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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
9-1-1936 Volume 54, Number 09 (September 1936) James Francis Cooke
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532 SEPTEMBER, 1936 533 THE SEPTEMBER, 1936 535 THE ETUDE Editor JAMES FRANCIS COOKE disagreeable punishment. O wonder father’s face N It is trite to talk about the is wrinkled. decadence of discipline and THE ETUDE Associate Editor No wonder his brow the moral collapse in our is knotted. EDWARD ELLSWORTH country, which have filled Published Monthly HIPSHER No wonder he spends our prisons. We need only By sleepless nights. Music Magazine to look at the average age of THEODORE PRESSER CO. He is only one of the thou¬ the prisoners (nineteen 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC sands of fathers who are years) and the “born in U. S. PHILADELPHIA, looking the greatest problem A.” majority of criminals, to PENNA. of the day square in the eyes VOL. LIV No. 9 • SEPTEMBER, 1936 and trying to “figure out” the realize what we have permit¬ solution. It is the problem ted to grow and to exist. of “whither youth?”. He When they riddled John Dil- knows that the to-morrow of linger with bullets in Chi¬ The World of Music the land we love depends cago and put holes through more upon what our youth is “Prettyboy” Floyd in Kansas City, remember that neither Interesting and Important Items Gleaned in a Constant Watch on doing to-day than upon any other one thing. He knows of these men was the prod¬ Happenings and Activities Pertaining to Things Musical Everywhere that despite the fact that we uct of European slums, but have millions of the finest of what we call our American WILHELM FURTWANGLER having THE THREE VAL¬ young people in the world, civilization. There is no use KATE S. CHITTEN¬ THE MOZARTEUM of Salzburg, Austria, asked to be released from his contract with the LEYS FESTIVAL (Wales) we also have some very black in trying to blame such dis¬ DEN, pianist and teacher, opened, on July 2nd, its courses in General New York Philharmonic-Symphony Orches¬ was held this year (its marks on our record—black asters upon “foreigners from professor emeritus of Vas- Music, Conducting, Old Keyboard Music, the sixth) on May 14th, 15th n u sar College and Honorary tra, the management announces as conductors Eastern Europe,” or upon Theater, and the Dance. A heavy registration of this organization for the coming season: and 16th, at Mountain L>>C./.L.t.01*< marks due to our neglect of Director of the Hartley of American students is reported.^ youth—our failure to present other foreign born Ameri¬ House Music School of John Barbirolli, young English conductor, Ash. with Sir Walford New York,, i s tendered a testimonial din- thirty-six years old and born in London of an Davies as Director and Dr. Malcolm Sar¬ to them those wholesome cans, or those of the “first THE “BIANCA” of Henry Hadley, which gent as chief conductor. Groups of choirs, t the Town Hall Club, on April 17th, in 1917 won the Hinshaw Prize of one thou¬ Italian father and a French mother, for the ideals of American manhood generation.” They were first ten weeks, beginning November 5th; mostly from the mining towns oi the by the Alumni Association of the American sand dollars for a one-act opera by an Ameri¬ and womanhood upon which Americans, brought up in Institute of Applied Music and the Metro¬ Igor Stravinsky, Russian, for the next two Aberystwyth, Merthyr, and Kbondda val¬ can composer, and which had its world the strength and character, FACING OUR GREATEST PROBLEM American schools. The fault politan College of Music, in celebration of premiere on October IS, 1918, by the So¬ weeks; Georges Enesco, Rumanian, two leys, formed the chorus; and the South her eightieth birthday and the sixty-second ciety of American Singers, at the Park The¬ weeks; Carlos Chavez, Mexican, two weeks; Wales section of the Welsh Symphony Or¬ the happiness and prosperity is ours, and we must assume anniversary of her beginning as an active ater, New York City, was presented on May and Artur Rodzinski, Polish, conductor of chestra gave instrumental support. The pro¬ of our country were founded. the responsibility. 25th, at the Eastman Theater, Rochester, the Cleveland Symphony Orchestra, for the gram of the first evening was given to J. Edgar Hoover and his concluding eight weeks. miscellaneous instrumental and vocal com¬ We are gloriously optimis¬ New York, by the Eastman School of Mu¬ splendid enemies of crime MANUEL QUIROGA, the distinguished sic, with complete orchestra and stage positions; for the second evening the prin¬ tic about the fine qualities Spanish violinist, is announced for a series settings. THE “HIAWATHA” of Samuel Cole- cipal item was the "Manzoni Requiem" of inherent in our American merit all the praise we can of concerts in the United States, beginning ridge-Taylor had, in the second week of Whither Youth? Verdi; and the third evening was given to youth, but these qualities give them for their war upon early in 1937 and continuing for but six THE “GERMAN REQUIEM” of Brahms June, its annual spectacular performances a performance of Mendelssohn's "Elijah." weeks. had an inspiring interpretation when given by the Royal Choral Society, at Albert Hall -i-v must be safeguarded. When ublic enemies, as do the on May 28th, at Orchestra Hall, Chicago, by of London. There were one thousand par¬ youth runs amuck, it becomes onest and capable police CINCINNATI SUMMER OPERA at the EIDE NOR ENA. coloratura and lyric so¬ the Chicago Singverein with Walter H. ticipants, with Sir Malcolm Sargent direct¬ prano of the Metropolitan Opera Company, the victim of all kinds of “isms” promoted by demagogues officers in all parts of the country. But, Lord bless us, these famous Zoological Gardens opened on the Steindel conducting, and with Anna Kreut- ing. evening of June 14th, with a performance won an ovation with a demand for extended exploiting half-baked sociological, political, sex and aesthe¬ brave men, who have in many instances sacrified their gen, contralto, and Reinhold Schmidt, bari¬ encores, when she recently appeared as solo¬ of Meyerbeer’s “L’Africana.” The repertoire tone, as soloists. THE YALE GLEE CLUB, with Marshall tic theories, wholly unsuited to our American civil de¬ lives in the cause of justice, are merely swatting flies! The has been entirely of standard works, with ist with the Pasdcloup Orchestra of Paris. Bartholomew conducting, opened on June velopment. Lacking a wholesome outlet for its energy, gravity of this situation is shown by the fact that the two American operas, “The King’s Hench¬ RICHARD STRAUSS is reported to be at 25th its European tour, by a concert in the man” and “Peter Ibbetson” by Deems Tay¬ work upon a composition inspired by con¬ famous Salle Pleyel of Paris. It has sung also THE THIRD BERKS COUNTY FES¬ youth may also rush to excesses that lead to vice and crime entire armed forces of the United States (Army, Navy and lor, included. The roster of well known templation of the monument commemorating in Copenhagen, Malmo, Stockholm, Oslo TIVAL was held on June 1st and 2nd, at the of the worst kind. That is the picture which everyone Marines) number 250,000, while the legion of armed crim¬ artists was under the direction of Fausto the Battle of Tannenberg and of the mau¬ (two concerts), Dramen and Goteborg. Albright College Stadium of Reading. Penn¬ sees daily in the newspapers of the land. You know it; inals is estimated at 500,000. As soon as we get rid of one Cleva, with Wilfred Pelletier and Giuseppe soleum of Marshal von Hindenberg. sylvania, with a chorus of one thousand Bamboschek as guest conductors. THE OPERA GUILD OF TORONTO, voices and an orchestra of one hundred mu¬ we know it; everybody knows it. Again, all this must not set of criminals, another crops up, and so it will go on and “CARMEN” is said to be under suspicion with seventy singers and thirty-six instru¬ sicians. Ralph Fisher Smith led the chorus; be blamed upon youth, but much of it upon those who on, demanding more and more “G Men” and bigger and THE AMERICAN GUILD OF ORGAN¬ in certain German opera houses, because of mentalists, recently presented “Cavalleria Fred Cardin conducted the orchestra in its have neglected to give a thought to youth and upon those better prisons, ad infinitum, unless a remedy is provided. ISTS met in convention for the week the Jewish origin of the collaborators on the special numbers; Paul Althouse was soloist. Rusticana” and “I Pagliacci” at the Royal whose bad examples and faulty living have made a dis¬ beginning June 22nd, at Pittsburgh. Recitals libretto; and report comes also that political Alexandra Theater. A chorus of three hundred High School sing¬ On the other hand, the dunghills that breed these poison on the magnificent organs in Carnegie Music extremists of Munich have wished to ex¬ ers, led by Kathryn Hasslcr, won especial astrous impression upon the young men and the young flies still exist. Let the same magnificent energy, dis¬ Hall and the East Liberty Presbyterian clude Mozart’s “Le Nozze di Figaro,” “Don EDWARD MacDOWELL’S memory was praise. women of America. Our great concern, as a musical edu¬ cipline, judgment and conscience, shown by Mr. Hoover’s Church, discussions of timely problems by Giovanni” and “Cosi fan tutte,” for the honored on May 24th, when the Boston cational journal, is how music can help. For two decades small and valiant army, be directed toward cleaning up eminent speakers, and choral programs by same reason, Lorenzo da Ponte, the librettist, ‘Pops ’ Orchestra, with Arthur Fiedler con¬ •CYRANO DI BERGERAC.” the new outstanding choirs, all filled the days with having been born a Venetian Jew who later ducting, devoted a large part of its program opera by Franco Alfano, has had such an we have been striving to point out a remedy in which we the rotten conditions which are creating the flies, and the both pleasure and inspiration. embraced Christianity. to the works of our greatest American com¬ enthusiastic reception at Rome that it is believe music has an important part. Many have ac¬ country will save billions of dollars in probable future poser. Jesus Maria Sanroma, Porto Rican to be produced at the Opera Cotnique ot claimed this remedy, to which we will refer later, as one THE “ORPHEUS” of Monteverde, with SIR HAMILTON HARTY led, on July losses and safeguard thousands of valuable young lives, pianist, was the soloist in the too seldom Paris, under the baton of Albert Wolff. of the solutions to our gravest problems. In this remedy the beautiful new stage adaptation of Claudio 4th, a concert of the far-famed Concert- heard “Concerto in D minor, for Piano and through cutting down the crime population. Guastalla and the revised instrumentation of gebouw Orchestra of Amsterdam, Holland, Orchestra ; and three movements from the THE NEGRO CHORAL UNION of West¬ music is an important part. In these days of sanitation, the experienced engineer the late Ottorino Respighi, has had its Buda¬ when the program was given to works of ^Indian Suite” furnished another interesting chester County, New York, with Alston Bur¬ Anyone, who has seen the practical results that come first seeks the source of the pest and cleans that out. Let pest premiere, under the direction of Gustave British origin. leigh as conductor, gave on June 4th its from a fine band and a fine orchestra in a school or a annual gala concert. A chorus of three hun¬ us get rid of the American dunghills first. These dung¬ THE CHICAGO CITY OPERA COM¬ THE ATLANTIC CITY PIUZE of one dred voices sang the “Hiawatha1' of Cole- high school, knows that there are few other things that hills are those conditions which oppose the employment of PANY announces that it will present two THE SOCIETY 0F MOZARTIAN thousand dollars for a song portraying the ridge-Taylor and groups of spirituals. have such a splendid effect in developing the pride, stim¬ time, money and materials in our schools, to develop good STUDIES of Pans recently gave a most in¬ American works—the “Jack and the Bean¬ spirit and attractions of that famous resart, stalk” of Louis Gruenberg, and “Caponsac- ulating the spirit or exalting the ideals of the entire stu¬ character in our children. Without a well disciplined teresting concert in the Royal Chapel of the a,'yardced to Sammy Lerner for his ALBERT* AUSTIN HARDING teemed Chateau of Versailles, when the beautiful chi” by Richard Hageman—during its coming Sittin in the Sand a-Sunnin’. Mr Lerner on June 1st the honorary degree of Doctor dent body. Those who have watched a body of students moral sense, the coming citizen must run the risk of hav¬ Missa brevis in C major,” written at Salz- season. These, with “The Bartered Bride” of of Music, from Davidson College, in recog¬ join in singing fine music would no more think of depriv¬ ing himself disciplined by the State. The most valuable Smetana and “Gianni Schicchi” by Puccini, SJJ* autho.r,of the popular Is It True W hat burg, in 1776, when the composer was but They Say About Dixie? nition of his outstanding work in advancing ing them of this great inspiration than of taking away oliceman is the conscience of the individual citizen that twenty, was the chief item. Romantic asso¬ will be sung in English; other works from the progress of bands and orchestras m ciations were recalled of the eight-year old the standard repertoire will be done in their food. The time is here when boys and girls are find¬ e carries with him, which prevents him from doing any¬ CONCER?l^IONA1r EXCHANGE OF America. Mozart having attended Mass in this very French, German and Italian. CONCERTS is an enterprise of a permanent ing as much thrill in the competitive triumphs of their thing that, in a broad way, is unjust to his fellow man or to Chapel, and also that here he one day played commission of Holland, working ™ co] BENNO MOISEI- musical organizations as they are in those of their athletic the State. The “alumni” of our jails, prisons and peniten¬ the organ for Louis XV. WILLY FERRERO, Italian conductor, has led a cycle of six concerts at Odessa, includ¬ Music‘of0 Rnll* l4e ^0Cieiy °f Contemporary WITSCH has lately given groups. If you doubt this, you have never witnessed the tiaries are reported to exceed five million. The average ofD Holland, the first efforts to be at three recitals in the Town THE ORPHEUS CHOIR ing twenty-two works of Italian composers; excitement that accompanies these contests in our western year in and year out population of these houses of dis¬ and at Moscow he conducted a program Vienna, Budapest, Madrid, Prague, Warsaw Hall of Cape Town. South of Cleveland, Ohio, with cities. In some cities, when the school band has won a grace is said to be one million. Six million human evi¬ Charles D. Dawe as direc¬ devoted to ancient and modern Italian com¬ Paris™ WitWF Y°rk’ ChicaRo. Brussels^nd Africa, with the vast audi¬ positions. and th^ S?°Peratlon of The Tritone torium [lacked with en¬ state or a national contest, the town takes on the explosive dences of the failure of our present system! Attempted tor, is announced to make and the Schola Cantorum of Paris a nro in 1937 a tour of the thusiasts. For one program festivity of an Armistice Day. Here at last we have dis¬ control of crime taxes every American citizen from one “A MIDSUMMER NIGHT’S DREAM” gram of French music already has been he had the assistance of English speaking countries, has been lately performed under the auspices covered the long-lost secret of discipline without repres¬ hundred and twenty to two hundred dollars a year. The including Australia and S7ebvlnDntmhterdam' and 3 I)ro«ram of mu- the Municipal Orchestra, of the Wagner Society of Amsterdam, Hol- Paris composers has been given in with which he interpreted sion. Without self-discipline we must depend upon dis¬ rational way to reduce this tragic number and drain is India, and most of the land the play having been performed by European countries. On the “Concerto in B-flat Moishwttsch cipline from without, which usually takes the form of very to stop the supply of fresh sacrifices coming from our the Amsteraamsche Tooneelvereenigine (Am- minor” of Tschaikowskv its last year’s visit to Eng¬ sterdam Music Society), with the incidental land it was invited by the and gave the first South African l*r music of Mendelssohn played by the Con- formance of Rachmaninoff's new _ Soviet Government to give certgebouw Orchestra under the direction of twelve concerts in Moscow and Leningrad. Willem Mengelberg. on a Theme of Paganini, for pianoforte ana death of Maestro Bartoli. Dy th orchestra. (Continued on Page 595)
SEPTEMBER, 1936 537 necessary. Many a sapling, started w the wrong direction, might, with a little help, be trained to grow into a mag- nificent tree. How to do this, without the repression which used to drive English lads to sea or American boys to the circus or trampdom, is the foremost problem of the home. But in countless instances the old standards of the home have been undermined by the restless pursuit for ephem¬ eral amusement which has served to bring about a col- lapse of the old ideals. That tightly knit center of common interest and affection, of mutual spiritual and domestic development, that love for father and mother, that pride of family progress—where are they? Card parties, golf, dancing, the movies and the automobile—all of them pleasurable to thousands and, under proper and moderate conditions, a harmless part of our modern civilization- have, by their abuse, overwhelmed home interests and drawn millions away from the fireside and the church. And youth—forgotten youth—is being made to pay the bill. The time will come when the heads of the home will again realize their responsibilities. The churches, or rather, the people in those churches that have neglected their obligations, must again be inspired to exert a proper formative influence upon the character of the young. At present these great forces upon which America ha* de¬ pended in the past have, in many districts, succumbed to the conditions of the times. America, without character, could no longer be America. MUSIC AND THE ARTS, THE SOUL OF EDUCATION The schools of the land and the magnificent army of Jacques Gershkovitch, conductor of the Portland Junior Symphony educators are our only present hope. They must supply Orchestra, training a group of youths what many homes and many churches are apparently in¬ capable of doing. The churches have the organizations; neglected youth. How is this to be most effectively done? the fault is not with the churches, hut with the homes that Twenty percent of the jail recruits of our country are fail to support them. Here and there all over the country HAYDN LEADING A GRAND CONCERT AT THE PALACE OF PRINCE ESTERHAZY youths. That is, one prisoner in five taken is little more more and more attention is being paid in schools to char¬ From a painting by Julius Schmid than a boy or a girl. No wonder the nation is alarmed acter building, with the emotionalizing background of about this cataract of young people rushing headlong to music. There is something quite magical about music in their doom! The Boy Scouts, the Girl Scouts, the Y. M. its influence upon a group of young people. Try to teach C. A., and Y. W. C. A., the Knights of Columbus, the Y. M. them ethics directly and they will look upon it ns being Good Humor in Music H. A. and other agencies are combining to fight this peril. “preachy.” On the other hand, give them instances of the It must be apparent to all, however, that the only nation¬ nobility and practicability of a fine character, as a part Do Composers Tend Toward the Sombre Colors, or Do They Incline Toward the Gay? wide institutions that deal with all the boys and girls of a well planned musical program, and lead them to see By Nicholas Douty regularly are the schools of the land; and they are faced that its influences upon youth are often enormous. Music with a great responsibility, as well as an opportunity. How seems to have an effect upon the mind and nervous system SO MUCH of the humor that one hears where military leaders have used thrilling cated music like that of Bach. Our business can, a pretty, wayward daughter. Like this opportunity is met depends largely upon how enthusi¬ which makes the boy and the girl far more receptive to over the air, or in the theater, and and patriotic march music (The Marseil¬ men are tired after their days of work and many of the rest of us, he finds it a difficult astically the people of the country, including you, friend idealistic principles.' This is particularly the case with that one reads in the popular novels, laise, the Wittlesbacher March, or the worry, and our women are worn out by job. She is pleasant enough, and she has reader, support the schools in promoting some such plan those who take a practical part in the music, either is not good humor at all, but thinly veiled marches of the late John Philip Sousa) to dancing, bridge and cocktail parties. They a fascinating smile; but she is fond of hav¬ must satisfy themselves with music that ing her own way. Worst of all she will as that mentioned later in this editorial, an ideal that, through singing or playing. Schools from coast to coast bad humor. The “wise cracking” comedian “buck up” the spirits of the soldiers and to fifteen years ago, The Etude saw was an inevitable need! carefully hunts for the vulnerable spots in take away their fear of battle and sudden puts little strain upon the attention, that is drink too much of the newly discovered fairly shout their endorsement of this truth. more melodious, rhythmically simpler, har¬ beverage, coffee. Her father “grumbles like A crimeless Utopia is unthinkable. We can only work the armor of our self-respect and, like the death. • cov.er °/ Thf. Etude this month and the illustrations demons in the mediaeval paintings, wounds monically clearer, and easier to compre¬ a bear”; but pretty, spoiled daughters never toward the goal of maintaining the highest possible level in this editorial came from a remarkable booklet put out us with his barbed and pointed tongue. We So Called Classical Composers hend. Take any man or woman from were known to listen. Threats will not of character, self-control, love of country and fellow man, by the Portland Junior Symphony Orchestra, composed laugh uproariously, with somewhat twisted T SEEMS to be the accepted opinion anywhere—a cowboy from the West, who move her nor kindnesses cajole her. In and all that goes to make what we want to think is the largely of boys and girls from the schools of Portland. lips, for we cannot tell if our turn will that the greatest composers never wrote never has heard anything better than The despair he tells her that unless she gives finest type of American manhood and womanhood. Please regon. The orchestra has been a huge success in helping come next. Nevertheless we turn him on good humored, cheerful tunes; that they Last Round Up; a girl from a Harlem up coffee she may “never have a husband.” do not imagine for a moment that we of The Etude have to direct the youth movement of the western citv along again the next day, for the French philoso¬ were always serious, scholarly and philo¬ night club; a “Georgia Cracker”; a Movie At last her heart