Music on

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end of March the noted gesture toward them is the program, “New violinist had to leave on a American Music,” a symphonic series designed to concert tour, which is to bring before the country’s listeners the best take him as far west as creative efforts of contemporary composers (Tues- Hawaii. Looking back at days—10:30 to 11:00 P. M., EDST, NBC-Blue net- the Szigeti concerts, it is work). Mr. Black tells us that, in keeping with difficult to remember when the theme of the program, “music of, by and for we have enjoyed such a Americans,” listeners will be invited to write let- series; and we feel cer- ters of criticism after each broadcast. The best tain that in this many of letters, favorable or unfavorable, on the program our readers will agree. as a whole or any part of it, will be subsequently Mr. Bennett is one of the most distinguished of “Russell Bennett’s Note- read on the air. Besides presenting first perform- American experts in orchestration, apart from his book” is back on the air ances of worth while new works, Dr. Black says reputation as a composer. His "Russell Bennett's Note- during the time that for- he will give second and third performances to book" is one of the del'qhtful musical features on given to the works which the radio the air. merly was he and audience feel war- Szigeti concerts. As before, rant further hearing. Third performances will this program presents a largely be determined by the letters received. In URING THE PAST YEAR, there has been a free expression of Bennett’s musical ideas; and, this way he hopes to be helpful in perpetuating number of shifts of radio programs on very as before, he acts as his own commentator be- new works which might otherwise be forgotten following their premieres. D short notice. And so, if, at any time, we tween numbers. Most of the music on this pro- This broadcast seems write glowingly about a certain program and gram is Bennett’s own, although occasionally he to us a further testimony to Black’s pioneering- then you find we’ve seemingly gone haywire, give performs the works of other contemporary Amer- spirit. In his years as NBC’s general music di- us the benefit of the doubt and refer to your ican composers. Mr. Bennett at all times con- rector, he has been instrumental in introducing newspaper. It may be that the program in ques- ducts the orchestra. The latest news on the countless works by the rising generation of tion has been shifted to another time period, or Bennett show is the composer’s promise to pre- American musicians. it may be that it has been replaced at the very sent a new series of “Music Box” operas. It will The promise of second and third performances last minute. It so happens that, several months be recalled that last fall he introduced to his to works previously heard on this program will ago, we waxed very enthusiastic over Russell listeners his “Music Box Opera No. One” based of course greatly help in giving listeners a fuller Bennett’s Notebook, but just about the time one on the old song, Clementine. These “Music Box” idea of the composition’s worth. Samuel Chot- of our write-ups on this unusual show appeared, operas are a novel form conceived by Bennett. zinoff, director of the music division of the NBC. the program of this American composer had In them he develops an entire one-act opera points out that this broadcast will be an experi- changed to a half hour recital by Joseph Szigeti within the framework of a traditional American mental one, and therefore “will only be continued and the WOR Symphony Orchestra, directed by folk melody. By way of opening the series at the as long as we have the help and sympathy of Alfred Wallenstein (Mutual network—Sundays, end of March, he gave us a miniature grand listeners, no longer.” Since the interest in Amer- 7:00 to 7:30 P. M., EDST). Now, there’s no ques- opera based on The Man on the Flying Trapeze. ican music has grown by leaps and bounds dur- ing tion that Szigeti’s programs were among the the past year, we feel certain that the help New Opportunities for American Composers most important musical series in the history of and sympathy of listeners will be widely mani- Mutual’s New York station, WOR. It may seem Russell Bennett should hardly need an intro- fested. And, since this is a distinctly worth while strange that such an important event was not duction to our readers, but just in case some program, one of America for Americans, we urge our announced far enough ahead for us to speak folks are not up on their American composers, readers to contribute to its success by writ- point out that he is one of the ing in about it sooner. But radio is wholly unpredict- we would like to upon occasion and telling those who versatile. In the theatrical sponsor it able. After all, the engagement of a noted artist country’s most and what they like and what they dislike known and Spring is like Szigeti may not be arranged far ahead, for a movie world he is widely much ad- the season of the year for planting- number of reasons. It could be that the artist mired for his brilliant orchestrations of such gardens. Maybe you need some expert advice on “Panama Hattie” and “Show gardening. If might have concert schedules which would have musical shows as you do, turn your dial to Tom Wil- fit the time for Boat.” And also he is considered by many to be liams (Columbia network, to be altered to the broadcasts; Saturdays, 10:30 to concert music. 11 A. M., EDST). or, as was presumably the case, the artist might an important composer of In his broadcasts,’ the “Old Dirt be on a concert tour and unable to complete the Frank Black, general musical director of the Dobber”—as he likes to be called—answers contract to the satisfaction of all concerned until National Broadcasting Company, has long been questions from listeners in all parts of the coun- one of a dozen great friend of American composers. His latest try and makes he returned. Any things could a nominations for members in the have prevented advance news, or rather news far “Order of the Green Thumb”—that organization to make copy in for enough in advance a musical gardeners with a magic growing touch. “The periodical of The Etude’s importance. We did early bird gets the worm, and the early gardener hope that the Szigeti concerts would be con- RADIO gets the plants and flowers,” says Tom. Around during the spring season, but toward the the end of March tinued he was ( Continued on Page 353) 1941 MAY, 301 Music in the Home

\HBV FINEST RECORDING of a Toscanini performance yet made with the NBC Sym- Recorded Musical Art Tphonyn Orchestra is to be found in the Vic- tor Set (M-740) of Brahms’ “Concerto No. 2 in B-flat major, Op. 83” for piano and orchestra, in which the conductor’s noted son-in-law, Vladi- Kj Peter l^eecl mir Horowitz, is the soloist. Fortunately, for all concerned, this recording was made in Carnegie Hall, New York City, rather than in the studio The best of the work lies tion, so well from which the orchestra broadcasts, where the 747) is most welcome. recorded in Victor Album M-744. first three movements; and one of these, Those who have not already tone is often shallow and harsh. The superb co- in its acquired a set a la Tedesca—is among the of Beethoven’s ordination of the pianist and the conductor in the second—marked “Symphony No. 6” (“Pastoral”) will most gracious lyrical utterances. do well to hear the Bruno this set raises the old question of whether this composer’s Walter-Vienna Phil- the German than the Polish harmonic Symphony work can be rightfully regarded as a piano con- There is more of version along with the this music, but the fact that the final Toscanini-B.B.C. Orchestra certo or a symphony with a featured piano part. flavor in performance. For movement is in the style of a polonaise has Walter’s performance shows a rare In truth, it is something of each—a work that understand- Superior recording makes ing of the its dual prompted its sobriquet. romanticism of the music his demands incomparable virtuosity from ; and to an earlier, though perhaps set (Victor G-20) offers protagonists. Twice before has the concerto been this set preferable a fine example of the reading by Albert Coates. taste and musicianship recorded, and although at least one of these more brilliant, which has distinguished issued a “Sibelius 75th Anniversary his conducting for years. previous sets—that of Schnabel and Boult—had Victor has as a tribute to the composer. The three The last conductor recording its admirable moments, neither had the flow Album” a standard work recorded are Finlandia, The Swan is apt to have the final and drive of piano and orchestral parts that is compositions word these days, as far Lemminkainen’s Homeward as reproduction apparent here. Brahms’ second piano concerto of Tuonela, and goes. This is borne out by the Journey, all played •recent issue of Mozart’s delightful is perhaps more read- miniature by the Philadelphia symphony, “Eine Kleine understood than Nachtmusik” (Columbia ily Orchestra under the Set X-187) , which is played his first; since the by Felix Wein- direction of Eugene gartner and the London Symphony musical thought is Orchestra. Ormandy (Album M- Weingartner’s performance is less complex. And marked by a fine 750). There are sev- feeling for good phrasing even though the first and geniality, but it eral fine recordings does not exceed the high movement is some- standard of Bruno of Finlandia (notably Walter’s previous what involved, the performance (Victor set M- the Beecham and the 364) . Only as recording the work is does it top the other set. form of ones) but Rodzinski , Howard Barlow and the clearly worked out. Columbia Broadcast- none is more cleanly ing Symphony give a brilliant The Scherzo is de- and colorful ex- performed and re- position of Dvorak’s delightful lightfully capricious Carneval Overture corded than this new (Columbia Disc 70739-D). slow Not only is this an in rhythm; the per- excellent one. Ormandy’s performance, but it is a most impres- movement is poetic, formance of The sive and sonorous recording. serene, and lofty and flows Mozart’s Siuan of Tuonela Serenade No. 10, in B-flat, K. 361 (for the finale, is music of more smoothly and Thirteen Wind Instruments) is a work as unique sheer enchantment. hangs together better as it is impressive. Written at a time when he It becomes increas- than either of the was composing the opera “Idomeneo”, ingly evident of late it shows previous issues; Lem- greater strength and variety than that without the type any work of minkainen’s Home- its genre that he wrote. Edwin of realistic reproduc- Fischer conduct ward Journey is pure ing his Chamber Orchestra, tion we have been gives a good account descriptive music, ot this music m Victor Album given in the past two M-743 Not all of similar in formula to the work is played, a first or three' years, a per- minuet and a romance Wagner’s Ride of the being omitted; but there formance of a major is more of the some Valkyries, but Sibelius 118 orchestral work can ^ provides more con- on otherwises! prove unsatisfactory — trast and color and a A “Paderewski excellent Golden Anniversary despite an Album" 11 more imposing cli- mains more a 7 interpretation. Noth- sentimental gestur max. Ormandy gives of the sponsors the part ing, in our estima- VLAD'MIR HOROWITZ (Victor Album'’-- 148 ' a brilliant perform- PTPflgreatf. orflofinartistic A. . than tion, illustrates this Noted Concert Pianist and Recording Artist one. For Paderl,!? • ance this WaS not 1 better of work. his prime when he mademaue contention — - anyanv 0ofT^’f Aaron Copland’s and without thesese recrecordings,°rdings, than the set of being at all „ V 40” Artur Rod- “Music for the Theatre”, composed in 1925, is an honestly °“inB must be Strauss’ “Ein Heldenleben, Op. by 81X1 ,1 n the Cleveland Orchestra (Columbia excellent example of the way many American m offered here, zinski and 1 ““ Here we have a reading that has composers were writing at that time. Music for mtoor^K. u> in A Set M-441). Tn^be01111 be procured full understanding of the theatre means music of entertainment; and performances. better la ed thrust and drive, and a In ourAstiW “i P ^ reproduction is lack- Copland’s music is derived from many sources. given n Paderewski has Strauss’ intentions. But the finer performances instrumental clarity, and when compared The influence of jazz, for one thing, dates the records than of° her works on ing in those selected Ormandy-Philadelphia work to-day. There is much of the i aspect to the Stravinsky thls sltam - from this Rachmaninoffs “Suite be desired. of “Le Sacre du Printemps” in this music. ”’ Orchestra set, it leaves much to But lor two pianos Fantaisle) °P- 5 in D major, side by side with passages of jazzy is a vouthfPth Tschaikowsky’s “Symphony No. 3, implications more tul W01*. which is attractive for its . “Polish’ is a woik and marked dissonance come f° called , others of “ On 29” commonly great lor its melodic figurations tha qualities of the fifth and poetic beauty. The work is ingeniously content frpp from the morbid scored work to a highly difflcu,t less skillfully perform True, it does not have the vi- but worked out from a ™ VrnnLsky sixth symphonies. standpoint Album M-741 °? and Babin, in Victor the fourth but it has a of form than Copland’s more recent ve tLnty of its successor, music formanee and offective per- skill. Howard Hanson of of feeling, invention and and the Eastman-Rochester 'thiiT distinctive charm realistic; said, Symphony but the t. : effective, as one writer has Orchestra do justice to this record It is far more composi- surfaces from symphonies by other smooth. are far than many over-played as well as the tact aP T 01 For this reason, OheenistsS ' composers rations,t^ l ! alone know oI the inn0 Performance^ "that”*P*ahm“^Fabl° that the oerfn,.™ Ca salsals has brought to the the performance • '"‘f records of "huT lnst W album M- tion ™ment. By the introduc- s“mphony Orchestra (Victor of violin « National 6 and he revolutionized theTT" bowlnS’ he tech- 1 ( Continued on Page 341 302 THE ETUDE Music in the Home N THE BELIEF that the preferences of mu- sically aware motion picture audiences can I do much toward raising the level of motion picture music, the editor of The Etude is launch- Screen Music ing a vote contest to determine which films, in the opinion of readers of The Etude, shall stand as “the best of the year.” Any reader may record his vote. Films are to be judged solely in terms 2)„nJj artin of their musical value. Two classes of pictures n will be included: first, musical pictures, in which music is an integral part of plot development; and, second, dramatic pictures with incidental United States. He is the second presidential son during each broadcast. All the telephone books music, in which incidental music occurs. in American history to hold such a post, his only of the country have been bound together in vol- The contest will extend from April 1st, 1941 predecessor being the son of John Adams. umes of five hundred pages each, and the first to October 31st, 1941, and announcement of the While recuperating from an illness, Mr. Roose- spin of the wheel selects the volume from which names of the winning films will appear in the velt went to California and had a look at Holly- the evening’s choice is to be made. The second December issue. The producing companies of the wood. As the guest of Walter Wanger, he made spin selects the page in that volume, while the films which receive the most votes, will be the acquaintance of Samuel Goldwyn, who im- third spin indicates the numerical position of the awarded a certificate. mediately offered him the vice presidency of name on the page, counting from the upper left- Here is your chance to tell about the motion Samuel Goldwyn Productions. During the fol- hand corner. Then, while the Heidt band pro- picture music you want to hear, by expressing lowing year, Mr. Roosevelt served an intensive vides music, the telephone call is put through. your preferences in regard to the music you are apprenticeship, acting as liaison officer between If the number chosen answers, its owner receives hearing. We invite our readers to list their studio and sales departments, supervising the $1000. If it does not answer, the owner receives choices and to send them to: Musical Film presentation and distribution of “Wuthering $100, the other $900 being held over for the fol- Award, The Etude, 1712 Chestnut Street, Phila- Heights” in England, and representing Mr. Gold- lowing week’s broadcast. delphia, Pennsylvania. A post card will do to wyn in conferences. In December of 1939, the When “Pot o’ Gold” finds no one at home for record your votes. Goldwyn-Roosevelt contract was cancelled, by several weeks in succession, the value of the pot mutual agreement, and Roosevelt founded his rises by $900 leaps. It happened once that the own producing company. numbers called failed to answer for four con- Although the weeks between the “big” winter Although the first production of the new com- secutive weeks; the fifth winner, W. B. Conroy, season and the summer holiday period show a pany was scheduled as “The Bat,” from the of Jamestown, New York (who was at home!), Broadway play by Mary Roberts received $4,600—the richest single pot to date. Rinehart and Avery Hopwood, Miss Lillian Gantz, of Marietta, Ohio, took her Mr. Roosevelt felt dubious as to dog for a walk one Thursday, before the “Pot o’ his choice. “The Bat” had been Gold” call was put through. When she returned, picturized at least twice before; she switched on her radio just in time to hear also Mrs. Eleanor Roosevelt ad- Heidt voicing regrets that her number had not vised against it. James respects answered. Miss Gantz earned fame as the lady the judgment of his mother. who took her dog for a $900 walk. Accordingly, he heard the The popularity of the “Pot o’ Gold” program Horace Heidt band, at the Am- grows out of the chance of winning plus the bassador Hotel in Hollywood, charm of Heidt’s music, and the new film makes with something of an open good use of both assets. The plot concerns itself mind, and concluded that a pic- with a music-mad youth who comes upon a band ture might be built around of struggling musicians in the jolly professional Heidt and his radio program, boarding house run by Ma McCorkle and her “Pot o’ Gold,” which keeps tele- pretty daughter. He throws in his lot with the phone subscribers from going- boys of the band; sides with them when their out on Thursday evenings. He practicing annoys his wealthy uncle to the point discussed the idea with Heidt, of taking legal action; prevails upon his uncle to who listened attentively. Kay put new life into the radio program advertising Kyser, Gene Krupa, Paul White- that magnate’s products; works the band into man, and other band leaders the air show; earns the scorn of the pretty had entered motion pictures daughter who accuses him of exploiting the band with marked success, and Heidt for his own ends; and solves all difficulties by was eager for his own chance. becoming inspired with the “Pot o’ Gold” idea The upshot of the talks was which gives away $1000 of his uncle’s money that young Roosevelt shelved weekly, to the accompaniment of Heidt’s band. “The Bat” and announced “Pot The picture stars James Stewart and Paulette before slowing-up in the number of star releases, they o’ Gold” as his debut production—months Goddard, and features Charles Winninger, bring us one musical film of sufficient news in- he was sure of his story, stars, funds, a studio, Horace Heidt and his Musical Knights. George terest to make up for the deficiency. The picture or release facilities. All he had was a promising Marshall is in charge of production. Musical is “Pot o’ Gold” (Globe Productions, Inc., through idea and the services of Horace Heidt. numbers include Broadway Caballero, by Henry been in Russell; United Artists), and it marks the first inde- For some twenty months, Heidt had When Johnny Toots His Horn, by Cy pendent producing venture of James Roosevelt, the unique position of looking for people to give Heath and Fred Rose; Knife, Fork, and Spoon, radio eldest son of the President of The United States; money to. Since he began his “Pot o’ Gold” played upon musical glasses; Pete, the Piper, by the screen debut of Horace Heidt and his Mu- program, in September of 1939, over the networks Lou Forbes and Henry Russell; and Do You Be- sical Knights; the film adaptation of one of the of The National Broadcasting Company, he has lieve in Fairy Tales? by Vee Lawnhurst and Mack country’s most popular radio programs; and the given away nearly $100,000. Heidt found the clue David. Lou Forbes scored the picture, after ren- launching of closer Pan-American industrial for his program novelty in the fable about the dering similar service to “Gone With the Wind,” cooperation. pot of gold at the rainbow’s end. The winner of “Rebecca,” and “Made for Each Other.” It is the Mr. Roosevelt had some two years’ experience the weekly gift of $1000 is selected by means of first picture in which Mr. Stewart and Miss God- in motion pictures before launching his own a giant vertical wheel, which is spun three times dard have sung or played. productions. He attended Harvard but did not Although the film is typically American in receive his degree. After studying law, he en- character, it will be used as the high-spot of tered the insurance field, founded his own firm, Mexico’s first Motion Picture Festival, to be held it become first Administrative in Mexico and left to Assist- MUSICAL FILMS City from April 12th to April 15th. to the ant and later Secretary President of the by proclamation of t Continued on Page 347)

MAY, 1941 305 : —

Music and Study

Suggestions for the Singer

Emmett

NDicd Singer and Teacher

oreigners, as a rule, enunciate much el — era — en — pe — q\i — ar — es — te — ve — mu or cavity must be filled with whirling air to produce double —ex—wi—ze. This spelling of the alpha- results. more clearly than Americans. This is par- u bet often proves an eye opener. In correct healthful breathing, ab- F ticularly true of linguists, who generally the lungs The Italian language is probably the easiest sorb air as a sponge absorbs speak very clearly and, if well educated, have water, and they and most perfect to enunciate. The Italians have develop down and back. perfect diction. Americans, however, are often Therefore, as the dia- of more or less pouted or loose lips. Their facial phragm (a muscle) is careless in their speech, have little knowledge pushed down by the en- muscles are very active, which fact produces a larged lungs, the ribs the use of the vowels and seldom make an effort are pushed sideways not facial ease that reflects in their expression. To (laterally). It is amazing to improve. Perhaps this is because they do how few people know obtain this facial ease one must have a perfect anything about lung development; know the importance of the vowel, in enunciation. yet this proc- understand- coordination of the lungs, vocal cords, tongue ess continues throughout a lifetime. First of all, there must be a clear activity of and lips. “Correct” breathing is “natural” ing that enunciation is a matter of breathing. working to- It would be much easier for the young singer How do we know what is “correct?” a the lips, tongue and teeth conjointly Watch confused with to develop and maintain perfect diction, if the baby, your pet dog or your cat while gether. Enunciation is not to be they are words of his songs were divided phonetically sleeping. You will notice that pronunciation which pertains only to the speak- they “center” their according to the dictionary. For bieathing and Enunciation is a prob- rather than that the flow is easy and perfectly ers academic knowledge. example relaxed. This is “natural” because so few know anything about breathing and is what lem merely Better (for two Latin words that Correct we know as “diaphragm- it. The word comes from thus we have good diction) atic” breathing. mean, “to send out a message,” and distinct- im-age i-mage In singing, the to associate it with clearness and lips should come ev-er e-ver be To maintain this distinctness, the tongue kept in an oval (up and ness. mem-o-ry me-mo-ry down) must not be allowed to wobble about in the position, not spread by will-eth wi-lleth out toward mouth cavity, but must be held under control the cheeks. dwell-ing dwe-lling Thinking keeping the tip pressed gently against the lower O while singing tongue real-ly rea-lly any vowel front teeth. If one will observe how the on a low tone trav-el-ing tra-ve-ling middle C, for behaves itself in enunciating the vowels, he will instance last-ing las-ting will help to hold be conscious of the following results: the tone wait-ing wai-ting firmly forward. In forming the vowel A (the American vowel meet-ing mee-ting Now not the Italian) the tongue lies flat and wide in a word to those af- div-ing di-ving the mouth; for E there is a slight hump; for I, flicted with tight throats, for singer or little hollow will form The voice a husky it elongates itself, and a voice, or a voice so this hollow reader must vibrate high just back of the tip; for O and U thin and lacking in power and forward. By that we extends itself from tip to back, with_a much that it is tone to scarcely audible. the U. To perfect 6 and U, mean, driving the deeper hollow for These faults can be rem- must assume a the nostrils and upper lip always keep in mind that the lips edied to (not the bridge of the nose.) a great extent with pouting or relaxed position. The tip of the force there practice on this exercise: meanwhile, must be kept gently pressed The more breath tongue, Take the speak is, the more resonance will gamut, begin- against the lower teeth. Learn to sing or student will ning with middle Focus these tongue positions. The use result. If the C. the vowels with on the C This practice is bene- pucker the lips as for the with a close, round of a hand mirror will help. O or lecturer. vowel O and hum loudly, and in ascending the ficial to the singer, reader he will feel very decidedly scale broaden to The vowels are constantly mispronounced, not gradually often by congrega- the resonance back of the the sound at only by the individual but too of Ah until evince much ignor- nostrils (and again we say the top tional and group singers, who you have assumed Uppear for nostrils not nose) . This is tully ance in this matter. Thus one hears the Ah position. If the mAtenal, as it should be, but one will O is Appear shell for shAll, material, for started firmly, the tone for evil; to men- notice that much breath is will End for And, civOT for civil, evul not slip back into the glaring faults so commonly required to produce it. All tion only a few of the throat, in ascending the this prepares the voice or scale be sure to keep the on the O position; column of air to streak Tufvowels should be built hps on an “up and down statement that is quite contrary through the lips with suf- not on the £; a Miss Helen oval” position. Through the ficient force (breath) Traubel Prim,, r, idea, but none the less correct. back °onna to the general Metropolitan Opera o{ 'he jaw movement, train the lip muscles by of it to gain the needed re- " CComr, to strengthen the velopment ?*-• ot The trick is ha/b S’unusual corners of the 'mouth » of a pout, thus creating the sonance on the way. Re- past five years. during lhe somewhat ' keeping to spread chM115 This brings the voice for- sonance results from whirl- into the loose or relaxed lips. 01 Once this free- ing air striking the roof A voice may be high ward and prevents lip stiffness. of tow in pitch lips is understood and rightly the mouth (hard palate) and thus and range, dom of the gaining facial has everything within his or cheek resonance. Observe cavity: ere is but one resonatih” practiced, the student this high cavitv n! the roof , T the roof of the tones the tlie accomplishment. mouth with a hand vibrating mouth ’ KeeP mirT? or hieh , e s thrust the thumb ’ nd toil® into this space and T must not be fo ™ard. These the Consonants allm/d fto Likewise see that it goes to the first mouth, stay in the o£ Zt Ce that but must h T. back another study for serious re- this trolled Ven Consonants are by the Ls to the teeth and formed by the contact of the tip d the „„ rd These are °f course, we Up o£ tlle t0 the teeth and lip to lip. Every look should0Uld ”L.~ of the tongue with the never for a moment oV» us spell importn„ contains a vowel sound. Let VOICE does f the T consonant not appTy body P^ion. be-ce-de-ef-ge-aitsch-ia-ka- To tht h°® U'’ them out: dividual Should T smger alone. Every hipbones t0'S° weU set (pelvic) Th^Tnfhe ‘Ts't’10 306 ( Continued on Page — ;

Music and Study

thilde Bree has been given Leschetizky’s own en- dorsement; the other, by Fraulein Prentner, had Leschetizky Great? the tacit endorsement of its constant use in pre- Why Was paring the students who worked with her. That the two agree on many important points goes without saying. The gist of the methods of the famous Viennese Pedagog who A few of Leschetizky’s precepts will now be taught more eminent pupils than any other teacher since Liszt. touched upon. They were quite as revolutionary in his day as are those of our modern piano teachers who no longer regard the entire Les- chetizky approach as the proper means of win- ning finger “freedom.” The position at the key- board should be unconstrained, erect, like a good horseman on his horse, yielding to the move- Miss Leonard has presented, from time to ments of the arms as far as is time in The Etude, digests of the methods necessary, and at a comfortable of the great piano teachers in history. The distance from the keys. The el- following gives the high lights in Les- bows should be “neither too chetizky’s manner of teaching, although he close nor too far away from the always denied that he had a method . body, on a level with the keys Editor’s Note or very little higher. Not too high, so that the wrist can be easily bent downward; and not too low for “too low a seat com- HEODOR LESCHETIZKY, born in Austrian pels greater exertion, especially Poland, in 1830, began his study of the in forcible chords.” The posi- T piano at the age of five, and made his first tion must look well and not public appearance when he was nine years old. give the effect of a pose. His early instruction came from his father, who Special Finger Movements later took him to Czerny, in Vienna. He made the acquaintance of Filtsch, a pupil of Chopin and The hand must be arched, an excellent pianist, at about the same time that “rounded upward for strength.” he went to Czerny. And at the age of fourteen he The knuckles should be held so was widely known for his playing, both among high that three fingers of the dilettanti and among the artists who passed other hand may be inserted through Vienna. between the thumb and the Here he heard for the first time Schulhoff, who knuckle. The wrist must be was a friend but not a pupil of Chopin. Although kept on a level with the key, Schulhoff’s reputation seems to have rested that is, on a level with the el- chiefly on the brilliancy of his playing, Les- bow also. The fingers must be curved tips chetizky heard in him something different from so that the fall ver- tically on the keys. The the style of most players of the day and some thumb quality aside from mere brilliance. He heard a must be bent at the tip, play- ing singing tone which gave to him an entirely new with its edge, and must be held from the hand. ideal for his own achievements. He believed this away The tips of the fingers must quality to be due to more than “the perfect form a curve on the keys, one finger” which up to that time he, like most of his and five contemporaries, had supposed to be the most on a line, two and four on a line in front of them, and necessary and desirable element in piano technic. just three being extended furthest in the So he withdrew for a period from public playing Theodor Leschetizky with his famous American preparatory position new style for the piano, curve. This of knuckle, and set about acquiring a teacher (Vorbereiterin) Marguerite Melville Liszniewska. wrist and fingers varies some- a style which should express poetry rather than what in certain figures technical virtuosity alone. At the age of fourteen and “touches,” as will be observed he had already begun to teach, and he continued later presented in this discussion. for many years to hold a growing circle of pupils. this, another that; the hand of each differs; the as the of brain of each differs. There can be no rule.” And The principles of movement the fingers, production, are developed in His Career in Russia again, “There is but one part of my teaching that for tone a series of if like; and that is exercises. The finger which is to play is placed In 1852 he went to Russia, to play and to teach, may be called a ‘method/ you pupils to learn a without sound upon the key, and then the key and there he renewed his friendship with Rubin- the way in which I teach my the same way is depressed. This previous placing of the finger is stein whom he had known as a boy in Vienna. piece of music. This is invariably child.” called “preparing.” Therefore the first principle In 1862, when Rubinstein opened the Conservatory for all, whether artist or little analysis and is that of contact playing for legato the of Music at St. Petersburg, Leschetizky trans- This way consisted in a thorough sec- elements and spirit ond is “preparing.” ferred his class of pupils to that School and re- understanding of the musical the scope After some preliminary exercises, the in Russia until 1878. his of the composition. It would be beyond student mained His home and .” “method” or to en- proceeds to the “completed legato This class were there, but he played in all the cities of this article to discuss that requires personality by means the raising of the finger when its movement of Europe, and his fame continually augmented large upon the force of the is upon his students completed. That is, “in a legato exercise, his classes in Russia. In 1878, however, he de- of which Leschetizky impressed in slow interpretation tempo, all the fingers except the cided upon a return to Vienna, and settled there the high ideals of study and of thumb are raised fairly high after the stroke; permanently. for which he was so famous. the thumb remains constantly But the fact remains that there were certain on or close to its key, for the sake of Method The Famous exercises which he considered necessary, in fact keeping the hand steady.” Leschetizky himself was accustomed to say that indispensable for the development and control of So by completed legato is understood the press- collected his ing down of key he had no technical “method.” He explained: the hand. These exercises were by a by a finger already placed in “There are certain ways of producing certain assistants, who prepared pupils to study with contact with it (prepared), without its having logical sequence and been previously raised effects, and I have found those which succeed him, and were arranged in above the note, soundless but I have no iron rules. One pupil needs published by the pupil-assistants. One by Ma- repetition of the pressure—in slow tempo— beet ; and

MAY. 1041 307 —

Music and Study Songs of Many Lands Music Week Again Blending Voices National Music Week dates from 1924 and was Tunes and Harmonies next the raising of the finger only when the one due to the organizing initiative of Mr. C. M. Tre- Foresman order playing has begun striking in the in of maine, who, as Secretary of the movement, still Third, Fourth, and Fifth Books manner. same directs its destinies from his office at 45 West Folk and Art Songs—Books One and Two “prepared.” In non-legato the tone is not Thus, Forty-fifth Street in New York City. It was the Universal in the original position, count with the hand result of the success of two notable local cele- Rhythm Songs, Introduction to Part finger rises with slowly one and two while the brations, which are said to have taken place in Singing, Art Songs and Part Songs the key. But on three and four the finger con- the year after the Great War (1919) in Boise, Singing America—Augustus Zanzig tinues to rise, until it is raised as high as pos- Idaho, and in Dallas, Texas. We Sing—Armitage Dykema-Pitcher sible above the key. Then the finger drops quickly — The following year Mr. C. M. Tremaine, who Victor Records: following the stroke to the key and strikes, with had not heard of the western celebrations, started pressure. five fingers See following in “Outline of Lessons for the inaudible silent The a campaign in New York City. Working with great key Music Appreciation” play in succession, one finger not leaving its persistence, the plan has been extended so that Lesson 11— until the next has struck. millions of people, young and old, now participate 3B Grade either legato or non legato, the Lessons 2 and 10 When playing in the event in person or over the air. —4A Grade with Lessons 12 “inactive” fingers are held high and curved, Mr. David Sarnoff, President of the Radio Cor- 10, 11, —5A Grade exception the thumb. This is completely Lesson 10 5B Grade the of poration of America, is the present Chairman of — Lessons contrary to modern piano teaching. the Music Week Committee. The movement has 1, 2, 5, 7, 9, 10, 13, 14—6A Grade Lesson 10 6B The finger staccato is produced by causing the gained the warm support of many distinguished — Grade finger to strike a “short, swift blow,” after which national figures. 3. Anniversaries of Famous Musicians it “flies back- high in rounded form.” This stroke The plan for 1941 is very thorough, as is evi- Song Series: see list above is used as an exercise “to promote elasticity.” denced by the program issued by Dr. George L. Victor Records: Exercises introductory to scale-playing develop Lindsay, the Director of Music Education of the Dvorak (20130) Humoresque the tone. still further the idea of preparing The School District of Philadelphia. (20164) fingers altered slightly. “The position of the is (24777) Valse Cracieuse elbow is shifted a little away from the body. The Emphases for 1941—Unity Through Music Special Prokofieff (24775) March-Love of Three second finger is placed almost in the center of Familiar Music Oranges the key, D; the third on E, but closer to the black Slogan: Make Good Music for (Album M 566) Peter and the key; thumb, which has been ‘passed under’ Any of the following may be chosen the Wolf onto F without disturbance of the hand position, the week’s activities: Paderewski (20164) strikes gently with its extreme point.” Thus the 1. Inter- American Music Minuet second and third fingers are held somewhat American Music (20169) slanting to the keys. Otherwise, the position of Traditional—Indian, Negro, Cowboy, Ap- Any piano compositions played the hand is not changed; the knuckles remain palachian Mountain by him 4. Musical “high, the fingers well curved, the first and sec- Composers—MacDowell, Foster, Cadman Hobby Lobby the Other Americas A program ond joints inflexible, the wrist light and the arm Music of showing how music in its various and South America and phases can in a horizontal position.” Mexico, Central be a hobby: Singing, playing an Music instrument, composing The thumb repeats its note, accelerating in each Canadian music. It is suggested Lands to America that the creative side measure, then the third finger plays its repeated 2. Folk Gifts of Other of the program be em- Famous Musicians phasized and, in order notes, then the two fingers play as in a trill 3. Anniversaries of to keep the program anniversary of birth on a high while the second remains stationary. An exercise Dvorak—1841—100th plane, careful selection and prep- 50th anniversary of birth aration be requiring the thumb to strike first C then F, Prokofieff— 1891— made in advance. anniversary of first concert always “preparing” its note, follows, and a wider Paderewski—50th interval also is struck by the thumb, “which in- tour in America volves greater difficulty in keeping the hand 4. Musical Hobby Lobby better musical radio programs quiet.” For the quiet hand is insisted upon; the 5. Discussion of Teaching of a good Phase by Phase exercise must be played “without jerking the Presentation with records symphonic hand in the slightest.” But in the wider intervals program by special vocal and instrumental the wrist “is now allowed to turn a trifle.” 6. Concerts qup m Sum groups. Presentation of playlets, operettas, etc. The Scale Figures Prepared teaoher teaches —especially one whc of the thumb, Extending Music Activities of the School and ThibiiP^nllas After the drill in the movements some an tc • P* or program follow Vi j c proceeds an exercise which applies Community Through: S the student to Ukely t0 drift along without the idea of “preparing” to the forms of the scale. howIna tL ! 1. An integrated program in the classroom •"» This includes the passing under of the thumb, Art the shifting the preparing of the new notes and 1 61 English: oral and written d6 lded to devote eacl to the right (for the ascending scale, right hand) month of ^he season , q ? close to Industrial Arts Septemb er to the end o of hand and arm, while the hand stays June) to a certain nh Physical and Health Education aSe ° f the keys. The steps in the evolution of the prac- was given teaching. Septembe Social Studies to elimiT , tice of the descending scale follow a similar pupils' wrong notes from th Display of playing. Of cnP? turn slightly inward 2. Libraries— books on music urse °th®r order. The hand is made to corrected, ,, ’ mistakes wen too , 3. Display Boards but (pronation) in the descending scale. tight 111 polnt was playlnl Radio Aid in carrying notes. During must not jerk forward when 4. — out the 1941 National nr-PP “In scales the arm devoted to time the attention wa the move- Music Week Slogan note the thumb turns under, but follows even 1?“’ and developing al “Make Good Music Familiar Style of paying The wrist is loose but not Music” g n? Novemb ment horizontally. studied accents n,J er, the childrei The fingers are curved O. -reiJ.GiJ.u- , , ei' moving up and down. of different e these fal1 measure 6. School Publications Ume black keys.” sL^6 tlues even on the over ' December give 7. Festivals to pedaling- was finger must be trained so that the tones To Each Pression, 7 to shad and ex or rapid playing. Source Material and so ing will be even, whether in slow on Ws’the At the remainder of the yea: especial attention must be given to 1 and 2—In ter-American Music and Folk end of P Therefore Gift* , 16 the them, and Other Lands checked teacher carefull the second and fourth, to strengthen results and T accent- Song series: that the great deUght fou11 are directed to play with particular pupiis had ' they this mluade be with special force exerted on the key. Music Hour—Third, Fourth season than tter progress durin ing and and Fin11 in chromatic scale is Books been 01 the ha Change of position in the more interesto-f*? pas t- They when two white notes Music Highways and had lasted to°' because phat advised for the fingers, Byways onlv fn, each the fingers should be more Music of Many Lands enough to T"*- This had been loE occur in succession ; and Peoniespies build on Page 340) World of Music not bl "to keep ( Continued long hablts of playing, sharply curved, enough fni . °f e the subject. ohildren to grow tir 308 HE AVERAGE SMALL CHURCH sooner or Music and Study later finds itself confronted with the problem T of installing a new organ. Upon the success- ful solution of that problem depends most of the scales and cutting and mouths of the various organization’s future musical welfare, for many The Small stops is given. years to come. All too often the problem is The Diapasons are on the Schultze order, al- worked, but the wrong answer secured, and as a though a bit milder, 42 scale, y4 mouth, cut up a result years upon years of bad music are foisted scant 15th is scale 46; 12th, scale 48, voiced upon a congregation which comes to worship, and soft. CCC on pedal open is 914 " x 11" and remains to writhe at the cacophony. Organ bearded, on 5" of wind. It will be seen that the The picture presented is not overdrawn. The only unification is that of the Diapason, which writer, a professional organist, played organs all is playable on the pedal at 16' pitch, and on the the way from the Gulf of Mexico to the straits B, great at 8' and 4' pitch. Inasmuch as the present of Juan de Fuca, over a period of thirty-two trend is toward a full scale octave, this device years. The most magnificent instruments of va- is passable, although the writer prefers a smaller rious builders have been tried out, as well as the Ro V E-ant scale and slightly brighter octave. This would X take more room and cost more money! Our per- most pitiful 3-rank straight unit organs, pur- s, chased by worthy and credulous congregations sonal preference also is that the swell Trumpet 16' whose members had been tragically deceived. It is might be extended down to and drawn on in the hope of doing a little toward clarifying the the pedal only. This treatment, however, would important minds of music committees with reference to The element of space always being an increase the cost and the space requirements. dimensions of the chambers, organs this article is submitted. consideration, exact The Swell Flute is metal, with a chimney, are here given. These do not include the 12 lower against the clear Wood Flute on the Great. The The Right Organ Is Found notes of pedal open, nor the chamber for the strings are of medium large scale, with especially cham- I recently ran across a small organ which motor, blower, and generator. Each organ large trebles. The Trumpet is small scale, but 3" 5', 7"; rear seems to be an ideal installation. It is located in ber platform is 11', by height at is with true trumpet quality. To the organist who 7',9". are located on Los Gatos, California. It is designed by J. B. 4',11", at front Chambers would substitute an Oboe for the Trumpet, I can each Jamison, to whom a halo should be bestowed either side of the chancel, the floor of only say, “Don’t!” One of the high points in the 7' ,4" above the floor of the church. of this instrument is the Trumpet, for his artistic achievement. Small as it is, such chamber being ensemble compositions as Franck’s Piece Heroique and any which adds a brilliance to the full organ which could not give. And it is a lovely solo Bach numbers can be played upon it. The multi- an Oboe tudinous transcriptions of piano, orchestral, or voice, requiring only a bit steadier hand on the wheel would oboe. such a specifica- string quartet literature sound well, and defi- than an On tion it would be well to voice the Gemshorn nitely impressive, on it. We do not claim that it is the equal of larger organs designed with an rather louder than is this one. The inclusion of equal eye to tonal design, but as one eminent the Swell Trumpet and the Great Mixture gives this organ its real character, and makes it a work authority recently said of it: “It is better than of art rather than a mediocrity. many organs twice its size.” The cost of the complete installation, including Chimes given as What Can Be Done? a memorial, was $4,500.00. A lovely combination of accompaniment and The Matter of Costs solo is the Dulciana 8' and 4' played as a back- ground to the swell Rohr Flute; another, the This may appear to be a dogmatic statement, Salicional against the Melodia; (remember, Two but any church which desires to hear the greatest Swell Boxes double the flexibility of the instru- and most worshipful liturgical music would do ment) the Full Swell against the Great Open; better to get along with the old melodeon for a ; a thousand others. Does the average organist few more seasons, waiting until a truly noble and realize the beauty of an Open Diapason as instrument could be had, rather than to secure a solo voice? The Diapason Chorus aided by the one which is inadequate. The above cost could be Trumpet make this specification outstanding, cut down a few hundred dollars by omitting the possible the playing of any great music. Chimes. make In the playing of Bach the Great Mixture clari- Specifications fies the whole structure of that manual, while Trumpet (not an Oboe!) gives the fire Great the Swell so much desired, and so often lacking. The Swell Diapason 8' 61 pipes to Swell 4', without Reed, used with box closed, Melodia 8' 61 pipes is a marvelously beautiful accompaniment for Dulciana 8' 61 pipes voice; add the Trumpet, still keeping the box 4' 12 pipes Octave closed, and you have all the fire needed for Grave Mixture 122 pipes ROBERT LEECH BEDELL Elgar’s Land o/ Hope and Glory, or what will you. One might go on, without end; these few Swell Official organist of the Brooklyn Museum of Art. in- Radio and concert artist. stances will, however, suffice to suggest what any Rohr Flute 8' 73 pipes good organist can work out with a small but Salicional 8' 73 pipes be perceived that no floor space has been rightly designed specification. Celeste 8' 61 pipes It will in this installation. The side walls of the Gemshorn 4' 73 pipes lost What Can We Afford? the back walls of the organ cham- Trumpet 8' 73 church form pipes occupy No outsider can say what any church bers. The pedal open lower 12 pipes a can afford to spend for an organ. But Pedal space around the edge of the entrance to the this writer is 6' 2'. sure he knows what a church cannot afford to Open Diapason 16' 12 pipes ambulatory by spend. No church can afford to spend any amount Lieblich 16' 12 pipes Scales of money, however small, for an organ that is not 8' 32 notes Flute properly designed; and One might, of course, duplicate these specifica- no church can afford to spend any amount of money, The usual inter- and intramanual couplers, tions and still have a poor organ. For the benefit however small, for that is unisons off and on, tremulant on each manual of serious minded readers, a description of the an instrument inadequate for the playing (fan tremulant, and very lovely), 7 generals and of good organ music and the satisfactory accom- 7 pistons for each manual and pedals. There are paniment of all music for divine worship. Again separate swell boxes for each manual, everything the warning is repeated: “It is much better to being enclosed except the last 12 notes of the ORGAN use the old melodeon until the real organ can be pedal open. Chimes are in the swell chamber. afforded.”

