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

1-1957 Volume 75, Number 01 (January 1957) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 75, Number 01 (January 1957)." , (1957). https://digitalcommons.gardner-webb.edu/etude/79

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"tell then certainInlvy yvou want •a Progressive Series Plan teacher. us a story ... " I ke a career of private P~ogressive .Series te~~le~a:a excellent music backgrounds ~~~n~h:eya~~~~;l~~v~tm~ the high standa~s ref~~redto (an Ada Richter musical story, of course I) be eligible for an Appointment as a teu: er 0 e Progressive, Series Plan' of Music Education. piano beginners ••. why not a musical story? Yes. . YOJ.lrchild deserves the best, he deserves a (like all children) love the magic of storyland. Bright Progressive Series Plan teacher. Every year more piano teachers turn to musical stories eyes grow brighter-interest reaches a new high at I h.ild receives the BEST to enhance their regular piano lessons. Charming, light It is important to you t tat your c b d th ough promise of imaginative worlds where new friends and . this can e assure r exciting adventures await young listeners. Ada Richter's stories offer a delightful "break" from concentrated piano in piano ins~ructslO~es·pian of Music Education which enchanting series of fairy tales and stories promise this studies, returning youngsters to more serious studies with the Progressive en, . d represents the ultimate in Music Education un er a and much more-fun with music! renewed enthusiasm. THE PROGRESSIVE SERIES PLAN OF MUSIC EDUCATION private teacher. so adaptable • Tested Lesson Plans • Correlated Theory Program If you now'have a Progressive Series teacher, YO~ar~ i~deed Musical stories make excellent material for student projects. Playlets (with speaking parts • Teacher Workshops • Superior Teaching Materials f t if not perhaps your present teac er a . or in pantomime), tableaux or narrated stories with background music are engaging recital. • Pre-Instrumental Progrom • Institutional Affiliation t~:t~::17fi~~ti·ons and music backgrou;d nece~sarYS:~i:ent time treats. Whatever your choice, Ada Richter's musical stories are the happy answer to • Foreign Musk Seminars • Teacher Plocement Service consideration for Appointment as a regressive earnest young .pleas ... "tell us a story." h A k her if she. has investigated the remarkabl.e teac er. . ~ f I d her pupils in the Progressive TEACHER AFFILIATION BY APPOINTMENT ONLY opportuOitieS or 'ier an . CINDERELLA Forever new in appeal, the enchanting Carees' teachers with acceptable backgrounds Series Plan of Music Education. story of Cinderella is retold musically with 10 charming NUTCRACKER SUITE The Christmas travels of "Nut- cracker" the puppet come alive in delightful, simplified and active classes are invited to inquire. a~out pieces for grade I Y2 to 2. Youngsters love the sparkling ltd' every state and piano excerpts for grade 2 to 3 players.-.85 Appointment and Teaching Authorization. Progressive Series teachers are oca e In 1 t the verses and clever illustrations.-.85 in fourteen foreign countnes. '... they tr u y represen PEER GYNT SUITE Adapted from the original suite by cream of the teaching profession. THE HARE AND THE TORTOISE Ada Richter adds new Edvard Grieg, the 8 pieces for grade 2 to 3 pianists Career rivate piano teachers with active cl~sses a~e invited charm to the age-old Aesop favorite with 10 delightful describe musically the adventures of "Peer Gym," a No fee for appointment songs for grades 2 to 3. Bright illustrations add to the lawless Norwegian peasant youth who sets out to con- to inqUi~e about- affiliation with the progres~lve ;enes"Th fun.-.85 quer the world.-.85 f Music Education. The handsome roc me, e A copy of the handsome brochure, Career Private Piano Teacher", will be sent upon request PETER RABBIT Children love the adventurous bunny, "The Career Private, P'rano Teacher". ' will be JACK AND THE BEANSTALK Jack's daring escapades Peter, and his merry capers in Mr. McGregor's cabbage to teachers. Merely mail the coupon. sent wiith aut obhgation to any active teacher. with the giant are doubly thrilling set to music. Contains patch. Includes 10 descriptive pieces (5 with singable 10 illustrated piano pieces (5 with singable texts).-.85 texts) for grades 2 to 3.-.85

NOAH AND THE ARK The dramatic biblical story of THREE UnlE PIGS "Once upon a ume there were Noah's ark is retold in words and pictures with 8 stirring three little pigs " Every youngster knows the rest of pieces (5 with singable texts) for the young pianist of this story. Treat your early grade students to the 10 PROGRESSIVE SERIES PLAN , grade 2 to 3 ability.-.85 pieces (6 with delightful verses) of the Richter version. De t. 17 P. O. Box 233, Cloyton, St. lOUl5 5, M~. -,85 p .. a teacher with on ccuve closs. I am a career pnvcte plat "The Career prtvcte Piano Teacher". Please send me a cQPY a .

MY OWN HYMN BOOK 52 favorite hymns simply MY FIRST SONG BOOK 40 familiar holiday, church Name .. (l g ...··A~~~'~-~~'..N·~·;~;b~;·. p P ... of Pupils .. __ a_rr_a_"_g_e_df_o_r_lh_e_ _ra_d_e_2_ _ia_"_O_p_U__$_I_'_O_O_--'i~_il_' study.-.90a_"_d_S_C_h_O_O_I_S_O_n_g_S_f_o_rt_o_ts_i_"_lh_e_fi_r_s_t_y_e_a_r__Of_p_i_an_o_~ Address .. _ City...... Zone .. State ... . . T hen are located in every state Progressive Serres eac and 14 foreign countries. See your niusic dealer or write. THEODORE PRESSER COMPANY Bryn M w r-, PennSYlvania etude-january 1957 " January 1957 Vol. 75 No.1

Founded 1883 by Theodore Presser

thqt haue grown to Musical Achievement! contents It's hard to believe as you hear him perform today that those are the same FEATURES fingers you took in your own and placed on the proper keys. 11 Philadelphia's Academy of Music One Hundredth Anniversary But his success is your success. As his 12 Story of Roy Harris-American Composer, Part 2, Nicolas Slonimsky teacher you have guided him through a maze of notes and keys . . . and of 13 Impressions of Music Education in Japan, Irving Cheyette equal importance are the pianos, that 14 Louis Moreau Gottschalk-First American Concert-Pianist, Jeanne Behrend have by their response to his every 15 Shape Notes, New England Music, and White Spiritual, Irving Lowens feeling inspired him to greater heights. 17 J eunesse Musicale, LUi Foldes Today he knows that his performance can be only as good as the, piano he' 20 An Approach to Chopin's Etudes, Ruth Slenczynska, Rose Heylbut uses. That's why his choice is always 23 American School Mus' '.: An Assessment, James L. Mursell a piano wi th a Wood & Brooks Action - the action found in the World's Finest Pianos! DEPARTMENTS ___ ---\ Write tnday fnr your free • 'f.-r.: 1:0llY of "The Plano" 4 Musical Oddities, Nicolas Slonimsky ~ -';r'''' and W & B Action ~ . Data Booklet. \ , 6 World of Music .' ..::",'~ " . 8 Music Lover's Bookshelf 16 What Is a Fugue?, William J. Mitchell ...•~. ~':. : 18 New Records 21 A Madrigal Group Is Fun, Florence Booker ,-,..." ... '~" WOOD & BROOKS CO. 22 Composer, Conductor, Comedian. . That's Jackie Gleason, Albert J. Elias MSllUfacluters of Piano Keys and Actions 43 Modern Fingerings for Scales and Arpeggios, Harold Berkley for More than 50 Years 44 Teacher's Roundtable, Maurice Dumesnil Buffalo 7, New York Rockford, IUinois 44 Violin Questions, Harold Berkley 44 Organ and Choir Questions, Frederick Phillips 45 Chapter Meeting, Alexander McCurdy 46 Importance of Proper Accordion Practice, Eugene Euore 54 Junior Etude, Elizabeth A. Gest

MUSIC Piano Solo and Duet Compositions Play and put new magic in simple tunes 24 In a Swan Boat (Barcarolle) Julia Smith 26 Lyric Arabesque. .. Lockwood-Freed chestra bells, xylophone, and many o.ther~.All these 28 Rondo from Duettino No.3 (Duet) (from "Piano Duets of the mil; Many people who like music go thr?ugh life missing a be artistically woven into your musIc,,~vithHam.mond s Classical Period" compiled and edited by wonderful thing ... the intense enjoyment that comes "Touch-Response Percussion Controls, . an .amaz1l1gfea- Douglas Townsend) Giordani- Townsend from playing it themselves. ture never before found on organs of any SIzeor cost. Cancer can't strike me, 32 Bells (Duet) . Ursula Lewis-Mamlok I'm hiding. If you are one of thern, playing the Hammond Organ Is space your problem? The Hammond fit~ into f.om Instrumental Composition will be a thrilling experience. square feet, plugs in anywhere, needs nl? mstallat~o~. 34.By the Waters of Minnetonka (Hammond Spinet Organ) Its rich sustained tones help even a one~fingerbegin- Special control tablets let you play it so softly the neigh- (From "Highlights of Familiar Music for Hammond Spinet ner sound'twice as good as he is. And on the Hammond, bors won't hear. Organ" arr. by Mark Leub) Lieurance-Laub vou can "flavor" a simple melody beautiful ways, with Whv not visit your Hammond dealer soon, and try. the 'j'ttl effort. No other home instrument offers so many organ: for fun? And mail the coupon for more details. Pieces for the Young Pianist 1 e . . . tone combinations, so much fun at improvising- j Cancer? 36 Westward Ho! ...... Margery McHale ')TJie percussion lanes (He produced at the option of th: )lla~el /}y I / ying any ~'elecled single note ar full chord, in etoe e~ 38 Birthday Bells...... Martha Beck . effects tool Now you' can plav a dazzling J a f The American Cancer PercuSSlon " .. . //lanner, with a fingering pause of (IS little as 1/20th a a secane. range of percussion effects~ tones like harp, chimes, or- r Society says that too 1 many people die of it, \ Hammond .Organ Company... . .' \ NEEDLESSLY! That's why For that special occasion, give the gift of a richer life ... a I 4210 W. Diversey Avenue, Chicago 39, l\l.inOJs I I have an annual medical James Francis Cooke, Editor Emeritus. Editor (1907·1949) \ Please send me information on the Hammond : checkup however well I I Organ. I Guy McCoy, Editor I I [eel. I know the seven \ Name. .. -.------.-.-..- : George Rochberg, Music Editor HAMMOND O/lGAN danger signals. And I I when I want sound V. L. Fanelli, Art Director MUSIC'S MOST GLORIOUS VOICE I Address __. \ I I information, I get it 1 City __.. __. _. .Zone . State ..._...__ \ Contributing Editors: Harold Berkley, Theresa Costello, Maurice Dumesnil, from my Unit of the lOW AS.$135 DOWN for'the Spinet :L ©l~s&.HA::~:~~~::~~_ I Albert 1. Elias, Elizabeth A. Gest, Rose Heylbut, Alexander McCurdy, William J. Mitchell, at most dealers. Often 3 years 10 pay. AMERICAN CANCER SOCIETY Ralph E. Rush, Nicolas Slonimsky. 3