is moved. She bids coffee any fatuous theory that, by waving some educational or pher understood human nature well when sophic ; that they wrote for the intelligentsia, Star from Hollywood; and a miner from a tearful farewell, while her father rushes practical and idealistic lines. The orchestra has' broad¬ ethical wand, this may be accomplished in a few months he wrote, “In the pains of our friends, never for the common people. Nothing the Klondike—and let them hear a first off to find an eligible party. Then follows cast five different programs over national and international or a few years. It will be a long, hard fight; but we must there is something which does not alto¬ could be farther from the truth. Take, for class performance of the magnificent “Mass the gayest little trio ever penned. It seems (Continued on Page 584 » carry on this battle with all possible intensity, or our gether displease us.” example, Johann Sebastian Bach, the great¬ in B minor.” Some of it will bewilder scarcely possible that strict part writing est contrapuntist, perhaps even the greatest them; most of it they will not understand; could be so light and carefree, and the work American civilization will be lost. We are familiar with Music seldom attempts to portray this species of humor, because composers have composer that ever lived. It is quite true but part of it will move them as music ends in a gale of laughter. the biological problems which make some individuals so generally recognized that words can and that the more we study the music of Bach has never done before. Let them hear over Haydn was of peasant stock; and it is “unrecoverable.” For protection against these abnormal do express it more directly and more accu¬ the more perfect we discover it to be. It the air the great Prelude and Fugue in G curious how often country folk are happy minds there must always be police and prisons. For the rately. But that kind of good humor that is like those Dutch pictures painted with minor, as played by Stokowski, Stock or while city dwellers are sombre and de¬ safety of the State, some never should he released. We makes us forget our troubles for a minute the utmost care and fidelity, so that every Toscanini, and they will have lived through pressed. His clear, pellucid music trickles know of the human and economic pressure which produces or an hour; that completely absorbs us so detail is true to life in itself, without sacri¬ an unforgettable experience. Bach was full on as a cool, bubbling brook wanders festering slums and fully realize the part that these con¬ that we are oblivious of increased taxes ficing its relation to the painting as a whole. of the joy of life. Like Martin Luther he through a verdant meadow. Perhaps it is ditions play in manufacturing racketeers, swindlers and and decreased revenue; that helps us to Or it might be compared to one of those loved “Weiii, Weib und Gesang." He found not so very deep, yet it is always pleasant criminals. They must be legislated out of existence. But perform a difficult task; in a word, that superb examples of the art of the medalist, his greatest happiness not alone in his and comfortable without a trace of sadness. apart from all this is the great body of American youth’ makes the world a better pljce to live and fashioned under the microscope, and which music but also in his home, his wife, his This is all the more remarkable since a work in; this always has been the fountain can be truly appreciated only by examina¬ children, his pipe, a well cooked meal, and nagging wife made his home life very un¬ which is the finest human material in the world, and head from which good music flows. tion through the microscope. Bach’s music a good glass or two of beer. He loved good happy. His only remedy was to run away. which must be helped in every possible way, so that it From the beginning of history this has may be looked at from any angle, by any jokes, and his music is full of them. The “Surprise Symphony” is a joke from may be fortified against the contagion of crime. been so. The Roman legions accompanied person well enough equipped to read the The suites and the concertos have many beginning to end; and the Fox Hunt in There is a tendency to let youth fend for itself—to let their long and arduous marches of twenty somewhat complicated scores that cheap quick and graceful movements—gigues and “The Seasons” is the liveliest of open air it make its own laws and determine its own future. This miles a day, with rhythmic songs telling of editions have made easily available to all. dances of every sort—that bring a smile to tunes. I have often heard an audience break is a magnificent plan, with the right sort of young people The Girl They Left Behind Them, in Rome Its technical perfection and the grandeur the lips and a merry twinkle to the eyes. into laughter when the bass voice describes Imbued with high ideals, they will not abuse this liberty’ or Neapolis, or of the blue-eyed maids they of its architecture amaze the mind, while It is just as hard to make one’s feet behave how God “created the worm,” in his great¬ But in thousands of cases, inspiration and guidance are were to meet among the Gauls or the its harmonic and melodic beauties delight when listening to these bright pieces as it est oratorio, “The Creation,” which Richard Teutons. Troubadours, Trouveres, Minne¬ the soul. is when the latest slow waltz or jazz is Wagner loved so well. THE MARCH TO HIGHER IDEALS singers, Meistersingers, all fashioned cheer¬ played by the most famous dance orchestra. ful verses in praise of love and wine as The “Move” of Music The “Peasant Cantata” is very merry, Mozart and Rossini well as war; and their poetry is still here TDO OFTEN it is said and believed and so is “Phoebus and Pan.” Merriest of OZART’S OPERAS, written for to prove it, even though their music is lost that we are all too busy nowadays to all is the “Coffee Cantata.” A middle aged the brilliant, pleasure loving court in in the mists of time. Always and every¬ find time for the serious study of compli¬ widower is trying to bring up, as best he Vienna, of necessity had to be light and SEPTEMBER, 1936 539
* , . «vnr«*sses his individual, serious, too intellectual, lacking m h„„ delicate, and, on the surface least, never mentality, but the same high mood that in- to the world as he finds BetaBwiokj. Bear Don", too serious. Musically they : marvels^of spired Beethoven when he wrote^unmor a P as djd he composer of 17 dancing bear himself has aTn"- melody, counterpoint and orchestration. Did to Schiller’s ever-living words, dl life has changed , ajid^he ^ and cynicaj httmor M ^4 rr;, Radio and Music ever man before or since conceive such a “Freude, schoene Goetterfunken, ; old repels. Many atonal pieces iOT number of magnificent tunes? Sometimes Tochter aus Elysium.’’ their humor is sly, as witness the Harem by the younger, ultramodern Am^T I Keeper’s lilting song from “Die Entfuhr- Wagner’s “Meistersinger” and composers, strange and exaggerated^? By David Sarnoff may appear at first hearing, full oU- ung”; sometimes slightly sarcastic, as, for Modern Operas PRESIDENT OF THE RADIO CORPORATION OF AMERICA s§siSSB sound-combinations, made by stnW^ I example Non piu andrai with its caricature MANY MODERN operatic composerscomposers, by the same old standards. Has of a military march played softly on trum- __minfluenced ^__ by that school called fuccelcceeucueded 1in _finding_ -something invest-. . ‘‘.cy*fn0t W,th but with ti*t pets, horns and wood winds, in “The Mar- verismo"whose highest examples A Conference Secured.Expressly for THE ETUDE Music Magazine riage of Figaro”; but never are they acrid Mascagni’s “Cavalleria Rusticana,” Leon- or ill tempered. Leporello, the friend and *s -sttfssss rJrsfcKSaa*: By R. H. Wollstein valet of Don Giovanni, describes, with every indication of enjoyment, his hand¬ a h“ heHasyttheScontcmporary composer discov- new voice leadings, they am di*c*J$ UITE APART from the manifold as¬ some master’s conquests in many lands O ered nothing new? Many new orchestral a..«l requ.re a great deal oi, . EVEN TO THE CASUAL observer, pects of radio communication, it gives (“Ma in Espana due mille e tre—but in devices certainly, and also some int n they are htanorwaX Mr. David Sarnoff seems singularly me a definite sense of pleasure to think Spain two or three thousand”), even as an devices, ccruimi, : . .. „ and original methods of voice leadmg. 1 or ant, and they arc quite worth well suited to his life’s work of radio¬ that radio, as we generally use the word, enterprising modern advertising manager electricity. In his person and in his speech the sake of convenience, his discoveries ma; intimately, as their merit grows with i- should have originated as a music box. might recount with glee the amorous ad¬ be classed under three headings—the Hexa- quaintance. there are the strength, the dynamic energy, ventures of a reigning movie star. It paid Music, I think, will always be the favorite tonic Scale, Atonality and Folytonality. and .the sharp cutting clarity which sug¬ child of radio. Certainly, it is a favorite to advertise then just as it does now. Only gest a crackling of sparks and a blazing of Polytonality child of mine. Music, to me, is far more Mozart and Rossini succeeded in capturing light. As president of the RCA, Mr. Sar¬ The Hexatonic Scale ill- POLYTONAL COMPOS than a short cut into culture. It is a nec¬ the contagious laughter of Figaro; but T noff bears living testimony to the fact that HE WHOLE TONE SCALE comes asks several pertinent questions oj I essary part of complete living. From the where Rossini caught this mood once or T opportunities still exist, for those who have from the Orient, where it has l>cm •rid. Why must chords be halt m cradle to the grave, music is an intimate twice, Mozart ensnared it many, many the ability to lift themselves by the boot¬ used for centuries. Somewhere between thirds? Why may they not be part of our lives. Mothers’ lullabies sur¬ times. straps. Considering the magnitude of his 1860 and 1870 Richard Wagner and fourths, fifths or any round our infancy, the circus band enlivens position and the fact that nothing but his Charles Gounod made it slightly familiar must music remain our childhood, operas and symphonies en¬ Beethoven own powers put him into it, he is still a to Western music lovers; though Mozart Ixmndaries of a rich our maturity, sweet refrains refresh DID BEETHOVEN, the man of the very young man. sad and serious countenance and the had already used it in one of his quintets. Toe It, Stravinsky, Hindemith, Rnpi As a boy, Mr. Sarnoff was obliged to our memories in old age, and solemn songs life of the somber struggle, ever unbend As the fifth is always augmented in this help swell the family income. He had accompany us to our final resting place. and actually smile? The little song that he idiom, there never can be a consonance, dreams of becoming a newspaper man, but Thus, whatever else radio has done, I like wrote for Maelzel, the inventor of the and therefore it would be difficult to con¬ had no time to prepare himself for that to think that its chief accomplishment has metronome, proves that he did. Its recur¬ ceive of a long piece, a symphony ‘-r a •.tudcni remaining m ucnuranceof fomt work. Young David was still in his early been a definite service to music. ring “Tick, Tock, Tick, Tock” is good concerto, written entirely in the whole t>'i>c interesting development* in CUtmpnn ’teens when his father died, and he found There is to-day scarcely a need to point humored and amusing; and Beethoven liked scale. These endless dissonances would be- musk. They retains fine sense of Uan himself the man of the . family. His first out the tremendous advancement in the it so well that he used it again in the slow come first monotonous and finally unpleas- and form. They write in cuwitrrpjes. >■ full time job was that of a telegraph mes¬ fields of music dissemination and apprecia¬ movement of the “Eighth Symphony.” ant and mechanical. The wise and talented the mmic resulting from the strict senger boy. Fascinated by the clicking of tion which has been brought about within There are several of his comic songs, the space of two decades, by a piece of BACH CONDUCTING ‘COFFEE CANTATA” composer uses it as a piquant flavoring, of the voice* may be in two, three cr ice the keys, he busied himself, between de¬ in which the evident intention is to provoke even as the clever French and Italian chefs tonalities at once. If any comenixeul 6- livery trips, studying what lay back of mechanism which, oddly enough, has noth¬ a laugh, for neither the verse nor the cavallo’s “I Pagliacci,” and Puccini’s “La insert garlic and onions in the preparation combinations are encountered, they ane- those sharp staccato sounds. He taught ing in its own nature that is musical or music is of a high order of merit. Tosca,” have chosen lurid libretti, reeking of their daily food, with very delectable tircly fortuitous, the remit ui old himself telegraphy and became expert in artistic. The aesthetic philosophy of cen¬ Many writers have pointed out Beetho- with tragedy, crime, sexuality and insanity rather than of warm melody Hinder- the Morse code in less than six months. turies has not accomplished what fifteen vens “Olympian humor,” and have in- Wagner’s “Die Meistersinger” is the ex- gruesome “Die Jungc Xlagd" is a nsqjE Wireless telegraphy seemed the coming short years of broadcasting have done. stanced the Scherzo of the “Pastoral Sym- ception. There is neither murder nor rent example of this mrthnd of antra field of communication, and young Sarnoff Radio has, so to speak, “delivered the phony” as an example. Surely the subject adultery in it; nor is there a love scene Some clever critic Mid, “It looks like Bat applied for a position with the Marconi goods” in a practical way. You may argue m the woodwind and horns, with the comic that must be played behind a concealing but it sounds like the Devil.- Vet tfwnrr Wireless Company. A post was open for endlessly about the pleasure a man ought phrase in the bassoon as counterpoint is curtain. One does not need to blush at Hindemith las pmdixed one of the Igte him at last—not as operator, as he had to find in opera; but turn on the dial in deliciously happy. It does not force one to hearing words sung that are fit only for a and mint attuning of modem works, is fe hoped, but as office boy, at five and a half his own comfortable living room, and let break into loud, raucous laughter; but it barroom, nor to hang one’s head as a situa him hear the majestic chords of the Over¬ ten minute opera. "Hin und Zarikk,’ vfei dollars a week. He took it, with a deter¬ induces that intellectual amusement that tion is unfolded that in real life would be ture to Tannhduser and he is convinced. might be translated “There and Rack." AS mination to work up to bigger things than lasts long and that can be enjoyed over carefully avoided. It is the simple, direct, Music, it is interesting to observe, is the incidents of a drama of push®. it- running errands. In less than a year, Sar¬ and over in retrospect. naive and poetic story of the love of two perhaps the only experience of human liv¬ eluding tl»e discovery of a wife's what- noff had become a full-fledged Marconi Beethoven reserves his real Olympian perfectly normal, healthy, sane young ing which has absolutely no enemies. fulness and the murder of her low. re operator. A few years later he won the good humor for the last movement of the people; and at the end they “Marry and admiring attention of the entire world, not Through the storm and stress of chang¬ crowded into five exciting minutes. Deis ing times, philosophy, government, educa¬ Fifth.”S’ BeautifulR°L:l!f,uy Th0n:eS't1,S o live happily ever after” « both old and by “business success” but through his in¬ the first three new fashioned young people should do. the next five minutes both music and a®* tion, and capitalism have been attacked; movements, they are all intensely herent qualities of humanity and courage. Walter’s Prise Song remains the ,„U3l arc repeated, backwards, with mast tat schools of music have been found wanting; even the Scherzo being in the minor mode. For seventy-two hours he sat unrelieved perfect expression of strong and faithful i rons effect; and the curtain falls, as itrase. DAVID SARNOFF individual musicians have been harshly As the third and last movements are de¬ at his post in the Wanamaker radio station love between the sexes yet conceived. The upon an empty stage. Stravinsky's *-V criticized; indeed, the Deity Himself has signed to be played without pause, there is in New York, straining every nerve to Meistersinger March makes good humored polon Musagctc" is a cheerful and p*r~- the Council of New York University. St. over the terms of that report of sixteen modulatory passage linking them catch the least signal which might bring not escaped without censure. But no one fun of the successful business man of the travesty upon the old-fashioned balkt,1C news of the survivors of the ill-starred Lawrence University, Marietta College, and years ago, fills one with the same sort of ever has contemplated the power of music, gether. All too often a passage of this char- y^'lSOO.^Pompous^and^conceited “t snme lovely, tuneful musk despite i in Norwich University have given him hon¬ surprised wonder that is experienced in and said, “I’m ag’in it!” Radio has brought cal and uninteresting; sounds (is not the rich busines™ * Titanic. The President of The United very dissonant moments. BliUsSeinfOac- States ordered all other stations closed, to orary degrees for his services to Science, visiting museums! It refers, among other this fact before us as a practical truth. but this one contains one of the : . origi- 1935 both pompous and conce;ted?)( but -t pagne Cocktail” makes fun of a ngtedk Literature and Education; and the Govern¬ things, to “a plan of development which nal and startling effects prevent interference with Samoff’s work. ,ic. Drag- yet recognizes his great ahirtt-,, t,:. while Respighi's “Setti Cai***.’ * ments of France, Poland and Luxembourg would make radio a ‘household utility’ in The Broadening Horizon ments of the first tune of the Scherzo yet recognizes his great ability and his Young David Sarnoff was promoted to value to the community. Hans Sachs tl>e works which may survive, turns tt* have decorated him. the same sense as the piano or phonograph. tossed about from one set of instruments iu Q„nprh , , ., the post of Assistant Traffic Manager of IN VIEW of the amazing things which superb portrait of grave to gay and hack again like a kak*h the American Marconi Company and The idea is to bring music into the house have happened1 in so short a time I like another, while the drums like a heart beat, Rjoened hv vear« ar.d ma" mid^ e age. A Radio Music Box by wireless.” It suggests that “The receiver rhythmically strike the keynote of the sym- his greatey ypleasured expe.ne«ce. h<= takes scope. The quintet of the disputag dreamed of going on to still higher things. to look forward to the gifts which radio NIQUE INTEREST attaches to Mr. can be designed in the form of a simple phony, C. Into what key is it^ leading, A- t;on 0f yj , - . -1 the gratifica- from Richard Strauss's “Salome'-c®*' He was active in organizing the NBC, U still hopes to fashion for this favorite child. Sarnoff’s opinions on the possibilities ‘Radio Music Box’ and arranged for sev¬ flat, E-flat, C minor again? The last’few Mother? p™ 1»SIT’ l111* in ,th.e happiness clever and dissonant—holds up a W® which first inaugurated network broad¬ Closest at' hand, perhaps, lie extension of measures answer the riddle, carrying us tbelr Pass>°ns, discussion to good naturtd ridicide, W casting. He assisted in the negotiations of radio broadca*sting, since he was the first, eral different wave lengths, which should world broadcasting and establishment of into C major, if you please, and the full as they exist upon the screen; who effect. The wittiest ti, k first time upon any stage. which resulted in combining radio and perhaps, to prophesy its birth and develop¬ be changeable with the throwing of a single television. Before many years have gone, orchestra peals out the most good humored, not satisfied unless their nerves are well as the mn * t U ^st humored, as The polytonal composers cannot be phonograph machines; and he took an im¬ ment. As far back as 1915, while he was switch or the pressing of a single button.” it will be as possible to see the “show” as happiest, most soul stirring of tunes, as if shaken by the fear of death or the horrors positions in ™sterl>' the com- missed with a shrug of the d**’®1’'; portant part in giving voice to the silent Assistant Traffic Manager of the Marconi And it adds the hopeful thought that to hear it. And, in addition, the “show” Beethoven wished to say: of abnormality; these will get little pleas- Sorcerers’ Appr^iSce"“’l"0 'lo' is "Thc the— lifting...... of an eyebrow. They ***!a pictures. Besides his scientific gifts, he has Wireless Telegraph Company of America, “There should be no difficulty in receiving itself will widen its frontiers. Just as radio proven himself a remarkable executive and he made a certain recommendation to that music perfectly when transmitted within took the last rows out of the concert halls, “God’s in his Heaven, ure from Die Meistersinger.” It is the Melodicallv fZ Duka»- velnuslv trained muskuns who c- a keen business man. He exercises general Company’s General Manager. He urged that a radius of twenty-five to fifty miles.” greTtes of Srie StOI^eS WCdded to the suPcrbly orclR-iran/i',T"'' ' :"’
By Professor Walter Raymond Spalding By Daniel Gregory Mason, Mus. Doc*
