Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1941 Volume 59, Number 12 (December 1941) James Francis Cooke
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation Cooke, James Francis. "Volume 59, Number 12 (December 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/60
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. w** tiijr'f >> d \r*s imHimmm VA M U ^l
These magnifieenf, incredibly S®ra = pir0@®d] completely uh% tl@ problem @f Christmas ghh%
The American Home Piano Album One hundred and twenty-five fascinating classic, modern, operatic and dance pieces, written by eighty-five famous composers, make this book a nemhne treasury of piano music with which no one who once owns it will evfrTart- Redd the Complete Contents tn your August “Etude.” 192 na(r« 3? music size. F sneet D , “rice, 75 m tl A • ~ cents. The American tvHome Song Album Three hundred songs of every description - concert, love, grand opera light opera pa not, c sacred children’s, minstrel, college, Stephen FosteF SOn ~ — "ged for Ringing or playing make this book the greatest song F collection in the world. ReXbZIi^e Contents ,n your August Etude .” P 192 pages, sheet music size.
a o Price, 75 cents. mIhe-n American Home Waltz AAlbum^ E ITU Sixty-three of the loveliest waltzes written h 1 it- including Strauss, by w orld fam™ s composers Waldteufel , . and I ehL contain dred and fifty ing more than two individually fascinating th hun- Attractive and Useful Volumes Everyone who has seen American Home Music Books p knows how attractive they are to the eye, with their The American 5”“" glistening covers in red, white and blue, and a special Home Grand "rw ™a The stories of sixteen W CTa preservative coating so that they may be kept spotless. grand operas are P Album play or sing the ° ln narr , The paper and printing is of superfine quality, and the one hundred «i' e form as you and ninetv t» , AH your favorite C selections binding flexible, so that the pages lay open absolutely operas (“Aida " “??' in this volume. flat on the piano. Rend the Condensed r en ’” etc Contents in ,, -) are included, music >yourour ol*October !? size. Etude." 224 pages, sheet Price An Astonishing Saving is Made by buying ’ sim Amerif*>'111 ri . , It may seem incredible that famous piano pieces cost only three-fifths of a cent 11 O H( p each in T;,„ j n AlhlimS one quarter of a cent each in The American Home Song ‘ftcan Home Album: standard waltzes !„ .t! Piano • ( a Album Waltz Album and the combined stories and music of the ” tW° cents great grand operas Fes than f each in Til A Opera Album. Yet many thousands of “Etude” readers tS each already own °hese books and in The ^ * ww?,p° u Idn America?"omc r^dra " that’s the way you’ll feel too when you see them. A gift t part with ™ ^ ^ package containing „m, I them 1 75, ,o .3.25,Till ,iv, your (riJ. ,hri„ ,h„ h„“, JJ ^SS"!SSiKSJr ““fiS A Thousand Music Dealers are Read It should be easy for you to get these books at any up-to-date ® t music store in the Unit . c ^ O SeTVP Ynil any difficulty in obtaining them, or are offered Stat S 1 0 U old-fashioned books sold in as a subst tntefUte ^or l P CanaHa< ft remittance at once to Hampton Publications at the address tbese handsome but ‘f ou h ave SS glVengiven belowheir,™ tot «"«>« moder 7A Y anywhere in the United States. prompt, prepaid Sections, send your d^erery ?(with °« extra change)
HAMPTON PUBLICATIONS 400 MADISON AVENITF NEW YORK CITY WHERE SHALL I GO TO STUDY? A Mew Approach t® IPoqh© Mastery 3 Private Teachers (Western) Private Teachers (Eastern)
3mAY MACDONALD HOPE CORYELL "LATERE is a collection of master- KATE S. CHITTENDEN pieces of piano literature de- " Concert Pianist—Artist Teacher Pianoforte — Repertory — Appreciation signed to bring to the music lover 7th AVE.. " Pupil of Teresa Carreno and Leopold Godows- y THE WYOMING. 853 EDUCATION, INSPIRATIONand NEW YORK RECREATION. Descriptive texts » 775 Colusa Ave., Berkeley, Calif. L.A.S. 5030 have been added to foster a more FREDERIC FREEMANTEL pleasurable acquaintance with the - ROSE OUGH compositions, to inspire within the Voice Instruction h VOICE performer a keener appreciation of Author of 24 home study lessons. * Former Assistant to Lazar S. Samoiloff the tonal message, and to supply "The Fundamental Principals of Voice » in Hollywood Production and Singing." the ambitious with a simple pian- h Reopened Her Voice Studios at x 1931—8TH AVENUE OAKLAND. CALIFORNIA Studios: 205 West 57th Street istic means for overcoming tech- x Telephone Glenoourt 6115 New York City Phone Circle 7-5420 nical problems. Pictures and bio- graphical sketches are introduced to ALBERTO JONAS develop a more intimate acquaint- ! EDNA GUNNAR PETERSON ance between the music lover and Celebrated Spanish Piano Virtuoso Concert Pianist Artist Teacher the composer. This volume was m — Teacher of many famous pianists
' teach- “ 229 So. Harvard Blvd. Los Angeles, Calif. 19 WEST 85TH ST.. N. Y. C. Tel. Endicott 2-8920 planned to complement the FE. 2597 er’s efforts, to the end that guidance On Thursdays in Philadelphia. 132 South 18th Street. •Tel. Victor 1577 or Locust 9409 inspired in the studio may have a Not connected with any Conservatory. continuing effect. Usual 9." by 12" « LAZAR S. SAMOILOFF . size. Price $1.50 * Voice teacher of famous singers EDITH SYRENE LISTER .* m From rudiments to professional engagements AUTHENTIC VOICE PRODUCTION M Beginners accepted. Special teachers’ courses 405 Carnegie Hall, New York City • So. Van Ness Ave., Los Angeles, Cal. Collaborator and Associate Teacher with the late V/. „ 610 .Warren Shaw and Endorsed by Dr. Floyd S. Muckey THE IPBANBST — By Jacob Eosenberg Wednesday: Troup Music Studio, Lancaster, Pa. Thursday: x ELIZABETH SIMPSON 309 Presser Bldg., Philadelphia, Pa. CONTENTS x of "Basic Pianoforte Technique" Author (Frank) (Ernestg), Au Convent Borodin Orientale Amani m Teacher - of Teachers. Coach of Young Artists. LaFORGE-BERUMEN STUDIOS Berceuse Ilyinsky Pastorale Scarlatti m Pupils Prepared for Concert Work. Class Courses Bourree Handel Prelude Handel N in Technique, Pianistic Interpretation, Normal Voice—Piano Chanson Triste . . . .Tschaikowsky Prelude, Op. 28, No. 15 x Methods for Piano Teachers. Frank LaForge teacher of Lawrence Tibbett since 1922 Dream Waltz Beethoven (Raindrop) Chopin Francisco; 1100 Park Ave., Corner 89th St., New York „ 609 Sutter St., San . . .Chopin 2833 Webster St., Berkeley, Cal. Tel. Atwater 9-7470 Fur Elise Beethoven Prelude, Op. 28, No. 20. H Flight of the Bumble Bee Prelude in C- Minor RICHARD McCLANAHAN Rimsky-Korsakow Rachmaninoff Private Teachers (Mid-West) Meditation Moussorgsky Reverie Debussy ; Representative TOBIAS MATTHAY Private lessons, closs lessons in Fundamentals Menuet a l’Antique . . .Paderewski Saraband Handel Lecture-demonstrations for teachers Minuet in G Beethoven Theme with Variations. . . .Haydn ARNOLD SCHULTZ 806 .Steinway Bldg., New York City . Moonlight Sonata (1st Movement) Two Part Invention, No. 1. . .Bach * Teacher of Piano Beethoven Waltz in A Flat, op. 39, No. 15 * Aulhor of Ihe revolutionary treatise on * piano technique FRANTZ PROSCHOWSKI Mazurka, Op. 68, No. 2... Chopin Brahms * the Pianists' Fingers" "The Riddle of Vocal * published by the University of Chicago Press Teacher 200 W. 57th St.. New York FINE ARTS BLDG. CHICAGO, ILL. ! 622 Tel: COlumbus 5-2136 Important Features ALLYN SMITH, Ph.B., A.A.G.O., ! RAYMOND EDWARD E. TREUMANN ' Dean PHRASED for .separation of notes into logical units of Pianist Concert —Artist-Teacher , Central Y.M.C.A. College l.ecornmended by Emil Von Sauer, Moritz Moszkowsi • musical thought. -School of Music pd Josef Hofmann. Complete courses leading to degrees. Coeduca- Ave. l studio, Carnegie Hall, Suite 837, 57th St. at 7th to facilitate the grouping of the notes for accredited. Day or Evening. Low tuition. FINGERED tional. Fully el. Columbus 5-4357 New York City divisions. Kimball Hall, 306 S. Wabash Ave., Chicago, Illinois Summer Master Class—June to Sept.—Apply now. Rhythmic Logical units of thought.
’rivote teachers in the larger cities will find Maintaining the melodic design. DR. FRANCIS L. YORK this column quite effective in advertising their rhetorical emphasis. Advance Piano Interpretation and the Theory work Expression with courses to the thousands Etude required for the degrees of Mus. Bach., Mus. Mas., of readers nnd Ph. D. in music. who plan to pursue advanced study with an PEDALED OF MUSICAL ART DETROIT INSTITUTE established teacher away from home. created by Detroit, Mich. To enhance the beauty of musical effects " — finger action. For separation of tones into component sound groups. Music Loving Friends about T1IE ETLDE and ask them to give punctuation. Tel l y0ur For privilege of sending in their subscriptions. you the To assist in creating illusory effects. Ask Jor Cutalog oj Rewards jor subscriptions you send THE ETUDE 1712 Chestnut Street Philadelphia. Pa. THE WHOLE WORLD AND MASTER COMPOSER Series are ideal for “Gifts”. There are volumes for piano, violin, vocal, organ, etc., all of varying character that have become, both through musical merit and economic value, almost necessities for the fullest enjoyment of the musical hour. Send for the free “Whole World” catalogue.
Available through local music stores or will be supplied direct upon receipt of price stated.
D. APPLETON-CENTURY COMPANY, Inc. WEST 32nd STREET NEW YORKm DECEMBER, 1941 799 i ! . . , ' mt 1
\ y g g mengj cunGmcs Published Monthly by g Theodore Prbsser Co., Philadelphia, Pa. y EDITORIAL AMD ADVISORY STAFF
I Robe1! Brain. Dr. Honry S. Pry George C. Kmk I) r . Rob Roy Peerv Karl W. Gchrkcns Dr. „ Hlanche Lemmon Nicholas Douty Pliraberh Peter Hugh Reed Gem Maier Paul Koepke William D. Revelli FOUNDED N. Clifford Page 18 8.1 BY Theodor n presser
Contents j^oe oJ^ecembc 1941 VOLUME MX, N«. 12 PRICE 2.1 CENTS WORLD OF MUSIC . . . YOUTH AND 501 X MUSIC “'V Metropolitan star. .Blanche Lemmon 502 EDITORIAL
World Hi. i,e, I*,, Defense Worker’ Magu .' iiiee.it Musical Opportunity MUSIC AND CULTURE
. . .Sergei Bnch in an in off • Lionel Barrymore Bctjtjy Bn iron II iekok Karl Griringrr Frederic!; Jagcl l MUSIC IN THE HOME * ;’f (o »"»iiUiiling Mn«°io.!i 1 Interest ‘ i oC Primarv Peter W \i '} Interest II null Bred Ihe Etude Music • /Jo mild Martin Lu^eEs nook^elr^ri'l'l^V.- ..l I., red I.intl uni/ Morgan • - B. MUSIC AND STUDY Meredith Cudninn f The Teacher's Round Table ' ' Russian Nationalist ' ’ Composers IV. /,- ' Gag Miller 1 11 Y.n'l- l' " Ldwnrd Burlingame ll ill Enra mui' vUnr'vS . i nW Wi Haiti, What Is the Value of c. Fleck " a 'New’ ' Organ ',' 1111 1 Grunt a I IFaters 81 Accompaniments (’an Not only because its music is so delightfully different, Hand, Orchestra Hi* Diteipretive.lnf .Mgtcn Fellnioen S18 —or Musiev . . The Advantages of the Even "nrleton J\ Edit 81t> 'lw,Viesittuns • - but because it's so EASY to PLAY — for EVERYONE Questions and Answers Wiilitt,,, i) ]>, iull 821 A Memorizing ’••••••• Abram Moms Plan Thai Works • • t nlfying Piano Studv •Karl 1 V.
as sccond-clao matter January Entered lb, 1884. at the P D „ nr the Ac: of March 5. 1879. Copyrigb,, 1941. by Theodore U Pj~ U,,der cressetPreit Co.r‘ i and Great Britain. f 0r V. 5. A. $1X0 a year in U. S. A. and Possessions, Argentina Bolivi i n.,azi , Rica. Cuba. Dominican Republic. Ecuador, El ' b Colombia Salvador r.... , Costa PatoEUBy. Bcpublic of Hood™. Sp.in, Pe,„ *d J *'“• “'»«» NicimJ, found land, S2-7S a year. All other countries. Canada Si 50 a and Isfcui 1 S‘„Sl Novachord and Hammond Electric Clocks '“PV. Price 2 , By the makers of the Hammond Organ, Hammond I 800 TIE
THE PHILADELPHIA OPERA COMPANY HERE, THERE AND EVERYWHERE IN THE NEW YORK AQUARIUM, one of the city’s most famous landmarks, known had a highly successful opening of its THE MUSICAL WORLD also as Castle Garden, has given way new season on November 18th, when it to march of progress. This pic- presented Gounod’s “Faust” in the Eng- the turesque old building was the scene of lish translation worked out by the com- many notable musical events, among pany’s newly formed translation bureau. IGNACE JAN PADEREWSKI’S eighty- ALEXANDER TANSMAN them the American debut of Jenny Lind. The performance was under the direction first birthday anniversary had, as part has returned to Amer- Within its walls the first American per- of Sylvan Levin. of its celebration, a tree planting cere- ica, after some years in formance of Beethoven’s “Ninth Sym- mony in Tomkins Square Park, New York Paris. Several of his new phony” was given, in 1846, by the New WAKEFIELD CADMAN’S “Sym- City, on November third. This was the works will be presented CHARLES York Philharmonic Orchestra, then but phony No. 1, Pennsylvania,” had its beginning of state-wide planting of trees, by American orchestras four years old. premiere performance, in the East, on in honor of the late famous pianist-com- this season, the most October 21st, when it was the feature of poser-statesman. notable being his Con- ASCAP (The American Society of Com- the program of the Harrisburg Symphony certino, which will be Authors and Publishers) has ad- Orchestra, directed by George King Rau- THE NEW YORK CITY SYMPHONY OR- played by the Boston posers, justed its difficulties with the broadcast- denbush. CHESTRA, at its opening concert in Oc- Symphony Orchestra, ing companies. On October 29th the ever tober, had as its special feature the with the composer appearing as piano genial Gene Buck, whose steel fist in a LILY DJANEL, Belgian lyric soprano, world premiere of Ernest Bloch’s “Baal soloist. velvet glove has fought many an ASCAP v/ho in 1935 was invited by Richard Shem,” suite for violin and orchestra, battle, signed the agreement with Mark Strauss to sing the name in his with Joseph Szigeti as the soloist. A PENNSYLVANIA STATE MUSIC TEACH- part Woods, Vice-President representing the “Salome,” ERS ASSOCIATION is in process of or- opera, has been engaged for National Broadcasting Company, and the new season by the Metropolitan MANY LATIN-AMERICAN ARTISTS par- ganization, with Lewis James Howell, pres- ticipated in the Inter-American Music Mefford R. Runyon, Vice-President rep- Opera Company. There is some possi- ident of the Philadelphia Music Teachers Fiesta which took place in October in com- resenting the Columbia Broadcasting bility that she will sing the title role in Association, heading the organizing Carnegie Hall, York City. The con- System, ending the dispute in a carnival “Carmen,” which Sir Thomas New mittee, and with Mme. Olga Samar- Beecham of smiles. Now the great music of Amer- conduct. cert was given for the benefit of young off Stokowski and Dr. James Francis is to ica, which has been withheld the artists from the South American repub- Cooke graciously acting as sponsors. This from air for ten months, is lics who desire to study in this country. should have the being resumed GEORGE LEHMANN, violinist, conduc- is a worthy project and and the musical public is rejoicing. cooperation of all progressive teachers. tor, teacher, died in Yonkers, New York, on October 14th. Born in New York City, IRVING BERLIN has composed a song, July 31, 1865, he studied violin with THE BETHLEHEM BACH CHOIR, Ifor Angels of Mercy, which he has presented Schradieck and Joachim; and from 1886 (competitions Jones, conductor, has begun prepara- to the American Red Cross. It was heard to 1889 he was conductor of the Cleve- tions for its Thirty-fifth Annual Festival publicly for the first time on November land Orchestra. A FIRST PRIZE OF 2,000 ARGEN- to be held on May 15th and 16th, 1942. 11th, during the program opening the TINE PESOS and a second prize of 1,000 As its part in the Bethlehem Bi-Centen- annual membership roll call. is pesos are the awards in a contest spon- It to be- KAHN, writer of some of nial celebration, the choir will perform GUS the most come the official Red Cross song. sored by the organizing committee of the Haydn’s “Creation” in the Packer Me- popular song hits of the day, died in first Games, for a song en- Pan-American morial Chapel of Lehigh University on Hollywood, California, on Octob.er 8. First titled Hymn of Sports. It is open to musi- AMERICAN COMPOS- Alley, and February 22nd. in Tin Pan then in Hollywood, cians and poets resident in any country in ERS were well represent- Kahn produced such song successes as the Americas; and full particulars may be ed on October programs Memories, My Blue Heaven, Carolina from the committee at Avenida PAUL VIARDOT, grandson of the fa- in secured of the New York Phil- the Morning, and One Night of Love. de Mayo 695, Buenos Aires, Argentina, mous Manuel Garcia, and of nephew harmonic - Symphony South America. Maria Malibran, and himself a composer Orchestra, conducted |?y THE METROPOLITAN and conductor of note, died in October AMERICAN ACADEMY IN Leopold Stokowski. The OPERA COMPANY opened THE at Algiers, Africa. For many years he ROME announces that it will hold in 1942 concert on the 11th in- its season on November was conductor at the Paris Opera. a special competition for a cash prize of cluded the Folk Dance with a performance 24th $1,000 in musical composition; this to from “Folk Dance Sym- Rov Mozart’s “Le Nozze di Harris of take the place of the fellowship for study THE NEW OPERA COMPANY, of New phony,” by Roy Harris; Figaro.” The repertoire this year cannot be and travel which York City, had a gala opening of its first and on the 19th, Guaracho from “Latin year will include awarded due to present world conditions. this season early in October, when it gave American Symphonette,” by Morton operas in English, Applications must be filed with the Exec- four Mozart’s “Cosi fan Tutte,” at the Forty- Gould, was played. utive Secretary of the Academy not later one of these to be a new fourth Street Theatre. With a company first; fu'l particulars and opera, Palm. than February American “The of young American artists its repertoire Breisach application blank may be procured from DR. WILLIAM BRAID WHITE, of Chi- Island God,” by Gian- includes “Pique the Executive Secretary, American Acad- Dame,” “Macbeth,” and cago, makes the interesting suggestion Menotti. Paul Breisach, formerly Carlo emy in Rome, 101 Park Avenue, New an English version of Offenbach’s "La Vie that women could very successfully enter at the State conductor and Municipal York, N. Y. Parisienne.” the field of piano tuning and servicing. in Berlin, has been Operas added to the Having had women pupils of piano tun- staff of the Metropolitan's baton wielders. MOBLEY LUSHANYA, American-Indian ing to study with him, Dr. White is VICTOR SCHERTZINGER, said to have soprano from the Chickasaw Tribe of strongly of the opinion that they could readily MME. ANTONINA PADEREWSKA-WILK- been one of the first to synchronize mu- Oklahoma, sang the role of the slave adapt themselves to this work. ONSKA, only sister of the late Ignace sic with films and in recent years a pro- girl, “Aida,” when that opera was pre- Jan Paderewski, world-famous pianist ducer of outstanding film musicals, died sented by the Chicago Opera Company in FRANCIS MADEIRA, young Philadelphia the and statesman, died on October 6, at Pel- on October 26, at Hollywood, California. second week of its season. The win- pianist, had a very successful debut reci- ham Manor, New York. As a child she His greatest song success was Marcheta. ners of the 1941 auditions of the company tal in the Foyer of the Academy of Music played piano duets with her brother, two He was born at Mahanoy City, Pennsyl- are Phillip Kinsman, bass, and Harry on the evening of October 29. Mr. years younger, who later was to become vania. He was credited with being one Swanson, baritone, both from Chicago. Madeira has been a pupil of Mme. Olga so distinguished in widely divergent of the first directors to bring grand opera The season opened on November 8th, with Samaroff. fields. to the screen. a performance of “The Masked Ball.” (Continued on Page 854)
DECEMBER, 1941 801 a a
-g&t -Si vj^r* home and job. When he came up for air, his ~ v¥%%outh and Music %C^ hopes of singing professionally were far • :j • New higher than when he entered the institu- tion, but his funds, alas, were far lower; something had to be food, ROBABLY NO ONE has been more done. Tuition, and lodging were the three obstacles stand- amused by the tales about the Ken- ing in his way. They were to him what P tucky mountain Hatfields and McCoys MetropolitaD the McCoys had been to his ancestors, and than Lansing Hatfield, the Metropolitan they must be obliterated. Opera Company’s newest baritone, for he The tuition problem was settled by a is a descendant of the southern Hatfields scholarship which whose feud with the McCoys has been re- Hatfield won by out- qualifying with two other more counted in story and song. Years ago, so — students— Star than fifty competitors; and of these sanguinary stories run, members of the question board and room was answered the McCoy clan shot Hatfields on sight, and when he ac- quired two singing jobs one cocktail Hatfields put notches on their gun stocks — at a bar nightly, from eleven until two, and the to show how many McCoys they had laid other in a church choir on Sundays. low. The hills whistled with their shots, and in their homes there were frequent death- bed admonitions to “get the enemy—every the time last member of the tribe.” By In 1935, life became less difficult; Hatfield Lansing entered the scene, however, the went back to New York and found it much location of families had shifted, times more to the his liking than he had on his first the feud- trip. had changed, and descendants of His going was the result of another their ists were shaking hands and wishing captured prize; he was a finalist in the erstwhile enemies well. All that remained of contest held by the American Federation that fierce, fighting spirit the will to of was Music Clubs during its biennial meeting surmount obstacles and to attain long in Philadelphia, and he went to New York cherished goals. with the winning quartet. Once there, op- It is spirit stood Lansing portunities a which has in plenty seemed to be await- ing Hatfield in good stead. He started battling him. He was heard oh Eddy Duchin’s obstacles in his teens; and now, in his ladio program, on Major Bowes’- “Amateur twenties, he can point a Hour,” not to notches on on the “American Radiator Hour,” gun, but to achievements chalked up on his and on the “Texaco” program—the latter record. The will to overcome difficulties has because he was the winner of a “search for helped him to surmount a great many of talent contest. This award netted Hatfield them and has placed him where he wants not only his chance to appear on their pro- to be in the greatest opera company in gram but also — one thousand dollars in cash. the world. It is a spot not easily won. It also brought him a good deal of favor- The first thing to be conquered was able publicity, which subsequently led him school; so Lansing Hatfield took textbooks to the stage. When the Rockefeller inter- handed down by his older sister and went ests put on the musical extravaganza, “Vir- to work with characteristic vigor. The rec- ginia, in the Center Theater in Rockefeller ords at Hickory, North Carolina, where he Lai sin 8' Hatfield ? was chosen as the and his family lived, showed that he was Sosecondh lead.1 graduated from high school at the age of the a Be ot LANSING HATFIELD the Center Theater to fourteen. Fortunately there was a college in the stage , J? of the Metropolitan Opera House his home town, Lenoir-Rhyne, and he was S t dlstance s - Peaking in terms of able to attend it for two years before he linear measure,me and so, in 1936, Hatfield felt the need for self-earned money. At the 0 '° Bu SteP fl m one t0 the other. close of his sophomore year, he took the DurirathV 38"1 the Met™Politan Audi- principalship of a small town school— Honstions of the 'AAir were started, as a testing position which, surprisingly enough, marked Ut 1' a 1StS seeking contracts with the beginning of his singing career. For he the M t°10PO1,u “ °pela (ancle oCtemmon nitu t Company But rose to the occasion when a leader was * £ Unti S have many ’ other singers, needed for morning singing, took charge of tifat v u n ? °t 5 tep easily into this com- the matter himSelf, and liked doing it so 1 111 ltS t esting ground. When much that he applied for and won member- he a^nliert™/t0 u° admiUance to the auditions, to he " ^, ship in the glee club when he returned he was turned down. finish college. True, several years were to elapse result of these talks was a trip to New York City, Undaunted, he asked for an audition with before his singing status became professional, taken during his vacation, to consult a teacher a widely known concert manager, who was al- but until that time he held an enviable ama- who had been recommended to him, a trip that most as likely to refuse him as the Metropolitan teur rating. proved to be a disappointment. For the teacher But the audition was granted; Hatfield sang for in question had left New York, before Hatfield him one morning in a large and empty audi- From School to—a Job arrived, and was on his way to France. torium. He displayed his knowledge of languages The close of school days meant finding a job, Hatfield’s first impulse was to return to North by singing in Fiench, in Italian, and in Spanish' which he did, selling knitted goods in a territory Carolina, but he finally decided to go to Balti- only to have the manager ask, “Can’t you sing in that covered seventeen states. He had assets for more. It was his mother’s home city; it was also English?” He then tendered his scrapbook such work: good looks—six feet, one inch of them the home of the Peabody Conservatory of Music, ol treasured evidence of how pleasant voice, and smile an institution which good he had a friendly manner, a a had been suggested to him wherever he been had appeared, only to that simply melted customer frigidity. In fact, as another good place to test his talents. have the man ager wave it aside with— “I make mv . 7, possessed a voice, and if he had not «iowuv.i/uio a i/ i/iie if he had not vauury propnesiea r Hatfield 5 laughs now about '. talked about singing now and then with the pro- opeiatic career, but held that audUin ““N out hopes of success i inexperience. and hlS his favorite at college, he church Nevertheless he Jht fessor who had been and concert work ^,ned - and suggested that 1 tract to appear a con might still be selling knitted goods. But the pro- take the summer undeT course which was just St-SL°^»ana aboi Audience response, “ent. fessor, instead of being amazed by the confi- to begin. Hatfield did as soot not protest that his go: tour, ^ ' startedf on dence that Lansing Hatfield would like above was opera; was as favorable instead, he as the ’ plunged into music stuc in anager s; a short and ' all else to sing professionally, agreed that the swimmer time, Hatfield was Plunges into water-suc every m demana Ior idea was both understandable and feasible. The denly and/ type of music. completely-thus cutting ties wit When the American (Continued 802 on Page 861 > ?«r *
Again the Herald Angels sing! I lie fight ol love still reigns supreme
Again llie Christmas dawn is here! O' er all the centuries of war; Again comes music Irom on high, The Sermon on the Mount reveals
For all, save those who will not hear. The world s one hope, forever more.
Above the din and strife of war. Hold last to faith, ye men ol God! Above the deadly curse of greed. The unseen powers of right increase; The choir eternal sings again. Once more the advent of the King- To guide a world in tragic need. Calls all mankind to blessed peace. James Francis Cooke
DECEMBER, 1941 e r
from the heart and must be directed to the heart. Otherwise, it cannot hope to be lasting, inde- * .*'• .'xtd&Musi • arid Study^gr? structible art. ' *«* ..J^i - «5l/v ^*T' Yet, I must add, I can respect the artistic aim of a composer if he arrives at the so-called mod- ern idiom after an intense period of preparation. Stravinsky, after all, did not compose Le Sacre Music Should Speak du Printemps until he had had an intensive period of study with a master like Rimsky-Kor- sakoff, and until he had composed a classical symphony and other works in the classic forms. Otherwise, Le
How Music Has Helped in My Life
A Conference with ore jioJ The Much-Beloved Moving Picture
Star known for His Able Artistic and Musical Attainments
SECURED EXPRESSLY FOR THE ETUDE BY DORON K. ANTRIM
Lionel Barrymore, dean of American actors, is also a director, musi- cian, composer and artist. His etchings hang with the “hundred prints of the year” as yearly exhibited by the Society of American Etchers, of which he is a member. And one of his compositions was recently played by the San Francisco Symphony Orchestra. Brother of Ethel and John, Lionel is the eldest son of Maurice and Georgie Drew Barrymore and loas born in the family home in Phila- delphia. He made his stage debut at the age of five as a crying child in one of his parents’ plays. He has appeared as a character actor in countless stage productions, in silent pictures and the talkies. When sound first came to the film, he directed such productions as, “ The Lion and the Mouse,” ‘‘Madame X,” and the “Rogue Song,” starring Lawrence Tibbett. Since then he has returned to acting and has further endeared himself to his screen public. Every Christmas eve, for the past eight years, he has broadcast the role of Scrooge in Dickens’ “Christmas Carol." Mr. Barrymore has been reluctant to give interviews relating to his work in music and art, but he has made an exception in the case of The Etude, of which he has been a lifelong reader.—Editor’s Note.
LIONEL BARRYMORE One of the greatest of all American-born actors “jT SHALL NEVER FORGET the thrill i got one the piano, lost to the world. I day in the home of Thomas G. Patten in My father literally had to New York. Mr. Patten, who later become drag me away. After that our visits to the Patten was then a well known teacher in New York. I postmaster of New York, and my father were home became exciting adventures. I monopolized was playing with James Herne in Sag Harbor at great friends, and Father used to take me to his that piano. As you have guessed, this instrument the time, but I managed to get in some piano home twice a month for dinner. I was about was a player-piano and quite a novelty at that practice every day. I worked with Mrs. Morgan eighteen at the time and, while I always enjoyed time. for several years and enjoyed it thoroughly. these visits, they did not take on special signifi- “Then I became interested in composition. cance until that memorable day. First Adventures with Bach From the time I was a youngster, I have liked to “We had hardly arrived when Patten said to “I can thank that player-piano and Johann ‘fool’ at the piano, as my elders described it; us, ‘I want to show you something,’ and, leading Sebastian Bach for raising my interest in music make up tonal combinations and tunes of my us into the library, he pointed to a shiny new to fever heat. Patten had four rolls of the prel- own. I believe children should be encouraged in piano. ‘You didn’t know I could play like an udes and fugues. I liked them best of all. I pur- this tendency if they have it. So, after studying angel?’ he jollied us as he sat down to the instru- chased all of Bach’s preludes and fugues available piano for a time, I decided to study composition, ment, inserted a roll of paper and began to work on the rolls, played them over and over. It was and went to the late Henry Hadley for this pur- his feet. To our astonished ears, the instrument my first experience with Bach, and the inventive pose. It was a particularly satisfying adventure was soon tossing off the intricacies of a Bach ingenuity of the man amazed me. The consum- with me and between stage and business I man- fugue as though they were nothing. mate skill with which he contrived these pieces aged to do the required work. “ ‘How do you work it?’ I asked when he had and wove together his voices, as threads in a “Now get me straight on this. My goal in study- finished. He showed me. Then I sat down at the tapestry, was a source of constant wonder to me. ing piano and composition has never been other piano and was soon playing it myself. What a I wanted to learn how to play the piano so that I than my own amusement. It still is. I have cher- Bach. hopes of playing for the thrill! Here was an instrument that enabled you could play ished no serious edi- of to this time musical fication of others, of having any of my work to interpret great music and put something “Up my instruction had seeking recognition as your own feeling into it without otherwise ac- been somewhat hit or miss. I had had some les- published, or of a com- don’t take quiring technical mastery. I played every piece sons on the piano, but the inner urge to learn poser. Not that I my music seriously. the theater, where I not myself. If I were suddenly he had, and there were many rolls of good music was not there. In much of my do, but to feel early life was spent, it was difficult to follow a cocky about myself as a composer, all I’d have in the collection. In my imagination I saw my- regular schedule of piano practice. Now, how- to do is to think of what would happen if any of self sitting on a concert stage, holding a huge decided to after it systematically, and my music came to the attention of Brahms audience in wrapt attention. ever, I go in a the services of Mrs. Agnes Morgan who bad mood. ( Continued on “It finally came time to go, but I was still at secured Page 848)
80‘> DECEMBER, 1941 . usic‘/%nd Cult'we^^
Yes, We Have Music in Hawaii
i f^ccj.g.1} d^airoS ^JiicLol?