y elude;-ianuary 1957 l••••2••••••••••••••••••• ..:..J e_lu_d_e-__ ia_nuar 1957 Verdi. "The one with the light OVer. coat, talking to the director," replied a musician. "Very well, very well," said Verdi. He walked past Leonca. '¥Ju will enjoy musicfar more. :. vallo and looked through him without saying a word. if you know what to listen for The rarest book on music eVer printed is "Parthenia In-Violata" by THE SENSIBLE IDEA; You receive the complete performance of Robert Hole, published in 1614. It a great work of music presented on two sides of ~ 12-inch 33V3 contains twenty duets for the virginal R.P.M. long-playing record. With it (when you want It) is a to-inch with the bass viol. The title is a pun: record of comment and musical illustrations which wilt show you it does not mean "Parthenia lnvio. what to listen for, in order to enhance your enjoyment of the music. late," but "Parthenia in Viol Score." By NICOLAS SLONIMSKY ______AS A DEMONSTRATION ------:-- Its claim to absolute bibliographical uniqueness is justified beyond chal. lenge by the fact that only one copy is known to exist; it is preserved in ANY TWO of these cfl ESCHETIZKY liked to tell this ing aloud. "Enrico Caruso!" ex- 'Music-Appreciation Records story: A 'society woman in Vi- claimed the boy. "Caruso? Yes of the New York Public Library. enna asked him to give an audition to course." His next stop was at an for the price of one (EACH A TWa_.ECO.O SET-SEE ABa",) her adolescent daughter. The girl Italian savings bank In the Bowery. There see Ins to be very little in played very badly and showed no feel- The president, Francolini, greeted common between Rossini and Rus- ing for music. "Why don't you teach him. "Who is the greatest tenor in sian folk music j yet Rossini made her singing?" suggested Leschetizky. the world?" asked Conned. "Enrico use of a Russian song Ach na shtozh BEETHOVEN'S "[roica" Symphony BEETHOVEN'S 'Violin Concerto in "She has little chance to make progress Caruso, of course!" replied Franco- hi ogorod gorodit ("Why should we conducted by LEONARD BERNSTEIN with The D major played by DAVID OISTRAKH Stadium Concerts Symphony Orchestra ANALYSIS RECORD BY G. WALLACE WOODWORTH as a pianist." Several years elapsed, lini. The secretary of the Bank, Simon- fence a vegetable patch") as the ANALYSIS RECORD BY MR. BERNSTEIN and Leschetizky forgot the episode. elli, passed by, and Conried repeated theme for the rou ing finale of "The Then one day a young 'fornan, accom- his question. "Mister Conried," ex- Barber of Seville." He had heard this DVORAK'S "]\Jew 'World" Symphony panied by her mother, came to see claimed Simonelli reproachfully, "do song at a Russian concert in Romeat TCHAIKOVSKY'S '}ifth Symphony conducted by LEONARD BERNSTEIN with The Stadium Con- him and begged him to let the daugh- you have to ask such a question? You the timehe wa writing his celebrated co~ducted by MAX RUDOLF with The Srad ium Concerts certs Symphony Orchestra • ANAL ¥SIS RECORD BY MR. BERNSTEIN ter sing for him. "But I am not a surely know that there is only one opera. He also compo ed a cantata Symphony Orchestra. ANALYSIS RECORD BY THOMAS SCHERMAN singing teacher!" protested Lesche- great tenor in the world - Enrico A urora as an offering to the widow MENDELSSOtfN'SPianoConcerto tizky, but was finally prevailed upon Caruso!" "That is all that I wanted to of the Russian general Kutu ov, Na- MENDELSSOHN'S 'Scotch" Sym- 1 played by EMIL GILELS And the Kroll to hear a few' songs. Her singing was know," said Conried. "Would you poleon's conqueror. In this cantata 'JJO. phony conducted by THOMAS SCHERMAN Quartet plays MENDELSSOHN'~ OCTET FOR atrocious. "Y Dung lady," said Lesche- mind translating a cable into Italian Rossini used the same Ru ian song with the Music Appreciation Symphony Orchestra STRINGS • ANALYSIS RECORD BY THOMAS SCHERMAN tizky, "you sing off pitch all the time! for me?" "I will be delighted to do as in "The Barber of Seville," and ANAL Y51S RECORD BY DA VIO RANDOLPH Better take piano lessons. At least, so," replied Simonelli. The cable ad- set it in the same key of G major. TCHAIKOVSKY'S •Pathitique' Symphony when you strike a key, it gives a rec- dressed to Enrico Caruso in Naples THE E D ognizable note." At this point, the BRAHMS' 'ViolInConurto in D major conducted by LEONARD BERNS I EIN with The Stadium <;on- contained a generous offer from the conducted by WALTER GOEHR with the London Symphonz ceres Symphony Orchestra • ANALYSIS RECORD BY MR. BERNSTEIN mother intervened indignantly. "So Metropolitan Opera House. Caruso Orchestra • ANALYSIS RECORD BY THOMAS SCHERMAN this is the kind of advice you give my accepted. This was the beginning of ETUDE. th .. Tlluaie mDga:r.in~ daughter!" she cried. "First you tell his American triumphs. Publiahed by Th~(t(I(>r" Preseer Co .. 1712 C1testnut BRAHMS' Second Symphony Street. Phil .... P•.. Arthur A. lIalaer. Pre5ldrttt. STRAVINSKY'S '}irebird Suite rlJ··~\1 her to study singing, and after five monlhly ex«pt Ma}'_June and July.Au!'>!I ... ltett conducted by ALFRED WALLENSTEIN with the conducted by GEORGE SZELL with the Music .l ~ years of expensive instruction, you published bimonlhly. Enlert'd .. lecond.clau manu Los Angeles Philharmonic Orchestra Verdi· expressed a desire to hear a Jltnultry 16. 188-I .. t I he POll Offief1al Philaddf>ltia.Pa .• Appreciation Symphony Orchesrre « ANALYSIS RECORD ANALYSIS RECORD BY THOMAS SCHERMAN tell her to go back to the piano!" It under the Act of March 3. 1879. Oe.;,p,.,;~h. 1956. by BY RUSSELL SMITH was only then that Leschetizky recog- rehearsal of the festive symphony Theodore Presser Co_. U.S.A. and Creal Britain. In· which Leoncavallo wrote for the open- I~rnalional eopyrighl secured. All ri~hts resrr~ed. nized the mother and daughter and 1 he nttme "ETUDE" .. registrr~ in lhe U.s. PLEASE RETURN ONLY If YOU HAVE A 33'13 R.P.M. RECORD PLAYER ing of the Milan Exposition in the Patent Office. Prinled in U.S.A. , recalled his unfortunate advice. MUSIC-APPRECIATION RECORDS .... 1890's. When the rumor spread that t.:ditorinl eorr':8IKlndenceshould be .ddres>ed c/o Book_of_the_Month Club, Inc. 10 lhe Editors. ETUDE:. lhe music ma~uine. Bryn 345 Hudson Street, Ne.....York 14, N. Y. - TRY A ONE-MONTH PROVISIONAL SUBSCRIPTION Please send. me at once the two 12-lnch 33% R.P.M. De~h Ma'H. P... Manulcripts. phololtr.ph". or an should the grand old man of Italian music onstratlon Records I have Indicated below. together w When Conried took over the man- be accompanied by return postas". and t:rtJOE as· might appear in person, Leoncavalio this one-month provisional subscrip- their lO_lnch MusIcal Program Notes Records. blillng me agement of the Metropolitan Opera sumes no resf'Onsibility for relurn of unsoliciled L THE A.BOVE are recent Music- $3 90 and enroll me in ... one-month Trial Subscription to asked the director of the hall to pre- rnltnuscrip'a. I,holographs. or arl. MusiC_APPRECIAtION RECORDS. with the privilege of cancel1ng ApPRECIATION tion to continue for as short or as at any time. I und.erstand that, as a subscriber, I am not recordingsl and obligated buy any specUied. number of records. but may House in 1903, his main concern was AdvertilJinj;r eorr.,elJoOndcnc .. should be ad· to pare a special chair for Verdi in the A long a time as you please. If, how- take only those I want. Also, I may cancel my subscription since they all demonstrate, in an ex- to engage a tenor of the first magni- dressed to Sadler and Sangston A!!IOCiall;!l. 3H after hearing the Demonstration Recordings. or any time front row. But Verdi entered incon- Madi"on Ave .• ew York 17. N.Y .• or lIarry Lytlr. citing way.the MUSiC-ApPRECIATION ever, the ideal after this demonstra- thereafter at my pleasure. tude. Of course, it was to be an Italian spicuously as the lights were dimmed 332 So. Mich. A.·e .. Chieap;o 4. III. tion does not come up to your expec- D Beethoven'l "EroicCl" D Beethoven'l Violin RECORDS ideal we will be happy to o TchClikovlky's fifth Concerto tenor - all tenors were Italians at SublJcription cor eeepondenee should be ed- tati~nsl you may cancel immediately. Symphony 0 DvorClk's Symphony and stood behind a pillar in the back 10 send you any two sets for the price dressed (:irculltlion Man"!"r. ETUDE. Bryn o Mendelssohn's "Scotch" 0 Mendelnohn's Concerto that time. Deep in his thoughts, he Mawr. P•. If you decide to continue you will of the hall. When a friend anxiously of one. Symphony 0 TchClikovlky's o Brahms' Violin Concerto "PClthellque" stepped out of the house. A "Swarthy Chlln~c of AddrO':8ll: A.lIow al least 30 cbf" 10 not be obligated to take any specific mqmred If Verdi was tired, Verdi The regular price of each of these o StrClvinlky'l Firebird Suite . 0 BrClhml' Symphony No.2 Italian boy carrying a shoeshine stand have" change of addres" take effecl. Please send both number of records. A different work replied: "Please do not arrange a old (an address imprint if .nil.hle) .nd new address two-disc recordings is $3.90 (plus a M,. } approached him: "Shoe shine?" he premature burial for me. When I die 10 ~';TUDE. Ihe musie magaline. Bryn M .... r. P•. The small mailing charge). One disc is is announced in advance each ~f::; .... ······i.pi;~~;··p~·j~t·pi~;~i;)··. Poat Office will not forward copi.". unleu you pro~idr month described ihterestingly by inquired. Conried stopped at a cor- I will not stand up any longer." After extr. po"lase. DupJiCllte copies cannot be senl. a 12-inch performance record, the l ADDRESS . Deems Taylor. As a subscriber you ner; the boy set up his shoeshine the end of the rehearsal, Verdi walked Subecription rate.! for .S.A .• nd f'O"CI' other is a to-inch analysis record. stand and got to work on Conried's up the aisle. The orchestra remained sions: I yr .• $3.50: 2 yn .. $6_ Canad. and Ne.. found· Should you want to receive other rnay take only those you are sure you land: I yr._ $3.75: 2 yu .. $6.50. All olher countri",,: want for your permanent record shoes. "Who is the greatest tenor in in an attitude of awed attention I yr .• $4.50: 2 yrs .• 18. great works of music performed and the world? Who?" Conried kept say- "Which one is Leoncavallo?" asked analyzed in this way, you can allow library. • 5 4 etude-january 1957 ...... _..._------~ etude-january 1957 er . Anthony Donato, Karel Jirak , L~ Sowerby and Alexander Tcherepnin. at Ridgewood, New Jersey, on October Greater progress for pupils! 11, at the age of 70. He maintained \ Roy Underwood, head of the mUI' studios in New York City and at Ridge- M· hi Ie Greater successfor teachers! department at rc rgan State Univer. wood. He was active in the concert and sity, was elected president of the N. opera field. tional Association (or Music Therapa at the annual meeting of the ASSOCi:' A Guarneriu8 violin that belonged to' tion held last October in Topeka, Kan. the late Samuel Grimson has been pre- sas. Prof. Underwood was one of the sented to the J uilfiard School of Music The Baldwin Jfounders of the Music Therapy Asso- to be added to its instrument collection. '<-r. elation. It will be used on special occasions by faculty members and perhaps by stu- Walter Gieseki ug, internationally the composition and theory department dents. The Hartt College of Music in Hart- known German concert pianist, died in of the college, was chairman of the N. Lindsay Norden, composer, ar- Model 45 Organ ford, Connecticut, sponsored ill Novem- London following an emergency opera. event. Among the composers whose ranger, choral director, died near Phil- !Ier the ninth annual presentation of tion, on October 26, at the age of 60 works were performed were Gordon adelphia on November 3, following a the Institute of Contemporary Ameri- His last appearance in AmeJica wa: Binkerd, Robert Delaney, Grant Fletch- sudden illness at Rodeph Shalom Con- can Music. Dr. Isadore Freed, head of last March when he made a tour ohe~ gregation in Philadelphia, where he weeks. Herr Gieseking had been injured had been organist and choirmaster for in a bu crash in December 1955,near 34 years. He was formerly conductor of Stuttgart, ermany, in which his \'life MUSIC FOR THE PIANO the Reading (Pa.) Choral Society, the lost her li Ie. He was can idered One01 Brahms Chorus of Philadelphia, and the L1BERACE COURSE. OF PIANO STUDY the forerno t pianist of hi time and Germantown Symphony Orchestra. PRE.ROOK-Preparing the very young beginning piano pupil for the First Book PRICE; 75¢ wa known e pecially for hi interpre. FIRST BOOK PRICE $1.00 SECOND BOOK PRICE, $1.00 THIRO BOOK PRICE, $1.00 ration of Debu y and other French in. The Vienna Philharmonic Orchestra pre i nlsr!c compo r. played the opening concert of its United L1BERACETREASURE CHEST ..PRICE, $1.00 States tour early in November to an en- - - -CONTEMPORARY AMERicAN- PIANO MUSIC - --- Leoou rd Bee oatetu ha been ap. thusiastic audience in Washington, D.C. pointed to sher conducting respcnsibil. The orchestra was conducted by Andre Selected and Edited by Joseph Prostakoff iue of the ew York Philharmonic Cluytens, who is sharing podium duties The following composers are represented; ymphony r h tra with Dimitri Mi· on the tour with Carl Schuricht. Milton Babbitt Norman Cazden lou Harrison Charles Mills Nicolas Sionimsky tr poul for th ason 1957·1958.The Robert Cherney Berg Henry Cowell Alan Hovhaness George Perle Leon Stein two will b prin ipal onductor with Jacob Weinberg, composer, pianist, Joseph Prostakoff .Ben Weber Sol Berkowitz Vivian Fine leo Kraft a numb r of oth r to rve as guest teacher, died in New York City on Mario Castelnuovo-Tedesco Miriam Gideon Robert Kurka Karol Rathaus November 2, at the age of 77. He was ______-!~C~$l,5.Q. conductors. Bernst in ha frequently all' internationally known for his Jewish pea red in the pa t 8 gu t cenductcr religious works. He also was the corn- DISCOVERIES FOR PIANO of the Philharmonic- ymphon)'. A Ne.w Series of Piano Solos Arranged and Edited by Alfred Mirovitch poser of many songs and several orato- With biographies of the composers and' technical notes, the works are available individually arl Anton irth'. tdlewood Con· rios. An opera, "Hechalutz" ("The or in a complete edition. certc for axophcne and Orchestra was Pioneers"), won the $1,000 first prize ARIA Haendal-Bahell 50 PRESTO Galuppi .50 given it world premiere lut Oclober of the International Music Contest at GIGA Signor Pescatore. .50 RONOO V.n Beelh.ven .GO when it we the feature of the opening the Philadelphia Sesquicentennial Ex. LESSON , Sign.r Pescat.re .50 SCHERZO H.essler .50 program of the hauanooga )"IIlphony position in 1926. MINUEIMINUm G.luppi .50 SCHERZO Hummel .BO Orche Lta conducted by Juliu H.gp. Gerhard J. Wuensch, a facultymem- complete with built-in amplification MINUETTO H.essler 50 WAllE #ZZ·(WALTZI Mu'i. Clementi 50 igurd Ra her, nOled saxophone vir· SONATAIN F MAJORIGIGA)LONGA Searl.ttL 50 ber of Jordan College of Music, Butler tuo 0, we the sol i 1. Twofull61 note monuols, 2S pedols! SONATAIN G MAJORILONGA531... Se.rl.tll... 50 University, Indianapolis, Indiana, is the Organ study and organ teaching are the * Stondard organ contro Is! ______~MPLETE EDI!!.ON.J1~0_ M.sgr. Lol'" ntO P rosi, composerof winner of the $1,000 Benjamin Award fastest growing fieldS in music today. The * of 1956. The award is given annually Model 45 is the ideal organ for home or * 19 independent stops, religious mu ic and one of the most four couplers! FOURTEEN EASY MASTERPIECES by Alfred Mirovitch revered and popular figures at the Vati· through the Symphony Society of the studio, adaptable to either popular or North Carolina Symphony Orchestra * Selective vibratos! Compiled from the collection of Johann Christian Bach and F. P. Ricci PRICE, $1.25 can, died in atican City, 00 October classical music. It offers a full selection of for the best composition of restful na- stopS in all four organ tone families- * Baldwin Percussion Ensemble ------12, at the age of 83. He .....as the com· oplional 01 extra cost! ture. Dr. Wuensch, a native of Vienna, Diapason, Flute, String and Reed. PRELUDES AND SUITES poser of eleven major oralorio~. mort Traditionolly fiM Baldwin tone Austria, came to the United States on a No special installation necessary, the * than thirty masses. and more than 200 quality! By Georg JosephVogler • Edited and Arranged by Alfred Mirovitch Fulbright Award to teach at the Uni- Model 45 i~ complete in itself with built- psalm . h ylnn and othtr .sacred worh. As li"le as $225.00 down delivers Teacher of Von Weber and Meyerbeer and contemporary of Beethoven and Cherubini Vogler was versity of Texas. His winning composi- in amplification. Where desired, standard * In 1902 be .. a appointed by Pope1.<0 the Baldwin Model 4S to your home! ~c~~s~ ~ ~i~~~~lity.,.~ ..~ .. PRICE: $1.00 tion is Nocturne for Orchestra in F Baldwin auxiliary tone equipment may ~.=.~.=.=.~.:.: XIll as lifetime di,reccor of the istine FINANCING: The Baldwio Piaoo Com- minor. be added with ease. pany will fioaoce your purchase of aoy By Josep~ ;;o;;ako«- ---- Choir and Vatiean mu ic service. FIRST HEADER FOR PIANO Compare this magnificent organ with Baldwin.built piano or orgao. For com, Rae Robertson, internationally known plerederails of this unique Manufacturer. A collecton of supplementary materials designed to extend the scope and variety of the . others costing far more. Visit your Customer Finaoce Plan, ask your Bald· The UToccata iOCO&B'1 by Gardn~r concert pianist and member of the two available to the first year piano student. Songs and dances of the American frontiers mUts~C Read, professor o( orchesLulion and Baldwin ,dealer for details. win dealer or write to: .c~_Vt'boyand .the A~erican Indian are included, along with interval studies calculate~a~ ai~ piano team of Bartlett and Robertson, composition at Boston nh'ers.it 's CoJ. died in Los Angeles on November 4, ~e_stIJd:"t~n ~.~g.:...=.~.=.=..=______PRICE, $1.25 lege of Ius-ie, wu performed on Oc· ------at the age of 63. Mr. Robertson, a na- The Baldwin Piano Co., Organ Division, Dept. E-17 ----- tober 25 and 26 by the' ow York Phil· PETER PAN tive of Scotland, and his wife Ethel Cincinnati 2, Ohio harmonic - ymphony Orchest.ra. coP' FOL~ ~ S~Gs.:Simplified ~ition-Big Note:=Words and Music PRICE, 85' Bartlett, bad toured widely both in Please send informatiOn on: ducted by DimiLti MitropouJ",. The America and abroad for the past twenty o The new Model 45 Baldwin Electronic .Organ o Other electronic organs built by Baldwm . "Toccata Gioco$8.·· wu commis9on~ DANCE SONGS OF ALL NATIONS-b~atali~ - - - years. He and his wife were both stu- jalbwin o Baldwin's unique Manufacturer-Customer Fm~n(e Plan by the LouisviJJe (Ky.) rrnphoDI in dents of Tobias Matthay in London. PIANOS· ORGANS I am interested in 0 teaching otgan 0 studymg organ The lyrics are the dance routines ...... PRICE, $1.00 1953. NAME _ Florence Berggren, Philadelphia ADDRESS; _ WRITE 'fOR FREE LITERATURE tll Jonu Haudl operatic and coocerll · voice teacher, has been appointed to the CITY· ZONE----STAT·a'--- or and (ounder-eonduccor of the :\~., (Continued on Page 10) 35 West 51st St N Y EDWIN H. MORRIS & COMPANY, INC .• " ew ork, N Y. York Light Opera Guild, died 5Uddeoh 7 etude-january 1957 ...._------etude-januory 1957 Before buying his Tchaikovski record our imaginary ?ustomer ",lay now turn to the appropriate page In the alpha. betica l list of composers, where he will find fourteen listings of the composi. THE BOOKSHELF tion, performed by as many different ensembles and conductors. With each entry go a few simple symbols to indio Go (0 a oate whether the competent reviewerof At The Ballet the book's scope; here are some: A such and such periodical thought the Brief History of Ballet. The Training performance excellent, adequate, Or by Irving Deakin of the Dancer. The Technique of the inadequate. Depending on the amOUnt Youngster Dancer. Choreography and Choreog- of attention the recording originally reo Reviewed by Bernard Rogerf raphers. Decor. Must Ballet Tell a oeived, up to ten or more opinionsse. The tale of Ballet in America recalls Story? Subsidy Must Come! Ballet in lected from twenty-eight American and one of its favorite plots: the wanderer America. • , foreign publications may appear. In for the truth richly transformed at the touch of for- For some reason the author chooses popular instances like the Tchaikovski tune's staff. Not that the dance is se- to cry down opera in order to elevate symphony t .....o or three performances cure and safe from want; no art-form his favorite art. But it is time to retire usually obtained uniformly fa\'orable is that. But a few decades have seen it the fussy notion of lumbering Venuses comments. Taking his cues from there move (in this country) from the nar- and robust Mimis. the pro pecuve purcha r can then li~ row ring of elite - sophistication to a A group of illustrations portrays ce- ten to these f w i uee and let his per. healthier span of popular approval. As lebrities of the dance and settings of a anal ta res d t rmin the final choice. the present book, which deals with the number of recent productions. Espe- The alphab tical listing of composer, art as a universal form, makes clear, cially useful are the Glossary of Ballet and their w rk is followed by a sec. such a complex and costly mechanism Terms and the Discography of Ballet tion that over compo ite releases ac. can never pay its way except at the Music, although nothing dates more cording to manufacturer's names and cost of fatal compromise. From this quickly than the latter. Mr. Deakin's numbers. h r appropriate, the pre. impasse there seems only one escape- writing is level, earnest and-of ten- ceding u lpha b tical part r fers 10 the subsidy: city, state or Federal. The sedative. The small type in which the corn posit r I as in question, The ap- author holds that view, and we, agree. text is set does not help the cause. pend d index of p dormers provides Mr. Deakin, who was born in Eng- Thomas Nelson $3.75 land, studied at the Royal College of an uddit i nol ref renee 1001. Finan)" orcs 10 feature the music under such masters as Sir Henry Record Ratings, since c rninues Wood and Vaughan Williams. The quart r1y installm Ill, a permanent larger portion of his career has been The Music Library supplem nt i 0 tualty available on a spent in the sphere of ballet, both "pay as you go" basi, which will un- abroad and in this country, of which Association's Index of doubtedly induce many a record celle. he is nQW a citizen. Record Reviews tor to join the gr wing number of sub- Mr. Deakin's book is addressed to scril ers to rhis fin I) riodi al. In its the potential ballet-goer; in lesser part Compiled by Kurtz Myers pre ent form Record Ralings is essen- it is designed to inform the would-be Edited by Richard S. Hill tially eompler through the beginning dancer. His sketch is lightly brushed, of 1955. Pri es of recording given are Reviewed by Alexander L. Ririg er but its span is wide and its tone is not tho e Ii ted by manufa turers just be. bandmasters start their beginners BUNDY RESONITE Bb, ALTO superficial. His palette includes some Suppose a conscientious person de- fore the "br ak" in rh market at that Admittedly, we're prejudiced on be- on Bundys than on any other tWO AND BASS CLARINET FEATURES. sombre colors (along with a few in sires to make somebody, possibly him- lime. half of Bundy Resonire Clarinets. brands combined. As we say, we're Clarinet bodies are plastic, unexcelled' for brighter key), particularly as it deals But, facts are facts: Bundys help your self, a present of a good recording of AIl thi and much more pertinent in- prejudiced, but the band directors acoustical properties. Heat, cold, moisture with the savage sacrifices imposed upon Tchaikovski's "Pathetique." An easy formation appears in th concise and students learn faster and do more to help your bands sound better. who showed this overwhelming won't crack them or seriously affect playability. the student of ballet. The rewards are task? Try it once, if you never have. occasionally witty preface which carries If we seem a bit toO enthusiastic, preference in a recent nationwide Nickel plated keys, designed especially for thin for all but a handful of the gifted and you will find yourself helplessly the unmi takable imprints of Mr. Hill's you can easily check the truth of poll had no vested interests but the students, are heavier than normal to resist and fortunate. According to his figures, confused by no less than twenty-one char act ristic p n.ln the editor's¥mrds. what we say. Simply ask those progress of their students. bending and breaking under inexpert. handling. at least eighty per cent of the corps de listings in the current Schwann LP cata- "absolute consi tency can be very er- who do the playing-the youngsters Some of the features which make Keys are sculptured for young fingers, mounted ballet-members of the American Guild logue, each and everyone "the last pensive to achieve." Indeed, gratefulas rhemselves. They'll tell you Bundys Bundy Clarinets best for you and on high POStS for easy leverage. Entire mecha- of Musical Artists-receive less than word in HI-FI" and a "superb perform- we are for thi remarkable 8chie\'ement at"e better, even though they won't your students are listed here. But, nism is simply 'designed, sturdily built. $2,000 a year. And this after many ance" a<;:cording to its proud manuf~c- in accuracy and economy. we readily know why. Bur you'll know, from a trial is the real convincer. Your Alto and Bass have one-piece body; tone years of relentless training, for labors turer: Yet, music librarians make a swalJow a novel listing like 'lId)', Vin· the tone they produce, from the Selmer dealer will gladly supply one holes are placed just where they should be for performed. under the harsh conditions sca.ntyving facing such dilemmas daily. cenl. D', although the compOser is gen· way the key action responds, from for you to test, without obligation. most accurate intonatio.n. Center-joint key of almost constant touring. Further, the ThIS IS why for the past eight years the erally known as D'!ndy. Vincenl, and See him soon. Meanwhile, for some mechanism is eliminated; key jamming and dancer must, as this author pu'ts it the almost instant improvement in Music Library Association has devoted we merely note regretfully the OCC!. mighty interesting reading, mail the regulation troubles are avoided. Exclusive "expect to retire ... at an age when intonation. a. major part of its quarterly publica- sional absence of a ""'orthwhile record· coupon for detailed information Rocker octave-key mechanism· gives positive workers in other professional fields can Obviously, such happy results as tIOn, Notes, to an index of current rec- ing, (or example the nne performance about all the Bundy features. closing even when pad thickness varies. scarcely be said to be more than well these are the reasons why more ord reviews.. I To make this invalu ahI e of Palestrina's ~1issa Papae MaTcellioo launched." matena more easily and generally . .bl . ac Epic. The Musi Library Association ------, As a trained musician the' author ce:sl e, Its compiler, Mr. Kurtz Myers, SELMER, Elkhart, Indiana DEPT. E_11 ~ I and its two hard working members. Ptease send FREE brochure describing ~ I places marked emphasis on music's role chIef of t~e music and drama dept. of . Messrs. ~Iers and HiJI. as ",ell as Bundy Resonite Bp, Alto and Bass Clarinets. in the ballet scheme, and discusses with Bundy Resonite Clarinets, I th~ DetrOIt Public Library, and the Crown Publishers. are to be congratu· NAME '- __ I relish the part played by the conductor. edltor of Notes, Mr. Richard S. Hill. I Speaking of Sir Thomas Beecham lated with a job .....ell done. and )'011. ADDRESS _ I h.ead .o~ ~he :eference section of the mu- J\lr. lusical Public. with this unpanl· S~-Fw.&:, (plainly his favorite) he composes a CITY ZONE __ STATE _ I SIC dIVISIOn III the Library of C BUNDY ongress. leled opportunjt to S8\'e 'ourself much I pretty rhapsody complete with bright have pro duced this handy and ·d . . . --conSl . trouble and mon y at what amounts to c;~-p~ ______TITLE JI percussion. enng ltS size and quality-incredibl The chapter headings give a view of cheap volume. y lillie more than nominal cost. 9 Crown Publishers inc. '.9i etude~january 1957 8 ...._------etude-january 1957 WORLD OF MUSIC (Continued from Page 7) ETUDE faculty of the j uilliard School of Musi C T". • .... D ...... or 0" •• New York City. She will continue I ' -selects and. edits piano classics teach in Philadelphia with one Ortw~ KEYBOARD HARMONY OF THE SEVENTEENTH CENTURY days each week devoted to her workat Philadelphia' s 15 short piano pieces by outstanding composer - musicians of the J uilliard School. the 17th century, transcribed and edited by HANS BARTH. These attractive compositions lay the foundation for the further ACADEMY OF MUSIC study of the works of Bach, Handel and others. 1.00 complete COMPETITIONS THE CARMAN'S WHISTLE-William Byrd-Edited by Hans Barth . (For details, write to sponsors listed) THE HAND ORGAN MAN-P. I. Ischoikcwsky-e-Edited One Hundredth Anniversary by Hans Barth . The Church of the Ascension annual • •• MAZURKA -Po I. T'chaikow'ky-Edited by Han' Borth . anthem competition. Award of $100 witb POLKA-Po I. Tscheikowsky-c-Edited by Han' Borth publication and first performance at an by Gordon McCombs Ascension Festival Service May 27 CRickard qncClal1akal1 1957. Deadline March I, 1957.Detaik Alessandro Amodio and the contralto, Zoe Aldini. HARMONIC STUDY EDITIONS from ecretary, Anthem Contest, 12 J1)) N JANUARY 26 there will take place in Phila- Technically brilliant study editions from distinctive 18th century West II th treet, New Yark u, N.Y. V delphia an event unique in the musical life of that Other famous operas, besides "HTrovatore," that had compositions, each with the harmonic framework arranged as an historic city-s-a concert celebrating the one hundredth their first United States performances in the Academy optional second piano part. Eminent musicians, educators and Mu igma, honorary music society01 were "Hamlet" in 1872, "Aida" in 1873, "Lohengrin" in Washington quare College and Eradu. birthday of the famed Academy of Music-home of the adjudicators acclaim these publications as the finest approach to 1874, and "Flying Dutchman" in 1876. ate chool of Arts and iences of New world renowned Philadelphia Orchestra. How best to com- the study of phrasing and expression. Compositions available Verdi's "La Traviata," with Mme. Gazzaniga interpret- York niver ity- econd annual com. memorate such an event? None else than a gala concert separately include: ing the role of Violetta, was pre- • SOLFEGGIETTO • SONATA PER CEMBALO position conte 1. Winning work will be by the Philadelphia Orchestra with sented in the Academy on March from Muslkalischee. Vlelerly by Leonardo Leo play d in May 1957 at the Marion Artur Rubinstein, Marian Ander- by C. P. E. Bach • GIGA 13, 1857, marking the first com- • PRESTO from SONATA IN C Bauer Concert. Deadline: DecemberI son, Isaac Stern and Hilde Gueden by Leonardo Leo plete performance of this opera MINOR • TWO~PART INVENTION 1956. D tail (rom. lu igma, Roo~ joining Maestro Eugene Ormandy by G. B. Pescetti by J. S. Bach 3] 8 Main Building, ew York llnieer. and his distinguished group. This before a Philadelphia audience. 75¢ each Fifty-five performances of opera sity, ew York 3, .Y. date is exactly one hundred years A Brilliant Work of Majestic Splendor! were given during the Academy's LAURENTIANRHAPSODY by Isabel Mason Qu en Elizabeth of BelgiumInter. frOID the day the Academy first opened its doors with a ball and first season. Philadelphians heard Ideally suited as both a recital and teaching piece. national Comp rirlon for composers. "La Traviata" nine times," "Linda Two categorie : (A) ymphonic works, musical promenade attended by di Chamouni" six times, and "II and (B) chamb r work. Award,CI'$ leading citizens and music lovers Trovatore" and "Lucreeia Borgia" A, 53,000; 51,500 and 11,000; ClassB, 01 pre-Civil-War Philadelphia. $2,000; 51,200; and 1800. Deadline The "Academy" was designed each five times. II \ March I, 1957. Detail from M.Matee! originally as an opera house; in The first long-distance transmis- sion of music by electricity was Cuvelier, . Dire t ur eners! du Con. fact, when completed in 1856 the Pupils ate sailing ,ight th,ough ... cours musical international Reine Elu. Academy was the first large music achievedon April 13, 1877, when the new abeth de Belgique, Palais de Beaux- hall in America designed primarily an audience in the Academy lis- An, 11 Rue Baron Horta, Brussels, as a home of opera. It was built at tened, through amplifiers, to a con- Belgium. a cost of $240,000. cert sent from New York by tele- phone. The American Bandmasters Assode- On the evening of January 26, ADA RICHTER The first Philadelphia Charity tion, co-operating with lj. nHorms by 1857, the Academy welcomed Ban was held in the Academy on Ostwald," offer a prize of S500 (ora Philadelphians to its first func- PIANO COURSE band composition. Deadline for entries. tion, a "grand ball and promenade February I, 188l. February 1, 1957. Details f.romLt. Col The first auditorium in Philadel- From all over the country teachers concert," thronged by the city's Willjam F. a ntlemann, 2907 North leading citizens and music lovers. phia to use electricity was the report that students are finding the Edison treer, Ar lington 7, Virginia. Academy of Music. This was in clarity, logical layollt, coherence, It was planned to open the Acad- emy on January 17, but a terrific 1885. absence of barriers ... the great EASE of this {ine method Fifth Annual tudent Composers He- Caruso (Continued on Poge 40) d ic Awards sponsored by Broadcast snowstorm which held the city in ... has set them on a tHie course of smooth sailing! Intermission time ct 0 recent opero Music, Inc .. and 8M! Canada Limited. its grip caused postponement of performonte in the Academy of Musk \ • Eesy • Cleer Awards totalling $14.000.DeadlineFe. the ball until the 26th. ruary 15, 1957. D tails from Rus.-ell The history of the Academy is marked by a long series ::='-~~ • effective • Comprehensive Sanjek. Director of CRA Project. of "firsts." It is interesting to recount some of the most Broadcast 1\·lusic.lnc .. 589 Fifth Avenue. important. The first performance in America of Verdi's §-=~~fgt·Entertelnlng • Contemporery ew York 17. . Y. opera, "II Trovatore," was given in the Academy on February 25, 1857, with the famous Mme. Marietta for the Student for the Tetcher Penn ylvania Federation of Music Clubs nineteenth composilion contest, Gazzaniga as prima donna. (A bust of this pioneer 01 Pre-School Book 60¢ • Books I, II, III (Early Beginner) 75¢ Book IV (E I Academy prima donnas occupies a niche in the wall of Beginner) $1.00 " "Keyboard Games" (Supplementary materia'l to b d a~~ 1956-1957. Awards of $50.00 in each01 se the stairway to the balcony.) Appearing with Gazzaniga Audience os last half of Book I, and all of Book II) 75¢ • "Adventures At Th e -K b Wit.. three cla es: 1. A ng for Wedding; shown in old en· (Supplementary material to be used with all of Books III and IV) $1~O eYBoakd 2, Two lrings and Pianoj 3. PilDO were the popular tenor, Pasquale Brignoli; the baritone, graving from (Older Beginner) $1.25 • "Keyboard Techniques for the Older Begi· ("S 00 I I mentary material) $1.00 nner upp e- Suite (3 numbers). For native or resi· "History of philo· delphio" by d:nt Pennsylvanian only. Closing date (The courteous co-operation of Ai Paul Lefton Co., Inc., Scharf & Westtott See It It you' desl", without dellY January 15, 1957. Details from Mrs.M. in supplying material for this article is greatly appreciated. M. WITMARK & SONS, 619 WEST 54th STREET, NEW YORK 19, N. Y. Jack Londoo, 5627 Callowhill Sue<\ -Ed. note) Pittsburgh 6, Pennsyh'ania. I 10 etude-january 1957 11 ..._------etude-januory 1957 - -- .~~- ...... ="""""",""",,,,,,,,------some The story of ROY HARRIS -. American Composer-part two impressions

by Nicolas Slonimsky

gested an original utterance. Harris wrote a lengthypro. of em OY HARRIS began to compose late in life, but First Grade Violin Class, Shibuya Elementary School, Tokyo. he amply made up for his late start, producing a gram note for it, as if to explain himself to the pubUc. staggering quantity of material: symphonies, instrumental This irritated several critics who resented being toldin (Irvin!? Cheyette, at present professor 0/ music and education, University concertos, chamber music of all descriptions, choral advance what they were to think of the music, but inhis 0/ Buffalo, spent the academic year 0/ 1954-55 in Japan as Fulbrig'ht Professor of Music Education. at the Tokyo University of Arts. (See ETUDE • works, sonatas, piano pieces. Some of these works are later works Harris doggedly continued to explain himselit reiterating the theme of musical Americanism, reminding September and October, 1955) He had abundant opportunities to observe at definitely American in subj eet matter: an overture, "When close hand the school music educational facilities 0/ the country, about which music the readers of the fact that he wa born on Lincoln'shinb Johnny.Comes Marching Home"; a symphonic elegy, he especially writes here.-Ed. Note} "Farewell to Pioneers"; "Whitman Triptych," for wo- day, and re-asserting hi determination to write music men's voices; "American Creed," for chorus and orches- that is not imitatively European, but authentically native. cfJNCE MY RETURN from Japan where I served as Fulbright Pro- tra; "Folksong Symphony," for chorus and orchestra; Harris reached a peak of ymphonic popularity wiili fessor of Music Education at the Tokyo University of Arts during "Songs of Democracy," for mixed chorus and orchestra; his Third Symphony, brought out by Kous evitzkyin the the academic year 1954-55, I have frequently been asked, "What kind of "American Ballads," for piano; "What So Proudly We spring of 1939. The reviews were not unanimous,but music education do they have in Japan?" This question has prompted education Hail," a ballet; "Kentucky Spring," for orchestra; and fellow composers expressed their unbounded enthusiasm. the preparation of this article. "Cumberland Concerto." Other works are in austere William Schuman wrote: "This ymphony seems to me Introduction of Western Music to Japan da.ssical forms: Soliloquy and Dance for viola and piano, an extraordinary work. Its melodic material revealsonce Western music, that is, Occidental music in distinction to Oriental stnng quartets and a string quintet, chockful of fugues again Harris' remarkable gift. It has dramatic fireanda • music, was introduced to Japan through the instigation of the Emperor and passacaglias. There are also works of a functional definite sense of direction which gives it great power." Meiji-who was instrumental in Westernizing Japan-when he invited nature, written for special occasions, such as the "Time Leonard Bernstein described the work as "beautifullypro the distinguished American music educator .Luther Whiting Mason, son zn Suite" for a radio performance according to specifications portioned, eloquent, restrained, and affecting." of the founder of music education 'in American schools, to come to Japan as to duration, and a piece for flute and string quartet Conductors, other than Kou vitzky, became interested for three years beginning in 1880. Mr. Mason brought 13 pianos to Japan, entitled "Four Minutes and Twenty Seconds," composed in the new work. The grand climax came when Toscanini where' he helped to establish the .Academy of Music, which later became to fill out an extra side of a phonograph recording of his put it on his program with the BC ymphony Orchesrs an integral part of the Tokyo University of Arts. Me. Mason also invited First Symphony. in the spring of 1940. Leonard Bern tein conductedit in many distinguished performing musicians, pianists, vocalists, and teach- From the very beginning of his career, Roy Harris had Germany and in Israel. Eugene Goossens conducteditin japan ers of orchestral instruments and composition, largely from German and . a strong fait~ in his star: hope to become a really "I Australia. The G. Schirmer C mpany accepted the score French conservatories, to become resident members of the Faculty to great composer," he wrote to a friend at a time when for publication. Koussevilzky recorded it. teach Japanese musicians to perform and sing Western music. hardly anybody knew his name. He felt happy after the Although the Third Symphony is Harri ' most popular He also gave courses in music methods, and quite naturally, introduced co~plet~on ~!every work, and he frankly expressed his wo.rk, he himself prefers h is Fifth, a work of great cume- to Japan the melodies of Stephen Foster and George F. Root, with tests satisfaction. I have finished two movements 'of my Fifth lative power and rhythmic inten ity. The Fourth Sym· translated into Japanese. Today, these composers are still among the most by IRVING CHEYETTE Symphony," he wrote in one of his effusive letters "and phony was a choral work titled "Folksong Symphoay." popular with the children of Iapaq, and a picture of Stephen Foster hangs Mr. Cheyette studying the Samisen with Prof. Kikuoka 'it is wonderful beyond my wildest hopes." ' The SIxth Symphony had its inspiration in Lincoln and in almost every music room in Japanese schools. Japanese composers of the University of Arts. In the spring of 1933, Roy Harris met Serge Kous- Its four movements were ymbolic of Lincoln's struggle: have imitated the style of melody writing and harmonic construction of sevitzky, the ardent champion of so many American com- Awakening, Conflict, Dedication, Affirmation. The Sel'enili Foster and Root, and many of the Japanese school music texts are replete posers. He asked Harris to write a work for him. "I would ~ad ~o programmatic design, but expressed an American with melodies that are reminiscent of the songs' of these American com- love to. What do you want?" asked Harris. "I vant a big Idea 111 a more abstract way. posers. In addition, Auld Lang Syne has proven to be very popular symphony from the Vest." Koussevitzky replied. The Seventh Symphony was recorded by Ormandyand because of its pentatonic construction, and it has become the Alma Mater The Big Symphony from the West was soon ready and the Philadelphia Orchestra in 1955 by Columbia, andthe song, with Japanese texts, of course, for innumerable schools throughout Harris entitled it "Symphony: 1933." Koussevitzky per- old Koussevitzky disk of the First ympbony, re-recorded Japan. formed it both in Boston and New York. The reaction of on a long-playing disk, was issued with the Seventh Sym· Mr. Mason left a legacy of great interest in Western music, with the critics was mixed, but there was no mistaking the im- phony on the other side. The contrast between the Iw' emphasis on American influence in methods of teaching in public schools, pression that this symphony made on young American s.ymphonies, separated by twenty years of creative evolu- but of German influence in the preparation of performing musicians, musicians. This was the first real modern American lIon,. was striking. The First ymphony was unahashedly since most of the technical musicians and composers were Germans. Mr. symphony; it was soon recorded by Columbia and the Mason's piano is still in the Dean's office in the University, and the orig- effUSIve, an early revelation of a natural talent striving name .of ~arris became a synonym for aggressiv~ musical inal building of the Academy of Music is still in operation, although a for s~lf-expression. The Seventh was philosophical in its Americanism. To be sure, the American quality in this new building has recently been constructed. c~~eslve force, and universal in its message. But the kin· sy~phony was ~ot explicit: there were no jazz rhythms, One of the surprising facts to foreigners visiting Japanese schools is s Ip b~tween the two works was plain and immediately that only Western music is taught in the schools, with international nota- an ~o quotations from 'folksongs, but there was a recogmzable Th th f .. . . uhe . ere was e amilier Harr isian ex ranee tion. If children want to study Oriental music on the traditional instru- m~lodlc sweep, a harmonic freedom, and perhaps a eer- of rhythmic flow th . '. tam awkwardness in handling the materials that sug- h . ,e strong melodic stream, the massre ments such as the Koto (Japanese 13 stringed (Continued on Page 50) armomc accumulations (Contin""d on Pag,42) 12 etude-january 1957 a _ etude-januory 1957 �.---..---....------Louis Moreau Gottschalk Shape Notes,

