Volume 69, Number 01 (January 1951) John Briggs

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

1-1-1951 Volume 69, Number 01 (January 1951) John Briggs

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ZenTth Redio Corporation, Chicago 39, illinois. Oyer 30 Yeors of "K.now_H ... R d' . 3 . E'lUD~IANUARY 1f).5] ow 1ft 0 ton,C$" Exc/u.'''e1r· AI.o Maker. of fine HeorinfJ Aid. 1 HOROWln uses the Steinway exclu- sively, as does virtually every famous Authors in This Issue •.. artist of today: Borovsky, First Piano As a reporter for the New Yorker's "Talk of the Town" depart- Quartet, Hutcheson, lehmann, Lipkin, Pressler, Weissenberg, and many more. ment, CHARLES COOKE ("Let's Give Them a Rest!", p. ~7), wangled interviews with all the not~~le pianists ?f o~r lime. ~g ascertained the virtuoso's position on burnmg Issues of th

Just as this issue went to press, ETUDE received word that _ JOHN C. KENDEL ("Make Your City Music·Miuded," p. 24) has been named vice-president of the American Music Conference. Dr. Kandel, who served the Denver schools for 28 years, is a past president of the Music Educators National Conference, has been State director of music in Michigan: and has served on the ffdUlties of the Chicago Musical College, American Conservatory bl Music, Denver University, University of Colorado and the Colorado State College of Education.

JL w, HEINSHEIMER ("What is Happening to Music in 8l.frope," p. 14) has been an executive of the publishing firms of VBiversal.Edition, Boosey and Hawkes and G. Schirmer. Just ftturned from a four-months' survey of the European music Helle, he herewith presents an up-to-date appraisal of the state df affairs abroad .

.. HOWARD HANSON ("What is Happening to Music in America," p. 12), has been for a quarter-century an important force in contemporary American music, both as composer and as head of the Eastman School of Music in Rochester, N. Y. It may take months of use to determine whether the piano you select is all that you want It to be. It is important, therefore, to consider the reputa- tr.'kisMonth's Cover tion of the piano maker before you buy. Act wisely by choosing a piano WIth the distinguished )'he Roman god Janus had 1\\ 0 faces: one looking hack to Steinway name! past, the other looking forward to the future. From Janus The world's greatest musrcrans constantly ac- claim the Steinway for its extraordinary tone, l' derived the name for the month of January. The two- faced action and stamina. So trustworthy is Steinway god symbolizes the end of an old year and the start of a new- craftsmanship that, with proper care, this piano .qI", perhaps, the end of an era in music. will be an inspiration to your grandchildren as well as your children. The Steinway may cost more at the outset, but judged by abiding advan- tages, it is actually the most economical piano you Next Month .•• can acquire. Consider, too, these factors: • Only the Steinway hal 'he paten'.d Acc...... d Ac- ERNEST BLOCH, internationally famous composer, recently tion, so .... ntial in d.vel.ping s.nsitiv. t.uch. celebrated his 70th birthday. In February, ETUDE is honored For complete information • Only the Steinway hal the patent.d Dlaphragmatk -to present an article by this great artist, summing up his years Saundboard, which penn ..... big-pian. 'an. in .v.n the on Steinway prices and of experience as a creative musician. Imall•• t V....icol. convenient terms, please • Only the steinway i. uI.d by nearly all .f the no- consult your local Steinway SIGMUND SPAETH, well-known writer, lecturer, radio com- ti.n'l I.ading mu.icianl, .rch.stras, c.n .... votori••• dealer. His name and mentator and famous "tune detective," discusses "New Oppor- radio and '.levisi.n Ila,i.nl. addr888 are listed in your tunities for the Music Teacher." You can depend on it: The Steinway is the one classified telephone piano that will bring your family lifelong satisfac- HEINAL» WERRENRATH, celebrated baritone of opera and the direc::tory tion. For a free copy of our useful booklet, "How concert stage, presents the thesis that "Singing is Simple"-a to ~hoose Your Piano," write to Steinway &. Sons, Stemway Hall, 109 West 57th Street. New York 19, stimulating discussion that every vocalist will want to read. New York.

ANDOR FOLDES, virtuoso pianist, offers a new approach to the old problem of keyboard technique. ,!.,o a,year in U. s. A. an4 ~iOft!l ~the Philippines. Costa ~blIC. Guate'l8lla Hakl, MexICO~panama ~blk. SpaiD,allan South couairlei "-1 n; ~ STEINWAY fOuDdlaod: 14.50 • ~ other ingte copy ~ PLUS-ETUDE'S regular deparlments, and 22 pages of music by Malluscnpts or art !h,ou1d be aa:ornpanW by Mum postase E'I'ina for tetura of unsollated Ql.antlIcripa Of ~ • classic and modern composers. Watch for these in February.

2 ETUDE-JANUARY 1951 J MICHAEL AARON "AND COURSE Perfect Uninterrupted Sequence - Natura' Progression MICHAEL AARON PIANO PRIMER ···· .60 GRADE ONE 1.00 GRADE TWO 1.00 Franz Lachner .... Ouk •• GRADE THREE 1.00 Five bars 01 silence • • • Wagner irritated him GRADE FOUR ···············.... 1.00 MICHAEL AARON ADULT PIANO COURSE 1.00 MICHAEL AARON PIANO TECHNIC-Book One. .75 of Lucca, on Napoleon's birthday, tbllm. He made another roll for- MICHAEL AARON PIANO TECHNIC-Book Two ,. .75 ~imo on the drums. then put on August 15, 1805. his hllt and coat, and left. • ELEMENT ARY PIANO SOLOS by Michael Aaron • Franz Lochner, the learned ALL ABOARD . .35 CLOWNING ,35 ICI CARNIVAL .35 INDIA .35 A. io well known, Verdi failed composer of many symphonies and operas, was an inveterate op· PRAIRII RIDER 30 STORY lOOK WALTZ 3D to pass his examinations at the TAnLiTALE (with word.) ...• 35 WHIMSy ····· .35 l'4ilan Conservatory, when he ponent of Wagner, and resigned WOODLAND CASCADE .40 played some of his own composi- as court musician of Bavaria, tions. Years later, when he became when Wagnerian tendencies be- Leading PIANO BOOKS famous, he met one of his former came a dominating factor at the for Students and Teachers examiners, Antonio Angeleri, him- Court. As luck would have it, self a composer of piano music. Wagner and Lachner were intro- ~ ~ YOUR BACH BOOK Verdi sat down at the piano, and duced to each other in 1881. Wag· 24 Bach compositions, chosen from Suites, Partita., TwOo and Th, Volc.ct bel!llJl to play. "Why, this is my ner bowed stiffly and said: "I have Inv.ntions, Well. Tempered Clavichord and "Goldberg" Ya'latlans 1.50 already heard of you, Herr Lach- piano sonata," exclaimed Angeleri. ~ ~ YOUR CHOPIN BOOK "How did you happen to learn it ner." Irritated at Wagner's manner, Lachner replied coldly: 23 Chopin compositian. especially compiled by the gifted teach.r-Prelud ••• so well?" "It was not difficult," Mazurkas, Nocturn.s, Waltzes, Polonais.s, .tc...... 1.00 re~ked Verdi. "Before it be- "I regret I cannot say as much." c~ your sonata, it was my Fan- THINKING FINGERS t~ia,. which I played for you at • OUY MAIIR • HERBERTBRADSHAW tb~Milan Conservatory." Alter the first performance of HUNDREDS of finger exercises for intermediate and advanc.d pianish-.xod. Boieldieu's opera "La Dame stimulating and original directions on how to practice them .. n 1.oo Blanche" in Rouen, in 1829, the • HAZEL COBB Piano Book. ETWEEN 1803 and 1813, Paga- orchestra followed Boieldieu to his B nini was Director of Music hotel and serenaded him with the • THIS WAY TO MUSIC An easy ,eading approach to the piano. at the Court of the Princess of overture from the opera. This act Lucca, Napoleon's sister. He was of homage had unexpected conse- • RHYTHM with RHYME and REASON Counting mode "Easy a~Pie:' _. enamored of a noblewoman, quences. The players were arrested ll1hom he did not dare to woo for disturbing the peace, and were GETTING ACQUAINTED with th. KEYBOARD dinctly. At one of his concerts at brought before the court. The de- • Book One: PRACTICE PAnERNS fense emphasized their laudable doe £ourt, when the lady of his • Book Two: SCALE PAnERNS .ambook75 ...... Mart: was present, he announced intention, but the court fined the __new piece for violin unaccom- defendants, ruling that "the excuse A Learning Music Program ptUried, under the title, "Scene for paying homage to a famous by FLORENCE FENDER BINKLEY NIl9ureuse." He took off the two composer is spurious, for this in- Supplements the student's beginning mo'.rial and aid. the '-ochers in planning IIiidolle strings, and then proceeded fringement on the law must have a well-balanced study program. to play a sort of amorous die- given offense to the composer him- MY MUSIC DRAWING BOOK 60 legue, in which the G string was self as a loyal respector of law MY MUSIC WRITING BOOK 60 the swain, and the E string the and order." MY MUSIC SPELLING BOOK 60 MY MUSIC READING BOOK 60 fai. maiden. As Paganini's plead- PRACTICIN' TIME •.••. .60 ipg on the G string became more • .'NICUY MUSIC RIADING DRill CARDS 75 and more impassioned, the lady's In a small Italian town, the ENROLLMENT AND USSON RECORD (Repor' Cord} ," cheeks flushed as though she municipal council debated a sub- STANFORD KING Piano Book. understood the meaning of the sidy for the production of Verdi's music. The Princess, who was not opera, "The Two Foscar i." After ...... 60 in on the secret, asked Paganini: lengthy deliberation, the honor- "Why don't you compose some- able members adopted the follow. thing for only one string?" Paga- ing resolution: "Due to the lack of nini followed her suggestion, and funds, we can grant sufficient wrote a "military sonata," sub- money to produce only one of the MILLS MUSIC, INCo titled "Napoleon," for the G string Foscari. The other will have to 1619 Broadway, New York 19, N. Y. alone. He played it at the Court wait until more favorable times." Chicago 4, illinOIS los Angeles 14. CalifornIa

ETUDE-JANUARY 1951 5 BOOK 1-a- Teaches ~outhful students The Preparatory Book - Guides tiny to think and feel musically. This book fingers through their first adventure lays the foundation for all future lee- I into music. The approach. based on sons ... stimulates laating interest iD I familiar Airs. is easy and interesting, piano study. Based on familiar airs. making a special appeal to children. I , ------_:.-----:------.-_.------I I I I I I ,I I

BOOK 2_a_Technic_the pedsl- BOOK 2-b-Chords and srpeg~osopon BOOK lob - Here the etudent makes new fields of interest to pupils ID Grade more serious effort at Interpretation rhythm, fascinating new subjects in the student's realm of music. are fully ex- 2'!1. Selections are a bit more mature- and musical understandingl By master- but always familiar, melodiou8 and ing the fundamental Touches he thus plained ... adding delightful new expert- ences to his piano study. stimulating. acquires color and greater appreciation. ------

BOOK 3-a - In this book the pupil BOOK 3-b - While studying this book, learns the real meaning of Form. Mood the. pupi! is acq~ring 8 repertoire of and Style. As be advances he findsmore recital pieces. HIS foundation, gained pleasure ... more enthusiasm in complete I from the earlier books. enables him to imdoratsnding of the music played. I reach the stature of "young artist". I ,.. ------SEE THESE NEW BOOKS at your nearest music dealer. Ask. also, to see other John Thompson books and courses on modern methods of piano study. They offer you a wide choice of material for fIIferY purpose. See your music dealer today - or write: WILLIS MUSIC COMPANY DBPABTMBNT C. 124 Ea.t Fourth Street, Cincinnati 2, Obio

ETUDE-JANUARY 1951 n1~~RY 1951 7 ETUDE the mu.ic magallline

JANUARY I 9 5 I

__ ..- ..__ ...... J1...... n '>...... - r

most potent musical forces of the first half of the twentieth century were ...

ACHILLE CLAUDE DEBUSSY; IGOR STRA. renl l .S.·SO\ iet tension seems unlikely. toim'C' another Soviet composer, Serge Prokofieff, figured prominently in the ballot- VINSKY; ARNQLD SCHOENBERG; MAURICE RAVEL; ing. Irrepressible Douglas Watt, music editor of the ew York Daily News and The New Yorker magazine, even named Josef RICHARD STRAUSS; PAUL HINDEMITH; ARTURO Stalin as one of the century's potent musical forces, on account TOSCANINI; GEORGE GERSHWIN; BELA BARTOK; of the severe party discipline under which Soviet composers have been working for the past 15 years. SERGE PROKOFIEFF; JAN SIBELIUS. As was expected, composers dominated the list of 20th century musical forces. Those frequently named, in addition to the THIS IS THE VERDICT of a jury of leading composers, ones listed above, were Puccini, Mahler, Aaron Copland, musicians, music educators and music journalists from all parts Vaughan Williams, Alban Berg, Ernest Bloch. Howard lIanson, of the United States. Heitor Yilla-Lobos, Roy Harris, Samuel Barber. Erik Satie, With the first 50 years of the 20th century just ended, ETUDE Darius Milhaud and Gian-Carlo Menotti. asked leading musical figures: "Name 10 (or more) musicians In general., conductors felt composers most important ~ while who in your opinion were the most potent musical forces of this many composers included performers in their lists of significant century so far." musical forces. Arturo Toscanini, midway between Ilindemilh Replies were varied. Tabulated, they gave a timely and signifi- and George Gershwin in number of votes received. stood among cant cross-section of loday's musical thought in America. the first 11 names for "setting new standards of orchestral per- Most astonishing result of the symposium was the low esteem formance." Pablo Casals, Fritz Kreisler, Leopold Stokowski, in which Dmitri Shostakovitch is currently held. Shostakovitch, Jascha Heifetz, Serge Koussevitzky, Ignace Jan Paderewski, hailed in the Thirties as the eventual heir to Sibelius' mantle of Enrico Caruso, Ferruccio Busoni, Artur Schnabel, Pierre Mon. greatest living symphonist, was named hy only two contributors teux, Kirsten Flagstad, Vladimir Horowitz, and Lotte Lehmann to the symposium. also were chosen as outstanding influences of the century from That a low opinion of Shostakovitch's gift is the result of our- the standpoint of raising the standards of performance.

