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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1949 Volume 67, Number 05 (May 1949) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 67, Number 05 (May 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/162
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THE COVER FOR MAY, 1949 Paderewski’s Last Picture A While visiting the offices of Mr. Louis Healy, Craftsmanship G. Lemaire, President of Lyon & magazine The Importance of Musical Chicago, your editor was attracted to a the music remarkable picture of Ignace Jan Pade- mu said to rewski hanging on the wall. It is Published Monthly After hearing some of the modern the determining factor between music and religion no longer holds.” he his last photograph at the keyboard. i. Pa. N EVERY art craftsmanship is often Presser Co.. Philadelphia THE NEW WORLD OF music of chaos, we might agree that much of it has a satanic rather than Here was a face reflecting the giant By Theodore failure and success. But craftsmanship, as we see it, is the Siamese a divine source. Mr. Smith cites a Dr. Charles Singer who claims that achievement of the great Polish master TELEVISION twin of inspiration in the formula of personal advancement. 1 he I in- “religion is a system of theology, as much the product of human who brought so much beauty and poetic after years of predic- without one the other expires. All this seems so ADVISORY STAFF Television, two are inseparable; of inspiration to the world. At the same EDITORIAL and anyone with wide genuity as a motor car.” Mr. Smith states that “the great composers Editor-in-chief prophesies, has burst to us that we cannot comprehend how monstrous and DR. JAMES FRANCIS COOKE, tions and obvious intellectualists like time it revealed the opinion. religion have been cool, unemotional, calculating Guy McCoy, Assistant Editor upon the American public like a musical experience can hold a contrary tragic suffering Paderewski endured with their counterparts in music.” Dr. Rob Roy Peery, Music Editor ago there were in musical creation does not come down from the the fall of Poland to Soviet tyranny. Few bomb. Five years Craftsmanship Douty Karl W. Gehrkens Dr- After reading Mr. Smith’s extremely well-organized work, filled with Harold Berkley Dr. Nicholas a usually the result of long and hard study. There were more bitterly crucified than Elizabeth Gest Wa^defMcCurdy a few "laboratory" sets scat- skies like manna. It is men Ruth Evans Buhrnan Maurice Dumesml B only interesting quotations, found ourselves in complete dis- George C. Knelt oCl.ffordffnrd VagePaee that through some humanly inscrutable data and we Paderewski, whose heart, like that of Pietro Deiro Edna Fort ^ tered here and there. Now there is no question, however, ty Potroiii ^ agreement with his premises. are far more in tune with the quota- Chopin, was in his beloved Poland. The gifted with far more perspicacity than otheis. We are a million and a half all over process some people are r tions from the far-seeing Cardinal Newman. “Musical picture is presented here by courtesy of cjuick-witted, more comprehending, more under- Mr. Smith makes country. Paul Whiteman, whose phat is, they are more 1 8 8 3 THEODORE PRESSER- the heart, cannot Mr. Theodore E. Steinway. -FOUNDED BY more sharp-cared, more acute in eveiy way. notes, with all their power to fire the blood and melt the "up to the minute" knowledge of standing, more sharp-eyed, it. Scientists, anthro- be empty sounds and nothing more; no, they have escaped from some that way and that is all there is to new musical trends is well known, They are born historians, and theologians have spent higher sphere. They are outpourings of eternal harmony, the voice of 0 New World of Tele- pologists, biologists, geneticists, Music Engraving^ Printing discusses "The angels and the Magnificat of the saint?.” Contents for May, 1949 lifetimes trying to tell us why, with about as vision" in very striking fashion and Cardinal’s Estimates rose is Mr. Smith comments upon the Send for new "Teen-Age much effect as trying to tell us why a also tells of his thought thus: “That explanation does not VOLUME LXVI1, No. 5 • PRICE 30 CENTS is that we all have differ- Club," now one of the sensations of beautiful. The fact TheOtto^MMERMAN S, Son Co. say, quite square with the facts, although the Car- ent fields of vision. Schopenhauer used to television. dinal was ‘an honorable man,’ and something Established 1876 EDITORIAL “Every man takes his own field of vision for 279 of a musician.” Cincinnati • Ohio The Importance of Musical Craftsmanship . the limits of the world.’ We all have a tend- A NEW OPERATIC SENSATION ETUDE is no arena for polemical discus- ency to bend our logic to fit our peisonal MUSIC AND CULTURE sions, religious or otherwise, and we do not 280 mezzo-soprano, This often leads to mis- How to Punctuate Through Phrasing Frances Taylor Rather Ebe Stignani, Italian whirls and desires. Moura Lympany 281 propose to start one now. We note the rise of On Becoming a Better Pianist came to America without any understandings and heartless misjudgment of DILLER-QUAILE Teacher’s Round Table Maurice Dumesnil 282 a powerful in The trumpets. for truth. wave of spirituality the world Incomparable 283 blare of press agent our fellows, all seeking School of Music Paderewski the when Martin Luther spoke of music as “Next Concerning the Concertmaster Harry Zarief 284 Those "in the know’ abroad recog- Many are born with an inexplicably sharp Course for those wishing to become Henry Levine 285 to religion the only art can calm the agi- Normal The Finger Stroke in Piano Playing greatest of perspicuity. This is often so that who wish to mod- nized her as one of the musical-aural teachers and for teachers tation of the soul.” in line ernize their teaching methods. surprising that it is He was quite with IN THE present-day singers. Audiences and enigmatic that it is not MUSIC HOME the most recent Adult classes in Theory, Sight Singing and was philosophy of musical therapy. Bruno Walter’s Momentous Beethoven Cycle Alfred Lindsay Morgan 286 tritics here immediately "raved looked upon as a miracle of God. Mozart Ear Training, Keyboard Harmony, Written recognition . The Bookshelf . .B. Meredith Cadman 287 of a divine power from Harmony and Counterpoint, Composition. Etude Music Lover’s about her. She gives ETUDE many certainly such a case, as has been the whole amazed which we all derive our existence is so wide- NEW FEATURE valuable ideas on "The Elements of army of “wonder children” who have MUSIC AND STUDY spread that Special 10 week course could these astonishing little many of the most violent agnostics The Pianist’s Page Guy Maier 288 Bel Canto." the world. How of the past and present, after long investiga- for training in Theodore Presser (Part Eleven) James Francis Cooke 289 ones have acquired in their few years what Pre-School Music Teaching Edward Burlingame Hill 290 tion, Musical Boston in the Gay Nineties adults have labored in vain for years to secure? have come to the point where they have The Singer and Stage Fright Silvia R. Bagley 291 THE STORY OF Catalogue on request. accepted the inexplicable mysteries of the in- Etude Musical Miscellany Nicolas Slonimsky 292 They certainly seem blessed with a kind of 66 E. 80th St.. New York 21. N. Y. "SCHANI" STRAUSS Summer Organ Study Alexander McCurdy 293 intuitive insight ordained by a divine power— fluence of God upon all. The latest of these The School Orchestra William E. Knuth 294 This which Strauss an- for centuries has is the great British scientist and widely known Bassoon Tone Production (Part Three) Hugh Cooper 295 is a year in the power which mankind agnostic. Prof. The Essentials of Teaching Harold Berkley 297 niversaries are being celebrated recognized as God. Cyril Joad, who has confessed Questions Answers Karl W. Gehrkens 299 and throughout the entire musical world. Many require long study under several that he could find no explanation for certain Preparing for Opera Polyna Stoska 300 art of phenomena except through the recognition Johann Strauss, Sr., died in 1 849. masters to acquire craftsmanship— the MUSIC Exactly fifty years later, in 1899, moulding their ideas into the most effective of God. PIANISTS Classic and Contemporary Selections craftsmanship in remark- Many of the foremost musicians of our time Johann Strauss, Jr., died. The gifted form. Some acquire Sentimental Interlude (Ditson) Belle Fenstock 301 Norma Ryland Graves gives EtUDE ably short periods of study under masters. have given your Editor in conferences their Quickly Improve Your- Dance Caprice (Presser 2555) Edvard Grieg, Op. 28, No. 3 304 conviction of faith in divine [Lower, based Theme from Piano Concerto in D Minor (Presser) (2nd Movement) (from readers a fictionized picture of Wagner’s only serious study, under Theodor • Technique "More Themes from the Great Concertos”) . W. A. Mozart Arr. by Henry Levine 306 "Schani," the greot Waltz King, Wcinlig, was said to have been less than a upon the miraculous evidence of musical in- • Reading Morning on the Lake (Presser 27994) Benjamin Frederick Rungee 308 spiral Sight which will charm many readers. year. Elgar and many others were entirely i i ion which has brought original themes Purple Asters (Presser 27908) William Baines 309 to • Memorizing Dance of the Sprites (Presser 27690) Joseph M. Hopkins 310 self-taught. them apparently “out of nowhere.” How Shores of Waikiki (Presser *27901) Vernon Lane 311 John Henry Cardinal Newman else can we account for • Accuracy GRETCHANINOFF TELLS OF No one, however, can get very far in music the lovely melodies of technic, “know- This notable portrait the great English Stephen Foster, who, with scant craftsmanship, • Pedalling Vocal and Instrumental Compositions RUSSIAN MASTERS OF without craftsmanship, the of • Chord Recognition Vision (Secular song—low voice) (Church *30911) Olive Dungan 312 how” of the art. Many with great talents have ecclesiastic was made at about the time he produced a garden of charming themes? Flow Flight (Violin) (Presser 27968) Muriel Lewis YESTERDAY 313 fallen by the wayside because they have fal- wrote the famous hymn, "Lead, Kindly Light.” can we account for the inspiration of the min- • Interpretations Sunday Morning in the Mountains (Organ) (Presser *28016) — tered in the requisite of devo- strel, A. Bland, Rudolph Ganz Arr . by Chester Nordman 315 The world-renowned Russian mas- giving amount James who gave ns Cany Me ter, eighty-four years of age, now tion and labor to the development of the Back to Old Virginny, still sung by millions Write today for FREE Booklet showing how you Delightful Pieces for Young Players mastery art else may greatly improve your technique and sight- Military Polonaise (Presser) (Piano Duet) (From “The Child Chopin”) — living in New York and vigorously consummate which the of music demands. around the world? How can we explain the melodic genius of reading skills, develop interpretive insight and Frederic Chopin—Ruth Bampton 316 and actively engaged in composi- The desire to discuss this subject for ETUDE readers came from Schubert, who sometimes wrote four songs in a day, and later on was improve other phases of your playing. Broadwell Parade of the Tin Soldiers (Presser 27990) Sidney Forrest 318 tion, has been a self-exile from his reading an excellently written book, “Music and Reason,” by Charles unable to recognize them as his own? Surely they were not ground out Study Series is in use by famous teachers, noted Sleepy Eyes (Ditson) Bobbs Travis 318 pianists and students throughout the United Dainty Buttercup (Presser 27838) J. J. Thomas 319 native land since 1925. He gives a F. Smith, which is announced by its publishers as “a challenge to the of a soulless human comptometer! A vast proportion of the great music
States and in 32 foreign countries . . . Exclusive In Chinatown (Presser 27319) William Scher 320 vivid picture of his contemporaries popular illusion so ardently fostered by sentimental critics and his- of the past was written by devout men, who in the dedication of their methods; Mental-muscular Co-ordination Exer- cises; new study approaches, eliminate waste in the Russia he knew. torians, that great music is the fruit of divine inspiration.” We read works paid tribute to their Maker, as did Johann Sebastian Bach WORLD OF MUSIC 330 with practice effort . . . bring quick dramatic im- the book with particular care only to find at the end that we were such phrases as “To God Alone Be Glory,” and “In the Name of Jesus.” provement results. JUNIOR ETUDE Elizabeth A. Gest 332 THEODORE PRESSER'S more than ever one of Mr. Smith’s “sentimental critics and historians.” Even those who lived worldly lives often stopped to pay tribute to a Write for FREE booklef Mail Coupon Mr. Smith is a confirmed agnostic, and contends in all sincerity and div source. MISCELLANEOUS CENTENARY BIOGRAPHY ine with good humor that great music is entirely the product of craftsman- Music students in the great music schools of the world have acquired BROADWELL STUDIOS Voice Questions Answered Nicholas Douty 323 Mr. Presser's biography by Jame: ship. to be greatly disturbed because so that Covina, California Organ Questions Answered Frederick Phillips 325 He seems many suspect amazing craftsmanship. There have been hundreds of Musical Doctors Violin Questions Answered Francis Cooke, Harold Berkley 327 which began in the divine inspiration may have something to do with the creation of who have been better versed in the science of musical composition than July 1948 ETUDE, will BROADWELL STUDIOS. Dept. 69-E be concludec musical masterpieces. It is difficult to determine just why he should was Schubert, but who among them has given us a Serenade or an Entered as second class matter January 16. 1884 at the P. 0. at Phila., Pa Covina, Calif. in this issue. desire to so concerned, he has evidently* settled in his under the Act of March 3. 1879. Copyright 1949, by Theodore Presser Co. We thanl be when own mind that “Unfinished” Symphony? Schubert could answer this. He must have send for U. S. A. and Great Britain. Please Free Booklet "Technique" and de- large numbers of is never a our friends fo : there no God and has been God. known that his lovely themes came from above. tails on how I may improve my playing. their enthusiastic letters With the great wave of materialism which has is of appre been sweeping the Not until science able to create a violet, a rose, or an orchid in a $3.00 a year in U. S. A. and Possessions also in Name ; the Philippines, Costa Rica Cuba Dominican Republic, ciation of the story of the world as a backwash of the World Wars, the appearance of such a book test tube can we, in this, age of materialism, Guatemala, Haiti, Mexico, Nicaragua, Panama, Republic of Founde join with the groups of Address Honduras, Salvador, Spain and all South American countries except the Guianas of ETUDE. is not surprising. The author is scholarly, well read, and writes in an materialists who contend that musical $3.25 a year in creation is merely the end result Canada and Newfoundland. $4.00 a year in all other countries’ City State Single copy. Price 30 cents. interesting manner. He seeks to show that “the parallelism between of an academic production line.
2 78 MAY, 1949 279 etude INCE I am in no sense a pedagog, I can speak Phrasing of pianistic progress only in terms of my own ex- Becoming a Better Pianist Through to play, and longed to to Punctuate S perience. I always loved On How possible (who does not?), but it re- play as well as mained for two fine teachers to show me how to work. A Conference with My technical studies were greatly advanced by the Mathilde Verne. My techni- Taylor Rather thoughtful discipline of Moura Lympany by Frances cal problems were, perhaps, unusual! I was born with naturally fluent hands; I have never had to struggle Distinguished British Pianist for speed, agility, or any of the other purely mechani- that are suggested by the word “tech- course that a cal difficulties the other hand, we know of pause counting after On nique.” On the contrary, I could read a page of the I have found that extra entire cessation of sound. showed her this sentence: pils’ playing. not always signify One play by Rose Heylbut N Patsy’s lesson clay, I or in fact, wher- does most difficult music (technically speaking), and or at the end of a phrase, through the use of the Patsyyouplayedyourpiecewellbutitwasnot punc- a retard, of the most impressive effects pleased with relieve the breathless it straight off.- At fifteen, I was rather punctuation is needed, will the sustaining of tones and to read it, and she did so. ever can be secured by tuated. 1 asked her distuibing pause this! Miss Verne taught me better. and need give no cause for fear of prolonging the sound beyond O what was needed to make the mean- rush, damper pedal, thereby that a too-easy saw, of course, brief, well she pointed out to me She as mentioned earlier, the It was who under three great where the punctuation the rhythm, for, value after the playing has stopped. Some of America to the years to further intensive study ing clear. Then she told me musical sections arc the note technique was a liability rather than an asset, because Moura Lympany has now added placed breaks separating the pause may be noted in the in Vienna, and Ma- be inserted, after the words were sep- the finest effects with the has value, she and, as is cus- teachers—Paul Weingarten marks should intelligent phrasing. it was quite uncontrolled. Nothing list of countries ‘she has conquered before “but, necessary to effective, tones and damper pedal in teacher' Queen Elizabeth of arated: a comma after Patsy, a comma punctuation long sustaining of final that comes by itself—you have to know conquest took place with thilde Verne (the of the adult player, observance of would say, tomary in her case, the end; so the sentence appeared With of our best known concert pianists. Tobias Matthay in London. In and a period at the the average the performance what you are doing, how to do it, how to plan to do young as a school- England) and should be less of a problem than with enthusiastic delight Looking played your piece well, but it was attention thus far has been directed primarily instead of prize in the for- thus: Patsy, you natural Our it, to make natural facilities serve you Miss Lympany won second real musical ability, or how as a film star, Miss Lympany 1938, near, alert and re- child, for even without in playing, rather than girl and glamorous not punctuated. Marilyn, standing Punctuation and Pauses first words to me were, “Now, you Competition in Brus- musical punctuation, maturity in yeais to governing you. Her engagements to acclaim midable Ysay 'e Pianoforte eager interest. When I asked instinct for that their importance in played her New York sponsive, also showed povver singing. This does not mean to learn how to practice!” Her two secrets she began the should bring a certain amount of poise, greater are going the truly great sels. Success now was assured, and of the word “punctuate, Patsy said in any sense be undervalued, but of that placed her in the forefront of the meaning to think. W ill vocal work should of good practice were regularity (regardless how carried her through tri- composition, of concentration, and a willingness British public career which has “separate”; and as I played a Chopin the breathing intervals (mentioned earlier) or what your pianists the day. British born and of thought, is a main- in singing, you feel, what you might like to do, of America, Aus- by clapping her hands power, controlled by well directed her un- umphant tours of Europe, South she indicated the punctuation give punctuation. The musical accents are in accord mental control (never to practice a ancestry, Miss Lympany early showed spring a motivating force that should bring results in mood is), and Miss Lympany and each phrase. I was glad she used the — phrasing more began piano, tralia, and America. In 1945, at the end of with the words, which fact makes vocal that was not directed and guided by alert musi- usual musical aptitude. At seven, she this, as in other lines of endeavor. note British ai lists to word “separate,” for punctuation means separation; instrumental; and through freedom of four hours electrified her Sir Adrian Boult were the first simple than cal thought). Miss Verne made me practice lessons in Belgium; at twelve, she in music? she following and when I said “separation of what, solo singing is offered greater play Paris after the liberation. The The Pause emotional expression, a day, at one-hour periods, so that the guiding brain audience by her playing of the Mendelssohn in “As in English—phrases.” in the matter of were expressly invited replied opportunity than choral work, never be fatigued. I find such a system very at Har- year, she and Sir Adrian Fermata is a pause, or hold, with this mark- would G-Minor Concerto, under Basil Cameron, Punctuation in playing includes the limitless num- The the Prague Music that the punctuation. stimulating, and still adhere to it. Every day of my Scholarship to represent British music at longer ones), both ing /t, above a note or chord, signifying rogate. Winning of the Ada Lewis ber of brief waits (and some to one, her beauti- be sustained for life, I practice from ten to eleven, from twelve Festival. Miss Lympany is famous for rhythmical, which separate the musical corresponding tone or tones should brought her study at the Royal Academy of melodic and Choral Singing four-thirty, and, after tea, from and lengths of time, according to the note value from three-thirty to was singing tone, her prodigious technique, thoughts, and which, even without signboards to mark varying Music, in London, where, at fifteen, she ful being somewhat In choral singing, rhythmical punctuation is all five to six. For the last hour, my husband has come her interpretations. In nevertheless be felt and observed as and the character of the music. This Medal as the best stu- the sensitive musicality of them, should is a fine ama- awarded the Challen Gold procedure, the judgment of the per- important. Effective vocal ensemble is dependent in home from his business and, since he Moura Lympany. from definite parts of good phrasing. Such waits correspond of an elastic as the Hine Gift, for the following conference. well-punctuated pianist, devote the time to playing concertos dent of the year, as well indi- former may also be a determining factor. When found large measure upon a rhythmical, teur we experience, tells ETUDE to the breathing spots in singing and to those graduated with high her wide and varied be sustained accompaniment. In other words, such an accompani- together. composition. Upon being the printed marks in reading and writing. above a note of short value, the tone may better pianists. cated by resisted the lure increasing readers how to become twice as long as the value of the note; but ment stabilizes choral singing, and is indispensable An Effective Practice System honors, she wisely of In this connection, it may be added here, that in more than —Editor’s Note. to good work in the playing and singing qf hymns and thoughtful public engagements and devoted the next few much of our present day printed matter, insufficient Miss Verne also made me practice, with chants. The piano lends itself well to this work. While punctuation often makes a second reading necessary care, the technique that previously had come as a the organ is associated with, and better adapted to the aware in order that the meaning can be fully grasped. I tell matter of instinct. The point was to make me playing of sacred music, the piano, with its ease of hour, I my pupils to listen to the speakers on the radio, and of what I was doing and how I did it. For an action, and otherwise less complicated mechanism, of- to note how they insert pauses; and also to watch worked at scales, exercises, octaves, arpeggios, stretch- needs in rhythm and for the beats of conductors when they are shown in the fers excellent adaptation to the ing drills, exercises in thirds, in sixths, and ele- the movies. Both Mr. Toscanini and Mr. Stokowski are punctuation that constitute such important part in mentary “five-finger exercises” to gain evenness and today. with conscious and alert control, so that you not only observing pauses, and accompanist’s work for choral singing. The hymn control. I adhere to this system very exacting in the matter of are doing. of work, I play only achieve your effects, but know what you the character of their performances is often marked player must know his tempo, which must be neither For my first hour sometimes in the form of by their taste and judgment in this respect. too fast nor too slow. Ideas should not be crowded. technique— Matthay form of Wisdom from Phrasing has been aptly termed “the punctuation of Listeners should be allowed time for adequate hear- exercises, sometimes in the which I The conscious art of interpretation I learned from music”; "the division of musical sentences into rhyth- ing and mental digestion; and, as Robert A. Gerson passages from compositions that time. Tobias Matthay. This is no reflection on Miss Verne! mical sections”; and rhythm has been defined as “the says in his book, “Music in Philadelphia,” published am playing at concerts, at. It is simply that I was older when I came to Mr. division of musical ideas or sentences into regular by the Theodore Presser Company, “Francis Hopkin- To these, today, I always add a num- Matthay—in my late teens—and consequently more metrical portions.” son’s remarks on the rhythm of words in chanting are ber of Chopin Etudes. These, of maturely ready for interpretative values. At this pe- The following quotations, clarifying the meaning still a pertinent guide for this type of religious music. course, are musical works which I riod, problem was one which, I think, besets many and significance of rhythm, are worthy of mental ab- His plea for dignity in church music and for unity of also play in concerts—but taken as my students. I could think and feel, inwardly, what I sorption: “Rhythm combines separate tones into a thought in religious services will still repay considera- pure drills, they run the gamut of music to say, but experienced difficulty in sensible succession, and weaves them into a whole.” tion by our church musical authorities.” This quota- everything a pianist needs. No matter wanted the getting the feeling out of my inwardness and into the Rhythm “represents the regular pulsations of music.” tion is by no means a digression from our subject; for what else I may practice, by way of piano! Matthay taught me hotv to take interpretation “Tone without rhythm is unintelligible.” rhythm of words is a part of punctuation; and punc- technique, regularly, every day, I play feeling and to project it, Assuming that technic, fingering, pedal work, and tuation undoubtedly adds dignity to the playing and the following Chopin Etudes: Opus out of the realm of vague consciously, as a planned pattern of musical thought. other essentials to good phrasing have been mastered; singing of church music. Also, in chanting, the pro- 10, Number 4 (C-Sharp Minor) comes My first work with Matthay tv as the Delius Piano that is, thoroughly studied, and put into practice: longed pauses between words should be included as a first. This is an enormously difficult this: there can be no rhythm without punctuation; and no vital part of punctuation. work, made more difficult by its great Concerto. It begins like punctuation without rhythm, for the two are in- The remarks and suggestions in this article are di- speed. First, I play it very slowly as 2 : —y— —P ' - separable, and form the backbone of phrasing. rected in the main to punctuation and pauses in it is written; second, I go back to the Without them, the phrasing would be inadequate, piano playing, in which the deficiency is more pro- start and vary the rhythm by accent- meaningless, and the entire musical content, erratic nounced, and consequently in greater need of atten- ing the second note of each measure; and obscure. tion, than in other instrumental branches. third, I accent the third, 'and so on. I sat down and played it as I felt it, and Matthay
Phrasing (Punctuation) on stringed instruments is Fourth, I go through it with synco- said “No!” He asked me why I played it as I did, and The Average Child done with the bow, as students are taught to “breathe pated rhythm. Next, comes the fol- I had no answer, except that I felt it that way! Then The average child, either with or without musical with the bow.” lowing Etude, Number 5— the study he said exactly what Miss Verne had said in the mat- ability, has little or no natural instinct for punctua- Francis Hopkinson In the playing qf wind instruments (exclusive of on the black keys, which I practice ter of pure technique—that nothing has value unless tion in musical expression. However, that is a condi- the organ), as in singing, way, varying and know what you are doing, why you do it, and Our first American composer was our earliest author- breathing intervals in exactly the same you tion to be expected, for speed is a dominant charac- “punctuate.” syncopating the rhythm, and always how to do it. Then he gave me my first taste of ity on rhythm and phrasing. teristic of youth; and also, we know that speed interpretation. The importance of intelligent punctuation as an slowly. Then I apply the same proce- thoughtful He pointed out that the the spirit of the times. Even tiny tots, in early reflects indispensable part of good phrasing has been ably dure to the study in thirds, the study first note of the Delius is of longer duration than the attempts at walking, start out on a near-run. Children when found above a note of long value, it is following; not neces- emphasized in earlier issues of ETUDE; yet surely a in sixths, and, finally, to the study in four notes immediately and that through are continually calling to one another, to “hurry up.” sary for the tone to be held for even double the value subject of such import, and so universally neglected, octaves (Opus 25, in B-minor). In those four notes, the first one leads into the next East driving seems to stand out as a main objective of the note. Also, when found above a rest, the deserves vary the long note. Those time-durations interpretative addititional mention in the form of a further this octave study, I not only have of the youthful motorist; and so, surrounded as we Fermata signifies a pause of varying length. When it plea for wrist agility, I always, a longer note observance: and so it is hoped that the con- rhythm, but, for great value— must be played more arc at all times by convincing evidences of haste, we occurs above a double bar it usually signifies the end tent of this article will serve as an urgent reminder play each octave as though it were loudly than shorter ones. Again, the leading, or' prog- cannot expect the trend in musical expression to be of a composition. Such signs must be observed, as that punctuation should be recognized and observed written as three or four repetitive ress, of one firm note to the next shapes the pattern of the child, an exception. With average observance of must the unmarked pauses to w'hich we have already all the phrase. Then he told as a major element in playing and singing. Both punc- octaves. When you have done me to play the music again— punctuation (musical) has to be instilled, or injected, alluded; for silence is often more expressive than tuation these things with all these studies, and* immediately, I saw reasoned clarity and pauses claim definite place as main essen- where, a if it might be so termed; and even “hammered in” by sound. A familiar saying that frequently comes to tials to good phrasing, and indispensable your hands will carry out pretty much moment before, I had been groping among instincts the teacher. Various schemes are resorted to by means mind (from one of my Conservatory teachers) is “Now toward anything you want them to do! Nat- and feelings. By learning to work out balanced tempo and stable, artistic, well- the why of teachers, in their efforts to get punctuation into pu- let the people enjoy hearing nothing.” rounded urally, all practicing must be done music, according to note- Continued Page performance. Moura Lympany ( on 324) 280 281 ETUDE MAY, 1949 ties of ensemble and tonal balance, but above all it was the observance of the rests which beat and was really refresh ing and stimulating. Incomparable once again and for So everyone, “Vive Paderewski the le Solfige!” (November 6, 1860—June 29, 1941) The Teacher’s Round Table Dripping Dew Drops Recently I had a musical argument Piano several friends as to in the History of the with how the ar- The Most Dramatic Figure peggiated octaves near the end of De- Look and Listen Conducted by bussy's Reflections in the Water should be played. I told them I had read that courtyard s stones. I play two pianos with a friend of Bearing a brother o’er the Dumesnil, Mus. Doc. you said Debussy wished them to be since the passing of Ignace tower. mine, but we are not satisfied about Maurice T is now eight years And out old Valdemosa’s ruined rolled from top to bottom, rather his fame as certain aspects of our performance. We than Tan Paderewski and with every year the usual way— bottom to top. soul rain. find difficulty in falling together on the Am I artist and as a great human constant dropping of the Eminent French-American I an unparalleled And then, through first beats, especially after rest, or a right? Last night we attended an artist Chopin, resumed. a grown magnificently. The renown of tender love song’s cadence is the has The hold. It gives our playing a character Pianist, Conductor, Lecturer, recital in which pianist played a famous virtuosi strain; Liszt, Rubinstein, Carreno, and other Until it ends in softest, sweetest of insecurity and carelessness. What Dehussy group. I went hack stage Teacher and inimitable creative genius of great artists—is illumed. and is undimmed. The And life— by two would you suggest as a .remedy? asked him about this. He said he had most and his tragic ending make him the — (Miss) H. S„ Michigan always played those octaves in the usual Chopin I he fiery brilliance o in silence o’er the keys. ures "to get adjusted.” Better still: hum he romantic of musical history. The fingers pause Stumbling way but would interested in trying with on the air; More well as his significant contacts low, sweet chords sound softly Two-piano performance requires long inwardly the first measure, and count them the other way. Would you mind Franz Liszt, as Two I have a knees. In my study of the piano prepara- of his day, make him, in his way, lean, long fingers grip again the itudy and considerable rehearsing if the the beats mentally. With such writing something -in F.TUDK on this the great musicians The difficulty about which I would like to the never-ending story artist starts the Mihtaire. partners are going to have that “feel” tion you ought to “pitch in” right. important point? an Incomparable figure in And then the request your advice. 1 believe it has start they are — (Mrs.) B. M. music. . each aware of what the many people before W., Georgia. of , which makes one more to do with nervousness, than with Too call; addition to ms is changed to bugle In Paderewski, however, we have, in The lover's song other one is going to do. After long the fingers. When I have learned a ready. Here, once again, be wise: “Take world figure in the field dropping rain to bursting bomb and shell. years of public playing some teams de- time to take time.” You are entirely correct, and Debussy long career as a virtuoso, a The composition quite well I often stumble monastery hall, himself suggested to that an unusual writer, composer, and The monks’ sail chant in velop it to such an extent that they when starting it. After that I go me way of of statesmanship, fortune to help restote his place to man’s mad shout and angry yell. sound like one single instrument. At through the piece quite comfortably. I playing t lie octaves—downward instead orator, who gave up a Gives 1 and who, times their identical rendering of shad- read ETUDE with much enjoyment, Boys’ Pieces of upward—as indicated in inv short opus native Poland at the end of World War to external interests thousand horsemen dash across the field, ings, phrasing, accents, and even the ex- and would be glad for any suggestive I have many boys in my class and I “How to play and teach Dehussy.” When in his last years, saw Poland fall A York City. score of brazen bugles sound aloud the pression, is nothing short of amazing. help. My trouble occurs mostly when feel I should like to teach only boys, done with the proper touch and not too and died broken-hearted in New A playing as I find Paderewski were charge, They are musical twins who cannot be at the home of friends. them very interested in piano fast the effect is of exquisite loveliness. Our many personal meetings with playing. in Carnegie hate-born lances press or yield, distinguished from each other. - (Miss) F. V. L„ Maine. Could you suggest a list of The tone must be liquid, the notes must always memorable. The first occurred A thousand suitable and not too difficult pieces? a youth. On shaking hundred cannon spitefully discharge. However, you may be sure that for a “fall” delicately, peacefully. Think of a Hall, when your Editor was A - (Mrs.) G. H. Texas. sense of long time they had of using I could bet ten to one that your stum- R„ river with him we felt an indescribable some way bend on an autumn day, when the hands hate, to leave the over all the gruesome tones of perhaps they still so. bling has nothing to do with either leaves and force which never seemed Yet signals, and do turn into gold and a soft mist power clear; nervousness, “Boys’ pieces” must be buoyant, rhyth- Table at Versailles, lover's song resounds quite sweet and This can be done so discreetly as to re- or the fingers. Rather, I lingers over the quiet water. Venerable master. It is said that at the Peace A mic, peppy, full of “zip,” and also me- fluency birds are said to nest, and sing, anti mate, main unnoticed. very slight nodding would ascribe it to a condition which I trees Paderewski exhibited an extraordinary As A reflect themselves in dark shadows where by fear. have lodic or descriptive. Here I will quote nations represented, ’Mid war’s mad lust, quite undisturbed of the head may be enough, or a quick observed many times and for which and drops of dew drip from the foliage with the languages of most of the a few of them at random, Portrait I give the following advice: but they are most dominant figures. In dis- Paderewski's First Famous look, all of which does not go beyond while one hears the distant tolling of a he was one of the men, representative and I am sure you and his colleagues Again the maddening rush of onswept the footlights. It is there, nevertheless, Please take time to get seated -com- village cussions with a hundred or nlore of church bell. Perhaps Debussy made his first sensational ap- shrill and far; your boys will like them very much: admission that Pade- When Paderewski Again the bugle's call sounds and it works. fortably and conveniently. If the seat is never afforded a deeper appeal to the there has been an all-around My Scooter, Ada Richter; The most dramatic pearance in New York his manager circulated the Once more the clash of hate, and then With patience and perseverance, you too low, ask for a cushion, or some Cob- imagination, with incomparable oppor- rewski, all things considered, was the , the tale of war. bler, William Scher; Bicycle Ride, quickness of wit, Ins orange crayon portrait made by the famous Eng- In slow, sad measures ends and your partner will likely evolve a books; if it is too high, don’t hesitate to f. f. tunitics for tone coloring, clever pedal- figure in piano playing: his Thomas; The Hunting Song, Bernard of heart, his bigness of Edward Coley Burne-Jones (1833- signal system of your own which will ask for a lower one. Place your feet on ing, and supreme artistry in the elusive breadth of view, his warmth lish artist, Sir Wagness; Tumbling moment’s silence, then the list’ning throng work out to your satisfaction. the pedals, Clowns, The Skat- Paderewski was in his prime, great pianist’s first well A Then later ready for action. Then con- blending of light and shade, than lie did concept. In 1915, when 1898). This .teas the acclaims. ing Boy, Evangeline Lehman; him. Bursts forth in wild tumultuous on you may be able to discard it and centrate your thoughts The Soap Editor had his first lengthy conference with poet, K. on the tempo of here. your known portrait. It inspired the John or lover’s heartfelt song, Box Derby, Richard Manley; The Chase, Art Work. Therein And war’s grim charge, enjoy that feeling of security whjch will the piece, so you can start at the proper It is interesting Reflec- It was upon “Breadth in Musical graphic verses Edna Taylor; Danse to know that Allen, to write the accompanying Alike the music master’s power proclaims, be the best reward for your efforts. speed instead Russe, William many momentous statements, among of using the first meas- tions in the Water and the other two Paderewski made debut. keys. Scher; Dance of the Sprites, Joseph M. describing a Paderewski When Paderewski strikes the Images of the first volume were written which was the following: Hopkins; Fire Dance, James Francis during a vacation at Eastbourne, the well- short biography of Mr. Cooke; Air Patrol, Robert A. Hellard. in the Home ETUDE readers desiring a known resort Musical Culture All the above on the English Channel. at trilling cost will find that written by can he obtained through greatest forces for Paderewski However, the first satisfy “Music in itself is one of the Paderewski conven- the publishers of ETUE)E. draft did not the Editor oj ETUDE in 1915 adequate and him; breadth in the home. Far too many stu- so he “resolved to write another developing Dr. Chester Lord was completing his great A Portrait ient. When version along to dents study music with the view to becoming new lines and according standard series of biographies for the famous “Beacon the most recent virtuosi. Music should be studied for itself, without Allen Hail Solfeggio! discoveries of harmonic by John K. of History,” the first contemporary musician cases of niarvel- Lights chemistry.” The result was successful. any great aim in view, except in the search. Last summer as I mused along the keys: selected for the list was Paderewski. After much the “Without talented children. Again, many children might When Paderewski strikes picturesque old boasting unduly,” Debussy ouslv finally wrote to the master and asked him if winding streets of Alen- comes a strange, deep silence o’er the hall; Dr. Lord wrote, T into teachers or composers who would There in “I think it now holds well to- be developed story. Mr. Paderewski replied Son Normandy (population sit just where they are, he had a favorite life 17,000) I gether and virtuosos. This should be very carefully The people stand, or came across an may take its place in piano never make “Ignace Paderewski” by’ James Francis official poster in black the not move, nor talk, nor stir at all, advocating Jan literature at the left of Schumann, or the considered. Most of the students assume that And do and white and bearing is now published in The Etude Musical the arms of the Lest a low whisper should that silence mar. Cooke, which right of Chopin ... as like career of the virtuoso is easier, more illustrious, and city. It announced “Free you it.” Series for fifteen cents. Courses in Sol- that of the Booklet It has! jReflections in the has last but not least, more lucrative than feggio and Instrumental Water for the musicians of today, Paderewski Music,” was the tall, gaunt man. with tawny hair, Fortunately become one of the But is it not better to start out to be a And then signed by the most beloved pieces composer. and the moving pictures in mayor, and ran as follows: gray face, completely self-contained, records are still available, among concert pianists and music lovers great composer or a great teacher and become one, And pale, “Notice is hereby good. Thus, while the living given to all those first raised high in air, tone film are remarkably alike. rather than to strive to be a virtuoso and prove a His bony fingers who wish to learn great virtuoso is no longer with us, music, or to have it Sends crashing chords where late the silence presence of the taught fiasco? never to their children, that the re- it is still possible for future generations who “The intellectual drill which the study of music reigned. opening of the classes will take place on Wants Metronome Markings heard him to form some estimate of his great appeal gives the child is of great educational value. There is Saturday, October 2nd, 1948. The object What are the correct metronome glance runs round the place, to people of all lands. will take its place, and it is for this And then his rapid of these markings for nothing which are: classes is to enable the students the following composi- grip his bony knees: Among the famous records that are obtainable that many of the greatest educators have ad- Flis lean, long fingers to become members tions? Polichinelle and Prelude in C- reason of the Music Corps. his hands: meantime the gray wan face sharp minor, vocated it so highly. In addition to this, the actual He wrings “After elementary studies, the Rachmaninoff; Menuel 748—Paderewski Golden Anniversary Album- lessons limitless gratification Looks o’er the people and still no one sees. MO— a VAntique, Paderewski; I Love Thee, study of music results in almost in Solfeggio will be replaced by a course containing Grieg: Gypsy Rondo, life in the understanding of great musical in Instrumental Haydn? in later Variations in F Minor (Haydn) Music to which the stu- is there; Theme and — (Miss) E. K., Minnesota. The atmosphere is right; the mood dents will be admitted masterpieces.” A-Flat (Op. (Chopin) after passing an The master and his instrument are one; Polonaise in 53) examination (Mozart) successfully. When their in- Polichinelle which pervades the air, Rondo in A Minor J =138. Prelude in C- is indebted to Mr. Theodore Steinway for And in the stillness struction will be judged ETUDE in A-Flat (Op. (Schubert) as adequate and sharp minor, old-time, low, sweet love song is begun. Moment Musical ;2 94) / = 76, and J = 92 in the the privilege of printing on the cover of this issue An according to the regulations in vigor, 349—Sonata in C-Sharp Minor (Op. 27, No. 2) Agitato. Menuet a PAntique, = 132. I portrait. Here we see the vener- DM— they will J Mr. Paderewski’s last receive full and compulsory of the rain. "Moonlight” (Beethoven) Love Thee, J = 63. Gypsy Rondo, = of the keyboard, his face reflecting his One hears the constant dripping membership in J able master “Revo- the Music Corps.” 144. prelude flows along. 1387 —Etude in C Minor (Op. 10, No. 12) long and historical career, his great achievements in As Chopin’s measured Investigation disclosed that the lutionary” (Chopin) Mrs. and Mrs. Maurice ap- But remember: the above markings statesmanship, and philanthropy, seated at the And then a dirge’s melancholy strain Dumesnil Honored at Port Huron plications were very art. (Op. No. numerous, and are given off the haunting sweetness of the song. Etude in G-Flat Major 10, 5) only approximately. There keyboard. It is probably the crowning picture of his Breaks Radio Station at proof that the results are “Black Keys” (Chopin) WTTH Port Huron, Michigan, held Open House satisfactory must be no stiffness in of the masters of the keyboard came to the performance, magnificent career. Few for a day to honor Mr. me when I had an opportunity tones, 6825 —La Campanella (Paganini-Liszt) and Mrs. Maurice Dumesnil. Mrs. Dumesnil, no attempt to keep these tempi for any have had the photogenic characteristics represented And gloomy monks, with solemn, chanting to hear the Municipal Band. Nocturne in F- Continued on Page 336) who was formerly Miss Evangeline Lehman, ivas born The per- length of time. countenance. Make pious march-past at the midnight hour, ( at Port Huron. formance was The musical expression in Paderewski’s marked by notable quali- requires that you fluctuate, 282 fluctuate. 283 MAY, 1949 ETUDE to begin rehearsal, he tells the concertmaster ’ then gets the men into order. 