• • • First American New England Music, Concert-Pianist and White Spirituals

by Jeanne Behrend by IRVING LOWENS )

just so much and no more. Possibly it underwent revision !AFTER SEVERAL DECADES of neglect, th~ music FEW YEARS BEFORE the end of the 18th cen- plenty of trouble. In 1803, "The Easy Instructor" copy- of LoUIs Moreau Gottschalk is again attracting through the translation of his brother-in-law and the edit. m y-j tury - prohably in 1798--a dahhler in music right, of which he was sale owner, was twice infringed, attention. During the last few years, there have been signs ing of his sister. Yet there remain some slightly purple named William Little submitted a manuscript tune book first by the prominent singing master and compiler, of a revival-an occasional magazine article, an LP pot- passages in a language then not hospitable to them. We to the Uranian Society of Philadelphia. There were Andrew Law, and second through the publication of a pourri "Cakewalk" conducted by Eugene Ormand y, and could conclude that Gottschalk was reticent about the several reasons why the endorsement of this particular tune book entitled "The Easy Instructor," Part II--com· lecture-recitals by the writer. Now, Eugene List's recording women who really mattered to him. We surmise, too, that musical society was especially wanted by the compiler. piled by "William Smith & Co." Smith to all appearances 0.£ ~is piano music has just been issued by Vanguard, a often they were the pursuers rather than the pursued. By First, he was a Philadelphian and probably a member of not only brazenly pirated Little's catchy title and imagine- similar record soon will be released by M-G-M, already the time Gottschalk was writing hi journal, he had ar- the Society himself ....Second, a quotable favorable opinion tive pedagogical help, but added insult to injury by re- heralded 'by Presser's edition of Gottschalk's music, both rived at a singular deadness of heart. would help to sell copies once the book was published. And ducing his associate to the unenviable status of an by the writer. Gottschalk was essentially a lonely man. This is not to third and most important, the Uranians were zealously anonymous "& Co.!" What is needed now is an edition of his journal, Notes imply he was anti-social: on the contrary, he was a delight. dedicated to "promoting the knowledge of psalmody" and Soon afterwards, Little rid himself of his unhappy tie of a ~ianist, out of print and scarce. This entertaining ful companion. But it must have been a self-imposed lone- the outstanding feature of Little's manuscript seems to to Smith and his interest in "The Easy Instructor" at a chronicle has been a source of information to researchers liness that made of him a restless wanderer. Economic have been his presentation of an untested "new method of single stroke by selling the copyright, probably considered in Americana coming under the peculiar spell of Gotts- necessity, of course, brought long and arduous concert teaching sacred harmony." by him just about valueless, to a trio of Albany, New York chalk's personality-c-many-faoeted, mercurial, sometimes tours, but not so urgently as time went on. He could have On August 15, 1798, a committee appointed by the printers. No doubt he-thought himself fortunate to find ba.fBin~. If republished, it would gain many readers. settled somewhere to teach, or he might have retreated to Society to study the tune book customers, but Daniel Steele and the twin Historians would see mid-19th century America through the quieter tempo of Europe, once his success here was brought in its report. Of "a brothers Charles R. and George Webster, new t~e eyes of a concert pianist educated abroad, observing assured. But he was not a teacher, he was a showman. Singing Book, entitled, 'THE owners of the property, quickly demonstrated ?IS own. country :vith a detachment not always possible And he was not a European, he was incurably an Ameri- EASY INSTRUCTOR,' BY his error by proceeding to make a "tidy for- In a natrve American. can, this aristocratic, half-J ewish Creole who preferred to WILLIAM LITTLE" the gentle- tune from the sale of the book. It was his privilege to travel almost the length and speak and write in French, who took pride in the United men of the committee stated: While it was Steele's editorial acumen that breadth of the United States during a particularly crucial States while ridiculing its mores, who defended American That having carefully ex- brought about "The Easy Instructor's" tre- period of its history: from 1853 to 1856, from 1862 to democracy while finding it just a little too democratic. It amined the same, they find it mendous popularity, it was William Little's 186.5. His. ~mpressions have been commented upon by might be true that an insatiable curiosity about America contains a well digested system shape notes that determined the crucial im- vanous crrttcs and musicologists-in fact, many different drove him on, but one senses also a hidden unrest. He of principles and rules, and a portance of the tune book in the subsequent Gottschalks emerge from their accounts. There is the 16. railed against his nomadic existence in accents truly judicious selection of tunes: development of Ameriean sacred music. In yea~-?ld lad hailed by Chopin as "king of pianists," pathetic. But he did nothing to change it. And from the improvement of devising his "new method," Little was try- exerting France, Switzerland and Spain with his Creole A more familiar charge of laissez faire concerns his ap' having only four significant ing to solve a problem to which we have not com~ositions, already both a pioneer in American popular parent failure to change the public taste. He did not play characters, indicating, at sight, as yet found a completely satisfactory answer: mUSICand a cultural ambassador. There is the matinee rn pubhc the works of Bach and Beethoven or those of his the names of the notes, ... this how does one go about teaching a beginner idol. ~o this writer he is an important figure between two contemporaries Chopin and Schumann. But then-who book is considered easier to be to read vocal music at sight quickly and flo~enngs of American music, who, in an entertainment else di.d, at that time, anywhere? Only a few embattled learned than any we have seen. well? To simplify the complex learning proc- field dominated by opera, minstrel shows and lectures souls like Clara Schumann. The primary task facing Cotts- ... The Committee are of opinion ess, he invented a notation in which pitch, helped to create a new audience for piano recitals. Another ~halk ~n the United States was to. ~et people to cometo the Author merits the patronage time, scale relationship, and syllable name w.riter sees him principally as a Latin American, stressing . ear him at all. Away from large Cities, they resented pay- and encouragement of all friends were combined into a unified, easily compre· hIS maternal ancestors of St. Domingo, his childhood in mg a whole dollar just to see a man cross a bare stageto James C. Wyeth to Church Music. hended whole. His idea, so obvious that a town assailed by Caribbean rhythms, his visits to the play on" a piano-a strangely chilling scene sometimes Little could scarcely have hoped for a more whole- one cannot help wonder why no one had thought of it West Indies, and his last four years skirting" most of the even toda!. After the fiasco of his first ew England tour, hearted endorsement for his new "Easy Instructor." before, was merely to use a differently shaped note head to oute~ rim of South America. To still another, he is a he knew It was sink or swim. He was the sole financial tragic example of a talent frittered away. All these legends Nevertheless, more than four years passed before "The represent each of the syllables used in solmization-in s~pport of his mother and several younger brothers and are more or less available and largely true. But they do Easy Instructor" appeared in print. During those years, every other respect, he retained the characteristics of SIsters. At the suggestion of his faithful publisher William not tell the w~ole s~ory. Once the journal is republished, Little had paired up with one William Smith, who is orthodox notation. As the Lancashire Sol-Fa system was Hall, he started a vogue for his own compositions. They the next task IS a biography telling not only what he ob- given as co-author on the first edition title page. Smith then standard in America (fa sol la fa sol la mi in place formed t?em~jor part of his programs, much to the disgust served an~ what he did or did not accomplish, but what was probably responsible for the choice of music, while of our familiar syllables do re mi fa solla ti}, only four of certain critics. Gottschalk defended this practice: "If . he ~as ".It IS not enough to see his world through his eyes. Little contributed his ingenious notation. shapes were necessary. Little used a triangular note head Thackeray was lecturing to you would you complain that Seemg into them, we might see him. It would seem that Little got small profit and little joy for fa, a round one for sol, a square one for la, and a he gave you Thackeray, and would it not be absurd if he T~e veiled eyes, however, so devastating to his female from his brain-child. Few copies of the 1802 New York diamond-shaped one for mi. recounted to you the passages of Hamlet or Othello which admirers, do not invite the direct gaze. The journal tells edition were sold, and Smith appears to have given him So far as teaching the neophyte (Continued on Page 64) any actor could recite to you? (Continued on Page 48) 14 etude-january 1957 15 .._------etude-january 1957 """"'------"""'..------·PIANIST'S PAGE

What Is A Fugue? - one of the most amazing by WILLIAM J. MITCHELL musical organizations of the world

8~EVITABLY pianists play sical guilds. The great literature of than any specific sectional design. fugues. Their instrument is ad- the fugue will prove to have nothing So far as the use of such a poly. mirably fitted for the performance of in common with a prescribed form. phonic device as stretto, such melodic so VERY TIME MY husband mentioned the program multi-voiced textures, and keyboard In fact, the discrepancy is so great manipulations as inversion or retro. o he was scheduled to play in Bruxelles, Belgium, literature provides a fabulous wealth that many authors of books on the grade motion, such rhythmic alters- earlier this season,he encountered identical reactions from of such pieces from before Bach and fugue have either warned students tions as augmentation and diminution whomever he was talking to. I heard the following con- Handel down to our own time. away from the Bach fugues as being are concerned, it should be remem. versation-or slight variations thereof-repeated dozens A state of affairs so enviable improper works, or, more modestly, bered that many excellent fugues of times: might easily arouse the curiosity of they have confessed that they were have been written which have no Friend: (to Foldes) " ... and what are you going to the pianist to the point of consulting not really writing about masterpieces traffic with any of these. Conversely, play in Bruxelles?" books on the fugue in order to learn of fugal literature, but were describ- many musically insufferable fugues Foldes: "I'm going to play three Bartok concerti." something about the species. Unfor- ing a type of student exercise. are on hand that bristle with them. In Friend: "How interesting ... but I must have misun- tunately, an impulse so commendable What, then, is a fugue? Or, to brief, they are not an automatic in- derstood you ... I thought you play only once with the otherwise, will, if followed, lead only state the quesfion more cogently, what dication of a successful fugue. Their Bruxelles Symphony this time .... ". . to hopeless confusion. The reason is are its predictable elements? Very employment is dependent, first, on the Foldes: "You're right-I play only once with them Entranced listeners at a typical concert of the Jeunesse Musicale. that most available textbooks describe few, if we realize that the term is willingness of the subject, according this time .... " in minute detail and often with dia- quite old, and that through the 17th to its precise nature, to co-operate in Friend: (aghast) "You aren't going to play three Bar- grams that might excite the admira- century, at least, it often meant can- such ventures, second on the judg- tok concerti on one evening, I hope .... " tion of a draftsman a concept of pat- on. Furthermore, the ancestors of the ment of the composer, which very Foldes: "All three Bartok concerti, one and the same terned regularity which is hopelessly fugue were not called such, but rather often excludes as well as includes po· evening-that's exactly what I'm going to play .... " at odds with the great fugal litera- were titled ricercar, fantasia, or can- tenrial ities of the musical material. Friend: (after a long pause) "Well, it's a tour de force ture. All of this has been admirably zona. And to make the confusion As we discuss the four parts of our I'm sure, to play three such extremely difficult concerti discussed in a thorough and pene- complete each of these titles was also description of the fugue, let us refer in one evening-but believe me it's just as difficult to listen trating work, "The Study of the used for types of music that bore to the A-flat Fugue from Book II of to all three in one evening-where in Heaven's name are Fugue," byDr. Alfred Mann, which- no ultimate relationship to the full J. S. Bach's Well Tempered Clavier, you going to find an audience for such a program?!" will be published in 1957 by the Rut- emerged fugue. for it stands as a fine representative I thought of these skeptical friends on the night of the gers University Press. Your corre- Such information should prove of its type, although it makes no use concert, as I glanced down into the jam-packed hall, where spondent has had the good fortune to helpful, rather than distressing to the of stretto and other fugal devices. there were no empty seats to be had at any price, where examine Dr. Mann's_manuscript in performer, for it contains the healthy So far as the polyphonic style is every squar~' inch of the standing room was so over- advance of publication. In it, he sheds advice that each fugue should be ap- concerned, it is of basic importance crowded that people squeezed against one another like light on the causes of the discrep- proached and studied On its own that the performer know and bring sardines. 8;.ncy. Primarily, it is because theor- rights, rather than as an illustration to realization its two aspects. The Who were these brave souls, overfilling the Grand Con- ists have committed a basic error in of a pat formula. Diversity is the first is concerned with the linear or cert Hall of the Belgian State Radio at this "forbiddingly trying to pin-point a "form" for the keyword of any artistically signifi- melodic independence of the variously difficult" concert? The huge posters announcing the event fugue. Actually, this genre has had a cant type of music. If we keep this in combined voices or parts. Note how all over town displayed the program so prominently that Marcel Cuvelier, founder of Jeunesse Musicale, long and varied career, but in its chatfing with young members. mind, it becomes possible, in fact de- Bach has brought into companion- there could be no mistaking about it-anyone entering most representative examples it sirable and necessary to describe the ship a subject consisting of various this hall did so in full awareness of what he was going stands for a way of composing, a pro- predictable elements of the fugue. note lengths and featuring the inter- to get. cedure, rather than a predetermined It can be stated with reasonable val of a fourth, at first as a leap, and The thundering cheers and shouts of "bravo," the un- Dreamed up in 1940 by Marcel Cuvelier, President- design like the three-part song form. assurance that a fugue is: (1) a type then filled in, a countersubject corn- ending ovation at the concert's end as soloist Andor director of the Bruxelles Philharmonic Society, and one Those who have insisted on an al- of polyphonic composition; (2) that prised of a steady descent of chrc- Foldes and conductor Franz Andre took their bows, and of the most important musical figures in Belgium, as a leged form of the fugue, describing it usually features one theme or sub- matic quarter notes, and a counter were called out again and again, and again, indicated morale-builder for the Belgian youth during the dark it usually as a three-part piece made days of Nazi occupation, the [eunesse Musicale has, in its ject; (3) that this subject appears point of running sixteenths, usually in that the audience liked what it got. up of an exposition, development, initially in imitation at the fifth above This concert (a "first," insofar that never before have sixteenth year of existence, grown from its humble begin- stepwise motion. Rhythmically and and stretto, can indeed point to exam- (but sometimes at the fifth below) Bartok's Rhapsody Op. 1, his Second and Third Piano nings into a vast international organization and a unique, melodically, each of these elements ples that satisfy such procrustean re- which interval of imitation dominates Concerti been presented anywhere in the world on one world-wide cultural power. has its Own character, which the pian- quirements, but these are, likely as the piece, although other imitative and the same evening) was sponsored and broadcast by , Fashioned after the Belgian "Mother organization," ist must strive to deliver with clarity. not, dry-as-dust. exercises written by relationships will usually be em. the Belgian State Radio, in collaboration with the most there are now flowering l eunesse Musicales. in Canada, Also he must incorporate in his per' students of composition or by candi- ployed; (4) that the piece is orga- amazing musical organization of the world-the leunesse France, Holland, Luxemburg, Austria, Germany, Portu- formance the feeling of compatibility dates for admission to various mu- nized in terms of a ,tonal plan rather Musicale. gal and Brazil. In every . (Continued on Page 52) of the parts, (Continued on Page 51) 16 etude-january 1957 17 t ~ etude-january 1957 Bach's Weimar period, and on eight strum ental development of the last 500 different classic organs in Alsace, Ger. beautifully elaborated in the "Bartok his effects, dipping into Bach, the nine- years." One mayor may not, however, many, and Austria. The very latest style." teenth century French organ masters agree with the commentator (and pre- equipment has been used to capture Georgy Sandor, pupil and friend of (especially Franck), Tschaikowsky, sumably with the composer) that this the personal tonal identity of each in. Bartok, shows remarkable ability here Shostakovich, Stravinsky - and some- .is a merit. An air of intellectuality is strument. Thus the listener is given the as a pianist and musician. His versatile times even being his sprightly sel £. lent to the whole by the use of Latin rare experience of hearing Bach played planism permits him to undertake the Both concerti seem well suited to the NEW RECORDS flamboyant performing style of Mr. and Greek texts (suitably expurgated on some instruments on which the mas. serious task of making such a record- in Decca's translations) dealing with ter himself performed, and others about ing. He managed to realize all the Ellsasser. An earlier recording of the Poulenc the trials and triumphs of licit and which he knew. (Columbia ML 5078) unique aspects of Bartok's music, be- {Columbia, with E. Power Biggs) is illicit love, as described in the verses of -r-David Ewen ginning with the slow five-finger exer- cises played legato, and ending with considerably mellower-sounding. The Catullus, Sappho .and Euripides. Orff's Beethovem Sym,phony No.3 in E-flat least half a dozen others in point of elemental message, however, needs no Major Two Piano Recital by Vronsky and the percussive, orchestral sequence of Hanson, however, here appears for the tonal beauty, precision and the glowing translation; its basis is clearly far Babin rapid chords. Several of these exercises first time on LP. (MGM E3361.) Steinberg and the Pittsburgh Orches- , Brahms tone that ought to be evident more physical than spiritual (even The two-piano virtuosity of Vronsky create pianistic difficulties, but it is a -Dika Newlin tra produce the twenty-second LP ver- in this symphony above all. (Capitol though the composer has characterized and Babin is now familiar. They have compliment to Mr. Sandor that we were Karl-Birger Blomdahl: Chamber Con- sion of the "Eroiea" 'on Capitol. Were P 18000) -Arthur Darack his use of the scenic cantata as a means put on a single long-playing disc sev. not conscious of this fact. Double notes, certo for Winds, Percussion, and this the third or fourth recording one of expressing "a spiritual attitude.") Mozart: Symphony No. 34, K. 338 eral favorites of the two-piano reper, rhythmic complexities and polyphonic Piano might get excited about it. The playing Richard Donovan: Soundings for Together with Carmina Burana in C Major tory, and in performances and record. figures were interpreted with great skill has certain emphatic virtues; clarity, a Trumpet, Bassoon, and Percussion. (based on racy medieval Latin verses) Schubert: Symphony No.3 in D Major and awareness. Tempos were ne:ver John Verrall: Prelude and Allegro for direct, strong, rhythmic thrust, a color- ings that are always of high order. these two works complete the theatrical ful, attractive tone, especially in strings, . Igor Markevitch and the Berlin Phil. The program includes the Chopin Ron. forced or disturbed. Strings. -M-G~M Chamber Orches- tra, Carlos Surinach, conductor trilogy Trionfi, which was given its and a fairly good general picture of the harmonic Orchestra produce beauti fully do, the Schubert Fantasy, Op. 103, The fidelity of the recording is excel- Three more "firsts" on records for world premiere at La Scala, in Feb- towering stature of the music. But shop- proportioned, vitally played perform- Milhaud's Scaramouche Suite, and lent, and the album is elegantly edited, M·G·M! Blomdahl shows a liking for ruary, 1953. Carmine Burana, too, has ping for records is not like looking for ances of these symphonies. But the Ber- Llszt's Concerto Potheiique. (Decca DL containing a booklet of valuable in- careful motivic workmanship, for aus- been recorded by Jochum's forces for a girl friend with whom to fall in love. lin Philharmonic lacks the tonal luster formation and photographs. (Columbia 9790). -David Ewen tere harmonies widely spaced, and for Decca (DL 9706). Thus, the entire One ought to be ruthless and cold- that the great American orchestras have LP 5L-229) -Jan Holeman the extreme ranges of his -instruments. work now becomes available in what is blooded about getting the finest inter- taught us to prize in music of this sort. Alberto Ginnstern: Quartet No.1; D. Scarlntti-12 Sonatas He is, perhaps, most successful in his surely a definitive performance. (Decca pretation and sound available. That Immaculate technique, such as the Ber- Lnzzla: Lajhta: Quartet No.7,Op.49 Pagani.ni Quartet (Henri Temianka Out of nearly 600 Scarlatti Sonatas, lively rhythmic movements (stunningly DL 9824 and Decca DL 9826) would probably rule out this one be- liners possess, is an admirable begin- and Gust,ave Rosseels, violiru' Maria Tipo has selected 12 for the new played here). Verrall, more convention. -Dika Newlin cause of several competing recordings- ning but it is not yet the view of Mozart Charles Foidart, viola; Lucien La~ LP recording (Vox PL9940). Most of al in his harmonic approach, has writ. Toscanini, for example. (Capitol P- and Schubert to which we have become porte, 'cel1o) Ravel: Complete Piano Works, Walter them, however, have already been re- ten a threnodic C minor prelude and a Giesek,ing, piano 8334) -Arthur Darack accustomed. (Decca DL 9810) Though of differing national origins corded by prominent artists. Were it not busy Allegro whose harmony toys with (This review was written prior to the -Arthur Darack (Argentine and I-Iungarian respectively) Beethoven: Concerto No.3 in C Minor for the fact that we are familiar with dissonance but somehow ends in C death of Walter Gieseking, on October these quartets, new to LP, share their for Piano and Orchestra Mendelssohn: Violin Concerto the remarkable Horowitz version of the major. Donovan has chosen an unusual 26, 1956.) composers" common concern with folk- The Bulgarian pianist whose home is Mozart: Violin Concerto No.4 G major Sonata (Longo 487), we would ensemble, and his music is played in This set is like a glorious nest of music. Ginastera' work abounds in in France, Ventsislav YankofI is a brave Now that the art of David Oistrakh be considerably impressed by Miss first-rate virtuoso style. But, despite the Russian Easter eggs, a progressive vigorous rhythms and dazzling, fasci- young man indeed. So, for that matter, is receiving on American records the Tipc's rendition. Also her reading of composer's efforts at thematic integra- series of delights -und revelations. To nating, impressionistic sound-effects; is conductor Hans Schmidt-Isserstedt, kind of orchestral accompaniment and the F major Sonata (Longo 474), would tion, this listener received an impres- start there is a handsome package in- indeed, the interest is largely sustained whose Northwest German Radio Or- the high-fidelity sound that it deserves, appeal to us more strongly if we were sion of irritating Iragmentariness, and cluding a beautifully designed booklet. chestra is charged with the symphonic the discophile can ascertain for him. by these, for the thematic material not acquainted with Landowska's mas- of sonorities that refused to blend into There are two delicious, infrequently problems of the Beethoven Third Con- self what all the shouting is about. seems of lesser importance, hard to be terful version of the same work. Two the "colorful web of sound" described heard pieces, "A la maniere de Borod- certo. While the catalogue spills over with the Iieve that Lajhta was a co-worker 01 different interpretations of the same in Donovan's program notes. ine and Chabrier." Then there is the Yankoff's playing has some charms, recordings of both the Mendelssohn Bartok and Kodaly, for his use 01 composition are rarely equally convinc- (MGM E3371) -Dika Newlin usual superior Angel recorded piano most of which stem from unrealized in- and the Mozart Fourth Concertos, this Hungarian folk-material is rather mild ing. Carl Orff: Catulli Carmina (Ludi Scae- sound. Next is the fact that the per- tentions. One senses a rAodesty 'of man- new release by Oistrakh is in a unique and bland than dynamjc or exciting. Miss Tipo does not 'always use the nici-). Annelies Kupper, soprano; formances are, for the most part, gor- ner and a basic sincerity. Yankoff in- class. Probably nobody today can 'pro- The Finale of this Quartet might be pedal carefully. Diatonic runs require Richard HolIn, tenor; Hans Weissen- geous. Gieseking, now unreliable in his bach, Walter Faith, Julius Karr- tends to present the music with that duce from the violin sounds as beauti- dubbed a Hungarian Turkey in. the particular clarity, and they play an im- public performances, is here almost portant role in the ornamental quality Bartoli, Kurt Presti, pianists; per- kind of siJ!lplicity that only the great- ful and pure as Oistrakh can, and Straw. The string writing is elegant and cussion instruments; Chorus of the consistently at his present best in the est of Beethoven players attain. Alas, beauty of sound is always combined skillful, especially in the neatly turned of the old music. Nevertheless, some Bavarian Radio, Eugen Jochum, music he feels most completely. • simplicity is not synonymous with with the most discriminating musician· Menuet. Sonatas were performed by Miss Tipo conductor Only in the virtuoso pieces, Scarbo tonal dullness, rhythmic regularity and ship and impeccable taste. (Columbia The Paganini Quartet's performances with exceptional accuracy. Generally, Carl Orff: Tdonfo di AJrodite (Con~ certo Scenico). Annelies Kupper, and Alborada del Gracioso, is there any a somewh~t distant emotional tone. To' ML 5085) -David Ewen are enthusiastic and virtuosic. Their her recording could be of service to Elisabeth Lindermeier, Elisabeth trace of his current lamentable techni- b_esure, this concerto is a problem. Does •. powerful, "gutty" tone is especially students and o·f pleasure to discophiles. Wiese-Lange. sopranos; Richard Ysaye: Violin Sonatas Nos. 3 and 4 cal limitations. These are only shadows one align it with the later or earlier Bach: Violin Sonata No.5' well-suited to Ginastera's more violent The fidelity showed no serious defects. Holm, Ratko Delorko, tenors; Kurt of his overwhelming performances of (Vox PL9940) -Jau Holemao Bohme, bass; Bavarian Radio Or- works? One certainly is justified in giv~ Michael Rabin is no Oistrakh, at least passages. (Decca DL 9823) chestra and Chorus, Eugen Jochum, twenty years ago, though the overall ing it. a sweep and authority as befits not. yet;. hut h e is an arti'st growing -Dika Newlin Poulenc: Concerto jor Organ, Strings conductor concepts are still dramatic totalities. the G Major and the E·flat Major. SimA dl The final pleasure is the renewed real- rapl y .10. assurance, technical mastery, and Tympani These are puzzling and disturbing ilarly, one can play it with the un com· d Bartok: Mikrokosmos Hanson: Concerto Jor Organ, Strings works in themselves-and the enthu· ization that Ravel's piano writing is a plicated brio that best serves the first an a:tl:t1C perception. The two Ysaye and Harp. Richard -Ellsasser, organ; s.olo vIOhn sonatas, which are not heard Columbia Records offers an important siastic critical approbation which they miracle. It is no chore to listen to the new recording of the Bartok Mikrokos· The Philharmonia Orchestra oj whole output at one sitting. two concertos. But Yankoff throws no as often as they deserve, receive at Hambltrg, Arthur Winograd, con- have received in certain quarters is new light on this question. His playing Rabin's hands a performance that com- mos (complete in 3 records) performed ductor perhaps even more puzzling. Listening Of the three available recordings of reflects neither the one nor the other mands respect. The recording also in- by the distinguished pianist Georgy The concerted literature for organ on to the Stravinsky·like rhythms by turns aU the Ravel piano music Casadesus attitude. Nor is the orchestra much cIudes a musicianly interpl'etation 01 Sandor. This unusual collection of mod· records is here enriched by t~o works brutal and sensuous, the hypnotically (Columbia) is the most brilliant, inci- help, though there are some individual B ern exercises was written to de\'elop of distinctly romantic cast. Both are reiterative fragments of primitive mel- sive and accurate; Gieseking employs touches, here and there. (Capitol P ach'sFifth solo sonata. (AngeI35305). piano technique (legato. staccato, dou· more washes of color, softer outlines, -David Ewen rather loosely organized in a one·move- ody with which Orff has accompanied 18002) -Ar(hur Darack ble-notes, independence of fingers, etc). ment "portmanteau" form which per- the barks, chants, howls, whoops and more imaginative pedal; Perlemuter Bach: Eight Little Preludes and But Bartok's exercises are also of great shrieks of his uninhibited characters, (Vox) is substandard both in perform- Brahms: Symphony No.2 in D Major Fugues mits the inclusion of many contrasting musical significance. They represent a one can only agree with the unnamed ance and recording, though· his album This Capitol recording, by Hans E. Power Biggs has made for Colum- sections. Hanson's piece is perhaps the source of interesting harmonic ideas writer of the jacket notes that "the is the only one containing the two con· Schmidt-Isserstedt and the Northwest bia extensive recordings of Bach's orga more consistent in its devotion to a and original.rhythmic figurations. So~e Sibelius·like post-romantic style, while composer's style ignores most of the certi. (Au gel 3541) -Joseph Bloch Ge~man Radio Orchestra, is the fifteenth musIC.. In h·IS current release he pI n of them are based on the pentatoniC Poulenc, as usual, is more eclectic in polyphonic, harmonic, -rhythmic and in- (Continued on Page 42) scale, others on Hungarian folk motives, etude-ionu';ry 1957 19 h••••~I:.vlelrlsliOIUI·.I.t.c.a.n.u.o.t.c.o.m.p.a.r.e.W.i.th.a.t••• e.i.g.h.t.1.i.tt.le_p.r.e.I.U.d_e_s_a_n_d_l_u~uesfr~~ etudt>-january 1957 MUSIC IN THE SCHOOLS an approach to Edited by Ralpb E. Rusb CHOPIN'S ETUDES A Madrigal Group Is Fun!