MAY, 1941 309 ! ‘

Music and Study

Conducting The Teacher’s Round Table I hear that you advise conducting movements for piano pupils. Will you please explain what you mean by this? Are there any books I can get on the subject?—A. N., Ohio. Cond acted Monthly All students—old, young, beginners, in- termediate and advanced, should become adept in simple, flowing conducting movements to free and coordinate bodies, arms and hands. I have found rhythmic problems in piano playing much easier first simplified by to solve if they are ttu- practice away from the instrument. Dalcroze Eurhythmies and similar 0 ^el1 Noted Pianist invaluable to pianists, are often courses and Music Educator not available; therefore a few minutes should be taken from time to time in piano lessons to develop the bodily co- ordination indispensable to all players. OUR AIM practical I know on the inveterate The best help An Hound Tabler, Mrs. E. F. of Washington,y sends 111in anUI1 an- subject is Effa Ellis Perfield’s “Rhythmic propnate motto for our page: Drills”, a series of almost two hundred "To be serious but not solemn; exercises for single and both hands, pre- To be merry and wise." Orchids to her for these inspirina , senting an astonishing variety of rhyth- lines' Fvon :» r , is original (the second is *”5 by Shakespeare), she has “upward wheel” method se^aa aoSoal mic patterns. Her us would be proud to reach. 9 which any of the perfect feeling for of conducting gives How difficult it is to attain profundity Correspondents with this Depart- without nomm,;.,, i l° ^ee our sense easy, well coordinated pianistic pulse. It ment are requested to limit Letters of humor, at the same time summoninq P 9 udUp a11nil nnL'kfssib le Fijty 1) ords. P° conviction, vitality and nullifies that stiff down beat foisted on to One Hundred and authority. And, Here's to the light touch in us by many teachers of conducting. teaching, playing, writing- i fact, in life itself! incidentally, is another argument for up touch quite low; tone A pianist, with only himself to “con- stead of qualitative if you like, but don’t held is made by delicate remains in one spot, doesn’t a sharp ac- pianist's upward and outward push of elbow it? Even if duct”, should not employ blame it onto anything but the c not the music calls for the extreme outer cented down pulse, for he is more con- his instrument. There are by wrist or finger) . Amount of tone, from approach to leaches of the Instrument, initial upward spring of but also VV to ff. you cannot cerned with the good, sound ways of playing— P down °? ' can you? his measures, and the subsequent round- poor, faulty ones. Artists with exceptional For down touch, hand and elbow are takls n What then aCe °f the >’' into smooth, out-of-the- held high (finger tip touching key bod s movement? ing out of phrase groups ears and pianists blessed with top tA s, S The tone is by letting Wlist? The upper Mrs. Perfield’s “wheels” muscular response often pro- always) ; made whole curved shapes. ordinary am* The ? arm? Yes move into the key (wrist ' aU of them; ideal solution. excellent results in spite of faulty arm does not wbut lbs , , are an duce what isT?it that slides sink, sag or pull down before, these to their In another volume, the “Constructive methods. Is that any reason why harm- during or proper positions? The elbow tip after making the tone) . If this Music Book”, Mrs. Perfield combines ful methods of tone production should be Amount of tone tip is heavy or tight, if it is Drills with a series of majority of for pure down touch, pp to only. yanked or these Rhythmic foisted on the overwhelming p y Playtag freedom touches are variations is destroyed. short pieces to develop “musicianship.” students who do not possess either natu- Other of these WhetherWh.T' Theld close to the body or only in pianistic conduct- outstanding talent and who the full arm rebound, full arm dip, fore- away For work not ral facility or ‘t. high fiom or low, the elbow tip ing, but in rhythmic, chords, form, and can learn to play well only if they are arm rebound, “snapped” finger, quick be must prepared in a split second highly recommend the “Con- taught a logical, thoughtful, well coordi- percussive finger, rotary finger, to "give in” so on, I and so to the rotative Book.” Indeed, most people do on. Someday I’ll take a whole demands of the forearm structive Music nated approach? page to try ' 1 6 °f “le S"' ift clapping should be used a cinch. Obviously, to clarify these for you, ' ihoi'edibly Tapping or not find piano playing but I despair of Ihlve sen- per- sitive fingerA® auns, to sparingly, for they are unmusical and our Maker did not have piano playing doing it, for illustration and guidance apply a flash here larger muscles, created us. “in the flesh” lm UlSe there cussive, do not utilize the exclusively in mind when he are indispensable. ” ' easily The\ h « emphasize time measurement in- Moreover, most of us have ordinary And don’t let anyone fool keyboard, gliding and you by sav- un jL „ effortlessly rhythmic element. brains, ears, arms and fingers, and find ing: “Bosh! What is the 0r in and stead of the use of all that one 5 h™ out. It acts like processes of growth and matur- nonsense? The best those that the it does is to make marvelous mechanisms vou hich,, hinder rather than help the develop- feel better, but in reality weighing tons, ity the results are yet are so deli- Technic playing. In other Confusing ment of good piano no different. . . that Whereupon, you, with they move at the a summary of dif- words, we need to be unremittingly on becoming modesty, SghLir,c Could you not give will ask, "Oh please h reading (name ’ ferent touches? After our guard against excessive muscular kind sir? Isn’t that 1 5 3 technic) and enough? If i feel so Ptauists notoriously neg- deleted; a famous book on as well as mental inflexibil- " leeTthT !,™ contraction, much better when I play, . a discovered myself more confused won t „ importan t factor. I others, I th , i Indeed, Is some ity. Like you, we find that we cannot provement have m than when I started. Surely there in my rhythm, phrasing und one by which instinct in playing se" who intelligently way of comparative simplicity trust blind (or dumb) cunty, ease smoothness, arid ST”teI tlCaUyf° - all these endurance tried a one can get a clear idea of And, as you put it, we crave eon to develop or teaching. trol, in fact, ‘'floatino u? '' of touch. Often I my whole °W touches and digressions the wheels attitude toward Isn 't lt about time to something correctly to know what makes go the piano, justify Start? find a pupil doing taking the pains” a a without knowing why and if you explain ’round. wouldn't all that tend to ° the physical and mental processes they Unlike your experience I have yet to tapr0Ve thetne y U ls to sit as c,ose t0 t!,e trying. How- quality of my tone?” stage asTon* become tense through sheer Can at artist es- all find a single student who became tense Yep! concerts— ever, a teacher should know clearly You bet it would Peciallv nf E . and Se PlaniStS flue about how the wheels go round! M. B., when clearly shown sound methods of some. then wh° ate Sl as weT°as California. tone production. On the contrary, the re- come aural models. You will I sults invariably lead to decreased tense- VlnceCedd ththatat the elboelbow * very sensible question; the urinorimAto°??-r .. Yours is a Ver” to ness in playing as well as markedly in- Floating ^° in Piano playing. - only wish there were space enough Elbow watch nun creased concentration in practice. e artists vis* you an adequate reply. I was very models °? are poor give much interested to i 1S Here are a few points to emphasize: Ply to Miss m Four re- better to the# It burns me up to hear well known T N J in ,,, with listen to June Tr evP c il0 tenseness before tone is 1940 011 of ed ' state that methods of tone pro- 1. No made; "Wrist or Fla' ?, ™ Who are the outstand- artists been taught 7' 1 have ing “elbnwp » instant release as soon as tone is heard. wrist ? not important, dismissing movement 1 Rachmaninoff, HofmanJ duction are and shoulder weight ?* °«aves SchnabeS? 2. Floating elbow; arm poised to? h° subject with, “The way you over with no aVy clw Se elbow tips weave eS the whole mention nmde ?a Ms, quisite vpt that piano like a gently moving paint brush. though I el - t n° lV the only thing have w ' al btrusive nlav doesn’t matter— n?i?ced at ;° ing arabesques, g tenseness 1h %' atl ®ue thefv ^ . result.'' Oh yeah? And 3. Rotary forearm freedom resulting seemed to or P lasing is the be to1 he as Powerful eye counts Your idea was elbow. ear anne i ^ ugly, constricted and from this light elbow tip. new to irm I T result is been ’ “ 1 ha HUtCheS° when the near any '’= n ’ Myra Hess musiSl™ hot vaes, ' and auditor, 4. Contact with key top before making a Priskin ’ alike to pianists music magazine ' or taken &l e a few of otber^ painful tor sm?e bowers the I going to do about it? tone; swift, relaxed, lightly “flipping” rou mind explaining Would Tale 0 what are you a good close-up of any pray preparation over each tone cluster to be them place the blame? What U Wil1 Where valuable have one of the insecurity lack o, speed played. nf° tone, essons - F0 Suses bad The “pure” touches are of your life poor rhythm—but false two, up and \SVexam and endurance, ^ Ple, you, too, may quantitative in- down. For up touch, hand and elbow are able to Call it Wh6n your sonj tone production? y°U Play “» cases stPdents, and in Ptoo your J?aPS body ’ thelr Parents, how elbow theh-ben 310 way to pianistic succes- he title of this- month’s discus- Music and Study sion is a new and perhaps mystifying T word, but in keeping with the modern fash- ion for coining words to fit specific purposes, we have taken the liberty of indulging in this pas- time. But like all good lexicographers, we must define the word for you: Vibratitis: (In music—the vibrato plus “Vibratitis” -itis, a disease) A habit which is acquired through the faulty and excessive use of the vibrato by instrumentalists.

What is the Vibrato? Eif William 2). IHeuelli My activities in adjudicating at music festivals have constantly brought to my attention the fact that while the use of vibrato in instru- tively, and at the same time legitimately achieved. ment of the chin and jaw muscles. This motion mental performance is a common thing, little Let us classify the various types of vibrato now is at first difficult, and at the earliest stages it seems to be known about it. Musically speaking, being used. should be made very slowly and with definite vibrato is a deviation, upward and downward, 1. Throat vibrato rhythmical precision. The syllables usually as- from the true pitch, occurring at regular inter- 2. Lip vibrato sociated with these movements are “tha” for the vals. To the ear it presents a series of broad and 3. Chin and jaw vibrato downward movement and oo for the upward slow, or narrow and rapid oscillations, with in- 4. Hand vibrato movement of the chin. Although this might seem termediate variations. Naturally, the broad and 5. Stomach vibrato to be a disturbance of the embouchure, it actu- slow oscillations bring about a greater deviation 6. Slide vibrato ally is not, since the lips are moving in perfect from pitch than do the narrow and rapid. coordination with the jaw and chin. We might Throat Vibrato Ordinarily the vibrato is thought of in con- indicate the use of the above syllables by the fol- nection with the playing of stringed instru- I am not using the term vibrato in connection lowing figure: ments—at least, the mechanical means of with voice, but with wind instruments. Throat Ex. 1 achieving it on the violin, viola, violoncello, or vibrato is the sort usually heard at rehearsals of bass are more apparent to the lay observer. But school bands or orchestras, and except for cer- never be used it is widely used both in string and wind instru- tain few instruments it should tha -TO, ah, oo, ah oo, ah oo ment performance, and in some ways the aston- by wind players. There are natural causes for The whole note is divided into eighths. ishing thing is that so little seems to be known this type of vibrato, for students with an innate Using the syllables indicated, we pronounce about vibrato and that, when it is brought to feeling for tone beautification resort to the use tha on attention, most of the theories and information of throat vibrato as a means to that end. Un- the first eighth, and oo on the second, thus com- pleting the first count. continue in the about it conflict with one another. Very little fortunately, this attempt is often made and the We same manner until have played four full material has been written on the subject, but habit is formed without competent guidance or we counts, while making eight downward and at times theories disagree violently—except for without complete understanding of the vibrato upward movements of the chin. The chin naturally one point which they have in common: that the itself. The throat vibrato, especially in the case gut- drops on the tha and raises on the oo. This exer- vibrato is considered an important phase of in- of brass instruments, is usually uneven and cise must begin slowly and remain in perfect strumental performance, and that its applica- tural. The result is one which directly opposes rhythmical precision, with a gradual increase in tion represents one of the most difficult problems the type of tonal beauty which the player is so speed as the vibrato is realized. The player of the string or wind instrument players. anxious to achieve. Many of our young students must avoid the common fault of hurrying, which Undoubtedly, the use of vibrato in the playing of brass instruments are afflicted with this poor will it. destroy rhythmic continuity and produce a rapid of instruments has some connection with its use playing habit, and must be cautioned about and uneven vibrato. by the human voice. Although it can be no more It often constitutes a menace to proper tone important point than an imitation of the voice, vibrato does serve production, and when once acquired it is an ex- Another in the early stages of vibrato is extent as a means of enriching and vitalizing the in- tremely difficult habit to correct. teaching the that the of rise in strumentalist’s tone. The string player “bor- pitch must be equal to the extent of fall. Most The Lip Vibrato rowed” the vibrato from the singer, and in turn beginners and many players fail to bring the above as well as below the original the artists of the wind instruments borrowed the The lip vibrato is another form that has found tone pitch, that vibrato is vibrato from string players, because they real- its way into the playing habits of our young with the result the on the flat instrumentalists. vibrato it is side of the tone. This may be clarified by the fig- ized its possibilities as an aid to the expression Like the throat below. pronouncing the syllables of beauty and emotion. In voice, string instru- an incorrect usage, which has been found detri- ure When tha- tones should be like this: ment, or wind instrument, the vibrato as used mental to wind instrument performance simply oo the because it necessitates a constant change in lip by an artist has an important place, and has Ex. 2 added richly to the sensations of tone. position. Ordinarily when lip vibrato is used by TJ ^ brass players, tone production suffers, since it What Instruments Should Use the Vibrato? tends to encourage a type of tone lacking in and not like this: fullness. It is necessary for us to discriminate between solidity and Ex. 3 young performer, who really hopes to those instruments which can legitimately and The xr i learn to recognize properly make use of the vibrato and those that achieve beautiful tone, must have a cor- With patience and careful practice cannot. To advocate that all wind instruments differences in vibrato methods and a smooth chin vibrato can worked out should use the vibrato would be as erroneous as rect mental conception of the exact differences be within a few months. to state that no wind instrument should employ between good and bad vibrato. Students who are allowed to begin their training with a rapid vibrato eventually it. find it The Chin or Jaw Vibrato too narrow and inclined to be Among the instruments of the woodwind rigid and stiff. True vibrato is neither slow nor too family, the tone of all except the B-flat and The chin or jaw vibrato is rapidly coming into fast, but tone smooth, even, and appropriate for the E-flat soprano clarinets is greatly improved its rightful place as a correct method of occasion. the correct use of the vibrato. Of beautification for performers on the trombone, through the The Hand Vibrato instruments belonging to the brass family, the euphonium, baritone, and tuba. It is the one The hand vibrato French horn should not use the vibrato, al- logical and effective method of making the is used on cornet and trumpet. Although though there are some excellent hornists who vibrato on these instruments. It consists of a the player’s hand moves, the vibrato is actually use and fully recommend the vibrato for certain regular and even downward and upward move- the result of moving both lips and passages and for certain types of compositions. mouthpiece. The hand vibrato is much abused, and usually We can conclude, then, that almost all of the causes a great deal of wind instruments are eligible for use of the ORCHESTRA trouble to teachers and students. The difficulty Our next problem is to consider the BAND and lies in the fact that brass players often vibrato. Edited by William D. Revelli use it to types of vibrato, and how the vibrato is effec- excess, and without finesse. The hand vibrato

MAY. 1941 311 , i :

Music and Study How to Get Children to Practice

Bit StoClci IVhition-^Jlo(ine5 must be practiced in much the same manner and spirit as the violinist works to achieve his vibrato. There may be many reasons why it is difficult will endeavor to win this honor as often as possi- first practice the hand The student must to get any but the most musical children to prac- ble. A special prize should be given the child in definite rhythmic beats, vibrato slowly, and tice, but there are several helps which the teacher whose name, appears most often for this honor his speed as the hand “gets gradually increasing may employ. One of these which comes to mind over the period of a year. A prize of a crisp new adjusts itself naturally and com- the touch” and will arouse a sense of competition among the greenback is an incentive to the child to con- Our young instru- fortably to the speed desired. members of the class itself. This may seem impos- tinue his music study. often use a hand movement that is mentalists sible where lessons are private only, but with this Small white stickers can be used to attach the either too fast or too slow and, instead of im- procedure the child can be made to realize the name to the printed card and also enable the proving tone quality, causes an unattractive dis- presence of other children who may outscore him teacher to tear off the name each week without depends in this case on tortion. Good vibrato ask your sign painter to make a card bearing greatly damaging the card. mastery of hand movement. these words. “THE BEST LESSON WAS PLAYED This idea emphasizes the fact that good playing ” This card is to be The Stomach Vibrato LAST WEEK BY is the actual requirement of the teacher instead of tacked to the studio wall within sight of childish In spite of the fact that the stomach vibrato merely the hours practiced. A tabulation of prac- eyes. has been used by many performers in the past, tice hours patently leads the child and even the By keeping careful score of work done, the it is not to be recommended. Due to the extreme parent into falsehoods at times, where the reward teacher determines at the end of each week which difficulty in securing control and evenness, it is is worth while. The writer has of played the most perfect les- found instances in- child (on the whole) no longer being taught by brass instrument cards showing high records in the son. When this has been determined, she prints cases where structors. Its gradual elimination indicates that child this child on a large piece badly bungles his lesson. teach- or types the name of there is a trend toward unification in the Even though children of paper, then adds it to the blank space on the enroll at various periods ing of the vibrato. during the sign. year, the idea of a yearly prize can still be used, since The Slide Vibrato It is a great joy to the child, and a matter of each child is a law unto himself and or her carries competes only in As the name indicates, the slide vibrato is just pride to know that his name terms of his own full year of week, and he or she work. used very extensively among trombonists, and this honor all through the in certain ways it is better, and more flexible than a chin or jaw vibrato, and one with which the performer can more easily accomplish a de- sired speed. Also the problem of proper tuning Music to the Front in Canada of the vibrato is simpler, because the slide can be moved to any position at any time, whereas the chin vibrato is a less mechanical means of “humoring” the tone. There are, on the other hand, some disadvan- tages in the slide vibrato technic. While it can assist intonation, the opposite effect is usually the case with most of our students. In moving the slide backward and forward the student sel- dom moves it to the correct spot, and usually the vibrato is too slow and too wide. Another bad result is irregular, muddled slide technic. Slide vibrato can become a chronic habit, and it is frequently used to excess. Some of the finest trombonists, especially in the dance music field, use the slide vibrato, and others use the jaw vibrato, and the respective merits of the two methods probably depend upon individual taste. In my own teaching I avoid the slide vibrato because of the inaccurate slide movements which I have described above; more- over, the appearance of a concert band is not that helped, nor is the quality of vibrato equal to of the cornets, trumpets, baritones, and tubas. For the sake of uniformity in ensemble and unity of tone, I have shown preference for using — . — —— unu me vibrato on all brass instruments except the "" '"nior s jaw ™Pho„y Orchestra which, of course, effectively uses the cornet, The growth of music in the United States, dur- hand vibrato. V ing the past half century, is one of the marvels organiz Thfs pteture ations. of the Woodwinds of the world; but not so much is heard about ' The Vibrato its Phony 4011 8 °nly Junl01 almost equal development among Orchestrates Woodwind vibrato naturally differs from that our Canadian t0 TaT instruments use neighbors to the north. of the brasses. The woodwind it is not so Mr. Ray LeRoy Olson, director of mainly the lip vibrato. In reality, the Nioma combination of lip Junior Symphony Orchestra of much a lip vibrato as it is a Edmonton, Al- berta, Canada, sends to The Etude and throat. On the oboe and bassoon, our finest a photograph Odd symphony orchestras and bands use of his organization as presented in its C. F. Musical players in R N p Facts flute vibrato is radio broadcast for 1939. The aul Revere the vibrato but sparingly. The alert intelligence h P n f tv, * the air stream of the young musicians is silversmith. amous achieved through oscillation of pleasantly noticeable He was nfJ ^.wasi Mr. Olson writes in a best S° a music by any movement of chin or throat, most optimistic mood known book hpi» engra\ rather than which ng a production is closer to the encourages us to believe that he feels Psalm Tunes.” collection of th and in method of that music voice than is any wind and music study in Canada have been vibrato of the human rnakine later years such a vigorous a 10 1 in advance as encoura^ Peripatetf^tobapp ^ Boston was g misused on the saxophone the hope that in no great time graver, dancin ‘“vfhlTtohas been so these achieve' s teach ments will equal ea almost the bane of the in- those of their music on °her. it was cor t has become cousins Sunday T a thl south. Canada the y ' 7®, it can be of Inestimable already has many shillings. Histruments. fpacher yet excel w Tickets c Page 347) chestras, bands, opera iContinuea on companies, solo 19 fa'rin beautaying pertor* at dance a u torb ade thVlan ll . , good Cath Jsoo i 1 l and the maxixe. 312 —

Music and Study

Bruno Jaenicke began his career as violinist, turning later to the horn. He has no fixed points of tonal attack, and also studied 'piano, theory, and singing. Problems of the partly because individual lip structure As a boy, he sang in a church choir, makes each player’s attack a special matter. and heard excellent performances of Intelligent practice is the only opera at the Court Theater of Des- solution, which brings up the question sau. Richard Wagner said that, next to of what intelligent practice should be. Since the human lips Bayreuth, the best performances of his French Horn are not natu- works were given in Dessau, which city rally adapted to tone production, they traces its musical traditions back two tire more readily than do fingers, which centuries, and possesses the most mod- A Conference with perform one of their real functions ern opera house in the world. Growing when they strike or press. Tired lips up in such surroundings, Jaenicke early produce a “sick” tone, apart from any determined to become a musician. He act of will on the player’s part. Thus, the first has occupied the first chair in the thing for the horn player to decide is the French horn section of the New York exact length of time he can play Philharmonic-'Symphony Orchestra for without fatigue. With practice, twenty years.—Editor’s Note. this length of time becomes greater, but even the most experienced player reaches a point when his lips grow tired. And there he must stop. This causes a vexing problem for profes- sionals. The lips must be “warmed up* HE FRENCH HORN remains one before every performance—yesterday’s of the lesser known members of practice is of no avail in getting ready Tthe instrument family because of for to-day’s concert—yet the time for its inherent difficulties. All horn tone warming up must be calculated in re- (as regards both pitch and quality) is lation to the time one plays at the per- produced by the lips, which act as the formance. If one warms up too much, larynx does in singing—with one im- fatigue sets in at the most important portant difference. The natural func- moment of the concert, and such pieces tion of the larynx is to produce tone; as the Overture to “Oberon” require fine the function of the lips is not. Thus, lips at the very start. Some horn play- the horn player must early accustom ers arrive at the hall some two hours himself to an entirely new sense of before concert time, putting in an al- labial tone production. He develops it ternate routine of warming up and by trial and error methods, quite as a resting, so that the lips are prepared child learns to know the shape and without being too near fatigue. nature of objects by the experience of The Lips as Vocal Cords its sense of touch. The pianist, or vio- linist, knows that, to sound an A, he During the daily practice hour, the simply puts his finger down on a given player should give first heed to tonality point of his instrument. The horn player and attack. The initial attack, of any knows there is no given point for him passage, is the most difficult. Keenness to approach. He must hear A in his of ear and previous experience are head, must determine its production helpful in mastering it, but each “first with his mind, must shape it with his note” is always a problem in itself. lips—the individual structure of which Next must come exercises in intervals, makes his shaping different from an- in staccato, legato, cantilene. Each sepa- other’s—and he must keep his senses rate technic must be practiced every alert for the general feeling of the day, and all must be fitted into the four-hundred and forty vibrations per flexible period before the lips become second which result in the sound of A. tired. After thirty-odd years of experi- Although the French horn is made of ence, I still practice the same exercises brass, it is unlike other brasses, both in I used when beginning the horn. Natu- its manipulation and its use. In many rally, I execute them with greater speed orchestras, the horns sit apart from the and surety to-day, but the same funda- brasses, and are counted a separate mental points must be practiced, every group. The horn reaches an octave more day, with unremitting care. Thus, the BRUNO JAENICKE than the trumpet. Further, the trumpet intelligent practice needed for good of the New York Philharmonic-Symphony Orchestra has seven overtones (or open tones) in "First Horn" horn playing involves the utmost con- two octaves, while the hom has four- centration plus a carefully planned teen. If you are fond of target shoot- economy of time. ing, you know that the more rings a Surety of lip is responsible for every- fur The Etude target has, the harder it is to strike any Secured Expressly thing that makes good horn playing one of them squarely. Target shooting, Pitch, accuracy, quality, all are regu- is an ideal lated by the lips, incidentally, pastime for By MYLES FELLOWES whose action may be players! Horn tone is horn produced compared to that of the vocal cords with the lips; yet, The loosening entirely in playing of the lip-muscles, pro- three octaves, the lips stretch a dis- duces a lower tone; the tightening of tance no greater than one-sixteenth of an inch. immediate effort to correct it is called a break these muscles, with a straightening of the lips delicate adjustment of the swooping, disagree- makes for Thus, the stretch of recognizable by a scooping, higher pitch. The lips of the horn lips to any tone within the three octaves is able, pitch. The horn is capable of more player must the unsettled be trained to achieve the quick- fundamental problem of horn playing; and breaks instrument, and the con- est, most the than any other flexible responses. All tones must is this difficulty which offers the greatest ob- stant task of the player is to avoid them. It is be struck squarely in it the center. The least of this instrument. system stacle to the student impossible to prescribe any single for angle off the “bull’s eye” means a break. The failure to produce a given note and the avoiding breaks; partly because the instrument Tonal quality is ( Continued on Page 346) MAY, 1941 o .

pitch that it would require the keenest Music and Study musical ear to perceive any difference at all. Other intervals have been altered Questions and perceptibly; the major third, for instance, Tempo of Valse Brilliante is one-seventh of a semitone sharp, and the minor third one-sixth of a semitone False Q. At the head of the piece, information on is flat. If you desire more is M.M. Lent J.=50. What Brilliant c, “Sound and the time of this and just what does this equal temperament, consult mean? On my metronome Lento is its Relation to Music” by C. G. Hamilton, has played at J=52-60; and this piece or the “Sensations of Tone” by Helmholtz, a half note with a dot—which Is Answers Intona- time of the whole measure. Will you the articles “Intervals”, “Just please explain this? Do you have a les- tion”, and “Temperament” in “Grove’s G. W. son on this piece?—Mrs. W. Dictionary or Music and Musicians.” 2. A perfect octave inverted becomes a A. The mark = 50 means that you Information Service J. A Music perfect unison. are to set your metronome at 50 and then 3. Reducing a passage of music to its play a full measure to each click. Waltz simplest syllogistic form means merely time is really a kind of sextuple measure, in By reducing it to its simplest harmonic, and if you will group your measures Conducted melodic, and rhythmic elements. If you pairs counting one to the first measure will read carefully the Introduction to of each pair and two to the second meas- \n& Pearce’s “Students Counterpoint” (par- ure you will find that it has a certain ticularly pp. V-X) you will find this ex- swing that does not come when you count plained fully. one-two-tliree for each measure. This is 50. 4. I believe you will find any of these the reason for the mark M.M. J. = to be satisfactory: The fact that your metronome has J(J a) “The Material lento from 52-60 need not trouble you. used in Musical Composition” by These tempo terms (like lento, allegro, Goetschius; “The Evo- lution of Harmony” by Kitson; or “Ap- grave, and so on) are all relative in Professor of School Music, plied Harmony,” Book II, Wedge. meaning, and in interpreting them you by Oherlin College b) “Composers Counterpoint” by will have to use your musical feeling as Pearce; “Modern Academic Counterpoint” a guide. If you do not trust your own feel- Musical Editor, Webster’s New by Pearce; or “Double Counterpoint and ing, then the only thing to do is to ask Canon” by someone with more musical experience to International Dictionary Prout. c) “Theory help you. and Practice of Musical Form” by Cornell; “The Larger Forms of answered in THE ETUDE No question will be Musical Compositions” by Goetschius; or unless accompanied by the lull, Double-Flats and Accents tnamis About address the inquirer. Only “Applied Forms” by Prout. and of published. or pseudonym given, will be All of 1. In Measure 23 of Dvorak's Humor- these books may be obtained esque, are both high B's double-flatted, through the publishers of The Etude. or is the second one B-natural? 0/>. JO, Jo. your ear 2. (a) In Chopin's Etude, sextuplet accordingly. Let left the 2, Measure 4, is the third B in the accompaniment be your guide, (b) This How Fong Is a. MoIIpc? hand played again or is it tied? (b) Also Jo. triplets. in the Brahms Intermezzo, Op. 119, is in triplets, (c) Also Q. 1. In analyzing curved compositions I 3. Measures 7, 9 and 10, are the left hands play have difficulty In 4. Both the right and determining the length the right hand, slurs or ties? of the lines in etude; however, this is motive of a period, and therefore elucidate this matter of ties triplets in this cannot Can you is determine the length of the sec- and if the accompaniment and slurs? difficult; tions and phrases. How may I make sure one tell whether sex- hand is sure 3. (a) How can played too loudly, the right just how long a motive is? tuplets (groups of six notes) are felt in I am 2. if played in two’s. Do phrases always end in a cadence? there a general to sound as Adagio, so that when each tone is triplets or in two’s? Is alive 3. Do cadences occur if Mr. Christiani were anywhere else in rule to follow? (b) In Grieg's “Concerto afraid that caught by the pedal the melody note a period? passage following the want to change many in A Minor”, the to-day, he would will stand out clearly against the trilling. 4. Please give thirds. is the approximate metro- first two measures of double splendid book. . things in his nome settings for the the accompaniment in two's or three's? most commonly 32 and 36, accent the used tempo terms. are the groups accented in the 5. In Measures (c) How section 5. Does tranquillol Beginning at the Meaning o Perfect fourths the time signature affect passage marked Malta regular beats. f tempo the Etude Op. 25, Jo. 2, accent the first of a piece? 4. In Chopin’s marked con bravura, and Fifths right hand sound like trip- these should the of the short phrases; usually —V. P. Christiani in “Principles note lets? Does not A l% played in this rhythm Q. 1. In my harmony book, It states A motlve is always Expression” (p. 87) state the matter sixths are short, although of fourths and fifths are its ; , you agree with him? that called perfect length may vary from differently? Do these intervals are two notes to 36 also the because practically in two 5. In Measures 32 and and measures, seldom Etude n tune with the natural fourth and fifth, more. There Is no of Chopin’s n eon bravura section n n defimte to which cannot be said of the Imperfect means by Op. 10, No. 3, shall I accent according which you can always measure, or put the consonants. What does this mean? 6 the the first note of the length of a motive. For a the short 2. When the Interval of a perfect conn, accent on the first note of oc- f 1 tave is inverted, does it ™ discussion -T - P ' become a of this prob- phrases? Trill in a Beethoven Rondo perfect LAA™ A! A unison or a perfect octave, as: SUlt Groves to Dictionary of Music Professor please tell me how and’ Tur„ A. I have asked my friend 1. Could you ’’ article notes against eight i ’ Ftaure - 1 believe your questions, and Dlay the seven you wui finT Lindquist to answer o! Stndlng's Ku.llc y°Ur analysls 011 £e tenth measure easier if S' the following informa- will first Hf? he has given me lmme Phrases periods, played In measures and and tion: A’how IS the trill iverted then Beethoven's BcntotnO Pt ‘° find sborter sectionS double -flatted. 62 and 63 m and 1. They are both for hovemlier 3. What is meant motives in published In The EMr when a passage of impossible sometimes, as S C 0 2. Ves. 2. (a) It is 1937?—Miss K. M. dUCed t0 lts Slm " whether a slur or tie is this very satisfac- plest synoglstic formT this case, to tell A. 1. You will find 6 a tie. since WOUm yOU “oadence” is sometimes I would say this is used'to’A,. Iv™ meant. tory : toSSS? certain marked below, (b) in St sions kinds of progres- there is a slur line a) -A Treatise on Harmony’ • within’ A Book-?S i Phrases; piece I have never 2, l * but this application of this and 3. by Anger of the t teaching ’ my 8 as ties, but b) "Students’ Counterpoint " a, bitrary and not alto- considered these notes Bother I c) "Out c„™ Brahms probably Imn „/ Fur„r Sillce tlle veal essence of I think that uy A1 ' a cadermp frankly, bert Harn w,’S the such. In writing manu- expressl°h Of some form meant them as of finality supposed to be tied, —L. : script tie lines are Mr. Gabrilowitsch will notice, A ' *• the i note heads; 2. If you scale we use tei is speak, to each of the to-day (known ?’etatlon ot te‘npo terms so to marked out the trills as the so eiasHc ’ti below; however, has carefully “tempered" scale) above or , all t fa slurs are placed but hai?.!?™ impossible to answer to throughout this composition, has are o( equal size, not pay much attention whereas in the n ' °n f’te composers do to mark them in these two scale natural the Maelzel metronome impossible to neglected they vary in size. In follow- is sometimes order tn , &8 mar L kings this rule so it There is a reason, namely, that an are given, though measures. half-steps equidistant these ar? merely make it almost im- ^ has Senb EUKestive rather than the retard and holds necessary to make some definitive small *,- 1 h ' are te accu- C by the possible to write out the trill so that larger than the SOme rate Z ^ ^ from true totervalj L .A. ' This“S"vernedin & x Practice without the trills 9 Larghett0 - Aia 3. (a) be clear. the by 96 ' T(a, Qften a sex- it will natural laws of gio 100-120 12 d ton™ 1 0, Anian,et ; 0 melody in the at first until you feel the proper retard; feet fifth as ^PM" 126-152, AlleO' on 160-134 accent we B . ' a single knowTto fl resio tuplet has ju t then trill as rapidly as your trill technic one-fiftieth d™y ls onl 192 -208. For a more de melody aCcompany- of a semitone e ? y tailed in but ^ allow, either in triplets or fours. ° E the first note, a division into will perfect fourth only 4 the Question this topic, see each of the three notes in the one-fiftieth hf™ d ing the sextuple! « Mark well tone sharp. These er DePartmen ‘ °f *** three, you ^ are so ««de ™rte or of two ntAAheA™; C™y ' groups 5- No.