1,0 3. The possible need for conducting % rehearsals “f the conductor leaves the podium. if Playing 4. Responsibility for understanding Piano the condu The Finger Stroke in Concerning the Concertmaster tor’s interpretations and for transmitting them t the men. Since the concertmaster has no confer° A Conference with ences with the conductor, he must be For more than E CAN shape our fingers in several ways. by Henry Levine normally alert during rehearsals. them straight out in example, we can stretch and Editor 5. ability to perform Well-Known Pianist, Teacher, The solo passages in back of the hand. From this Harry Zarief all line with the styles of works. W point on, we can pull the finger tips in slightly, The concertmaster does not rehearse the on the soft finger pads, just behind Concertmaster, men whereby we play CBS Symphony Orchestra without the conductor (except for the finger position. By brief mo- the tips. This is the extended In Collaboration With Annabel Comfort ments indicated), and lie does not in, get the con- engage the curving the tips still farther we players (although, in symphony orchestras, finger shape with tips pointing by Gunnar Asklund he is ventional rounded usually of the little more, one auditioning body). straight down. By pulling the fingers in a point in so that we would play on our from the hand knuckle, without the tips would fingers form a natural arch. finger down only Born in Rochester, York, Harry (pro- How docs the concertmaster of our you will notice that his cultivated skill New Zarief come to his post? finger nails. If we continue the inward motion moving the finger tips in too far, is a This natural curvature of the fingers should be kept nounced Za-reef began the violin at Normally, there are three ways. Occasionally, the clenched fist. practice. ) study of the a solo- finger tips we end with the that can be achieved only with is placed in playing position over ist of fine is when the arm at the key- age of ten, under Samuel Belov at the David reputation asked to take the position. to note the changes in the hand the correct finger stroke It is interesting way, and the one usually suggested, is To develop If I am not mistaken, this keys. Another a com- Hochstein was the case with botli fingers change shape. When the fingers player, first of all, should adopt Settlement School, named in honor of position as the object like a ball or apple. 1 his board, the Mishel Piastre and Mischa slopes down to hold a round arm rest freely the gifted young Mischakolf. The second are held out flat, the back of the hand de- fortable playing position. Let the right American violinist who was set the finger shape. Still another way to way is for a thorough clenched, should holding and persevering young musician slightly from the wrist. When the fingers are fingers the keyboard, with the side of the thumb killed in World War I. When Mr. Belov became velop the finger shaping sense is to extend the on to enter his section as a player 1 he slope of the above Middle-C. I he and, on his record, to back of the hand slopes up. til let us say, the C an octave a member of the faculty the the out. Then bring them all the way in, down, of Kastman School earn a call to the of the all the way in to about concertmastcr’s chair. The third adjusts itself to any in-between shapes should be straight with the key, and of Music, young hand and then, without looking, have the fingers thumb Zarief joined him there, at the way is for a young one. Any in- fist form, other fingers man to earn the coin m mastership fingers. This adjustment is an automatic After a few the base of the nail. If too far in, the same time entering the University open up to the correctly rounded shape. of Rochester of a small orchestra (student or professional) with this natural adjustment will cause black keys; if too far out, the at m quite terference and checkups, the fingers should find the will crowd into the as a music major. He served as concertmaster early in his trials should be of career, and to give a .sufficiently good strain. may slip off the keys. The other fingers shape. ' the proper . , Eastman School orchestra and, while still a account of himself to be ranked as conceriinaster several shapes which fingers can assume, two , , the adjoining keys D, E, F, and G, with ma- Of the correct shape should be held without stiffness. spaced over student, terial. from arched The the key sur- played with the Rochester Philharmonic the start. In each 'case, a solid background are chiefly used in correct piano playing; the in the the finger tips pointing down and touching Stiffness in the finger joints causes stillness of musicianship and pointing down, and the of the fin- and with the orchestra of the Strornberg-Carlson experience lies behind the call. or rounded finger with tips action. face. This is the so-called “close position” hand, wrist, and arm, and interferes with finger Radio Station, extended finger with somewhat flattened the different lengths of the fingers, WHAM. Upon graduation, with partially them for freedom, move the fingers of each gers. Because of Special Requirements contact with the To test the fifth highest departmental honors, arch, and with finger pads making described, and with the the tips will be arranged in a half circle, he continued his In radio, hand in, as we have just the requirements of the concertmaster are extended or flattened out finger the third finger neai studies under Elans I.etz keys. The extremely flop them out, and let them finger near the edge of the key, at the Juilliard School, more stringent, 'fingers of the other hand, it anything, than in the symphonic hardly the position one would adopt in playing the key, the second and fourth fingers in and became concertmaster is place. the black and of the Juilliard or- field, for the reason that the fingers shaped fall into keys, with key radio stations employ piano correctly. Yet you will see the the between. The wrist is on the level of the chestra. During Zarief’ still other devices for loosening s student days at Juilliard, orchestral men ol top rank only. Because by those who have not There are of the and played in this manner suffice. The the hand sloping up and arched. the concertmaster the briefer rehearsal fingers; but these mentioned should of CBS Symphony Orches- time (some three to six in- trained. I have also seen some players hours been properly five finger posi- tra was called to stead of several finger is used in the normal other duties and the great net- sessions during the week), radio musi- music use this extremely flat finger posi- rounded Adjusting the Arm Weight of popular It can be used also work needed cians must prove tion where notes proceed stepwise. a substitute concertmaster in their experience, a marked talent the opposite side of the picture, playing is not resting too heavily on a tion. On in a chromatic succession of To see that the arm huiry. lor their instruments, risky, because con- in a contracted form Because of his record as concertmaster thorough musicianship and all with the fingers bent too far in is move the wrist up anil down a few in notes are spaced farther apart, as in the key bottom, it implies, and their ability with the nail, causing notes. Where the both conservatory orchestras, young as absolutely fluent sight- tact with the key may be made times. If not enough arm weight is resting on the key Zarief was readers, the extended finger is more comfortable. before they afe engaged. the key. arpeggios, is point- summoned for the post. Pie remained When V: US was pre- the finger to slip off correct pat- bottom, bring the wrist up until the thumb with CBS, senting again, nature, if permitted, sets the its fine Invitation to be learned in sev- Here will then be felt first as assistant concertmaster, Music” series, several The rounded finger shape may farther apart, they ing straight down. The arm weight where he sewed of the distinguished tern. As fingers space farther and under guest conductors expressed aston- ways. If the player will drop his arm by his side, thumb tip. The feeling of weight there should Howard Barlow, Andre Kostelanetz, ishment eral naturally extend outward. Curving the in the and at the speed with key level. many distinguished which the men mastered widely spaced be maintained while the wrist sinks to the guest conductors; and’ later leir parts, without fingers when they are sacrifice of musicianship. Eor one fact, focusing the weight onto the thumb or any was appointed the joints and causes strain. In concertmaster. Mr. Zarief is well- locks Stokowski offered the finger tip is not so easy, because we are trying to set known not only r Since the finger is made up of three as a musician, but as the los' s ° father P chard Strauss, not an easy work. lull arm weight down vertically on a finger tip, while -.-I parts, moving the finger as a unit of- of quadruplets ( three girls and a boy, 5 USUal re Harry Zarief born in P ‘Broadcast rehearsal period. example, the the forearm is in a horizontal position. The tendency I In the Bm -ffter erY fers some problems. For 944)- following conference, Elarry aP ,'° urs of " keys should be offset Zarief ork - Mr - Stokowski to pull off and away from the wts so wen I (? S'™ finger can be bent from the hand tells ® w sat ‘ sfied ETUDE readers about non-solo playing, and w«th the quality of the perform- by an inward and omto-tlie-key position. This is the hS knuckle even when the two end sec- outlines the qualities 3 °Wed the men to contact with his instru- required of a' concert- take the final hour straightened out, as we see pianist’s way of establishing EING a concertmaster is a field in itself-different off to rest! tions are master. ment, just as other instrumentalists have their way both from solo —Editor’s Note. in the case of those who play with flat work and from playing in the l ° the co lcert master! There are many of concert play- of holding their instruments. B orchestral ranks. May I say at the vouna- nennlT" j fingers. I have known start ,Ur that StUcl ' os and resting on the thumb, on C, let us neither v conservatories today limber up their fingers by plac- With the arm the concertmaster nor the orchestral player o d e n , fVbecoming ers who the concertmasters to with the second finger, in close posi- is a frustrated of them in hot water, and they bend begin moving D virtuoso! He is, rather, a musician with m ne i -h them ing of the concertmaster engaged in wiU Sll «ecd? It is well tion. At first, barely start the key in motion. Do not a set of native abilities radio work. To just one finger at a time from the hand which fit him for ensemble rememhl h ",OSt When I began my work as radio concertmaster, if valuable man in an orches- in try for tone as yet. Our purpose now is to get the feel work and, in the case of a tra is tl^ nne , i, knuckle, keeping each finger a the concertmaster, for ensem- colleague nS told me that the most important k W is °‘ ng n of the resistance of the key. as it starts, and to check ble leadership. He’s in the orchestra part of my outside his "? g ° straight line. It is also possible to keep because he wants job would own section In°1,1 he—knowing when not to play! Professional music, it is up on finger actions. Jiggle the key down and up a to be there, and by That not cons lere I r only the part of the finger next to the developing the abilities born into ft at t0 ' sounded odd; didn’t the indicated la one s still trying for tone. the finger bun, he serves rests take care of final P Y own part! The a straight line with the hand, few times, not Watch an important need in music SfilL ; , hand in and the silences? ‘ I soon learned better. Emergencies mus c res ides in its unity. tip. See that it does not pull in and break as soon a& secures to himself an interesting, satisfying can Thus die nlive °i and yet move the finger in and out life. arise. It ,S is not impossible that, after the traUlcd t0 ad ust himself to it meets key resistance. Rather, keep the tip pointing The concertmaster plays brief re- workin?whh oil i from the middle joint. with the men,° occupying t hearsal time, and under the strain ' make his entrances, finger the first desk of the of a big broadcast, and °, phrases, we make a downward stroke down, and trust the other easy action of the first violin section. Necessarily, he the o forth £ I When conductor may raise his hand for an entrance and aningfully im° the from the hand knuckle to supply the force necessary must he a man of wide orchestral experience. a buddmgo Un with the fingers in rounded form we He must shade of a minute too SdLesired musicalrunity; soon. Then the concertmaster to follow the to start the key. Soon confidence in this type of down- also be qualified to impart the rest nf , 1,1 , , really have a double action in the conductor’s interpreta- is able 0 eS a ,e to help him by holding up his bow hC Plays- SUch a finger action will be established, and there will tive wishes to his own section for the shedt .nw n u musician finger. That is, in order to move the ward and to the orchestra split second of as time it takes for the conductor to ’“‘"S than the mere he no tendency to get power by pulling in at the tips. a whole. He must further be able to cor- playing of noted finger down, we must start from the take over the rect himself. A good concertmaster conductor’s duties, must be alert and order to keep the Every piano action differs in resistance; but this if necessary. This over-all picture Second, a most necessary hand knuckle, and in ready for things like that—indeed, 0- asset for orchestral id for anythin ! varies somewhat according to vancement finger in rounded shape we must bend way of jiggling the key to feel die starting resistance whether he plays in an The concertmaSter’s is the complete readiness post calls for extra musician- and willingness to become accustomed to the action. independent symphony or in a radio the conduct S it from the middle knuckle only enough is a good way orchestra The ship, extra alertness, an °r’s interpretative radio extra sense of deep responsi- wishes plus it, a sensation, orchestra prepares its programs in he abilityhT to transmit to point the finger tip down. Here is You get the feel of velvety not only a minimum bility, plus those qualities them to the men. of rehearsal of leadership which will Most orches- finger tip, but in the rest of the finger, hand, time, and the programs run the tras have guest conductors, where trouble sometimes sets in. A be- in your gamut enable him to transmit the conductor’s and it is entirely of every possible musical wishes to the hat possible to his finger and arm. This is also a good time to watch the other style, from symphonies to a season will include ginner, in trying move men, with harmony on all sides. Besides several performances of hits of background music. (A radio symphony leaclino- the same work, each the down, instead may pull in with his fingers, and see that they remain quiet while the sec- orches- first violins, his duties include: differently conceived. Naturally tra, as a unit, does l e finger is starting the key in motion. They will not play popular or dance music- concertmaster has his own finger tips. If contact is made with the ond however, musical preferences^’ many of the individual men take must not consider HHe nail, the finger will slip off the key. If remain quiet as soon as the feeling of effort is felt cen- over work 1. Responsibility them, however in these forms. for the intonation of the His task Thus, the concertmaster or entire contact is made with the fleshy part of tered in the finger moving from the hand knuckle. any of orchestra. Before each rehearsal the men may put in a couple and each perform- finger tip joint will Thus, a sense of finger independence is developed, of hours of jazz with- ance, the the finger, the out violating concertmaster asks the oboe their status as symphonic (the official Yet pulling in with the fingers is and the tendency for other fingers to try sympatheti- musicians.) pitch-giver) to bend. I sound “A.” Then the hese special radio requirements orchestra tunes to to the help of the is make it necessary up, a natural motion in every-day living. cally come playing finger lor the radio preparing itself as an instrument musician to be even better to be played use that motion when we close our eliminated. I have tried these exercises with very grounded in upon by the conductor. We forms and styles, even more alert The concertmaster must young beginners. They quickly gain to interpretative make sure sis hand or when we hold or clutch an ob- control over their nuancing, and even of exact pitch. more fluent at is a powerful gripping ac- playing and non-playing fingers. With this control ac- sight-readine than 2. A measure ject. There the straight symphonic of responsibility for the player. This is especially true discipline tion in the fingers, as can be observed quired at the very beginning of instruction, faulty of the orchestra. When the conductor wishes quiet even in a new-born infant. Moving the playing habits which are ( Continued on Page 328) 284 example, Continued ( on Page 326) 285 ETUDE may 1949 A Comparison of the Arts “MUSIC AND LITERATURE.” By Calvin S. Brown. Etude Music Lover’s Bookshelf Pages, 287. Price, $4.50. Publisher, The University Bruno Walter’s Momentous Beethoven Cycle of Georgia Press.
Dr. Brown has written a very sensitive and pene- trating volume upon the integration of the aits, which would hardly find a complaint from listeners in rural in modern times has come to be regarded as most by Alfred Lindsay Morgan areas who had been yearning to hear this orchestra important in any cultural program. 4 he analogies in Eight weeks seems hardly a fair season, but one can many instances are obvious, and the contrasts throw be thankful that we got that many concerts. new highlights upon the subject which are very il- Toscanini’s return to the podium of the N FEBRUARY 27, Bruno Walter began a six these concerts, terminating as they did on Easter NBC Svm luminating! The author shows, for instance, relation- phony, after his mid-winter vacation, found week’s series of Beethoven concerts, including Sunday with the heartfelt performance of the great the noted ship between a literary fugue and the musical form conductor also making programs of familiar and O performances of all nine symphonies and con- Ninth Symphony. In presenting the Viennese-born and which he calls “Chart for a Dream Fugue.” This popular works. Of course, he was busy very certed works. This series, rightfully states its spon- violinist, Erica Morini, in a performance of the Bee- preparing for other passages have intrigued your reviewer the feature advent of his 1948-1949 sors—the Columbia Broadcasting System—“serves as a thoven Violin Concerto, and the English-born pianist, season— the two- much. For advanced reading in the humanities, “Mu- fitting- broadcast performance of Verdi's “Aida” stimulating. climax to Bruno Walter’s two-year tenure as Clifford Curzon, in a performance of the Emperor on March 26 sic and Literature” will be found most and April 2. The veteran Musical Adviser to the Philharmonic-Symphony Or- Concerto, Walter provided radio audiences with ren- conductor rehearsed the opera for long weeks chestra of New York.” Readers may recall that last ditions of both works that will stay long in memory. before, working at times with the various Brass Music year the distinguished conductor celebrated the twen- One realized once again—as though this were neces- principals individually. This major event ty-fifth anniversary of his first appearance with the sary-how splendid this conductor is in sharing honors “TRUMPET ON THE WING.” By Wingy Manone New York Symphony, predecessor of the combined with a noted soloist. It is the reason why record buy- and Paul Vandervoort II. Pages, 256. Price, $2.95. Philharmonic-Symphony. There is no question that ers have long admired his performance of the Bee- Publisher, Doubleday and Co. in this issue of E I UDE. The during these years Walter’s sensitive they might be presented and dependable thoven Violin Concerto with Szigeti. For his is an un- Essay C. P. E. Bach’s chapter upon Thorough Bass is even in this day an musicianship has greatly enriched the musical life derstanding and sympathetic cooperation—one which Bing Crosby stopped long enough from his occupa- OF PLAYING KEY- excellent harmony. in this country. From about 1934 to 1939, Walter was makes the most his millions to give this book his “ESSAY' ON THE TRUE ART of a conductor’s position in a con- tion of counting of Modern mainly in Europe, where INSTRUMENTS.” By Carl Philipp Eman- C. P. E. Bach was called “The Father he was associated chiefly certo, yet never steals the limelight from the soloist. blessing. He speaks of Wingy Manone as “the most BOARD a voluminous composer with the Vienna Staatsoper and the Your re- Translated and Edited by William J. Pianoforte Playing.” He was Vienna Philhar- The Metropolitan Opera Company this year gave colorful character in the music business.” uel Bach. Price, $6.00. Publisher, W. W. and a very brilliant performer. As a young man he monic Orchestra. He also conducted at Salzburg in radio listeners viewer, immersed in music from childhood, finds the Mitchell. Pages, 449. many unusual treats. In February, Leipzig, and this 1938 and 1939. With the Nazi Company. studied Philosophy and Law at domination of the con- Benjamin Britten’s opera, “Peter Grimes,” was broad- whole field of popular music so specialized that he Norton and tinent, Walter, must account for the very graphic and clear expression like so many others, refused to remain, cast in a performance that had barely heard the name of this evidently hugely was far better than that eighteen years and America was fortunate in having apparently Mitchell, who is an Associate Professor of his thoughts. He was born in 1714, him return to of last year, with Brian Sullivan as Grimes and successful jazz performer. Wingy has William J. Polyna his E.” died in 1778, Bee- us permanently. The veteran conductor, to those Music at Columbia University, tells us in before Haydn. When “C. P. now in his Stoska as Ellen. On March 12, radio listeners brought a great deal of hilarious happiness of were trans- eighteen and already well seventy-third year, has long been a favorite with reviewer does that this is the first complete English thoven was a youth of Amer- given an opportunity to hear the Bulgarian soprano, “hepcats” who are “on the beam.” Your Preface ican musical books, Europe. Beethoven is said to have been audiences and with American record buyers. Ljuba Welitsch particularly recommend the book for chamber lation of one of the most notable of known in as Salome. This opera revival, with not reviewer Walter, born Bruno W. Schlesinger, shh! E. Bach’s “Versuch fiber die wahre Art das much influenced by "C. P. E.’s” style. Your began his Fritz Reiner conducting, was one of the big music devotees or Ministers of Music, but We C. P. successes of Part One this work as a most val- career early, after study at the Stern It is written in the Clavier zu spielen.” 4 he original edition confidently recommends Conservatory. By of the Metropolitan 1948-49 season. Welitsch and found several laughs iii the book. his twenty-fifth year he was an uable musical life investment. established Kapell- Reiner were hailed by critics as an unrivaled syncopated English of the hot spots of jazzdom, and was in 1753. team. the reader meister, having successfully served terms at Cologne, Preceding The first impression upon the part of “Salom£,” came Puccini’s delightful “Gi- sizzles much of the time. Hamburg, Breslau, Pressburg, Riga, and Berlin! In anni Schicci, will be to stand in amazement at the immense amount with Italo Tajo in the leading role. Concerts in England 1901, wife, C. P. E. he was appointed conductor at the Vienna Though Strauss’s of labor Bach’s third son by his first opera, with its orchestral brilliance" of Folk Music and Lore first Raymond Tobin. Hofoper. This was the real beginning of his long and dramatic New Mine Bach (1714-1788), spent upon this, one of the “A SEAT AT THE PROMS.” By J. fervor, overpowered Pucdni’s lyric mu- and brilliant career. instruments. 143. Price, s. 6 d. (about $1.80). Publisher, In 1914, he succeeded Mottl as sic, it cannot CAMPS.” By Earl great pedagogical works upon keyboard Pages, 8 be denied that the latter was an enjoy- “LORE OF THE LUMBER Hofkapellmeister and Generalmusik-Direktor Publisher, is divided into two parts and seven chap- Evans Brothers Ltd. in Mu- able occasion with such talented singers Clifton Beck. Pages, 348. Price, $3.75. The work nich, as Tajo, remaining there until 1922. Thereafter came his Licia ters. The first part has to do with fingering embellish- Albanese, and Di Stefano. For its final University of Michigan Press. first visits operatic Albert Hall, to America, an appointment as conductor broadcast ments and performance, and embodies one hundred Is a Khatchaturian symphony heard in of the season, the Metropolitan gave radio at the Staedtische Oper in Berlin (Charlottenburg), Fritz Saginaw forty-seven pages. The second and most impor- London, any different from the same symphony heard audiences an opportunity to hear Leonard Warren’s Reiner In 1834 the first saw mill was built on the and and in it is heard by 1929 his succession to Furtwaengler as con! Rigoletto, fur trader named Williams. tant part includes: Intervals and Their Signatures, at Carnegie Hall? Certainly, because which, since his coaching of the role with River in Michigan by a cluctor of the Leipzig Gewandhaus and Improvization. an entirely different audience. That is the wonderful Orchestra. His DeLuca, remains one of the great It was in the heart of one of the greatest primeval Thorough Bass, Accompaniment guest impersonations in performances in England, this country, first of this gigantic labor is the very thing about music. So much depends upon who hears and else- the opera house. Perhaps others : luimci discussion ctat forests in the world. From that time on, for over The impression with us would have — . at a later new where are too numerous to state. After eantime, it “C. P. E.” expressed the first World welcomed a more opulent gave all of us a rare years, and the State of Michigan were remarkable directness with which it. War, Gilda than Patrice Munsel opportunity to he fifty lumbering Walter led the first season of German opera but few an operatic performance himself. His detailed directions in the matter of fin- After having written hundreds of reviews of musi- would have asked for a better Duke than planned and worked oi synonymous. Billions of feet of lumber, both pine at Covent Garden, London. in detail that times of works In England, he has long portrayed by Peerce. as only the great poured out from this famous territory gering, for instance, are so practical and homely cal books, we have perused many vol Jan The American tenor is an Toscanini can do. and hardwood, been much admired, and in France his soprano, in different languages by critics who essay to tell popularity exceptionally gifted musician, who avoids and Denis Harbour, bass bai to help build the rapidly expanding industries and was equally great, both stylistic in concert and opera. (He excesses. 16 winn «-s of this year 142.917.228 others what their impressions should be upon hearing 1 year’s Metropolitan Ope homes of the new country. In one became a French citizen in A,?,! , 1939.) x ne American Auditions were heard in engaged in great masterpieces. Some of these are definitely help- Dioaucasung l.ompany s program the final program of tf feet were cut. Thousands of lumbermen Walter is especially admired in his , S1 nt lnt ful they have given historical and technical interpretations Lets Go To the Opera,” heard erest* n broadcast work. It was natural that these men, when this past season . g on March (Amt this tremendous of the German romantics. on i?an Rr !l 13 writer The late composers of this Mondays, was a ca tin C°.). litera- knowledge reduced to the simplest terms. The good idea not always satisfactorily ? S Both singers have natural isolated from their families, should develop a school—Bruckner and Mahler-are 'innc-ilin(T favorites of his, carried out. eS ‘ of the book in your reviewer’s hands was editor of the Inasmuch as the idea behind the broad- M SS H unt has a genuinely love ture of verse, and the new volume collected by Earl and he, as much as anyone living, aualitv Jiri °J u . has done a great cast r ’ English “Music Teacher” and “Piano Student," and was to present highlights pir)our i s blessed immediately becomes a most valuable deal in keeping and a synopsis of the with an unusual Clifton Beck their music alive and before the coming rich iL ant he has striven to give a friendly, plain man’s guide opera broadcast of t0ne ’ °ne entertaining ex- public. Walter the following Saturday can readily believe th book of reference as one of the most was a close friend of Gustav Mahler, the exrt , r new book is anecdoted, informative, one would have thought Wlnn ‘ n to music. The an effort would have f> a much coveted amples of the native wit and humor. The dialect and has written a book on the been with the (Tl, contra composer. As an in- to 1 * entertaining. It will contribute to the reader’s made have the main participants etro optan fine. In instance there is a and terpreter of Mozart, in that opera P Opera made the youi songs are especially one Beethoven, Schubert, and Schu- at the microphone artists enjoyment of any concert. on Mondays. Some of the ne vom in that final program, suspicion that Dr. William Henry Drummond took mann, Bruno Walter has enjoyed substi- listen! \ b considerable pres- tutes were not as good as g 50 0 tige. they should have been and selectlons and their duets oi his "The Wreck of the Julie Plante” from a French- His sensitive nature has endowed realized thnf him with a one hopes if this program continues WKK h possessed warmth of feeling next year’ that qualities that should lei Canadian dialect song. Ballads of the High Seas for the melodies of these men. It t m f ! other and better arrangements will pr ram progressed is quite evident that he be made. With °S both becan often wears his mom noi'se l . “AMERICAN SEA SONGS AND CHANTEYS.” Ed- heart upon Joseph Stopak conducting the f confident and his sleeve in his ABC Symphony Or- their singing of tl performances, and it is this often chestra, duets from1 Mozarta Guide to Symphonic Records ited by Frank Shay. Illustrated by Edw. A. Wilson. and Milton s intimate Cross as the commentary voice “Le Nozze di Figaro" was efh approach to musical sentiment Lvely Pages, 217. Price, Publisher, W. W. Norton and his rich the presentations had competency achjevetj. Listeners to the BOOK OF SYMPHONIES.” By S5.00. humanity that have in two sections! Metropolitan Ope “THE VICTOR endeared him to the hearts of which the and Co. should have been matched th ‘ s past ^ason O'Connell. Pages, 556. Price, $3.95. Pub- so many people. more often in the ftruckT £ must have bit Charles singing part of the t 1C ( ual ‘ty of performances. l many young singers. Indee lisher, Simon and Shuster. Walter, at seventy-two, A ! still retains his emotional Remarking bd eve Blimey, Lads, if this ain’t a book for limeys and in our last column on j udges found il difficult this powers. His is the demise of ye undeniably a rich musical mind so 1to narrownarl theirti landlubbers as well! When the brigs came roarin’ up as many fine pro,grams, we spoke of choices to two singers, for “The Victor Book of the Symphony” by Charles one leading critic (Virgil the loss of The so niai Thomson) has said, and his i showed talent the coast from Rio, every bloomin’ tar had his fill hiladelplna Orchestra broadcasts. Mtmd and gra, O’Connell was first published in 1935. It was revised work truly “has breadth and depth Shortly after that V4mi* fo, j and a certain copy was written, an greatly enlarged a’singin’ his head off if lie wanted. Here they are, grand sincerity.” eight-week series was announced in 1941. The new edition has been Walter belongs to another era, Mishel Piastre's seventy-six lusty and rip-snorting sea songs and chan- an beginning March 5. Those Saturday Sunday afternoon embraces many works not to be found in the era that had a deep appreciation broadcasts of one oUertno Tl and for the romantic of our finest Symphonette (heard 2:00 teys just covered with spray and brine. What is a orchestras must have proved to 2 30 FST r i V first and second editions. The new book is the first of movement in music, and he brings to as richly Broadcasting the interpre- rewarding to the many ilework) „S orchestral music. chantey (pronounced shanty)? Nothing but a work tation of the as they did to us. Mr Or- e“ aXS “hot a series of four works upon foremost music of his S own country a true innip- Of musical song, sung on shipboard. It was led by a chantey-man, mandy s programs were all too entertainment for the is devoted exclusively to the hchke.it, rare in these short. That the con- uncritical 11 The present volume days. It is for this reason that ductor lover As a program, who would start off with a line like this: concentrated mainly on thrice Piastro seems to symphonies, the second will be devoted to the con- he is one of the great living interpreters familiar works favolfhe mo of German 1 come ashore and get pay—” 1 r ° f ight Classics certos, the third to works like overtures, suites, and “When my music. ’ expected which is to I: TOed on a r’broadcasti ! concern itself 4’hen the crew would come booming in with a by-line: The Beethoven of this kind aimine for wide symphonic poems. A fourth book will cycle has shown his perceptibility audience with Miss appeal. What frequently ballet. These four volumes will form an incom- “Walk me, Edie, do!” and depth of feeling, makes this pro^m, with and those of us who follow is radio interest parable library upon the recorded music of great 44ie book very entertaining and amusing, and is performances cannot help «* the inclusion ofa being grateful that the outoutstandingstand ini" soloist. illustrated with highly appropriate black woodcuts in In ‘ annotated by one of the ablest Philharmonic-Symphony RADIO the broadcast of April symphonies, splendidly Board urged him to arrange Bach prolusion, also many of them in colors. t e mencan and most practical men in his field. Carl Philipp Emanuel ',‘, l, P^nist Frank Glaze! PphlinllhTry „ the Cornish1 286 Rhapsody of Sir Hubert Batl MAY, 1949 287 ETUDE In the excerpt of the letter which follows, a teacl This installment of Theodore Presser’s biog- remain (who prefers to unidentified) has achieved has to do with * raphy which began in July 1948, situation that would be hard to excel, but which oth the colorful personal characteristics of his fine could approximate, I think, teachers with tact, Note. ’ peT career —Editor’s sistence, and patience. 1 The Pianist’s Page Theodore Presser studio is two blocks from the irrepres- “My High School R. PRESSER’S love for animals was one block from the grade school. pets in his and Both are very sible, and he had many curious cooperative. The High School students mice to a large (1848— 1925) are excused M lifetime, ranging from white during study periods for their piano lessons. owls, crows, raccoons, parrots, At the black bear. There were by Guy Maier, Mus. Doc. of the year I gave my schedule badger, parakeets, a por- beginning of grade squirrels, rabbits, magpies, a pupils to the grade school canaries. There were also A Centenary Biography Noted Pianist and school principal and asked cupine, two alligators, and her to arrange the assignments as she in which he seemed to invest thought best many horses and dogs, Music Educator Since students may leave classes for devotion. “Old Gus,” a venera- piano instruction an intimate personal Part Eleven I have no loss of time between lessons. dog, a “Prince Charles,” and “Jubilee,” This is a de- ble shepherd cided' improvement over the large city in his black spaniel, were like friends. When one died, which I formerly taught, as pupils there were not Mr. Presser was overcome with grief, and gloomy for excused for by James Francis Cooke with a large black bear, lessons. Also, the schools were so far from the studio days. Someone presented him and kept in a large stall Your Summer Teaching Term that too much time was required to go back and which he called “Middle-C” insisting upon feeding it himself. One forth.” in his stable, life is tiie time to make plans lor your consulted few doctors during his and OW own broke through a window store he wanted to be waited upon instantly, if pos- severity. He Sunday morning the bear to At- summer teaching term. Why not offer a special customer who gets a warm reception and rarely used drugs of any kind. He made trips stall. became stuck in the frame, and Mr. sible. “The Do I hear you sigh with envy at such an unbeliev- in the He rest periods. These N six weeks’ course from (say) June 20 to July 30, wholly satisfactory, courteous service, together with lantic City and other resorts for ably heavenly status? not try to Presser called upon all the neighbors’ gardeners and for new, beginning students as well Why do something his medical advisers as lor your pres- Finally low prices, is the basis of tomorrow’s business.” were usually very beneficial, and about your own situation? It chauffeurs to assist in releasing the animal. ent pupils? Print or mimeograph a sheet stating may require careful remarkable “come-back. He your through the window and commented upon his planning and long range' strategy-whit h would the bear worked his way in plan and fees, and send it out soon to your mailing of The "Joy of Giving” made a few visits to the Battle Creek Sanatorium course include moving closer to the crashed down through a glass hothouse containing list. Many teachers have found such short courses school. Michigan and became a friend of that amazing phy- some valuable plants' Mr. Presser was then persuaded “The little things of life are often quite as im- refreshing and very profitable, and parents are only sician, Dr. Harvey Kellogg, who was an excel- better give the bear away. He presented portant as the big things” was one of his frequent John too happy to have their children that he had that continue practicing Dr. and Mrs. Guy Maier Accent on Youth caps, shirts, lent pianist. Dr. Kellogg always complained him to a man who put a strong collar upon him, sayings. He was continually purchasing and "taking” during this usually stagnant period. to receive “1 it lor the joy ol Mr. Presser did not remain long enough Here are three outstanding letters front young attached to a chain. In some way Bruin became tan- and suits for poor children. do The notion that young people should discontinue On the campus of Virginia Intermont College, Bristol, full benefit of the treatment. people: first, Presser always giving, never for gratitude. ‘Undank ist der iVelles piano study the front a girl pupil of Mrs. Ilia Mae gled up in the chain and strangled. Mr. during summer is complete nonsense, for Virginia, where Dr. Maier has held successful sum- One of Mr. Presser’s chief pleasures was automo- Guinn of Graham, Texas, that "Middle-C” was suffering from home- Lohn’ (‘Ingratitude is the world’s reward.’) Never that is just the time when, freed was written in large claimed from school duties mer workshops for teachers and pianists during spirit biling. He never drove a car himself, but enjoyed blocked letters: sickness and deliberately committed suicide. look for gratitude, but never forget it.” This and activities, they are able to take more lessons, work country “in a chariot,” as he said. August in past years. who remember Mr. Presser cannot forget of the appreciation of gratitude was deeply impressed rolling about the more concentratedly, practice longer, and really enjoy Those year indicated in the case of Mme. Pupin, He went upon two or three lengthy tours a and I thought I would write his insistence upon the greatest possible courtesy to upon him as was music. you a note to say hello in visiting dealers contributor to Etude, who became afflicted combined business with pleasure and tell you what 1 customer. He used to tell a Pennsylvania Dutch a The Include some alluring features that you am studying. I have memorized a cannot cancer. gave in various cities. He also visited scores and scores of The Guardian Angel story about a merchant who had a dilatory, indiffer- with a disease which developed into He put in the winter schedule, such as one group a week Looking and / he \oisy tinnier Iroin my just Forward monthly monetary assistance from the colleges, where he fell into the school routine in eilsy Brahms book and will ent son. They opened the store one morning and her regular ensemble reading and playing (four students, study Lullaby next. 1 am also The musical youngsters of John Adams Junior High Foundation. Mme. Pupin was a Protestant, but she as though he were still a professor. On practically all two pianos), a class studying Picture Pointers by Eckstein shortly after, a customer came in. When the customer in simple improvising or com- and have mem- him, feeling that I had School in Santa Monica must have felt quite a. thrill orized store one to was admitted to a Catholic hospital in California. of these trips I accompanied position (this'll be fine lor you, too!), two pieces from Schaum’s ‘G’ Merry reached the middle of the and saw no or special group of book and of keeping “the big boss” away anticipation at the beginning of the school year Bobolink by “Store!” The father rushed Mme. Pupin did not reveal to the Sisters of Charity the dual responsibility work in sight reading. Mrs. Krogmann. I learning wait upon him he shouted Esther Foster of McAlester, am Sweet Sabbath entertained so that when they read this notice sent them by their piano de- that she was receiving a small income from The from business and of keeping him Oklahoma, offers all graders by Hazel Cobb and Everywhere out of his “counting rooms” (as the bookkeeping one forty-five-minute instructor, Christmas by llartl- to accomplish Mrs. Alice Kitchen, an outstanding teacher ing, customer Presser Foundation, but was harboring her funds to the trip would be beneficial. In order private lesson and two miscellaneous class also a book, ‘Finger Fables,’ partment was always called) and gave the lessons a of by Corbman and cards which I group piano. Even I was excited by it! give to a friend in the East. When Mr. Presser found this, I devised a series of small white week, or eighteen lessons in six weeks, paid On Out Way to Music Land,’ by every attention. Then he went to the back of the for on Stanislaus. prepared in advance of the trip. On these were type- that basis, I am going his was reading a book and smoking this out he was incensed, and immediately had the with no missed lessons made up. “The Treasure Chest to school now and like it very much. store where son all kinds of items, verses, facts, and notes My first salt mackerel checks made out to the Sisters who had assumed the written Her first class lesson each week is a small report card said ‘Excellent a cigarette. On the way he picked up a group of “There are many kinds of treasure chests. in every way.’ magazines. Here V\ responsibility of dealing with Pupin’s disagree- taken from encyclopedias, books, and four to six students (all classes, too, ish you could come to from the barrel and slapped it across his son’s face, Mme. are forty-five is one that will bring you my birthdav party. I will pleasure and new and be able malady and her bad temper. When Mr. Presser’s mind reverted to business prob- minutes); the second on Saturday mornings brings seven years old, saying, “Du Dumbkopf! Dot man comes fifteen miles joyful surprises all the days of your life: I a look at the nothing ain't After a life of intense activity, with an incessant lems or office troubles, would sneak my emit e grade group together. All beginners are Sandra Browder.” to do business with us and you good for in procession of myriad details as well as monumental cards and bring up some subject likely to interest him. one group; the others are placed in three loosely got sense enough to walk fifteen feet to go wait upon “It offers many gifts to those usually came home much refreshed and far less graded groups. Mrs. Foster Good for undertakings, he commenced to feel the pressure, and He plans each class lessoii who become acquainted Sandra! After reading the number of him!” with gastro-intestinal disorders of increasing disturbed by annoyances. ( Continued on Page 298) very carefully in advance, not only for the separate books and pieces she’s Mr. Presser often said that when he went into a suffered from it and who treat it lovingly able to manage, who will dare classes, but for the various abilities within to keep pupils on the groups. and thoughtfully. Among a diet of one or two books ex- On large white* cardboards are written clusively? the students’ these gifts are songs, dances, names of each group, with stars for the .7’his le“er is week’s work. laughter, tears; from a boy, Bruce tone pictures H „ . Cameron of Beverly One class begins with a brief story of a Hills, California: composer's of faraway places, events, hie (red star); then pities played from memory (gold - people, memories of the past; star); or with notes (silver star); “chalk” talks’ “lam at Mrs. Kaufman’s on happenings in everyday life; having my lesson. She did various simple subjects (red star); original not beheve I could compo- beauty, grandeur— all do Page Three in ‘Thinking Fin- sitions (gold the star).; and so on. These are added my Cf hand up thoughts and feelings known startinS on fifth and fourth loi the tei m report card and pupils 'i i f are awarded small K d tlmes ’ to man in his search for But 1 fool«l Iter because 1 or large "lucky” bars nHvp I i no according to star totals. P 8 tlmeS wlthout truth, knowledge, and happi- stoPping. I like the book Mrs. I,' , Foster teaches beginners to read from '' elI Iam c, ht their ness. 8 now and have studied 14 months, very first lesson, and l , never lets up on it. Hurrah! She know 3 pieces in ‘Pastels.’ also “Open your Treasure Chest teaches black ’ key rote tunes at each lesson-also B S ’ 1 USt did and find its secrets. my ri ht hand with a good practice. Today l S 4-5, 120 Action times . songs and amusing . . Pretty drill games you may receive good?” are used; the a simple gift-perhap? a little assistant often plays solos; or a rousing lolk song or a bell ringing in two piano number is a distant tower; but performed by teacher and S te Gher d you ' Mrs - faithfully strive to learn its Kautman - writes: “When I assistant. secrets the chest told'" d Do l will pour out '",' a ltow tn?ny times Bruce One of the its most precious gifts. had played his upper group’s projects requires ( xercises she , each “As we begin would n t stop short of pupil to bring the school year, let’s delve 500. Then a week in an original stanza or couplet into our ago Bruce played and treasure Chest, 564! Think of having to hold to make a rhythmical make its music come to life, and club pattern for it in class the first t»en down on enjoy it now, and in exercises—wonderful!” week. I he next week all the days to come!” a tune is composed for it would then anyone like to step up and assert that an accompaniment, and finally, each pupil performs VV’hy C l° rCpeat °° not compose a similar g d ’ interesti ng short lus own piece. The final week the letter to send to your exercises? class votes for the students in original late summer? I’ll wager that compositions to be played for the closing you'll Ire I will make no b surprised by the response. comment on this last letter except exercises. to say that it is from a fourteen-year-old Many teachers girl, and that prefer simply to teach a reduced Piano Teacher and it is one of the most remarkable Public School letters I have private lesson schedule in the received ever summer—and for good And why I dare not disclose the reasons! not have a frank talk with the writer’s identity for Sometimes I think it better to stop principals she might be lefsons ot the schools in your neighborhood? embarrassed: around the first of June, which is It couldn't do the year’s low point any harm and of might do you much " enthusiasm and interest good! Yes, 1 know (that goes for teacher as that d a,V USt many teachers !‘ ' been running well as pupil) then to have “plugged” for years to . - . through some of the open a “special” summer term obtain P1 astels. Then permiSMon for pupils to more I play them the a liout June 15-20. This gives the leave school during school bigger the lump youngsters time to hours for ny t lr0at and wind-up piano lessons, but have the bigger are the school, take exams, not reached ? l i' tears shed be graduated collect base first 1 bkeV them so On the other hand, I much that I plan to their wits (we hope!)> and know dozens of cases play a CToup it blesses the teacher with a where Presser Hall Presser Hall well-deserved breathing spell. ed “ ,he tead,er T »«“. Srij.lr Nmlmbfr if" h','"’ f"*’ 2S“„s„r“ D“m'd- Berea College, Berea, Kentucky. Randolph-Macon Woman’s College, Lynchburg, Virginia. ** ».«-« «*. I cli s 288 ’ ( SS Continued on Page 321) MAY, 1949 289 ETUDE .