ment of music. Young people without some eyes veiled in concentration, producing ROFESSOR Walter Raymond music in their lives are likely to become a! P Professor Walter Raymond Spalding was born at Northampton, M*™chu*etU, THE COLD IMMERSION in an in¬ with his short, unerring finger the deli¬ Spalding has written a volume, best mere thinking machines. As for recrea- different, heedless, and sternly prac¬ Dr. Daniel Gregory Mason, the brilliant nephew of Dr. William Mason, is May 22 1865. He was graduated from Harvard University m 1887 ciously adjusted sonorities.John Knowles Paine, a musi¬ Charles W. Eliot, whose strong advocacy Howard Van Sinderen, my uncle, Dr. Wil- Nor was the beauty of his playing merely coming to New York, he would try to show In signing our constitution you will promise of streets to find our way to the Old Nun¬ instrumental and orchestral interests at cian of real force and excellent training, of music study in education lias been in¬ liam Mason, as influential in the musical the sensuous beauty of the touch; he was his recent compositions to “Uncle William” to devote yourself to the preservation nery, Will saw a good-looking old chap Harvard until, on its one hundred and was engaged to teach music at Harvard. valuable to the development of the art and inquired the way of him. He talked world as my grandfather, Lowell Mason, too good a musician to neglect the higher (as it amused him to call him for my ear among us of social and musical harmony; twenty-fifth anniversary, the Symphony In 1875 he was raised to a full professor¬ in America. Professor Spalding writes: volubly for a long time, gesticulating and had been in the previous generation. From beauty of proportionate light and shade, only), Uncle William would suddenly dis¬ to keep sacred the secrets of the Sodality; Orchestra presented the following pro¬ ship. Upon his death, in 1903, he was suc¬ bowing, and finally sent us forth on our the first these three made me welcome, my To hear him play his little One-finger cover that he was “tired.” Possibly his gram; to obey its laws and by all means in your "President Eliot always believed in the ceeded by Walter Raymond Spalding. To quest only to join us again after a block dear cousin was as kind to my homesick- Study was an illumination of piano art. timidity inclined him to undervalue those power to promote its best interests.” cultivation of the senses, particularly the these three men, Paine, Spalding and and insist on guiding us in person. He took ness as any sister could have been, and I The one finger with which it was played near him—his own relatives or his own One Hundred and Twenty-fifth There was a Student Choir at Harvard eye, ear. ami touch, and to the writer has us first to an old abbey which we only got was able to meet on informal terms the was far subtler than the “melodious fore¬ countrymen—though in the case of Mac- in 1814 and possibly earlier. From this and Davison, much of the prestige of music at often stated his conviction that music is Anniversary Program Harvard is due. into through his intercession, and then to stream of musicians, American and Euro- finger” so delightfully championed in Stev- Dowell he helpfully transcended such snob¬ other groups the excellent choir of the one of the most desirable of educational several other places of interest, finally tak¬ pean, who frequented my uncle’s apartment, enson’s letters. It had to create and carry, bishness. Malcolm Holmes, ’29, Conductor Memorial Church has been derived. The subjects; for the student therein is being ing us to his own house—and now comes and later his house in West Sixteenth by its varying touches, three separate tonal When I dedicated to him my first book, Brahms .Ave Maria, Opus 12 Harvard Glee Club was established in 18S8, trained in his mental powers, his ability Music for the Young the most remarkable part. His house was Street. “From Grieg to Brahms,” he was at first Assisted by the Radcliffe Choral Society although it was antedated by previous to draw fine distinctions, in his ear, his * I ■'HE AUTHOR of the book stresses full of the most marvelous collection of rather surprised, then gradually assimilated Mozart.Concerto in A major, for choral groups. This was of course the con¬ eye, his imagination, his emotions, and, on A the importance of music for the youth. old musical instruments I ever saw, room the idea that a nephew, by nature a liabil¬ Piano and Orchestra ventional good college glee club, with its the executive side, his hands and feet that Allegro; Andante; Presto He writes: after room, clavichords, spinets, organs, ity, might by a freak of nature become an repertory of sentimental and hilarious col¬ is, in a comprehensive coordination of his Music in its appeal to the deepest parts violins, violas, violi di gambe, violi d’amour, asset. He tells in his “Memories of a Mu¬ Professor Edward Ballantine, Soloist lege songs. In 1911, however, Dr. Archibald whole nuke up, mental, spiritual and Ravel.“Suite for String Orchestra” of our being is the most vital of the arts. lutes, dulcimers, harpsichords, serpents, sical Life” how reluctantly he showed his T. Davison was appointed University Or¬ physical. It actually generates love and sympathy oboes, flutes, clarinets, bassoons, horns, teacher, Moritz Hauptmann, some of his (from “Trois Chansons”) ganist and Choirmaster and a year later “All the greater credit redounds to EHot (arranged by the conductor) among all who participate in it. The boys saxe-homs, aeolian harps, everything under father’s hymn tunes, at his father’s special started out to reorganize the Glee Club for this conviction and attitude, because by First performance and girls in our schools and colleges are the sun that ever produced a musical tone. request, how long he hesitated thus to ex¬ upon such a high standard that it has vir¬ temperament he did not respond proionndb Mozart.Symphony in C major craving more and more an opportunity to He has been collecting them for over hibit home products, and how finally, after tually revolutionized all such organizations to music. He loved music, however; as a Allegro Vivace; Andante di Malta; develop their innate love for music An thirty-five years and his collection is now Hauptmann had praised their strength, he in leading American educational institu¬ Allegro Vivace irrefutable proof of this is the increase in boy he delighted in part-singing, and bean! larger than that of the South Kensington could not, as he says, “understand how such tions. Here is a program which it gave in the number of college glee clubs and or¬ it often in his heme, thanks to Mrs. Eliot, Museum. a big contrapuntist could express himself Paris, France, on its triumphal European The history of the Society is marked by chestras and the fact that practically no who had a remarkably pure soprano voice; “After we had seen his collection we in such strong terms of approval.” “But,” many picturesque happenings which Pro¬ Tour in 1921. educational institution is without a depart- he felt through his children and grand¬ went to his study, full of rare books on he adds with disarming naivete, “I knew fessor Spalding has uncovered. In 1832, children its liberalizing and tonic force the manufacture of musical instruments, him to be genuine, and so I straightened for instance, it was reduced to a single What more profitable experience can rlwt theory of music, history, and indeed every¬ myself up and really began to be proud member, one Henry Gassett, ’34, who faith¬ be for young boys and girls than to sing- thing that could even/ remotely bear on of my father.” And with an honesty, as fully kept the records, practiced the flute play, and dance together, or listen to up¬ his hobby. Here he actually brought out much a part of him as his timidity, he re¬ alone in his room and somehow managed to lifting music ? In the above facts there is of the cellar and insisted on our drinking marks that he “recognized his own igno¬ enlist two new members, thus insuring the also a significant line of cause and eff«J- with him two quart bottles of twenty-five- rance in imagining that a thing in order continuance of the group. for President Eliot's father, Samuel A year-old Burgundy! We then all exchanged to be great must necessarily be intricate Eliot, when mayor of Boston, was the hrst cards, and I found that he was M. Cesar and complicated.” The most amusing ex¬ Muses Make the Minutes to place music in the public schools of that Snoeck. I wrote on my card the name of ample we have of his cautious liking for THE MINUTES of the Society are city and also served on the School Com¬ Mason and Hamlin, and he immediately labels guaranteeing values occurs in his often quaint and sometimes humorous. mittee. It has taken time and firm ejaculated when he saw it, and ran to his account of how he declined an invitation In 1839 we find, for instance, that the suasion to make people realize card catalogue, from which he produced a of Wagner to a walking tour, in 1852. “Sodality met at seven o’clock and played great geniuses of music, Bach. Hay®- large card headed in blue pencil ‘Mason “Of course,” lie explains, “Wagner was in a most delectable manner. Music has Handel, Mozart, and Beethoven, were )■>* and Hamlin, Organs and Harmoniums, not then what he afterwards became in the charms doubly delightful; it calls forth the as notable in their field of expression as Cambridgeport, America.’ He had, written deepest emotions of the soul, it purifies the Chaucer. Shakespeare, and Milton in the®- down, the date of the firm’s foundation and hang on the tenterhook of doubt for My parents were Antonio and Elizabeth vember 12, 189S, a letter hitherto unpub¬ “I hardly know how to write”—so runs his March Wind, and with his keen sense heard hint thus dispel with a healthy hu¬ some moons and then in the interest of (Trinkhaus) Sousa. I was christened John lished, in which he says: “I feared you the journal—“what I have to tell now; I of the dramatic in sonorities, and was as man word tlic artificial, almost fetid air truth gradually to set you right. Philip at Dr. Finkel’s church on Twenty- might not like our Sonata therefore you scarcely know whether it is true or a good to look at as to hear, with his hand¬ of "artists’ rooms," and start circulating “The story of the supposed origin of my Second Street, Northwest, Washington, may judge how delighted to receive your beautiful dream. I have been dining with some head held a little sideways as lie sat again the currents of common sympathy name is a rattling good one and, like all D. C., and would say, had I an opportun- letter I was ... I am thankful I do not those dear people across the square, and absorbed at the piano. Ernst von Dohnanyi and good sense! Of all the musicians I ingenious fables, permits of international ity to be born again, I would select the have to criticize my things. Parts of the the only other guest was Paderewski. came—a mere boy, enthusiastic, charming, met at my uncle's, many of them destined variation. The German version is that my same parents, the same city and the same MK. SOUSA'S FATHER AND MOTHER Sonata I am fond of and parts of it I have “He is impossible to describe—a tall, fair already a brilliant pianist, though no one to make important contributions to music, name is Sigismund Ochs, a great musician, time.” felt deeply, though I am afraid they—the and gracious man, with fine flaxen hair, could then foresee that he would become none seemed to me quite so utterly simple, The Birthplace of John Philip Sousa, in born on the Rhine, emigrated to America, Thus this famous American bandmaster to take a siesta after his luncheon hour. Washington, D. C. feelings—are not fully expressed. That you small blue eyes rather far apart, a well one of the greatest composers of our time. genuine, unpretentious as Gabrilowitsch trunk marked S. O., U. S. A., therefore and composer tells us about himself, and I can recall Mother, who was charged however can take the will for the deed in shaped nose and a sensitive mouth. He has One memorable evening there appeared none had in so high a degree his truly the name. The English version is that I am we present herewith a picture of the house with ambition and energy, saying despair¬ what may not appeal to you in it, and like a slight difficulty in pronouncing the S, a a young Russian of singularly friendly American sense of humor, and none has THE COMIC persistence with which ; Sam Ogden, a great musician, York¬ l which he was born. ingly, ‘O, Tony, Tony, don’t go to sleep the rest for its own sake, makes me feel sort of Sh-sh sound. He speaks naturally demeanor, delightfully frank and simple. proved through the years so long and fabricated tales of the origin of the shire man, emigrated to America, luggage this afternoon!’ But he would continue Noble Father, Noble Son the work has found something more than and with a good deal of enthusiasm, laugh¬ None of us seemed to know whether the staunch a friend. His brilliant, sympathetic name of the late Commander John marked S. 0., U. S. A., hence the cog¬ slowly up-stairs, saying: ‘Elise, the night an indulgent god-father. I am proud of ing heartily and with unction. He is abso¬ second or the third syllable of his name. playing has charmed thousands. Philip Sousa, U.S.N.R.F., continue to re¬ nomen. The domestic brand of the story \UOTING FURTHER from “March- is for sleep, and the day is for rest.’ having a good sturdy American name at lutely simple and unassuming, talking as if appear, makes this article necessary. One s that I a Greek, named John Philipso, 1 ing Along,” he gives the following “Father was very reticent about his boy¬ the head of my music, let alone the pleas¬ so used to his fame that it didn’t occur to of the first tales is that he was an Italian emigrated to America, carried my worldly account of his father and mother: hood days, and almost never talked of ure of offering it to you. The pride is all him very often. He happened to mention who emigrated from Italy bearing the possessions in a box marked J. P. S. O., “This quiet father of Spain, or his days on the sea, but I did not caring to walk much because he had name John Philipso; that when he arrived U. S. A., therefore the patronymic. the best-informed men I have ever met. know that his parents were driven out of Several years later (December 19, 1899) ‘the misfortune to be somewhat known, Whetting the Children's Appetite for Music his baggage was marked John Philipso, “This more or less polite fiction, A most accomplished linguist and an in¬ Portugal during the Revolution of 1823, MacDowell wrote my uncle a short note, and the street-boys would call to him to U. S. A., and accordingly he clipped off mon to society, has veterate reader, he and went over into Spain where he was on University paper (it was after he had go get his hair cut’—all with great hearti¬ the last syllable of his own name, added been one of the best had stored up wis¬ bom in Seville, on September 14th, 1824, come to New York and to Columbia) and By Harriette Dexter Bosworth ness and enjoyment of the fun. our national initials to it, and by this simple bits of advertising dom from a multi¬ As a youth, he left Spain and went to Eng¬ by a quaint accident in red ink. For its “He spoke of Brahms as a great master, course became John Philip Sousa. Some¬ I have had in my tude of sources. In land, and from England came to America intrinsic charm as well as for the unusual and said the Paganini Variations were times Philipso is supposed to have been long career. As a the last days of his glimpse it gives us of the whimsicality some time early in the forties. In Brooklyn great piano music, but that most of Brahm’s To make the study of music attractive picturesque costumes native to that country; Greek. That is lie Number One, and is rule items about life, when he was an ordinarily masked by MacDowell’s shyness, he met Elizabeth Trinkhaus, a young piano music was ‘bad,’ meaning not idio¬ to very young children, a well planned pro¬ A Rhythm Band, using toy instruments, perhaps the best known. The second is that musical people find . invalid, I have no¬ woman who was visiting the United it may be worth printing. matic. He was much amused at hearing gram of interesting activities is necessary. and directed by a young pupil: he was an emigrant from Germany, whose their way only into ticed on his table States with some school friends (she was "My dear friend: that a man in Philadelphia wrote to ask They need to be made to feel that they name was Sigismund Ochs, the initials be¬ columns of the four or five books in “'Wine, wife and song, etc.,’ always Indian, pony and butterfly dances, illus¬ a native of Franconia, Bavaria), and after Uncle William if it was true that Paderew¬ really are doing something. They hear the trating rhythms: ing S. O., and he added U. S. A., and daily press, a few different languages, a short courtship they were married. seemed to me incomplete until your birth¬ ski was habitually drunk all the time. He grown-ups talking about their clubs and Singing, lor ear training; made the name Sousa. Tihis is lie Number of the magazines, each of which he de¬ Mother used to recount with much pride day remembrance came in which the wine said, parenthetically, that he could not re¬ other interests; and how they do like to Two. It so happens that there was of and papers devoted lighted to read. I am was synonymous with friend thus making Piano compositions, with stories to ex¬ in Father's ingenuity (for if ever a wife member ever having been drunk; He was imitate their elders! course, a Siegfried Ochs, who was one of to music; but this happy, now, to recall the old Spruch cover the whole ground. plain them. worshipped her husband it was she!) how very affectionate to Uncle William, shak¬ Finding that recitals were losing in ap¬ the ablest and most respected of German item has appeared that I was not only That I love the friend, needs no expla¬ This outline has been varied in many Father got out her German Bible and his ing him by both hands at every occasion. Jewish conductors, but Commander Sousa in the religious, his son but his com¬ nation, any more than good wine needs peal, the writer decided on a home party ways, on succeeding programs, depending English one, and how thus she learned He was refined but simple in his manners, was not a German and was not connected rural, political, sec¬ panion, and, when- a bush—so let me say again that your with an atmosphere that would help the upon the talent and other resources avail¬ English, and he conveyed his tender senti¬ ate rapidly and in large mouthfuls but pupils forward in their music. with Ochs in any way. While Sousa fre¬ tarian, trade and la¬ remembrance of my birthday was very able at the time. ments to her by that highly respectable never unpleasantly, and was remarkably quently attributed the virility of his bor journals, from lovely—and that the wine shall be drunk Our first program was made up of: Mothers attend these events and are hunting trip or a medium!” cultivated and intelligent in his conversa¬ marches to a combination of his Latin and one end of the fishing expedition or ‘con amore.’ Yours affectionately, Keyboard demonstrations, including most enthusiastic over the results of these Pictures are given here of Commander tion, making allusions to painting and scales, studies and pieces; Nordic blood, he was what the composer world to the other; any other pleasure, Edward MacDowell. little recital parties. They surely have had Sousa’s Father and Mother. literature which showed him to be an ap- of the Stars and Stripes Forever should and it is believed I was always with "Pardon the red ink—a mistake in the preciator. A Clapper Solo-for rhythmic motion: a most gratifying effect on the advance¬ have been, an out-and-out American, born that it makes its him. Many of his ob¬ bottle—This sounds pretty far gone I A Dance by two Norwegian children, in ment of the pupils. Some Personal Traits “Then finally he asked me to play him in America. pilgrimage around servations made an know, and suggests 'Hie’ facet as a my Sonata, and I thumped out the first proper inscription on my tombstone. If It is amazing how the public will accept the globe once impression on my WHILE NOT in any way sanctimoni¬ movement in such a tremor of nervousness a false rumor, seemingly in preference to every three years. youthful mind and, ous, Sousa was essentially a religious anything happens to me it will be your that I couldn’t see the keyboard and began a well established historical truth. These It emanated first with his wide knowl¬ man. He attended the Protestant Episcopal fault.” an octave too high. I calmed down, though, stupid whispering campaigns spread like about ten years ago edge, he had a story Church, but he had intimate friends among “If anything happens to me”: the words sized up the softness of the action, remem¬ "A-440" by National Broadcast forest fires, and it is necessary now and from the ingenious suitable for any in¬ the clergy of many creeds, notably Father so lightly spoken are sad enough to us who bered about repose, and got along fairly JOHN PHILIP SOUSA know the poet’s tragic fate, even then then to state the facts so that those inter¬ brain of that pub- cident in our daily John E. Cavanaugh of Jenkintown, Penn¬ and he interjected encouraging little grunts’ ested in truth may correct untrue and often licity promoter, Colonel George Frederick life. One thing he fastened in my mind sylvania. Once the editor dined with Com¬ swiftly approaching. One more letter, writ¬ When I was through he seemed genuinely WZT *atio.nal. Bureau of Standards at ceiving these frequencies; but the more malicious statements. Hinton. At that time Colonel Hinton very strongly: never assume that you know mander Sousa, at Father Cavanaugh’s ten only a year or two before the final pleased, said it was a really interesting Washington is interested in broadcast;™ recent ones, and the "shortwave” and "AB The Editor of The Etude knew John s exploiting Sousa and His Band, and all about a thing, or try to talk the other parish home, and there was the freest and catastrophe, congratulates his friend on the composition, commented on the beauty of the Standard A” pitch at 440 vibrations per seCOnd. This ^ be ^ -buttons Wave” sets will do so. The standard pit™ Philip Sousa and his family from his own : of the i ■ recesses of his gray most liberal discussion of religious sub¬ “Memories of a Musical Life” then ap¬ the second theme; and, on the adverse side down; instead, agree as nearly ; will be broadcast continuously, day boyhood to the day of Commander Sousa’s matter he evolved this perennial fiction, possible with his opinions and so gradually jects. Mr. Sousa was fond of making com¬ pearing in a magazine. thought it too brilliant (said it was more useful to musicians, musical instrument night, from August 29th to September 12® death, when he was the Editor’s guest in Since it appeared I have been called ments upon thoughts from the Bible and “Hillerest, Peterborough, in the mood of a concerto than of a sonata) force him to see yours. No better way inclusive (except from noon to 3:30 P. *• Philadelphia. He had innumerable oppor¬ to deny it in Afghanistan, Beloochistan, not infrequently illumined his conversation New Hampshire. . and thought the development rather too aU n be found to get at the truth. August 30, 1900. ards. P th r present stand- —E.S.T.—on Tuesdays. Wednesdays and tunities to learn the facts of his life and Camiola, Denmark, Ethiopia, France, Ger¬ “Father had his lovable and amusing with observations indicating a surprising ulg,M0r,the general scheme of ‘he whole Fridays. More detailed information abort ancestry at first hand. In 1916 he wrote familiarity with the Scriptures. “My dear friend: He liked it very much, I know. He said This “Standard A” will , many, Hungary, Ireland, Japan, Kamchat- little foibles. For one thing, he these “Standard A" broadcasts may be had to Comm. Sousa, asking him to correct the “Only a zvord of delight at your ‘Cen¬ it showed ‘serious talent,’ and said- ‘You ka, Lapland, Madagascar, Nova Scotia, fond of work, despite the fact that he was Commander Sousa was essentially a by writing directly to the National Bu¬ false statements made about his birth, tury’ articles (and from every side I are a composer; you must go on writing’ Oporto, Philadelphia, Quebec, Russia, wonderfully handy at doing the things he mannish man. All of his associates re- Old radio receivers are not cabbie Tit reau of Standards, Washington. D. C and received the following reply, which Senegambia, Turkestan, Uruguay, Vene- liked. And, like all Portuguese, he liked (Continued on Page 589) 544 Grasp this rare opportunity. SEPTEMBER, 1936 545 the etude "When Should Piano Study Be Making Tempo Rubato Understandable Commenced ?"