314 w-er-T tnV. i Music and Study

without appreciable extra effort. (We refer to

That Troublesome the upper half of the bow only) . In addition to this, the removal of the fourth finger leaves the third finger as the control of balance which is most desirable when the muscular tension Staccato Bowing alters the primary up and down movement of the' hand to an almost invisible rotation of the rigid wrist and forearm. In the down bow staccato, the oblique position t of the bow is reversed, but in a lesser degree, and the removal of all fingers except the first eliminates those obstacles to speed. (Again we refer to the upper half of the bow only). HAT STUDENT OF THE VIOLIN has no-t remote, no matter how much effort is spent. Where a full bow is used, contact of the fourth longed and endeavored to master the in- After having studied the problem from every finger becomes valuable during the up bow, from W tricacies of slurred staccato bowing? And angle and still being unable to solve the riddle, the middle to the nut; and contact of at least what other type of bowing is comparable for we turned to one of the greatest living violinists three fingers, from the nut to the middle, during such disheartening and unsatisfactory results? who is especially proficient in staccato bowing. the down bow, gives better control. The chief difficulty encountered is that of de- Hearing this artist play a crisp staccato passage, An important point to observe is that, while veloping the proper speed. Mastery of the basic at almost unbelievable speed, is indeed a revela- the arm muscles are tensed, the grip on the bow stroke, the martele, and tion. We determined to itself must remain free enough to facilitate the application of it to a study his movements by rapidity of movements made. The finer the qual- series of tones in one bow, close observation and en- ity of the bow itself, the easier the staccato be- are not particularly diffi- deavor to wrest the secret comes, but it is possible with almost any bow cult; but rapidity of from him in that way. in the' way just outlined. movement, as demon- Unless we had observed Whether or not the great artist, who uncon- strated by great virtuosi, keenly, we might have sciously gave us the clew, utilizes these princi- remains baffling even overlooked certain appar- ples intentionally or unintentionally, the fact re- after assiduous practice. ent idiosyncrasies and mains that he does demonstrate—outwardly, at Since speed can be de- failed to note that during least—his most marvelous staccato in the man- ner veloped, it becomes evi- his up bow staccato he we have described. And since it works for dent that those who have varied his bow from us successfully, even though our bow and violin are neither Tourte nor mastered it must utilize the usual parallel-to-the- a a Stradivari, we feel a deep lasting some principle of which bridge position to one that and gratitude to this virtuoso others are unaware. was- definitely oblique; who opened up the way to a satisfactory solution of “that troublesome staccato Many of the greatest and th,at he removed bowing.” violinists never had a his fourth finger from highly developed stac- the stick. Then, in the cato, while those who did down bow staccato, the oblique position, less pro- have it utilized different The Lord’s Fiddle methods. In commenting nounced, was reversed on these differences, the and all fingers except the from t}3ij- RuXk lA/edfman late Leopold Auer ex- first were removed pressed his opinion that the stick, leaving control HERE’S ALWAYS a rakish, scampish twist the method used by Wie- entirely to the thumb and first finger. I about a fiddle’s looks that seems to say niawski, who produced *“ observed these the Wicked One had a hand in making his brilliant staccato by Having ...” brilliant concert from accepted o’en A canny observation on the part of the stiffening the muscles of Henri Wieniawski, whose digressions contain many sparkling staccato tranter in “Under the Greenwood Tree” one the arm, pieces standards, the question — bow was an ex- passages. is this some pe- with which I had always heartily agreed until, in cellent procedure, and the arose: culiar individual trait, or a fairly ancient attic in town, I chanced upon the one he himself used for bearing on the thing disintegrating remains of a Lord’s Fiddle. Bat- that purpose. It solved a difficult problem. do- these things have any that any great artist tered and cracked, without finger board, bridge, Anyone experimenting with this rigid arm itself? We could not believe in unorthodox manner. sound post and D string peg, this naive relic of a method is likely to find that about all he gains would carelessly bow an reason, and the only by-gone century is about as innocent of allure as is a sore arm, not because the principle in itself There must have been a experimentation. Tug-boat Annie—if one may be permitted to speak is wrong, but from the lack of something else way to find out was by personal experiment, were of a bull fiddle as of the feminine persuasion. without which the door to success cannot be After making such an we secret was revealed and Investigation of the church records of the town opened. Just what the missing link is and how happy to find that the gave way, allowing discloses that “the first musical instrument it is utilized we shall seek to explain, with the all former stumbling blocks used speed and, best here in public worship was a bass viol, which hope that it will bring success to all those who at once the desired tonal effect, was ourselves that introduced in 1795 and which continued are struggling along in the dark with a medi- of all, ease of execution. To assure to be used until within the memory of man# ocre staccato. the principles were really practical, we explained here to- to find that day.” (Massachusetts, 1898) Further research The basis of the slurred staccato is the mar- them to others who were amazed on the subject reveals that instruments tele stroke, which is produced by the wrist; or the speed and clarity of their staccato was al- of this type (mistakenly called viols, more strictly speaking, by an up and down most immediately increased one hundred fold. bass for they were vio- loncellos) were the cause of such movement of the hand from the wrist; and a In analyzing the factors involved, we find that violent contro- versy among ministers, deacons series of these martele strokes in one bow be- during the up bow staccato the hand is drawn and the more sanctimonious church comes what is called slurred staccato, usually backward as the muscles of the upper arm are members of our great grandfathers’ day that termed simply staccato. It is possible to gain a tensed, and this forces the bow to contact the many stayed away from divine service in open certain degree of speed with this wrist stroke, string obliquely. This not only produces a crisp, rebellion. A venerable dea- con of Roxbury not only but a rapid and brilliant staccato is best pro- clean-cut effect, but also allows increase of speed left the church at the first note of the hated viol, duced in the manner advocated by Professor but also gave vent to his feelings Auer. It is necessary, however, to explain the by setting up a frightful caterwauling outside. At the changes that occur after the muscles are tensed, VIOLIN First Baptist Church at Provi- these alterations are understood and dence. a pious sister, incensed at lor unless Edited by Robert Braino the twanging of of the strings, flounced ( applied, the possibility complete success is out Continued on Page 344)

MAY, 1941 315 \ -

Music and Study

Musical Romance

in Chile

13ii ll/cturlct'leuun.ce -Zymicuii/^LJumeAmt

French Concert Pianist and Conductor

I felt that something unusual should make the halls available for concerts, at was happening. A gust of wind came up, ac- least once a week. companied by muffled and rumbling sounds; the The Teatro Central, erected on plans by M. I had Gustave « S EVERYONE REMEMBERS from geography sun became overcast; then suddenly a Lyon, is a replica of the Salle Pleyel in as of Z\ lessons, Chile is the country which occupies feeling of unsteadiness, un- a long thin strip of territory extending the floor “making circles” a from the tropics to the far South, on the der my feet. It lasted but Pacific coast of South America. This peculiarity few seconds, then everything Never- is of great advantage: it affords every variety returned to normality. of soil and climate, and in this respect Chile theless, it was a prelude, a compares with the United States and its diversi- curtain raiser for the disaster desola- fied aspects from the Gulf of Mexico to the Ca- which spread so much nadian border. Northern Chile is tropical. South- tion over the peaceful life city. ern Chile is as frigid as Manitoba. of the beautiful and Valparaiso, the seaport, and Santiago, the Like Peru, California, along the capital, are located in the central zone, the heart all lands located column of the of Chile, where the valleys are fertile and in- great spinal knows the tensely cultivated. Great farms and vineyards Americas, Chile the active cover the country, and in this section is found periodic calls of within; most of the best of Chilean atmosphere; the scenery is forces from and magnificent and rich in color. them are mild, however, noticeable except for From Lima, it takes nearly a week to reach hardly rocking Valparaiso by boat; this is due to the almost a vague sensation of discreet tinkling of daily calls at small ports. The airplane covers and a mantel- the same distance in one and a half days, but knickknacks on the piece, if it happens during this is of no avail to one traveling with baggage library of orchestral materials. the night. and a small v ueucnes earthquake, one Santiago de Chile has un- at Vina del Mar I left Lima six days before the dergone notable transforma- of the worst in the city's history. The day before having breakfast in my room tions during the last two decades. Many sky- sailing, as I was a scrapers have surged up, offilteenVundred seating capac Th^Tiie Cervantes built of steel and con- ite and nriot is an exqu “ttle crete and absolutely seis- comfortable hall; its five *mndi mic proof. The civic cen- ter, with its la tall office the acoustics W00d_paneled 3 buildings excellent C surrounding the to ltsel( admira recitals and lectures' Palacio de la Moneda n (seat of the government c^r?c‘tr ater and residence ls — of the such. sn^often referred to The6 interim- t president) , reminds one * red °ld ’ authentic; Ital g strongly of similar areas -French™^. it can ‘° nal Style E accommodate ' in the larger cities of the two thousandu equipped as it listen: United States. At least is with T a tiers ot ° chestra seats, vari boxes, upper . dozen theaters and mov- mu les The Municipal a"d the “Pa^ ing , picture houses have boastfnf* a once been glorious Past, hav host i n n opened their doors. Sev- ™’ s ‘ars. Its platform 3 greatest op eral of these are excel- is vei-vT any kind y laige and suitable lently fitted of spectoriA for musi- scen 6 ic Pageant; and a 1 cal manifestations equipment in ; when rteu “any at a recently from C granting the high . loan neces- cos? m akes, most famous the e ual of sary for their construc- opera hnn ^ The ° f Europe Amei tion, the artistically Municipal or ™ ? in- ' well trained ls fol ed eig clined directors of protester m of the and the aU ex Bank of Chile weli discinw?’ cellent reac inserted Both C Clause cooperated horus numbers f Saniiago do Chile, appears as soloist stiPulating efficient? . _ honorary citizen oi ? dition of y ln an by Maestro Carlos Melo Cruz. that the concessionaires Evangeline t impressive ] Munktul Orchestra directed he bi la S' The Lisieux,” which S le een d, “The met ?Continued? on Page > 316 THE ETUDB CLASSIC AND CONTEMPORARY SELECTIONS HORNPIPE from “WATER MUSIC” he got into the bad graces of his mas- George Frederick Handel had “played hookey” in England so long from the court of his German elector that the story runs that he busied himself at once with a suite ter. When Handel found that .the same elector was to become George I, King of. England, said to have restored him to royal favor. known as “Water Music,” to be played on a barge during a royal progress down the river Thames. This is however, with spirit, giving special .attention to the This piece. makes a wonderful picture.of the regal pretentions of the time. It must be played, staccato notes, which are like trumpet calls. Grade 5. GEORGE FREDERICK HANDEL

Copyright 1940 by Theodore Presser Co. MAY 1941 LULLABY written as a song in E flat. Louis Victor Saar, who was a Brahms pupil Millions have been fascinated by Brahms’ entrancing: lullaby, originally its execution. Themain objective is to bring out the melody without makingit for one year, has made an inimitable piano arrangement that is simple in obtrusive. Grade 5 JOHANNES BRAHMS, Op. 49, No. 4

318 rrn nl'TTVfi * MAY 1941 319 MAY, LOVELY MAY! The merry month of May, with its profusion of blossoms and feathered songsters, is completely captured in this Iresli and sparkling sketch from nature.

PEACH BLOSSOM TIME for the Virginalls.’ Grade 3... Parthema,“fhe first musicke that ever was printed This piece was published in 1611, in WILLIAM BYRD (1538-1623) ETUDE 1 1ST C- SHARP MINOR Franciszek Zachara is a highly gifted Polish-Amerioan composer who for years has been at the head of the piano department of the Brenau Conserva- tory in Georgia. He has a rare melodic gift and his style and workmanship make his compositions permanent additions to .the piano repertory. COTTON PICKERS

is This unusuaJ J i 1 1 i e composition might as weJJ be calied "Fun for the Fingers.” Tricky at first, it “trick Jes” out of the.hand when mastered and a nice Jittle surprise for a recitaJ. Grade 3£.

J L

MAY 1941 WHITE. LILACS Avalse movement, more in the French, rather than the Viennese style. It should not be played like a dance but more like an idyll, in poetic manner.

Tempo rubato M.M. J = 120-l32 JOHN BERGEN SKILLMAN

British flm VOCAL AND INSTRUMENTAL COMPOSITIONS

THE WATCHER EDWARD SHIPPEN BARNES Margaret Widdemer® SONG FOR MOTHER’S DAY Andante r — ' — i —'-y r M 1 i y y f — if we were late, In wm-ter, by the She al-ways leaned to watch for us, Anx-ious

ORGAN

till come home to her, that where she is She must be watch- ing- yet,_ Wait-ing we nev-er could for-get, And so I think

- ' ' en’s win-dotv, Lean- ing- from Heav en’s gate. A -r TL Watchwaxen - ing1T12- from11U '“ Heav- Anx-ious if we are late,_ j

by Hiircourt, Brace and Company, Inc. , x ur-dj Copyrigni,Pnnvriaht, 1981, j ’ From CROSS CURRENTS by Margaret Wtddemer, International Copyright secured Copyright MCMXL by Oliver Ditson Company 325 MAY 1941 HOW SLEEP THE William Collins BRAVE 327 MAY 1941 JOY OF SPRING 329 may 1941 CARRY ME BACK TO OLD VXRGXNKY Arr. by Carl Webber Solo for Trombone, Baritone, Bassoon or Bb Bass

330

vttd'B CHORAL VORSPIEL Swell: All 8's and 4's except Cornopean “GELOBET SEIST DU, JESU CHRIST” Great: Full to Op. Diap. 8'

.16', 16' II 6654 321 S. BACH Pedal:. Bourdon Violone HammondTT J Organ„ (3) J. H. Sw. to Gt., unison and super-coupler Registration Edited by James Rogers 2 | 8776 442 Sw. to Ped. gjj

331 MAY 194i Copyright MCMXIII hy Oliver Ditson Company VALSE JOYEXJSE WAYNE F. RICHARDS

Presser Co. Copyright 1940 by Theodore British secured 332 Copyright THE ETUVE 1

333 MAY If) 4 DELIGHTFUL PIECES FOR YOUNG PLAYERS MY BIRTHDAY CAKE Grade 1 . MYRA ADLER Moderately fast M.M. J = U4

STEP CAREFULLY! Moderato M.M. J = 88 ADA RICHTER AN ORCHARD IN BLOOM

Grade 2. GLADYS HOLLENBECK DAVIS

MAY 1941 . -

TECHNIC OF THE MONTH ETUDE CAR aamargna^ --- “ opp " ite - «.S^a* 41 Grade 3.4

^ 3 ff • .A <> • f T~ o • 3^ | « . r— . i ? ^ 4 5 ^ ^=* 6 i- _f, #

Copyright 1941 by Theodore Presser Co. 336 THE ETUDE The Technic of the Month V/URUIZER — a name famous in music for over 200 years

WURLITZER SPINETTE MODEL 520. THIS COLONIAL MODEL HAS MATCH- Conducted by LESS BEAUTY OF TONE MADE POSSIBLE BY SUCH EXCLUSIVE FEATURES AS THE AUGMENTED PENTAGONAL SOUNDING BOARD — ACOUSTIC TONE CHAMBER—AND MANY OTHERS. ITS GRACEFUL LINES GIVE IT STYLE DIS- TINCTION. FOLDER SHOWING 12 WURLITZER STYLES SENT ON REQUEST. More Staccato N THE MARCH ETUDE we had a touching each key top before you brilliant hand staccato study; flash it. Do not hold or raise any I this month, by contrast, we take finger in the air at any time. If you up a delicate, whispering, fingertip discover legato tones being smuggled etude of the lightest texture. In the in, try snapping the keys lightly to- you (be sure to touch the key original version ( Opus 335, No. 41) ward

. now Czerny introduced so many complica- tops before you snap) You may staccato tone tions that I have taken the liberty of step up the amount of shortening and tightening the study (to mf .) —but still in slow tempo. practice in this grouping, to clarify its objective. What is this Then speed and rapidly, objective? To play swift, clear finger both at moderate staccato with minimum arm, hand pausing and resting at each and finger movement.

In much of it (Meas. 1, 2, 5, 6, 9, and so on) the hand must feel as though its closely bunched fingers are delicately scratching the back of a cat’s ear! Laugh if you wish, but just try the first two measures that way. You get the idea now, don’t you? In other measures (3, 4, 7, 8, and similar ones) the fingers spread out, but the sensation is not much different—this time like scratching (Left hand omitted to save space.) the whole top of your head at once! Also practice rapidly, (1) pausing More guffaws; but be sure to scratch m Wm 174 at middle of measures, gently! and resting thus: At first I would practice the study slowly and quietly legato, preparing each hand-group of notes carefully over the key tops. Memorize it thus, Wuoic (or WEDDINGS legato, and speed up only slightly. After that I it in a measures. would practice at ends of 1 (2) pausing compositions. way calculated to drive anyone fran- patterns and scale pas- All finger suitable fop tic; I call thus: it “off beat” practice— sages (Measures 1, 2, 5, 6, 9, 10, and with me- Ex.l similar ones) are played dium high wrist; arpeggios, as in VOCAL SOLOS ORGAN SOLOS with high, level Measures 3, 4, 8, 11, Title mill Cal. So. Composer Price your entire wrist. Above all keep At Dawning Cadnmn-liddu $0.40 mechanism quiet, the Bridal Chorus ( Lohengrin) (11371.... Wanner .40 piano playing Bridal Song (3.132(1) tloldnmrk-W' si brook .33 suspended elbow tip directing Call Me Thine Own Haleru .35 lightly Love Song (24970) Drtlla-Mansftcld .GO softly, proceedings. Always play Melody of Love (74411 Kn'jclinann .5(1 Try it will have the very slowly; you Merry Wedding Tune. A (24991 1 . . . . .Sour .(!U you play fast. Observe to be patient the hang whenever Nuptial Song. Op. 133, No. 1 Faulkcs .GO until you get Wedding March Bh. Op. 44 Back fingering scrupulously. Use soft In .75 of it. I use this method of practice Wedding March (134S0). Mendelssohn .GO no damper pedal. in all “running” which have pedal but pieces vary widely with PIANO SOLOS straight Metronome marks on-the-beat accompani- For different editions of this study. ments, for I find it invaluable as an fast enough; students J = 138 is evener-up, memory “clincher”, and some are capable of higher speeds. concentration stimulator. others not spend all your energy on Now practice, as at first, but with Do Remember the left this phrasing the right hand. regulator. Do not hand is the speed lot of separate Ex. a neglect it. It takes a precise rrn practice to keep it relaxed, and controlled. A Splendid Collection with Special another good finger staccato to give a slight hand impulse on each For Emphasis on Music for Weddings No. 38 in the same volume beat, and to release any single finger study, see WEDDING AND FUNERAL MUSIC School of Legato and Stac- FOR THE tension which creep in. “What a of “The ORGAN may Vol- VOCAL DUETS or in “Czerny-Hutcheson, Edited by E. A. Kraft relief!” I hear you say. cato” Of the II numbers in this nlhnm, III, No. 6.” This one, although largely Then let yourself go on the “pure” ume from tlie classics, 24 are suitable for weddings. and “crawlier”, gives We know- of no liner compilation. finger staccato, more difficult Voices) Stulls .50 always practicing Price $2.00 a fine workout. iris (17345) slowly and softly at first, carefully the left hand (Sop, and Ten. Voices) , Schocbcl .50 THEODORE PRESSER C© PHILADELPHIA, PA. The fuffi “1 a the field of comfiosMon. am ho fmor 0f class lessons In gels - Leopold Godowsky. a belter perspective of his own work. — MAY, 1941 —

and the music could be identified, “Money Cannot Buy It” learned during my active operatic what seemed to be an apparition of Approaching an Uperatic seasons. Then I work during the day (Continued from Page 291) its composer would be revealed. If a on the new role, guest interrupted with applause, Bole singing from an able to play and understand hour to an hour and a half, in full music. Woolworth’s pride would have roll- ( Continued from Page 293) parent voice, and am ready The who fails to give the ing organ repercussions that would for my perform- of the character to be portrayed. ance in the child a musical education is deny- shake the windows. evening. Voice color, dramatic ing him one of the accents, mood, An important point for greatest advan- “Other sound and light effects were the young line—all that the singer has taken singer to realize tages in life.” added; Woolworth could make a is that no role into his mind—must now be con- is completely The Saturday Evening Post, in its flash like lightning, and when the learned from scores veyed through his voice. At this alone. Interpretations issue for March 9th, 1940, in an arti- organ thundered portions, possibly, grow through point we approach the delicate and repetition cle by John K. Winkler and Boyden of Die Walkure, not from the organ in performance. That, of important matter of building a sus- course, Sparkes, gave the following graphic but from behind the walls would is why such stress is laid tained interpretation. It of tl , is a nrn- upon the description the player pipe organ come another sound, like torrents » young singer’s opportuni- ot found mistake to owned by the late “Five and Ten learn the mxis Q( ties in the cooperative give-and-take a new role and then, in second ninpp of active Cent Store” magnate, Frank Wool- The delight that Cyrus H. K. Cur- stage woi'k. The routine of try j n f use ^ with “feeling ” The' the living worth, in his Fifth Avenue home: tis, the stage is the only means eminent publisher, took in process works the other wa about' of polishing stage “In this extravagant thing that he the fine pipe organ, in his home, was / work. Singing The character must grow from nsv- with others, had given himself as a reward for measureless. The fact that he was watching their ap- chological truth; the singing simply pxoach, studying years of the hardest kind of work not obliged to depend upon an auto- their good points, expresses this truth. taking heed was included a wonderful toy where- matic player meant a great deal to from their weaker The most important part of score points by he was enabled to indulge his him. He loved to improvise, and all that is an education in study is religious attention to the itself. In previously frustrated passion for after his pressing office duties he my own work, I find that composer’s indications. Sing only a character musical expression. It was a mag- found his pipe organ a great solace becomes more real after what is indicated and nothing that I have nificent player pipe organ. His col- and joy. taken it upon the stage. This is not. If a legato or a portamento does lection of perforated-paper rolls in- The not mean that I spare myself points we desire to make in (or anything else) were required, during its eluded every piece that he had ever this editorial are, first that the in- composer preparation. It means, the would have marked it! logically heard and liked. vestment enough, that it grows more in a musical education in If he did not, the singer musfr not alive the longer I “Woolworth had a boy’s delight in early years often proves a very great improve live with it. There upon his score for him. It are some parts taking friends up a marble staircase asset in later life. Second that, even which I have per- is also important to learn the other oimed as many into that great second-floor drawing though the adult has in his youth as ten times before parts in the opera. A soprano, cer- nal room and treating them to a concert had his musical training neglected, crystallization appears, tainly, will never be called upon to inen, in the with surprising features. The room there is still time to accomplish a eleventh or twelfth per- perform the basso’s role; yet her fa- formance, was paneled with carved light oak very great deal, through a little something happens. Per- miliarity with it may prove a great ps 1 sud decorated with gold embellishments. regular study along denly see a chance for modern lines, aid to the timing, and to the "f general °r But when he touched one of the but- and that this study is really quite emPhasis that, with smoothness of the performance as tons under his fingers, the guests simple S arnest st«dy, and usually very delightful. a whole. nntir?H° K ! I had not re - would be in utter darkness. Then, Such study adds enormously to the PerhaPs I do some- In learning new roles, I am always thiZ /° after profound rumblings, the “consciously music pleasures of hearing music and is willing to take advice and am from experi- 1 v would begin ' that my and a pinkish-amber really highly desirable in these days , Performance has enced coaches and conductors who, bioadened. Always, glow, most flattering to ladies, would of superior radio broadcasts and the living per- through their greater familiarity bringS fill the room. The source of light neW 1UStel' t0 the magnificent records. We advocate with a ^61e - the opera, know more about it TheThTweiflideal means was concealed behind the ceiling very strongly that teachers every- of building up an than I could after but a few weeks CharaCter cove. According to the mood of the where start plans to secure adult- is this comTiiT of study. Yet, while the singer should “vet-on, ovei an extended music or the mood of Woolworth, beginner classes. Following are the period of be open-minded to experienced ad- time. Of theoretic pinkish-amber light gradually would names of books which have study a*d activl been vice, he should not follow instruc- be transformed to green, to deep especially created for this need and tions blindly and without conviction. It is difficult, I mauve and other color tones until teachers are urged to investigate know, for the aver- Always, there must be a foundation age student the piece was finished. some of them. to round out of personal truth. If I am asked his work “Leading from the organ were to in active stage con- use some effect performances That that would be untrue s why ^ duits for the sounds it made; some Methods ? important for out for me, we stop and talk it over. My beginners ghted had trumpetlike ends in the newels “Beginners’ Piano to realize that Book for Older adviser explains his reasons for sug- even an of the regal marble staircase; others Students” Carter opening 011 — gesting the effect; I explain mine better the^tage^s distributed the sound to more re- Than*"n °ne at “Piano Method” Peters au - Stage — for rejecting it. Sometimes a new Should he Work mote parts of the house; some car- 1 38 S00n “Book for Older Beginners”—Wil- conception grows out of as ™cal and such dis- dramatic ' ried the least organ whisper into liams P gl eSS cussions; sometimes warrants it, re- they end with ga™es of t? closets in the Woolworths’ bedrooms. “Adult Approach” Mason Part that — each one clinging more firmly to his ft offers itself, Even the posts of his bed were hol- “Music fs hen ? Study Course”—Nash own views. The singer ' W° rk U t° leading with must base his foies A ? P low and linked conduits, so as “First Book for the Adult Begin- “y and ultimate interpretation upon honest ng through grow- to make the bed itself an actual sen- ner” exnerfP C —Williams conviction. That conviction may a ‘° k"* sitive member of the amazing in- “Favorite be- in the Melodies for the Adult” come modified, but a SAnd th foundation WMt for the strument. There were nights when Williams of opportunity personal truth must always of Peppingstf snuggled be its stage upon the he and Jennie lay in their “Grown-Up Beginner’s Book for the bulwark. Mechanical as iLI following of ^ operatic bedclothes while some Pied Piper of Piano”—Felton character begins other people’s ideas leads to 8 ns 111 mechan- . Psychological truth- , the household worked the organ and “Progressing Piano Studies for the it mi ical performance. nates in the active, pathways living’ . lured their minds off on Grown-Up Student”—Felton norti «»t truth; its the past when Methods study that led them into of Study Depend Collections theyT, were„ pool.T-innr Upon the Individual could be made to do “Book of Piano Pieces for Adult Be- As to the actual “The organ vocal work of artist of gmners’ A Hungarian learning a new role, I other tricks. find it ex de Tahy hired “Book of Piano Duets for Adult Be- pedient that day, Joannes for my own purposes ginners” to sin» painted against alle- through the entire lme Woolworth, part each l,lat 1~ by dav T riplct scicnlific P™ the portraits ot “Twenty Melodies for Adult Begin- am not advising ‘shouhi l gorical backgrounds others to do the ners” Bilbro " 1,11 Liszt Mendels- — same. Less robust "/ Professional iisicians, Beethoven, Wagner, vocal and il desire organs may u ,} Thereafter a guest If you further information require a different should musical stitutions sohn and others. method. oduce for special adult My voice ,lu/,( ,rcs a wend ex studies, write to has nw i' [ giving m to a gained in »'c dclii i i j might be subjected power and flexibil tv spirits pies- the Editor, stating your special through use, mut perience: Faint as a and, within the J" hmits ( touch production appear needs, and an attempt will be made of ) an II, l? , of light would common sense, I do fnonoforlc, which now ence, a glow not is ton, ell, , gre to give you the information desired. myself. ''' - the ligh Many of my ' Olid ill above the organ; as roles have been decidual IcJll ska.™ Harm Lcvin- 338 THE ETUDE . t?