going home. The “Great Dane” was photo- Hawaii, had to get permission of the harbor graphed with the famous Great Dane dogs of board to play at the only available auditorium, Honolulu where, between the Harold Castles of which was a government pier. “The dock was tenor relaxed concert appearances, the famous built for steamers, not Paderewski,” the harbor in the mountain home of the islanders. board master protested. The musician was pa- tient, however, but he had to await decision Popularity of Violinists the of the officials before having his ten foot Stein- first came to Hawaii in When Efrem Zimbalist way unloaded. Islanders gave the pianist one of anxious to see the islands that the 1927, he was so most hearty welcomes ever accorded a visitor. his piano aboard ship, he offered to sleep atop He was met off port by Eleanor H. Peacock and unless there was room for both ashore. When he played at the Alexander Young Hotel, Orientals hung upon the railing of the roof garden to hear him; and children had saved their pennies for weeks concert. to be able to attend his On a return visit, that same year, LAURITZ MELCHIOR AT WAIKIKI the noted violinist discovered Metropolitan Star The giant Danish Johnson, a prodigy, whom with his Great Danes in Hawaii. Dorothy he termed a five year old wonder child. She continued her studies and has been giving successful O MOST MUSICAL PEOPLE, Hawaii is the concerts for some time. place where the steel guitar was invented, Joseph Szigeti and T where Hula maidens dance beneath palm In 1932, Galli-Curci returned to Hawaii trees, where dusky dark-skinned men strum uku- from the Orient, in the same ship leles and sing infectious music that is an odd Szigeti’s concert gospel hymns and with Zimbalist. blending of native folk songs, him a at Dillinghame Hall won a bit of syncopation. But when we islanders think tremendous ovation, and Zim- of music in Hawaii, we expand with pride; be- congratulated him back- cause many famous musicians, on holiday, have balist Galli-Curci, on her first made valuable contributions to the musical life stage. visit in 1925, learned the famous of this island paradise. Aloha Oe, composed by Hawaii’s These visiting artists never forget their visits THE ORIGINAL to Hawaii. Gome have had ROYAL HAWAIIAN BAND When our office boy first saw this he most unusual experiences. said. "Ain't that a peach*" The picture, however, has great musical, Lawrence Tibbett almost historical anrl ^s,Z • colog,,, cal value. Fifty years ago this bewhiskered G 1 swam ashore one evening to look the scantily clad and shoeless natives, diillfd them to'mmtary concert. At that he discipline and in playing so that they give his attended all government functions with proper pomp and was an hour and forty-five met all incoming steamsMps minutes late. A special launch brought the sun- tanned Metropolitan opera TITO SCHIPA J x . ivi. u. A., who seived his organization in Poland star into the harbor, while IN HONOLULU for four years. Mis. Rose S. Brown of Fort the audience waited rest- The famous Kamehameha made a Italian Tenor plaster plaque of the musician the auditorium of and decorated it lessly in sings for a with fresh hibiscus School. leis. After his first concert the McKinley High group of school the pianist said he was “still under the spell Tibbett ran onto the stage, children in of the generous and charming hospitality audibly. “Just swam Hawaii. of the panting islands.” As he a matter of fact, a Hawaiian named in from Diamond Head,” George Mossman was so deeply moved by the gasped, then nodded to his pianist’s concert that he gave Paderewski accompanist. “Okay, let’s a three hundred dollar bell-toned ukulele. go.” Upon returning from Artists seem to enjoy the Australia, the pianist’s ship was held up by informality of Hawaii, be- storms but the audienct always so enthusiastic. ruling queen, Liliuokalani. When the artist sang waited hours to hear him cause the audiences are play, m 1897 Paderew- at the Hawaii Theater, a native girl presented have to adapt themselves at times ski was supposed to play in But they do Honolulu but th, conditions. When Lauritz Mel- her with a characteristic flower lei. The prima captain of the ship to extraordinary would not make the wife came to the donna, with tears in her eyes, kissed the girl sary neces his petite Bavarian stop-over, since the vessel chior and was f a ,- H a tickets for clipper affectionately and said, “I love the Hawaiian ule. islands, they could not get two This is an indication of a , Melchior knew music. It has a lingering, languorous Z haPP0 ' mainland. charm to musical passage back to the life in Hawaii at any hundred pounds of baggage, which suggests at all times the dreamlike at- he was allowed one CCormacl; wife as ‘•excessive mosphere of your lovely island.” a so he outwardly admitted his he could s°ng Hawaiian bo Ignace ^p baggage” and held the little lady on his lap Jan Paderewski, upon first landing in
806 ^'i^v^Music and Culture vv^ . 7 ' • •* VMS* ¥$*
A Historic Musical Friendship
Haydn and Mozart in Their Personal Relations
,^5i^ ^J\ar( (jeiriiKjer
of musical art relationships. marvel' among compositions.” Young Mozart, after returning from the performance, It is difficult to conceive however, two personalities of greater sat down and put on paper from memory the fundamental difference than entire score of this intricate composition for Mozart and Haydn. Mozart five choruses with a nine-part finale. As a man developed with amazing ra- of twenty-six, he sent his sister a newly com- (Above) W. A. Mozart pidity. He was a prodigy, ap- posed prelude and fugue. In his accompanying —This high relief por- letter, he apologized for the bad form of the trait of Mozart made pearing from his sixth to his in 1789 is in the Mo- eighth years as pianist and manuscript, explaining that he wrote the fugue zarteum in Salzburg. composer before the Em- while composing the prelude. To an ordinary It considered of is one mind, it seems hardly conceivable the most accurate por- that a man could pen so complicated traits of the composer. (Right) Joseph Haydn a work as .a fugue and simultane- —From a contempo- ously compose another piece of music. rary crayon portrait. For Mozart, however, this was not at all unusual. He elaborated a com- position in his mind and, when it was completely finished, committing it to paper was merely a mechanical HE YEAR 1941 might be called a Haydn and task. Haydn could not rely to such Mozart year! In 1791—exactly one hundred an extent on his ear and memory. Tand fifty years ago— W. A. Mozart died in Never did he perform such stunts as Vienna. The same year, 1791, witnessed the be- did Mozart, -nor could he work so ginning of a new phase in the life of Joseph rapidly. Through several years he Haydn. The man of fifty-nine, who had never was engaged on his great oratorios, left Austria before, paid his first visit to London. the ''Creation” and the “Seasons,” There he wrote works unprecedented in beauty making new sketches again and and importance, attaining the peak of his artistic again before he definitely permitted career. It seems, therefore, the right moment to a number to become part of the remember both these great composers who, in- score. It is significant that Mozart cidentally, were connected by an exceptional left, as fragments, numerous works human relationship. in which he had lost interest. The Edition” Much is known about hatred and jealousy be- “Collective Mozart com- ten volumes tween artists. It would not be difficult to fill whole prises no less than of compositions. Not so books with stories about the vanity and spite dis- Haydn playing one of his own quarlets. unfinished played by prima donnas, first tenors and castrati The violinist turning the music is Haydn. Haydn, who was sure to finish every of operatic companies. Numerous instrumental work which he had started. Only his written at the virtuosos did not behave any better, and even peror and Empress in Vienna, as well as before swan song, the last quartet, age torso, the great maestros could not help being involved the Kings of France and of England. On the of seventy-one, was left as a when the his creative powers exhausted. in the general animosity between fellow artists. contrary, Haydn's progress was incredibly slow. composer felt When a composer was asked to set a libretto to When he was thirty-five—the age at which Also, in his life, Mozart was the typical artist. music, the same book was secretly handed to a Mozart died—he had written scarcely any im- His moods underwent rapid changes from buoy- melancholy, from fits of tem- rival. As soon as the opera was finished, the portant compositions. Only at fifty did he reach ant gaiety to deep bribed executants resorted to all kinds of in- his full maturity: and his most valuable works per to an almost feminine gentleness. He felt trigues to prevent its performance. Even duels were written between his fifty-ninth and sixty- at home in the world of the theater, being a between composers were no rarity. ninth years. born dramatic composer. The master had only the stage the different sides of his own In such a tainted atmosphere, the relationship to put on Mozart's Marvelous Memory Don Giovanni, Leporello, between Haydn and Mozart seems all the more nature—the the the Figaro, the Cherubino to produce characters full striking in its purity. Neither of them expected Mozart’s ear and memory were marvelous. As a — dramatic life. Mozart was a brilliant material benefit from their association. The two boy of fourteen, he attended a performance of of violinist great piano virtuoso. He had men loved and admired each other without trace Allegri’s Miserere in the Sistine Chapel of Rome. and a a strong ap- strictly interdicted copying the score, peal to his audiences, and. whenever he appeared of jealousy or envy; and the result was a friend- The Pope performances of this “world’s on a platform as a soloist, he could be sure of a ship hardly to be met again in the whole history to prevent other DECEMBER, mil SO 7 r
big success. Of this there could be no doubt. Haydn, on the other hand, was of a rather even temperament, mostly calm and gay. His was too uncomplicated and straightforward a nature to give a real life to the different characters of an opera. They always sing beautiful music, but The Defense Worker’s most of them are mere puppets, not human beings. Although Haydn wrote about the same number of operas as did Mozart, he was by no means his equal in this field. Nor did Haydn share Mozart’s popularity as a soloist. He was an Magnificent eminent violinist, but never played a violin con- certo in public. When he appeared on the plat- form, it was for the purpose of conducting one of his symphonies from the harpsichord. Such rather inconspicuous participation in a concert Musical Opportunity suited his temperament far better than being in the limelight of public interest. AM EDITORIAL Contrast in Their Mode of Life There was no sense of order and regularity in EVERAL million Mozart’s life, no understanding for the value of Americans are now engaged occupations in new money. Debts were anything but a rarity in this for reasons wholly beyond fheh control vie a la boheme. S These Haydn’s life, however, had some- splendid American minds and hands are thing of the precision of clockwork. As conduc- manufacturing imperative now defense essential* a ? J tor for Prince Esterhazy, he was for thirty years protect our t0 homeland, should it be a functionary of matchless efficiency. The let- attacked None of these defense ters he wrote to his various publishers are models workers invite w„,. them hate it from the of shrewdness and commercial skill. Mozart died bottom of their souls that 5 “ in such misery that his widow had him buried a world condition has arisen which Amiri *** in a common pauper’s grave; but Haydn left, at Patriotically meeting with defense measures of TY his ‘ death, a house and considerable property. Many workers YC S,Ze ' are now earning incomes Perhaps it was the very difference between Ith*^ 6688 their dreams and find, for the °f these artists first time in two which provided the fundamen- years ‘ t?- nificent opportunity to S~* tals for their friendship. When Mozart moved develop their talents ancoWi^ + their children. those of from Salzburg to Vienna and met the master of Esterhaz Let us have from all this for the first time, he twenty-five labor, • was all this effm-f „n 4., Stl' lfe and Haydn was forty-nine. By an amazing coin- some monument to the finer ’ things in life «“! ’ Ld’letand let cidence the older composer, who had developed ment be music. th»t monu- so slowly, and the younger master, who had The defense worker who, for most of grown so rapidly, had just reached the same his lifetime i, the children of well-to-do, music-loving phase in their artistic evolution. Both were on parents „n i Tf™ music lessons, thinking t0 their the summit of creative maturity, and neither that there would never a tm’ e was conscious of belonging to different genera- when his children might have a chance, now has th’ta tions ! P 3 time - H Vi11 ,,0t as ' ™ The relationship which soon developed between «World War,w throw!f -- of he la°rt awayYhis earnings on ten-dollar the two men has an artistic and a human side, silk 1 f S five-dollar imitation jewelry and ’ both of which are unusual and fascinating. fifty-dollar five-gall™ w He knows too much, and he realizes Mozart was quick to realize that Haydn could be what a great Y' b 8 his model in the field of string quartet and sym- music has upon the morale of both children and ad* It phony. This is not surprising, since Mozart was Therefore, in music he feels that he is making a” permanent always most responsive to new artistic impulses investment in the life of his child—something that and occasionally was influenced even by second cannot b ruined by fire or water and that cannot be and third-rate composers. Much more surprising destroyed This already reflected in the magnificently increased is that the teacher likewise did not hesitate to demand for pianos, radios, become his disciple’s pupil. Haydn studied the new new new phonographs, new instrument! melodic lines and the formal structure of Mozart’s of all description. works, incorporating important features of them We are of the strong opinion that there should be no pri- in his own compositions. This is a striking proof orities where morale is concerned. Great Britain of the older master’s open-mindedness. Haydn learned that long ago and has fostered the making of had already won world fame at that time; while musical instru- ments and the publication of Mozart, whose feats as a child prodigy were for- music. to an enthusiastic gotten, was appreciated so little in Vienna as As music lover, we urge you to go far out composers like Salieri and Starzer. your be eclipsed by of way to spread the facts of this great musical oppor- of the To both composers the recognition tunity to defense industries in your vicinity. You will find friend’s merits was of the greatest benefit. They the leaders of these industries most sympathetic, would never have achieved all that we admire so as their fore- most objective is to raise the much in their works, had they not learned from personal and domestic morale each other. and the material interests of their employees. Now to the human side of this relationship. In 1785 Leopold Mozart, Wolfgang’s father, came (Copies of this EdiiorioJ »„r be hod from Salzburg to Vienna to visit his son. Wolf- gratis upon application.) gang arranged a string quartet evening for his father, asking his friend Joseph Haydn to play Page the first violin. They ( Continued, on 856)
808 Preparedness Leads to Success
Interview with ecently, at a dinner party, i was An casually asked if I had made any substi- R tutions this season for that “operatic ail- ment called indisposition.” In the past, I had stepped in many times to sing operatic roles at ddredericl? ^a.cj.el the last minute, but to my friend’s question I had to answer: “No, I haven’t substituted once Metropolitan Opera Tenor this winter.” Well, there is a saying that what one thinks and voices will come upon him. It happened just three days later that my tele- SEiiured by Annabel Comfort phone rang. The call was from the Metropolitan Opera management and meant that another role Chicago Opera Company, would be added to my large repertoire and an- have to sing the role at one in the afternoon, other chapter added to the annals of my last that afternoon at two that they were minute replacements. o’clock and that, since saying to give “Norma” that night The Metropolitan was scheduled to give the it was Saturday after- and that they had no one opera, “Alceste,” on a Wednesday evening in noon, the opera would to sing Pollione, the tenor March. At eleven o’clock in the morning I was be broadcast. role. Would I take a plane told that Rene Maison, who had sung the role I rushed down to the and be in Chicago the of Admetus at the four previous performances, Opera House and ar- same night to sing it? Of had notified Edward Johnson, General Manager ranged for my cos- course I went to Chicago of the Metropolitan, that because of laryngitis he tumes with the ward- to sing Pollione. I studied could not sing. I was asked the score aboard the if I could sing the role on plane, which left New nine hours’ notice. Because York at three and arrived I had faith in myself, my in Chicago at eight in the immediate reply was, “Yes.” evening. I was in the I told the management opera house at eight-fif- that I had never sung Ad- teen; and, after fifteen metus at any time, but that minutes for dressing, I had learned the role while I stepped on the stage at attending rehearsals. eight-thirty. The morning after the Naturally, I was ter- performance, one New York ribly excited, and in my music critic said that I haste I had put on the showed no signs of nervous- wrong shoes. There had ness or faltering and that, (Above) Frederick Jagel. been no time to look at if it had not been for the the stage setting; and, as I walked on, then down printed notices given out (Left) As Rhadames in the stairs, the straps of my sandals broke and I with the programs, the "Aida." could not move. I sang my aria and, as the chorus average member of the sang an interlude, I stepped out of the sandals audience would never have onto the stage and walked off, in my stocking- known that the role had department. Tul- feet. The audience could plainly see my dilemma not been in my repertoire. robe lio Serafin, who was and gave me an ovation. Value of Ample to conduct, then gave Rhadames Preparation me an individual re- Rescuing hearsal of what his another time, there was a real emer- At this point I want to And yet March of 1938. I was just assure my readers, and es- conducting inten- gency performance, in attend the Sportsman's pecially music students tions would be. I in- leaving my apartment to afternoon at the Grand Cen- seeking a career, that the musician who is pre- formed him that I had no idea of the stage ac- Show that Saturday and been listening to a very smooth pared for every emergency is most likely to tion. The stage director had called Ponselle tral Palace. I had House, and we had time to of “Aida” which the Metropolitan SU DeLuca to the Opera performance curtain telephone rang, and over In 1935 the Metropolitan was going to give rehearse only the first act before the was broadcasting. My words: “Martinelli has col- “L’Africaine.” The day before the performance, went up. The show went on, and the first act the wire came the very well. in the sec- come immediately.” I took a taxi from Sturani, one of the opera coaches, took me aside went What would happen lapsed, Vasco di Gama ond act? And in the third act? However, after my home, and the driver did not stop until we to ask if I remembered the role, Martinelli, who each act, we rehearsed the stage business for the reached the opera house. Two dressers and a in “L’Africaine.” It seemed that act follow; and, considering everything, the per- makeup man were waiting for me; and it took was to sing the part, was not feeling well. I re- to “Well,” formance was very successful. Because the opera just twenty-five minutes from the time I re- plied that I had not sung the role in years. music was broadcast and the story of my saving the ceived the telephone call for me to walk out on said Sturani, “you had better go over the performance was sent all over the world, com- the Metropolitan stage and take up the role of with Pietro Cimara as soon as possible.” I had mendatory letters and telegrams were received Rhadames in “Aida.” never seen nor heard the opera, but I had learned from everywhere, including even faraway Aus- In 1932, it was my good fortune to take the the score in my student days. And, as Cimara tralia. place of Edward Johnson, who was to sing the played, I found that I remembered it after all The most adventurous replacement I have thus tenor role in “Sadko” by Rimsky-Korsakoff. Last these years. to relieve a far made was on November 14th, 1937. This time, year I was called upon policeman who The next morning, at eleven, the management call from the had ambitions to sing ( Continued on Page 850) I would a long-distance telephone came of the Metropolitan called me to say that 809 DECEMBER, 1941 a ;
Music in’ / the Home,^ / Records of
RAHMS: DOUBLE CONCERTO IN A MINOR, OP. 102; Jascha Heifetz, violin; Emanuel Feuer- B mann, violoncello; Philadelphia Orchestra, Commanding conducted by Eugene Ormandy. Victor set M-815. Interest This superb performance and recording de- serves first honors in our list this month. When two superb artists like Heifetz and Feuermann, or Thibaud and Casals, are united for a perform- ance of this heroic work its artistic success is iSvj. f-^eter !^eed assured. The playing of these great artists makes us appreciate even more fully the musical texture of Brahms. As fine as the earlier set of Thibaud and Casals was, this performance, with the aid though we are not in sympathy with the over- of modern recording' technic, definitely super- emphasis in the recording here of the woodwind ing an outer world like the French composers of sedes it. Artistic honors are about equal, how- choirs. the school. It is almost describe exception impossible to ever, with the that Ormandy makes Ravel: La Valse; San Francisco Symphony Or- this work for the listener; it may repel him com- more of the orchestral than Cortot did. The Pierre part chestra, directed by Monteux. Victor set pletely or it may fascinate him. It is a setting of “Double Concerto” is a modernization of the M-820. twenty-one poems (by the Belgian poet Albert old concerto grosso form, hence the classical It may be, as one of Ravel’s biographers says, Giraud) dealing with the moon-madness of its characteristics of the score. It represents a some- that the “bitterness and depression” of the first antasticai character. It is perhaps strangest more of release in the the what austere side the composer, but world war found its composer woik of music in the whole modern field, and Brahms of the solacing heart is also revealed in through the violent the most provocative. the lovely slow movement, while the sly humor measures of La Valse. Its importance histor- of the master is noted in the finale. Here a successful pro- ically makes a record- Tschaikowsky: Symphony No. 5 in E minor, Op. 64; jection of the score ing in Sir Thomas Beecham and the London Philhar- would suggest the order. Reger: and monic Orchestra. Columbia set M-470. very type of objectiv- Variations Fugue on a Mozart It is the purity of tone and the superb control ity and detached Theme, Op. SaX- of the orchestral playing which distinguish this irony, which Monteux 132; onian performance above all others. There are two ap- achieves in his per- State Orches- tra, Karl proaches to Tschaikowsky; one which inflates formance here. This directed by Bohm. Victor set the drama and the emotional fervor, the other is unquestionably not M-821. which aims for precision and polish without an only the best record- over-stress of emotional elements. Beecham, Tos- ing of the work to be Reger here endeav- ored canini, and Furtwangler employ the latter issued so far, but also to go Brahms one method in their Tschaikowsky readings. We re- the most convincing- better than the latter’s gard this as the most musicianly performance exposition. “Variations on of the “Fifth Symphony” on records. Bach-Walton: The a Haydn Theme.” But he over - in- Mahler: Symphony No. 1 in D major; Dimitl'i MitrO- Wise Virgins— Ballet flates poulos and the Minneapolis Symphony Orches- Sadler’s Wells a charming- Suite; theme tra. Columbia set M-469. Orchestra, conducted and soon sub- merges Mitropoulos proves himself one of the most un- by William Walton. and blots out the derstanding Mahler exponents. The youthful fer- Victor set M-817. memory of Mo- zart. The vor and drive of this work, and the conductor’s Sadler’s Wells Thea- theme is taken from first telling exposition of it, may well make it more tre London is the the in movement enjoyable in the long run than any Mahler sym- home of English of Mozart’s piano sonata phony on records. The work has a program which opera; it also boasts a (K. 331) —the sonata is fully outlined in the notes. The first two move- successful ballet with the famous Rondo alia ments are “The Days of Youth”; the third and school. Walton, one of Turca finale. fourth, “Human Comedy.” Mahler the lyricist is the most talented of There is much to heard in the pastoral qualities of the opening contemporary Eng- ARNOLD SCHONBERG admire as well as movements; in the third movement we have a lish composers, has condemn burlesque, a musical depiction of a various cantata symphonic re-orchestrated movements and nations are full of refinement' known to all children in South Ind Tendernlst pictorial parody, organ pieces of Bach for a ballet, described as hut the score becomes more Hunter’s Funeral Procession.” and more complex’ Germany, “The “a masque-like presentation of a parable.” On untfi it reaches the powerful preaching and over-elaboTted The finale is full of bombast and — the whole, esthetic values seem to have been fugue which is dominated by the head rather brilliant, surging orchestral epilogue, which judiciously observed by Walton, and since so than the heart. Whether familiarity with the end several times before it actually ter- music has been recorded in should little of this any score is conducive to a fully hospitable reception it deserves to be heard and appreciated. minates. form, of the music, we cannot say at this time. The Symphony No. 1, Op. 10; Cleveland Shostakovich: Schonberg: Pierrot Lunaire; performed by El’ika work is well played and recorded. conducted by Artur Rodzinski. Colum- (recitation) R. Kolisch (violin Orchestra Stiedry-Wagner ; Tschaikowsky: Overture 1812; Cleveland Orches- bia set M-472. and viola) S. Auber (violoncello) E. Steuer- ; ; tra conducted by Rodzinski. no work out of modern Russia brings Columbia set X-205 Perhaps mann (piano) ; L. Posella (flute and piccolo) Those who admire this score us “the hard-driven life of a proletariat” Bloch (clarinet and bass will And this home to K. clarinet) , conducted For here find performance as effective and forcefully as this score does. we the Composer. Columbia as thrilline , as by set M-461. 8 a ' evidenced in that has come to records. ruggedness, blatancy and irony This work is regarded as the most successful cohesion Taylor; Suite from symphony lacks the and Peter Ibhpfrcnr.- tr„„ , „ music. The of Schonberg’s so-called ultra-modern scores. Its 3 Barlow of its more famous classical predeces- controversial style has and the Columbia “° balance been labeled impression- Broadcastingadcastme Symphony.q R melodic structure is lumbia Co- sors: the rhythmic and istic; but Schonberg’s impressionism aims at ex- set X-204 jerky and sectional, but its strength and abandon After Stokowski’s 15 saw make it a compelling work. a i::z to ^ brash treatment of the score. Rodzinski’s inci- any other P mances than American opera n ,.„ l treatment is as startling as it is impressive. RECORDS at the Met ‘ sive ropolitan. One suspects ^ that ' much for this score, al- itfst >1 ~ Modern recording does vorite with y ' long a Ia the publicp 011C ,Cni I? i ’ 'Continued on Page 8661 810 the etude NE OF THE MOST SUCCESSFUL musical comedies ever to reach Broadway, “Louisi-
O ana Purchase,” is being picturized in Tech- F Music i in . the j Home Jrv%> nicolor by Paramount Studios. During its fifty- eight weeks on the stage, the production grossed $1,679,000. Bob Hope stars in the film version, heading a cast that includes six of the original Broadway performers. These six are Victor Moore, who repeats his inimitable characterization of Musical Senator Oliver P. Loganberry: Vera Zorina, ballet Films and dramatic star, seen as the emigree Marina Von Duren; Irene Bordoni, French comedienne, who makes her first return to the screen in twelve years as Mme. Bordelaise; Charles La 'Torre, as of Primary the head waiter; Charles Lasky, Zorina’s dancing Interest partner; and Lynda Grey, one of the front-line show girls. “Louisiana Purchase” has no connection with the historic transaction whereby Thomas Jeffer- son paid Napoleon Bonaparte $15,000,000 for the By SbonJJ Warlin Territory of Louisiana, in 1803. It is a strictly modern comedy of political coloring, dealing with the second “purchase” of governmental affairs Costumes and sets were designed in color by and the Man” will be Straus’ second picture for by a group of tricksters. The prologue is careful Raoul Pene Du Bois, and the sets especially pre- RKO Radio. A few years ago, Producer Sol Lesser to explain that the “Louisiana” and the “New sent a departure in color schemes m that they brought him from Switzerland for the scoring of Orleans” mentioned in the script, are strictly “a parallel, in chromatic progression, the dramatic a film musical. It should prove stimulating to mythical state and city.” action of the story. The picture opens in grays, see how the Viennese liltings from the Straus The music combines six songs by Irving Ber- as though it were being photographed in black pen will blend with the sterner stuff of Shaw. lin with six numbers from the Broadway pro- and white. The first note of color is seen in the Further news from RKO headquarters concerns duction, used as background themes. The Berlin red hair of the secretary in the lawyer’s office. Oscar Levant, roving expert of the RKO Pathe songs are You Can’t Brush Me Off, Louisiana From reds and browns, through greens, then reel, “Information Please” (based on the popular Purchase, It’s a blues golds, radio and program of the same name) , who is inter- Lovely Day To- the hues become rupting both his microphone and screen appear- morrow, What more and more ances to complete a straight concert tour. Chance Have I vivid, until they During the past month, a number of music With Love?, reach a rainbow films have come to light, some offering homage You’re Lonely and riot in the Mardi to “swing” and some to “blues,” and all taking- I’m Lonely, and Gras and the sides in the controversy as to whether “jive” or EverybodyDance! Beaux Arts Ball “jazz” is the real candidate for honors as the (the Mardi Gras sequences. The “typical” American music. Now Warner Brothers ballet) . The back- floats in the Mardi Studio has joined the lists with a vote for the ground numbers Gras parade rep- “blues.” Without documenting their findings, from the stage resent a similar these experts believe they have recognized a cur- production in- grouping of color rent shift in popular music from swing to blues, clude Fools Fall for dramatic ef- and have titled their newest offering “Blues in in Love, Latins fect. The use of the Night.” The story deals with a group of un- Knoio How, The color as a means important, non-glamorous young musicians, who Lord Done Fixed of stimulating love the music they make because they feel in it Up My Soul, dramatic and the “real heart of America,” and who go through Dance With Me, emotional effects strange adventures and difficulties because of it. It’ll Come to You, is an interesting Richard Whorf, who has accepted an acting, and Outside of question, and the writing, and directing motion picture contract That, I Love You. results of this ex- after seven years with Alfred Lunt and Lynn periment should Fontaine, inaugurates his new career by playing Quick Change A go far toward de- the leading role. Others in the cast include Pris- Artist termining new cilla Lane, sometime songstress with Fred Wait- Miss Bordoni’s possibilities for ing's band; Betty Field, Lloyd Nolan, Jack Carson, singing of Tomor- the screen. Elia Kazan, and Wally Ford. row Is A Lovely Director Irving Day is expected to Cummings re- Special Players the to be one of turns to the Par- The music is of the “blues” type. Priscilla Lane major successes amount lot for sings two numbers especially written for her, and of the picture. In the first time in Jimmie Lunceford and Will Osborne conduct What Chance twenty- five years. their bands in the night club sequences. A group Vera Zorina in "Louisiana Purchase" H ave I With On his previous of “musicians’ musicians,” credited with ranking Love? Victor visit, he was one as “tops” in their respective fields, have been en- Moore undertakes six of the fastest quick changes of the principals in “Rupert of Hentzau.” gaged to record blues and “jive” numbers, written in theatrical history, appearing successively as especially for the production. These special play- Oscar Straus and Shaw Marc Antony, Romeo, Samson, Louis XV. Adam, ers include Ray Turner, who for seven years was and Tommy Manville. Bob Hope sings You Can't Oscar Straus, Viennese composer, has been en- pianist with Paul Whiteman’s band; Archie Brush Me Off, for which he admits having gaged by RKO Radio to prepare an original score Rosate, clarinetist; Budd Hatch, bass violinist; brushed up his vocal cords. In addition to his for the Gabriel Pascal screen production of Ber- Richard Cornell, drummer; Tony Romano, guitar- singing, Hope dances, accompanied by a band of nard Shaw’s comedy, “Arms and the Man,” with ist; and Frank Zinzer, trumpeter. Original music Negro youngsters, for the first time since his Ginger Rogers and Cary Grant co-starred. “Arms is written by Harold Arlen and Johnny Mercer. days as a vaudeville dancer. One of the glamour The plot, which concerns itself with marital tri- features of the film is a fashion show sequence, angles and a new-born baby, is not impressive, the first of its kind to reach the screen as pure but the music should satisfy those who are comedy, with Bop Hope “kidding” every creation MUSICAL FILMS minded to devote an evening to glorified blues. and its wearer. Jack Casealles, former ( Continued on Page 856)
DECEMBER, 1941 811 :
ii* fihe Home -rv^:.-. «r '.^'Music / Musical Broadcasting Events he COLUMBIA BROADCASTING network has inaugurated a series of afternoon pro- T grams (Mondays through Fridays—4:00 to master- 4:30 p.m., New York time), presenting cham- of Importance pieces of symphonic, operatic, vocal and from ber music. Orchestral and vocal selections worth great operas, seldom heard concertos, and songs while music for small ensembles as well as Schu- by such favorite composers as Schubert, By -AffrJ JincLay War,gem mann, Wolf and Debussy are being presented in these broad- these programs. Another aspect of unfamiliar mile- casts will feature historic and music. cordings. All of the programs in this unusual and the Dance the Rimsky - stones in the development of American of Buffoons from planned series are being prepared under his personal Korsakoff’s Thus, we note the whole series has been “Sniegurotchka.” supervision. The aim is to present in twenty-two With Eugene conductor of with an eye to the universality of music. Goossens as guest are programs as complete a picture as possible of the the symphony of artists participating in this series orchestra, the College of Music The written by Americans in the last hundred instrumentalists of the Columbia works Cincinnati dedicated its new $10,000 Radio Work- vocalists and various in Columbia years, and to trace the steps stylistici shop Studios on Sunday p.m., network staff, Howard Barlow and the October 12th (11:30 growth at the same time indicating the devel- E. S. T. Concert Orchestra, and students and faculty —NBC-Red network). Goossens con- of Music opment of varying schools of thought in music ducted a performance Egmont members of the Cincinnati Conservatory of Beethoven’s* of this country. “Milestones in Music” makes use Overture. Lotte the and the Eastman School of Music. Leonard, gifted soprano of the entire musical facilities of the Eastman college broadcast—“Stars of the Orches- of faculty, sang two lieder—Schubert’s An The Monday Music. and shorter solo School of die Musik and Beethoven’s Di riihmen; tra”—is devoted to concertos — Hinnnel Co- The Wednesday broadcast “Songs of the and John works played by individual members of the Quincy Bass, pianist, joined the or- Centuries" presents songs of the great masters chestra Concert Orchestra, with Mr. Barlow at — in the finale from Mozart’s “Concerto in lumbia sung by various vocalists, with Howard D minor”. Walter Herman, regular conductor of Barlow conducting the orchestra. A the College of Music Orchestra, was on the typical program of the series was given podium to accompany the solo performances of recently by Eileen Farrell, soprano, who the singer and the pianist. The New Radio Work- sang the following selections: \Vhe71 I shop is to be operated in close association with Am Laid In Earth from Purcell’s “Dido Cincinnati radio stations and is one of several and Aeneas”; Die Forelle by Schubert; special innovations launched by the board of None But the Lonely Heart by Tschai- trustees of the college. Tire high quality of the kowski; and Mozart's Alleluia. Barlow first program makes us hope that there will be generally prefaces the vocal excerpts many future nation-wide broadcasts. We under- with a short overture or similar type of stand that NBC plans to do this from time to composition, and another orchestral time. excerpt usually ends the program. On October 19th, the Metropolitan Opera Audi- The Cincinnati Conservatory of Music tions of the Air opened its seventh consecutive presents the Thursday series, which is season of broadcasts in which aspiring young given over to orchestral and chamber singers are given the opportunity to "try” for the ensembles, with occasional cho- Metiopolitan music Opera. Edward general of the kind Johnson, ruses and vocalists. Typical the ?6ra ’ gave a talk encouraging programs heard in this series are youthfouth m n S ' of their efforts to better themselves and and chamber music by advance towurd 1 . orchestral the goal of every singer-the Beethoven and Mozart, and 2. an all- Metropolitan Opera. The orchestra this year is Russian program. The programs are again under the able direction of Wilfred Pel- the direction of Alexander von letier and the under commentary is once more en- trusted to Milton J. Kreisler. Cross. Already thi^year hi —“The Lyric Stage” e The Friday series nB Penetlei' ' ', has haai d to* voice, from operas. One re- ofmoimora'te than fivefi brings us music ™ hundred singers In the nast of pro- calls with pleasure a couple seven seasons, the committee of judges has lis- recently, which were il- tened to nearly seven grams, heard thousand asphanfs of the purpose and intent of winch total twenty-one lustrative of have found themselves in example, there was the ranks of the this broadcast. For Metropolitan’s singers The com- mittee, the one which featured the Latin-Amer- the same as in previous years, DAMROSCH from is made un DR. WALTER ican tenor, Juan Arvitzu, in arias of Mr. Johnson, Edward Ziegler and EarS Lewi fourteenth triumphant year assistant general Who is now in his Massenet's “Manon” and Rossini’s “Bar- managers of the Appreciation Hour. company John with his Music while the orchestra un- Erskine, and Mr. Pelletier. ber of Seville," The broadcasts are Howard Barlow played heard on Sundays from 5:00 der the expert direction of to 5:30 p M very interesting program. network. the helm. This is a Overture to the “Barber of Seville,” a se- NBC-Red American Music is the title the “Milestones in Meyerbeer, and a Fantasie from The Saturday afternoon broadcasts of These are pie- lection from the Met- the Tuesday broadcasts. Another program pre- ropolitan Opera Company begin given played Puccini’s “La Boheme.” this year American compositions, performance of senting historic the gifted dramatic soprano Rachele Rav- with the December 6th. Milton and vocal groups train sented by orchestral, chamber, who sang arias from Verdi’s “A'ida,” Puccini’s J. Cross will again be the announcer. Special new Music m Rochestei, New ina, the Eastman School of and Mozart’s “Marriage of Figaro.” features are planned between the acts, but the programs, heard to date, “La Tosca,” York Many ot these same program was announcement of these was not forthcoming for Eastman-Rochestei Particularly enjoyable on the been featuring the March inclusion here. have Di. Barlow’s energetic performances of the Orchestra, under the direction of Svmphony Prokofieft's “Love of the Three Oranges” Now in his eightieth year, Walter Damrosch work in behalf of he from is Howard Malison. Hanson's conducting and has been the NBC -Music Appreciation Hour American composer is legendary na- for the fourteenth season on the air. The What he is now doing for our regard most valuable. that youngsters have the medium of radio is for this venerable maestro tive composers through done in concert RADIO might be summed up in the comment in line with what he has made re- only cently recently by way of re- by the young t Continued for many years, and more on Page 860 )
812 THU ETUDE Tuning the Piano -aa-V^'Music/ in the Home.w^. teaching the Art of Piano Tuning way of ' 19 “ A new T «2? r-*&0*sr~»* *^r* by the use of Musical Notation is found in the re- cently issued “Scientific Piano Tuning and Serv- icing” by Alfred H. Howe. While most tuners know little about musical notation, intelligent and experienced tuners are realizing that many mod- ern devices and methods are coming into use and The Etude that with the huge increase in the output of pianos the need for expert tuners is sure to in- crease. Mr. Howe’s book is valuable in that, while all recent advances in Lover’s Bookshelf it describes the most Music methods of tuning and devices (including the it is chromatic stroboscope) , at the same time and practical as it includes very comprehensive Any book here chapters upon “The Moth,” “How to Clean an In- reviewed may brsecured from strument,” “The Piano Accordion,” and “What THE ETUDE MUSIC MAGAZINE at the if a String Should Break.” It is the best to do orice given plus recent book of its type your reviewer has seen. postage. “Scientific Piano Tuning and Servicing” By: Alfred H. Howe Pages: 150 Price: $3.00 Publisher: Alfred H. Howe B. WLJitk ca j,man The Victor Book of the Symphony Bf Ten printings of the previous edition of this notable book of analyses indicate the high regard America's Major Musical Achievement book is generously illustrated with one hundred in which it was held by the public. The new edi- and fifty illustrations which are beautifully re- in music in our country tion is far more comprehensive than the former We have done much produced, as the work is printed in rotogravure. be immensely proud, not -be- work and includes comments upon a large num- of which we may “The Teaching and Administration of High the ber of composers, who were just knocking at the cause our achievements do not simulate School Music” musical art in door of fame five years ago. The mere fact that momentous accomplishments in By: Peter W. Dykema and Karl W. Gehrkens there are descriptions of over two hundred and Europe, but because they are distinctive and def- Pages: 614 different fifty masterly recordings of great symphonic initely American. These things are so Price: $4.00 democracy that, works, which are permanent assets for the home and so representative of our Publisher: C. C. Birchard and Company musical library, indicates the possibilities of the like the military marches of John Philip Sousa, book. they could not have originated in any other country. They represent the dynamic realization of all that America means. Teresa Carreno Your reviewer takes off his journalistic cap to Greatness never dies. “At seven o’clock in the Teaching and the authors and publishers of “The evening on June 12, 1917, the Walkure entered Administration of High School Music,” which is Walhalla” are the words with which Marta Milin- book the most comprehensive and practical hand owski ends her remarkably fine life of the Ven- upon a phase of the original far-reaching work ezuelan pianistic meteor which swept across the yet seen. in School Music in America we have world from 1853 to 1917. Yet the writer of this In the thirty-two chapters of this valuable review, who knew Carreno well, could not pos- book, the development of secondary music is sibly think of her as a German Goddess. Despite traced to High School music to-day. The chorus, the fact that she lived for a time in Germany the glee club, the voice class, unaccompanied and that one of her four husbands was the singing, the instrumental program, the high Scotch-born pianist of Belgian stock, Eugen d’Al- school band, the high school orchestra, the en- bert, who was more German in spirit than “Du semble, chamber music, the dance orchestra, all Lieber Augustin,” Carreno was intensely Ameri- are considered and suggestions given for their can, first a Latin American, and then a North practical management. American. It took a long German sentence to Rehearsing for the Con- Other chapters are put forth this thought. Brought up partly in cert, Individual Lessons Under Outside Teachers; New York City, she spoke American English and Piano Study in the High School; Courses in was American in her aspect. Music History and Appreciation; Radio as a Po- We have rarely read a more sympathetic and tential Force in Music Education; Concerts, Con- understanding biography. Marta Milinowski is Festivals; The Operetta Pro’s and tests, and — Professor of Music in Vassar College. She was a Con’s; High School Music in Relation to the Com- pupil and friend of Carreno. She has done an and Measurements in Music Edu- munity; Tests unusually fine and authoritative word portrait of cation; The Psychological Planning of Instruc- the great pianist. There are many who contend Integration; Practical tion; Correlation and that the four outstanding pianists of the last CHARLES O'CONNELL Hints on Conducting; Housing and Equipment; century were Liszt, Rubinstein, Paderewski and Administration and Supervision; The High The notable increase in interest in symphonic Carreno. Certain it is that she stands as among School Pupil; The Teacher of High School Music. eminent keyboard music, which has come through the growth of the most masters of all times. Your reviewer has given this catalog of the The new biography is most the orchestras and the greater development of readable. The chapters of this voluminous book because in no author takes the reader the desire for more serious music heard through through the exciting- other way could its scope be indicated. All in all, episodes, the struggles, the triumphs the talking machine and the radio, makes this of Carreno work is a thrilling presentation of a major all the lure of the well written and authoritative book a present the with cinema. Your reviewer attainment in American musical education. The this volume with day household necessity. read great pleasure and profit. “Teresa Carreno” “The Victor Book of the Symphony” Author: Marta Milinowski Author: Charles O’Connell Pages: 410 Pages: 645 Price: $3.50 Price: $3.50 BOOKS Publisher: Yale University Press Publisher: Simon and Schuster
DECEMBER, 1941 813 —— ) , ;
The Teacher’s Round How Would Your Record Sound? Table
I often think it would be illuminating and, I am sure, terribly disillusioning Conducted Monthly To the teacher who says, “If I listen to have a recorded version of the lesson to a student play the same piece at dif- period; to tap the wire, so to speak, and ferent times, I am apt to confuse him by find out how teacher uses the time! telling him to phrase, pedal or interpret What, for instance, goes on in the lesson in different or contradictory ways,” I time of the well-known artist who teaches answer, “So much the better for the only two or three pieces a year? What fUaif student, who will quickly learn that the happens at those lessons at which pupil processes of art are not hard, rigid, arbi- plays pieces through and teacher, after trary, but living, flexible, growing. Also, one or two desultory comments, says, “All Noted Pianist that the artist himself grows from day right, and now bring me So and So by So and to Music Educator day; that what is gospel truth for him and So for your next lesson”? Or when today may be discarded tomorrow. The teacher talks for most of the lesson student will learn in the best possible period, usually about himself? Or plays way that a work of art is susceptible for, or with, his student most of the time? of a hundred so-called “interpretations,” Or fails to give concise, practical help in nuances, subtle • ni.cn Wiui ms differences of proportion the solution of technical problems—beats and balance, artist teacher is pitifully inadequate. without in the least dim- around the keys, as it were? Or becomes ming its There must be whole evenings beauty or weakening its projec- colorless, dull, deadly didactic, speaks in or aU nights of music, at which tion.” vague generalities, doesn’t concentrate, teacher and students play to each or other in closest lets his criticism degenerate to the musical pect. if this Depart- intimacy; there must be students are the blind, dumb, sarcastic, destructive side? Correspondents with musico- ment requested to limit Letters social Round hero-worshipping arc Tables; there must be the kind, they will go on All these would show up shockingly. A to One Hundred and Fifty Words. eternally closest artistic collaboration between asking for bread and getting pity we cannot have such records! How them. In tard rocks; every possible way the teacher and being completely satis- would you stand up in such a test? °n assists m securing engagements y the teacher has a great name (with or fy „ J sixty years of age. Where are these out- without fees) or a ‘big” or opportunities for the reputation. So, I’m sure there fault is it ' standing youngsters? Whose student to “try out” the 10thmg to do but to large A Check-Up On Artist compositions he if develop a that there are so pitifully few? Certainly is studying, so body of forceful, Teachers Others, as to acquire performance inspiring, exacting ele- —And Too not lack of talent, for all of us know that routine before mental as many different groups y teachers who in turn will train the streets are teeming with excellent of auditors as y°ung What kind of music teacher are you? possible. In the four years ? army of critically intelligent material. Whose fault is it? of my own Conservatory students in One who teaches sound, authoritative, study, I can re- the true ways of our noble step toward making an member only intelligent technic The important an isolated ' And wben —who puts concen- instance here or . they are old they will of the young virtuoso is to help there when not depart trated thinking above senseless, endless artist out students and teacher played from it.” himself; to lead him, through to each other. repetition? And do you teach Music, him find There were no repertoire utmost sincerity, integrity and travail, or playing classes, rather than a few isolated pieces? Do the no stimulating give to command all possible authority in pro- and take, only rare you try to give your students a good performances at composer through his own pupils’ recitals. During general survey of the field of piano litera- claiming the four of the most of the styles ture, as well as a searching analysis of voice; to grasp the truths important years—the formative period of “unable for high school and to shape them up into a serious student’s students in thl individual numbers? I have been shocked of the past, musical life—such a must learn situation is to see the pitiable results of the teaching contemporary utterance. He calamitous. his own equipment the The teacher must of one so-called “artist” who makes it a to select from arrange to hear the which will best serve him in student as often as practice to give students, capable of qualities possible in halls or of composer he is auditoriums, so studying a dozen great masterpieces, only the projection the that he may help 511 t another ef- him ac- fectiw^Li'iif f piece as two playing. quire that most difficult of all lat °ld stan or three compositions during the technics- but d-by, Malaguena. What sort of a teacher does this de- projection and proportion here whole year, and these often short or in large spaces Dowell, f6W suggestions: Mac- mand? A teacher who does not consider (Often a teacher finds it 0 trivial. On the other hand, I am angered necessary to o f Umn: MaoDowell. Will- the most important thing re-vamp a -the-wiL V‘l by the spectacle of another “artist” his own career composition entirely n na“noff after ’ PolicMnelle the world, a teacher whose burning hearing the student play in MacPayden' ?f,??Et teacher giving a girl, fourteen years old, in a hall a Heroique; Kreisler- Music enkindles everything and How exacting, Mater rw musically in the ele- zeal for time and P et> technically and cnersv-ern Vimoi S>' TschaikowsW he touches, who lovingly and suming are the Troikn T T . suppose? everybody duties of ^ mentary grade—what do you a true artkt raine*ux; Lecuona, La Coin- shows his student how to teacher! It uarsn- ~ ‘ is a intelligently gives him little The Jeux d’Eaux of Ravel! Here time to ’q Gl anados, Rondalla Andaluza, life, whose passion it ' with no thought bring the music to himself in the ivory tower Cvrii youngster, an amateur of his ejro 9lia; ralla teach, who is not interested in ex- to play the rale g De of making music a career, a girl who is to of the gentlv ™™Te£:°r ploiting his pupil, doesn’t care a hoot fire to his students. desperately needs to learn Music, kept whether or not he is “grateful” to him, is requires limitless for six months digging at the Jeux vitality. portim.* if studies with someone Y ' of all else, not “miffed” he every artist possesses d’Eaux to the exclusion such vltaUtv f other else. he could never have balanced technic, sight-reading, become an aru’s/?"' He cares only that the serious, aspir- the first place ‘ styles of music, everything necessary for without it. Now « !y yes during ing student of music shall develop into the artist-teachers will “UUK X"” Tf VyiGeruy-Jjlcui* healthy music growth! Oh, — turn this’eoo should artist. con- 1612 " technic they be taug this pupil was given the serious, aspiring He must mg faucet full blast on their fromm TT ook? the entire season, sindo "f Mlchlgan. What books?—D. 1 the hard work-spurs into the not count anS only one other piece, the Ravel Pavane. stantly jab the cost we shalfS he must give him endless Draw your own conclusions! student’s side; 1 31, basic students who have ac- musical and spiritual blood -transfusions; to fill the shoes of those ciples ? technical P With advanced older IrtilF mus??e taught exasperate and 5 . from serviceable technic, and he must excite him, him who are, alas, rapidly leaving Sinning r the very quired a good, us ot thrill him. The apprentice may lose Artist teachers there Considei' that, as given a comprehensive must exist* ? . who have been discard the I"' « b° be driven to despair, 0k: tl pianistic field, the problem pounds, sometimes tion that they have done Principles wWch presents survey of the their duty nrioquatel budding virtuoso into yet nothing must be permitted to inter- serious young students— L“y enough y, simply, or soUi is how to turn the those who T for °Ung most fere with his steady progress through the not had long years of 8 f°r childl'en. Watch the artist. That is, of course, the playing the apnea, work. exnerie” ance of of all; and that regular, driving routine of -by merely “coaching” Pl'iscilia “Technistories difficult and sacred task them rBvo to Sjf ' of our teachers have Yet how few teachers there are will- repertoire. By this I highly nd yoi “s truly, is just where many mean hearing th lm ‘™V Given the astonishing ing to apply such drastic treatment! pieces once or twice, ^h' booIt yet very praC been falling down. giving aims to They, like their students, are congenitally specific ® out mi the amount of natural talent that has flooded criticism atTh™L“ soon. Bap. it shoulc lazy, and cannot or will not force growth. inadequate. “ the studios in the last generation, it is Any gifted young feel result. No more Everybody needs to the screws put i who is not a genius) dent Grade sad to contemplate the needs hfin „ onmiend I technic, I than to make out a on him, or (to mix metaphors) requires long period of time r a hoard ° evidence is needed in the stun? Secrets aynor Blake’s violinists the steady stimulation of the hot-house, maturing 8 and lP°r list of the young pianists and of a great work you Grades and If the” , might lonir II present so that his growth may be commensurate teacher is lst equipped to take the place of the bored listening Studi U^ : “1 many es in «tvi » Thompson, artists, the over- with his latent potentialities. the same composition, unes to day vintage of fine he is JJ. ^ Sketches Wagness “Pour in . are over If the young artist is to love and live fine artist, second, * stvip-’ “ whelming majority of whom not a good Judes.” : Go°driah, teachen These can bah V"* Liebling m Showed by "Cze Vol t °r 814 "Czerny Op. 299.” O INCLUDE A LIVING Russian composer among the older Nationalists may seem of • anci }. Siu.&y^j&r T doubtful critical propriety. But Stravinsky, *"0^ Zip' a pupil of Rimsky-Korsakoff, was, until about 1920, an obvious Nationalist in his choice of sub- jects, his use of folk songs, and his interest in the use of Khorovods and characteristically Rus- sian rites. For these reasons, his music during that period may be considered a sort of epilogue Russian Nationalist to the work of the older generation. An exile, living most of the time in Switzerland during the war of 1914-18, Stravinsky became affected by his cosmopolitan environment. His music often Composers sprang from sources and styles that were non- Russian. From being a Russian Nationalist he became a Russian composer. Of late, even the Russian traits in his music have tended to dis- (L*clivcu'd (jduriinqcuneinaame J4;ff appear, and Stravinsky has become merely a composer, albeit a highly gifted artist. There is reprehensible in these changes from an nothing PART iV esthetic viewpoint; they are, however, contrary to the usual evolution of a composer’s style. Igor Stravinsky was born in Oranienbaum, a suburb of Leningrad, in 1882. His father was a STRAVINSKY famous baritone singer in The Imperial Opera, who had performed in “Russian and Ludmilla,” leveals a distinctive per- “Prince Igor,” “Boris Godunov,” and in other fa- Diaghilev, highly culti- sonality which trans- mous Nationalistic operas. He also possessed an vated if revolutionary in cends all external influ- excellent library, including many collections of his tendencies, had been ence. folk tales and folk songs which later provided his searching for a means Stravinsky had son with material. With such musical antecedents, of bringing progressive now a plan Stravinsky could scarcely escape the inevitable Russian art to public at- vague for a more primitive Russian ballet, piano lessons. At school, he was a mediocre stu- tention. Formerly an of- “The Rite of Spring.” dent, largely because of his growing enthusiasm ficial in the Russian When Diaghilev visited for music. In deference to parental wishes, he Imperial Theatre, he in- in Switzerland, studied law at the University of Leningrad, a curred dismissal for ex- him he astonished mental discipline which he does not regret in ceeding his orders. With was to find friends Bakst Stravinsky working at a later life. While at the University, he formed a several — concert piece for piano friendship with a son of Rimsky-Korsakoff. A and Benois among them group, and orchestra. He was few years later, he played some of his music to —he formed a so struck with the vital- the father, prefaced by a warning that an un- “The World of Art,” ity of this music that favorable opinion would not act as a deterrent which at first organized he suggested its from continuing composition. But Rimsky-Kor- exhibitions of Russian trans- formation into a ballet. sakoff approved of the young Stravinsky’s music, painters, and then With Alexander Benois, and later gave him lessons in orchestration. One turned toward music. formerly an active mem- of Stravinsky’s tasks was to orchestrate a portion After successful concerts ber of “The World of of his teacher’s opera, “Pan Vogevoda,” and then of Russian music in Art,” Stravinsky con- to compare his score with the original. Paris, Diaghilev con- ceived the idea of a trived a scenario dealing Early Works ballet which should de- with the tragic fate of the Russian Punch; and Save for an unpublished piano sonata, Stra- part from the conven- the music for “Petroush- vinsky’s first work of large dimensions was the tional French technic ka” was completed in “Symphony in E-flat, Op. I” (1905-07) which then in vogue, to de- the spring of 1911. Again showed excellent workmanship but little indi- velop a more radical IGOR STRAVINSKY Stravinsky achieved viduality. Scarcely more can be said of the song choreography in which an the performance cycle with orchestral accompaniment, “Fawn and interpretation of the drama should have a vital enormous success with of ballet season Shepherdess,” on texts by Pushkin. A definite ad- part. The first ballet to mark this revolutionary “Petroushka” at the Russian of the received recognition from French vance is to be noted in the Fantastic Scherzo for trend was “Armida’s Summerhouse” with music same year, and combination orchestra, based upon Maeterlinck’s “The Life by Nicholas Cherepnin. Diaghilev needed to cre- composers and public alike. The of the keen character drawing, of the Bees.” Despite some superficial Wagnerian ate a new repertory for his company. Upon hear- humor and pathos, resemblances, this work discloses much more ing Stravinsky’s Fireworks, he recognized that the sheer originality of the music took everyone originality and finesse in musical texture, as well here was a young composer who could be useful by storm. In “The Bird of Fire,” Stravinsky had “Petroushka” as an obvious capacity for handling the orches- to him. Accordingly, he commissioned Stravinsky employed a chromatic style; in he idiom, although using tra. However, Stravinsky’s musical personality to compose his first ballet, “The Bird of Fire,” on turned to a diatonic the polytonality with marked effect. “Petroushka” first asserted itself positively in a short orches- a national legend which had been used for an new nationalistic tradition, in its sub- tral piece, Fireworks, composed in honor of the opera in 1815 by the Italian composer, Cavos, continues the folk song. But even marriage of Maximilian Steinberg and Nadezhda with a scenario by Michael Fokin. Stravinsky ject and in the use of the Rimsky-Korsakoff, the composer’s daughter. Not was already at work on an opera, “The Night- supposedly sterile scholastic devices of diminu- augmentation are made to serve only does this brief piece show marked invention ingale,” with a text by Stepan Mitousov after tion and a but dramatic end. and skill in thematic development, but its or- the fairy tale by Hans Christian Andersen, devices foreshadow the coloristic vivid- he gave it up temporarily to concentrate on the chestral Stravinsky and Roerich Collaborate Bird of Fire” performed ness of The Bird of Fire. Stravinsky’s study of ballet. In 1910, “The was returned his contemporary French composers bears a curious with great success during Diaghilev’s season in Stravinsky now to project for a this work, Stravinsky appears as the primitive ballet based upon customs of prehis- fruit in that an episode in Fireworks almost lit- Paris. In Rimsky-Korsakoff, using national folk toric Russia. Here he needed an archeologist as erally reproduces a passage in Dukas’ The Sor- disciple of folk songs as musical themes, and collaborator, and found him in the person of cerer’s Apprentice. lore and its orchestral style Nicholas Roerich, who had achieved eminence An important factor in Stravinsky's musical continuing the vividly coloristic in But in fantastic musical invention his field, and had even established a museum in growth was his friendship with Diaghilev, the of his master. novelty of orchestral effect, Stravinsky New York. With {.Continued on Page 854) founder of the ballet which bore his name. and in 815 DECUMBER. 1941 , .wS^Music/ oni v S*^dy--^f>**