orchestral pieces, Pacific, Horace the Victor, his aiui Rugby. famous foreign artists who Among the came to Bos one cannot ton and Cambridge overlook Alfredo now no longer living. I had happened Casella, to be competition in present at a piano the Paris Con- Nineties when Casella, then scarcely out of Fright Musical Boston in the Gay servatory his teens The Singer and Stage received a second award in piano playing, followed a year later by a coveted first prize. During his student- recognized the vital Recent Visitors at Harvard ship in Paris he had part played by Silvia R. Bagley in the development of French Music by the founda- after the Franco-Prussian War, Professor of Music by Edward Burlingame Hill tion, soon by Saint- Associate Saens and Bussine of the National Society of French Wesley College, University of North Dakota Music. He determined to give similar encouragement young Italian composers by establishing a like Fifth and Final Section of a Notable Series to Na- tional Society in Italy. This he accomplished in 1916. Its chief members were himself, Malipiero, Pizzetti, notes come only when I have le trac” Caruso said , “My high Maurice Casteinuovo-Tedesco, Pick-Mangiagalli. and others! OR some time Professor Spalding had established ance later and was followed at intervals by Albert The formation of this society justified Casella’s hopes a fixed policy in the music department of sup- Ravel, Darius Milhaud, Arthur Honegger, and through the unification of the esthetic convictions of plementing the regular courses with short periods Roussel. abusive speech than has the doctor. F the younger Italian composers. Casella had come an audience becomes a potential source of humilia- more “right” to Harvard Music Department gave receptions for to re- of instruction or the availability for consultation by The Regarding Point Three, it would merely be to conduct "The Pops” concerts. For tion, therefore suffering, for you. Yout subconscious guests some of those distinguished musicians. The first of Boston this posi- to lie distinguished European personalities. These however much iterating the obvious to say that students ought tion he was unfitted, since he was ignorant of mind is keenly aware of the difference, infor- these was for Vincent d'Indy whose noble and impres- the I from across the Atlantic often gave lectures or prepared for any and all performances. hey forget it. well sive bearing justified his leadership of a serious group tastes of his audiences and unacquainted with the type you try to mal talks which were open to the public, even if origi- should use material suited to their stage of advance- music they preferred. the musician, So, you have stage fright, and certain well-meaning, to stimulate the student body. This of composers all committed to a continuance of the of To however, working nally designed to control ment (even though in private, they may be his were singularly interesting. but mistaken, advisers will exhort you similar to the custom at the Library of inspired teaching of Cesar Franck. Later, the mer- programs Among other practice was “forget the at things more difficult). When standing up to do qualities he possessed an extraordinarily yourself,” to try “not to get nervous,” to Congress in appointing consultants in various fields to curial and animated Maurice Ravel created some as- accurate of complete adequacy is audience and pretend you’re singing at home.” Such before others, a feeling guide the researches of scholars in their several tonishment by appearing at Harvard in correct cut- memory as to the correct tempi in some ot Debussy’s frightened per- needed, if confidence is to start growing. orchestral works. He produced interesting advice not only is useless to a truly many pieces i specialties. sup- Finally, we believe it a responsibility to provide son; it is also downright harmful. It aims to Perhaps the earliest of these visitors was the cele- far over the heads (at that time) of the "Pops" au- be- suppressible than pupils with appropriate places to sing, not just diences and he astonished by playing the piano Silvia R. Bagley press something which is no more brated Rumanian musician, Georges Enesco, a superb and stage fright, but because regular per- measles; which was never intended lor suppression, cause it prevents violinist, an excellent conductor, and a remarkably conducting a composition of his own based upon formance is part and parcel of good music study, themes Silvia R. Bagley received her M.Mus. de- but for redirection into benevolent channels. Any- gifted composer, whose works, with few exceptions, by Domenico Scarlatti. Although not a prac- purpose that “exams” serve in Colorado. She was ever helped by the aforementioned type serving for it the same are far too little known in this country. Thus he tical lecturer, he gave at Harvard an interesting in- gree at the University of one who in the academic subjects. Frequent class meetings, where all formal The Insti- of negative advice, didn’t have stage fright brought to the musical course the fruit of a thorough talk upon the music of his Italian con- was graduated in voice from a good remember—there are plenty of peo- who have something ready, can sing, make technical training, a wide experience, and an inspir- temporaries. Art and then studied un- beginning. (And tute of Musical place for the beginners; so do semi-private club meet- ple without it!) ing penetration into all esthetic problems which were Fellowships at the Juilliard der two Department has long followed ings, or small local functions. For the more experi- virtually priceless. striking instance of his ability Our College Voice A Her teachers have in- recitals, church soloing, Graduate School. but not too obvious, program of stage enced, there are large public occurred one day in the orchestration class. The first a definite, Displaying a mastery of the lecturer’s art, obtained Marcella Sembrich, Ella programs. Every student must aim to make cluded Mme. fright control. We have ways for ‘curing’ the badly and radio horn player of the Boston Symphony Orchestra had through long experience. Dr. Henri Prunicres, last— vo- the and Estelle Liebling. Miss Bagley work in prevention each appearance slightly better than the in come to Cambridge to exhibit the varied resources of Toedt, afflicted, but are proudest of our founder of “La Revue Musicale,” the most vital musi- of material used, and in stage has given many recitals and has appeared and in the training of young singers to use that calism, in the difficulty his instrument. He had brought to the class Mozart’s cal magazine in Europe and a repository of informa- spe- best friend, deportment. E-ftat Concerto on radio networks. She has made a "pleasant excitement” which is the artist’s for Horn and Orchestra. Noticing that tion and critical analysis of the music not only of “stage fright.” We also teach our students a “philosophy” regard- the orchestral score of the Concerto was upon the cial study stage fright, and gives in but which the uninitiated call French composers but also of other countries, de- of to do better,”- that those advanced music students ing performance. “Audiences help you piano, Enesco placed it upon the music rack and ac- lighted this article much practical advice for It is our belief his audience at Paine Hall by his skill in early and driven home at every who are well trained in their art but too stage- is a thought stated companied the horn from the orchestral score with as treating his subject, overcoming the bogey. —Editor’s Note. "The French Court Ballet.” ap- that way” opportunity. For example, when someone sings well in much ease and assurance as if he were reading from frightened to display their skills “got propriately illustrated with- lantern slides. course, The French certain “ills” quite common in my studio, after praising her, I will add, “Of the piano reduction. The mere presence of Enesco lecturer through exposure to possesses to perfection the art of interweav- even better before an audience.” try to study. One of these is contact with a teacher that would go acted as a stimulus upon the students, but it should be ing fright is part of your fate, don’t music apposite and illuminating quotations to supple- F STAGE opportunities for inculcating the it fear incentives. Another is undergoing long Teachers have many noted that relatively few among them were sufficiently it, and instead of letting who used ment and reinforce hjs individual opinions con- avoid it. Welcome given a wonderful thing— and give a of unsuccessful study, with the resultant doctrine that nature has us advanced to profit by his brilliant attainments and his clusions. Less I paralyze you, use its power to help you periods adroit in the manner of presentation, “performer excitement” (a friend, not stage fright, vast store of knowledge pertaining to a large range of that sound impossible? It growth of discouragement and inferiority feelings. but carrying weight by virtue of better performance! Does obvious scholarly at- without sufficient a. enemy), which comes to our aid when we most musical literature. tainments, every good performer who ever lived A third is having had to perform was the talk given by Charles Koechlin, isn’t. In fact, gives us added strength to background or preparation; still another—insufficient need it, in public, and composer, theorist, has done just that—consciously or otherwise. Holst and Monteux and biographer. Tall, angular, best. This doctrine is so obviously a truth stage fright opportunities to perform, when ready. out-do our heavily bearded, his I wish that those who write about the faun-like aspect and his obvious that most normal young people accept it as completely Another visitor whose period of instruction brought stress one im- Discussing these “ills” (in order) one might say sensibility in esthetic questions held of the famous would remember to more concrete results, because his audiences’ at- incentives” when he as though it were a rule on breathing. his counsel was prof- tention through point; namely, that the great could never that any teacher is using “fear the persuasiveness and insight his portant fered in the students’ native tongue, was the English of to gets results by frightening, “bawling out,” or other- statements. so if they had not first found a way Another individual figure was the have become A Severe Treatment composer, Gustav Holst—equally skillful in the fields English his students. The overly-austere teacher Benedictine monk Dorn conquer themselves. They may have had stage wise abusing of orchestral, choral, and Anselm, who spoke most in- that course, every studio has some who cannot be dramatic music, whose career helped them, is also using them . . . indirectly. I am reminded Of formatively upon the development fright—yes, but it was a kind which was terminated by an untimely death. Holst’s of early English musicians employed these “tactics” in classified with the “normal,” “healthy,” or “average.” music harmony, and fright of the average layman destroys what- many famous also upon the music of William Byrd. while the require was not unknown in Cambridge, since Monteux had have a their teaching, but that still does not justify them, nor There are the over-shy and the nervous who Later, Ralph Vaughan ever he is trying to do. An Opera star may performed the orchestral suite, Williams, the leading English and longer conditioning to accom- “The Planets,” and the 7 in prove that fear has a legitimate place in the teaching careful handling Nadia Boulanger composer of his generation, few tremors but he knows how to regain control Harvard Glee Club, under a robust and commanding plish what others do as a matter of course- There are Davison, had given his so, he proceeds technique of those handling individual students. Fear personality, outlined the musical time, and, best of all, having done choral music a place on its programs. Moreover, Holst achievements of his all the hardiest pupils, those with ailments predisposing them to stage fright Distinguished French composer and teacher who contemporaries. perform much better than he did in rehearsal. tactics give stage fright to but belonged to the to disor- younger generation of British com- contributed his and in all pupils, they destroy more things than we (such as hyper-thyroidism, nervous and heart much to the musical life at Harvard. At Te^ntenary Enrico Caruso, when an admirer “raved” about posers which was making a determined effort - celebration of Harvard, Pro- and so on). If such people ever per- to free r *a are not really mine; they can catalog. There have been other famous musi- ders, epilepsy, Ward Dent fessor top notes, replied, “They itself from the reaction of continental composers. J’ ’ PW of music at Cam- form, it should be with a doctor’s consent; excitement He hrfrW.bridge T? le trac’ (stage fright). cians—great teachers—who knew how to acquire good University, expert musicologist come only when I have possessed a singularly independent individuality quite whose reputa- kindly, professional sometimes aggravates these conditions. Last, there are away and striped trousers but with tan tion was great singers, players, and actors results within the framework of apart from the trend shoes. As soon established by Jus book on the Those who know of current musical tendencies. as operas of deportment. These did far more good. normal people who have somehow (usually by the he had finished his orchestral rehearsal, Ravel Alessandro Scarlatti, intimately will testify that such people expect audi- Consequently, he was particularly has- and once president of the Inter- fitted to teach com- tened to the Boston one means described earlier) acquired bad, fixed cases of Museum of Fine Arts to examine natiOMlSocict, of Music, for ences to stimulate their art. In their conversation position, and impressed upon his students the neces- which he was qualified The Difficult Pupil stage fright. These are candidates for a cure: preven- the remarkable collection of Chinese art, of Dy his broad “Of course, I shall do this better sity of turning their thoughts which the and inclusive sympathies ranging hears the phrase, inward, to discover their fame had spread over Sometimes—and this touches on Point Two—even tion comes too late for them. No use to tell them, even to Paris. On the way to Cam- three centuries, came to Harvard with an audience.” Exceptions often exist, but you own creative individuality and to foster it as English delegate without a bridge it was difficult teachers cannot succeed with certain pupils. "Audiences help one do better.” For them, audiences to convince him that a ware- and incidentally to receive the may take it as a truism that stage fright, or what we good superficial reliance upon an acceptance of current honorary degree of paralysis. house on the banks of the Charles, Doctor of good per- When this happens, there should be enough “bigness” bring on something akin to complete practice. This then used as a Music given by Harvard for the designate by that term, is a force which insistence upon the students* own con- storage first time teachers These are the sufferers from real stage fright, yet place for Ford cars, was not the in its history. its help they turn of spirit to send the pupils to other who victions as an essential gigantic fac- Professor Dent, on one of the formers use, instead of avoid. With foundation for genuine prog- programs is far from hopeless. They have an exces- tory on the river Rouge in Detroit. gave a compelling inspired performance. How may attain better results; and this as soon as the situ- their case ress in their work left When Milhaud address on the study routine preparation into a definite mark' upon Holst’s of musical sive, instead of a usable, amount of performer ex- visited Boston, he took part in a program history, in shall consider presently. ation is recognized. In some extreme cases there may pupils. It was highly of his own which the scope of analysis was they do this is something we unfortunate that a serious illness no surprise If the excess could be drained off they chamber music. Its polytonal idiom mvstified C WCre be justification for advising a student to discontinue citement. cut short his teaching at Harvard. and dis- famiHar with his attainments, , but control themselves as well as the most con- pleased mafty. A story is told, doubtless whichk n°lheld a large Stage Fright Defined study altogether—or to improve his background, be- would During Monteux’s, conductorship made up out audience captivated by the of the Boston of whole cloth, vitality everything can be said and firmed audience lovers. With this premise as a starting that at a rehearsal the persistent of its scholarship, It is simply quick- fore trying further. But, Symphony Orchestra, in which he was and intermingled with apt touches But first, what is stage fright? preceded by acrid dissonances of kindly manner. music teacher has no place, I have treated some of the highly nervous with staggered even the musicians of the ened heart action due to anxiety. In fact, doctors done in’ a The Henri Rabaud, composer and director of the Paris orchestra. It turned out, so the story a device which we call “emotional catharsis." It in- Conservatory, French goes, that the classify it as one of the “anxiety neuroses.” “Why,” music naturally found an in- bringing fright playing their parts from one something I have volves on an artificial attack of stage creasing position on his programs. movement you ask, “should I be anxious about Moreover, French while Milhaud was that will have time to “burn itself out” well before composers performing the piano part of an- teacher practiced and can do well? Isn’t the song I rehearse were invited to conduct their music in of unparalleled distiqptipn, other. During this period . whose vis the performance. Severe, disabling fright is a seizure Arthur Honegger also came to at the song I sing at the concert?” Actu- Boston and elsewhere. Early in the century Vincent this country have had a home same to Boston and its public marked reaction upon t VOICE of the emotions, somewhat as mumps and measles are was greatly impressed by the ally, it song. The song trilled in your d’Indy had visited Boston. He made a second appear- younger generation of isn’t the same vitality, the dramatic incisiveness, American composers, is Nad seizures of the body. {Continued on Page 322) and the humor of studio is an enjoyable exercise; the same song before Boulanger. Daughter of a {Continued 290 on Page 29 291 ETUDE MAY, 1949 O
Rosenthal played Chopin's Minute Moriz Waltz ex- fast. When someone told Paderewski the 1947 ETUDE, we tremely of R0 N OUR department of May scnthal's feat, he observed: had an article on “Summer Courses for Organ- conservatory pupils of the mail bag it "Yes, all clever can do that.” I ists,” and from the weight considerable interest on the A year later a friend of Paderewski said to Rosen- seemed' that there was Summer Schools. I his year, thal: part of our readers in Summer Organ Study schools than ever Miscellany you heard of this talented amateur all reports, there will be more Etude Musical "Have who is f rom healthy sign, for I fear playing in London? I can't recall his name.” lor summer study. This is a holiday. playing in time is wasted during one’s summer “A talented amateur London?” said Ro- too much by Alexander McCurdy, Mus. Doc. on choir work and vocal technic is de- by Nicolas Slonimsky senthal. "It must be Paderewski.” If a brush-up * » * in York, Princeton, sired, there are short courses New Marcos, The Berkshire Center and Redlands, singer, just before the end of San necessary A soprano her aria, are the short courses ulty plays a recital which it is just to mention a few. There “Then how on suddenly saw a mouse. She shrieked and ran from from always to repeat, in order to take care of S a young man, so the story goes, Haydn became fifty,” replied the astonished composer. Fred Waring at Shawnee-on-Delaware, followed the with Ryan? I never the stage. She was by manager calling it is just the large numbers of people who come friendly with a charming young Marchioness. earth did you come to knock out so many derive help. However, if the thunderous which What do you mean.'' Ain t her back to acknowledge applause interest, all signs poult to from greater Boston. A* Thirty years later at an aristocratic gathering, knocked out any Ryan. the organ which holds Sullivan, who “The greatest High-C I ever heard," he exclaimed. the Suppose a young student, before he greeted him: “Do you remember,” she you John L. Sullivan?" “No, I’m Arthur Massachusetts. I am so impressed by an elderly lady Methuen, pre- ” then “The audience is wild and demands an encore.” that I feel went to this summer session, could said, “that Sonata you wrote for me?” And the Mar- wrote ‘Pinafore.’ The man, dazed for a moment, plans and ideals of this particular school as the fol- “Well, then, I’m mighty glad • • • it. pare a few organ pieces such chioness—for it was she—sang: said, with a broad smile: called upon to write more about to see you just the same.” Sir Arthur regarded this as ETUDE we have had fine pictures of this lowing: A debutante received this piece of advice from a In the the greatest compliment of his career. gorgeous case and console, and of the hall musical friend: organ, its the instrument and about Bach—Fugue in G minor (lesser); Pre- # * # itself. I have written about to be lude and Fugue in A major; Cho- the faculty, but there still seems to be much The superintendent of the Mannheim Orchestra, features rale Prelude, Sleepers, Wake; Cho- said about the school. There are so many which was conducted by Hans von Biilow, was an Prelude, Man, Bemoan. about the complete setup that are unique, that every rale O “Oh yes,” replied Haydn. “Unfortunately—now it is: amateur composer. He did not dare to ask Hans von This meant, of course, “Be natural, and see sharp. minor. organ teacher and player who reads this column Franck—Chorale in A Biilow to perform his music, so he tried a subterfuge. Rest for a long time." Sacred Head. should be familiar with them. Brahms— He had one of his scores put on the conductor’s desk, • • • that The whole profession, I am sure, is gratified just before the rehearsal. Von Biilow arrived, punc- Misprints are sometimes full of unintentional is now Think, if you will, how important it a splendid organ such as the one in Methuen tual as ever, looked at the score on the stand, and " study all malice. Reviewing a performance of Frisian and owned and under the control of a foundation which would be for him if he could without taking off his white gloves, picked up the for recitals with Mr. Biggs, getting the Isolde,” an American newspaper referred to “Isolde's it that the instrument is used, both of the Bach * * * sees to superintendent's overture carefully with two fingers latter’s ideas on fingering, interpreta- great area,” MacDowell's .Worse Sonata came out as and for the improvement of young men and women of each hand, as if it was some repellent object, and organ lit- so forth, and Horse Sonata. And an eminent Russian-born Amer- desiring to study the organ and the great tion, registration, and A young thing was late for the symphony concert. put it on the floor. Then he announced to the orches- parts of pieces directly to the or- ican composer was said to have fled the Russian pro- erature. Perhaps one of the most important adapting these “What are they playing now?” she breathlessly in- tra: “We will start with the Eroica.” able to they sound best. Then a grams (instead of pogroms). our lives as organists and musicians is to be gan on which quired of the usher. “Ninth Symphony,” the other re- # * # of it on later, valuable to the stu- • • • hear this great literature and to study some week or so how plied. “Goodness!” exclaimed the tardy one, “Am I as over again singer instrument worthy of the music. Many of us some- dent to be able to study them late as that?” A insisted upon addressing Hans von Biilow A mediocre composer, l’rincc Poniatowski, had an literature when we hear it with Carl Weinrich! Then again, how as “Herr Professor," a title that Biilow could not written two times misjudge organ operas, and could not decide which one restudy the * * * stand. stopped played oil inadequate organs by inadequate players. important it would be to He the conversation, and said angrily, he should bring out in Paris. He went to Rossini for occurs. Bach with Mr. Poister. Perhaps some- “If you absolutely must insult me, call me ‘Court advice, In Methuen, this never and played the first opera for him on the particular A society matron invited a visiting violinist to tea, Pianist.” The Methuen repertoire is as follows: thing may be Mr. Poister’s piano. Then he turned to Rossini for his opinion. and added, as if an afterthought: "And bring your # * # specialty, or Mr. Biggs’, or Mr. Wein- Rossini answered: “Faites jouer l’autrc.” (“Please B ux tehude—Volume containing Preludes and violin along.” “Thank you,” replied the artist, “but rich ’s, or Mr. Howes’. If one is able to A young man wanted to study piano, and asked play the other.”) Fugues, Chorale Preludes, and so on. my violin never takes tea.” take notes rapidly, be can have much Artur Schnabel how much he charged for lessons. • * • Straube Old Masters, Volumes I, II; and Chorale — material at his disposal, for possible fu- * * * “Fifty marks,” replied Schnabel, “but for those who Bernard Shaw sat at a table in a cafe, with Preludes. for • London ture use. It is a splendid opportunity cannot afford it, I have a special fee of I. IV, V: The Schubler Cho- twenty some friends. I he leader of the restaurant ore hestra Bach—Trio Sonatas marks.” organ teachers to secure a wide variety Italian singers reigned supreme in England two The young man hesitated. “Can you make recognized him rales; The Great Eighteen Toccatas and Fugues instantly, and asked: "Mr. Shaw, what of ideas. it still cheaper?” he asked. “Yes,” replied Schnabel, Dorian; Preludes and hundred years ago, and composers had to defer to would you like us to play?” “If you really wish to do in C, F, D minor, & their tastes and opinions. “I also give lessons at five marks, but frankly I can- minor, minor (Fantasia), A When the famous Carestini me a great favor,” replied Shaw, “please play dom- Fugues in F G Listening to Learn was to sing in Handel’s opera, “Alcina,” he com- not recommend them.” inoes.” minor, and B minor; l’assacaglia and Fugue; It has been my experience that if a plained that his part was unvocal. But Handel refused Concertos in G & A minor. Dr. Alexander McCurdy student can hear something played a to submit to the celebrated singer’s dictum. Instead he Handel—First Concerto. few times, he oecomes much more sen- Hew into a rage, and shouted at Carestini: “I know Mozart—Sonatas for Organ and Strings. # sitive to the music, and oftentimes, if better as your selvf vat is pest for you to zing!” This B ra h ms—Chorale Preludes. schools do have proper facil- antipathy for some given piece, he may While a great many torrent he has an of Teutonic English so astonished the Italian Franck —Three Chorales. ities conducive to study, they do not have a sufficient overcome it more quickly. Very often, too, if he that, for the first time in his career, he accepted the Dupre—Three Preludes and Fugues. practice,, or the organs may be played well, he becomes impatient to number of organs for composer's 33. hears something word for what was best for him to sing. He Tournemire—Suites No. 11 and No. out, or perhaps there is not a variety of instru- study the composition himself. Enthusiasm is con- worn acquitted himself gloriously at the performance, and Messiaen—La Nativite du Seigneur; Le Banquet give the students a broad experience. This are always looking for new music, and ments to Handel was immensely pleased with the tagious. We outcome. Celeste; Apparition de L’Eglise Eternelle; The is not the case in Methuen. There are no fewer than certainly, if a student is exposed to it as he is in this Suite. twenty organs close by, where students may practice. * * * Ascension school, he surely will have all the material he can ever Krenek Sonata. Another advantage is that they are not all together in — use. Milhaud Nine Preludes. a number of studios, where one hears the piccolo of Von Billow’s sharp tongue contributed to the in- — When one thinks of the ideas that must be floating Prelude and Fugue. one organ and the bourdon of another. One of the numerable epigrams to the annals of anecdotal history Finger— around Methuen in July and August concerning, let for the students, and one which 1 like of music. Once, when he conducted Franck, it makes organs used Brahms’ First One can see at a glance that this is a repertoire to us say, the Third Chorale by C6sar is the hundred-stop, four-manual Casavant Symphony, there was very little applause. isn’t that just what we, as stu- very much Von Billow end all repertoires. I am sure that if a student brought one’s head swim. But turned to the audience and said: students in Phillips Andover Academy. This is an organ which "So you don't un- along the “Orgelbuchlein.” a Hindemith Sonata, or dents and as teachers, are seeking? So many derstand this music? Well, you shall idea is an “aristocrat,” if ever there was one! hear it again!” the Sowerby Symphony, the members of the faculty say to me time and again, “I don’t have any and he repeated the whole Symphony.. It seems to me this should be done or how I should want to would welcome him with open arms. how Cherish Friendships When a soprano soloist persisted in singing ideas this one piece Student off that if an organist had a fraction of this repertoire do it.” Imagine having the on pitch, Von Billow turned to her with his down Then there are the life-long friends one makes in politest Trow, in such shape that he could play it and include it in of Carl Weinrich, ideas which have come and said: “Madam, will you kindly give those of such an invironment. How thankful I am for the us your A?” his repertoire over a period of years, he certainly through Lynnwood Farnam, together with When a visitor called on Von Biilow with friendships I made during my student days! The a request Bonaparte's Flute would have constantly at hand a wealth of great music. Biggs, White, Poister, and Howes! for an autograph, he brusquely retorted: faculty, too, is an influence on one for the remainder “The man There are five specialists on the faculty of the If one went to Methuen to attend the classes and Mr. H. E. who signs my autographs is not in right now. Will Zimmerman, well-known ETUDE con-' it be a rewarding of his life. One’s fellow students are perhaps as help- you iiiciiL. cunong the more frequent Methuen Organ Institute, as it is called, as follows: nothing else, I am sure that would guests in his UU i call later when he comes back?” -tributor. has furnished ful the faculty. a student is the least On another occasion, ns with interesting data was a young E. Power Biggs, Arthur experience. I can’t think of anything more wonderful as When who , —& society gentlemannuuiiiiu ofui rimaucipma,Philadelphia, Will Arthur Howes, Director, Von Biilow apologized for the quality of his about a flute with an bit receptive goes to such a school wT here everyone auto- unusual European background. repertoireertoire with tl'if* flntr* I nrlucl o/l rcsn-i/, C. ,, „ i .1 White. hearing Ernest White playing and talking about the flute included some fine old Scol Poister, Carl Weinrich, and Ernest than graphs. Finally he scribbled down on paper some inde- airs that the Carl Weinrich discussing the is doing the same thing as he, he gets a “taste” which were particularly pleasing to the These men are so well known in our world of the works of Messiaen, cipherable hieroglyphics, Count. and handed it to the visitor. ihe flute winch generally that they of Buxtehude, or E. Power Biggs taking apart puts him on the right track. the young man used was the organ and in the world of music works I here, he said, “this A gentleman of Cincinnati pri looks like a distinguished auto- owns a glass flute, with of his life. it together again. to In this school there is work for the individual in But one evening as he need no introduction. Imagine, if you can, having the Passacaglia and putting Just pearl end and silver was playing it. t graph. I hope it will do.” keys, which once belonged to registration private lessons, in small groups, and in master classes. Count exclaimed in a burst of classes with these five men for several weeks lor at hear Ernest White talk about his ideas of Joseph Bonaparte, King of Spain. enthusiasm: “Wond It will be recalled tul. You can can be trip from San Francisco. Also, there is an unlimited amount of practice time * # # that after make music with a stick! least two hours each day, and consider what is worth a the battle of Waterloo, this brother Such a phn available almost any organ that the student of should have a handsome with students who are serious and who on type Napoleon I came instrument. Accept accomplished to the United States and resided for my flu may choose. When Sir Arthur Sullivan was traveling in and I will hereafter use will take advantage of such an opportunity. Each the a number of years at yours.” That young v United States, Bordentown, New Jersey, under man must improve ourselves if We ever expect to a man, meeting him at the hotel the grandfather of the present teacher spends a week at the Institute, does some We the name of Count de Survilliers. owner of this flute a greeted him with great enthusiasm: his name Sometimes the have any fun playing the organ. If we don’t enjoy it, “Say. by golly, I'm Flute playing, was Thomas Fitch Bunnell private teaching, and has a class daily. then so fashionable, was one This flute 1 expect give mighty glad to meet you! But you ain’t very of the been exhibited at other times the students we cannot to much pleasure or help big, are Count s favorite on various occasions; teacher himself plays, and pastimes, and it is said there were once at the Of with you? How much do you weigh?” “About one few Valley Exposition. play, actually doing the explanatory ORGAN to many people our music. We should early hundred in the country who could with the teacher equal him on this instru- learn that summer study pays big dividends. I he rifle shown here was work before the class. Also, each member of the fac- 292 also owned by Bonapar ETUDE MAY, 1949 293 T