Voice Questions

^AnMvcrJ Lj DR. NICHOLAS DDUTY

name No question will be answeredin THE ETUDE unless accompanied by the full published. and address of the inquirer. Only initials, or pseudonym given, will be

upon placement and The Young Girl with a Dry Throat tones which relies more brute force. The whole Q. I am thirteen years of aye. and my resonance than upon sing it. must be deficient highest ambition is to become a singer. At upper voice, as you facial bones and the present / am taking singing lessons from a in the resonance of the the nose and head. It small town teacher. My throat seems to be dry bones and cavities of learn how to sing without hoarse and froggy. My teacher tells me that I is very difficult to reading books alone. But you should not sing through my throat, so 1 am a teacher, by persevere until you are able to afford trying to overcome it. but it seems impossible. must listen to all the good My voice has a mezzosoprano range. Ho you lessons. In the meantime hear over the air; not the think I am still too young f Could you (live contraltos you can - - - - blues singers you sing too much By KIMBALL me some advice as to what I should dot— jazz and — the opera and con- M. It. 15. like them as it is—but your own. cert singers with voices similar to An absolutely new produc- chamber construction, the bal- Castagna. Kathryn Meisle A. At thirteen years of age. you are still Listening to Bruna of that type will teach you tion by the World’s Largest anced, even tension scale, and too young to take serious vocal instruction. and other singers in Speaking and You are are not quite much. Read "Resonance Factory representing the at that age when you other books that Piano the exclusive Kimball patented a child Your Singing", by Fillebrown and and not quite a young woman. try some treat of resonance. You might also last word in fine piano build- voice is still unsettled, and it will be a year direct hammer blow action . . . contralto in my small or two before you can consistently exercise of the exercises for ing. The Kimball Consolette book "What the Vocal Student Should KIMBALL CONSOLETTES it without danger of straining it. We have Vo- or Sleber’s "Eight Measure possesses a resonance, tonal written many answers to the letters of in- Know", Contralto." You are very young. are available in many designs quiring girls published them in re- calises for young and for you to learn an beauty and touch long regarded all There is plenty of time cent issues of The Etude. Please read them . . . three sizes ... all standard more comfortable way of singing, carefully. Go on with your usual school edu- easier and as impossible of attainment in despair. At the age of seventeen, the cation; learn to play the piano; keep your so do not 88 notes . . . and moderately fully developed and you can- a piano of such modest dimen- body in which will voice is never good shape by exercises will in four or tell just how good it be priced. See and play the new strengthen it. without straining; read good not sions. These have been secured books; literature and five years. for a knowledge of through the perfected develop- Kimball Consolette at your poetry is of great help to a singer. Study a Singing at Eleven Years foreign language as soon as you have the so I lime ment of the Kimball tone nearest Kimball dealer. falsetto. W hy is this, and practice too long at a time, too any capable voice. Never way to uveveomc itt There is no nor too loud. You seem to The Skiles International Voice Pub'ls. could high nor too low. HARRY WOOLER, B.Mus. voice specialist in this city from whom t Make yourself a good mus - Dept. H Box 454 Freeport, Pa. have a good voice. 11206 Harborview Drive Cleveland, Ohio learn this. Can you suggest something for prac- health, and time will cian; take care of your tice at hornet When I took lessons—for finan- .1 „ muro-i fnr VOU. cial reasons I hare discontinued—my teacher told me to force the heavy quality of my lower Excellent merchandising opportunities are to be found in Etude advertising columns tones upward. This greatly improved my mid- The dle register, but in the April 1H.I7 issue of 23EQ2Eiai3E3E Etude, this method teas condemned. What shall I dot Masterpieces of Piano Music My voice is by no means exceptional, bill I 75 SHEETS has been termed the library of Piano am very ambitious and willing to work, but I OF FINE, TWO PACE should never be content with being mediocre. 12 STAVE-12" x 19 Music in one volume. The more than paper My piano teacher urges me to continue my manus cript 200 selections by great composers con- tor Sample Ringing. Can you tell me of any singers who Son d Stamp tained in its 536 pages, comprise 53 mediocre SERVICE have succeeded with more or less MMl ORDER MUSIC Classic, 75 Modern, 30 Light. 25 Sacred voices? —M. Ij. and 29 Operatic Compositions. This vol- ume is truly a source of constant enjoy- A. To negotiate successfully the upper ment and entertainment to the pianist tones of the contralto voice requires great who delights in good music. skill and patience. When they are well poised, Schools—Coheres they are of beautiful quality, of a somewhat Fur sale at your favorite music counter or sent dark but resonant timbre, with an alluring POSTPAID upon receipt of price. Money re- warmth and individuality of sound that no funded if volume does nut meet with your ap- proval (NOT SOLD IN PANADA). other voice possesses. fact that the tones Illustrated The CONVERSE COLLEGE folder with contents cheerfully from line) Bucon. Dean. Spartanburg. S. sent upon C on the staff up to F-sharp (fifth Ernst request. are weak and breathy suggests that you have been forcing them. Your whole description COLLEGE. DEPARTMENT OF MUSIC MHM1L PUBLISHING CO.. INC." °f your method of singing makes me think Galesburg. 111. 1140 Broadway. New York, N. Y. that James MacC. Weddell, Chairman. you have been taking the so-called Enclosed find f? for which send post- KNOX Catalogue Bont freo upon reuucat chest register up much too high. When the paid Masterpieces of Piano Music. vocal < ) Paper cords are no longer able to approximate ( ) Cloth by this method, the cords separate slightly, and the resulting tones are weak and breathy as Hip- SHENANDOAH you describe them. Please read Dr. Street sher's short article the upper tones about and I*-. Mus. I'M. degree: in the June the B. Mus.. 1939 issue of The Etude. You •tisomible. In the bear! <>t the Shot Cloth Edition $3.00 City & State must discover Edition—$2.00 — for yourself or learn from books alley. Dayton, Virginia. or a teacher, a method of producing these

MAY. 1941 339 - M 1

the tips and the wrist are to be kept ance, thus, repetition of exercises, increasing the speed of the passages Why Was Leschetizky firm during the stroke. The tone is beginning with light pressure and and by playing in rapid groups with made by moving the wrist down or increasing to heavy pressure, with pauses on promi- Great? chosen notes are up. This movement of the wrist is special practice of the weak fingers, nent characteristics of Leschetizky’s that is used for legato and also increase of ( Continued from Page 308) the same tempo, begin- teachings. ning with slow cantilena. “Touch the keys lightly tempo is the means Modern teachers and students of in line,” and the wrist should be the fingers to employed. (preparing) and force piano will recognize how far we have higher than in the diatonic scale, while The very first exercise press them down deep keep- of all, in- departed from many of the older so- but still loose. of swift tended to loosen the ing in contact, by means a wrist and pro- called “methods” in our present upward movement of the wrist; vide a movement which is to be ap- Broken Chords freer approach to the keyboard, of wrist fingers must be firm at plied in the cantilena legato and and in which vibration, rotation, economy Broken chords in various positions this instant.” A rapid downstroke of the chords pressed down by the of motion, and instant muscular re- naturally serve to introduce the the wrist may also obtain the same wrist, is as follows: “Press down lease form some of the basic princi- positions of f, arpeggio, and the same effect. The wrist returns at once to c, d, e, g, then lower and raise the ples. fingers, wrist and arm are used. normal position, while the finger wrist without changing the position Turning of the hand inward both in holds the key lightly. of hand or fingers or upper arm.” broken chords and arpeggios is ad- In a slow succession of chords This exercise is designed also “to vised. The “preparing’* of arpeggio either down movement or up move- give an unequivocally firm grasp on forms proceeds after the manner of ment may be used, but in a rapid the keys.” preparing scale intervals and shapes. succession only the up movement. Of the arm it is said, “The arm, How to Play Slow Movements Here the player takes the new posi- For and a greater and more to be sure, remains a clumsy To The f ff fellow! Eti de : 1 1 l; tion of the fingers by means of a vehement movement is to be made always having to be guided lest he nf ! ’iL nown fact tluit slow movements sonata reveal true musicianship, or the turn the to the right, the throw fingers and wrist rapid of hand “with the full assistance of off the track u ln ,hl ‘ performer. Poise, balance, nerfcer , ; t , 11 1, Peaceful serenity, accompanied by a forward movement arm;” for and the movement by faulty movements. Consequently, annil are.iVu,, H ,” assurance, p pp needed to interpret the music correctly. shifting of the in the first scale i,,g tlu “ of the arm and the must be slower and less extreme. and chord exer- a mlant I- of Beethoven’s YjOP“s in the cises one should look 28,” I have found, after the thumb upon its key, “just as should relax instantly to it that 1 The hand the 1 1 points have taken up, thnt who; t . :! been arm does not press I tcU the pup*1 to of the scale exercises.” after the stroke. It is well in slow forward too Krini«l.mr » *. think universe and the steadiness the short rapidly when playing "S"? The technic of chords follows chords, which must be cut up (ascend- 1,,t,0u of th, ‘ ‘‘arth, for the first ff eiirlit mon° es tl,c re- ing) and drag backward ! ' correct interpretive study of the broken chord. After the and require a broader movement, to when play- SI, ms “'stantaneous. P „ A ing down (descending) ' 0 sublimity fingers have been drilled as described raise not only the hand but the to n°„ *• V ?* measures, the £> »' n j‘t»re, such as in the stars above, the chords are struck from whole arm. After lifting the arm, 1 1 luvi,, -v quality of combined Importance of tendermwl: chord loose Accent 1,1 dramatic aloofness, the wrist. Preparation of the the fingers may be held in a In thl nD maJor inv.m section, the thought of the The connection between ,ri, is made in the air after it has been “fist” shape, to relax and rest them. rhythm ?rr«r“3 «sed everywhere in the coun- freedom of leaves dancing in the learned on the keys. “Care must be For arpeggiated chords the hand of the figures which are practiced vinil t('L' corrected the difficulty of . In vi.Vl taken to place the hand in the cor- to placed, and then a quick that is, the actual time values and *aCCH t0 potos to° hcavily “ ud is be ilia t ter-ofTn ctlyf rect position. It is then raised from fifth finger is to be technical command is undoubtedly authority turn toward the onm uu to teach this in this way far as of great importance, and for 1 f’cetPoven himself who said: ”1 the keys and bent back as made. The fifth must lift the note that have nu,?"yi S wriie.’’— tUrC iU 1UiUd WheQ 1 possible, while one counts very slowly shortly, to give fuller tone. If the reason attention should here be G. itouEKTs great from one to four, the fingers keep- chord is arpeggiated downward, the called to the stress which was ing unchanged the shape of the turn must be made toward the laid by Leschetizky on sharply cut rhythms. He began the To The chord. It then falls quickly back on thumb. training, not Eti pe : 0 eu " vitl1 snow outside, I was play- just deserted Some chords by teaching the scales, for example, tlie rr;. ^’ \ the place 1)lai10 concert number for sheer nviMe.'.^MM , Hand-Position groups, f he telephone require an inward turn of the hand, Varying the in accented but in groups bell rang. 1 jumped. s " no ‘sy . : though it was inton- ingi , , instead of the outward turn applied Departures from the original po- of even rhythms which had to be a true International A." *" wer 1 mused as I played on. to most chords. sition of the fingers or hand are made exact by means of the counts, As ir"o." i„“.M5 123, 123 or 1234, The wrist staccato is played by recommended in some cases, as as 1234, required to "'''^^"pcs to' beg ’off from mo r rInv 'T ' 1 ossin means of this same movement of “fluttering passages of a light pp on from the student. Accenting was ap- the hand and wrist. “The curved the black keys should be played with plied later. finger is thrown on the key, striking flat but firm fingers.” And in leaps In summing up the movements it smartly and being instantly with- to the black keys the finger, prefer- and positions of this method, one drawn by the wrist.” The fingers ably the third, should be flat and finds two points which are strikingly It the different from the customs of pre- l y rt“ lr ™H-ronJorenee, stay curved and “cover” the wrist should not drop. For a leap 1i onmntaJSoiganiziu threetS™V rff“i“ must choirs among the chiiiir.... to ceding methods. One is the hand and voung people of the church keys. The wrist must not yield on white keys the hand should glide po- which I at the low right or left. In extended figures, and strike with the outer edge of sition with wrist and high knuckles such as scales, “wrist and arm must five, and the wrist should drop. arched with sharply curved This position follow the fingers." The question of dynamics—that is, fingers. makes for 1 musil' form of wrist staccato various degrees of power is an- strength and solidity of tone. It as- lent, was chose AIL al con- A second of — So , “lifted tone.” The exercises sists also in developing clearness ™o„ora„i,B S is found in the swered in general in the in 3 otenfuS SS fingers are passage playing. The At first 1 wrist is loose; the curved which have already been described, second inno- did not reali?. reuse my own that this would in- is the conscious happine- \\ firm. The finger touches the key but one or two additional points may vation and syste- •lass literally hen my piano and trebled, l w preparation without tone, presses it be mentioned. Forte and fortissimo matic of notes which ll1 '™5- lightly and, l.il.'K, '.irjlvVT, ™— ; Hiatal 1.‘‘ ss lifted aids security and ." u fees. The usual down, then is instantly from require wrist help. Fingertips must legato. lumber of childn-. o. childhild ' ,lss was three, c paying one-hnir, flying back at be firm and wrist not loose. In rapid The motionless arm, the high lift amount for the key by the hand an individual lesson charged form of wrist passages, is not the product of of the finger, the finger-stroke As for th(> ch.’ll.. wrist. The first “ff are e ,)s the would add interest JuV ’ specialized hymns in octave individual finger power but the total all part of the heritage persons I..'*'! on< ‘• ,wo three used especially from fore- would Sim? nit.. or staccato is each group 'erses Sometimes effect of all factors of reinforcement runners in teaching. The would 1 ! !! wrist oc- chorus. This ‘‘‘ho verse oi playing. . . gave va - m,. J played which one commands, such as the tave follows the teachings to the ensemble Uiul lultlod contrast Legato octaves are to be of Theo- singing the keys, with pedal, the wrist, pressure.” Of ac- dor Kullak, including the with fingers close to lowering and raising of the movement of the cent, “Accent is obtained with firm wrist. The after first gliding, sidewise of nil. S *>“-• words a Whom ivl 1 u wrist is to be fingers and wrist. When the tone is pressure, applied by tills mins"' > “ >'“'0 for the lotulor of fingers and arm; the Leschetizky gliding to be prolonged, the finger holds in single notes, as well 1 not stiff. -This as in chords hy lino who rood the words, line but ' quiet ' “liter repented ,’ „ rliililroo than down the key and the wrist is re- was already used by Ralphs soot I tones almost moie Adolf Kullak ."-- turned binds the n’l.v 1 lio hoy -Musi, o , laxed, or the tone is held with the The downward pressure Mnidnully Juniors do.” of the wrist lemon'd both the the fingers tile s„„ ««» to nearly oil tone is pedal and the hand is withdrawn after the chord, brings into B» th, But another type of chord play the brilliant tone. Increase of muscles of the l'y 1' interest sinsinK a chord, for more forearm UlSfSfS,!™ "i",''' tones of especially ’ for “the i " milts developed, ntorosl ill' to the individual firm is recom- which assist in , , , sound hard and tension from loose to the pressure features of PJ'l'il. One of tin- regular struck from on high, Devel t",,. ,)!, for crescendo and the re- opment of strength big. goiiernliv recitals was group sing; is to mended ll, ' The hand by repetition the )P |,u ,, h"° fingers are gradually organized1 groan J- mits, the o‘"U|i singing is recommended.

340 THE ETUDE n ' . . ”, 1 .

to Venus does the tenor seem quite Recorded Musical Art in his element. Of the half dozen or more singers ( Continued from Page 302) who have recorded Depuis le Jour nic of the violoncello. It is claimed from Charpentier’s “Louise,” per- that this has allowed for greater haps none has given it more warmth melodic smoothness, speed, and ac- or beauty of tone than Dorothy intonation. Turning to curacy of May nor (Victor Disc 17698) . Nor Casals’ recordings of Bach’s “Suite have any of her predecessors accom-

No. 1, in G major” and “Suite No. 6, plished as smooth a rendition from in D major” (For Unaccompanied the standpoint of vocalism. Coupled we Cello) (Victor Album M-742) , with the impassioned song of Louise find that his eminent artistry does is the cooler, less compelling Recita- much to make these somewhat aus- tive and Air de Lia from Debussy’s tere works more immediately enjoy- early cantata, “L’Enfant prodigue. able. Mr. Casals is in fine fettle, yet Here Miss Maynor sings effectively there are evidences of some tonal in- but less convincingly, and her vocal accuracies. Even so, these recordings style is by no means as faultless as will serve as worthy models for all in the other aria. Collectors who do PROTECT YOUR VALUED students. not know the superb rendition of that one man this latter air by the late Jeanne PHONOGRAPH RECORDINGS It is dangerous to say wholly his own prop- Gerville-Reache should hasten to ac- and STOP Changing Needles makes a work erty; thus the assertion often made quire her old acoustic disc, which All you need do is replace the conventional that’ Stokowski makes Debussy’s Pre- one of the collector’s societies has playing arm phonograph on your present the Afternoon of a Faun repressed. with Astatic’s new Low PRESSURE lude to is not substanti- Marian Anderson has CRYSTAL PICKUP. Feather-weight, one uniquely his own done few Fine craftsmanship . . . Brilliant tone . . ounce pressure on the record reduces wear has records that Beecham things are en- . ally borne out; for on more Responsive touch . . Durability . . . Ten to a minimum and recordings will remain music into this joyable or more rewarding than her Year Guarantee . . . This heritage of like new for years. Permanent built-in. shown an insight Sapphire It is true voicing of several Sibelius songs. In explains their point eliminates needle buying that is equally admirable. Lester Pianos popular- and changing. Tone quality improved by Stokowski plays this music with Aus Banger Brust and Langsamt ity among members of the profession, reduction of surface noise and distortion. that considerable Kvallsskyn (Slow As the Colors) conservatories and schools. Write for Modernize your phonograph this easy, in- varied tonal color and Som expensive way, at once. slowness of Disc 2146) the noted con- your catalog of Lester Grand Pianos beauty of sound, but the (Victor , See Your Radio Dealer like in fine voice. or Music tempo is debatable. However, tralto is Both songs are and Betsy Ross Spinets. or Write for Literature his record- interesting, the latter is re- all Philadelphia Orchestra but Over half a century of continuous of this Sibelius’ ings, Stokowski’s new one garded as highest achieve- fine piano building under the orig- ASTATIC (Victor writer (Cecil Gray). work is well worth hearing ment as a song inal ownership and management. MICROPHONE INC. LABORATORY, Disc 17700) Dussolini Giannini and Beniamino 831 MARKET ST. OHIO YOUNCSTOWN, Victor’s Album, “Selections from Gigli unite (Victor Disc 17697) to Licensed Under Brush Development Co. Patents is recorded performance Six Wagnerian Operas” (M-749) , give the best Lauritz largely an operatic recital by to date of the duets, Tu Qui San- LESTER PIANOS Write Music with Melchior, probably the foremost liv- tuzza and No, No, Turiddu from Mas- LESTER INC. STACKPOLE’S music shorthand it does in- cagni’s “Cavalleria Rusticana.” PIANO MFG. CO., ing Heldentenor, although Gi- dealer or direct. Flag- with dramatic LESTER, PENNA. clude a duet between Kirsten annini sings more in- Duet from tensity than beauty of voice (San- stad and the tenor (the Die Gotterdam- tuzza is among her most noted roles) for active the opening act of IMPORTS merung”), in which the soprano is and Gigli is in excellent form. Those records. The admire the will find RECORD best on who music this heard at her records— never before sold at these low prices. Sur- PSAIMO noted Wag- disc worth owning. It was made in records. Finest artists TiACHiiS finest singing of the faces superior lo domestic and orchestras in outstanding classics. 10” records only here is accomplished m 1936 in Milan, with the La Scala Or- catalogue containing only nerian tenor 75c'-. Send today for new. FREE with the Philadelphia chestra. hundreds of selections. Exclusive with conjunction SHOP, Dept.E FREE: “The Student Pianist”, a directed by Eugene Or- Marjorie Lawrence sings two Scot- The GRAMOPHONE Orchestra, 18 East 48th Street, New York 06-page booklet containing the 11 selections are In tish songs, My Ain Folk and Doun EASY mandy. These TRANSCRIPTIONS FOR Land from “Lohengrin”; Am the Burn (Victor Disc 2147), with pronunciation from pltono- fernem Complete elcmeniaty course 1 IANO listed below, every num- Preislied from Die admirable artistry, but the audible stillen Herd and ITALIAN of 10 recordings on 5 discs—$7.25 cash to’ 1 HkiHn [erms other languages upon request. ber absolutely conjunction breath between the easy j complete but re- Meistersinger”; and, in intake of her RECORD LIBRARY duced in size. the San Francisco phrases detracts from full enjoyment with Flagstad and 376 Benjamin O directed by Edwin of these songs. RECEIVE THIS 36-PACE BOOKLET, you must Opera Orchestra, establish from “Got- One is disposed to admire the sim- with us your professional status, McArthur, in the Duet encl°se your professional card, The collaboration plicity and sincerity of approach of I e terdammerung.” By WALTER PISTON erliead, or other means of identifica- and the orches- the Siberian Singers in their voicing on between the singer Prof, Harvard University ’ or refer to one or two prominent of Music, music happily realized in the of Tschaikowsky’s In Church and publishers by whom you are recog- tra is less nized Ippolitow-Iwanow’s Bless the as a teacher. recordings of the Steerman’s Song Lord, Fliegende Hollander,” the O My Soul (Victor Disc 4540) . The l,y "eh-ltnnwn American com- from “Der posera?' lnclu d'i b o Director, from “Siegfried,” and aforesaid simplicity is a relief after carefully Hammerlied d; an

MAY, 194 J 341 —'

sings with tonal purity and expres- ensemble; however, this is the best sion, but the lack of male voices available version of the work to date leaves much to be desired in much on records. (Victor Album M-745). H I STO R Y • THEORY of the music. Too, women’s voices Ernest Bloch’s “Baal Shem” (Three TECHNIC tend to become monotonous if heard Pictures of Chassidic Life) ranks in too many selections at one time. among his best racial compositions. However, all interested in choral Dedicated to the memory of his music of these periods should by all mother, the F©i C©NDyc™<3 SPECIAL means titles of the three sec- become acquainted with this tions are Vidui ( Contrition ), Nigun set; it is worthily accomplished and ( Improvisation) , and Simchas Torah well recorded. SUMMIT ( MUSIC CLASSES Rejoicing ). Joseph Szigeti, with Continuing its Beethoven quartet Andor Farkas at the piano, plays series, the Coolidge Quartet plays the this often deeply felt and expressive “Quartet No. 6, in B-flat major, Op. music with artistic fervor and re- Musical Hisfory 18,” with meticulous care and tonal straint (Columbia set X-188). The polish. There is room for more STANDARD HISTORY OF MUSIC A COMPLETE HISTORY three pieces were inspired by Jewish warmth of tone and feeling Latest Revised in much chants, and Enlarged Edition OF MUSIC and in them the rhythm is of this music than is By James Francis Cooke realized by this freely By Win. J. Baltzell voiced. A history of music for adults, or students of college age. In reality it is almost like a con- Ideal for Summer Classes, densed encyclopedia of music, rather than a or for self-study. Reads musical history, because it covers so much data upon ancient, classical and modern like a fascinating story, Sidney Lanier: music, and the important composers of all Poet, Man yet each chapter is and fol- times. The academic standing of this book Musician lowed by questions to test is excellent, due, no doubt, to the fact that ( Continued the student’s knowledge leading authorities collaborated with the from Page 300) of the subject matter. author on specialized subjects. only eight of the forty questions Over 200 illustrations. Cloth Price, and Lamer Bound— $2.25 included in the Hall of Fame answers. As Mr. Short advises us, in Great Americans, established in the monograph referred to earlier, 5nn„1900 Cloth Bound— Price, $1.50 at New York University the answers are not to be taken by Mrs. OUTLINES OF MUSIC HISTORY too Finley J. Shepard. seriously. Lanier By Clarence C. Hamilton probably answered One YOUNG FOLKS’ of the speakers was young This fascinating survey of music, from its them while leaning over the piano, Herbert primitive beginnings up to ultra-modern R. O'Conor, PICTURE HISTORY OF MUSIC munching cake and drinking Governor of movements, is based on the lecture courses of lemon- Maryland, By James Francis Cooke who made reference to the author at Wellesley College. It is fully ade. the For classes of youngsters of grammar school illustrated with maps, pictures of instruments, Lamer memorials established in age. A packet containing over 100 "cut-out" music of ancient times, portraits musical and re han pictures comes with each copy. examples. The Mental Photograph of twenty American cities. Governor Board Bound— Price, $1.00 Cloth Bound— Price, $2.25 Mr. Sidney Lanier O'Conor also quoted John Macy who once stated: "Three vol- Your favorite Color? The opal s 0 grey unimpeachable poetry have Theoretical Subjects which one sees on the horizon just h ‘h America: 'Leaves of after a gorgeous sunset. by HARMONY BOOK THE ART OF the thin volume Musicians? Schumann, Wagner, of Pne FOR BEGINNERS INTERWEAVING MELODIES the poetry 01 sidney Beethoven, Chopin. Lanfer " By Preston Ware Orem First Studies in Counterpoint A first harmony book for students of all ages. By Preston Ware Orem Poets? Shakespeare, Chaucer, Lu- 14 Beginning with the rudiments it takes the Whltman and Edgar dry, pedantic series of exercises, but a cretious, Robert Alfan^PnT? student up to the study of the dominant Not a Browning. aye alread colloquial discussion of this subject V been seventh chord and an introduction to writing breezy, in the placed that actually makes good reading. The author What epoch ivould you choose to HallHill of melodies. Ruled staves are provided, right in Fame. While it is un the book, for making a permanent record of treats counterpoint as a method of making have lived in? The Present. at enjoyable music. hatLante tI the student's work. ' “"8h.Ga“- Where ivould you like Flush Cloth Bound— Price, $1.25 to live? Some- ^?;f I‘ Flush Cloth Bound— Price, $1.25 letters '” failed, in where where lungs are not neces- toe recen^'T sary to life. THEORY AND COMPOSITION MANUAL OF FUGUE What is your favorite occupation? number of OF MUSIC By Preston Ware Orem voteslhe w byhv « It is absolutely essential for the modern com- Teaching, either by poems, by votes and By Preston Ware Orem mu- was paired °fth poser, or arranger, to have a thorough knowl- sic or by lecture. David Thoreau An ideal text book, class or private instruction, edge of fugue. Here he will begin with Canon, such honors past the elementary ar^re^ for students stages in Imitation, Double Counterpoint, etc. and his What is your idea of happiness? A la lively unimportant the study of harmony. Helps the pupil to studies should prove intensely interesting as to a man wtose make a practical application of the Orem’s inimitable table with pen, ink songs live on knowledge the work is presented in Dr. and paper, un- in the souls of gained to the composition of music. the peo style. der a big oak in early summer pie who sing them. P Flush Cloth Bound— Price, $1.25 Flush Cloth Bound— Price, 75 cents wife seated where I can see her In this connection, and as our every second. Three boys rolling on eoda, we should like to include a Piano Technic the grass, a mountain in the dis- tance and a certainty that my MASTERING THE SCALES COMPLETE SCHOOL OF TECHNIC article won’t be declined. AND ARPEGGIOS By Isidor Philipp What is your idea d Francis A compendium of modern technic, exhaustive of misery? To find By James Cooke y fl in all details, including all forms of finger the flute p mastery of the scales is the foun- too sharp for the -rc A thorough exercises, scales, chords, arpeggios, double oboe o,rv dation of piano technic. This book may be 3roi f-‘-durt notes, octaves, trills, tremolo, glissando and after we’ve commenced th pupils as early as the second the An- taken up by bravura. Copious annotations and directions. grade, and it supplies material for practice dante of the “Fifth Symphony.” throughout the entire student career. Price, $2.00 must-»™poets works: admit Price, $1.50 On February 3rd, that t 1940, a celebra- cannot mer s standing tion be imurnv J was held at the Peabody Con- ° r dls FINGER CYMNASTICS this or anv oth? P™''ed by OCTAVE VELOCITY servatory of Music in memory ’ By Isidor Philipp of record assemblage. His By James H. Rogers Lanier’s birth, is writte, This original work on piano technic should ninety-eight years 1 Sp6akS “' exercises and etudes of itself. In f 74 short interesting be the prized possession of the ambitious earlier. The celebration was order wordsV octave work ’ medium difficulty. All forms of student, not only for summertime activities, arranged that 1 mean to sa^ there is plenty of work the Sidnev t are introduced, and but for daily practice of its exercises through- by Peabody Conservatory y n r hand. out the year. and earned h“ for each Johns Hopkins University ht piace Price, 60 cents Price, $1.50 in com Fame. 1n the Hal1 of memoration of Lanier's By his cleatlveor! i- association genius, by his with both institutions from diligent sh , 1873 81 courage by his The gathering, which attracted and s^ dis 6 61’ 4 tinguished he already ™™ ' visitors from all has over the bundV^bm ded a shrine of PRESSER CO. country, was also designed which marble L THEODORE to give nadors and impetus to the statuary ° bronze Publishers, Dealers and Importers movement to are ° nly Music have symbol." the physical 1712 CHESTNUT STREET, PHILADELPHIA, PA. 0^ joy."— ° cheeTtulness Euripides. that luakes the heart to

THE ETUDE — -

_Answered lu HENRY S. FRY, Mus. Doc.

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

No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, wilt be pub- A collection containing forty-one com- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions positions suitable for various occasions. as to the relative qualities of various instruments. With registration for the Hammond Organ together with indications for its use pipe organ. with any two-manual Q. Will you kindly suggest a program Q. I am very much interested in learning 9" x 12" substantially bound. Price $2.00 of organ music for u not too musically sophis- to play the organ. Will you kindly name a ticated audience, of medium difficulty—about book for a beginner in organ study and quote Sonata" COMPLETE CONTENTS the yrade of Mendelssohn's "Second price ? I am enclosing two diagrams of an At a price YOU and not so difficult as Ouilmant’s "First organ which I would like to build. Will you Andante Cantabile Witlor t” Berceuse, Op. No. 2 Spendiarow Sonata —E. S. kindly advise me whether the diagrams indi- 3, Berceuse .Stravinsky can . . afford! (Fire-birdl . cate a proper conception the building now program selected for of Cradle . Brahms might make up a Song A. You an organ along simple lines t I would also Cradle Song, Op. 121. No. 10 from the following numbers: f, Tine Wicks small organs bring Danse ...... like lo know where I can get reed blowers Lente . . . . Bogllmann; Andante Elegie .... Vouferott "Suite Gothique" by tend bellows and the price. I am not sure Symphony") by excellence and beauty to music Entry of the Toreadors Bizet rail labile (from “Fourth whether the reeds arc placed in tubes. Will Extaso „ Oaimo "Prelude and Fugue in E minor” by lovers everywhere, al reason- Widor; you kindly advise met It. T. Flight of the Bumble-Bee ICiiti>k> Korsukow Mun's Desiring by Bach; — Gavotte. A major hlnur Bach; Jesu, Joy of able cost. flricg Bach-Duane; Prelude A. We suggest “The Organ" by Stainer- Grand March (Sigurd Jorsulfarj . . Come, Sweet Death by Habanera t'liabricr to “La Damoiselle Elue" by Debussy-Chois- Kraft as a book for a beginner in organ Theso instrume nts are Indian Dvorak Canronetta d'Andrleu-Edmundson; study. It may be secured from the publishers Intermezzo. Szallt nel; The Fifvrs by compact, with :ase Op. 3. No. 3 . .... < de- Liebestraum I.is/.t Clair dc Lunc by Karg-Elert; Arc Maria by of The Etude. Price $1.25. Assuming that Love's .i /.llnilka signs which will compli- Oream After the Hall . . Alleluia by Dubois; llcrcensc by you have a reed organ (suction principle) Magic Wagner Arcadelt; Fire Scene (Walktirej Albeniz-Lanquetuit; Dawn by Jenkins; Are in mind, such an instrument might be built men! home or studio May- Night ...... I’almgren Milodie. Ktojowski Noel (with variations) along the lines of your diagrams. We suggest Op. 1. No. 1 . -• Maris Stella by Bedell; interior. Furlheir details Menuct a I' Antique .. Paderewski Bedell; In Summer by C. A: Stebbins; Pre- that the parts you have marked "string” Minuet. Op. Saint SeCns will gladly be .supplied. lude on Rhosymedrc by Williams; Retrospec- be constructed with light wire. We also Morris Dance t Henry VIII) Orman No obligation. Murmuring Zephyrs Jensen tion by Hogan; Elegy by Noble; Fairest Lord suggest the use of a reed organ pump with

Nocturne. . Chopin Op. 55. No. 1 . Jesus by Edmundson; Minuet in E-flat by two feeders Instead of accordion bellows. Nut-Cracker Ballet Tsthaikowsky If by “reed blowers” you mean reeds for the Send in this ad for oi Passcpied (Lo Hoi s'amuse) .Delibes Boccherini. Poupfie I’oldlnl reed organ, we suggest that you address the latest booklet. Valsantc . . Prelude, t; minor .. lluchmanlnofT firm whose name we are sending you by 13 arc contem- Procession Ippoliton -luanon Q. My organ teacher and I ef thu Sardar . mall, stating your needs and asking for Reve AnqeiiQuc (Kumennol Ostruw) JtnMiislrln plating the idea of starting a school in which prices. If we understand your question Riverle Debussy wc would teach church and concert organ, Romance, Op. No 'J .. Sibelius aright we reeds 21 other allied subjects, as well do not think the are enclosed SolvegJ's Song (Peer c.ynt) .. liturgies and To suggestions In tubes. You might include this question Spring. Op. 13. No. G us piano. I would appreciate your Thotn6 in your inquiry about reeds, bellows and so Under the Leaves .. what would constitute a good organ, Valse Bluette Drleo as to forth. Valse lJclH»s for teaching and practice. We should des Fleurs i Naila) suitable WICKS Valse Trlste (Kuulema) Sibelius probably hare to rent a house, which would Bnrowskl Q. Whitt is the best seating position for Valsette . size upon the instrument, .Brahms impose limitations of Waltzes. Op. 3!i ranks the parts in a mule chorus I Does the diagram perhaps to ten or ticelrc actual of Direct. ensemble is enclosed suggest proper seating f Cun you rec- Available Through Music Stores or pipes. An organ with a good amount unification ommend some yood books on the training of ORGANS preferable. A slight of Send for free 40 catalogue of the all male choruses choirs f In page registers would not be objec- and the follow- Whole Series. in the softer HIGHLAND • ILLINOIS World and Master Composer done with ing passage tionable. Do you believe this can be D. any degree of success t Wc would con flue APPLETON -CENTURY COMPANY years ourselves to true organ literature. Some 35 West 32nd St., New York, N. Y. prominent New — PIPE ago you were one of a group of ORGANS- Used organists who approved a group of stop lists Builders (if pipe organs for church and studio. Ef- ficient, up-to-date used Instruments on the Company. There were two ms et in spiritum sanctum do mi num hand at all nut out. by times, priced very reasonably. We also rebuild and one group made up of sets of specifications; modernize tracker and tubular organs, additions of introducing a how the stops, couplers and chimes Installed. straight stops and the other should words be sung against the Yearly care Learn Piano Tuning at Home duplexing. of organs. We solicit Inquiries. small amount of unification and whole note ? In the time of quarter notes or The stop lists! How is ad libitum. F. A. F. Delosh Brothers — Organ The Tcmperameter makes it easy. Do you hare any of the — Experts be better 3508-1 05th Street Corona, L. I., piano business is destined to me to secure them?—E. J. K. N. Y. City 4 it possible for than ever with the advent of the small A. We think the arrangement you suggest now by; learn- suggesting the following as a )) upright. Secure yourself A We are would prove satisfactory for the seatin'g of ing this paying profession. This—OUT twelve ranks of pipes, ' specification including the male choir. We do not know of any books 40th year teaching by mail. Write ensemble combinations as that includes treating specially of the training of men’s ©OILMAN? ORGAN SCHOOL today for Free Booklet. effects, with a limited well as some solo choirs. You might investigate "Tuning up Bryant Michigan unification: SUMMER COURSE—JULY 8 School, 58 B. B. Augusta, amount of Exercises for Men’s Voices" by Maybee. The Write 12 WEST 12th STREET, NEW Great words "Et in Spiritum Sanctum" should be YORK 8’ 8’ Dulclana 8’ Open Diapason —Flute sung at a good, clear reading speed and ac- 4’ 2%'—2' cent ad libitum not in strict time. — ^ ^ — Octave 4'—Flute 4 EDWARD ELLSWORTH HIPSHER, Swell Q. In a choir that has no soprano soloist MUS. DOC., A.R.A.M. Stopped Flute 16’—8’— Geigen Diapason 8'— available for the singing of the solo part Twenty Years Associate Editor The Etude 2’ 4’—2%'— in Rossini's Inflmnmntus, but does Imre the Instruction by Correspondence 8’ 4’ Harmony, Counterpoint, Musical Form Salicional — use of a high tenor voice, is there any possible 8’ Composition Vox Celeste reason why the tenor should not sing the Musical 4’ and Literary Manuscripts Criticised Geigen Octave solo pari, especially since his voice is n true and Prepared for Publication 8’ 4’ Cornopean — coloratura tenor, flexible, and possessing a Club Papers Written Pedal ange that embraces the F above high ('? 249 Madison Ave., Marion, Ohio 16’ Pipes Bourdon Th ci ''mg ago a. this Flute 8’ ... and we need the voice of an authority. In 16’ (from Swell) It's Bourdon Dolce the same circumstances, is it not permissible Easy To Keep Great) Dulclana 8’ (from for the same tenor to take the similar solo Swell) Cornopean 8' (from in a choral arrangement of Mozart's Alleluia? SHEET MUSIC Orderly Clarion 4' (from Swell) 8’ (from Swell) Flute Dolce Just file it systematically in A. Some solos, through use. are associated the Flute 4’ (from Swell) convenient drawers of a TONIC submit whatever with certain solo voices, and the Inflammatiis abinet. We suggest that you Saves searching; guards the build- is usually associated with music against specification you decide upon, to some a soprano soloist. tearing, fraying, or loss. Styles are as handsome for space requirements which We have heard of its being sung by a as your ers asking finest music room furniture. consideration. Personally we do tenor, so that you have precedence as Write will need for nume of nearest dealer and playing to original organ an argument in your favor, and if the not confine our folder showing many styles and sizes excellent numbers not effect is good, we see no reason, under for homes, music, as there are schools, bands, etc. written for the organ, but which the circumstances, why you should not originally TONE MFC. CO. (Dept. 212) transcribed for the instrument. use the tenor. The Rossini “Stabat Mater", have been 1980 decide on the however, is not a highly religious com- N. Magnolia Ave., Chicago You of course, shall have to suggest position. We are not familiar with the course that you wish to pursue. We arrangement of the Mozart Alleluia, but, that you might secure the specifications to TOA//va h it i ets c which vou refer, by writing to the builders again, if the effect is satisfactory we see (A The editor no reason why you should not use the tenor —lor sheet music to whom they were furnished. ? VETERANS OF FOREIGN WARS of the uniteo states has one copy only of the specifications. you mention. —for phonosiwph records

MAY, 1941 343 r -

through in five places for four strings. The Lord’s Fiddle GUIDO ADLER, well-known writer on The peg for the G string, obviously The World of Music a music and long a Professor of Music at ( Continued from, home-made replacement, looks the Page 315) not ( Continued from Page 289) University of Vienna, died recently unlike the handle of a kitchen knife. at the age of eighty-five in Vienna, ac- of her pew and, prancing down the MARION, OHIO, There is no purfling—who but the President Harding’s cording to word received by his son, Dr. aisle, chanted: birthplace boasts a Civic Wicked One would go in for that sort Orchestra of Joachim Adler of Seattle. “If they are agoin’ to fiddle, sixty-five members conducted by Abram of thing! ridiculously A short neck, Ruvinsky. I am agoin’ to dance!" Marion is a city of thirty- HENR\ BURR, topped by a mongrel scroll, finishes two for many years beloved At Wareham, Massachusetts, the thousand, and is one of several com- by off one millions for his singing of familiar end; a wooden button, well- munities in our country to establish or- controversy over bass viol or bass ballads, died no in . his Chicago on worn down on its inner edge, the chestral organizations this year. home viol lasted for thirty-five April 6th, at years. When other. the age of fifty-nine. Mr. What agonies must this fiddle Burr leave was finally obtained for the was well known both as a concert have suffered in those frigid, draughty THE AMERICAN GUILD and “bars-vile” to be brought into “ye OF ORGANISTS, radio singer, and he made more than churches of our ancestors, its lower which includes musicians of Canada ten million meeting”, some tried to as records of ballads dear to the bribe the well ribs and rheumaticky joints prac- as the United States, will hold its American public. choir for fifty dollars not to use it. tically on the floor! What creakings Second National Biennial Convention When eventually the Lord’s Fiddle and its Nineteenth and groanings, in consequence, must General Convention PITTS SANBORN, well-known writer on came to be regarded as a good and in Washington, D. C., June 23rd to 27th. have emanated from its innermost musical subjects and righteous thing, it Christopher S. Tenley is general dean of New York appears to have recesses chair- City’s on many a Sabbath morning! music critics, died suddenly of a cast its aura of sanctity over that man of the convention committees, and But did I say the Wicked One had heart attack on the Wardman Park Hotel will be the March 8th. Mr. Sanborn devil’s own instrument, the violin. con- wrote one no hand in the making of it? One vention headquarters. novel of the opera, “Prima Violins, heretofore taboo, now be- Donna,” rainy afternoon, not long ago, I came and only last year signed a con- came acceptable in the house of tract with the the home to find my cousin and some of Macmillan Company for a HENRY S. SAWYER, composer biography Lord, if held “wrong end up” and and vet- of Kirsten Flagstad. his associates diverting themselves eran music thereby converted into miniature editor on the staff of the with a scratch orchestra. At first Theodore Presser Company, Lord’s Fiddles. died at his glance it appeared to consist of har- home in Philadelphia on March 29th, at Generally speaking, the composei, died Wicked monica, sliding whistle, accordion the age of seventy-six. Aside from com- at his home in Bristol, d ° One uses maple and pine in the ’ n March Hth, of fash- and piano. Suddenly, to my horror, posing many works for the piano and 2S*? at the age nty-one. Sir ioning of his instruments, but the several operettas, Mr. Sawyer gave much Walford was appointed I discovered someone over in a cor- ster of the Lord’s skillful help to other famous King’s Musick, seven years Fiddle has been hewn through- composers, ago, ner making himself unutterably hap- to succeed Sir out of good among them Carrie Jacobs Bond, and Edward Elgar. honest deal. The Wicked over the production of hot slap py had many friends in the One glues his parts together with me- music industry bass on—of all things—the Lord’s I 0 in Philadelphia and Chicago. LUCKST0NE pianist singing ticulous ’ - care, to say nothing of fi- Fiddle! teachei anH d ComP°ser, died his home nesse; the maker of Lord’s in ,? at the Fiddle rk City PROFESSOR CHARLES ’ on March 12th. He did not hesitate to drive stout iron SANFORD SKIL- was SLy° f TON, long noted as a composer ase ‘ For over fifty nails into belly and back wherever “Music, when combined with a of Indian years m/ ° melodies, died in Lawrence, LUCkstone was famous as a pleasurable idea, is poetry; music Kansas, on vnSp’t^ T, they would do the most good. Strips 16 1 and 12th. From 1903 until -’ was accompanist for without the idea is simply music; the March his death, such paiJk * of dingy linen protrude from its ltleS aS Caruso idea without the music is prose from he was Professor of Organ, Theory of Nordicn ? ’ Xreteler and lower seams and the tail piece, 0n 1925 to 1939 a its very definiteness.”—Edgar Allan Music and History of Music at the Uni- teZorof VH \ he was Pro- 011 at the New ' " miserably crude affair, is punched Poe. versity of Kansas. versitvveisity Srhl^T^ Yoi k Uni School of Education.