CONTINU'D ON NIXT 'AM 8 mDE-JANUARY 1951 9 Here is what leading musicians thought about 20th century musical influences

because, besides his compositions, DAVID DIAMOND, composer LEOPOLD STOKOWSKI, con- envlrcnment, and 1. therefore, have listed them. In some cases a com- he has been the greatest single force BUSONI, RICHARD STRAUSS, MAH· ductor poser's influence is due to frequent in the development of our own native LER, SCRIADIN, STRAVINSKY, SCHOE!'- BARTOK, BERG, COPLAND, HI NOt:· performances and exposure, in oth- serious music. BERG, SATU:, Deeussv, FAURE, MIL. MITR, HONEGGER, PROKOFIEFF, SCHOo ers, to his gifts as a teacher. The II HTD, HI:"4DE:\lITH, BARTOK, VAl GH- ENBERG. SHOSTAKOVICH, SIBELlUS, distinction between the raw mater- SIGMUND SPAETH, writer, lec- A~ WILLlO\)IS. COPLA"'O. STRAVINSKY, VAUGHAN-WILLIAMS, ial, the conveyor belt and the fin- turer on music. VILLA-LoROS. IRVING KOLODIN, _\tusk editor, ished product is difficult 10 make as DAMROSCH, TOSCANINI, KOIJ5SE· regards musical composition, and it Saturday Redew 0/ Literature. EFREM ZIMBALIST, Director, VITSKY, MRS. EDWARD ~hcDoWELL. is sometimes difficult to know, as a 1)f:81 !;S~ -compoecr. SCHOESBERC The Curtis Institute 0/ Music ERNEST NEWMAN, HENIlY HADLEY. matter of fact, which is which. JAMES FR.4.NCIS COOKE, MRS. EnDI -c-composer, GEKSUWI'I--eompo.:;er. With these considerations in mind, STRAUSS, RIMSKy-KORSAKOV, DE' ZIMlIALlST, GEORCE EASTMAN. TOSC\"lI"lI-performer, CAs'Ls-per- BUSSY, RAVEL, PUCCINI, SIBELIlJS. I submit the following: The two former, LOllS AR'\ISTIIO"oC- perform- ScHOEl'iBERG, PROKOFIEFF, BARBEn. major influences- WILFRID PELLETIER, opera er, E'IIL BERLI't:R-tiisk records, )Ai\I(,;S Pt:TRILI.O-labor, A. D. )\:IL· MENOTTI. SCHOENBERG AND STRAVINSKY, conductor then-MAHLER. DEBUSSY, RAVEL, u<\llo-philllnlhropy. Df:BUSSY, SlDELlCS, Sl'IIALSS, SCIIO' AARON COPLAND, composer Gt:RSHWIN, BARTOK. HAIlKIS, Cop- ENBERG, BERG, BARTOK, HIIIoOEMITH, NORMAN DELLO JOIO. rom- DEBUSSY. BUSONI, MAHLER, SATIE, LAND, BLOCH. PROKOFIEFF, HINDE· MESSAIEN, HO"'lEGCEIt, COI'LAND. poser ScuOENBERG, BARTOK, STRAVINSKY, MITH. HINDEMITH, RAvEL, PROKOFIEH, Hi vuevn'ru-c-ln my opinion the EDWIN FRANKO GOLDMAN, Mu.HAUD. GEORGE SZELL, Musical Direc- most complete man of 1l111"ic IIf 111(" tor, The Cleveland Orchestra [eunder-conductor, the Goldman century. A8ide from the individual- Band. ity of his own muelc, all teacher, FRITZ REINER, Metropolitan Here is my choice of musicians player, and writer flf already «rand- Opera Conductor who. in my opinion, had decisive in- TOSCANI'I-who showed to what work", BARTOK, BERG, DEBUSSY, HINDE- fluences on the musical physiognomy perfection orchestral playing could ani theoretk-al he hall served all a great siahilil.t'r in l'unlrlllllur.lll )11TH, MAHLER, PROKOFIEFF, RAVEL, of this century. I am Iimitlng rny- be developed. Sousa-who wrote in- ScHOENBERG, STRAl;SS, STRAVINSKY. self to the smallest number of names spir-ing marchcs ; took his band mu ..ical thought. STU'-ISSKY-8e· because I feel that in going beyond around the world. V <\1 (:11 \ 'II, WIL- cause his mu..ic has pf·rhal." .11"(·1('.1 MORTON GOULD, Composer this number it would be difficult, L1A \Is-who wrote music fur orches- more composers MlylilOlil'ally than .lOY even impossible, to avoid confusion Ira and also original band music. other. Dt:Rl'SSy-WhoMe aesthetic I have listed composers who, to l\Ionleux-who gives wonderful in- principles were given voice in hi1(hll my mind, have developed or ex- and unfairness. As composers: STRAI"SS, DEBUSSY, sensitized concept or sound. '\ "hurt- panded particular facets of musical terpretations of orchestral mu-le. SCHot:NHERG. HI"'DEMITH, STRAVIN- RICHARD STRU'SS, SIDHU'S, RA\'FL, lived hut c1arifyin~ reaetlon 10 over- expression. The perspective can only HEIFETZ-who showed to blown Germani"m, I nf"rtunalfOly be limited to our time, and an in- SKY. Deaussv. As Interpreters: TOSCANINI. CAS- the mu ..ic lIa..; been appwpriallojJ 0" fluence is not of itself necessarily a what extent violin playing could be a staple of commercial mueir-. fulfilled masterpiece; therefore, I ALS, SCHNABEL. perfected. Pr cctxt-c-From his work, I believe have listed these composers only WILLIAM GRANT STILL, Com- with regard to your specific inquiry. LEO SOWERBY, composer that AnwriC'a'" ra~I-(It..\t'I()J.inJt lyric· poser Without agreeing, or disagreeing. Dt:BlSSY, RAvn, SIHELII S, VAIGU- tht'alre ha!\ mOltt to It-arn. 5<:110.:"(- with their creative works. I feel that LEOPOLD STOKOWSKI, FRITZ KREIS- AN.WILLIAMS, STRAVI"oSKY, B\HTOK, Buc-Whos{" Iif(,,'s work ha'l raioot'll they have either summed up certain LER-both because they brought to HINDEMITII, DE FALLA. VILL\·Loaos, many ..'atid llue ..tionq alhf'il in my influences or generated others. fur their respective fields a true creative GERSHWIN. opiniclO Ita.:. l{'ft ron,1 unn''"(lh ,••1. \ impulse and because of their spiri- shrill but hone!>1 ..·oice- of the- 20th· good or bado o The last few years have seen a tual qualifications. Ravel. Debussy SAUL CASTON, conductor. Denver cenlury mU"'lclan " gropin,; ,'on· tremendous expansion of our native and Sibelius--because Ihey wrote Symphony Orchestra science. PROII':OFlHF-Hallo c,'om(O creative resources. Although I think music rather than noise. Strauss, neare9t to a solution of the question that the primary generating forces Stravinsky-because of their innova- RICHARD STRAUSS, R.WEL, DE- of fllo;;in~ in hi:- mll ..ic Ellmpean have been European, there have been tions. Puccini-because of his jn- BUSSY. STRAVINSKY, SCHOENBERG. musical 1!'ophi"licalion and RlI~..ian in this country forces that have been spired creative gift and his revitali· ALBAN BERG. HI'IDE\UTII, GF.RSItWI"i. natiflnali ..lic a..piraliun... \ mUllc·1 potent in terms of our parti.·uhH zation of opera. Howard Han ..on- LEOPOLD AI r.R. C-\S\l.o;;. S·rnKow'KI. CONTINUfD ON rAG' 47

S~R •• ~ pn••K ...... M......

ETUDE-JANUARY 1951 11 less serious American music being played by our major sym- submit a highly competent orchestral score upon entrance. phony orchestras than ten years ago. The amount of American ~ from the standpoint of quantity, it is interesting to music which comes over the radio in "live" performances is observe that 25 years ago it was with some difficulty that suffi- very small indeed, though this is fortunately compensated for cient composition material could be secured for a series of by the large number of smaller radio stations which devote four or five concerts. Today there are 52 composers studying many hours to the broadcasting of serious music, including the in the Eastman School alone, and the works written here in music of American composers. one year would more than supply all of the compositions neces- In the field of recording the situation is equally discouraging. sary for a comparable series. The recorded catalog of American compositions is pitifully It may seem strange that I should emphasize the quantity of small and a large part even of this small catalog is actually un- compositions. I am convinced, however, that the relation be- available. For example, if the reader will examine the November tween quantity and quality is a very real one. In the history of 1950 Long Playing Record Catal.og he will not find one record- music a great composer seldom arises as an isolated phenome- ing 01 America's most famous composer, Edward MacDowell! non. There must be a creative spirit abroad in the land. This This I regard as both shocking and disgraceful. spirit properly cultivated and encouraged develops many composers, and from these many come the few who will. go down II i. probably too early to judge what we may expect Irom in history as the creative figures of the country and of the age. television. However, it would seem that the zealous commer- Among the approximately 600 composers whose works have cial interests which have stripped the great radio networks 01 been performed at Eastman during the last quarter century are so much of their value insofar as serious music, both "classical" many who are already taking their place in the repertory of con- and contemporary, is concerned expect to do even less for us temporary American music. The quality of much of this music in the field of television. The author does not own 8 television is very high indeed and compares favorably with the contem- sel-and does not expect to-so he can hardly pose as an porary output of other countries. authority. It does seem, however, that here again, 88 in radio. Let us now look on the debit side of our musical account a fabulous invention should be 01 immense cultural and spirit- book. In the field of communication we must, I believe, admit ual value to millions of Americans. that the good music created and performed today reaches only a And so the history 01 the past 50 years has been al the same nnnute proportion of the American people. This is especially time a history of tremendous advance accompanied by the rise trUe when we consider the tremendous technical means for 01 a host of problems which we have not yet even begun \0 communication at our disposal. solve. Upon their rapid solution, J believe, depends America's In the field of American music, for example, a recent sur- continued musical progress for the future. rns F.. n vey ef the National Music Council shows that there is actually

The pioneering work of conductors like Sto- kowski and Damrosch, of teachers like Dr. Hanson, has developed audiences capable of evaluating our native com posers .

•• ",~ RANSON, eornpoKr Direewr 01 E•• ,nurn S£hool 01 Musie

SAMtJEL BARBER, composer AARON COPLANJt., compo.er

LEOPftl.D srOKOWSK" WAL'I'ERDAMR~" IONRli ~LBli. conductor conductor eompoaer

J1'fUDE-]ANUARY 1951 13 yet, has taken their place. The ground is still trembling from the last earthquake the waves of a new one can be sensed in the troubled air. Maybe this just isn't the time and the place for a composer to sit down and listen to the inner voices o l beauty and faith. They will sound again, I am sure. Right now, I was unable to hear them.

HE DEVASTATING influence of our disturbing time is ev~n more devastatingly evident in the field of light music. ForT decades the European theatre, particularly the subsidized opera houses of Germany, Austria, Switzerland and Scandi- navia, relied on a continuous supply of operettas from Vienna and Budapest. Their expectations were never disappointed. In proud succession there appeared year after year a new Lehar, a new Benatzky, a new Leo Fall, a new Oscar Strauss, a new Robert Stolz, or a new Emmerich Kalman operetta. All this has been wiped out mercilessly. The Vienna of today does not inspire gentle love stories, waltzes, couplets. Its widows aren't merry any more. Countess Maritza is an exiled waitress on 79th Street near First Avenue in New York. And as for the Dollar Princesses-they are today represented PABLO CASAI.'i Perform alice .talldartls ;11 only by the dignified though scarcely czardas-dancing gentle. European mu.ic I.ave never been men of the ERP. A few aged survivors of the generation of higher than at tI.e pre.ent day. waltz kings are still grimly at work. Clinging to a past that is terribly dead and shockingly far away, they can proiluce no dreams, only nightmares .... The manager of the opera house in Zurich spoke to me about the difficulty of building up a repertory under these circumstances. ''We can't go back to the past," he said. "We have to draw on the present and look at the future. We have just produced here-and it turned out to be a smash hit-an American opera, 'Porgy and Bess.' " The next day I attended a performance of "Porgy and Bess," by George Gershwin, sung in German by Swiss actors and singers. It electrified a packed house. It was the present, the future they felt in the music and the story. It was New York that made a hit in Zurich, not Vienna. While the creative side of music is undergoing a critical transition period in Europe, no such crisis seems to harass the continent's performing facilities. The symphony orchestras "f Europe are known throughout the world and several of them have recently been heard in this country. Two other fields of musical activity impress the visitor from America as being interesting, fertile, and basically different from similar activities here at home. These are radio and opera. Just a few weeks after I returned from my trip a national IlR~"T KRlIll~IlK GI,~COMO PI'C'n~1 magazine had this to say about symphonic music on the There are familiar face., Will "Porg" and Be.. " be the .ucceuor to "La Boheme"? American radio: but feuJ prom;'ing newcomen. "Big radio is giving serious music and musicians the brush- oft. CBS has axed its CBS Symphony, its once-fine 'Invitation to ¥usic' and its summer broadcasts from Manhattan's Lew- i80~ Stadium. ABC has dropped some 13 hours a month of 'live' classical music broadcasts since last year. NBC dropped its 'Orchestras of the Nation' series which for five years has given U.S. music lovers a listen-in on the principal orcb;estras of the country. Network radio, with armies of pulsftakers to confirm its judgment, seems to be betting its future on the assumption that the U.S. prefers comics to classiest" The radio situation in Europe is quite different. There are in Westerb Europe at least twenty radio orchestras, all operating ~d~ non-commercial radio sponsorship and therefore quite md'j""'dent of the results obtained by the "army of pulsetak- ~. Furthermore, they are not threatened by TV-television IS unknown on most of the continent . • ~ significance of these independent musical units, ambi- ALBAN HE_ _ARIIIS MILDA'- ti~:::n;,;"mpeti~g with each other for the most interesting and R;' "Woueck" 1I1G•• 'aged at A .'aFt"ng, .hoclrin« n.rnber _ ating mUSICalfare, and their in- (Continued on Page 57) 'he Dae .. eldorf opera hoa.e. toOaid halle been lfU!'tome.