told by Ruth Slenczynska to Rose Heylbut by J?lorence~ooker ~ RECENT RELEASE by Decca Records of the picture of a student with a metronome, plodding through -, ~"chopin Etudes played by Ruth Slenczynska (pro- boring mechanical details. This may be true of a technical nounced Slen-chin-ska] marks another notable step in the drill, but not of an art study! In this category we havea (Florence Booker is chairman of the Music Department, upper register are needed because altos will sing some development of a child prodigy into a mature and sensitive study, true enough, but not boring drudgery. An art Arlington County, Virginia, Public Schools-Ed. Note) relatively high notes where there is no second part. Stu- artist. In 1929, chubby four-year-old Ruth gave a recital study is a glowing picture of life, like the magnificent dents interested enough to elect a small group in high studies put on canvas by masters such as Leonardo da in Mills College which established her among the fore- c!PERHAPS THE FACT that English madrigals school will be challenged by whatever assignment the di- Vinci and Albrecht Durer. Chopin's Etudes are of this most virtuosi of the day and as "the most amazing child were written for the Elizabethan home is the key to rector offers them, however difficult it may first appear. nature. Technical values are there, hut they are not of prodigy since Mozart." The little girl knew 200 master their popularity with small vocal groups today. They are What else is important in the selection of singers for works by heart; could transpose them into any key; first" importance. The Etudes express mood and feeling the very essence of material suitable for a small group. a madrigal group? No matter how good a voice a student could analyze any chords harmonically by ear or sight. -j oy, pride, rebellion, sadness, but always human All other choral music pales before their utter fitness, may have, he will be a successful member of the group . When she was five, Olin Downes called her "the greatest emotion. Hence, they must be approached as expressions their musical worth, the sheer joy they offer the singer. only if he possesses qualities of musicianship such as sen- genius that had ever lived"; at six, she took Berlin by of life rather than as finger dr-ills. The English madrigal is markedly similar to the music sitivity to pitch, blend, balance, and interpretation. He Storm; at seven, she played with the Paris Societe Phil- "We must also remember that Chopin is primarily of the church of the Elizabethan period. Both are for should have some facility in sight reading or have such harmonique under Alfred Cortot and, a few months later, a composer for the piano--especially in his Etudes unaccompanied voices; both are contrapuntal in style, a good ear that he will learn readily by rote. He must made her New York debut following which the Herald- which he wrote for his friend Franz Liszt. Hence, these composed of "layers of melody"; and both abound in have an excellent attendance record. He must accept the Tribune spoke of her "secrets of touch and technique works (composed by one great pian ist for another) are imitation. One characteristic of the madrigal is that it is fact that small ensemble membership will be his principal which many pianists strive futilely for years to unravel." intended to explore the full possibilities of the piano, a part song. Another characteristic is that the words are extra-curricular activity. He must get along well with At eight, she composed her own cadenza for the C-Major and must be played -sc as to reveal the piano not merely skillfully set. Each composition is marked by rhythmic other people for teamwork is essential. He should have Concerto of Beethoven (since published and used by ~s a percussive instrument but as a valid and glowing freedom and independence of voice parts. A touch of an attractive personality and make a good appearance. leading adult pianists). By ten, she had coached with means of expressing emotion. The very touch of the archaism and quaintness distinguishes the madrigal, for And finally he should have parents who understand and Petri, Schnabel, and Rachmaninoff, and had filled a tour fingers on the keys must have something special to say! the influence of the modes was not extinct during the pe- appreciate the fact that he will have many calls upon his cancelled by Paderewski. In 1940, Ruth accepted a tour "Let us see what Chopin himself advocated for good riod when the madrigal came into existence. time to serve the community. of South Africa, but could not fill it because of the spread - piano playing. He stressed listening to oneself. He believed What is a modern madrigal group? According to au- Is the creation of atmosphere necessary to the success of World War II. Her concert activities suddenly sus- one should practice on the best piano available in order thority, madrigals were considered one-to-a-voice compo- of a program given by a madrigal group? Elizabethan pended, the girl. returned to her native California and sitions.·Today a madrigal group, if all participants are costumes, a table and candles can be charming and alto- took stock of herself. Dissatisfied with her progress, Ruth equally strong, seems most successful if there are ten, gether delightful to an audience, but not essential. Since determined to secure the unhurr-ied development which four boys and six girls. However, in high school small an entire performance of madrigals is seldom presented, alone could bring her amazing talents to wholesome ensembles of twelve, six boys and six girls, are most effec- it seems inappropriate to ask a group of youngsters to do maturity. She began to free herself from her father's tive for many reasons. When numbers of students earn- a Hindemith chanson, an American folk song, or a Span- domination. She studied, worked, and was graduated with estly seek admission into the group, the wise director ish Christmas carol in an Elizabethan ruff! Sometimes honors from the University of California. Withdrawing must remember that too many voices will result in thee robes are suitable, sometimes a party dress, sometimes from the stage, she probed music for more than tech- sacrifice of the very quality of sound that is characteristic formals. Boys enjoy appearing in dark suits, white shirts, nical difficulties, supporting herself with odd jobs. At of a small group. The transparency and clarity of the and long ties. one time, she worked as usher in the San Francisco Opera small ensemble sound would disappear. A comparable How should tryouts for a small ensemble be conducted? House where she had appeared as a stellar attraction. change would occur if a string quartet or any of its Tests of the teacher's own making or standard tests which Serving as Professor of Music in the small Catholic Col- parts were doubled. measure pitch and rhythm with some degree of accuracy lege of our Lady of Mercy, in Burlingame, California, The more delightful madrigals are those which are should be used. The ability to blend and the ability to be Ruth. was again "discovered" while reading- at sight an written in five parts. Some of these are written with two independent on a part must also be tested. General schol- obscure Bach manuscript. In 1951, she appeared as so- tenor parts, many more with two virtually equal soprano arship must be considered. Not only is there much mem- loist in the Carmel Bach Festival, asserting herself as parts, SATTBor SSATB. If the singers are wisely selected, orization of music but also the many invitations for per- a musician of maturity and stature. Since then, she has everything will go smoothly. At least one bass voice low formances which small ensembles receive make it unwise enough to lend sonority to the low notes should be in- to select a weak student whose academic work will suffer played more than 500 concerts, including tours with the Ruth Slenczynska Boston Pops' Orchestra and appearances with the New cluded in the bass-baritone section. A high baritone "rover" because of his membership in the group. However, the desire to be a part of such a group often serves as motiva- York Philharmonic; has recorded for Decca and RCA t~ h~ar the music at its best. Chopin is the first great can be assigned the second tenor part if re-enforcement tion and can be responsible for improvement of grades. Victor; has appeared over major air networks here and pianist to advise playing by ear guidance. This doesnot is needed in the tenor section where there is division of What kind of music besides madrigals is suitable for in Europe; and has earned the unstinted acclaim of a mean 'playing by ear,' but listening to oneself and training parts. The director will find boys willing to make even this supreme sacrifice for the good of the cause! At least a small group? Particularly fitting are folk songs and new generation of critics. In 1957, her life story will the ear ~o guide one to a faithful expression of one's inner appear as a book and as a film. conceptlOns. two light floating soprano voices are essential. In five- novelty numbers to which the group can add action. Boys part madrigals with divided soprano, each should be and girls soon lose their self-consciousness in bringing a Believing that the Etudes of Chopin form the basis of "Further, Chopin considered music a language, and er- placed on one of the parts. The second sopranos are also song to life with a few restrained, suitable, and charming every pianist's equipment, Miss Slenczynska outlines her pected it to be treated as such. When we speak, wetry to "rovers" for they sing where they are most needed and gestures, and invariably please their audiences. Much personal approach to their study. express our thoughts in the best, clearest, most fitting best suited in four part madrigals. Altos who cap use the other music may be (Continued on Page 62) "An etude is a study, all too often calling up the words,. avoiding vulgarisms (Continued on Page 56) I 20 etude-january 1957 21 h _ etude-january 1957 L •• RADIO-TV COMPOSER, AMERICAN SCHOOL MUSIC CONDUCTOR, • • . an assessment COMEDIAN

by James L. Mursell ... that's

8N AN ADDRESS hefore the Music Educators Na- cific music study. But if tional conference last April and reprinted in the music is treated simply as -.JACKIE GLEASON September issue of ETUDE, President William Schuman another subject in our of the Juilliard School assessed American School Music crowded curriculum, our from the standpoint of the professional musician. I have basic aim will never be by Albert J. Elias been asked to make a similar assessment from the stand- achieved. For this, noth- point of the educator. ing less will do than to make our schools musical schools. ELEVISION VIEWERS who have a propen- line, and it sets a mood. Just like music. Comedy isn't My starting point must be briefly to formulate the pur- If music is to permeate the life of a school, various T sity toward comedy know the name of Jackie .Olea- difficult to understand, either. Nor is music. And, above pose of American school music. About this there need be patterns of co-operation are necessary; and these are son. Mention it to them, too, and more than likely they all, like music, it appeals to people's emotions." no theorizing. Its determining purpose must evidently be- already emerging. A music specialist is lucky if he can will conjur up the picture of the immense, baby-faced, From his brand of comedy, too, a lot of Gleason'smu- to make music an enduring and constructive influence in visit each elementary-school classroom for twenty minutes bright-eyed, hilariously impudent comic taking pratfalls sical compositions have stemmed directly. "The comedy the lives of American citizens, as universally as possible. weekly, and so the classroom teachers must handle much or ogling and, subsequently, 'following the girls' into I do," he says, "is a mirror of ourselves. I call it 'nudge Nothing short of this makes sense for an enterprise of of the music. To argue that they can do little or nothing the wings. Few of them, I dare say, are apt to visualize comedy'-and, by that, I mean that while people are such magnitude. because of lack of musical training is unrealistic. They the man who is back this season with his hour-long com- watching the comedy they're nudging each other and ex· This, clearly, is a very large undertaking. Yet, con- must be drawn in and utilized, for the alternative is the edy-variety show (Saturday evenings, CBS·TV), as a claiming how what they're seeing actually happened to sidering the strong public support for school music, the failure of the program. devotion of the great army of music educators, and the composer-sitting up late at night, working over a theme them, to Harry, or to someone else they know." As a matter of fact, experience proves that teachers unique opportunity of reaching millions of children song for his program. Nor are they apt to visualize him No better example of this "nudge comedy" is found with slender musical training can do much that is worth through twelve formative years, it seems feasible. More- in another off-stage role-as conductor of a symphony than in the series of characterizations Gleason has chosen while, granted proper help. This means giving them en- over, much has been learned by experience over the years. orchestra. The fact is, however, that John Clemens Glea- for himself on the program. There is Reggie Van Gleason couragement and confidence, providing them with suitable So it seems possible to say that we can see our way fairly son of Brooklyn, New York, is both composer and conduc- the Third, the determinedly devil - may - care playboy; materials and devices, and above all, stimulating them clearly toward the desired end, ambitious though it be. tor, as well as the rotund good humor man. . Ralph, the bumbling Brooklyn hus driver who is the ideal to learn. All this is possible. A corps of musically enthu- What, then, are the things that must be done? I shell What he may do in his capacity as musician, in the husband-he thinks! Then, too, there is Rudy the siastic and effective teachers can be developed in the ele- Re- try to point out those that seem to me the most crucial. future, may very well seem almost as important to mu- pairman-less handy than he is destructive; Fenwick mentary school. But the essential condition is expert and 1. We must begin young. Suitable, constructive, con- sical ears as what Gleason has done in the past. Offers sympathetic musicianly leadership. Babbitt, who attempts impossible jobs and fails spectac- vincing musical learnings and experiences for young have come to him to conduct the Philadelphia Orchestra, In the secondary school, student leadership has proved ularly; the Loud Mouth, who roars at his own miserable children are supremely important. Lifelong attitudes and the Colorado Symphony, and the Hollywood Bowl Or- feasible. Extensive programs of small instrumental and jokes; Joe the Bartender"":""'afamiliar tavern philosopher, proclivities are unquestionably formed during childhood. chestra-"and with my own music, too," as Jackie adds, vocal ensembles have been developed by this means; and recounting one adventure after another of imaginary P" So the music program in the elementary school is a mat- smiling proudly. And at this moment he is in the process many other types of musical activity also become pos- trons of his saloon; and the Poor Soul, a voicelesschar- ter of the highest concern. of accepting the Boston Pops' invitation to appear as guest sible. Again, the course in general music, too frequently acter who is intended.to symbolize the "little man." Many professional musicians think of school music conductor sometime soon. No matter what he does in the the orphan child of the curriculum, is rich with vital A typical Gleason program finds the Poor Soul having largely in terms of secondary school performing organi- days ahead, in the meantime whenever he gets a chance possibilities. a tussle with one of those beds that pull out of a closet- zations, which exist in quite amazing profusion. This- is he will "poke away at the piano," as the comedian-com- and losing it; Joe complaining about the demanding natural enough, but it easily leads to a wrong focus. Our Thus the function of the music specialist tends to be- poser puts it, "and write some more little tunes." habitues who hang around his saloon; Reggie mixing first business is not to promote and develop high school come the exercise of broad and effective musical leader- His modesty about the popular song hits he has com- himself a potent drink that throws him to the floor. performing organizations, no matter how excellent. ship, aiming to develop and extend musical interests per- posed, such as Lovers" Rhapsody and Melancholy Ser- All these Gleason characterizations, moreover, havein- Rather it is to foster a widespread, vital, enduring mu- meating the whole institution. enade, the theme song for his Saturday show-both of spired the comedian as a composer, too. For he has col- sical culture, as an influence for better and happier liv- 3. We must have a program which is both rich and which have been performed by such units as the Indianap- laborated with others in creating such comedy songsas ing. If this is to be done, we must capture the children vital, and also sequential. To achieve our basic aim, it is olis Pop Orchestra and the Atlanta Symphony-extends to Poor Soul, Reggie Van Gleason the Third, and Here's for music. necessary to bring about a steady growth in musical com- every phase of his career. One need only ask him how he Charlie, which is used as the theme song for the Loud To bring music effectively to children calls for musi- petence and insight throughout. the school years. This accounts for being successful on so many fronts to find Mouth's sketches. cianly leadership of a high order. Trained expertness, requires a program combining both scope and sequence, that out. "Anyone who's on TV can have enormous pop- On the more serious side, John Gleason has also writ- wide knowledge, and refined _taste must be brought to to use two technical but convenient educational terms. ul~rity," he will answer. "Probably because they're on ten a piece in four movements called Tawny. Tawny is bear. But they must be brought to bear with a real insight In the past, much school music teaching emphasized much more intimate terms with him-since he's right described as a tone poem with an overture plus three into the ways in which children respond to and learn sequence but neglected scope. The intention was to de- there in their living-rooms-the public takes to a TV per- m~vements that are devoted, variously, to the Blues,the music, into what will and will not work out in dealing velop music-reading ability as a tool skill. The so-called former even quicker than to a movie star," says Gleason. Mmuet, and the Waltz. It was this work, too, that was with children. f~ndamentals were set up and taught in sequential order. "Music and comedy," Gleason states, "are virtually presented on Gleason's show in the form of a ballet- 2. The school as a whole must be made a musical en- There was little concern for the artistic quality of the blood-brothers. Comedy has pathos in it, simpleness of with some seventy-odd dancers (Continued on Page 41) vironment. Certainly there must be systematic and spe- music used, or for the range and (Continued on Page 60) 22 h _ etude-january 1957 etude-january 1957 23 In a Swan Boat Grade 3

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Copyrighi 1947 by Tbeodore Preoaor Co. British Copyrigbi ....,.d I ETUDE-JANUARY 1957 .25 I .24 lr,, _ ETUDE -JANUARY 1957 Lyric Arabesque The lyricism of this piece shou-ld be emphasized chiefly by bringing out the eighth-notes in the right hand, much as you would play the E minor Prelude .,i\. _ -...... I .: ...... ,- ---..... of Chopin. The left-hand arabesques should be quite soft and much less ex------~- pressive than the lyric part. While the harmonic structure appears to be a se- ...... 1' _____ t, pp t: ppi ~ ries of 7th, 9th and 11th chords, the tones which comprise these are usually sus- -- P espressoma non troppo pensions; that is, carried over. The effect is that of genuine bi .chor'dal structure, ~ although the tonality throughout gravitates around D major. This is the key in . which both the lyric part and the arabesque resolve at the end. 1 NORMAND LOCKWOOD ---- Edited by Isadore Freed ------Moderate andante quarters espress. a tempo espresSo I~ , -...... ~ ~ ------. ,11---- _.. ~ ------' - ,. ~ T ~ ...... p ;! r f-.::J p~ -~ poco J.ll. -~ PIANO (jlp\ r., #..J ~ __~ 1'J. ~~ r- \~ 7J.-f-..J..,., ~~ .. :€ ~ . _. - r--- .~ -

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© Copyright 1956 by 'I'heodcre Presser Co. 38 . II International Copyright 5ecu~d 39 ETUDE-JANUARY 1M ...... iiiiiliiiiiiiii ...... ETUDE-,rANUAR~Y~1~9~57 •••••••••••••• 7 PHILADELPHIA'S ACADEMY OF MUSIC aplendent new wooden stairs of h Academy to the family circle and [he (Continued from Page 11) THAT'S JACKIE GLEASON I'm hoping to finish another four-part cial on his show. In addition, Gleason amphitheatre to see and hear the Ie new ballet like Tawny by the end of Feb- has composed the song, A Wonderful made his debut in "Higoletto" in the" shell of the egg forms the auditorium Italian ?peras. Today patrons climb (Continued from Page 22) ruary." Night, which is used to introduce the Academy on December 29, 1903. walls, and space for' the stage is cut steel staircases. Workmen who remo d For the most part, though, Jackie Tommy and Jimmy Dorsey TV pro- A modern music play had its first out on one side. , the old wooden stairs 16 years ve has composed a lighter variety of music gram, "Stage Show," as well as the h ago hopping to jazz rhythms in a typical presentation in the United States when The Academy was built with such found they ad been built withoul city street scene, at. one moment, and than these pieces for his large, full- incidental music for a play he starred the Philadelphia Civic Opera Com- thick walls-and with so many inner nail, screw or bolt, the risers a ~ then -gliding through the paces of a sounding "Romantic Jazz" orchestra. A in on "Studio One." pany gave Richard Strauss' "Ariadne walls-that outside sounds have no treads having been joined by wOod: Jackie's music is first his mood mu- n formalball, the next. little number called Christmas in Paris auf Naxos" in the Academy on Novem- effect. There are three walls of brick pegs. "You could safely say one thing," has been his new contribution to the sic, then ..he public's. "Music To Re- member Her," "Music To Make You ber 8, 1928. and cement, one within the other, and In 1907 additional .boxes in the beamed Gleason as he spoke about past holiday season, while Obey has Misty," "Music For Lovers Only" are The first successful demonstration of each three feet thick. The first or balcony and parquet circle were in. Tawny and hi; first piece, Lovers' Rhap- been recently serving the crooner Gor- probably the most familiar titles of the "music by remote control" was conduc- outside wall encloses the entrance lobby stalle~. Fifteen years later the foyer sody, which was not only conducted by don MacRae very well, indeed. His dozen or so albums Gleason has had ted by The Philadelphia Orchestra and on the. Broad Street side. The second was given a separate entrance to make Jackie but was introduced to the tele- Honey is used by the Bulova Watch recorded. And not only has he super- Bell Telephone engineers in the Acad- encloses a horseshoe promenade sur- it suitable for lectures and smaIl visionaudience by Deems Taylor. "I'm Company during its commercial on his vised the recordings of his music, but emy on April 12, 1933. The Orchestra rounding the auditorium itself, which, musicales. certainly going to take advantage of program, and another tune of his has played in the foyer and the music was in turn, is shielded by a third wall. AI- myprogram to show off all these hidden been taken up by Old Gold Cigarettes he has conducted them. For Gleason In 1904 a new border lighting sys. transmitted by wire to the auditorium together, the main auditorium is in- talents of mine! Right now, for instance, for background music to their commer- (Continued on Page 47) tern, needed for more than a quarter which was empty except for Dr. Leopold sulated from the outside by nine feet of of .a century, was installed. This was Stokowski and a group .of listeners. brick, with air spaces between walls the first radical change in stage lighting A .concert by The Philadelphia Or- aiding the insulation. in forty years. With these new border chestra was televised for the first time The dry well beneath the parquet lights, a red or blue light could be from the Academy on March 21, 1948. floor is credited with being a main thrown 60 feet from the "border" to Visitors from all over the world have factor in the Academy's splendid the stage. The old reflectors threwthe marveled at the acoustical advantages acoustics. Special care is taken to keep ,,, I Learn More ••• Earn More light only one-third that distance, and of the historic Academy of Music-an it dry and clean. Sound coming from opera house built as carefully as Strad- the stage is absorbed by the well, left the stage shrouded in shadows. ivarius fashioned his precious violins. thereby not bouncing back to produce Another change that few peoplereo ~~hru HOME STUDY in Spare Time Sound engineers have pronounced the echoes. Beneath the stage is another member is the removal of the old building's acoustics as perfect. wel1. "apron" stretching some 20 feet into Credit for the acoustical properties With the possible exception of the the auditorium beyond the present -- of the Academy has been assigned to Paris Opera House, the Academy build- footlights. It cr ated a strange illusion the Philadelphia architects who de- ing has the most interesting and cavern- to have a prima donna walk out to sing Your music can open the door to bigger opportunities •. if you signed it, Napoleon LeBrun and ous catacombs in the world. Its dungeon- an aria and then return to the opera continue to train. Decide now to better your skills and broaden your musical knowledge. Competition is keen, even in the smallest Gustavus Runge. LeBrun was the 50 like basement contains massive pillars set again, and the apron was reo communities. Prefare to meet it anywhere; and take advantage of DIPLOMA partner who interested himself in and is dimly lighted. There appear to moved. Upon removal, however, one01 all the wonderfu opportunities that a.re open in all branches of acoustic problems. La Scala, since its be endless chambers and corners where the world's best pipe organs, hidden your profession. or Bachelor's Degree erection in 1778, had been noted for under the apron, had to be set up baek. equipment and properties are stored. Opportunities and Be"er Income its superb acoustics, and LeBrun went Over the 100 years of its existence stage. Become affiliated with a school that has earned the New forms of entertainment, TV for example, require entirely recommendation of thousands of successful teachers to Milan for first-hand study of that few major changes have been made to In connection with the birthday eel. new musical techniques .. , but well-paid, "Big Time" positions and professional musicians for over SO years. We are opera house. That he returned to do his the Academy of Music, and the venerable ebration, it has been decided to embark arc available TO those trained for this highly specialized field. the ontv school giving instruction in music by the work with skill and thoroughness is re- brownstone and red brick building to- lnteresring positions are open in schools and colleges every';Vhere. Home-Study Method, which includes in its curriculum on a long range rebuilding program all the courses necessary to obtain the Degree of flected in the Academy's clear resonant Again, specialization is necessary. Qualify yourself for reaching by day is badly in need of rebuilding. for the Academy. bringing it up todate enrolling in our Advanced Study Courses. DOUBLE BENEFl'-r:-S: Bachelor of Music. . auditorium. A century ago crinolined women and in its phy ica l appearance but in noway You improve your own performance, and you learn the latest im- proved methods to stimulate interest of your students. Turn Spare Time into Profitable Study! To the ordinary eye there does not Cong'"ress-gaitered men climbed the reo interfering with or detracting fromits seem to be anything unusual about Schedules of busy musicians and teachers seldom great acoustical properties, Start NOW toward Greater Success permit a return to formal classes, but they can advance the construction of the auditori~m. Yet rapidly through Extension Courses. These need not Heading the centennial committeeas Gel the traininz every musician wants ... to advance further the audience sits above a dry well under THE COVER THIS MONTH interfere in anv way with regular work. The progres- general chairman is G. Stockton Straw- and get it the ~odern, convenient Hom~ Stud.y way. Kn~w the sive musician, ·bus}; as he may be, realizes the value the parquet floor that resembles a advanced, up-to-date techniques of today s music leaders. Courses ETUDE's cover this month bridge, president of Strawbridge and of further study and finds the time for it, proceeding gigantic tea cup. This corresponds to include: whenever spare moments are available. the great. dome in the ceiling, and shows a combination of the old Clothier department store. In summing and the new: the old, a cross sec- up the aims of his committee. Mr. HAJlMONY:_Wrillen by ....,0 of the HISTOJlY:-A modern coutU Includi"g (HECK COURSE THAT INTERESTS YOU and mail coupon for thus the sound is "cushioned" between all IYP"Sof music from ancient origins .sample lesson and booklet •.. without /lilY obligation. tion showing the stage and ad- StrawBridge stated: "The Academyis fi~t~h~.:'~I~ni~v~~ :~Uj!';o~ib~~i~ 10 20th CenlUI)'. Inlere.ting-wilh em . these hollow sounding boards. Tundamenlab right throu~ to Counler- phasis on the analysis of musk-not a poinl and Orchestraocn. joini.ng area of the Academy of an economic as well as a-cultural force. dull colltttion of faCIO. The same principle is used III the • UNIVERSITY EXTENSION CONSERVATORY. Dept. A 868 MUSIC, as originally prepared by Business has a stake in its welfare. AARANGING:-Ali the tnch of mode", I····································~··~ construction of the walls around the ~oDVi~~~~~~~~~s~~~l~~ee~it~:~ : 2000 South Mich1qClnBh·d.• Chka