WHAT PROGRESS ARE YOU MAKING? EQUIP YOURSELF FOR A BETTER POSITION A proof of quality is important for one inter- Your musical knowledge—your position and in- ested in further musical training. Our courses offer come today—are the result of the training you you the same high quality of preparation which has have given your natural ability. Additional training Please send me catalog developed and trained many successful musicians samni Q i„ regarding course inf°rmatio ' will open up new fields, new opportunities, greater I have marked ^ and teachers in the past. wi hTn^Xh^an * below. n P ano. Teachert . , income and higher standing in the musical world. s Nottna, Course NATIONAL HOME STUDY COUNCIL D V „iee P.ano, Student's Cuutse m ° , - training, through The Council is an Association of which Public ral Co «ducting This valuable our Extension we are a School Mus Ro • -d ^ ” “eg'nner’s Clarinet Puhn. < u . Courses, may be taken at home with no interfer- member. It includes the outstanding correspondence D M in W schools the United States with headquarters at C a„cercl " ence with your regular work just by devoting to BSE-*"- Washington, D. C. Members are admitted only J rEar Training after & Sight self-study the many minutes each day that ordi- Singing Cuitar rigid examination of the training courses offered. H.story of Music progressive musician, as Mandolin narily go to waste. The " arm °ny We are the only school giving instruction in M Saxophone realizes the value of such study busy as he may be, rne * Trumpet p Lino music by the Home-Study Method, which includes n ^° g Accordion finds the time for it. Well paid positions are U Advanced Cornet' Q Reed Organ and in its curriculum all the courses necessary to obtain are ready them. D Ba "i° available to those who for the Degree of Bachelor of Music. Name Ad “'t °r street Juvenile It's Diploma Is No. YOU can do it too! up to YOU! A Your Key to Success! City

Are • • State you teaching now? f , how ' ° u? ” many pupils EXTENSION , have UNIVERSITY C,onderuuto Do you , THE hold a Teacher's Havi you CertifirCa,0?r > STREET (DEPT. A-251) CHICAGO. studied Harmony? 1 5 2 5 EAST 53HD ILL. ,he '.' U ' d Dogrea V °U ' “f Bachelor ike *° of Music?.

344 THE ETUDE —

Twenty-One Questions for II LAND Violin the MELODY MELODIOUS SOLOS YOUNG Not an instruction book, but supplementary of Positive Worth VIOLINIST to the method in use. By ROBERT W. GIBB CONTENTS: Playing on the Open Strings: 1 —A Wee Bit; 2—Little Indian; 3—On the Lake; _s4iiswered hj 7 -1—Drummer Girl; 5— Soldier Boy. Introducing the First Finger: G—Raindrops ; —The Swing; g—Lullaby; 9—Roaring Lion. Introducing the Second Finger: 10—Merry-Go-Round; 11 —The Cloister; 12 —Fireflies. Introducing the Third Finger: 13—Chatterbox; 11—The Scooter; 15—Music Major) 18 Arrival of the Prince; Box; 16—Folk Dance; 17—The Princess (Founded on Scale of D ; — RDBERT BRAINE 20 19 The Peacock (Founded on Scale of G Major); —Gavotte (Founded on Scale of A Major): judiciously selected is drill on the subject at hand, although 2 i March, "Our Class.” Each piece, if a to the pupil it is a “really truly" violin solo.

unit,, a,companion' by lb, <.««»« No qne.tion, will be on, word in THE ETUDE Practical application to any system of teaching—class or private—is facilitated by grouping of titles initials, or pseudonym given, will be published. and address of the inquirer. Only under headings in the table of contents. For example: Where the lesson introduces the second finger, if the is the key of major, the selection should he made from numbers 10, 11, and 12 ; study in D assign number 17. The piano parts have been kept well within the scope of the average pianist to encourage Book on Paganini performance in the home. Good Teacher, ihe First Essential A New violin H. T. An interesting new work on the PRICES: Violin & Piano (bound separately), $1; Violin Book alone (without cover), 30c; T. E. R.—it is astonishing how many G. — Niccolo Paganini. “The Piano Book alone (with cover), 75c. students do everything in their power to famous violinist. Magic Bow”, by Manuel Komroff, has been avoid spending their money for violin in- JACOBS, INC. 120 Boylston St., Boston, Mass. brought out by Harper and Brothers, New WALTER struction, yet these same students will City. The work is full of fantastic scrimp and save every penny, hoping to get York wizard of the bow, and cannot enough violin costing $500, $600, stories of this to buy a violinists. One if fall to be of great interest to or even $1,000. They seem to reason that, the stories in the book tells of an old they can get hold of an expensive violin, of violin maker named Rizzi. who informed the rest will come by itself. It is a great Paganini that a challenge had been made help, to be sure, to have a good violin, but a rich artist and amateur musician in In the case of a young student, the principal by Parma, who had offered one of his two thing is to have a first class teacher, one violins to Paganini if the latter who knows his business thoroughly, and who Stradivari play his new concerto at first sight. has produced notable pupils. How much bet- could know So Paganini trudged a hundred miles, ac- ter to have a fifty dollar violin, and the Stradi- $500 cepted the challenge, and won how to play it like a master, than a varius. violin, and play it like a "hill-billy.” * V.. lady Engravers At one time, to please one of his violin tem- admirers, Paganini deserted his Value of Stainer Violins His theory porarily. and took up the guitar. Lithographers A. P. R. i. after his death, the develop the technic — a few years was that it would help reputation Stainer (the greatest seems to have Write to us about anything in this line of Jacobus of his left hand. In this he violin its high- enormous dif- maker of Germany) reached been correct, to judge by the SEND FOR ITEMIZED PRICE LIST est point. violins sold for in some At that time his ficulties he wrote for the left hand as time there has much as $4,000. Since that nf his compositions. been a steady decline 'in his reputation, and ih the value of his violins. Occasionally at in South America the present time we hear of a Stainer selling Menuhin Menuhin, at one time one Henning Violin for from $1,000 to $3,000. The. present taste L i m. Yehudi violin prodigies, is for Stradivarius and Guarnerius violins, of the world's most famous DEEP - MELLOW - SOULFUL adult violinists, For a limited time you ran pur- at 2 of his vio- of the most famous I Rare beauty glorious tone—amazing car- $25,000. —Stainer made some now one — chase this high-grade violin, with for a series of violin re- H rying power. The longest guaranty offered lins with a top and bottom each in one has signed a contract the Qualities of the finest, at a prlco of South America, B on any violin. Praised by concert soloists. piece, pieces. 3—The citals in the principal cities and sometimes in two teachers, students. Free illustrated booklet. instrument made possible by spring of 1941. The tour | an ; rank of Stainer violin maker, at the be given in the of experience in as a to months, and Revoicing, Refinishing, Repairing our many years of three and one half violin making. Satisfaction guar- Present time, is much below the greatest will last for appearances; for which he violin makers, Stradivarius. Amati. calls for eighteen CHELSEA FRASER, M.V.M. men like minimum gross receipts Guarnerius, Bergonzi, Guadagnini, and other has been guaranteed Saginaw, Michigan presented by his im- 4 2025 Stark Street great $100,000. He will be makers. of ambassador of good presario as an unofficial Relief from Aches and Pains W Buenos where he will appear Include LIQUIDATION SALE h. Y. T. write to the Cities San PIANO TUNING —Many correspondents Janeiro. Montevideo, and of Old Violinist's stiff- Aires, Rio de MY Entire stock will be sold Etude, complaining of pain, to pianists and other musicians ness, Paulo. K/0 & Used Violins, “Gemunder Art” and other aches, in the wrists, arms, School officially approved by Steinway & Vky Violins, German Violins, Bows, and fingers, which interfere greatly with Sons. W. W. Kimball Co., Baldwin Co., etc. Cases, Strings. their violin causes A Noted Violinist LT Write tor information playing. They ask what occurred the the most t tj on December 5th, 1940, V Senel for Catalog E and discounts. Dr. William Braid White, Principal trouble, and how to remedy it. In world fa- Jan (Johann) Kubelik, ' GEMUNDER S3 SONS cases this comes from a disease called death of July AUGUST School of Pianoforte Technology violinist. Kubelik was born 53 W. 56 St. New York ril is, which causes a swelling h* the Czech 5149 AGATITE AVE., CHICAGO Michie. near Prague. His father, Joints. A physician of a case, not 5th 1880 at told me was very fond of mus e, long ago, where a lady such pain and a gardener, who had the lad at the age of six. stiffness in wrist, that befan instructing the joint of her right progress that he was RARE OLD VIOLINS WITH TONE she could violin bow. made such rapid AT LOWEST PRICES ANYWHERE not hold a pen, nor a He concert in Prague two MUSIC his first Send for special bargain list. $50 up. LEARN "SWING" The exact cause of arthritis is not known, ?ble to give eight. His playing , r although Heat, later, at the age of FRANCIS DRAKE BALLARD SKf many theories are extant. vears profound Collector and Dealer i^MELr«hMa™Srfflts»SL later produced such a embellishments, figurations, blue notes, whole tones, etc. massage and exercise are presprlbed for this some years audiences, that after his ddbut MODERN DANCE ARRANCINC disease, give relief in effect on his although they fail to he trios, quartettes ensembles special choruses 1898. one critic wrote, If had Duets, and — many cases. suffering from Vienna in to other keys suspensions anticipations The violinist in manner in the M d- A Periodical with World-wide Circulation —modulating — — Pain in this supreme organ points color effects swtngy backgrounds and stiffness of this kind, should not played alive — — — have been burned “VIOLINS AND VIOLINISTS” Write today. try to treat medicines, Ages, he would himself with patent dle Single issue 25c Edited by Violin Expert ELMER B. FUCHS hut e — he should go to a first rate, reputable aS Ave., Evanston, III. 370 Lewis Avenue Brooklyn, N. Y. drew an audience of 5,300 at his E. N. DORING, 1322 Hinman Physician, have examination, and Kubelik1 a thorough New York City. Wherever he follow the diagnosis and treatment as pre- first concert01 in a profound sensation. scribed by the physician. nlaved. he created ETUDE Your Marketing Place. Etude Advertisers Open the in London in 1905 a young Make THE When* playing he To medical student announced that Doors to Real Opportunities Sell a Violin Hindu such a master SLuld never leave the side of K. F. E. Many to the Violin his medical studies, — people write ?! Kubelik He gave up department of The Etude, asking for help everywhere with Kubelik, as hi and Wailed selling valuable old violins. For their in- SPECIAL NOTICES & ANNOUNCEMENTS formation it may be stated that The Etude “ sums •» *s not and engaged in selling old violins, Be spent with equal facility. neither It m5t Of wMch is the editor of this department. years he maintained a luxurious FURNISHED CAMP FOR SALE: Lodge, requires For twenty auxiliary build- a lot of work to sell old violins. later sold this to buy SPECIAL NOTICES eight small cottages and Abbazzia. He | palace at | pianos, electricity, modern plumb- The owner of the violin must furnish proof acres in the Austrian ings, 2 estate of 2500 VIOLIN: About Wurlit- ing, 54 acres woods and fields, lake front- (testimony from an expert) that the instru- an ITALIAN 1680, zer certificate and overhaul. Perfect play- age, in southeastern Maine, 12 miles from ment is exactly purports to be, and 6 a a<1 a what it Thi?Sn * P°°r Bardener “ F‘ ing order. Grand tone. Sacrifice $300. Rockland. Ideal for Summer Music School that it is in must be Of these, perfect condition. It countess He had seven children. ‘'Cremona," c/o The Etude. or Recreational Camp. For full particulars shipped to packed others de- c/o Etude. the purchaser, carefully violinists, and the MATERIAL! Books, Maga- address Box "B.P." The and ex- So became MUSICAL insured. The purchaser must take to music or art in some Portraits, Busts, Instruments treme moted themselves zines, Music, care of any instrument he wishes to concert tours he was ac- and sold. Small or large collections form On his later bought buy, and if must he of print procured. ANNOUNCEMENTS he returns it to the owner, his daughter, Anita, who, purchased. Out books | | carefully Smrmnied by pack and it. be pur- P he did Send us your wants or offerings. Ace insure Would received more applause than chasers are held strictly liable by the courts Sd Booltfinders, 43 Mayhew Avenue, Larch- PLAY PIANO JAZZ like dance and in these lost mont. New York. radio players. Quick mail course. matters, and if a violin becomes notable successes was one in Informa- °r “Among Ms woman. free. Erskine Studio, broken in transit, they are held for the awarded the Beethoven POSITION WANTED: Young tion Dept. B, 2228 full London where he was M.A. Degree in Music, with all Rosedale Ave., Oakland, Calif. value of the violin. with the "Emperor university medal, and was presented requirements l'or secondary schools. Ex- The best thing the owner of a fine old been one of the violin stradivarius”. said to hove cellent violinist, experienced as soloist CARL’S LIGHTNING HARMONY can do, if he wishes to sell it. is to violins in the world. Theoretical subjects COURSE Book $1.00. Carl Publications, engage three best stradivarius and teacher of violin. a reputable dealer to handle the the violinist tried instrumental conducting. Box "W.K.” Dept. E, 62 New York Avenue, Brooklyn, transaction During the World War and for him. This dealer has, no composition, In which he had c/o The Etude. New York. doubt, the names of many prospective buy- htsliand at ers on his books. mnsiderable success. 34 5 MAY, J94i THE JULIUS HARTT MUSICAL • • FOUNDATION HARTFORD CONN. Problems of the French Horn

( Continued, from Page 313)

also regulated by lip work, and THE JULIUS this adjustment depends upon the play- HARTT SCHOOL OF MUSIC is as personal to the individual er’s ear. Tonal volume is regulated by player as the pianist’s touch or Moshe Paranoy, Director the breath control, exactly as in singing, singer’s tone. The best explanation and the proper husbanding of breath, of horn tone, perhaps, is that the for phrasing, is important. Lilli Leh- player must hear, in his mind, the mann once said that she learned quality he FRIEDRICH SCHORR wants and must then, by valuable lessons in breath control LEADING BARITONE OF THE METROPOLITAN lip work, produce the tone which OPERA COMPANY FOR from observing a horn player. In SEVENTEEN corresponds most closely to this SEASONS HAS BEEN APPOINTED HEAD OF THE many operas, the horn gives the mental pattern. The full musical singer his tonal cue sensitivity of the player —but it is the ear is revealed of the player through his that gives the cue to VOICE DEPARTMENT tone. the horn! So sensitive are the lips that the In PRIVATE LESSONS IN EVERY PHASE OF VOCAL Beethoven’s day, horns had de- TECHNIQUE least physical or personal disturb- vices called crooks, that be AND INTERPRETATION IN THE REPERTOIRE OF LIEDER, ance shows at once in the had to player’s lip adjusted by hand ORATORIO, AND GENERAL work. A stomach upset, a in changing from SONG LITERATURE. dry feeling key to key, and the player had to in the mouth, nervousness, loss of stop ALSO, UNDER THE DIRECTION OF MR. SCHORR, THERE to adjust them. HAS BEEN ORGANIZED A NEW sleep (especially the restful The stopped night oin had to sleep that is have the hand inserted so difficult to make up in the bell, to adjust tonal by day) all are reflected in tonal scope. To- day’ Wlth OPERA DEPARTMENT valve control, player quality. Consequently, a clean, whole- the COACHINC IN OPERATIC n° fc Work with his to REPERTOIRE, INSTRUCTION IN STYLE AND some, regular life is compulsory for hand keyS " anyone who means ’ bUt t0 correct the in TRADITION, STAGE DEPORTMENT, THE ART OF MAKE-UP, AND THE to play the horn. tonatfon Finger work is of slight TECHNIQUE QF HISTRIONIC PORTRAYAL OF OPERATIC ROLES. importance korn * s a on the horn. The three valves, ma- transposing instru- ’ wllicl1 means OPPORTUNITIES AFFORDED TO ACQUIRE EXPERIENCE BEFORE THE FOOTLICHTS. nipulated by the fingers, add certain ct that the notes do Und as they lengths of pipe to the instrument, the !^ are written. Thus, aye" must lowering the range. The normal over- kpv ? firs t determine the Summer Master Classes for Teachers and Artists tones of the F horn Part is ‘ A are F, A, C E- written written VT " flat, F, G, B. The first F horn sounds a C valve adds E- for an A F; flat, the second adds E, and SA n - A the third -itten ’ andS0 ° Courses of Study Leading to the Degree, Bachelor of Music. D, each with its overtones. All C^C°rh s0lmds an oc “ three tave lower TheTh^~ valves increase the range possibilities reas°n for this dates For further information, address 187 Broad from th a +• Street, Hartford, Connecticut by an augmented fourth. when the horn no Open tone valves Tt had is achieved without any valve action. ’ the Many symphonic works are per- comPoser would in most S Wr 1941- formed with open tone, and arpeg- e a P^ce in C for a horn in T f gios can be played 11 tbe :drs without- using the his “SvmnV ^ movement of fingered valves. Thus, the y G - lips are al- uses onT minor,” Mozart SUMMER ways of first importance. Lip B-°flat h °rn NORMAL COURSE technic Modern come and one in G - can be perfected only at the sers Use different instru- for their horns ment, never by facial exercises. In- dividual practice routines are LOUISE ROBYN best y mapped out by the 1 " teacher, but the eSeu ?“ E d- HoS is X s\£?I chief goal perfect to lip surety and Posing themselves to trans- SYSTEM tonal quality. quit a to PlaniStS erow usecl reading1wo , F LfS at one ‘tab- Vital Importance of Ear Training ow peLie OF CHILDREN'S horn C °8nize the French as , a solo i Although pitch and tone are pro- “st u“ent, less of the ? regard- duced by the lips, they are- fine USIC regulated written that has been for it h, MUSICAL TRAINING by the ear. Hence, the horn player’s y SUCh Mozart Beeth mastel's as ear must be especially well trained. Brahms Weber, One can, and should, accustom one’s y ’ and JULY 7, 1941 to JULY 18, 1941 Strauss. ThTs Richard self to hear music, not in terms i‘t;°P f, of accessibility. y dUe to the in “ tunes and keys, but in individual 0 f /h - MORNING AND AFTERNOON SESSIONS in- horns 5114- Train are seldom tervals. yourself to recognize as usedS byhf™”"arn Under the Personal Direction of are pianos - ?. ateurs, LOUISE ROBYN, Associate Director. minor thirds, ann - perfect fifths, domi- to 1S~and American Conservatory its inherent partly of Music, Kimball Hall, Chicago, Illinois nant sevenths, and so on. Further, difflcun ‘ers a most 4 “ °f- since the horn is essentially EtSgEX®?d Send for a Free copy of the New, Enlarged edition of the Louise Robyn a blend- who investigate to those a if-*S iL. ing instrument, the player must feel poss bilities. Graded Teaching List. to “a fnt,,3 fUl - ! As ADDRESS— his way, ear-wise, as he plays. He can onlydte must adjust pitch and ROBYN TEACHING SERVICE volume as he ‘Hare goes along. Although the horn 4714 Kenwood Ave., CHICAGO, ILLINOIS is cap- OP- While able of great the breaks fortissimi and delicate of intoto pianissimi, its volume P aymg c °h s‘i‘ute EDUCATIONAL WORKS BY LOUISE ROBYN is not an ab- i one of the OLIVER DITSON CO., Theodore Presser solute thing; it is calculated Published by Co., Distributors, PH I LA., PA. in rela- tion to the other Book 75 instruments TECHNIC TALES— One ROBYN-HANKS HARMONY—Book One . .75 Often Manual to Book One .75 it blends the Teacher's ROBYN-HANKS HARMONY— Book Two . .75 louder Book Two 75 notes 'of the TECHNIC TALES— ROBYN-HANKS HARMONY—Book Three. .75 Manual to Book Two 75 trombones with the Teacher's SNOW QUEEN SUITE 75 softer notes of CHORD CRAFTERS the flutes, Book Three 75 THE CHILD CHRIST— Piano Suite 1.00 adjusting to TECHNIC TALES— both; and '“ 75 KINDER CONCERTO— (HAYDN) Arr. for the 1 an ovel ROBYN ROTE CARDS crowded market. TOWN 75 Two Pianos by Louise Robyn 75 KEYBOARD KINDER ROBYN-GURLITT '! CONCERTO— (MOZART) Arr. for ROBYN-HANON Two Pianos by Louise Robyn 75

*juunay ' ' 346 i unes. the etude instrument perform- over to wind ACCURACY in TEMPO “Vibratitis” ance. One must recognize that there COMES EASY with tonal qualities, in ( Continued from Page 312) are differences in qualities of vibrato even among the tone of this much abused instru- the world’s best musicians, but for the ment. The biggest problem in saxo- student the important beginning is sections arises from the many phone that there are certain definable pre- methods of vibrato being used—some requisites for correct vibrato on the finger, some jaw, some throat, some various wind instruments. Some- stomach. times the physical characteristics In the case of the alto and bass and aptitudes of the student must clarinets, performers may use a be taken into consideration, but the vibrato which can be made slight general assertions made here about oscillation of the wind, or either by the different instruments hold true. by slight movement of the jaw or It is necessary to impress upon the although here again they must chin, student the fact that the vibrato Satisfied users say: musical taste in order to exercise should never be used as a matter of "SUPERBLY ACCURATE" avoid poor tone quality. habit, but only as a medium for add- simple rule may be applied to "GREAT CONVENIENCE" One ing expression and beauty to tonal the instruments of the woodwind "EXACT TEMPO" qualities, and, further, that the TEACHERS:—You can encourage parents to keep up family: with single reed, place more "INVALUABLE AID" children's music lessons if you don't discourage composition EDITION musical content of the them with the cost of music. CENTURY emphasis on use of chin and less on — at only 15c keeps the cost of pieces at a minimum determine the "ACCURATE TIME KEEPING" — way. to be played must how —yet, doesn’t restrict your teaching In any throat; with a double reed, use of into use. "STIMULATES INTEREST" Remember, this standardized price vibrato should be brought are achieved by printing an inferior Edition. If you the opposite is true. urge jou widespread failing, dealer for full information and at all skeptical regarding this, we would Vibratitis is a See your Tor t he ben Ht most earnestly, for your own sake and frial offer, or write direct to or Lemurs can cure and al- 6 day of your students, that you secure a cop> to Use the Vibrato but one which we 1 Ich When existing i litlon and compare It with any other we are to you or be familiar with, ana leviate by increased attention the may have may con will prove positively and There are times when the vibrato certain that Century purposes of vibrato. FRED. GRETSCH MFC. CO. clusively that it has no superior. mechanics and is in good taste, and other times Musical Instrument Makers Since 1883 All the suitable classics and a time and effort—but in EEn It will require ard modern compositions are available of in price. irrespettlvo when it is entirely out place 60 BROADWAY, BROOKLYN, N. Y. TUHY” at this standardized lSc spent, and effort two or twenty it will be time well as to whether the Edition contains the musical scheme. In symphony pages. well rewarded. at random from our practical for wind Here are a few selected orchestra it is less MEW catalogue: instruments than in symphonic ea. CENTURT PIANO SOLOS. 15 c band. This is because the function of the grade.) quite (Capital letter indicates key—number the winds in the orchestra is Screen Music 132 Amaryllis (Air of Louis XIII). E—4. . -Ghys the HcHer different from their purpose in 305) 746 Avalanche. Am—3 ( Continued from Page 1321 Barcarolle (Tales of Hoifm'n). 1 —3. Offenbach band. Very the brasses .-'trauss seldom do 514 Beautllul Blue Danube. D— 1 Martin president, Avila Camacho. 1606 Betty’s Waltz. C— 1 receive musical material of a lyric Mexico’s 2/50 Big Bass Fiddle. The. C— 1 Hopkins 147 Black Hawk Waltz. Eb—2 .....Walsh President Camacho’s announcement MAKES YOUR Dore nature in the orchestra, and vibrato 2416 Blue Butterflies. Yalse Cap.. D— 4. Leon of several PLAYING 516 Bridal Chorus (Lohengrin). Bb—3. agner needs to be used only in rare in- marked the culmination 1963 Bunch of Daisies. A, Yalse. G— 1 Martin Lavailc carried on by offi- 999 Butterfly. The. Etude. Em— 5 stances. The strings of planning, superior Merkel carry the mel- weeks First and only seamless bell, of £anien! 1704 Butterfly, Op. 81. No. 4. D—3 with new metal, made by electro-mechanical 968 Crimson Blushes. Caprice. Cl 4 Lester Mexico City together — odies, and the cornet is rarely a cials in process. Impossible to overblow or crack 2973 Dance Goldenrods. 1—3 Fitzpatrick of will a notel Gives amazingly greater flexibil- 2071 Dark Eyes. Dm—3 (.rooms Roosevelt. “Pot o’ Gold” solo instrument, indicating that the James ity, richer tone quality, easier response. 3... . .Grooms Batten! 2541 Deep River (Transcription). C— trumpets, cornets, . ' dur- Exclusive on Conn 1385 Edelweiss Glide. Waltz. Eb—4 • anderbeck premiere strings may use the vibrato for emo- have its Pan-American trombones. Most important development 2738 El Choclo (Tango Argentine). Dm—3.) illoido 1018 Elegle (Melody). Op. 18. Era— 1 Massenet tion and intensity, this festival, and the most popu- 1614 Elizabeth Waltz, f—1 Martin whereas the cor- ing 1225 Fairy Wedding. Waltz. C—2 Tinner net cannot. In motion picture stars, as 1304 Falling Waters, Reverie. Eb—4 Trims the band the opposite lar Mexican 209 Fifth Nocturne, Op. 52. Ab— 4 Leybnrh President Camacho and 1959 Floral Parade. The. Yalse. C— 1 Martin may be the case, because the cornet chosen by Lunge 217 Flower Song. Op. 30. F—3 will take part in the 1070 Flowers and Ferns, Tone Poem. G—1.. Reiser is so often a solo instrument, and his advisers, 1109 General Grant's March. F— 3 Mark Official an- 238 Gypsy Encampment. Am— 2 Behr warmth of feeling and color may four-day celebrations. 628 Gypsy Rondo. G—3 Haydn the Mexican govern- 2379 Hanon Virtuoso. Pianist. Part 1 Burdick depend upon the effectiveness of nouncement of Rebuilt Band & Orchestra Instruments 2203 Hungarian Dance. No. 5. A— 5 Brahms in the event was 1645 Hungarian Rhapsody No. 2. Cm—5 Bcndcl the cornet vibrato. ment’s participation Please specify Instrument you are inter- 1013 In Rank and File, C—2 Lange Miguel Aleman, Sec- 1015 Kamenno! Ostrow. Fit—5 Rubinstein The use of the vibrato depends, released by Don 2097 La Golondrina. The Swallow. G—3. .Ferradell 2G94 Let ’Er Go! (March) F—3 • of course, upon the intelligence and retary of State. 1319 Love and Flowers. Em—3 Aldrich great pleasure,” said 2117 Love Dreams (Liehcstraum). Ab—6 ....Liszt general musical tastes of the con- “It is with Rubinstein 313 Melody In F, F— I “that the Presi- No. 2. 2 Beethoven or Aleman, 1891 Menuet in G. O— ductor performer. For obvious Secretary IMPROVE YOUR PLAYING .Tuan). 0—2 ...... Mozart 1813 M i nuet ( Don issues an invitation to Minute Waltz, Op. 04. No 1. Db— ™°pln reasons, vibrato should never be dent of Mexico 1175 Pianists Send for free booklet show- I Moonbeams on the Lake. ( —3 I’ — 2972 ^e'hovenRpl,wen cinema industry to at- lug how you may greatly imptove your 1186 Moonlight Sonata. ( ttm-G . ... used in tuning up. Nor should it be the Hollywood | technic, accuracy, memorizing, sight- I Morning Prayer. Melodie F—2. . . Streabbng 328 tvinkel Motion Picture Industry reading nnd playing thru mentnl- Mountain Belle. Schottlsclie. V-2. used when dynamics call for decided tend the 1226 3.. luuscular co-ordination. Quirk results. Practice effort 352 Over the Waves, Waltzes, G— twelfth 4 ,buppe Festival in Mexico City, April minimized. I'sed by famous pianists, teachers and Poet and Peasant. Overture, D— contrasts, as a change from -pianis- 361 sludents. obligation. No | simo to fortissimo on a single chord. to fifteenth. Broadwell Sludios. Dept. 61-E Covina, California DUETS, ea. 1 VIOLIN AND PIANO Igg Musical taste must go far in deter- “The increasing friendship between Violin & Piano but be fur- Each number has separate parts for mining when the vibrato is to be our two nations cannot

. , * ensv to medium PIANO! q Vnrv ther cemented by this meeting of the SWING A used. A first class trombonist would play real Swing Piano. Send for free i j Easy In dlOIcult Learn to Home Medium to concert solos cultural industries and by Folder. write for business C i to C—3 not use a vibrato when playing a two great Study TEACHERS: offer. CHRISTENSEN STUDIOS, 52 Kimball Hall. Chicago 3 StT celebrations attendant upon the fes- 2178 Beautiful Bluo Danube. A— ^2 march, or when playing some or- 1272 Boat Song. A— 1 ,••••,;- Lester Caprice. R—- Wotan’s tivities here. 1144 Crimson Blushes. r.rooms chestral music such as THE TRUTH ABOUT Eyes. 2 2667 Dark B— f ihitzky extremely anxious to dis- 1. - • “We are 1835 Dream of the Shepherdess. C— Farewell from Wagner’s “Die Walk- 1275 Dream Waltz, A— 1 ... . PREMONITION Brahms play the excellent progress made by Dance. No. 5. B—3 J?™} The same trombonist, how- 2408 Hungarian lor ure.” m 1457 La Paloma. 3 or B— ; A— • Aldrich as soloist, or the Mexican cinema industry to our you heard 1745 Lovo and Flowers. A—3 or 6-2.....;'^ ever, when playing AVE the 3 nr B-i-- 1890 Menuet In G. A— Ilosns Hollywood friends who have been so H whisperings of self— 3 • important lyric pas- 1460 Over the Wavos. Waltz. A— ttunne handling an 2129 Poet and Peasant. Overture. B—3 - the the small inner voice that 1 , helpful to us in past.” B-l • • vibrato effectively. 1151 Star of Hope. Reverie. A,.};®"" „„ sage, would use warns of impending 500 Traumerei and Romance. B - dan- Cronins use be continuous? gers? Offenbacii Should vibrato Forewarned is fore- 1744 Valse Barcarolle. A-2 Again the decision is one of musical armed. Learn the purpose might hold “If we can advance propositions of the mysterious func- taste, wherein theory and new, these are our tionings of self. Write the is valid only when giv- both true own that vibrato Rosicrucians (not a reli- and VOCAL. MANDOLIN and GUITAR beauty. by right of discovery; and if ive can ing expression and adding gion) for the introductory and If he can't Ask your dealer for Century music, is old, more briefly and to us. of the vibrato repeat ivhat free Sealed Book. Address: supply you, send your order direct . continuous use request. While 1' RLE on plete catalogue will be mailed you brightly than others, this also be- . Scribe P. I. Y. by fine string players is justifiable CO. conquest.” CENTURY MUSIC PUBLISHING necessary, the writer feels comes our own, by right of I ’Ihe. ROSICRUCIANS and often * York. N. Y. —Colton. San Jose (AMORC) California 254 West 40 St.. New that such use should not be carried 347