By Ronald Cordon A Question Asked by Thousands By Hope Kammerer Then this may have Ex. 6 added to it, pupil the two kinds of rubato, the leaning AUTHOR OF “FIRST AND SECOND PERIOD AT THE PIANO” TEMPO RUBATO is one of the thus completing the cycle. kind and the hurrying kind, together with most valuable resources within com¬ the purpose of each—the leaning kind mand of the interpretative musician; (ritardando followed by accelerando) to and it is well to begin instructing pupils in bring out an important note without ac- ' How Old?" the use of this artistic device as soon as centing it; the hurrying kind (accelerando they have learned to play in “strict tempo.” followed by ritardando) to express agita. Over and over again parents and teachers have asked The Etude, “When should piano study be The teaching of the two—tempo rubato and tion. The teacher should also explain, most strict time—may very well go hand in thoroughly, just why he must make up commenced?” , , , , ., , , hand, the one but strengthening the other. (balance) time lost and time delayed. Here is an answer from a celebrated child study expert, whose books have been very widely and It has been found that pupils in the first Of course for less advanced pupils the successfully used. In order that the reader may fully grasp the subject, she has devoted the first grade will learn to vary their time in this teacher may use the C scale in two octaves, To Practical Use part of the article to certain fundamental pedagogical principles that must be considered before, the balanced way as readily as do the more with two (eighth) notes to the beat; or HEN THE PUPIL has learned to more musical aspects are taken up. _ . . advanced students. The fact that some the C scale in one octave, with one (quar¬ W “balance his speeds" in various scales We recommend that the reader master the first section through rereadings before turning to sec¬ pupils slightly speed up and then slow down ter) note to the beat. He will play this and finger exercises, he may apply the rules tion II. In fact, we have an idea that many of our readers will benefit by studying this article several their rhythm, or vice versa, when they scale at a comfortable rate of speed and Carefully directed practice in scales and learned to his pieces. Simple compositions, imagine themselves to be playing in strict must use the metronome to insure strict finger exercises, such as the foregoing, will times.—Editorial Note. with melodies or passage work, of whose time, should cause the teacher to realize time; for it has been learned that pupils greatly help to free the pupil from playing phrases each takes the order of a definitely HOPE KAMMERER the importance of making both these ways who never have used a metronome, al¬ his pieces in a dead, machine-like way. In THE QUESTION, “What is the dren enter the adolescent stage ahead of The child is now also capable of longer of playing consciously available to all. though they may know nothing of “balanc¬ fact, two or three months of work of this ascending half-phrase followed by a definite, others, as is well known; the same variety stretches of concentration. He can enjoy best age for a child to commence and most normal instrument, is the vehicle. The writer begins teaching this balancing ing their rhythm,” will often test out with kind, in scales and finger exercises alone, ly descending half (or vice versa), are best applies to the other stages. (The excep¬ intensive drill in any subject, and profit piano study ?” is one that is frequently If the development of reading is sufficiently of speeds in scales and finger-exercises, one as unconsciously somewhat increasing has been known to warm all of an im¬ to use at first. The pupil will practice each tional pupil will have a paragraph or two greatly therefrom. proposed; it is a problem that is continually gradual, and conditions are right, the pupil and here is an example of how one may their speed ascending and decreasing their aginative pupil's playing into new life; but ascending half-phrase accelerando and each to himself later on.) The muscles were pliable in the Sensory puzzling young teachers and parents. The thoroughly enjoys this new discovery and go about it. speed descending. This shows that the the ordinary student must travel a longer descending half ritardando; then he will re¬ Now what are the characteristics of these Period. The Associatives maintain this pli¬ only way to settle the point is to get at never dreams of looking upon music read¬ average pupil naturally varies his tempo a verse the process; then he may play the various periods? ability, but at the same time the nerve the fundamental facts. ing as a mental effort or a source of re¬ little, even in scales. phrase without rubato, that is, in strict “Playing classical music on the piano The Sensory Period. During this, the centers controlling the muscles have become bellion. When the pupil can play Exercise 3 in The Perfect Balance time. Finally he will judge for himself as “baby” period, large amounts of organic more active. The sense of touch in the requires faster thinking than any other During this Second Grade, the funda¬ i*iiil\{lil\jl{i\i{{{i strict time, both with and without the HE IMPORTANT THING for both to which method of playing is best. For, calcium have to be assimilated in order to fingertips is more keen; the capacity for T activity. Notes and fingering, accidentals, mentals of musical notation are learned metronome, then he will be ready for the the teacher and the pupil to observe, of course, the pupil should be made to un¬ interpretation, pauses, meter and rhythm, in care for the great skeletal and dental de¬ fine and delicate movements is greatly in¬ more thoroughly than can possibly be done The pupil will first practice Exercise 1 final and most important part of this study. especially in applying these rules to pieces, derstand that this testing and trying out velopment. The bones of the child increase creased. Coordination between the optical some pieces demand as many as sixty men¬ in the piano lesson. Why? Because the away from the piano; for, since he will First he will again play and count the C is that the pupil always varies his time of different methods of playing a piece is tal operations per second.” Such being the very much in size, and the permanent teeth and tactile nerve centers is no longer dif¬ pupil is given drill, under the teacher’s be doing no playing, he will have but the scale in four-four time, strict rhythm, four “within the phrase,” that is, he must end but experimental work given to make him case, we cannot help but marvel at the are formed. Since the body is chiefly oc¬ ficult, but easy and dependable. guidance, every day, week in and week one thing (his rhythm) to think of. He notes to the beat, four octaves, and with his phrase at whatever speed he starts it. a discriminating thinker. Right here, too, wonderful capacities of the human organ¬ cupied with bone growth, not so much The Adolescent Period brings a stage of out. He not only studies rhythm, but he will learn to beat, or tap on a table, and the metronome if necessary (with Example For instance, the C scale, whether played is a good time for the teacher to analyze ism which, at high school age or younger, energy is available for mind and nerve rapid physical growth, accompanied by cor¬ also studies pitch. In this way, a sound and count out eight measures of four-four time, No. 1 as a rhythmic model). Then, im¬ in one, two, or four octave compass, is with the pupil the different types of pieces, can interpret successfully a Chopin noc- development. To remember this is impor¬ responding mental “laziness.” Functional sure foundation of the essentials of music in strict tempo. The teacher will have him mediately, and without the metronome, he thought of as one phrase; and the descend¬ those requiring much rubato, those requir¬ tant, for we find the child at this stage disturbances in the body cause emotional reading is thoroughly instilled and forms to practice this exercise with the metro¬ will play the same scale (following Ex. ing half of the phrase must decrease in ing little, and those requiring practically Learning music should not be confused handicapped in various ways for piano instability; the adolescent takes violent a wonderful background for the piano nome, with it set first at a slow rate of No. 2), but will begin it very slowly speed in exact proportion as the ascending with learning the piano. They are very study. To begin, his capacity for close likes and dislikes for slight cause. The emo¬ speed, then gradually faster. teacher to build from, if she has waited (counting in largo time) and will gradually half increases in speed (or vice versa). As the pupil's skill in applying rubato different. Music can be enjoyed, for itself, attention is intermittent. He squirms un¬ tions of adult life are making themselves When the pupil can beat or tap and till after Grade II to commence lessons. increase the speed ascending until he However, in the finger exercise. Ex. S, inflections grows, tic will lie able to use by a child even in its cradle. All of us have der the long stretches of concentration felt, and he is torn with feelings he does The year of reading music with the voice count out the rhythm of the foregoing ex¬ reaches the topmost note at presto speed. the pupil must vary his time over a much known babies to wiggle their toes and coo necessary for the reading of even a short not understand. All this makes concentra¬ them in ever more delicate and refined ways. trains the ear and eye separately, and in ample exactly with the metronome, and at Descending he will gradually slow his smaller phrase, a group of but eight six¬ as soon as they hear music. Piano playing, piece of music. His reasoning power is not tion difficult. Intensive drill is considered Nothing, however, can take the place, conjunction, before the additional complica¬ both slow and fast degrees of speed, then speed to tccrgo at the final notes. teenth notes. Upon starting each little however, including as it does the intricate yet developed, and he has to rely almost dry and boring. The sense of reason is fre¬ he is ready for the second part of the ex- month after month, yes, year after year, of tion of finger training is added, in the Again, the pupil may reverse the process group, he must immediately speed up accurately “balancing speeds” in scale and processes of manual skill, can be under¬ entirely on his memory. For instance, he quently disrupted by the emotional life. The muscles are losing their pliability, piano lessons. It is in this way that the as to speeds; but first he will play the scale ascending and slow down descending (or finger-exercises. This practice, accom¬ taken only by the older child. can easily memorize the fact that a certain Without the metronome, the pupil (in while gaining in strength. Muscular habit¬ first piano lessons in reading can be ac¬ through in strict time (rhythm of Ex. 1) vice versa), so as to end the group in plished in his formative years, give the By formal piano study is meant a series space in the staff represents the note D, concert with the teacher if necessary) will forming, the most important aspect of complished without too great strain and with the metronome. Then, without the exactly the same time at which he started pupil a groundwork of fixed habits that of consecutive lessons covering a period of but finds difficulty in reasoning out the beat or tap and count out his eight meas- metronome, he may play it beginning presto fact that the note is D because it is an piano playing, is not so easy as it was in effort on the part of the pupil. its initial note. Indeed, Exercise 5 more never can be entirely abandoned. Later, at least two years, up to, and including, the sures in four-four time, beginning his beat and gradually ritarding to largo at the interval of a second above C. Now, since the younger periods. From the above we Third Grade arrives, and with it the nearly approaches the goal toward which when he is ready to put all his attention to reading and interpreting of simple classics. and counting very slowly (largo) and highest notes, then accelerating to presto reading by interval is, from a technical and can deduce that piano study, when com¬ Associative Period. The reading of music the pupil is working—true tempo rubato— artistic interpretation, he will have these The casual lesson, or short series of les¬ gradually increasing the beat and count so (Ex. 4). hand-forming point of view, by far the best menced in the Adolescent Period, may be with the voice in school continues, gradu¬ slight accelerandos followed by ritardandos “rules of good taste" so built into his sub¬ sons, might well be termed “informal piano that he will arrive at a very fast (presto) approach for beginners, the little Sensory most unsuccessful. The first year may be ally becoming more intricate and fascinat¬ movement at the end of the fourth measure; Ex. 4 (or vice versa) over perhaps but a few conscious mind that he will not err in his One cannot work out intelligently the is again somewhat handicapped. a “drudgery” year, a year of scornfully ing. In Grade IV, two-part singing is then he will gradually slow his beat and notes, and these time variations of so subtle "time bending" by breaking or abruptly question as to when to commence serious For reading, quick and accurate co¬ easy pieces, a year of boresome finger introduced; in Grade VI, three-part sing¬ count so as to arrive back at largo at the a character as to be unnoticeable to any changing his tempil. but will keep it accu¬ but a careful ear. or formal piano study, until one fully un¬ ordination between the eye and fingertips drill. ing is taught, and so on. end of the eighth measure. The pupil must rately and tastefully held within the beau¬ derstands three aspects of the case, namely: must be possible. At the Sensory Period, To the Sensory Age child, if he starts Now what about the other subjects? We do this beating and counting again and Now, if it has not been done before, the tiful curves, or tunc-swervings, of true 1. What the child is. 2. What the child the afferent and efferent nervous systems piano the least bit too early, the first year may safely assume that by the time the again, until he can balance perfectly the teacher should thoroughly explain to the tempo rubato. knows. 3. Under what conditions the child are not yet highly developed, and in con¬ may be a year of fruitless effort, a year of pupil has finished Grade I, he has learned accelerando phrase of four measures with sequence only a limited speed and de¬ strain to accomplish something that is too his alphabet, some of his numbers, and also the ritardando phrase of four measures. pendability in reading can be expected. difficult, a year of disappointment. is familiar with the terms—second, third, Now he may reverse the process by be¬ I. What The Child Is . Again, the Sensory child revels in large Judged, then, from the standpoint of half, quarter—all of which are used in ginning the first four measures presto and movements, like running, ball-throwing, what the pupil is, the Associative Period gradually retarding his beats and counts Fifty Years Ago This Month IET US NOW NOTE the different men- and so on, but seldom does one find such a would seem tp be by far the wisest and the In Grades I and II the writing and read¬ until he arrives at the beginning of the last -/ tal and physical changes young people go through. The Periods of Childhood can child able and willing to make the small, safest time in which to commence lessons. ing are laborious and slow. Not till Grade four measures in largo tempo, whereupon Scales should be played, every day, be divided, roughly, into three stages, the subtle movements for such activities as III (Associative) does the pupil write and he will accelerate the last four measures both strict and “borrowed” (rubato) tin acter. ‘That which we are we shall teach, Sensory, the Associative, and the Adoles- sewing, writing, and piano playing. His II. What The Pupil Knows read with any degree of fluency. In Grade back to presto. In fact they may very well be alternat ^How shall a Young Teacher "succee not voluntarily but involuntarily. Thought.' nervous system is not yet finely tuned HAT EXPERIENCE, and educa¬ V (Associative) fractions are formally m practice. For instance the C scale m; Ex.8 wrote at length; and here we reprodi enough for little movements. tion, in music and other subjects, studied. This should be borne in mind by be played in strict time, and then repeat come into our minds by avenues which we The Sensory Period commences with int krelS,0f hlS thesis’ w‘thout going The Associative Period. Here we have does the pupil have in the different stages, the piano teacher who teaches notation m borrowed” time, again in strict tin into their discussion:_ 8 K never left open, and thoughts go out of our babyhood, and ends at seven or eight years much more suitable conditions. Teething is that may influence his piano study? from an arithmetic standpoint. Here again, again in “borrowed”, time, and so on T minds through avenues which we never of age. (In school, the average seven year “Obviously, the first essential is intei completed, and. the skeletal growth is First of all, in music: the Sensory Age in regard to what the pupil knows, we are student should also “balance his rhythr voluntarily opened. Character teaches over old is in Grade II.) temporarily slowing up. As the strength pupil starts off his kindergarten life with forced to the conclusion that the Associa¬ in his finger exercises. Here is an exampl heTs^to t C t.eache.r1must know the subj, our head.' This quotation from Emerson, The Associative Period commences at he is to teach and know it thoroughly of the pupil is not being consumed by music a thing to be enjoyed. Music is an tive Period is the best time to commence The more perfectly hc knows it t£ one of the wisest of seers, contains a mo* seven or eight and ends with the Adolescent |JJJJ|JJJJ|JJJJ |JJJJ | profound and salutary truth, which ought Period, between eleven and thirteen. (In calcium assimilation, the mental and nerve essential complement to his games and The second requisite is the ability The Periods might be summarized in to be deeply pondered by ever)' T00”8 school, Junior High grade.) growth go on apace. The head reaches al¬ recreation; it is a part.of his self-expres¬ impart what he knows. If he has not ,1 The Adolescent Period begins between most adult size. The memory is now re¬ sion ; it is one of the pleasures of his daily diagram form, as on the next page. naturally, he must acquire it. Let him teacher. “The next requisite is refined eleven and thirteen and ends anywhere enforced by reason. (Reason, that won¬ life. Next he makes his way into the First sure not only that he knows the ideas from fifteen to eighteen. (Senior High derful power that sets man, even juvenile Grade. There music still means happiness. III. Under What Conditions Does Now the pupil is ready to go to the key¬ This ought to be the natural outgrowth ‘"’Part but also that he sees ,h, age.) man, so much higher than the animals. Rote songs, and music analysis by means The Pupil Work? board. He will play, or learn to play, the of upright character. It is the fruit of an Have you ever watched the delight of a of little games and devices are enjoyed ERE ARE SOME important prac¬ C scale in strict tempo; hands together; *latUra1’ logical order. enlightened sense of obligation to our id- These figures are, of course, average. H Any generalization with regard to so child at the first exercise of his reasoning every day. tical considerations that cannot be four-four time; four (sixteenth) notes to to enter ‘into the abil lows, of a self-respect which respect faculty; his joy in finding himself able to Second Grade, and Seven years old. Here ignored. the beat; and four octaves ascending and ■ others, regarding their rights and i«|n^ varied a creature as the human animal, has associate two ideas and out of them deduce he begins that most intricate process— (a) Progress. The greatest stimulation four descending. as we regard our own. The digniw®- many exceptions. But these exceptions only help to prove the general rule. Some chil¬ a third?) reading of music. His voice, nature’s finest that a pupil can possibly have, is to see his “The next requisite to success is chi courteous man. or woman, inevitably com¬ 546 mands respect and acquires influence. SEPTEMBER, 1936 547 the etvdE own progress, from week to week. It keeps Instead of being, thrilling, it is merely con¬ records and radio up the interest, and the willingness to prac¬ fusing, and may leave such a bad taste m tice for the sake of still more progress. his mouth as to make him revolt against j!ow, the Sensory Grade child, due to his study in later years, quite unnecessarily. By Peter Hugh Reed handicaps, usually makes very slow prog¬ (e) Writing. This applies to the class ress, so slow as to be hardly noticeable. So taught pupil. Most class methods entail that, when the first month or so is over, writing, and the theory of music. As men¬ tioned before, the Sensory Period child s and the “first fine careless rapture” of The death of Claudia Muzio the cele¬ primitive rhythms, its authentic tonal colors writing is slow and large. But by the time piano lessons has worn off, there comes a brated Italian operatic soprano, her early (the composer makes use of several native period of reaction, during which the pupil he is well away in the Associative Period, instruments—the Koto, the Biwa, the Sami- he has become quite a proficient little scribe forties, last May, was a great shock to the gradually loses interest. In contrast to this, musical world. This highly gifted singer sen. and the Shakuhachi), and its racial during the older period progress naturally and can get his work written neatly in half melodies. It is a novel work, well played the time the Sensory child takes. was veritably raised in the opera house, is faster; consequently the stimulus is and she knew and appreciated its traditions by Mr. Lapham who is an excellent pianist, greater and the interest steadier. The pupil as have only the greatest. As a little girl, and, on the whole, it is well recorded. What ^RjoIL af3ionar Common Sense Conditions is soon playing “big” enough pieces to j when her father worked back stage at the we particularly like about this work is its satisfy himself and his friends that he is LET US NEVER accuse our children of J being unmusical, or lacking in ability, Metropolitan Opera House, she haunted the honesty and its freedom from striving for \ the pupils enrolled below are “getting on.” effect. (Victor set M302). ’5® simply because they show no desire for wings, where she heard and watched the (b) Health. Another matter of no small The discriminating music lover, who de¬ importance is the health. Four to five hours lessons or practice. Only too often, upon most renowned singers of that great pernM 1 those who have done meritorious sires to own a performance of Beethoven's per day of close concentration in school, on careful inquiry, we find that not the child Muzio was in her twenties when in 1910 “Fifth Symphony” which fully realizes the a hard board bench, are a long time for a but the conditions are at fault. Conditions, she joined the Metropolitan Opera Com¬ | work during the pasi morvtk. composer’s intentions, will turn to Wein- Sensory Age child. Add to that half an such as lack of strength; or the loneliness pany. Her debut was made as Tosca, with hour more of concentration at the piano, of practicing without sufficient moral sup¬ Caruso as Cavaradossi. She was hailed the gartner’s rendition in Columbia album 254. following day for her vocal and dramatic Here we have, perhaps, the finest perform A “Period” Diagram gifts. Several years later she became a ance of this work ever recorded—one leading soprano with the Chicago Opera which is freed from extravagance. . Knows, In: What The What The Pupil Company. A Mozart “Violin Concerto," all too Age School Grade Pupil Is Music Other Subjects Following her death, Columbia almost seldom heard in the concert hall is his Third, in G major. It is distinguished by 5. Kindergarten .. Sensory Period, Songs and games Alphabet; Num¬ immediately issued a memorial album of eight operatic arias (set 259), which this melodically vivacious opening and dosing 1936 6 ... Grade T . bers; Reading; J ctRoll fur thz JHonth of movements, and a characteristically poetic tributes. Writing. singer had made last year in Italy. Muzio’s 7 “ ii .... Reading . Reading and rare legato and exquisitely poised pianissimo. middle interlude. Hubcrmann, accompanied 8. “ hi .... Associative Pe¬ writing more the purity of her rarely floated tones, per¬ by the Vienna Philharmonic Orchestra riod, with all fluent. mitted her to accomplish the most artistic under the direction of Dobrowen, plays this its attributes.. effects without undue distortion or emo¬ work for Columbia with stylistic luminos¬ 9. Grade IV. Two-part sing¬ tional exaggeration. All of her vocal ac¬ ity ; the recording is clear and lifelike. ing . Fractions. complishments are faithfully recorded and (Columbia album 258). 