cultural studies and activities. broad O ne certain 10 in current educational thinking !’ proceeding to the main theme of this plication i s th" EFORE the specializations will become subject of inquiry®, article I would like to present a few remarks educators justification. General and adminstratorswi B regarding the care of bassoon reeds. Long life been sold on the for other than financial reasons. in the past have publicity value!"! of reeds is important magic of specialized activities such as orchestra Changing reeds on a bassoon corresponds to changing ban! Tone Production its Bassoon The School Orchestra and choir, are beginning to ask how much mouthpieces on a clarinet. Each reed having own tim money, and credit recognition should he given peculiarities necessitates major or minor embouchure to the After all, these specialized adjustments on the part of the performer, in order Music Education activities. activities have* Part Three Approach to General 1 An on the individual needs he may produce satisfactory results. The ideal direct bearing of a relative/ that student small percentage of the total student body. situation would be that whereby the would excellent reed throughout his play- Mus. Doc. Growing out of this participation in a be able to use one by William E. Knuth, specialized' by Hugh Cooper impossible because of the expend- activity are questions of even greater importance. ing career. This is Creative Arts Hov life be great- Orchestra Chairman, Division of student's time can be justified able nature of a reed; however, reed may Bassoonist, Detroit Symphony much of a in specialized the application of a few simple orchestra training in terms of his personal ly increased by San Francisco State College needs- Are practices. vocational opportunities a justification , the of this em- first step in reed care is to acquire a good sub- the proper breath sup- phasis, and should he make such a choice The one-quarter to three-eighths of this way that we can maintain under these blade approximately stantial reed box or case, which should be standard passages. circumstances? If not, can the specialization be an inch behind the upper lip. The red of the lower port for pp justi- be practiced on the reed N planning a functional place for the school orches- fied in terms of the broad cultural development firm, broad “cushion” which presses lightly The embouchure should of the lip forms a Illus. 1. alone until a “crow” or tra in the general education program of the aver- often we request a It is this cushion- student? How do student's enroll against the lower blade of the reed. I Illus. 3 double buzz can be pro- age school, one of the most important things is ment in orchestra each year of his school life based ing effect of the lower lip which allows a high degree on duced. This is the test to get a clear picture of the goal. Two pitfalls im- orchestra needs rather than student needs? of control and flexibility. The upper lip serves only for a correctly relaxed mediately appear which must be avoided. On the to prevent the air from escaping. Although 110 effort Philosophy of Music Education embouchure. Once the one hand, we must not be so optimistic as to paint is made to roll any of the lips over the teeth, in actual “crow” has been pro- castles in the air which only the gifted few could ever It is axiomatic that what one teaches (content) practice a small portion of the red inner lip will be and duced, the student will realize, and leave the great mass of average students how one teaches (method) depend upon one's flattened over the teeth by the reed. I find it advisable, philoso- get the correct feel of destined to discover the cold reality of a fool’s para- strong Ik- transfer students because of their pre- phy (aim). A very case can made out for the especially with dise. course the reed in his mouth On the other hand, we must not follow a claim that the most important tiling about vious embouchure habits, to overemphasize the lip' a con- be able to duplicate which would result in a few scattered knowledges, simply stating “both lips in front of teeth.” and ductor-teacher of a school orchestra is his philosophy of pucker by some very limited appreciations, and superficial tech- it with less and less ex- music education, just as the most important (See Illustration No. 1). I believe the diagram should thins perimentation. If the niques devoid of the basic things that really count for to self-explanatory. Another good feature of about any person is his philosophy of life. Let us seek prove be is unable to . both performer and listener. student this embouchure is that it enables one to apply ten- an illustration in another professional field. If the It is expedient that we define the term “average “crow” the reed, the medical faculty thinks that sion equally in all directions on the" reed, much as the most ini|>ortant aim in school” and its program. What might be a daily oc- a bag. Tension from trouble usually lies of a medical school is to teach tlo< tors a draw string closes the top of how to make of two currence in one school might not happen at all in be offset by tension front the one or both as much money as possible in as short a time as the top and bottom must another school. Many variations schedule, instru- pos- faults; namely, too much of sides, otherwise the tip opening will close and the sible, then the content of the medical school course mentation, student background, and administrative times have lip pressure, or not of study and methods of teaching tone thereby will be stopped. How many organization will exist would take one compensating among schools from different you heard the excuse from your poor struggling bas- enough direction. If, on the other hand, the medical faculty communities. “average” is the sides. Try The school a fiction of soon student, “My reed closed up”? Equalized tension tension on believes that their most important job is to school bassoon. Second, impress statistics. For our purposes, we will assume the aver- teadi equipment with every having the student over- young doctors to go fragile the reeds actually are; age program of music education as a kind of normal out and serve humanity, regard- upon the student how to the point Illus. 2. relax, even less of monetary reward, the in expensive they are to replace. Third, always standard; one which will be surpassed in many schools content and method also how of puffing “-his dteeks the medical school will reed from the “bocal” when not playing. by more highly selected talent, greater financial sup- take a somewhat different remove the until the initial “crow.” direction. not permit the student to walk around with the port, and more favorable status of music in the family Do One can- always add Likewise, it “bocal”-it is an open invitation to a reed of the old time academic subjects. However, in many is true that the development of a school reed on the more tension to gain orchestra accident. Fourth, keep the reed clean inside other schools this average program will not be program is determined by the philosophy o( splitting control, once complete its conductor-teacher. and out; the outside may be cleaned with a moistened reached—and for a wide variety of reasons. Unfortunately, while every con- relaxation is obtained. Dr. William E. Knuth ductor-teacher of clean handkerchief; the inside should be The term “general music education” should be con- has a philosophy of music education, a corner a The need for side ten- sense of values, under fast running water. If there is a sidered. General music education encompasses a and a set of aims, most of them would flushed out sion can be demon- sit in helpless heavy deposit inside of the reed, it may be necessary breadth of basic music experience in listening, creat- Dr. Knuth is Chairman the Division dismay if they were given ten minutes strated by having the of of Crea- pipe cleaner ing, and performing aimed at developing to write these down few of to carefully run a small feather or attitudes, ap- tive Arts at San Francisco State College. on a sheet of paper. Too student slightly pinch He is a ball toward the tip. 1 his preciations, and abilities that are desirable for the us have ever “thought out” our and teach- through the reed from the dynamic, personable leader, intent on conducting the sides of the reed with well being advancing ing philosophy, last process should not be done any oftener than of all students, but which do not necessarily or organized it into dear simple terms. his fingers while blow- the cause of music and the allied arts. nuts, and lip- prepare them for any kind of vocational training. Holding Because of this vagueness, have necessary. Needless to say, food, candy, The his we arc apt to say we ing. If the fault is lack A.B. and M.A. degrees from the University contribute to long reed life. Last but significance of general music education resides in its of no philosophy. This is, the stick do not Washington, of course, far-fetched, for of side pressure, the emphasis on experiences that Dr. Knuth took his Doctorate at the music teacher not least, remember that a “fine reed" represents a promote insight into without an educational philosophy reed will “crow” atr this music, create the desire to think University of California. Dr. Knuth’s could far greater monetary investment than its individual of things to do with far-flung never decide what to teach or how to teach. time. Do not allow- the activities six unusable reeds that music, and actually reach fulfillment in doing them have included teaching at the Any conductor who play cost. Recalling the five or Univer- chooses to have his orchestra student to play until he can consistently produce a with a growing sensitivity to musical sities California, this instead must be discarded before you find a good one, the values.' While of Utah, and ^Colorado; guest of that, and to use this method instead of the reed alone. a capital M. controlled “crow” on general music education might be placed in a position conducting in Utah, that one. has a total cost runs into money with Colorado, Oregon, philosophy of music education. descriptions and Illustration No. 1 and at care, shall leave the In general, the opposite the specialized music training in its various the National It is likewise With this mention of reed we Music Camp at Interlochen. unfortunate that if every school orches- serve only as a basis for the embouchure, and the vocational aspects, it tl side of developing a bassoonist and pro- should not ignore the implica- a con
being played in an ascending passage. were When “ n intensity has been accomphshed, " repeat this unuMhe this breath retu lay the match the two; found a „d “ styles, and to my knowledge was originated needed G, slur the octave by half-ho^mg," breath adpstments each to Low and the great bassoonist with The Philadelphia chure and A, at the same time recognized late . adjacent up the basic re y slur to the closing 0 In any respect, the Amer- mastered. Move [he or one- Orchestra, Walter Guetter. ai and releasing the pp whisper key. returning to Low G has half hole Work\y, degree of flexibility time ^9 rcg i ster Teaching ican conception, with its high P register to Octave D in the Essentials of until the the second samele The notes up plus. greater sonority and carrying intervening quality, and Pro- and tonal warmth, r ‘ ’ manner as the first, each time mastered as to equa be ressive returning power, has won out with far the greatest number of been pDo not No. 5.) slurring the octave. (See Illustration i pitch. (See Illustration Low G and atmn still are isolated in- relative No. players and conductors. There should be made at this No attempt early stage Harold Berkley 6 ) stances of both the older schools in this country, and to by own, is no reason for con- of the upper notes; simply get the does not tally with his attack any “feel” style in France the universal conception is still that of the his subject, it is well for the foreign to the spirit and Illus. 5 by slurring gradually into them from HATEVER demning it. If it is not use, we may dis- of them the himself student with “French School”; however, for our you Teacher periodically to take stock of music, he should encourage the lower tones. If at any time should notice the of the regard the older schools of thought and utilize our stu- approach to his work, to examine immature judgment has undue pressure, causing the tone and his words of praise. If, however, to the art of bassoon playing. dent using to thin W responsibil- endeavor own fine contribution functions and the teacher should higher until the difficulty analyze anew the resulted in poor taste, the out, do not go is erased. and One of the difficulties in teaching tonal conception what is implied by remedied without of a teacher, and to ponder to point out how this fault may be to ities lies in the fact that a performer does not sound matck m qvaldy individuality of the interpre- Hake eveq Mote the verb “To Teach.” sacrificing the over-all the listener. Because of this, I himself as he does to Illus. 6 searchings are especially important lor the conception Such tation. will try to describe verbally, the American to deal with a subject v-. -’ of musjf, for he has listener and V teacher of tone from the standpoint of both the with the inner nature and The First Essential plays on the fiat side. most closely connected performer. if at first the student perturbed of his pupils, a subject which, if prop- students are concerned, it goes with- lor the reate ‘ development Where violin To the listener, the American tone, as produced He will learn to compensate S . fcte. v# beneficial influ- intonation. can have a profoundly the first essential is good Orchestra, increase in breath intensity t*«< 0 erly taught, out saying that by Mr. Schoenbach of The Philadelphia don of embouchure by an development ot merely to say, dilhcul on the character and spiritual the Teacher will not be content^ N.B.C. Orchestra, Mr. Sirarcl of register is a little more ence But Mr.' Sharrow of the Balancing this basic ; this influence may “That B-flat is differences who study it. In order that F-sharp must be higher,” or Detroit Orchestra, and many others, seems to because of the inherent [hose “That the than it sounds, teacher should possess much to the pupil v, hy— i the music He will explain orchestra like a living, pulsating even between adjacent be active, not low enough.” soar out from the in tonal characteristics, ’fields but F-sharp deficiency Hi of cultural expression in minor, for example-the roughness. From overcome the f understanding in the key of G thing, without a trace of reediness or It is up to the performer to connected with music—Litcratuie, Painting, and the B-flat low. In other words, a to the loudest the quality remains produce an even basic regtstei indirectly must be high the softest pp fff of his instrument and should be able to purely as should tnc History to name a few—and he technical mistake should rarely be treated the same throughout the entire register of the bassoon. Only after this has been accomphshed these subjects with the teaching of music. ultimate musical result should vibrancy of a singing ’cello, the break. coordinate such; its bearing on the It has all the warmth and student be allowed to go “over always will it easy, extending his range in easy stages, with- is necessary for him to remember clearly in mind. This approach the double reed. This is what we are ready to Take Above all, it generally be kept plus the added color of Going “over the break” means edu- resorting to pressure. Much of the trouble most is education, and that the word those cases where technical is listener’s con- produced by the out that teaching not hold, of course, in you. as a listener, hear—this the utilize the first series of overtones upper register is a Latin word meaning musical return again students have with the caused by cate” comes ultimately from errors are many and the hopes of pleasing ception. basic register. The easiest approach is to lip pressure and not enough breath the desire for technical is ut- reso- using too much lead or draw out.” results are dim. In such cases, To these fine performers, however, there an it with the greatest possible “to to Low G, playing most in- as few weeks spent in developing the basic may well be considered the instilled into the pupil s mind terly different conception. They have learned that the “half-holing” with the first finger support. A The Teacher accuracy must be nance, and then by music profession. The to themselves, register and its first set of overtones, will pay divi- dispensable member of the and only road to success. important thing is not how they sound left a slur to the octave will be produced the one of the hand, it is the and control. During this Artist, is the inspirer, but teaching should be so to but rather, how they sound to others. With this in Repeat this until the dends at a later date in tone Genius, the great The long-range view of with a minimum of lip effort. responsible tor period, keep his interest alive by giving him plenty more than any other, who is that in the course of time they may mind they play to please you. To do this they must Octave has the same basic quality and resonance Teacher, train students G line in his art. talented present in their playing, material, but be certain it docs not exceed continuity of the great their own teachers. Far too many allow a “reedy” edge to be as the lower. More breath intensity must be used on of new the become responsibilities he has under- ceased the performers at all temporarily limited range. If he is to fulfill the are completely lost when they have which is both felt and heard by the upper, because the fundamental root vibration his Berkley students cannot look upon his profession Harold themselves. I he fault It is this edge which adds life and carrying our next and final article we shall deal with taken, the Teacher and must depend on times. has been lost, along with its inherent resonance. This In studying existence; he should regard it cases out of ten otherwise be a dead, uninter- a general discussion of fin- as a means ot that of the student; in nine power to what would loss must be made up by increased breath intensity; attack, articulation, and merely is rarely for existence. He can and taught the stu- esting sound. There must be, in addition to this edge, gering, particularly in the upper register. first of all as a reason teacher is to blame—he has not otherwise it always sounds as if a marked decresendo given so the creator; for if he has an Violinists, perhaps, have not be made a core of resonance which expands as it leaves the should think of himself as a dent to think for himself. A pupil must not acquired both a love attention to the general essentials because it instrument to envelop the “edge” and travel along innate gilt for teaching or has much to “obey orders,” told to do this or that of it, he can often create a have teachers of piano to him ivhy it it much in the same manner as a radio broadcast and an understanding of pedagogy as is right,” without having it explained what, in less inspired hands, all teaching is intelligently un- travels along a carrier wave. (See Illustration No. 4). flowering garden out of and organ. However, is right. In order that a pupil may desert. be- that from The School Orchestra might well have remained a based upon certain principles, and derstand what he is doing, it is essential of these are presented in this the earliest stages he have the How and the Why Illus. 4 Privilege cause of this, A Great to carefully made clear to him, both (Continued from Page 29-1) article, with the thought of appealing every new point for music in eager and receptive aspects. To create a love —Editor s Note. in its technical and in its musical more violinists. young minds—and, through music, a keener and There are many pupils who conscientiously think who comprise his orchestra. He knows that music one. We are daily consumers, of some kind of music, of those sensitive appreciation of all beauty, even they‘must be passive and receptive, and, like funnels, conductor- education in his orchestra is basically a process of whether we will it or not. Therefore, the times and subtle beauties which surround us at all swallow without question all that is presented to growth, of development, of learning— include the . not a process of teacher of our school orchestra should unseeing-it is difficult to con- but nothing which many people pass by they are passed on, to see if they correspond them. Such pupils are very easy to teach, teaching. He knows that all good teaching Starts with knowledge, appreciation, and technique that will give justify one s furnish A good bassoon tone is one which has the proper to imagine any activity that would better ideals. One cannot in these days really good can come from this attitude of mind and pupil already of temporary what the knows, his talent and will to greater insight and emotional balance in the art Greeks knew the value of furnituie. goodnaturedly, as proportions of both “edge” and “resonance,” to satisfy existence on earth. The the house of Music with mid-Victorian it should be dispelled, firmly but learn, and his social relationship among his fellows. music. Eacli teacher has the responsibility of recreating awareness has been train- the tonal conception of both performer and listener. beauty in daily life, but that The cardinal rule of good teaching consists of soon as possible. The pupil must be encouraged to Pupils will practice and grow in power and musician- anew our musical for with every student ages which fol- his The student, hearing a fine bassoonist over the radio heritage and largely lost in the more materialistic pujril to Understand and to Feel: so that ask questions, the more the better, and to use his as the ing the ship music at hand is relevant to them, sig- to include past as well as the by his ex- or in a concert hall, says, “Gee, I wish I sounded like music literature of the lowed. It is the privilege of the Teacher, how elementary, shall be an brain. nificant playing, no matter own to them, and desired by them. Actually, in- present. cooperative adventure awareness back that that,” then rushes home and tries to do so. He works This activity must be a actions and his influence, to bring this his personality. It is not enough structors of school orchestras jjression of own all vestiges of do not fall into these in search of abilities, talents, and can with the reed and embouchure until beauty, where the into our lives. be taught a series of motions which, if he The Student Personality two distinct groups of those by he disappear the tone becomes “big, round, who “teach music” and interest of the students constantly matched jrotent, lie must be like “edge” and are That this influence may be carry them through, will make his efforts seem train each pupil to use his own brain—that is those who “teach pupils.” Rather, every To full.” If could stand off ten or fifteen feet and conductor- the leadership, understanding to his pupils; he must and his and he good-will, and human more than a mere instructor playing. Instead, the results of his training perhaps the chief secret of good teaching. It is the teacher fits somewhere on a scale, at one anti listen to himself, he would be sadly disillusioned, for end of which of the school assembly friend, with whom they it is essential conductor-teacher. Each be a friend to them, an older jiractice must be playing. To this end, of the “giving orders” method of teaching, is he who teaches music - antithesis he would sound no more like his correct listeners’ and ignores student needs, each and per they can bring, the concert are opportunities for listening can be their real selves and to whom every pupil be taught the technical How and will surely discourage initiative and while at the other end is he that a method that conception than he did before his effort; perhaps who teaches pupils, fit- forming, school. their troubles. To him, to be experienced by the complete if they wish, their perjilexities and of each new problem that confronts precious possessions a ting music into the learner’s musical Why individuality—the two most even less. We, as teachers, must be his listeners and background, his talent con- always main- The general education of the listener, the average achieve this rapport, the Teacher must should be encouraged to take is led to bring and his personal needs. and his imagination music student can have. The pupil who help him to orientate his performer’s conception. These considerations of a development that he sumer of music, is as important as the tain a personal dignity. This does not mean play with every new point of interpre- bear each new problem student-centered orchestra versus hold of and his own intelligence to on The method I use for this orientation is to have a “music-centered” of the we must himself to be put, on rather performer. All of us can listen, but should put himself, or allow tation that is presented to him. This may seem get real fun out of his work, he will orchestra are decisions that face each of will not only him produce a marked reedy tone at first, then work us in his local be trained literature rather, that he should be always young child; however, situation. to hear. Selection of the proper a pedestal; it means, a large order in the case of a also make much more rapid progress. Furthermore, that the reed with the lower There is no single answer, for each back from by cushioning answer for the orchestra the conductor- control of conscious of his words and actions. sensitive, and imaginative, must be in terms is a real challenge to in and most children are receptive, he will be conscious of a psychological lift that will lip. point is the edge is of a specific school, its The to stop him where no community teacher, and becomes be necessary on occasion for him to speak corresponding sensitiveness its people, when well chosen, this music It may and if approached with strengthen his belief in himself. evident to the listener standing ten or and their resources. continually longer when an of certain never to shout them. The teacher right language-they important avenue for the realization harsh words, but and imagination-and with the Needless to say, there are plenty of students who fifteen feet away. He will probably exclaim, “It still human entire during lessons causes his pupils understanding. values through the social unit of the who loses his temper will often respond with an amazing can’t or won’t think for themselves; who are too lazy sounds very buzzy to me.” Explain to him that it is their respect, and some- ones, A Sounder Base student body family. lo fear him, generally loses Of course, there are the dull, unimaginative mentally sluggish to make the necessary effort. not really a buzz and that you cannot hear it even _ or too en- dislike. Such a one should expect to get Thus the function orchestra is times wins their cordial too. With these, the teacher can only have to be told what to do, not forgetting the across the room. I would rather hear a little too much Another consideration we must of the school These face is the gene larged, o not be a teacher. hope that a feeling for music music and it can serve well individual needs technical accuracy—and and the Why, while the teacher hopefully waits “edge” in a beginner’s tone, than none at all, although education point of view, versus the responsible How a highly s the time It was said just now that the Teacher is in them. balance ciahzed emphasis. various talented performers and at the same will one day awaken for some event that will give life to the hitherto inert he must ultimately learn the correct between The school orchestra his art. That could seek become cduca for the continuity of the great line in pupil has imagination, it will often happen justify itself as a basic instrument for general music If a intelligence. “edge” and “resonance” or “body.” a place to train superior to hand on perform tion in ° is true, but he should not be content his interpretations differ widely from those of prac- To develop this conception, work wholly between on the various instruments, a new point of view and a new program that Few students instinctively know what good thus limitino itself codex complete and un- re- to action. it '°' established traditions as a In such a case, great tactfulness is it F. range is heart soul needs of a In the actual work, be his teacher. ticing really is, and when they do find out, gen- Low G and Open This the and comparatively small proportion planning of the to this of stud, a alterable; he should strive, instead, to add the teacher. Because this interpretation of the bassoon. Until the student can produce a true tn the school. On the other concert, assembly program, pageant, or inform* quired from erally seems as though a new and wider horizon has hand, the ' school orche< ar legacy from his own experience and thought. Further, intonation this register can become workshop, the should opened to them. It is an essential duty of the Teacher bassoon tone and accurate in a vital and most important persons actually involved p inherited part o us the Teacher cannot accept as infallible the it is useless to proceed to the higher register, as all broad developmental ticipate. The m to provide that knowledge as early as may be possible. program, with whole scheme of organization other branches rich contri remain blent tradition of the past. In music, as in tones abovq are formed from the harmonic series of lions to the general music flexible and give ample opportunity to He must be sure the pupil understands that Practice education of the en of human activity, our ancestors made, with great these basic notes. Usually Low G is a good resonant student body and suggestions, develop- is not merely a number of repetitions of an exercise the community. Such resources of literature, and the intentions in VIOLIN a point * solemnity and authority—and the best note on which to start: work it until the correct tonal view ,s far different from mental experiences players into or study. He should explain that a passage must not the specialist’s of the orchestra quite egregious mistakes. Traditional Harold Berkley empCis ' the world—some by conception is achieved. satisfied with G, serves as a far school enriches Edited even Continued on Page 326) When Low sounder base for activity that and be played through, ( our school™^ personally values ideas, therefore, must be carefully evaluated before play it again and slur into the adjacent A, trying to program. he > Mu.ic i, a basic are, „[ social well-being of the entire school and community. 297 296 MAY, 1949 etudb »
from a figured bass, standing Advice to a Talented Boy suffered a heart a t th at Presser had continuing Mr. Presse careerreer piano while to direct the for all again. great„rpnt ca ch°' Opinion About is the reason and his Difference of educating women sleep, If the need arose, she rea,,-. , A had inhis rus.— — M— reduced a son fifteen years old Presser Mr. Presser, who S£ a Q. We have Theodore the divorces!” four-hand piece to two hands, musical talent, readin the Metronome who lias considerable much of his life in colleges spent so across the pages without embarrassment would like some good advice up at o«e. Th and we Page 289) women got his dander conducted a performance has studied piano tor ( Continued from Duke S She of FaurA from you. He s Answers cap it all, Mr and by flew. To flowers your department Questions pieces feathers of Requiem at na concert of the „ O I have enjoyed ten years, and lias played music had any Sne°love BononsJ^ said he didn’t see that very nuich-it is the first Chopin, Debussy, Siegmeister, had phonypxiumj Orchestrathe first woman>* ouidij in ETUDE Bach, “Look at ten. He gardens, tola the magazine; given a education for men. in ms own I read when I get others. He has recently the em- place in greenhouse ° this capacity. Miss Boulanger page and times his family and note excellent made in was human- to be- Many “I don’t know a 4 I suppose I am like most has been encouraged Mr. me!” he laughed, onrl inspiringincnirin» - and Conducted by recital and would say to me, when The fl« r;lldl of most competent and conductor risen up to ex- talent. ployees what I have done. JP a suburb kind in that I have never lieve that he has great musical over little of music, and look GcGcri^;u0wn, greatly excited home in , because of her sympathetic until now when in music Presser became conference in dismay his Thousands penetration press my appreciation This boy is greatly interested Mr. Presser left the "X’e . trip, Doc- a "Get him to go on a Philadelphia, ,P of the music she performed, and a difference of opinion. The like to be a music critic, or things, Mr. Duke’s reactions from spring her I have and would trip and and disgust, and of Mus.Doc. can Presser on a ability to produce a telling of your remarks on the use the Karl Gehrkens, a concei t pianist. He tor." Theodore same. b he brought interpreta- trend W. perhaps even cares were probably the morning all ex- arianging, tired with office ‘n"rlyevery of it. metronome is contrary to my transpose, has done a little Theodore Presser a great interest f f tion Theodore Presser took years of playing and over solo entirely different persons. perience in thirty Professor Emeritus and is very familiar with 700 seemed two claimed to be fond of hunt- in sports. He I have found it an invaluable orchestra compositions. Do you hesi- A Musical "Maid of All Work” teaching. and this was tempered by his of rhythmic Oberlin College us, and will Influences ing, but Nadia aid in the development have any suggestions for Significant birds. He pos- As a teacher, Boulanger mani- keeping an advice. tation to kill animals and feeling, also a real help in Editor, Webster s New you give us the benefit of your large Loco- grasp Music Presser’s first car was a including a valuable fested a thorough of the funda- on one’s technical progress. —Mr. and Mrs. G. P. Mr. sessed fine firearms, exact ‘check Dictionary very capable and his em- mental principles of musical teacher along- International mobile, driven by the presented to him by rrc"— technique. It is just like having a shot-gun ,h R Cunningham. His next the hunt- w She intermingled, as is the tradition every time a piece is played powerful Harvey ployees. On one expedition to »i»«« was harcla in side one funeral services\it "r5 the on having such a succession were air-cooled Frank- Reaser m At his France, the study of harmony with (in the learning stages) to show up A. Congratulations cars in ing lodge of- Dr. Matthew floral symbols the under- for the many insecure passages. In my he has already and were driven by the although helpless with find places practice of counterpoint. In composition, rhythmically talented boy! Evidently lins, South Carolina, I, which poured a musi- Clarence Foy, Resurrection opinion it is impossible to make parents much happiness, and standing and faithful gun, went along as a of the she gave the individuality of the pupil Assisted by given his either end of a country from those playing mechanical through deal Presser’s demise, was ap- covey from all over the departing cal pupil’s of course he will give you a great who, after Mr. the dogs flushed a who free play, without from in- the A. MelcHer guest. When and from those the use of the metronome: and on Professor Robert talented Superintendent of 1 he Presser away, he had helped, upon the principles more as the years go by. But a pointed of birds, and all parties banged sistence of continu- hand how many pupils can play in other Oberlin College I Music Teachers him. . responsibility too. and for Retired cleared Mr. Presser loved , , , of style and unity in structure. slower or boy is a great Home before the smoke was was provided by ity Miss without taking the hard parts of The funeral music that his parents are thinking so Germantown. would shout, “That’s my bird!” One Boulanger also taught more than a year even coming to a dead stop? I think am glad Presser of Presser employees to 1920 my trips with Mr. “Boss, you a male quartet will dissuade many from seriously about their son s future. Up the colored guides once said, vocal in California, so that her influence as your opinion to- were professional purposes probably atall. most of whom this great help, and that is this boy is only fifteen he prob- for educational shout too soon—they ain’t no bird were a teacher may be said literally to extend the use of Since time clergymen I thousand miles. All the fellow- soloists. The officiating opinion regrettable. I hope least two more years of high taled thirty He enjoyed fishing, or rather the "from coast to coast.” So versatile are her in my ably has at his head (Methodist) and in ex- had "in the back of to care the Rev. Ladd Thomas have not seemed presumptuous of him, and my first bit of Mr. Presser of fishing, and did not seem accomplishments that at a reception in school ahead ship 1 lie of opinion with Theory quest for ideas which led Parks (Presbyterian). pressing my difference An Exercise in Music in school, first, a systematic he caught any fish or not. Base- the Rev. John given in New York by advice is that he continue whether an em- her honor Dr. such as you are. his vast scheme of scholar- had for twenty years been an authority like other people, eventually to ball had a great interest for him, and latter Walter Damrosch. he jocosely presented exercise from because musicians, Com- 15. i. I am enclosing an the Presser Halls now the Theodore Presser -L. R. q. ol study- ships and also pre-radio days he would go out ployee of teacher is not the broadening influence in those her to his guests as a musical "maid of my music theory book. My need erected at ten colleges. to see the and I other than those in which of his road on the way home all work.” Miss Boulanger, undoubtedly, going to teach for several months ing subjects of the ' by friends 1916 when I was President November The funeral was attended directions are to especially interested; second, In latest newspaper bulletins. In will not be the last visitor to these shores you for your frank and want to work ahead. The they are Philadelphia, I met races. Mr. A. Thank Drama League of passed away, and the of many denominations and ring around each harmonic interval boy will probably want to 1922, Mrs. Presser to acquaint us with the enormous store friendly letter, which does not offend me draw a because your Haney, of the Central had a real affection oblong around eaclr triad. Dr. John Louis shock was so great that he lost much of Presser had always write de- or chord anil an attend some fine music school after lie at that of European musical knowledge, the ac- in the least. Actually what you of Philadelphia, who helpers and clerks, and 1 done this correctly? High School in life. He strove to keep for his Negro Have graduates, and practically all music his interest cumulation of centuries of artistic striv- lights me for it shows that you are read- Chairman of the Play-Going especially affected by his time was his former activities, but those close they were schools now require at least a high school up ing. but it would indeed be difficult to ing carefully what I write and are think- of the League. Dr. Haneys Committee to him knew that the strain was almost passing. only for admission. Because your son philo- exceed the skill with which she coni- ing about it. I am of course giving But if it is the teacher—or the metro- diploma as an educator and as a training more than he could bear. mis- has a hankering to be a music critic, I natural devel- billed a lucid explanation of technical my own opinion, and 1 may make nome—that provides the pulse stimulus, logist, together with his English courses of of rhythm end- advise him to take all the encyclopedic mind, made methods with a complete revelation takes both about the teaching then the pupil goes on blundering opment of an to elect Strikes content of the works she matters, but in my long ex- woodenly, finding “time that his high school offers, and him an enjoyable companion. Later, Tragedy Musical Boston in the the spiritual and other lessly, playing ^ goes to performance. teacher, an observer, and a has within himself some English courses when he President of the “Write- On May 10, 1925, while attending a analyzed or brought to perience as a hard”—unless he w’hen I was study of French or Ger- Nineties American com- I found that the more the “divine spark” so that he college too. The about Club,” formed of leading Phila- game at the Phillies Ball Park, he was Gay That the two leading listener have enough of the both Aaron external stimuli bad teaching! man—or both—would be advisable also. I had a closer associa- stricken with a fainting spell. He was posers of the present day, individual depends on plays musically in spite of delphia authors, ( Continued from Page 290) to are her pu- be in playing and offended you by my And I suggest that he begin at once with Dr. Haney. I introduced him rushed to the Samaritan Hospital, and Copland and Walter Piston, the weaker he is apt to I hope I have not tion criticism or evaluation of each 1921 he paralysis. soon Paris Conservatory, where proof of her eminence singing with real rhythmic flexibility and frankness. This happens to be a matter write a to Mr. Presser in 1917 and in found to have partial He teacher at the pils is abundant Miss deeply-pcrhaps musical performance that he attends, invited to join Mr. Presser s auto- recovered, however, and was able to at- she received her musical education. as a teacher. feeling. about which I feel very was that are per- college out- sister, I did so much bad teach- looking up the works mobile trips of investigation of tend to business. He even gave an Boulanger taught her semi-invalid Some teachers in school beat the pulse because myself Achievement metro- formed and trying to express in good conditions, which had a great bearing door week-end party for his executives Lili, to such advantage that the latter An Unparalleled audibly with a pencil or some other ing before I learned better. The both the good and the bad Foundation. resort. In August first con- that is a useful device— I always have second meas- clear English upon plans for The Presser at a New' Jersey shore was given place in the annual In retrospect, no one can deny object, and I-have found that the pupils nome 2 In the first chord of the thou- music its purpose is to doubled, but that points of the performance. Perhaps the Dr. Haney traveled some fifteen of that same year he made his last auto- test for the Rome Prize, the only woman the total achievement of American of these teachers are not as rhythmically one at hand; but main ure, the fifth, E-flat, is after to pass a triad, isn’t it? high school paper will be glad to print miles with the group, and mobile trip, traveling as far as Watkins to receive this award in more than a within seventy-five years is nothing short as those who are taught to enable a composer or an editor chord is still considered sand independent of the per- right happens in the first chord some of these criticisms, but even if none Mr. Presser’s death went approximately Glen, New York. He seemed to pay little hundred years of competition. Her prize- of unparalleled. In the sphere of beat the pulse for themselves. Some con- on to others what lie thinks is the The same the fifth is again this trips or- help- fourth measure, where of them get beyond his own desk at twenty thousand miles on similar attention to business. At times he was winning cantata, “Faust and Helen,” formance alone, the multiplication of ductors of choirs and orchestras likewise tempo of a composition. It is also doubled. A triad may have four tones if it will be of great greatly disturbed and apprehensive, and was of the best offered. Lili groups ful in enabling the student to check his stage, the experience with me. one ever ganizations from chamber music beat the pulse on the desk with the the rfifth that is is the root, the third, or It was a little diffi- extraordi- dexterity in playing value to him—and considerable fun too. wanted to be alone. Boulanger had exceptional gifts, as is indeed I have found the own mechanical D. A. F. through orchestras baton, and here again doubled, may it not? — in other things, but pre- I feel that it In the second place. I advise your son Verbal Sparks cult to interest him shown in her songs and choral works. nary. Considering the handicaps rhythmic response to be less sure and scales and studies. But the Dr. would regain his geniality and be standards, only sparingly for any to continue his study of piano under In January 1925, Mr. Presser, he Her premature death deprived French sented at first by superficial less flexible than in the case of groups should be used looks to me as if you have A. 1. It also to the south, contrite about his indisposition, apolo- music of the maturing of thorough- other purpose. very best teacher available, and Haney, and I, on a trip to an indisputable the advance in the scope and which do not have such an outside followed the directions fairly well, but for being “a bad boy,” and thank- been hegin work in harmony, either under the included Charlotte, North Carolina, in gizing talent. Before Nadia Boulanger ever ness of musical education has stimulus. And the piano pupil whose not given the name of since you have or under College, a very ing others for “putting up with him.” came to this country must ac- high school teacher of music order to visit Queens she had taught heartening. In all honesty one teacher counts aloud habitually—and the text from which this assignment was 1 seized with Player Wants a Job fine outside musician. This would college for women. Mr. Pres- In October of 925 he was many American pupils, among Pro- this progress not usually A Bassoon sure that some progressive them knowledge that much of usually inexorably!