May , 1941 —

musicianship of the performer. . . thousands who knew that they the dreaded “morning after." And Our Friends, The In addition I expect him to be at would be “purged” if they did not let no one think such a pitiful show- one with the composer—to have a applaud. He used to say, “I don’t ing of the value of some newspaper Music Critics sort of intangible inner-relation- care how much they hate me as long criticisms was possible twelve years' ship with his work, which the as they hear me.” He did not want ago but not to-day. It obtains to-day ( Continued from Page 294) audience will feel even though critics; he wanted a trembling just as well. critics received Wagner’s brilliant they may not be able to put an claque. opera, “Tannhauser?” But perhaps exact critical finger upon it. Some critics I knew in Europe Pasquale Sannino (Violin) not everyone is aware of how badly “Every true work of art contains were aosolutely ruthless in their December 19th, 1928 Chopin fared at the hands of Ger- within it certain requirements for criticisms. Their whole idea seemed “He has a sustained and flowing man critics. Read what Rellstab in its presentation. We agree that to be to make themselves feared. tone, enriching many exotic meas- Berlin, and Hanslick in Vienna there is a certain Standard, which Such brutal criticisms should be ures .”—New York Times wrote; their names survive because is unquestioned by the Knowing, curbed; but the moment one does “He (Sannino) revealed brilliant of the malevolent criticism they the breaking of which would mean this, the cry of “interfering with free traits .”—Neio York American poured out on the undying tone- arbitrariness. We also agree that expression” or a “free press” comes “His tone is thin and bleak, and poems of Chopin. A similar fate within this Standard, there may up. Possibly the only way in which often wide of true pitch .”—New York awaited Liszt when he gave to the be a wealth of variations, of inter- such critics can be controlled is by World world his beautiful “Symphonic pretative possibilities, such as public opinion. Unfortunately there Sannino proved himself incom- Poems.” Liszt calmly said: “I can cannot be found by a strict adher- are enough people in the great pub- petent .”—New York Herald wait.” ence to the text or to the exact lic mass, who actually enjoy seeing Can our present-day American agogic and dynamic indications. others lacerated and wounded, to Philadelphia Orchestra, music critics boast that they are And it is just this ‘Interpretation’ warrant such critics taking advan- December 20th, 1929 outside the class of German, French, which really makes the playing tage of this trait. “We prefer Mr. Szigeti’s conception of the and English critics .iust mentioned? of an artist interesting. Where We have read the opinions of Brahms violin concerto, to his Hardly. A few are good musicians, must the boundaries be drawn? flippant and impudent journalistic treatment of any other .”—New York others fairly so, and the rest, com- Where lies the middle path be- cubs who, in order to make a smart Times stabbed really “It prising the generality of “assist- tween objective and subjective quip, have fine artists is not the best suited among a savage manner. Young works ants”, frequently wield a colorful rendition? in artists, of this type, to Mr. Szigeti’s have to learn style .” pen at the service of colorless knowl- “A too great objectivity seems however, to toughen —New York Herald They edge. prosaic and leaves us cold; we not themselves. must learn to suf- like it. Therefore, For some thirty years Leopold only desire to enjoy the composi- fer and when a takes your playing Schmidt was considered, the foremost tion, but also the personality of critic apart, as sub- a bad boy tears the wings cared the music critic in Germany, really in all the interpreter. Exaggerated from a ideas of the soloist. The butterfly, just smile and result Europe. He did me the signal honor jectivity meets the remonstrance work and was a genuinely symphonic wait with the resolution of writing for my “Master School of of presumption and arouses dif- to make York Times that critic eat his words some The Piano Playing and Virtuosity” the ferences of opinions. day, orchestra’s portion of the success when your triumph comes. Brahms one and only article he ever wrote “It seems to me that the A wise! concerto was delivered in depends well-trained critic can a ragged, on music criticism. The opening of a concertizing artist “make” a and at times, noisy fash- career for a worthy musician, ion. paragraph, in Book VII, sheds a not so much upon what he gives and —New York World .” done so. . many have light on the whole subject. as upon how he gives it . Even in cases of great “When the author of this work Leopold Schmidt artists, who all their colleagues admit honored- me with the request for a Former chief musical editor and are among (Ger- the towering geniuses contribution, he expressed the de- music critic of the Berlin of the world, ; drcist than ever .”—New York acknowl- there are insolent critics Times sire that I discuss the require- many) “Tageblatt”, and who assail music them. A famous ments of a concert pianist from edged as one of the foremost pianistic giant, now simply a common- short of stature but huge piace fiddler.” the standpoint of the critic. critics in Europe. in his ac- —Neio York Herald the complishments, once played S S “The question, ‘What must the Most people imagine that in Ham- P rb mastei'y of his instru- burg. One critic mp?t ^ !! every public per- music critic is one who has swal- ripped him to an< hls scholarly critic demand of . ? musicianship and a pieces, and the virtuoso weie notably former?’ is not a question of a lowed a musical dictionary wrote an evident in the Bee- concert open letter to papers in special nature, but embraces the thesaurus and rushes from all parts of nd Brahms selections.” giving the continent. In effect NewNpTv ? problem of the necessary attrib- hall to concert hall, never he said, with York Times musi- his accustomed wit, “Critics h utes and preliminary qualifica- himself time to recover from may be UthleSSness with he riilnnc!/ , which course, most crit- divided into two classes the tbe tions in general; for the standard cal dyspepsia. Of — good Bra *lms Variations, that the ones and the bad ones. and hisi of the critic is .no other than that ics are supposed to write so The good slaughter of the Beethoven them, ones are those who write Sonata of the teacher, his postulate being general public can understand well about New York Journal in- us, and the bad ones are the sum of all that which is indis- and this precludes the use of those who is write ill about us. All Neio York pensable from a pedagogical, tech- volved technical terms. Nothing my life I have Philharmonic Orchestra, struggled to improve nical, musically-esthetic stand- quite so funny to me as the back- myself i n every December 15th, 1929 „ , imaginable way. If the Impressions point. woods critic whose vocabulary sput- critic of the du Midi’ are scenes ‘Zeitung’ will be good rendered with “The main thing, that which ters with musical terms, the real enough to ap- imagination into mu- apparently point a time when I sical equivalents .” makes for the ultimate decision is, meaning of which he may call upon —New York Eve- make him, I shall be very ning World of course, the third point: the art does not comprehend. They happy to have pedantry, but him play all of the “The music is the paltriest of interpretation. I am not con- this “bluff”' of musical compositions I kind of stuff, such as facility, touch they never fool real musicians. played at my recital and let any second-year sidering the technic, me dent stu- relations coun- know how I may improve m composition could or memory of a pianist, all of The modern public upon my turn out.” in a dress program.” The result was Neio York Evening which are taken for granted as sel (who is- a press agent nothing Journal tell you that the worst but a Homeric laugh of ridicule prerequisites for success in public suit) will New client is throughout Europe. The York performance. Technical virtuosity thing that can happen to a critic was Symphony Orchestra ad- to be forgotten. Evidently they think crushed. December in itself has earned fame and 15, 1929 disaster is better j. ucucvc widt ii miration for many, still it is rarely that any sort of win oe Doth in than no notice at all, after the man- struetive and amusing the only characteristic, since tech- to scan th experience, is ner of the witticism of Will Rogers following music criticisms nical ability, from which ap days, when with musical tal- during prohibition he peared several years ago in always coupled th JUSt a llttle part satisfy only said, “Prohibition- is better than no Musical Courier ashamed of this ent. Then, too, it will under the captio where tech- liquor at all.” of “What the Jury in such compositions Thinks." The that is a very One of the first virtuosi of history are bound to give nic is primary, and confidence an music-that was Nero, who was convinced that courage to the limited field. In real concert-giver and th was the Caruso of his day. He ‘ ’"‘rely a art of expression he concert-goer by showing f study, it i is, music as an them ho- , to caterwaul for hours the inner used before utterly one-sided ,^'T.wr the,r i each effect depends upon is what they U “ 0 rea ef listeners. — Bryant 348 THE ETUDE WHERE SHALL 1 GO TO STUDY?

(Western] Private 1 eachers s Accordion Teaching Problems 1 Private Teachers (Eastern) ROSE OUGH ] BARBARA BLATHERWICK fc 3 VOICE 33 Pietro oL)eiro Recital - Coloratura Soprano - Opera C >4 Former Assistant to Lazar S. Samoiloff ij Teacher of Voice >4 in Hollywood p As Told to ElVera Collins Reopened Her Voice Studios ot The Italian Bel Canto, founded on the 3 principles of Manuel Garcia < <4 1931—8TH AVENUE OAKLAND. CALIFORNIA 121 Madison Ave. New York Murray Hill 6-6963^ >4 Telephone Glencourt 61 15 ACCORDION TEACHERS have the first key is not released soon 3 EDNA GUNNAR PETERSON S. there is a slight blending of KATE CHITTENDEN S asked us to answer some ques- enough, of the following •« Concert Pianist—Artist Teacher Pianoforte — Repertory — Appreciation C ^ tions regarding problems they its tone with that 229 So. Harvard Blvd. Los Angeles, Calif. THE WYOMING, 853 7th AVE., p the second tone cannot sing- j have encountered, so let us form a key and 3 FE. 2597 NEW YORK p sort of musical clinic to diagnose out distinctly. slight variance in the 1 LAZAR S. SAMOILOFF some of these difficulties. There is a ALBERTO JONAS on different ac- One question concerns a student action of piano keys 3 Voice teacher of famous singers Celebrated Spanish Piano Virtuoso r in- Teacher of many famous pianists r cordions, since there is a small •4 From rudiments to professional engagements who has rapid progress and 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-2084 made >4 Beginners accepted. Special teachers' courses £ each key. The On Tuesdays and Wednesdays in Philadelphia, as fails ar- dividual spring under F has excellent technic, yet to Director of Piano Department in the 3 6IC So. Van Ness Ave., Los Angeles, Cal. Combs Colleqe P* this spring governs the of 1925 < ticulate tones distinctly. This fault tension of Music, Chestnut St. of the key; hence each ac- is apparent in all of her playing, action for the best ELIZABETH SIMPSON whether the passage be difficult or cordionist must strive j (Frank) (Ernesto) £ effect on his individual in- Author of "Basic Pianoforte Technique" LaFORGE-BERUMEN STUDIOS P easy, slow or fast. legato j 3 Teacher of Teachers. Coach of Young Artists. this strument. Voice—Piano L May we ask the teacher of >4 Pupils Prepared for Concert Work. Class Courses we sug- Frank LaForge teacher of Lawrence Tibbett since I922r have been asked what 4 in Technique, Pianistic Interpretation, Normal student watched the We 1100 Park Ave., Corner 89th St., New York > if he has ever Methods for Piano Teachers. students who have difficulty 2 Tel. Atwater 9-7470 W student’s right hand while she gest for changes on the 3 609 Sutter St., San Francisco; positional 2833 Webster St., Berkeley, Cal. played? It is quite possible that the making J keyboard. Obviously, there is only one EDITH SYRENE LISTER fault manner in [ is caused by the AUTHENTIC VOICE PRODUCTION L answer to this question: to assign which the fingers approach the keys. Teachers (Mid-West) 405 Carnegie which requires 3 Private Hall, New York City p is more study material It matters not whether the tempo Endorsed by Dr. Floyd S. Muckey L the keyboaid jumps from one part of Lecturer Voice Production, Post-Graduate slow or fast, the action of the fingers Doc. p player can exe- 1 EVANGELINE LEHMAN, Mus. Medical School, New York City i< is to another until the always the same. They must strike Wednesday: Troup Music Studio, Lancaster, ease. The practice of 3 COMPOSER and VOCAL COACH Pa. F the cute them with Thursday: 309 Presser Bldg., Philadelphia, Pa. F keys in a firm, swift movement. Dr. Lehman has coached some of the most famous passages is likewise helpful 3 The relaxing comes after the key has glissando 3 singers of the Paris Grand Opera. Terms on this line. Example 1 shows a 3 application. been struck, along not before. >4 167 Elmhurst Ave., (Highland Park), Detroit, Mich. RICHARD McCLANAHAN from the Bolero, jj few measures Representative A few words about the mechanical TOBIAS MATTHAY Arnilla. Private lessons, class lessons in Fundamentals F construction of the accordion will Lecture-demonstrations for teachers F 3 ARNOLD SCHULTZ 806 Steinway Bldg., New York City F show as the why this is necessary, 3 Teacher of Piano fingers are actually doing more work J Author of the revolutionary treatise on piano technique than ) FRANTZ PROSCHOWSKI E is apparent. Each key is con- 1 "The Riddle of the Pianists' Fingers" University of Chicago Press Vocal Teacher C nected by rod to a valve, and when j published by the 200 W. 57th St., New York* the 3 622 FINE ARTS BLDG. CHICAGO, ILL. key is depressed the valve auto- Tel: COlumbus 5-2136 P matically opens to permit air from ALLYN SMITH, Ph.B., A.A.G.O., THE RIZZI STUDIOS the bellows j RAYMOND to pass through the reed Dean "j Voice (Bel Canto Method) Piano-Coach p and produce lazy finger Central Y.M.C.A. College the tone. A 3 Mme. Gemma Rizzi—Operatic Dramatic Soprano School of Music \ action will tone. Prof. Augusto Rizzi—Organist-Choirmaster-Composer ", not produce a good courses leading to degrees. Coeduca- " >4 Complete President—Young America Grand Opera Co., Inc. Our accredited. or Evening. Low tuition. constant plea to accordionists J (ional. Fully Day Both of the Royal Conservatory of Graduates Naples M Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois has always been to strive for tonal J 278—6th Avenue, Brooklyn, N. Y. STerling 8-0763 * beauty. Have a clear mental concept EDWARD E. TREUMANN of the quality of tone you wish to j RUSSELL A. WOOD ; produce Concert Pianist—Artist-Teacher " and continually listen while Teacher of Voice Recommended by Emil Von Sauer, Moritz Moszkowski * " you play, so that pro- 4 School of Music and Josef Hofmann. you accurately Carnegie Hall, Suite 57th St. at M Central Y.M.C.A. College Studio, 837, 7th Ave. duce that concept. J Tel. Columbus 5-4357 New York City " M 1234 Kimball Hall Chicago, III. Summer Master Class—June to Sept.—Apply now. d’Auberge describes this very well 3 " in his “Accordionist’s Private teachers in the larger cities will find Encyclopedia of similai j DR. FRANCIS L. YORK practice of column quite effective in advertising « Musical Knowledge.” We believe that 3 Advance Piano Interpretation and the Theory work this their He says: “When N the helpful. 3 required for the degrees of Mus. Bach., Mus. Mas., courses to the thousands of Etude readers key is pressed material will be " down gradually, recommend >4 ond P D r, who plan to pursue advanced study with an he air seeps asks if we ET Ro'iT |NSTiTUTE OF MUSICAL ART into the teacher ^ from n reed and starts One m Detroit, Mich. established teacher away home. a slow play a selection for vibration which gradually in- that the teacher he assigns it fm the the pifcch of the note a student when played. rZ° ^o schools It is like singing next lesson. There are a note with first Make THE ETBDE Your Marketing Place the lips closed, this subject The you live and gradually of thought on Advertisers Open the Doors to Real If further open- to hear Etude mg the mouth. student is entitled Opportunities than convenient But when the key is says that a struck firmly, it should b , the value immediately a selection played as traveling distance opens entirely and guided in his prac- from any the reed respond! so that he may be OUT! of our with its fullest mistakes for JUST two vibrations, producing tice and not repeat branches this clear, with this MUSIC a brilliant tone.” whole week. We quite agree 1941 ACCORDION will interest you. The timing of CATALOG OF the release of one haS comP iled two con- key and See THE SUPER A Cise and easily depression of the following 1200 ARRANGEMENTS under- correspondence courses one also has much to do with AND 150 FOLIOS. stood that will enunci- bring into your very home his popular ating each tone distinctly, in AML SENT FOR Sc legato system of instruction. Write today for If POSTAGE playing. the first key is released full information. ADDRESS DEPT. E too soon, there is a breathing space PIETRO DEIRO ACCORDION HEADQUARTERS between that tone Write tor Free Cktaloo PHGiiNI & BR@. 1237 West Girard Ave., Phila., Prnna. and the following Accordion Co., Inc. 46 GREENWICH AVE.. Now York, N. Y. Acme ) Bleecker St., New York, N. Y. 43 W. lGtll ST.. N. Y. C. one which ruins the legato effect. If

MAY, 1941 349 2 " «

thought, but also believe there is Plan Your logic in the second school Vacation Now! of thought ERNEST WILLIAMS which says that a student will MUSIC CAMP never "In the Heart of the ” learn to Catskills observe signs for dynamics, Saugerties, N. Y. AMERICAN tonal shading, 8 weeks June and tempo unless — 30-August 23, 1941 he n Pr S works out his 1 trainin in Symphony Or- own interpretation chestL a°ndd Rnandh unaer f. ti™ r? P the personal direc- This school contends Ernest Will 'ams. Gala Concerts that he should LnriJde noted guest conductors. Grand opera l r be given a chance to see ^ Bl oad as CONSERVATORY what he can f ts. Vocal department CndeV r 5 C e Jacobson, graduate do. Why not a happy minttPr rt. of West- compromise by minster Choir School. alternating the All two ideas as soon as a recreational facilities. student has Tuition 5200.00 S/-MUSIC received sufficient in- struction ™ NOW—Enrollment- limited. to enable him to interpret \VINTER CHICAGO music? SESSION OF THE ErNEST 55th SEASON One week he may hear Uams Sch the offers a Vl »ol of Music lesson assignment, 011 and the next week training ?® °/ profes!> iona ' Accredited courses in piano, i^e^erv^ialHd of ,nstr umental and vocal, violin, organ and all other branches of he must work it out alone. vocal music FalPtJ 1 Music and Dramatic Art leading Application, !" ^ to Our last question concerns nT£ce^ed a pian- For further information DEGItEE ist who has turned accordionist HE —BACHELOR OF MUSIC and F„„ ,.T registrar DEGREE concentrates on music for “ School of Music —MASTER OF MUSIC his right _5£f_Oc«anin cSn*Avenue hand, Brooklyn, N. Y. and persists in not bothering Under Authority State Illinois with the of left hand and in keeping Unsurpassed the bass accompaniment faculty of artist instructors, many of national and a hackneyed group of basses longy international reputation. and chords. Our ad- school of music vice is to awaken the interest of this Internationally Thorough preparation for concert, radio, Known Teachers . opera and teaching posi- young man to the 10ns. possibilities a Artists Weekly recitals, lectures, school of opera, training and on Faculty symphony in students’ beauties to be gotten orchestra, bureau for securing positions. from the basv 1941-42 section Season of the accordion. Without seeming to ^ VL NCER make an issue of Horace Britt it we Teachecherr off composition SUMMER suggest that lesson ’Cellist MASTER SCHOOL assignments’ oc- HN ^EEn casionally include bass solos Olga Ayerino Three Summer Sessions for the Pianist —May 15 to June 25, left hand Soprano alone. Example 2 shows June 26 to August 6 and August 7 to September 17 a El'VIN Bodky few measures of such E. Power Biggs material It is Harpsichordist Special an excerpt from the Organist Summer Courses in Public School Music, School of Acting Sextette' from Children's Musical Training (Robyn System l, Oxford “Lucia", arranged for Piano Course left hand solo One Follen Street Ex. Member the Cambridge, of National Association of Schools of Music irghetto Massachusetts _®_® g). Send for free catalog. Address John R. Hattstaedt, President AMERICAN CONSERVATORY OF MUSIC C r leading i °n, ^°i to A.B. degree <-ertifi Ba n - At'.™, ca t0s Public sehool music, Aiun di 575 Kimball Hall, Chicago, 111. 1 Sc‘ences ee ,ourses ln Liberal ‘lion i L,bra?v ‘ re arlal SrTlenc Physical educa- aUrm.ti7 ! science f- n lin Beou,if“ 1 eampus. Kntloweti* o" l Gs. Dramatic' '. Ression • s »or, 3. pool. C-r. sui.? : s-tin vv. Gym, Sylvester Green. fo «t.log. Pr^den.resident p I. Box M Hartsville. S. C. nrTDAIT INSTITUTE OF OSMOPOLITAN liEilKUIl MUSICAL ART SCHOOL of OF MUSIC DR. FRANCIS L. YORK, Chairr ECATUR. MUSIC SHIRLEY GANDELL, M.A., Oxford ILLINOIS DR. EDWARD B. MANVILLE, University, England, President. President etc. « ... music. 37th year. Accredited. Offers courses Member of Ihe National Association of Music Schools. Cc Practice of similar material is - degree. In all branches of Music. Certillcates. Founded 1897. All branches of Music and Dramatic Art. bound Dipl >a and Certifi- diplomas and degrees. Desirable board- School of Sacred Music. Faculty of 70 artists. Accredited ’^•.Violin. Orn to intrigue the . Public Teachers' Certlileates, student, and ="mXV3',S j— School ing accommodations, laical ed in down- Diplomas and Degrees. before 'crgarten n musical center. Bulletin ' Methods H. B. MANVILLE, Business Manager he realizes it he will be taking sent Jrttee7 upon; c E, 306 S. Wabash Ave., Chicago. W • r- 1 in,, request‘quest 52 Putnam. Detroit, Mleh more STT. CLARE - interest in MINTURn! his left hand. Diirector There are many other selections — I 94 1 — which feature the melody in Summer Sessions the bass E Intensive Training Courses for Teachers of Piano Including Pre-School with a right hand C0LLEGE Music, OXFORD PIANO COURSE, and Supplementary Materials accompaniment’ °°00NSFnu«T^NS E R The accordion arrangement VAT0RY 0F Correspondence Courses for those who cannot attend resident courses of To A r MUSIC PL w,sc Detailed information may be had on request the Evening Star from "Tannhauser" c*w ™s- /T;tflrn,ow bourses In - Dean carries the melody entirely in piano GAIL MARTIN HAAKE American 'coisservatory of the musi bass. KIMH Vl.t. HAM,. < liiciijAO. lit. In closing, we would like to remind — = " =— accordion JUILL1ARD SCHOOL OF MUSIC= = teachers that the time is approaching for spring recitals and CRUSflDFR~MUs7c~CflMP~ Ernest Hutcheson, President concerts. C«™t.no Study p," W P Whether the enrollment in and an accordion school is large or small,

we hope 1 JUILLIARD SUMMER SCHOOL a recital will be given. Hard cSffi work? Of course CredCf George Wedge, these concerts and A. Director recitals are hard work, and often ex- pensive, but July 7 to August 15, 1941 conscientious accordion teachers realize that public appear- Accredited music courses leading to diplomas, teacher's ances form an important part of BALDWIN-WALIACE certificate, and Bachelor of Science and Master of Science musical education and they a lso real- CONSERVATORY OF MUSIC degrees. Instrumental and vocal instruction for beginning ize that their - students S ' should be ‘ ,b " rb « Otovnland) and advanced students, repertoire classes, methods and given the opportunity to play before 1 materials, public school music, theory, composition, and their parents and friends. The vJ musicology. Department for high school students. thought of these recitals is many all that1 students need for insniY Catalog on request to pull them along in °“ their 5 r studies, when there p Avenue New York, N. Y. might otheS 120 Claremont be a gradual letting down of entw .asm after a winter of hard study 350 Instruments Fretted Cincinnati Congierbatorp of Jilugtc JOHN A. HOFFMANN, DIRECTOR

Under Auspices Cincinnati Institute of «Fine Arts Luigi Legnani, Guitar Virtuoso Affiliated with University of Cincinnati Institutional Member National Association of Schools of Music

and Composer NOBLE CAIN, nationally prominent choral conductor, whose countless compositions for choral ensembles have brought him wide- •V 1 C. JCid spread popularity, will be a visiting member with of the Cincinnati Conservatory summer fac- the latter part of of the variations in his Fantasia uring ulty 24th to 28th inclusive. the left hand alone.” from June For the year 1819 there arrived in the nature did not vocal supervisor, and of value to the instru- D Vienna an unknown artist an- Legnani’s restless permit him to remain very long in mental supervisor, an intensive course (ac- nouncing a guitar recital. Up to this one place, and in the next ten credited) will be given daily from 1:30 to time no one had heard of Luigi Leg- any we find him giving concerts 4:30 P.M. course will combine three nani, guitar virtuoso from Italy. years The Germany, Switzerland, Russia and Curiosity was responsible for a fair in divisions: France. While in Paris he joined sized audience; there were many who in organized by Guitaristic Circle be for S. Military formations and bands some years before had come under, the 1. CHORAL PRACTICE. Chorus to U. Sor, which counted among made up of high school seniors and of R.O.T.C. units. the spell of the matchless Mauro Ferdinand such illustrious artists the adult members enrolled in the ORCHESTRA, conducted by CHARLES Giuliani and with skepticism awaited its members Ferranti class. Choral problems will be dis- F. STOKES, director of music for 12 newcomer. as Carcassi, Aguado, Zani de the performance of this cussed, as well as demonstrated; also years, Western Hills High School, Cin- was others. repertoire and selection and . interpretation, To the Viennese a guitar recital . cinnati, and in charge of instrumental div- violinist, 1836 the celebrated of material for elementary, interme- no novelty, and they were ready to be About ision of Conservatory's Department of invited Legnani to his diate, junior and senior high school, Music Education in Public Schools. All “shown.” Legnani’s first performance Paganini, and for glee clubs and a capella choirs. students of orchestral instruments have the Villa Gajona near Parma was a smashing success, and the opportunity of playing in summer months these two artists 2. CHORAL CLINIC. Discussing vocal critics unanimous in their praise several orchestra without tuition. Nominal fee if were for a problems such as classification of together, preparing credit is desired. of his marvelous technic and beauti- worked voices, intonation, quality, etc. Dem- which took them 1821 we find joint concert tour, onstration with groups from the pri- ORCHESTRA CLINIC, with CHARLES ful tone. In 1820 and and in number of European cities mary and intermediate grades. Discus- F. STOKES. A course in conducting, in- him back in Italy, giving concerts to a two concerts in sion of the problem of the adolescent cluding the study of orchestral literature cities; he ended in 1837 with Ravenna and other Italian voice, in boys and girls. of all grades for practical use in the Music one in Turin and another in returned to Vienna in 1822, where he Italy, Education program. New material and re- say, the composi- CHORAL CONDUCTING. Baton gave repeating his Parma. Needless to 3. cent editions will be discussed and per- three concerts artists technique, seating arrangements, cho- presented by these two formed. All student conductors participate former triumphs. tions effects and program building. The never ral in rehearsals. most difflcult and had Fetis, in his “Musical Biographies”, were members of the class will receive prac- Among these was CHORUS. In addition to Noble Cain’s birthplace of been heard before. tical experience in conducting and mentions Milan as the Paga- intensive one week course outlined above, sonata especially written by criticism. Luigi Legnani; but this has been a a chorus of high school seniors and mu,sic violin and guitar, which proven according to nini for To meet the additional needs of music supervisors will be in session during the incorrect as, Leipzig. Leg- later published in supervisors in service throughout the aca- 6 weeks summer term under the direc- birth records later found in Ferrara, was great interest demic year, the opportunity of combining tion of HOFFMANN, di- nani had always shown JOHN A. this is the city where he was born on the above course with profitable study for making of guitars and the rector of the Cincinnati Conservatory of November 1790. in the credit value toward Graduate and Under- Music. 7th, existing models. Dur- of improvement of graduate degrees is available in all de- When the boy was nine years offered his days in Vienna, he partments of Applied Music and Theory, COMPLETE PUBLIC SCHOOL MUSIC age his family moved to Ravenna, ing DEPARTMENT, under direction suggestions concerning then- Music Education (Public School Music), SARAH where his musical studies began. His many Dramatization and Foreign Languages YANCEY CLINE. In addition to the several leading Vien- construction to during Music Education courses offered at the natural musical endowments enabled instru guitar makers; and the Conservatory, Miss Cline will give an him to master all of the string in- nese according to instructions 6 Weeks intensive one-week course (accredited) struments event- ments made in short order, but famous. from June 30 to July 3, from 1:00 to 4:00 Legnani, became quite from June 16 to July 26 ually the guitar became his favorite bv P.M., at the University of Cincinnati. known of the later years talent Very little is This course is identified as Mus.Ed. and on it he bestowed his great 1862 he SPECIAL SUMMER FEATURES of the artist. In sl69.2„ "METHODS OF EXPLORING and industry. also blessed in the life Nature had where he lived For Music Supervisors and Educators MUSIC FOR YOUNG PEOPLE". Fur- retired to Ravenna, him with an exceptional tenor voice, ther details will be furnished by the Uni- death in 1877. BAND DEPARTMENT, under direction and at seventeen appeared in the until his versity of Cincinnati upon request. he great guitarists of FRANK SIMON, conductor of the fa- theater Like most of the in Ravenna, singing arias was practically mous ARMCO Broadcasting Band and by that period, Legnani American Bandmas- 75th SUMMER SESSION Cimarosa, Donizetti and Rossini, years he past-president of the In his early rehearsals playing his own accompaniments on self-taught. ters' Association. Daily and 6 weeks—June 16 to July 26 thorough grounding m weekly concerts. the guitar. received a 5 weeks July 7 to August 9 counterpoint and composi — In the in harmony, BAND CLINIC, with FRANK SIMON, 2 weeks July 28 to August 9 same theater, and later method of CaruUi — Milan, and used the in which student conductors participate he made his debut as guitar Son For students pursuing advanced study and for his guitar technic. in rehearsals and concerts. Special empha- virtuoso with led as foundation professional training. great success which howevei, sis on baton technique, repertoire, inter- him to sound musicianship, For students desiring degrees of Mus.B. go on to Vienna, the magnet His pretation, contest materials, etc. Frank to discover new har- and Mus.M. that attracted of soon led him Simon will also be available for a limited all the guitarists and For students desiring degrees B.Sc. and that on the instrument, of lessons in cornet and trumpet. period. After re- monic effects number the first of his proved that here M.Ed. in Music Education—Public i as one of the his compositions BAND FORMATION, by MERRILL School Music (in affiliation with Uni- critics wrote thus: of many it seems master far in advance PELT, director of University of versity of Cincinnati). almost impossible to be- was a VAN In his con- Band and director of instru- Normal methods and stimulating courses lieve that of his contemporaries. Cincinnati one could produce the teachers. presented only his own mental music in two of Cincinnati’s high for private orchestral certs Legnani effects on the guitar as a schools. An exposition of maneuvers, Courses offered in every branch of musi- demonstrated and arrangements, by Luigi Legnani in compositions floating designs and stunts with training cal instruction. to be a favorite his concert. In custom that seemed devices. For the stadium and field bands, MUSICOLOGY—for graduate students. his hands the guitar these sings, the guitar virtuosos during melody always clearly out- with the than two hundred Write for Summer Catalog lined, and the early years. More accompanying parts from his are perfect in published works every detail. His tech- and fifty Cin aH nical a most prolifl.o «com- Dept, e ’ feats are astounding and sur- pen prove him Cincinnati Conscrbatorp of JWusk ohio be regretted that pass anything ever heard here in poser, and it is to are now out of print Vienna, especially the playing of one many of these 351 MAY, 1941 ; —

and can be found only in the musical variations and coda, with a notation libraries of Vienna and other cities. from the composer that “the four Of those still being published are: variations are to be played with the “Op. 16, Grande Variazioni”; Op. 19, left hand alone,” which would tax Fantasia; “Op. 32, Potpourri and the technic of any accomplished Caprice”; Op. 34, Grand Capriccio guitarist. “Opus 20”, a volume of Op. 61, Grand Fantasie; OBERLIN “Op. 201, In- thirty-six capriccios, is perhaps the troduction and Variations on a best known of his compositions, and S©NSIBRVAT©RY ©F MUSIS theme from ‘Norma’ “Op. 202, should be in the library of every Andante and Allegro A DIVISION OF OBERLIN COLLEGE from ‘William guitarist. This opus includes a series Tell’ Op. 204, Rondoletto Scherzoso; of concert etudes in all keys, and “Op. 224, Introduction, Graduates are prominent in the musical world Theme and even if Legnani had left to posterity Variations”; “Thirty-six Short Vaises” super- nothing but these thirty-six etudes, as concert artists, music teachers and without opus number. Scherzo, Opus his name would be cherished by visors in public and private schools, directors 10, consists of a Theme with four every lover of the classic guitar. of conservatories, deans of college music de-

; partments.

Thorough instruction in all branches of music Meii, WomEn and Song

... 46 specialist teachers . . . excellent equip- (Continued | from Page 292; ment (over 200 practice rooms, 23 modern eleven feet, in their silk stockings, they could not sleep, either, because including two large recital instruments) and close-cropped heads organs, under shoul- they were so worried about the fu- der-length tresses—illusory . . inspiring concerts world-famous mu- females ture. . by Stein and Page—minus Byrd needed for the play within the play, would sicians and organizations . . . weekly student be at the University in 1941, in other words the New York reasons Oberlin Con- play and the University would certainly recitals ... for these within the Yale play. expect Stein and Page to add an- servatory attracts talented and ambitious stu- Presented to a Junior Prom weekend other laurel wreath to its brow, come foreign countries. dents from 39 states and 6 crowd, this first all-undergraduate 1941. With a sick feeling of “Can we Degrees: Bachelor of Music, Bachelor of School Yale show since the days of Cole do something bigger and better?” Porter went over with the success Music, and Bachelor of Arts, with major in of they acknowledged the kudos of an a panzer division—almost literally, unfeeling campus, music. Oberlin College, on the same campus, scratching around too, for part of the scenery fell down meanwhile in the dead excellent combination courses. grass of their makes possible at the first matinee. And to this con- brains for a green idea. At last they quest was added, after hurried but got it. For catalog address Rhumbas, romance, fifth col- painstaking copying of a score writ- umnists and a couple of murders on ten under the influence of midnight board a ship FRANK H. SHAW, Director. Box 551. OBERLIN, OHIO bound for South Amer- hamburgers, the hoped-for ASCAP ica! That ought to do it! prize.