10. “ V. revealed in these records. These eight arias Gabriel Faure has been called a French 11. “ VI. Three-part comprise Casta Diva ("Norma") and Ah Schumann, but this seems to us a rather singing non crcdca (“La Sonnambula") by Bellini: misleading analogy. It will be admitted Pace, mio Dio (“La Forza del Destino”) that Faure, like Schumann, sought to fuse 12. Junior High .. Adolescent Pe¬ and Addio del passato (“La Traviata”) classicism and romantkism, but inherently 13. riod, with all by Verdi; La mania inorta (“Andrea these two composers were widely separated. its attributes.. Chenier”) by Giordano; Mirni’s aria (“La Fauri was born in the middle of the 19th 14 up. Senior High .. Boheme”) by Puccini; L’altre nolle (“Me- Century and lived to the aid of the first fistofele”) by Boito; and F.sser madre quarter of the 20th Century. His music, and you often add the straw that breaks port from the parents; or the pressure of (“L’Arlesiana”) by Cilea. Since all of however, was an expression always of the the camel’s back. An active little tad of too many other activities; and so on. If we these arias are beautifully sung, we will later 19th Century. French critics have seven years can be forced to concentrate, want young pianists, we must use our com¬ allow the prospective buyer to select for long regarded his chamber music as being forced to sit still, to the point where his mon sense to supply them with suitable himself, because we know he will not be more important Ilian his piano works and system revolts with a nervous breakdown. conditions. And not least of these conditions disappointed. his songs, although the latter are more Now a millionaire, who has spent his life is commencing at the right time, neither The fourth Sibelius Society Set, issued widely known. Hence, it is fitting that one amassing wealth, may be entitled to the too old, nor too young. Again we are recently in England, contains his “Violin of his quartets should be brought forward occasional collapse; but an innocent little forced to the conclusion that the Asso¬ Concerto” and two tone poems—Night and on records. This, his early “Piano Quartet child! Exploited by the ambition of his ciative Period is the best time to commence Sunrise and Oceanides. Because of consid¬ in C minor. Opus 15," is a particularly in¬ parents, the stupidity of his educators, and formal piano study. erable nation-wide protest against society gratiating work, especially vital in its open¬ possibly the commercialism of his teacher, Speaking generally, then, music study for issues, Victor has wisely decided to issue ing and closing movements, but long highly he may pay a, heavy penalty. Let us be very the average child might be planned as fol¬ domestically the new Sibelius set in two regarded by many for its expressive careful of the health of these precious lows : units as a regular release. The first (set Adagio. It is comprehensively played in children of ours. For the average Sensory Period M-309) contains the “Concerto,” magnifi¬ the recording by Robert Casadesus and (c) Practicing. Under conditions that child; study of music through singing cently performed by Heifetz and the Lon¬ three members of the Cal vet Quartet. prevail at present, it is customary for the and games, no piano study. don Philharmonic Orchestra, under the (Columbia set 255). pupil to practice from fifteen minutes to an For the Associative Period child; direction of Sir Thomas Beecham. hour every day. If he does not do this, he The late Ottorino Respighi was largely commencement of formal piano study. Sibelius’ “Violin Concerto,” which chron¬ cannot make sufficient progress to satisfy a musical impressionist with a flare for For the Adolescent Period child; ologically lies halfway between his Second his parents that they are getting the value orchestral ostentation. A pupil of Rimsky- not an ideal time to commence, but it and Third Symphonies, has not enjoyed for lesson money expended. This practice Korsakoff, he showed in his brilliant work¬ can be made a success if the teacher is great prominence in the concert hall; per¬ time is very important. During it, the hand manship the influence of his master. Among experienced and sympathetic, and home haps because its technical difficulties are can be made—or marred. Carelessness can conditions are helpful. his major works. The Pines of Rome has build bad habits that ruin forever future considerable and also because it is a more long been a favorite in the concert hall pianism. Thus it would be not only unwise, Regarding Exceptional Cases diffuse work than the popular concertos undoubtedly due to the fact that Toscanini of Bruch, Mendelssohn or Tschaikowsky. but even dangerous, to let a tiny child do HE TUNE PICKER Of the Sensor has played it so frequently. A domestic T this is music, however, which grows on much practice by himself. It is difficult Age. In the Sensory Period, one i record release of this work has long been one—music which will endure a long time, enough for an Associative to organize his always encountering children who insii desired, hence those performed by Coppola because its intrinsic qualities are not so practice so as to gain real benefit from it; upon picking out tunes for themselves, b and the Paris Conservatory Orchestra patent as they are in the works just named. how much more so a Sensory Age child. ear; who seem to be fascinated by the pian (Victor discs 11917-18) and by Motajoli It has been termed austere, but much that Of course, a child who is fortunate enough and are constantly at it. The motive ma and the Milan Svmphony (Columbia discs to have well supervised practice can prac¬ be real musical feeling, or curiosity, o has been written about its asceticism has 17060-1-2D) should find’a large audience. tice with safety at a very young age. merely desire to imitate their elders. What been exaggeration. The poetic eloquence of Of the two versions, Coppola’s has the (d) Experience Distribution. We all be¬ ever the motive, it is only fair that sue the slow movement proves for all time that benefit of more modem recording, but both lieve in the wisdom of so arranging the children be taught something about posi Sibelius is capable of expressing consid- erable emotional depth. are competently performed. This is the experiences of life that we may get the tion, so that, when they do pick out tune' work in one section of which the compos# most benefit and joy from them. You know they will at least hold their hands correct! An interesting work, written by an made use of the actual song of * nipd- the story of the child whose parents thought and not build bad habits for future un aTuTeCTanhad’r “T°reign inspirati°"- £ ingale (reproduced from a recording) they were giving him a great thrill by tak¬ learning. A few informal lessons can easil Claude Lapham s ‘Japanese Concerto” for Piano students and music lovers aid* ing him for a trip to Europe. Afterwards, accomplish this end. If, after a few lesson- piano and orchestra. Mr. Lapham who will be gratified with the pianistic artistiy when asked how he enjoyed the experience, resided in Japan for several years studied the child is still desirous of learning mort of Egon Petri in his performance of all he had to say was, “Don’t like Europe; the music of that country and applied hin^ then let him learn to read, for so long a Schubcrt-Liszt Soiree de Pieiwe (Columbia you can’t get the right kind of all day he wants to, and no longer. If readiu 'Ceachcr's Signature suckers there.” disc 68504D) ; of Josef Lhevinne in J® proves too difficult for him, his interest wii manly interpretations of Chopin's Prr/w#’ This applies to music lessons thrust upon wane of its own accord. Later on, in th a child when he is too young to appreciate sSHHS Nos. 16 and IT and the Elude in B ","wr: Associative Period, the urge to study pian vTctorwasw — Japanese *»»t domestic Opus 25 (Victor disc 14024); and also# the experience. He is being done out of one will probably recur; if it does not, of it Wilhelm Backhaus' thoughtful and senn of the greatest thrills of life, the discovery own accord, it can easily be stimulated b mentally-free interpretation oi Beethoven’ of making sweet sounds with his fingers. (Continued on Page 602) “Les Adieux Sonata, Opus 81a" Cl*** The Japanese Piano Concerto” has its 548 discs 8922-23). SEPTEMBER, 1936 (See Page 594) 549 THE ETVDS Finger Independence As Applied BAND AND ORCHESTRA DEPARTMENT To Bach's Fugues Conducted Monthly by VICTOR J. GRABEL By George B. YVilliston FAMOUS BAND TRAINER AND CONDUCTOR
THE TECHNICAL equipment neces¬ should be employed throughout the passage, general problem fourth sary for the proper interpretation of To obtain the proper freedom the fingers In progressmg from the 1thirdI to the fourth Bach’s fugues demands a finger in¬ must not put forth any more energy than note in the second fr°uP/f_^‘ere ‘’S’ ^ dependence of the highest order. Each just that which is sufficient to support the have an example of hand a"d Lnd expansion that so frequently occurs m pas¬ finger movement should be preceded by sages of this type. This adjustment re- Richard Wagner's Nibelungen Ring a mental execution of it together with a concept of the sensation accompanying this Alternating Rotations quires a combined lateral and vertical ac- E SHOULD note, furthermore, that tion in the preparation for attack. The muscular impulse. To the extent that this W PART I. mental process is hindered by the presence the melodic line does not long con- natural assumption would be that the finger of any other sensation, muscular control tinue in the same direction and that it executes a horizontal movement to the key raises his spear, but the discreet Loge re¬ INCE SYMPHONY orchestras and is lessened. The development of this type consequently involves rotary exertions first followed by a backward movement. e When these can be done fluently, then S strains him. He congratulates the dwarf concert bands so often present in con¬ of independence rests, then, primarily upon to one side and then to the other side of speed of the passage, however, does not the combinations in Example 5 may be upon the.power he claims to have acquired gradually undertaken. cert form extracts from the “Ring” a complete isolation of sensations which the hand. With this in mind, the foregoing allow enough time for two successive mus- but cunningly questions the truth of his operas, such as Entry of the Gods into ji r makes possible muscular coordination; and exercise should be repeated, but this time cular operations. ^Rhme gold! power. Alberich is piqued. He dons his Walhalla, Ride of the Valkyries, Wotan’s our progress in this direction is measured with the dotted half-note played as though Thus it is that these two movements enchanted helmet and transforms himself Farewell, The Fire Music, Forest Murmurs, by the extent to which we are able to it were a sixteenth. form the components of a resultant movc- into a frightful dragon. He is then induced Awakening of Briinnhildc, Siegfried’s eliminate all of those sensations that are not In brilliant passages it is generally neces- ment in which the finger follows a diagonal „ J |JtIJJJJJttJ by Loge to become a toad, whereupon Rhine Journey and Siegfried's Death, it is concerned with the actual directing of the sary to raise the fingers above the surface course from the surface of one key to a Wotan sets his foot upon him. They seize in a sincere effort to make intelligible to finger into the key. of the keys in preparation for an attack. Point directly above the next. him by the throat and carry him to the the average listener the thematic material It is in such passages as the following A great deal of attention should be given The presence of this synthetic and there¬ surface of the earth. Lacking the helmet so ingeniously employed by Wagner that excerpt from Bach’s Chromatic Fugue to the development of this backward move- f°r unnatural type of ringer activity in such he resumes his misshapen form and is at these analyti&tl discussions are undertaken. Primitive Nature gradually awakens; ment, since even under normal conditions a passage as this tends to create an un- the mercy of his enemies. Wotan compels These are, however, in no sense an effort the woodwinds and strings are gradually the freedom of the finger in this direction necessary amount of tension in the hand him to give up all the treasure he has to interpret fully the “Ring” operas or to added; the music rises higher and higher; is greatly restricted. In this particular . and fingers. As a corrective for this fault, amassed and takes both the helmet and analyze their psychological or metaphysical greater movement takes place; the sound example the hand is resting at the lower it is well to practice this passage with the Ring. The rage of the now helpless dwarf significance, but merely to make more in¬ swells and invades the orchestra like a level of the keys so that all of the fingers, niere resting weight of the hand and with- knows no bounds, and he calls down a telligible—and consequently more interest¬ mighty torrent. Yet the genius of Wagner with the exception of the fifth, are subject out raising the fingers above the level of frightful curse upon the Ring; “Henceforth ing—those important extracts which are so has enabled him to build this marvelously to a slight backward stress. In the case of the keys. In this way the only aggressive may its charm bring death to whosoever often heard on the radio and in the con¬ effective prelude upon a single chord I And the fourth finger, this leverage is even more force is the lateral gliding of the finger wears it!” cert hall. careful study will reveal that other impor¬ restricted since its surface contact is at an along the surface of the keys. Such exer- The giants now enter. Their two spears that we find this mental concentration most The four dramas which comprise “The tant motifs—those having reference to the even higher level than that of the other cises as the following may also be devised As the nymphs unwittingly prattle about are set up with the goddess Freia between, difficult of attainment. Here the problem Ring of the Nibelungs” (or “Der Ring des Rhine, such as The Rhinedaughters, Rhine¬ fingers. This means that the stretch be- f°r this purpose, the gold, they reveal to Alberich the secret and they demand that treasure shall be of independence is made more complex by Nibelungen”) are based upon ancient gold, The Sword, The Rainbow, and so tween the fourth and fifth fingers must be Ex. 2 of the treasure—that whoever can fashion the sensation of having to hold down the Scandinavian mythological epics, which on, are derived from this simple motif of heaped up until she is no longer visible. sufficient to cover the distance from the a ring from the Rhinegold will be invested half note C throughout the entire passage. were modified and amplified by Wagner the Rhine. Comparison of these motifs (to The treasure is piled up until naught but Even though the pressure required to keep top of the black key to the lower level with great power—made even mightier her eyes are seen. Only the Ring remains. of the white key. so as to comply best with his dramatic be shown later) will indicate the source this key down is the mere weight of the than the gods. He learns, also, that only Wotan at first refuses to give this up; but, purposes. It was in these four operas— of their derivation. Truly, a logical method hand, nevertheless, if long continued, it It now is clear what a serious problem he who is willing to forever renounce love rather than have the goddess carried away, “Das Rheingold,” “Die Walkiire (The of dramatic musical composition! tends somewhat to deflect attention from exists here when we realize how little can hope to gain possession of the gold. Valkyries),” “Siegfried,” and “Gotterdam- As the curtain finally rises we see the he casts the Ring upon the pile. Fasolt the sensations involved in the action of the backward play is allowed the fourth finger, Alberich scales the rocks on which the grasps it and the giants wrangle over its merung (Dusk of the Gods)”—that the flowing waters of the great River Rhine. other fingers. We have also to consider the even when the tips of all the other fingers glittering gold reposes, makes a formal possession. Fafner slays him with a brutal composer’s employment of the motif The three Rhinedaughters are swimming fact that the exertion required to keep the are resting on a level surface. The general renunciation of love, seizes the. treasure, blow, calmly, collects all the gold in a large reached its highest development. Here each gracefully about a high rocky ledge in the key from rising is much less than the muscu¬ tension of the hand, that usually results and, despite the protesting lamentations of important person, object, or mood is al¬ river, on which reposes the precious treas¬ sack, and disappears. Alberich’s curse has lar impulse necessary to give the tone suffi¬ from so much unnatural stress, can be the water nymphs, departs with it in sin¬ already begun its dreadful work. The gods lotted a musical motif; and this theme is ure of pure gold. Here, for the first time, cient sustaining power. Thus we should make greatly minimized by practicing the pas¬ ister glee. No longer illumined by the stand mute with horror. The sky is dark¬ sage in such a way as to allow the wrist presented by the orchestra whenever the a new chord appears as, to a wave-like certain that all energy, above that of the golden treasure, the river is soon shrouded ened and a gloomy mist gathers. to sink slightly below the level of the person or object appears upon the stage or accompaniment, they sing: resting weight of the hand, shall cease at in gloom. The mists are shortly dispelled Fricka now entreats Wotan to lead them keys. To play with the hand tilted slight¬ whenever reference is made to it. Some of Ex. 3 the instant of tone production. This con¬ by the rising sun and there is exposed to into the new castle, Walhalla. He calls to stitutes the first vital step in the develop¬ ly toward the little finger side, may be these important motifs occur throughout view a great castle standing on the summit found also helpful. the four operas and so take on added sig¬ Donner, who ascends a lofty rock, gathers ment of muscular control in such passages. i "T~ of a high mountain beyond the Rhine. nificance with each repetition. |Lf|1' " r T the mists about him, then swings his ham¬ These should also be practiced with a Along with these, it will be found that “The Rhinegold,” which serves as a pro¬ mer. There follows a flash of lightning, Controlling Rotary Movement Bach’s Legato Walhalla minimum amount of finger exertion. After the “School of Advanced Piano Playing’ logue to the other three operas (often a reverberating crash of thunder which N NO PHASE of technic is Bach more N THE NEXT SCENE Wotan and his N ORDER to control properly the exer¬ I a t orough study of these, the interval he- by JosctTy will furnish the student with a designated the “Tetralogy of the Ring”), r r f r f f Ft f f-£l= I echoes between the hills. As the clouds I exacting than in the matter of legato. wife, Fricka, awaken and gaze upon tions of the little finger, we must recog¬ ween the half note and the first sixteenth great deal of additional practice material introduces to us some of the important vanish a wonderful rainbow bridge is re¬ A pianissimo touch, in which the weight the glittering castle which is to become the nize an additional factor, that is, a rotary e may be increased. of the finest s characters: the Rhine itself, the Rhine- vealed spanning the Rhine and leading up of the hand alone is transferred from finger abode of the gods—Walhalla. The palace exertion of the forearm toward the little Ex.3 It il ?e have daughters, whose duty it is to guard the to Walhalla. to finger, forms the most adequate basis such passages as the one w has been built by the mighty giants, Fafner finger side of the hand. Such activity, un¬ precious Rhinegold; Wotan, chief of the Here begins the well-known scene, the for this manner of playing. Here the cessa¬ analyzed that the student finds it difficult and Fasolt, at the behest of Wotan, their less reduced to a minimum, will otherwise gods; Fricka, his wife; Loge, god of fire ; Entry of the Gods into Walhalla. tion of tone, resulting from the constant to maintain that aggressive quality of tone reward to be Freia, goddess of love, youth restrict the required freedom of rotation Erda, all-wise woman; Donner, god of giving way of the fingers that support the that is so essential to the Teutonic virility and beauty, and sister of Fricka and toward the thumb side of the hand. thunder; the giants, Fafner and Fasolt; hand, becomes the conscious factor, while of Bach’s music. A thrust or unbending Donner. In an effort to compensate the When two distinct sets of muscles are Alberich and Mime, cunning dwarfs who the actual process of key descent constitutes action of the finger as contrasted with the giants in some other manner, Wotan has onerating simultaneously to produce tone dwell in deep caverns of the earth. the negative. In our present case, how¬ more common clinging touch can do much sent Loge out into the world to search for the total expenditure of energy is greater The work opens with a marvelously de¬ Alberich, cunning, avaricious gnome (one ever, the cessation of tone assumes a posi¬ towards maintaining this quality of tone. some treasure which may appease them. than the character of the tone requires, scriptive prelude. The double basses first of the race of Nibelungs) appears in the tive character, since the release of the key In fact, it is on this form of touch that the He returns with the news that one of the due to a sympathetic reaction on the part of intone a long sustained low E-flat. After waters. He attempts to entice the water involves an upward movement of the finger general brilliant effect of a Bach fugue Nibelungs, Alberich, has gained possession the more supple group. Since such a con¬ four measures the bassoons add the fifth nymphs, but they merely mock him. The beyond its normal level. largely depends. of the Rhinegold which bestows great dition is present here in the combined above. A horn then introduces the primitive sight of the distraught Alberich soon be¬ It thus follows that the student will bene¬ power. The giants are intrigued by the tale vertical and rotary movements, it is well form of the Rhine motif: comes attracted by a radiant glow which first to practice the passage with the purely fit by a practice of the passage with a SELF-TEST QUESTIONS ON pervades the water. This glow increases of this treasure and prepare to exchange finger staccato in which all of the attention rotary exertion. MR. IVILUSTON'S ARTICLE as the bright rays of the sun strike the Freia for it. Wotan and Loge penetrate This practice may be done in the follow¬ is directed to the release of the key We treasure, and we hear (in a brilliant flour¬ the deep caverns of the earth in search of ing manner. Turn the hand over on its may go even farther by letting the hand 1. IVhat is the result of hating to hold ish of trumpets) the Gold motif: the Nibelungs. Alberich, due to the magic side with the palm facing in, the weight of rest at the key bed and allowing the keys down a note through a long passagef Ex. 4 Ring which he has forged from the gold, the hand resting on the side of the little to ascend m the proper sequence. This type 2. In what ways may rotary movement he now rules over all the Nibelungs and com¬ of silent exercise gives the added benefit finger. Then let the hand drop freely to restrictedf pels them to mine the hidden wealth of its horizontal position, but without releas¬ of not having to divide the attention be¬ the earth to be added to his store of rich ing the key on which the little finger is tween key release and tonal results. 