14 ETUM-/ANUARY 1951 15 Let's give them a rest!

Five overworked piano pieces by Memlelsso/ur, ClIO/lin, Debussy

and Rac1tmaninofJ .should be retired in favor of less hackneyed numbers

By C H A R L ESC 0 0 K E

More and more artists are 1I0W programming this composi .. LL OF US who love the piano, pupils and A tion. Joseph Battista and Clifford Curzon frequently play it as teachers alike, know that certain compositions, at every level of an encore, It is only three pages long, but packed into these difficulty, are played to death and taught to death. Especially pages are as much beauty as frequently goes into longer and the latter. more ambitious compositions. Here, for example, is a group of compositions which I pri- It presents HO great dillicuhies (other than purely musical vately (and yawningly) refer to as "The Five," They are: Men- ones) to the advanced student. I suggest, however, that the delssohn, Scherzo in E Minor; Chopin, Nocturne in E·Oat; four right.hand TUns clustered toward the end be given special Chopin, "Military" Polonaise in A; Debussy, "Clair de lune"; attention. Decide, before beginning inten ive practice of these Rachmaninoff, Prelude in C·sharp Minor. runs. exactly how )OU "ill "anchor" the supporting left .. For the past two years, I have rigorously avoided teaching hand notes to the right. hand runs. A good plan i. to any of these works to my own pupils. I don't suggest that they mark) our "anchorings' with a pencil, and follow the mark- be dropped permanently from the repertoire. Most of them are 1Ill!l' ,..-irh great care (illrin~ (COII/inlled 01' Pap..(· (1) eminently worthy pieces; in fact, it is their very worth that has led to their being overworked. But I do recommend that they he given a long, long rest. Of course, for every barnacled number that is retired a sub- xe, e UI2 Etude Lnmcntoso stitute must be found, preferably at the same level of musical value and technical difficulty. For "The Five," I suggest the following replacements, each of which is just as difficult as the number it replaces, and has the additional merit of novelty: J--===: ~ ...... :=:.~~~~...... :=::.:==--- 1. MENDELSSOHN' Etude in B·f\at Minor, Op. 104, No.1. ==- (Presser). Substitute for the same composer's Scherzo in E -- -t:: -"! . \::=E .. • Minor. I place this composition first on my list because it is my favorite substitute. It is my opinion (shared by many friends, including the late Olga SamarofT Stokowski and the brilliant young pianist Claudette Sorell, that this is one of the most beautiful works in all piano literature. It is very important that 1 it be studied from a well-edited score. Look at the first page, which is representative of the whole five-page piece (see cut) Observe the basic problem of thi~ piece; to make the slow, exquisite melody sing out, like a voice or a violin. against the never-ceasing arabesque accompaniment of passage-work. This arabesque must be several degrees softer than the melodv it accompanies. A further difficulty is that the melody notes· are taken, in rapid interchange, by both hands-and most often by the thumbs. In fact, although the piece is entitled "Etude Lamentoso" in the Presser edition, I have sometimes suggested that it be given the more accurate, if less poetic, title of "Etude for the Thumbs," There are two trills in this piece, one in the final measure on ~e first page, and a repetition of it on Page 5, which pose a ballIing problem for the player. How is one to trill with the right hand when that hand is needed for rapid arabesques? A footoote in the Presser Edition suggests a workable solution. (See cut).

2. CHOPIN: Posthumous Nocturne in C.sharp Minor (Schir- *Ploy the first note of the trill (E~) with the right hand' th I t h mer). Substitute for Chopin's Nocturne in E·f\at. trill with the left hand ' en comp. e t •

ETUDE-JANUARY 19.11 17 A famous Shakespearean stage director, whose opening night "Don Carlo" was a sensation of the 1950-51Metropolitan season, tells

How I Stage an Opera

n , MARGARET WEBSTER RHYTII'M As told to RoS(' H"ylbut

opera's libretto ; but nJ) best help came need of subordinating motions to singing; ROM THE DRAMATICpoint 01 view, [rom Verdi's score and those of his letters mokes the mu and (b) the need of timing gestures to grand opera is an unnatural medium, or last through the long line of a vocal phrase. which bear upon it. Yet granting that the scope of opera i~ rather, a non-realistic medium. It is meant When an actor says "good·bye," he turns to sung; its chief appeal is the music. limited and lion-realistic, there arc ways in be and leaves at a natural pace. When a tenor Stage elements must adjust themselves to which it can be rid ol some of it flummery. sings the single word "Addie" through I do not set up as an operatic expert. J the demands of voice and orchestra. 16 bars, his accompanying gestures scarce- At the excellent production of Menotti's have never worked in opera before, and Iy stand out as a model of spontaneity. "The Consul," music·lovers marvelled how even as a layman I am no more knowl- And there's little a stage-director can do well the singers could act, while theatre- edgeable than thc average. Yet hricl experi- about that, either. ence has shown me points of approach. enthusiasts exclaimed how well the actors Finally, there is the question of style. could sing. Yet botb groups readily ad- If wide ge tures cannot be eliminated. Operatic stagecraft relies upon re-creating mitted that neither singing nor acting was they can be made reasonable. To bring the style 01 the period in which the work superlative taken alone. The excellence 01 truth to operatic acting, meaningless "tra- was produced, and it is the composer's in- the performance lay in the fact tbat tbe ditions" must be scrapped. Cestures should tention, not the librettist's, which leads. In two elements were much better fused than preparing "Don Carlo," I studied the his- be based on demands of the action, and in conventional grand opera. tory of the epoch, Schiller's play, and the should lollow mod- (Col/til/ued 01/ Page 5; I The point is further illustrated by the delight people take in performances the words 01 which they cannot understand. Instinctively, they leel that opera is "difierent." Well, it is. In criticizing operatic acting-often justifiably-it is well to remember that the opera-stage is not, and never can be, quite the same as the theatre. It looks like acting; actually, it is acting.subordinated. to-music. And the peculiarities of operatic acting cannot be wholly overcome.

In preparing the staging for "Don Carlo," at the Metropolitan, I was advised to direct certain scenes exQ4;tly as I would on the stage. That sounded good-until a study of those scenes showed the plan to be impossible. While the music moved

along to varied figurations and mounting0 c1imaxes, the words were the same, repeated many times over. On the dramatic stage, an actor makes his point and gets on to the next, all his means of expression progressing with equal fluidity. In opera, the score sets the pace; words and gestures must follow it. There's little a director can do about that. Again, the chief concern of the operatic perfonner is to sing well, to get out beauti- fnl ..tones. His stance, his motions ' his posmons are limited by the demands of good singing. The familiar wide gestures of opera have persisted because of (a) the Margaret Webster coaches duel scene in "Don Carlo" between Jussi Bioerling, Robert Merrill

18 ~JIDB, IANUARY 19 ETUDE-JANUARY 1951 19 a third example of the use of the falsetto lng tone into a beautiful piano tone. take the famous "Verschwiegene Liebe" by to you? The audience is tecribly disap- The question remains: How does one pointed with yonr singing tonight!' When Hugo Wolf. In this one passage: produce an expressive piano in singing? I 'No, I'm not sick; this was answered, The procedure from the physical standpoint the way I was told to sing and how I is very simple: inhale only half of your always dreamed of singing,' my manager lung capacity; transfer the air into your B... 3 ,., said, 'If you want to ruin your career and diaphragm. When the diaphragm muscle , lose your popularity with the audience, I! i1r takes control of the air, send the air column ~l I,J_ e r ,J ver- .ch ...·ie.geD just go on singing like that. But if you as gently and softly as possible up to the Die Nacht i.1 wish to continue your triumphs as the great larynx. Begin to sing with a tone of the Ruffo, give more brilliance, more volume, middle register, starting with an "h" before hold your notes long.' And that's how I the vowel "a" or "0" (""ha" or "ho") ; in- was prevented from singing piano." if the singer cannot jump to the Dvsharp crease the sound up to a mezzo forte, and The gift of piano or mezza-voce singing with a clear falsetto tone, then the whole then slowly decrease the same tone to a is nol always given to the child in his effect of the song is lost. I therefore would cradle. Judging from books and stories of pianissimo. say that the so-called hated and condemned the past about singers and singing in gen- falsetto singing has a definite place in the Continue the same exercise in chromatic eral, there was always a search for the technique of the male performer in lieder steps up to the point where the singer can really true art of piano singing. Only a and songs, as well as in operatic scenes still produce a well-sounding tone. The very few have been able to achieve this goal throat must always be kept open, and the and arias. of completely expressive mezsa-voce. The physical explanation and descrip- tone should be concentrated in the "mask" The genius of a creative musician has, tions arc comparatively simple, but the of the face and should always "touch the of course, a great deal to do with the actual production is far more complicated. lips." The volume decrease should be grad- method of vocal production of his period. Most knowledge of singing can be learned ual and slow so that the ear cannot per- For instance, we know that Mozart, Bellini, only through imitation. A student can only ceive when the tone stops. At this moment Rossini and others composed a great num- the head tone or the so-celled "falsetto" acquire the right knowledge of piano tone ber of their operas and songs with specific production by choosing a teacher who will takes over and forms a bridge between a singers in mind. We also know that Wag- chest tone and a falsetto. The change from be in a position to demonstrate and correct. ner and Strauss, as well as the French ex- One legato phrase, expertly demonstruted a full chest tone 10 a pianissimo falsetto must pressionists, have created music to which a be executed without any break in order that by a good teacher or singer, will do more whole new generation of singers had to the sound should appear to be as one unit. to clarify piano singing than a whole chap· adapt themselves, in order to be able to The change into a falsetto applies only to ter scientifically written on the same sub- do it justice. We still have dozens of so- men, however; a woman's voice doesn't ject. And so my advice to young hopeful. called Wagnerian singers who would be have the break between chest and head singers would be to select a teacher who greatly bewildered if they had to sing a tones unless the singer is a low, chesty himself is able to sing or who can immedi- part in a work by Mozart, Handel, or Verdi. ately correct and demonstrate. Wagner has created this generation of contralto. I would like here to say a few words The art of singing is very abstract. One shouting singers. I doubt whether this was about falsetto singing. In several countries can read volumes about it and till be very his intention, however, for in his many it is considered a sort of fake singing. This vague as to its accomplishment. it is not operas there is so much lyrical music which like harmony or counterpoint, where there could and should be sung with the most is partly true, but it is only so if the performer cannot swell out the same tone to are fixed rules to rely on. There will alway s exquisite lyrical qualities. This is true even be some singers with good voices seeking of such dramatic parts as Siegfried, Tristan, full resonance and brilliance. But as a means of diminishing a high note from a fortis- the famous, beautiful piano tone and rarely Sieglinde, Wotan, Hans Sachs, and Gurne- finding it. On the other hand many young manz, Unfortunately, Wagner is very often simo into the softest pianissimo, 1 consider a falsetto not only legitimate but very beau- singers perform miracles in piano singing misunderstood in this regard. I received and crooning. We have to realize that na- greatest impression of true Wagnerian tiful and effective. For example, how great my ture has a great deal to do with the ability singing at a performance of "Tristan" in would the effect be if Rhadames in his first to produce lyrical.dramatic singing. Very the Berlin State Opera. Joseph Mann, a aria, "Celeste Aida," could diminish the seldom can we expect the same voice to Polish tenor, sang the title role with a high Bflat into a real pianissimo as Verdi deliver a Siegfried and a Rodolfo, a Wotan lyrical quality which moved the audience expressly intended! and a Renato, or a Hagen and a Sarastro. deeply, and which would have easily done Even though a singer may have the best justice to the part of Rodolfo in "Boheme." possible technique, if nature has endowed him with a dramatic voice, he will not be A. I poinled out, there is hardly a able to do full justice to a lyrical part. singer who intentionally shouts when he 00'_- Technique will help, but it cannot replace sings, or who constantly sings forte. He nature. does so because he cannot produce a real Or, as in Schumann's "Mondnacht," durinao 8lnging piano tone. We also know that all the repeated passages such as: It iI for this reason that I would ad- there are a great many singers who can vise young singers to remain within the ooly sing softly or who can croon their melodies. This is due to a lack of resonance lb.•2 realm of their own vocal equipment as soon as their type of voice has been estab- in their voices-an inability to produce ~i!!' an expressive forte. The latter (the crooner lished. Many heartaches and pitfalls can type) has at his disposal the microphone thus be avoided. But even a dramatic singer should be able to conquer piano singing 88 a means of escape. Unfortunately for the former type, no instrument has been how enchanting it sounds to hear all those sufficiently to ~ender .most effective the t~~ invented which could transform a shout- E-Ilats sung with a pure head tone.- A'S of role for which he IS best suited. TilE E D

E1'(fDl!-/ANUARY 195/ 21 ORGIlN,ST'S PilGE

The New Organ at Colby

By ALEXANDER McCURDY Lorimer Memorial Chapel

Built in classical style, the new instrument is at its best in contra- puntal playing, but is versatile enough for modern compositions also. •

the stop filled into the complete ensemble. COLBY COLLEGE has a new It is a relatively modest three-manual Baroque organ builders, on the other Georgian campus high in the hills over- affair, having 37 speaking stops and a total hand, always aimed at the blend of tone looking Waterville, Maine, a new and acous- of 2430 pipes. Its main interest lor or- characteristic of the instrument. Their or .. tically excellent auditorium, the Lorimer ganists is the fact that it is built in pure gans were designed Irankly to sound like Memorial Chapel, and a new organ built Baroque style, and thus is at variance with organs, rather than to imitate orchestral in the classical tradition by E. F. Walcker the practice followed until quite recently effects. and Company of Ludwigsburg, Germany. by most American organ builders. It is interesting to note that, after earnest The new instrument is of interest to or- In the early years 01 this century, build. and olten heated debate, American builder. ganists because its specifications were ers in this country aimed at creating some- are at present turning more and more to the drawn up by famed organist-scholar-teach. thing rather like the texture of a large classic conception of organ-building. As a er-miesionary Dr. Albert Schweitzer, and symphony orchestra. Individuality and matter of fact, there are instruments built also because it is one 01 possibly a dozen piquancy of tone for each stop was the by American (Continued all Page 63) organs in this country and Canada built by prime consideration, regardless of how well the Walcker Company. Most 01 the Walcker organs in America date Irom the 19th century. The largest and best-known one, formerly in the Boston Music Hall, and now located in Memorial Hall, Methuen, Ma... , was installed in 1863. Organists from all over Europe and Alllerica Bocked to see it, lor it was the most elaborate instrument yet built by a firm which specialized in elaborate installations. Eberhardt Friedrich Walcker, who founded the company at Stuttgart in 1820, first won European fame for the instrument he built in 1833 for St. Paul's Church at Frenkfort-on-the-Meln. In 1856 he com- pleted a large organ for Ulm Cathedral hav- Ing 100 stops on four manuals, and a then- novel device for drawing out all the stops iD succession for a crescendo, which could be reversed to produce a diminuendo. Since Walcker's death in 1872, the firm's business has been carried on by his five sons and their descendants. The new Colby Gollege instrument is the first Walcker organ installed in the U. S. since the war. Console of the new Walcker organ at Colby College

E${fDE-JANUARY ~ ETUDE-JANUARY /95/ VIO....N.ST'S EOlllJlt'