Christmas Music Through the Ages
HRISTMAS CAROLS once again ring- Silent Night, Ihr Kinderlein Koimnet or out across the midnight air, bring- Come All Ye Children, and Schoenstes C ing some measure of comfort and Kindlein, or Most Beautiful Infant repre- hope and faith to a war-torn world! sent the German Christmas of other days. Lovers of Christmas music may like to Incidentally, the loveliest of all German follow its development from the earliest Christmas hymns, Silent Night, was grave- known form, on down the years, to our ly in danger of having the lyrics rewritten own musical expression of this sacred fes- a few years ago. But the people of music- tival. Perhaps the earliest ritual was the loving Bavaria and of the Rhineland were Christmas Wait, which is now being re- adamant in their protest against the sug- vived in certain parts of the world, includ- gestion. As late as 1939 the hymn was still ing New England. The name, Wait, is be- sung in the original throughout Germany, lieved to have come from the ancient the land of its birth. later as the name of an instrument known Bavaria’s capital city, Munich, has or however, oboe, or hautboy. Some believe, had a great museum devoted only to Cribs, that it is derived from the Town Watch- and these for the most part were en- town man who ultimately became the hanced by musical effects which capti- cen- musician and, in the early nineteenth vated the visitors. At certain intervals tury, filled the position by popular ap- the loveliest song came from somewhere solicit pointment, with exclusive rights to in the setting, representing birds and contributions from the parish. The word human voices and the little organ, with- naturally suggests watching or waiting, out which nothing German would he hence the vigil which in olden times began complete. on Christmas Eve and continued through the following day, recalling the Bible quo- tation: “The evening and the morning wiup U1 UICCIi being the first day.” This made of the the Germans call it the Gift-Ship because night a watch-night for the morrow. on Christmas Eve, Greek sailors, who ha< In the days of St. Ambrose, during the leir ship laden with presents, wer fourth century, Christmas was fully estab- stranded and threw their cargo overboarc lished as a Holy Day. Ambrose, Bishop of wiile they sang a hymn and prayed. Milan, was known as one of the two great *rom DA CORREGGIO'S MADONNA AND CHILD this story the Bavarian makes th poets of his era. His humility, however, national setting shi: name was Antonio Allegri (1494-1534). in which he loads a interfered giving his work to the da Correggio's Cor- with his birthplace with the tha reggio was the name of in Modena, Italy. family gifts, and they sing world until he was prevailed upon to do ovehest of sacred songs, Guide Us Ove so. He wrote Veni Redeviptor Gentium le 1 l° ws- Bavari known, The “Ship” is seen in which later became famous. Better i caids and in window displays. however, is the hymn, Corde Natus Ex * s°me be contemporary, P^ts of the world, the Parentis, composed by his the mai or Christmas role. “Callin Prudentius. Both of these works are rec- o,!fL 16 Ba the two earliest ?°! y God ,” they said in ognized by many as vgrio- lnd ’ in * ’ Great chiefly Christian hymns. Fn _, j Britain, ' ’ thS fl osted til Carols and hymns, while similar in re- sevXil bel1 suggests ° f Chrlst in tli ligious significance, actually fall into dif- North mas weather through books ertain parts of England the he ferent classes. In looking make? r ? Christ is finds perhaps five or the “awful” Judge, known also as The full Christmas music, ringing tor of hymns and carols, one hour befni-Q , Saviour, The Good Shepherd, The Prince I uduight Chrh and re- of . to six carols in contrast to thirty hymns Child after ! usher in the through the sweet songs and th meant a Peace, hymns of St. is ' During thei ligious songs. Carol, in the original, singing fea?H« that time, song. The Francis; and because of them, on down the cen- and gifti sort of dance, or frolic, accompanied by all of which the exchange of turies, Christmas has brought the sudd? , image of the Christ message of quiets fl“‘ custom of dancing around the ringing of mauv down at the and hamlets of eternal love to mankind. Italy, therefore, must ^AS m Unis Child is still practiced in towns sometimes °n. A criticism popular be recognized as the cradle of the Christmas heard ti ! and it was once the ered Cards beai'ing frost-co' the Latin countries, bell are nftf a expression wherever hymn; and, while St. Francis himself probably brist tb commemorative means of frosted bell mas emblems. Yet did not write all of the hymns, he is lally observed. Later the carol was nevertheless emblems one of sacre Christmas was i n EuroZ the most often re- sponsored them; and, because of him, through- known as a drinking-song, although likewise, coun‘ries. years, the world has seen no E import. This was out the Christmas in Sh cel* words of religious bration is Christm as setting or taining the , a far different light. complete music used over a period 1823, W lth°ut 5 the type of Christmas Hone ,, the Carol Singers. of the early Franciscan gave a f until St. Francis of Asissi Many hymns are the he ° f eig whit of eight hundred years, had carefully hty-flve carols praise to ‘The work of the early poet, Jacopo da Todi, known aollact introduced his hymns of love and oarol, nke etl. Up to time, tl as Jacopone, who lived during the the his Francis is cred- latter part of ' Mankind.” St. had t>' Little Brother of lUM-evived them. fallen into disuse, employ in church the thirteenth century. He composed that most ited with being the first to or the symbol of the beautiful of all pathetic hymns, the Stabat Mater celebrations the creche of Christmas. 0Stile to the celebrate ancient cribs were fash- Dolorosa. InAmA natal crib. Some of the this austerity American communiti charming musical at- Handel used the carol of Italian origin in some still i;?4 kes ioned in such a way that mas Day ‘ts toil, Chris of the passages of his “Pastoral Symphony.” passes , tor the tachments played softly while the sexton lighted This children any gave credence to the idea that Italian were not h f oth er. At one tiff Beautiful specimens of these classic hymns found “'hided the candles. jubilations, it in the Christm cities. their way across Spain and France into Germany, was still be seen in Italian the cribs may child into ma“ innovation to brh as The King of Majesty, where they took substantial root. Stille Nacht. or the for Looked upon by some Da 58™Uucl ti « Of a - s cum, as the ‘nce it was (Continued on Page 85 816 TWP FTVPf- ;
OUR EARS ARE AS VITAL to your vocal ex- pression as your larynx. Sound must go into Ythe vocal instrument before it “goes ’round < -''? . T&k?Music.< an &X-Study^g and ’round” and comes out of the throat. You can- not sing even Yankee Doodle without first recall- ing what your ears have heard. Although possessed with a normal vocal apparatus, one born deaf cannot sing; and one who has defective hearing Your Ears and Your Voice cannot hope to become a singer. If you hope to become a singer, your ears rather than your larynx have the full respon- sibility. They are your only guide to the effective expression of musical and poetic feeling; to the i3vj. C^ry-ital WJaterd production of rich, vibrant, mellow tones; to accurate intonation; to clear, understandable pronunciation. They report not only changing tonal qualities, but the subtle muscular adjust- ments that produce them. Thus you imitate; and attempt to carry out exactly what the ears hear, if the ears do not know, the motor impulses those of imitation is the life of the voice. like a baby’s hand reaching for what within the vocal muscles will falter. They have Perfect intonation has an electrifying effect the eyes see. Unless these motor impulses are no will, no intelligence of their own. They can listeners. Unfortunately, it carried out until they are firmly upon unless is one established, they only respond to the will and the Intelligence of hundred per cent perfect it is rated zero. Be- tend to disappear. Neglected, they seem not to the ears. tween these two extremes there are no grades, exist, which explains why some people with nor- For example, every singer should be able to as on examination papers. If you are not right, mal hearing cannot carry a tune, although later sing the intervals of the diatonic scale: a second, you are wrong. Since there are practically no they may learn to do so. third, fourth, fifth, sixth, seventh, and an octave. nerve endings in your vocal muscles, everything An interval is not a pause, as the word may The Necessity for Slow and Careful Study depends upon your ears. You must hear before lead you to believe, but the distance from one you sing. Do you take for granted your sense of pitch? pitch to another on the staff. Each interval has Then do not be discouraged if you sometimes a number name, derived from counting the lines The Mechanism of the Ear sing off pitch. Do you expect yourself to be quick and spaces from one note to another, including Let us consider how the ear receives and re- at learning songs? Then do not be surprised if those on which the notes appear. ports sound. The ear is the most intricate organ careless notes sometimes creep in to throw you The intervals of the diatonic major scale are: of the body. It is equipped to transfer material off the tune. And do not complain if you are not energy into musical tones. Before sound can able to retain the songs you learn. reach the brain, it passes through three laby- Study slowly, carefully, and aim for accuracy. rinths: the outer, the middle, and the inner ear. Quick learning can *be a handicap. It is super- The visible outer ear is a trap to catch sound ficial and tends to disappear. waves and to make them converge on the drum, To learn a song, play it over and over on the a membrane stretched tightly across the en- piano—until you can play the melody exactly as trance to the middle ear, which they set to it is written, from memory. This will prove to vibrating. From the drum, vibrations are trans- your complete satisfaction that your ears have mitted through three delicately linked ear bones heard. Then, standing near enough to the key- Since your voice can slide up and down the scale like or ossicles—the hammer, anvil, and stirrup. The board to play the melody with your longest fin- a siren, each pitch of a scale is like an drum vibrations set the hammer in motion. The ger, prolong a whispered a, as in father, as you island in a sea of sound. When you can name the hammer strikes the anvil. This impact impresses play one phrase in the octave below the one in intervals from note to note in the songs you the stirrup-shaped bone against the “oval win- which it is written. The ears hear lower vibra- sing, your voice will be able to soar like a bird dow” connecting the middle and the inner ears. tions more readily when you are actually singing. from pitch-island to pitch-island with accurate Back of the oval window is a wonderful instru- While you whisper, consciously listen to what intonation. ment, the cochlea. This cochlea, so called be- you expect to sing. Then expand for a deep shell, is Listen to Your Own Voice cause it resembles a snail about the size breath and sing it. Thus you will form the habit of a pea. It contains fluid. In the fluid the air of hearing before you sing. It is not difficult to hear the sound of your vibrations from the outer world are changed into When you feel reasonably sure that you have own voice. Obviously, when you are actually sing- fluid vibrations. Into this fluid tip, twenty-four trained the motor impulses to respond to the ing, or talking, y&u cannot hear your own tonal thousand feathery nerve ends are strung like the ears, sing without the piano. From time to tirqe, quality from the inside. The human ear is not tiny wires of a microscopic piano. When they are touch the key of the pitch you are singing to constructed to hear sounds from the throat end. stirred by the waves of fluid set into motion by test your accuracy. Then leave the piano and Even the most off-pitch, throaty, strident, or the ear bones, they transform the fluid vibrations sing the song from the beginning to end. When dull tones may sound just fine to you. Unfor- into electrical impulses which travel up the audi- you end in perfect pitch, still without the piano, tunately, what your voice reveals, your concept tory nerve to the brain. you may know that your neuro-muscular intelli- of tone, pitch, pronunciation, musicianship, Thus you hear. But do you always listen? Can gence operates automatically for that particular emotional expression, good taste, is a secret to no every familiar bird you name by its sound? Every song. one but yourself. You must hear yourself as musical instrument? Every melody? The dis- As your auditory sensitivity increases and your others hear you, to gauge the impression you note to in tance from note a melody? Can you an- neuro-muscular intelligence develops, your sing- are making. If you do this, your voice must ticipate and recall other musical facts? ing will become more musical, authoritative, come from the outside and be registered on your Even if your ears are exceptionally keen, you spontaneous; your voice freer, fuller-toned, and ear drum. your auditory should develop sensitivity to its more expressive. In two ways you can greatly Sing before a “Soundmirror,” and within a few capacity. Begin now to change highest uncon- assist this development. The first is to learn the seconds you will hear a sound-portrait of your hearing into conscious listening. scious This is names for what you have been singing by your- performance lasting two full minutes. It can be because your ears are very important, so inti- self. The second is to hear the sound of your repeated again and again while you listen crit- mately connected with the voice that the two own voice. ically. As soon as your ears are ready to guide considered may be one complete organ. Only an The surest and quickest way to learn musical your performance to higher purpose, let that guide the voice ear that knows can successfully. facts is to take piano lessons. Also take courses impression fade out and make a new one. You Now let us consider the connection between in ear training, dictation, sight reading, har- are sure to hear an improvement. the ears and the voice. mony, theory, music appreciation. Remember that Or have a record made of your voice. Use this A neuro-muscular intelligence exists between past performance as a stepping stone to a higher the aural nerves and the vocal muscles. It oper- aural concept, an improved performance. From ates automatically, yet it must be awakened by time to time, have other records made, and note direct or voluntary effort. At first, the motor im- VOICE your progress. pulses within the vocal muscles falter in their During your practice ( Continued on Page 852)
DECEMBER , 1941 817 -1&* an el i S f Music _ ./ What Is the Value of
UPPOSE TWO RECITALS were to be an- nounced in your community, for the same S hour of the same day, one to be given by Lawrence Tibbett and the other by John Doe. a New York Debut? Which one would you select for your expenditure of time and money? Unquestionably you would rush for an early place on the Tibbett box-office The Democratic Way of Music Patronage line, because you know that he is a great and satisfying artist. Even if you had never heard him before, his reputation would assure a mini- mum risk of your time and admission fees. It is not impossible to suppose that John Doe might WfL ZUfouni be equally great and satisfying—perhaps even more so—but you do not know that. Mr. Doe, as- particularly if he is a beginner, has still to Since America has become the music center of the world, thousands of sert himself. Tibbett was a beginner, too, some young artists—who only a few years ago dreamed of a debut in Paris, and nobody knew about him; but, London, or Berlin—now cast years ago, their thoughts toward New York. Miss Heylbut, the best value for when you are planning to get who has discussed debuts with scores of great more artists, tells how the problem your season’s concert budget, you want of a debut has been met by the altruistic management of Town Hall in New than abstract analogies. You want certainty. No York City to enable young people to earn democratically what was once the potentialities of the un- the patronizing gesture matter how great of aristocracy.—Editor s Note known names, you have no certainty about them therefore you wait and see, and, while you are waiting, you spend your money on the estab- at- lished names. Multiply this perfectly natural music lovers through- suring music lovers that titude by the millions of a healthier atmospher why a certain artists are well out the land, and you have the reason to be- worth an investment. when it is allowed newcomer finds difficulty in becoming launched, people a A century ago, music long to the regardless of his talents. Also, you see why discov- help patronage was a private whence it springs, “new name” in music needs something to maintained matter, firmly lodged in ered by them, it grow into an assured-value name. by the hands of the wealthy by them, encouraged case with Selling the Newcomer aristocrats. Schubert val- them. As is the how- all excellent things, needs is ued that brief interlude Obviously, the first thing a newcomer ca* ever, the better way But how is the in the household of Count a bulwark of solid musical worth. If 1 Esterhazy for the prestige be harder to achieve. general public to become aware of that worth? associated with is difficult for a newcomer able to finance a debut in of being Newcomers, who are will o the endorse- the Esterhazy name. If he to secure the good one of the great cities, can rely upon 1 patron, it critics whose per- was good enough for Es- an individual ment of the ranking music f° integrity of the terhazy, he was good even more difficult sonal approval, fortified by the 00 enough for others. Bee- him to secure the S journals they represent, carries weight elsewhere. sought the favor will at large- Which immediately places a potential obstacle in thoven of the people m of patrons like the Arch- Still, it can be done, the path of those who are unable to reach the young duke Rudolf and Count one instance, at least, it 1 ears of the major press. Some of these at the Waldstein, not merely be- being done. - artists cannot afford a metropolitan debut cause they provided him auspices oi might be most useful to them; yet Under the time when it Incorpo- often the ones who with immediate funds for the Town Hall, these very candidates are a music the continuance of life rated, York City. most deserve a chance. Often it is the in New the dual and work, but because the plan establish® patron who renders valuable service in has been newcomers and seal of their approval TOWN HALL, NEW whereby interesting musi- role of smoothing the road, for YORK The business of marked him as being cal newcomers are gran calling public attention to them. than select- worthy of further attention. But we have ea means a great deal more come a age . me democratic patronage from the private of an kno and filling his pockets long distance patronage of in- faction to the people. You ing some lucky individual the Town « *. public service of as- dividual aristocrats. We believe that art lives Hall. If you YorK’ It means also the in you have visited New with gold. have probably 60) ( Continued on Page 8
DOROTHY MAYNOR ROBERT GOLDSAND CARROLL GLENN Soprano (1940) Violinist (1939) Pianist (1941) THEODORE WARD CHANLER Composer 8J8 (1940) THE ET(JP$ OW OFTEN ORGANISTS have been told about “drowning out the soloist,” and that Music 6n^ Study^^r^p H the oi'gan must be kept quiet and unob- j trusive. In fact, years of such brow-beating has made many organists unduly meek and retiring. The chief sin of organists, however, contrary to popular belief, is not playing too loudly for the voices but rather failing to adapt and to inter- Organ Accompaniments pret accompaniments adequately. The fact that most sacred solos have accom- paniments which appear more suited to the piano than to the organ, though they are intended for church use with the organ, is a puzzle to young- Can Be Interpretive organists. But the necessity of adapting this music to the organ provides the opportunity to use imagination and musicianship in working- out interpretive accompaniments that are far CaJeton more colorful and dramatic than are possible on 3. Petit a piano. The interpretation of an accompaniment may be suggested by the music itself, by the text, or Wagner’s opera by a combination of both. brilliance of the latter. At the end of a fortissimo where tragedy, peace, religious organ effectively build moods, and fire are so ingeniously indicated In the first classification are many solos and chorus, however, the may by carry orchestral treatment. anthems in which the introduction suggests a up beyond the final volume of the voices to Symbolical representation solo part on one manual and accompaniment on out the climax. in music of ideas another. These solo parts are not always written On the extremely simple recitative accompani- from the text need not be considered too theat- one must look to the text for cues as to rical for church use. The greatest of classic com- on separate staffs from the other parts so it is ments sometimes necessary to play some notes from the required strength and tone color of the posers, J. S. Bach, made excellent use of the Leit-motif before both staffs with the left hand in order to free the successive chords. long Wagner adopted it and publicized it thoughtful right hand for the melodic element. Often in- so widely. A study of a Importance .of Registration terludes and the concluding measures of these few Bach chorale-preludes shows that he used pieces are similarly written so the accompani- This brings us to the possibilities of reinforcing particular musical motifs consistently to repre- ment can be consistently registered throughout the meaning or mood of the words by appropri- sent ideas brought out in the text of the hymn suggestive registrations. Since the best with solo stops used where the voices are silent. ate or on which the prelude was based. music draws its texts from the Bible, and In places where the instrumental interlude re- sacred For example, a chorale-prelude on the hymn Bible highly dramatic ideas Fall peats or anticipates the vocal theme, care should the contains many Durch Adams is ganz verderbt, has a suc- expressed in pictorial language, there are in- cession of long leaps in be taken to phrase it in the same manner as downward the pedal numerable opportunities for dramatic interpreta- representing the fall. does the voice. Rich chromatic passages tion musically of Bible texts, and the organist in descending lines set the mournful mood of Attractiveness of Counter-Melody who uses his imagination and studies these texts, The Old- Year is Gone. Another excellent illus- as would a composer preparing to orchestrate an tration is a prelude on Whither shall I flee. Counter-melody is another means of adding oratorio, will find many splendid opportunities Throughout this piece runs a rapid interest to the accompaniment. The places where sixteenth- the meaning of the text by well- note movement plainly typifying the flight. a counter-melody may be used are not always to enhance chosen registrations. With this worthy precedent we should obvious but will appear with a little study. If not familiar examples of emotional hesitate to enrich the pictorial or emotional played on the piano, the tendency would be to One of the most mes- provided by strings, brass, or reeds is in sage of the text by an intelligent use accept certain melodic lines of inner voices. On support of the instrument and within the limits of the written the organ it is quite feasible to play these on a notes. death, evil, repentance separate manual, keeping the registration strong- When sin, are dis- cussed in the text, keen reed or enough to bring out the part above the rest of a gamba tone emotional Sharp the accompaniment but not of such striking color conveys a strong suggestion. ac- and other dissonances (oboe, for instance) as to draw attention from cents on suspensions can suddenly opening the the vocal part. Many such counter-melodies are be effected by swell box closing it instantly. not long or continuous but appear as short on a single note then When phrases here and there that can be emphasized peace, love, heaven, and similar words are men- stops because of the contrast in rhythm or melodic line tioned in the text, soft mellow of string Voix Celeste are in order. to that of the solo part. or flute tone, or the Another effect more obviously suggested by the Dignity, solemnity, the Word of God, and such tone in contrast music itself, is an echo. This seems most logical like, call for open diapason to when played on a single registration first with the reedy snarl of evil, or the peaceful hush of the swell box opened, then with the box closed. Celeste tone. Even as simple a treatment as this lifts an in- There need be no strict rule about the means, troduction above the mere duty of giving the but any organist can work out a code of effects use pitch, to an interesting musical idea in itself available on his own instrument and them that helps prepare the listeners’ attention for consistently to represent certain definite thoughts foundation the awaited vocal entry. in contrast to mere accompanying On introductions to songs, or new parts of tone for routine passages of lyric, non-dramatic FIVE HUNDRED AND FIFTY ELECTRIC ORGANS the accompaniment can anticipate the nature. songs, IN ARMY'S CHAPELS lyric sections of some solos where a mood,” change of mood, dynamics and tempo, thus In these The U. S. Government recognition of music as an the spirit of the music single bass note appears on successive accents, helping the soloist feel essential in the promotion of morale at a time of distinction is produced by playing a near staccato about to be sung. While some anthems open in crisis, is indicated by the installation of five hundred and fifty Electric in chapels. suggesting the string bass of an orchestra very smooth legato style though with fortissimo Hammond organs Army pedal This is one of the largest single orders for musical playing -pizzicato . This also relieves the it is quite unsuitable to use the same heavy chorus, instruments ever placed. The picture shows a group animated 16 foot grumble which often over-balances a legato touch in introducing a bright of soldiers at Ft. Meyer, Virginia, inspecting a new pianissimo voice part. There are many places chorus. A more detached touch with strong ac- organ. where for several measures the pedal can cents and unmistakable rhythm gets the singers be best omitted and refreshing variety offered in off to a better start. A good clear-cut registration 8 foot tone. with strings, octaves and diapasons is appropri- Artistic interpretation of song or anthem ac- ate, so long as the volume does not exceed that ORGAN companiment is a fascinating study and after a of the chorus entrance, thereby minimizing the DECEMBER, 1941 819 , a
The most common is the oboe. It has a hard human, cannot be successfully entered in the climb to get into the classification of the well category of closely imitated orchestral instru- matched group. It differs so widely that hardly ments on an organ, and this likewise means such any two are alike. If your memory is good, you other members of the string family as viola, have only to recall some fine little stimulation such as listening to selections orchestral passage violoncello, and contrabass. played by an oboe, and then to play a similar from a Handel or Mendelssohn oratorio or a little Still another group represented on all organs, passage on the organ oboe, to realize what is Wagner, you will find undreamt of possibilities both large and small, is the voix celeste. This meant. The orchestral instrument itself, from for tasteful and effective support of the text in stop, strange to say, holds its own, even though which organ makers get their name, is a faint, sacred music by means of colorful registration it differs also in many organs. This is probably whining though beautiful tone, of pastorale and a more flexible use of the organ. due to its peculiar timbre, as it is tuned slightly quality. It has no power except through its deli- differently; that is, two sets of reeds are used, cate sweetness, and yet oboe stops on the organ one correct and one just a trifle sharp. The re- do not measure up in any way to what they Some Organ Stops That Are sultant tone is of great loveliness and of delicious should. To this reed family belong the clarinet, wavy quality. It might be said possess a celes- bassoon, and cor inglese, to about all of which tial and Are Not tone, something ethereal spiritual; and, the same said. and may he in the sanctuary of a church, it a re- The violin, next promotes in importance, does not ligious Ay //a/vy /•Jo/?. ..JlojjlinS atmosphere. In Westminster Abbey this measure up in construction; and some manufac- stop has three ranks, and turers, not being able one flat, one correct, fully to synchronize it, HERE IS A SIMILARITY among most organ one sharp. When I student call it violin-diapason. heard it, during my The violin’s own luscious days, stops as to color and tonal quality; and I thought it was from string tone, singing with an appeal that music coming T their fundamental timbres, as a general is almost Heaven. rule, are to be depended upon in expressing a composer’s wishes of registration. But not in all cases do organs of different builders correspond Facing Your with each other in nicety and exactness, for the Audience reason that each manufacturer has his own ex- #9 ^f-ed WaitLr pert who regulates and acquires the proper tones; and naturally each man is a law unto himself, O THOSE persons who are obliged to pre- keys after sent they had left. were boy; and sets up a standard according to his own themselves before an audience, per- Two of these and two were t< Tsonal appearance is a matter girls. The girls were from ten ideas. This work of regulating and adjusting the of great im- - years old. th< tone is portance. Success or failure may depend Certainly, when a girl is on called voicing. upon it. threshold of womanhood, inter- It is important to know that most fundamental The sooner in life that we take pride in our she should be ested ahovg almost stops agree; that a diapason is a diapason; that appearance, the easier it will be to everything else, in keeping acquire the rse habit being neat and clean a flute is a flute; and that a dulciana is about' of neat and attractive both in per- in appearance. unee SUCCessfulsuccessful the same in all organs. These stops are known son and dress. Carelessness is simply ° way to handle such a s:situatioi laziness- as to °. watch for thatthat. nnrHnnior o-ivi tn e! as fundamentals, and are pretty closely matched and early environment in the home is usually particular girl to apPa. wm-, C ea hands in instruments, the world over. But all the others responsible for future good or bad taste. ’ When this happened, I markedmnvh J admu-ingiy,!! cover a wide range of variance, and great differ- It is difficult for a teacher, particularly a music "Your hands look very r teacher, to criticize “ ldn t know hanc ences exist in the voicing of their quality in a student for carelessness in a J, you had such lovely niethod nearly every organ that is made. appearance. And, on the other hand, many a cure d the unhealthful habit bithJJ“ “ *nger fastidious pupil has I In printed organ music, some general registra- wished that the teacher nails - I have had numerous llP1 tions are placed corner. would be more tidy in his or her dress ’ wbu> had Lc at the left hand top or more claw-iiu this nervous habit. about his or her aUs t 1 They embrace mostly the fundamental stops, careful general make-up. Both make T are hkewise repulsive, and and are a mere guide, or gesture, for the organist pupil and teacher should give this thought. piano Playing an impossibility, The , should set to to follow. But these faint indications are mere Teachers a good example for their ° comm°n faults of bad bre: and , pupils in dressing neatly and hT? hints. As a matter of fact, there should not be attractively and in easant od °r of perspiration are r rehensihle’ft0 any registration beginner, being refreshingly clean and wholesome. ’ Say 1 except for the or the tbe least - everyone These had the Almost student; for an organist who has not enough things are important. Also, a real musician 1 ying ex cl as to a Perience of being too an artist, should never grow sinffPr8 ^ imagination or taste to lay out his own scheme old mentally, hose can and of breath was offensive. The through exercise and good living these 1 , of tone color is badly off—too much so to be should maintain c°hditions are and tt remediescuies well-known helped by printed suggestions. a youthful physique. are simple. Unclean hands, in need of 6 The open diapasons are uniform in nearly all a manicure, U a tl are in- expensive*^ PPeai'ance does not mean with each excusable. I have known young | organs, and in general correspond piano students beauty pador treatrae strong basic organ quality, to take a lesson with hands so soiled d s other. They possess a from candy bair dressing are necessary. 1 or playing games that I had requisites », are splendid in body tone, and are about the to wash the piano hea! Cleanliness sense, attention to most and inspiring of all stops. ’ ancl majestic immaculate clothing. The flute is next to be eliminated—since we __ arrive at our point through process of elimina- with others every- A Substitute for tion—and it, too, corresponds the M1SdEc1NWh t produces a beautiful, round, darklike -Lesson where. It /? r p o , ycL . timbre, and stands next to the diapason family Jngl a/lam in basic support, and it may be relied upon in S THE A experienced teacher, in any depart every instance. iX ment of music, is aware, the P habitual miss-' tS till* Dulciana may next be mentioned and dropped, ing of wh£h to use the available lessons is a blight to progress ‘would othe‘J . in all organs, both The some lse be clear as it measures up favorably writer has found it missed, to most beneficial to establish technical nr lY Its soft, stringy sound blends PU during blem by working with the P here and abroad. a schedule for the student in the very the iL,° beginning be “ lod V# it is drawn, and it makes a mild spent p - time well, whenever The salient points are listed below. in Again, the InS Z t s other stop. In fact, looting p tatlon background with almost any 1. A regular or sight reading. time for practice. material f , ® 2. A decision as 1 11 as a solo melody; it is always teacher °n Sale which it is never used to length of time. 3. Practice may Music” to be done every haw 01 hand “ mixed with other chords, because of its softness, working day and never Hand Pieces’’ ’ Pla no duets or postponed for a day or arp , most of the time by nearly all so Teachers be gra and is left on after the lesson. 4. A of • °. found in a11 practice schedule oth ' Ase card mav j Stl organists. be procured from your publisher, •suggestions Uments raay apply which is help- to theh-u are all manual stops, of eight foot tone, ful to both substitute" respective problems. These teacher and pupil. 5. f01 . „, The familiar ex e in every organ, no matter how Plaiiled llissed be and are included cuse, "I can’t take lesson to lesson may . my to-day, as I haven’t the m.-f J small. But there are other stops, or tabs, which practiced,’’ will be accepted struction. at the beginning of only in case of illness One or v/m? in small instruments, and 0 Parents are also included causing absence of pupil from school. the substhute ™ ay be Some of these are Judge tS®° which merit a description. Should the pupil have some very the value u is given, in ordei good excuse 0 f thhfS op discussed here. for not having practiced, it Portunity lesson affords is usually for heln f, which acceptable wise 111 e could not the teach er that oth 820 be^V^ HAT IS THE FATE of the public school orchestras in America? There are some sic.* ana W alarmists who point to the “declining” in- terest in orchestra, to a “lack” of student par- ticipation, to the apparent precedence of band, chorus, and music appreciation groups over stringed orchestral groups. In some cases, or- chestra directors and string teachers have set Band, Orchestra — Dr Music? up opposition to what they term the encroach- ment of these other music groups. In word, and often in deed, they have flung a challenge at the growing bands, choirs, or other ensembles which William 2b. ReJli seem to be supplanting the orchestra. K, But there are certain fallacies in their thinking which border on sophistry. We can approach this question from different directions, but first let us half-century. They point to figures showing that wind instrument is less difficult than mastery of assume that there is a diminishing interest in fifty years ago agriculture provided 80% of our a string instrument, but that usually beginners the school orchestra among music students in income, and to-day it contributes only 47%. achieve satisfactory performance more quickly; our schools—a premise which we do not admit to “What is to become of us and of our self-suffi- results are tangibly evident after less applica- be true. The best way to discover reasons for ciency, if our agriculture is dying off in this way?” tion. Moreover, the uniforms and fanfare, the such lessening of interest would be thoroughly to cry. The fallacy in their reasoning lies in glamour of the band obviously attract students investigate the orchestra program as it now they misinterpretation of figures. Actually, there are to that type of organization, but there are no stands. What are the weaknesses in this program engaged in agriculture, and it is con- bars preventing a young person with real talent which might cause smaller student participation more people tributing more to our nation’s economy than ever and inclination from pursuing the study of or- in the study of string instruments? How can that There simply has been such a tremendous chestral instruments. There have been cases program be improved to help build newer and before. growth of industry in that time that propor- where prospective orchestral students have been greater interest? tions of contribution to national income are lured into bands, but just as many where the It is not our intention to try to answer these completely different from those of many years reverse has been true. questions about the orchestra program; they ago. But who can say that the nation’s standards merit close investigation, experimentation, and have not been raised to unprecedented heights, Raising the Standing of the Band lengthier discussion. The point which seems im- nation in better world and that we are not as a a It is also true that the majority of our small portant is that anyone who is alarmed at what economically than ever before? schools organized appears to be declining string interest, or de- have bands, whereas the or- In the same way, the growth of band and choir has creased participation in orchestral activities, chestra as yet not found its way into the in the musical world has been such as to change music program must not waste his time in bewailing the progress of those schools. The band, in only; in fact, I am certain that con- band, chorus, and other musical proportions these situations, has been given preference over or growth of orchestras are siderably more string players and the orchestra because it can in groups. He must turn to his own house, and set so many more to be found in our schools than ever before. The ways serve its school, community and students. it in order. He must bend his efforts toward mak- has been misrepresented, because the Since there is very limited program finer than ever before, picture a student enrollment, ing the orchestra participa- normal healthy growth of this type of it is not deemed advisable to attempt to maintain maintaining its importance in the musi- toward faster growth tion has been overshadowed by the both units. In most cases this philosophy is sen- cal life of young America. of the band and choral program. sible from the standpoint of expense and of lim- A Tremendous Growth Let us examine briefly the history of our music ited student enrollment, and also because there pro- education program. We find that the vocal is a definite lack of sufficient talent in such small For many years the Music Educators’ National gram was the first of the units to be taught and schools properly to maintain an orchestra. Re- Conference has used as its motto: “Music for to be scheduled as a part of the educational quirements of instrumentation in an orchestra every child—Every child for Music!” If we are scheme. This was followed by the school orches- are in some ways more exacting. For example, serious about this motto, if we believe what we tra, and, lastly, the school band. The number of how much of representative orchestral literature preach, we will allow a place in our music educa- choruses, orchestras, and bands in existence in can be properly performed by an orchestra whose tion program for all types of music participation those earlier days was very slight in comparison instrumentation follows the pattern herewith: for study and enjoyment of instrumental and the of units now functioning in our music appreciation, music theory, with number vocal music, for growth 6 or 8 violins No violas without school system. To-day visible proof of the musical history, and composition. It goes 1 or no violoncello No or 1 string bass of string instrument performance is the large saying that all children are not blessed with 4 or 6 trumpets 4 or 6 trombones number of Junior and Senior high school orches- equal musical talent. Neither does every phase 4 or percussion 4 or more clarinets tras now functioning. 6 of music have similar appeal to all people, 4 saxophones No oboes It is evident, however, that there are many whether they be children or adults. The out- No bassoons No French horns bands in our school system than orchestras. last decade or more standing accomplishment of the 1 or 2 E-flat altos or mellophones The reasons for this prevalence of bands are ob- two has been the tremendous widening of music vious. For one thing, the band by its very nature With such an instrumental nucleus, a band education. Vast numbers of young people—and is more versatile from point of activity and serv- might be built, but only with exceptional unde- older ones, too—have been introduced to the ice in school and community. There are a great veloped talents in the small enrollment of the world of music in a way that gives it real mean- many types of community and school functions school could an orchestra be organized. Unfor- ing. That is, former passive receptivity has been to which the orchestra cannot at all be adapted. tunately, a great many of the small school or- replaced by active participation. Musical knowl- The band can successfully perform in outdoor chestras are merely poorly instrumented bands edge, once the property of the initiated few, has concerts, football games, athletic engagements, augmented by a few strings. This is one of the been disseminated freely and liberally—which is and parades, where the orchestra is hardly suit- problems that the orchestra educators can under- as it should be. able. take to solve instead of railing against diminish- The point to which I am leading is that, actu- Secondly, the band appeals to young people ing percentages. Perhaps the answer lies in sec- ally, school orchestras and performers on string otherwise might not take an interest in and intersectional orchestras. Or it may instruments have grown in numbers both steadily who tional music at all. Band popularity and growth hinges rest in the support of string ensembles in place and normally. The change in the music education a great deal, I believe, on the fact that results of full orchestras, where full orchestras cannot picture has been one of proportions only. Bands achieved with wind instruments in Maintenance of complete symphony band and choruses and other types of music groups are usually subsist. less time than with instruments of the string- and symphony orchestra entails vital factors of have mushroomed so rapidly and so widely that, family. This does not mean that mastery of a adequate teaching staffs, adequate funds and in terms of total participation, the percentage facilities, and, most important of all, musical string and orchestral participants has dwin- of talent for string instruments. The situation is analogous to one familiar dled. The phase of this discussion which stands out economists. Certain writers have strongly be- to BAND ond ORCHESTRA importantly, we believe, is the status of the wailed the fact that our nation, once agricultural, Edited by William D. Revelli band in the music education picture. The band has shifted to a manufacturing nation m tne past S21 DECEMBER, 1941 three of them, together with a part of the Huron, The First American are herewith given: '* Music dndl Stud y‘Aj£g^. ’Twas in the moon of winter time, j Christmas Carat When all the birds had fled, That mighty Gitchi manitou Sent angel choirs instead. By $ohn . Birch recognition which is its due, when ^ can receive the Before their light the stars grew dim, standards of really worth while it meets the And wandering hunters heard the hymn: sustains the objectives HRISTMAS CAROLS are usually thought of music education, when it Jesus as quaint words set to delightful melodies your king is born; of the music program, and when it reaches the C which have been handed down through Jesus is born, heights of musical workmanship usually as- In Excelsis gloria. centuries. Associated with is cribed alone to the orchestra. the them the men- tal vision of soft music, falling snow, flickering Because of its unwieldy growth, because of the In the lodge of broken bark candles and dimly lighted cathedrals. mass of not-too-flattering tradition which sur- The tender babe was found. There is scarcely a church anywhere, rounds the band, there is still the sentiment that irre- A ragged robe of rabbit skin spective of its denomination, which the band does not uphold the musical standards does not Enwrapped his beauty round. incorporate special music, generally carols, into associated with orchestral accomplishment. There And as the hunter brave drew nigh, its Christmas services. It is an old custom which are still many people who think that a band is The angel song rang loud and high: has become traditional since the first dramatiza- something one listens to while standing on the Jesus your king is born; tion of the birth of Christ by St. Francis of Assisi. curbstone. The indefinite sort of instrumentation Jesus is born; When the early French missionaries came to which has plagued the band from early days has Gloria in excelsis. Canada, which was called New France been one of its enemies. Even to-day bands range during the Earliest from the five-piece “German Street Band” to seventeenth century, their first task was to erect moon of winter time the completely instrumented one hundred-piece a simple church building of whatever material Is not so round and fair “Symphonic Band.” was most available: logs, bark, or animal skins. As the ring of glory on crude altar The very nature of the varied engagements An equally was constructed, and the The Helpless Infant there, which require the presence of the band has church service or mass was then inaugurated. While chiefs from far before him knelt special With gravitated against acceptance of the band as a On feast days of the Church and sea- gifts of fox and beaver pelt. sonal celebrations, the priests prime contributor to the excellence of modern naturally desired Jesus your king is born; their simple musical standards. In direct opposition to the to embellish services in some way Jesus is born; would have a special person who thinks of the band simply as a group which meaning and at- Gloria in excelsis. traction for their Indian neophytes. The of “brass” instruments “blowing” loudly and out But to do so Hurons had no letter symbols, for their was very difficult, primarily because of anguage of tune, I feel that the modern band is approach- the In- was a spoken and not a written one- dians’ ignorance of the Bible and Neither did ing heights of tonal flexibility and variety the barrier of they have a sound for M, but rather language. It was, therefore, necessary sounded hitherto not associated with it. The incubus of to make the French “ou.” adaptations from the Indians’ mode of One verse poor band literature is being removed with every living. is herewith given in the Huron sound Father Brebeuf will forever be remembered language; the passing day. There is an untold wealth of orig- as the figure 8 is used to represent of the most successful Jesuit sound inal compositions of first rank for orchestras, one missionaries “ou”: enter into the wilds of arising out of the wonderful past. The masters of ever to south-eastern IES8S AHATONNIA Canada and labor among the Huron Indians. a century ago wrote for orchestra, since many He Estennialon de tson8e Ies8s ahatonnia had a particularly keen insight into of the instruments which form the modern band the pic- nna8ate8a d’oki n’on8andask8aentak torial mind of the Indians, an outstanding had not been perfected at the time, nor did they ex- Ennonchien skSatrihotat n’onSandilonra- ample of which is a carol which he wrote for know the symphonic band as we know it. them chatha Ies8s ahatonnia. Prominent modern composers, however, have to depict the story of the birth of Christ. He built his theme very skillfully upon their naive not felt it beneath their dignity to write original con- ception of a “spirit,” which was a sort of works for band, and there is abundant evidence nature Bach and Separata that that many outstanding musicians seriously re- dread. They believed everything material life and intelligence, and that gard the band as a self -justified medium of musi- had rocks and Hand Practice animals possessed cal expression. trees and particular spirits were to be worshiped and Henry Hadley, Morton Gould, Percy Grainger, which placated. The 8* -Me. W. SteJc called an “Oki” or “Manitou.” Gustav Holst, Ottorino Respighi, Howard Hanson, spirit was OST op t The carol was sung by the Hurons in us ARE now well aware Roy Harris, and Aaron Copland are a few of the their just penance, as the first con® composers who have made recent crude chapel as a so that they might indispensable distinguished M ™ l,sicaI better prepare themselves for the celebration Progress for the serious stud contributions to the band repertoire. John Red- of is tn „ slowly prac Christmas. Without doubt, it is the first ' 80 the second is to field, former lecturer on the Physics of Music, Christ- with each hand mas carol ever written in America. sePai'ately. Columbia University, says in his book, “Music, A While no SnmT, exact date or place can be ascribed ln Practicing pal Science an Art”: to its writing, or at home, the and Z*’.ls - it was probably written about 1640 at “ at of a “But the possibilities for further develop- St. Mary’s' meSh as in the case g “ great on the Wye Rxver, which was the central mission m0thei' who told There ment inherent in the wind band, the Ella practtctaf me, station of the Hurons. 8 ™ay and sh than a hun- ' believe me, popularity it has attained in less that lazy she t interest in The musical instruments which the Indians °nly usine hand. B ’ dred years, and the tremendous soon finisher] one d t* t possessed were as crude as their lat - the cultivation of bands and band music, all chapels. They Granny!” she can’t fool her were entirely ignorant of the sounds point unmistakably to the conclusion that produced by in the near future will reach vibrating strings or the movement of air through ’ durin£ the period the wind band teacher plavs lesson symphony orifices, as in reed instruments. Their rlBht a position at least equal to the favorite Plays the hand while the P instrument was the tom-tom, a left t, r and perhaps superior to it.” sort of drum effect V1Ce versa the whole m«s orchestra, will be’ ’ band has come through made by stretching a skin taught in a wooden aChlCTed Some criticism of the maintained ' a Proper tempo pointed out repeat- hoop and rhythmically pounding upon it its repertoire, as it has been with imitate 1COnsc ‘ ously the pupl1 slender sticks. the ulTv!’„ ' literature is almost “mongrel,” A modification of this was made S 01 the edly that band °f all comnn! teacher. piano, and by stretching a skin over two hoops, an 1 having been transcribed from organ, inch or Sebastian Pian°forte music, Jo* does not so apart, and placing small pebbles Bach hAHtlle orchestral literature. The critic often between the require master whose works D separate 1 best symphony orchestras con- skins. These skin boxes, or Chickigouannes, were and realize that our inner voices Practice, for the bass transcriptions of works not orig- then shaken in a manner similar to our' tam- L Slng perform sopi; stantly But the pupil equally with the orchestra. Many of the Bach bourines. inally intended for saving n find that the same U and piano, have Naturally, only very simple tunes method a i^°° preludes and fugues, for organ could be applies music, Moreover, r)iavi,° to other for orchestra and are among played on such crude instruments, so that Father With been transcribed prevents undue the Pupil in this effective works in orchestral repertoire. Brebeuf adapted his words to a popular sixteenth h/t . the most stumbling h inevitably lead the same able musician who century folk song, Une Jeune Pucelle, with mid inexA„!AA Lucien Cailliet, which Pupils, P sive ® who are t n„ Playing. And for years made some of these glorious trans- he undoubtedly was familiar. “ has te Practice ™P a «ent or careless, or b on Page 855) The entire carol is made up of six pAoVe criptions for the ( Continued stanzas. Only ihe difficult e wiU passages A ^th^°T the 822 teacher. THE Etl 76 : 8 :
The Advantages of Measure 16 of the solo part of Rode’s “Opus 9 the Concerto in A-minor” (one of the most widely used by instructors) is a fine example of a pas- sage that can be played with ease and facility Even Positions only in the second position: Ex. JH,ram nu This is followed by a similar figure in the third, fourth and fifth positions. OLO VIOLINISTS OF THE FIRST RANK Ex.3 Sequential progressions can often be techni- and members of the string sections of Prc6to cally simplified by interspersing the odd and even positions. In Kreutzer’s S symphony orchestras have long since known “Concerto No. 13. in D-major” of the virtues of the even positions: that is. the the following progressions serve as illustrations second, fourth, and sixth. For it is a fact that difficult passages may be greatly facilitated by the judicious use of these positions. Take, for example, the passages in the Second Etude of Kreutzer’s famous “Forty-two Studies/’ The same is true of this measure taken from Beginning with Measure 9. were an experienced “Concerto No. 28” by Viotti: player to encounter it, he would employ the fin- gering as designated below: Ex. 4
In these phrases taken from Kreutzer’s “Con- Acquaintance with the second, fourth, and sixth certo No. 19, in D-Minor,” purer intonation with positions is necessary for the clear manipulation less shifting is assured with this fingering. of this measure from the same opus:
Ex. 10
And now let us cite a few examples in a concerto The very first measure for the solo violin in with which most pupils are acquainted. J. b. Mozart’s "Concerto in E-flat major” is most easily Accolay’s “Concerto No. 1, in A-minor.” The played in the fourth position: phrase
Ex.