3. How may silent practice at the keyboard One horn after another then takes up this f treasure. He has compelled one of them, The crash soon follows and a long resting. This should be repeated until it assist in obtaining a good legato! theme, beginning in alternate measures, and The Rhinedaughters then, with triumph¬ Mime, a skillful smith, to fashion for him tympani roll gives the effect of thunder. is certain that no unnecessary rotary stress Lateral and Vertical Preparation 4. IVhat is the result of combining lateral upon each beat, until the eight horns create ant shouts, swim about the rock on which an enchanted golden helmet which will After this entirely dies away and the mists a continuous wavelike effect. Passing notes is being applied on the little finger side JF WEwm again glance at the passage, and vertical actions in the attack of a the gold rests and sing their Adoration of enable him to become invisible or to assume have cleared, the end of the rainbow is of the hand. As soon as this adjustment key! are later introduced, together with fuller the Gold (a motif to be heard often any form he may desire. seen near at hand. While the upper voices has been thoroughly made, the movement factor that is vitally *e harmony, and the motif is given more defi¬ throughout both “Siegfried” and “Gotter- He becomes enraged, upon the entrance of the orchestra, together with the harps, nite form: dammerung”): of the gods, and rails against them. Wotan (Continued on Page 585) 550 SEPTEMBER, 1936 551 THE ETCDB i MUSIC EXTENSION STUDY COURSE | Analysis of Piano Music A Monthly Etude Feature appearing in ,, - M of practical value, For Piano Teachers and Students the Music Section The Teachers’ Round Table by an eminent of this Issue : / ''V /I/ Conducted Monthly by s Specialist By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR raj/1 passages in 16ths, and a crisp forearm Let the sustained chords be as organlike DANCE OF THE GRACES (staccato quarter) note of each two-note as possible in sonority; keep the tempo at slur. This rhythm persists doggedly (or attack to play the staccato chords. By H. L. Cramm The pedal is used sparingly—the melodic a moderate pace and play quietly and ex- should one say, donkily?) throughout the Stage Fright The title of this piece—in minuet style— line is too active for much pedaling. The pressively. The Student at a Standstill is apropos, since “grace” is the very es¬ first section, against a bouncing wrist Let the inner, or moving voices, flow No question will be answered in The Etude unless accompanied by the full name broken chords indicated by the wavy lines and address of the inquirer. Only initials, or pseudonym given, will be published. sence of the minuet. staccato in the right hand. smoothly and evenly without obtrusion. The second section is louder and fuller should be rolled off with a sharp twist of All questions directed to this Department must be of a nature to interest its readers Follow the phrasing marks carefully. Try to produce an air of dignity with¬ well pleased with my in tone. Be sure to note the marcato pas¬ the hand. nigh school. When I stopped, I was in general. Mr. Maier can not answer personal questions by mail. The Etude’s They have an important bearing on the out stiffness, a line of distinction often playing at sight pieces and studies ”"*imated my grade sage for left hand, beginning with meas¬ Remembering that “Contrast is the first in the fourth grade : and I started staff of experienced musical experts will endeavor, however, to give advice and in¬ o be between ci> rhythmical swing. overlooked by the amateur. ure 23. The donkey trot is established again law of all Art,” make as much of it as a music class. After finishing high formation when possible. We can not answer lists of questions for examinations Tonally, the first theme opens mezzo- _._ _ . _ Normal and contests. trouble with in measure 30, and the first theme again possible between legato and staccato, forte This will be an interesting addition to y Life Certificate forte and grows in volume to ff in measure and piano, and so on. In the Trio section the repertoire of those who are always on ’ ' e taught enters leading this time to a short Coda. around, but let someone c 9. This is followed by a diminuendo in be sure to establish a well marked rhythm. the alert for something “new" from the for measure 11 and the tone reduces to piano months of those teaching years Practice requirements should be on a Do not allow the 16ths in this section to masters. I go back to the study of music. Such concentrated study often puts one at the entrance to the second theme— OUT OF THE PAST sliding scale; under ten years of age I drag or sound "lazy.” If anything, they In the past three years I have back on the main track and holds one there measure 17. In this second section the By Jules Mathis again taken up iny music teaching think one-half hour daily is enough, unless should be shortened and have almost the THE POET SPEAKS and am just realizing what has been for the whole winter. You will find some and am getting nowhere and v phrasing is again of paramount importance, Here is a cross-hand piece in which the R. Schumann left out of my musical education. of the best of these schools in the advertis¬ the child is very talented. In that case any¬ like very much to play we] especially the short two and three-note effect of grace notes. I have tried studying by myself and thing up to one and one-half hours should public.—R. A. S., Ohio. right hand carries the melody in the bass, Technically very easy—musically quite can read at sight all music in The ing columns of The Etude, anxious to groups with the slur sign. Beginning with be demanded (even if he rebels). Over ten, while the left hand passes over to play WHIMSIES difficult, is this short number from Schu¬ Etude, yet I cannot get out of offer the results of their experience in just I do not believe that stage fright is ever measure 41 the upper voice becomes more Chopin, and some of the other mas¬ an hour can safely be expected from the the accompaniment chords in the treble. By C. W. Lemont mann. So much is assumed on the part of ters, what I know is there. For study such cases as yours. entirely conquered. So far as I know there active; and the extended passage in the ordinary pupil, except when the school At the end of the fourth measure, the Keep the title well in mind, while playing the performer by way of tonal nuance, and technic I have been working is only one simple (and yet so difficult) eighth notes should be played with smooth, on Beethoven’s “Sonata I’atbStique. home work is back-breaking. (It is often hands uncross and play in normal position. this number. In style it should be a mixture rhythmical inflection, poise and balanced in C Minor.” I can play it, as far as A Special Problem way to control it, and that is to know your even legato, well articulated for the sake just that; and ought not to be permitted This alternation occurs every four meas¬ phrasing. The tempo is Lento, quite slow. notation goes, but how dry and I have a special problem in one pieces so thoroughly that the nervousness of clarity. A climax is reached in measure of a caprice and a scherzino. Roll the triplet tasteless it sounds! little girl of ten years. She started without vigorous protests before parent- ures throughout the first theme. figures of the first theme, and be sure to The opening chords must be organlike with her study in October, having had no will not actually affect your memory or 52 (the pause), after which the mood is previous training. She, however, has teachers’ associations and school boards.) When the melody lies in the lower reg¬ toss off sharply at the end of each slur more intensity given the upper, or melody your playing. If you school yourself to again subdued; and the piece ends quietly ister it is played legato. When it appears a great deaf of musical ability and line. The grace notes should be “flicked” tones. To produce this effect let the fifth before taking lessons had "picked practice with as intense concentration as in typical minuet character. in the treble it is marked portamento— Many music teachers would be better out” little tunes on the piano. I Schubert’s “Stars” in a brilliant manner and the staccato left finger side of the right hand carry most of possible, and with the most sharply pointed long but detached. off were they to adopt the course that you started her in Williams’ “First Year Sometime ago, when you played in hand kept crisp throughout the entire first the weight, applying what percussion is at the Piano.” She has completed Buffalo, I heard and listened with attention to your work every moment, you MURMUR OF THE WAVES Follow pedal markings and expression have taken. I often recommend students that book very satisfactorily, having great pleasure to everything, but section. The first theme is in B minor and needed, according to the tone desired. Pedal will find the matter of stage fright not By F. A. Williams marks as given. whose musical talent is not overwhelming, had all the major scales and quite a especially to a piece called The the second in the parallel major— B major. each chord separately. bit of transposition work. I have Stars by Schubert. I am hazy about nearly so terrifying. How can anyone who Here is a number which will afford ex¬ The second theme, beginning measure to take a regular Normal School training. continually supplemented her work this for I have written to several In the second section, the mood, or whim, Let the little cadenza passage be played practices carelessly, lackadaisically and dis¬ cellent practice in mixed chromatic and 34, is somewhat brighter in mood and Generally, with a school teacher’s cer¬ with pieces from The Etude and publishing houses and they all re¬ has changed. The melody is in the upper like a recitative. Dynamics and phrasings music that I haDDened to have, port that they never heard of it; so tractedly by himself, expect when he plays diatonic passages. Employ a good, clean alternates between right hand and left. tificate in your pocket, you are assured of which suited. She has had also a I take the liberty to trouble you. I voice of the right hand and flows along arc clearly marked and should be followed before others, that some benign spirit will finger attack and strive to develop a The first theme is heard again, D. C., some kind of job; meanwhile you can de¬ part of Rogers’ "Book I, Seales, for never have forgotten the emotional smoothly and with sonority. Let the left faithfully. the Development of Velocity.” She is lift I got from hearing you play it. come to his rescue? If you do not train legato with ever changing color values. and ends at Fine. velop your musical talents along the way. now working on Gurlitt’s Waltz, May I say that I read you- yourself in all your practice to play every hand roll the accompaniment groups in Then, if you find the music all-absorbing, 11, and she is doing very in The Etude and get much us? The line of distinction between a dry ex¬ HERE WE COME weil with it from it in my teaching and my own passage perfectly the first time, how can 16ths. and your piano or violin class growing, ercise and a beautiful bit of pianism is WINGED WINDS By S. Forrkst eally has no special problem efforts to perform.—M. C. D., N. Y. you expect anything other than imperfec¬ By C. Burleigh This is an excellent piece to develop you can discontinue the school work. that I y the sometimes finely drawn in a piece- of this Here is one for the first graders. With Do you know the romantic tale of Schu¬ tion or downright calamity in public? sharp phrasing and rhythm, contrast in But unless one studies constantly one type. Much depends upon tonal nuance. Here is a descriptive piece which has all but three exceptions, all the notes arc quar¬ her teacher? *Her family is quite bert’s song, The Stars? Madame George Every note should be so thoroughly learned Slur and pedal the left hand exactly as tone and freedom of style. soon reaches what a teacher (for whom poor and would not be able to have the “earmarks” of an etude. It begins with ter-notes. It remains pretty much in the instruction from any of the more ex¬ Sand tells how Chopin, during his three that you are able to play the whole piece, marked. The second section calls for nice Johnny stubbornly refused to play another the melody in the left hand against a very five-finger position throughout. It is tune¬ pensive teachers around, and unless months’ stay in Marseilles (in 1839), after measure by measure, in your lap or on the pivoting on the right hand thumb, to give THE STARS note at the lesson) appropriately called an you tell me that my program with breezy accompaniment. The swell and ful. lias a real snap and is quite easy. her is very much at fault, I think the near tragic winter in Majorca, was one table, each hand alone, then hands to¬ an effect of unbroken thirds in the upper By Schubert-Maier “impassay.” I see nothing for you to do diminuendo signs are used freely to denote Words arc supplied to help give atmos¬ I am doing well with her. day shocked to hear that his friend Al¬ gether, seeing in your mind’s eye every voices. In the third section be sure to ob¬ Here is a novelty for Etude readers, but to find the best musician in your dis¬ Will you please advise me as to the rising and falling of the wind. It be¬ future work for her ? And how would phonse Nourrit, a famous tenor, had died. finger on every piano key, hearing in your serve the staccato quarters on the first beat. arranged by one of America's foremost phere. trict, whether he be a pianist, violinist, gins piano and starts immediately to build you criticize her training so far? It was said that he took his own life be¬ mind’s ear the length of every note and It is essential to the rhythm of this theme. musicians. As a concert artist and teacher organist or whatnot, and get him to help What grade in music Is she ready toward the climax, which is reached in THE FIRST DANCING LESSON cause the public was no longer showering rest. This must be done so often, so slowly Brilliance and ease of performance are Mr. Guy Maier has long since carved his you find out what is hidden behind the for? I have looked over several sec¬ measure 13. Note how the tempo has in¬ By M. L. Preston ond grade books and think they are the applause on him to which he was accus¬ and so thoroughly that it should take the watchwords when playing this piece. niche in the Hall of Fame. Recently he has notes. Very often, lessons with such a sen¬ too easy for her. Will you suggest creased meanwhile. A waltz in grade one. The key is G tomed. (Such were the tender sensibilities fifteen minutes to one-half hour to get over been added to The Etude staff and con¬ sitive musician can be of inestimable help, something good? Another increase in speed is indicated major and the Tempo moderate. The Bv the wav, I require all school a single piece of three or four pages. That even if your instrument is not his specialty. of tenors in that earlier day!) Chopin was at measure 17, a passage consisting of in¬ ducts the popular Teachers’ Round Table. -study-7 piano to practice is what I mean by “knowing your stuff.” AUTUMN REVERIES melody lies in the right hand while the left At the risk of discouraging you I am sorry — a week. TL__ ... asked to play the organ for Nourrit’s terlocking octaves and chords, but played Be sure to read the article relating to this is it? The former It is sad but true that most students will By E. Lehman hand supplies a broken-chord accompani¬ to say that you will make no progress by funeral in the church of Notre Dame du softly. The tonal power is increasing at all composition on Mr. Maier’s page in this i such requii never submit to such severe self-discipline, Here is a reverie which exacts your best ment. going it alone. i criticized for i Mont. The public, hearing this, crowded possible singing tone. Try to have the times but becomes particularly marked be¬ the church to suffocation, expecting him to and therefore never play well. I hope you The piece opens slowly and tenderly with Could you not manage to take one of melody stand out, not just because it is ginning with measure 30 and grows to a SWINGING ALONG I like that expression, “what of her play some dramatic fantasia or funeral will, for your letter sounds as though you terrific climax in measure 37. a two-measure introduction which estab¬ the excellent short summer music courses louder, but because of its quality of tone. By Alexander Bennett teacher?” It shows that you are taking march of his own. But shyly, he went up really “mean business.” lishes the rhythmical swing. The theme is offered by several schools in your region? Play the syncopated accompaniment chords Clean finger work, a good forearm at¬ An excellent second grade piece to de¬ stock of yourself, constantly weighing, to the choir loft, and there, while Madame Good luck to you! carried, first by the right hand. It lies in of the right hand with shallow touch, so tack, freedom of style, and a vivid imag¬ velop forearm attack. As indicated in the criticizing and appraising your own work. Sand hid behind the organ, evoked, like the ination, all are necessary to give to this the violoncello register” of the piano, and as not to obtrude on the melody. Pedal text, play with a decided swing and do not (Go thou, and do likewise, gentle reader!) faint echo from a far off world, the whis¬ twice to the measure, as marked, and note number the thrilling interpretation it de¬ f aS far as I^ble ‘he overlook the short slurs and extended Be sure that you do not push the girl per of an unknown little song by Schubert. serves. tonal quality of that instrument. Remember the diminuendo signs as applied to the phrases. Pedal may be used sparingly as along too fast; one of the surest ways to It spoke softly of “the stars swinging in it is easy to get a good tone on a fine in- descending basses. The tempo is moderately marked. drive her away from music is to give her the calm blue sea of heaven, singing their WHITE DAFFODILS strument. It is variety of tone that calls for slow; and the first theme should be played “hard” pieces too soon. Give her time to eternal song as they look tenderly down By Stanford King A BIRD CALLS IN THE WOOD as expressively as possible. The second skill on the part of the performer. Strive upon us.” The audience scarcely knew when A musical sketch in which flowing mel¬ enjoy thoroughly and to master the music section, beginning at measure 17, is much “I- // "nance when playing this beauti¬ By B. Wagsess of her grade, thereby developing a good the music ended. There fell over the church ody and scintillating rhythm combine in a This piece is intended to develop t« more excited in character—both tempo and ful melody and do not forget that o melody foundation for musical and pianistic facility a long silence—more beautiful even than pleasing manner. Use your best possible playing of three-note phrase groups- The mood become enlivened. Give sufficient Ime is constantly changing in "thickness" —qualities sadly lacking in most of our any sound—the hush that follows music. prominence to the tenor voice in this sec¬ singing tone on the sustained passages and Beginning at measure 11, note how the words “drop," “connect" "roll" will * play the triplet figures with sparkle and students to-day. So many persons have tried unsuccess¬ tion, and build constantly toward the climax theme passes from one hand to the other found helpful in performing these phrases; I refuse to be drawn into this everlasting fully to get The Stars, that I had several in measure 27, at which point the tempo well articulated finger legato. Use the that is, arm drop on the first note, conned beeaautrfuindt1Cated W'th gU'de ,ines' Add ‘hw “grading” dispute, but I am sure many hundred mimeographed copies made of my broadens perceptibly, followed by a big pedal with extreme care, so as not to blur the second note with finger legato and roU the legato. an7t™ / ?Cn?t,0n to your repertoire teachers will agree that Williams’ excellent own arrangement. This supply being quick¬ retard in the next measure. After the pause the last note. Care must be exercised in The middle, or Trio section, is more “First Year at the Piano” is too much to ly exhausted, I asked the Editor of The return to Tempo I (although more tran¬ Mr. Male? release of these phrases. Many of them ew expect of a young pupil in one year—and Etude to publish The Stars in this issue, quil) ; and allow both tone and tempo to peaceful in character. Be sure to make fine with a sustained note, in which case, «■* contrast, in this section, between legato that by the end of the volume Mr. Williams Page 565. die away to the end. PRELUDE IN E MINOR into the key without releasing, and has led the student well into the second I hope you will play the melody calmly and staccato. The phrases from measure By J. S. Bach the hand just in time to create a breatn 60 on, should be released rather sharply grade. and coolly, with a soft singing tone; and THE DONKEY TROT between phrases. . Observe all sustained notes and accents, as You might now like to use Mathews’, the accompaniment with gently rocking By C. Franz Koehler Keep the tone subdued and try to imitate they have an important bearing on the Volume II, (this is not too easy) or some rhythm. At first this hand crossing accom¬ A typical donkey trot—half gallop, half interpretation. has been transcribed and expanded imo a the chirping of a bird. Burgmiiller studies, or that delightfully paniment may seem tricky, but it will soon trot—is suggested rhythmically in this hu¬ concert version by Gilbert B^ard There is stimulating new book by Elizabeth Quaile, become easy. The very high and low Fs A LITTLE JOURNEY morous little sketch. To insure the proper COUNTRY LANES “Rhyme & Reason,” a series of musical and E flats (measures 11-14) should sound effect the “drop, roll” attack should be By F. Keats By H. P. Hotkins , terms expressed in tasteful arrangements, like tiny, remote points of starlight. Follow used in the left hand, that is, drop on the .ha pE^nd Ifc This little number is a good example classical excerpts, and so on, all sensitively and bring out the inside melody here. The This piece of Frederick Keats calls for themadizing in the inner voices. On the nrs first note (8th) and roll off on the last good, clean finger legato, when playing the edited and well chosen. I advise you to ex¬ connecting lines show the progress of this theme, for instance, the melody 1®* 15 amine it. melody. The end should be scarcely audible. 552 (.Continued on page 592) SEPTEMBER, 1936 the ETUDE 553 FASCINATING PIECES FOR THE MUSICAL HOME