A. MASTER LESSON BY RAROLD BERKLEY HANDEL: Sonata in D Major

(Adagio and Allegro movements)

to he via) cd ",..ith a momentary sense of in shape and feeling. In both, the dolled M ANY MUSICIANS and artist; rhythm of the piano part hould be clearly have compared the music of Bach" ith the climax . .A some", hat faster vibrato and a faster how-stroke will produce the neces- brought out. A soft, gentle tone and a re- paintings of Rembrandt. It is a comparison laxed \ ibrato arc required fnr the G·.har!' well taken: both were meditative by nature sary effect. Despite the short diminuendo on the first beat of measure 3, the second in H, and there must be no hint of a slide and sought to convey Truth that had its from the preceding note. A crescendo essence deep within them. In the same way and third beats must be played with a full, forte tone. And attention should be called would be out of place in this measure. The we can also compare Handel with Franz crescendo comes in 15, and must not he Hals, for both men were of a hearty, out- to the fact that the first note in beat two is a sixteenth, not a thirty-second. The di- overdone : it leads only to a nW1.1.o-(ortc in going disposition which was reflected ill 16. There is, however, a very real crescendo minuendo 011 the fourth beat should be their art. made only 011 the last two sixteenths. in 17, leading to thc full forte in U1. Handel, however, was not entirely an Measure 18 is the second and the main extrovert. He had his hours of deep intro- The dotted rhythm in measure 3 i. a danger spot, the softly lyric character of climax of the movement. It call for a spection. These are eloquently embodied in deeply -Ieh intensity of tone. But it cannot many of the slow choruses and arias of his the phrase tending to make the student lose be over-dramatized. The II104ld of lofty se- oratorios, in the slow movements of the his sense of rhythmic exactness. All dotted- renity which pervades the 11I0\('III("lIt mU~1 Concerti Grossi and the violin sonatas. BUl rhythm passages need cere, and this move- never be lost. The intensity" relaxes grad- most Handel Allegros have a hearty, out- ment has many of them. There is a long nally in 19, so that when mea ure 20 is of-doors quality expressive of a nature that crescendo from the first beat of 5 to thc reached the tone is quite soft. meets life gladly and warmly. fourth beat of 7, a crescendo that must The late Franz Kneisel remarked more intensify gradually; therefore it is impera- Delibera.ely short bow should be taken than once during the years that I studied tive that the first beat of 5 be played very iu 20. so that the tone may be .oft while with him, that no music equalled the Handel softly indeed. The first climax of the mov e· still retaining that core of intensity which sonatas as a means of teaching to a violin ment-there are two-is reached on the D is essential to every tone. Longer hows may student the essentials of good bowing and of measure 7. For the duration of an be used in 21 and still longer one in 22, good musical taste. My own teaching ex- eighth-note this D should be played with a iu order that the crescendo be built up to perience has convinced me that he was full and vibrant tone; then, during the last the first beat of This forte, however, right. One has only to consider the two half of the beat and the first half of the 23. should not equal that in measure 18. The movements printed in this issue of ETUDE. next beat, the diminuendo comes quickly, so They call for broad yet sensitive phrasing, that the first B in measure 8 is taken mezzo- last two beats of 23 and the first three of should be played with a quiet, almost imaginative lone-shading, a sense of musi- forte. 011 this note also the tone quickly 24 cal fonn, and certainly a fine control of ebbs, and the last three beats of the measure "innocent" tone; but the first two beats of 25 need a round, sonorous quality which various types of bowing. are played quietly. These beats, too. need care if they are to be played in true rhytbm. must die away into a question on the last It may surpriu many violinists that I The crescendo in 9 should start at the be- two beats of the measure. This question is advocate playing the first note of the Ada- ginning of the first beat, in order that the answered by a firm, declarative statement gio with a Down bow. An Up bow is tra- second and third may be played with a in 26. ditional in all editions. But if one considers full, though not too intense, forte. The tone After good intonation, the prime tech. what must happen to the tied half- note E, must drop at once on the last beat of 9, and nieal essential for this movement is it at once becomes logical to play it on the the section should end softly and delicately. an evenly-drawn, smoothly-connected bow Up bow. This E must be fully sustained, The piano interlude in measures 10 and stroke. Each phrase must now along with and as it approaches the first beat of the 11 is an essential link between the two the inevitability of a deep. broad tiver. second measure there must be a slight cres- halves of the movement and calls for a Except in measure 18, and on a few iso- cendo so that the full musical value of the round, singing tone. lated notes. the (Colltinued on Page 52) suspension may be felL This is much more Measures 12 and 13 and the first beat easily performed on the Up bow than on of 14 need the same style and expression that was given to the opening phrase of the The Ada.io and Alle.... movemeals 01 the D the Down. The same holds good for the movement, for the two phrases are identical Handel 0 Major Son.'a appear on P.«e .2 city wtillout a compr nsive program 0 high B in the second measure, which needs music education. AQd to 110dHi most good, the program must begin early.

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• 4 • 4 => 8·••••••·••••••••••••••••••------1 Gal-lop.ing, gal-lop·ing, gal· Iop-ang,gal.lop.ing . gal.lop·ing,gal-lop-ing O-ver the prai·rie,how fast they fl y! J' Gal.lop-ing, gal.lop'1ng, D.C. H

From "Favorite Pieces and SoDI'" 2 Cop)'right 1950 by Oliver Ditson Co. 1 37 In~ ii9Pyrlcht secured 36 ETUDE-IA.NUA.RY 1951 'irrJJfljiANUARY 1951 o -

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L.B. di•. rit. • pp "1 1 1 1 5 • :I 8 4 :I '8,----,f.. COP11'ilht 1850 b7 n_ 'PnoIer Co. Brltllh Copyright secured 44 .co'Pyrlgbt 19110by '1'heodore Preoaer Co. Britllh Copyright aecurtd m'lJDE-/A.NlJA/(Y 1951 ETUDE-JANUARY 1951 IS THE MOST POTENT MUSICAL FORCES MASTER DIFFICULT RHYTHMS 5 WIN G MIJ~'t'k • easles' syBtelXl telchl!lll Beglnnen or Ad· World I laY llIre Radio ..Record .!rlilts! Learn (Continued from Page 11) vanced to is blues tricks. basses. negro etrool.l. runs. b1i:oolite W~gle. tmroe. ends. modernistic. KOFIEFF,STRAUSS,GERSHWIN,COPLAND, cbilDri..te weird styles. ofl'-color, rlding-mekKb'. for those concerned with the con- ~~:~~_blue cOONaeJ, etc. HUNDREDS of effect•• temporary problem of nationalism PUCCINI-For his great effect on and send for free Booklet No. I and Low prt._ admirable lessons for theatre composers. tEACHERS-Use .,. leoN-leaf qatem. Wrltel in art. GERSHWIN-The personal ele- DIAGHELEV-Who commissioned many SLONE SCHOOL. 2001 ForlMll St.. Pitbbur.1I19. Pa. ment of this popular music influenced the path of music on an international famous 20th century works. STALlN- Because of the rigid discipline under scale. One could say that it is the ex- SINGERS. YOICE STUDENTS pression of the lonely city-dweller's folk which Russian composers have worked Ph Ograph records of aceompanilnents to :rour for the past 15 years or more. on r ari 1.8 made to order. and sent to any part aspirations. It gave pause to advent- 9(ng~ 0U S Fine ptanlat. pla}'s them. Excellent gerde complexity. REESE-Whose two FRANZ MANUFACTURING COMPANY o t eotl;e; aewmpanlment unavailable. Rates BERNARD ROGERS, composer NEW HAvEN CONNEcrlCUT :e~~reasonable. "'or further Information write. books on music of the Middle Ages and R. MACMUNN. 690 WashllM ..to8 St•• the Renaissance have done much to BARTOK, CASALS, DEBUSSY,PUCCINI, Brooldl.e. Malsachus ...... broaden knowledge of our western musi- RAVEL, SCHOENBERG, STRAVINSKY, LEARN cal heritage. VIRGILTHOMSON-Whose STRAUSS,SIBEUU~, TOSCANINI. perception and understanding of the 4 contemporary musical scene has MILES KASTENDIECK. music edi· FRENCH New. PIPE ORGANS· Used checked the decline in musical criti· lor, New York Journal-American BnUders of pipe organs for church and studio. ITALIAN D.C.aZ Coda EIDclent. up_to_date used Instruments on hand clsm. Unfortunately for music, one of at all times. priced vel"}' reasonably. We allO the few literary stylists left. A stimu- MAHLER-For instrumentation and SPANISH IN MINUTES rebuild and modernize tracker and tubular or- 20 counterpoint; STRAl'Ss-For realism in A DAY gans additions of .tops. couplers and cllLmes lating focal point for disagreement. GERMAN lnst..:lIed. Yearly care of Orllilli. We 100CU tn- music; 'STRAVINSKy-For revitalization TOSCANINI-He set 20th century per- WitH D:li;Sih Brothen-Grgan Experts forming standards. through rhythm; SCHO~;NflERG-For his ]910-108th Str •• t CoronCl, L. I.• N. Y. City harmonic revolution; DI::BI-ssy-For impressionism; PllCCINI-For opera as 1I1GUIPIOIE FABIEN SEVITZKY. Conductor. TIllW.rtd', Sta.d.,. theater; BARTOK-For expansion of c..;::a.: .... Indianapolis Symphony Orchestra. A8.fllor fa ...... 'I ' a' . sonorities; COPLA"I/o--For an American to •• ,'cla . RICHARDSTRAUSS,RAVEL, DEBUSSY. style; TOSCANINI-For recreative inter- III )'Ow •• n ..... )'011 ,. .f 21 Sinlers • Teaohers • Students len ••• " b)' t!HI , .. ,r",dll_U.. t1f"t'ep"" 1 1 STRWISSKY,SCHOENBERG,BLOCK,MAC- pretation; KREISLER-For artistic ideal- LINOUAPHONE CONVERSATIONAL DO~ALD, HENRY HADLEY, CH.4.DWICK, ism. METHOD •.• ,ulekl)' ... II)'• ..,. .. tb. lII.d. Plrst deluxe numbered edition of b)' Mted I.. ...,.; I~ iii)' MaNTELL VOCAL TECHNIQUE now ARTHI"R FOOTE. FREDERICKCONVERSE, "ullel." ••• d : IIHd In ... avaUable--a major event In musical DEEMSTAYLOR,Roy HARRIS,CRESTON, DAVID ROBERTSON. Direc.or. .nd b)' 8YW • .1111.. • ••• lbMI)' "b. .. "d r... l.t ..."tI •• FREE ,,"to bistory-greatest book on slnlln. of all BARBER,COPLAND,ARTHURSHEPHERD; Oberlin Conservatory 0/ MU3ic time- unvelllng a world whOle exi.tence KOllSSE\·mKY, who gave help to many ------LINGUA .... ONI INSTITUn was heretofore unsuspected-the source young composers and artists in the KREISLER-For eSlablishing and main- 3901 locIlefell... PI_. N. Y. 20. N. Y. book and bible of the future-and of taining artistic slandards which have ...... tile FREE U•...,...... k. I singers and teachers only who have a United States. not yet been surpassed by any lOuring went Ie • . future. At your book store. Write for de- artisL loTTE LEIIMANN--For focusing scriptive folder, mentlonlnB ETUDE. CGDA LUTHER RICHMAN, Director. Cina published by world attention on the comparatively dnnatj Con3ervatory 0/ Music lost art or leider-singing. It is doubtful WHO IS WHO IN MUSIC, I.. LII. that the standard of her performances 127 No. D.arborn, ChlcClgO 2, III. VICTORHERBERT-Wide public usage or mu~i('. BF.RTHABAuR-Great leader will ever again be equalled. TOSCANI~I • in music teaching. HOLLIS DANN-Out· -His performances or symphonic and standing music educator. TOSCANINI- operatic scores have set a unique stand- Orchestra and opera field. DAMROSCH- ard for a period of over fifty years. You will enjoy In8uence on youth. KOUSSEVITSKY- GERSHWIN-His esplorations in the Champion of Modem American music. American "idiom" established the Amer- GERsHWIN-composer. BERLIN-Great· ican composer as a distinct force in America's Most est in8uence on greatest number. world music. ALBERT ScHWEITZER-To MCCONATHy-Music educator. HOLST whom the world owes a debt or grati- Progressive -Outstanding composer. tude for restoring the personality and the music of J. S. Bach. HOWARDHAN- SON-For his zeal in representing the NOTE: Fo, some dDM, ... de. Piano Course HARRIET JOHNSON, music edi.or. atlve,usitJK bas b.... COIIulltrared' i. cause of contemporary American com~ tbe 6e1d 01 medici.e. I. aNrl, e,.- New York PO!Jt positions. and for leadership in the ery JHlN 01 tbe UDltell Stat •.. 4 i. maD, Eu,o",," coUlltrio, .aZIuJ1e. ScHOENBERG.,STRAVINSKy-For their area or musical education. STRAt:ss-- Is belllia, tIN budicallHd to ,ec"i. contributions a8 innovators. PROKOFIEFF In whose personality and composition tllieus .. 0 c,ilJlIlH IMIIb .. d ucers. -A creative gianL SmELlL""s.VACGHAN •• au6ell is iaralled ia mo,e tbaa • • • • we see the culmination of Germanic 11 public a"d !O'I'entmear ,ebahili- WILLIAMs-For their contributions to leadership. MARIANANDERSON-Through t.t'OD cliaics. am IliCbl, c,arilie4 at tbe '.cocaidOll acco,ded JJlaau- symphoni<' form. BARTOK-Another sincere artistry and forceful personality, llell as a f.cto, ia tM ,eliel o/lliuma:a giant. HINDEMITH-For his contributions she has overcome an almost insurmount- suHe,iac.-Ru Uade,.,ood. as scholar, teacher, creator. GERSHWIN able obstacle-race prejudice-and bas AU.nME GIIEAT fRln: KUISUR a -Probably Ihe first American genius. achieved a place of unquestioned leader- realized ~ean a&othe potential benefits 2 VILLA-LoBos-For his creative gifts Bnd ship In vocal artistry. RUEL-In whose of MANUFLEX to pianists aDd viono- btL He shrewdl,. pointed out the fallacy research in folk·music. MENOTTl- The compositions we view the culmination of wasting precious time on practice for BOOK ONE mO'lt vital young contemporary force in of French influence, one which has had Bexibility. whell, aa he wrote. ··Through the applic.lion of Mr. UDderwood'a opera. RICHARDRODGERS-For bringing world wide significance in the area of .anuBes tbis 8exible condition can be BOOK TWO a new creativeuess, in collaboralion composition. STRAVI:-lSKy-Whose total brought about in a few minutea without with Hammerstein, to the field of "light muscular eflort." BOOK THREE contribution to the musical scene has Such scaudoaal artis.. .a pianiat opera." BARBER-The outstanding young profoundly in8uenced the twentieth cen- RrIcussIy and violinist ...... 0lIky are available now. American composer in the field or abso- realists in tbe m.tter of tecbnic .nd sd· tury. Ylse uae of thc Jlanuflex. Our free bro- p.ice each. $1.00. l~te music. (I suppose Barber and Men- chure quotea man, famous artists and oui cannol yet have "contributed" much PAUL NE'lTL, Professor of Musi· teachen an the lIanu8ex. Baok One. for beginners: Book in in8uence. but they are certainly pres- 3 a 3 colo8Y. Indiana University 'P(c.uu - lIietu,uu Two. grade I: Boak Three. ent in8uences>. 1 BARTOK, GERSHWIN, JOSEPH HAUER, Sec tbe )lANUFLEX ... try it ... nperi- grade iV2. eace the near miracle of almost immedia HINDEMITH. ER~ST KLRTH, MAHLER, ate 8exibility. IIANUFLEX i. scienti- There will be a series of eight PAUL CRESTON, Composer REGER, Huco RIEM.4.NN, SCHOENBERC, 6e--unbelicvably eflicieftt and vena tile. Adiustmeafs a,e last.f •• NUS. boaks in the LEILAFLETCHER PADEREWSKI,STRAVINSKY,STRAUSS, SHOSTAKOVITCH, RICHARD STRAUSS, • Send for free illustrated brochure of PIANO COURSE. ScHOENBERG,CARUSO, DEBUSSY, Tos- STRAVINSKY,TOSCANINL the lIantdles la aetlaa - or scarl y01U' check for $20.00for a beautiful lIanuBex CANINI,KREISLER,PUCCINI, RAVEL,CAS- r rite for free d,e"..eie sent postpaid. Use it freel,. fOl' 5 da,.. lolder ALS, HINDEMITB. HOWARD TAUBMAN, music editor. aDd if not sadsfied., return it and yOur New York Times mone,. will be refunded. MONTGOMERY MUSIC INC. DOUGLAS :WATI', mwic edi.or. New DEBUSSY, ScHOE~BERC, STRAVINSKY, MaNU'LiX COMPaNY a 4 & 130 East Mal. Stnet York Daily News and The New Yorker BARTOK, BLOCH, COPLAND, WILLIAMS, 2130 MEKlickitat. ,_ .... 12.0... "FbOIlte PI .... ODdSo..... 1 lockest.r 4. New Yo'" From DEBUSSY, RAvu.; STBAVINSKYt PRO- MAHLER.PROKOFIEFF. GERSHWIN. Copnllbt 19l1Ob7 OU.er Dileo. Co. 46 Dtematlonal Cop7rllht secured 47 ETUDE-JANUARY 1951 ETUDE-JANUARY 1951 Results of his experiments led to . romanticism, Erik. Satie tury which can hardly be studied formulalion of hi. unorthodox Debussy went in for 100 much-" the period in which MODliN MUSICl TM 'IRST HALF CENTURY teaching ideas, His book is recom- subtlety of expression nusie Lover's musical notation, part- writing and mended reading for teacher. and effect. Thus Impression: instrumentation were evolving into (Conlinued from Poge 16) students. Crown publishers, $2 to vogue. But its music the form we know today. Dr. Bu- precious, oversensual. kolzer's inve.tigation Is scholarly re..... d toDe Probably the fiDal or la dlasonance the only 20th arne with the expression. BOOKSHELF THE VICTO R BOOK cenlury practice to be found in and thorough. W. W. Norton, $6 top ID thla direction la the - tl1i! ODS of Schoenberg and .f Ourt.r ... TOni , ..... mUiic of the past. Percy Scboles, in By THOMAS FAIJLKNEB clUBlOf uoed by Henry Cowell, wbo , strip-ping music of • •• ol"r Oroll.. lr.1 W.rks WIllIe plano ,1_ cal1inl for bani' the "Oxford Companion to MUiic," feeling. Others com. BUIDED SIBHT.READINB By CII.rI .. O·C.... II ID, filt elbowt, and forearms on quotea an iDtere8tinj canonic pas. romanticism and Im- By Llonll.r. 0.. 1.. 11 the keyboard. 8&" from on. of Bacb'. works wIlkS bv reverting to the I. unmistakably polytonod. • HIS IS a companion volume 141 Un.... 1 • perlmenlation in ..... s. IANO TEACHERS and students UIIion sa uncIertakea by another whol..... e seale wa. ueed before the Viclor Book of Symphon- of the Russian national did finish his book about Debus- Psometimes work at cross- pur· T AmNieon, John Cap, wbo writes for Debu yl-by Mozart, Rossini. an'