And, later in the same movement, the following is safe when taken in the even positions:
Ex.
could hardly be played otherwise as satisfac- torily. The student has been in the third position The shifting to third position in Measure 9 would immediately before a tempo, and fit. dim. are obviate crossing from the E to the D string, indicated. An open E, which may be out of tune, which is not only difficult in quick passages but held for one and one half beats is surely not breaks the continuity of the phrase. Shifting to what the composer wanted. Besides, it is inani- second position in Measure 10 changes what the mate. is practically an impossibility in legato playing In the sequential phrase that follows, the ad- to a passage that is easily playable. The use of vantage of utilizing the same fingering in first, the second position in Measures 15. 16. 17, and second and third positions is self-evident. 18 needs no comment; its use in the Measure 25 insures good intonation. And throughout the entire concerto the even This passage is often encountered, but the use positions may be employed to splendid advantage.
' Mozart’s father of the second position greatly simplifies it: wrote a very important method for the violin, which was widely used. We know that Mozart himself knew the difficulties of violin playing.)
VIOLIN This rather common orchestral phrase can be Also, beginning with the Measure Edited by Robert Brdine 8 of the second played smoothly only in the second position: solo part, this is true. ( Continued on Page 852)
DECEMBER. 1941 823 : ™
1 esls for Music I eachers Musicland Study^&zS?' in the Schools N v •S^s^’wrf^'*^'' Q. 1. Please tell me what tests are available for determining the probable Questions success and of a candidate for a music teach- How to Play a Trill ing position in the public schools. 2. What, in your opinion, best all- Q. 1. Please tell me the proper way to is the round book that play the trill in the third measure of describes the nature, Haydn’s Minuctto Giorouo. scope, and function of public school music? 2. Can you tell me the nationality of —R. p. g. Frederic Groton?—Miss A. G. A. A. Answers l. in reply to your first question con- A. 1. The tempos of minuets as played cerning tests. I will tell you frankly that by different pianists vary considerably: I know of no such tests. Furthermore, 1 for that reason I am giving you two trills have very little faith in the development —one in sixteenth-notes and one in A Music Information Service of any test by means of which one can thirty-second notes. Use the one that find out specifically whether a school seems to fit your tempo. music teacher is of really high quality or Conducted By not. So many things go into the making of a fine teacher and such a large num- ber of these things are so intangible that I don t believe there will ever be any way of ascertaining music teaching abil- ity except by having the teacher work under a W fine critic teacher who will guide jUt and direct him and at the same time dis- cover his strengths and weaknesses. I am
i i i j i leferring i ir here to student teachers, of course, and more or thing 2. Frederic Groton is an American, School Music, less the same Professor of takes place in born in Virginia. the case of a teacher who has secured Oberlin College a position and is observed find guided by superintendent or super- Breathing Exercises for Singers visor of Musical Editor, Webster's New music. Q. I am a piano teacher. I have sung 2. As to the best about all my life, have helped various members all-round book International Dictionary music teaching of choirs to learn their parts, no matter in the public schools, I what the voice. I have never studied sing- * shoulcl ..A, select, as one of the best, ing. We have no voice teacher in our high psychology of - . School Music Teach school, and I have been urged to organize lng „ ’ b a glee club. Can you give me some simple y Mursell and Glenn. instructions about breathing? I do not Which Beal Does ihc Bass wish to steer them in a wrong direction, Drain Play? H°"> and I have been wondering if it would to Play Embellishments not be better to let them sing naturally, Q. I would like to ask two questions and teach them to pay more attention to of you “uu ot note learning, enunciation, and tone? Is . Beucld's Thomfissv* 1. Is it proper for the bass drummer j. hi Chopin's there any book or article on glee club Walt:, o.), .To. 1> of the to beat on every fourth count S 8 86, 87 a training that I might obtain to help ancl 88 ' ls the trl11 for marching band when the straight u me?—MRS. R. M. R. measure a chaiu trl11 or does the final musical selection? measuiemeasure band is not playing a end in a turn? I have heard this done occasionally. is A. The first thing that occurs to me is, the embellishment in Clio- 2. Could you recommend one of two Din’vfw , “ -v of course, that you ought yourself to go psychology of piano teach- «• "- - books on the E i 'i! to a fine teacher of singing and begin to ing which might be beneficial to the college music teacher?—I. D. B. study voice. But since this may not be A contlnuous 6 rat' l' trill in Measure immediately possible I will, in the first No question will be ayed ' of the bass drum ' but is '- 01 A. 1. The purpose unless accompan such “ ',e y ai® place, refer you to my book. "Music in ttnd tailstr„?I are beat is to make it possible for the mem- address of th usually done this way or in the Junior High School” (this may be pseudonym gi-, bers of the band to keep in uniform step 1 M.63 | procured through the of The | j | , publishers both when playing or when silent on the Etude) in which you will find quite a bit march. For this reason the strong pulses -*r *=» of material, and, in place. I 'hJtpaEpl! the second are used for the bass drum part. The advise you not to do much about breath- a re 64 normal beat is on 1, 3, 1,2,3. Any devia- The ’ tm four sixteenth “ March Szabadie" notes ^ !y ing exercises; merely tell your singers to „/ e this is possible and still good if f* rst anc* quarte tion from notp's ^ « sec°nd sit or stand “easily erect.” This means fiVe the strong pulse on 1 of each measure Massenet for the third. Measure 7 mavmay he^ibe that the chest is held high but that the In the Played is not lost. March issue of The thus: entire upper and Etude trunk is kept relaxed Groups which are well trained in noticed a query by someone sug- asking free from strain. To get the idea, I marching be able to keep perfect Massenet wrote may the Marc, Szabai gest that you sit on the edge of a chair, When step even when the bass drum plays only I was conducting the hold your chest high and raise your band on the fourth beat as you say you have Golden Park [probably meaning hands to about the level of your shoul- Gate Park, Gold heard. However, this is an individual I ordered the above trill with 110 turn der, waving horizontally back and conm ate.W them matter, and most elementary marching sition, which is published however, be a in England triplet in there must forth and breathing easily and regularly. A groups would find it a handicap to have Chappell, and played it 61' get many times 3. t0 Q-natural. Now put your hands to your sides, with annotation T Use ehh only the fourth beat played. With a very on the conductor's copy ? the thumb toward the back and your Massenet Wa aecm-ding ^ strong snare drum section giving the while traveling in tXnp°o abdomen. Continue Hung Ev.3 fingers over the pulse on beat 1 and 3 of each measure, happened to visit a beer garden see whether, as where brea tiling regularly and the bass drum may be allowed more heard a gipsy band playing ex- a striki you take your breath, the abdomen freedom, but this is seldom advisable. composition which to him was very out. If you on your hands inal l as it pands, pushing 2. "Psychology Applied to Music Teach- was played with dash position, try and fir can’t get this in a sitting ing,” Mrs. J. Spencer Curwen. "Principles He approached the leader of the orcl standing up and be sure that all your Musical Education,” Mursell. tra, who informed — of Massenet that he h H°wlol before you begin. I am himself mproV clothes are loose These books may be secured through composed the piece, e the L children which t not suggesting that you have the the publishers of The Etude. musicians now played from memory wi four Utislnf merely that y ' W1 wLXhoJSfV ? go through this exercise but no parts used." soil 1 have In nearm , no that you may WO ye you do it yourself in order Massenet was so enthused improve my “‘'s, 1 then with + not Y ss m my i know what it feels like and may Why the Half-Step Below original melody that move rL?“ e „ he asked 1 posture is the lead u8h on th judge whether the children’s in nts? i he would kindly repeat «pprec,„r Embellish me the number o»n any 5uegl is as much as I can give that he correct. This might transcribe it Q. In a turn we expect the scale-tone as it was b in a brief paragraph, and I hope it may mg played; to which above and the half -step below as auxiliary the leader acoi tr you. The most im- esced. tag Uble °U C be of some service to notes. Is there any reason for this other Massenet later developed better y the this in to^n ? portant thing in singing is to get than that it is conventional?—M. H. K. a very fine orchestral arpeggios Pmctioe composition whi with th , singer to listen objectively to his own was performed recommend Ieft hi on a program which uVe £ trying always to make it clear A. The principal reason is that the led are ' on stl voice, m Pans as a benefit for the played in half-step below seems to sound suffer,6 urn? beautiful and in tune. better. of Szegedin, ai'e “fid, 1 and Hungary.—c. H. c so played ? helper * 18114 hai to the'left 824 THE ETUDli —
-W4£& Music. * and Study^~-:‘- IANISTS! CAN YOU MEMORIZE your music easily? Have you a system, and A P it dependable in pub- does it work? Is You will notice that two little rhythmic lic performance? Could you describe your figures are used throughout: a cluster of system, step by step, so that someone else four sixteenths, contrasted with an eighth- could use it? Memorizing Plan note figure. Notice the rhythm and the For every pianist who answers “yes” to key. As you read, try to imagine how it these questions, at least one hundred must will sound. answer “no.” Memorizing is usually a hit- Hum the scale of C up and down. It does or-miss affair, and unfortunately the re- not need to be the same pitch as the scale sults are also hit-or-miss. But there is a That Works of C on the piano, since we are interested dependable system for memorizing music, only in the relationship of the tones. which has been built up by trying out and Humming the scale in which the piece is comparing various methods under care- written is the best way to begin, when fully controlled laboratory conditions. you are trying to secure the tonal effect Many people are under the impression without using the piano. The ability to do that ability to memorize music is a special 4 this is easily cultivated with a little per- gift from heaven, or the result of great severance. Observe the Figures 1 and 2 musical talent, or an exceptional “ear.” look very much alike, and that Figures 3 Not a bit of it! Anyone who can read or and 4 are very similar, that Figure 5 is hear music can memorize it, just as he can the closing figure. memorize poetry or anything else if he Step 2. Intensive s'.udy of the separate understands it. figures. Have you ever tried to memorize several Figure 1. Right Hand. Hum the scale of lines of poetry in a foreign language, not C again and find the 4th step, the first note in the right one syllable of which you understood? Of hand. What is it made of? Of the two rhythmic figures, descending course it can be done. But how? Through step- wise. the operation of intelligence? No, by the Hum this figure. Now close your eyes, hum the figure, and rote method—by repeating the lines so concentrate on the many times that the syllables tripped mental image of the printed notes. along by themselves. And how many Figure 1. Left Hand. Find the 3rd tone of pianists use just this procedure? And how your scale and try to hum the figure, which is unhappy they are, when public perform- again made up of the two little rhythmic figures. ance proves that all their work has given Notice them no feeling of security. And no one that, with the exception of the B, measure I comprises can play beautifully without this feeling. the D-F-A chord. (The right hand F is part of Instead of dull and unprofitable drudg- this chord.) Much of the left hand figure centers ery, here is an interesting system which around the note F. brings quick results and guarantees suc- Close your eyes, hum the left hand, cess in performance. keep- ing the mental image of the printed If you will follow the directions care- notes. Now concentrate on the fully and really learn and memorize the mental image of both hands together in Figure 1. little piece given here, you will not only see how logical and simple the procedure Figure 2, right hand, is the same struc- ture exactly as Figure 1, but starts is, but also have a model to follow in one learning other music. note higher. Hum and concentrate with Decide first, on receiving a new piece of eyes closed. music, whether it is to be memorized or Left hand begins four notes higher than simply played from the notes. This deci- Figure 1, but is almost the same. Note that sion affects the vividness of those first the interval G-D of Figure 2 is larger than impressions so important in laying the the corresponding interval D-B of Figure 1. foundation for quick memorization. Measure 3 comprises the G-B-D chord. GRACE RUB1N-RABSON is part of this chord.) The little piece given here is to be memo- (The right hand G figure with closed rized immediately. And it would be wise to Hum the left hand eyes, This is “tell article notice the exact time when you begin, so a how” giving the reader a again concentrating on the mental image practical technical routine which should make that you may see how long it takes you to of the printed notes. memorizing amazingly simpler for many. It fol- on the image of both complete it. Concentrate hands wide'y Seat yourself in a comfortable chair, lows the accepted tenets upon the subject together. as approved away from the piano but with music in of memorizing by representative Figures 3 and 4. (May be done either psychologists. Editor’s Note. hand; then relax and prepare to enjoy a — separately or together.) The right hand of new experience. both is the same, except the last note. Compare them, hum, close your eyes and concentrate on the image. Fig.l Fig.2 The left hand of Figure 3 makes the C-E-G chord with the right hand. The left hand of Fig- ure 4 makes the F-A-C chord with the right hand. Another point of view is that the tenor voice (upper note in the left hand) stays through both figures, while the bass voice (lower note in Step 1. Read the composition straight through, the left hand) moves up step-wise. silently. Figure 5. The right hand moves step-wise down The measures have been, numbered from 1 to the home tone C, beginning with the A-flat through 8. And the little musical figures are indi- which is the only accidental in the composition. cated by brackets. The musical thinking is done, The A-flat forms the B-D-F-A-flat chord (the D not in measures, but in figures. There are five is omitted) while the next G forms the C-E-G
figures. chord with the left hand. < Continued on Page 866)
Dl.CliMBF.R, 1941 ; ®
o&fc-
\ •\&d&Music/ancl :Studyl&&'° ?•
IANO STUDY is a complex matter involving Unifying Piano the technical development of arms, hands, Study Pand fingers (which do the actual playing) the musical development of thought, imagina- A Conference with tion, and taste (which determine the pattern to
be released by the playing) ; and the coordina- tion of hands, eyes, ears, and brain (the work of which unites the other processes into a well- Ernest Mutcli tedon balanced whole) . The coordinating process, actu- ally, includes the entire person, since body Distinguished Australian posture and foot work (in pedaling) must be in- Pianist cluded among the elements of playing. Director of The good Juilliard Graduate School of Music The question arises, therefore, as to how these processes are to be mastered. In what order Secured Expressly for The Etude should they be approached? Should fingers be by ROSE HEYLBUT made flexible before “music” is attempted? In my opinion, the most satisfactory progress re- tainly, the untrained hand must be developed, sults when all three are approached simultane- and some purely fought. One should technical work is the only means “ Chm balance the other, ously, alone and kept at an even pace of advancement of securing this development. Still, is uninteresting—unless it it should not is onrrprH S throughout the pupil’s study years. That is to be overdone. To understood serve spend the first two or three toward solely as a means say, the teacher should see that the pupil’s UU mUSiCaI tech- years of piano study on technical work exclu- exPression—it is 1m- nical Mrtant thsT’a-fi ' equipment does not outdistance his musical sively has two unhappy results: first, en be given the ot it puts a technTU h „ T minimum perceptions; that his musical grasp does not out- great strain on the pupil’s 15 quite interest in his music into possible to put a child TUTPO 0n °° distance the technical effects he is able to pro- study, and, secondly, it brings him to the unfor- g d habits and * good basic duce cleanly S L n G 5ngels and honestly; and that his ability tunate point of having a ’ han ds, certain facility without out undo ? and arms), with- to hear, judge, think, and work keeps pace with any grasp of the musical forms to upon technic which he can as such - upon it. 10t1 tben both. apply He must begin all rr’ ’ over again, acquiring any amount of technic can be built lot on A certain lack of interest enough musical ’ results when the thought to allow him to use his according to when and how it pupil is needed" T —especially the young pupil—is kept too scales and exercises actlon 1 mean the of the a-m V tn natural use long at purely technical work, without the op- 3ny sti "ness Pedagogical naturaT'noU at the elbow; the portunity of putting his technical equipment (no Extremes n f the hand and the use of the hand mfbfh t° matter how elementary) to musical use. Cer- Years ago, in learning to read, children n: and enough were to correct flnger training anv°nat? i made to concentrate Ur 1 weaknesses enable on the child tn TO,??u f and to their letters and letter- 63’® d °Wn and release thenl with precision Chnd' combinations before they hlldlens hands acquire good wrist om* usually were allowed to aturaUy recognize other Element, ? en°ugh, once these usable words, with the re- “ a°Und first OTto ' the weeks st sult that it udvT took them this e6n devoted t0 acquiring months basic actionlfde to realize that dem°nstrated by explana- C-A-T tions, the placing meant cat. Then the ® poslt>°ns, and elemen- tary work in °f some swing of the pendulum 0a S of should and exercises—the child progress brailowed to n, changed this into °. p ay music. saying that the (It goes without the “ultra-modern” “US1C system difficult sele cted should not be too of for this teaching them words as 16 1 can ’ but good easy pieceS words, readily be fouT'd'’” ? ’ without any notion aS soon as possible 67 should be used of their component letters. ) ft U Progress, he shmis .J” 7 tlme in the student’s The result of this has been sense of Vlde to conquer,” in the that, through lack work?™ ff t U' of fa- problems ?°!e mdlvIdual phrases and miliarity with the that cansn alphabet, m dlfflculty the troublesome T‘ - But once young people reached passage as high its core been mastered (whether fie . school age unable to in asmg use a > technic, anything at memorizing— dictionary! In both cases, all) Sh a of unified °Uld return to the goal preoccupation with music Unrt, part of envisa 8' whole, in this in g his work as a the problem of reading put wav l’ speak music, WlU actually think and obstacles in the just way of tures la ua mastering to express ee student veil- the problem as himself* i ?5 a before he 111 the new tongue long whole. Obviously, the has acquire best its grammar. an absolute mastery over plan is to teach a child to recognize his letters and to apply them immediately ApPr°aCh to use in words. The same ^tusexaltae^T new piece. In 1 Way of approaching a holds true in the stud 'T , piano study. ress, S where a early stages of prog- No one problem should good nmd , be ful for ' S the desirable, it help- emphasized to the exclu- teacher to nU is once, encouraging y the new him sion of the others. him f Piece for Technic it as a whole, grasP the “feeling” of and music should be com- it is , art students prlnei bined, in are Ple that young judicious amounts, sent Ttt0 masterpieces the galleries copy from the very start. before tlie,? to Ac- ' expression 111 6 cording to his development, of their upon individual Students, owUt^U1 the student however, 16 ca se of advanced should at all be the L? Y encouraged P teistrue should times have enough to l they musical evolw li?f own With - as . Pvetations material to apply his tech- littie pie ‘«f of their The first al bias nic, and enough technical step in iea?n aa possible. lt ? ' away fr the llew t0 ERNEST HUTCHESON equipment to express his fam-r °m the nT® work is familiar 111 with its orde1' to become mood continued on Page 855 ) TUP. RTTIDE CLASSIC AND CONTEMPORARY SELECTIONS FROM SONATA IN Ab While there is a distinct difference between the music of Haydn and Mozart j unquestionably in this spirited extract from Hadyn's Sonata, No. 16, there is a definite manifestation of the influence that Mozart had upon the later works of his teacher. Although Haydn was twenty -four years older than Mozart, he outlived him by eighteen years, and Haydn was in everlasting admiration of the genius of Mozart. Grade 7.
Allegro moderato m.m. Jr so FRANZ J. HAYDN, No. 16
DECEMBER 1911 827 ^ r
828 THE ETUI)
ROMANCE IN VIENNA of That the American public makes a violent distinction between Naziism and its whilom victim, Austria, is indicated by the great popularity Viennese music in America at this time. Here is a theme and a development which might have been born in the Prater, that historically roman- in tic park which has long given such color to Viennese life. It is well marked valse rubato, which means that it lends itself to liberties of tempo every phrase. Grade 4. FELIX DE COLA — — FAITH Play this simple little hymn-like piece as though you were playing on the organ- that is, follow the fingering so closely that a legato is pre- served in every voice or part. This is a splendid daily exercise for the average pianist who carelessly employs the damper pedal to insure le- gato, instead of depending upon his fingers. When the average indifferently trained pianist tries to play a hymn upon a pipe organ, the result is often ludicrous. This piano voluntary, for which there is a manifest demand, also makes an excellent legato study. Grade 4.
Andante religioso M.M. J = so G. O. HORNBERGER, Op. 167 4 5 4 ^ 5 1 — — L (9 1 J ^ f r ~AJ~ P r !' f - - , 1. . "P , 1 u J ~T •J J i \ i j , | \ K - O * r 1 J 5 2 1 *r 2 5 1 r c r r fTfT JPed. simile T 5 3 ~^~’s 1— 1 3—
t I #r t r T < 1 ! j Piu mosso , II ,
^ - Lento „ —r^i < T-,
jjE - / 3 fh — —• * 1 w V3. * & HsL -# -e- » r — | J- w r “O’ cresc. Tet p cresc. dim. ; ; a. e- - rJ — | j. 1m O ) . J j u ijjj. g -j- 4 tv, * S-«- -p h€>; i f - r, —<2 w Jl i-O- ns c
Copyright 1941 by Theodore Presser Co. British Copyright secured DECEMBER 1941 833 DANSE HONGROISE There is a Romany touch in this effective little Hungarian dance which suggests at times the dash of th z. Gypsy Rondo of Hadyn. Watch the accents the in left hand very carefully. Gypsy themes- be they Russian, Hungarian or , Spanish— all seem to be blood broth ers, whether they are written in major or minor. Grade 3 .
Allegretto m.m. J = 104 WILLIAM SCHER
° Copyright 1941 by Theodore Presser Co. vO' Whitish 834 Copyright secured THE KTUVti f
IN A TOY SHOP Grade 3. Allegro M.M. J = l20 LUCILE SNOW LIND
1 ' — 3 l 3 m p * ;
) _ 1.1^ „ , _ r x ixi — - • • = V r 9 a 1 —J=— h— o < - 4 5 gr 4 5 ^ i
Copyright MCMXLI by Oliver Ditson Company International Copyright secured DECEMBER 1941 835 VOCAL AND INSTRUMENTAL COMPOSITIONS
James Montgomery THE INFANT LIGHT (1771-1854) CHRISTMAS DUET FOR SOPRANO AND TENOR GEORGE B. NEVIN Moderate DECEMBER Ifj'ti 8.97 lightly HammondOrgan Registration A. FESTAL PROCESSION @ (10) 00 0512 310 0 (.10) 00 5732 321 CYRUS S. MALLARD ® (11) 00 7654 321 [«] (11) 62 SS76 765
840 British Copyright secure* ETVD® 2 !HR >
SILENT NIGHT Arranged by Carl Webber
(B!> Instruments) Trumpet, Clarinet, Soprano or Tenor Saxophone, Bt Trombone or Baritone $, Bass Clarinet FRANZ Andante cslowly GRUBER
POLLY WOLLY DOODLE Instruments College Song
WALTZ OF THE FLOWERS P., TSCHAIK0WSKY PRIMO Arranged b}r William M. Felton Tempo di Valse m.m . J = 1B8
DECEMBER 1941 843 —
DELIGHTFUL PIECES FOR YOUNG PLAYERS *-> ON CHRISTMAS MORN Gi^e i. gjowjy an(j sustained m.m.J= 84 _ BERNIECE ROSE COPELAND - J ~ i i ^ := A?* 'ini' —A#
Copyright 1941 by Tiieodore Presser Co. British Copyright secured ON A WINTER HAY G rade 1|. STAIRS Moderately M. M. J-= LOUISE E.
=gLp J-
1 Clear the track, we’ll soon be back, Thats the way we play, — Up the hill and down nnH a- f • •
—.1— l a _
* British Copyright secure 1 Martin Luther AWAY IN A MANGIER Glide a- = Moderate j y M JI. J. 50 Arr. by ADA RICHTER
head. The stars in the sky— looked down where He lay, The Lt - tie Lord s»s, a ee P on the
1 3 Copyright 1937 by Theodore Presser Go.
844 sflCure British Copyright ., rat**** A LITTLE COURT DANCE Grade 2. Tempo di Minuetto m.m. J = 132 RUSSELL SNIVELY GILBERT —
TECHNIC —OF THE MONTH ETUDE With, lesson by Dr. Guy Maier on opposite page. LEGATO CHORDS
840 rrrrjM ,
The Technic of the Month
Conducted by Wccuer RACHMANINOFF’S STEINWAY
.AND YOURS How can one Steinway fill a vast
conceit hall with its brilliance, and another Legato Chords sound mellow and soft in a tiny apartment?
Every Steinway is voiced to meet its ultimate (to he used with Czerny, Opus 335, No. 2B) requirements — its tone-quality regulated by craftsmen, one note at a time. Men who voice F YOU DID NOT KNOW who of Measures 4 and 5, and so on. The the Steinway wrote this month’s study, could chords at such breathing places are have spent the better years of I you have guessed the composer? played with gentle down touch; most their lives at the work. Their art creates for Without the slightest hesitation, I others are up, often in arm circle Rachmaninoff a piano superbly fitted to the would have said “Mendelssohn.” Mel- groups, two or three chords to a cir- odically, harmonically—even the B cle. Don’t forget that up touch means great master’s needs —for you, a glorious while major key—it could pass for an un- activity, propulsion, vitality, instrument for the home! . . . The Steinway, usually connotes quiet, familiar “Song Without Words” . . . down touch a little higher priced, which increases one’s respect for rest, finish. Give all sixteenth notes is over the years the Czerny, doesn’t it? What a versatile more than their due in tone and least expensive piano. line will man he was! His music is not espe- time; otherwise the melodic Pay only 10 % down. cially original, yet examples like this jerk. Don’t worry about those fourth will of lovely, enduring music, frequently fingers on black keys—the fifth you’ll often find come to light. Have you ever contem- do just as well; but plated the thousands of good, solid, it necessary to change fingers on legato. workmanlike studies Czerny turned chords in order to hold the © out—the endless books of exercises, Some lovely, dynamic effects will re- especi- the voluminous amount of editing sult if Czerny’s markings— and miscellaneous compositions—the ally the pianissimos—are strictly re- exacting grind of years of teaching, spected. for “synco- not to mention his own practice, This is a good etude pedal. I find it neces- playing and social life? How did he pated” damper with advanced students do it all in a single lifetime? Perhaps sary even return to a simple because his technic of living was occasionally to habit methodically worked out along the pedal study to reestablish the pedal release. same exacting lines as his marvelous of precise damper of the foot in permit- piano technic! Carelessness the pedal to come back to the It is surprising how much anyone ting completely shutting off all vi- can accomplish if time consumption top, with a split second’s pause is carefully budgeted. Efficiency ex- brations again depressing it, is the perts claim that intelligent planning before bad pedaling. If ex- will step up production by as much cause of much exact release habits are as forty to fifty percent. The musi- aggeratedly made automatic in daily prac- cian’s one drawback is that he is not not can you expect nervous under the relentless thumb of such tice, how with jittery legs and feet an expert. He must be his own effi- students pedal cleanly in performance? No, ciency detective. If he is persistent to sit on the damper pedal and strong-minded enough to en- they just slide around helplessly in the force a strict, regular routine, there and morass. They do it every is no reason why he cannot turn out harmonic as we all know only too well! infinitely more work daily, or have time— syncopated pedal simply count plenty of time for other activities. For by “one, and”; the pedal Why not begin the New Year with very slowly at numerals and is de- a strict “time budget”—and stick to is released “and.” I often recommend it? For instance, a half hour’s tech- pressed at entire foot be removed from nical practice at the same time that the at “one,” “two,” and so on, each day (Sundays included!) will the pedal the feeling of complete re- work wonders for your facility and to insure control. You can easily insert this good pedal study is Cho- into your schedule. Better make it Another Prelude in C minor No. 20. your one New Year’s resolution for in’s etude is also excellent 1942! This month’s out top practice in bringing STEINWAY & SONS Even if this month’s study is Dr tones of chords. Play all marked allegro it should be felt in melodic) and left hand, pianissimo Piano Makers slow two-two and it mes right measure swings, voices which must nd staccato, except top leave an impression of tran- with ex- played forte, legato, and quillity. Take plenty of breath at the re Steinway Hall 109 West S7th St. ggerated “up” richness. third beat of Measure 2, second beats New York. N. Y. be ( cercbralist. . may . I "I could make popular m usie if I wanted to. . obey an inner force " called . but I synthetist, an intimista, a >• I hair been ." Pizzetti. ivhich I can neither abolish nor modify —Udcbrando 847 December, 1941 2 :
Music Should Speak from -POPULAR GIFTS FQR- ihe Heart MUS1C STUDENTS ( Continued from Page 804) (Please Order By Style and Number) WINCED HARP PINS In my own compositions, no con- I have a definite non-musical sub- scious effort has been made to be ject to describe. This is particularly original, or Romantic, or National- true ¥011 WILL SAVE MONEY in writing a shorter piece for istic, or anything else. I write down the piano. ON YOUR BILLS on the | MUSIC | paper music I hear within me, Young composers are often apt as naturally as possible. I am a Rus- to look condescendingly upon the sian composer, and the land of my smaller * forms of music, and to "Winged Harp' 'Lyre and Wreath” ex- s
3H2 Scales and Chords. 2 . i:zern> 1207 Schinllt's Five Finger Ex.. Part 1 Srhmltt 2,41) School Hopkins 1 I la, Pictures. Cl ed ... ( Continued from Page 90E Sil , 30 2159 Silent Night. Holy Night. Bh 3-4 Gruber 805) iMlver Plated 2618 Silver Threads Am. Gold. Bb-3 4 Banks • 390 Skater’s Waltzes. A -4 . . Waldleufel 2252 Sollegoietto. Cm— 3 Bach "2115 Song of India, A. Eh— 4. .Rlmsky-Korsakoff “The pleasure I have derived from ^ LYRE PIN 435 Spring Song. Op. 39, A— 4 Mendelssohn TREBLE IG33 Stilly Night. Holy Night, C—3 Krug putting down my musical thoughts Lr Tab - clef pin •1498 Throwing Kisses, Mazurka, Eb—4 Heins *A— 10K Gobi s, o, Sterling ~ has been ample justification for the Russian • Silver VIOLIN AND PIANO DUETS, 15^ each life. This was Q time expended. I don't bother even more one^oTnf Each number has separate parts for Violin & Plano ambitious numbers, to medium and I ? A 1 to A—3 Very easy to title most of them. I well recall labored h X to B 3 Easy to dllUcult on it on B— — and off f0 C— X to C—8 Medium tn concert solos the fun at composition the late years. Zador i ^tWo 1445 Arminta, Waltz. A—2 Greenwald played it arw4 ‘2471 Barcarolle, (Simp.) A— 3 Offenbach ln Ernest Torrence and I had. We that I orchestrate sted 1276 Bohemian Girl. TrnnB., A—8 Winner it so 1935 Cradlo Song. A— 2 Schumann n f would both take the same theme, played in public. be 1625 Daisies and Lilies. Valeo. A- 2 Greenwald This request^ *2104 Elcgio (Melody). Op. 10. B— 2 Massenet develop it separately and then com- a problem. P°setl 1274 Evening Sono. A -1 Vogt Making the 0roh. L 2773 La Golondrina. B -2 or C— 1 Horradoll pare notes. For a diversion, this is would 118 *' be fun, an! •1833 Love’s Greeting. B 2 J X coZssT^ 1458 Old Folks at Home, A— better than bridge any day. hankering to a *2410 Orlentale, B -8 Cul hear how C8 it L , 1271 Romnnza. A 1 “Various attempts have been JL J made sound with d Soldier's Song. 2 »Ogt full orchestra 1265 A— . , , T was Song. A 3 or 2 Mendelssohn Kl,Bcd 2176 Sprlno B— to present some of my works in pub- ip . undecided, 9wte , , Salnt-Saens however, ?“ •1834 Swan. Tho. B— 1 about 0' 3 or 2 Grooms 2497 Turkey In the Straw. A— B— lic. Ernestine Schumann-Heink once 0,111 Played in public. It “ S'iair?*;?color. *2080 Valso Bluotte. B—2 Drlgo might tanhHf. asked me to set a poem by Heinrich I was that * Thosa numbers cannot bo sold In Canada. seeking recognition as^a Tho Century Catalogue rnnlains over 2,000 compo- Heine to music. She wanted to pro- poser, which c°®' a4B was far f . sitions consisting nf PIANO SOLOS— DUOS and rom „ °”WnuM VIOLIN and PIANO — DUOS — TRIOS gram it. I made the setting but her tion. 1 ' 50c TRIOS— But Zador finally ot!"v ,!l and QUARTETS—SAXOPHONE ami PIANO- won ci os „ P death occurred before she was able Tom”6 j MANDOLIN and GUITAR and VOCAL. Basse had its first ea“ _*-• c “"°- and if he can’t public n5 &rssj- Ask your dealer for Century music, to sing it, so I promptly destroyed it. tion at the 143 ' supply you, send vour order direct to os Our com- Embassy Auditnl-f” plete catalogue will he mailed you FREE on request. “Dr. Eugene Zador, a real com- Los Angeles by in PUBLISHING CO. a Wa CENTURY MUSIC poser, was visiting me one day and, James estra 254 Wost 40 St., New York. N. Y. Sample conducting " in looking over some of pieces, 7^ , my ( Continues on later Pagfgsgf PRissi 848 St., Phi,add t .