How They Cave Early Concerts
By Clement A. Harris
During the greater part John Banister’s house, now called The newspapers appeared only very gradually. JOHN BANISTER (1630-1679) of the history of mankind music was Music School, over against the George Thus Oxford does not seem to have had W ho instituted the first concerts uilh looked upon merely as an accom¬ Tavern in White Friars, this present one in 1733. Nevertheless the printing press an admission fee paniment to something else—chiefly worship, Monday, will be music performed by was put to a use in connection with music military maneuvers, dancing, and banquets. excellent masters, beginning precisely at which apparently was a novelty at the date A Bach in Albion four of the clock in the afternoon, and mentioned. Doubtless many a solitary shepherd whiled TT WAS IN 1759, Carl F. Abel, a pupil away the lonely hours by playing on his every afternoon in the future at the same This we learn from that “dull and dusty A of J. S. Bach, took up his residence in reed-pipe; and ofttimes a few friends would hour.” pedant” (see the Dunciad) Thomas Hearne London, and in 1762 Johann Christian Bach, meet and play or sing together. But in How novel the venture was regarded at the antiquary. He is indignant that admis- youngest surviving son of J. S. Bach, fol¬ these cases there was no audience. Yet, as the time is shown by the fact that the sion to the sacred precincts of the Shel- early as 1290, we find recognition of music “excellent masters” insisted on being hidden donian theater should have been granted to lowed him. The two lived together and, as of value on its own account. That is, behind a screen, at least at the first per- “one Handel, a foreigner (born, they say, three years later, formed a concert part¬ unless we can imagine that the four hun¬ nership which lasted till Bach's death in dred and twenty-six musicians, including 1782. J. C. Bach, though not without traces the most eminent “Minstrels of Honour,” to of the family tradition, adopted "the pleas¬ give them their contemporary title, many ant and somewhat superficial manner of the of them from overseas, who assembled at Neapolitans”; and it is probably due to Westminster to celebrate the marriage of this that the enterprise was so successful. Princess Joan, never performed except at It seems almost incredible in the present banquet or dance. But not till 1466 do we day. but his name was familiar in the chief find the first definite record of a meeting capitals of Europe, while that of his father for music purely for music’s sake—which was hardly known outside his own parish, of course does not mean that no such meet¬ and was chiefly remembered therein as that ing had ever taken place previously. of a schoolmaster notoriously unable to At a court ceremony in connection with control the boys placed under him. the “churching” of Edward IV’s Queen, we The business machinery, which surrounds are told that “After the Banquet and State the giving of a modem concert, is very dif¬ Ball a State Concert was given, at which ferent, in contrast. It involves many ex¬ the Bohemian Ambassadors were present, traordinary details. The advertising matter, and in their opinion as well as that of alone, may run into thousands of dollars Tetzel, the German who accompanied them, of the expense—what with billboards, news¬ no better singers could be found in the papers, press agents, and so on. whole world than those of the English The making of the tickets for a large King.” The quotation, from Chappell’s auditorium is, in these days, largely a mat¬ “Old English Popular Music,” is evidently ter of sending an order to a big printing a translation from Tetzel’s account, and we specialist, such as the Globe Ticket Com¬ must not take the word concert as having pany. in the United States, which has the been of contemporary English use. The seating plans of hundreds of auditoriums earliest contemporary example we have THE EARLIEST KNOWN CONCERT TICKET and theaters, all of them different and fur¬ found is in “Evelyn’s Diary” for May, l!tLZlifSt iP concert ,ticket ext™ ™ evidently a season ticket (price five 1659: “To London—a concert of excellent guineas) for the series of six concerts given in 1764-5 in the Carlisle House nishing printing complications, in spite of which one of these companies can turn out, musicians.” The word is believed to have is a worthy KibutT'irom (j°n™rl* ” This admission card been derived from “consort,” as in the very in an amazingly short time, a set of tickets familiar phrase “a consort of viols.” numbered according to the seating plan of were among the most eminent craftsmen of their day. In the museum at Nnnle, one of these houses. The manufacturing The First Impresario however, there are some old concert admission tol^; bmtCse are liuUoiIre: of these tickets has built up an unusual of stone shaped, curiously, in something of a resemblance of ,Z body ol a and large industry in this country, one DESPITE THESE earlier examples, a violin, though made centuries before the invention of the violin. series of music-meetings, organized by which depends almost exclusively upon the making of tokens of admission. The making John Banister , in. London,- in 1672,- is- often- formance!- But the misgivings provednrnved at Hamburgh)” and “his lousy crew, a spoken of as giving us the first example of groundless and, these daily concerts cor of railroad and steamship tickets is usually a concert. The reason is that they were tinued practically till Banister’s death i great number of foreign fiddlers.” t The a business independent of this. the first unconnected with any court func- 1679. pendant errs, of course; Handel’s birthplace tions, and admission to which was by pay- was Halle ) To make matters worse, the SELF-TEST QUESTIONS „ _ _ __„ foreigner is “publishing papers for a i fee—one shilling—the concerts The “Press Notice” is Born 1. IF hat is the date of the first knots* being thus thrown open to the general 'T'HE ADVERTISING of these music Wd a 5) at 5 ' 1 five shi>- meeting for music makingt public. There was also another.feature in 1 meetings was the more significant worth Moreover “His book (not 2. Who gave the first concerts in London, which they broke new ground. This was since, though the first English newspaper He ' then Sd\ °r 1 ' ' °«* *hiUinK, Here, then, we have_... ICVU with paid admissiont printing■intf™ press.ZZ The meetings“ °i!he th/ W.Cekb Ne™’ had aPPe^d in X622, a orinL of 3. IF hat supposedly modern custom teas larly advertised - ~ advertisements were not tesert^ilWW ofEckrts ^1°' (W°rds and of *'lc the (weekly) London 1650 and did not become a regular feature tickets£'inl • aWare °f an-v of ,h^e practiced at the first of these concerts! Gazette, the first advertisementvertisement running as till 1675, when “a shilling was charged for British Mol.f' l" ex,?tence- But in the 4. IFhat and where is the earliest knots* follows: a horse or a coach for notification, and six- date which 'S °"e of a ,a,cr authentic admission ticket! "These are to give notice that pence for renewals.” In the provinces, not ’is surdv th^** 6 earl'est extam or 3. IFhat is the first record of a printed _ ’ SUrely the mos* artistic ever issued program with words of songs!
School Bells Again We can hear them ringing already, although we are writing this boiling July afternoon (104° in the shade, and official. Phew') It is not The child of today is a r .... too hot, however, for us to be thinking about our teacher readers and to methods. Even the suhim-t C , accustomed to live materials and be reminding them that their success will largely depend upon their with faked moving pictures of ** preSen,ed in a ,ive fashion’ preparation and activity. Do not forget the story of the boy whose teacher saurus. The music teacher in Ichthyosaurus, Pterodactyl, and Bronto- took his class to the Natural History Museum, with all its stuffed hirrk knows how to fiH S mo™ ?T“ds in thesc and animals, only to hear him sneer at leaving, “Gee, ’twasn’t nothing must investigate all of the latest m, If38®" 'vith mterest. She but a dead circus!” ululg musical advances, and use every ^ mUSt keCp Up to da,C °" a" They must be kept alertly enthuriS' *° keCp PUp‘ls in,eresteA Copyright 1936 by Theodore Bresser Co. British Copyright secured SEPTEMBER 19H6 SIS the ETVDE autumn reverie ON THE TERRACE OF Tt^vas1 written on the romantically beautiful terrace nt This is one of the most Juscious of the melodies of the American composer, E HefryTVwas bo'™ and Francis I Jived. St. Germain, which skirts the St. Germain Forest in France, near EVANGELINE LEHMAN
* irini f\ | i’jespressivo 3 R ^-'T' *■ 5i 5i r 7* * WO r J *
J b1, * Ll" -— , 1 J , * J---N-- 1 simile ■ n , t 4r-n^-i —J 1'
We now and then come upon a piece of music with an especially rollicking rhythm such as that of this composition which is sure to be contagious in its appeal. It should be a fine recital number. Grade 3. C. FRANZ KOEHLER At a jog trot m.m. J-= 104
Copyright 1936 by Theodore Presser Co. British Copyright secured SEPTEMBER 1936 557 MURMUR OP THE WAVES 1VX U rt-LVi XJ X tonoh.-^iil make this attractive piece a fine exhibition number. Smooth even performance,effective phrasing and appropriate use of the Je^?.*?"** ’JLfted writers. The composer,an experienced teacher of Cleveland, Ohio, is one of our most prolific and gn FREDERICK A.WILLIAM*? Op. 165 A . Allegro con brio M.M. o-=72
OUT OP THE PAST JULES MATHIS Valse lente m.m. J-=63 WALTZ e
5 4 __ 6 __ 3--_ 1
10 15 Situ** * i m IpbSBi
8 5-r— /) i • l h ^ | ^_r" 11 , i^"fc==r\ '
D. C. al a tempo 35 fit 4(J Fine
1 P^=F ~prpi7p~ «pf4^ 4^—t- : rfr^rT 4HT>. 4-- >■ t L=uJ J I I.; j : LUX1-1 1 1 ^ si 8
Copyright 1936 by Theodore Presser Co. British Copyright secured SEPTEMBER i936 559 WINGED WINDS CECIL BURLEIGH,Op. 26,No. 2 Swiftly; rushingly M.M. J- = 100
White daffodils are more familiarly known by the poets’name, Narcissus. An old Greek legend tells bow a handsome youth fell in love with his own reflection in a pool and was turned to a flower. Elsewhere in this issue will be found a short sketch of the composer,who has a rare gift of melody and who gives promise of a brilliant future. Grade 4.
Copyright MCMXIX by Oliver Ditson Company 560 International Copyright THK STD*i COUNTRY LANES
-4 ■ *“ s 1 -T ‘J-—hT J ■* 0 0J"-|~ • = 3=»l ' — -40 * 7 tf l«f -f : = Sfr . *§;, * V ..p:-v—:- V'- -L —P-L-U T -—^—J1— TRIO 3 3 4 /) 1 1 2 1 ^ '^-^-=3Ljfcyap < p «* ** x „_ 50 L__ r r 0rrn* » — 5 1 2 'A 4 - 4 " PPS pja be ^ r D. C. nl Fine
rj 9J‘ 4 ^ .4? Copyright 1936 by Theodore Presser Co. British Copyright secured SEPTEMBER 1936 563 MASTER WORKS WHIMSIES _- THE STARS FRANZ SCHUBERT “The stars, swinging1 in the calm blue sea of Heaven, singing1 their ^rr & YY eternal song as they look tenderly down!’
Here is one of the most distinctive Organ Preludes of Bach,in a new and effective transcription for the piano.lt will make an excellent study for chord playing and the use of the pedal.While there was no damper pedal in general use in Bach’s time,there can be no objection to taking advantage of this ad- OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES
Tyrone King THE LORD IS MY SALVATION CECIL ELLIS
Grade 3. DER DICHTER SPRICHT TRAIL END Words by CRISTEL HASTINGS Music by Joseph McManus
star in the heav - en-ly vault! What more can I ask, save an old song or two, Andtta trail end that
/Swell mp = 8'and 4'with Oboe „ )Greut mf - 8'with Sw. coupled Prepare choir Clarinet 8' INTERMEZZO 'Pedal tup- Bourdon 16'with Sw.coupled WILLIAM REED Allegretto
Copyright 1936 by Theodore Presser Co. 568 Copyright MCMVII by Oliver Ditson Company International Copyright secured British Copyright secured 569 thbstvdb SEPTEMBER 1936 Copyright MCMXXVIII by Oliver Ditson Company International Copyright secured SEPTEMBER 1936 57t SWEET JASMINE VICTOR VEDOVA , SECONDO Arr. by R. Spaulding Stoughton Tempo di Gavotta m. M. J = 132 j I *
5 A -
~W ■ - T 5 r » ^ 5* * i F hi M 9- 1 ' .-m-— i / ■ i ii i -i iri—t i -r-w r m—tv • m r i; ti r-r — 0 l - rTih-d
-/I yj F * F| * F * ? Tr i f J > i ^ 1 % 1 —t— -e TV3 ^ | ^ I 4=^
* From here go back to and play to Fine\ then pJay Trio. Copyright 1936 by Theodore Presser Co. * from here go back to %, and play to Fine; then play Trio. British Copyright s«’ired THE STUM SEPTEMBER me 573 PROGRESSIVE MUSIC FOR VIOLIN ENSEMBLE CLARENCE KOHLMANN
CLARENCE KOHLMANN
CLARENCE KOHLMANN
f
CLARENCE KOHLMANN DELIGHTFUL PIECES FOR^JUNIOR ETUDE READERS , d„ SWINGING ALONG Play with a decided swing m.m. J = 104 ALEXANDER BENNETT HERE WE COME! MARCH SIDNEY FORreSt Tempo di Marcia M.M. J=126 4 , _ 13 3__ v - LA \ > 1 =v=; —T i ~=E==£=3 (mu_± J Here we come! One, two, three, four) < /* One, two, three, four, All to-g-eth-er, One, two, three, four, ♦ 5 ’ r r \ **-■!>£ 1 r 2 3 ^ 2 iNEW Radio and Music A MUSIC SCRAP BOOK (Continued from Page 541) Including Music Appreciation and Music History THE OUTSTANDING BOOK OF THE YEAR musical instruments in a century or more. masterly style, over the radio. But what Indeed the glory of many of these instru¬ happens in exchange? ments lies just in their age. A Stradivanus Royalties are paid to composers and pub¬ ” more desirable than a violin dated 1936. lishers before the work reaches the air. The human ear, however, is capable of Arrangers are kept busy preparing it GREAT MEN hearing tones which lie much above and for the radio orchestras. Soloists are en¬ much below the notes producible on any gaged, by the various broadcasting stations Who instrument. We can go just so high on throughout the country, to interpret it. the highest flute; but the human ear can Each of those stations maintains one or MADE MUSIC hear higher. We can go just so low on more orchestras of thirty or more men, to the deepest contra-bass; but the ear can accompany the soloists. Conductors, as¬ hear lower. Naturally, the written music sistant conductors, rehearsal masters, and By we possess is calculated to meet the scope, librarians minister to the needs of the men not of the human ear, but of the playable in the orchestras. Without going farther J. LILIAN VANDEVERE instruments. Now, radio can do better.. through this musical House-That-Jack- Through instruments of an entirely Built, it becomes clear that, for the hand¬ Price 60 Cents radio-electric character (vacuum tubes and ful of persons who no longer make music, the like), it is possible to generate new whole armies of people are enabled to earn sounds, which reach both higher and lower their livings and to serve the cause of art Every student of music, regardless of than those of any known instrument, and as well. We can scarcely call this detri¬ department or age, will find this by this means it is also possible to produce mental. Machines which distribute an art musical sounds between the half tones now also consume that art, providing greater book of unusual interest and value. employed, thus approximating the full demand for the creators and interpreters All teachers of music will welcome it. gamut of hearing. These sounds are not without which no art can survive. The fu¬ reproduced from some already existing ture development of these machines will COMMENTS FROM LEADING EDUCATORS— source, as is broadcast music; they are mean an even greater demand for fresh created within these radio instruments. You material. But the more highly perfected "This book is very original, and I feel sure that students will enjoy it can get an accidental example of radio our distributing machines become, the while learning a great deal about the famous composers. I shall take pleasure in recommending the book to the teachers attending the generated sounds in the "whistling” that greater will be the demands of our listen¬ sometimes comes over the radio in switch¬ ers. Which makes it appear that the only University." ing from station to station. In its accidental person to suffer by this' mechanical progress "The poetic presentation of the material, with the correlation of state, such whistling is not especially de¬ is the one who is satisfied with mediocrity, American historical dates, has met with an enthusiastic reception sirable; but it forms the basis of radio who cannot or will not expand his powers among my high school pupils. We plan to make this book part of our produced tones. These sounds can be made to the full limits of great work. Personally, - regular work next season." purposely as well as accidentally; more I am inclined to applaud the development "The orderly and direct way in which this book is arranged will enable than this, they can be refined, modulated, of any means, mechanical or otherwise, students to gain a knowledge of these composers without unnecessary amplified, adapted as to timbre, and made which open up possibilities of a new range detail." into entirely agreeable tones, capable of of color of musical sounds. This would give inclusion in fine music. fresh stimulus and impetus to further cre¬ We already have seen the very begin¬ ative effort and greater work. The THREE Rs in MUSIC ning of electrically produced sound in the instruments demonstrated by Professor By ALWARDA FISH The Best Demanded Theremin, by virtue of which music is and made, not by striking or vibrating strings Undoubtedly, the demands of our or reeds, but by changing the electric char¬ listening public are becoming more GERTRUDE MOORE acteristics of the circuits, amplifiers, and and more discriminating with every day. Grade 2. He’s always jumping up and down , the like, contained within the instrument. And again, oddly enough, our art standards Price 75 Cents as you will plainly see. This idea can be carried further. As scien¬ are being elevated by the very force which tific and technical development advances, so often has been said to crush them—com¬ it will become possible to create sounds of mercialism. The development of radio A Writing Book Explaining sufficient variety to conform to the full belongs to science, but its practical appli¬ the Fundamentals of Music scale of human audition. When this is done, cation, in America at least, is also a the quality of the tones will be perfected, commercial affair. Our networks are pri¬ Presenting all the title implies for a and their volume will be controlled. A mere vately owned, our public pays no license solid musical foundation. A work finger pressure may call forth the full, fees, and our programs enjoy unhampered book in which the questions are pro¬ crashing splendor of a Beethoven fortis- “freedom of the air.” Expenses are de¬ pounded by the text in a clear and frayed by commercial advertising, and this, concise way. Invaluable as a supple¬ it is sometimes said, tends to ruin program mentary book for both class and Opportunities Multiply value. But I do not share the latter view. private music instruction, leading CO MUCH for the instrument. Consider The contrary would seem to me to be the into first year harmony. Cr now the completely new fields it will fact. open to musicians. As these new tones are While there is no scientifically accurate brought into existence, new instruments check up of program popularity, surveys COMMENTS FROM PROMINENT TEACHERS— wdl be built to utilize them, new schools indicate that nine times out of ten the "THE THREE R's is a much needed book." of interpretative art will come into being most popular broadcasts are also the artis¬ "The essentials of elementary study are very clearly and to play the instruments, and new composi¬ tically superior ones. And this is entirely explained." tions will be needed to probe this wider logical. The advertiser is interested in tell¬ held of interpretation. ing the story of his institution or his prod¬ SCHROEDER & GUNTHER, Inc. It is often charged that all the “canned uct to the largest number of listeners. His music of this machine age of ours is first aim, therefore, is to reach as large an Music Publishers proving detrimental to the distinctly per¬ audience as possible. In his effort to secure 6 East 45th Street New York, N. Y. sonal arts of creation and interpretation. this widest possible audience, he turns his 1 mke exactly the opposite view. There is attention to program values, luring his lis¬ no muisc, "canned” or otherwise, that does teners, as it,were, by the very finest ma¬ INTRODUCTORY OFFER E. S.—36 not find its inception in the very personal terial available. (Which great artist or arts of creator and interpreter. The com¬ great orchestra has not been on the air?) SCHROEDER & GUNTHER, INC. position must be there, and someone must The costs involved in bringing the world’s 6 EAST 45th ST., NEW YORK, N. Y. P norm it, before the phonograph or the greatest artists and orchestras before the Enclosed one dollar ($1.00) for which kindly send postpaid one copy of each of the above microphone can do anything with it. What microphones could scarcely be met by gov¬ new books. •j new muniments have done is to pro- ernment subsidy or the returns from license To:— e new wings for the distribution of fees; and, if they were, it could be only music new outlets for its release. Let us on the basis of a government owned and Name. S’ ;or argument’s sake, that some indi- controlled monopoly. It is commercial ad¬ been deflected from personal vertising which has brought into every Street . in- t,makmrg by the greater ease of hear- town and hamlet an array of musical riches g their favorite works performed in (Continued on Page 590) City_ _ - - ... _ State....