North Carolina Wins with "One More Spring" « v-naugc ui mum that copped the prize Sanford Stein, who wrote the for James QlrfarlaniiJhHltfiitp erf (Quair book Emery and Charles and lyrics for “One More Suggs of the Uni- Spring,” versity of Oklahoma. Master of Music Degree, Artist Diploma North Carolina They had writ- Confers Bachelor of Music Degree, the winner, says he ten one successful college Faculty of Nationally Known Musicians and Jack Page and Jim Byrd won the musical together and were casting BERYL RUBINSTEIN, Director, 3411 Euclid Avenue, Cleveland, Ohio ASCAP money purely by accident. about for f°r a First, they tried second one the only to lighten the > when gloom of a student-faculty lepresentative came to the day one °a™pas 110RTH PARK COLL£GE of those distressing occasions when told them ab°ut the contest. His words teachers and students are supposed electrified them ikoi qU SO ting to get sugary and forget all about .“\ of Possibilities, 50th and hpfp 6 he f iSi< Year last term’s marks—by writing town they were some filled witv, reS decent music for the crowning and common sense of the and hint USmg in professor king and the 6Vents in Trains students for active musical careers co-ed queen the life Conserv- of awedV Professional their chosen field. Progressive faculty. Secondly, when that °Wah0ma -4 A Piano, voice, music went over <*“«*“ atory occupies own building. Belle StoTb reed and brass instruments, church with success they were e n " School Music violin, cello, ami asked by the ““ the reP of choral music, theory, music education res ntauv and 'so ’ h begins September 10. Student Entertainment Sdd he aPProved. Environment expression. Fall semester Committee And ho in a University to put on a full-sized S00ner Write E. CLIFFORD TOREN, Dir. musical com- was his back Bulletins Write Northwestern University Illinois. turned thanth»’ For Free 3201 Foster Avenue, Chicago, edy, SEC to supply the money. Cam- these renegades went School of Music, EVANSTON, ILLINOIS . pus election (apparently '“‘uaf akin to lS elections in Mexico) came “oV"ealm ot'tuncy. along con- and “ ,)' In words currently, and so “One More ey spun an imaginative Spring” tale about was squeezed out during spring angel named Mike, vaca finds life* who tion and the quiet hours 6arth ° ne blg COURSES AT LOW COST when other anothe, mess after SOMMER people were asleep. w en Thirdly, ust Unters an heiress, j as hence the m, S° the score—which looked like Serenade to an Heir- BEGIN JUNE 23 some ess and Vhe thing copied off an obelisk— proves that he can do in- was anything, School offers ambitious Private and class from fixing Sherwood Music nearing completion, an ASCAP up boggled love profes- struction in all instru- rep- affairs students and teachers thorough, to putting the theory, voice, public school resentative appeared at a sagging ,b training in special summer ments, drama lishing m sional diplomas, and de- business back on cost, fac- music. Certificates, festival and told the its fee t courses at exceptionally low bleary-eyed to keep jTsI awarded. Write for catalog and track of his teachers. Recreational grees writers about the contest. resuscitation! ulty of 75 arlist By cutting and exploits advantages of music-con- all-expense estimate. puts a strain on and cultural 111. out eating as well as sleeping any!y 412 S. Michigan Avenue, Chicago, and body’s credulity. uss Chicago thus utilizing MusicHi- all twenty-four of each But the National Association of Schools of from Strepticockeyed Institutional Member of day’s hours, they managed —the to get play s opening number— some neat copies made for to the finale a skid the college audience ’ across the home roared ' plate. It all just proval its auP MUSIC SCHOOL happened. of all the angel’s tom 1 Then and later the iudges^ave after winning the s SHERWOOD award Professor Norton Cr S of the I 352 the etude ”

there soon came a telegram from ASCAP competition, he did some very New York which said in part: careful weighing of labor, victory and

. . judging committee announces defeat, and then bought a stack of winner to be ‘Serenade to an Heiress’ manuscript paper and cleared a desk by Charley Suggs and James Emery. for action. It took him a month, There working ten hours a day, to get THE were five plays in the competi- tion and I do most enthusiastically scores and playscripts ready for the congratulate these winners. Please judges. CURTIS .” INSTITUTE notify them. . . After winning the fellowship (and It sounds simple in abridged form, all the checks!) he went to Holly- this winning of a prize; but not so wood, met the man who wrote OF MUSIC simple, of course, in a round-by- Heigh-ho for the dwarfs in “Snow round White” and some other celebrities, description, especially of the PHILADELPHIA last round. That one found James then headed for New York. There, Emery punching out ink-ball notes during this past season, he has di- enough for a twenty-five piece or- vided his time between the Juilliard chestra, on sheets of ruled paper, School of Music and the balconies of Eighteenth Season opening October 6, 1941 and punching them out fast. By those fascinating auditoriums on and working day and night he kept ten adjacent to Broadway, in the forties people busy copying parts and just and fifties. EFREM ZIMBALIST, Director made the deadline. On that famous street of lights and names there aren’t many “hits” listed One-Man Award Goes to College that were written by one man. Noel of the Pacific Coward is, of course, an exception to THE FACULTY Top honors in the first ASCAP con- the rule that collaboration is neces- test go perhaps to the College of the sary for musical comedy success in Pacific individualist, Harold Rogers, the legitimate theater, but he seems COMPOSITION: Rosario Scalero

Gian Carlo ! who played the triple role of play- to be the only one-man combination Menotti, Samuel Barber scripter, composer and lyricist and of talents that comes to mind when VOICE: Elisabeth Schumann, Richard Bonelli won the only one-man award of the you try to count such talents on your Eufemia Giannini Gregory

competition. Will he be in the near fu- ! Five years ago, this fingers. PIANO: Rudolf Serkin, Isabelle Vengerova an- young student decided he would like ture? Or has ASCAP unearthed Mieczyslaw Munz, Jorge Bolet to write fiction; almost simultane- other? And with yearly contests of Jeanne Behrend, Freda Pastor ously he decided he would like to this sort, what is ASCAP likely to Eleanor Sokoloff write music. Therefore—he writes unearth? VIOLIN: Efrem Zimbalist, Carl Flesch musical the answers comedies. He has written We can not give you Lea Luboshutz, Alexander Hilsberg three, all of which have been suc- now; youth in' ’teens and early twen- Marian Head, Frederick Vogelgesang cessfully produced the College of ties must supply them—later. But it at VIOLONCELLO: Emanuel Feuermann, Felix the 1950 some fa- Salmond Pacific. The 1940 prize winner, is a safe guess that by Orlando Cole called “Step’n’ High” was produced mous Broadway or Hollywood com- be hailed VIOLA: Max Aronoff there and received five performances, poser or playscripter may “Oh, Mr. HARP: Carlos Salzedo three in February and two in March. at a tenth reunion with: So favorably impressed were San Blank, may I have your autograph? ORGAN: Alexander McCurdy Francisco ASCAP winner this year, and critics by its fun and tunes I’m an FLUTE: William Kincaid you’ve done—” j m February that an RKO Pictures if only I can do what OBOE: Marcel Tabuteau representative came from Hollywood Or at another reunion the request Blank— tor a performance in March. He re- may come to “Oh, Miss CLARINET: Daniel Bonade represents yearly turned to the film capital with an This ASCAP contest BASSOON: Simon Kovar armload of opportunity for men, women—and recordings. HORN: Anton Horner When Rogers heard about the song. TRUMPET: Saul Caston TROMBONE: Charles Gerhard Music on the Ether Waves TUBA: Philip Donatelli DOUBLE BASS: Anton Torello 301) ( Continued from Page PERCUSSION: Oscar Schwar giving out years radio programs during the advice on early planting, few ORCHESTRA: Alexander Hilsberg, conductor and all have presented a consider- during April he added new summer Efrem Zimbalist, associate conductor instructions. symphonic music, for The month of May will able amount of concerts are pop- WOODWIND ENSEMBLE: Marcel Tabuteau undoubtedly bring forth new advice, summer symphony an the land. However, perhaps it will be the kind you’ve ular up and down CHAMBER MUSIC: Jascha Brodsky, Charles Jaffe been many lis- looking for. there is no question that Max Aronoff, Orlando Cole (The Curtis String teners will miss such broadcasts as Quartet) THEORY : Rosario National Opera matinees on Scalero, Constant Vauclain Music Week on the the Metropolitan Anne-Marie Soffray t0 llth Saturdays; they’ve been particularly WraT is National VOCAL REPERTOIRE Leo Rosenek, Elizabeth Westmoreland ng this year, with many novelties ’ the m3ny Ce: fine tlons and DICTION: Eufemia Giannini Gregory ! wil? t“°"e before offered on the radio. a number of s never proem rm. Orchestra ACCOMPANISTS Elizabeth °n the NBC Symphony Westmoreland radio. Since And the ' Ses a Vladimir Sokoloff, broadcasts under Toscanini have Ralph Berkowitz far ayS plamle in advent for many lis- a^d smce man made Saturday night, LANGUAGES: Mary Q. Shumway grams will '„ 3 L a date night with their radios. Louise Andre Tabuteau, Domenico Vittorini minute, teners, we Symphony will replace suggesTthafd reader* The Summer ACADEMIC TUTOR: Mary Boyde Wesner stock of t writ- thewS the Toscanini programs, but at available on ing no information is Catalogue available June 1. this promised broadcast. The Kostelanetz show, “The Pause Kindly address all communications to Secretary U That Refreshes on the Air” (sounds of Admissions. summer schedules pro- wni w more like a drink than a radio worth while gram), featuring Albert Spalding. MAY, 1941 353 = —

the violinist, and noted soloists, re- grams are not broadcast by every mains with us on Sundays (CBS station of the Columbia network 4:30 to 5:00 P. M., EDST). On May throughout the country, it will be 4th, Kostelanetz will be joined MUSIC by well to consult your paper to find if EASTMAN SCHOOL OF Gladys Swarthout, mezzosoprano, any that happen to interest you are of and on the 18th, by Dorothy Maynor, available. the colored lyric soprano. The popu- larity of John Charles Thomas, the New Dramatic Programs The University of Rochester American baritone, brings him back There’s an interesting new dra- as soloist on this show on both Howard Hanson, Director May matic series called “Great Moments 11th and 25th. Raymond Wilson, Assistant Director from Great Plays” (Fridays—9:00 to It was a fine gesture on the part of 9:30 P. M., EDST, CBS). The shows Summer session June 23 July 26. RCA Victor has released eleven compo- the Columbia Broadcasting — System are adapted and directed by Charles Classes are taught by the regular fac- to offer nationwide sitions by American Composers record- facilities to aid Martin, the playwright. The works ulty and guest instructors. Courses the Government’s drive to recruit ed by the Eastman-Rochester Orches- of such famous dramatists as Eugene lead to Bachelor's, Master's or Doc- and train skilled workers for defense O’Neill, George Bernard tor’s Degree. tra, Dr. Howard Hanson, Conductor. industries. Shaw, Hen- The result is the program, rik Ibsen, Robert Sherwood, S. N. “Jobs for Defense,” heard Saturdays Eastman School Publications by members of the faculty include: Behrman, George S. Kaufman and from 12:45 to 1:00 P. M., EDST. Eric Moss Hart, are planned for the series. “Answers to Some Vocal Questions,” T. A ust in-Ball; Sevareid, CBS Washington corre- Casts of prominent actors are en- “Method of Organ Playing,” Harold Gleason; spondent, who held a similar news listed for each show, and Ray Block’s “Examples post in Paris before the French capit- of Counterpoint,” Gustave Soderlund; orchestra of twenty-one one ulation, conducts the programs. pieces, “Handbook of Conducting,” Karl Van Dis- of the largest Hoesen; tinguished guests units to be regularly are presented on heard on “Modern Method for Double Bass,” Nelson Watson; each broadcast, a dramatic show, provides and these give spe- a musical “Chorale Collections,” Elvera Wonderlicli. cific information background that is used as on employment in an integral part of the drama to pro- different industries each week. Sev- For further information address: duce effects usually accomplished eral million new workers are expected tough dialogue to be hired within the next or the use of sound ARTHUR H. LARSON, Secretary-Registrar eight or effects. Charles ten months by employers Martin, the producer, Eastman School of Music in the de- s u ied under fense industries. Eva Le Gallienne, ap- Unquestionably pearing Rochester, New York in her company in York “Jobs for Defense” is going to 01 New assist m such plays as in helping many of these “Romeo and Juliet,” get place- “ ments. Many of the and The Green Cocka- workers will re- 100.Srlf’’After College of Fine Arts ceive basic training, leaving Miss Le Gallienne, RICHARD McCLANAHAN either on the Ca job or in C a radi0 writer di- Syracuse University vocational schools of the m.fn! « and Mafthay Representative ' He directed nation, to equip » such Bachelor of Music themselves, and broadcast • the as The * Master of Music Two Summer Courses in New York program will suggest fields of World in Review,” train- tar ’” Piano, Piano Teacher Training, Voice, 1. June 16-JuIy 4—Morning Course ing for the aspirants. lna1 “Criminal Court,” For further “Thp Sr 1f Violin, Organ, Cello, Harp, Composition, Daily classes, 10 to 12 A.M. 11 1 Time ” “ information turn to “Jobs for and Johnny Public School Music De- Preset” ..?. 2. July 7-August 15—Evening Course fense.” If you know Great Moments from All the advantages of a large University. Special anyone who Grpnt- pi' Two and three classes a week is ayS dormitory, with 35 practice pianos for women eager to share in defense replaced “Johnny Pre- work, tell senN” a music students, 5 pipe organs 8 to 10 P.M. Und them about this fine program the end °f March. SUMMER SESSION-jui, 7 toAug. 15 Boh rEm< ’ If you are not catching ry S ,,Rain bow House" For bulletin address Each Course includes 12 lectures og a 5: 15 Chiiriro . [ n Ur ° L. BUTLER Technic, 2 on Musical Expression, Playing somewhere in the East, it’s ,° n Saturdays (Mu- Dean H. a good Uia in 4n Room 3 College of Fine Arts and Criticism Classes. hour to tune t0 11:00 5, into the Columbia ha, A - M„ EDST) Syracuse, N. Y. w- Broadcasting network, for at over fl fteen minutes Private lessons by appointment at any time that of time one can generally 1Cated time from June 9th. find a half to the evo Pe™d of late For further particulars address hour of good music on this f ex eriences network the P - reactionf Jh° “.T RIVERDRIVE SCHOOL OF MUSIC & ARTS 806 Steinway Bldg., New York City On Mondays, for example, from ’ ideas and the 5:15 hones nf ,. 0 f 84 Riverside Drive to 5:45 (EDST), the '° Columbia Con- countries, fl m “any New York City cert Orchestra has been chiml?™chlldren CMITU SUMMER SCHOOL OF MUSIC giving some voice thm, are asked to FREDERICK G. KOEHLER, Director nice programs lately; and ggesti0ns for dltil I DO June 23 to August 2 on Tues- of woildworiri h ‘he kind Dormitories days there has they hope Intensive graduate (leading to M. A. been “Early String- to live in after request Special Summer Session iPOl II ETT Catalogue on degree) and undergraduate courses W r ‘ S Ver LULLlUL Classics” (4:45 to 5:15) and *° ’ and to tel1 also in Theory and Composition, Mu- “Accent theii r about and Prac- on Music (5:15 to their sical Literature, Musical Pedagogy, 5:45); on Thurs new onviron- cello, organ, mei“t The V° SUMMER MUSIC COURSE tical Music—piano, violin, viola, days, from 5:00 to y a S° broadc ensemble. Smith College staff supple- 5:15, Genevieve ast messages Presentations are Joyous Surprises voice, to their parents mented by specialists in certain fields. Academic Rowe, soprano, has been heard overseas, for the 1. Five Courses, Chicago, July 7 to 19 Music Pedagogy. Coeduca- of credit, certificate in late in a recital of S Course, York City Bulletin-. songs; from 2. Free Short New tional. and the ZTZ »» 3. Combination Course, seven subjects Columbia Concert WHson T. Moo?, Director, 11 Sage Hall, Northampton, Matt. Orchestra from through Special circulars an

Musical Romance in Chile

( Continued from Page 316) autodidact and an individualist; with great success and marked a red is ah if he ever followed counsel, it was letter day for American music. Debussy’s own “listen to the advice The bands of the Chilean army of no one.” Nevertheless, such sym- are famed all over South America as Tavern at Dawn or SUMMER SESSION discipline and excellent phonic poems for their one Destiny (I included the latter on - - musical training. They are under the MAJOR TERM JUNE 23 AUG. 2 programs) are solid works, general supervision of Juan Casa- of my This summer—study at the na- Methods, Music Education, Or- fre- worthy of performance by any Euro- nova Vicuna, who also appears tionally recognized Chicago Con- chestral and Band Instruments, or American orchestra. quently and successfully as a sym- pean servatory—earn credits toward a Counterpoint, Harmony, Compo- Santa Cruz, dean of the for enjoy sition, Orchestration, Ear Train- phony conductor. Domingo degree or promotion— Fine Arts faculty, represents a still the advantages of the city's bril- ing, Dramatic Art. liant summer musical program. Some Leading Composers more advanced tendency. His technic Complete program, under 165 Many new trends in music educa- artist-teachers, in all branches of to that of Stravinsky or As to the Chilean composers, they is akin tion will prove stimulating. Music and Dramatic Art. and dis- of (Shan'-berkh) , are well advanced in their task Schonberg Courses: Piano, Voice, Violin, Degrees: Bachelor and Master of as natural to him as air bringing to their fatherland high sonance is Cello, Organ, Theory, Normal Music, Music Educ., Dramatic Art. are and water are to nature; but his distinction. While some of them EDCAR NELSON—distinguished authority on Oratorio—will conduct a two week dynamic forceful- home taught and sometimes even music has great CHORAL FORUM in Oratorio from June 23 to July 5. Write for special booklet. Trinity Principle Pedagogy— through it all one feels an EFFA ELLIS PERFIELD offers courses taught by self-taught, others have studied ness, and Musicianship and Pedagogy. Rote and Note Playing, Constructive and Creative of life. With similar Composite Rhythms. July 7 to 19. abroad. Few have escaped the lure intense pulsation Music, Greek and Church Notes, although different in their MEMBER OF THE NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC of a stay in the “City of Light” in leanings, Acario Cotapos, the Write for General Catalog E, or Special Bulletins, to Jeanne Howard, Registrar order to assimilate the discoveries realization, is the Edgar Varese of and the atmosphere of the modern ultramodernist, 25 E. JACKSON BLVD., CHICAGO, ILLINOIS is a picturesque char- French school. Chile. Cotapos short, stout, extremely cordial, Enrique Soro, dean of Chilean acter; wears a beret basque music and author of symphonies, he usually adds to the originality of his enwoo songs and piano pieces, some of which J rumored that at one which were published in New York, silhouette. It is was appointed captain in the CONSERVATORY OF MUSIC was graduated from the Milan con- time he De, Spanish militia. But this seems Divisional LimlcmcoodCoUeoc servatory. represents the conser- for Women. Thorough prepara- He is noth- 'Paul hardly possible, since there tion for careers in music under vative does Humberto UNIVERSITY a distinguished faculty. B.M. tendencies, as little man martial in this jovial degree, certificate and diploma Allende, composer of much excellent ing somewhat reminiscent of a in piano, voice, violin, organ, chamber music and of three “To- who is harp, other instruments, pub- Sancho Panza. In his music, THE SCHOOL OF lic school music, theory, har- nadas” for orchestra, rich in native debonair mony, history and appreciation personal, one finds of music. Well -equipped stu- the unmistakably dios, beautiful buildings flavor, which were applauded at instru- on harmonic sequences and Wluuc 133 acres near St. Louis with Concerts Straram in Paris. its frequent concerts, operas, never heard before. other musical attractions. find a mental effects offers accredited courses in Piano, Voice, For In Prospero Bisquertt, we National catalog and view book, write Santiago a Violin, Organ, Public School Music, tech- There is in President, rare example of what intuitive the conservatory; its policy tollows Harmony, and Orchestral Instruments. Box 1241, St. Charles, Mo. nic can accomplish, when coupled B. B., and (Continued on Page 360) Confers Degrees of M., A. with genuine creative gifts. Bisquertt M. M. -TWO POPULAR NORMAL COURSES— Distinguished faculty including Supplying every modem need for teachers and increase youk advanced students Adams ARTHUR C. BECKER The Revised Dunning Course of Music Study Mr. and Mrs. Crosby I NCOME! Montreat, North Carolina, 1941 -Pleasantly SERGEI TARNOWSKY Pre-school, Intermediate. Junior, Senior Courses Easily -Substantially and PIANO CLASSES for TEACHERS’ — Take Subscription MME. MARIA KURENKO The Carrick Creative Music Course Winthrop College MAGAZINE ETUDE MUSIC RICHARD CZERWONKY Pre-school to advanced grades Hill, Carolina THE Rock South particulars — NORMAL CLASSES AS FOLLOWS: 5 — Write /or WALTER KNUPFER JUNE 23—JULY M. Mrs. Jean Warren Carrick, International Dean ST. PHILADELPHIA. Montreat, North Carolina „n CHESTNUT SAMUEL A. LIEBERSON 940 S. E. 68 Ave., Portland, Oregon JULY 23—31 Classes: Richmond, Va„ 2727 W. Grace St., June 23 Assisted by Miss Minnie Cogbill The Dept, of Drama offers a 3-year Course Year 1941- New York City, 76 E. 79th St., July 21 Anniversary 3 dates Portland and San Francisco 1867 - 74th Address Registrar for Bulletin Write for of e-tfSAE c/asses COLLEGE DePAUL UNIVERSITY Mrs. Laud German Phlppen. 3508 Potomac Ave. MUSICAL Dallas, Texas CHICAGO Course, Creative Course, July 7 Room 401, 64 E. Lake Street, Chicago, 111. Dunning June 11; Write lor date ot Ft. Worth classes of Member of the North Central Association _«= Booklet and other information upon request Colleges and Secondary Schools

RUDOLPH GANZ. President SUMMER SOH00L MASTER eabo C onservatory Six Weeks—June 23 to August 2 P dy OTTO ORTMANN, Director Karl W. Gehrkens BALTIMORE, MD. A. B musical conservatory of the country a. M.. Mus. D„ Professor of School Music, Recognized as the leading endowed Uberlin best College. Oberlin, Ohio, is one of the n men in the Education; an June 30th |M. . field of Music S dit0r of the School Music Sgp?« ! Universal a d author of Fundamentals of Music; Summer Session Aug. 9th olhirr n, hi , b IShed works of Con- ductina inc| ude Essentials eminent European and American Masters including: Mucir ^ndard text known everywhere, Staff of 0 Crat* e Schools Music in the Ju- REINALD WERRENRATH , and BIBB FRANK GITTELSON nior n.ghHint, School,c FRANK all widely used. WILMER BARTHOLOMEW CARL0TTA HELLE.I CHARLES C0URB0IN GILBERT STANCE MABEL THOMAS W courses TALLARIC0 Gehrkan« «!® are offered under Professor LLOYD GEISLER PASQUALE IS S Ummer: Con- Baton, Technic in fieate and the B. duetinJ DrfP rl , . he offered toward both the Peabody Teacher's C< Mus. Degree. g ’ clplos and School Credits may „ ? Methods of High the Hopkins University :dits in.. certain branches may Music , arrangement with Johns T nd By special — i hi ''>='>'> h » Special courses in School Music and Languages. p srch.iSt;^ be offered toward its B. S. Degree. s fe Ed ;5i„ 0; Education and Writs for the courses Music according to study new Summer cetalogoe describing complete Tuition $20 to $35, music and theory. every branch of applied Practice Pianos and Organs Available Circulars Mailed FREDERICK R. HUBER, Manager CHICAGO MUSICAL COLLEGE Arrangements for classes now being made Chicago, R. A. Elmquist, Business Manager

MAY 1941 : ! ! . H Boh and the Indians

(Playlet)

Ernestine Bu and 3L•ence JJ-orua th

CHAEACTERS AND COSTUMES Bob: No. My name is Bob! Bob, an ordinary boy studying music. Little Elk: Should be Boy-Who-Dis- Little Elk, an Indian boy in full likes-Practice, then! You make regalia. poor Indian. Indian boys had music Five Indian Boys, less handsomely lessons before Columbus discovered dressed. America PROPERTIES: Bob: Music lessons? Indian boys? Large picture frame, large enough to Little Elk: Yes. ( Claps hands. Cur- step through. May be a door frame. tain moves. Enter other Indians. Curtain hangs in front of it. Stand with arms folded) Tell Boy- Scene: Interior of room, with a Who-Dislikes-Practice of music les- piano. sons. Bob enters luith his music books. First Indian: Indians loved music. Bob: Well, here I go to practice again. They even had a “Council of Mu- Wish I were out playing Indian sic,” centuries ago, to encourage with the other boys. ( Plays scale, this art. pauses.) I wonder why Aunt Emmy Second Indian: Next to the chief in Number put that curtain there. I never importance were the main music- saw it before. (Goes over to curtain, makers of the tribe. pushes it aside and sees picture Third Bu (jcrtrucle Cjreenlialgli lAJal of Indian: Every boy had to learn Indian in frame. This should be a the songs ot his tribe. There were correspond with the note values. tableau posed by Little Elk.) Well, many There are SEVEN letters used in songs: the rain song the G. There are SEVEN sharps, A-sharp, I declare! A picture of an Indian, grass song, the major scale, A B C D E F the elk song, the' corn E-sharp, B-sharp, F-sharp, C- just as I was thinking about play- song, There are SEVEN letters used in the buffalo song, the harvest scale, C D E F G. sharp, G-sharp, D-sharp. ing Indian. Well, if I don’t hurry song I the minor A B could go on and on! The note values, There are SEVEN flats, A-flat, D- up and practice, I’ll never get out boys There are SEVEN had to take lessons from the F-flat, B-flat to play! ( Repeats scale, whole, half, quarter, eighth, six- flat, G-flat, C-flat, starts older folk of the tribe, until they E-flat. something else. Soon tom-tom is teenth, thirty-second and sixty- new each song, and every names of scale heard, and Little Elk stands be- occasion fourth. There are SEVEN on which it Bob, having stepped should be used. They degrees or triads: Tonic, Super- fore out of had to recognize each melody at tonic, Mediant, Subdominant, the frame.) once— and not confuse them. i J Dominant, Submediant, Leading- Little Elk: How! How! (Lifting right o a i £ ^ in salute.) tone. hand There are SEVEN rest values to Bob: Indian. There are SEVEN degrees of dyna- An (or Little Elk: My name-Little mic shading, ppp, PP, P, mp Elk. Yours—Boy-Who-Dislikes-Practice! JLearniiifi lo Play mf), f, ff, fff. By Stella Whitson-IIolmes Ten very small fingers went over over to play on a lovely piano, just Scales for the June Recital the way. Said the teacher to John, keep your “Now, look you to this, By ^a net Thelob mind on the music, and nothing your fin- you’ll miss. Now, curve thus „ alP the opening this li tie Scaleq At the entire group sit Why not put on gers, first joints bulging out; will recite together: Game at your June lecital, to vary quietly now, and stop bobbing about. show the monotony of pieces and to “We are the scales through the Now. Pnlav vour C eentlv relax right how well you know your circle of fifths. away what°need "tlfo* keep your parents ; You could prepare foi it dm With the sharps and pounding away? Just relax and rest scales? the flats in our keys; stay down; why in® easy, the note will to ISH-TI-OPI Fifteen players are needed, one One at a time we’ll recite tire out for nothing?” said kind Mrs. them A Chocktaw each scale; twelve will take to you, Indian singer Brown. represent Fourth Indian: And we hope our Boys who bees Said John to his teacher, “my el- performance medicine men will please." had to comr thumb is curved songs bow stays down, my Eaeh medicine man hac nicely, is cupped round; Each player, in turn, will contribute a my hand recite his new song to the tr what is the use to bother with own scale and give its signature, Fifth Indian: but then Indian musicl , the same; does go to the keyboard Played drums, such? I can play just and play the’ scale flutes and ratt correctly! They it matter so much?” and return to the circle. did not thum John,” said the teacher, the drum just any which way, “Now At conclusion the entire group but i to do it cor- use the proper “you’re learning to play, so will recite together: position i technic. To rectly, and just as I say. To bring up make a mistake in “We are the scales with the singing a technic takes patience and will; all or playing of a song ws worth do- sharps and the flats, disgrace things worth the doing are playing can And we hope you'll remember No really good Little Elk: You see, ing well. each one; Boy-Who-1 done, with every bad habit likes-Practice, ever be Scales Indians hands in a circle ; the other three will are important stuc under the sun. Please do as I in music music! found behind, in line with the Had many, many well from the start; stand directly you knoiv. thing say; work you learn. Their music master this glorious enharmonic scales which they repre- And learning them was worked in time you will ivell is compositions sent. much fun." by your compose. art.” ( Continued on next page >

7Z... J 5 % the etude 1 > :

it to Listen or to Bob and the Indians—'Con t Is More Fun to Musical Triangle Perform? Puzzle: First Indian: Charles Wakefield Cad- songs. (Plays a selection by Arthur (Prise winner in Class B) man used an Omaha melody in Farwell.) G This is a difficult question to answer. It is Little Elk: Indians gave much to r-U-n From the Land of the Sky-Blue fun to listen, because we may hear the music tr-I-ad Water. (Plays.) music. Practiced it, composed it, played by other people: it gives us an idea as to how the music should sound when played flu-T-ist it. Made melodies your com- Gecond Indian: Thurlow Lieurance played delightfully: when we listen to a good player you barc-A-role used an Indian melody in By the posers loved and used—and we can hear and feel what the composer and felt when he composed the maste-R-piece will learn to play! I change your thought Waters of Minnetonka. (Plays all, makes feel something not ex- Boy-With-the- piece. It us or part.) name, now. It is pressed in words. Singing-Hands! (Waves. All go.) It is fun to perform, because then you Third Indian: MacDowell used many other people happy and it gives them Boy-With-the-Singing-Hands. make Indian melodies in "Indian Suite.’’ Bob : enjoyment, just as it gives the player enjoy- an Indian That makes me want to play well. ment to listen when someone else is perform- A shorter work is "From ing. When performing, we try to make our want to play as well Lodge.” (Plays the latter.) It makes me audience feel what the composer wanted Indian, without one them to feel when his piece was played. Fourth Indian: Frederick Burton col- as—as an I hope that I can sometime make people mistake! (Goes to piano, lected Indian songs. I shall play single feel as I feel when I hear a very fine pianist understand why playing, and I hope to give my audience this (Plays.) suddenly.) Now I one of his songs. playing beautiful music for put that picture here! feeling by them. Fifth Indian: Many other composers Aunt Emmy Dorothy Morlok (Age 12). remind me, next time I New York used Indian themes in compositions It will Indian, that “Indian long and short—Anton Dvorak, want to play do go together! (Plays Francesco de Leone, Charles Skil- and “music” Musical Alphabet Puzzle as curtain falls.) MUSIC MAKERS CLUB ton! Almost all of Arthur Farwell’s By Harvey Peake Bakersfield. California piano pieces are based on Indian How many words can you spell from the scale in the picture? All Is it More bun to Listen or to words must be of four or more let- Perforin? ters; words of less than four letters WWW Sf (Prize winner in Class A) My answer to this question is that it is tgeasm more fun to perform than to listen. I have 2S been playing the piano for seven years, the , , delightful stories and piano-accordion for two years and it ! Such a sousa- 1 have reading puzzles and phone for one year, and in these years I have frien(1 , performed before the public many times, in- Dbab -Trxiou Michael (Age 12), . Enin II Ait y cluding piano recitals, orchestra and band J am sending a jre of our little rhythm Illinois. i sold concerts, and in a few amateur programs. I ,t rn * We hml operetta and we SnwS 1 enjoy playing in ‘ tickets at teacher, who is bands and orchestras, but I ; fiftv Our 111 ’ mother would rather take part in a recital. v< i My rea- ga ell of l ««'me ticket,sin it If \ sold till of c son for this Is: that after you have performed 'H* could invite ; •hild for our sped Music and have put forth your best efforts, there Is besides Mother Makes the play, we had some poeim My an inexplainable feeling inside you that and t(. had two or •hestrn numbers. We Game for Mother's Day makes you feel a little proud. This is only sonn. pieces fifty play Hi on the saw. We r dollars human nature, and everything would seem from tine perforuperiorinauce. \\ e are iimus Alctha M. Bonner the By worthless without it. I enjoy working on a money to huy books for the school library, F’rom your friend. Mother Makes Music piece to get ft as perfect as possible; and Rouehts, My then the criticisms I get. whether good or Thomas (Ilk.nx ocarinas, and so on. llox Util. On oboes, organs, bad, help me in preparing for the next time. Trujillo City. Max W. Duncan (Age 15). Dominican Republic. T H Indiana E Honorable Mention or February Honorable Mention February j R for Triangle Puzzle: Each player must mention one oi Essays 0b the fc Eugene Morg; beginning with M?r Frankfurt; Dorothy more instruments Louise Castagna; Anne Marie ^ Long: Frieda will not be counted, Thomas; Homo,,' Anna Belle Murdock: Players drop out when Adele McDaniel; Betty Alice Stone; Dorothy U: Bettina Thomas: initials aabove YZZ Pettingrew; Audry • The longest and neatest lists will Burrows; Robert Eugene Frankfurt: e Qne remaining Velma M - Dmohowski; Doris Kauff; Louise miss, and the Joan Morrill; Enid June Yampol; Dorothy FtH»lunger; they be the prize winning ones. Margaret Mary O’Connell: Conway the game is the winner Gierse; Zyla Faye Mason; Jane Marie Vahl- Louis longest in . Bonelli; Sydney May: Mary kamp; Mary Louise Stukert; David Keith hlne Clarke; Wellman; lisa M.^ , Andrew Baker; Doris E. Wall; Rogene Trout; Anne biowo EveJ yn Masters; Maxwell Wessen- Louise Sherer; Martha La Marche; Nancy Ann Cathe rine Isa- hei S' Arnold; John Downs; Class A. fifteen to eight- Ward; Jeanne M. Dmohowski; Joan Moyer „“0ensteln: Lillian Patterson: Jeanette Etude will Joyce Brown; William Dennis; Ho The Junior een years of age: Class Anne Brewer ,'^ n: Mariiyn Johnson; Louis Elmer Macintosh; Wr three worth while Junior Etude Judith Mary Elizabeth Long; AQna bel Morrison; Roberta Huff; award B, twelve to fifteen: Class Beatrice Kaminetzky; Allen Plnrp,,euce for the Mawson; Eleanor Gaynor; Bertha McPhane. prizes each month C. under twelve years. Trapman; Nelbert Ward; Edith and Brooks. most interesting Names of all of the prize essays original stories or Contest winners, together with Is it to rize subject, and DIore Fun Listen or to Winners for February on a given their contributions, will answers to I riangle Puzzle: (,,r correct appear on this page in a future issue of Perform? Contes, is open tt arle puzzles’ nettle The Etude. The thirty next best contribu- (Prize winner in Class C) Stone fAge 15 >- Kansas. years of age, " Class r' v? under eighteen “Shall we turn on the radio and cent Sca lco (Age New York. .iris Contestants tors will be given a rating of honorable listen to Class r »? 11), member or not. some good music?” asked Mother. Columbia’ MarJorle Ann Pettit, District of a Junior Club mention. according to age as follows. "No," I replied, "let’s try this duet, In- are grouped stead." SUBJECT FOR THIS MONTH So mother and I worked on the duet, and to me that was much more fun than listen- ing to music on the radio. I get lots more to sing or to plug an instrument ? pleasure playing myself than listening to ri it more fun others play. Of course, I enjoy hearing great Office, 1712 Chestnut Street, Philadelphia, Pa., not musicians . . , 1,0 Junior Etude play, too, but playing yourself is recci August issue. ! CS must bo Winners will appear in the more I think artists latcr*th«w> May 22nd. fun. that true get more pleasure from producing a work of art than - CONTEST RULES seeing or hearing others. At a recital I can one hundred and fifty words. hardly wait my turn because I want to conta.n, in not over show Contributions must ur in upper left corner and your address In 1. ^ must ap ,, e the people how I think the composer wanted and class ' one sheet of paper, he age • If you need more than 2 . Name, corner o paper. his piece played. the upper right Of course there must be listeners, too. but SUr only and do not use a typewriter. °on°one side of paper I want to be a doer, and I am very happy Uo’ncil have anyone preliminary contest and to submit not more than when I can play a piece well for my friends. 4 ! t*°[,old°I Robert 5 £«»« Logan (Age 10), - for prises. ^requirements wi ll no, be eligible Colorado Juniors of Philadelphia.