Voice Questions
^Amwerecl tnj DR. NICHOLAS DOUTY
No question will be answeredin THE ETUDE unless accompanied by the full name will be published. and address of the inquirer. Only initials, or pseudonym given,
making A Beautiful Speaking Voice adheres to the vocal cords quickly, you hoarse and otherwise impairing your Q. I want to develop a in u steal, speaking tone. You are quite right. You need the help voice an future work will be tit pendent upon my of a good throat doctor, and it will take con- it. there any kind exercise, food, and so Is of siderable time for him to cure you. Your achieve this result l I sinit on, that I van do to syringe probably contained Ephedrine or Co- rather low, one octave below a natural V and caine, and the results from these things would two octaves above. For years 1 have been doiny be only temporary. relaxation exercises but ulthouyh I have noticed an improvement, I am far from being A Young Child of INinc with INo Souse of Pilch satisfied. If you would giro me some advice I nine icho should be grateful indeed. M ould the removal Q. I am interested in a child of some years of piano instruction, of tonsils or adenoids affect the voice H'oidd has had tilic does not seem to be able to carry a tune, humming improve it t How do screaming and and her mother and I arc terribly upset about shouting affect itt Please tell me the names of plays the notes on the piano, yet some pieces to practice. I like to sing, but have it. She she cannot sing them. Could you help me never studied except by myself.—It. W. by giving me the name of the proper book start singing lessons 1 I A. A beautiful speaking voice is a natural with which to her to my friend and ac- asset as rare as a beautiful singing voice, and do this only as a favor the two often occur together in the same per- cept no fee.—Mrs. C. M. C. son. of the healthy, They both come out A. Both physically and mentally a child normal, sound body of one who has long had of nine is very undeveloped. You should not others who the advantage of associating with expect too much from her. Is her ear de- speak cultivated manner. in a beautiful and fective? Is she nervous about her singing? can surely Somewhere in your home town you Just what her deficiency is. it would be find associate such a woman. Listen to her, difficult to determine without a personal with radio, the her and learn from her. The audition. Even then one might not be cer- stage nightly and the movies present to you tain without studying her over a certain fine produced examples of beautiful, finely period of time. Take her to the most famous speaking voices. Why not listen and learn singing teacher in your neighborhood. Have from them also? him examine her carefully and give you his If your tonsils and adenoids are enlarged opinion. Perhaps, as she gets older and her and infected they should be removed. If they musicianship improves, her sense of pitch are normal and healthy it would be foolish may improve also. Shaw and Lindsay’s book to have them out. Eat as much simple food "Educational Vocal Technique,” in two vol- as and your hunger demands; avoid smoking umes, is suggested. It may be obtained drinking too much, get plenty of sleep. Ex- through the publishers of The Emm. ercise in the open air for health but be moderate and sensible in all things. Hum- Vgain the Vexed Question of “Breathing" ming is sometimes good for those whose TRAIN YOUR VOICE WITH FREEMANTEL Before I came to Chicago, I studied voices are weak in the upper resonances. Q. WHEN CHILDREN PRAY "At Shanghai, China, / attended a concert given who hud trained in Paris, Stewart Toussaint.an Please read what written in various indtr a teacher Words and Music by by Mary Ambassador's wife we have studying to Siam, and a pupil of Frederic 'Kill/ and London. Xow I am with Frcemantel. I wa, issues of The Err he, upon this subject in so impressed bv her fine singing that teacher in Chicago. My former BEATRICE FENNER I decided to answer to many questioners. Screaming and in ‘artist, study with that same teacher, and I have traveled teacher is teaching tO. miles from Shanghai to says the artist Sung by 000 Neu'Yor It Cit v for t he shouting are apt to strain the vocal cords t ucher breathing. It is as follows: privilege of studying with Frederic Frcemantel and tighten the throat muscles. Refrain from me incorrect (Sisned) Pri-ciJla Potc-Huni with the right foot forward; the breath JOHN CHARLES THOMAS them if you wish to a beautiful speak- ,la,id FREEMANTEL STUDIO have the muscles of the ing x tu be supported by 205 W. 57tli Street New voice. chest; and DICKSON York City Read tbdomen, without any movement of the DONALD some books upon the voice: Fille- waist, sup-/ — lu stomach, just above the is brown "Resonance in Speaking and Sing- expand as the phrase continues, re- When children pray, ing"; Shakespeare—"Plain Words on Singing"; ,.,xi d to KWflMITailiM.ltf solid and firm, but with no tense- All lovely things more lovely grow to be; and the chapters explaining breathing in , milling white the abdomen continues pulling in. All beauty grows more beautiful to see. such a the „xs, Give It Commanding Power! book as Gutmann—"Gymnastics of teacher used to hum hrenth- When children pray, j .!. My former Build up yoursp Voice"; or any others explain these sub- The voices of all living things are hushed; that exercises for daily practice. For example jects. The world in all humility draws near, at sides, mouth shaped as lontMmlly i-o itaiid erect, arms And God within His heaven bends down to The explanation of range Is quite in- rise above your , arms gradually the accurate, xippiny hear but I think you are a contralto. Get inhaling; count Jour with arms FREE! "Educational mid white, When children pray. 2^ Merrill WnvlnclnB Voice Technique". Shaw and head, then exhale allowing arms . the Lindsay; 5589," and Sieber’s "Eight Measure Vocal- ' right/ 1 PERFECT VOICE INSTITUTE,' Studio 64 "e. Lake St., return to normal. Mhich is am High in Eb. Low in C $ .50 CHICAGO ises for Contralto”, perhaps they will radio con- and thirteen and I want to be a and SATB. SSA. SA. Male (each- 15 help you. '.M. E. S. , vr t singer.— Organ solo ipipo & Hai that you have He A It does not seem likely IMPORTS Boils Up Quickly breathe exactly as your first teen taught to FenneR publicatioits Brand new, English Q- After t- process Perhaps you warming up the voice and g< luestlon describes the RECORD POLYDOR-SERI ES tmg into 1017 south wesTLRKe low some of my every day vocalises, 1 misunderstood your artist teacher, or avenue r before sold at these prices. Sur- begin ave to boil up, as to speak. is an her. For example: the faces superb to domestic records. Finest artists and There lerhaps you misquote LOS RnG6l.es. CALIfORn I A, U.S.R orchestras il outstanding clossics. 10" records ("cumulation of phlegm which seems to cover has nothing whatsoever to do with only tomach 75< . Send toda' 'he vocal mechanism, and I have a hard lime Perhaps you mean the diaphragm singing ireathing hundreds of se through this mass. I try to cough it external abdominal muscles. We And Etude Advertisers Open the Doors to Real up. but , r the The GRAMOPHONE SHOP, Dept. to no avail. I stop only to find that to know just what you mean by Opportunities E t difficult 18 East 48th Street. New York y* lr" minutes is deep that with which you de- the phlegm so everal other phrases i cannot speak without You mag breathing. For example, cracking. cribe your way of 8n that this is but above the waist, lf due to faulty production Si' can the stomach, just this is not so, is without tenseness? for at times the condition emaln solid and Arm already l here heart to heait talk before I start singing. My advise you to have a teacher Ve the whole tried a bronchial syringe with tiny artist teacher about ,lth your but gratifying although results. explain clear y the ac- , temporary, Ask her to 1 feel no 'b eet with inspir- strain when I sing, producing a the muscles concerned lovely tons of ‘ tone without forcing. 1 leet that my to you keiseif. el tion and demonstrate ? problem lies in medication rather than in a better idea of just aos this Will give you roe«l correction. breathe and when —L. It. j\l. Zt occum when you When Epidemics A. We quite agree that your problem is exercise that you quote one of medication rather vocal cor- °l The breathing than you might use it and rection.” • one. and Your letter sounds as if you have n good Threaten an thinks you need gym- Infection of long standing In the nasal thers it your teacher to make you physically cavity and perhaps It am cs of this kind in the frontal sinuses. need is tounder- may be that the and Sonlen However, your first nasal septum is crooked problem.of Sow to heeds straightening. During sleep mucus tnnd clearly the Singing." The simpler and drops down from these parts and accumu- a-eathe during process becomes to you. lates In the lore natural the the mouth and throat extra bronchial tubes and about the are young. There Give care larynx. easier It will be. You When you sing, tiie breath pressure lie learn. dislodges of time for you to this sticky mucus, some of which 1 plenty
DECEMBER. 1941 *
sors yearly contests which Yes, We Have m men dramatic. All opera students should and women’s choral groups compete study operatic acting, seriously. I in new songs, often including those was trained in this art by Enrica Music in Hawaii of harmony and voice students from Clay Dillon and Marcella Craft. the school itself. The Honolulu Acad- I sang as a boy soprano in a {Continued from Page 806) emy of Arts is a center of great musi- church choir in Brooklyn from the cal activity. Every public and private age of eight to school sixteen years. At that in Hawaii has its own band, time finally ‘‘made” opera I wanted to decide upon singing and grand in exchange autographs,” Schipa told orchestra and glee club. as a career; San Francisco. The islander was Shirley. The little but my father, Frederick actress wanted not Plane service is making the wide Jagel. Sr., had Tandy Mackenzie, native tenor, who only his autograph but asked him to ocean gap between chosen the piano and the Islands and organ was later heralded in Europe as the sing, which he did. as his vocation, and he pre- He retaliated by the mainland smaller. Perhaps, some new Caruso. ferred that I asking Shirley to sing The Good Ship day, a real opera company may stop singing and be- ven- come a business Lollipop; and she agreed, much to ture to the islands man. Native Talent to the Fore to show the the delight of the audience on the islanders what opera is like. The An Important Mackenzie made his American de- sands. When Schipa sang in Hilo, the Decision broadcasts of American operatic per- but in opera at the Municipal Opera largest city on the island of Hawaii When nineteen left formances have made the islanders years old, I high school House in San Francisco on October where the volcanoes are situated, eager for this. and got my first job in 22nd, 1932, as Kaohu o Kaleponi, the people drove ninety miles an export house in all types In the Bishop Museum in Hawaii in New York. My Hawaiian name he chose. studied voice had He of vehicles to hear the Italian tenor. an attempt has been made changed at this time and to pre- was a in Europe in 1926 with Dr. Franz Fritz Kreisler startled islanders in serve native mixture of baritone tenor. melodies. These are in and Beidler, son-in-law of Richard Wag- 1925 by claiming that Aloha Oe was the It is my belief form of one or two voice chants that the Italian school ner, and with the Italian voice mas- an old Viennese folk sing. “Clothed, of extreme le basis of all simplicity. Originally they good singing, and ter, Pintorno, at the Verdi Conserva- of course,” he added, “in native were so 1 started accompanied by large and small studying voice with a tory. Mackenzie was hailed at the Hawaiian atmosphere. You may drums oimer Italian known as pahn and punin a opera singer, Vin- Bavarian State Opera House in a think it is an original Hawaiian song, rattle known cenzo Portanova. as ulinti was also em- Learning to sing performance of Verdi’s “Aida” and but it is not. I recognized the piece ployed and is entails far still used, together more than having a good of Puccini’s “La Boheme.” He has when I first heard it. Aloha Oe is a with gourds. In eacher. a some of these gourds pupil must give of him- been presented over NBC and has type of Austrian music that has been holes had been e f He cut, and they resem must give at least fifty per- made many concert tours. brought to many countries, clothed bled the cent m ocarina. The primit^ cooperation. The teacher will When Jascha Heifetz was twenty- in native atmosphere and trans- string instrument glve is the ukeke; and t ^e other fifty percent. two and still a bachelor, he passed formed into favorite pieces.” the original island eVening flute was played at six o'clock, and through Hawaii and said, “The very through the nose. afteZv,bpsmess The ukulele hours. I would travel air seems to be filled with music.” A Curious Mixture the and a la, guitar are Portuguese B ^stance to imports . Portanova’s studio Islanders are still talking about his The music of the islands is both tions. The an atudy, influence of Christian fOT one-half This twilight concerts, the last of which international and inter-racial. Prob- missionaries CQ1? hour. was so great that aued Ior five given in 1931. much la years, and it was was ably in no other land is the popula- of the music is obviously in a kind manner that I gained my Yehudi Menuhin first played in tion more heterogeneous. On the reflex of of vocalvnrni gospel hymns. Queen ground work. Honolulu when he was eighteen. He native holidays, such as Lei Lilliuo Day, kalam ,s credited with 16 having wrtt 1 ^ the export busineSS read “Moby Dick” on the ocean voy- Kamehameha’s birthday on June ten the words of togobif ?: the famous 1 ili to the insurance islands, while 5 -, field, I found age to the swam in 11th, Prince Kuhio's birthday on Oe, but it is said that th it wa WOuld be in Hawaii and would not let go of the March 26th, and during the regatta music set to necessary to put by a German band loner h, Urs Jl‘ anc* that be flower leis presented at his l there would to him and outrigger canoe races, the native probably by Berger ' littlp h himself. 1 1 for to concert. He held them over his arm, songs and chants may be heard become *?/^ singin g- If I was opera singer, entire so that they wouldn’t be crushed as everywhere. During the festivals to time wr, my he played his Stradivarius violin. ^ave to be devoted to it. on Buddha, Japanese songs and Japa- I resign my Richard Crooks, when giving con- nese instruments are heard. In Sep- Prepareiiness Position, and that was my hilt !«Tor certs on the island, said he had never tember the celebrate their t in the business world, Chinese f pm A XVee sung to an audience which responded Moon Festival with their own music, hs later I singing a Leads to solo in was intelligently. Success f more warmly or more and when Rizal Day arrives the the * Long Islalld churches ° • “I conceive,” he remarked, Filipinos their °mIMy V01ce ear could not present music. ( Continued caught the Jrom paoe and nit!' . “of any condition which would be Over fifty years ago, a German 809) ®10n 01 Mrs. Samuel Eise- man th . artist than to meet 6 more ideal for an bandmaster, named Henri Berger, Aida. These ambitions Thro'ugh ° f a silk merchant. to face. I loved were ah . thTiG ° such an audience face came to the island and organized a to become a reality taut nd sponsorship of Mr. whrn L Eisenian t it all. are inadequate to ex- royal band. This Was Words was the pride and taken ill, and I sang Was with enabled to go on the rbv mv ci- , press my reception in Honolulu.” joy of Queen Liliuokalani, who was tire With for alici San Francisco Opera °Pera a concel‘t cheeked members career^ When the rosy really extremely fond of music. The Many such instances could h fl of the Mozart Boys Choir sang in formation of the band, its training lated, but the b re ' S‘ep Carlo foregoing win peteZi was go to Hawaii, island children of every ra- and discipline must have been a cu- testify amply wL to the fact Whom 1 coached. I als0 that 1 ? studied ] n !„ cial descent listened attentively. It rious undertaking. Few of the per- ways tried assiduously a1 ' 8Uages to knn» and Itaiio ’ including French was memorable experience to hear formers had ever seen the instru- roles. W “ a This is the fust any need 1 felt that second sing Aloha Oe, 1Slte was n my the German children ments they were asked to play. Not an opeiatic career. tor Also ?i? ip beteTe^Ztaal experience sing- fresh flower leis which only had g adorned with they never worn a uniform should be thoroughly lge aud those schoofed days the J! iences. In their juvenile admirers had given but practically none of them had routine of teYfthe motl0n operas. Recentlv S ave Picture theaters concert Hawaiian, t work t them. After the worn shoes. The band developed, my fiftieth slngers performance - And thus came of °PPortunitip° . Japanese, Chinese, Korean, Filipino however, until it became the official the opening at of the Hollywood to ° appear in prologues and haole (white) children commu- band of Hawaii and has now been Every time r Pictures « 1 I sing- this 0Wb s n to sing the musicians in sign role T t yinphonv n ? solos with nicated with the thoroughly modernized. It is the approach it as ry to lC though if V Picture lestras in such motion language backstage, as they excit- band of affable musicians which first time and W the hnm GS an enter! V°U, s the Strand, the Ri- edly collected autographs. greets all incoming ships, plays on This Story the ? routine - Ta is the lto1 second l New and the Roxy »] Hawaii will always remember Tito national holidays and at election One 8146 York ^ must know how ' Eril Ugene and numerous concerts, and campaigns. It to^hanm' o Rapep Ormandy Schipa’s always takes an official emergency. le an , Without stead,? Phoni l0W sym- will certainly remember his part in territorial funerals. c conn known as Schipa The ex- and poise, it would nerves have - ing Ctors gain- celebrity in Hawaii whose be! > Were then meeting a isting photograph of the original sible to accomplish lmpos ' experien^ the darL chestras. e c°nducting these or- autograph he was seeking. The per- band shows the bewhiskered and atic B tasks that I have Z2, oper- son was Shirley Temple, the place be-medaled Berger, with his thirty- Tlris After is the third enake n- twn beach, and the time requisite m a ars of singing wherever Waikiki August six fellow players. opera. The fourth ® Sltl ging chance m^f requisite 1T1 e entecl 1937. “Looks like we have to get There is ° an itself, Mr. Eise- 6th, a private school for stu- a retentive memory mPrlses offerpri f a eond stu send t0 twenty-four hundred miles away to dents of Hawaiian blood which spon- stage direction, sense dy with ?? me t0 Italy and a sep„ of' w Catal S se of onderf ‘ii Tassoni. TM th ul r,Y,„0 830 (0 tUuity was gratefully °ntiM«n, ea? on Page 8 36 ) — t —f
Organ amd Choir Questions
_Annoerecl ly HENRY S. FRY, Mus. Ddc.
TOP VIEW Ex-Dean of the Pennsylvania Chapter of the A. G. O.
No questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be pub- lished. Naturally, in fairness to all friends and advertisers, we can express no opinions Master-Key as to the relative qualities of various instruments. THE SUPREME PITCH
ton lady and I arc studying INSTRUMENTS Q. Another j nfi stops, securing what contrast is possible the organ together. 11V hare finished Stainer's for instance, Vox Celeste on one manual, "The Organ” and Kerin's •• Primer of Organ and Rohrflote on the other. cannot make The Master-Key We pitch pipes have fast become Registration." 11V have practically completed definite suggestions without information an as almost inseparable accessory in Music the "Forty-Jour Pedal studies” by Schneider to the relative balance of tone. Education. and "Organ Registration'’ by Tructte; also Fugues ” by Bach. "Fight Short Preludes and
85/ DECEMBER. 1941 , / m
shipping the Christ Child in the Christmas Music New World. The Advantages Some of the most used carols are Through the Ages found in this list. Title Composer Origin of the O Come All Ye Faithful (Adeste ( Continued froin Page 816) Fideles) Unknown France Even Positions O Little Town of Bethlehem L. H. Redner America peasants so quaintly put it. America senting glorious Christmas music, It Came Upon the Midnight certainly does much for the child at such as The Bach Choir in Leipzig, Clear ...R. H. Willis America ( Continued jrom Page 823) Silent Night (Stille suffi- London, Cologne, and Christmas, but do we stress the famous . ’ ...... Nacht)v F.1 . GruberVJIUUtri Germany the use of Christmas hymns Dublin male choruses, and, in Vi- Deck the Hall Traditional Wales ciently . Hark! the Herald carols? And, since there seems to enna, the Knaben Chor. Also the and Angels Sing Mendelssohn England be an almost unwritten law against choir at St. Stephan’s Dom, the fa- God Rest You Mer- ry, Gentlemen singing Christmas music during the mous Cathedral of that city, did Traditional England Joy to the World. .. Handel England year, why not sing these lovely mel- marvelous work to make Christmas We Three Kings of Orient Are odies wholeheartedly at Yuletide? the greatest and happiest day in the J. H. Hopkins, America Jr. In City, beautiful Wassailing is another ancient cus- year. New York Lo. How a Rose E'er tom, but almost extinct save for music is expected from numerous Blooming M. Praetorius German Away in a Manger. . Unknown rural English territories. It is a sort groups of singers, but perhaps the The German Boer’s Head The popular Concerto Paulist Choristers, the Old Trinity Caro1 “Student’s of “carousing,” which takes place W. deWorde England Good King No. 3, in G-minor, 12,” Fried- time; which Surpliced Choir, the Grace Church Wen- Op. by only at Christmas and ceslas rich Traditional England Seitz, gives us splendid illustra- is accompanied by suitable song, sea- Boy Choir, and the Saint Thomas When the Crimson Sun Had tions. The very opening measures sonal rather than sacred. Those tak- Choir are among the best known who Set Traditional England The Holly and the have perplexed many instructors. ing part usually indulge in the drink- render magnificent programs, espe- *vy Unknown England The use of the in ing of ale brewed of apples and cially at Christmas time. Here We Come second position a-Caroling Measures prob- Actually, wassailing recalls The gorgeous musical settings of Traditional England 2, 3, and 4 solves the sugar. All You in This lem. our own almost extinct custom of The Mass by innumerable compos- s great extent the oome! loii„w mo::T;;: New Year’s calling. “Boxing,” too, is ers replaced to a 2“We en The First Noel Traditional | ? very old, and originated with fami- simpler hymns of the day. Favorite Come with Torches. England Jeannette, lies “boxing” home-made goodies to among them is the glorious Sanctus Isa- Gounod, who b01 send to absent loved ones, when it by Charles Francois tod this yea"' 0 f au was deemed necessary to one’s well- was born in France in 1818. The the" years myriad voices will sing have a supply of home- thrice repeated Sanctus and the fin- with being to ful heaits: “Peace in ishing Hosannah In Excelsis leave on earth; goodg00 cooked foods. Neighbors helped will toward men!” d the task, and placed some of their one truly spellbound. own delicacies in the box, mean- Carl Maria von Weber left the while singing the sacred songs and world a treasure in his magnificent pouring prayers out of their simple Gloria In Excelsis Deo. Born in Ger- And six measures later, the follow- into the for a happy many, in 1786, his romantic music is hearts box ing is effective: Christmas for the absent one. Cer- festive and brilliant. He knew well and Yonr Voice of tainly “boxing” is still done, but not how to make the most a happy (.Continued, jrom Page 817) Ex. 15 as a religious rite; rather as a cus- ending, for he swings his Amen up is an to the skies on the simplest yet most hours, try the tom or obligation. Mumming following expert,™ effective runs used by any composer. and you old-time custom, something akin to will hear your vo” Franz Joseph Haydn is a well loved others hear the former American “ragamuffin- you while you Mass, and he left us tually are ing.” It is “making diversion in dis- composer of the singing. Sound ^pSirming waves musl . with Measure eighteen guise” and was introduced to offset many of great beauty. He was born a surface and in the rebound to your Adagio, the following finger- in Austria in 1732, and with Mozart, Just as t the solemnity of a week of Christmas a mirror reflects ng will obviate Salzburg, the exn unpleasant slides: ardor. It is still to be seen in Eng- whose birthplace was in sion of your face, a wooden su? land, and in our own country, nota- 1756, he is a favorite composer of deflects the sound of y0Ur Ex. 16 Christmas music throughout the penment voice bly on New Year’s Day in Philadel- by singing again™ a , phia. With its string bands, it is Austrian-Bavarian districts. which is swinging 8 open Scu-Y’a Yuletide innovation of an- In later years the Gregorian Chant posite its d truly a surface D?cov introduced in the Catholic serv- 'ei Lneh: r cient origin, adopted by Amercia. was distance—from a ivv Catholic ice almost everywhere. The great two feet At one time, in many foi^your^particTuiar churches, Christmas music became churches of Europe use somewhat and ears. Slant ^ the door V ^ as grand opera. Famous less of the plain chant than is until you 6 as elaborate discover the rilA orchestras heard in the Catholic and Episcopal for singers and symphony deflecting the sounds great churches of America; an exception Seen took part in ceremonies of Ex. 17 beauty and splendor. But in Eu- might be such churches as those cities Holy Day Music was which employ renowned male choirs, catch sounds. 1* 06 ropean Then sing “L day of the yeai as in the Cathedral of Cologne. your not confined to one tones as if they and have come a long way from the werele sunsuT on the contrary, every Sunday We someone else. £ Feast Day was the occa- Wait down to our present liturgical Or every great experiment bv sino-i™ musical programs Christmas Music, yet we seem to be a large PlaYers in ensembles sion for elaborate piece of catoboard hovering in an unconscious aoiasor c°n fronted perplex with orchestral and organ specialties. manner of music before with sixteen harpists in the around the seventeenth and eight- slightly 1 which are greatly fac In Paris, the to one side to centuries, reaching back Te" llse of The Madeleine contrib- eenth to St. sound waves of tlie even chancel to that ear tions n Christmas cele- Francis in the early thirteenth, and nals Smhh ® many occasions the piee uted to the glorious are made of wood ulivorf° Munich, one fre- touching every port, even those that deflectors. are lthout adequate reheal bration; and, in When vou E ancf witA ° 1 famous opera stars for. the sake of time and space were tionally ut the opportunity to "l quently heard resonant it over a not mentioned in our tones In s orchestras taking part in church summary and center of ^ ' instances of this and the pitch the® , services, evolution of the Sacred Christmas intended a Who positi' services. The Christmas memory how they knows the even sound ' has a in T great < however, surpassed all others, in old song. And here America the you smg in he advantage over the public, who rt in greater part of our Christmas music listen to thV eS Saint Michael’s, in the Dom, and concept 1 a not - At first glance, before you sine- tow know,„T Cathedral of Our Lady. revolves around Christmas carols of enjoy 60 of the the the songs you LT* tou«LJ instrument's Other great choirs in the Old many nations, representing the pe- know shows v your ears have to mast him the easiest each other in pre- culiar unity of various races wor- voice guidYdeuidecl er the £ World vied with : task him. successfully. his ev, before *? eneneed eye automatic! guide,, his 852 unhesitating fingers. "
QUESTION!LS VIOLIN University Extension Conservatory CHICAGO 1941 THE WORLD’S LARGEST HOME STUDY CONSERVATORY .Answered Lj ROBERT BRAINE OF MUSIC MEMBER OF
unless No questions will be tins we ’d in THE ETUDE accompai initials, or pseudonym give and address oj the inquire , Only
recedes from the bridge toward the -finger A distinguished faculty of Highest Standards of ordinary tnczzojorti tone, the From :in Owner of a TJiir Violin board. For artist teachers. between the bridge and Music Instruction L. S. M.—As the owner of a Thlr violin, bow moves midway your Information will no doubt interest the the end of the finger board. attends a symphony many subscribers who have written to The Any violin pupil who the first violins, will Etude about this violin and its maker. “As concert, and watches what a lot of crooked owner of a Johann George Thlr, I am in the be surprised to see little attention is position to give information of the quality bowing goes on, and how of the bow in reference Extension Courses by noted teachers, leading to Diplomas, of these instruments, and about the Tliir given to the position and Degree to the bridge, or the finger of Bachelor of Music. family who made them. As a matter of fact, to its proximity For this reason I should advise a I had in Berlin occasion to try out a few of board. You can prepare yourself for a better position by studying deal of open string at your these instruments, and they were all care- violin pupil to do a great convenience by the Extension bowing on simple scales, to learn Method. fully built and finished with great skill. bowing, or bowing straight, and to learn No entrance requirements except for Degree Courses. Their sweet tone was remarkable, even if to keep his Credits earned by his bow nt the proper distance from using your spare time for not very big. My Thir violin has a G string, to keep advancement. the bridge or finger board, as required. This with a beauty of tone rarely met, and I am Catalog and illustrated lessons sent without obligatio to you. vastly improve his tone. A great violin- Check able to compare violins, as I am the owner will bow "crooked" at times, but his coupon below. of an excellent Lupot. ist may would be vastly improved if he bowed "On the other hand, the market value of tone UNIVERSITY EXTENSION CONSERVATORY, Dept. A-269 straight. the Thir violins is not great—three hundred 1525 E. 53rd Street, Chicago, Illinois.' to to seven dollars usually—owing Please send me catalog, sample lessons and full information regarding hundred Instrumentation course I have marked arched in the A Fine Book on with an X below. the fact that they are high musical student, instru- the arch- g c.—Every Piano, Teacher mal Course Harmony manner of the Stainers, sometimes composer should have a I] Violin This type mentalist. and Cornet Trumpet Cuitar ing being even more pronounced. size com- J — J library of musical works, of a Public School Mus. Beginner's Advanced Cornet with _ — j J Mandolin of Instrument is not in favor nowadays, needs. In his early years with his ( Public School Mus. Advanced Voice is a mensurate — J J Saxophone no obvious reason, as not everybody musical * it is not necessary for the C, Advanced Composition Choral Conducting Piano Accordion Hall. For an of study, U soloist, playing in Carnegie large number of Ear Training Cr Sight Singing Clarinet Reed Thir student to have a very L U Organ amateur it is a delight to play on these History of Music Dance Band Arranging works, but such as he has must be well violins, playable." as they are easily chosen and written by masters of the musi- Name Adult Juvenile. Thlr made his violins in the 18th Century written by really cal art. A few select works, Street No in Vienna. a half dozen great musicians, are worth of medi- City State shelves packed with the scribbling Playing Harmonics Are you teaching now? If so, how many pupils have you? Do you ocre writers. . . which you . , , , , S. B. T.—In the passage to Among other musical works which I would hold a Teacher's Certificate? Have you studied Harmony? refer, the square notes are to be played as student, and, recommend to every musical Would you like to earn the Degree of Bachelor of Music? harmonics, with the second finger on the G is the Treatise In fact to every musician, string, played very lightly and the string Instrumentation and Orchestra- This on Modern not pressed tightly to the fingerboard. Hector Berlioz, the great French position. In tion" by composi- passage is played in the third comnoser who wrote many famous the second example (quarter note on the forms known to tion, in all the various CHRISTMAS GIFTS FOR MUSIC fifth staff, with a circle two and LOVERS added line above the This is a work of between as a music. above it) the note (B) is to be played hundred pages, and contains a vast the string three th which harmonic, performed by touching of musical knowledge, w the fin- amount he 'ery lightly without pressing it to m”S‘ musician and student should gerboard. A good violin teacher can illustrate minutes. are these passages for you in a few the instruments known to music ^AU analyzed, their taken up one after another, “Straight” characteristics discussed, Bowing strong and weak L. R. T.— You are quite right in your sup- In which they have been as well as the ways position requisite of good bow- hy the great that the first utilized to the best advantage ing playing is given to the and a beautiful tone in violin composers. Much attention is to see parallel to Instrument, which Is of that the bow is moving technic of each the gradually composer, who must bridge, and that the bow extreme value to the tone is greatest ad- moves toward the bridge, if a louder how to use each to the board know subject of har- demanded, and approaches the finger vantage For instance, the if note that to the violinist, the tone is to be decreased. I ’“'S „ very important you given by one performer on other attended a violin recital violoncellist, violist, and of and that, so Berlioz devotes the greatest living violinists, similar string instruments, play- which to while you enjoyed every minute of his whole chapter to the way m ing. note that his a these instruments. Other you were astonished to nlay harmonies on taken from . outstanding bowing was somewhat “crooked” at times, are devoted to excerpts N col- his ?hapt“s composers of sym- and also haphazard as to the distance compositions by the great COMPREHEN- lection of standard fa- C0m plete from operas and so on "Ca bow moved with regard to its distance nhonies Concertos, grand SIVE collection of vorite songs. Words childs book, contain- board. work parts of the bridge or the end of the finger In°certain sections of the more than two hun- and music. Included ing nursery that 1 great compositions are rhymes, It is a first principle of good bowing complet scores of dred well k n o w n are many home, senti- • songs and a the bow the bridge, uow scoring is done. series of should move parallel to ln classic, modern, light mental, operatic, piano when this short article, it is sa- pieces and duets and that it should approach the bridge the compass of operatic sacred tone. iu° the details of the and cred, children’s, suitable for the the tone is to be swelled for a louder impossible to name all yountr bow by a great master compositions. NO southern, college, sea, folks. A Also for a decrease of the tone, the Si art as described REFRESH- but every musical student MUSIC LIBRARY rounds, hymns, pa- IN G UCl Berlioz FOLIO OF work from cover to COMPLETE WITH- triotic, f rt,-upri to study this national and HAPPY REMIND- * education in itself. AUGUST GEMUNDER & SONS imS. asVis musical OUT THIS VOL- folk songs, popular in ERS OF YOUR OWN |9TTffl$53 W. 56th St., New York UME. Radio Broadcasts. EARLY EFFORTS. Old & New VIOLINS Each volume contains 536 pages. Cloth Binding $3.00 each. M Reinforced Paper Cover Binding $2.00 each. “Gemunder Art Violin*” MUSIC LOVERS Accessories— Expert Repairing FOR For Hide at all Rood iuumIc stores. If your dealer cannot supply you we wll Est. 1840 Send for Catalog E. on send postpaid receipt of price. Money cheerfully refunded if not entire)- SOLI) IN ' America's Famous Violin House 3-shelf Violin “Corner” sutisiied. (NOT CANADA.) Rack made of solid wal- MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS rubbed violins, nut with a hand H New and old The MuJiill Publishing? Co., Inc. Book of a at a Thousand Songs. - . ..,..,3 and accessories Violin finish. Standard 1140 Broadway, New York, X. Y. Masterpieces of Piano Music, surprisingly low price. Enclosed find $ for which Child’s j —D s Own Music Book. 2- repairing our specialty. JJl ;Expert please send the books checked. size. ( ) PAPER < I CLOTH E.J.& Ave., New Yo'-k . J. VIRZI CQRP.,503 Fifth ( J PLEASE SEND FREE LLl STRATED FOLDER WITH CONTENTS S2.50 Postpaid. VIOLINISTS — EXPERT ADVICE — APPRAISALS Consult a Recognized Authority WOODCRAFT t. NORTH SHORE N. DORINC, 1322 Hinman Ave., Evanston, III. Winnctka, III. aend 25c for copy America's only Violin journal Box 268 “VIOLINS and VIOLINISTS”
December, 1941 i
musical style which grows out of its panied by orchestra, is dull and Russian Imperial Composers subject. The chorus, often poly tonal, vigorous by turns. Particularly nota- is mainly diatonic, while the dis- ble is the fiery fugue which ends the sonant element is given to the piano piece. A ballet, ‘The Card Game,” ( Continued from Page 815) background. There is little use of ac- does not continue Stravinsky’s early tual folk song; but the folk song successes in this field. A chamber style along with a single ritual mel- concerto, “Dunbarton Oaks,” relies During these years. Stravinsky grad- Roerich, Stravinsky fashioned a sce- ody of thei“c church,oxinx^xi, formsxwxxixo itsxua basisuacjio. obviously upon the eighteenth cen- ually changed his esthetic viewpoint. ^ nario based upon the rites performed Stravinsky has composed authentic tury in manner, but Stravinsky has Russia to pro- His convictions as a Nationalist gave each spring in Pagan and dramatic music for this cantata, made a striking modernization of cosmopolitan out- mote fertility of the soil and of the way to a more and his Nationalistic personality is the earlier idiom, if at times defi- composer, Stravinsky has look. There were abundant reasons strongly projected tribe. As a therein. cient in inevitability. A symphony, this. He was isolated from a Rus- been notable for the precise adjust- for Stravinsky’s departure from a Na- recently large orchestras completed and separated ment of his musical style to the sub- sian atmosphere; tionalistic style is strikingly evident from the first by almost thirty-five hand. Thus, chromaticism were no longer available. The Di- ject in in his next ballet, “Pulcinella,” per- years, will be performed Chi- aghilev Ballet was in the western by the offered an appropriate solution to formed three years before “The Wed- cago large or- Symphony Orchestra during the fairy atmosphere of "The Bird hemispheres; the cost of ding” but conceived later. With a the present season, diatonic chestras and expensive stagings of of Fire”; a more robust piot from an eighteenth century The was prohibitive. generation of music students idiom combined with a discreet poly- dramatic works Italian folk tale, its musical material of to-day, as later musical equiv- Stravinsky lived in relatively musical a rule, prefer the tonality offered a just is derived from sonatas and cantatas Stravinsky isolation. The change in his esthetic to the former Nationalist, alent to the more realistic "Petroush- by Pei golesi. The actuai treatment At first, the °f They admire his sense of style, its ka.” For "The Rite of Spring,” practice was gradual. consist of a curious biting dissonances, still pieces for string quartet—the "Pri- its rhythmic com- Stravinsky was forced to become rnbfh i r ^ instruments and twen" plexity and assertiveness, mani- more radical, to illustrate in music baoutki” for voice and tleth centurv his hxv™ °n para " festations episodes for which his and the “Berceuses du Chat” for of ingenious thematic de- the barbaric dox which cerSv^ ’i f and three clarinets—differed have veloPmen t. An older generation per- scenario called. During several years voice shocked PergoTesi From T from previous works in dimensions 11686 °bVi ° US qualities ““ he had been studying Schoenberg's diced standpoint the results™!^" without rather than in style. But two sets of both^ad™res and respects Stravin- music; and this influence, lightful, and a suite drawn from thu sw* system, to- piano duets were notable for the detelminatlon t0 tolt close y adopting the twelve-tone muslc has been uniformly ! successfulcessful - stylestvle of poly- predominance of musical titles and and material, to discover in gether with an extension A concertino for j that were non-Russian, and g a t re “eW tonal style, formed the basis of his styles turns spontTnefusly W°Ik a soIution f ° r tM to the mu I of Spring" constitute an opening wedge toward ml 6 ™ ° f maintail musical vi- music. When "The Rite idiom of "The Fox " ” ' ™B piece, “The “Mavra taItil t’ in the spring of 1913, eclecticism. A little stage Sn ty wlth out leaning too directly was performed opera-bouSe dedicated to th Fox,” following Russian folk lore 6 BU ‘ under Monteux, no such disorder had ory of Tschaikowsky ?£“ ™ ethods «f Past ' seemed to return to his native soil and 0 n he 0lderIf in musical Paris since the with ’ generation also con- occurred a plot from Pushkin n ^l is or musically. “The Story of a Soldier,” 6 that are scandal of "Tannhauser” in 1862, whole adds little these gains, which to its , a miracle of musical compression for comm.*oser s ad at the concert performances of Wag- reputation. Stravinsky P ™n'able from the standpoint of seven instruments, is based on now urn ed operas in the eighties under only definitely craftmanship, are often more than nerian toward “abstract . Spring" Russian folk sources but shows a ountel' Lamoureux. But “The Rite of in an “Octet for ? balan ced by a loss of spon- its imme- Wind Instmm is marked discrepancy from tanelty its way, and it 1 1923) and that eventually made , a “Concerto inspiration, traits diate predecessors in the variety of for W too much to say that for bold Wind Instruments” and eie so notable Nationalistic not 11923-24! . in the its material, Ragtime, the Viennese ^, innovation this ballet aligned itself nata” for piano ' travinsky. But a estimate of a Spanish pasodoble and (1924) and a just with “Tristan and waltz, the Serenade ™mposer in historic import (1925), All can only be derived from Meli- the Lutheran chorale, all treated with traces Isolde” and with "Pelleas and Nationalistic composer de Perspective embraces his ironic parody. Anser- seem 1 which of the ingenious and in 1 sande.” Certainly no work disappeared; as a is Diaghilev Stravinsky whole - Since Stravinsky has exercised so met, the conductor of the was ^ twentieth century concentrated upon alert and must of ballet, had brought back American a style energetic, we the young com- out of l"™ great a sway over the nature of Cessity Postpone appraisal- lapse jazz from a trip to the United States, each work »? a final the period. After a with strictly iTh Already, posers of and Stravinsky was perhaps the first I0gical from the historical view- years, "The Rite of thematic SeS of P°mt of twenty-seven development. - Stravinsky's be a among European composers to come genius must maintains its position as C Spring" this novel musical “Oedipus-Rex,” °? nizad as a force to in contact with an "opera nrat w Pervading genius. no t0 l' work of Despite the variety of its mu- (1926-27) withWith ~ twentlewcuuethth century. harmonyharmonic idiom. text bvby SirQf* ttoy-YT His fc>tla,Vin_ . . skyskv andflnrl Jeanan innnvnfi«^„ations s the+v>p Exile sical sources, “The Story of a Sol- Cocteau ’ his explorations in In Latin, translate ST for stylistic com- show the polyt and to he dier” is remarkable native °h ality, his re-birth Stravinsky now reverted its composer capacftl ofe extotensi ‘"J pression and feeling portrayal of its in the held f* °n of the scope of the ballet, of which he had fin- « ? Nightingale,” eclectl laphlc com- plot. 'ic style treatment of the orches- only one act in 1908, The trn l ished important work by Stra- ballet * 0 hlsacute WS Paris The next 1 stylistic perception, performed in 11927 > , !i peted work was tivelytfveiv Slight, is a_ suummi vinsky, “The Wedding,” a species of but its ? ng up of of Na- of 1914, less than three musicalU a great period In the spring 1914 but n V of the cantata, begun in not actu- ™' "The %***»* Place forefront the outbreak Fa“ him ?he months before ra bballetii£ SS f hls £ completed until 1923, may be inspired ’ opera exhibits seri- ally by time. World War. This Tschaikowsky” Muse of The first considered the last which belongs as well stylistic discrepancies. thomoo 1— ®asS c- ous definitely in the Nationalistic cate- themes by the some “The Bird of Fire” and latter C„ antedates graceful if mposer act preoccupation gory. Its source was discovered in a little Yore ? , is composer's tor shows its collection of folk tales belonging to piano and ^°°“ harmonic proceduie. orchestra' <1929, with French father. It deals its effective use make approach the idiom the composer’s in of indifferent s World of Music two acts The t material, The last his- successive scenes with a peasant "Symphony 0 (Continued of Spring.” As an j from Page 801) ..The Rite country, the prepara- chorus and for of possesses no wedding in the orchestra (193^-’ it of torical document, bride and groom for the Stravinsky’s 15 tions of most to one R In- of Spired WKU( of the m coming event, the lamentations of the later Works sUtuto'oTJ'tiSte 'h, Dean peC f m *:.1*!*SIu Jmlhm rises to d in thi sical Ar t of the C a the respective parents at losing their sublime hei»h* s he School 0/,? . fashioned 8 lt,s ' Masic hon Xvinsky°has certo, ^ Violin ar - was awarded the the wedding, the banquet, in which c? f con y deerc ?e““\ ™* °W children, »»' symphonic pomm the ceremonies which follow. sio hJ not and Stravinsky at first planned this work popularity greater than ifSSvtS achieved^a with an enormous orchestra, but thp oneratic original. became an exile practical consideration forbade this. Stravinsky now ' ’ After several years’ reflection he text by 31 ' rn for Andre 10 14th ' t° Switzerland a hd Ml s - French, mainly in Fide i s to.” concei^Y d and lived employed four pianos, instruments period in lCal LeoP 0Jd the war. Aftei the that its ot its Godowsk Pupil of duration of and a small p erfeSf f esta tne could not of percussion, chorus. As seems to have 11 of lish th her late husband, revolution he stranp-i^?- style ed Thp ^ . Russian usual, “The Wedding” employs a A lns 1900 ^Usical Leader in Chicago his own country. concerto for Piratinn ForP “ return to two pianos, ” any occupied safely ' ?>'omi ™ reai's she unacCom n 6 t *** ^°Sltlon ui of iu l,s journalismiSm the field 834 ln the middle West. —
Band, Orchestra— Dr Music?