—does taken, I cannot check to make upon a spastic intestinal condition, and was fessors o help him greatly with the work in trans- ser was also most anxious to call Walter Piston and Merritt of has been due primarily to the influx play as musically as the one whose teach- you have done exactly what was wanted. I have a friend who plays the he is tobacco again rushed to the Samaritan Hospital Harvard, theorists, ‘ Q. posing and arranging in which Mr. James B. Duke, famous Virgil Thomson, composer and foreign conductors, performers, er gets him to feel the rhythm inside circles are correctly placed and I am wondering how she Your in- of Temple University, where on Octo- ex bassoon evidently greatly interested. multi-millionaire and hydro-electric chief musical critic of the New York and their intervals, hut I am and composers. Their gifts himself. can get a job. This girl has graduated around the harmonic lived in Charlotte. Mr. ber 26 he was operated upon by the Herald-Tribune, o Finally, in the third place, I urge this dustrialist, who and Aaron Copland, perience have been capably brought teacher will from a well-known conservatory, plays puzzled by the statement that you are Philadelphia surgeon, Dr. The modern, up-to-date regular school was at that time interested in celebrated W. the composer, to mention musica hoy to participate in the Duke but a tew of bear upon several generations of often ask to stop playing for a the bassoon very well, could also teach to draw a ring around each harmonic Babcock. As he was from the pupil up to be founding and endowing Duke Univer- Wayne moved the more prominent. Miss have other woodwind instruments, and to draw a activities so that he may grow Boulanger students. But their labors would moment or two so as to sing the passage the interval or chord. If you are of his to the operating room, his suf- et| who is able sity, to which he gave many millions room had taught at the American Aiw has had twelve years of piano. She does almost every- a normal, well-adjusted man Conserva- been fruitless had not the young with his voice, it with his hands, ring around each chord, obvious, but he smiled or clap you, but world dollars. Word came from the magnate’s fering was and tory in Fontainebleau ,e not know that I am writing a to live reasonably happily in a since its founda- capacity. m . with your quotation should have # can possessed musical or swing it with his arms, or step it like thing in seen.” Mr. said to me, “Don’t worry, Mr. Cooke. tion, she is very talented and I should difficult enough for anyone, but office, “Mr. Duke cannot be and also at the Ecole educations triad is, of course, that i* Normale in gence, ambition to profit bv his feet; after w'hich he plays it with V. C. circle around it, for a Then, Tell all the folks not to worry. Isn’t it to help her to get a job. —Mrs. hard on a Presser was greatly disappointed. Paris. Thus she came to this r in that is especially apt to be country not opportunity, and above all. the ''.‘ the same rhythm that he has used in a chord. the supposition that Mrs. Duke wonderful that there are hospitals and only an experienced 'v or sensitive, “thin-skinned” boy. In order to upon teacher, but with an to persist pursuit of ideals, p movements. All question and I The oblongs are also correctly placed, doctors to help us, when, we cannot help in the producing these other A. This is a difficult very probably was a subscriber to The understanding of the American rnusi next-to-the-last be a musician—or any other sort of tempera- share in general I guessing except the one in the ourselves?” should one overlook the such devices are based on the have no adequate answer. am Etude, and knew about Mr. Presser, I ment. For a time Miss o! c artist—one must have such sensitivity; Boulanger taught cooperation principle by the great will probably end up measure. You are obviously thinking of The follow'ing day he seemed to be expansion due to the first systematized that your friend telephoned Mrs. Duke, who immediately the “ usic department IV, but the and yet one must also learn to live of’ Radcliffe radio prog” I that she visit this as being a triad on „ , leges, schools, and even Swflss teacher, Emile Jaques-Dalcroze, by teaching, so suggest an appointment for the follow- more at ease, and he had a fairly com- College but in the world as it actually arranged this constituted only Uflte the measure is dominant. among people a small in acquainting students and the is the of the teachers’ agencies in Chi- harmony of was very opin- fortable night, but the following night part namely, that since rhythm move- some in ing morning. Mr. Duke of her activities. She musl ' the second heat are exists. School is an excellent place organized nical public with the treasures of in learned at first cago and perhaps join one or two of The F- and A-flat on at times “testy.” He as- his severe pains returned. He was at- choral ment music it is best ionated, and groups and gave programs between either passing tones, or the which to begin to learn this lesson, and hospital made literature. This interaction p by responding with bodily movements them. But if site greatly prefers a play- therefore immediately that he had no use tended by his nurses, his niece. up of little to mingle serted known selections lC ^ Eleventh of the chord. In that is why I advise your son from the formers, students, and the py*” to music heard. one has once ing job, then she might contact the office Ninth and whatever for education for women. Miss Alice Casper, and his housekeeper. church cantatas J\„ When with other young peo- of Bach, besides madri- permits taki g and ask for ad- neither case would the second beat be a in a normal way Miss Elvina Mackey. I returned only impels progress but learned to make appropriate physical re- of the Musicians’ Union “Readin’, ’ritin’ and ’rithmetic,” and home gals and other ple, rather than to shut himself away works by 1 basis of the Monteverdi musical u° it be- vice and information there. But the triad when the harmonic a from the hospital at 1 2: 30 A.M., as for granted standards of sponses with large muscle groups how to run a good home and make Mr. C°nduCt0r from the others—as a talented boy is ’ k was «“» assinuUt' line, and I really entire measure is considered. should be Presser was apparently better. However, unusual standing and consequent comes comparatively easy to go a step problem is out of my husband happy were all that Wfor her to play accompaniments sometimes tempted to do. for vocal unthinkabt further rhythmically. have no solution. 2. Yes. expected of a woman. “Why, man alive, at 2:45 A.M. I was called to the hospital works, which w'ould have been and play or sing often filling out the harmony half century ago. MAY, 299 298 etudb 1949 ” n
of those corners romance. The rubbing off is not Actually appearance! one needs prac- result of one fhe one needs to performance just as practice an INTERLUDE ice in SENTIMENTAL the feeling of taking up a new work • We all know hesitantly trying simply to and <'oing through it get after months of study and fne notes right. Only prac- to merge into a unified . Opera those notes begin p at ire do Preparing for meaning-and then the nhrasinaf, of work Seren. from wha. it did a, the SL enEX in is true of a role performance. No A Conference with rx^ctlv the same you have mastered it under your matter how well but isolated notes that role is nothing and Polyna Stoska clarified its pattern in until you have many Soprano gestures Distinguished American Opera Association A Leading Artist, Metropolitan
by Stephen West
School. Erom scholarship at the Juilliard Massachusetts, of Lithu- Born in Worcester, Germany to continue her Stoska has inher- there, she went to anian background, Polyna admission to some studies and to try for marked artistic abilities from both sides months, ited opera company. After three back, her father’s people small of her family. Far great Deutches peia de- she auditioned at the were musicians. Her mother is a gifted en- Berlin, and was immediately Untrained and non-pi ofes- haus, in signer of clothes. major roles and to ap- all her gaged to understudy s tonal, Mrs. Stoska creates and makes smaller parts. Called within four “Most people don t pear in daughter's concert gowns. ' performance of Weber’s Eury- Stoska states, “but it is hours of a believe this,” Miss in that work, and glamor- anthe” to sing the title role so!” One the most beautiful ac- of however, Miss Stoska gave such excellent on the concert stage, Polyna ous figures she never again sang home.” Always markedly count of herself that Stoska is “dressed at was Lisa, minor part. Her next assignment she began violin study at the age of a musical, and Polyna Stoska was on she can remember she in “Lohengrin,” seven; but as long as years work her way to fame. After several of has sung, humming tunes around the house abroad, Miss Stoska devoted much time to and following the records of famous artists. our and USO work and the entertainment of She played in her high school orchestra forces. She appeared with the New club, and when she was six- armed joined the glee Company; and as- At about that York City Center Opera teen, her voice asserted itself. Broadway pro- the sumed the leading role in the time, a school superintendent notified duction the Elmer Rice-Kurt Weill Pulit- music teacher of a vocal contest of high school “Street Scene.” She asked any pupil zer Prize winning play, being held in Boston and if Opera enough was invited to join the Metropolitan the Worcester school were good of performances of eight major teacher chose young Polyna, in 1947. Her to enter. The acclaim gave roles in her first season won the of who won the contest. After that, she vocal critics and public alike, and her dramatic violin study and concentrated upon up coveted Donaldson her for more ability earned her the work. Her first teacher kept “Street Scene. Miss and vocalises, wisely Award for acting in Polyna Stoska than a year on scales on Next, Miss Stoska also concertizes, and is often heard forbidding her to sing in public. In "Ariadne auf Noxos a the Telephone Hour.—Editor’s Note. Stoska came to New York, where she won
l of a " , ' c aims at opera more out ‘!p interested in opera before audiences. The student who prima donna brings so much Aj VERY young singer who is to do. • master roles as soon as the voice is ready for the most studious newcomer can. hope one day entering the Metropolitan. should dreams of various is the acccptanc organization them. Learn all the parts you can, in their the best preparation for opera Ranking as the foremost operatic opera E heard. A repertoire is quite working position in an languages. Then get them even the smallest today, the “Met” is the goal-and ambi* in the world public. American compa what one must useless unless it can be brought to life before a pany. Fortunately, we have tious beginners are always asking just this will immediately give is this: I know that anyone who reads I can ’ do to reach it. The only answer Opportunity Knocks give evi- cry out, “But where!” It is often said that we in aspire to the “Met,” the candidate must some to music culture, plans sometimes go astray— musicianship and thorough prepa- America, despite our great interest in And yet, the best dence of thorough for my o" n1 a about lack all opportunities for the young performer to rub times with happy results! The plan P will notice that I say not a word ration. You should s ' edges in public. The happy truth is that oppor- prentice years, in Berlin, was that I are two reasons for this. The off his voice, as such. There i:J far greater than they were ten—even that I appeared in the Metropolitan presup- tunities today are major roles at the same time first is, that membership 1 • years ago. The Lemonade Opera (New York assigned me was Euryan better-than-adequate singing voice. The second five— parts. One of the roles poses a allowed to * " City) and the New York City Center Opera are but assurance I should ever be is not enough to get one into the had no that that voice alone l is, music, ra 'n ‘ that sufficiently! The atti- two organizations that have come up in very recent it, but I studied it with all my might— company. I cannot stress ^ tna ^ changes with the side of the years, and they are doing excellent work, both as mise-en-scene, everything. Now', it happened tude towards voice alone ' e beautiful mediums of entertainment and as proving grounds for singer the part did not h footlights one happens to be on! You have a wdto was to perform 00 1 ’ young performers. There are several more in being Sj; friends tell you you are much better New idea of an unknown young American’s . voice and your • all country very jea ought to be in opera. Thus en- York; and over the similar small companies as understudy. She was a typical Nazi and than So-and-So-you a heard from. In Los stage re ‘ audition—and the experienced are being Angeles, for instance, As I worked on the role and sat in on couraged, you seek an , j there are several reliable opera schools that climax share bcY experts who hear you don’t say much about your (in which, of course, I was allowed no show y with it. their training with public performances of full operas. determined to voice. They want to find out what you can do observing them), she evidently sung In Boston, there is Boris Goldovsky’s fine organization. performance, How many roles have you? How often have you that I was not equal to the public And these are not the only ones. in the a them in public? How do you stand up in public per- all events, she suddenly cancelled at four y> The important thing for the young unders; u formance? These are the problems the young singer singer is to noon, on the day of the performance. As get out of the teacher’s studio, and into a own, must solve before she is ready even to think about public com- I was called. I had had no rehearsal of my pany that performs on a public stage—before even si the Met. a public! never sung on that vast stage, I had not Here, and only here, do true performance prepa conditions a full-length opera in German. But I had" Many Different Skills show up; here and only here coa does the young singer the part with thorough musical and dramatic should realize that vocal training, demonstrate his ability-to cope with those conditions. artd n The beginner ing, and I was ready. And I sang the part— Public performance always involves is, ranks as only one of a number of great emotional ’ us important as it was given a minor role again. This, I think, ^ a5t must be in good order. The strain. Only in public performance does the singer to the skills that constantly two things. The first is to be ready—down repertoire, dramatic surety, languages, learn how to conquer that strain. Again, a fluent *in others include line, detail of preparation—when a big opportunity . style and-most important-experience or of performance can be worked out Page 1 a knowledge of styles, only in does come your way. The (Continued on 301 MAY 1949 300 etude etude CAPRICE zephyr tossing DANCE which varies from a the early in or to connote 6 rin of enchanting lyrical something about this composition which seems P ? e a great number piece's There is f fjords. Or g wrot tearing down through the blossoms about, to a wild blast of retiring winter leaves. Grade 4. Op. for the piano. Dance Caprice is one of four album EDVARD GRIEG, 28, No. 3
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CONCERTO IN D MINOR THEME FROM PIANO , ^ Concerto in D Minor was Grade 4. ^ This lovely slow movement from the “Piano of his creative career. Vienna. was at Heightg aus dem Serail " when the composer, in peared after“Die Entfiihrung W A . M0ZART A rr ffiinrir T — — * 3 — Ronnanze ( j =88) — 3 1 2— 2 h (f 2 3 1 —7^~ — #-* rTn 5 r ppk ( d i fjf1 p { 11El . #• jj i #’ 1 , £5 uu.—-4- — 4 l 1 4 fc=r
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PURPLE ASTERS MORNING ON THE LAKE WILLIAM BAINES BENJAMIN FREDERICK RUNGEE Grade 3. di Valse (J=126) Tempo 4
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British Copyright secured Copyright 1948 by Theodore Presser Co. 313 may i9i9 MORNING IN THE MOUNTAINS SUNDAY Registruti — D ir> a rnTrem.m Hammond Celeste, Bourdon 16 & , . Sw. Aeoline, 7 2W Chimes if possible), coupled to Sw. S*M$ » GANZ tot. FI- 8’ MANUALS British Copyright secured Ped. 31 315 77 Theodore Presser Co. 314 Copyright 1948 by etude MAY 1949 • ' •' ~ T • •• - y "7 •38*39 ______i — — POLONAISE POLONAISE MILITARY FREDERIC CHOPIN MILITARY FREDERIC CHOPIN Arr. by Ruth Bampton Arr. by Ruth Bampton PRIMO SECONDO 2 i o A 2 Allegro con brio (J= 88) Allegro con brio ( J=88) ^ 00- 2 . 2 3 /—" q »'» 3 i )=£*-:=*=* J : -y — rRj**s z f ? J L Lgp V 33 — h -t? J wJ '0 j 1 4 j. J i -vuL M 5 i ^5 Z T' 4 2 1 3 i 5 i ^r 3 2 5 5 2 5 3 3 3 O m- i 2 1 0 9 Si •* • ..m w r mm m Jiff*f f ® 0000 0 0 0 § I “ffll «*f 1 3 — - 3 m m 8-' 1 3 1 3 ‘ * _ 2 2 4 w 5 3 3 3 or 1 il ® ... 1 3 * >• a 2 12 1 " 1 2 1 f r /=s^=:t "Ti rt»- f III l / TT #ff -=y-4=fa -=y # "=J= fit Di#o==^ mm : 0 : -9 ~ -J 3B S i _ :^“” -r „ < *—Or ® -FTT' _f ndw-0 4 mzl =t-iH 0-04 4 40 i^ni 4 6 1 2 4 1 1 1 2 — 3 =£^ 3 1 3 I s i- 5 3 1 8"’ S'- 3 2 Copyright 1946 by Theodore Presser Co. British Copyright secured! 316 MTUDU > PARADE OP THE TIN SOLDIERS Grade 1. SIDNEY FORREST Tempo di Marcia (J=i08 ) Copyright 1948 by Theodore Presser Co. British Copyright secured SLEEPY EYES Grade l], I . . BOBBS TRAVIS Andantino ( J = 120 2 4 5 3 5 3 1 2 % -6P- P i I I * 2 1 2 , 2 £ mm Copyright MCMXLVIII by Oliver Ditson Company 318 international Copyright secured ETUDE a — : — — The Pianist’s Page IN CHINATOWN (Continued from Page 288) Instrumentalists of today for music. I am subjected to influence over me in the form very little Grade “Your annoyance, jealousy, and perse- 2-i. Ury compact and easy to under- constant BALDWIN „ f l It is therefore in my mind, with CHOOSE Con aniina(J = i20) of teaching, plus loads of cution. ind method else- brought more rapid prog- God’s assistance, to seek my future inspiration, has good months than in the where. If you know or hear of a in the last four S prac- position in your city I beg you to give seven years, and has made nrevious of your valuable recommendation. I enjoyable that it’s at the top me icing so promise on part to give satisfaction, things I love to do (includ- my list of the die 7 diligence, and justify your esteemed events). show ing all social thing, that if you didn support. “I betcha one school "My present post is worth about 700 most of us grade and high exist, niters crowns a year, my income being derived would still be ‘unth, Piano students fes- that hor- mainly from extra service, such as ‘pian-sits,’ still dreading weddings, and funerals. If the hour of practice every after- tivals, rible old usual, rev- (even though they death-rate is higher than my like the plague! noon enue increases in proportion; but Leip- love music).” do zig is a healthy place, and for the past Living about 100 crowns The High Cost of year I have received less than usual for funerals. The cost dear old Bach was just as plagued Even I was an ex- of living, too, is so excessive that you and I! Here follows bv it as in Thuringia on 400 crowns the few-survivingbet- better off cerpt from one of 1730 a year. written in lus own hand. In ters I add that I can arrange to give his position as Cantor “May Bach found that solely '1'^: • or instrumental concerts ^ Xj-k -f f . m - 1 Thomas’ Church in Leipzig was not vocal J^T- [— PJ of St. family. All - rJ the members of my own • ' ^ no longer tol- from could . r a bed of roses. He wife bickering my children are born musicians; my the unpleasantness and frtj erate clear soprano, and my eldest ruled the church. So has a very of the powers that account of elsewhere, daughter can give a good decided to look for a job he herself too.” wrote his friend Erdmann, who and Poor Johann Sebastian! Despite his ~ as Russian agent. I he - lived in Danzig he couldn’t • «v • m m • m m: -m~ m m * 0 Russian archives unparalleled qualifications, ’ original letter is in the g"-~: m m - m m find another job. : ; m . ar d 0 • m— L_d in Moscow): mm Next year, 1950, will find artists, or- chestras, choruses, teachers everywhere have discovered that this situation “I observing the two hundredth anniver- good as it was represented to is not as Make your own and that my sary of Bach’s death. be, that living is expensive, care plans for it now. masters here are strange folk who j-^rj i M -• 0- == Preparation for Opera t t Page 300) LT w (iContinued from V p 2 f p 2 poco rit. L.H. L.H. being able to sing the arias! r\ other is never to be jealous! actual singing, the young singer The young singer needs to realize the As to learn not to do too much warm- -J&L immense importance of studying a part should Spivakovsky, Szigeti, m on the day of a performance- Piatigorsky, 7 in^ up dramatically as w ell as vocally. That, too, m performance. The professional soon is too much stressed. Many any cannot be as (and tire!) the voice Thibaud, Zimbalist . . . work on a role as learns to use young singers tend to singing day. My little as possible on a 7 vocal nuancing, if it w ere a matter of noon try my voice around world add a few ges- habit is to these, and many other a tempo and then, afterwards, to and rest mind, be and then to go to bed 2 s-— tures and motions. Nothing could opera and voice. Then, at the dangerous! Actually, vocal and dra- body, renowned violinists and cellists more before I go on, I general- and progress house, an hour matic study should begin ten minutes on ly spend no more than neither comes first and neither qualities which make Baldwin 6 together— That’s all! The prefer the Baldwin for the same ^ scales and sustained notes. ^ is Indeed, if there were m more important. get the to value of those ten minutes is a shade of greater importance, I think V! and to exercise the muscles of so many of today s great pianists, composers, I say voice warm, the choice P it the dramatic side. would go on call it getting of the singing apparatus— I this because I firmly believe that roles alive. That is all one organizations. character. the diaphragm conductors, singers, and music should be worked out from correctly used in needs. If the voice is have to portray should *P J J The person you ten minutes of warming mind before you the first place, be clearly fixed in your to assure a smooth M m wi u ; : : up should be enough opinion of these experts be- ill attempt to create her, either through Let the considered performance. Berlin, we spent singing voice or gesture. In problems are too in- accord- Vocal needs and much time comparing characters selecting a piano for your own use. to attempt any long-distance your guide in ing Elisabeth (in dividual to their basic types. I may discussion of methods or exercises. "Tannhauser”), for instance, is a very dif- myself, I have the greatest Baldwin dealer today. Sieglinde say that for See your ferent person from Sieglinde. more scales. faith in scales, scales, and is the Amazonian figure, of larger-than- wish to emphasize here is is But what I mortal thoughts and habits. Elisabeth will the best vocal work, by itself, the mediaeval gentlewoman, restrained, that an operatic career. That gestures. Both never launch controlled, Gothic in her calculated not stem requires additional skills parts have to be sung, and both (with vocal same merely to please the ear from the creative wealth of the whole being tones) but to transport the JJattouti composer—but how7 different they are as spectator. Thus, the best service characters! This must be made clear by of the can do himself is to get they the young singer THE BALDWIN PIANO COMPANY, CINCINNATI, OHIO their every least action—the way the corners ^ out of the studio and rub off hold their heads, the way they move 7 audience. Only • ELECTRONIC ORGANS w ork before an ACROSON 1C HAMILTON 4 HOWARD PIANOS BALDWIN their they glance in actual BALDWIN hands and feet, the way be a genuine in that way can there about the stage. Being able to explain completely intelligent preparation the difference in each character is as and opera. Copyright V.I42 by Theodore Presser Co. much a part of operatic preparation as for 321 3X0 British Copyriglit Securer! t.TUOi. MAY, 1949 — > . audience saw' hint pre- lic. When an tenor was sumably wiping his face, our SCHOOL PIANO by slight pres- Voice Questions ^ULBRANSEN NEW and Stage actually getting a drink The Singer are r 20 # Of course, there - sure on 'the bulb. a copy L~ a copy Fright dryness but cl&ssfitJQflt and studio other ways to fight throat cddealjoft iejchinfl ttt him. Now, they had failed to work for (iContinued from Page 291) and with the syringe in his handkerchief NICHOLAS DDUTY water handy, Answered If DR the knowledge that he had time, No seizure can last forever; given he soon ceased to need it. H>acretr jWustc leaving its victim that the Jfflustc it finally wears off, teacher I know feels One FOURTH and FIFTH I light THIRD, GRADE cleansed and free for a long period. distressing symptom of stage most of voice alone. My range is about two ‘ Excelsior, Sacred Song Med., Contralto SECOND GRADE are several ways to evoke pre- face. When the 2993 G-3.. Hawley More the Young FIRST and There is stiffening of the Once octaves, and I would like to be a concert 3642 Good Friday Spell, Parsifal, C-3 .. age is the .Wagner and one-half years of 3895 Silver Trumpets, D-2 Vlvlani mature stage fright; one of the best rigid,” says she, am fifteen ‘masque’ grows 3723 Hallelujah Chorus, The Messiah, D-4 O I next singer if I could live on this alone.—E. I 3539 Ave Maria, C-2 Schubert-Korber a Junior in high school to sit down, quietly, some hours before pinched and colorless, and Handel nTd' will be *3402 Evening Prayer, C-2 Humperdinck voice becomes and my teacher 1319 Heavenward, March Religioso, studying singing *3699 You Till Meet Again, G-2 concert and call to mind all the rea- grows even more F-4..Vllbre tern 1 am is, and there always will be God Be With We the its owner, hearing it so, mature voice A. There orr. Rolfe *3576 Holy City, The. Bb-3 Adams thnt I have an unusually sons why one might be afraid. Perhaps counteract this, she tells that room enough on the concert stage and in 1909 Morning Prayer, C-1 Lichner scared.” So, to 632 Jerusalem, The Golden, Eb-4 Freeman However, 1 have heard no is of % opera for a singer with a voice like 328 Morning Prayer, P-2 Streabbog some critical or valued person com- undergo a short orgy 266 Jesus, Lover of My Soul, Eb-4 Freeman ZS seventeen.. the her pupils to Should start lessons before 2062 Onward Christian Soldiers, F-2. . . .Sjlllvan cause for an their *3619 Lead, Kindly Light, G-3 Dykes ZJ Lawrence Tibbett’s. Mr. Tibbett never ing. There is one great curling back audi- Organ, C-2 Armour wrinkling their noses, f t J sing better before an 3407 Old Church 646 Nearer My God to Thee, G-4 Freeman ?his true specialized in the works of Wagner, as youi 2974 Old Cathedral, The, C-t Hopkins over-wish to do well, with its resulting generally manipulating their unusual? I shall probably have lips, and 842 One Sweetly Solemn Thought, Eb-3. Freeman ence Is this suggested. His greatest suc- 1823 Palms, The, G-2 Poure fears “break- the expenses when I go Canadian friend tension. Perhaps the singer just before stepping out to face *3618 Onward Christian Soldiers, C-3.. Sullivan my own 3099 Passing the Church, C-t Hopkins faces, to pay most of cess was in Italian, French, and American of humilia- folks, 526 Palms, The, Fm-S Faure-Leybach I should continue 3180 Prayer, A, G-2 Beelhoven-Rolfe downs,” with their aftermath It does help! The young college. Do you think audience. Der Freischufz, E-S Vo tn operas. His beautiful voice, his clarity of 3551 Star of Hope, P-2 Kennedy-Rolfe some, the very look of a well- the 2295 Prayer, n Weber or pursue some career more tion. To busily concentrating on keeping Ages, C-4 studying music his remarkable interpretative 3665 Still, Still With Thee, P-2 654 Rock of Freeman circumstances/ diction, and Mendelssohn-Roife brightly-lit auditorium means that forget their to a person of my filled, “loose masque,” partially 2700 Song of Heaven, B-3 Sweet suitable Middle-C powers, together with his tremendous reper- 3403 At Vespers, C-t Armour Stabat Mater, Cuius Animam, Eb-S. is from B-flat below so much will be expected that they can- hearing their own voices 182 Rossini My range loire of songs in several languages, made 2071 Easter Lilies, Reverie, C-1 Martin fears, and soon, person 981 Star of Hope, F-3 Kennedy Is this a nice range for a *3577 Easter Song, C-2 Hopkins not possibly measure up. There are in- as usual, they feel to Hieh-C. him equally popular as a recitalist and as volume come out as colorfully 3472 Star of the Sea, F-4 Kennedy piano. Do you think ULL my age? I also study from him. numerable hidden, half-hidden, or even really start to sing. The *3871 Star of the East, F-3 Kennedy of a radio artist. Take example A BUILT THIRD, FOURTH and FIFTH GRADE encouraged and discontinue either piano or voice. STURDILY acknowledged reasons feeding the fires 659 Sun of My Soul, Eb-4 Freeman I should Frenchman can readily learn to speak and G-4 Bach rest is easy. both are too much? U Inch do 3729 Jesu, Joy of Man's Desiring, 2047 Sunday Morning, Eb-4 Bohm Do you think sing Italian, because of the similarity of Cost A-4 Franck of fright. The best thing to do is to re- advises that it is I am really Minimum 3730 Panis Angelicus, Still another teacher 2731 Sweet Sabbath Bells. Bb-4 Holf think has more future? a t Recent Hour, Ab-3 Hopkins you the languages, both of them belonging to Some of the 3821 I Need Thee Every as searchingly and completely little big'tonel call them helpful to imitate outwardly the poise 446 Twilight Reverie, F-4 Bohm I am bothered with a this *3619 Abide With Me, C-J Monk Partial to voice. the Romance group. Contemplate for just School Installations: as possible; hold them up, full-view, be- 2568 Under the Cathedral Tower, Db-4 — Holf make singing my 3487 Ave Maria, C-3 Bach-Gounod and “graces” of the experienced, while sinus trouble. If I should 1840 Vesper Bells Are Ringing, F-3 Porter one minute the number of great composers Chicago Public Schools 2 7 pianos 3185 Ave Maria, F-4 Schubert self and let these very much fore the trembling poise oneself. She exhorts career, would this interfere “ “ pianos 2422 Cathedral Meditation, C-3 Lemare achieving such 2696 Wayside Chapel, The, F-3-4 Wilson from whose works you would he able to ch o Los Angeles 50 cted a»d ** P-3 Sr. of St. Jos. thoughts make one suffer, for as long as well as listen to) lassrooms.The constru Francisco “ 20 pianos 1790 Chapel Thoughts. her pupils to watch (as H choose: Mozart, Rossini, Bellini, Donizetti, Sturdny action San will feel “just ‘Has words for singing if desired „„ schools. . blow many others they will. For awhile it singers at concerts. Then they Verdi, Puccini, Halevy, Bizet, Gounod, Mas- )D and words for singing if desired the great quali smog *Has Ask your dealer for Century music. If he cannot musical y gf terrible.” Then, mind and body will ' practice making a senet, just to mention a few. Why specialize .uperb v£ Ask your dealer for Cenfury music. If he cannof are to go home and supply you, send your order direct to us. Our mentally height ( Built Y If you are physically and extra * area order direct to us. Our grow familiar, therefore bored, with the catalogue listing over 3900 numbers is A i until you understand the Ger- ind ^oard for Free Folder supply you, send your -“grand entrance” and a “regal exit”; to complete suggest, there in Wagner Send listing over 3900 numbers is on request. your years, as you complete catalogue business. sufferer will begin FREfc mature for tongue? Then there is a tremendous giving ( ull description of the Min- whole The the grand manner” on an imagi- stait youi man FREE on request. "hold why you should not school own- happens tonight is is no reason number of excellent songs in French and uet Studio Piano and to feel “whatever nary stage, which anyone can pretend to Aval ate SU P singing lessons immediately. English and experience. investig ership list, containing over 1200 bound to happen and I cannot worry Italian, as well as the fine have in her own bedroom. She also rec- to sing without nervousness names. 2 To be able American songs, all suitable for concert it or stop it. I have made as care- about pupils practice their song- is a distinct advantage. ommends that before an audience performance and for singing “over the air.” ful preparation as I know how; the rest words (not sung, but softly spoken) in a Cultivate it. . . . fail realize . , Of course you should not to isn’t up to me but to ‘fate,’ ‘luck,’ or (if question that should lie an- mirror, while making the face express 2 This is a that the greatest success comes to the sing- MAKERS OF FINE PIANOS FOR OVER 50 YEARS the thinker is pious), in the hands of parents, your friends, and each word, somewhat as a movie actress swered by your ing actors who have appeared either in your possibilities, God.” your teacher. You know opera companies or in COMPANY would do in a closeup. one of the larger GULBRANSEN Not everyone can evoke premature we do not. , choice of An old friend, who had been a fine your moving pictures. Make your own Chicago 51, Illinois range is good, provided Dept. E, 816 North Kedzie Avenue, stage fright at first try; for some it takes . Your to do. It is high time concert singer, told she finally 4 what you are going how had 47 WfcST 63rd ST. of good musical quality and 47 YitST 63rd ST. repeated effort. Others never do it with- tones are all at twenty-seven, and please remember that found freedom from stage fright through control. out the aid of a teacher or cooperative 23, UN. well under next year you will be twenty-eight, and 23, r NtVJ YORK U take piano UL.NN YORK NX- her religious faith. “I w as scared to are strong enough to . If you year cannot be replaced. Go Difficulties from the Start. TEACHERS OF PIANO friend. But, however you accomplish it, 5 your even one lost Avoid Technical death,” she says, “until the day I re- singing lessons and still keep up compositions for z and to it with all your heart and soul and Three new and delighfful do try “emotional catharsis” if you are well and good. If not, do TECHNIC alized that it is not I who will finally scholastic studies, strength, for “The time is now.” MAGIC advanced students, by composer-conduc- troubled with severe, disabling fright. It your health will first two or three years decide how great a success I am to be in not attempt so much that Eight-Measure exercises for are now available. Mr. TTYfYYYfYYYYYYYYTYTTTYYTYYY necessary for brilliant technic, tor REX MAUP1N is the hard way, hut it never fails to employing principles the impaired. . the early years. Written by musical director of An uncrowded profession . . . this world. I am only in charge of the be but commonly neglected in Maupin, brilliant LEARN play and sing we teacher and pupil of eminent concert pianist, unlimited income . . com- work. One of its best features is the heaving you successful pre- 6 . Without Presents New Sacred Music Ehevmne, BROADCASTING CO. preparation, which I do as completely as New Company lecturer and artist teacher. (Exponent of Cortot, AMERICAN plete independence—your own Learn to sing courage to an- The Groom and Hi* Bride- fact that you will never need to undergo HIGH could not summon up the Passion Lamentation-SOc; and others.) Price $1.00 (no stamps). NOCTURNE, and RE- business with no money tied I can. But once I set foot a stage, sents his SCENES, on 6 gS®* oPSS Rochester, N. Y. 5c ; Box 91, edited i fes)—6 CO., PIANO up in equipment. At home or it more than once or twice. Fear of fear swer this question. a I an Ly r EMHALL MUSIC FLECTIONS AT SUNSET, especially I ‘let go’ completely, knowing that, no of your (Italian^* traveling, work is waiting for thorough examination Company PFAU, is what keeps stage fright alive. Once you TONES 7 . Have a Hgj-jo publishing for student piano by FRANZ you. Learn with sound re- matter w'hat I do, I am in the of sinusitis Angeles 37, California. Hands throat and sinuses. Even a slight P.O. Box 7054, Station G, Los BROADCASTING CO. pian- TUNING cordings in 30 days. We pro- know of a sure way of relief, you are NATIONAL a greater Stage Director.” This artist had with confidence to the singer s career. on CAPI- vide recordings, instruction cured, from that moment. Often one is a severe handicap ist and teacher. Listen for them the beginnings Richly styled. AT HOME book, all necessary tools. of a concept which all and ease | TOL TRANSCRIPTIONS from radio sta- Write Dept. E for detailed hears young singers say, after a perform- Finely crafted. 