357 MAY, 1941 „ ,

THE COVER FOR THIS MONTH—The season of music study, as well as for photograph used for the cover of this students ending intermediate issue seemed to be a happy find for the a season of grade music piano cover of The Etude Music Magazine for study, there are many albums containing students the month of May, when so many are music such will enjoy, will be beginning to turn to the joys of the great and any one of those sure to delight the music stu- outdoors. This photo is a release of the younger dent, and incidentally will provide Acme Roto Service and it might well be it recreation entitled “A Woodland Idyll.” material to help hold up the interest This scene has had its counterpart in in music throughout the sum- a number of music camps which have mer months. been established and conducted very suc- cessfully during the past two decades. In various parts of the country Ameri- for School and Home, by Lysbeth Boyd Borie can young people have had unusual mu- and Ada Richter—In this book a sic opportunities given them in these clever author of poems written in a style summer music camps, the majority of that young Americans enjoy, and a com- which camps have specialized in bands poser who has demonstrated through and orchestras and the instruments of many successful works her unusual gifts these ensembles. for writing singable melodies that capti- This picture of Miss Helen Loughran vate young singers, have joined their of New Rochelle, New York, was taken at talents in producing a collection of chil- the Ernest Williams’ Music Camp at dren’s songs that teachers and parents Saugerties, New York. America is rich in will find most beneficial to the children summer music study opportunities and who have the opportunity to learn them in the major cities the leading schools and sing them. The title of the book in- and colleges of music have their an- ($1.00), etc., or for young juveniles who dicates the health habit ideas behind nouncements telling of the special ought to know more about composers and about, ese 14 songs. attrac- music utilize Supplementing the courses under noted teachers which they history to such books as sic satchels er mi tive, etc Parent* , useful, and those in and entertaining texts have to offer. the series of Child’s Own Book friends of music, 'graduating musTc are pictures throughout this book (Tapper) (20c each book), and Young have a .‘tTd'den wide choice of providing that the eye Folks’ Picture History Music (Cooke) itemTfr added appeal to of to Choose a WW< n much SUMMER MUSIC STUDY PLANS—It would graduation gift B imagination which means so ($1.00). things as Ides SUI f ^ be a great thing to be able to gather all music satchels c to the juvenile. Do not let the summer months be traits, ° music teachers and all music students and musicaf P ad- ptetmeTT"tes emember is the profitless when such undertakings may a number ' there a vo« only during together as one large audience and have of musical nee of order be carried through to your satisfaction, that V° publication period that an some of the most successful teachers and may be lum f01 utilized. There"^ a single at the pleasure, and benefit. stance f “ copy may be placed some of the most earnest and sincere Musical " ®du c® Travels Ced advance of cash pri students of music tell just what their n publication of 50 cents. and This is a postpaid price summer music study activities in past va Who place will l» years have meant to them. fhe \ orders now -Advance icat 00k delivered them without The publishers of The Etude Music of P„l(l ion furtherfo.)K to charge as published- Magazine have been able to note many soon as it is of the things that have been accom- MAY 1941 IP0N" ‘ plished in summer music study in past A TIME STORIES OF ah or me docks in mis list are GRPli in preDamripr, c 1 years, and it is nothing less than amazing °n ^0r MUSIC MASTERS, For publication. The low Advance Offer • Cash Pnces by how many music students have added to ply only to orders placed a Elizabeth Robinson NOW. Deliven, / , P' P°Stpau WU1 their musicianship by self-study after the will be made when the books are |) recognise in the title published p ra bonk describing each publication ^ ra P^s the music schools and music studios where follow on the fammar"'ording mese pat>e* wh°c they were studying closed for the sum- h v, S Prclucud Child's Own Book—Sousa Tapper manvf so mer, how many studios and music schools Concert Transcriptions of Favorite Hymns faSCmating nce-Upon-a-Time R!ch tales of Stories’ of Yu *er wonrtl did not close for the summer but kept —Piano . Kohlmann Masters— and Easy p ion Gr “‘' adventure. For Exercise „ gf, ) special study advantages Games and Dances— and C Bt; open to offer he Recreation Stecher and Mueller Solovox Album ol . rWththestories, that were embraced by thousands and B. ?inson WM°h(r SymphonKi - have Lawrence Keating's Junior Choir Book Skeleton' Finke, been sea, J r . in written thousands of music students in the sum- No. 5—-Symphony ne Let's Stay Well—Children's Songs, ,,Qny !nin B and 'sh^)T.7 Min?r style juvenile mer months, how many music teachers Borie and Richter ( Unfin ’• * Symphony be f°und favor- i n G ite 'rn 'i _ themselves attended special summer mas- • Moia eI °dleS r t from the ter classes in music, and how many mastf arran|;ed to moot the teachers took advantage of available time monte of 1”15 m gI'ades 1 to 1 own IS THERE A MUSIC STUDENT FOR WHOM ( $3.00) selection during improve their , s’?* the summer to Musical Prnnro s from the inch YOU WANT A GRADUATION GIFT OR Great of . masters musicianship. When so much can be ac- Pianists Plnc 6 lesser season of the year on pf„T^ known exampl music AWARD?—At this mu- ’$2.25), ° Playi? sons-* complished by continued summer Great Singers S °' latas 1 every sic teachers and music schools begin the . symphonies, study, it does seem desirable that 'Cooke) A opera’ Th , contents contain music and music student make preparing cer- Composers Cr' Can matelv Yn will teacher n’ AN with Harmony Book for Classics h albun: D E.te< mony course 1 $1.00), Rerldii D4NCES, Far or with ad- fession desiring by Celebr ( byh Beginners (Orem) ($1.25), Famous Composers 2 Co W. tViU.um A. Stecher al repertoire a copy of this JS* Dlu^n'tr ~rp vanced students to conduct Recital Songs ^ ' bf)j he mon (Bisnh > soon 7 summer volume as Master catalog entitled every hatn) be classes with such a one th us fc of the <$ girls ’ oamps for or “The Music Teachers Hand Book’ win k Pieces with Master Lessons ($1.00), may Musicians d alb be filled Library r astic With active ’ classes for little children have it for the asking. ma s“* VOnr, to specialize in Of the best whic eople ci catalog also lists fV alb,?®' grounds ’ and the study aids as Kin- This a number of ana 8 wf, J with such first piano albums of ° ( Pi be teeming br other items which are suitable for spe- songY? pectant pi-, with dergarten Class Book (Richter) ($1.00), f°r gift “She dlldren prizes. purposes enter seeking recrea ($1.25), “Mid- cial awards and These items in- Musicians The ta i n Music Play for Every Day Library l, ca tal, Ex cam gold and silver medals, » , tors Perienced (75c) , clude various *** dle C" Kindergarten Book (Bilbro) cheerfully on **U send and play special musical jewelry novelties, com- know ground supervis< Folk Songs and Famous Pictures (Mason) coming to Por the the end and roblem of providini of1 thetLi exhii ^? A OVERTISEMENT *r fi rst And, m aterial for their 358 eve„ hensive ey wip welcome this „volume, with its hunt 1 » ;

Compiled and Ar- SYMPHONIC SKELETON SCORES—A Lis- album with due regard to their adapta- pages chock-full of helpful suggestions. SOLOVOX ALBUM, Finkc, Jr. With the re- tener's Guide for Radio and Concert, by bility for ornate passage treatment, but For the beginning teacher it is almost in- ranged by John — Solo- Violet Katzncr at the same time has kept them within dispensable. cent introduction of the Hammond public of this country No. 5—Symphony in B Minor (Un- the grasp of the third and fourth grade Probably the best description of this vox to the musical success which it has finished) Schubert student. book’s merits in the brief space here and the immediate 6 scored, there has arisen a demand for a No. —Symphony in G Minor Mozart Each number will be completely edited allotted is the listing of a few chapter of music especially arranged for Readers of these columns will remem- with all fingering, dynamic markings, headings: Activities for Children 6 to 9 volume registration sugges- ber this important new series, which was and pedaling fully indicated. additional this instrument, with Years of Age; (there are 7 four symphonies, which will be of help to the player begun last year with Orders for this volume may be placed chapters devoted to activities for older tions tonal possibilities to the as follows: in advance of publication at the special children) Selected Athletic, Flag, March in utilizing its ; demand that we No. 1 —Symphony No. 5 in C Minor cash price of 40 cents, postpaid, per and Dances; Sugges- full. It is to meet this Other Numbers; Beethoven single copy. Due to copyright restrictions, tions for Coaching Track and Field No. 2—Symphony No. 6 in B Minor the sale of this book is limited to the Athletics; Events; Competitive Mass Tschaikowsky U. S. A. and Its Possessions. Athletic Achievement Standards and No. 3—Symphony in D Minor Franck Selected Ability Tests; Quiet Games; A No. 4—Symphony No. 1 in C Minor CHILD’S OWN BOOK OF GREAT MU- Bibliography of Sports; and A Pageant: Brahms SICIANS—SOUSA, by Thomas Tapper The Revival of the Play Spirit in Amer- It has been the purpose of the author to Prompted by the favorable response ac- ac- ica. Full directions for performance bring to millions of music lovers an un- corded recent new additions to this company the latter. derstanding and enjoyment of the great biographical booklet series,

It will be seen from the above para- symphonies through a simple melodic , which have included Ed- graph that this also will be a valuable plan of analysis. To accomplish this, Miss ward MacDowell, Ethelbert text book in colleges having courses in Katzner has isolated the unbroken melo- Nevin, and Stephen Collins Physical education and leadership. A fea- dies of the great symphonies and presents Foster, we are pleased to an- ' ture that will appeal to many is that the them in an easy-to-follow form, with \ nounce still another book- music score is printed for games or just enough analysis to differentiate the let, devoted to the life of dances that require musical accompani- themes without losing sight of the com- John Philip Sousa. ment. positions as a whole. The instrument In telling this story of The co-authors of this book write from carrying the melody is clearly indicated, an American boy who be- collectionm „ooff special^nprialP a experience as published this that the reader may follow the melodic came known the world over as “The background of actual have ' so , * lu. Vipst. loved of the worlds be March King,” Dr. Tapper recounts the consultants, teachers, supervisors and transcrip'transcriptions “conversation” as it is tossed back and varied activities in life administrative their work forth between the different instruments. many and the directors and a new mu- is, in a sense, success of the of this busy musician who wrote books; soon will become a recognized authority. ™The Solovox So great has been the it may best but perhaps 1 this series, composed such famous marches as The Every endeavor to have sical instrument, first foui books published in is being made accessory for the this described as a new favorable the response, that we Stars and Stripes Forever, King Cotton, volume ready in ample time for the be key and so small, three octave Liberty Bell, El Capitan, and Washings summer playground camping sea- niano It is a are pleased to announce the addition of and to the piano n which is attached symphonies in the series: Schu- ton Post; and founded a band which > more f° and we hope before many weeks Soard ngh two played with the toured the world. ave passed the hands The melody is bert’s “Unfinished” Symphony in B Minor to have copies in with any one ot °* on the Solovox, Mozart’s Symphony in G Minor. Like the previously issued booklets in advance subscribers. However, there hand C and ‘ned e S "“ s ill beautiful sta great orchestral works are the series, the Sousa booklet employs is time this month the many ™ /°" Both of these to ' order a copy of 10o™'d 1 "g8 at the is capable P with concert and radio audi- unbound pages with “cut-out” pictures, special advance of publication cash the instrument favorites the bass and1 ac blank the student’s Price left hand plays ences, and are available in the fine pages for writing . M.OO, postpaid. The recordings at low prices which are cur- version of the story, a heavy paper cover, and needle and silk cord for binding. Y rently so popular. ®l WANO BOOK, by Arlo Rirlucr—Pride list price of those booklets that The list price of the four books already The P°sses sion is with children is cents each. instinctive published is 35 cents each. A single have been published 20 d those just piano beginners who have copy of each of the two new While the Sousa booklet is in prepara- rompieted reference the booh for rang. tion, orders for copies only be customary first compiler and a.: books listed above may now be ordered single may Phs in The ma(Je the kindergarten ^ low advance of publication cash placed at the special advance of pub- Mr. J°hn at the like volume, solovox and is lication cash cents, postpaid. this book for of the price of 25 cents each, postpaid. price, 10 tho a special study . ^at identifies it arrange ac eminently quali ^ two very and as for it. For TRANSCRIPTIONS OF FAVOR- LAWRENCE KEATING’S JUNIOR CHOIR tw®Y mentS a Hammond CONCERT have its played the ROOK “long-felt want” is the tp music con- ^FinkeFink Pj y HYMNS, For Piano, by Clarence Kohl- —A best s assi seasons, MrMi. tg elec tromc ITE gned to them for first review of music from the time phrase that describes this new book. Of w Novachord m the Grofe, mann A ‘hay will perde present day would late years there has been such a large and tht™? like it all oonducted^by of Palestrina to the 0 ’ 6 orchestra ^ because of the a from period to pe- steady growth of juvenile choir singing mein? serving also as he reveal, wil1 help them collection, departures from that it has been difficult to find sufficient to nr the mus gives riod, new dUCe arranging ond and proper music to meet the demand. with their P musical modes and a own upon this the previous ngere and has drawn ggestlons for A dozen or more standard collections of because they s styles. s°meL'„ . of each ar- choir music would hardly contain 1” sense page i performance of musical church helpi that each Some types “T® SEfSwS. enough selections of the proper kind and em to be able thing attained , on thrT . to do more composition Jmve piano r per- arrangement to be of practical or perma- keyboard. a certain popularity, Tg”nce so, and ‘ nent worth. 0f this book PrePared i haps for a decade or . C ^PeciaP^t^ favorite ' Refrain, Ba- In this Junior Choir Book are found 0 meet materia °™P° ese been subject to that the need for Humperdinck, Vvlenn by have then wr/i^md a 0/ tove public about forty choice selections of varied st Can'y the kindergarten-ag< by gradual decline in U(ient Pavan An- a m° vers popular Colors by exception to this is character, all arranged in easy two-part re smoothly from kinder- iVet0. favor One notable garten . samreSalute ot nt e Engelmann,ann, , DanceDoric hymn writers form with the voice range carefully aratory type into th< mn in the music of larger R,. f of book found juvenile singing. The inspirations not only have en- suited to compiler, first instructor or usual run o: whose grnn BoseS' ^anSdtasMmentel increased in favor with Lawrence Keating, is already known as ° materials t° r piano pupils dured but have ne of tb W the composer of several successful Christ- features lovers down through the years. of of the book is the us. — music famili sr*' Easter cantatas (Hail, King « -sjfn these imperishable melodies mas and of little mel°dies which enable th< Some of P>ano have so com- Glory, While Shepherds Watched, The 1 to indeed making survived because they Patterns learn to play rhythmi. is have which is a good ^ Solovox deligM the sentiments of solace, Monarch Divine) guaran- the CeSSai ir The pletely expressed elem y to first progress pie™ P »"< thls emotions of tee for the thoroughness of his choir P mtary Sc and U. courage, and other 1S the stages. Another featur< ad 11 those faith, accompaniments, though sim- - hp children and me ^ endeavor. work. The lefits , bie ces of origina most w Christian tvinl attractive be one of twenty well loved ple, are always effective and appropriate. Up .fume will ^ ^ This volume of whh the important holi- important feature of this new of ti,p fortunate Album include favorites such as An book i> y ® ar jmes Solovox will - Space is devoted to £ hvmns is use of a number of well-known mu , W monto Prayer the 3 sif Ql mstrumonfe current soul: Sweet Hour ot bslc dictionary th( tese , Of MV all of them aj covering all ‘b / Love to melodies, not sacred in their t r ed Christian Soldiers ; k and Orde nnwari ’ a symbols used in the ^^rmaynowbe Stand Up tor original form, but of equal worth on Vn,° hd tSf. t °"„ Story: Stand Up, U e also 0 c the intrinsic e is a Qhtz giving thf introductory^ P outside Every Hour: What account of their nobility and 0f ? bupils i made I Need Thee "lance surf :ial wi J ?u dignified character. Many of these Rowing to be doubly sales in Jesus: Day is Dying have mj a i, No possessions. „Triend We Have music fundamentals S a and All new and appropriate texts specially writ- vifi-Jh the w. u.s:andlta t West: Just As 1 Am: ' the d ' the Elsie Duncan Yale, by and ex eriences 1 0 Name ten by whose ability book this P P „ changing Power of Jesus’ elT;,‘ Ce when Li me well Hent elementary pianc AODBESS four official organ- in this line is known. W OF . least Kohlmann, the e ^ a( Clarence of the titles, with composers s this Grove Auditorium, has Some or mgie^ • • Ocean wovb- l of the of the original music, follow: adv by 1S in Preparation £ hymns in this source His ano«° mav u Tanged the various rdered at the l0W sSs^ssS5Tins a, b^tpaid^ld PubUcaHn°uc addresses. - ati w 0n price of 25 cents astray- Advertisement 359 ^ies going ' 194 . - ;e ° a

Banners (Grieg) Go ; God Is Our Re,fug (Tschaikowsky) ; Saviour and Shepherd (Schubert) The Voice ; of Jesus (Men- Musical JiomancE in delssohn) Chile ; Memories of Galilee (Alice ( Continued Hawthorne) from Page 355) ; The Path of Prayer (Dvof&k) European pattern in ; The Rainbow of His Love which the nrnc 5 came„ a long (Lefebure-Wely) tice of solfeggio is time ago and found ; He Chose the Cross fjext oblieatm-v „ l ‘ S Capital (Londonderry Air) such innovations in a still Primitive state ; Lilies of Galilee as the "nfovahle of lon i P eenng would at (Gluck) ; Saviour, Hear do" finduu nuno be amazed Us, We Pray acceptance whatsoeverlatsoeve.. (Brahms) Thant. tli. .v... suchouul progress. for ; Passion (Choral) Sing with Thanks to Sarah Bernhardt, ; this observance of sane 1 All the Sons of Glory (Beethoven) instance,instance infuriatedinfiirinfm-l ni vinf findingfivtaino ; When traditions the students at not They Ring the Golden acquire with the Bells (Marbelle) on tli out hurry or recognition she expected, hired a “short cuts,” Be Still, My Soul (Sibelius) Let All a degree pair ; Men of musicianship of oxcarts and drove one Sun- Praise the Lord (Mendelssohn) otherwise impossible ; He Shall to day morning Feed attain. The conservatory with the members of His Flock and I Know that My still 0c hei cupies its company central Redeemer Liveth (Handel) We Plow the original premises around the ; on the square at Fields and Scatter (Barnby) Calle San Diego, where the hour of the paseo, that ; O Jesus, I old A RARE ETUDE FOR time at charming Have Promised (Tschaikowsky) mosphere prevaiis and romantic custom of ; O Day through the HIGH SPRING! along patios walking, of Rest and Gladness (Liszt) I Heard the galleries ladies and girls, men and ; and in the smah the Voice of Jesus Say concert ******hall oys in two and I Think, woods and the owllstill . , opposite streams, occa- With the fields usedusea frfrequentlyently When I Hear That Sweet Story Old local recitalists. by S10 ally of teeming with new life, THE ETUDE recitalists. But Vit !S Poking at each other with !^ will ,1nf i (Old English Airs) 6 ; Hearken, All long until Ji presents an issue for June filled with a new building Ps and blushing cheeks. (Carol) enntai ; Thy Sheltering Arms (Old Re- fresh, interesting features. frain) ; and Fairest Lord Jesus (Old ^ A Folklore Hymn) near1 ThereTh as part of byoy isIs a folklore in Chile, ofoi Besides the above, there the civic im„ are a number vement Mirsorse o u-t, i plan - although permeate! of original settings to the following sponsored by the erf ,. it is less ment that titles, by Lawrence Much of this of Pe by the nostalgk Keating: The Sun program is a^f" * ™ der way. Un ~ aPcents ° ( ex- light of the Lord; The Glorious Giver Last year Preside Indian ancestry. The We Praise; The Lamp of His Aguirre Cerda, S Simple: reat InCa Mercy; who taTes ‘ the ® h ln emoupire 7 When I Survey the Wondrous Cross; terest in the arts and ~ dld not extend this far south; oftd f“ act The Lord"s Prayer; The Beatitudes; at' —concerts, appears - the *** occupied ““““i createdseated • Arawaksa wa,*.s whowin. an nr~nv-m . ,,, Prayer Responses; O Perfect Love; Holy called “Defense Sanization123,41011 these regions brought “Defensa d„de i_la could never be brougi Spirit Raza^Tt w from On High; Lift Up Your ' Sl’ pose is to bring Pur bjecti°n by their powerfi Heads, O Ye Gates!; To Bethlehem; Tli symphonic „ the US ' C to tl ers Garden people at an extremelv from the North. Their nativ of God; There’s a Song in the l™ ' a u J or even gratis, Pl ice ry Was of th Air; in > far below that and Chimes of Easter Day. suburban th j np!f and at ancI Work has already started on the prep- hours calculated tberefore they offered k® with to e*'® rest f aration of the Jwiior Choir Book for the the free lde to the foreigl hours of the v. "T® invasion of press. Classes,classes. ™ ew! S Those wishing to secure single underUnder the TeatrsT^'leader! ^ ' TbThe“owabest k“»" cbilea ' copies at our special advance of publi- ideahsticidealistic rshlph P ofot pPopT^Popularpom?°pular Armando Done!Dnn„:. rhythm is the Cueca a danci cation cash price of 25 cents, postpaid, namic Carlos aM dy hlch haa Melo Or - r also invaded the may send in their order now, copies to a successfuisuccessful of Sentina native opel ^tina situated dTrecUydh’ectly aU be forwarded as soon as printed. Sales ARTUR RUBINSTEIN promoter, andal?®®a ^ the* “ born Andesd t a ' he Defcnse m ES andann only one hundred an will be confined to the U. S. Its of , and hasha^ddone thehe RaoeR aoe ”" flftvflfty airlineairl much to ‘ne kilometers1 (ninety-thre Possessions. smvspread,J L 1 culture of a vervvery himu Musicalmusical lilies)mil esl awavaway ARTUR RUBINSTEIN hieh Stand. ADVANCE PUBLICATION greater Santiago. “d OF OFFER WITH- ta certain are cc DRAWN One of the most brilliant of the tunes —For several months notes have d as pert younger romantic pianists, a great r- aining to the folklo appeared on these pages . . When describing a col- Far Reaching ‘’ success on four continents, discusses eality original lection of piano duets that bids Musical Acti they a™ fair to the problems of the advanced piano viliBS S" The House of “"temporary compositio become a standby with teachers. This student in bright and interesting Congress senate, a Such i work is following "d the the now ready for publication and fashion. i n the case with the fam" recently sas “ a Ay copies are being sent to those who sub- passed a laW p™ Path, Ay, written by the late < lor the ^ scribed for it in advance of publication. creation undsUnds “Z PrelrePreire a of . butbd ‘ repeatedly PP' MUSICAL DEVELOPMENT a new “t ShedUsheri® Copies may be had from your local music of Musical Instltu g® d under PHILIPPINES ExtensionExtension,"" This te the caption “Popu>“Popul dealer, or from the publishers. In accord- IN THE undertaking wS a of1 ChileChile," which vastVast >” in thpthe UnitedTTnit.f Stat wil^ i,‘ , and^f ance with the usual policy, the special Mrs. Paz Gloria Casnavc, M.A. of permanent clUde Where symphony MISCHA ELMAN d ap importantl“rf^univee" fourth-grade music should be assigned a Co rh e write ”poaers fact epch experte music of better quality, especially for of the noted Auer pupils to these li„es „ A t ure wta J ,^ First t Vltles e 1Valln best recital renown, Mischa Elman to begin are ta ® the appearances. This collection pre- achieve world and th ah^PtJ Ks of n0 t sents excellent piano duet arrangements advises violin students how to make the simmer exten/p a ncl Osorho '?"^ and B ° U1 profitable. He gives definite 'l of unhackneyed compositions by Mozart, practice February and Jan ative 13116 bUt a which violinists will appreciate. March Uary city Handel, Scarlatti, Couperin, help (s’* at tli* ! nf Rameau, eri « Kuhnau and other classic composers, lak ® One e\ manu- IN THE TEENS 1 ee some from recently discovered TEACHING fifteen ® 114 nearby a minutes ^ Scenda ' “ scripts. also should prove of"^,a within nts of . The volume Helen Betelle, practical American ten arais S10 ih Ar-awaks. ”cC called the ‘? o. is nali attractive music lovers who delight in “Bi», of y , t.h°, to teacher with large classes, tells how wwiiu, u ‘ivev wearwccn theme unusual works. oecaiico .. mp n».., having in their libraries she has met success in teaching pupils 8 18 b track, CashlCaShl bandsbancis ’ Ule COhCOhl is regularly will rocks °-o, In homes where duet playing at this difficult age. You find this and beach raceracl .' andlr’l’and^h” he costcostl\ ' be hints. ing TheTb e »°rnWorn type oI !^ enjoyed a copy of this book should article full of conductor of thc^'th„ 5 stands ta! bvby thth..! Price, 75 chestra Xtenslon The ncient forefa found convenient to the piano. will be Arm ,' an ri Or' SorceresT53 f cents. born 0 Carv dr who cures all ll MUSIC IN THE LAND OF director whole l* ajal iving L ' ' and P a iS StiU J e THE PAMPAS musicianship - Precision SONGS OF EXQUISITE CHARM wl °f ' Cm cess wherever 6 hls TTAnd if one happe booklet sliowlBK full-paKO thematic excerpts he goes sue Present lists This is the third in the fascinating °n I foremost a. ne ;nl solos, proKi aniinecI by ho This short flesta of th °se villag- "sctl bj i tlio ami the concert platform, ami series of articles by M. Maurice Du- resums L day teachers tcrinl for cisive strides WSwba ast ° an return t0 intcrestim; mesnil, French-American virtuoso, - contains i the have dents. It also been » tde- f dismiss^ ', the' collections of vocal solos. material for which he secured during in but a few acc h °nr, vicissitudes o: It'e FREE. vear«* °mpUau® fov Send /or a cow . today. a recent ten thousand mile concert Santiago d Civiliza failin8s exc£ PRESSER CO. to the hig hrinang tion of THEODORE tour in South America. of h°H blllo the CUltUral °° y sing one’s self i> 1712 CHESTNUT STREET, PHILADELPHIA, PA. major art nte nipi and eento level aH America. **££ ?“«*0Ua " thase stfi y *be dances days were observe visit.,is the. centuries Weird rites with w s longll® gone by

•n'l lOB For Teachers and Students For Public School of Piano Playing Various Study Aids Music Educators EARS, AND FINGERS BRAIN THE FUNDAMENTALS OF MUSIC Price, $1.25 By Howard Wells By KARL CEHRKENS The exercises given - in this book are necessary for the establishment A non-technical presentation of those essential IN or the principles of relaxation, the development of the hand pianis- as- INSTRUMENTAL MUSIC pects of music that'may well be called fundamental. tically and for cultivating musical hearing. THE PUBLIC SCHOOLS The chapters are fully illustrated and give ample lists of reference books for collateral reading. Price, $1.50 By THEODORE F. NORMANN PIANO TEACHING: Its Principles and Problems In keeping with modern trends in education, By Clarence C. Hamilton Price, $1.50 this authoritative subject of ELEMENTARY MUSIC THEORY book develops the teachers who are engaged in the laudable instrumental music fundamental basis A useful book for private By FISHER from a work of conducting training classes for future RALPH SMITH and treats each and every phase of procedure and much needed piano teachers. This book is written with sound logic, excellent psychology and in such a remarkably clear yet practical philosophy. attractive style that It can be used successfully in either class or individual work with children or In the all im- Composers and Characteristics adults. various chapters of the book PIANO MUSIC: Its Primarily designed as a class text book. It is portant points are discussed. Methods of in- so readable that It makes an ideal Hamilton Cloth— Price, $2.00 self-instruction struction, organization, aims, schedules, instru- By Clarence C. book in Theory. Prepares for the study of advanced mentation, equipment, materials, techniques, music, with the technical and ear training, melody writing and harmony. In this compact history of piano problems, and care of instruments are only its composers discussed, the author the aesthetic features of the styles of Cloth Bound—$1.50 a few of the subjects covered. Pertinent ex- claviers and the evolution of the piano from also describes the early amples and an extensive bibliography are addi- Elizabeth to the present day. the time of Queen * tional features. HARMONY SIMPLIFIED An invaluable guide for instrumental young By FRANCIS L. YORK supervisors, this volume also will prove indis- EXPRESSION IN PIANO PLAYING pensable for progressive-minded supervisors TOUCH AND Presents, in the simplest form, and 60c an outline of the teachers of instrumental music in all edu- Clarence C. Hamilton principles of Harmony. The text is aimed to give the cational By student a clearer institutions and for reference in every include: insight into the essentials of musi- • guide to piano playing ui . kuujindc from tmsthis pocketi cal composition. complete library. SubJect headln^ from TOuCH. THE ARM WEIGHT U EXPRESSION VAL- Price, $1.50 Im T ARM TOUCH PEDALS. Cloth Bound—$3.00 PRACTICAL MUSIC THEORY Liberally illustrated with Pic tures. (Melody Writing and Ear Training) By FRANCES M. DICKEY OF PIANOFORTE PLAYING and EILEEN FRENCH history of public THE ESSENTIALS Serves school music Price, $1.25 as a preparation or Introduction to the study IN THE By Clayton Johns, , of harmony stressing the importance of developing a UNITED STATES reading easy sensitiveness to all rhythmic and tonal possibilities have acquirarouired a certain facility In For students who have technical foundation, of music. These elements are "discovered" through (Latest f rming a Augmented Edition) Its ch ef analytical the observation and analysis of musical illustrations. music. oi examples and with it a numbe VSlc to combine « t many things which often d Cloth Bound—$1.50 By EDWARD BAILEY BIRCE " pianoforte teohnic.

* s the newest edition of a work that app al t0 every THE ROBYN-HANKS HARMONY reoui» ? music educator who TECHNIC WAS WON 5 that a thorough liis- DEPENDAbT^ANO torvrff knowledge of the HOW A Book One Book Two Book Three subject is an essential stimulating a genuinepL, i! in Brower enthusiasm for the teaching of it. By Harriette By LOUISE ROBYN and HOWARD HANKS piano and its music. way ornt siuaymbstudying the h Gives a common-sense covering: SCALE A Junior Course, for students of any age. in written Cloth Bound $2.00 1 ARPEO- — written in •" ijjmg gSt™ MARCATO TORCH. harmony, keyboard harmony, and ear training, suit- “B dl“™" able for private or class Instruction, with a MASTER wrM movement. KEY for the teacher included ln books One and Two. SPSrSS nnSer .»A BOOK TWO continues the development of the mate- rial contained in BOOK ONE. and BOOK THREE carries on the work of BOOKS ONE and TWO. ESSENTIALS OF PIANO MUSIC^ in conducting THE INTERPRETATION Price, 75c Each Book By KARL W. CEHRKENS v A^text to .Mist S» mWISIon NEW HARMONIC DEVICES 6 111 and a generally sound 1 uiuslc^ducatinn ™ ^ u >" S $?£ » f P'“°- By HORACE ALDEN MILLER QUate PV?1 be reinforced by an ade- gSulg" technic 0 thc knowledge bat° n and a practical A book intended as an aid for advanced students who of tr0up„Im be a succpsR?ni Psychology >f one hones to may wish to acquire facility in writing in a modern suected condu ctor. This highly re- braiVtoTeyboard style. A treatise on modern harmonic problems. text .-i . FROM JPany t t' bose subjects as others '!i. as well Price, $2.00 w^ d ng erson Smith interpretation P al requirements. B, Macdonald in pi.no r«^1 a,v„„p„,nt ln a ar8ljB and Program making n„,om mecB“' most comnio ?f 1 oI complete and Explains lh» siioli »r PM' ""® authoritative manner. h“|™fl°c’«t”S“f » MUSICAL INSTRUMENTS Cloth Bound—$1.75 By EDCAR STILLMAN KELLEY VbUNG~PIANO TEACHERS^ Treats of primitive and Oriental instruments, of their IDEAS FOR ^ successors in Mediaeval Europe, and then of the in- in the modern symphony Dexter BosworthBosworrn struments in use orchestra. H00L 0Rc By Harriette Includes chapters on the piano and organ. HESTRAS and bands Cloth Bound—$1.50 BV CLENN This H - W00DS very d MUSIC HISTORY I b teacher. OUTLINES OF rlencetl iS he outcome and sympathetic authoHtv of a of the C. mHn1 lH ° Cl n By CLARENCE HAMILTON Nations the subject speak with t> } , technic JST^O A clear and concise work for class use or general NATURAL ? 50 reading. Includes, in addition to eighteen pages of Chase illustrative music listed at the front of the book, ref- ei Mary Wood a definite ° ,h Bound By ormnnPn t form, erence groups of outside reading material, pictures, —$2.00 maps and chronological tables. Cloth Bound—$2.25 ...rely SS? mi 8ht more te.eli. the they m »«* gl art qc of those whom ELLA sinc,nc

Gives and E - —,4r H ' WILCOX valuah.

y ar 8 course in group C '°,h Bou„ d _ J2 00 Oliver Ditson Co. 1712 Chestnut St., PHILA., PA. THEODORE PRESSER CO., Distributors, ) — — — — — — ( ' ) ' P

o <> mryoric wasits to know NEW? ff Watch the offerings of the Theodore Presser Co. for Noteworthy New Music Items

g° y jiiUiitjjiiiUiiiiSji /• °3 iF.V.l i Recent Sheet i Music Publications .m PIANO SOLOS Sola Alt,

GRADE ONE ursa \ GRADE THREE-Conf. rot a OOP Title—Coni poser—Catalog Number Com poser Catalog ‘Cjutrri .Jmmj Birthday Cako. With Words—Myra Adler * Number My T ° t.si mmuulMS m Thumb-Vernon La,,, (27052 $0.25 ("Ss's”,' My Kiddie Car. With Words—Myra Adler (27050) 25 Pmk Peonies Robert A. HeUard To and Fro—Elliott S. Allison (27059) 25 (27076) .'"I /y H*,.L fcatut Step Carefully! With Words—Ada Richter (27064) 30 grade three-and-a-half Big Brown Bear. With Words—Harold Spencer (27051) 25 Singing Brooklet. With Words—Louise E. Stairs (27065) 25 CLASSICS FOR THE GRADE ONE-AND-A-HALF Merry Warbler—Cora W. Jenkins (27032) 25 FIRST SOLO ALBUM PIANIST My Little Chickce. With Words— CHURCH 7 Drifting ( 56) •• George Johnson (27088) 25 Blossoms-A R h”*, j ? FOR WOODWIND OR Master Composers' Our Camp Bugle Call. With Words— Yvonne. Valse Bailer“ (27077)..., An Album of ae Frederick^A. Thelma Vera-Eslanol (27080) 25 (27073) Williams Music Suitable for Sacred Services of Spring. Echoes uf BRASS INSTRUMENTS Robin Sings With Words Vienne —N, /.anise 'f'rtghs : " Sidney Forrest (27087 ) (l 04 ) ,bb Compiled by Lucile Earhart 25 Arranged by Carl W I Heard a Cuckoo—Anna Priscilla Risher GRADE FOUR (27079) - 25 instrum A splendid new compilation from the works Firelight Shadows. This collection for the young Valse SenHm . i Franz enta,e— respon of Bach, Beethoven, Brahms, Haydn. Men- GRADE TWO .. Bornschein (270181 has met with an enthusiastic ^ Mauno'ia Blossoms. Schubert, Tschaikowsky, and Berniece Rose Copeland NovclM.Lt Compi e delssohn, Mozart. Off to the Fair teachers the country over. ffl0re ntal included are not (27017) it c° other masters. The numbers Lonely ranged by a master of his craft, *411 Pol, -Marie klid^XFoTT**' j Around the Totem Seuel-Holsi Spanish mas (27 °35) a,rS difficulty, making Cardens— favorite * too long and are of medium DavfJu° than fifty well and t o (27030) .25 Campus 2 072 " known adaptable to the various Serenade-?^,?W Z > problem 0 the contents readily The Dachshund. With Words Myra Adler a many times over solve the The PO!a~'1 ” J"' ’ ^ service. Price, $1.00 (27046) 25 °27 assignmen^ requirements of the church 07°r give students first solo His Fiddle Hugh as ^ ^ Mister Cricket Plays — Arnold adapta (27048) 30 melodies chosen are especially nged- oat been ra Little Miss Springtime—Helen W. Porter instruments for which they have (27067) 25 Easter Bunny. With Words Myra Adler MY OWN HYMN BOOK grade five C INSTRUMENT BOOK-Pr., 50 c (27098) 25 j Dressing Like Mother. Tenor l For Young Piano Pupils Up With Words (For Flute, Oboe, or C Myra Adler (27089) 25 """" Saxophone) By Ada Richter May Day Walt * — Anna Priscilla Risher (27094) .25 “•-iUciro,;. M1, 5 °e ic Revelry -P f - success, Mrs. Richter has A A er B-FLAT INSTRUMENT BOOK— With her customary GRADE THREE Autumn z h ( 27045 )"::: n Shadows iu,P“ „ eixoph° r E - here arranged more than fifty of the standard Summer Clouds—Myra Adler (27033) Korber (For Trumpet. Sopran ne 35 (27039) Cornet, n a rit<> grade pianist. The chords, Clarinet, e hymns for the second Tenor Saxophone. b , . grade seven grade musician to u usually too full for the early [Treble Clef], or Trombone been brought well within the grasp ”* "***•* play, have P,Ah.« T" Clef]) hand, making this collection de- PIANO DUETS Oc of the small r - 5 the GRADE ONE-AND-A-HALF E-FLAT INSTRUMENT BOOK— sirable for use both in the church and in 1 ihonc- GRADE S‘®P Th„ p TWO (For Clarinet. Aho home. T^* E-flat Dhhee Louise Alto 0 o*odl l"* Jp oodbridge Baritone Saxophone, or pr ’ VIOLIN AND PIANO BASS CLEF INSTRUMENT BOOK— • Trom GRADE ONE (For Baritone, Euphonium, Evening Song— (1st Position) — , WO~ Bassoon, or Bass) I" the Land Co '!'- Charlotte Ruegger (27027) c!., ,| 50 Pr ' minis Kesnar ' St P ( °aition)— BOOK— 27097 ) PIANO ACCOMPANIMENT GRADE TWO GRftDE Valse THREE By Dykes and Windmills— ( 1st Positio |o»eu s.^„ Pr Maurits Kesnar (27096) . , ,<27025 ^‘"Hsfm ttanscl ) trwmFer^mrE.n» T 'a ,, arm r,.,,. ORGAN Cyrus Easter Morn— S. Mallard (27099) . .50 d Aubade. Op. 10 H. S. Savage (27082) w .40 Go“* ? Cathedral Chanson do ” SoP r, Clr?’ *. a, (27083) . Kohlmanri VOCAL SOLOS My Prayer (Sacred) —Elizabeth Soechlig (27013) Range b to D 4 o Ranso E-liu Hojson TWELVE PRELUDES Frankness—Frank Grey (27026) Range d to F .35 Teach Me to Live (Sacred) —Clarence Kohl- Well-Tempered Clavichord, From "The mann (27062) Range d-flai to g-flat 4o JOHANN SEB. BACH tidSZftg* Beak One" by So JwK (s«sv Compiled by Orville Lindquist

album twelve of the M, Lindquist has included in this all chosen from the first book master's loveliest Preludes, -Tempered Clavichord. As Bach devotees Theobohe SKETCHES of The Well Presser EIGHTEEN pianist, c works, whether MINIATURE inspired and highly Vjr\9* know, these Co 50 mood, music in its F°RWrv r lo^ lighter or more meditative V PIANOIAN0 By N. ,.m in the MUSIC ill have many uses ' this compilation PUBLISHERS n lu,lhlc second ft* u^{j‘ richest form, and work f°r first and cd limited by" n ¥ , elsewhere. The pianist w; EVERyrmNG ,N /''((standing authority on juvenile m * h " studio and music 1^i_ h j c in the **“ d, '<>« 0 find special pleasure PUBUCAE.ONE es are tuneful and have a int' the Bach literature will on*C ^ knowledge of 1712 ppea ,0 students. Various rhythms ds ? Price, 60c CHESTNUT STREET an.) t k ! ban and inspired works. the * these beautiful ,s muc '> for n in learning P work throughout ' H«LADEL rafil**rately as Pffi c PHlAf well as together. preliminary a sP pA A ( on ic °' 10 l “ p of eacl ' slutly a ® pt rhythmic dr'll'*