( Continued from Page 822)
Philadelphia Orchestra, has made chorus, or other musical groups. numerous beautiful transcriptions There should be no hierarchy of for band of works by Wagner, Bach, musical units, and we must not waste and other masters. It would be unfair time on objections. Our concern is and illogical to think that he was objectives. Is it not the chief objec- any less sincere a musician when he tive of our program to instill music A SENSATIONAL (MlEOTflOT @F KISS© made his transcriptions for band into the minds and hearts of our ®©@K$ than he was when he made those for people? The channels through which symphony orchestra. Wagner per- this objective is achieved are less im- :*« are not in conflict with ' sonally authorized many forms of portant, and ,&e channels simply PIANO DUETS FOR CHILDREN PIANO PIECES for the ADULT STUDENT especially 36 outstanding compositions A collection of 60 compositions ar- arranged in duet form for children. ranged and compiled for the more ma- Unifying Piano Study Excellent for advanced students also. ture student. 826) PRICE SI.00 EACH ( Continued from Page Order direct, or from your dealer. Ask for booklet listing the entire "Everybody's Favorite Series" music books and their contents. only if the student has been its thought, its technical problems, iwed to keep his technical, musi- and its tempo. The next step is to llowed MSCO MUSIC PUBLISHIMG CO., I„c. faculties at an and coordinating • play it through the first time abso- al, 1600 BROADWAY NEW YORK, N.Y. of advancement. Other- lutely correctly, except as to tempo. ve’n pace technical specialist becomes The first taken as use, the reading should be inter- in mazes of phrasing and slowly as is necessary for the pupil >st WM. S. HAYNES COMPANY Rebuilt the interpretation spe- Band & to perform rapid part cor- relation; its most inadequate fin- Flutes of Distinction alist is retarded by Orchestra Instruments rectly. In this first piano reading, and the student who STERLING SILVER—GOLD—PLATINUM HONESTLY the the cor- er facility; REBUILT— FULLY GUARANTEED student should try to get Please specify instrument is stumped by the request you are in- coordination Catalog on ‘wested In ami we rect notes, the correct idea of the .cks will quote prices indications and Distributors King Band Instruments' of applying Massachusetts Avenue, Boston, Mass. Piece, and its correct musical inter- eed 108 markings. REYMAN N CO.^f'^ASiyf-tnu, pretation—from the very outset. If sdal return to our exploration ot he starts correctly and then repeats To new piece, however, the third the piece correctly at each practice ae A New Popular Text Book - with the learning PIANO? . ep has to do SWING session, he will learn quickly. The students beam to plav real Swing Piano. Send for free Home SCIENTIFIC PIANO practicing. Most Folder. TFACHFRS: write for business offer TUNING AND slightest r0per — Study error he makes—in notes, CHRISTENSEN STUDIOS. 52 Kimball Hall, Chicago SERVICING the error of supposing that ill into 27 Chapters • indications, phrasing, and so on 63 Cuts • 15! p„ practicing well if they make Glossary of S ' necessitates process of ley are Technical Terms the double performance gets $3.00 postpaid o mistakes, if their Etude Advertisements are un-learning and re-learning. of prac ALFRED H. worse. The real purpose Bulletins of Splendid Buy- HOWE The entire o 116 PINEHURST AVENUE - NEW YORK goal of playing the repeat a com- ing Opportunities - - - N. of course, is to I 1 piece correctly first time it is ce the times, making each read, osition many sounds more difficult than it improvement over the really .petition an is. Actually, the student’s first Assuming that the first problem notes. ist time. is to get the correct correct, there is lading was quite Do not forget But while he is getting them (in slow much work to be done. Technic tempo) it extra diffi- ill , involves no habitually fluent; m- The Work Of culty mst be made to read the correct dynamic in- deepened, mu- wpretations must be The Salvation Army dication at the same time; thus, in and thought must be exerted reading ral Definite For a C followed by an E, the enough to put The Needy ..pressed It is not student can just as well play them repeti- keys! Each which ALL Piano Students At Christmas piano no own the correct as forte. Again, there is with some def- Teachers Should Investigate on must be made extra difficulty involved in playing in mind, of improvement *1.00 the iite point Vol. 1—For Beginners . . . piano C legato. It requires only should be no- the improvement Vol. 2— For Students with alert attention and the habit of rec- nd The . *1.00 with each repetition Fair Knowledge . ognizing given ceable every indication at a the tempo Vol. 3~Advanced Students *1.00 is to work up Point. It allow fal step is even advisable to correct indication- ccording to its the student to put in the suitable tl»ugM- SHEFTE PIANO IMPROVISING Do not forget all tl- fluencies Pedals at this first reading. Thus, in eainei, P°AYER8 *1.00 — security of the and To one process, and exercise of alues piece Remember by the performances. Then the Piano teachers adequate attention, he can readily ower’ should write us The Salvation order. It will remain m for special adver- Army read the hi good entire piece correctly. it is reviewed. In iod order whenever In Your Will my opinion, this system of technic should not earning In saying that new music is the most help- on 8601 ul one. (Continued Obviously, it can be fol- 835 DECEMBER, 1941 A Historic Musical Festival scales, sustained exercises, and sus- tained flow of the breath. One should other parts. ( Continued from Page 808) sing phrases to become accustomed I have always sung leading roles gradually to the moulding of phrases —a procedure which, tried three new quartets by young have done this,” Mozart exclaimed: wherever pos- from opera scores or standard clas- sible, singers who want to Mozart. The father relates, in a let- “Nor would I, and do you know why? sing sics. The singing of arias should leading roles should follow ter to his daughter, how Haydn, after Because neither you nor I would from the not be attempted during the first beginning. Secondary they had finished playing, took him have had such a brilliant idea. I can roles require a three years. special art which can be developed aside and said: “In the face of God tell you, Kozeluh, if they melt us The student should vocalize with only over a period of years. I and as an honest man I tell you, your both together, there will not yet be sang a singing teacher during the first one hundred and ninety-six son is the greatest composer known stuff enough to make a real Haydn.” per- two years of study. Vocalizing should formances in Holland, and to me either personally or by reputa- The older master felt the same ad- many never be done at home, alone. Le- new roles were tried tion. He has genius and also an out- miration for the achievements of his out in such gato phrasing comes from thorough cities as Amsterdam and standing knowledge of composition.” young friend. When a music lover in- Rotterdam musicianship, beware New roles were and one should following year these quartets vited Haydn, in 1787, to write an always sung in the The of scooping which is not a form of smaller Italian towns, and in were printed together with three opera for Prague, he answered: these legato singing. Over emphasis on the performances one gained earlier ones, and Mozart had them “You want an opera buffa from me. valuable holding be routine experience. of notes should also published with the following touch- I will send it whh pleasure, if you avoided. It is correct legiti- to 1026, 1 heard that to make ing dedication: care to have it for your own use. But Gattl-Casazza mate be would be In Milan. effects, but this must not To my dear friend, Haydn! it would not be suitable for a per- My teacher did carried not feel that too far. A father, who has decided to formance at the Prague theatre. All I was ready to have To sum disn an audition, but against up what has been send his children into the ivorld my operas have been written espe- his advice I cussed: sang for Gatti. the singer first must put the at large, would certainly like to cially for our ensemble at Esterhaz I wanted to become acquainted voice in perfect condition; and, sec- entrust them to the 'protection and could not be produced elsewhere with him, so that he ond, he opera would know that I was must learn several and guidance of a famous man with the same effect. It would, of on earth To roles my surprise he from beginning to end. So who fortunately happened to he course, be quite another matter if I offered me a contract many have to sing at the Metropolitan students feel that, if they his best friend as well. Behold had the pleasure of composing a spe- As I ai ready had earned two or three from an In contracts to fulfill arias here, famous man and dearest cial work for your theatre. any in Italy opera, . was not they work. daring enter- until the following know the entire friend, my six children. They are, case that would be a year This that my debut at is not true. The opera score and to he sure, the fruit of long and prize, as the great Mozart can hardly the Metropolitan was made, as a11 its details thoroughly arduous work. You yourself, dear- be equaled by anybody. Oh, could I Rhadames in “Aida ” must be Perhaps analyzed. musical friend a few ideas on Also, and most important, est friend, have shown me your only explain to every vocal nr« the duction will not be singers should least two approval of them during your the inimitable art of Mozart, its amiss to thos^ know at who are interested concert programs numbers. latest sojourn in this capital. depth, and the greatness of its emo- in singing ZThere of varied should be a facile Your praise encourages me to tion, and its unique musical concep- easv the voice; one that recommend them to you. May it tion, as I myself feel and understand avoids locaLf tion. Trying to make p'ease you to receive them kindly it; every nation would strive to have a voice oZ 1 or pinched, in and to he their father, their guide such a treasure in its midst. It order to 1 frontal resonance-which, end their friend. From this mo- grieves me that this unique Mozart after' an “ °nly a" and ( Continued from ment I surrender to you all my has not yet been engaged by an Im- not a cause- Page is a point of departure rights to them, hut heg you to re- perial or Royal Court. Do forgive this that mo bass violin people use in many player, and now one with leniency the faults outburst; but I love this man too vocal Pmle7 e gard voice 16 technical attached should not be experts which may have remained hid- much.” for^M? in the singers produce sounds 7 Night,” analyzes den to the partial eye of their Not often has a composer written that to 1 ude seem voluminous, tte of many young peopie letter about a fellow artist but not father, and notwithstanding their such a to the i JaZZ tener. What sounds 1S " bands as the center of shortcomings to preserve your who was still alive and might have large to Z anda^ conclude that nothing but noble friendship for him who been considered a serious competitor. eis tbe life of the band meint loves you so dearly. Meanwhile 1 Haydn, however, used every possible r. his current of w occasion to express in public this stmt am, from all my heart, studi0 ’ at 9 A.M. and sigr Mozart conviction: “Mozart is the greatest off r your W. A. 6 P M Mr - says to composer the world has at present.” ” Cascalles When it was later suggested task S ® sssa asy and Pleasant in comp might have gone a We are generally inclined to for- so,, ! Mozart that he if the voice Pitch with the genius’s minor or even greater is propel ardors of band wor bit too far with this dedication, he give a nM® Singers Venty ~ five was only weakness of character. We allow him d°Hars a week, said: “Certainly not. This scale. e the corri, Prom the top g to r. certain liberties both in ethical and to the h l? , M Cascalles, is a 6 my duty, for I learned from Haydn singer bottom sa should . a for moral respects. The example of have one» tlle average dance b quartets.” Some time . how to write ter. In 1°““^ «Bis- J.lan studying ‘ °ut afterward, Mozart and the composer, Mozart and Haydn shows, however, of ^is, he pays for scale, the keon ld listened to a new that real greatness reveals itself not adjustment finds that he spends n Anton Kozeluh, place must4 than u by control of take e s Kozeluh re- only in creative power but also in the hZb ‘ .!! hould of the Haydn quartet. When eath ,i because than by any , rather refn , disdainfully: “I wouldn’t character. physical bours musicians must k marked the throat. adjustment in Thp of Paying from 9 1 All Singers have until o'Tl many nr A w*th rehearsals ex problems, and the satne lone- h breathin.?*- °U1S in recording n them. I 1S ° ne studios Preparedness Leads to Success like to fee? of ine- rii C that?? h extra benefit performai from the floor. Up and n?, K,i 850) Standing ( Continued from Page Unts shapP a diffl open window, with 6 an routine ' my shn.l ' tZlfle - and ders J um dates” are chest out, I UP Wovct- P operas Pizzetti. take a ne ~ accepted; there followed four years modern by For I air as £ ni8ht stands, usu possible and much n ecessita°i- under this realized that, if I was to succeed th ‘ tmg of studying and coaching as slowly. Too Xhale riding in a bus all much concent? reS teacher. an opera singer, the more roles at breathing A in the aftern excellent is unnecess?™ 011 ZZ ®? late the a 1 operatic debut was made in my command, more valuable I students > night, a! My Howeve and riding should do breath r, all da 1 ,” opera companies. y Boheme at Livorno, Italy, the would be to It has cises 6’ La every day, for Brrm p” exer - of Pietro Mascagni. I was always been my good fortune to is birthplace the most, essential Veatbing be I’fTh-s a touch of crazines learn as many roles learn quickly. In studying a new p£t'ot determined to One can control lngin Pllt up .” says the color ? g- cascalle?°., "nth K could. I studied “Madame But- role I go over the music with my ac- ° d as I n y th breath legat° A musician is a man I control surrenrf terfly,” “Cavalleria Rusticana,” “Rig- companist; then, after I know the M S A daily aU idea a : half hour devoted m? h of having oletto,” “Lucia di Lammermoor,” music, I write out the words while exercises tot should be v°eal U,e; who shatters “Faust,” “Martha,” “La the melody is going through my head. the health £*; “Traviata,” Discipline of the as voice not ; and knows others, including I write out the entire score, some- win never iL, Tosca,” and many through the W: any careful^-nly . , money in the ba> all ( 01 , 6 ’ other sal!e of performing 856 1 menml who feel just as he c The Piano Accordion Accordion Preparation Necessary for Orchestra Playing E As Told In ElVern Collins TUDENT ACCORDIONISTS part in the beginning of his orches- opened the have asked for suggestions on tral career, and which S the subject preparing for door for later successes. So, you see. of anything. orchestral playing. We are glad to it is wise to be prepared for metronome, is 'he gift of gifts . . . the gift superb . . . for student, teacher and give this information, but before do- Our old friend, the building rapid professional ... a remembrance that will last through the years, ing so we urge young accordionists a constant help in as a constant and supremely practical and dependable reminder technic. Students should remember to consider such training as an addi- donor’s thoughtfulness. percentage of their of the tional study and not to let it inter- that a certain discounted when playing in fere nor take the place of a thorough speed is ELECTRONOME ELECTRIC METRONOME public, so they should strive for per- musical education. Those who have (Reg. U. S. Pol. Off.) playing at a much faster tempo already covered all branches of ac- fect “The Metronome That Operates Electrically” is a masterpiece of intend to use. cordion study can afford the time than they precision, the musical world’s standard tempo recorder, and the our line of orchestra re- for specialized training in orchestral Next in perfect gift for the musically inclined. Simply plug in, flip the knowledge of har- it begins beating out the time supreme accuracy playing. quirements is a switch, and with and especially of the forma- from 40 to 208 beats per minute. Change tempo as desired right After a student has decided he mony a subject we have while it’s running, and with one hand. No matter what his instru- wants musician, tion of all chords— to be an orchestral ment, his practice will be doubly valuable, his performance doubly dwelt upon frequently and with much he should make up his mind to study effective when sets the tempo. And any aspiring orches- ELECTRONOME hard and be thoroughly prepared intensity. accordionists who have neglected when he seeks a position. There are tral PRJCE $12.50 studies must realize at once many mediocre musicians but not a these Covered by Manufacturer’s 5 -Year will be absolutely impossible great number who have risen to the that it Service Guarantee in Writing proceed without them. For sure Christmas delivery, order 'SOW! Enclose check or Postal Money top of their profession; hence there to Order The orchestral accordionist must for $12.50 plus postage ( shipping weight 2 lbs.). The ELECTRONOME is ample capable musicians. ELECTR IC METRONOME is sent on 6-day trial, and if not absolutely room for clef and be familiar with the bass satisfactory your wilt be Most of the disappointments which be money immediately refunded. to recognize chords at sight, as come to young musicians are not able they are written for piano accom- caused, as they believe, through ill This will not be difficult if luck influ- paniment. THEODORE PRE55ER CO. or through not knowing chords thor- the student knows all ential people. They are caused by 2410 WALNUT STREET • PHILADELPHIA, PA. and can identify them in their lack of preparation. An orchestra is oughly positions. Piano accompani- not a school. Professional musicians various usually show the chords in are busy people, accordionists ments and 1. We y°u Kve open position, as in Example further who enter their ranks should have meas- ' ^ than suggest that students use these convenient made all the necessary preparations example and write all traveling distance with profes- ures as an the exception of actual similar po- from chords in every key in any of our sional experience. recogniz- as this will help in two branches this At the orches- sitions, very beginning, the the piano part will ing them at sight in interest you. tral accordionist is confronted with of an orchestration. has comPiled two a problem, because his is the only in- con- V cise and easily under- strument part of the for which no F.x.1 Dominant stood correspondence courses that Tunic Sub-Dominant will orchestration is arranged. This is still bring into your very home his popular another reason why an accordionist system of instruction. Send for our Free Cat- i 3 I P alog of Accordion Music and should know music thoroughly be- •h s ihi E r i M Accessories ' * PIETRO DEIRO ACCORDION fore 5 f HEADQUARTERS he attempts orchestral work. 1237 West Girard Avo.. Phila.. Dominant Sevenths Pcnnn 46 GREENWICH AVE.. Now York. N. Y.‘ And now let us consider some of the been essentials. . These have enumerated on previous occasions, m *iu t we brief IMPROVE YOUR PLAYING shall repeat them with a are frequently called SWING PIANOi Accordionists Learn to plav real Swing Pi.ino. Send tor tree II discussion fore- Semi for ire of each. First and chords with m may greatly Improve your Study Folder. Tl ACIIFRS: write for bud-i-., rhythm _ . „ . to play technic, most is technic. upon JNJ accuracy, memorizing, sight- CHRISTENSEN STUDIOS, 52 Kimball Hall. Chicaoo the need for rapid it is ad- 1 ” right hand; therefore, i* reading and playing thru mental- Dexterity and must be de- them be muscular co-ordination. Quick results. Practice effort velocity practice doing so. As a minimized. Used by famous pianists, teachers and visable to students. No obligation. veloped* not only on single note pas- use of the suggest the Broadwcll Studios. Dept. 61 -L Covina. California sages, sinning, we but on thirds, sixths, octaves, chords in their vari- Schools—Colleges and three principal full chords for the right hand. These can be played up There ous positions. is a wealth of accordion study keyboard to the ! down the piano material, and we merely suggest and basses of the CONVERSE COLLEGE of the MUSIC Dean, CHRISTMAS , Spartansburg, S. that accompaniment C. accordionists avail themselves The chords can then be of same chords. it and go to work. exercise by ie- COLLEGE. DEPARTMENT ulaved as a rhythm lor the ACCORDION; OF MUSIC Tricky cadenzas difficult se- bar, and Galesburg, 111. from three to a KNOX James MacC. Weddell. Chairman. hem Catalogue lections offer good practice possibil- Sng with bass accom- SEND FOR OUR sent free upon request four to a bar, ities, for an orchestral accordionist then 4 PACE DESCRIPTIVE CIRCULAR E. never knows just when he may be SHENANDOAH called O. PAGANI & BRO. upon to play such passages. rs,"s 1 -a.ling 289 BLEECKER ST. the I». Jins., and IS. Mum. I degrees. U„t Charles that it was Magnante says NEW YORK. N. Y. reasonable. In the heart oi lie SheuamUu nls ability ca- Valley, Dayton, Virginia. to execute a tricky continued on Page 858) denza which played an important ( DECEMBER, 1941 Accordion Preparation Necessary THE CURTIS for Orchestra Playing INSTITUTE OF MUSIC ( Continued Jrom Page 857 ) Paul U N I VE RSITV The C Major, or Tonic The Sub-Dominant, preparatory Eighteenth School Year for orchestral work con- chord in its three tor F Major) in its sist of learning to transpose, positions. three positions. impro- the school of vise, and quickly to modulate from one key to another. EFREM ZIM BALIST Music oifers accredited courses in Voice, The Dominant, (or The four positions of Piano, Director Violin, Organ. Public Music. G Major) in it the Dominant School Harmony, and three positions. Seventh. Orchestral Instruments. Confers Degrees of B. M.. A. B.. and M. M. Distinguished Graduates practice the faculty including ARTHUR C. BECKER Institute's high standards SERGEI TARNOWSKY professionally — as com- positions, both up and down the The foregoing discussion clearly MME. MARIA — piano keyboard; and then the prin- shows that considerable preparation KURENKO posers opera, concert, RICHARD cipal chords in all other keys should is necessary for orchestral CZERWONKY end radio soloists — con- playing. We have WALTER KNUPFER — be played accordingly. Familiarity merely touched upon the ductors symphony orches- SAMUEL LIEBERSON with the chords in various positions most important points, but we be- A. tra members — teachers. The Dept, enables an accordionist to arrange lieve that our suggestions will give of Drama oilers a 3-year Course his rhythm chords close accordionists an idea Address right hand of what they Registrar for Bulletin making use of their fre- should begin to work on. together, DePAUL UNIVERSITY quent tones. 1 °° m 401 ' 64 E. Lake Street, Chicago. III. Chords should always be played in [ such a way as to bring forth the re- Kindly address all sponse as one sound, not as a series communications to Important Notice! of sounds—such as one might hear from a broken chord. The same de- E. Secretary of Admissions Clifford gree of pressure should be used for man. we receive a complaint from Toren, The Curtis Institute of Music a mu each key, so that one tone does not sic lover who has paid out good mone Director I 720 Locust Street predominate over the others. to an unscrupulous canvasser. Thes Philadelphia, Pennsylvania canvassers quote The orchestral accordionist must reduced prices, accer e S f act!ve in anything they can t musical careers get out of hcli^ehoscn fi!u ,i ?/ . best the ' be a good sight reader. The sub atorv ocemJlo 1 regressive faculty. Conserv- scriber and pocket the iC money. The build nB ' Pian0 just pric - preparation for this is to do violin.cellofreed h ' Z° h of The Etude is $2.50 and and braSS lnstrura ents churc a choral . -. year, two music ?N« , 5 imply namely, sight year lheory. music education and what the words — $4.00. Pay no money expressionession. Fsiu'Fall before you semester begins 16 . use a stack have rea September 1/ read. For this purpose a contract offered you \ and have con CLIFFORD TOKEN. Dir. of unfamiliar music, and play it vinced yourself of the M0t'p!?.',ost er Avenue.. / \ responsibility ij-i Chicago. Illinois. through, up to tempo, without re- the canvasser. Permit no changes in" an / passages. The contract. If in doubt, \ tarding for difficult take the name an address of the man / \ eyes should be trained constantly to or woman, the nam BALDININ-W/ULACE of the company conservatoryp / look ahead a measure or two. represented and sen of music \ the full cash subscription E 0HI of an or- price to ° (siUurb of Cleveland) When the piano sheet us’ w •'fill Inteii ?, n' ’ ' ' ' will give credit “ ,I ' S L to the agent. 1 01" « class Liberal Aris ColleRe- / \ given to the accordion- Help US t in m's chestration is protect you because leading 10 degrees. Faculty we cannot be resnrm / \ ist, he will have little difficulty with sible for the work cf swindlers. / \ the right hand since he can usually play it as written. There are times / SECOND "SEMESTER \ when chords with the added oc- / Opens January 26 \ tave can be changed and the octave ELLISON-WHITE / \ dropped, as this is automatically CoMsorvaton'Y o£ Music accordion. The combined within the ' "' AH t i Ct ” reading of the bass of the piano part at sight will come with practice. The N - E. enwooJ beginner accordionist can pencil in iqthave., Portland, oreci the names of these chords to help CONSERVATORY OF MUSIC him until he becomes accustomed to DMtionofLIntlmwoodColleoc them. ’"Institute d lor irowKii. Thorough prepara- tlon for careers In music under saxophone musical ah' faculty. The violin or C melody DR FnVtt?* n .lUrinc-uIslicd B.M. S degree, c inti diploma part is oiten given to an accor- dr. yoRK ch,lir,,la " In piano, viol EDWard'FD Br \, Member - MANVILLE, President harp, other instruments, pub- dionist. These single tones naturally lic school music, theory, har- mony, history and appreeiat Ion sound thin and require harmoniza- of music. Well-equipped stu- sight. those not familiar dios. beautiful buildings ot» tion at Fcr E - B “3incss Manager • 1 S acres near .St. Louis with with this subject, we briefly state its frequent eoneerta, operas, 52 Putnam. Detroit. Mich other musical attractions. For that all of the harmonization filled catalog and view book, write Harry Morehouse Gage. Pres. in under the melodic line is derived QCERUN ; Comservato Box 1241, St. Charles. Mo. from the bass chord being played at that particular time. Occasionally, the harmonization is placed above the melodic line. Example 3 shows the melody written in large • notes, M,LUK with the added harmonization in £cONiS^70 small notes. Students can train them- selves to do this by practicing on a group of single note melodies. Box 306 Wabash Avo.. Chicago. E, S. Some of the more difficult studies Austin W. T upon re°"“ ST n A Or- ; _Jj_^lare minturn. D 858 ) I G THREE NEW DISTINGUISHED ALBUMS FOR PIANO SEME PMKOFIM COLLECTION ESPMIOLEl IGOR STRAVINSKY (From A Ibeniz to Villa-Lobos) ETUDE (Op. 2. No. 4) BERCEUSE AND FINALE (From "Firebird") I. I CHANT DU ROSSIGNOL (From "Rossignol") CONTE (Fairv Tale) (Op. 5. No. l) I EL PUERTO (From “Iheria Suite") Albeniz I CHEZ PETROUSHKA (From "Petroushka") DEVILISH INSPIRATION (Op. 4. No. 4) I ORGIA (From "Fantastic Dances”)- J. Turina I DE LA FOIRE (From MARCH (Op. 12. No. I) I JOTA (Rondalla Aragoncsa) (Op. 5) E. Granados DANCE "Petroushka”) GAVOTTE (Op. 12 No. 2) SERENATA ANDALU7A M de Falla I DANSE DES ADOLESCENTS (From PRELUDE (Op. 12. No. 7) GITANA DE LOS OIOS VERDES- V. Granados "La Sacre du Printemps") I DANSE INFERNALE (From "Firebird") SARCASMES (Op. 17. No. 3) EL VIEJO CASTILLO MORO K Longas 1 DEVIL'S DANCE (From "Tale of the Soldier") SARCASMES (Op. 17. No. 5) EL CONDOR PASA (Inca Dance) D. A Robles 33) MARIPOSA (The Butterfly) M. Sandoval I ETUDE (F# Major) (Op. 7. No. 4) MARCHE (From "Love of Tl.r ; Oranges") (Op. LA MARCH CHINOISE (From "Chant du Rossignol”) PETER AND THE WOLF (Tri.umphal March) (Op. 67) DAN/A LUCUMI E. Lecuona I 75) NOSTALGIA C. Suffcrn I NAPOLITANA ROMEO AND JULIET (See i and Mercutio) (Op. LA I PASTORALE INTERMEZZO (From "Sinfonclla") (Op. 48). ESTUDIO NO. 5 C Lomitt 1 RONDE DES PRINCESSES "Firebird") 1 15. O. L hern undo/. (From SCHERZO (From "Love of Three Oranges") PIRILAMPOS (Op. No. 5) | (Punch) Villa-Lobos I SCHERZO (From "Firebird") DANSE POPULAIRE (From "Romeo and Juliet ) LE POLICHINELLE H I SUPPLICATIONS (From "Firebird") LARGHETTO (From "Symphonie Classiquc") (Op. 25) I | AND SEVERAL OTHER SELECTIONS Price $1.00 (Except Canada Price ( Except Price $1.00 (Except Canada) $1.00 Canada) RCA Building • EDWARD B. MARKS MUSIC CORPORATION • NEW YORK iiimerable researches that resulted “When not before the camera, I spend much of my time on my farm How Music Has a the phonograph. another of my in the San Fernando Valley, putter- “Victor Herbert was SPECIAL NOTICES talking when ing about, etching and composing, iols. I never did much Helped in listening to music. A must have Lerbert was around, just listened. He man with his some interest outside of the work he AND eemed to fill any sized room once does. These interests keep my mind My Lite resence. I recall a visit to him Pennsylvania, where young and active. I have a small i Willow Grove, ANNOUNCEMENTS ( Continued from Page 848) every summer studio in the farmhouse and, adjoin- e played regularly to his ing it, a music room with piano, a dth his band. As he returned performance, fine phonograph and one of the most by the San Francisco Symphony Or- ressing-room after a perspiration, he complete collections of record albums SPECIAL chestra, Tinging wet with 1 NOTICES under Pierre Monteaux. the ranging his coat, roll up his in West, from Bach on “While I never had serious inten- r 0Uld throw off scoring down to Prokofieff. I still wonder to FOR SALE: Unused $200.00 and start right in Piano Course. Sherwood tions of becoming a musician, I had leeves, Will Sacrifice Patricia talking all think that we can have the great Davis, 10 Dixie Court, Lexingtr ne of his compositions— n, Ky. visions at one time of being an artist. every- music of the world right in our own while about this, that, and Early in my career, I quit the theater ie homes. was one of the most vig- FOB SALE: Vocal Scores af Operas for lina'. He Violin Music. L. P. c/o ETUI. three years, went to Paris on I ever knew, “I believe those in the music pro- rous and active men money I studied fession could well give some thought had saved, and zest for life. ith a keen FOR SALE: G3 colored slides Painting. I visited every important musical friends are: to the musical amateur. The ama- liui'khara -Among other illustrations o f r its Wagner s Ring art center in Europe, gazed long and John Barbirolli, teur loves music for own sake. of the Niebling p awrence Tibbett, ing machine, table and curtain lovingly Chailes He does not have to depend on it for w see Alice Pettingill, . on the masterpieces of Albert Coates, |}3i s i?,.0 iavid Mannes, St. Louis, Mo. Painting, Herbert Stothai t a livelihood. His enjoyment in mak- copied some of them. On Wakefield Cadman, toy playing on the ing it can be keen, but he must be return to New York, I set myself a few. While , name HOOKS ABOUT recently had treated with special consideration. MUSIC, musicians UP as The Man,’ I struments—new, old, rare ..-I a magazine illustrator. >t of ‘The Bad —bough*'" Marian An- These people should be taught music sold. Also, chamber music trios, m,. work you opportunity to greet quintets. rteis, was when Send us your offers i fascinating— a Phila- not so much with the idea of pleas- or us are from Ace Bookfinders—Larehmont, N. V. could get it. discovered some- “rson Both of Then I hour dis- ing others as of pleasing themselves. thing and we spent an John had already found out. Mphia, and If a man plays an instrument, even beautiful city, then usrcn CLASSICS, back ssongs, John, too, took using that records had the art bug and badly, he has a sure escape from his orchestrations. List 8**. Fore' s, -SH Frank- a lin St., Denver, Colo. fl ing at cartooning on the New D work, from the world, and this is not have a piano in my dress- York Journal. He promptly fired, “Since I peo- the kind of escape that has any was the M-G-M studio, - at j^nd reluctantly the ia i-oom hangovers. If a man learns to com- went back to if I use music ANNOUNCEMENTS ~j ® sometimes ask me | theater. like a know pose, not with the idea of publica- So did I. I guess it’s moods in acting. I fellow induce tion, but for the inner satisfaction having a reliable old flivver I MVEUSITV MUSIC SERVICE- ranging, copying. Words or ‘tod of expressing himself, he has opened music' com- then driving a fine, new car. If posed. Reasonable. Stephen Thomas Dpx ne another door on life. Art is inex- 2152, University, Alabama. can’t pay for the fine new car, he and vice v it leads you on. can that is haustible; on and always flivver. I to music n go back to the rfn listening a constant challenge. And, with A\I vr 10 It RETREAT IN FI, suppose It’s acting was in me; it seemed listening to I benelitting music professionals. T orth art as a companion, it would seem setting, practice pianos, 0 be the recital roi thing I could do best. that a man could never quite lose sort pleasures, rest, sunshine. For my mation write Box 541, West Palm in life.” Musical Memories interest COMPOSITIONS CORRECTED Some of my memories are and pre fondest psi red tor publication. Arrangements mad: tousicians I Horn melodies. Original music compose: ? and musical people fl . , Posed Va soon for- . Send .. . K for free criti- Ve the'piano'and INCREASE YOUR cism. Harry known. When still attending /down’° at the P Wooler, 3, Music, 148-1 g b has been a INCOME! Washburn Ave., Detroit ° n e East Orange, New Jer- * Ea sily —Substantially—Pleasantly see re5me“o»ce,stim- — y> us a to “r — Take Subscriptions for school boy, I grew !C j_ music and PI. A A PI ANO now in studying ETUDE MUSIC MAGAZINE JAZZ like dance and Thomas A. his wife. ant‘Tt‘°meto “e THE radio players. Quick mail course. Info: ma- Edison and - made my- j have — tilt Jot particulars — tion free. Erskine Studi o. ° I beliej W Dept. B, 222S ^°°k an of us anting, has Kosedale Ave., Oakland, Calif. interest in some for an a 1712 CHESTNUT ST. PHILADELPHIA PA. ai e better actor, ^hool. It was Edison’s fond- If a n ss fundamentals. for music in- minion that led to his 859 H I his powers. Any or all of these fac- produce most favorable notices from What is the Value tors—not one of which has to do his home city, yet unable to hire a Unifying with actual musical worth — may New York hall. Since this situation wreck the plans is of a New York of years. A single by no means unique, a plan might less - than - satisfactory performance be worked out whereby local music Piano Study and a single set of less-than-satis- lovers Debut? could enlist the cooperation factory reviews are by no means to of art patrons, clubs, and newspapers be taken as the full and final meas- in awarding a ( Continued from Page 855) ( Continued from Page 818) New York debut to ure of a young artist’s abilities. Of that beginner who made the most the ninety per-cent who retire to ob- favorable impression attended concerts there. in his own be exaggerated, I meant to Wherever scurity, there must be many have not who state. Further contests might imply you live, you have listened to the could be ar- that it can be dealt with in make a far better impression, ranged for the outstanding Town Hall “Town Meeting of The pupils of an off-hand manner. As the stu- if they had another chance. Yet not local teachers, the Air” discussions, under the direc- winner to be sent dent’s general musical progress ad- . all of these beginners £ ^ can afford a as regional representative tion of George V. Denny, Jr. The to the con- vances, he should work (but not ex- second chance. For this reason, Town tests of the Federation Town Hall, Incorporated, is or- . . of Women’s clusively) at an Hall has devised a means of giving Clubs. purely technical studies Local radio stations of ganization devoted to the encourage- miZ h! greater difficulty. V/hile it is use- certain outstanding young artists a persuaded to arrange remiHr , ment of the democratic principles of Buai Srecitals ful to take of second public launching, under the byhwWoilocal - problem passages out candidates for fame, their life. It maintains its own building in most favorable the pub- musical context and work at auspices. lie acting as judge, and West Forty-Third Street, the upper the winner them intensely, will “A record is kept of every recital being awarded such means stories of which a debut in » never are occupied by club given in the Hall artists give one all the technic he by under where he could be rooms and offices, and the street floor heard by the needs. It is thirty years of age. At the end of the major press. y tne advisable to fortify one- by the self, auditorium. Ranking musi- season, list not only speci- a of these names is sent The Town Hall with individual cians and lecturers rent the audito- has developed an men passages, to all of the New York music critics, other aid to but with the technical rium for public performances. young artists. Any formulae When with the request that each select gmner who be for all uses. A pianist may not gives his first so engaged, the hall is used for the one he considers pubUe con' work for ever whom most cert in Town Hall years at pieces without lecture-discussions and meetings of on a week daC encountering promising. The votes of the critics afternoon receives, scales in all the keys. the organization cost free itself. Each year, are then submitted to the Town a e uf Yet he needs wise phonograph , them. Thus, is records of his nP he Town Hall, Incorporated, offers a spe- Hall’s committee rf 0 provide music —a group of anee. Such a means himself with these scale- cial series of eight concerts, known distinguished music patrons which 5 ^an' ormulae — prmsal under actual for their own sake. The as the Town Hall Endowment Series. selection, perform^ iS makes the final deciding conditions is true of ar e work, thirds, invaluable to° Eny Slf P Sgio Seven of these concerts are given by upon the one young performer whose especially artisti lea an inexperie Ps, octaves, all the dis- the “biggest box-office names” avail- nCed gifts, abilities, and general demeanor one one - (In ^ case, at least th y technical problems. They able, and the proceeds are used to in performance seem most worthy of enabled 'thetne ecordin£s U ^ defray younavnnno- t?!L/r»prf^, included in the equipment the various expenses of the public encouragement. prove of eVery a critic i£ eSfr,?' ‘° piano student but gradu- organization’s own activities. It is e^ ali v — Tto’ t00n a ' ls ’ pr possible hint (or other °Sressively, never in concen- the eighth concert in the series A Proven Success f rat 6 ties. The award to doses, and never apart from which is of especial interest to a dis- “To this performer, the Town Hall tho m Iete stu dy of music. cussion of securing democratic pat- awards a recital, cost free, to be in- ,e Th^ ^ tSu5s *‘ student who wishes to im- ronage for musical newcomers, and cluded as the eighth in the Xuf thet Town O' -cording ^ form Prove by de- it is analyzed here in the hope that Hall Endowment Series during the s0 other communities may find a meas- re tha following season. Inasmuch as the on Waning y t0 1° toC ^eU°ce in r "es ure of help in solving musical prob- Series is planned as a unit course, SblttsT' th eadS lems of their own. and as the other seven concerts are wdl " given by the greatest artists in the The Survival of the Fittest world, the eighth concert is assured Meaaning of According to Mr. Kenneth Klein, of a capacity house, attention from ho Musical Memory newcomers are ?! these Director of the Town Hall Concert Demo?