1 over-zealous people should consider. why and tions coast to coast. All three selections information today. ance, I wish I could go Once you learn the “How back in acquire Baritone. Shall He DOLLAR. In conclusion: if you have stage fright, how of high tones, you A French-Canadian Protects music sent you postpaid for ONE there and do it over again! I’m not a needed to add CAPITOL CITY TUNING SCHOOL you owe yourself the experience over- the confidence Study the Usual Repertoire? against damage. Order today from: of richness and quality to your 211 E. Michigan Ave. Lansing, Mich. bit scared, now. Now I could really show “High Tones and an interview with coming it. To conquer the thing will voice. Dr. Freemantel. interna- Q. Last summer I had SKOKIE MUSIC CO. (ASCAP1 them what I can do.” What a pity to How to Sing Thera” voice teacher, told that I ‘ had, By maker of Chicago 54, III. give you a feeling of fionally famous Tibbett’s teacher. 1 was Box 3322-Merchandise Mart, accomplishment, correct, rules nationally known feel this way, after the proper time for by gives you all the that I would be accepted, self-discipline in his the goods, and Tonk furniture. and pow'er, that no lesser for mastering high tones ana LEARN "SWING" MUSIC “showing them” has passed! In our ex- Frederic TONES to stay in New 1 ork your victory practical book "HIGH but I was unable Quick course to players of all Instruments—make could bestow'. Perhaps you only THEM. teacher in UNIVERS ITY own arrangements of ‘'hot’' breaks, choruses, obbligatos, periments with “emotional catharsis” we Freemantel AND HOW TO SING the matter dropped. I found a figurations, blue notes, whole tones, ate. embellishments, want to sing solos in a country find for every smger- in- CHICAGO drawer ! church, It’s a man, who Special Miss A Beat j MODERN DANCE ARRANGING found that those it Canada, a very well known Don’t who underwent were follow. Order your copy for easy quartettes and ensembles—special choruses or take part in the high school clearly written and easy to Wagnerian trays Duets, trios, operetta. sists that I should become a —modulating to other keyB—suspensions—anticipations left in a mood for “showing” an audi- today for only $3. SCHOOL OF filing; quick CLIP and MAIL Whatever do, it. I think, THE •—organ points—color effects swingy backgrounds you cultivate your talents I cut out for finding. — ence the show! thrilling FREEMANTEL VOICE INSTITUTE baritone ; that was Write today. before How it type, I THIS AD TODAY. to their fullest, but add to them the skill West 57th St. however, that I am more the Tibbett ELMER B. FUCHS becomes when we can approach the busi- Dept. E-5. Steinway Hall. 113 Brooklyn 28, N. Y. York article Mr. FIND OUT HOW A 335 East 19th 8t. and exhilaration of enjoying your per- New York 19. New especially since I read the of HUvsic j ness of public singing, not with the magazine recently. formance and of knowing how to “hold AAAAAAAAAAAAAAAAAAAAAAAAAAA Friedrich Schorr in a thought, “Here is an ordeal. Will I sur- understands the back- accredited courses in 1 FRANZ an audience in the palm of your “Only the artist who Offers PIANO TUNING PAYS vive it?” but with the joyous anticipa- hand.” studied ground of the operas, who has Voice, Violin, Organ, ELECTRIC In all the world there is no other feel- Piano, Learn this Independent Profession tion, “Here is an opportunity for me to Wagner's psychological and dramatic han- Theory, METRONOME ing like it. COMPANY Public School Music, AT HOME create something beautiful.” WM. S. HAYNES dling characters, will be able to FILE IT- of his Instruments. WILL HELP YOU writes Mr. Schorr. and Orchestral Flutes of Distinction interpret his music," Don’t PILE it! ACHIEVE Tried and Tested Procedures How can a person do all these wonderful PLATINUM Confers degrees of B.M., A.B., TONKabinets keep your sheet music neat, PERFECT STERLING SILVER - GOLD - things without knowing the German lan- Every A number of interesting “highlights” Correction clean, orderly, safe, easy to find. PERFORMANCE guage? It takes one years to speak our own and M.M. your finger tips. Beauti- are contributed by other teachers, stu- Catalog on request sheet always at In ETUDE for February 1949. Mr. schools, bands. language, more years to understand a poem. Faculty ful styles. Sizes for home, 1 FRANZ ELECTRLC dents, artists Distinguished sheets. Write and who found ways to Robert Stevenson wrote in an article Avenue. Boston 15. Moss. brought up Style 648 shown, holds 750 S15 en- 108 Massachusetts How can a French-Canadian, name and pictures METRONOME defeat stage fright. tenor once said, titled for nearest dealer’s A “Mexico, Land of Musical in I Vagner, | Charm” Boston , express the thoughts of of other styles. Tonk Mfg. Co., 1912 N. “I have this stage fright CO., INC. Our patented TONOMETER with BEAT business almost that the orchestra at Guadalajara was when he can hardly express thought in his Address Registrar for Bulletin Magnolia Ave., Chicago lk* | Dept. ET— FRANZ MFG. GAUGE is a scientific teaching-tuning licked. My knees are steady and I have a “temporary set-up.” Mr. G. own language, although he may be alone 53 Wallace St., New Haven 11, Conn. instrument that simplifies learning and H. Dal- | enough breath, and I surely enjoy sing- rymple, on top beautiful Prov- UNIVERSITY assures accuracy with or without knowl- the manager of the orchestra’s FREE Sample Record of a mountain in the DePAUL = Enclosed $15.00 for Metronome edge of music. Action Model and tools state of ing for people, but I still can’t keep my conductor, Mr. Leslie ince of Quebec, overlooking your I Enclosed $1.00 for Book Metronome furnished. Diploma granted. Great Hodge, informs us singing SCHOOL OF MUSIC throat from getting dry. That’s — revealing how you can be taught Maine? I keep saying to myself “I’m French. Techniques shortage of tuners makes this a PROF- the only that his client has been conductor TONKci hi nets | there through i Send Free Literature field. ond speoking by famous teachers I could learn French operas." Or why not 64 East Lake Street ITABLE and UNCROWDED thing I fear.” For his cure he was told for some eight years, Room 401, with the exception record 1 Name PIONEER SCHOOL— 50th YEAR. G.I. Educational Records. Write for concert repertoire, to begin with, * till Illinois | to buy a baby-size rubber ear-syringe, fill of the time Chicago 1, APPROVED. Write for free booklet. he spent in the Navy. feet Address There- and postage- gain a few years* experience. I am six Sheet Alusic | it cold carry Send 25 Cents — fo covet cost of packaging for NILES BRYANT SCHOOL with water, and ft in his fore the orchestra is iimuta not a “temporary toll, twenty -seven years age, with a fair Washington 16, D. C. 1 7 of 10 Bryant Bldg., handkerchief whenever he sang in pub- set-up.” CALIF IHSTRUCT-O-TONES • SIERRA MAORI, musical education. 1 have had three years 323 322 ETUDE may, 1949 , —a ! On Becoming a Better Pianist PIANO COURSE Page 281) Chdir MICHAEL AARON (iContinued, from Organ and Questions THE FIRST NAME IN PIANO METHODS ' J the playing members must immediately progress of melodic pattern, DIAUA PDIMFD $ .60 values and freed) of M 1 vn ACL AMRVli be relaxed (or the weight comes to crystallize those nebulous • • GRADE FOUR... one GRADE ONE • GRADE TWO GRADE THREE which went into the tone. In this way, “feelings” into a reasoned and controlled FREDERICK PHILLIPS « ADAM a mu t DiAkin rniiR^F AAKWn first fortissimo passages can be played with- MIGMACL guide to interpretation. Since that TECHNIC—BOOK ONE • BOOK TWO. .. .each 1.00 1 out the least stiffness or tension to the MICHAEL AARON PIANO illuminating lesson with Mr. Matthay, ORGAN small organ army camps. Do you know where / could WURLITZER player, and without the least harshness 1 am interested in a for A know what I am do- O have been able to would appreciate any advice obtain this information; also approximate COBB of resulting tone. home use, and cosl ELEMENTARY METHODS & STUDIES by HAZEL ing, why, and how! me. I would like a two-manual prices? —O. L. W. l thanthe — Despite the most regular practice, you can give far me greatly with re- 75 Matthay also helped pedal instrument which would not for THIS WAY TO MUSIC however, it is always possible that a and $ 1 ^% I had harbored an un- maintenance. Is it possible A. It that r pianos octave playing. too much seems reasonable to suppose 0Q of many uire easy reading approach to Ihe piano. pianist may be cursed with what el I vy An octaves, lest they tighten is pipe organ with small pipes conscious fear of to get a small the War Surplus Board would have some- with RHYME and REASON 75 sim- known as an “off day.” In many in- reed organ give the RHYTHM my arm. Matth'ay gave me several electrified ? Would a thing, but we do not recall ever having and feel rhythmic patterns effectively, impressively through stances, this stems, directly or indirectly, tone as a pipe organ? The students see rules that cured that fear. He told same quality of seen announcements. letter ad- different note values. ple any A the "pie" picture, using syllables and words to represent from an “offness” in the resistance of suggest wliat type of organ would be never to raise the hands before play- Please dressed to the Assets Administra- me the names War with the KEYBOARD it the body—perhaps one is tired or nerv- the home, and give of GETTING ACQUAINTED ing octave or to come down upon best for tion, Washington, C., might possibly an organs. — R. L. H. D. 75 ous; perhaps one lias had a sleepless firms who build small BOOK ONE—PRACTICE PATTERNS from a distance above the keyboard. elicit information. We are sending you PATTERNS 75 hand, arm, and shoulder night; perhaps one has eaten the wrong BOOK TWO—SCALE I was to keep organ would have the names of a few dealers who might thing for dinner! For that reason, the A. Naturally, a pipe free, and play the octave passage ex- something in the than a reed organ, though possibly have on hand or best way to keep on playing well is to a better tone actly as though it were a passage, way of a small pipe or reed organ, and PIANISTS of Junior Grade by JUNE WEYBRIGHT- matter of space is very important in TECHNIC FOR notes—from right on the maintain the best possible body resist- the scale, of single with the space suggest that you communicate with ance. Lead an even, regular life; a home instrument, and ONE— is ETUDES and additional finger-strengthening exercises to rap- in getting from one avoid BOOK keys! The motion, the scope them. excesses of any kind; get plenty of fresh available in the average home dly increase finger efficiency .60 octave to the next, should be one of sim- • necessarily be lim- air and exercise. If, on a playing day, of a pipe organ would —"20 scale transpositions, major scale, harmonic ple, free, sideward motion up or down I fourteen years old and am or- BOOK TWO ETUDES plus we presume you Q. am , one still feels nervous (I always do— ited. By “electrified” minor scale, triads, bass and broken chords . *75 the keyboard—never from the top down. ganist in a small town church. 1 have stud- than music ... a great emo- electric action, and this of course could once afford — Re- create more "Don’t play from ’way up there,” I can who does not?), the only possible help- mean ied piano for four-five years, and play What only the wealthy f with small as well as large tional experience possible is ago? hear him saying, “stay on the keys—they in such a matter, one does not venture is fourth and fifth grade music. My organ member the wish you made years FLORENCE FENDER BINKLEY the addresses 3 Elementary Piano Books by cure!— is go organs. We are sending you a one-manual reed instrument with the fol- "Mighty Wurlitzer” are lovely, friendly keys; don’t rush to speak of a to hack to the That some day you would have that In the tradition of the planning a well-balanced organ manufacturers, lowing stops (listed). It is pumped by foot Here is a "Learning Music Program" to aid the teacher in very beginning of one's musical ground- of (A) small pipe no more space away from them!” symbol of success in your own home— —Though it takes up study program workbooks to coincide with a child's firs! piano lesson! (B) reed organ manufacturers or and has a sforzando pedal. Please recom- — The secret of the much-discussed Mat- work and exercise control. One may be and this home Wurlitzer mend a suitable instruction book, and sev- real Wurlitzer Organ? And from your than a small piano, BOOK 60 feeling perfectly miserable inside—the dealers in second hand instruments. MY MUSIC DRAWING thay Method—than which, nothing has —D. L. precision in- eral books of offertories. J. flow the sounds of magnifi- is no musical toy. It is a 60 only important thing is to let no one hands would MY MUSIC WRITING BOOK been more misunderstood— is simply to “Mighty it is possible comes patterned after the 60 it! Taking a series of deep, <). / would like to know if cent music? Today, your wish strument MY MUSIC SPELLING BOOK keep the playing members free from know dia- A. One of the best methods we know to purchase a used Hammond organ or its The proved pipe-organ prin- tensions. Matthay always said his was no phragmatic breaths, as a singer does, in- true. Wurlitzer, through the miracle of Wurlitzer.” pipe or reed organ suitable for for the reed organ is the one by Landon, equal, or a reeds gives it a full Dept. “method,” but pure common sense. He haling slowly through the nose, gives a the pub- electronics and years of research, has ciple of wind-blown Write for Our FREE 32-page Thematic Piano Catalog— K-5 home use. I am a piano teacher, very much which you may obtain from himself “relaxa- good support of firmness and control! voice — tone that is rich, often used the word interested in the organ. There are no or- lishers of ETUDE. The following are developed a home organ for only $1095.* and majestic it clear that, u,Los Angeles 14, Cal. tion,” and in the way he meant it, it is Thus, becomes whether churches here. I am not in a throughout its wide Chicago 4, III. gans in the excellent collections: “Classic and Mod- pure and vibrant install, easy as a piano to INC. 4?r411 W. 7th St. the correct word. But since it has come one is approaching a problem of tech- position to purchase an expensive instru- Eosy as a radio to 64 E. Jackson.1,Blvd. MILLS MUSIC, ern Gems for the Reed Organ;” “Reed and impressive range. be so grievously misunderstood as nique, of interpretation, or of personal would appreciate information on Organ comes ready York N. Y. to ment, but Organ Player,” Landon; “Presser’s Two- play —This Wurlitzer 1619 Broadway, New 19, “nerves,” the soundest way of progress- this. The manufacturers advise me there makes a complete line— If you some sort of spineless flopping about, I Staff Organ Book:” Murray’s “100 Vol- to plug in and play. Easy to play, too Only Wurlitzer no second-hand Hammonds for sale, hesitate to use it without qualification. ing toward better pianism is control. are Voluntaries.” haven’t seen the Wurlitzers, you haven’t be any untaries;” or “Practical even for beginners. If you know just a master yourself. Learn to and I am wondering if there would Matthay also used this splendid concep- Learn to be of The publishers of this magazine will America’s only complete line of listed with the War Surplus Hoard— I know little about playing the piano, you can seen tion of freedom to know exactly what you want to do, why improve tone—par- the various send any of these on approval.. or two, but there were a number used in right and play this Wurlitzer. electronic organs. Not one ticularly forte tone. The reason why you want to do it that way rather than sit down distinct models, each in your choice much forte playing runs the risk of another, and how your best-desired re- And how it responds to the touch of your Jour 4 Pictures of Composers B’/zxll and) then, Q0 tune or of finishes. Special finishes to match your sounding percussive sult can be attained. In this sense, ! it’s a gay party and harsh is that YOUTH MUSIC SCHOOL 7 Pictures of Old Instruments f fingers Whether the playing arm tenses itself to bring the best answer to becoming a better 45 Songs and Special Bird Calls $1.00 hands home, if you wish. Prices range to $3895.* 15-27. Daily clinics, voice, orchestra, the music of the masters, your August Piano Pieces for Reading or force upon the keys and pianist has less to do with fingers and 65 Rote then remains Band. Guest conductors: Frank Simon, Harry Rote $1.00 tense. Matthay taught me never to allow keys than with alert, regular, never- Beautiful campus, good Myself Book, Special for Wilson, Traugott Rohner. I Play people buy Wurlitzer Pianos ... than i Reading $1.00 More the slightest tension to creep into remitting self-discipline! Still, important food. Overall tuition, board, room, $40.00. is simple. my those of any other name . The reason playing. Where forte and even fortis- as all this is, it is only the prelude—the UNIVERSITY OF NEW HAMPSHIRE A EFFA ELLIS PERFIELD Though no piano made contains finer parts or cost- 86th St. (Park Ave.) New York City lier materials the Wurlitzer is pricedfar below other simo playing was needed, he made me preparation—for the actual concert per- Durham, New Hampshire P 103 East , well-known makes. This is possible because . . . get my arms, wrists, and hands quite formance. At that moment, I no longer free, BOSTON UNIVERSITY and then release my full body think of these preparatory details; NAZARETH COLLEGE weight straight from the shoulder-section, through regular practice and work, they *This price is F.O.B.. very quickly. Loudness I think CJt. of Wuuc WURLilZER of tone is gov- have become second nature. All UocLs i.r, n y. r North Tonawanda, N. Y. ern technic IS THE WORLD'S LARGEST BUILDER erned by the the Voice. Organ. Prices in your vicinity may amount of weight released of at the concert is the beauty of Offers complete courses toward B.A. and B.S. de- Offering complete courses in Piano, Percussion in- PIANOS higher due to grees in Music Education. Vocal. Instrumental and Violin Cello. Brass, Woodwinds, and OF ORGANS AND he slightly and the speed with which it is released. the releasing of my emo- Composition, music and Theoretical subjects. Special work given in Litur- struments, Public School Music, Church freight or delivery costs. Orchestra. Band. UNDER ONE NAME FOR THE STUDENT OF PIANO Then, after gical Music. Faculty includes Religious and Lay Music Musicology. Chorus, Glee Club, the note has been struck. tional concept of that music. Symphony. Bache- Teachers of distinction. All advantages of musical Faculty includes members of Boston BY KENNETH AIKEN subjects. Dorms. Rochester obtainable, as opera, concerts, etc. Special lor’s and Master s Degrees in all musical summer Religious. Write Registrar. COLLEGE OF MUSIC. 73 Blagden St.. Boston. The aim of this book is to provide the courses for Catalog. average student of piano with simple, PIANO TEACHERS EDWARD STEUERMANN WESLEYAN CONSERVATORY-, New Technical Exercise Pianist and Teacher BALDWIN-WALLACE exercises covering the leading for strengthening the r practical fingers that eliminates the necessity of all others. Head of the Piano Department and SCHOOL of FINE ARTS CONSERVATORY OF MUSIC in this phases of his art. There is included One complimentary sample to all piano teachers. THE PHILADELPHIA CONSERVATORY A Division of Wesleyan College BEREA, OHIO (suburb of Cleveland) TWO NEW Write: volume a rather comprehensive treat- Liber.1 Art* College. OF MUSIC • Four-year courses lead to B. Mus. degree: piano, Affiliated with « first clam leading to degrees. Faculty PIANO BOOKS chords. The treatment given LUCILLE DESIN 216 South 20th Street LO-7-1877 violin or organ, voice: composition, music ed. Out- Four and five year courses ment of for catalogue or informa- standing faculty. Excellent equipment. Full member of Artist Teachers. Send By Gertrude Rosemond West Main Rd. Director of the Music. Coed. arpeggios will be found to se- North East, Pa. Maria Ezerman Drake, Managing National Association of Schools of tion to _. scales and ^ : „ G.l. approved. Catalog. Doris 0. Jelks. Dean, Wesleyan HAROLD W. BALTZ, Dean, Berea, Ohio THE FOUNDATION cure greater speed and smoothness. This Conservatory. 451 -E College St.. Macon. Ga. FOLK SONGS AND CLASSICS FOR BEGINNING PIANISTS work is not alone for the young. The adult FLORENCE FENDER ILLINOIS WESLEYAN UNIVERSITY beginner and the advanced student will BINKLEY A beginner's book for older children New-PIPE Teacher—Pianist— School of Music ORGANS-Used theatre s follows Folk Composer (lK>iei\e that "Where The Tone also find much that is helpful, stimulating Builders Dean of pipe organs for church and studio. Effi- Ly D Live" or any preparatory material. presents Kenneth N. Cuthbert, cient, up-to-date on hand at all and new in MODERN TECHNIC. used instruments RADIO °r TELEV.S times, priced very reasonably. We also rebuild and Price $1.00 training essential to a pro- A LEARNING SUMMER SESSION modernize tracker and tubular organs, additions of Technical and practical Price $1.00 MUSIC PROGRAM teaching and directing. Class and June 13-Juiy 2 2 stops, couplers and chimes installed. Yearly care fesslonal career, Write for Our Complete Catalogue In her organs. piivate. THE ART OF MUSIC Workshop Classes at We solicit inquiries. for Vets. Enro || now . Accredited for WOMAN’S Special Clinics children. the COLLEGE, Greensboro, N. C. June 6-17 Delosh Brothers—Organ Experts Annex for teen-ages and h. Hugh Y. City 19. ADULT BEGINNER Alvater, Dean. June 25 Write Sec’y. Shubert. 1780 Broadway. N. SACRED MUSIC—June 20 through 3910 108th L. 1., N. Y. City Wurlitzer Company, Organ Division Belhaven — Street Corona, The Rudolph College, Jackson. Miss. June 20-25 Lillian Mecherle McCord This book is intended for use by an Harold Avery, „ Dept. E-549, North Tonawanda, New York Dept. Head. Lloyd A. Pfautsch, Rev. Harold R. Martin adult who will have at least some H rS n C ,erS Col,e9e ’ Madelphia, Gentlemen: Junl Ark. STRING CLINIC—June 27 through July 2 Cod 27 jIlJ | at help from a teacher. Not compli- Study and play Cape Wurlitzer Organs, Lois Smith, Tait, SPRENGER Please send me completeinformatfen about cated with baffling looking directions Dept. Head. George Bornoff, Yvonne L. the address of the nearest dealer, at no obligation to me. M C 8a ate Co,,ese Mario Mancinelli and and devices ' East Lansing, Mich. Supervised recreation J uly |8-22 PIANO NORMAL METHODS—July 5 through July? Price $1.25 Roy Underwood, Individual piano instruction Dept. Head. Zelah Newcomb, Mildred Eberle J~^icU%0 Name — Write above or FLORENCE ' tor FREE information to FENDER Rimv Complete brochure sent on request. Address. „ , - Write ° k ' k^es Address Okta. fo?°detaHed = Secretary, School of Music, Illinois 'f^°. MR STANLEY SPRENGER eiKulw.' University, Preiser Hall, Bloomington, lllmoi II III! 1 III llll II ll City Zone Slate. 324 etude 325 MAY, 1949 I . — The Essentials of Teaching TRANSPOSE PIANISTS—ARRANGERS ATTENTION: /4k*uxukcc*u^ t6e SINGERS—INSTRUMENTALISTS Violin Questions OF VALUABLE TIME WITH THE Page 297) SAVE HOURS Piano Teachers (iContinued, from WIZARD TRANSPOSER! 9 “44 Slide Rule For Music* A Complete New Series of Piano Books new, fascinating Nature's "COURSE FOR PIANISTS out its cause, to work out the Have you seen the very definite aim passage advanced once, except with the Musical Method for beginners and carefully, and to know that 2? Especially lovedI by that passage better knowing improve- Lj HAROLD BERKLEY students, Books I and of knowing JfnswerJ different. You must to result. children, os it is new and that is, knowing ment is bound better technically: its fine qualities and high it see it to appreciate what he It is all-important that the material. JUNE WEYBRI6HT better what he should do and Teacher standard of teaching b his better its have METHOD in work, but not ••• should not do; and knowing A — . nr.fi method. Method should imply a musical content, its shape, and feeling. well- thought-out arrangement Accurately Transposes should further explain that a pas- of ideas on a Bow An "Upside Down Waltz” Quickly and BOOK ONE—The Beginner's Book He On Buying Single Notes or Chords to Any Key NOTiMSlfALMfflOJ technically the imparting of technical knowledge, makers of L. E. G., Rhode Island. Thank you for sage cannot be known well M„ Texas. The various Send $1.50 (Cash or Postal Note) To June Weybright securely prepares the student mentally and M H Blenheim St. slowly; so of fine appreciation of good music, produce sticks of the copy of the “Upside Down Waltz” that Lloyd Walters, 4170 unless it has been practiced and hows that you name Vancouver, Canada musically for his first introduction to the keyboard. Built on the written and be placed on of the correct performing which will grades that are sold at diffeient you sent me. It is cleverly primary theme of coordination, the first book consists of four slowly that each finger can different give life to the music. “ firms have a reputation for looks as though it should be effective. parts: Reading Up and Down From The Middle of The the string with deliberate intention. ices. All the workmanship. If you wish to buy a Staff, Reading Up and Down From The Space Notes of The While the passage or solo is being °ood PIANO BREAKS to one of the leading Books and Finger Charts Treble Clef, Reading Utopian Ideas you should write Monthly Break Bulletin enables you Up and Down From The Space Notes of The Bass Clef and studied in this manner, some hints of bow do Our instance. The Rudolph Wurl- Dr. P. McN., Oregon. I unfortunately build lip and glamourize the songs on Introduction to Musical Playing. .75 ab- distinction should be clearly dealers-for to its musical meaning will have been A under- lork to answer your letter in the Hit Parade with clever breaks, novel Co., 120 West 4*nd St., New not have the space as the stood between Method, in the itzer figures and tricky boogie effects. sorbed by the student. As soon sense in Son, 30 E. Adams St., detail, but I can refer you to some books City or Wm. Lewis k Send 20 cents for latest copy or $2 for a BOOK TWO—The Follow-Up Book he should be en- which the word has just been used, and stating most of the material you technique is mastered Chicago. Illinois—giving references, that will give you year. Mention if teacher. Through familiar and original Weybright compositions, the student progresses gradually these hints into a Teaching “methods,” which many teach- pay, and asking to “Practical Violin Study,” by Frederick couraged to develop the price you wish to need. THE AXEL CHRISTENSEN METHOD and consistently, being introduced to chords and intervals, staccato and legato playing, you on approval. Art of Violin Playing,” Book I, Wheaton, III. convincing interpretation, repeating the ers allow to ossify into a rigid system. have two or three sent to Hahn; ’’The Studio E, P. O. Box 185, phrasing, finger planning, key signatures, tone shading, the apoggiatura, accents, and easiest in your hand Flesch: and my own “Modern Tech- passage time and again for the one pur- Method is the general plan of ideas The bow that feels by Carl the student's first piano duet. .75 should buy. nique of Violin Bowing.” Finger charts have pose of understanding better its inner which can be applied to nearly all stu- is the one you considerable value in class teaching, though content; molding and remolding the dents; Teaching “methods” have to be BOOK THREE—The Key Signature Book Description to No Avail the need for them is not so great in private the tone changed and adapted to meet the Has Your Child phrasing, the dynamics, and needs think you had better not advise Serves the distinct purpose of offering penetrating material to accustom the hands W., Oregon. You have given me an lessons. I the advantage of piano study with coloring, as a sculptor molds his clay; so of each individual student, changed with R. to make even so I either teachers or students member of the and mind to the black key positions of the keyboard. After the introduction of several excellent description of your violin, am a an interpretation each step of his advance, and changed violins. Simple re- major music, the subject key that finally he evolves verbal descrip- simple repairs to their rhythm studies, and and minor of signatures is treated. A sorry to have to say that a complicated ... specific further that is a product of thought, imagina- as his mentality develops. In other words, which to form pairs are apt to lead to more NATIONAL GUILD AtUCT, technique study precedes each piece for acquaintance with the black gives one no evidence on cAWAtn,!-** tion disastrous results to key combinations. .75 tion, and intuition. Method is general strategy. Teaching violin must lie personally endeavors, often with of PIANO TEACHERS an opinion. A against BOOK X "methods” arc tactics. origin and worth can the violin. Above all, advise strongly Inc. examined before its CO- with sound-posts. student suitable CUd'En'/A mud'll’ PURI.D'HinU The Correct Approach is Your description, detailed monkeying A goal of achievement for every FRAIUU BOOK FOUR—The Scale and Chord Book There only one Method of teaching be determined. Muuunu- DETROIT 2 miCH work of to his age and advancement. 424 IIIAECAHC&Y ^ is really it is, could apply to the Because a scale system is not, primarily, a matter of technique but one of harmonic This approach can be used with quite that worth much, and it con- though (NOT A CONTEST) If you think Fendt 1 different makers. The Maker importance, this book has been designed to aid the student to a working knowledge young students, provided the ideas sug- sists of training the student to under- dozens of The Better Teacher, Are Member, you have Fendt of following books' now available: violin lias value, why don’t W. W., Manitoba. William every large music center The of the tonal combinations known as KEYS. .75 gested are given in their simplest pos- stand the How and the Why of every- your A. Chapters in there are some the famous Bern- of Rhythms, it appraised by an expert? London was the son of FOR INFORMATION WRITE Cusenzo's Modern Complete Method sible forms. It is one of the surest ways thing; to understand the actual causes for ad- WORKSHOPS TO ACCOMPANY BOOKS ONE, TWO, THREE, FOUR .50 each experienced men on the West Coast. hard Fendt, and an excellent maker in his transposing Tempi and Punctuation, very A. 2. of increasing a pupil’s interest in his of all good and all bad effects, not only con- IRL ALLISON, M. vanced students— Books I and June Music own right. His instruments, if in good PRESIDENT See This New Weybright Course At Your Dealer — NOW FOUNDER AND Complete Method, of Rhythms, trans- work. As he advances, the demands made the technical, but what is, in the last Branded Violin be worth today as much as Cusenzo's A dition, could AUSTIN, TEXAS posing Tempi .and punctuation in Chromatical not been that your violin Box 1113 upon his imagination will of necessity analysis, the most important—the mu- Mrs. R. V. T„ Indiana. I have §450.00 or S500.00. The fact form— Books 1-2-3. • AMERICAN ACADEMY of MUSIC, Inc. 1619 Broadway, New York 1 9, N. Y. regarding detract some- and ad- range wider and become more com- sical effects. able to obtain any information is slightly under-size might Hanon Cusenza phrasing, transposing instruments exercises op. 100. SOLE SELLING AGENTS • MILLS MUSIC, INC. plex. But by that time he will know how Some of the ideas advanced in the a maker who branded his what from its value. vanced number of Master Pianist (the Book of the to deal with C*A*G. The stars are used by a THE MANNES The Thorough them. foregoing paragraphs may seem Utopian. in sharp Keys of C-G-D—Complete with those Hour). Book I German makers, but not by one mixed scale and While instructing a pupil in the tech- They represent an ideal, yes. but it is. chart of transposing rules, initials. numbers you mention as being 'P&it SaCtma*i MUSK SCHOOL of different interval and motions olso nique practicing, The arpeggios of one must be sure an ideal that can be very nearly attained. almost of broken major chords mixed tail-piece were • • Children complete chart scratched near the Professionals Amateurs pro- that he does not confuse MUSIC 9th llth, 13th, etc. in all chromatical, caution with The more firmly a teacher holds to them there by the maker. SCHOOL of MODERN Class and Individual Instruction 7th certainly not put Book 2 contains the above material in TU PIANO BOOKS care. He should have no fear of making and endeavors to carry them out, the Artist Teachers gressions. * Concentrating of A-E-B. Keys Full-time 3-year Diploma Courses Scholarships for Orchestral Instruments sharp a mistake. Neither in'music, in the material in flat nor any more rapidly his pupils will advance, Field: Piano, Voice, Arranging, Books 3 and 4 contain the above fotTSeylrmete- in the Popular DAVID & LEOPOLD MANNES, Directors flat. flat, D flat and G flat. other human activity, has anything satisfaction obtain from Writing. Ra- 157 East 74th St., New York 21, N. Y. Keys F-B flat, E A good more he will Musical Theatre, Workshops in Song Room 33, ever had its roots in fear. will Theatrical Pro- Volume priced $1.00 at your Music Store He should be his work, and the more certainly he dio Production, School Orchestra, (Each Individual or direct). encouraged to admit the mistake, to find feel himself to be a creative artist. ductions, Broadcasts, Chorus, Recitals. SUGAR High School teachers: guidance. Limited to 100 musical Special Introductory offer fo piano with a Graduates. Summer Session July lOMiasn. <£dViA- andSon A free book of your choice will be sent Here are five outstanding books. $p|Ct 31 . Veteran-approved. of one or more 6-August III. purchase collections of world famous 30 E. Adams St—Chicago 3, 14th year begins Sept. 15. ar- REPAIRS, etc. music • « . carefully edited and SPECIALISTS IN VIOLINS, BOWS, Concerning the Concertmaster Write Admissions Dean tor Catalog F. J. Cusenza Music Pub. Co. ranged. Both teacher and student ESTABLISHED IN 1874. WRITE FOR CATALOG "VIOLINS and VIOLINISTS" 424 Maccabees Buiding will find them to be invaluable re- 284 Commonwealth Ave., PUBLISHERS OF source of year—Specimen Copy 35tf. Detroit 2, Michigan ference guides and the Boston 15, Mass. $2.50 per {Continued from Page 284) many hours of musical enjoyment PRESENTS NEW MUSIC COMPANY 45c; Italo suppose the conductor says that is MILLIONS NEW « c - ia March Lorena, a It 1 11 given is MUSIC FOR ”- of VIOLIN no special trick to score reading. W 3 ' TEACHERS I Rose satisfied DUNCAN M boo n t if u Hvwhnc that have LUCIUS phrase is to sound “more pointed.” It is acquired, Teacher simply a skill which must be Concert Violinist— artistic and financial 1 who desire greater the VOLUME ' Company concertmaster’s task to translate the and help as ’Angelo Music Publishing Pupil of Schradieck SUGAR AND SPICE — Ward. Easy tunes and practice and experience Dw b Angeles 37, California to 76 World Famous Piano Pieces including Station G, Los success should, for the "lenow-how," write overall effect of “more pointed” into the trained p.O. Box 7054, rhythms using whole, half, quarter notes and in- much as anything can. fust as a themes from WESTCHESTER CONCERT BUREAU exact ways-and-means brilliant new arrangements of that will show the researcher a page of and Plains, N. Y. Philadelphia. Pa. VIOLIN KEYBOARD SYSTEM troducing eighth, triplets and dotted quarters. .60 can skim down the most popular concertos, symphonies AN ITALIAN VIOLIN! White FINNEY men what to do. Perhaps OWN 1 54 Bank St. 104 N. Mole St. he will indicate print and take from it the exact data sonatas. eW a d 2537 N. Bernard St. Chicago 47, III. 00 fTOerbXtantne; 9-7808 LO 7-0723 what is meant by his to $3 White Plains CAR-TUNE-LAND—Rabineau. For beginners with own playing. Per- he wants, musician tarnish* Shop around! Compare! so an experienced VOLUME 2 wooib" workmanship, Illustrations haps he will tell 11 by Gene Byrnes, the creator of "Reg’- what bowings to use- can scored World Famous Songs, including songs by N.J. skim down a page of music MUSI 0,643 Stuyvesant Ave., IRVINGTON, down bow, staccato, Victor SUBURBAN lar Fella's". Your boys will like this book. 1.00 and so on. How he for a dozen choirs, and find his way into Carrie Jacobs Bond, Ethelbert Nevin, goes about making the matter Herbert, etc., favorite classics, and folksongs. clear is his the sense of the music. And this, again, • Chin Red A DILLY DALLY BOOK — Lake. Favorite school “QoJon WUJ” . responsibility—but do it he violins DL must. leads into a knowledge of repertoire. VOLUME 3 • ram songs simplified to play sing. (Reduced 40%) and .75 A brilliant Piano Pieces, _ $200 to $1000 0 Certainly, the more one plays, the more array of 101 Easy (made by W. E. Hill and Sons) Score Reading a "Must” simplified to eliminate the technical diffi- • FRANCIS DRAKE BALLARD LAKE'S repertoire one it is a great requirements. So DAILY DOZEN — Miss Lake gives teach- picks up; music. - Tuckahoe, N. Y. • Gordon rest is ideally adapted to the professional violinist’s The ambitious culties in playing the world's great 50 Chippewa Road The student, then, should help, musi- • if were ers a time-saving book. Helps build strong and however, to train oneself in often one sees a violinist holding his instrument at an acute angle, as he concentrate as early as he can on gaining cal professional VOLUME 4 DEEP, nimble fingers and good technic. .75 styles before seeking a MELLOW, playing against the violin instead of on it. as much orchestral and ensemble Contains 54 Famous Piano Classics, trans- SOULFUL— ex- opening. IOLINS The Gordon Rest automatically, insures that the violin will be held at a flat angle, within the playing perience as can. posed or arranged terms for wonderful instruments. FUN FOR FIRST GRADERS — King. An album he It need not be a big I on Easy all musical have said nothing about fluency ability Get details today. which position is generally used by our finest performers. Aside from orchestra; of the average pianist. of good-time piano pieces. a student group, or be V. HENNING playing. It lessens neck .75 even a one’s instrument because that must GUSTAV Washington and technical advantages, it is, a healthful accessory to good 1106 N. 49th St., Seattle, privately organized group VOLUME 5 ” rests. of our finest teachers of amateurs taken quite for granted in anyone ap- - irritation so frequently caused by poorly designed Many BIG Songs is a com- NOTE WALTZES Moore. Eight favorites will do. The value lies America Loves Best think that you, too, will find in playing in pre- proaching orchestral work in any ca- MARKERT & CO recommend this rest. Important violinists use it. We panion and supplement to VOLUME 2. |ToliN simplified for piano. cision 1 M, N. Y. .35 with others, and carrying 15TH ST., NEW YORK it the rest you have long sought, but never found. out the pacity. The concertmaster must do more This wonderful collection has just 141 WEST interpretative VIOLIKS OLD 85 MSW wishes of a musical direc- a off for Catalog Send for 'examination" copies than merely play well! He must be come the press. Expert Repairing. Send in and ebony. Price $15.00 tor. second Available boxwood A essential is the ability to performer leader of of solo calibre and a $1.25 each read music as fluently as print. Which conductor calibre who loves to play Many Artists of the fa- leads directly into the next mous NBC TOSCANINI BOSTON MUSIC “must”-the among the those who have Virzi COMPANY men. For J. J. Inc. are using G. B. ^J^enneth lAJcarren ROBBINS & SONS, Orchestra &are "NiTioltna ability to read scores Tnclnimonh 116 BOYLSTON STREET (as distinguished such qualities and love, there is 221 WEST 47th STREET, NEW YORK IP All Music Of All BOSTON 16, MASS. such CHICAGO Publishers from one’s own part in a 28 E. JACKSON BLVD. score)." There a big field ahead. 