STORY OF ROY. HARRIS gregarious person, capable of easy there are so many men in various VIOLINIST'S FORUM communication with all types of people. Iessiessrons bearlearmg t he name ident'pro (Continued from Page 12) , h Ju f ' !Cal He cannot live alone with himself; he WIt lIS, or It agrees with his pb'l f communi lOS· must project his ideas. That is why he op hY 0 community. But he takes p 'd when the emotional climax demanded in distinctions as well, and apprec,n e loves to teach. He has had numerous . lates Modern Fingerings for it. In these contrasts, and in these affin- teaching positions-at Cornell Univer- the vafJOUS honors he has received fr ities, Harris remains true to himself. sity, Colorado College, at Utah Agri- ?fficialcia a~.d aca demierruc Institutions, omHe Important as musical Americanism cultural College, George Peabody Col- JS the. recipient of the Elizabeth Sprague is for Roy Harris, another "source of lege for Teachers in Nashville, and at Coolidge Medal for eminent servic Scales and Arpeggios inspiration is equally powerful in his the Pennsylvania College for Women ch am berer music:musi Award of Merit ofethto music: counterpoint of freely combined in Pittsburgh. But he is never content National Association of Composers an~ melodies in a broadly conceived modal Conductors for outstanding contribut' to be just a professor of music. Invar- .. nn by Harold Berkley style. To Harris the modal system is iably, his program has expanded: he to American music ; and First National not merely a contrived academic has organized festivals, invited famous Committee of Music Appreciation scheme. To him; each mode reflects' musicians to be guest teachers, and Award. ly observed on an ascending scale. actually they are not, Granted that, an emotional state, much as Plato "... You referred fairly recently engaged string quartets to give perform- In 1941 Roy Harris received an b a violinist who has spent years prac- stated the idea twenty-five centuries . on, toa specialfingering for one-octave Some tradition-minded teachers ances for the students. He had such orary degre~ of ,Doctor of Music from ago. But this Greek "ethos" assumes an scalesand arpeggios on one string, cast doubtful eyes on the "unortho- tising. the traditional fingerings might festivals every summer in Colorado Rutgers University. He could not read entirely different aspect in the corre- but I don't remember that you have dox" fingering for the descending find some difficulty in gaining fluency Springs; he organized the Cumberland the florid Latin of the citation whicb spondence of modes to moods in Harris' ever giventhe fingering on the Violin- harmonic minor scale, Ex. C - to in the new system-it might take six Forest Festival in Sewanee, Tennessee, described him as "optimi ingenii vi " music. A mode conveys a dark mood ist,sPage. Not in the last ten years, them it does not "look" right. The months-the fact remains that stu- and - for a grand climax - the Pitts- but the vellum diploma was most i~. when its initial intervals are small- omission of the third finger seems dents who are g,iven the modern fin- burgh International Contemporary Music pressive, and Harris 'had it framed and at least,' , ' If it would not be too the mood is bright when these intervals to them something like _3 missing ~ gering from the first have no more Festival of 1952, of which he was ex. hung on the wall of his studio muchtrouble, would you mind ex- are large. According to the specifica- ecutive director. This was a festival on plainingthe fingering? It would be front tooth! Yet the fingering is com- trouble learning it than other stu- tions, the brightest mode is the Lydian On his fi'ftieth birthday, he r~ceived a big scale, rivaling the famed European helpfulto me, and I expect to many pletely logical and technically easy- dents have learning the older finger. (corresponding to a scale played on the citation for distinguished citizen. festivals. Works by several dozen Euro- ofyou,r other readers as well ... " all the player need do is to keep his ing. This has been proven true very white keys beginning on F), for it ship from the Governor of the Stateof pean and American composers, for or- Mrs, A, F. K., Massachusetts second finger on the sixth note of the many times in my experience. opens with three whole tunes. The Colorado, which declared: "As a com. c~estra, choru.s, chamber mus'ic groups, ascending scale until it is needed on Locrian mode (corresponding to a scale poser, you have given our schools piano and VOIce were included in the Publicity Advice churches and concert halls America~ This is a good question and a time- the descending scale. The shift from ~layed on white keys beginning on B), II I am up against a problem, programs. The scope was truly interna- music which characterizes our people the sixth note to the fifth (2 to 3) is rs darkest, because it begins with a semi- Iy one, for in the violinistic world and if you can help me solve it I tional. and our time; as a teacher, you have both shorter and firmer -than the tone, and has a diminished fifth between these days there is much talk of scales shall feel deeply indebted to you .. , , In all of Roy Harris' activities of the spoken to students throughout America traditional fingering--4 (on the top its first and fifth note. The Dorian mode andhowthey should be fingered, My mother and I have moved recent- (corresponding to a scale played on last twenty years, Johana Harris has of the worth and dignity of American note), 3, 2, 1,4, 3, 2, l. In ETUDE for last September I ly to this town, more than a thousand white keys beginning on D) is neither been his most faithful helpmate .. A culture, and you have, by your example, The modern fingerings for arpeg- outlined the modern fingerings for miles from where we used to live, ~right. nor dark, for it is completely brilliant pianist, she has played the given encouragement to them to' create gios (hoth 3-octave and single string) three-octave scales and arpeggios, where I was fairly well known as a invertible, so that the intervals from D first. performances of all Harris' piano and play the vital new music of this follow the same trend towards mak- ~USIC, and has served as the pianist free and democratic land." about which most of the controversy violin soloist .... My question is, up the white keys to the next D an octave ing a shorter shift to a stronger m chamber music festivals organized by The career of Roy Harris,from humble revolves; so this discussion of single how can I become known as a player higher are the same as the intervals finger. him. Bor.n in Canada as Beulah Duffey, beginnings, through a late start, to the stringscales and arpeggios is decided- and as a teacher in this community? from D down the white keys to the D Ex. E. D she studied at the Canadian Conserva- pinnacle of achievement in a highly ly a propos, Ex.D D an octave below. In his Third String ~ ~ ., . . . We have lived here now four tory at Ottawa and at the .Iuil liard special and difficult art, is indeed an .. ~~.,."Fi;"j U Quartet, which is a series of preludes EI.! D. ... & P ttl IJ E& months, and I have not gained a solo and fugues in different modes con- School of Music in New York. The inspiring American story. THE END date or a pupil as yet. , . . What nam~ J ohana was given to her by Roy veying different moods, Harris follows ~nl;JJEitp shall I do? Harris to honor Johann Sebastian Bach. t~is scheme of psychological modality ~." .. Miss K, R., Iowa WIth astounding consistency. But why only one On'? The explanation NEW RECORDS ~ ttulJ In his treatment of harmony too is somewhat involved. Roy Harris is an Your problem is Dr no means an amateur numerologist, and believes Harris has a system of symbols. H~ (Continued !ron;-Page 19) uncommon one: There are many that five is his lucky number. An In Ex, D, taking the G, with the relates triads not through the tradi- young violinists-and others, singers number divisible by five is also luck~ second finger leads the hand forward tional cycle of fifths, but through- com. Schumann: Davidsbiindler Dancesulld and instrumentalists-who study in a mon tones. The C major triad for for him. Now, each letter of the Alpha, Syrnpl{onic Etudes in preparation for the shift to the certain city, attain some popularity instance, is related to A-flat maj~r, to bet has its own number, and the sum A curious record. The Davidsbiindler fifth position, and it also calls for a total of the letters in the name 10h narrower shift. The descending shift there, and then have to move to a C-sharp minor, to A major, and to ,I 'I' , ana, is played buoyantly and impeccably by It is understood that the Scales Wit I a SIng en, is divisible by fi town where they are quite unknown. any other triad that has C E or G ve, pianist Rudolf Firkusny with ideal bal· Exs, A, Band C are to be played on is also shorter if the G is taken with R H There are several paths by which in it: In his polychordal' ha~rrrony . oyh arris and 10hana were mar fIe' d ances and proportions. Firkusny is real· the D string only. The same finger- the 2nd finger ;nstead of the 3rd. being unknown can be overcome. Not Harris superimposes such related triads: III t e town of Unjon (containing five ly inside the music, and the whole ings apply to all keys and also to the the lsJ finger extending back as the letters), on the 10th day of the 10th knowing your violinistic ability, it is The one tone in common helps to create emerges as if it were some superb im· other st-rings. ]n the Examples, the shift is made. In Ex. E, the major a degree of euphony, not otherwise .month of 1936. (an auspicious year , for provisation, completely right in its de· third between the first notes makes a little difficult for me to say which th f upper fingering, for the ascending available. in polytonality, According to e sum 0 1tS digits is 19, and the -sum tails and in its large outlines. This and is the best one for you. The most scale, is preferred by most players the use of the 2nd finger on the G the emotIonal spectrum of Harris' har- of the digjts in 19 is 10 which is t\ . the Adrian Aeschbacher performance obvious first step, if you are equipped five). ,VIce today as being more in keeping with sharp impractical. So the traditional monies, a major triad piled upon a (Decca) are the best on LP. But the fingering is better here. However, for for it, is to rent a small hall or church Symphonic .Etudes are affected and the modern principle that two short re~ate~, major tri~d pr~duces a "savage Roy Harris is a common nan Ie. the second inversion of a triad, the room and give an invitation concert, Th hectjc with inexact rhythms, a lack of shifts in technical playing are usually bnght effect; two mmor chords, one :re, are 6 Roy Harrises- in Chicago, modern fingering (shown in Ex. F.) inviting those people (strangers as on top of the other, make for a "savage fundamental pulse in most of the better than one long one. ~~ In Denver, and 6 in 51. Louis; 5 is infinitely superior-for the rea- well as friends) who you think would dark" combination. slower variations, careless pedalling The fingerings for the three des- III .Kansas.'. City and 5 in Los A nge Ies; be interesteq in hearing you play. It and missed notes, whjch the exception- cending scales are based on the sound sons given in 'connection with Ex. D. Despite the formida'ble intellectualism 4 III CmcIll?ati and 4 in Dallas; and w.ould be sound tactics to ask a singer of, his harmonic theories, Harris is any- ally faithful recording reveals merci· principle that in technical passage- The same reasons are equally cogent at .Jeast 2 In each major city in the -if you know a good one----to share thmg but a musician in an ivory tower. lessly. Geza Anda's version (Angel) is work it is better to shift downward for the diminished seventh arpeggio, UOite~ .States._ There is no tag of the program with you. This would His childhood and adolescence, spent exclUSIVIty in the name a d R cleaner and more spontaneously vir· on a half-step than on a whole-step. Ex. G, ,n oy tuoso play;ng. (Capitol P8337) These fingerings look difficult, but (Continued on Page 49) among sio;ple people, made Harris a Harris rather welcomes the idea that This principle need not be so careful· -Joseph Blocb 43 42 etude-ionuary 1957 etude-january 1957------i.= ___ .....------

ORGANIST'S PAGE stayed home tonight. WHITEBEARD: Now, ..look here, Paul. There's a difference between up- holding musical standards and carry" ing a chip on your shoulder. For Chapter example, where do you get off telling your minister that if he wanted a certain hymn played, he'd have to get Meeting himself another organist? forum (PENTECOST glowers; the others by Alexander McCurdy laugh) PENTECOST: A man has no privacy. (defensively) Anyway,-It's a dreadful (Scene: A chapter meeting of the ADVENT: (Glumly) Well, Paul, hymn. Ancient Order of Organists. ANGUS that's that. By the time this old goat WHITEBEARD: I quite agree. The WHITEBEARD, A.A.O.O., is presiding. finished politicking, your resolution text is sentimental slop, and the music Alsoon hand are PAUL PENTECOST, would have about as much chance as isn't even good Tin Pan Alley. TEACHER'S VIOLIN ORGAN AND CHOIR F.A.O.O.,ANTHONYADVENT,F.A.O.O., a snowflake in Syria. PENTECOST: Then what am I sup- ROUNDTABLE QUESTIONS QUESTIONS and THOMASTALLIS, F.A.O.O. The (PENTECOST, scowling, begins to posed to do when the minister wants readingof minutes, treasurer's report, tear the resolution into small pieces). it played? Maurice Durilesnil Harold Berkley Frederick Phillips etc., have been disposed of). TALLIS: But I don't understand, sir. WHITEBEARD: Play it. Play it as well as you can; and don't make it WHITEBEARD: Is there any new Don't you agree, at least in principle, Note Spelling that the organist-choirmaster of a sound as if you were playing with An Inferior Make Q. Shortly before OUf village Methe. businessto come before the meeting? one hand and holding your nose with Q. Are the terms "do-re-mi-ja- W. J. D., Florida. Friedrich August distchurch installed a two manual PENTECOST: Yes. (Produces a church should set the tone of its mu- sol-ia-si" Latin or Spanish? Should the other. (Looks pointedly at TALLIS, Glass was a member of a large family pedal electronic organ, I had acted a: paper).Here is the text of a resolu- sic? What becomes of our artistic ~hey be used as fixed names on the piano who turns red). Then tactfully point of violin makers who worked in Kling- org~nist-pianist for the church. Because tion which, if approved by this chap- standards if we only try to please the znstea~ of A-~-C etc.? Or are they enthal, Germany, during the 19th cen- of Illness I have not played since, bUI out to your minister that there is a ter, I intend to submit at the next music committee? used m [ormation of scales in various tury. He made most of his violins be- now the organist wishes me to substitute WHITEBEARD: In the summer vast wealth of music in the hymnal keys, forming a cycle of scales? Many national convention. tween 1840 and 1855. They are not for her quite frequently. r would like months, as all of you know, I am a which ought not to go to waste. Edu- thanks in advance. WHITEBEARD: You have the floor. very well liked because of their hard suggestions for self-study. I am using sailor. Now, although the ideas of cate his musical taste; don't call him E. R. F.-Texas PENTECOST:(Reading) Whereas, quality of tone; a quality probably Organ Pedal Studies, by Jessie Will)', astronomers have been completely a numbskull. Likewise, don't play caused by the very inferior varnish he and Pedal Studies for the Hammond A. The syllables "do, re, mi fa sol the art of music is a highly skilled revolutionized by the theory. of Cop- above the heads of your congregation. I . d " , , , used. Values today: $50 to (at most) organ, by Cronham. I know little about craft, proficiency in which is attained Many of them may have rather primi- a, 51, o": a~e Latin and in use in Italy, ernicus- $150. You would stand a much better stops and combinations. France, Spain and other Latin countries onlyby long and diligent study; and tive musical tastes. In' music, too, chance of getting a fair price for the PENTECOST: (groaning) Coperni- wher~ they are only used for 'solfeggio (2} In a neighboring village the Whereas,a Fellowship in the Ancient ontogeny recapitulates phylogeny- violin if you sold it privately than if Protestant Episcopal church. of which cus! exercrses. Orderof Organists is evidence of such ADVENT: Would you mind repeat- you sold it through a dealer. Why not WHITEBEARD: (unruffled)-yeteven In England and America, for instance I am a member, is building its own advertise it in two or three of your proficiency; and Whereas, in the ad- today, for navigational purposes the ing that? ?ne uses A, B, and other letters to des- church and has asked me to act as local papers, especially in a paper that ministration of a service of worship sailor makes two non-Copernican as- WHITEBEARD: (smiling) That is, as agnate notes; and in Germany also like org~~jsl, but I do not feel sufficient]; differencesof opinion on musical mat- the Darwinians put it, the life history dur, H moll, etc. ' has a. good circulation in the larger f~mdlar with the organist's responsibili. sumptions, that the sun goes around towns m your neighborhood? ters frequently occur; Therefore, Be of the individual repeats the history of In principle the syllables ate attached ties to do it properly. Can you suggest the earth and that an earthly observer to fixed notes (and they are indispens- books on the correct playing of chants it Resolved, that in purely musical is atthe center of the celestial universe. the race. Man is first a cell, then an able for singing purposes), but when A Bowing Suggestion for Bach and other required music? matters, not affecting points of doc- There's no special reason that I can invertebrate, . then a verteb-rate, and th~ movable do is used they become ap- Mrs. A. E. c., Alberta, Canada. I C. H. W.-N.Y trine, the decision of a Fellow or discover, except that it is handier to sp on, until finally human, if not dry plicahle to any major scale. The latter think yo~. would find your bowing Ancient of the Ancient Order of think of it that way. behind the ears. The same thing is troubles in the Bach Air on the G system, however, is rather rudimentary Organists shall be binding, and shall ADVENT: So? true of our musical development. We String no longer troublesome if you A. The books you are using for pedal and can never substitute for the real override any conflicting opinions of WHITEBEARD: Each of. you has a are not born with an appreciation of stu~y of key signatures, relativity of take the first note on the Up bow. Of wor~ may be sufficient for your needs, pastor, parson, rector, curate, deacon, position in space and a point of view the subtleties of the Missa Solemnis. maJor~ and minors, and all other phases course,. I do not know what edition you but If you wish further pedal studies we presbyter, churchwarden, vestryman, which to him represents the exact Some acquire a taste for it faster than of reliable and serious musical theory. are usmg. If starting on the Up bow ~ug~est "Pedal Mastery" by Dunham. music committeeman or any person others. This is the essential difference do~s not solve the problem, won't you Pr-imer of Organ Registration" hy center of the universe. May I point between a church and a concert hall. A Handicap • wfl.te to me again, enclosing a tran- Nevin, will help you definitely in an whatsoever not a member of the out that there are several other mil- The concert attracts a knowing and Q. How does one teach technique to a script of the passages that bother you? understanding of the proper use of Ancient Order. lions of your fellow-creatures, to each teen a'!e girl who has long fingernails stops and their combinations. This book WHITEBEARD: Discussion from the of whom his place and his point of sophisticat"ed audience; the church is and wili not cut them? Does it do any A Factory Made "Maggf ni " is related to the pipe organ, but since floor? view are the center of the universe: for all sorts and conditions of men. the electronic you are using has the In all our musical calculations we good to try to teach the Hanon studies P. ~': Missouri. As Giovanni Paolo ADVENT: l'rn in favor of it. We "Where the MacGregor sits is the manuals, pedals and stops patterned must take that fact into consideration. to su~h pupils? Thank you [or advice Maggini died in 1632 your vi I· ought to take a firm stand. head of the table." on this, . h ,0 In, after the pipe organ, the same princi- ~lt the date of 1668, cannot be genu- PENTECOST: Is this going to be your PENTECOST: You are assuming the ples can be followed. For a special TALLIS:Right. We've been pushed (Mrs.) W. E. L.-Indiana me. How good the copy is, and what its minister and congregation are models ~tudy of. the Wurlitzer, we suggest around by tone-deaf music commit- lecture on Seeing the Other Fellow's value. ~ay be, no one could say without of reasonableness, and all the criti- A. There is no way to teach technique . From Plano to WurIitzer" by Searles, tees long enough. Point of View? exammmg the instrument p II cisms are constructive. or at that, anything else to a girl who ersona y. Issued in 4 volumes. PENTECOST:Perhaps the Chair will W HITEBEARD: I had thought that, However, I can say this : There are WHITEBEARD: Usually they are ref~ses to trim her long fingernails. (2) To help you with choir work we having made the point about once a many thousands of "Magginis," f favor us with its views on the subj ect? N:lther Hanon nor any other studies , actory suggest Wodell's "Choir and Chorus week while you were my students, it meant to be. made, that are not worth $25 A . WHITEBEARD: If you are crazy WIll help, because the position of the M ... . genuine Conducting," and to help to an under- would have sunk in. Your resistal?-ce PENTECOST: Well, a friend of mine aggmr, In really good condition, could enough to submit this thing to the fingers being unavoidably wrong it will standing of chanting we recommend was telling me about complaints that be worth $3500 to $4000 d convention, I do everything in my to education is higher than I thought. (Continued on Page 49) hiah ,an even will he played the (Continued on Page 53) ug er for an outstanding sp . "Organist and Choirmaster" by Erber- PENTECOST: I knew I should have eClmen. mgton ($3.75). powerto defeat it. 44 45 etude-january 1957 elude-january 1957 • ------~------tallyand physically, then other prob- has developed - not to mention hard ser-conductor. Subsequently, he corn- lemsof equal Importance must be work. For his composing, Jackie dreams municates his directions to the men in america'; the onqueredin the same manner. up a melody-and then hums it, as the orchestra, 'either by the way he smartest c Withthe eventual understanding of somebody else takes it down. Then, like looks or by certain key words. The six-foot, heavy-weighing Gleason piano lindapplication of "How to Prac- many of Tin Pan Alley's tunes, it is assigned to another person to be' en- is a big man in more ways than one. For fashions tice~"'many valuable hours of prac· larged upon, arranged, and orches- the dark-haired, blue-eyed Irish charm- !CCORDI~~ ticetime can be saved, and these trated. The comedian, though, has an er is always looking for new worlds to Music Teachers! Musicialls! hourscan be devoted to study on inborn, genuine feeling for music. "I explore. One of his newest interests is repertoirewhich is the ultimate goal. li~ten to music all the time, I get a his Audible Literature Company, which Here is a new achievement ... IMPORTANCE OF PROPER Edited by Theresa C08t~1I0 It is logicalto assume that unless a kick. o,~t of it, and I like all kinds of will find Jackie recording literary clas- in.purity and brilliance of sics WIth top-ranking actors performing tone, power of volume, ACCORDION PRACTICE studenthas been properly informed mUSIC, says the erstwhile disc jockey permanency of touch ... in a the third finger. Think of ach: , withregard to his musical develop- of a Newark, N. Y., radio station. Al- dramatizations of these works against a From an interview with leVmg background of music played by a 100. small pia no-e only 37/1 high. genera I smoothness, evenness ' ment,and what is expected of him though he has not been schooled in It's equipped with the Eugene Ettore . d ' precl· conducting methods, he "can look at a piece orchestra. "A Tale of Two Cities," SIOn, a~ tone production. In tone as a goodmusician, he will drift aim- wonderful, new Super/one Scale .sheet of music and know what is hap- in an album of twelve half-hour rec- lesslYlsearching for the answer- ... the Gulbransen exclusive (Eugene Ettore is well known as a production, the stress is placedupon pening." Call it "through osmosis, if ords, has already been released, under miracle scale and the reason composer of many works for accordion. flow, and continuity and not qual't, neverreally knowing that he even you will," smiles the comedian-com po- (Continued on Page 59) for the glorious He is a member of ASCAP.-Ed. Note.) as thiIS Iatter feature is pre.determin~IJ. hasa question. deep-dimension rone. ~y t~e type instrument the student Whenthese things are brought to IS usmg. a student'sattention, while he is still NEW PIANO JELEASES! yN PAST EXPERIENCES as an One must T"ink of each individual inthefirst stages of his development, accordion instructor, I have met note as coming from and goingto hewill have more chance of reaching many students who have devoted another note: Precise time values his ultimate goal-the attaining of countless hours of practice to scale mu.st. be an important part of this anadequate,well-rounded technique. WALT DISNEY CLASSICS studies, etc. Yet, in many cases, these trammg. THE END Easy Arrangements by students did not display the results Think of proper phrasing, what. of these efforts when they performed ADA RICHTER ever ~ay be indicated on the study. CONTEMPORARY in publ~c. There has almost always Think of the attack that is required, THAT'S JACKIE GLEASON CONTENTS WRITE FOR FREE BROCHURES been evident the lack of some basic orthe touch that is desired afterthe (Continued from Page 41) lJ SPECIAL TEACHER'S DISCOUNT When You Wish Upon A Star(f/Pinocchio ) elements that are not essential to a attack. Not only will practicingin w.ell - rounded, well . controlled tech- hastwoorchestras standing by to re- G U L BRA N SEN COM P'A NY this manner develop the mentaland Who's Afroid of the Big Bod Wolf Dept. E, 2050 N. Ruby St. mque. cordalbumsjust like these, which in- muscular faculties, but it will alsode. ("Three Little Pigs") Melrose Park, Ill. I have also found that in the ma- cludesometwo hundred and fifty selec- velop an understanding within the jority of cases, the student was tions.Besides the "Romantic Jazz" When I See An Elephont Fly ("Dumbo") student of "How to play" as written. Orchestra-with forty musicians and ~rai.ned. only in his fingers, with no MUSICORD PUBLICATIONS with proper expression marks and boastinga large string section ("I Someday My Prince Will Come indication of ever being informed thinkit sounds pretty good!") -there (Duet from 115now Wh ite") "Once Tried - Always Used" dynamic signs. This all leads to prop. that the mental attitude and function is the "Music For Lovers" Orchestra, er interpretation. Lullaby Lond, Mickey Mouse's Birthdoy THEORY IS FUN ~s and must be the first step in train- Now I do not want to be misunde. withhalf as many players. In addition, Ing a muscular action. too, Gleason has sometimes added Party and many others. by David Hirschberg stood when I say that all these things Most students, who have been in- twenty-fiveflutes to the orchestra he Book One. Book Two are valuable aids in development Price $1.00 Words & Music with Disney Illustrations adequately informed' as to proper isusing-as in an album called "Night- ,~hen practicing a study, and indio The first NEW book in generations on thinking, havelear~edmerely through winds"-or he has simply recorded THEORY that is DIFFERENT. Presents theory Vidual attention to all notes is anas- ~ong hours of bor-ing and uninterest, withan ensemble consisting of twenty- fundamentals in a colorful way by use of set. I do not mean to imply that in fourmandolins and an oboe d'amore. comic strip style illustrations. mg ~epetition. Study by repetition • • • • • ~he .performance of a compositionit Andthe music at hand-the John C. each 85¢ certainly has its advantages, but by 1S necessary to think of all these Gleasonmusic-is, as the comedian de- ADA RICHTER'S no means can virtuosity be achieved • t~ings when playing each note.I mean scribesit, "the plain vanilla kind that Technic Is Fun 6 Books by such procedure alone. Easy Piano Arrangements from Scales & Chords Are Fun simply that these are valuable aids sticksto melody." 2 Books It would be impossible to expound Duets Are Fun . 2 Books towards proper practicing a studyor It was in a New York night club WALT DISNEY'S Pieces Are Fun 2 Books ~he philosophy of proper practicing selection. whereJackie Gleason-who had been Music Appreciation Is Fun 1 Book In a short article such as this, but an on the stage and screen - made his In the routine of practice all of "SNOW WHITE & THE SEVEN DWARFS" by David Hirschberg ~ttempt can be made to bring some debut as an orchestra leader three each ... 85¢ these processes of thought manageto ~Ight on t.his important subject which yearsago, at the age of thirty-eight. find their way into the subconscious Then,only a couple of months ago, "PLAY THAT TUNE" IS most Vital to the student who i . • • IS 111- mind, and are there for our instan- whenhe was a guest on Herb Shriner's Four Books terested m achieving supreme mas. CONTENTS tery of his instrument. taneous use when we perform. TVshowhe led a forty-piece orchestra Very easy arrangements of familiar tunes It would be advisable, in soloper· inperforminghis new symphonic com- Heigh-Ho, Whistle While You Work, One Song, for the first and second year piano student. One golden rule that I use con- formance to think of completephrases positioncalled Time, which capitalizes Lies well under the hand. Really singable. stantly is short and to the point. I'm Wishing, With a Smile & a Song, Some Day and form rather than to think of onthe lush sound of a heavy comple- Compiled & Arranged by THINK-before you practic~! mentof violins and brass. At present, My Prince Will Come, Snow White, Dwarf's Yodel George Bermont each note individually. A .bnef qualification might explain too,he has plans under way for taking 75 cents . ~ut. to get back to proper practice, Song, and Bluddle-Uddle-um,dum. precisely what is meant by thiIS state- part in a Battle of Bands in a Syra- MUSIC 8Y THE MASTERS by Lanning It IS imperative for the student to DUETS FOR EVERY80DY by Mittler. ment. Even when studyin . I cuse,NewYork, arena-s-where his ag- Price $1.25 C M . g a SImp e ?"ive ample thought to what he is de- MUSIC FOR EVERYBODY by Mittler ajor arpeggio, think of the letter gregationwill vie with the Dorsey El::lCh $1.00 . mg ; especially so when it concerns Words & Music with Disney Illustrations names of the notes involved. Think Brothers'orchestra. the development of crossing the MUSICORD PUBLICATIONS of the fingering that must be em- Strangelyenough, Gleason does not BOURNE, INC., 136 W. 52nd St., New York 19, New York (Write for Free ecrtologue) ployed. Think of the hand .. thumb under a finger or in crossing reada note of music. But he can man- 858 Post Avenue Stcrten Islcrnd 10, N. Y. d f pos1tIOn a finger over the thumb. When this ageto compose and conduct by virtue an 0 stretching the thumb unde; function has been mastered both men' of a series of formulas and habits he 46 47 etude-jonuory 1957 etude-jonuory 1957 ----..b _____ ------+E------_._--_._-~~------~--.