CONSERVATORY-TRAINED MUSICIANS COMMAND BETTER INCOMES -rya. high.st type of Musical Training by &t.nsion Methods, as dev.lop.d ond p.rf.cted by the Uni.,.,. !'~!s_!s..!.!':.."..r.._c:?IP!_r!!!!!~ty:::M!l~.£!I!I!!I! _!!~~l! Slty Extension Cons.rvatory, is not an e.p.riment, not a mak.-shift, but has prov.n its valu. and soundne" in the car •• rs of thousands of musicians and t.och .... who owe their succ.ss .ntir.ly to the UNIVERSITY EXTENSION CONSERVATORY. Dep •. A-71S personalized and poindaking coaching of this gr.at Conservatory. Partial Iiding of courses b.low: 28 Eo.. J_ Blvd., ChIcaqo 4. Jlllno" I Please send me catalog, sample lessons and full inform1 ~HORALCONDUCTING:_ro.d new .ourse HARMONY:-Written by two of the Rn.st I tion regarding course I have marked with an X below. theorists In the country. Simpl., y.t thorough Includes all the mod.rn t.chnique.-.ven radio : 0 Piano. Teacher'. Normal Course 0 Voice broadcasting. in ev.ry way. From basic fundam.ntals right through to Counterpoint and Orchestration. I 0 Piano. Studenl'. Couree 0 Choral Conducting NORMAL P1ANO:-E.pe.ioUy de.igned for : 0 Public School MWI.--!leqlnnor'. 0 Clarln.t teache... or future t.ach.rs. Treats and solv.s : 0 Public School Mus ...... supel"Ylaor·. 0 DaneeBand Arranging every problem of the prog"'lIi"e t.ache,. HISTORY:-A mod.m course including all typ.s : 0 Advanced Compoallion 0 Violin of music from anci.nt origins to 20th C.ntury. I 0 Ear Training & Sight SlngiDq 0 Guitar ~RIANGING:_AII the tricn of mode,n arrang .. Int.resting--with .mphasis on the analysis of : 0 Hiatory and ADa1ya1a oillualc 0 MaDdoliD musie-not a dull coll.ction of facts. ~~g drawn from the e.peri.nc.s of the bigg.st I 0 Harmony 0 Saxophone nome" arrang.rs in the country. : 0 Comet-Trumpet 0 Double Counlerpomt Et~ TRAINING:-Il .. ig.ed 10 9i.. yo: the PUBLICSCHOOLMUSIC:-Fit. youfor odual : 0 ProloaaionalConm-Trumpel 0 Banjo : Illty. to read ot sight, to transpose and to work in the school room. Our mod.1 lessons de .. : Name...... Age ....•.. ransctlbe. Invaluable training for yocai or in.. velop originality and give you an •• cell.nt guide strumental work. for teaching oth.n. : Street No.....••••.•.••..•••.••...... : City ....•••••.••••.••.•...•••.•.•••• State •••.•...... • I : Are you teach1nq now? ••••••. U 10, how many pupils havo UNIVERSITY EXTENSION CONSERVATORY I yOU? •• '" •••• Do you hold a Teacher'. Certlfloote? . 28 EASt JACKSON BLVD. (DEPT. A·llS) CHICAGO 4. ILL. : Have you studied Harmony? ..••.•... Would you like to aom ! the Degree of Bach.lor of MUBIc?......

ETUDE-JANUARY 19.';1 ----ETUDE-JANUARY /951 4'1 SOME THOUGHTS ON HOW TO PERFORM BACH (Continued from Page 22) palace of Frederick the Great, be- guish between editorial additions OBERLIN fore even changing his clothes from and Bach's own manuscript. century the journey he tried out every in- i 4rU the King had, so curious Bi.cIaoD'. edition gives embellish- ment ments not found in the Busoni edi- ....-to a _ of _ lHohI.. was he to hear them. CONSERVATORY Bach would doubtless have been tion of Bach, and vice-versa. And IIlHM I. tho ..-4 ...... fascinated by the modern piano. both differ at many points from other wi!w -..__ I ....In wwthwlll10." ,.. What is more. he would probably editions of Bach's works by equally have accepted it on its own terms. well-known and experienced editors. IIlHM whIoh ,..,. will .. "" 10 - OF MUSIC v_ CotoIwy Dealer will ... ha,,, In the same way, when we perform People who distress themselves Bach's keyboard works. we must about discrepancies of this sort, to ..... tho.. to """ . f d ,. however, do not stop to reflect that CONTINUES present them m terms 0 to ay SIn- strument and the expectations of in Bach's day embellishments were today's listeners. left to the discretion of the per- TO former. They served merely as orna- ... 1...... 1..... 1 .... OBERLIN BUILD -,...... II is a misfake to worship tradl- ments. to embellish the melody. and .. ". 111 4).1 JIIIIP. also to fill out the gap that occurred Iion for its own sake. The dead COLLEGE ,., .... whenever one played a held-over note MUSICAL ...... _T _ _ hand of the past can stifle originality IN, Utili v--. C I IoldeI and creative thought. Moreover, on the non-sustaining instruments of ...... ~ ••••.•••.• HdeI LEADERSHIP _ M." IWilllI. C I ..•..• ~ rastes change. There are fashions in Bach's day. Though th.e embellish- lII7I _ .. , C J. ••••••••••••.PraIlaId ment was indicated most of the time, • music, as in everything else. 1M 0tlt'Mr G-l •..••..•••••. Kiatt the performer could use it, leave it FOR ...... o-r • Belt, What would today's audiences say. .., PI' N-. 0-1 , Bolte for example, if 8 concert artist out, or change it as he saw fit. UN a.... tf till ...- 0-1 .•••••..• stelJlq Finally we come to the question: TOMORROW l1li QuIlt "IH••• 0 I ~ played from music? Yet everyone SIll MIl T 1>m I .• _Inti did this in the past-including Cho- Is it a sacrilege to play transct'ip- ." It A-I DtanIl: Jhptl:U> tions? When I played my first con- ...... F.. , 0-1 ., •. .... ~. pin, when he played his own works. Degrees: Bachelor of MuaIc, 1117 ....,..,...... I ...•• 1DllkJIn It is thought 8 sacrilege today if cert in Holland, my manager a~ked ...... ,".,..01 ~ me to substitute another work for Bachelor of Music Education; .... T 01IIIrI fir • T•• , 70-. .,B&eiDeI; anyone applauds between the move- am Nt !hi. 1Paldfld·.~ ments of a sonata or symphony. But the Bach-Lisu G Minor Fanta:'Oyand Master of Music, Master of the slow movement of Beethoven's Fugue. He said that in HoUand. one Music Education. Coootory _ 1.101 • .." Seventh Symphony was encored at does not play transcriptions. For that its first performance. When Beetho- mauer, I know many artists who DAVID R. ROIERTSON, Dlractar Member of the National Auocl· Ow G...... llft

ETUDE-JANUARY /9.51 51 SHROPSHIRE & FREY HANDEL MASTER LESSON JOHN MARKI:RT .. CO. vtolins-Ylolas-CeUos 141 WEST 15TH ST •• NEW YORK II, N. y. frOM Stud ..... to Prolesslo.als VIOX.:urB O:LD III K:BW RepalrilN) & Aceeuorl .. (Continued from Page 25) ElIalrt "nlrln-:: Sind tor c.t~ ... 119 W. 57th, N. Y. C. 19 CI 7.0561