326 ETUDE 327 MAY, 1949 1 — — — —— you reach the key bed. keep three only when things in mind. (1) The fin- Much controversy has raged over the ger should be held up easily, no matter finger stroke. The inquir- at what the finger swing down gently, just to height of the level. (2) The finger should beautiful. For orderly procedure until the feci of a smooth swing is estab- then be but not yet trying for student has been bewildered by the swing freely through the key, no matter may use the start the key; tone. ing Finger Stroke aimless rep- in working the fingers we rival theories. He has seen what amount The lished. Avoid hurried and Practice a few key starts until the finger claims of the of tone is desired. (3) The following chart. highly etitions. into an easy swing. Do not jab great pianists play with raised stroke should stop as soon as the tone 1-5 settles Playing 1- 2, 1-3, 1-4, In Piano If you want more tone, simply swing Check up on the other and he has read articles in which is heard. 2-5 at the key. fin- fingers) 2- 1, 2-3, 2-4, the finger and the key a little faster, but see that they remain quiet strongly proclaim the virtues of 3-5 gers to and they 3- 1, 3-2, 3-4, still smoothly and unhurried. When you try for a soft tone, by swing- method. He has also seen other (Continued from Page 285) 4-5 curved. Now their 4- 1, 4-2, 4-3, CLASSIFIED ADS reach key bottom, do not dig in. You the air, and onto pianists play with close fingers, 5-4 ing easily through the great will not get any more tone by doing 5- 1, 5-2, 5-3, read their equally strong de- numbers in any key in one smooth motion to the key and has avoided. weight to hold The first of the two YOUR U YWANTED MUSIC exchanged so hard to undo, are this. Just use enough For more tone, increase the fense of their method; or he may have represents the finger on bottom. piece for piece, 5c each: quality matched. MUSIC learned to start a key, the next the key down. It is surprising how little combination believes only EVOLUTION OF PIANO Having speed of the swing smoothly. If the fin- studied with a teacher who Burpee.'s Specialty Shoppe, Delton, Mich. rest; the second number is to is to get tone by swinging effort is necessary to attain increasing which you there are those by CURT SACHS thing do stroke is easy and smooth, the key a high stroke. Then you play. For example, ger in finger and key gently and freely from the amounts of tone, when you apply the the finger that stroke for slow prac- piano music from the will swing likewise and the other fingers who teach a high HARMONY, Composition, Orchestration, collections An authoritative compilation of in the combination 2-4, you rest on the 17th century. top of the key to the bottom. If there effort judiciously. Less than two ounces for fast playing. Musical its earliest inception to will not wiggle out or in. tice, and a low stroke Theory. Private or Correspondence finger, and play the fourth finger is no hesitation in the down swing, you of effort are needed to start a key. With second Instruction. Manuscripts revised and cor- $ 1.00 may gradually raise the fin- These different types of stroke have as described above. Now you rected. Music arranged. Frank S. Butler, It there is hesitation, smoothly applied acceleration, the key a number of times will get a soft tone. and bad points. Let us ex- 32-46 107 St., Corona, N. Y. of be transposed gers to a higher position over the key; their good there will be no tone, because the ham- gives way easily. You can feel the sym- The combinations may THE SUITE but always let the fingers fall easily amine them. The structure of the fin- ART OF mer has not received enough impetus to pathy between finger and key, so that into other keys. air key. not jab at gers should be considered first. Players and edited by YELLA PESSL “feel” of these close through the and Do LKAJtN PIANO TUNING—Simplified, au- compiled reach the string. To let the key rise, sim- the key seems to take on a personality After we have the universal if a short, stubby, fleshy fingers, and thentic instruction $4.00—Literature free. masters of the the higher the key surface even you want strong with 8 suites for piano or harpsichord by ply relax the finger. The key will lift of its own. If you drive too hard into finger strokes, we may try Prof. Ross, 456 Beecher St., Elmira, N. Y. freedom of motion in the 17th and 18th centuries. playing finger tone. Approach the key comfortably and with little the finger to the key surface. Gentle the key it fights back, and the tone is strokes. At first, raise the the speed of your finger swing joints simply cannot play with high fin- $2.00 be key should always be coaxed about a half inch above the key surface. increase piano down and up finger swings should harsh. The straining their muscles. LEARN PIANO TUNING AT HOME. let as you go through the key, stopping gers without practiced a few times slowly and softly, into motion. The resulting tone will From this slightly elevated positiqn, Course by Dr. Wm. Braid White. Pay as Such players should and do play with you learn. Write Karl Bartenbach, 1001A DANCES BY GREAT MASTERS have seen them scam- Wells St., Lafayette, lnd. classics close fingers. You compiled and edited by FELIX GUENTHER per over the keys with free finger action, Two centuries of music in dance form from Purcell though the range of the stroke is low. PIANO PRACTICING ANNOYING OTH- Chopin. ERS? Mayo’s Muting Device Easily At- Players with normal fingers and free $1 . 00 f tached or Detached -by Anyone without (ecI't the higher stroke. Each 'IJour to access Cjrea tec —J\nou joints may use harming mechanism. State upright, grand r player should find the finger height most or spinet. Send $5.00 for mute, full instruc- tions. Money back guarantee. Richard There is no danger comfortable for him. Mayo, Piano Technician. Dept. 003, 1120 DEBUSSY • PROKOFIEFF in raising the fingers, so long as there is Latona Street, Phila. 47, Pa. • SHOSTAKOVICH no strain in the fingers, hand, and arm. RAVEL Some players do not feel that they can ORGANS FOR SALE: Guaranteed pipe DOHNANYI • STRAVINSKY have control of finger articulation unless organs, reed organs and pianos. Cannarsa Organ Company, Hollidaysburg, Pa. /Each of these albums $1,001 the fin- A Teachers DiplomaT1 \i there is an appreciable range to ger swing. HIGH SCHOOL TEACHER sells RARE Those who favor close finger action PHONOGRAPH RECORDS. Lists. E. -E. B. Marks Music Corporation Hirschmann, 100 Duncan, Jersey City, claim there is no lost motion in moving Building New York, N.Y. New Jersey. RCA the key, and that there is greater accu- 1 Bachelor s Degree 11 \ 1 racy in finding the keys, and a surer com- A control. They criticize COMPOSERS, SONGWRITERS. MUSI- over tone EARN mand Arrangers, Teachers, Directors: CIANS, it may the high finger stroke because Use Musicopy Service profitably every Philosophical Library cause strain in the lilting muscles. Fur- day! Free catalog. Musicopy Service, Box STRAP SECURE at 18l, Cincinnati 1, Ohio. stay for Home straps freely in place. Spare Time Holds shoulder A In'Ybur thermore, they contend that those who fur or silk scarf. Collar "anchor". $2.79 pr. PUBLICATIONS use the high stroke are inclined to drive 150 (Tonepost Fitted) ‘'Old- THEORY OF HARMONY f Harmonielehrer(D the finger too hard towards and through OFFERING: New" Master Violin; $35.00 to $4,200.00. TIE SECURE By Arnold Schoenberg. Now available in English, strain this epochal volume on modern theory of musical the key, thereby causing further Revoicing. PATMOR FIDDLERY, Zion, 111. Necktie chain, larger harmony. #7.50 to the and resulting in a harsh than STRAP SECURE. Made muscle, Critical of same fine gold filled chain, STRAVINSKY: A Study Conservatory-trained Musicians is also ac- Command Better Incomes tone. hard-driven finger Eric Walter White. life the The MUSICAL PERSONALIZED STATION- pin and safety. $2.00 each. By "The of composer, told almost entirely within the framework his lift of the pre- Beautifully printed with YOUR name of companied by a sudden ERY. offer, both $4.50 MEMBER OF Photocut of Instrument—100 Let- Combined musical career. "Sensitive and informative.” The YOU CAN OBTAIN THIS TRAINING AT HOME THROUGH THE viously us that jab- and ANY Mailed anywhere Prepaid played finger, giving $2.00 Post- New Yorker $3.75 terheads—75 Envelopes, Both in U.S.A. Fed. Tax incl. and-jerk finger action which looks bad, paid. TERMINAL, 4818% Kimball, Chicago SHOSTAKOVICH: The Man and His Work Make checks payable to STRAP SECURE By Ivan Martynov. "Provides a very good idea of 25. Aurora, III. and sounds bad. P. 0. Box 205, what Shostakovich means to his countrymen. Con- University Extension Conservatory tains genuinely enlightening material.” Library Those defending the high finger ac- REEDS. Hand Made. Tuned and Journal $ 3.75 tion claim that the finger can be held OBOE STORY OF DANCE MUSIC SINCE 1903, THE WORLD'S FINEST HOME STUDY CONSERVATORY OF MUSIC Tested. $1.50 each; $15.00 dozen. Cl Robison, By Paul Nettl. Preface by Martha Graham. up comfortably, that it can swing 216 W. 41st St., Marion, lnd. "A CONSIDER THESE ADVANTAGES major contribution to the bibliography of dance through the key, and be lifted smoothly, literature. His exhaustive examination is the first Degree of Bachelor of Music Our Extension Method —Prepares you Previous Work Evaluated—Advanced Let Us Show and that high full-scale work on the subject.” MLA Notes £4.75 You How—Catalog and without strain. They claim POPULAR SHEET MUSIC to extension easily by using BACK MYASKOVSKY, His Life and Work -Diplomasthrough for better positions through study at credits earned your illustrated lessons sent without obli- finger action the playing and Ballads, Ragtime, Everything. List develops 1850 By Alexandrei Ikonnikov. "The author draws on courses by noted teachers. your convenience. spare time. gation to you. Classics exchanged for Popular. lifting muscles, and thus ensures greater 10f personal knowledge of his subject and includes a High, Denver 5, Colo. Fore’s, E3151 good deal of material available otherwise clarity and positiveness in finger action. only in T s s Russian.” Library Journal £2.75 The highest type of Musical Training by Extension Methods, as developed and perfected by the University Exten- Your Opportunity—Mail Coupon Today/ !lL J- To such players the low finger action FROM BEETHOVEN TO SHOSTAKOVICH sion Conservatory, is not an experiment, not a make-shift, but has proven its value and soundness in the careers FOR SALE. Beautiful re- seems to MELODEONS By Max Graf. "He makes clear, through example, UNIVERSITY EXTENSION CONSERVATORY, Dept. A-666 confusing, and conducive mud- onditioned instruments. C Sharp Hobby of thousands of musicians and teachers who owe their success entirely to the personalized and painstaking coach- the processes of creative thought and does it in a 28 East dy playing. hop, 415 South Diamond, Grand Rapids, ing of this great Conservatory. Partial listing of courses below: Jackson Blvd., Chicago 4, Illinois way which is both instructive and entertaining.” —Etude £4.75 Please send me catalog, informa- Let us not be dogmatic about these sample lessons and full MATHEMATICAL BASIS OF THE ARTS tion regarding matters. points, CHORAL CONDUCTING:—Brand new course In- HARMONY:—Written by two of the finest theorists course I have marked with an X below. We can take the good By Joseph Schillinger. The method of rhythmical Records by Caruso, McCor- cludes all the and avoid types of FOR SALE: design presented by Schillinger links together on a modern techniques—even radio broad- in the country. Simple, yet thorough in every way. Piano, Teacher's Normal the bad in both all in fine Course Voice iack. Galli-Curci, and others; mathematical basis the arts of music, science and casting. From basic fundamentals right through to Counter- stroke. experience, Blackville, S. C. Piano, Student's Course Choral Conducting In my own teaching mdition. Upson Howard. space. £15.00 point and Orchestration. I have found results are ob- THE BOOk OF MUSICAL Public School Mus.—Beginner's Clarinet that best DOCUMENTS NORMAL PIANO:—Especially for 0 By Paul Nettl . A survey of history designed teachers tained by close stroke, music by pre- Public School Mus. Arranging starting with a MORE ABOUT sentation of original or .future teachers. Treats and solves every problem —Supervisor's 0 Dance Band MUSIC LOVERS, KNOW documents. Profusely Il- Advanced and then gradually raising the stroke, IUSIC! Unique correspondence course lustrated. £5.00 of the progressive teacher. HISTORY:—A modern course including all types of Composition Violin watching omprehending harmony, counterpoint, THE HUMAN SIDE OF MUSIC Ear Training for freedom, smoothness, and for information. Gold- music from ancient origins to 20th Century. Interest- & Sight Singing Guitar .nalvsis, etc. Write By Charles W. Hughes. Shows how music either good tone. Pupils who develop a con- ler, 85 Barrow, New. York City. reflects the emotional ARRANGING: All the tricks of modern arranging ing and analytical—not a dull collection of facts. History and Analysis of Music Mandolin tones of its time or revolts drawn from the experiences of the "name" trol of their fingers in a low stroke will against them. £3.75 biggest Harmony Saxophone arrangers in the country. unconsciously fingers At Your Bookstore, or Use Order Coupon Cornet Trumpet begin lifting their ORGATRON. Two Manual Two Speak- D — 0 Double Counterpoint 1 PUBLIC SCHOOL MUSIC:— Fits you for actual work higher, and higher. In the last analysis, rs. Good Condition. Very Good Price i C] Professional Cornet EAR TRAINING:—Designed to give you ability in the school —Trumpet Banjo 5-04866. I PHILOSOPHICAL LIBRARY, Publishers I the room. Our model lessons develop origi- 0 our object is to produce tone by moving Oplar 15 E. 40th St., Dept. 1 to read at sight, to transpose and to transcribe. In- nality and give you an excellent guide for teaching Name 309, N. Y. 16, N. Y. Age the key I a with the finger. With individ- OF LITURGICAL MUSIC valuable training for vocal or instrumental work. others. PIUS X SCHOOL I Please send me_ -copy(ies) of (write in Street uals, various different SUMMER | No j types of hands, Manhattanville College of the Sacred Heart margin), temperaments, Avenue. New York 27. N. Y. SESSION l (§> $ _per copy. Enclosed is ! Ci and coordination will be 133d Street and Convent ‘Y State the TO BOTH MEN AND WOMEN June30 Aug. 1 * deciding factors. In the music per- COURSES OPEN — ! Are you teaching accepted under the G.l. Bill of Rights now? If so, hew many pupils have formed. different speeds, and various Veterans NAME. Accompaniment—Choir Conducting—Liturgical Singing—Polyphony University Extension ou types of Gregorian Chant—Gregorian ~ Conservatory ? the correlative subjects. tonal determine -Counterpoint and F you hold a Teacher's Certificate? effects will School Music—Theory—Harmony- I ADDRESS type of stroke to Wadsworth 6-1500 (Expedite shipment by prepaying.) Have you studied be used. Organ—Piano—Voice Telephone: 28 EAST JACKSON BLVD. (DEPT. A- 6 6 6 ) CHICAGO 4, ILL, Harmony? Would you like to earn In all types of finger strokes we must the Degree of Bachelor of Music?. 329 MAY, 1949 328 ETUDE — competition for the Ernest voices. The first composition A. FLEISHER, a distinguished include one or two must be EDWIN Competitions the Bloch Award. Compositions cultural life of Philadel- prize is two hundred dollars and leader in the text from the Old Testament, dollars. The closing based on a awarded the 1949 Art Alliance second prize is fifty cho- phia, was and suitable for three-part women’s Music is September 1, and full informa- of L. date Mr. Fleisher was THE HELEN WEISS FOUNDA- filty World Medal of Achievement. is hundred and one I TO STUDY? The The Helen rus. The award GO is be secured from WHERE SHALL for his contribution to the mu- TION of Philadelphia sponsoring a tion may publication by honored 76th Avenue, dollars and guaranteed Philadelphia, notably his competition for composers up to thirty- Weiss Foundation, 2459 sical life of Carl Fischer, Inc. The closing date is five years Philadelphia 38, Pa. of the Symphony Club and of age for a chamber music may be se- From Everywhere” founding October 15, and full details Private Teachers (New York city) “Music News famous Edwin A. work not less than ten minutes nor more The Private Teachers (Western) the internationally cured from United Temple Chorus, than twenty minutes in length. The UNITED TEMPLE CHORUS of Music Collection, which in 1929 THE Box 726, Hewlett, Fleisher York, Isadore Freed, Ernest Bloch Award, EDWIN HUGHES Free Library of Phila- composition may be written for instru- Long Island, New HAROLD HURLBUT GUY MAIER, conductor of The he donated to the Island, New York. PIANISTS PREPARED FOR PUBLIC PERFORMANCE conducted DR. to eight director, announces the sixth annual Long Paris— New York—Hollywood THE ORGAN INSTITUTE highly interesting article on ments up in number and may _ UNIVERSITY, COLLEGE AND Pianist’s Page in ETUDE, after many delphia. (A Teachers of Singing AND FOR Andover, Massa- Member Natl. Assn, of CONSERVATORY TEACHING POSITIONS by Phillips Academy, project appeared in ETUDE of Metropolitan Opera. Cni- seasons of Master Lessons in this latter Developer of Singers II—AUGUST 13 session intense etc. book SUMMER MASTER CLASS, JULY will have a four-week cago Opera, Hollywood Bowl, Radio, H's chusetts, is full information address: parts of the country, enjoying April.) Fischer & Bro. N Y. For the entire various for "VOICE FUNDAMENTALS" (J. Y. 18 to August 13, N. 338 West 89th Street New York 24, N. from July his in Pub.) was endorsed by W. J. Henderson (cnbc, to a period of rest at home Santa of that Tel. SChuyler 4-0261 instruction to be devoted Y. Sun). Amato. Bispham, Journet, and others course of MONTHLY SESSIONS IN WASHINGTON, D. C. Monica, and will take no additional pu- MUSIC CENTERS are being great era. _ playing. The master SUMMER , advanced organ 2150 Beachwood Dr.. Hollywood. Calif. will be pils during the summer. established in increasing numbers this classes and individual instruction CHARLES LAGOURGUE STUDIOS addition to the Berkshire Mu- conducted in the Methuen Memorial year. In VOICE PRODUCTION—SINGING Philharmonic-Sym- this DEL PURVES will include E. THE NEW YORK sic Center, previously mentioned in COMPLETE MUSICAL EDUCATION^" Music Hall. The faculty — Teacher —Daily will have several out- Concert pianist Mr. Lagourgue is the author of "The Secret phony Orchestra of others have been Biggs, Arthur Howes, Arthur column, a number Piano School Vocal Exercises. Power Purves-Smith standing events in its 1949-50 season. Pierre Monteux is expand- 3-9797 all probems of the SINGING and Weinrich, and Ernest announced. 2934 Avalon Avenue. Thornwall Expert in solving Poister, Carl # concert version of California SPEAKI NG Voice—huskiness, nasality, throati- Highlights will be a school at Hancock, Maine, where Berkeley 5, White. ing his corrected . performed opera “Elek- ness. Also stammering Strauss’ rarely a "series of concerts will be given in 35 West 57th Street, New York Dimitri Mitropoulos, Swedish baritone, tra,” conducted by August. Middlebury College in Vermont ISABEL HUTCHESON EL. 5-2367 JOEL BERGLUND, Opera and the presentation of Mahler’s Eighth fourth annual composers’ Teacher tor Piano Teachers a member of the Metropolitan will hold its Symphony, scored for large orchestra Modern Piano Technic: Group work for Teachers: EDITH SYRENE LISTER Association for the past four years, has conference between August 20 and Sep- Coaching concert pianists: Conducting "Piano one-thousand voices, AUTHENTIC VOICE PRODUCTION manager of the and a chorus ol 3. Charles Blackman, associate Teachers Forum." been appointed general tember 405 Carnegie Hall, New York City conducted by Leopold Stokowski. Prin- BROOKS MAYS MUSIC STUDIOS Royal Opera House in Stockholm. In his conductor of the National Orchestra C-6214 Collaborator and Associate Teacher with W. Warren will Astrid l005'/2 Elm Street, Dallas 2, Texas Phone plans to bring cipal singers in the opera be will conduct a seminar for Shaw A. M. Endorsed by Floyd S. Muckey M. D. & new post, Mr. Berglund Association, actten of vocal Varnay, Elena Nikolaidi. Irene Jessncr, C. M. Demonstration of correct about a closer cooperation between the conductors and ensemble players at his Cornell Medical LEHMAN; Mus. Doc. chords shown at Columbia Univ., Opera, Frederick Jagel, Herbert Janssen, and EVANGELINE Music Teachers Assoc.. East- Metropolitan and the Swedish country home in Warwick, New York. TEACHER OF SINGING Clinic, Univ. of Vermont, ern Speech Conference, Hunter College— Physicians to give increased oppor- Michael Rhodes. Will run from 5 to August 15. Composer of "Sugar Cookie Soldiers", "The Good- and hopes also This July & Artists night Star" — Pub. Theo/Presser. tunities for young Americans to sing in Out in the middle west, the University — Wednesday: Troups Music Studios, Lancaster, Pa. Author of "Reflections on the Art of Singing' GREGOR PI ATIGORSKY, widely an- Pub. Theo Presser. Stockholm. of Wisconsin will hold its twentieth Auditions known virtuoso 'cellist, head of the ’cello Monthly Recitals No charge for (FRANK) (ERNESTO) „ nual music clinic for high school band, Tel.: To. 5-8413 LA FORGE-BERUMEN STUDIOS JOIO, American department of the Curtis Institute of chorus conductors. Address: 167 Elmhurst Av. Detroit 3, Mich. NORMAN DELLO orchestra, and Voice—Piano composer, has been commissioned by Music in Philadelphia, will retire from who have studied with Mr. La Forge are: Among those musical director of the all public appearances for the season EDNA GUNNAR PETERSON Marian Anderson, Lawrence Tibbett, Richard Crooks, Nikolai Sokaloff, HER MAJESTY the Queen of England There are and Mme. Matzenauer. Arts Society of La Jolla, Cali- 1949-50. He intends to be occupied with Concert Pianist—Artist Teacher Musical will honor The Philadelphia Orchestra 1100 Park Ave., Corner 89th St., New York writing his autobiography and a novel. 229 So. Harvard Blvd. Los Angeles, Calif. fornia, to compose a work for chamber Tel. Atwater 9-7470 and its distinguished conductor, Eugene 9 many good schools, FE. 2597 performed in August He says this will be his first real vaca- orchestra, to be Ormandy, by her presence at the open- first as an eight- 1949, as a feature of the society’s sum- tion since he appeared RICHARD McCLANAHAN ing concert of the orchestra’s British ft , There is only one THE SAMOILOFF year-old musical prodigy in the Ukraine. Exponent TOBIAS MATTHAY mer session. BEL CANTO STUDIOS & OPERA ACADEMY tour on May 24. The concert, to take Private lessons, class lessons in Fundamentals The only- place where you can learn the original University. Summer-class. Southwest Harbor, Me. place in London’s famous Albert Hall, Bob Jones Samoiloff Bel Canto Method which developed such Steinway Bldg. New York City outstanding voices as NELSON EDDY, BIANCA 801 will be presented in behalf of the Aid others. Now SAROYA, DIMITRI ONOFRI and many of Victoria League Funds. Mr. Ormandy n Most Unusual University" under the direction of Zepha Samoiloff. he World's E. TREUMANN Write for Catalog, 3150 West Sixth St., Los Angeles 5 EDWARD and the orchestra will enjoy the priv- Phone FE 8294 No charge for Audition Pianist—Artist-Teacher and much Concert ilege of being the first American orches- has all of the essentials Recommended by Emil Von Sauer, Moritz Moszkowski tra in century to play in the and Joseph Hofmann. a quarter DR. FRANCIS L. YORK It is Studio, Carnegie Hall, Suite 837,. 57th St. at 7th Ave. British Isles. more. Advance Piano Interpretation and the Theory work Tel. Columbus 5-4357 New York City required for the degrees of Mus. Bach., and Mus. Summer Master Class—June 15 to August 15. Mas. Special Chopin interpretation. DETROIT CONSERVATORY OF MUSIC SAM RAPHLING, formerly of Chicago, Detroit, Mich. VIOLA (HULL) OUTSTANDING MME. GIOVANNA now active in New York City, has won Dramatic Soprano the award of hundred dollars offered — "Bel Canto" two Private Teachers (New York city) Teacher of Singing Experienced European trained Artist by the Conference of Jewish Women's among institutions Concert and Radio Coaching Opera, Organizations in a competition for an The Arthur Baecht Correct voice production, defective singing corrected Beginners accepted original suite based on Jewish folk and its graduates SCHOOL OF VIOLIN Phone: Trafalgar 7-8230 Mon., Tues., Wed., Thurs. melodies. New York City "From the beginning to finished artistry" 608 West End Ave. in business and 75 South Orange Ave., South Orange, N. J. are outstanding Tel S.O. 2-3084 CRYSTAL WATERS Public Recitals Orchestral Training THE PENNSYLVANIA BANDMAS- Teacher Music, speech, and art Concert Singer — TERS ASSOCIATION will hold its an- the professions. Voice Building, Breathing, HELEN ANDERSON nual convention in York, Pennsylvania, Diction, Expression, Style. additional cost above Concert Pianist preparation for without In May 5, 6, 7, a feature of which will be Interesting course— piano, harmony Radio, Screen, Stage, Concert, Opera. a massed band concert. Colonel Howard Many Successful Pupils tuition. High school Write for Circular Bronson. President of P.B.A., will con- jular academic 166 W. 72nd St., N. Y. C. Tel. Sc 4-8385 405 E. 54 St. New York City duct part concert. Tel. Vo-5— 1362 of this Summer session MARY BOXALL BOYD in connection. Jftp LEOPOLD WOLFSOHN (Pupil of Leschetizky) THE “DEAN” of the Negro professional Pianist—Teacber—Coach—Program Building Pianist and teacher June 6 -July 9 flftt v "The results she can obtain are miraculous" men of Brooklyn, New York, is seventy- Teacher of Aron Copland, Elie Siegmeister Writes Leland Hall — Prof, of Music-—Smith College and many artists and teachers. year-old Dr. Walter N. Beckman, who Address—Steinway Hall— Nola Studios— TO ARTISTIC FINISH 113 W. 57th St., New York City, N. Y. BEGINNING has practiced dentistry for forty-six years, Special Summercourseforartists, teachers and students. (Also 9 Chambers Terrace, Princeton, N. J.) is also a musician and church organist, Tel. 2079 M Hotel Ansonia, B'way at 73rd St., New York City and paid his way through college with Metropolitan Opera his ROY CAMPBELL JACK EPSTEIN Audition of the Air Winners music. Teacher of Successful Singers of BARITONE Radio — Theatre — Pictures — Concert — Opera — Teaching MRS. EDGAR STILLMAN KELLEY, ,f Concerts — Opera "STYLE-IZING for Radio and the Theatre LOIS HUNT, lyric soprano, of Phila- has been singing professionally for only Fra. past president of the National Federa- —Studio— Music Studios Palm Beach, delphia, to and Denis Harbour, bass-bari- three years. She has sung with the Cen- 607-8 Carnegie Hall New York City Inquiries tion of Music Clubs, and widow of the Telephone Cl 5-9244 1401 Steinway Bldg., New York City tone from Canada, are this season’s tral City, Colorado, the Amer- Opera, noted American composer, Edgar Still- winners of the Metropolitan Opera Au- ican Opera Company, and in San An- man Kelley, died suddenly on April 3, ditions of the Air, , sponsored by the tonio. Mr. Harbour originally intended STUDENTS—MUSIC LOVERS to earn Liberal Commis- in Dallas, attending the 1 Texas, while Farnsworth Television and Radio Cor- being a lawyer, it only after 1 sions selling ETUDE and all other major magazines. and was twenty-fifth of the ^ poration. biennial convention * Obligation. Write for complete details Each singer received a cash receiving his law that - 1^ No Cost or degree in Canada Federation Mrs. Kelley | ^ award of of Music Clubs. ft |S| 1 today to: one thousand dollars' and a he turned to singing. He has been study- * M was a pianist and taught in New York ft ' ETUDE SUBSCRIPTION AGENCY contract with the Metropolitan Opera ing three years in York and reached 1 Vi New and Berlin. years she was a " 2400 WALNUT ST.. PHTLA. 1, PA. For many AssoGiation. Miss Plunt, who originally the finals in the 1948 Auditions. He was lecturer at the Cincinnati Conservatory had planned to be a dental hygienist. on tour last year. of Music. 330 ETUDE 331 MAY, 1949 — : Junior Etude Contest Limestone- College Summer Master Class for Pianists (June 6 to 18, 1949) Show Etude will award three at- you enter on upper left corner of your Gaffney. South Caral.na Style The JJunior Conducted by each month for the neatest paper and put your address on upper Piano Recitalogue tractive prizes best stories or essays and for answers right corner of your paper. MAURICE DUMESNIL and Pedagogue) Sill Ashton Contest is open to all boys Write on one side of paper only. (Distinguished Pianist and by Leonora to puzzles. Do eighteen years of age. not use typewriters girls under and do not have any- two weeks. Scene: Interior with piano. and •Classes will meet daily for the entire , , r T , , , eighteen years Laura, who play solos or A, fifteen to of one copy your work for you. upon request. Ralph, Jack, Meg Class —Private lessons arranged , Piano Pupils: Arthur, Ethel, Jean. etc. B, twelve to fifteen; Class C, Essay must contain not over one hun- modern repertoire, technique, program building, teaching materials, pupils be added.) Hugh, master of ceremonies. a oe; Class -Special coaching in duets. (Other may college students, teachers, and younger years. dred and fifty words and must be re- will opened to all ages: artist students, under twelve , -Classes be when it was called the Landler. will appear ceived at pupHs. (steps to front of stage): When we dance, Names of prize winners on the Junior Etude Office, 1712 Hugh for board and room on college premises. Later, when it was danced in parlors issue of ETUDE. Chestnut Street, Philadelphia Pa„ by —Reasonable rates speak of a fugue or a sonata, everyone this page in a future (1), -Total tuition for two weeks of master class—$50.00. it was called the Deutsche. who has studied music knows from and balls The thirty next best contributors will June fifth. Results in a later issue. Sub- then, composers of every land their names in what form these com- Since receive honorable mention. ject for essay this month, “Singing in For further information, write to: written music in the style of the positions were written. But there are have your name, age and class in which a Chorus.” Put Dr. H. P. Wheeler or J. Wilgus Eberly compositions which re- Waltz. Chopin is noted for his very other forms of Director of Music Waltzes, though they were Dean ceive their titles front the style in pianistic dancing. which they are written. Today, we are not intended for Johann LIMESTONE COLLEGE to have a 'musical style-show, so Strauss wrote many melodious Waltzes going Style Show Calling Catalina Quiroz Carolina dancing. I shall Gaffney, South that you may hear some of these other appropriate for now request . (Continued) Front the Philippines comes a types of compositions. These types we play you a Waltz by to the Junior Etude for the address of are going to play for you today relate Hugh: Arthur will now tell something ELIZABETH A.GEST year 1600. The Spanish dances arc Catalina Quiroz, who was included in to various dance forms. Ethel will play about Polish dances. the Arthur: Many dance styles came from often accompanied by the castenets our Honorable Mention list in the No- first and tell you about some dances. LEOPOLD FOEDERL For Mother’s Day Poland, the Polonaise and the and tambourine, and many of them vember 1948 issue. Ethel: Some of the loveliest styles in Ma- zurka being two of the best known are said to be of Moorish origin. I This request came from someone who by Plowdon Kernan music are heard in dances. Among the Member of the Artist Faculty . the styles. Chopin’s great Polonaise in A will play a Spanish Dance by is trying to trace people of same earliest of these is the Allemande, a When Mother sings, her hands flash And then we hear her voice ring will now ask us to pretend name who have not been heard from of the Violin Department cheerful dance that comes from Ger- major is a fine example, and his Ma- Hugh: Jean clear; therefore ask- rings; zurka in B-flat is played by most young we are Gipsies, as we learn something since the war, and we are man origin. Another is the Sarabande, teacher many of Eu- She weaves a song, so gay, so long. And as she plays, she smiles, she Polonaise, a their dance styles. ing Catalina to send her address to" the Concert violinist and of a slow and stately dance from Spain; pianists. The stately about before, sways. this We love her better than a written for Gipsies were known in Europe in Junior Etude as soon as possible, so violinists. Formerly first violin- the Gigue, a lively dance of uncertain dance, grew from March Jean: rope’s foremost And cry, ‘‘Oh, mother! Sing some An Angel in soft, bird-like wings perhaps help the Poles when they paraded before the fourteenth century, but their request, can be filled and guest origin; the Gavotte and the Bourree, ist Vienna Philharmonic Orchestra; Is Mother, when she sits and sings. uncertain. In Hungary they to trace these people. of probably of French origin, are similar one of their leaders, John Sobieski, origin is very musical people, and many Unfortunately the Junior Etudf. keeps conductor of Budapest Symphony, l ienna in character, the Gavotte beginning and later it became a court dance. The were a dances are either of on file only the addresses of the monthly on the third beat in four-four time, Mazurka was the great folk-dance of o£ the Hungarian Symphony, and Vienna Philharmonic . Quiz No. origin, and their prize winners and the Letter Box 44 while the Bourree usually begins on Poland. It is written in three-four Gipsy or Magyar the Honor- time, like the min net and the waltz, rhytlim is a marked characteristic of writers, not the addresses of (Keep score. One hundred is perfect.) the first beat. To show you the style Liszt and Brahms able Mention winners, and that is why available of the Gavotte I will play one by though its effect is very different, as this music. Both Instruction from eminent Artist Teachers is 1. If a certain major key has six sharps 4. If you were attending a symphony beat, melodies in their we are asking for help. (seats herself at piano and plays). it has an accent on the second used Hungarian students at Sherwood, from the beginning you. to talented in its signature, what are the letter which calls for a kick on the part of Rhapsodies. I will play a Hungarian Will you help, Catalina? Thank Hugh: Now Jack will tell you about an of their studies. Certificate, Diploma, Degree courses of the tones in the dominant names Italian dance. the dancers. I will play a Mazurka Dance by . Public School Music, Con- in Piano, Voice, Violin, Organ, Cello, Wind Instruments, seventh chord in this key? (10 I will close our program Italian composers created by . Hugh: Now, at moderate cost. Courses Jack: The ducting, Theory, Composition. Dormitory accommodations points) Hugh: Laura has something to tell i with an old dance style, out of which many beautiful musical styles, both in Rights. Summer Session opens June 20. For free 2. If your teacher mentioned the man- probably grew. All for veterans under G. I. Bill of concert and the symphony included instrumental music and in song. about the dances of Spain. many other styles One Director, 1014 South Michigan Avenue, uals at your lesson, what instrument a large mixed chorus, to what sym- Laura: The Spanish people have of the dance styles you have just heard catalog, write Arthur Wildinan, Musical of the Italian dance styles is called the many would you be studying? (10 points) phony would probably be lis- colorful the fact that people in Illinois. you Tarantella, a lively, fast dance in six- dances, such as the Fandango, resulted front Chicago 5, softer tone, 3. Which indicates the tening? points) Bolero, is men- all countries like to dance and have p (10 eight time. The old legend about it is and Seguidilla, which (piano) or mp ( mezzo piano)} (5 5. in to their style Was the opera, “II Trovatore” that its rapid performance will cure tioned the book “Don Quixote” developed music suitable points) (“The Troubadour”) composed by people who were bitten by the taran- pronounced Key-ho-te written about of dancing. I will play a Country Donizetti, Verdi, Puccini, Pergolesi, (Continued on Dance by . SCHOOL tula, a very large spider. I will play next page) MUSIC or Tchaikovsky? points) (5 a Tarantella by . Curtain May Birthdays 6-. Is Tagliavini (pronounced Tal-ya- Hugh: And now Meg has a contrasting SHERWOOD vee-nee) a pianist, violinist, Symphony of the Pines And Anniversaries conduc- type of dance for us. Letter Boxers Association of Schools of Music tor, singer, or composer? (10 points) (Prize Winner in Class A, Member of National May 1 is the anniversary of the death Meg: The Minuet is one of the best 7. How many sixteenth notes equal a Special Poetry Contest.) Replies to letters on this page will be of Antonin Dvorak, 1904; Bohemian loved dances of all time, and its music half note tied to Thou Pine, forwarded when sent in care of the composer of the symphony, “From the a double-dotted is melodious and graceful. It originally with melancholy sing MAKE MINE MUSIC CLUB quarter note? points) Your verse in minor key; Junior Etude New World.” (15 came from France. It is written in Sharon, Massachusetts Your music, like great waves of grief College 8. Which of the following composers Dear Junior Etude: Ralph McHonigle, Margaret Roosevelt May 2 and 3 were the dates of the first three-four time and is performed with Sighs forth its tale to me. Virginia Metcalf, I Foster, Ralph Ballard, Marilyn non-stop airplane flight across the lived longest: Mozart, Bach, Brahms, dignity, low bows, and curtsies. I am one of your subscribers in Holland. Knott, Pamela am Ian Miller, I Lee Oliver, Martha Brown, Haydn, Chopin? (5 points) going to play a To some, your music’s soothing, calm. experienced the lapanese occupation in Chaffee, United States, 1923. Minuet by . SCHOOL OF MUSIC Yet I Priscilla Chaplin. 