The De Luxe Stunning New 1tJi£vn ~ and.J;", LOUIS MOREAU GOTTSCHALK TEACHER'S ROUNDJABLE 30 E. Adams ·St.-Chicago 3, III. (Continued from Page 14) (Continued from Page 44) Spinet by VIOLIN SPECIALISTS Sheraton Perhaps they could recite it better than heimpossihleto achieve any results as OUR NEW OlD INSTRUMENT the regardsvelocity, tone quality, or gen- §lar£a CATALOG NOW AVAILABLE Thackeray; would you conclude from eralsmoothness. Publishers of "VIOLINS & VIOLINISTS" , beat that, that Thackeray had less talent? Berlioz told me that the originality, ~h~ Unlessher attitude can be modified subtle refinement of a special talent thisgirl will never rise above medioc- INSURE perfecf rhythm could only be appreciated in very old rity.If her interest in her piano is not with the FRANZ societies. If we are yet to proclaim an bigenough for her to give uP. a. li~tle WM. S. HAYNES CO. ~~~~ Flash-Beat ELECTRONOME art and to form our taste, then I.under. questionableglamor, I am afraid It IS a the only metronome with the.e stand that you would like better a tame hopelessissue. ~ exclusive features: interpretation of consecrated chefs. Silver Flutes - Piccolos d'oeuvre, than an original, which is not VIOLINIST'S FORUM • 99% accurate yet consecrated and whose place in art 12 Piedmont Street, BOSTON, Mass. • 5 year written guarantee you dare not yet designate." (Continued from Page 43) • the only Underwriters-ap- The "originals," varying widely in helpto attract a larger audience and proved electric metronome both calibre and style, hint at the ex. wouldrelieve you of the strain of giv- Writ. for our fre. boolr:let igencies governing his life. Soon after ingthe entire program yourself. TEACH EASIER MFG. CO.,INC. his highly successful debut in Paris If you would prefer to start in a with MUSIC FLASH CARDS FRANI ...... 53 Walla(e St., New Haven, Conn• ] 845, he wrote nostalgic evocations ~; quieterway, you can let it be known FOR TEACHERS*-the fundamentals of music his still-recent New Orleans childhood_ at your church that you· would Eke to on 6 x 9 inch cards. Six.ty illustrotions plus one Svfoct prone keyboard (42 keys). Price Bamboula, Le Bananier, La Savage, in- takepart in one or two of the church $1.50 • spired possibly by the example in na- FOR BEGINNERS*-some as Teachers but socials.In a town the size of your. new size 2 x 3 inches. The 60 cards ore divided tionalistie music set by Chopin and homethere should be several organiza- A Piano of Tasteful Elegance into 9 easy lessons with 117 questions and their answers on the back. Price $1.00 Glinka. This happy vein is climaxed by tions that put on musical programs. A You and your family will ·cherish for years FOR ADVANCED-teaches the student to viola The Banjo. A change seems to come Youshould seek introductions to some nome, write, ond sight read the notes of the Compeeheeslve and major, minor,,7th, dim., and aug., chords rapid approach over Gottschalk after his return to the ofthekey people (if you do not already Lovely, yet simple, characterized by graceful proportions. These and their inversions (207 chords). Price $1.(\0 by Jay Spalding United States in 1853. Actually The knowthem) and tell them of your mu- are the reasons why Sheraton is so popular with today's home- Order from your dealer or write, /b $1.50 postpaid DEK-A-MUSIC COMPANY Last Hope dates from a visit to Cuha sicalbackground, saying that you would makers. In this new Starck De Luxe you have Sheraton in' its P02 S. 31st Ave., (Dept. E) Bellwood, III. VARITONE, INC. that sam.e year. He sold it for 50 to willinglydonate your services to ap- most liveable version ,. and a spinet of fine musical quality. violinistlJ' 545 5th ave., N. Y. 17 Approved by the Chicago 800rd of Educotion a certain publisher, who, having little pear on one of their programs. Also, There are many other Starck styles. See them at your dealer's today.

success with it, sold it for the same sum youshould contact some officia I of the FREE-"Music in Your Child's Develapment"-a helpful booklet you'll want if to Hall, who then made a fortune on it nearestMusic Club offering to audition there are children in your home. Of a sickly sentimentality, it neverthe- forthe program committee of the Club. iI!A.Slarad!li4Wl CIra. 234 SOUTH WABASH AVENUE, CHICAGO 4, ILLINOIS ESPECIALLY FOR MUSIC TEACHERS less soars into a noble arc of melody Then, too, you could organize two that later enhanced many a silent movie or three informal m~sicales in your START THE NEW YEAR RIGHT WITH and today is sung as a hymn. Gottschalk homeor in the homes of friends, invit- ing a different group of people each MUSIC became quite complacent over the enor- mous influence exerted by this work time.It would be a wise plan to check WILLIAMS TEACHERS' BOOKKEEPING BOOK and others, writing in 1865: "I am daily on the pianos in your friends' homes astonished at the rapidity with which before deciding where the musicales ROBBINS MUSIC CORPO~~:ION shouldbe held! It is very frustrating to «-de the taste for music. is developing in de4i~ lat HUdte teadelf.4' the United States. At the time of my haveto playa program with a piano proudly announces the acquISItion of first return from Europe I was constant- thatis half a tone flat. It would add to SIMPLE, EASY-WAY FOR YOUR BOOKKEEPING PROBLEM ly deploring the want of public interest theinformality of these occasions if you ORIGINAL PIANO PUBLICATIONS \ couldhave one or two other young mu- AVAILABLE THRU YOUR MUSIC DEALER for pieces purely sentimental; the pub- lic listened with indifference; to inter- siciansshare the programs with you. from the distinguished catalog of Thomas Music Company, Publishers est it, it became necessary to strike it If you give the matter some thought, I am sure that other possibilities, pe- 34 EAST ELIZABETH STREET DETROIT 1, MICHIGAN with astonishment; grand movements, tours de force, and noise had alone the culiarto your community, will occur to you.However, there is one thing you EDIZIONI CURCI ORDER AT NO RISK ORDER DIRECT, IF YOU LIKE, MAIL $1.50-IF NOT privilege in piano music, not of pleas- COMPLETELY SATISFIE~, RETURN FOR CASH REfUND. ing, but of making it patient with it .. cannotexpect-a fee for your first few Milan, Italy From whatever cause the American appearances. You must feel that the taste is becoming purer, and with that experiencegained by playing for new audiences,and winning the interest and MUSIC MEMORY TRAINING remarkable rapidity which we cite friendship of music-loving people, is through our whole progress. For ten INTRODUCTION to MODERN MUSIC your just reward. If your playing years a whole generation of young girls by the eminent authority pleases those who hear you, and at- Clones or has played my pieces. 'Last Hope,' For ;nformafion tracts them, it should not be long be- The celebrated works of Beethoven, Bach, Brahms, Mozart, Chopin, Private lenom PAUL EMERICH 'Marche de Nun,' 'Murmures Eoliens,' wri'e or coli foreyou can ask a fee for most of your Liszt Handel and other master composers with publications edited 315 Wesl 57 Street, New York, N. Y. CO 5-0838 'Pastorelle et Cavalier,' 'Cradle Song,' engagements.And by the same token, by c~ntemporary piano auth.or~ti~s su~~ a~ Alfr~?o Casella, Ales- ha ve become so popular that it is diffi- youshould have more and more young sandro Longo and Giuseppi PICClOh. EdIZl?';ll CurCll~ al~o notewo!thy cult for me to find an audience dis- violinistswanting to study with you. for its selection of contemporary cOmpOSItIOnSby SIgnificant wrrters INCREASE YOUR INCOME posed to listen to me since the majority TEACH MODERN PIANO by nOf. All good luck to you! of the present era. .. has played or studied the pieces which eJnskal. teachers everywhere helped by our method and THE END class·bu,ldin~ aids. ~Olh year. Send 'or 'ree brochure and compose the program." Write For Free Catalog samples. lalest 96 page instruction bO<,lKonly $2.50. With Home Study Course, $3.50, postpaid. Not everybody will agree that this was ROBBINS MUSIC CORPORATION THE CHRISTENSEN METHOD entirely a healthy influence. But even ILLUSTRATION CREDITS 799 Seventh Avenue '. New York 19, N. Y. Dept. E, 80x 2248, Hollywood 28, Calif the sorry procession of trivia that fol- ll-Philadefphia hening Bulletin Sole Selling Agents in North AmerIca for EDIZIONI CURCI (Continued on Page 58) 17-Lu Freres Haine

48 -...... """""------...... Wilil/Wilil·· ~~'O 449 ...,,------etud~-jonuory 1957 .tude-january 1957 ------. ~~~~~~~~-----J+~---

MUSIC EDUCATION IN JAPAN handle many of the lovely rhythm band children then learn to sing the s Where enough .instrumentaljsts for of the Japan Music Educators after the cadences on Afiat, at least in the defini- instruments including sleigh bells, cas- WItith tthee PIlCuitch names, and then are on!. stra or band are available, time (Continued from Page 13) . gl~. anor,he write~ described the Student Chapters tive edition, the two middle parts move tanets, cymbals, drums, rhythm s!icks en a few mmutes to try to learn to fin. . heduled for regular rehearsals, and in America. The writer also organized IS aC through the cadence, and the lowest part harp), Samisen (3 stringed banjo), as wen as the simple melody instru- ger or find the notes on their inst . some.Middle Schools . have. developed and sponsored the first American Stu- introduces the subject after an eighth shakuhachi (bamboo flute), tzuzumi ments such as the xylophone, tonette menta. Note reading ~s thus definit~ reasonahlygood orgamzatrons ..The Ka- dent Chapter of the Music Educators rest. Another fine example occurs just (shoulder and elbow drums), they must and simple six hole flute. encouraged through Instrumental . ikvo Middle School Band In Kyoto National Conference, which establishes before the end of the piece where in . d h . • study these with private teachers. How- perrence, an t e Instrument experien ~l 'wonfirst prize in competition with some kind of precedent. bar 48 of a five-part setting (in a four- ever, the Japanese school music song Elemerrtary Schools is closely articulated with the vocale~~ a~~lthands in the Kansei area of J a- There is no doubt that by any stand- part fugue!) the lowest middle voic~ books contain many lovely folk songs perience, children learning the whole Kindergartens are usually organized pan. ards the Japanese schools are doing a introduces the subject after the other which are usually accompanied in home by private means rather than as part song and. then moving to lis analysis Recognizing that talent must be en- very creditable job of music education parts have gotten well under way, and life on these traditional instruments, of the total public educational system, phrase Wise, and to its rhythmic com. couraged and developed, the Tokyo for the general public. Proof of this continues through the resting point, E· but which have been arranged for piano, and the usual musical activities are ponents instrumentally. Boardof Education has set up a spe- lies in the fine choral singing of adult flat, reached by the outer parts in bar and in more recent years, for orchestral found in such groups; game songs, free Children who are studying orchestral cialhigh school of music, the Komaba groups who can really read music; in 49. A good rhythmic sense and inde- instruments. rhythmic activities, quiet listening. instruments bring their instruments to HighSchool, which boasts fine choral the fine radio programs broadcast daily pendent fingers are the requisites for a music class, and the teacher will Ire, Preparation of Music Teachers However, beginning with the first grade, groupSand an excellent orchestra. Many by stations all over Japan; in the whole- successful delivery of this desideratum quently transpose, where necessary a of the students from this school even- hearted support of symphonies, where There are very few schools for the music periods are usually scheduled of the polyphonic style, examples of special part or the melody part 'for tually take the examinations for en- the majority of the audience are young preparation of music educators, the twice a week for 4S minutes duration, which abound in all well constructed these instruments. Thus the classroom trance into the Tokyo University of people ; in the tremendous interest of largest one still being the Tokyo Uni- and music books are available with fugues. orchestra combines the rhythm bands Music Lovers Clubs who come together versity of Arts, which also prepared Grade 1. The music books found in the Arts. The second part of our description of melody instruments and orchestral in: The Fulbright Commission in Japan, to listen to recordings; in the sell. out many of the performing musicians. Tokyo schools are published in four the fugue points out that it is essentially struments, in addition to the children performances of recitalists; in the mu- Other colleges are introducing major series, comparable to the four major realizingthe importance of music in a monothematic enterprise. Beware of singing in one group. sic programs heard in local coffee music programs for the preparation of series found in America. The books thelife of the people, recently sent two this! Do not perform a fugue, as too Beginning about the fourth grade houses which play hi-fi recordings of musicians and teachers, but they are have been edited by both school music ofthe most distinguished musicians to many pianists do, with a trip hammer part singing is introduced as we doit serious music all day, frequently pub- limited in their ability to bring to J a- teachers and composers. They are at- theUnited States for a tour of musical touch addressed to the subject against in this country, and formal drill on lishing a printed program of record- pan the assistance of foreign trained tractively illustrated with creative imag- centersand schools. Mr. Shinjiro Nora, a feathery delivery of the supporting scale structure, meter signatures is de. ings to be played a week ahead so that musicians, and not too many Japanese ination, and the songs are based on Professorof Music at Aoyama Univer- parts. The important feature is the veloped through written notation activo students may bring scores along. to iol- can afford to travel to the Western children's interests. In the early grades, sityand music critic of the Asahi news- polyphonic web spun by the complex of ity. There is much stimulation of low as they listen. (How different from world for study, although this situation note heads may be shaped like stars, papers,and Mr. Masa Hamano, Direc- parts, rather than the constant celebra- musical imagery by having children our juke-box civilization! ) is being remedied somewhat through flowers, cherries, insects, depending tor of Music of the Tokyo Public tion of the subject. Observe how Bach attempt to notate familiar rhythmic pat. the Fulbright, program. upon the story of jhe song. Tonal de- Schools,each spent 90 days visiting While we here in America are proud in our fugue, as in others, is much con- terns, and a theory note card with move. of our music education program, the However, the special teacher of music vices are illustrated with various sized schools,teacher education centers, at- cerned with the shifting of registers and able section helps children to under. people of Japan are learning fast, and is given a thorough grounding in music flowers and dolls to visualize the rise tendingconcerts, interviewing musical the constantly varied relationship of stand scale construction at the piano they are adapting our best methodology theory, piano, and frequently, at least or fall of the tonal pattern. Rhythmic celebrities,music publishers, perform- part to part. If these factors are kept in keyboard with key signatures. one orchestral instrument, plus courses game songs of bouncing ball, jumping ers,and above all, taking pictures, text to fit their own patterns of culture and mind, the subject will certainly make its in educational methods. Several Ameri- rope, flying kites, rowing boats, animal books, recordings, films, to use as a wonderful combination to the music presence known, and a much to be de- can and German text books on meth- movements, flying birds, are delight- Instrumental Instruction illustrativematerials for lectures upon of East and West. I heartily recommend sired variety in performance will be ods of teaching have been translated fully illustrated. theirreturn to Japan. Both gentlemen to all music lovers to watch what is achieved. The same advice to the per- Since musical instruments are ex- happening in Japan in the way of mu- into Japanese by Professors Takeshi The music period of 4S minutes per- tremely expensive, very few Japanese have written extensively in Japanese former also emerges from the third part. mits of a wide variety of activities in- journalsof their experiences in Amer- sical activity, and predict that within Inoue and K. Tao of the University of children can afford to purchase them. of our description concerning the pre- cluding singing, tonal rhythmic drills, ica, and will probably write books the next generation some of our inter- Arts, and by Mr. Masao Hamano, Di- However, string instruments are among vailing imitative scheme of the fugue. bodily rhythmic expression, written no- basedon their experiences. They are nationally famous composers and per- rector of Music of the Tokyo Public the least expensive of such instruments, The fourth and final part of our de- tation at the seats with large wall truly fineAmbassadors in a great cause formers will be coming from that coun- Schools. Carefully prepared curricula and the violin in particular is very pop- scription refers to the tonal plan as charts as models, quietly listening for ofsharingeducational experiences. (See try. THE END outlining objectives, procedures, mate- ular for that reason. There is in Tokyo opposed to any presumed sectional de- form and analysis, using recordings nextmonth's ETUDE for an article by rials, and evaluation have been pre- a Talent Finding School operated by a sign of the fugue. Perhaps no mis- which combine the traditional koto as !Ir. Hamano.-Ed.) pared by various school systems for Prof. Suzuki with several thousands WHAT IS A FUGUE? conception is more widespread, and accompaniment for singing or orches- The writer left with the Tokyo Uni- study by the teaching staff and by stu- aspiring violinists enrolled, and the (Continued from Page 16) certainly none militates more vigorously tral instruments, as well as the works versityof Arts Library a collection of dents in training. The University of writer heard a demonstration at the against the successful performance of a of the European masters; the introduc- about 700 music books for teaching as indicated in the following skeletal Arts also has an "attached" high school Hibiya Concert Hall of 1200 children fugue, than the view that it is essentially tion of rhythm band activities, music orchestralinstruments, voice, methods, outline of bars 22-24. of music under the direction of Prof. ranging in age from four years to seven a three-part form. The truth of the mat- for which is part of the text book. Chil- and music texts used in American Masabe Kita, which seeks to develop years, playing in unison. Some of Prof. ter is that the fugue is a continuous dren are encouraged to bring to class schools. These books have been sent on talented high school students for ca. Suzuki's disciples are teaching in the type of piece which achieves overall any musical instrument which they may a tour of the American Cultural Cen- reers in performance and teaching. public schools and are developing ele- unity and variety, not through any in- Classroom teachers fori the elemen- be studying privately in order to par. ters so that Japanese music educators mentary school orchestras that are quite ~Couu.. r ~,iul ; r"l r-'\.. '" 1"· evitable sectionalism, but rather through tary schools are given music methods ticipate in a classroom orchestra. maystudy them. II ..l..J. good. the tonal path that it follows, punctuated courses as part of their curriculum and Beginning with about the third grade, Several schools have been able to de by episodes and entrances of the subject. are encouraged to learn to play the every child is encouraged to learn to Counter subject. velop wind instrumentalists as well,and Professional Organiza tions This does not exclude the kind of sec- piano, or rather the harmonium, which, play some type of instrument such as the Tokyo schools have a massed Mid- There are several music education tionalism that can be found in the C in the four octave size, can be purchased the harmonica, xylophone, simple 6 Another badge of polyphony is con- dle School (Junior High) band of 200 associationscomparable to our Music minor Fugue of Book II where Bach for approximately $2S in American hole flute, tonette, and music for these cerned with the treatment of cadences. which appears at the annual Festival Educators National Conference which cadences clearly and convincingly, in money. One of the astonishing expe- instruments is also included as part of It is very rare, and then only for rea- of Music sponsored by the Tokyo Metro hold regional. meetings and sponsor bars 14 and 23, before each of the stretto riences is to find a small harmonium in the text book material. In addition, sons of formal significance, that all politan Board of Education. 'cnpetltion-Ieetivals. They welcome as- sections. It is intended primarily to warn almost every classroom, and to see how elaborate orchestrations are made for voices cadence simultaneously. Usually.' Japanese children love to sing, and sistancefrom visiting music educators the performer from imposing such a the classroom teachers enjoy sitting these types of instruments utilizing not the polyphonic style features an ending the nature of the spoken language be and are constantly seeking ways and down to this instrument and picking only folk songs, but themes from sym- point which coincides with or overlaps formal plan where it does not exist in ing based on pure vowels like Italian, means of improving their teaching. the piece itself. It is, in fact, often out melodies which they are teaching phonic literature. The xylophone is one a beginning point. Observe, for example, the quality of the singing is lovelyto They are interested in the latest re- pointless to separate exposition from the class, and frequently trying to jrn- of the most popular of the melodic in- the way in which even in a singl~ pa~t, hear. Formal ear training, chord hlend- searchin the psychology of music, and continuation, for even here no rule of provise an accompaniment as well. The struments in use in the classroom. the terminal note, C, of the subject m ing, vocalizes are an integral part of are avid readers of the newest books thethumb can be profitably applied. song books contain simple chordal or bar 2 is also the beginning of the con- The method of teaching the instru- the music lessons in the Middle Schools, bothin English and German. Students bass line accompaniments which can tinuation. For a neat example of the be- Nevertheless, it becomes an obligation ments is quite simple. Children learn to and the students are very proud of inthe music education teacher prepara- be played either by the children or the havior of several voices in glossing over of the pianist to seek out the unique sing a song by. rote, the teacher then their ability to carry independent parts tion Courseat the Tokyo University of teacher. In addition they learn how to a cadence study bar 7. The top voice plan of any given fugue if he is prepar- writes the notation on the blackboard, in their choral activities. Artsorganized the first student chapter 50 51 etude-january 1957 elude-jonuary 1957 ..._------Or ------At the next secret concert there were the famous Lincolnian words, 1eunesse and TALLIS burst out laughing) ing anything more than a haphazard Keep in mind, however, that this darkest days of the Nazi. occupation, In- 1500 youngsters present-s-and before Musical calls itself "the organization of WHlTEBEARD: I helped design that performance of it. In the A-flat Fugue, illustration is not intended as a pro- the summer of 1940, that Marcel Cuve. theoccupation was over, leunesse Mu- the young, by the young, for the young." • installation. The Tuba MirabiIis is a there is a clear overall tonal plan which posed revision of Bach who, it can be lier, in his capacity as director of th . Ie operating strictly underground, And the not-so-young can only bow special effect, meant to be used with incorporates harmonic movement and safely said, knew what he was doing, Bruxelles Philharmonic Society, wase SIca, . TJ had12,000members in Belgium. we ve their heads in admiration seeing the changes in texture. The example that here as well as elsewhere. summoned to the Propaganda Abteil. caution. Another thing: You aren't next usand children, of whom not one great and wonderful service these dedi- to the pipes, you're actually under them. follows attempts to reveal this plan. The fugue is a rewarding kind of un.,g - that much-feared Nazi nerve. noI f h ,,' betrayedthe secret 0 t e orgamzanon s cated boys' and girls are rendering to That blast of tone is going over your The principal centers of tonal activity music for the pianist, and a challenging center-to be reprimanded for havin . lence with a word or unguarded the cause of serious music. THE END are notated as half and quarter notes, kind too. If we have written at length programmed a forbidden work on ong e:OS . head and hitting the congregation square while the supporting or confirming about it here, it has been in the hope of the Philharmonic. concerts at th: expression. in the face. It's a wonder some of your that the nature of the challenge could Palais des Beaux Arts. While listenin It was a real test of character, and older parishioners haven't gotten con- areas are represented a~ un stemmed CHAPTER MEETING notes. be at least clarified, and the reward, silently to the threats of the Komman~ theyoungsters passed the .test with fly. cussion of the brain. perhaps, increased. THE END ~ant in case of a similar disobeyance ingcolors.It was, as Cuvelier had hoped (Continued from Page 45) ADVENT: Speaking of hymns, how do . EX-B~rftI Ii2I WI [!1J (j!J I!!I itwouldbe: these secretly held concerts you feel" about free accompaniments? III the future, he spotted on this man's hymns too loudly. As it happens, the desk a file bearing the inscription gavethe Belgian youth the v€?!y moral WHITEBEARO:I am glad you brought !'~I'~-,'8 Ie::1- Tn?~~ I--5- JEUNESSE MUSICALE console is next to the pipes, so he's 1 "Jugend" (Youth), supportthey needed. They ~elped keep that up. Here is a recording from closer to the sound than anyone else in (Continued from Page 17) their spirits free - and high. These Brother Blackburn in New York. Lis- Observe the way in which changes of Cuvelier kept seeing in his mind this the church. He could tell in a minute if texture from entrances of the subject to secretconcert-meetings helped crystal. ten to it; I want to test your power of country, leunesse Musicale operates en- file, long after he left the Propaganda the sound were too loud. Of course he episodes contribute - to this tonal plan. lize in their minds and souls the ideals observation. (plays record), Now de- tirely independently. But jointly, they Abteilung. The thought of this file kept laughed the whole thing off, but it shows A final, but very important word re- worthliving for. scribe what you have just heard. form the International leunesse Music- him awake that night. The existence of how unreasonable people can be. mains to be said about the necessity of Nor did the young peoples' interest PENTECOST: The first verse is con- ale, with an estimated total of 80,000 such a file made it obvious to him that WHITEBEARO: Playing a hymn too seeking out the unique features of any lag after liberation, as predicted by members, the Nazis were preparing to organize loudly is a serious fault. When a con- ventional, straight out of the hymnbook. given fugue, those that give it its stamp pessimistswho felt that the end of the How do these youngsters use their the Belgian youth for their sinister gregation can't hear itself it sulks and WHITEBEARO: Right; and then? of individuality. Many comments of this "glamor" of secrecy wou ld spell the great power? "Ieunesse Musicale is a purposes. refuses to sing. What kind of a set-up ADVENT: The second verse is re-har- order could be made about the A-flat endof the movement. fighting organization," explained an 18- The young in Belgium-much like does your friend have? monized-very effectively, for my .taste. Fugue. Suffice it here, however, to m~ke Today, the Belgian 1eunesse Mu- year-old Belgian boy to me. "In the their elders-lived those days in a kind PENTECOST: A square building, organ- WHITEBEARD: And for mine too. only one which is concerned with a sicale has 20,000 members who act in beginning, we fought against the Nazi of a state of shock. Nazi propaganda, it pipes, choir loft and pulpit along one Next? point of rhythm. Observe the character- effectas spark-plugs for the younger Cestapo----today, we're fighting the fifth Hashed through Cuvelier's mind, would wall, facing the pews. TALLIS: The third introduces a so- izing weak beat position of the upper leunesseMusicales in other countries. columns of wor-ld- wide indifference, find them spiritually unarmed, defense. WHITEBEARO: How about registration? prano descant, but with the usual har- tones of the subject as it makes its Theyare engaged in an incredible num- laziness, even hostility, which exists in less. Cuvelier was well aware that these PENTECOST: The usual stuff-s-flues, mony. various entrances up to bar 37. Immed- berof activities. the midst of our own generation against children were at a complete loss as to reeds, mixtures, Tuba Mirabilis- WHITEBEARO: And a good idea, too. iately thereafter Bach shifts the accent- In the 1955·56 season, leunesse Mu- the so-called long-haired music .. We what to do in their free time. Sports WHITEBEARD: Great scott, boy, you're This is a rather theatrical descant; it ual and harmonic scheme in such a way sicale, in Bruxelles alone (the organiza- expect to win out over the foes of the were forbidden. Excursions unthinkable. not using that Tuba Mirabilis in the reminds me of the Miserere in "II Tro- that the upper tones now fall on strong tionhas branches in other Belgian cities vatore." He-harmonizing on top of that great musical geniuses of all times just In the movies they played Nazi films ensembles? I pulses, a shift that has very few paral- as well), put on 39 symphonique con- as we won out- over the Nazis. which no Belgians wanted to see. (PENTECOST looks sheepish; ADVENT (Continued on Page 64) lels in the Baroque fugue. In this piece, "We are like a sports-club," another certs, with the participation of the the transfer has significant, but dis- As he sifted these thoughts through member- of l eunesse Musicale in Bru- Bruxelles Symphony and internationally guised consequences which must be in- his mind that night, the solution finally xelles told me-a little girl of about celebratedconductors and soloists. corporated in any musicianly perform- come to Cuvelier. Early next morning sixteen-e-va sports-club, where all mem- Thereare also a number of so-called ance. Note how, as a result of the he hurried to one of the public high bers participate actively in the practice "Concertsd' Initiation" every year-for change of emphasis in bar 37, a dis- schools frequented by a number of his and the propagation of our chosen sport: thevery young members. Programs of agreement between metric strong pulse friends' children. He caught them in music." suchconcerts are so set up that the and the rhythm of the subject makes its their first ten minutes' break between Active participation seems to be the youngstershave a chance to learn the appearance in bars 39 and 40, where the classes, and talked to them briefly about workingsof every instrument within metric pulses, two and four, are to be keynote to 1eunesse Musicale. "There his plan. The following day he visited is a world of difference, between the theorchestra as well as every major regarded, rhythmically, as one and another school, then another and still musicalform. three. The disagreement continues work of what I call 'ordinary youth another. In every school, he spoke to a On top of the above enterprises, through bar 41 and its apparently "cor- concerts' and what our organization handful of 'youngsters only, encourag- leunesse Musiscale also organizes a rect" metric position of the subject, and does," stated Marcel Cuvelier, who is as ing them to start a whispering campaign longline of other events, such as stu- does not find reconciliation until bar 42. passionately interested in the organiza- (with strictest instructions against put- dents'concerts, where youngsters are If Bach were Stravinsky he might tion which he helped bring to life as ting anything on paper) about an or- theperformers as well as the listeners, well have notated these bars as illus- he was sixteen years ago, and who now ganization, now being formed, for the musicappreciation courses, theatrical trated below. acts as General Secretary of the Inter- purpose of arranging clandestine con- performances,poetry and prose-reading national Ieunesse ·Musicale. "Music certs for the young, where all the music sessionsand the like. They also publish educators have been arranging youth forbidden by the Nazis would be per- a weeklyas well as a monthly paper, concerts as far back as before the turn formed. of the century," he went on. "One of the Eight weeks later, some six hundred organizemusic festivals within Belgium most outstanding early examples was youngsters gathered, pale with excite. andin co-operation with Jeunesse M u- the series put on by Ernest Schelling ment, in a well guarded room at the sicales in other countries. with the New York Philharmonic Or- Patois des Beaux Arts to listen to the The youngsters are in full charge of chestra under the name of Children's first of hundreds of similar concerts that all these activities and they manage Orchestral Concerts, in 1925. And there were to follow. It was a historic event to run aU of them smoothly and effi- ~~ IN THE STUDIO OR ON THE STAGE have been countless fine similar ven- and one that shall never be forgotten by ciently.They are able to do this thanks REQUIRES AN INSTRUMENT YOU CAN RELY ON ALWAYS tures in the United States and the rest those who attended it. The Belgian bari- t~ their vast and firmly-knit organiza- of the world as well. All these serve a tion,geared to such professional per- tone, Maurice "de Groote, sang Negro there is nothing more reliable than a fine purpose-but we go way beyond spirituals at this concert-in English.A fection that many an adult world- what they do ... No member of leu- double demonstration against Nazi rules, organizationcould do well to copy its ~esse Musi~ale can get away with being for not onJy were Negro spirituals mosl methods. Just a paSSIve member of the audience. flanon & Ramltn strictly banned as "degenerate" music The esprit de corps among members planafortes of professlanal performance Every member has his or her clearly but the use of the English language was ~fthis inspired movement is unique. It defined duties within the organization." equally strictly forbidden. The enthu· ISthe secret of their success and of It was during those first, and perhaps siasm at this concert was indescribable. theirphenomenal growth. Paraphrasing DIVISION OF AEOLlAN AMERICAN CORPORATION, Eo"t Rochester, New York 53 etude-january 1957 etude-january 1957 • ------�---...... _------_.~------Jubilee Concert (Continued) NO CONTEST THIS MONTH