'brato should be narrow and not 12. There should he no hreak be- VIOLIN TEACHERS too fast. Here restraint is called for. tween the last note of 39 and the VIOLIN TEACHERS! Advanced Students The mood of the Allegro contrasts first in 4O--for the same reason that Ask fer lIIustr. Cablo, wlttl Learn to play and teach the "New Finney Profestl••• 1 DIIClunt on Way" recommended by all World Famous ith that of the preceding movement. was stated above in discussion of FAMOUS VASICH VIOLINS Violinists. aecome an artistic and financial ihere are light, playful episodes, measures 12 and 13. Endo.... d by Greatest M.. tll's succeSS. but the greater part of the movement The Iorte- piano in measure 40 can NICHOLAS YASICH Flnnoy Ylolln Koyboord System ULLHS 817 N. lutaw st. Baltl...... 1, Md. 1-2537 N...... -cI St •• C111C09037, III. calls for a vigorous masculinity. be misleading-there should be no The [orte, marcato indication can accent. The first sixteenth is played be taken literally. A strong accent forte, while the next Dote and those THE ROCKWELL SCHOOL OF TUNING CLE~~:.LD. following are piano. Not much cre- OI1t1rlnga 26-tteek rOllrlltl InmlldiltU aU pllall" al ,ndlla t.nln.o altd: repoirlng is needed on the first note, and all MODERN EQUIPMENT IN MODERN PIREPROOP BUILDING-EXPERT INDIVIDUAL IN- scendo is needed in 44: the real STRUCTION-PLEASANT ENVIRONMENT AND ECONOMICAL LIVING CONDITIONS inetrument it woUld be the staccato eighths in the first The eueeeee being achIeved by our graduates Ia our bea\ recommendation. crescendo comes in 46 and 47, and "Approved for G.I Training" name the Plfttitular phrase should be strongly marked. «·rUll t(ldall lor Prdflpem. 'tt same reason we could It is better to take the first three even here we don't need very much. ROCKWELL SCHOOL OF TUNING The forte in 48-50 is broad rather c. A. ROCKWELL t particular 8tOPS for beats of the third measure in the 315 MARKETSTREET PIto.e ClearfI .. d 5-3931 CLEAR'IILD. 'A. parte of the ehurch lower half of the bow, a whole bow than dramatic, with, at the same time, a clear-cut difference between our own ~riD:lpqtaa being used on the fourth beat. There eufficiant to furnisb should be no diminuendo in the first the staccato and the legato bowing. It is immaterial whether measure were to 'f'~prob- half of 5, and the last heat of the .A n: .Amp Selected on"t of musae actually measure must be taken firmly but 51 is played with a small spiccato factor ,p..#e than without accent. In fact, there should or a delicate detache-s-the important 01 piano :Jeac~ingpiece" To help you, we eng- be no accent in measures 6 to 12. thing is the diminuendo. It leads to a copy of ·PriIlIer of But a broad, singing forte tone is the scherzando eighths in 52. 53. containing and 54. These eighths must he ation," by oviIL certainly needed. Nearly every stu- classic dent makes a slight pause between played very lightly, while the Lenuto modern half-notes should be fully sustained the E in 12 and the first D in 13. IACH without, however, Bny increase in CASELLA This should be corrected, for the 0 •• d IEETHOYIN tone-volume. The crescendo does not &RETCHANINOFF is as much the end of the old phrase many HAYDN come until 55, when it builds in- HINDEMITH as it is the beginning of the new. otbe, MOZART tensely to the third beat of 56. In. PROKOFIEFF A special problem of bowing tech- TANSMAN composers SCARLAnl nique presents itself in measures 13 creasingly long bow strokes must he to 16. Thinking only of a forte tone, taken in these two measures. Send for your copy! most players make the str-ing crossings with the arm, thereby using a Mea•• rea 57 to 63 require the deal of motion with small result. The utmost spirit and brilliancy of style. ASSOCIATED MUSIC PUBLISHERS, INC. wrist alone should be responsible Actually they climax the movement. 25 West 45t11Stroot Now York City It. N. Y. for the crossings, the arm being con- despite the broad forte with which cerned only with the length of the the movement ends. A slashing half- bow stroke. In other words, the fore· bow stroke is needed for the martele arm should move as if the two eightbe. eo that they may have ,he strings were being sounded simul- power and dash inherent in the taneously, while the wrist motion passage. AMERICAN SCHOOL OF VOCAL ART takes care of the alternation of One must use a small detache in strings. But there should be little 64. the bow etroke being gradually Announces the Opming of its school year lifting and dropping of the hand. An lengtbened in 65 and 66 until about exaggerated motion will impair both haH tbe length of the bow ie ueed the volume and the quality of the for the last two heats of 67 and tone. The phrase 17·20 must start the first two of 68. The sudden piano 1950 -1951 playfully, the tone gradually becom- in 68 and 69 needs very little bow. ing more emphatic in 19 and 20. The full length of the bow ie A competent staff of highly trained insuuetors, anises and However, a mezzo-forte tone is all that needed for the quarters in 70 and guest lecturers assures each student of individual vocal training is required in 21, and bow strokes 71, the player returning quickly to of the highest standing and tradition. of only moderate length can be used. the lower third for the succeeding Each student will be given the opportunity to be heard in On the other hand. longer and longer eighths. From the beginning of the recital and on the radio. strokes must be taken to bring out sixteenths in 71 to the end of the Special courses preparing advanced singers for recital and the crescendo in 22 and 23. The movement the tone lIlust be a full, appearances in grand and light opera. same technique applies to the cre- broad, and glowing forte, which in- scendo in 24 and 25. In measure creases in intensity to the final meas- Substantial scholarship will be awarded to the most talented 26 the eighths demand a vigorous ure. The last phrase can be taken and deserving students. martele. at least twice as slowly as the rest .Instruction in languages and program building will also be The piano statement of the prin- of the movement-about 56 beats given. PRICI~ ST...RT lI.T $1285" FOR THE SPINET MOD'EL cipal theme in 27 to 30 calls for the per quarter note. A.ll ~oursesare under the artistic supervision of the eminent same sharply detached style that There is much to be learned from vocal reacher. Maesuo Astolfo Pescia, distinguished insuucror was used for the opening measures a study of these two movements. of Dorothy Kirsten, Rina Gigli and the late Grace Moore. of the movement-but with much Apart from the accuracy and vigor HAMMOND GilGAN For information write The Registrar. less bow. In 29 and 30 the crescendo required of the left hand. there are MUSlC'~ MOST GLORIOUS VOICE should he very gradual. Authorita· matters of taste concerning sensitive .._-- live, brilliant playing is necessary and eloquent phrasing and the shap- .---Hammond -!altrulaeD.t~------~ComplUl' t for the quarter notes in 32 and 34; ing of long phrases that are built AMERICAN SCHOOL OF VOCAL ART 4110 W. Di Ave •• Chicago 89. Illinois : elmost the full lengtb of the bow up from shorter phrases. Then, too. Without obIiP-" -pkue tend IDe InformatiOD on the I CHURCH MO~ 1lIt!d should be used, coupled with a when practicing, the player must 1011owtoa H~ diiaia. modcW : III IODIe 20.000 c:burc.hea. rapid, intense vibrato. Measures 35 plan bow strokes so that he is in BOX 222, JOHNSTOWN, PA. lJ."oet _ 0 ChurchM¢d I Concert Model... , _ to 39 constitute the first real climax the right part of the bow for any IiJ-'M_ 0 Concert _ ADODOlIIl'~k I lUIc1lilonal'Pe analyzed in the March ETUDE. I ".0.11. Ch1teleo, prk:e&hadud. tone that was used for m~sures 6- THE END CitJ.- ,P.O. Zone State... I '":.~=::::~~Ja, 52 ETUDE-JANUARY 1951 53 •••••••••••••••• _. -..:..~ErUDE--]ANUARY 1951 Juuior Etude Coutest For An Impressive Easter Presentation! Junior Etude will award three attractive prizes each month for the neatest best stories or essays and for answers to puzzles. Contest is open to all an d . h f boys and girls under erg teen years 0 age. "TRAGEDY TO TRIUMPH" Class A-IS to 18; Class 8-12 to 15; Class C-under 12. An Easter Cantata by BERNARD HAMBLEN Names of prize winners will appear on this page in a future issue of the ETUDE. The thirty next best contributors will receive honorable mention. For Solo Voices and Mixed Chorus and Organ or Piano Put your name, age and class in which you enter on upper left corner of Price $1.00 your paper and put your address on upper right corner of your paper. Write on one side of paper only. Do not use typewriters and do not have anyone + es made of dried butter. copy your work for you. Subject for Essay, "Why I Study Music." Essay must contain not over one hundred and fifty words and must be re- ns filled with gravel; a ceived by JUNIOR ETUDE, BRYN MAWR, PENNSYLVANIA, on or "LIFE TRIUMPHANT" m made by placing a before the first of February. Topic for Essay: Great Composers. An Easter Cantata by LILY STRICKLAND If-gourd on the surface ater in a clay pot, and For Solo Voices and Mixed Chorus and Organ ith a etick covered with Price 75¢ ; a turtJe.sheII drum ·th a pair of deer-bema, HAPPY NEW YEAR Results of September Puzzle ltery drum which was 1951 Answer to Puzzle in September, Ncetu- + ral, l-nterval, C-hord, Q·pera, Pcresto, lIy washed and given I take a lesson every week H-ymns. Initials rearranged spell CHO- PIIS Ibese widelY-lsed CHORUSES and ANTHEMS fore being used in eer- PIN. And practice as I should. ALLELUIA Hamblen ... Two Part-SSA-SATB Is. Now, could I do a better job? Four Famous Notes t is now Bolivia, giant Prize winners AT EASTER TIME Van Woert SATB Ves, I suppose 1 could. for September Puzzle were made of sugar EASTER HYMN Aer. Bridge SATB My concentration's rather poor; blowing in the open end Oaa A, Denyse Jean (Age 17), Can- EASTER MESSAGE, AN Hamblen SSA·SATB By LEONORE SILL ASHTON My readints very sad! ada. Oass B, Roxanna Chew (Age 14), e; similar inatruroenta My memorizing? I would say California. CI888 C. Mary Ann Mc- EMPTY TOMB, THE Hamblen .Two Part.SSA.SATB through mouthpieces, That's realty not so bad. Cauley (Age 11). Connecticut. HAIL, KING ETERNAL Hamblen. Two Part.SSA.SATB flute was used in which My scales are neither smooth nor fasti JESUS OF NAZARETH, KING Hamblen SSA.SATB cal flutes were joined to Honorable Mention IICLEHEm bad giveD a girls applahded '!Pontaneously, My pedal is not clear. for September Puzzle Price 20; each U outhpieee, record of Beethoven'. Fifth Sym· though p'rii8ent at a real concer OJ conrse 1 know 1 should improve. (AlphsbeticaUy arronsed) phony to TODlfor Chriatmaa,. 'l"d Then J.T~ lIenry commented. ious Venezl1eIan instru· l'U DO IT, this New Year] sisted of half a coconut, Evelyn Barnes, C. L Compton, Anna + the members of the PrelllIe eru~ "One reads frequently Drayton. Athena Frangos, Barbara Gar- CHAPPELL & CO .. INC. were co~ that avOlling to haar th~,l fQ"", ,no~" began Un with parehmeJit, ~ in dyne, Keith Hyatt, Ardella Jamison, iL Harold was the first to amve Henry, "hili rrnre best the d the ground and played Robert Larsen, Gertrude Lewis, Oara RKO ILDG.. ROCKEFELLER CENTER NEW YOlK 20. N. Y. LE'ITERS and He and 1'OID oIl1ltted about lion Of their bl.IDg itle SUiImi< .. m, The famiUar maraca .. Manning, Lewis Morrow. Sydney Moore. Mary Ann McConnell, Martha Mc- of that nlaining dried seeds were tlie.~)l ... they waited b- 1'1I\1.all bow Jiie. Cutcheon, Georgia Nelson, Andrew inetrumenta Ileea in the the other meinber8 to come. to eacli of us to overcome so Peterman, Anne Richards. Anna Rob- "I read that tho.. fint four diJlicuity in order to accom Id by the Spaniards, and, Dear Junior Etude: erta, George Simpson, Mary Ann ~ "IvcdJt.1 enough, they are .ti11 Snavely, Althea Spear, Michael Stein- n.l-rou ~ ones I~ ~.to.ila4dlf~ft8importllnt. Wiien 'IV THE TIMELY AND INSPIRATIONAL SONG g as ...... I have enjoyed playing the pieces berg, Sandy Stover. Merril Thomas, the on .. that 'the Sympho,,¥! YlI!'Y perllt}l8', in ETUDE and reading tbe Junior pIe, we must practice with man be~ hav,e always Myrna Timmons, Marcia Undermeier...... unded like the lapping of a Page. Nothing would please me more Deanna Watkins. Sharon Woodson, w~.~ Illiid !fom. ~ee in order to blarn to pl. umenta 10I/f~ some than to have some one from America John Wragge. "~' ~claimed Harold. "It :As we glow older we are C und and 1~ 10 ful· write 10 me. I like music and also gamea of all kinds. 'IDurLdq Answers to Who Know. of mUlt have beeJi sollie super·giaut ~ by much more .eri jlesire for ",iuIt tIIey know Mair Annette Beynon (A8e 11) En8wnd woodpeckef I I read that thlly .eo. They ljI'e real and th 1, Four; 2, the Metropolitan Opera SIMPUFIED PIANO EDITION with BIG NOTES and WORDS were the most famous four notes is D getting away from th Company of New York; 3. German; _ wri1\lin because of the won· They are po.itive ud deci.iv·d.ln1lJi----...... Deor Junior Etude: 4, "Messiah" is Handel's best-known ~oUee SSe AT YOUR DEALER OR DIRECT oratorio; 5. Puccini; 6. D-minor; 7, like lJI,Oie four 1\OIe&. They • dsrfullllllaie$eo!thoven drew from I am in fifth grade in music but have the organ; 8, Johann Sebastian Bach. ROBBINS MUSIC CORPORATION' 799 5e"n.h A",n", N Y 19 them." conquer uS or we l'ooquer only studied of( and on for about two His composer sons were Carl Philipp Then the others arrived, and making ollr lives miserable years. I am the pianist for our church Emanuel (who wrote the famous Sol- Tom put the record on. happy. and school and enjoy it very much. feggietto which most of you play) , As thl> music progreaaed tho.. "Beetho""n'. fate was deafn .... Charlie Ruth Onhast (A8e 13). Wilhelm Freidemann, Johann Christoph Mis.sissippi four famous tones of the opening He eonqil.aed that difficulty b Friedrich, Johann Christian, and also the son of the latter, Wilhelm Friedrich THEORY IN COLOR thelile eould be heard again and developing hi. inner ear, and con· ji. How m8/lY the opera, Madam Butter· Ernst, who was Johann Sebastian's again in difierent ranges, with dif· tinued to compose musio. We ..,. equal to a w composed by V.. !Ii, Doni· grandson. 9. "Pomp and Circumstance," BY LUCILLE WILMOT to hear abeut his difficulties in . hy SiT Edward Elgar; 10, aiL ferant instrumental color and with a quarter ... - Puccini or Maaaenet? Here is a most unique way In wt'l1chto .. ach the A. I. C."I of Fifth Symphony. The reality of his eighth·notes, pointa) music to the ".ry young begin ...... truggles, whose coming seems to teenth-notes, which minor aeal~ is c: Dear lunior Etude: Easy. entertaining, mode most undemandabt. tftraugh til. use of be announced by tho", four open- notes? (10 COLOR and P'CTURES. Pictv,.. to be coloNd by child. Wand .....ul the leading tdne? (10' I play some on the piano, compose, for chUdr.n from 5 years alld .p. ing notea, i•. heard throughout the 2. Does the n tal write and paint. I would like to hear great. work that followa them; refer to a 8 different variations and harmonies wearmeas, tempestuousness, sad- what inatnPneP.t woul; from Junior Etude readers on the tra, an or West couL Are there any Junior Woven around them. Sometimes teacher refer if she used; 26 lleecIl_ St. ness, despair, impatience, defiance, opera com Etuders in Alaska? 1 would like to O. PAGANI & BRO. INC. N.. YorI! '4. N. Y. the four ton.. changed to a slower ord console? (10 points) • shout. of courage, momenta of chorus? (10 hear from them as I come from there. p.co; great sweep. of .ound made peace, and finally the end, the LorTlll McAli$ur (ABe 15). Washington, 3. Was Brahms e a famous compcaer hearts beat with excitement; violas resolving of the .truggle in trio had several composer trian, German '.[' PIANO TEACHERS and cellos played the tones; they umph and victory, expressed in (15 points) Dear lunior Eluie: csme mysteriously from the bass' (5 pointa) This Is your In,,itotfon to att.nd the tnternaflonal 'iano T.ach .... great outbursts of glorious music m what is the theme given I have made good use of ETUDE in my Association 1951Natlanal Convention, at the Hotel Statler (for- brilliant brass shouted them; and 4. Name an ora merly Hotel P.nnsylvania~ Ne. ~. City, Jvly 16. 17, .... It. from the orchestra. Yes, the Sym. this quia taken? (10 music studies. 1 play piano in our Teacbers lrolalng Course, ~tud.nt Plano Playt_v bamilKltionl etc finally the movement ended with phony you have ju.t Ii.tened 10is (5 pointa) scbool pro&!'8JDs.1'd JiJ1J has \arqJt,'-' treble ~ I kla. pre.enl when Paul Hinde- seems to care. Even if he never lying. The melodious in full, year-round operation. They musical theatre. baIS clef staIU". '!'here are ..". mith conducted an evening of his listens to a symphony concert again, these studi .. enlivens give their performances in schools, era! pages contaiD.lng symbols music with the brilliant Baden- he will still pay his two marks when of music in large size. to be cut encourages practice. in assembly halls, in auditoriums of TAb mUlunl approach nf the tWfl Baden orchestra. Afterwards the or- the postman rings on the first of by- the student. As JIllpq any kind. In Frankfurt the big han continents will he more manifest Btl. OU\ IPe ...... $.60 chestra's permanent conductor. Hans the month. lsqrns crb9ut theIe sYJl1bC!ls, he 01 the Stock Exchange haa been we go along. The success uf Gt>r",h. Rosbaud, showed me some of the win's opera in Zurich will he on" ~lact them on the mUst: HE SECOND aspect of European converted into a theatre. Munich ThIs f1mi:tIdDal appmach programs he had played in the past, a beginning. Ap, American music TBER GOOSE IN mu~dc today that impresses the has saved one of its three houses, Interests They covered the whole of the sym- T ilDiDed1ately the pupil NOTELAND American spectator is the re-birth the huge Prinzregententheater. The and American composer!! enter " in tb \he9l8IieaJ 81de of ~ phonic literature and contained a state of maturity and wnrlcl-widt" ul" MU8lc. RlllKIer for very great number of contemporary of European operatic life. Here the old opera house and the lovely little in fact. II mak. a CJCJ:I¥. of Rather Yqunq Residenztheater are gone. In Ham- recop;nition the European opt'ratj,· ~ notes paragraph. The works. I am afraid that Samuel war has indeed caused deep wounds. phine HOvey Perry Such famous landmarks of opera burg the auditorium of the opera stap;e. starved for new. ~enllint'l, ~':iJqnlphcan be used with the Barber, Walter Piston. Aaron Cop- contemporary works. will ofl't>r them land, Roy Harris, and William Schu- as the Scala in Milan and the Vienna house burned down during a raid, too young to write. All the rehenaive uplanation a rewarding outlet, aup;mentinp; tilt" Ie cmd-bcra 88c:lion man had more of their important opera had been burned out. In but the fireproof curtain held firm, J!Y1Dbols are lar~ fa preyent new incentive they are findin~. u. d not. and their cor· symphonic works performed by the Germany only half a dozen opera leaving the stage almost untouched. action; is THE F. 0 ~ Jan: houses remained intact. The Scala Tbey put a brick wall up where last, at home. qltkcidveIy ed with pie- one to thi lither. In the radio orchestra in Baden.Baden, turu that make music symbols , the c:h!Jd !Plcl1'S the ate colora for bass 'P~~~~ treble. ~y little are used to make the q good use of thll pBKoci group my people. First 1 u~ecl paragraph. My te-consc:iQwl and rest· HOW I STAGE AN OPERA In the theatre every extra i~ im- leseowl portant. When working with mobs several sets uf chessmen. Then a ~F. sIJIot.Book Is a must for friend brou~ht me, from Pari!!. second part, 1be child (Continued from Page 19) (which aeldom exceed 20). I coach teacher' ~ ~ stlldio. and nllmbt-'rs of small lead figures which "err songs and other airs each member individuaHy. He must lent them~ehes heller to human mBrYl'Lng 1J1elb4Ic con· ern theatre practice, instt:ad of being Fortunately, I have been trained know who he is and wllere his sympathies· lie. If he does not make grouping:!l. Finally I moved tilt" ugh h~ ~ous lifted thoughtlessly from perform- to work quickly-I have put on per- i~i~t.~.~~~~~; figures aruund the sets to the mu~i«-. this clear by his very pofl.ture. he , Mrs. Perry Iiiis sue- ances of the past. formances of Shakespeare inside two negates the meaning of the scene. Every gesture. e\'ery mution. uf in· SHORrtIlubESWlTH in making this well- In the theatre, the tendency is to weeks-so when I learned that the dividuals and crowds. was plannt'rI ORN~ first mllllic J'Qder a get away from the tricks of other staging of "Don Carlo" was to be When people in a crowd ad·lib bf"fore I met the perfurmer~. ,cpm~ Edited . 9 joy inftlllKl of a actors. In mounting UHamlet," di- done in 27 hours' final stage re- among themst>lves. I write out dia- The Metropnlitan stage pre~pnl!' br)~aobyn rector and actor cudgel their wits hearsing. including orchestra re- logue for thrm. The In the opera. it is no secret that the added prnblem of va!'t ~ize. I A wollderful 'follow up' to • ...... Ii $.75 for bits of business that will avoid hearsals, I bore up. Also, the was fortunate in getting ~()me new 0nIam8Jlt family. these -Bight· repeating what Booth or Irving did. earlier musical and stage rehearsals high-spirited ynun~ gentlemen find light~_ for Ihe front: and G~ranr!' _ short studies continue in In opera, the tendency is exactly are not simultaneous. Fritz Stiedry- fun in taking jnbs a, extras. They !'If"ts inrlllde certain reduction~ flf the 1ICDl1. stWe.rnfO inlO lueaningful inal pieces with such titles as Name . IS lack of time. The average stage MORE STUNTS FOB THE play rehearses four weeks. This highly unrealistic grouping of the through on the piano and I tonk it truth, and make hip, character~ seem SwJzaq.illg'Down Sycamore Lane. down on a wire-recorder. When livinll if not Ttoalh.tk. But while h .. Bubble Gum BoOqie. Rumpus PIANO IAddress .. lDeans 200 hours. more or less. and sexes, this makes for a rigid stage Rolf Gerard's fine !'lcenic df".-:il[ns Ada Richter , generally more. And when the play picture. I should like to see a mixed works toward thefl,(" J[oal!'. he realizf"" Room Riimba and others of by were ready. I enlarged them to make need~ of the mu~ic and the ..in"". equal appeal. really olfei- pleas- ThIs sequel to Stunt. for the I goes to the stage, rough comers are chorus. moving and walking as . " I .. a model stalre on which 1 mi~ht m~ mn!'1 ('omf" fir<:.t. TifF. F. ·0 ant recreational material. It is Piano can be used to supple- smoothed off hi a continued run. human beings do. 56 57 •••••••••••••••••••••••• ETUDE-UNUJ.Ry 195_1...... ; ..... E.T_U_DE_JANUARI'/9.>1 reacher's 'Roundtable