* cuiti the major press, and the most ad- patronage seems PUblic vation of musical memory Department, hundreds of debut art- the beSuesr, invnlv 8 vantageous sort of advance publicity. American ’ most mterest the way of . alertness, and ists hall year, eneo„r^ geuw , engage the each in The Town Hall Award plan is now young B 1 people to find these those l00se habitS the hope of being recognized and in its fourth year, and has proven so helping S“ thinking ' by *th x them to ataf cause people to say, launched upon their careers. Some “and "thinu . successful to artists and public alike feet and to °Wn know Was Thursday, maybe it ninety per-cent of these young peo- that it is to be continued. themselves Was or The three Frill ay , ' 1 m not does ple are seldom heard from again. awards to date were given to Rosa- not dn - sure!” This 1,n music. merely “On the face of it,” says Mr. Klein, land Tureck (for her all-Bach piano think it You can’t 1S “this must look as though the great the chord C-major “11 recitals) , to Carroll Glenn, violinist, Musical of y Broadcasting need- v U proportion of our debutant artists and to Dorothy Maynor, soprano. bave to be In es_ Al- senee . sure! ,,?U are less than satisfying, but experi- though the award does help merito- 1Cal memory the same Events of as ge’ne, ? is ence shows this to be far from the rious young artists, its chief purpose Importance memory. remember easily if You actual case. There are many con- is in no sense a charitable one. It is U Pay ( Continued interest- attention through tributory factors which can result in given to provide from Page ?i? recognition for and gl2) ayerage person remem- hers the , an inexperienced artist’s failing to encouragement of genuine artistic son of a eIeph friend: “He’s in«f Wends °ne numbers of his do himself justice. He may be feeling accomplishment. And besides aiding sical a ~ granddaddy to mu 11 thou would be me rve i quite Sh he ill or excessively nervous when the the young artist, lea unaM the award acquaints a lot about music ™ed of bvy “toningilstenlis’w t0 repeat a string great day arrives. Or inclement the public with the performer found broadcasts.”broadcasts m to his nnassociated hhmbers. His interest weather may keep the public away worthy of selection. Our records There stimulate,;,? will be three hlm . to do student recital, Music will so - Tlle from the and a near-empty show, further, that local managers ciation Appre - find ti programs during e music a devestating effect rf„ in can memorize hall has on a all over the country are willing to the 5th, 12th, i^mber-. which u ? and 19th s performer’s spirits. Or some major ‘risk business’ with the 0 °f interested, provided, winner of a of the 5th is divided course Vn I be performing at another between ^' ‘ he it id' artist may Town Hall Award.” Se telligenti’ . has learned A (Instruments ol nes same hour, attracting the 0l , hall at the This seems an ch theflrstplace - altogether demo- and C (Form in «*„“!, : estra) Throu’hn\ Music) llt both public and first-line critics cratic means of providing patronage part Thehe ia the entire course of of the program first P n 0 stllrt wm1A ' away from the newcomer. Or the for young artists, COncei lnterest intelligent1 ' and there are a self with music°for*har n1 it- tearnino-'nino. anaand interns^ critics (who often have several events number of ways in which and pi 1*-* Combine roduce smaller and the latter part with^-^^ pianano0 satisf;factory t0 P to cover on the same night) may communities, Theme results without an organized Variations,” and I - For reason in which a hold that the first half of 1 th? drop in for the pro- Town Hall system, could novenie the i derive help- from - nt to most; intelligent way Tschaikowsky’s <‘o n i cautur . gram only, taking their departure ful suggestions from it. No - ” ntarest For example, will be played. On the 3 study and insure good before the young artist has really 12fh o hahVDlts Mr. Klein was visited recently (The erie is1 to by a Imaginative Sirtp »* s B w - approachanwnonv? the sub" of found himself, and leaving with an young American singer, burning D Music) nnified to (Comnosers)(Composers) —the each whole, allowin’,' honest yet incomplete impression of be heard in the metropolis, Program s able to ( Continued on ComPonents supple- page _ h f to never the 860 other. to supplant , New Metropolitan Star {Continued from Page 802) ^Another Lyric Theater was formed, he was concert engagements, he was present OF S HERWO OB'S engaged as a star of both Broadway for preliminary, semi-final and final productions: “The Devil and Daniel auditions. After many eliminations, ristixgiished Webster” and “Susanna, Don’t You among seven hundred contestants, ARTIST-TEACHERS Cry.” He sang with thee St. Louis he was one of eight finalists who Municipal Opera Company, with the waited and hoped and hardly dared cut New York Oratorio Society, as guest to breathe while judges tried to Then, JMaria Hussa star with Grace Moore on the Ches- the list down to three. when verdict was given, Lans- terfield Hour, as soloist with the at last their his reward; he Formerly lending soprano of Berlin and Hartford Oratorio Society, and he ing Hatfield received check for one Vienna Opera Companies. Acclaimed concertized throughout the country. was presented with a together with a sil- by American critics her performances By the time 1940 rolled around, Lan- thousand dollars, for March 23rd, 1941, as guest artist with Metropolitan sing Hatfield had just about every- ver plaque and, on Opera, Company con- thing a young singer could wish for, a Metropolitan Opera and member of Chicago Opera Company. only male winner. with one exception a contract with tract. He was the — Instruction from eminent artist-teachers is available to talented students the In next month’s Etude this depart- Metropolitan Opera Company. from the beginning of their studies at Sherwood. Degree courses in piano, will tell the story of another But Auditions of the Air were still ment violin, voice, public school music, conducting, cello, organ, wind instruments, winners, giving the interest- being held, and, being a Hatfield, of these theory, composition. Moderate tuition rates. Dormitory accommodations. told to the writer by Lansing had no thought of giving up. ing facts—as Write for free illustrated catalog. 412 S. Michigan Avenue, Chicago, Illinois. Kirk, of the manner in In 1940, he tried once again. This Mary Van rose from a newsgirl and time he succeeded in passing the which she to Metropoli- ice peddling childhood jury, and, although it meant flying- cpf/emmr/ ivlusic School five tan stardom. thousand miles from various INSTITUTIONAL MEMBER OF NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PIANISTS AND TEACHERS! pu now to attend AMERICAN CONSERVATORY SPECIAL HOLIDAY-WEEK CLASSES MONICA. CALIFORNIA OF MUSIC — CHIC AGO in beautiful SANTA GUY MAIER'S 2 Offers courses in all branches of music and dramatic art ‘Dec. 29 to Jan. Faculty of 135 artist teachers Demonstrations. Member of National Association of Schools of Music Materials, Teaching MORNINGS: Technic, Send fora free catalog—Address : John It. Hnttstaedt. President. 583 Kimball Building, Chicago EVENINGS: Style and Repertoire. Lessons, Art Private . ALSO: Technic Groups, . omca, at. Address: 503 Alta Ave., Sa n a INCLUSIVE CLASS FEE, $25.00 gfljFQlrbrlanfcJnHtitutp nf (J)itgtr COLLEGE OF MUSIC — Eat. 1885— Confer* Bachelor of Music Degree, Master of Music Degree, Alviene Tlieatn COMBS Artist Diploma Academy and Faculty of Nationally Known Musicians * SSS'tltS '?» BERYL RUBINSTEIN, Director, 3411 Euclid Aven = , Cleveland, . Ohio me .ST ; Ffif. '! :!!K1 (I'li-nH-i TRAINING Make Place VOICE » COLLEGE OF THE ETUDE Your Marketing and Teachers BOSTON UNIV RIVERDRIVE Seriou-1 Students SCHOOL OF MUSIC&flRTs Etude Advertisers Open the Doors to Real Thorough preparation for < WEIGESTER svausic1 84 Riverside LOUISE ill music. B.Mus., M. Mus, Ed. and Drive STREET " — A M. degrees, and diplomas. Voice. Piano. Organ. Opportunities WEST 73d New York Violin, Cello. Brass. Wind and Percussion instru- City ments. Public School Music. Theory. History ot FREDERICK G. KOEHLER, Director Music. Musicology, Composition, Church Music. Dormitories Distinguished faculty, including many Boston Symphony Orchestra members. Cultural opportu- Students may enter at any time. nities of Boston. Attractive dormitories. Catalog. or catalogue an,l information Alfred II. Meyer, Dean, 5.1 Blagden St., Boston. address Secretary Mass. A Revealing New Book - PHILADELPHIA CONSERVATORY in two Parts PARAGON OF RHYTHMIC COUNTING 1942 CALENDARS OF MUSIC FOR ALL RHYTHMS Room 122 , 120 Claremont Avenue, New York DECEMBER. rvU c- ;; ; . : - i j $iano anti H>ong $3ooUs; for JSottng Jfolfe QNCE-UPON-A-TIME STORIES OF * MY FIRST SONG BOOK— Familiar THE GREAT MUSIC MASTERS— For Songs in Very Easy Arr's for Piano—By Ada Young Pianists—By Grace Elizabeth Robinson Richter (75c) Holiday Cash Price, 50c -lo songs that everybody knows, arranged so -Imply that 1 ($ . 00 ) almost anybody can play them on the piano, even youngsters Holiday Cash Price, who have had hut few Icsmiiis. Complete lexis are given to 65c Postpaid enable Mom and l*op t» join in the fun. Tliis comb inulinn of elements — Pictures—Stories — Musi'— is MY OWN HYMN BOOK— For Piono— irresistible to children. Each By complements the others in such a Ado Richter (75c) tray that, as a whole, they .form Holiday Cash Price, 50 c Postpaid fascinating entertainment. Each ' ' ' ' • Another rolled ion from Mr-. 1C of these stories is of a (treat arranged for first and second g ailes. the fifty iwn hymns in- master, related in language clear eluded retain their full e.-sein Favorite pieces the to a child. by regular service when needed, hero of each story are introduced cover Hymns for Every. Iiu.v am llynuis tor Spci-iul tleeasinns. in easy form as the tale i* unfold- Among the familiar title- are: t nan , Thau Almiyhtu Kina; ed. and suitable illustrations are Sun of Mp S'oul ; Hull/, Hula. la'a!; All Hail tin Ptnrtr of generously placed throughout the Jesus' Same ! ; .1 nuele fit.ni tlr. Realms af Clara: Christ, tin book. The twelve composers thus Lord Is Risen Today ; ami hit •: irith Mi. introduced are: finch, fieethoven. Brahms, Chopin. Handel, llaydi SINGING MELODIES — An Album of Piano Solos with Words ( 50c ( NUTCRACKER SUITE (Tschaikow- Holiday Cash Price, 35c These are not merely piano solos with texts selected at runduti Sky) —A Story with Music for Piano—Arr. by as a stimulant for tin- imagination; they are real songs that Ada Richter (60c) youngsters run both play and sing. All ar. -afely within the range of the average child voice. Holiday Cash Price, 40c Postpaid The bright qualities of Tsehaikou sky’s ever engaging music * are fully retained in this; adaptation, and juvenile musicians PLAY AND SING— Favorite Songs will revel In learning work The entertaining the as a whole. Easy Arrangements for Piano— Ada Richter story, founded on that of the original ballet, is interspersed By throughout the score, and the work is charmingly illustrated. |75c' Among the favorite numbers arc the Christinas Ballet ; March Holiday Cash at the Toy Soldiers ; Dance i./ tin t'andll Faint; Dance ol the Herd Pipes; Chincso Dance; and Waltz of the Flow, rs. Price, 50c School songs, songs CINDERELLA A Story Book with Music of — PLAY^SING other lands, songs of my for the Piano—By Ada Richter (60c) country, songs from Holiday Cash Price, 40 grandparents A telling of the fascinating childhood story illustrated with sang long ago. are the group descriptive piano pieces about grade 2. Plentifully interspersed ^DAJIC^tER titles with line drawing pictures that may be colored. of tlte 4(1 popular favor- ites that are presented iil this collection of ar JACK rangements AND THE BEANSTALK—A Story piano pupils ELECTED MUSIC Book with Music for the Piano Ada Rich- ALBUMS ASD —By study can play. ter (60c) Holiday Cash Price, 40 BOOKS AT This telling of the favorite childhood story is enhanced by BARGAIN FOR clever little piano pieces used as a descriptive background. PRISCILLA’S WEEK—By Mothilde Bilbro PRICES These can be played by the youngsters, too. as none exceeds (75c) Holiday Cash Price, 50 c l HE grade two. The illustrations are quite attractive and may lie GIFT-BUYING colored. ’Then* Is something definite and understandable lo Hu; little SEASON! student in these seven interesting first grade piano solos vvfiich, in texts, music, and quaint illustrations, follow busy little BOY’S OWN BOOK OF PIANO PIECES Priscilla through her week of domestic re.-iHiit-ibilities. (75c) Holiday Cash Price, 50c Every liny piano pupil ready for the second grade of study should have this allium of 2.’( compositions. These pieces are of types which appeal to t lie lads whose imaginations are as lively as their physical stives. JT,motto GIRL’S OWN BOOK OF PIANO Collection* of $uH0 PIECES (75c) Holiday Cash Price, 50c Alug(t Little ladles, gifted with dainty charms and graceful qual- ities. will LOVES find. In these 2-1 grade 2 and 2',i piano solus, MELODIES EVERYONE musical prettiness CLASSICS appealing to them. —A Collecfion of Piano Pieces for FOR rue pil,d b the Grown-Up Music Lover—Compiled V Lucile Eorhcrt URCH PIANIST-Com- |$| ,£" SONGS OF STEPHEN FOSTER— In and Arranged by William M. Felton Ooliday Easy Arrangements for ($1.00) Holiday Cash Price, 60c Cash Price, 60c Postpaid tiklit ’» il..,- "r . Rich- - "Xl.miiiil,t-r. Piano Solo Ada This I ittok Include* pluito solo arriiiitiemc.it "midcr t || ( — | ( By Hed to thirty- piano pine-, viujln " 1 '"'aplaiiilily ft, unit u-e. H- tin- hands" of favorite -one-, t' oViti’i I fur » heir ter (75c) intlie ito lit- it, u hti ull-e of organ number- ami even -nine olchc-tia r-o-n- t-ontouts -ii„i and e Hie operatic- 1 " ,ls meditative type make up Holiday po-itinns, together with a couple of -elec- ?• ''"ok v lov.'lv“ l> American folk songs written 1 1 1 Ponce; Waltz from Borneo and Juliet, Cau- tiful a . by Stephen Foster, such as Btaa- nad Prelude lit (l Minot, Rachmaninoff Proces- tin t il ill On inner, Jnwir irith sion of tile Sartlar. Ipiinlitoff ten nun ; Tilt Slialei- evening Joe, Moods ip Brinni Hair, Old Black Waltz, Waldtenfel ; Val.se Ulitetit. Diiyo, Volet- or I. lit c (lurch Or lbum etc., they'll be glad to make of the Flowers, from Naila. Dclitus ,- When Home Pia the and Waltz Pio„ ist ') "° Solos (or the acquaintance of Hina dr Bun jo, dinacimi Fall; Sami: and the Finale Hot-, the Willian (7 5c OentD A nnii and Doirn I mono icily eat. be played In those 'his tin Cane Brains in till' book of album cont-iti Holiday Cash Price, 50c o- ""'"d. Perhaps Pimm r(iii,|) 28 easy piano pieces based |,Y l,.-e tls j| 111 ’ S'lliu-vt •'h'li va.i-v Foster melodies. ru, "T-free. - l! It;, i„t„ medltullv m-'^oo'i' ,hc * CELEBRATED COMPOSITIONS e+ttSJn “ BY FAMOUS MISS. SW ” SOUVENIRS OF THE MASTERS— COMPOSERS— For Piono Solo $1.00) For Piano George L. Spaulding ($1.00) —By Holiday Cash Frice, 60 c Cash Price, 60c Postpaid Holiday 1 of • 1 ' hale The. library 1 lb.-.- impel • i-halde second grade) of some J I”, gems of Those 27 simplified arrangements (in J ^ H P of famous music gems, tiling young pianists to an i( contains. sineete :i the world's the 34 selections The Inter of mosie migbr'ti' knotv t ^ASU _. worth. 'iIoom' YY ow RE An enthusiastic appreciation for music of lasting mid surely every pianist should have them. The ronu-nis are: V l-’iir l-'l Beethoven; Intermezzo, Brahms; The Flatterer. < 'Itamluade ; Stair j, ^ rr °nged Chuinimtde: Funeral Match. Chopin; Xmiurnc. t'lmpln: 1 by Hiiiiioic.sk ($ . 00 W r c. Dvorak- * FROM FAMOUS SYM- The Bolden W etlding tiuhriel-.Marie; M'l-ond Mazurka. (lodard- ) FRAGMENTS ' Sei-nud v-il Berceuse, Gtit-g; Butterfly. Grieg; Baines Godard ; The' Celebrated PHONIES—For the Piano—By William Jensen - •• • • Holiday Gipsy Hondo. Haydn; The Mill. Jem ; Prelude. h'opylow Idil’ht" cash ; Luck-'v-iKc Price, 50c Izkj ; Tin- du.-l' H.a. Cash Price, Clirouiatlqtic, Lesehet Musi Llu.lmv ; 75 Holiday Spring Song. • ( c ) M. tidelsst.li,. 60c Moszkmvski; Men net a . Postpaid till mush .the rmhn Serenade. ... Modern facilities for listening In lineal somewhat JluchmiininntV; Itomani r , past symphonic mast Poltlinl ; Prelude, lluldmtti in ; Polish n ' mill the phonograph have made -he great ;, Nl Serenade. Schiibeit- Heller; Triluinerei, S l "”'*t als '.‘"kKlIiig themes ate pre- vvenka : Sehliiiimin " bits' pieces familial to all ll.-rc. some favorite ; Little lini,,., 'm-ii . Srlmitt Tr.umieu-i 1 1 Schumann: Rcyerle. Stiui.ss; Simple Aveu. ,".-’ " h'avt-r! sented in plutto arrangement of grades 2 and o. Thome: Cl,«„[ Il'Vn,, s Paroles, Tschalkovvsky ; June, Tsehaikou sky. MUSICAL VISITS WITH THE MAS- Pic ifidci;;" TERS—Compiled by Bruce Carleton (75c) SOUSA ALBUM— For Solo—Favorite Marches by Holiday Cash Price, 50c John Philip Sousa ($1.25) Holiday Cash Price, 85c e.teh of Hi j-: h In tills hook just one composition "f Some of the very truly representative of the con includes Stars and Stripe . Fan 1. FI t 'apilan. IL it presented, u work considered 1 of cadi master is in- Welch Fa- Ha is. it. poser's style. A page showing pictures The Royal pasted hi de.-ii,- cluded. These pictures are to lie cm out and ^SCHAtKOWSKY biographies also art natetl places throughout the hook. Brief ALBUna given. SCHUBERT For Piano Solo ($ 1 . 00 ALBUM— '$1.00) H ) o/ida y Holiday Cash Price, 60c Cash Price, 60c Postpaid The heauliful and lovuldn inolntlles ol ; hooks told ottlr i piano solos. The gieui popttlarliy of tit ortment of the i It ithtrly when it- 2-1 numbers may lie ret Special prices are for cash with order. Remit by check or money order. U. S. Stamps acceptable. : : 1 ' • c of Uxongs ©rgan Collections poofes; on jHustc * SONGS FOR GIRLS ($1.00) AT THE CONSOLE—A Collection Transcriptions from the Masters for Holiday Cash Price, 60 c Postpaid of YOUNG FOLKS' PICTURE HISTORY or Electronic Type of OF 30 non-romantic but attractive songs, which are ideal for the vocal study the Pipe Organ MUSIC—By James Francis Cooke ($1.00) work and repertoire of the young lady. Their texts are free from lovelorn Organ—Compiled and Arranged by extravagances and foolish sentimentalities. William M. Felton—With Special Reg- Holiday Cash Price, 70 istration for the Hammond Organ Gives the child student nn ncquuiiilutiee with important things con- cerning the earliest known music, anil the development of music through ail devotional solos for church and 1 . 00 the eras of the great masters. Over 100 cut-out pictures are sup- ($ ) plied to be pasted in tile hook. These pictures illustrate incidents in Home 1 Price, Postpaid — ( $ .00 Holiday Cash 60c ) Holiday Cash Price, 70c Postpaid the lives of great composers, show their birthplaces and other musical One of the very compilations in mnny days, best of sacred songs made shrines, include portraits of the old master- and famous r-very number collection worthy of modern com- Is of a standard such as to make the Anyone who plays an organ will agree that this posers. and give pictures of practically being pre- all of the instruments of the recommended most highly. Songs for the average vocal range recently issued volume of over 140 pages is a re- modern symphony orchestra. dominate. making the collection acceptable for the average Church singer, markable bargain, especially at the special holiday no matter what ills or her vocal classilication. Iicsldes songs suitable for pricc. The dual registration indications make its general use. there is included one for Christmas and one for Easter. Such 1G compositions available both for those who per- well-known and favorite writers as Hammond. Spross. Felton, Stulls, form on a standard pipe organ, and for those who r.(linger. Galbraith and Roberts are represented. play the electronic type of organ such as the Ham- STANDARD HISTORY OF mond. now being installed in many churches, studios, and private homes. Concert selections MUSIC— Latest, Revised Edi- Compiled and church numbers are Included. CELEBRATED RECITAL SONGS — tion —By James Francis Cooke and Edited by David Bispham ($2.00) (Cloth $1.50) Holiday Cash Price, $1.20 Postpaid Holiday Cash David Bispham. the great vocal genius whose fame long will he remembered, Price, $1.10 selected the 11 ancient and modern songs for this album and personally THE CHAPEL ORGANIST—Compiled by Rob Roy supervised all editings, revisions, and translations. Actual lessons are given This, the "best seller" in musical litera- on several of the numbers. Singers, as well us music lovers interested in Peery (Cloth $1.50) ture for more than a quarter of a century, we best of music, should have this volume. Holiday Cash Price, $1.00 Postpaid leaps to new heights in Us latest, revised edition. Added matter, to bring the origi- and postltules ami accept aide melodious nal text up-to-date, ha- enlarged il to This is u good supply of easy preludes book makes registration demands SONGS OF For High Voice—For Low offertories. None of the -S pieces in this 321 pages. Ilere is a thoroughly enjoy- CHARM— pedals. Of the average . -manual organ with able story of the Voice ($1.00 Each) beyond the equipment romance and lore of music. Over 2 GO illustrations. Nearly 000 Holiday Cash Price, 60c Each, Postpaid names and well over 1 00 subjects arg in- These song volumes one for high voice and one for low voice—are offerings or — the repertoires of student singers or of vocalists who want a gooil selcc- inni ' state which voice " K SOn ° S f° r KeIU lal « l| dieners. He sure to ls°desfrcd PRESSER'S TWO-STAFF ORGAN BOOK—Com- THE LISTENER'S BOOK ON HARMONY— and Arr. by Wm. M. .r- piled — An "Open Sesame" to Musical Enjoyment—By Law- Felton ($1.00) rence Abbott (Cloth $3.50) Holiday Cash Price, Holiday Cash Price, $2.50 Postpaid 60c Postpaid The outstanding hook on “Music a- a language of tones and chords." • offered will Hy means of able discus-ion and Bargains in books for music folk are here ^ The 32 numbers In this book thematic illu-traiion. it lays firm, sts. al- logical foundations for a fuller grasp of mu-ie’s prove very useful to all organ meaning. Re it sym- to aid prices tne> phonic. string quartet, hand music, your Christmas shopping. Special cash though the special way in which or the latest "hot jazz" arrange- real aid ment. Mr. Abbott’s book leads to a direct pereption are are presented makes them a of the composer s net and exchanges, nor There are message. The author is a practical musician and postpaid. No returns, to the beginning organist. serious thinker. His experience as assistant l)r. Walter V. to Hamroseh in arranging the examination privileges reduced prices. Send notable Music Appreeialinn Hoot-, at these living oo no- MU’ and hi- rational aivroaeli to his subject qualify him pre-eminently f°r for the left hand. to prepare -mb n work a- i- complete list of Holiday Bargains. If?ese Special 1941 Only! Offers Good Until Dec. 31, 'f. and Edited by PIANO PLAYING WITH PIANO QUES- * ECCLESBAE ORGANUM—Compiled TIONS ANSWERED— By Josef Hofmann (Cloth C. Carl (Cloth $2.50) UrDr ' WmW Holiday Cash Price, $1.80 $2.00) Holiday Cash Price, $1.45 One of the most highly esteemed amt must extensively of music chosen specifically used sources A well assorted collection information upon vital points in piano giving ill of playing. Reside- church u-e. The contents are elassilted. for guide to modern phum-forte playing it gives aiillmritative anil 10 Hostilities. an preludes. 10 offertories two hundred -peclllc questions on the subject. * THE ORGAN PLAYER—Compiled by Preston Ware Orem (Cloth $2.00) STUDENT'S PRONOUNCING MUSICAL Holiday Cash Price, $1.30 DICTIONARY — (Pocket Size)— B v PUBLICATIONS answers practically MUSIC This immensely successful alhum Dr. H. A. Clarke (30c) PA. even need of the average organist. The select inns ate PH! LA., three-manual organs. 1712. CHESTNUT ST., adaptable lo either two or Holiday Cash Price, 20c Postpaid All the musical t pints in common u-e are found compact in this little -storehouse of musical in- Borie and formation. Includes birth anil 'SfSSs** STAY WELL!—By Lysbeth Boyd death dates of over LET'S 350 famous musleitms of all times. AAda Richfer (Cloth $1.00) Holiday Cash Price, 70 c Postpaid ill song, in keeping with ottr national , I oi.t. ami happiness $tano Duct iUllmms Hints for songs for eh 11. Iren definitely MUSICAL DICTIONARY [e these eharining little AND PRO- erusade | q nieans of Mr,. Rories delightful ami amusing NOUNCING GUIDE— By H. N. , Redman encourage , l implied, and by (Flex. For i, lih rule after another is CHRISTMAS Very Easy Arr. one sugivr-eoiit'o, ca In texts, , , . of Hie refreshing Cloth 60c) CAROLS— m (.„. v leani some of the tunefta Piano means . ( /„tr Cli.tr YYutii; Yo.d/i llnnli thill: Duet— Richter (75c) . Holiday Cash Price, 45 c By Ada titles are: innnin Postpaid , . fn ;. The engaging illustrations , ,y„0 W ( Holiday Cash Price, 50c Postpaid p „ Smyth. Thi- is a mighty tine ami quite comprehensive dictionary The gully colors, red and green. are by Btbel * of -decorated cover in the Christmas music terms. Convenient size, 1 " x 11". "if111 attractiveness of this line collection of carols as , v " J01,ngle nin.lie... O-I... tile Slaves in pianists. The t re printedprtnteo nemeeiibetween nn “hd the arrangements e used to accompany the singing. tlje Violinist CLASSIC MASTERS DUET BOOK—For the JFor CHILD'S OWN BOOK OF GREAT MUSI- Piano Leopold J- A Series of 19 Booklets, Each —Compiled and Arranged by of favorite first position CIANS— Devoted to 75c Price, 50c Postpaid » album a Great Composer (Sold Separately) ) Holiday Cash — —By Thomas jr - Piano ($1.00) wort" of t" I For Violin and i'lysleiuns have been quick to recognize the charm ntnl IPBFCES— Tapper (20c each) Itle Mi < Price, 60 c Postpaid rolled loll need will. Its Holiday Cash which, new as it Is. Ims proven Its Ils lhe.v 1 rout on ts and tin- arrangements in which Holiday Cash Price, 12c Each ... muslclaiily o l'l" v 1 '" Postpaid Mozart 1 m -2 cii.-y t« 'I? ‘itn.l attractive pieces foi .-ludy and J "“lly Here. In company with pieces by : 'J^ovl.le'meloiVl.jiis a 11.1 Heailutll.« works as H tss.l r > accompaniments are effective but not difficult. one finds such exquisite early plu.vTti g ? Piano Bach MacDowki.i, reel l' id" Scitrxi.yxN arhcrsnnriii Krebs’ Honin’: Couperins eirlv" Mknuklshoiin 1 4 by Marplirg. irn'fi Mrnurl; Kirehhof’s Omntt- and the Komi" liltAllMS MozaUt TsvtlAlKOWSKr nitre are For Violin and Piano ($1.00) twelve delightful numbers in all. SUIWWBciunAV MUSIC— Holiday Cash Price, 60 c Postpaid Dvorak SIDE Boot for Y°U"9 violin pieces. Their dignified Characteristic- BY SIDE—A Piono Duet , , _no! difficult , substantial, bill silitable for church or Sunday for Hi t|||l|a 1>ar t i.-ularly There is a real musical Incentive young students in these booklets Players— lies o> cauiuii By Ella Ketterer (75c) .. mid iillllll with their cut-out picture- ami simple, yet gripping stories of the Postpaid solos. ides the dll out. pictures Holiday Cash Price, 50c School great rompo-er-, lie- to puste In the story, ''hat untlultnietivefr'1 each hook ha- a needle, silk -cord and direction- a- tn binding Blank a charming Imok li- very bright ibis I.-, from For Violin and Piano pages al the hack perm it the child to rewrite the story it OLD-TOME TUNES— In his own lus ' measure oi the tenth little duet number «-aw«TiR 8TEI T„tbese ,,u FAVORO words, lit this ChibV* Dint ttmik of Hi ml Miiniriinin series there duets are of study. In s“ ", « Cash Pricei 60c Postpaid is a for the first and sceoml vear Holiday for melody K There 1- booklet each of i he above eompo-ei- and these are sold separately. In .SYrn.trfn 5 1 - UU00 the Hriorn; in ottrs it, ,i,e ($ ) Join the “fiddlers" in playing old fandUar Tastefully ,-ioiinists frequently ' gratlc piece-. “'" l kcy varU ty f'"' such early collection t. Illustrate, ii- owv many copies fltui run-: , f Christmas slocking. RECREATIONAL ALBUM— For Piano Duef Play- (.'violinist’s GAMES AND DANCES FOR EXERCISE Postpaid (New Edition) C$1.00) Holiday Cash Price, 60c TRANSCRIPTIONS — By Arthur Hart- AND RECREATION —By William ’ 01 stoti. '. OF ' "r " lighter or keyboard di vet A. Stecher and Grover pin'" type for recital use. A Piano W. Mueller (Cloth $3.00) "‘mini ate 'uverladel. /»" > i-V Violin and ISI.00] ability. Swniiimi Dnffi.itih ; fiwrr I > mann^„_Far 1 Hire.' i iD'c Cash Price, 60c Postpaid Holiday Cash Vcdova i llniriiiiiiii \illhl » Holiday Price, $2.25 ideata nf In”"/" , and Postpaid of u>e Interesting contents. gift book On. An invaluable aiionnl directors, tamp leaders, school " and kindergarten teachers, a .1 workers in -imilar field-. Fiom the CONCERT of two authorities on the 'Object DUETS pelts in the l’hllavlelphia schools, this excellent work in It- enlarged •v li t Holiday Price, 75c Postpaid loll contains more than four hundred Cash page- oi useful and helpful i. ea- hvcrj age from For Violin and Piano—By Thurlow early childhood to i maturity been eonsi. i of substantial ounlflW i«MELODBES— full ha- red. Mu-lc for -nine iff There is" wile ONDBAira the dances is .ipularlty. Cash Price, 70c Postpaid Included, dlngiaimuutlc drawings. mod 1111 Holiday and tout limy hatidh' * - "™ e difficult. tersaJrtttyw December, 863 Nicky s Journey of Ihankfulness Wartla ^ W. St,- eiucirt • “*vciea upward to v*I, , , the littlettle white °ne thing~'THANK white^hurchWp^rj^church tower as he heard EVERYONE; God’s the chimes ring out with thank all of O Come AU People. Ye Faithful. His thoughts went back ‘Yes!” to three Christmases he cried. “I’ll thank them ago when his one wish With my music this Christmas Eve had been for a violin 0h h night, i’ll thank as many people as I .° W 1 wished for fa' ,’. one," he can, thought to himself, and maybe the great kind one “but I didn't how see will be one I would ever get it-and m of them.” Wrightvviigm naahad said And thatL lunight& nc amid lightly fallingiaiiuig he would teach mp n-t me bitsltS °off to Dlavplay if nnlv T v>r. ^ . . snowsnow, NickNicky, violin, only I had one And m ° > y, with his Christmas Eve WGnt °n his j°urne thankfulness, a violin in’ a shim/ y of black case was left From house to house went—big at the door i, he wonder t ?hii bouses, who left it there ” little houses—all topped by .GEST “o Come, ®’.nter ’s white with Let Us Adore Hie, rs snow and all Come, Let bn Bhtly-lit Us Adore Him ” ram windows, the silvery As Nicky' chimes from the church s sweet Christmas carols Each ringing note ated through toward went straight to J° the chilly air Junior Club Outline Nicky s heart. he wlndows out How , thankful he was ! eager faces looked that he had a violin 4° See him there and had learned Paying so earnestly Assignment for December to make beautiful “ the ni ® ht - music with it nl how he S° loved its music! me 01 these faces some Now if 0 nlv „ were sad; (a) At this time of year we turn (f) What is the meaning of the he could find the gay; as person who had tT* others were tired. But to the thought of Christmas and its term motto crescendo? made him so happy_ the notes of music if only he CQ Nicky's beautiful full meaning, and to the singing of (g) What is an interval? ethm l6d the r the one night air a11 of the faceS Christmas bbrnu vht if J° who had bhi ’ carols. What is a carol? 4 S h beauty into aame happy, wh? J° his life] (b) When, where, and by whom are sorne had first seen thing elseeise nappeneihappened too. Christmas carols thought to have Nickv'J r Th u ee ear rts^ of° f the PeoplePe °Dle whoWh° *“d been originated? was ^el byAhe E °’ he ^NiptCKy u — b eautv ? ? became thankful, oh so thank- and its W °°d ful (c) What is the meaning of the graceful lines' the°n word NOEL for Nowell) so often used Musical Program Played it, his eyes 6 r Nicky shC^had.’ for nehe had y wasWas thankingthanking the wormworld in Christmas carols? program should in- never fingered ou m..,,’ that u The December V c°uld make he was , . music; (d) Who wrote the “Christmas clude Christmas carols from various th Oratorio?” countries, either sung or arranged with for piano or violin solo. Also, if pos- such an Keyboard, Harmony his sible, include some recordings of the hands and such a song hr his heart in the world was happier fe) Play the following pattern of Hallelujah Chorus from “The Mes- If only I know whom on nu.n to thank '• nas m Nicky’s- tonic, said Nicky As fu °ming than subdominant and dominant siah” by Handel and the Shepherds’ as he put his tn finlemg rs inm peo Ple gathered at the triads in any six major keys without Christmas Music from the “Christ- his curly brown hair. little churcb on clear De- stumbling. Oratorio” by Bach. cemhe that mas 1 ay hanmy ’ their hearts were gay> and the chime*’ thankful. And as again ‘‘° n£Ri?YCf)f?(srnas C°me raPg out’ Le???4 Us ThE Castanets trulv Ad°re Him," everyone Hln’ as m “ d thanked hever°befofe B Gertrude QreenUgl WJL f \ / Barbemay had just come home and now we think of castanets as from the concert given by the Span- being purely Spanish. They are made ^ of very 1,1 Can ish dancers and musicians. She was hard wood. A pair of casta- Recital for Decei thrilled and excited. “Their rhythm nets consists of two shallow shaped Vpo „ ... can was superb,” she told her father. bowls held together by a cord; they iJthe IS recital. “And d S that? “They were very graceful, too, and are small enough to be held in the Well ” you ask. last Decn ember, the castanet playing is something palm of your hand, with the cord reading i„ you rem yolu' I’ll never forget!” She paused, then over the player’s thumb first a Junior Etude and don- leclt . “I to finger. where said breathlessly: want learn The pair held in the right audience „ every one We11 to play the castanets. Do you think hand is of a higher tone than the as the erf0 themselves h P I could?” pair held in the left hand. It takes ‘ a d°U for admission 'anTtn “Lots of people have learned to a long time to be a really good given then the dolls to tv, , and play them well, too,” player, lldreu play them, because there are so many °r children’s m orpha n S llomes^ her. “They are very old rhythms to - he assured be learned. A good play- And th in musical history, dating away back er can roll them about as fast as a but r Cital is Si: instead^ofa of 2?bunging? to the time when the Moors were in drummer can roll on his drum. °ne in a doll, th addle Spain. You know about the Moors?” Dancing the rhumba or tango and Performer, nee, as well a Daddy, I don’t really know playing the castanets at the nselves “Well, the same his ' bdng: admission a ! much about them. But tell me some time takes skill.” of food Th™ tin Of food—anj more about the castanets.” “That’s all very interesting,” said Come, Let Us Adore Him ge basket '»? ,"e plaCed “The Moors were great castanet Barbemay, “and I’m going to try to Come,; T’ °o d glven al Let Us Adore Him the Phanage or l t to players, and they took them to Spain; learn to play them.” sang again, Poor * h ° and to Nicky they People me ’ d ~ who areTaie are in nee„ J °. hungry anc I Chnstmas cheer. 864 : Christmas Carol Puzzle Is it more fun to belong to a Start at the lower right corner, Junior Music Club or to study by move in any direction to the next let- myself? ter. What titles of Christmas Carols (Prize winner in Class A) can you find? Letters may be used It Is much more fun to belong to a Junior more than once but the line from Music Club than to do all my studying by my- letter to letter must be continuous self, because a club can give me the chance to hear and review all the thoughts, expressions, throughout the puzzle, and no letter and talents of fellow students of music that omitted. I otherwise would miss. Being interested in music and musicians I naturally get fun and benefits from hearing music played and the S 0 M E F H E I lives of musicians and composers discussed by A H C A Y T F R others. The other members of a club may have L N I L L R H S a special interest in some musicians or phase of musical appreciation that I have entirely S E T H F U E T overlooked. By hearing and discussing these, I E I A 0 S E E N have had a new musical field opened to me. JUNIOR PIANO ORCHESTRA OF NEWARK. NEW JERSEY Then too, music being something that must How many hands are playing? C R 0 F G K W 0 be heard to be appreciated, how can we do N E L E N I L E better than join together in a club with to E S I T I G H T an interchange of talent, understanding and way. appreciation? Surely it is more fun that An Open Meeting Recital W G N K D 0 0 G Joan Petrequin (Age 16), Missouri W. trie Sto Is a arrive by ones or twos; it more fun to belong to Grace had just finished calling the be ps could off hats and coats, and Junior Music Club or to study Junior Music Club members to order take their make themselves at home. when Miss Morse, their piano teacher, by myself? “You could follow your regular the room. “I cannot stay long (Prize winner in Class C) entered sug- form of answering roll call by having children,” she said, “but I have a It Is music club more fun to belong to a music club each member play a scale; first telling than to study by myself, because I like the gestion lor your next companionship of the other members. Our what it is, and the number and names recital. counselor certain .. , assigns us questions on a formal recital you of the sharps or flats it contains. subject and we take them home and look up “In place of the the the an open “The business session should be answers and read the questions and usually give, why not have answers have orderly. at our next meeting. And we for the audience of short, and fun in the club meeting playing musical games and filling You could use “Select a good reader, and have him blanks in the sentences. It is very interesting parents and friends? to go around the seat the or her to read a story about a com- on an imaginary musical trip studio for the stage, and world. And the music my or musical we have each other in reception room where poser, a composition, some club and we work together. audience in the through the instrument. Ask each other questions, Emma George Carr (Age 10). they could see everything Mississippi and discuss what has been read. large arched doorway.” if we “Then during the music program “Do you mean for us to act as was an audience have each member announce his didn't know there at our club piece, and explain what it is about. talk exactly as we do and “The main idea would be to show asked Donna Mae. meetings?” audience that your YOUNG AMERICA answered the teacher. the people in the “That's it,” Upper—John Douglas Pettit darkened club meetings are really educational, (Age 8 months) the inner room Houston, Texas “If you kept wasting audience were and not just time activities. Lower Carol Simon ttKAU Jckior people in the — (Age 10 months) Ettke : until the only suggesting this plan,” she 1 hail on the I’m Spencer, Nebraska writing to tell you about my nuts and then turned experience all seated, “You children are to do as you playing the piano and accompany* those m the wait- added. mg my young started t" lights, and dimmed sister on the violin. 1 like a think best about it.” Honorable Mention Play the three years old, would be somewhat for piano when I was ing room it careful planning the playing When I club After much my first concert in a theater. As the lights go on the September Essays: "as five I Hall, where my theater. members did give their recital in played in Steinway would be seen club Elsa Odete Rodriques; Hllja Lubja; Playing to hear the evening Nancv was recorded. It was a thrill hostess for form, and to their delight it Wlnterfield; Marjorie Ellen Turley; myself the tidying up the this Guy Mc- playing and at the end to hear studio busily Ateer Brown; Ernest Russel; Elaine applause the in the proved so well liked that they had to Connell- of the audience. After hearing would do when Marian Vllliers; Eleanor Marie Wharton- recordings ad- just as anyone li Sa I notice how far ahead I have room repeat it. Henderson; Paul Rodney; Jane Allison; was The club mem- Alicia vanced. My sister started violin when she company. Jennings; Gertrude Wiest; Mary Helen lree expecting John- , also. recitals and 1 accompany her tit all son; Jack Brenner; Rose Rinker; Doris Hell- on the during Class A, fifteen to eight- radio. She also made a recording mer; Anna Leitweller; Eunice Ball; Muriel a concert, in will l shall always like these records Junior Etude een years of age Class Hopper; Jean Ackerman; Grace he ; Fiedler; Polly •years to solos to- while Etude McHugh; Betty come. We both enjoy playing three worth Jiininr B. twelve to fifteen Class Jean Alexander; UUian’orafr gether, vard ; am] )ire looking forward to giving a the Charlotte V. Giddlngs. each month foi C, under twelve years. concert. izes and From your friends, ost interesting Names of all of the prize or essays Prize Winners for Carmel Alcako (Age 0), iginal stories Contest winners and their con- September B and Anita Alcauo (Age 0), given subject, tributions will appear on Puzzle: , a New York, N. Y. tr correct answers this page in a future issue of The Class A. Mary Elizabeth Patrick ,r all be fs and (Age i to is opei Mississippi I77les. Contest whether Etude. The tli rty next best contributors Class B, Frances Stelllngwerf (Age 13) „„. htee given i rating of honorable ’’ N ew Music Pictures ris under Contestants will be men- Jersey ^ member'l^or notnot- Junior Club tion. Class C. Dwight Reneker (Age 10), Pennsyl- By Frances Gorman Risser to a0 c grouped according vania •e MONTH A SUBJECT FOR THIS painter makes pictures Honorable Mention fliat brings us delight, — /? for Quaint landscapes, gay gardens, September Puzzles T|ie inoon silvered night, Mary Lou Hostetter; Caroline Jones; Hie Martha rain, storms at sea. or W. Duval; Marjorie Ann Pettit; Emma George * he dawn’s rosy light. Carr; Elaine Schweiger; Elsa Odete Roderi- ques; Constance Morton; Mary Alice Shoe- maker; Edna White Martin; Ethel Rogers' Celia Minnenwell: Anita Forsythe; Kut you can make pictures Eldred Moncure; Henrietta Schlegel; May Wilson sounds that will please, cud Allen: Spencer Rutherford; John’ Conrad calls, waterfalls, or Anna Marie Shipman; Vera Barndt; 'he Flor- hum of the breeze; ence Peterson; Florence Wolff; Patsy Thorn- r ton; L' storm winds wild songs, as Doris McCartney; Peter Weidman Turner. 'hey roar over seas, l,r X° canva* ? The piano ! Your brushes ? The keys ! — Step 6. Try to write the composition Beethoven: Quartet in B-flat major, Op. “Sleeper’s Awake’’; and Bach: Chorale A Memorizing on music paper. 