Grand Orchestra, Military. Band chorus, ." ( d and "other accompanIments not e- ib d on the printed program). Notice New Year's Resolution scrle I TheOne Hundredth Psa m was sung No contest this month, but instead, concerts or over the air. The titles of by Elsa Land bythe chorus, supported by t?e organ, mail to Junior Etude, not later than the compositions receiving the highest tra and band, the audience be- orebes d'" h January 31st, a list of (a), your ten votes will be given in a later issue. I try to practice carefully . "respectfully invite to Jam In t e favorite piano compositions, regardless (Don't forget to give your name, age 109 " On scales and things each day; lastverse. .' of whether you can play them or not; and address, as well as the names of Edited by Eliza.beth A. Gest Though it is lots more fun for me Yes,this was a music festival pIO- (b), your five favorite piano pieces the composers). d on a gigantic scale, yet, three To just sit there and play. duce . d "1 which you can play; (c), your five Keep you ears open, listen to as many But I will try, this coming year, yearslater, Gilmore orgamze a SImI ar, favorite compositions for orchestra. concerts as possible, and begin to de- To play with greater care; festivalin which he doubled the band s Perhaps you will hear some of them in cide on 'your favorites." I'll get a mark that's really good; number to 2000 and the chorus to Jubilee Concert I'm tired of getting "fair," 20.oo0! Dear Junior Etude: by Geraldine Trudell Letter Box I have been taking piano lessons for Who Knows the Answers? over four years. Last year I won a Bulova watch on a local talent program, ;()) NE OF THE greatest music fes- orchestra of 1000 performers, includ- IQ or AQ? Places playing Rachmaninoff's Prelude. I also tivals ever held was given in ing 500 trumpeters. Another number Send replies to letters in care of V play trumpet in our Junior High School Boston, Massachusetts, June 16 to 19, was the Anvil Chorus from Verdi's op- by Gertrude Greenhalgh Walker (Keep Score. One Hundred is Perfect) Junior Etude, Bryn Mawr, Pa., and if correctly stamped, they Band. I would like to hear from others. 1869. It was called the Great National era, "Il Trovatore," in which the Peace 1. In what town in Germany was Bach will be forwarded to the writers'. John Yurtinus (Age 12), Ohio. Peace Jubilee, and the advertisements Jubilee Chorus participated, supported Robert and Edward were good born? (10 points) Do not ask for addreeees, Foreign announced it as "The Greatest Festival by the band of 1000 players, including friends and were friendly rivals, 2. From what country does the High- postage is 8 cents. Foreign air Ever Known in the Historyofthe W'orld." 100 anvils. The anvils were played (if mail rate varies, so consult your • among others, trying out for the first landFling (dance) come? (5 points) Dear Junior Etude: President Grant and his Cabinet, one plays the anvil!) by 100 members Post Office before stamping violin chair in the school orchestra. 3. In what city was Handel's oratorio, I have taken piano lessons for ten Governors of many States, Army and of the Boston Fire Department, attired foreign air mail. Print your name Walking home from school they were "The Messiah," first produced? (15 years and organ for two years and hope Navy officials attended this event, which in red shirts. Several drum corps and and return address on the back discussing an IQ test they had ju,t to make a career of music. I accompany commemorated the restoration of Peace bells were also in the band. Artillery points) of the envelope. the mixed chorus and glee clubs in after the Civil War. was fired by means of electric buttons been given. our school and played flute in the band All railroads co-operated by running on a table in front of the conductor. "I feel pretty sure I made a high • Dear Junior Etude: for a while. I have a great admiration special excursion trains to Boston to The Grand Chorus was composed of grade in that IQ," said Edward, "be- Our school is subscribing to ETUDE for flute players and would like to hear carry the immense crowds to the Fes- 108 separate musical organizations, cause I know most of the answers." Magazine. I have been studying music from them, as well as from piano and tival. The great band-master, Patrick numbering 10,000 singers. This chorus "Well, IQ tests are fine as far as for ten years and my mother is my organ enthusiasts. I would like to hear S. Gilmore (who had been a band-mas- was accompanied by an organ especial- 4. Whichcity in America had the first they go, but as for me, I'm relying teacher. She has a B.M. graduate de- from foreign countries as well as from ter in the United States Army) was the ly constructed for this purpose; and a symphonyorchestra? (10 points) on my AQ test," replied Robert. gree. I also study violin and am taking the United States. 'projector, general director and conduc- large orchestra, in which the first vio- "What's that?" asked Edward. 5. Fromwhere does the patriotic song, ballet lessons. My hobbies are swim- Jean Bonin (Age 16), Wisconsin tor (with two assistant conductors) of lins were lead by the famous Norwegian "Give a guess," suggested Robert, The Maple Leaf Forever come? (10 ming, bicycle riding, stamps, and coins. this grand affair. violinist, Ole Bull. An Overuu e by At last 'the try-out time came, points) I would like to hear from others who The third day of the Festival was de- Flotow was performed by a band of 6. In which country is the scene of the are interested in music. signated as the day to commemorate Robert arranged his music, rosined Musical Anagrams Ganle 500 reed instruments. A special March opera"Aida" laid? (5 points) Victoria Zamora Neri (Age 14), the battle of Bunker Hill and a military- his bow and attended carefully to all by Marion Benson Matthews was composed for the occasion by a 7. Inwhich town in England did Haydn Philippines type and patriotic program was ar-' details. When the director asked if man named J anetta. receivethe degree of Doctor of Music? Change the letters around in each of ranged for that day. Some of the num- anyone would play a solo, he was The Star Spangled Banner and Hail (IS points) • the following to make each one the name bers presented were: Overture to "Fra Columbia were presented by the full tbe only boy who had a piece memo Dear Junior Etude: 8. In which city of Norway was Grieg of a well-known composer. The first Diavalo," by Auber, played by a grand (Continued on next page) I have studied piano and harmony and orized and ready to play. So--he was one to finish correctly is the winner. born? (10 points) trombone for several years and play selected to fill the first violin chair. 1. Handy; 2. 0 pinch; 3. Fable; 4. 9.In what city is Handel buried? (10 in a civic orchestra and trombone choir. "Congratulations," exclaimed Ed- Glare; 5. New rag; 6. Same nets; 7. points) I also enjoy skating and cooking. I ward. "You won, AQ or not, but you Drive; 8. Neat sam. 9. Mad can; 10. 10, In the melody by Stephen Foster, would like to hear from others. have not yet told me what the letters givenwith this quiz, from what State Eleanor Abbey (Age 19), Near sky. mean." did the singer corne? (a-5 points); New York (Answers on this page) "Oh! Well, AQ means the