SHERWOOD DEVELOPS KENS, Mus. Doc., MAURICE DUMESNIL, Mus. Doe., advises OUTSTANDING MUSICIANS mational Dictionary. readers on how to achieve tone coloring and ER, Oberlin Callege tells the origin of "Hopak," hy Monssorgsky. AIIIODB Sherwood graduatea ~

man,. B1Ieeellfu1 perfOl'lllel'l...... to IhJdenIs .-sicaI ... ClODd1lcto1'll and teachen. .... ic:aI worQ In form. Fint and brittle. It will be the latters' ",ark. When I sing with a TONE COLORING ", permanent duty to improve their ...... have 1UJ trouble, but when deveioplIIHt carefully cov.,.... SPRING SEMESTER BEGINS solo I have to swallow tao In a recent book, Sir James tone through slow and Intelligent FEBRUARY 5 ""__ "'-'.75 ome people have told me Jeans reproduces two wave pic- practice. Tone is an individual is just nervousness, and I lures of a note played: firstlr. quality: those who were fortunate mlering whether you can with a hammer striking the pian» enough to hear Anton Rubinstein BERNICE FROST a cure. key; secondly, the some key on and Ferruccio Busoni will never PIANO COURSE INCWDES forget the 'pianistic voice' these -J. F. JP.. Alabama the same piano plared by a fam- of IEGINNING AT ... PIANO.. . • • • .. . .. JIG ous concert artist. The two waves two masters. Without tonal besutv , At tHI PIANO. Theoretically there is a are iden tical. the 1110stscintillating virtuosity is ..... ~ .. ,.. IV UIO TWO ftAYDS AT IHE PIANO 1.GO • but in ~ practice The intensity of sound is de- like a body without a soul." COMI'ANION _ ften is not -it depends on cided by the speed with which the It would be impossible to dis- ..... ~1~ 1.O0 SHERWOOD ic. In 2/4 each measure is jelt lunruner strikes the string. cuss the subject more eloquently 1111 ADULT AT_ PIANO • .....U :15 d to have the same sort of This is, of course, a controllable and convincingly. Personally I CWIIS __ IXAMWA_ on each first heat, with no jactor. The quality and evenness have observed, and continue to at all on the second; of the notes are dependent on the observe vast differences between in 4/4 the accent on the state of the hammer felts. the natural lonal qualities of hun- st is supposed to he As a mechanic and tuner of 15 dreds of pianists and students. than the ,econdery ae- years' experience J am still un- Those with a chubby hand, cushion- the third beat. convinced of the existence of "lone like finger tips, mellow fleshy lex- in actual practice j!11 sorts coloring." J am not trying to raise ture, usually have a nice tone, tions occur. In ,eHnple mu- a controversial subject, but J feel while those with a bony, brittle, !"easures o!tCl/ g9 ill pairs, l am expressing a real conviction: hard, still hand generally play such s case dle accent on -N. R. R .• New Zealand with a tone to which the same best of altellJl8te measures adjectives might well he applied. lly felt as a elIghter accent I don't doubt that the two All of which tends to demon- ther hand,.iu~4 as found wave pictures may be identical, strate the existence of tone color- elaborate compositions but it is Iikel y that the tone quality ing, part of which is given by . ning of the material on will he entirely different when the Nature at birth and another part nd heat often has the feel- notes are played in those two developed through careful Iisten- .a secondary accent There ways. If on one hand the num- ing, sensitiveness of the ear, and sorts of other variations ber of waves can be counted with a mastery of the key hoard. ·th many a,c\diI;onal sec- mathematical precision, tone qual- accents wl~: [the me ... ity, on the other hand, is an in- LIVELY HOPAl elahorate lI'!JlIl~tiOD8 in tangible, which can only he de- 4 and 4 4, but this will fined in terms of artistic perception J have always ieondered what POLITAN SCHOOLOF US an idea elf what I mean, P.. p~ CoIl"o, 5'00101,a.d sometime, and nole large, or slender-and even the hW'..,.if,..... -C. K. P.. Vermollt 01 Music in 23 fl.ldJ-Mflm, 01 M.sic In 22 F-i.ld.. conduclor often gives texture of lhe skin. A singing ""01 and rich tone is obtained through Mom~., NoIi.. al ", ... Iotla. School. of Musle-St. louis 6. M.. e beat to the measure, smaller movement for the a 'kneading' of the key with the The word '''Hopak''-pro- Ie measures. fleshy part of the finger. The more nounced Gopak since the letter H 1cur thillk of nt) reaStlD digital surface is applied to the in Russian corresponds to our G- ~Qlt1ulanh llUdita1tr 1If(J)ustI tbd.lreqnel\t swallowing key, the better the tone will be. is a dance of Little Russia, very It is through the falling of the lively in charscter, and in double _aclaetor of M•• lc Dqree. Muter 0' Mu.lc D•• n., Artlat Dipl." • I enjoy readiq,g ~lf-eoD8CioU8Dess, or "nerv- IlERYL RUBINITEIN. M... D.D_ NU E_ A.... CIovoIulI. 0 much. espooially , as it is often called. For finger with more or less weight time. There is no particular story Quter MemIMr .. tIae N.u-.I AuecIatIoa .. IchooIa at M•• answers, and now seems to he no remedy onlo the keyboard that a series of connected with its music or its ask Iwo qaano_ til i_ yourself so ,?ost subtle shadings from pianis. origin, but it is very popular in there any differe"'" y ill the music that you Slmo to fortissimo can be secured_ that part of Russia. AMERICAN CONSERVATORY four aml four'f'''''''~ to swallowl -K. G. In the pianissimo the hand ought Moussorgsky's Hopak is not OF MUSIC-CHICAGO been having an a to he kept as light as possible, and part of the "Pictures at an Ex· 0 ... " ...... 1111...... , .... 11 ••• tra.atlo art ather musician, ~ held a little high. hibition"; it is contained in his -..:~, V:t"l""~~\l:n~:.l'1.I:=~...... your opinion. (2) "In a few pianists, a beautiful unfinished opera, "The Fair of Bud for a tNt ea~AddNut i....•..=ttata.. t, PhI.. 171 &I CIdcaft and have done a -...... to . • _10__ .-- De IS mborn; others play dry SOTotchinsk. " 58 .------ETUDE-JANUARY 1951 ETUDE-JANUARY 19>1 59 parts. including scoringe f~om vocal se~- RHYTHM rlnge arrangements for plano composr- tions: and transcriptions from orchestral works. The volume may be classed as (Continued from Page 18) theoretical but the principles laid dO~'1n are based' on Dr. Leldzen'e exten~lve forced to use vigor. If they will not practice in the arranging field, and Ide- 'epaul they should be asked to long teaching experience. ate IVERSITY cooper • . Li.t price, 15.00 esign from the choir, :.I...- OHICAGO r 'I'hi same plan should be followed g . li 4SlJ.41OO1 E SCHOOL OF . revitalizing our hymn singing, ,n • t DlTSON ALBUM OF the choir and or~amst can ge away PIANO DUETS the percussIOn effects that are Compiled and Edited by ~ from . I' Iten used in oongregatrona smg- J. Clees MeKray accredited courses in so o hvthmic I Voice, Violin, Organ, ing and come to the r dyt m.lc e~ato This collection, ranging from grades effect produced by ~oo st.rmg p ~y. three to five in difficuJty, has been ed- chool Music, Theory, ited by Dr. McKray with an eye to as hymn singing will again take ItS chestral Instruments. ers, h 'f I . much variety in type as possible. II con- lace as one of the eautr u expert- tains classics with which young people degrees of B.M~A.B~ encesp in wore hiIp.. . should be familiar, such as SOilS 0/ In- and M.M. Tuning seems difficult-s-In fact NEW BOOKS dia Rachmaninoff's Prelude in C# IInigh impossible-to most choirs, Mi~or, and Moszkowski's Spanish Dance. tinguished Pacalty Just off the press It also contains folk songs such as ;~t if a pitch memory is .developed Deep River and Viennese Melody, and in the choir and the practice of ta p- lighter classics like the Hexentenz R fer B.II.". .gg"" ping in timing is ~arried on ac~ively, (Witches Dance) of MacDowell. Young players will enjoy, too, such novelty UL UNIVERSITY tuning suddenly Improves. It IS the Available NOWI numbers 88 'Tis Rainin, and Shadows OOLOFMUSIC non-rhythmic individual who ueu- 01 the Night. ally is the poorest in tuning. When LIst price, '1.50 I, 64 East Lake Stre .. each member in a group becomes icsgo I. IUlDols rhythmic. good tuning seems to be 410·41014 417-41001 the natural result. 43lJ.41oo5 FAVORITE PIECES AND SONGS CHILD BRAHMS MY FIRST NOTE BOOK This type of timing is also very Childhood Days of Famous WITII MUSIGRAPH By Mary Baeon Mason Composers beneficial to singers as individuals. Fint Lesouno in Theory by We have through the years so devel .. Adapted for use in classes and with By Lottie Ellsworth Coit individual pupils, Favorite Pieces and Ads Riebter N PIANO TUN/HI> HOW oped our pet ways of getting atten- and Ruth Hampton SonBs is aimed to foster a real love: of Easy-to-play arrangements of Brahm~' The author is widely known as one of I.t. trainIngon uf.'llht. splat tion that it is difficult for us to be a music, widen the range of reading, America's foremost writen of piano grand pianos. _9. • cMllan music, combined with the story of hut ed. Write for "IE liformation. build rhythmic sense, give strength and youthful activities. This. the ninth book teaching material. for children. This control to the fingers, and increase in the series, follows the same general new book is conclusive proof that the practical knowledge of keys, scales, and fundamentals of music theory can be • Art can only be learned plan of the previous books and includes harmony by consecutive study in one directions for a miniature stage setting, taught to very small children. The from artists, never from an- key at a time. The first 32 pages con- a list of recordings of interest to chil- mU$israph has large-size treble and baSI scholars. stitute minimum requirements: the re- dren from five to twelve years of age. clef staffs. There are several psge. containing symbol. of music in large size, -c-Ludwig Bischof! mainder consists of supplementary and attractive illustrations. pieces. studies, and duets for recreati~n, to be cut out by the student, A the (1194-1861) recital, or reading. The range of diffi. Ust price, .40 pupil learn about these symbol (such culty is from grade 2 to 2%. 410-4101S as notes and rests of different uluf" ). THE FIRST EASTER Uet priee, 11.00 he places them OD the 'Rluigraph. This By Ada Richter functioDal approach immediately inler· part of a group. We rather prefer to This story with music, treating the ests the pupil in the theoretical ide of be little dictators in our own realms. Easter theme, follows the general pat. music; in fact, it makes a game of As soon as we accept the joys of 43lJ.41oo4 tern of the many other successful suites learning notes. of this composer. The music is about rhythmic progression in music, we MOTIlER GOOSE IN NOTE·LAND The mwigraph. has many advantage grade two, in most part arrangements for the young pupil. II is more fun than accept one of the greatest privileges A Colorful Music Reader for the of hymn tunes, all have words and Rather Youn. writing notes. It can be used with the of democracy, that of working with illustrations. Usable and most welcome By Josephine Hovey Perry young child who Jacks coordination to and going along with others in rhyth. as piano lesson assignments, in recital, school and church. Lends itself to write. It eliminates erasing. All the The purpose of this reader is to fully s)'mOOls are large, to preTent eyestrain. mic control. If this plan is carried establish concepts of the treble and bass pantomine, with or without narrator on consistently through rehearsal for descriptive passages. Helpful sug· It uses action rather than less interest· section of keys and notes and their cor- ing writing or recitation. after rehearsal, problems of disci· relation to one another. The Middle C gestions are given for presentation of tableaux and settings. The book is attractively illustrated pline will iron out, because each in· approach is used, and one note at a with pictures that make music symbols time is added in both bass (to be col- List price, '.75 dividual will find the joy of creating come to life. Not only will it be fun at ored red) and treble (to be colored t37-4IOO1 lessou time. but parents can use the • A setting of the a line in music that is in tune, and, green) clefs. In Part Two standardized Sponsor: Churclt 01 INVITATION TO BAND book with the pupil at home, thus mak· above everything else, is in rhythm. black and white noleS appear, and t~e ARRANGING ing good use of the period between St" N,Y.C, WillJllngltiilMJU' child plays folk-songs and other airs When that joy is found one tends to By Erik Leidzen leSSORS. forget self. with salisfying melodic content. Key My First Note Book may be used for 1 'ennial YI> charts and interesting illustrations add Dr. Leidzen believes that the only way . : 1,000 esch. Westminster Choir has been privi. to learn band arranging is to arrange- private or class instruction. It is abo to the usefulness and eye appeal of this ideal for elasaroom uee in public ~aUonalFederationof leged to work with almost all of the well-planned first music reader. there is no "magic formula." Anyone who can read four-part harmony can schools for very earliest work in mUil'ic ,c,."'A'''ll'- H_ great conductors, having had many Li .. price, ,.75 ...... a.a.... • Voeol 010 composi cIib begin this step-by-step method. Trans- theory. It is a must for ~'ery mUl'oic Closing dste: March I, 1958- performances with each one of them. position and other hazards are carefully teacher in the studio, and for the ele· • Albert Spaldl ... We have found that these great con- explained, and the scores at the ends of mentary school music supervisor. Tlu, Fischer, Inc., 11;5W. 57th St;. .Y.c., N.Y. child will value his own copy. • S:INcIlv 9 ...... ductors may forgive a wrong pitch, 433-41004 chapters are extremely heJpful. • A setting of Psalm 148. 1100. Closing date: Fe The book is divided into five main List priee, '.60 • J.... w...... 1'riJe: but they will never forgive bad TEN ARIAS FOR ORGAN FROM Sponsor: Monmouth College nlion Thomas H. rhythm. Bad rhythm means chaos,. TIlE CANTATAS OF MlJIIc IdflCGflOli Wotblo~ mouth, m READINESS PROGRAM and if the faulty rhythms are allowed JOHANN SEBASTIAN BACH THEODORE PRESSER CO., o Enclosed $ . 0,.,.. Worblop lot. X... _. O's.F •• lot.s.M. • Competition for orchestr to centinue the performance is cer- Arronged ond Edited by Bryn Mawr, Penna. Charge to my account -'luo WorbAop o premiered by Baltimore Carl Pfatteicher and IC RtADINES$ PROGRAM tain to disintegrate. The best advice Richard McCurdy Ames _417-41001 My Fint Noto Sool $ .60 _410-41014 Child ".hms .40 Year·round IfINIy available through twelv. Details from Dr. L. B. K.eerllr,lI!U ching ·.bolli_ fun. It fa.. that can be given to a singer whether _430-41005 Favorite Pieces wuk summer ptogram o chl",- llJs date: April 30, 1951. Sponsor: J ISOI Layton ....,. So. indicated. lege of Music, Indianapolis 2, Ind., alt. Mr. William Pelz. MilW'.". IS. Wit. ing of the music to the listener. CITY & STATE , . THE END List price, '2.00 60 ETUDE-JANUARY 1951 ETUDE-JANUARY 1951 61 THE NEW ORGAN AT COLBY ALEXANDER 8 •••• I·I,.I•• d PI••• ·II•• ~or I. PI,I...... n.l.ry I P••I.I,lda.IH' NOW IN NEW YORK (Continued from Page 23) Anilibl. I., • Llllilid B.llb., of H0 FSTEl N Ad••• ood Slad••ts • Rulill Prol'." 8.ndl.1 WHERE SHALL I GO TO STUDY which are more representative The Great ensemble is a clear, de - SEND APPLICATIONS TO WeBArIIohl c.... " M...... III W. 5SIIISl., B. Y.I', N, V IIlBkers of the Baroque ideal than the new cisive sound, topped off with a truro · WIker instrument. The fact that pet of the most brilliant quality , PalVAtI TUCHHIINow Vorl ClIvi I~:':';';'';';''';';''------1 ~ Corgan built by a firm which which nevertheless fits into the en - tIS'h I' di semble perfectly. The four-rank Mix has carried on in the c aSSIC tra. - · HELEN ANDERSON MllDAH POllA tion, is in line with. current prhac~;~e ture also is effective in performance F,.ftCh Meuo-SoproftO The Choir. or Positiv, has the full CeKert Planl,t 50loi,t with Frstul::lellt your dealer or send check to the au- Choir to Great Although the Walcker is a classi · thor, 36 W. 57th St., N. Y. C. probleml 6508 Delmar Blvd. GOOD SO:"4GSW A.NTED tor promo- EDWARD Eo TREUMANN St. Louis 12, Mo. Swell to Great cal organ of pure, even severe de tion to publishers and recordlnl com- Concert Planlst-Artlst- Teocher Addrtn:-2t Prime Annu. BACK POPUL."-R SHEET MUSIC panle~. '\Vrlte tor Booklet "E . (Do Recom ended by Emil Von Sauer, Mortiz Mosz· Super Choir to Choir sign. it is not limited to music 01 TO 1860 FOR SALE. BALLADS, RAG- not send 8ongs). M-O-S-S Inc., 113 !towk' and Joseph Hofmann. Huntington. Lont 1.land, N. Y. Swell to Choir the classic period. With careful pre TIME, EVERYTHING. CATALOG l0lt West 42nd St., New York 18, N. Y. studio, Cornea'. HaU, Suite 817. 57th st. at · WILL EXCHANGE CLASSICS FO 7th 10.'111.,Ne. York City Tel. Columbus 5-4357 Choir to Pedal WO'jfE~ A~DTEA.CRERSI Become EDNA GUN paration. almost anything can be BACK POPULAR MUSIC. FORE'S, E. our representatives; make big money Great to Pedal 3151 HlGH, DENVER 5. COLORADO. "PIANO SIGHTREADING CAN BE Concert Pia played on it, and can be made to as others do: spare or tull time. Dlg- 229 So. Harvard • Swell to Pedal nlfted, pleasant occu-Fatlon. For de- TAUGHT" by IDA ELKAN D . sound effective. All of us, builder FOR SALE. Rare records. Lists. tails write: Music eachers' Asso. World famous originator of "Ear TrGiRlng Super Octave Swell to Great • Collections bought. E. Hirschmann, clates, 26 Potters Lane, Great Neck. WM, F1CHANDlER SightreadinA Piano Method." ' Sub Octave Swell to Great and organists alike, can learn some · 100 Duncan Ave., Jersey City, New N. Y. Carnegie Hall Jersey. PIANO, THEORY AND ENSEMBLE.LAYING StudIo 301, 7th Aye. & 56th Stnet, N. Y. C. 19. Sub Swell to Swell thing from a close study of thi • "'01. Z. Universal Edition 1 Deet- 314 W ... 75th St., New York CTty. SU 7-3775 Super Swell to Swell remarkable instrument. THE EN D ARRANGING tor Band~Orchestra- hoven Sonatas. Scherrer. 1691 Reser- CompOSItionsby Wm. Rehandle' Plano Vocals. Manuscripts corrected voir Ave .• Bronx 63, N. Y. publl.hed by G. SChirmer PEDAL ORGAN and prepared tor publication. Words ~~PBR'ENCED "OICE TEACHER PRIVATE TEACHERS IWe.",,) ILLUSTRATION CREDITS: set to music-school songs. Send wishes to learn of a community Open Diapason 16' 9-Drawing by Harry McNaught manuscript tor estimate. Prompt where there Is an Interest tn singing r, service. Val's Arranging Studio. P. O. and a need tor voice tnstruction. Suhbaas 16' 10 & II_Bettmann Archive, Black Sta Box 2169, Daytona Beach, Florida. (Tenor soloist; choir director.) Write HAROLD HURLBUT Box 28. c/o ETUDE map.lne. Dryn CRYSTAL WATERS Zartbas. 16' (from Sw. Quinta· Culver, WId. World Singers who haye studied with him include r, WRITERS, COMPOSERS I Your Mawr, Pa. Slngllr and Teacher NADINE CONNER - Henry Cordy toen) I3--Acme, Blacbtone Studios, Culve name on penny card brings price list. Concert, Opera, Stage, Radio, T.Y. FOR PIANO TBACRE~81 Now and .inge" of Metropolitan Opei'o-San 'Fran- Octave Bass 8' (from Open Dia- Wide World Magdalene Kuhlman, 184 South Point available. an all-Inclusive basic list Many famous student •• cisco, St. I.oui•. and Havana Opera., Holly- Drive, Avon Lake, Ohio. Write for circular wooa Bowl-RadiO etc. pason) I&-Acme, Bettrnann Archive, Bloc': Star . of plano teaching matertal, covering 40S East 54th St. N.w York22, N. Y. classics. technical studies pieces Add ..... : Hollywood, Calif. Tel. GL 1056 llaseft oete 8' (from Snbbase) C..... r BOOKS tor the violin connolueur etc .• tor all PU~1l8. tncludlng adults' oralbCh... 4' l6-Betlmonn Archive, Culver and player. Chamber music for grades I to VI 2.00. For more Infor": strln~ and orchestra che~. HOU~h. maUon, write Jarvls-Kaycon Enter. Nacbtbom 2' (from Choralh ... ) 19-Loul. B. SchllvH ton:Tj New Bridge Street, ewC&s e- f.~.ses, 1824 Spruce Street. Phlla. 3, Poouane 16' 21>-Drowlng by Milton Fidler on- ne. En'land.