9. Name the usual woodwind instru- do not agree; the Netherlands East Indies and I was never May 7 is the birthday of Johannes Hugh: Ralph comes next, with some in- A turmoil of emotion. Thou, able to study music until I arrived in Hol- Brahms, 1833. ments included in a symphony or- formation about of studies in Waltzes. An endless elegy. land after Offering a full schedule chestra. points) the war. to Quiz May 8 is the birthday of Louis M. (20 Ralph: The Waltz is a Answers graceful dance I play the piano and have had lessons Applied and Theoretical Music of 10. What theme appears with this quiz? O, Pine, intended to be sad, E-sharp, G-sharp, B. 2. Pipe Gottschalk, 1829, one America’s everyone likes, and it also is written for one and one-half years but i am able 1. C-sharp, points) Out in your native scene; early composers. (10 in three-four time, to play (or electric organ). 3. P (piano). or meter. It had its Alone, aloof, to stand and sing sonatas by Beethoven and Mozart. organ 22 to AUGUST 19 called SUMMER SESSION—JUNE May 9, the great organist, Buxtehude, Answers on next page. beginning in Germany as a Country Your song of mighty mien. Although I am too old to enter your Junior 4. Beethoven's Ninth Symphony, in Germany, 1707. Etude monthly to re- 5. Verdi. 6. Con- died Bach made a contests I would like the Choral Symphony. Piano and Coaching There’s nothing in this world, I think, ceive 8. Shorter Master Classes in Music Education, journey of two hundred miles on foot letters about music, and so on, from cert and opera singer. 7. Fifteen. Can match that symphony some to hear this organist. of the older Juniors or other readers, Haydn (seventy-seven years old). 9. Pic- will lie conducted hy The wind performs at night, upon because - my friends here do not like music. clar- SCHAUWECKER May 12 is the birthday of Jules Mas- The branches of that flutes, oboes, English horn, MAURICE DUMESNIL FREDERICK tree. I am colo, Edith eagerly awaiting some answers. contra- DR. RUSSEL SQUIRE senet, 1842, French opera composer. Subert (Age 16), Wisconsin. inets, bass-clarinet, bassoons, DR. KARL GEHRKENS From your friend, May 13, also 1842, is the birthday of Sir Prize bassoon. 10. Chopin Preludfe, in D flat, winning poems. Class B. Stella Frank Lioni, (Age 20 Holland. • complete schedule Arthur Sullivan, English composer of ), Write for Lois Ward, and Glass C, Billy Keane, Op. 29, No. 15. light operas, “The Mikado,” “H.M.S. Dear Junior will be printed in a later issue. Etude: Illinois I S. Michigan Avenue • Chicago 5, Pinafore,” and so on. hsvG been taking piano lessons several years for 430 and Honorable Mention 15 is the birthday of hope to be a concert pianist. When I finish May Monteverde, The Instruction Book Beethoven high Special Poetry Contest school I would like to go to Paris to study. 1567; nearly four hundred years ago, that only the three Never Wrote My uncle used to live in Paris and has told me The Junior Etude is sorry but considered a modernist could be printed, because Ju!y6-Aug.i7 of his time. many things about it. prize-winning poems A few days before some COURSE Beethoven's death Where I verses were also sent in by SUMMER May 15 is also the birthday of Stephen live I am the only person who likes very excellent Price, he wrote to SS ^ contestants: Roxann his friend Moscheles about ca * mus i following for TEACHERS — ARTISTS — STUDENTS Heller, 1815, who composed studies c * so I would like to hear from of the SIX WEEKS INTENSIVE STUDY othersu Fifleld, Joyce Schauf, Donald some of the projects he had in mind and who like it as I do. Grace Baro. Pat thar many of you play. Turner, Patricia Townsend, hoped to From your friend. Kauman, Freddie complete. One of these was Mazurowski, Allen of and ARTS May 20, 21, Charles Augustus Lind- Mary Lou Wall (Age 15), Mary Gregory, Daniel SOUTHERN CALIFORNIaI&CHOOL MUSIC an Instruction Lawrende, Patricia bergh made the first solo flight across Book for Piano, which West Virginia Dixon, Alice Heizer, Judy HAL D. CRAIN. Director Christine he said Ellen McCrosky , Gay the Atlantic Ocean, was "to be something quite dif- Lee Bander, Janet Eminent faculty includes RICHARD BONELLI. BRANDON BEACH, MADAME CHANTAL, MARK 1927. Alice Jounce, ferent from that Dear Junior Hamilton, Faye Holmes, Mary GUNZBOURG. ERNEST HOFFZIMMER, S. R. STEIN, CYRIL TOWBIN, ROBERT A. YOST AND May 22 is the birthday of Richard Wag- of any one else.” Etude: Lou I Meland, Carolyn Nevins, Pat ERIC ZEISL. have taken piano since I was eight Barbara ner, 1813. One could spend many, many hours lessons Fusselman, Kath- Private Lessons — Daily Classes — Vacation Features years old and other Henly Robert Kappler, Louis wondering what I would like to hear from Larry Rankin. Write for Bulletin May 24 Morse sent the first telegram, Beethoven’s instruction Etude readers. leen Orscheln, Guyleen Rankin, book would Address Registrar. 332 S. Western Ave., Los Angeles 5, Calif. 1844. have been like! How many, Lucille Savely (Age 10), many piano students Nebraska May 31, Haydn died, 1809. Dancing the TARANTELLA (From a painting) would have en- joyed it! MAY, 333 332 1949 ETUDE —— — — KING’S PARTY PIANO Morning COMPOSITIONS BY STANFORD SONGS OF WORSHIP SECOND PIANO PART ECHOES FROM OLD VIENNA the fantasy, based on When TWELVE BOOK Registrations for both AMERICAN COMPOSERS A Collection of Sacred Songs To Streabbog’s Twelve Easy and For Piano Solo Gilds the Skies. Old-time ballads; patriotic songs; Gay and Hammond organs are included. For Organ with Bells for the Church Soloist, Melodious Studies, Op. 61 These eleven melodies recall the gay, pipe with Nineties favorites, southern and moun- Advance of Publication Cash Price, 60 This new publication for organ High or Low Voice by Basil D. Gauntlett scintillant life of old Vienna. Bircsak’s for tain tunes; college, humorous and nov- cents, postpaid. the result of a prize contest This useful collection is a boon to the These Second Piano Parts are original Viennese Dance; Viennese Whispers, by bells is numbers, many with lyrics, have sponsored by G. Schulmer- elty young church soloist, as it is particularly works by Mr. Gauntlett, and are designed Wright; Valse Viennoise, by Tillery; and composers, J. in this book, planned PUBLICATION of the been collected for short notice solo work. The to amplify, grace the con- ADVANCE OF ich, inventor and manufacturer applicable to melodically and harmonical- Yestermoods, by Bryson, con- the advanced piano beginner and the OFFERS WITHDRAWN Carillonic Bells. The texts offers a variety of subjects from ly, the popular and attractive studies in tents and suggest the charm of the entire Schulmerich likes to play." For Ditson catalogs thousand adult who “just recre- for third Both the Presser and test with awards totaling one scriptural, hymn, and contemporary Streabbog’s Op. 64. The same grade level collection. The numbers are ational and social gatherings, this is the are enriched by the new books added by Dr. Harl McDon- and will be limited to easy or has been maintained. As a result, here is and fourth grades. dollars was judged sources, have the Phil- perfect “ice-breaker" and can be put to at to them this month, books which ald, composer, and Manager of medium grades. an excellent medium grade addition to Single copies may be reserved now especially enjoyable use through eve- been described for sometime past in these adelphia Orchestra, Dr. John Finley Wil- Make your reservation now at the spe- the studio fare for two pianos. the special Advance of Publication Cash Westminster nings at home around the piano. At the notes. As copies now are obtainable from liamson, President of the cial Advance of Publication Cash Price, These additional parts are not to be Price, 40 cents, postpaid. special Advance of Publication Cash your local dealer, or from the Publishers Choir College, Seth Bingham, Associate 40 cents, postpaid, for each volume. Be published in score with the original Univer- Price of 60 cents, postpaid, a copy should “on approval,” the special prices at Professor of Music at Columbia sure to specify the edition wanted, high studies, so a copy of the Streabbog works ORGAN MUSINGS Editor find its way into the home of every mu- which they have been offered in advance sity, and Dr. James Francis Cooke, voice or low voice. also will be necessary. A Collection of Original Compositions sic-lover. of publication are withdrawn. of ETUDE. The special Advance of Publication and Transcriptions for the Organ Child Schubert, Childhood Days of Robert Elmore’s Speranza was awarded Cash Price is 40 cents, postpaid. But one Most of the compositions and arrange- The the BAND BOOK SOUSA’S FAMOUS MARCHES Composers series by Lottie Ells- the first prize. David S. York won ASSEMBLY copy to a customer will be available at ments in Organ Musings have been pre- Famous Elementary Adapted for School Bands Bampton follows second prize with his Divinium Mysteri- A First Book for Bands this price. pared for this book. Included among the worth Coit and Ruth given Compiled and Arranged The lifting of certain pattern of its predecessors in present- urti, and Rollo F. Maitland was original compositions are works by such the Philip Gordon copyright restrictions interesting epi- the third prize for his Poem. Other prize- by composers as Charles E. Overholt, Paul ing to young students possible now, for THE DITSON ALBUM winners whose compositions are included The Theodore Presser Company is makes it Koepke, Ernest H. Sheppard, G. F. sodes in the life of the master inter- first time, to offer this OF ORGAN SOLOS four in this book are Louis B. Balogh, M. Aus- pleased to announce this long-needed the Broadhead, and Norris A. Pynn. Wieni- spersed with easy-to-play excerpts of collection of “Ditson Albums" for various instru- tin Dunn, Willard Somers Elliot, Walter book of program material for beginning wonderful awski’s Romance; Haydn’s Allegretto; piano pieces and a duet. May be done as best-known ments have attained an enviable reputa- Lindsay, Ellen Jane Lorenz, Rob Roy bands, prepared by Philip Gordon, well- Sousa’s and Tschiakowsky’s Legende are some of a playlet, in piano recitals, or used as a All of the books in this list are in preparation for publication. expertly de- tion, so it is only fitting that such a vol- Peery, Frederick C. Schreiber, William C. known Instrumental Supervisor in the marches, in the new arrangements especially made. text book in music appreciation classes. The low Advance Publication Cash Prices apply only to single arrangements for ume should be made available for the of Steere, and Hobart Whitman. Public Schools of Newark, New Jersey. vised Hammond registrations are included Price, 40 cents. publication. Delivery postpaid will twelve “king of instruments.” Following the copy orders placed prior to ( ) Dr. Alexander McCurdy, Head of the In the preface, the author says: “The school bands. The throughout. Chopin Preludes, with study notes by book are: precedent established by the various Dit- be made when the books are ready. Organ Department at Curtis Institute pieces in this book are meant to be easy. mardies in the Organ Musincs will be a cloth bound Guy Maier, distinguished American ped- the Fair; Hands son editions, this includes best-sellers as and the Organ Department at the West- They furnish assembly program material El Capitan; Fairest of book. Single copies may be reserved now agogue, brings to the sincere student a well as compositions originated or ar- minster Choir College, and also Editor for an elementary band to use in one across the Sea; High School Cadets; The superb edition of these beautiful classics Year—Twelve Character- at the special Advance of Publication All Through Ihe Organ Musings 80 Eagle; King Cotton; Liberty ranged especially for this book. Registra- istic Pieces for Piano Ketterer .30 of the Organ Department of ETUDE, semester. Pupils who have had one term Invincible Cash Price, 80 cents, postpaid. with engagingly presented suggestions Second Piano Part to Streabbog's Twelve Beach; Semper Fidelis; tions for Hammond organ, in addition Assembly Band Bock—A First Book for Melodious Studies, Op. 64 has written instructive Study Notes to of instruction on their instruments Bell; Manhattan for interpretation and annotations to as- Easy and for pipe this Elementary Bands Gordon Gauntlett .40 to those the organ, make be used in connection with this new vol- should be ready to share in the prepara- The Stars and Stripes Forever; The sist in the mastery of technical difficul- Parts, each .20 inter- TEN CHORAL PRELUDES AND of Songs a publication of wide appeal and Conductor's Score .40 Songs of Worship A Collection ume. The Foreword is by Dr. James tion for these appearances.” Thunderer; Washington Post. ties. This is an Oliver Ditson Co. publi- for the Church Soloist, For High and est. Organists will be delighted with this A FANTASY Choir For Three-Part Francis Cooke, Editor of the instrumentation, the The thirty-seven books of instrument The Chapel Book Low Voices each .40 ETUDE. Concerning For Organ cation. Price, $1.50. Mixed Voices (S.A.B.), with Organ Ac- group of compositions being offered now The publication of these original com- author feels that a beginning band is not parts cover: D-flat PiccolopC Piccolo; 1st Peery .40 Stanford King's Party Piano Book 60 Alexander Keyboard Approach to Harmony, by companiment at the moderate Advance of Publication by H. Matthews Flute; 1st and 2nd Oboes; Sousa's Famous Marches—Adapted for positions marks a new epoch in the use likely to have the full instrumentation of Flute; 2nd C Margaret Lowry, practical for use in The Ditson Album of Organ Solos 50 Cash Price of 50 cents, postpaid. This This volume of choral Echoes from Old Vienna For Piano Solo .40 School Bands— Individual Scores .25 of bells with the modern organ. The concert band, so has provided parts as 1st and 2nd Bassoons; E-flat Clarinet; a preludes is a boon to private or class teaching, introduces the .35 Conductor’s Score .75 will be available only in the Fifteen Recreative Etudes for P.iano. .Scher will variety organist’s B-flat Clarinet; 2nd B-flat Clari- book book add to any follows: C Flute, B-flat Clarinet A, B- flat Solo or busy organists. These are subject matter, chord by chord, in the Score Reading. .Schluer .80 Technic Tactics—Twenty-one Short Studies United States and its possessions. An Introduction to repertoire. The expertly designed regis- B-liat A, B-flat Cornet net; 3rd B-flat Clarinet; E-flat Alto Clari- for Piano Stevens .25 Clarinet B, Cornet the familiar piano idiom instead of the usual Book 65 designed to extend Ivor Peterson's Piano Accordion trations include those for the net; B-flat Bass Clarinet; B-flat Soprano Ten Choral Preludes and a Fantasy— For Hammond B, E-flat Alto Saxophone, B-flat Tenor, list of musicianly, though four-part hymn tune style. Twenty-seven Little Pieces from the Classic Masters Matthews .60 Organ ... organ. Order your copy now at the spe- Saxophone, E-flat Alto Horn A, E-flat Clarinet; 1st E-flat Alto Saxophone; 2nd TECHNIC TACTICS For Piano Solo Beer .30 easy, hymn transcrip- lessons take the student from the funda- American Com- Twelve Compositions by cial cash price of 75 cents, postpaid. This Alto Horn B, E-flat Alto Horn C (op- E-flat Alto Saxophone; B-flat Tenor Sax- Twenty-One Short Studies for Piano Little Players Growing Up—A Piano Book posers— For Organ with Bells 75 tions for the organ and mentals through the seventh chords and Kerr .35 is an Introductory Offer and will be with- Baritone Saxophone; B- by Milo Stevens — tional), Trombones A & B, Trombone C, ophone; E-flat include Angels the into modulation. Flush cloth bound. Noah and the Ark—A Story with Music You Can Play the Piano, Part III A Book from Richter .35 drawn at the end of the month. Baritone (bass clef). Baritone (treble flat Bass Saxophone (treble clef); Solo Second grade pupils have an advan- for Piano Richter .35 for the Older Beginner Realms of Glory; When Price, $1.25. clef), B-flat Cornet; 1st B-flat Cornet; 2nd B- tage in that this material was especially Basses, and Drums. A two-staff I Survey the Wondrous Six Organ Transcriptions from Bach, by Conductor’s Score (Piano) is provided. flat Cornet; 3rd B-flat Cornet; 1st and designed for them. It adequately covers ALL THE Cross; Forty Days and Edwin Arthur Kraft is a collection that THROUGH YEAR A glimpse of the contents reveals a 2nd Horns in F; 3rd and 4th Horns in such matters as scale passages divided be- by Ella Ketterer Forty Nights; Jesus Christ Is Risen To- brings to the repertory of the discrimi- CHAPEL CHOIR BOOK NOAH AND THE ARK F; 1st E-flat 4th tween the hands; interlocking arpeggios; THE nice balance between classics and con- and 2nd Altos; 3rd and day; Saviour, Breathe an nating organist the highest type Piano This set of twelve Evening Bless- music of For Three-Part Mixed Voices A Story with Music for temporary music. Among the former are E-flat Altos; 1st and 2nd Trombones broken chords; rapid five-note groups; characteristic pieces ing; The King of Love My Shepherd Is; in playable arrangements. Suggested reg- (Soprano, Alto, and Baritone) by Ada Richter Ivanovici; an (bass clef); 1st Trombones staccato chords; crossing of the hands; Waves of the Danube by and 2nd The Son Goes to istrations are story affords Mrs. Rich- for the piano pre- of God Forth War; Fair- given both for standard with Organ Accompaniment This familiar Excerpt from Symphony No. 2 by Schu- (treble clef); 3rd Trombone (bass clef); wrist rotation; chromatic scales; double est Lord Jesus; Come, and organs. This is an Oliver excellent opportunity to present sents a monthly de- Thou Almighty Hammond Compiled and Arranged fer an bert; Mozart’s “Haff- 3rd Trombone (treble clef); Baritone thirds; and the trill and mordent. Essen- Minuet from the King; Oft in Danger, in Ditson Co. publication. Price, 50 cents. of her best and most attractive scriptive contribu- Oft Woe; and by Rob Roy Peery some ner” Symphony and a Melody from a (bass clef); Baritone (treble clef): Basses; tials are combined with a sound. techni- early grades. The story, tion to practice time, Here is a wonderful new collection of tunes in the Serenade, and Schumann’s Soldiers’ String Bass; Drums; Timpani, and Con- cal foundation and melodic interest, simple language, makes each of The music is in sacred music for S. A. B. voices. The bari- given in March. Contemporary composers are rep- ductor’s Score. utilizing the major and minor modes in selec- the pieces doubly enjoyable for the grades- two and two- tone part is so arranged, in each resented by such outstanding popular The special Advance of Publication a variety of easier keys. tion, as to combine in the one part both young student. Texts are given with the and -one-half, and received now for copyrights as Song of the Pines by Mil- Cash Prices are 25 cents for each part, Orders are being anthems, music, also, and there are line drawings has been prepared tenors and basses. Seasonal dred Adair, Heigh-Ho! by Walter Rolfe, and 75 cents for the Conductor’s Score, single copies at the special Advance of original compositions, and choral tran- for the pupil to color. by the composer Price, 25 cents, post- and Lily Pads by Flarold Locke, to men- postpaid. Publication Cash ^Jo the ^Uerif lyjouncj . . . scripitions of favorite hymns are in- Noah and the Ark, performed as a with a view to the tion just a few. Two original composi- paid. cluded. unit, will constitute an interesting recital student’s progress. Storylike directions tions by the author round out the inter- AN The sale of this book will be limited program novelty. are included, and the illustrations are de- INTRODUCTION TO SCORE LITTLE RHYMES TO SING AND PLAY esting contents. LITTLE PIECES FROM THE to the United States and its possessions. Orders are being accepted now for lightful. READING The special Advance of Publication CLASSIC MASTERS Be sure to reserve your single copy now single copies of this book at the special A single copy will be reserved for you by Carl G. Schluer Arranged Piano by cash prices are 20 cents for each part and For Piano Solo for Mildred Hofstad at the special Advance of Publication Advance of Publication Cash Price, 35 upon receipt of the special Advance of This book, one of the few on its sub- 40 cents for the Conductor’s Score, post- Compiled and Arranged Cash Price, 40 cents, postpaid. cents, postpaid. Publication Cash Price, 30 cents, post- ject, will appeal especially to the embryo paid. Beer paid. conductor, and to the sincere musician in by Leopold J. Nursery rhymes and tunes have an enchantment all their own, general. Ten short pieces by seventeenth and FIFTEEN RECREATIVE ETUDES In it the author clarifies for the quickly captivating the imagination of the very young child. The IVOR PETERSON'S PIANO LITTLE PLAYERS GROWING UP reader eighteenth century masters will make up ACCORDION BOOK FOR THE PIANO YOU PLAY the art of following a vocal score; association of these familiar words with the traditional music CAN THE PIANO! A Piano Book reading tins collection. Since dance forms repre- practice in the alto, tenor, and natural, This group of arrangements by the by William Scher Part Three of musical expres- encourage a rhythmic performance and make detailed by Robert Nolan Kerr soprano clefs; combinations of the C sented the chief modes well-known Swedish accordionist and The supplementary piano studies con- A Book for the Older Beginner explanations of time and note values unnecessary. Each piece is Though this book can be used success- clef; transposing miscellane- sion in those days, this album abounds distinguished by their instruments; Victor recording artist should have high tained herein are by Ada Richter fully hold as the Cou- in a five-finger position or less, with finger position indicated with any piano method, it will ous orchestral combinations; and play- in such charming examples at for all performers practicality and educational value. Short, appeal any and on This study material is designed to fol- special interest have Sarabande, is trained, for students who ing a full orchestral score at the piano. rante, Gavotte, Rigaudon, the beginning. The youthful ear interest in sight- this instrument. A liberal group of Mr. descriptive etudes, each of which is de- low the first two books already pub- completed the same author’s Little Numerous and Menuet. Compositions by Bach, reading stimulated and music begins to take definite form in the technique, examples from the great treas- Peterson’s own compositions is included, voted to a special phase of lished in the series, and moves the stu- Players, Players. Louis Couperin, and Tunes for Little ury of music, include excerpts from Francois Couperin, mind of the pre-school child. Price 60 cents is difficulty from grade two to and the table of contents rounded out range in dent ahead with fair speed. Interest is at- Purcell, and Tuneful pieces, engaging verses, and string quartets, Gluck, Handel, Kultnau, three. the subjects treated sonatas, suites, overtures, with such numbers as Brahms’ Hungar- grade Among sustained through technical and recrea- tractive out grade three illustrations serve to bring oratorios, concertos, and symphonies. Rameau are included. The ian Dance, No. 5; Invitation to the are alternating right and left hand scale tional material, attractively presented. A the educational value of this book, which Among level is maintained throughout. passages; rhythmic studies; legato and the composers represented are THE JOHN CHURCH COMPANY Dance by Weber; Theme from Tschai- repertoire of thoroughly enjoyable pieces embraces phrasing; expertly edited work in scales; Bach, Beethoven, Handel, Haydn, Men- This interesting and kowsky’s “Sixth Symphony; Sounds from cantabile playing; staccato; broken of both original and familiar numbers is rhythm; chords; time signatures, etc. Im- delssohn, collection of simple classics reflects in THEODORE PRESSER CO., Distributors Strauss; left development; Mozart, Palestrina, Schumann, the Vienna Woods by and the chords; hand chord compiled to offer thorough training for and grace portant explanatory notes for teachers Wagner, and Weber. lovely musical lines the charm Russian folk song, Two Guitars. At the and pedal work; chromatic scale pas- skillful performance. Before publication, are included. Prior to of the early dances. 1712 Chestnut St., Philadelphia Pa. Advance of Publication Cash Price of 65 sages; and interlacing triads. The Ad- single publication, single copies may 1, a copy to a customer may be re- now at The special Advance of Publication be reserved of Reserve your copy of this book cents, postpaid, no accordionist should vance of Publication Cash Price for a served at the special Advance at the special Advance of Publica- Cash Price for this book is cents, post- of Publication Cash 35 Publication Cash Price, 80 cents, post- the special Advance fail to reserve a copy. single copy is 35 cents, postpaid. tion Cash Price of 35 cents, postpaid. paid. paid. Price, 30 cents, postpaid 334 Advertisement ETUDE MAY, 1949 Advertisement 335 • . Paderewski DO YOU the Incomparable Produce pupils who Play—or do they A Sound Investment in Basic Musical Training ( Continued from Page 283) merely "take lessons"? Novel, Diverting Piano Study Sharp Major (Op. 15, No. 2) (Chopin) LITTLE PLAYERS GROWING UP 6847 —Prelude in D-Flat Major (Op. GUILD of PIANO This third book of the NATIONAL TEACHERS 28, No. 15) “Raindrop” (Cho- series, preceded by LITTLE PLAYERS arid pin) TUNES FOR LITTLE PLAYERS, is just off the press! Following the is for Playing Pupils! Prelude in A-Flat Major (Op. Student Residence precedent previously established, it combines melodious pieces, 28, No. 17 (Chopin) Piano, Voice, Violin, Cello, Composition, Radio, Speech, Certificates for All Grades, Cash Prizes for Ad- Painting, Ceramics. High School Academic and Music •> gay verses and attractive illustrations with explanatory material 6877 —Valse Brillante in E-Flat (Op. Vocational and Psychological Guidance. vanced, Suitable Goal for Every Pupil. School credits. recreation. Personality development. 18) (Chopin) Supervised and practice drilling in legato, staccato, phrasing, rhythm, scales, Write for booklet Dept. 22 Valse Caprice (Rubinstein) Excellent cuisine. Write MRS. WILLIAM HENNE chords, time signatures, accidentals and ties. Training in the mas- 7416 —Nocturne in E-Flat Major 3001 Pacific Avenue tery of musical terms and expressive playing is enlivened by en- NATIONAL GUILD OF PIANO TEACHERS (Op. 9, No. 2) (Chopin) C-Sharp Minor Price 75 cents gaging illustrations and intriguing presentation. Price 75 cents BOX 1113 AUSTIN. TEXAS Mazurka in (Op. 63, No. 3) (Chopin) OSMOPOLITAN 14727 —Theme and Variations in F SCHOOL OF MUSIC Minor (Haydn) CLARENCE EIDAM President ROSSETTER G. COLE, Dean 14974 —Polonaise in A-Flat Major 45th year. Offers courses In all branches Education certificates, diplomas Courses in Piano and Private Piano Lessons (Op. 53) (Chopin) of Music. Confers degrees. Member of N.A.S.M. and Firm Musical Foundation . . center. For a Located in downtown musical will be given by 15421 —Rondo in A Minor (K. 511) Box E, 306 S. Wabash Ave., Chicago 4. 1 II. (Mozart) 16250 —“Moonlight” Sonata—Adagio (Op. 27, No. (Beethoven) JAMES M1LLIKIN UNIVERSITY . . . Conceived in Fact and Developed in Fancy BERNICE FROST 2) Minuet in G Major (Op. 14, SCHOOL OF MUSIC DECATUR, ILLINOIS No. 1) (Paderewski) JUILLIARD SUMMER SCHOOL OF MUSIC Offers thorough training irv music. Courses leading to degrees of: Bachelor of Music. Bachelor of Music Education. Master of Music, and Master of Music New York City It is well known that Mr. Paderewski’s Education. Music. life ambition Member of the National Association Schools of was to he known as a com- sent free upon request July 5th to August 12th, 1949 Bulletin BEGINNERS poser as well ST. MINTURN. Director FOR as a pianist. His fame as W. CLARE BOOKS a pianist, however, William Schuman—President Robert Hufstader—Director overshadowed his very pronounced genius as a composer. His -The DUNNING COURSE opera "Marion,” his "Chants du Voya- - o/ IMPROVED MUSIC STUDY by Robert Nolan Kerr geur,” and Symphony in B Minor we Gladys M. Glenn, B.Mus., M.A., Mus.D., are certain will be Dean of Education Faculty known more and ANNUAL CONVENTION CLASS more, as time passes. QlriirlaniJnfitttwtr of(Quote Colorado Springs, Colo., Aug. 1, 1949 Dr. Maurice Dumesnil, guest artist for after- noon Lecture Series and Clinic (5 days and LITTLE PLAYERS* Bachelor of Music Degree, Master of Music Degree, Artist Diploma open to all non- Dunning Course teachers) for information and class dates address A Piano Book for Very Young Beginners BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. EXECUTIVE HEADQUARTERS J’Vli, Charter Member of the National Association of Schools of Music Intended for children not yet able to reod, this book ot note and rote methods is Schools—Colleges planned to delight the imagination of little people. Highly entertaining visual aids MUSIC PHILADELPHIA MUSICAL ACADEMY OBERLIN and helpful suggestions to the teacher give the pupil a firm basis in rhythm, har- CONSERVATORY SCHOOL Price 50 cents MADE Pennsylvania’s Oldest Music School OF MUSIC OF mony and melody. CONVERSE COLLEGE MUSIC Founded 1870 Jani Szanto, President-Director Chartered A Division of Oberlin College Edwin Gerschefski, Dean. Spruce Street • Spartanburg, S. C. EASY 1617 Philadelphia 3, Pa. Thorough instruction in all branches DISTINGUISHED FACULTY — COURSES LEADING TO of musicusic 46 ' DIPLOMAS AND DEGREES ... specialist teachers Department of Music . . . excellent, equipment. Special Department for Opera and Stage Direction . . . concerts KNOX Galesburg, Illinois by world-famous musicians and organ- Thomas W. Write for particulars catalogue Williams. Chairman A Supplementary and izations . . . weekly student recitals COLLEGE Catalogue sent upon request. ... for these reasons Oberlin attracts TUNES FOR LITTLE PLAYERS serious and talented students. De- grees: CONSERVATORY Work Book Mus.B. . Ed. Mus. B.. A.B. of this with music major. Write for catalog. OF MUSIC Continuing the style and tenor of LITTLE PLAYERS, the primary object L. E. Hill. Pres. Frank H. Shaw, Director SHENANDOAH establish by Bgx 559 Oberlin, Ohio Courses leading to the B. Mus., and B. Mus. book is to familiarize children with elementary musical notation and Mara Ville CHICAGO MUSICAL COLLEGE Ed. degrees. Member NASM. In the heart of the Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President Shenandoah Valley, Dayton, Virginia. the habit of correct playing conditions. Amusing illustrations, both decora- CONFERS DEGREES OF B.MUS., 8.MUS.ED., M.MUS., M.MUS.ED. tive cents and practical, lesson "lots of fun . Price 60 of help to make the piano This clever, adaptable Member North Central Association and National Association of Schools of Music •Announcing the Thirteenth Season volume is a valuable supple- ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS mentary piece for any method, fine for classroom Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois STEPHEN COLLINS FOSTER MUSIC CAMP or private work. Just enough theory is promoted to EASTERN KENTUCKY STATE TEACHERS COLLEGE, RICHMOND, KY. make sight-reading profitable and enjoyable. Tutor- 5 WEEKS—JUNE 12 TO JULY 16 Band • Orchestra • ALL IN ONE ing in note values, music symbols, time signatures, AMERICAN CONSERVATORY Ensembles • Instrument Classes scales, rhythm, accent, ties and slurs prepares OF MUSIC—CHICAGO Only $85.00 Melody — Rhythm — Harmony the 1 Offers courses in all branches of music and dramatic art child for the occasional quizzes included in the Tor Instruction Hoard, to nine or ten years of age, with , Room, and Recreation This excellent instruction book for beginners up 62nd year. Faculty of 135 artist teachers Member of book. Simple, attractive folk-songs encourage National Association of Schools of Music COMPETENT STAFF : : EXCELLENT FACILITIES unusually appealing and attractive material, is culled from years ot successful piano Send for a free catalog—Address: John R. Hattstaedt. Pres., 577 Kimball Bldg., Chicago COMPLETE youngsters by putting these theories into EQUIPMENT : : immediate ENROLLMENT LIMITED methods, pupils learn teaching in class and private lessons. By simple, logical to Private Lessons at $1.00 to 81.50 Each Extra practice. Price 50 cents memorize musical thoughts, rather than separate notes. Ample material is included For Details write James E. Van Peuksem, Director for amusing, educational drills in rhythm, ear-training, theory, technic and sight- EVANGELINE LEHMAN In the Beautiful Blue Grass Region of Kentucky Pr!ce L.oo Distinguished Composer, Vocal Coach reading. Summer Master class in Voice; June 30-July 13. Voice placement. Correct breathing. Repertoire CAL ARTS CINCINNATI CONSERVATORY OF MUSIC PRESSER CO. H CONSERVATORY, DR. GLADYS M. GLENN, DIR. THEODORE 1710 TYLER ST. AMARILLO, TEXAS. Dr. Luther A. Richman, Dean of Faculty 83rd Summer 1 Session—6 weeks’ term—June 13 to July 1712 Chestnut SI., Philadelphia , Pa. 2nd EDITION. COMPLETE TREATISE ON 23, inclusive JACK EPSTEIN BARITONE TRANSPOSITION Inquiries to Covering Transposition ALL problems of states. 1401 Steinway Bldg., New in public schools in leading York City Send for folder or send $2.00 for book Box E. T., C. M. BENJAMIN, Registrar piano teaching Charles Lagourgue, 35 W. 57th Street, New York 19 CINCINNATI 19, OHIO 336 ETUDE . TRAVELOGUE 0 A journey through the Art Song Series • • • 0 Bookings through the Oliver Ditson Co. • • • ART SONGS for School and Studio Two Volumes (1st and 2nd Year), Edited by Mabelle Glenn and Alfred Spouse These songs route the vocalist through old England, Ireland, Russia, Norway and Sweden, with glimpses of France and Germany . . . Some of the modern day numbers of Part Part Two’s classics embrace such melodies One are: as: Passing By — Purcell Blue Are Her Eyes — Watts Cradle Song — Brahms Sapphic Ode — Brahms Still As The Night — Bohm Solvejg’s Song — Greig Who Is Sylvia — Schubert The Two Grenadiers — Schumann Extended tours of France, Germany and Italy are also available through FRENCH ART SONGS Ditson collections. Influences of the manners, customs and character of France are reflected in this GERMAN ART SONGS group of songs, edited by Mabelle Glenn Taylor, of are: The romantic richness of German Lieder and Bernard U. some which from the pens of such masters as Les cloches — Debussy Schubert, Schumann, Brahms and Wolf Extase — Duparc are exemplified in 16 songs, edited by Tu me dirais — Chaminade Bernard U. Taylor, among them: Verborgenheit — Wo If Der Wanderer — Schubert Vergebliches standchen — Brahms CLASSIC ITALIAN SONGS Widmung — Schumann And from Italy . . . land of song, the Med- iterranean Sea, blue skies and warm sun Included in these is volumes information on . . . comes a volume of classic songs, edited diction, notes on each song and suggestions as by Mabelle Glenn and Bernard U. Taylor, to interpretation. containing such favorites as: All are available for Medium High Voice and Lasciatemi morire — Monfeverde Medium Low Voice in the original text with Nina — Pergolesi English translation, each $1 .00. Vittoria, mio core! — Carissimi OLIVER DITSON CO. THEODORE PRESSER CO., Distributors 1712 Chestnut Street, Philadelphia I, Pa. ' v