BALDWIN-WALLACE popular resort. His pleasure on en- LOUIS MOREAU GOTTSCHALK CONSERVATORY ,OF MUSIC counterin,g there an aged compatriot BOSTON UNIVERSITY BeREA,OHIO (suburb of Cleveland) (Continued from Page 48) from New Orleans was tempered when EDUCATION FOR SUCCESS ~ toll withI firstclassLiberalArls Colleu. four a~d Affl1llr ,oursesleadini to deirees.. fatuity of Art!st the old man asked somewhat testily lowed The Last Hope is a shade better r~l!l!,SIndfor,ab!ollueorInformationto: "Wh atever became of that little prodigy ' COLLEGE of MUSIC IN THE than most" of the salon music then pop. CECILW. MUNK, Director, Berel:l, Ohio Gottschalk who promised marvelous A Division of the ular. And there are occasional flashes MUSICAL PROFESSION of the old fire-Souvenir de Porto Rico things, and whose father sent him 'to School of Fine and Applied Arls Europe in hopes of making a great mu- a march of ruthless step beginning in HAROLD BRADLEY Courses in 011 branches of music ae;td One- and two-year Certificate courses prepare for School of Music ' sician of him? Nobody has heard any, music education leading to the degrees, dark mystery; Pasquinada, a deliciously Piono, Violin, Theory B.Mus., M.Mus., D.Mus.A. thing more said about him. What has In conjunction with the Graduote School, private studio teaching. Four- and five-year courses lead to Bachelor's and impudent lampoon; The Union, a gran. Harold Brodley, Principal become of him?" Gottschalk's answer: M.A. ond Ph.D. Master's Degrees, and include cultural courses at Downtown Center of diose montage of the Civil War shrewdly [sidor Philipp, Principal Emeritus In conjunction with the School of Ed- Welleln New York, Niggarg Peninsula ucation, M.Ed. and D,Ed. University of Chicago. Piano, voice, organ, violin, 'cello, wind instruments, aimed at an inflamed public and reveal. "I confess that I found myself a little 21 Falls St., Niggarg Fglls, N. Y. ing as well where his sympathies lay embarrassed in answering this ques- Eminent Faculty Includes: . composition, public school music. Faculty of renowned European and George Bornoff in the tragic conflict. tion. My self-esteem was eonsiderahly American artists. Many opportunities for public recital, solo and group Beginners don't need Strads. but Alexander Borovsky Of all his compositions, our favorite their l'iollns-violu·rellos-banu hurt. I told him the little prodigy was Rafael Bronstein performance. Member of the National Association of Schools of Music. are never "right" unlen they're Lee Chrisman is his Berceuse (Cradle Song), based on the rlll'ht SIZE; u n t e s e they still a pianist, and that without hav- George Faxon Arthur Fiedler Founded 1895. Splendidly equipped lake-front building in the heart of a French lullaby, Fais dodo, man "speak" easy. "sing" clear. and ing precisely realized the "expecta- bebe. (AND!) stay In tune. (That'a Karl Geiringer Julius Herford He played it extensively after his reo rlght. stay In umen FOT full de- tions of his countrymen, he had not- cultural Chicago. Lake-front dormitory facilities. For catalog, write Arthur Allan Lannom utu. write the name of thia pubH- withstanding continued to work at Wildman, Musical Director. turn from a six-year Indian sojourn, euren abon l'our signature on a David Blair McClosky POlt card. Do It now! music," Harriet Nordholm and made of it a song, Slumber OT/, EmanuelOndricek Baby Dear. VARITONE,INC"545 5th Ave., N, y, 17 Gardner Rel:ld We are taking a kinder view. Gotts- Jules Walffers SHERWOOD MUSIC SCHOOL On January 1, 1863, Gottschalk, reo chalk was a civilized, sentient human and 70 other distinguished artists, musi- SHERWOOD BUILDING· 1014 S. MICHIGAN AVE .• CHICAGO 5. ILL. covering from an illness, gave way to Pianists being, an artist buffeted by circum- cians and edoeeters. seasonal melancholy: stance, of a world tripartite: North For catalog write: "It is seven o'clock, New Year's Day! Improve your playing and teaching, with America, Europe and Latin America. the world's most up-to-date piano methods. Robert A. Chaale, Dean Magical epoch, which, when we are Wriltforafrell copy af PIANO TEACHING To each he brought all three, to all he 25, Blagden Street, Boston 16, Mass. children, excites in us a glow of in- TODAY. With it you will 01.0 be sent eem- gave himself. His was a. meteoric career, describable felicity, and which, as we plimentttry, a mcster lesson on MUSIC'S a life lived fully in momentous times. •• e ••• I I I •••• I I I •• I •• I •••• EASTMAN SCHOOL of MUSIC become old, * brings with it only !'he MOST UNUSUAL CHORD. Bath from the THE END penof Robert Whitfard, Founder-President, remembrance of lost happiness." of The University of Rochester International Piano Teachers Association. Something had just arrived, however, aoblrl Whitford Music Education Bureau Before you decide- to make his hotel room look a little less 3010 N.W. 2nd A.ve. Mlgmi 37, Fla. HOWARD HANSON, Director bleak. It was a fan-letter from an In- THAT'S JACKIE GLEASON (;HE(;K THE dianapolis mother to the Home Journal (Continued from Page'47) ALLEN I. McHOSE, Director of The Summer Session concerning his Berceuse. Immensely KNOX D.porlmlnt of MUllc cheered by it, he recalled how he came Gailiburg, illinois Member N. A. 5. M. this plan. Gleason himself, too, will re- to write the Berceuse as an expression COLLEGE cord some of the recitations in the fu- of gratitude for the recovery of a younger THOMAS W. WILLIAMS Chairman ture, and he has composed music for .#3'~~ Training Yaung Musicians for Professional Careers sister. The lady from Indianapolis con- Cotglog sent upon request the legend of "Sleeping Beauty." eludes her efJusion-"A good' man must (;ONSERV ATORY Offering undergraduate and graduate programs of study he be------thecomposer of the Berceuse." * * * OF ltIUSI(; We would hesitate to inform the lady This month's New York Philharmon- leading to degrees in Applied Music, Composition, History \1\ NORTH PARK that uplifting music is not necessarily .,.1COLLEGE DEPT. OF ic-Symphony (Sunday 'afternoons, CBS- SPECIALIZED ORCHESTRA TRAINING: Boston Symphony's concertmaster Richard Burgin of Music~ Theory and Public School Music. written by paragons of virtue. Just the radio) broadcasts find Bernstein in a trains the NEC Orchestra. Graduates are same, a simple creature of the Victorian nONAlD F. OHLSEN thoroughly qualified niche, along with found in the major symphonies throughout Director MUSIC era had sensed a side of Gottschalk's fellow - composer Igor Stravinsky, as the country. Residence Halls for Men and Women ForFrH CgIg/og Wrif.Oept. ET NEC GRADUATES have been engaged annu- nature seldom mentioned by more folIar gl Kldsie, Chicago 25 Member NA5M guest conductor. Bernstein doubles as ally since 1890 by the Metropolitan Opera learned people since her time. The tend- pianist in Ravel's Piano Concerto in G Company. Eleanor Steber, Mildred Miller, ency is to expose his showmanship and major (Jan. 6), supports Isaac Stern and Rosalind Elias are NEC alumnae now at the Met. Others are at N. Y. City Center, cynicism. Philadelphio Conservatory of in Prokofiev's Second Violin Concerto abroad, and with the New England Opera APPLICATIONS NOW BEING ACCEPTED FOR 1957 Theatre under Boris Goldovsky. But the Gottschalk of the Berceuse is Music SOf" reO" (Jan. 20), and offers his own new he who interrupted his concert in To- MARtAEZERMAN OUKE, Oire,tor "Candide" Overture (Jan. 27), while DIRECTORS AND SUPERVISORS OF MUSIC- these are the positions held by our Music For information write ronto to go to the immediate aid of a Oll1r" COII,.,e. Stravinsky conducts a program of his Piono, Orchlltra, Opero, Chorua, Education graduates; they are trained to be Edward H. Easley, Director of Admissions friend in New York, who could not say Slrings, Composition, Voice, Winds. own works (Jan. 13)-"Fireworks," leaders and to el'cel as teacqers. no to a being in distress, and whose 216 S. 20th SI. LOcuat 7-1877 "The Rite of Spring," and "Perseph- THE NEW ENGLAND CONSERVATORY is an accredited college of music which grants the greatest gift at such a time was that of one," which features Vera Zorina as degrees of Bachelor and Master of Music: EASTMAN SCHOOL OF MUSIC - ROCHESTER 4, N. Y. his actual presence. The Lisztian tradi- narrator, tenor Richard Robinson, and SHENANDOAH HARRISON KELLER, Presidenl CONSERVATORYOF MUSIC the Westminster Choir. tion of donating fees to charity was FOR IllUSTRATED CATALOG, mail coupon observed whenever possible, and many U\. in A.pplied Music Member NA5M The long-awaited Am-erican premiere 1.111.. in ChurchMusic Coeducational ••••• e e •• I ••••• I I ••••••••• are the instances of the impulsive lar. I, MusicEducotion Aha Junior College of Prokofiev's opera "War and Peace" gesse. This generosity extended as well Study piono, orgon. woodwinds, stringl, voice. Dean Chester W. Williams Room 13 PEABODY (;ONSERVATORY !l'ellent practica Iquipment ond facilities. Church is scheduled for Sunday afternoon, Jan. NEW ENGLAND CONSERVATORY OF MUSIC COLLEGE OF MUSIC to his attitude toward fellow-artists- A1otad: low railS. Schoiarshipl. Day and reaident. 3 by the NBC Television Opera Thea- 290 Huntington Avenue, Boston 15, Moss. Reginald $tewcUI, Director professional jealousy was foreign to his ccredlt!d,For a cotolog write: tre, while in their usual spots on Mon- Cemplete mu;eel training in all bruches. Diploma, M.Mu~., B.Mus.. Teacher's Certificate. Affiliation with Jahns Hopkins University, GolKhllf S~.nandollh Colllgl, Box E, Dayton. Virginia Please send me the college catalog. I am and Loyola Colleges. Member of the National A'sociation of Schools of Music and of the Middle Stites Assl)l:iallon of Colleges and Secondary nature. day evenings again the "Telepho?e interested in the Bachelor's 0, Master's 0, Schools. DormitOries. The mood of that New Year's Day-a Hour" (NBC-r~dio) will present dIS- Popular Music 0 course for the year • Regisfrcrr, 9 E. Mt. Vernon Place Baltimonl 2, Maryl~nd vaguely oppressive feeling of a life mis· MILLIKIN UNIVERSITY SCHOOL OF MUSIC tinguished soloists like Zino France- Name .•.•..•.....•.... : .•....•.•.••• ' spent-returned s'ome years later while DECATUR. ILLINOIS scatti (Jan. 7), George London (Jan. • MUSIC and ARTS INSTITUTE of SAN FRANCISCO he was visiting an "obscure hole on the ~~u:..lllblrlininCin mlllil:. CoII'"ltSludin. to dwHS 14), Brian Sullivan (Jan. 21), and • ol·llask.allllolM~~OiS:~Ed~::-. [dIlUtion. Mnt .. : Address , •••..•••••••..••••••••• ' Bachelor of Music Degree coast of the Pacific," Acapulco, now a Grant Johannesen (Jan. 28). llllllbtrof lbl Ihtion.1 Anociation Schools 01 Mnic Free'(iferafure 2622 Jackson, S,F. 15 Rass.McKee, Director • *He was then only thirty-three. BlIllatinIlIIlllPOfl rtquat THE END • City, State .....•. 'I HARRYB. WELLIVER, DEAN 58 59 etude-january 1957 elude-january 1957 ------...... ------....,... .. 'ty to the expressive content of sensllivi h ' , . AMERICAN . itself An emp asrs on mUSICIan- mUSIC I • 111 d musi SCHOOL MUSIC , ' the very core 0 a soun mUSIC WHERE SHALL I GO TO STUDY? (jkvJ,Un eQ.H.d.e!wdo.'Uf shIpIS • hi is th I (Continued from Poge 23) ' g MusiCIans rp IS t e on y true teachIn . . hili d I ' both of reading a I ity, an 0 vitality of musical experiences. Music baSIS • RICHARD McCLANAHAN EVANGELINE LEHMAN, Mus. Doc. rmance: for musical performance OF MUSIC was chosen, and indeed often composed I reacher of Piano Teacher of Singing. per0 ' hI' I Matthay h 1d always mean t e trans anon 0 exponent, formerly his representative. Specialist in Proper Breathing -or perhaps better, manufactured-c. SOU • d d Private lessons, Creative Vocal Exercises for individual needs. technic courses; available a. Dedicated to the Superior Training of American Talent musicalinsights ~nto s?un j an not Coach in Clossic, Opera, Orotaria; simply for the sake of teaching the fun. visiting r ectu re-redla list, a, critic-teacher. Secular a"d Modern Repertoire damentais in the predetermined order. theacrobaticmampulatlOn of some in- 'Six-Day Pic no Seminars Intensive professional study of MUSIC, aal (no charge for auditions) It tended to be uninspiring and artisti. strument. Steinway Bldg., 113 W. 57th St., N.Y.C. STUDIOS: balanced with a liberal arts program 167 Elmhurst, Detroit 3, Mich. Phone: To 5-8413 cally worthless. C. The way to develop musicianship 4344 Harvard Blvd. Toledo 14, O. Phone: Wa:2594 in America's first coeducational college. The plan never gave good results. isby comingt~ ~nderstand the content EDWIN HUGHES Dormitories. Concert series by guest and Few children learned to read music, fmusicof arusuc worth, not by study. ~ \ PIANISTS PREPARED FOR PUBLIC HARRY EULER TREIBER: Mus. .\ D. Oberlin artists. Excellent practice facil- Many of them developed a lasting antip. ~ 'Isolatedfundamentals laid out in PERFORMANCE AND FOR COLLEGE, ~ b' ' I Voice Building ities. Faculty of 55 eminent musicians. athy to music. As an agency for build. someinevitably ar itrary sequentra UNIVERSITY AND CONSERVATORY Pupil of the late Wm. L. Whitney ing a musical culture, and for making order.Childrenshould be helped to un- TEACHING POSITIONS (Vonnucini Method) Member Nct;onol Association of Sr:hools of Music music a lasting influence in many lives, derstandsomething of the .musical con- 117 East 79th St., New York, N. Y. Stvdia 509: 270 Huntington Ave., Boston, Mon. Write for: it was clearly a failure. tentof the songs they sing and the - Conservatory catalog describing degrees Recently there has been a strong reo piecesthey play. How much they un- HELEN ANDERSON action against such procedures. It is derstandmust, of course, depend on "Teacher of Successful Pianists" LUCIUS DUNCAN awarded believed that children should be made theirmaturity. But if this plan is Icl- Masler's Technique- 10ne-1 nterpretation Special Counes, Harmony, Improvisation VIOLINIST - Bulletin on admission and audition pro- aware of the relationship of music to lowedfor twelve formative years, they 166 W. 72nd St., N. Y. C. Tel. Sc: 4.8385 La 7_0723 104 N. Mole St., Phila. 2, Pa. cedures many aspects of living, that they should arelikelyto come out with a genuine be encouraged to sing freely, to engage musicalcompetence and insight - a - Calendar of music events of the current in dramatizations, rhythmic activities, Mme. Giovanna Viola Hull (Desmond) genuinemusicianship. ISABEL HUTCHESON year and dancing, that they should have op- Herewe have a reconciliation of the Teacher of singing-European trained "Bel Canto" Refresher Course for Piano Teachers: - Programs of concerts, recitals given dur- portunities to play simple instruments claimsof scope and equ nee. For mu- Voice culture-diction-coaching Modern Piono Technic, Coaching Concert Pianists, Group Work, for further information oddress ing past season and to experiment with standard instru- sidanship-r-i.e- a grasp of the constit- Phone, Trafalgar 7·B230 60a West End Ave. New York Citv Studio 202, l00s¥2 Elm st" Dedios, Texas ments, that they should be helped to uentelements of musie-c-develops as Director of Admissions, Oberlin College create music for themselves. an enrichment,enhancement, and deep- Clearly all this amounts to a great eningof musical experiences and activo CRYSTAL WATERS EDNA GUNNAR PETERSON extension of scope, and so far it counts Teacher of Singing Concert Pianist-Artist Teacher Box 517, Oberlin, Ohio Iies that are both varied and intrinsi- on the positive side. But on the negative Populor Songs and Classics 17447 Castellammare Pacific Palisades, Calif. cally valuable. Gladstone 4-1803 side there has been a tendency to ig- TV-Radio-Stage Concert 4. We must provide musical experi- 105 Eeut 54th St., New York 22, N.Y. nore serious, organized music study- -~------~------eces that are consistently 0/ high S'\Idio re·apens October 1 to ignore sequence, that is to say. Many MAE GILBERT REESE artistic worth. This is essential. It has AMERICAN CONSERVATORY music educators, in their laudable en- PIANIST beenstressed by President chuman LEOPOLD WOLFSOHN Specialized training for OF MUSIC-CHICAGO thusiasm for rich, varied, stimulating teachers and concert artists inhis reprinted address, and by Pre- Pianist, Teocher, Composer 70th year. Faculty of 130 artist teachers experience, have tended to overlook the 857 S. Rimpau Blvd., Los Angeles 5, Cal. Courses in All Branches of Music Leading to B.M. and M.M. Degrees fessorGehrkens in hi admirable sum- leocher of Aoron Copland, Elie Siegmeister a"d importance of substantial and genuine We 4-4212 Member of National Association of Sl:hools of Music maryof fifty years of music education mony ortis'ts cmd teochers. Send for a free catalog - address; John R. Hattstacdt, Pre~., Fine Arts Bldg., Chicago musical development. BEGINNING TO ARTISTIC fiNISH ("FiveDecades of Music Education," School music has now reached a level Hotel Anlania, B'wav at 73rd St., New York Cltv EdurO/ion, vol. 76, no, 7, March 1956), HAROLD HURLBUT BUTLER UNIV-ERSITY of maturity where the claims of both Has.. taught singers of METROPOLITAN Opero, Professor Gehrkens has uggested Chicogo and Son Francisco Operos, stage, screen. scope and sequence can receive a bal- WILLIAM FICHANDLER JORDAN COLLEGE OF MlJSIC that,in recent year, there has been a radio, television, including anced and judicious recognition. What Pianist, leocher A rich tradition, a progressive philosophy, an outstanding faculty, complete accred- fallingoffof the excellence of the music NADINE CONNER, HOWARD KEEL, Evelyn Her· 314 West 7Sth St., New York, 51,1-7-3775 bert, Henry Cordy and mony others. itation. Baccalaureate degrees in Dance, Drama, Music, Music Education, Radio. does this mean in practice? The ques· usedin our schools. If so, it is a griev- Compositions published by G_ Schirmer Wrile for cola/ogue and delired informalion tion is far too large for any complete 2150 N. Beachwood Dr., Hollywood, ~al. ousfault. The belief thai music for Theodore Presser, JORDAN COLLEGE OF MUSIC (Box E), 1204 North Delawore Street answer here; but I will venture to point Belwin, Inc., and Chappell & Co. Indianopalis 2, Indiana childrenand young people can properly out three essential considerations. be inferior'is hard to understand. Yet ALFRED TROEMEL A. If music is to play an enduring Teacher of violin inferiormusic has certainly been far ERNESTO BERUMEN and constructive role in the life of any Leopold Auer's Greot Secret: Tone, technic, PEDAGOGUE individual, he must grow musically. toowidely tolerated, for instance in CONCERT PIANIST AND ortistry bound together. 6 years with Auer. theeffortto teach reading in the ele· teo ching i':l Now York City. Res. Studio, 336 E. 71, New York 21, N. Y. Manhattan School of Music Certainly he must enjoy music, and deal opportunity for given mentaryschool, and also in secondary- Students Faculty member, Manhattan School af Music BACHELOR and MASTER of MUSIC DEGREES constantly with music of intrinsic worth public appearances. Teacher of "brilliant" violinist Wolter Brewul and appeal. Certainly he must engage schoolperforming organizations. For information write: catalog sent on request 150 Greenway Terroce, forllit Hills Nothingcould be more disastrous, or 238 East T05th Street, New York 29, N. Y. in manifold attractive musical activities 75, L.I., New York ANNA THE SYDNEYS DAVID and experiences, and be made aware morecertain to frustrate our basic Voice Teachers of the relation of music to manifold aim.Our purpose, to repeat, is to open Unmask the mystery aspects of living. But also he must have upthe rich resources of the musical GEORGE FORGE Develop the Bell of -the Voice LONG IS LAN DIN S TIT U TE 0 F MUS I C Honolulu, Howoii Sing with the Ease of Speech a growing musical competence and in· art as a lifelong resource, individu.al, Diction, languages, stage deportment Piano Orgon social,and spiritual. For this by far All phases of theatre and vocal technique Approved by New York State Dept. of Education sight, for otherwise music will come Teocher of Speciolized Techniques fa' beginning to seem trivial and childish to him as thestrongestinfluence we have is the students of 011 ages. Classics, Art of Modern Im- '8 West 13th St. (near Fifth Ave.) . fond Musicol Therapy for the Retorded. Chelsea 2.3390 • New York, N. Y. Dr. Edward B. Hornowski, Director he becomes older. Thus school music i~effableyet potent appeal of music of provIso Ion I 998291 P. O. Box 2474 Te. DE 2_9106 BOlton, Mass. cannot achieve its central aim if it con· hIghexcellence, presented in such a , MASTER COURSES sists largely of "fun and---games." A \\'aythat its beauties are appreciated, GRIGGS Violin by Mishel Piaslro serious development o.r~~sicianship is understood,and impressively realized. MARY BOXALL BOYD HAZEL Pianist Piano by Leopold MiHman essential. \. Suchmusic has a living power of its Pupil of Leschetizky ond Artur Schnobel . "Pionist ond teocher of renown"-ETUDE musIc Beginners to Young 'Artist~ B. A concentration on music reading own,and the highest function of any Teacher's Workshops For information call or write to Registrar magozine . II as a tool· skill is a falsification. The teacher,in the schools or elsewhere, is Now teo ching at Nolo Studios, Stelnway Ho • , 522 5teinway Helll SC 3-608'- 78-39 Parsons Blvd., Flushing, New York thing to aim at is musicianship, which toopenthe way to making that power 113 W. 57th St. N~w York Ctty 113 West 57th Strllllt, New York 19, N. Y. 44 Nasselu Street Princeton, N. J. RE 9-7419 OL 8-9882 is an altogether broader concept. Mu· effective. I sicianship is a comprehension of and a In closingI would like to comment I 61 ... 60 elude-january 1957 etude-january 1957 .______-----oIlo.... briefly on what seem to be the two out- The director may conduct, standing in standing weaknesses of American music front of the group. He may lead by education, judged by its outcomes. The singing in the group, He may assign first is the inveterate prejudice against leadership to students. Assigning lead. what is called "classical music." The ership to students is the plan most START SPEAKING - second is the lack of intelligent, in- gratifying to the director, student lead. CLASSIFIED ADS structed musicianship, which, on the ers, and members of the ensemble. How FR~~CH g whole, I prefer to can musical under- does the director select a student lead- standing. Both weaknesses militate er? Early in the fall, after the. director - SPANISHAIMOSr OVERNIGHTI HAR.\iONY, Composition, Orchestration, Musi- PLA Y ALL THE LATEST POPULAR PIANO HERE'S the eaetest WilY to learn FREKCH, SPANISH, against the rich and continuing use of has taught a group long enough to CHRISTIANS. Your Musical repertoire is not Russian, German. ItaUan, Japanese or Brn11lan. cal Theory.Private o~ Correspondence Instru~- SHEET MUSIC at sight, professional style. $1.00 complete, without these two great, "Happy LiBlen to FREE 2-sided non-breakable record. Let your music as a resource for better living. know his students and for them to . ManuscriptsreVISed and corrected. MUSIC 'Valter Kazaks, 234 58th St., New York 22. eyes follow words in FREE sample lesson. Almost at cnee E. Heart" Songs, "I Want You to Come" and YOU'll be chatting in a new language with II perfect accent! Neither can be cured by magic pan- know each other, he should assign them :~. Frank S. Butler, 32-46 107 St., East "Miracles of Jesus." At your favorite music That', all you hear! Nil dull. tedious work. Just lIsten- Elmhurst69, N. Y. tmttete! It's that easy! Otrer may end soon. Rush 25t to aceas or clever devices. Young people two numbers of contrasting style to counter, or send one dollar, receive both copies, help cover cost of special packaging, shipping. State postpaid. The "Wright" Music, 2213 Christine cannot be converted wholesale to "clas- ACCORDIONS-Direct from importer-save 50% language }"OUwant. 'We'll also send hee Information on be learned. Tryouts, permitting those St., Wayne, Michigan. full Cortina course. No oblill:Btl0ll. CO"~T!N~_ACAOEMY, sical music" by a conventional course and more! Free trial. Lifetime guarantee. Trades Dept. 251, 136 W. 52nd St. New York 19 who are interested in attempting to lead EUIN PIANO TUNING-Simplified, autbentic accepted. Free Catalog. Write Accordion Manu- in "appreciation;" nor can they acquire the group from within as they sing, ~trocfiODS4.00-Literature free. Prof. Ross, facturers Outlet, Dept. 126EU, 2003 Chicago, 456 :Beecher5t., Elmira, N. Y. Chicago 22, Illinois. VIOLINS FOR SALE-New and old Instruments an intelligent and sensitive musician- should be held. A secret ballot among from $35 to S100. Each of outstanding tonal ship from a high school course in the participants will determine the quality. Violins repaired or rebuilt for tone theory. But I believe that there is a leadership, for students invariably rec- WRITE SONGS: Read "Songwriter's Review" improvement. Ralph Cess, Harvard, Ill. HAND BUILDING EXERCISES FOR PIAN- hopeful, even assured, cure. It consists ognize those qualities that constitute llagarine,1650-ET Broadway. New York 19, !.5¢ COpy; $2.00 year. (Est. 1946). ISTS by Weldon Carter. Teachers. concert of a vital program of musical experi- leadership. The selection of two leaders pianists, advanced students. A better technic WANTED-Mrs. Virgil Method-Red Bcmk:-Vol. ences and learnings, rich and varied yet with 20 minutes daily practice. Send $1.00 for I., Arline Marohn. 188 Brompton Road, Garden divides responsibility; gives two stu- copy to Washington Musical Institute, 1730 City. N. Y. sequential, beginning at an early age, dents, often future music teachers, fine SWING PIANO- BY MAIL. 30 self-teaching Sixteenth Street, N.W., Washington, D.C. IeIsonS S3. Sample!!. Over 50 publicatioiU. Pbil proceeding in a musically .stimulating experience; and provides for a sub- Breton Publications, P.O. Box 1402, Omaha 8, environment, and bringing children and 1\ebraska. Any intelligent person who is handy with tools stitute in the event of illness at the time can make a beautiful violin from one of our young people into convincing contact of a performance, since both leaders MODERN INDIVIDUALIZED PIANO or organ complete kits. Free brochure. Premier Music, with the richest treasures of the art. taught by tape recording and correspondence. 309 W. Fourth St., L05 Angeles 13. Calif. learn all numbers. LEARN PIANO TUNING AT nOME. Course Write for infonnntion: GEORGE FORGE NA- THE END bi'Dr.Wm. Braid White, world'. leading piano TlONAL CORRESPONDENCE COURSE. Box How should a madrigal group be reclmicianand teacher. Write Karl Bnrtenhach, 56, ETUDE Magazine, Bryn Mawr, Fa. (George organized for maximum development of lOOIA Welu St., Lafayette, Ind. FOR SALE: 50 years-of the ETUDE in excellent Forge is the author of the copyrighted text condition 1907-1956, Harold Brown, Athol, Mass. the students as well as for their maxi. "The Law of Chord Ccnstrucrion.") A MADRIGAL GROUP IS FUNI mum assistance to the director? A FREE MAIL-ORDER CATALOG: Hundreds of president can assist by calling the ROCKET RECORD MFG. CO., ANNOUNCES (Continued from Poge 21) sdf-instructivebooks for musician.! from Io.zz to group to order, giving announcements, symphony. Walter Stunrt ?Iusfc Iee., 421-B SCIENTIFIC SIGHT READING guarantees im- RELEASE OF A SPLENDID SEMI·CLASSIC Chestnut St., Union, N. J. mediate sight reading improvement-36 pages- PIANO NUMBER. INTO THE INFINITE (in used. Perhaps pointing out what to and serving as the head of the group $l-Morong, Box 21, Brooklyn 25, New York. F Minor) THE SONATA IMMORTAL, BY C. avoid in the selection of material is when .the director is not present, wheth- ISABEL MAYER. COMPANION. NUMBER, ROMANZA ANDALUZA, by SARATE, Violin er in rehearsal or performance. A SACRIFICING200 ACCORDIONS - ALL wiser than suggesting what to look for. concerto, Artist George Cochran, formerly with Discounts to 70$. catalog. Cla- Numbers which require great sonority secretary can take complete charge of mms. Free FOR SALE. Rare recordings, free lists. Collec- Portland Symphony. #9466 Introductory price ACCORDIONS ~:~:LOG liolines or other musical Instruments secured. tions bought. E. Hirschmann, 100 Duncan Ave., m: $1.25 postpaid. Also new songs by new writers of sound such as music from the Rus- attendance; and a librarian can be reo Di!countHouse, 8932 88 St., Woodhaven 21, KING SIZE DISCOUNTS TO 80%. Convince yourself. Jersey City, New Jersey. a specialty. New material desired. Rocket Record ~'ewYork, Vi 7-0866. SPECIAL-Metronomes, $7. Music Stands, $2. sian school are not effective. Numbers sponsible for the library and for dis- Mfg. Co., Box 3896, Portland 8, Oregon. Retail at wholesale prices. All musical merchandise. with much humming accompaniment tribution, collection, and care of music. JAY STEMMERMAN do not sound. Music with a wide divi- Student leaders should be trained so RECORDERS (Wood flutes). Ideal for home, REVOLUTIONARY METHODl "HOW TO 8932 88th 51.,Woodhaven 21, N.J. sion of parts should be avoided. Though' that after a new selection has been BACK POPULAR SHEET mSIC TO 1850. school, club-easy to learn. Free catalog. The CatalOg15t. C1l\SSicsexchanged for popular. Recorder Shop, 309 W. Fourth, Los Angeles 13, HELP CHILDREN LEARN MUSIC" (HARPER & BROS., $3.50). Classes and Materials now accompanied numbers are suitable, presented to the group and interpreted Fore'l, E31S1 High, Denver 5, Colorado. Calif. students in madrigal groups always by the director, they can carryon. available. Write: CONE-ROYT MUSIC LEARN- ING AIDS, Studio 866. Carnegie Hall, New seem to prefer a cappella numbers. Se- What are some of the values to be York 19. lecting one singer with enough pianistic derived from participation in a madri- OLD VIOLINSAND OTHER INSTRUMENTS. LEARN W1DLE ASLEEP! Method university- TO AUTHORS Repajrmg.Supplies. Eaken, 310 E. Washington background to double on piano is pre- gal group? Washington-Lee High proved. Results guaranteed. Details free. Re- seeking a publisher n, Chambersburg, Pa. search Association, Box 610, Omaha. CUSTOM-BUILT HARPSICHORDS, VIRGIN- ferable to assigning a pianist to the School students have answered this ALS & CLAVICHORDS from $500 delivered in :rtr:.,u ;~~~~~~~~~~~na K~~~~~h:r'as~~~lr~h:r~rl:rt~1i~1~~~r:t:tcI~~I:~ group. question. They say that from small en- U.S.A. Illustrated catalogue air mailed on re- lish, prnmole end dislribute your book. IS we have done lor hundrech quest. The John Paul Company, 39 Grove Road, of other writers. All subjecls considered. New aUlhors welcomed. Because madrigal singing had its be- semble experience they are gaining t:ll'UNO, The Touch S)I1tem of Playing the HULL'S SUPPLY HOUSE., Importers and Job· Write loday lor Booklet ET. It's Iree. Eastbourne, England. ginning in the atmosphere of the Eliza- increased knowledge of music; emo- Piano.The Powell Piano Mask block.s the sigbt bers. Stringed instruments, suppli~s.' violin mak~ VANTAGE PRESS, Inc., 120 W. 31 St., N. Y.-1 0/ the keyboard but permits sight of the music. ers' tools and material. Fine repalnng. 33 years In C(alif.: 6253 Hollywoad Blvd., Hollywood 28 bethan home, one should be true to the ti.onal growth; an appreciation of the Play hie the artists-by the exclusive senses af experience. John S. Hull, Violin Maker, Fort NEW PIANO MUTE LETS YOU PRACTICE touch 3nd bearing. Effectively aids hand inde- tradition of madrigal singing and avoid importance of hard work; experience Hunter, New York. DAY OR NIGHT WITHOUT DISTURBING ~enre, ear·training, sight reading, memoriz- OTHERS, mutes piano about 85%. Easily at· the kinds of compositions which destroy . in budgeting time; self-discipline; abil- ID£. Onepiano mask with manual of instruction tached or detached without -hanning mechanism. the intimate relationship between per· ity to assume responsibility individually and original elercisC!l.Send $2. Address John E. State upright, grand, or spinet! Sold only on GillIlner, 1001 Churchill Ave., Utica, N. Y. PIANO TEACHERS-Sell all music to your former and listener. How does one as- and as a group; preparation for living students. We supply teaching music wholes~le money back guarantee. Send $5 for mute and certain this quality? Measuring such and working together; a feeling of (50% of retail price). Write for free list. fuU instructions. Richard Mayo, Dept. 004, 2827 STUART MUSIC INC. 421-B Chestnut St" S. Darien St., Philadelphia, Fa. an intangible is difficult, but the in- security, of belonging in a large school; GROTIUAN-5TEn.;"WEGPIANOS, intemation- Union, N. 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Also teachC!l you piano regulat- 7th St., Boston 27, Mass. singers must convey to their audience more, she finds that work with a small ~£,~epalli1lg and other servicing operations. BARGAIN OFFER. We have too much piano, on ~rfulillustrations. Full price only $4.95 vocal, choral, and violin music-all unused. Send the conviction that they are performing ensemble of intensely interested, highly llOilpald-or c.o.d. plus postage Satisfaction $1 for each "'grab-bag" (at least $5 retail value) FOR SALE: Hook-Hastings two ma~lUal u5ed for, their own enjoyment. They must be or refund. Neoon Company, 210 wanted. Menchey Music, Hanover, Pa. motivated students who appreciate not r~1eed pipe organ. First Methodist Church, Wilson, N.C. uninhibited and free. They must have only the opportunity of more specialized . ton, Dept. 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62 66 etude-january 1957 etude-january 1957 SHAPE NOTES, few respectable singing masters had WHITEBEARD:Certainly we are. But picked up Little's idea by then. The let's not confuse ourselves as to what WHITE. SPIRITUALS best known convert to the shape note we mean by "musical standards." These (Continued from Page 15) cause was the cantankerous Andrew standards are not some abstraction Law, who printed the fourth edition of which can be measured by a platinum yardstick kept in the Bureau of Weights to sing plain diatonic tunes at sight was his "Art of Singing" (Cambridge, and Measures. They are a constantly concerned, Little's system worked wall- 1803) "upon a new plan" which con- evolving thing, reflecting the taste and ders-and still does. No one who has sisted of the use of Little's shapes experienced the amazing virtuosity of (with the note heads for fa and la in- temper of the age. The nineteenth cen. tury,· which found Mozart vapid and Southern shape note singers, trained in terchanged) and the omission of staff a method essentially identi~alto Little's, lines. Other tune books antedating old-fashioned, thought highly of Jean can possibly doubt this. In fact, the "David's Harp" inspired by "The Easy Nepomuk Hummel. Nowadays it is the shape note idea is infinitely superior, Instructor" included J. J. Husband's other way around; Often musicians-who for this sort of music, to the Tonic Sol- edition of the Andrew Adgate "Phila- talk about musical standards are merely Fa system so widely useod in the British delphia Harmony" (Philadelphia, 1807) indulging some-favorite h!illbx.. such as Isles, where most public school music and Charles Woodward's "Ecclesia unaccompanied Russian liturgical rnu- is' printed in both regula~ and Sol-Fa Harmonia" (Philadelphia, 1807), both sic. notation. Nevertheless, shape notes were using the shape note idea but different TALLIS (Stiffly): I haven't had any flatly rejected by those who shaped the shapes, and a long series of bald pira- complaints. patterns of -American music education cies by John Wyeth, editor and printer WHlTEBEARD:That is because your early in the 19th century. of the Harrisburg newspaper The Oracle music committee has formed the err one- The reasons why the shape note idea of Dauphin beginning with Wyeth's own ous idea that-you are a delicate, sensi- was spurned in the big cities had noth- "Repository of Sacred Music" (Harris- tive a·rtisLw.ho-musLbe handled gingerly. ing to do with its value as a teaching burg, 1810.) and Joseph Doll's "Liech- r They asked me to s eak to you about aid. They had to do with the kind of ter Unterricht" (Harrisburg, 1810), a t e matter. have now done so. music with which shape notes happened German-language plagiarism. ALLIS:WeI, it just so happens that to be linked. The fact that the shape (To be.continued next month) the Russian liturgy includes some of note system was identified, from the the greatest masterpieces ever written. moment of its first appearance, with WHITEBEARV:Everybody knows that; but it also happens that enough is as music in a unique New England idiom CHAPTER MEETING but then under heavy attack as un- good as a feast. You will recall that couth, undignified, illiterate, and cheap, (Continued from Page 53) they recently undertook an extensive apparently blinded urban teachers to rebuilding of your installation in the its usefulness. The prejudiced attitude would be too much of a good thing. hope that when it was finished you of sophisticated musicians was admira- PENTECOST:The .last verse is intro- would condescend to play the thing bly set forth in the preface to "David's duced by a short, brilliant modulation once in a while. And what did they get Harp" (Baltimore, 1813), an other- into a higher key. the next Sunday? Russian church mu- wise undistinguished tune book prob- WHlTEREARD:Another theatrical de- sic, sung a cappella! ably compiled by John Cole: . vice, the "Rossini crescendo." But you (PENTECOSTand ADVENTare amused; have missed the most important point The good old notes, as well as the TALLIS glowers) of all. , good old. str.1e are here united; in- TALLIS: Well, it's easy for you to (PENTECOST, ADVENT and TALLIS deed these will always be found hand talk. You've got the ideal set-up. You scratch their heads_) The things that money can't buy in hand-and it is a pleasing refiec. say yourself that if you asked for the ADVENT: There's certainly nothing tion to the lovers of good music, that moon your music committee would remarkable about the tune itself. It's come into your home with a Steinway the new-fangled block-headed notes .. merely inquire whether you wanted it Adeste Fideles, which at Christmas you and the music which is printed with full or in the first quarter. You've for- can't stir ten feet without hearing on a them, are in general of a piece; so gotten what it is to work with crotchety What is a piano's most precious value? Concert artists consider the Steinway's juke-box. that they are spared the pain of tor- people. WHITEBEARD:Right! And now let me ity of tone and sensitive action the qualities most needed to capture turing their eyes in looking for WHITEBEARV: Oh, I have, have I? pun . h give you another sailors' analogy. When audiences. And the Steinway's role at home, in this age of automation, reac es pearls among the rubbish. You young rascal, I was arguing with a rope gets heavy wear, running through hild nder the Steinway's gentle authority, develops music committees before you were The U Or,in Thomas Hastings'scornful words, a block, for instance, we turn it end- even beyon d_ c , written in 1835: born. I got my way by making them confidence and the will to work and rise above for-end so the little-used portion can do think they were getting theirs. In case Little and Smith, we regret to say, the hard work. We cal1 this "freshening of a difference of opinion I never dis- push-button ease. The Steinway stresses, are names which must stand in mu- the nip." Now the only reason for em- missed the possibility that I might be in an era of surplus, the values money sical history closely connected with bellishing a hymn-tune is to freshen mistaken, rather than that the other wholesale quantities of "dunce notes." can't buy - and the values money can. the nip, when we feel our congregation fellow was a congenital idiot. You Probably no other book in the coun- This 'standard piano of the world' has is tired of the standard version. If they would be surprised how often people try had ever such an amount of pur- are singing an unfamiliar hymn the in- resent being taken for idiots. rugged construction that resists deprec~- chasers as theirs; or did so much in troduction of fancy variations will only PENTECOST: (In oratorical. tones) ation, and the Steinway over the years IS the day of it to hinder the progress confuse and irritate them. Tony, how Colleagues, I withdraw the resolution actually the most economical of pianos. of taste. often have you been using free accom- submitted earlier at this meeting. In paniments? Obviously, "block - headed notes" and its place I wish to introduce a resclu- "dunce notes" were beneath contempt. ADVENT: Er-wel1, I guess, in just I I tion of appreciation for that wise coun- They were never admitted to American about every hymn we sing. ~ stein""ay selor, valued mentor, trusty friend, the classrooms. THE INSTRUMENT OF THE IMMORTALS WHlTEBEARD:Get out of the descant venerable Ancient- Although the editor of "David's Harp" business for a while, unless it's a tune WHITEBEARO: (Hastily rapping his Stelnway. the choice of great artists - .. rejoiced in 1813 to see that "both your people can sing under water. gavel) I declare the meeting adjourned. JACOB LATEINER (at piano), Casadesus, Cleveland [shape] notes and [New England] mu- TALLIS: I still ask: Are we to up- The Junior Fellows may serve the reo Orchestra, Deering. Firkusny, Heifetz, Schatz~ar:~e~f sic are dying a natural death"-a sin- hold the highest musical standards or Philippa Duke Schuyler, Szell, ate. '... near y. freshments, the nation's leading orchestras. redio-T'V statIOns. Your Steinway dealer is a piano authority. Ask him gularly erroneous observation-quite a aren't we? ' THE END "What makes the Steinway superior?" He will demonstrate klet "How ee Choose Your Piano," ~ill be differences on one of six Verticals, like the traditional Ou,. boo S 4502 Ddmars 64 elude-january 1957 sent [ree if you. write Steinway & ons, - Hepplewhite above. Liberal terms can be arranged. Blvd_, Long /slond City 5, N. Y. --~""'----"""",!-I!!I-""....~I"\I!?---,.t------.U

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