ETUDE-JANUARY 1951 63 scale, without a singlo note. Moreover, the six- exception, written on the :.C ecale, contains only two ·flat and 1:-8st, which are your preliminary slow pr&lltiee, found anywhere in the rest It is amusing to no~ that ece...... eIIOlIt: ...... Coanllud ...... composition was originally an a book, "Playing the Piano ..... 11l1li' WODdIrfld, ex· graph. The story goes that ... ,.ItlM1I,.ITadII .... ure," I mentioned a com, ...... r, C•• 1I1 ar. tba Wodainska, whom Chopin at I once ~aw: "The Storm- '''QaaIeI''''' AItIItI." You'U lido time wished to marry, asked him 'on of Nature," by Weber...... ~""'''''''''''''''iaC••• -made.., til. write IOmethin, in her alb er.) A notation read: "The ...... Chopin obliged with this gem ...... -01' write ..,_,.. ,,"lito al is to be held down ...... don "tl'Ullllllt. Ooaa music, which was fully formed at the piece." I thought it ..... ~ DI.... C.G eona Ltd.,llI CoaD BltIlr., B1kbart, IDd his mind but not yet committed y. Little did I think the a manuscript. (Can you imagine come when I would reo. 1950 autograph hunter waiting .01...... holding down the loud, or ADVANCE NOTICE OF NEW MUSIC AND BOOKS ••• fOLDIl ,....CC)~~-: ~" a celebrity wrote down a three-p pedal, through an entire musical composition?) Debussy. Yet that is whst Here is one of the many services Theodore Presser Co. brings to you. This new series of Chopin never celled this piece If, and recommend to my advertisements will guide you in making your selection of music for teaching, professional Nocturne, which explains why it d the final page of ClVoiles." and recreational purposes. Dot appear in the standard coil imum conditions of ecous- .oS of his Nocturnes. He marked .oS piano re onance, you will Write for FREE catalogs of recent Presser, Church and Ditson publications. Be sure to tell ... "Lento, con 8ran espr8ssione," t unusual and quite legiti • .oS let it go- 8{ that-gave it no tille t . Remember that the en- us which catalogs you want •••Piano, Vocal, Choral, Organ, Band, Instrumental, Educational • ... sII, as fIIf as anybody has heeD ab ...... ::: is written on the six notes to find out. However, owing to • hole-tone scale, and that I rEI lrl..-'/l" :::: unmistakably Nocturne-like char notes, p1&yed together. PORTW PIIOHOGIlAPII:::: ter, it is new widely ""copted, lIiIli • Iesonence but not a discord. widely pia ed, as 11 !'ioc!tllrne. JANUARY 1951

ATCHATUBIANr Toccata 1I. clHot'tN I POlOnaJ8em C;~ Minor, Op. 26, No. 1 (Pres ... ). usic). Substitute for Rach. Substilute for Chopin's "MilifA1'.)tM • Prelude in C-aharp Minor. e haa one attribute which PIANO SOLOS VIOLIN PolonAise. 134-41004 Caprice John Finke $.70 h is .It JIl&jor my,1OrY to me why to everyone who plays it Grade 1 Chopjf'a fitat Polonaise is so seldom me) • It sounds three times 134-41006 A Kentucky Suite .. Wendell Otey 1.00 played. It has-Uke so many 8f t as it actually is. We may 130-41063 Elfin Horns Catherine R. Keysor $.30 Chopin'. better compooitions-_t :whether it is musically as INSTRUMENTAL SOLO power aI_ating with great 6Cli/· as Rachmaninull's ~relude. Grade 2 technical requirements are 134-41005 Sonata for Flute and Piano Ca thing Chopin ever wrote. And r ... ugh ultr ••tnI.d.... in its lieve the pjuoa,efrom the meno mpSSb ty and some of ItSrhythms, Grade 3 Sacred SATB C H 0 R A l ,ection shown here (see cut) is iJItp lire .... Margaret Wig hom .30 like the firlIt known Toe- Grade S Organ Accompaniment ch Claudio MeruIo wrote 110-40142 Freudvoll und Leidvoll 312-40041 Do Not I Love Thee, 0 My Lord? , the Toccatas of Bu· Reichardt-Willmers-Goldman .40 John W. Work .16 d their spiritual descend- SA later Tooeatas of Bach. I (For left hand alone--or with t any of ~ musical an- two hands) 312-40068 Sing Alleluia ... Harriet Weaver .12 f Khatchaturi... would be Secular SSA-TTBB 110-40091 My Soul's Lament by the conclusion of his 322-40006 Drink To Me Only With Thine Eyes a crashing E.fIat chord Francisco Buencamin'o, Sr. .40 contains F.flat. Percy Faith .16 t that the tempo indication SSA ~simo" (J.120) VOCAl 312-40071 Yau Ought Ta Hear Me Hum Secular folluwed quItS lileraIIy. In Marjorie D. Pickens .15 ..