130; Busch Quartet. Columbia set My Dearest Jesus, from “St. Mat- After the second practicing, try to M-474. thew Passion” (both orchestrated by Plan That Works write the composition on manuscript This is the quartet for which 18166. Charles O’Connell) . Victor disc paper. If you can accomplish this, Beethoven at first wrote his Grand Bach in the effec- ( Continued from. Page 825) modern manner, you really know it—and when you Fugue as a finale, later replacing it, tively contrived and performed. Ros- really know it, you can play it in at the instigation of his friends, with sini: La Cazza Ladra Overture; Arthur Follow the individual voices of the public without the least anxiety. a more joyous rondo. — It remains one Fiedler and the Boston “Pops” Or- right and left hand, and you will Furthermore, writing music is the of the composer’s most cherishable chestra. Victor Incisive best way to disc 13751. notice that the right hand and the improve your reading, quartets; it was, we are told, one of Rossini playing. Strauss: Wine, Women bass voice move parallel for the first your appreciation of detail, your his favorites. The Busch Quartet and Song toward powers of observation, and —Waltz; Felix Weingartner three notes and then move your presents a performance in which rhythmic and the Paris Conservatory Orches- each other; while the right hand and precision. there is feeling for good phrasing tra. Columbia disc 7389-M. A modern tenor move toward each other; also and attention to dynamics, although recording well in all three Step 6. Play the composition for tonally less of an old favorite— that the movement polished than the earlier Played. Duparc: Chanson triste; and voices at this point is by half-steps. someone. Budapest version. In two movements Bachelet: the far, all -the learning Chere Nuit; Eleanor Steber, Step 3. The relationship \between So has been however, the Alla danza Tedesca and soprano. Victor Miss Ste- beginnings and ends of figures. done without an audience. The surest the finale, the tempi adopted disc 18088. by the ber, a This is simple, because each figure test of how well you know what you Buschs are preferable newcomer at the Metropolitan to that of the Opera, has already been studied intensively. have learned is to play it for some- Budapest. employs to good advantage her Note that the right hand from Fig- one. Anyone will do as an audience. Mozart: Sonata beautiful lyric voice, especially in E-flat, K.380; Albert if in the Bachelet. Songs of ure 1 to Figure 2 jumps up a fifth, Do not be upset an error slips in, Spalding, violin, and Andre McDonald: Benoist Conquest; from C to G. The left hand jumps or if it is not successful the first time. piano. Victor set M-819. and Sibelius: Day Is Done; The down third, C to A. Persist until it is smooth. Mozart: Serenade University of Pennsylvania Cho- a No. 1 1 ; n E-flat K ral Figure 2 to Figure 3, right hand Now, disregarding the hour interval 375; the Alumni Society, directed by Harl McDon- Orchestra of the moves step-wise into C. The left between the first and second practic- National Orchestral ald. Victor set M-823. McDonald has Association con- hand jumps down the octave to E. ing, how- long did the whole process ducted by Richard always been interested in the pioneer Korn. Victor set hand, are take? Whatever the time, remember M-82S. Both days of America, poems he Figure 3 and 4, right works are representative and the repetition. left hand keeps this: if you will try to learn an ol Mozarts has set to music pio- just a The elation at his freedom -are full of the step-wise, eight-measure piece each day by this from the neering- spirit. ex- the tenor C; bass moves tyranny of the Archbishop The chorus sings E to F. method, you will notice how quickly of Salzburg, and of tremely well. American Lore—Vd- his youthful indi Folk to 5. The right hand your speed and power increase. And viduality and 3 ; John Jacob dul- Figures 4 ability to handle form Niles, tenor, with moves down a half-step from A to Ab- as you improve, you will discover that The Serenade-tor cimer and two oboes, two piano accompaniments. The left hand bass voice stays on F; more difficult music will succumb to clarinets, two Victor set M-824. Amer- horns, and two bas- This group of the tenor moves down, as does the the method just as readily as the soons—marks an ican folk ar- advancement over ballads collected and right hand, a half-step. simpler music. You will see more in- earlier 18th-century ranged by of a music of diver Mr. Niles is mostly Now you are ready to go to the teresting things in your music than sion. Although taste melancholy voices t and musician- nature. The singer can al- ever you dreamed existed; and in slnp are evidenced them in piano. Perhaps some of you in the Spalding- his usual, or should one say with- addition mistakes will never have to Benoist performance unusual, c ready play the piece through of the “Sonata” Style. Wagner-Sa nroma: M3f»’ the music. But you are not ex- be eliminated in your practicing, thereisasingmarlackof F"-= Music; out emSa! and (a) Sinding: Rustle so this time. far, since by this thorough preparation Spnug; s pected to do at So (b) Grieg; The Butterfly; Jes“ before playing, they have never been Saint-Saerrs: Sonata Mana the memorizing has been planned No. 1 Sanroma, disc i n D ml — pianist. Victor allowed appear. Op. and prepared, not completed. There- to 75; Andre Pascal, violin, and Isi- fore, take the music and the study Insist on securing a tonal effect doi^Philipp, piano. Columbia set outline with you, for reference if you from the printed page, without play- ing. This capacity is invaluable for It is the should need them. performance here which every musician and can be cultivated enhances the music, for Pascal and Step 4. Completion memorizing at by concentrating on the relationship Philipp, formerly of heads of the violin between tones within the scale, both and piano Musical the piano. departments, respectively Broadcasting 1 mentally. Play the mentally and at the keyboard. of the Pans Conservatory, Review Figure turn in = Remember that, no matter how long magnificent Events right hand without the music. If not reading 0 f this work of Importance and complex a composition may be, Rachmaninoff: successful, review again and play Suite No. 2 for ( Continued it can always be broken up into pianos. Op. 17; from Page 8601 again. Then try the left hand. When Vronsky' an'd Babtain * both are smooth, try them together, eight-measure fragments and prac- Victor set M-822. smooth. ticed in the manner described. But, The artists made and repeat until a previous re the above all, do not let your fingers do cording of this Review Figure 2 mentally; first work in 1934 it the learning before your head. Put a f right hand, then the left, and finally fords some effective passages for the eram « ana U), tne together as before. Con- down on the keyboard only what players but its 6rs both hands monotony of style flrst around musi< the ft ? tinue this procedure until you are your head has seen, contemplated does not make for sustained e and listen turns Clarinet and ! the right each and digested. And your fingers will ing. However, there l‘ t , “ able to play hand of will undoubtedlv the Classic Suite” wi left hand of figure become your obedient slaves! be some who will And Perform’l figure, the each the well piaveri 01 Baa '^uite I performance entertaining to cT^l ^ and both hands together without the as well a, instructive. b music. and American Yout Leoncavallo; Pagliacci heiml A Now try the right hand of the en- (complete Untia 5' s ,e NBC-B® H:30 to 12 n cording! ; Soloists, straight ' tire composition through, Chorus and Orches llC~' airways l etu™ecl to without the music. Repeat until it is tra of the La Scala, Milan, reefcenH° conducted tly < Records of Commanding secutivo for its ninth smooth. Do the same with the left by Lorenzo Molajoli. Columbia ietset It is presented , finally with both. And repeat un- Op. 22. S and Interest ™2’>eration with the M The recording here Educatm-S til smooth. dates from ati011al Conference. 1930, but still The .. A Now leave it. sounds well. Of lldl Ct01s ( Continued from Page 810) th three and so'oists principals (Merli as Canio; cnn° l t Galeffi as certs o£ ‘he Tonio; Evenin l Ford Sur one hour later. Pampanini as • ur Step 5. Review Nedda and ° have been announ to with this. They piece through without the had something do The Vanelli as Silvio ) only arp Try the Pampanini U8ene List, pianist, opera contains some of the best and Eugene r»- music about one hour later, to see Vanelli turn in a first rate AY per Ith; - c°nductor, on you have really learned. music that Taylor has accomplished formance. One turns to the me°iTn^ how much Victor Cl ooks, tenor, and I —the Dream Music from Act 3, which set, featuring maid Weak passages should be studied Gigli, for the best per- ^^^or’, proves as effective on records as it formance Hth; again without playing, and then re- of this opera on records a^An’ Kaskas Felix » contr! on the piano. Also repeat the did in the opera house. Barlow gives Recommended: Nocolai-Bach: Knieht peated ch 0 T Waiter Ca ’ baritone until smooth. it an expressive performance. rale— Now Let Every 1?' whole Tongue, ' from 31 6 " conducting on th^f™ 866 - THE COVER FOR THIS MONTH—The cov- “stick men” and one duet for teacher and er for this month was done by Mr. Wil- pupil. mer S. Richter, whose work has been Place your order now for a copy at the seen on an Etude cover previously this special advance of publication cash price year and in other years. Mr. Richter has of 25 cents, postpaid. been active for a number of years as an ETUDE SUBSCRIPTIONS artist and his work is known to a number ARE ALWAYS of publishers and advertising agents in WELCOME CHRISTMAS GIFTS-A Christ- gift subscription and around Philadelphia, Pa. mas has always proven be an acceptable The colorful montage that Mr. Richter to one to the music lover and is an all year has arranged for The Etude cover directs reminder of the thoughtfulness of the our attention to the sacred aspects of giver. Aside from this, subscriptions to Etude Christmas and reminds us of the beauti- The take the worry out of Christmas shopping. ful Christmas music to be heard through- If you will send two one out the land in Christian Churches, not year sub- scriptions, one of which may be your only on Christmas Day but on the Sun- renewal, they will be entered for only day preceding Christmas and often the $4.00, a very substantial saving of $1.00 Sunday following Christmas. The stained over the by -the -year price of $2.50 which glass window Mr. Richter has' rendered af- is an item in these days of rising costs. ter the Madonna della sedia by Raphael. MY PIANO BOOK, Part Two, by Ricliter THE TEACHER’S CHRISTMAS GIFT PROB- Ada —Designed to follow the already widely LEiM—The grand American custom of ex- used Part One of My Piano Book, this changing gifts at Christmas time pre- second part continues the study of sents no problem for music folk who “thumb under” passages for both hands, know about Pres- Christmas music terful touch to such melodies as I Love to A request for ad- grace notes, chromatic scale passages, ser's Annual Holi- Tell the Story; Saviour. Like a Shepherd dressed to the Theodore Presser Co. will 'triplets, and arpeggios, with new note day Bargain Of- prompt attention. Simply state Lead Us; Sweet Hour of Prayer; Onward, receive values and rhythms especially featured. fers. Each year, as shall the rest. Christian Soldiers; and many others. your needs and we do Important scale studies with instruction a “thank you” to These concert arrangements are kept regarding their presentation at each les- our many friends all FOR PIANO, A Very First Exercise within grades three and four, and STUNTS son will be included in the back of the and patrons, the Booh, by Ada Richter It is not often that necessary fingering, dynamic marks, and — book. Publishers present a publisher is privileged to present the pedaling have been supplied. Of special interest and real appeal to advertising such an experienced and in the advance of publication a single copy works of in- beginners will be appropriate, easy-to- Pages In of The Etude a descriptive list of be ordered at the genious writer as Mrs. play pieces for various some of this volume may holidays, several of the hundreds of gift suggestions postpaid. Richter. Her ability to special cash price of 40 cents, teacher and pupil duets, one trio, and a *oade in the booklet Presser’s Holiday of recognize and effectively Copyright restrictions limit the sale few simplified arrangements of old fa- Bargains now available. Its solve piano teaching prob- this book to the United States and vorite tunes. A rating test on the material Turn to these and if lems has won her an ex- advertisements, Possessions. covered ends the book. you don’t find need cellent reputation as a there everything you For beginners who are completing Part or Christmas music educator, and we gifts, ask for a Free copy CHRISTMAS MUSIC—With Christmas only One or any other first instruction book, °f the booklet. are happy to add this There you will find listed weeks away, the time lor musical this new book soon will be available. An hiusical , few jewelry novelties, statues, plaques, only must work to our catalog, which order for a single oreparations is at hand. Not copy may be placed calendars, and to seiv- already includes such suc- other items with which for the joyous Christmas now, in advance of publication, at the «*dorn programs the studio or music room, gift immediately cessful “Richter” books as My First Song special cash price of ces be decided upon, but 25 cents, postpaid. ooks on musical fine of hours Book, Kindergarten Class Book, My Own Delivery subjects, and many are only a limited number will be made as soon as the book albums ihead “Story with Music” of music for piano, violin, organ, in making Hymn Book, the is “off press.” of study and concentration ahd for series, and others. singers. ready for performance. So ,his music Piano These books are offered at special low that the time is In the case of Stunts for the SYMPHONIC SKELETON ,nce again we suggest SCORES, A Lis- 1 68 author has endeavored to remove the ’ eood only this mon th, the Pub- is time. teners Guide, for Radio and Concert, v *? now, while yet there by Vioh-t lisher's the stigma from technical exercises, against Christmas gift to our patrons. The Mail Order Department of le are which so many children rebel, by corre- gift suggestions for teachers Presser Co., nationally famous No. 7, Symphony No. 4 in F Minor w>tith Theodore with the child’s past expe- large or small classes, for the gift and expert staff, lating them or its complete stock Tschaikowsky individual rience. This idea is based on a sound pupils, or the class, to the in the matter of choos- This great symphony will make s at your service a nota- cacher, for your need be educational concept and is the logical an- ble addition to the series parents and friends to give your program. Should of Symphonic usic ng swer to a problem which has long con- students. Many teachers annually shorter choral works, voca Skeleton Scores, which already comprises- _wait or a cantata, teachers and pupils alike. The the Presser’s for instrumental fronted No. 1 Symphony No. 5 in announcement of duets, or trios, or C Minor o iday ,olos can child who would balk at practicing run- Bargains as an excellent oppor- various classifications, it Beethoven ni nusic in the scale passages enjoy having ty to stock will by this well- ning would No. 2 Symphony No. 6 in B up on materials that quickly taken care of Minor b e needed ie his fingers do the Relay Race in this book, when classes resume after the department. Tschaikowsky holidays. •quipped and his interest would be stimulated by have not yet arranged yom No. 3 Symphony in D Minor Franck in case you exercises as Running on Tiptoe, a Publishers this should be pleased such No. 4 Symphony No. 1 in C Minor ti^kc take pleasure at Christmas programs, we e wishing “On Appioval light staccato study, Climbing a Pole, , readers of these Pub- you with an Brahms ji ’ o supply under” er s Nofc specified which illustrates “thumb in scale No. 5 es pages a Merry Christmas of materials, as Symphony in B Minor (Unfin- a issortment passages for both hands separately, and a HaPPy and Prosperous New Year. a program m»M ^ ished) Schubert ,ou, from which decided Pole Vaulting, an easy pedal study for 6 Symphony your music is already No. in G Minor Mozart •hosen If hands and feet. The book includes eight- 1 fa- orders for specific These scores, as devised by Miss TRANSCRIPTIONS of we can fill your Katz- ORITe ipon, een studies cleverly illustrated with ner, form a distinct hymns, for Piano, by Clarence without delay. contribution to con- nia,,n Hies’ —Few Pieces are as frequently cert enjoyment. Their purpose is to Dla* yed or as universally loved as the clarify the orchestral master works for ymns experienced of the Christian Church. They are eri less listeners, a mere ac- ication quaintance with musical Ul and sincere, and reflect every =_Adi'ance of P'< notation being far f the one requisite to their ^ human spirit, from exaltation 1941 practical use. to DECEMBER Con *' 1 They emphasize only ’^ton. Keeping these considers the melody line, tinons preparation for publication. The always , i i. this list are in with indications always clear in the forefront, Mr. Kohl- the as to the AU of , rices apply only to orders placed NOW. “n ^as cC«sh p instruments which play it. compiled and arranged for this Advance< Of" Following this Vol ,ow the book s are published. toe a splendid ;( line through a performance, the listener variety of transcrip- Publication appear on these pa cs. l-j describing each S S ‘ Alrea grasps the thread by which dy this compilation is awaited Parffraphs the entire W itj Let’s Cheer—Band I k. Fulton-Chenette 1 Book work holds together and, at the same anticiPation by church pianists Adam G.ib.l Anthem Band Books, Each everyth* Famoo^Com^osor^ Piano Conductor time, hears the surrounding ornamenta- Childhood Days of Piano Book, Part Two Richter .25 tion in its right perspective. ^°tomann is recognized a com- Mozart . . . My Poser as Mw.cioni- °f Book of Gh„ot Singer’s Handbook Samoiloff 1.25 The price of each laie talent and is known to Child', own The Symphotiic Skeleton thous ’ a CiS Richter .25 Score already as tlie organist in the great Stunts for Piano published is 35 cents. How- aUdit - Transcriptions of on clnowt Album of Waltzes— For Piano. . .40 ever, a single copy of X.TZ. um at Ocean'->ce Strauss the Tschaikowsky His Grove, New Jersey. —Piano 01 1308 Symphonic Skeleton Scores—Katzner Symphony No. 4 in ^*0118 aie numerous and to- s Operetta^ F Minor, in prepara- clude ^ ' 7 Symphony No. 4 in F Minor lan No. — tion, now may be ordered ° and organ works, as well as Tschaikowsky .25 at the advance °Peretf Choir Book aS ' In •ating’s Junior of publication cash price hi -s volume of hymn tran- of 25 cents post- script!on s the composer lends his mas- 867 &ECF.M «r:n ! — paid, release upon from the press, copies vill be pleased to learn that this fine col- will be mailed to advance subscribers. lection is not too pretentious to be used by them. YOU NEED A GOOD is83L BINDER FOR YOUR The special advance of publication 1941 ETUDES-The Etude is worth many price on this anthem book affords a great times the small subscription price of opportunity to acquire a first-off-the- $2.50. Issues are well worth binding for press perusal copv at a substantial sav- convenient reference. Sendoena toT0 us y°yourur ing. until the ttoie the coUection is re- lenewal now foi the coming year, add to leased the cash price for a single copy to $2 - 50 ' 25 •2g?5&uBf ' 51 ' and we 35 cents, postpaid, vullwin sendsIIT,to , you at actual cost, a fine Stam ed in EoW SINGER'S HANDBOOK, I*»» s ' GW« 5, tf fiat ’ makinS SumoilofT-The mere possession of a good CHWSTMAS readv access tn' m ei ““ keeps ', sinBing voice even study have ' years of your conies fre^h ne a a « r 6 £or ali aided guar- ’ 1!' in its development, does not time. The retail price of* th bmder is antee Professional success for its owner. 82 25 an excellent value m°nCy ' MuslcianshiP, a knowledge of languages, Send your remittance now to m°lmt p01se—these also are vitally essential, of $3 75 and we will fake !! * Sam0iloff known mailing ’ internationally one to y„u ^s well * ZT g authont^ y °n ‘he voice, coach and teach- These Boohs For Sale by your subscription. s „ Remember S 3 7 of Music your renewal, 0f S°me ° f the foremost vocal artists Leading Stores Everywhere the manufacturing cost"? T., ° m W1'iting this gives invalu- the binder and you will book have made a able almost Pocket Music Student Series mightymio-v.Gr good investment.—a. information and advice on everything necessary to a successful ar- Selected Books— 60c Each tistic CHILDHOOD DAYS OF career. It is indeed a “handbook” NOTED NAMES IN MUSIC THE AMBITIOUS LISTENER FAMOUS COM for singers pro- POSERS— TAe Child Mozart, —students, amateurs and by W. Baltzcll by LoL Fn by Leo R. Lewis ®am fessionals. In this compact volume the experienced The author. Director of the Music Dept, P*°n—With tl at publication thee In addition to the practical points onoi editor has. chosen from the lengthy list of of this— delightful*NX '-“Bill u*7i!? » ? Tufts College, has the enviable gift of a b°°k noted ’ platform dis- musicians those of present-day inter- bright, colloquial and humorous style. We there will be launched etiquette. Dr. Samoiloff est, a and has given preference to the names recommend this book ns a gift to one who cusses new series of the speaking voice, to which much of contemporary musicians, especially those enjoys learning about bettor music, but lim- works for of American interest. children more teach- Particular attention ited in playing ability. on the lives of attention is given by modern has been given to indicate pronunciation ers, and to carefully. the masters. These publi- gives lists of songs suitable voices This MASTERPIECES OF MUSIC cations, however, will be of various types and registers. HANDBOOK OF MUSICAL TERMS latter an by Leo R. Lewis unlike previously information will help many by Karl W. Cehrkcns issued A companion volume to The Ambitious Lis- aspiring ones, as the story element singer prepare for public ap- Surprising in its completeness and handy in tener giving in miniature score for piano solo size, will pearances, the author has defined and classified all the various musical works referred to and be confined to the especially the all-important the musical terms in general use. Not just a analyzed in that book. The combination of childhood of auditions, win compilation, but the the composer by choosing songs which result of clear-cut, origi- both books leads to a better understanding prove nal thought. and appreciation of music. in question. The music, in most ^gulivc.effective. turn will nn> , T sent favorite pieces of that Writtenitten in an interest-holding style, min master , in Lv gn rr 1 i v. - ... .hi. arrangements. They will *ne ish any can un- be beautifully \ high school student The Series illustrated anti will d rstand this definite Analytic Symphony include , book will have a a selectede‘ cc,ed l f of records. hstJ place the Edited and Annotated by Percy Goetschius, Mus. Doc. i„ the voice studio and in Aside from their uses ary of every beinS BEETHOVEN Price Covering the most important symphonies of as recreational „ singer, while it is Symphony, the world's greatest masters, each volume in material, each of P epared Ior flrst- No. 1, in C major SO. 75 these little books I Publication, one of the Symphony, No. 2. in D major .75 this series is presented in playable two-hand be adaptable wm °®-‘ at Symphony, to recital he-Press copies ordered No. 3. in E-flat major piano score, and contains complete analytical purposes to wo may be (Ero'ca) ways. One is for s cash 1.25 notes on the structure and orchestration. In the teacher to Pecial advance of publication Symphony, ' read tlie No. 4, in it ! B-fl major .75 addition there are critical notes appraising Story aloud to the ° f Symphony. No. 5. in audience $1 25 Post C minor 1.00 the significance of the composition and its while, at Paid ' Symphony, No. right points, the 6, in P major i Pastoral! 1.00 salient points. the younger Svm"hiny. No. pupii s , 7. in A malor 1.00 music. An attractive Symphony. No. 8. in F major .75 miniature 2!'“’* MUSl- MOZART ror- stage de6 ' HOOK OF GREAT Symphony, No. 9, in D minor (Choral) 1.50 pictingpieting a famous event OANS-JOHN s Symphony, No. 35. in D motor 75 ini„ the comm»e.compose PHILIP SOUSA, by Tl.oi»“ Symphony. No. 38. in D (without life could be6 S6tset up f app,*. ' UP for°r observationobserv Here61 6 is an the poPpopnu_ BRAHMS Minuet) 75 msin? thethTnphf ~ ation°dur-am la'r’nTT" addition to Symphony, No. 47. in E-fiat major 75 * ““'-tiions "d‘ s° °y-nut every Symphony, No. • . wni 1, in C minor 1.00 , , ior thic „ i -i , tsookB°°k seneseries which No. 48. in minor 75 lelllln Will Symphony, No. 2, in D major 1.00 Symnhony. G W e No. 49, in major 6 Symphony, No. 3. in F major 1.00 Symphony. C b Symphony, (Jupiter) 75 rrfri'^ort'm'rmaSio^rArst" “u “m No. 4, in E minor 1.00 eS °' der “ ’ S P Pl S RIMSKY-KORSAKOFF ' With tba word D’INDY Scheherazade (Symphonic Suite) 1.50 totorpoialed. ™si! ° r John Philip Symphony, No. 2, in B-fiat major 1.25 single copy SAINT-SAENS A Of The Child riBh Symphony, No. 3, in C minor (with Mozart can «ully so. now be ordered at. the In the^ DVORAK Organ) 1.25 low advance hlstory of publication cash of count’vv our Symuhony, No. 5. in price of E minor (New SCHUBERT 20 cents „ ? ^ n° tunea World) 1.25 more Symphony, No. 5. in B-flat. major 75 pai^envery will be stirrin n made upo^p^t han those 01 Symphony, No. 8. in B minor (Unfin- fine m, this FRANCK ished) 75 S an have been Symphony, No. 10. in C major 1.25 heard A x‘ Symphony, in D minor 1.00 SCHUMANN ADAM GEIBEL ANTHEM Uted m,lsician haS C . more s BOOK F .r, to j °?jffon C “,irs ^ ml1 Symphony. No. 1. in B-flat major 75 Mixed Voices— than 6 pleasure of HAYDN of The . this Symphony, No. 2, in C major 75 thousands oT bvpcm WShis in .75 laad«' “ a d£ Symphony, No. 2, D major (London) masters who have c™e°to by ™a Symphony, No. 6, in G major (Surprise) .75 SIBELIUS CtS T ££uanci. No. 11, in major ^ Symohony. G Symphony, No. 1, in E minor 1.25 ^ Tl (Military) 75 AdaSaam £ e TCHAIKOVSKY Se,rGeibel, and who have man ° tb ‘S Ce lea'med"to ™ whUhriU “S ? ?rwin Symphony, No. 4. in F minor 1.25 his fine musicianship at,m e ' Symphony, No. 5. in E nvnor 1.50 and his compiete and devotion^o* . witheu^out°dt-°°dtut piCtpictures“'eS Les Preludes (Symphonic Poem) 75 Symphony. No. 6. R minor the church as exemplified a ssll“k, k cord bybv the m"m . with n . AAn (Pathetic) 1.25 e le for binding ’ marvelous gospel songs, ad ded hymns and feature ic +f if)ed MENDELSSOHN WAGNER ’ d an - 6 ''° thems which he wrote S Whereto space P Symphony, No. 3, in A minor (Scotch) 1.00 Prelude to The Mastersingers of i™hi Hie st ,.d . ht (Italian) .75 Nuremburg ^ Symphony, No. 4, in A major 75 will welcome this volume, ^ aim "st version o^to^ rial’ proportions, A m with open^9 ,'me S1hgle conv nf „ uttle X A series of splendid volumes edited with authority and engraved, printed and bound with surpassing Tlie Musician’s excellence. Each volume contains a valuable, critical and bio- graphical e.;say. a bibliography, and the best obtain- Library able portrait of (he composer represented The song collections give both the original English text and an original "Geibel catalog” The Masterpieces of Song translation Each volume is complete in itself, and is recently have sold separately. See them at your local dealer— send been made available to B T to the publisher for complete, descriptive list. the L ND Theodore in' ’ °l>cretta Men’s Voices. Piano Music Ti? ? . for and PRICE (Paper Volume Presser Co. to be bound o ^ Cover), $2.50 Each and issued in ^ Ycaman# Only "onc€ octavo-size book form. in a blnn* — 11 ” d0 you come acl0SS Besides numbers for general something thl, use, there 4 sat,sfl«s your needs as are seasonal works of every ideally as a™ It II type—Easter thlS ha £ OLIVE ITS ON CO. been work ' I£ you Thanksgiving, Christmas, etc., and looking 7 I Theodore Presser Co.. Distributors con- that a male voice operetta doctors of the less experienced is real.?,aUy groups y dlfferenalfferentt you nneed look nc 1712 Chestnut Street, Philadelphia. Pa. who have had not much tortofurtherer fr„ previous oppor-oppol- What Robot°°°t Land has everythingeverythin tunity to sing music by this Whlr^ha PPens composer aviator! !? to the two AmericiAmerican Vbo eet A i, vert,i, their course and a 868 Tr-TE ETUDE : — BOOK., OlJ forced to land in the Kingdom of the LETS CHEER! BAND Janu-s M. Robots where a race of supermen has Fulton and Major Ed Chenette—Every band, Jtv the n. y. herald tribune large or small, will get a “kick” out of been developed is the background story LIGHT, in this book every MORE LIGHT for eleven rollicking musical numbers the music band and director is looking for a col- BY which include four solos, three duets, a Virgil Thomson band who lection that is really different will wel- quartet and several spots for four -part JAMES FRANCIS COOKE says come it as a valuable addition to his chorus work. Eleven principals—five ten- Editor of The Etude special-purpose library. Not old and ors, three baritones, two basses and one “Practically nowhere else is hackneyed, but and up-to-the-min- non-singer take part in screamingly new modern music sparkling arrangements in funny goings-on with R. U. Are, the there a book on ute are these and so sweetly "Let's Cheer!” Every number is a “hit” Robot King, R. U. Is, the Robot Premier, so enlightened with plenty of sure-fire appeal for and the two lovely “ladies,” Miss Sim- frank as and performer alike. Rich, full mith and Miss Johones (impersonated audience harmonies are used effectively through- parts), shouldering much of the respon- out. So don't be surprised when the stu- sibility for the ludicrous situations which dent body at that big pep rally joins in develop. Romance is the big problem to- Aaron Copland’s on the "old favorites” that have been wards the end but everything eventually included as a feature unusual. De Camp- works out fine for the Aviators, the town Races, John Peel, Men of Harlech, Robots, and Cupid. OUR In the Gloaming, Yankee Doodle, etc., No difficult staging problems and no will coax more enthusiasm from your expensive costumes are necessary in spite audience than you have heard in a long of the unusual locale of the story, mak- NEW MUSIC time. And speaking of enthusiasm, don’t ing it practical for use by high schools overlook the zip that has been written as well as colleges and other amateur 000000000990 into the several fine original numbers, N THIS new, practical self-help to organizations. Your key copy may be I higher life attainment, supplemented by field, making them tops for auditorium, 337 life principles selected from the ordered now for the special advance of great- “Spirited and adroit.” oi gymnasium. est thinkers of thirty centuries, will be publication cash price of 40 cents post- -The Etude found new and brighter days for more Here are sixteen numbers which any happiness, paid (only one be ordered nt profitable activity, and wider ropy may average band can handle and every band understanding as has helped great num- this made as bers to success, peace of mind, better price) and delivery will be . . . per- , “Lucidly helpful are parts for will enjoy playing. There health, and real joy. soon as publication details are completed. suasively and authoritatively all band instruments and for a limited Thousands have for years been inspired set forth.” time they may be ordered at the special and edified by Dr. Cooke's many hooks and by the contagious enthusiasm, wit, and A. Simon, New Yorker cash advance of publication price of 20 -Robert sound counsel of his editorials in The cents each. A piano-conductor score also Etude. 82.50 for 30 cents. These may be ordered now Lowell Thomas writes, “It is a brilliant are postpaid prices and deliveries will be job with gems on every page. I am enjoy- •JOHN MeCORMACK ing it immensely." WHITTLESEY HOUSE made as soon as copies come off the Di\ Guy Maier writes, “The twenty The Story of a Singer press. copies I W. 42nd St.. New York secured for my pupils went like 330 hot cakes and 1 could have by L. A. G. STRONG used many, many more. Everybody is delighted with it.” handsome One of the ino.-t fascinating biographies The binding and blue and gold jacket make it a coveted holiday present. we have ever published. It is a fairy tale (This is not a musical book.) Price $2.00 at come true the story of the unknown lad all booksellers, or sent — upon receipt of price engraving, printing, binding to the Theodore front Athlone to world fame. -bile the Presser Co., or who rose operations are 83.00 other production copy of this book of H. M. JACOBS CO., er way, a single PUBLISHERS be ordered at 1724 CHESTNUT ST. id-famous waltzes may PHILADELPHIA, PA. publication cash special advance of postpaid. Delivery will e of 40 cents, as published. by JOHN A. LOMAX nade as soon and ALAN LOMAX JUNIOR CHOIR Electric Alarm Clock: This Hammond -BENCE KEATINGS have come to “Grenadier” model Electric Alarm Clock A second volume of American ballads choirmasters IK —Many has an easel type case finished in chrome and folk songs by the Lomaxes. collected and black with a two-tone satin finish Mgsic transcribed by Ruth Crawford dial. Size 51V' high, 4%" wide. A grand Seeger. gift—a popular prize. Awarded Probably 85.00 By John Philip Sousa for secur- ing eight subscriptions. All bookstores Relish Dish: An attractive This is a popular edition of the combina- tion of a chromium base volunteer church autobiography of the famous and crystal glass The Macmillan Company to the usual ;”ary March King, who made THE insert, this Relish Dish is especially de- 60 Fifth Ave., New York sirable because of the 4-part this composer. STARS AND STRIPES FOREVER dividers new collection, Diameter finis America’s most stirring battle 8'M". Awarded for securing two subscriptions. SJ49 Casserole: This POPULAR EDITION. smart Casserole will add to the attractiveness of STRAUSS ALBUM OF WALTZES, for Piano reP-olrilllS any table make its contents more ^-No music has so captivated the ball- Vv^r?— appealing and room appetizing. The footed frame and of the civilized world as have the imi heavy immortal In : £ metal handles are finished in easy-to- waltzes of Johann Strauss. and others are original their oinriies keep-clean-and-bright chromium. lyrical melodies, is presented for The MenEach number MAKE CHRISTMAS removable lining is genuine their vigorous Zibeis. choir group, DO YOU WISH TO heat-resist- and grace- ^ 8“ mly -part srngi GIFTS WITHOUT CASH OUTLAY?—All of ing Pyrex, in diameter, as is the cover rhythmic style, they “ only . The m J done which is attractively embody “ C your Christmas shopping may be etched. Another all the romance part is comfortable „ „ each without any cash out- welcome and practical gift. and :e through The Etude Capacity 3 gaiety of the Vienna the vocal tessitura Sees yet part. If you will obtain for pints. Your reward for securing four ot old—have young iadies lay on your sub- provided a satisfy subscriptions to The scriptions. Pattern enoigh'to us new or renewal that will S “ remain one point Bullet ” Camera: standard Etude, we will give to you This new molded through the year subscription construction, compact ages. credit* for each one Eastman “Bullet” (two points for a two year sub- Camera requires no focusing, is easy Such the Piacin^nad- secured to favorites as Sounds from obtained by toward any gift load, has an eye-level mma fL“b; scription) to be applied finder, takes pic- Woods, On the Beautiful Blue 1%" >o» may select from our premium cata- tures x 2 on Kodak Roll Film nube, Roses Artists' Ce advance of pub- you from the South, offered is standard, No. 127. Have more fun making “thespeciaUow log. The merchandise your own anC* otllers are being assembled and* now guaranteed by the manufacturers and pictures with this simplified, candid-type arrangecl average so that pianists of o“ly y friends will be pleased. Sim- camera. Awarded for securing three abil y Cau tingle copy because of you and your sub- share their never-failing de- aud price for one scriptions. light , Ce °f the ply collect the subscription len Published, this new collec- ™ outside of tion i»ht lesmclestrictions years and send to us with your A post card will bring to you a f * oopynght wffl be or two com- Wa^ z classics will be a distinct b00lc few plete catalog contru request for gift desired. Here are a showing all gifts offered by 1 *011 to of piano States and It s Pos- lovers the libraries at random from our catalog: The Etude. Send for it today! an< selected * possession SS- Where. be a prized er music is played and loved. S69 D£CE/WRr.'i? . , . . . 1 . w : .. -. ' . Articles . Aug. 544 CmicisG Index of The Etude for O'erhoit. Piggy June 395 1941 Overlade. Drift,,.,, Blossoms.. July 465 Accordion Department Deiro, Each Issue c the titles o( many of the articles have been s newhat condensed) i Parson-. March . Nov. 760 Advantages of Even Positions. . .Moses, Dec. 823 o the Buffooi Porter l.itth 335 America's Musical Bank Dickorc, Jan. 8 Miss S yringt i.n, May : Policy Musical “Good Neighbor" Why I Left . 615 Army Song Book Makes Bow. . .Larson, July 444 Our My Teacher Wilson, Oct. Sept. Houston, Oct. 656 Will Battleships' Audience, Facing Your Walther, Dec. 820 Be Sunk by Sound? off. Frag, . Sept. 60D Inner Ear, The Ashton, Apr. 234 I Bach, Separate Hand Practice; .Steedc, Dec. 822 Outer and Hugo',,, Apr. 236 Aw ; .van, .Dec. 844 Organ Accompaniments Can Be In- Will Beethoven Stop Christ Band, Orchestra Department. .Rcvclli, Each Issue Hitler?. . .Morton. Sept. 586 the Lord Is Risen .Petit, Dec. S19 Bagpipe Band in America, Only Ladies' terpretive Winthrop College. Girl Band. .. .Biddle, June 3S5 To-day .Apr. 263 and Choir Questions Fry', Each Issue ’ Butler, Jan. 10 Organ Wisdom and Whim in Study . . Alt house, Feb. 91 " ; .•Mar. T90 Lending Lure to.Brant, Jan. 23 Barrel. Organs in* History Hclma n, Feb. 93 Organ Concerts, World Hope. Poem Cooke. Dec. 803 .Mar. 191 .Petit, 54 Barrymore. How Music Has Helped Dec. 805 Organ, Countless Combinations. Jan. World 'of Music Each Issue Over the Rinr and Through How Much You Know. . .Allred, Mar. 165 Wr Composers. . .Feb. 83 Organ, ...DUl the 773. Bartok. Language of the , No- 750 ll'oods .Nov. Intriguing Martin. Apr. 237 Battle of Music (ASCAP) Mar. 152 Organ Lore, IStep Carefully! .May 334. Organ Offertories Plank, Mar. 165 Kish. r. / .' Bauer. Things Learned Teaching Nov. 737 Heard a Cuckoo . Aug. 556 439 Organ Preludes ..Plank, Apr. 237 ii s i Rowe. Hello! Boy—Piano—Spirit of Game. . .Tapper, July M c Is This the Weatherman? .Jan. 50 Feb. 82 Organ, Rebuilding Small Seymour, Oct. 671 Scher. Da use Brahms' Prickly Pet Gciringcr, Hong raise . . Dec. S34 Hopkins, Dec. 820 Its Calls Hemming, July 455 Organ Stops '. ..Feb. 101 Bugle and Schubert Militair, '. Organ Stops, Tone Quality of ,. True tie. Feb. 93 A'Becket. Columbia, the Gem Chapel Royal Collier, Nov. 747 J .July 462 Organist, Chat With Aspiring Scholia, Sept. 599 Choir Member Speaks Barrett, June 383. Schumann. May. Lovely May!.'.'.'.'.'.'.' .May 320 Paderewski; Intimate Tribute to..- Nov. 738 'Adair. Heron in Silber, Sept. 598 A Flight ... . 482 Chopin’s Teaching Methods SEoU of the Old Drum... . . J-uly Plano Class Methods ....Nordcn. June 380 Adams. Fascination..... Seuol-Hokt Landau, Oct. 661 ' 262 Choral Group Work M Grand,,, oth, r’s Dolly. . ..Apr. American .Birch, Dec. 822 Piano, Go Back to the! Davis, Apr. 233 -I Easter Bunny Simmons. 119 Christmas Carol, First Toadstools . . " ..Feb. "v My-Birthday Cake Skillman. Music Ages. .Fleck, Dec. 816 . White 324 Christmas Through Piano Ensemble, Art of. AdlertlKl Lilacs.. . .May . Jan. 5 Oar College Bands of U. Durrkeen, Nov. 749 V Flag Sousa. Fairest .the 46S S . Sept. 602 of Fair July Piano, Poise at . [Summer Clouds Opportunity on. .Hurok, July 443 ' l{r 406 Concert Stage, ,,,w o"n B.nr . .June . . .Martens, Apr. .234 Spencer Conductor, Practical Hints Malko, Feb. 99 Piano Practice as a Gan Allison. To and Fro 626 . . Sept Piano, Proper Care of. Asper, Jan. S Anthony. Away to the Consonants, What About the?. .Austin, Mar. 194 Chase. [Blowing Ruhbhs.. ..Feb-. US . . ...Heylbut, Feb. 100 Pirating Parnassus I Cradle of O’Hara, Jan. 19 Flying My Kite « 844 Composers, . Oh Winter Day ..Dec. . ..Heylbut, June 382 Plastics in Music , In a Jinricksha Country Music Goes to Town. .Lrnimon, Mar. 148 ... . Stairs ISuigiup Brooklet June 406 Playing and Leading . Partington, Sept. 600 [Re Damper Pedal, Beginners Use?. /father. Mar. 166 \Swallows in 48 Jan. 28 Flight . Jan. Practicing. Problems of. . . Washington, (Arr. Silber Musical in Argentina June 388 ) mf Turkey 772 I? Gobbler . Nov. Preparedness Leads t o Success. . .Jagel, Dec. 809 Bach Music in Peru Apr. 223 t Stevens, (.otto,, Pokers May 323 * .^.tser Hall, Agness Scott College Mar. 164 [Prelude in B-jtat DUMESNIt Musical Advance in Uru- Stoughton. Magnolia .109 Blossoms.’.'.'.'.'. . . Feb. Questions and Answers. .. .Grhrkens, Each Issue Baines . Pierrette Dunns. guay and Brazil ...July 460 Taylor. Little Drum 763 Major . . Nov. Rachmaninoff. Music Should Speak... Dec. 804 Allegro con Ihonms. Mtisical Romance in Chile. May 316 \ Lonely Study .Caldwell, Aug. 522 Holiday .July 467 • Radio Aids Music Martin, Issue -! TsehaikovvvUy. Film Mui Review Each Beethoven Chria t <17 829 .Kostelaiietz, Jan. 11 m„s ()p . Dec. Lemmon, Apr. 220 Radio Program, Prepare. . I The. d Tn .Finnish Fighter 1 ' ° ,,r 656 Eo . Radio Review Morgan, Each Issue Op. mg' Boy). Call.' . Aug. Flagstad. Approaching a Role May 293 , mu \V2Y. r 687 Culture .Hibhs, Oct. 669 Bennett. O/d Mister . Oct. Four Strong Foundations Amey, June 379 Rameau on Voice Shark’s Lunch ’ Apr. 253 Reed, Each Issue Bergh. Rustic Ittill i . Record Reviews a . . “ 313 French Horn, Problems of. . . .Jaeiiickc, May B'/ 397 Williams, Candlelight ...... June Recorder. Revival of Ancient . . . I.ehrer, Nov. 732 Bircsak. Limpid Halers.... F. A. Fretted Instruments Dept Krick, Each Issue | 546 Registration Christian, July 453 Bornschein. Firelight Shadows. . . Aug._ From the Largest Prison in the World. .Nov. 746 .. Williams, M. The' i.'.'. 557 Rhythms, Mastering Mixed Keefer, Oct. 676 Bragdon. On the Trapeze .".'I.' . . Aug.' tiANZ. Musical Independence America. . .Sept. 591 Oct. ] Echoes 36 Rhythms. Singing the S. M. F., Mar. 168 7110 Wright. of Vienna ..Jan. Feb. 80 Brahms • “God Bless America”, Song Cooke, Brahms „/, May :; l8 .Sept. 616 Pauly, Oct. 659 , H Whia,Hra . Richard Strauss, Music of - A .,,ul Young. Golden Jubilee Banquet July 442 • Jan. .37 MoVJlTT. 252 Rubinstein. Advanced Student June 365 Brown. Little Musketeers . . Apr. Grainger. Reaching Your Goal Feb. 79 • • Feb. /achiira. i ik Etude in C-shu '. ..May 322 . .Hill, Buchanan. minor . Russian Nationalist Composers. Gingerette. . . . rp Hambourg. Minuet in major, Mozart. Jan. 30 •Oct. D Sept., Oct., Nov., Dec. Byrd. Prelude 6 . . . the pioneer and "tops" in our great American musical development presents a compelling and greatly needed array of splendid features for the New Year. From E T U © E Tell all your musical friends! the Gtallaxy &f They will appreciate it. bright Spots for 11 9 4 2 : HELEN KELLER, A MUSICAL MIRACLE n" sense of touch. Thu. music solely through the “ the hi SIR THOMAS BEECHAM SPEAKS musical art.cles.cvcr ^^^ It is ,b ' the most astonishing friends. - f -- want to point out to your of article you will The fiery little English conductor, whose opinions upon all kinds of subjects are just as eagerly Sir Thomas Beecham sought as his Helen Keller services as a conductor, will give Etude readers some mighty interesting things to talk about in the interview secured by Miss Rose Heylbut especially for The Etude. ETHEL BARRYMORE OF TELLS MUSICAL IDEALS IN WAR-TORN RUSSIA ADVENTURES IN MUSIC Sidney Fox, a non-Communistic American teacher of music, of spent many months in Russia investi- nt Russian extraction, recently arrymores * their stage c ’ * amec first for conditions. He had unusual opportunities to meet arcers'*ar6 I,^ gating musical other OWn also for their exceptional gifts in teachers and presents many fi'pU, , Russian composers and 0 foremost a fine " S art an AN INTIMATE VISIT M. PHILIPP PRESENTS A NEW SERIES TO THE HOME OF I. J. w»» PADEREWSKI For twenty-seven years Monsieur I. Philipp P? r,s the pianoforte faculty of the years Francis Rogers, President of the j n reC e’nt American Academy of which time many virtuosi Singing, was an intimate of Paderewski TondUions and at the height of has acquainted with Amen the great pianist’s career he become : Etude he visited the master in experience of i;f et me to Switzer- and he brings his rich andj great„ reat land. Mr. Rogers has now prepared for The Etude an of a practical nature inti- readers in a series of articles mate personal picture of Paderewski as few people knew self-help interest. him. I. J. Paderewski ANNOUNCEMENT EXTRAORDINARY THE ETUDE has the honor to inform that they are heard continually over received for the air. Despite the difficult living its readers that it has and exceedingly conditions in France and her advanced imperial composition of the most re- years, Mme. Chaminade has written a beautiful "Romania Appassionata” which, nowned of Women composers like the later works of Verdi, is filled with chaminade the exuberance and charm of youth. tkv mme. cecile This will appear in THE ETUDE in Cfrttmas many forms and 0 arrangements but Few compositions in their field have first in its original form of a cello solo. equalled the success of Mme. Chamin- It is in a ejass with Raff’s "Cavatina”, "Pas des Amp- Borowski's "Adoration” or ade’s "Scarf Dance”, some of the "Summer”, gorgeously beautiful hores”, "Air de Ballet”, melodies of Vic- 2 ONE-YEAR "Autumn”, and many other pieces tor Herbert such as occur only once popular in a decade. written years ago and still so Mme. Cetile Chaminade GIFT SUBSCRIPTIONS Co *4.00 "odloi, Single Subscription, the etude music magazine s, °9e £,,m $2.50 Publishers, 1712 Theodore Presser Co.. Chestnut Street. Philadelphia, Pa. PH1ILCO There's a Christmas Philco for every purse and purpose ... a joyous gift for family ©r friend. Radios, radio-phonographs and auto radios from *14” to $550. For Christmas delivery, see them today at your nearest Philco dealer! ITH a Philco Bhoto-Electric Radio-Phon- . . . the gentle, reliable Philco A utomatic Record ograph you give the greatest achievements Changer with Stroboscope Control that gives ab- W music. " f “ : *"u : ““ -1 m iJ of modern science in radio and recorded 1 “ Music on a Beam of Light,' the revolutionary invention that does away with needle changing, record wear by 10 to 1, reduces surface noise and PHILCO 1013, illustrated. Hopplcwhite Walnut cabinet. Has latent releases hidden overtones of beauty in records Philco inventions including exolusive Philco FM System. Eauy ternm.