SEPTEMBER, 1936 , . tnne thus bringing these tones on a Now that the low resonance or speak¬ Jitive level in color as in the diagram ing voice color has been studied thoroughly and worked out in the voice, we wish to “The Best Piano take the student back to the bell-like, easy- flowing, pure head tone which was the sub¬ Method I Know99 THE SINGER S ETUDE ject of our talk in the August, 193S issue of The Etude. IGNACE JAN PADEREWSKI At this point of our study we will over¬ Edited for September by Eminent Specialists V lap the head voice action with its free Ignace Jan Paderewski, world-famed pianist- breath flow, completely over the middle statesman, after a careful examination of the It is the ambition of The Etude to make this department a “Singer s Etude complete in itself. Point A indicates a drop in level of the voice section so that there can be no reaches master work of Dr. William Mason wrote even scale through lack of middle vo ce or excessive-jumps in action as the tone breath pressure and low resonance supply. is sung up or down the scale. ’’Your ’Touch and Technic’ is the best fiano Use each of the following a* a Also, when the upper tones are painted method which I know and I congratulate you with the speaking voice color taken from on being the author of so masterly a work.” the lower tones, we overlap the hard res¬ onance material into the high voice for the LISZT, GABRILOWITSCH, JOSEFFY, ai Ex. 2 distinctive and original technical system same reason, so that we have no color or achievement in American musical educatu The Foundation of Vocal Resonance resonance jumps. Thus if the high action comes down and the low color goes up, there results a mix¬ TOUCH AND TECHNIC By Bernice Hall Here are helpful points for this middle ture or overlap of both ends of the voice voice exercise which is the only exercise at its middle, giving us in this way, free In Four Volumes DR. WILLIAM MASON necessary for right production of these par¬ HE UNDERLYING principle of chest tone being the ground tone or original tone which is forced and cutting in action (1) Hang the pure buzz close under action and equal color, resonance and T ticular tones for, like all parts of the scale, VOLUME ONE—Two Finger Exercises.. the natural use of the singing voice tone of the voice, and lying nearest to the and sound. the bridge of the nose. power, all through the scale. This system is (.School of Touch) it is a thorough study of their quality and called a one position scale, or in this talk is the thorough understanding of the speaking voice, is the most natural and Nasal resonance is the correct and com¬ (-) Make the enunciation very pointed VOLUME TWO—Complete School of Scales...... Pnce’ n'#0 interdependence of the singing and speak- easy of production.' fortable freedom of the breath stream set at the teeth. freedom that will bring them up to an even we might prefer to call it an even color (School For Brilliant Passages) level with the low and high voice and make ing voices. They are always one, in the The most complete breath drop, or corn- low upon the nasal and chest resonance, (3) Sing as a moan, to get a very km VOLUME THREE—Complete School of Arpeggios....Puce- $1-00 them a delight in action and beauty. The complete performance. plete relaxation of the breath stream, can with the happy result of a natural and breath drop on the chest. The bright, hard resonance “E” has been (Passage School) middle tones are the warm and human tones kmdergartners in the be obtained by observing closely an easy, colorful tone produced as easily i And. for still further understanding of studied and practiced in the voice, and now VOLUME FOUR—School of Octaves and Bravura.Price’ $10° progress of any new idea, until we have floating chest tone, so relaxed upon the spoken tone. This much wished for answer the right way to sing these pure chest tom of the voice, when rightly sung, and should we will turn again to the soft, dark “E” reac ed the stage of clear and successful chest as to be called a moaning tone. A to the vocalist's problem is obtained in color and action, three additional helns receive very careful attention by every on the same middle tones, so there cannot THE SYSTEM REQUIRES NO SPECIAL TRAINING COURSE TO understanding. Under this idea we will chest tone can be easily hung upon its own through a careful study and thorough tin- follow.. student of singing. be a break or change in color, resonance or UNDERSTAND. IT IS SELF-EXPLANATORY. explain our system of picturing the color freedom by letting it float out upon its own derstanding of breath drop, or released ( 1) Tl* position of the vowel sound, (1) Pay keen attention to the first action, except as one might choose to use mixture and resonance reenforcement of the action without any kind of direct interfer- pressure, and the fundamental mixture of 1 idea of floating or easy-pouring them in an interpretation of text. Farlv in the oiano DUDil’s career the beginning of daily practice should be instituted and no better speaking _ _ which is long A, must reach the systematic course and offerings of practical material can be found^han.what these volumes present. sneakincr — through the aid of new and ence or control. the easy flowing nasal resonance. The free breath stream. In this following exercise, be sure that Before the pupil is out of grade one the first volume original mental suggestions. The chart Jj| extreme resonance of a buzz, and The second influence of the chest tone nasal resonance adds to the tone its bright be placed very close and high (2) Be sure the position of this vowel the tones stay close to the teeth and front of artistic and technical success for the earnest studer groups of vowel sounds and their positions through the entire scale is . of the head. Remember that this is a dark, will be found to heV^T&S: TUf *S_.rel7ve “d col°r enunciation platform. under the nose, with the idea of sound, “A,” as in the word day, H^tun^have obtained great pedagogical prominence through the s forward color, not a spread of the lower deir eandU‘!fnnNhlathrpeat — “T*”8 7®** ne' of expressions or onance color on the sustained spoken resonance. This sensation Throat stiffness is always caused by re- patterns of the nasal resonance will be dark, dilated “E.” The tones of this ex¬ Wilbur Alonza Skiles Hard, bright vowels, speaking voice foundation. is very definite when once real¬ tained,ined, renressed.repressed, or directly_ controlled proven of firm value in the way of full urn ercise must be low in color and breath drop. Voice Specialist—Author—Teacher Speaking voice material, In order that the middle tones may bor- ized. breath. The following chart i_ Sing them with a mixture of just enough Raw material, meant to derstanding and application of this impor- ow color and strength from the power Practice quietly and slowly, giv¬ give a picture of the breath release ii low resonance to carry the vowel sound three voices. fhe tant principle or part of the singing voice, howhouse of the chest tones, it is best to ma¬ ing each separate tone much on the clearly spoken tone, and to support Brilliancy, , . , . Suggestions for the understanding and tatc in the first middle tones, the full and careful listening to, and thought. a pointed and perfect pitch. Exact pitch, medium voice^ V°ICe corrfct aPP]ication of the free nasal, exact color of the chest tone. And here we “A,” as in the' word day, is the leading low voice speaking voice resonance: After these single tones have been studied Basic principle, must be very careful to remember that the nasal vowel and contains naturally the larg¬ Chest tone Fundamental resonance, carefully and the combination of the easy Youth, joy and magnetism. breath action must make a jump toward est amount of speaking voice resonance. Think each of these tone pictures sepa¬ Basic principle, flowing headtone breath and the low res¬ Each increased distance signifies a faster Raw material. more release and less weight. This has “E,” as in the word thee, is a much nar¬ onance mixture is pretty well established, rately as they are practiced, using each one been shown in this same talk in the breath rower vowel, and on this account it is very as a single exercise and color study. traveling breath stream, therefore the re¬ Chest tone material, then practice the following exercises with lease of the breath must be greater as the release chart. apt to be pinched in position and sung too And here is the opposite group of soft, The clang-color of the voice. the same idea in mind, changing them to tones ascend the scale. near the teeth, thus making it too narrow dark color vowels, which balance in action, Power, brilliancy and youth in the different keys as long as they are sung Sopranos often have trouble with the The Suspended Tone in color; so the vowel sound “E” must color and ease of production the . equal LUUCS lrom entire scale. comfortably. from middle C to the first space F. O WE WILL SAY that we hang this borrow width and speaking voice resonance The resonance by which is builded S action and mixture of the two parts of the These lack firm from the wider nasal vowel “A.” clear enunciation. first group of middle voice tones from this account, beauty of quality, strength’and the top down, giving the breath entire free¬ Again sing each of the three tones in O, U and oo are represented as The resonance by which is builded Soft, dark vowels. enunciation clarity. Singing scales repeated- perfect pitch. dom to use its own action. The enunciation Exercise 3 as a separate exercise. On each Softening influence of high voice. ly and thereby physically exercising the or vowel sound is the firm path upon which of these tones sing the same nasal “Ha” Bell tone color in upper voice, voice will not cure the weakness and lack the tone travels. The speaking voice pres¬ as in the exercise before and carry the Dilation color in all parts. of enunciation platform. These tones can¬ JeUrthH8^° the.exercise of the P«re chest sure must remain firm and low enough to same quality over into “ee,” being very Complete relaxation through ac¬ not be forced into level resonance and re all th + ^ n°tes 111 the exercise below retain the chest voice resonance, while at careful to allow the “ee” all of the broad, tion, power. These six tones have been known celn th? “! neCCSSary as a T<-cml prac- the same time the tone is hung up on the full and helpful resonance of the “a,” and “S'MG'NG^IWADE easy” “ Don’t - Snore” remembering to give special attention to Low and easy drop of the breath, .r , , T to a wnisper ot the voice scale The«P „ ,. , 1,1 *™«Ue voice breath release, lrom me tup Eastern School of Voice Culture Broadness, warmth and sympathy through an idea of foremg the tone, where because they are 'the ml? f ar!\se cc,ed down. In other words, the chest tone res- the free and low breath drop on the chest. In this middle tone, try to realize the Chambersburg, Penna. in color. wmV0ICe TV™ Hght “ general catio» for experimentinrlnH °ra,bIe 7 °"ancc aI1“*'s bright tone to be As suggested in the first chart, each of texture to answer to direct muscular push, chest -C55 and -'-ed bread,. . speaking voice resonance in color-relation these mental pictures should be given sepa¬ An overamount of low resonance in tlx* to the chest tone. That “Nasal” Problem I^dinw and ^a.ve Pr"vcn very successful in rate study as a single exercise. In this way middle tones is dangerous to the high Singing Maxims Of Giovanni Battista Lamperti the classification of the two opposite sets '■pHERE IS AN ir •teresting and very toJef ShiS*”? mat"i*'“'^“only tones, because the overloading become of vowel sounds becomes automatic in sure cure for this hole in an otherwise the first sectionuu of JUSt. a,X)ve them ii greater as the singer goes on up the scale |J J ^ One of the greatest voice teachers of the last century iW-i FFffl sans rrj s*- the entire‘ •he n”dd" «** *• a"d rcsults eiXr Ihe forced tone, or S«,St”o„t0 “ch co"“minB t'-i-i- he h,gh' just as bad. the tone that jumps from the The bright-ly sky- Until the head, mouth, throat and (in keys of the piano and not able to finger slowly jmd very ^ thoughtfully. Give the natural speaking voice foundation, known Sing the “ha,” as in the word day, on 1 V|= low register) chest seem full of palpable them, as not to sense the sounds of your each half-note. A Fundamental Resonance to absorb the mental pictures and lowestTone'fa rirflri CSS’ °T Ukeness- to the [ gki>8-fc resonance, the singing tone is inadequate. voice and how to produce and place them. act^ upon them. » « m nghtly Produced voices. as the falsetto tone. If effort is felt at the throat the studah Then follow this single note exercise TET US CONTINUE by talking of the First, learn to accept the word “nasal’ with the five notes as below, using the -L/chest tone, or lowest tones of the voice, as applied in the singing voice, as its sure can be sure that the breath is being hw Your performance will be as skillful as The ease with which tones are started bright resonance you have studied in the your plans for it. and sustained, and the distinctness of pro¬ These fundamental tones are the structure foundation and thorough working principle back. Release the breath retention, and the exercise above. out of which the whole voice grows in There is such a wide difference between throat effort or stiffness will disappear- nunciation of words, are marks of the Ex.4 You might as well be familiar with the singer’s control of his enormous powers. natural beauty of quality, m flexibility of nasal singing and nasal resonance that in Sing each tone on Ha—as in *M Let the tone float freely upon the breath If the exercises here given have been action and m full range. It could be rightly comparison, they can be said ' ’ stream, then use enough low resonance or studied and practiced in a thoughtful man¬ called the heart of the singing v_.. - "?."CLrf “¥ «*-«. *»• •• ■ — firmness two rate2 exercise, and sustain "as3 SC,?‘ sPcak'ng voice color . ner, and with enthusiasm and enjoyment, In any section of the singing v will say that tone is free and comfnrt,,,,. . ? as l.he and clear enunciation. . then the student cannot but have noticed Why should they not sing in English? The Meistersinger performance on Chest tone has two channels of very direct is white and the otherHack"NasaUin.hl! duality carefully. f hll'thrT'te'rn'0*’'.''^ its To carry the firmness and richness of the a pleasing progress in vocal growth and the occasion of the Damrosch jubilee proved the English language surpris¬ influence. The first of these is action. The is black with dbnoxini,* most favorable to th- h '.caI " ' will be ready for a study of Head Tones ingly qualified for Wagner diction.—Paul Bekker. first middle tones, we use the same bright and Mixtures” to follow. color-vowel as in the practice of the po** 581 SEPTEMBER, 1936 THE ETUDE of improving the taste of the congregation M. P. MOLLER he serves; for young folks are easily taught Presents to like genuinely good material, and most 2-manual audiences will listen with rapt attention to the rendition by juniors of an anthem that Portable Pipe Organ would pass almost unnoticed if sung by an THE ORGANIST S ETUDE adult choir. And after all, such improve¬ ment is the great goal of any choir director. But all incidental advantages are beside It is the ambition of The Etude to make this department an “Organist's Etude” complete in itself. the point. The truest value still lies in the fact that the Junior Choir offers a distinct opportunity to the church to develop its youth. In the Junior Choir, rightly con¬ ducted, there is a drawing power that will give youth a sense of achievement, that will hold young people to the church against many an outside influence in an age when the call of these opposing forces is Salient Points in Progressive Organ Study most insistent. Thus, to the question, “Why a Junior Choir ?” it is possible to multiply answers By William Reed to a surprising extent. Yet in the end all are contained in the first reply to the doubter: “The Junior Choir gives to the WHEN THE ORGAN STUDENT For reasonable accuracy of interval !- lowing “side steps” pedal technic. has made a good fundamental youth of the church the opportunity to urement, nature has provided. Thus (1) =f=gq i 1 ~j 1 ~ start, he will do well to give his pressing the knees together gives the pos¬ sing well, under the most favorable condi¬ HAMMOND attention to the combination—at once in¬ sible extension of an octave; (2) pressing tions, at least a little of the world’s great sacred music.” timate and independent—of the left hand the heels together gives the extension of DEALERS and pedal. This study is important and a fifth. These provisions make for con¬ V, , * t- nu hi FOrM.irp.'10MOLLER, INC. should be continued until a reasonably fidence, and may be counted on as reli¬ ■ Hagerstown, Maryland These intervals can be accomplished with ^5 facile association of these keyboards has able gauges of intervals in general. Of “No higher than a grand plana' a sufficient legato and at the same time been reached, and that before attempting course, the varying length and breadth of leave one foot free for accessory purposes. the larger contrapuntal or more difficult individual feet make what is compara¬ Ta& organ writings. Material for this purpose Flute qualities, to which one or two 81 tively easy for one player difficult for Reeds of the Swell may be added as re¬ is found in the “pedal studies” of Schnei¬ another. This is seen more particularly in Manual Touches der, Dudley Buck, C. E. Clemens, H. C. quired. On this basis, variety of coloring Better Chanting for Churches the playing of arpeggi in sharp or flat THE LEGATO touch, while being kept is developed through a study of well laid OF THE MacDougall, and others, any or all of keys, either in extended or sectional form. close, should not be blurred or smudged, out transcript ionf of orchestral and other which afford substantial help. With this Accordingly, the student must be guided By Carleton F. Petit, Mus. Bac. study may go the “Eight Short Preludes a clear legato being the chiefly desired music of moderate difficulty. Later, a gen¬ as to his mode of pedaling by considerations characteristic of good organ playing. and Fugues” of Bach. After these,- may of convenience. eral knowledge of the orchestra itself will MODERN HOME be taken Bach’s short Prelude and Fugue As to the staccato, Widor has pointed broaden the student’s musicianship and will FOR THOSE organists who desire to they are not familiar, preferably one with out that the free staccato of the piano is improve their choral chanting, but simple harmonic and melodic content. We in E minor (No. 10. Book 3), the short add to his perspective of coloring effects to Here is an organ that amazes and delights musicians and Fugue in G minor, and the Fugue in D not admissible on the organ. This is be¬ be legitimately imitated. But just here who are not permitted to introduce practiced on No. 13 in the chant book, har¬ critics, that is played with famous symphony orchestras, major. Next, might follow the “Second cause of the slower speech of organ pipes reasonable bounds must be observed, trivial the Gregorian style, the following method monized by Tallis. Without the aid of the that fills great churches with majestic music. Yet this Sonata” of Mendelssohn, and the same as compared with the effect of hammer effects being avoided as outside the true may prove as helpful as it has to one of piano, except perhaps on the soprano part, composer’s Fugue in D minor (No. 3). But there is no reason why the same foot strokes on wires. Consequently the organ atmosphere of the organ. This precaotion the group. for pitch, let them sing in harmony one same organ is at home in any home. Andante movements, of moderate diffi¬ should not take two adjacent sharps or staccato has to be represented by a kind docs not, however, preclude the use of Many organists are probably distressed verse of this chant. Be sure that, if the Connect the Hammond to any electrical outlet—and culty and in varying styles, can be used flats, which is especially useful at the ex¬ of Nonlegato. Sometimes it is so indicated, what is recognized as “good light stuff." with the customs in chanting to which the piano is used, it never leads or pushes but play! It does not have to be built in; the console, with with the above, with advantage in phrasing tremes of the pedalboard. In the case of the notes played producing a sufficiency de¬ Such organ music has a distinct place and choirs in their charges have become accus¬ merely follows the choir. After a few cor¬ its bench and pedal clavier, occupy a space only four and registration. They also will add variety an unusually broad instep, even three notes tached result for the desired purpose. purpose in the development of dear cut tomed. More than one choir has been either rections of misplaced word accents or of feet square. There are no pipes, reeds or air-pressure and interest to general study. may be played with the same foot, although The detached-chord touch—corresponding playing and artistic finish. trained or allowed to sing chants in such syllables held too long (resulting from the system—nothing to get out of tune. And it costs no more to the grand dctache of the violin—is ap¬ a manner that the text is badly distorted this cannot be recommended, except for If lasting results arc to be expected association of those words with the old than a good piano. Pedaling in General special emergencies. plied in the playing of marches, grand by the music intended to enhance it. For in¬ manner of chanting), they will soon be able from organ study, daily and systematic The tone of this unique organ is superbly rich and sat¬ Ex. 2 v_ choruses, and other works requiring marked stance, let us examine the Venite. Accord¬ to sing the whole chant, without the piano AN EASY, natural mode of pedaling practice is imperative. This need not ex¬ isfying. To the trained organist, the Hammond is a reve¬ . is the best means to employ for the accents. Frequently, though not invariably, ceed an hour, or an hour and fifteen min¬ ing to the old chant books with their and in harmony, all singing the same word lation and an inspiration. To the amateur or the pianist acquisition of a firm, smooth pedal touch. the pedal part is played legato, as a founda¬ utes, provided it is given to earnest and system of pointing, one should wait on the at the same time. it is a fascinating adventure. Any pianist can quickly This will also insure a minimum of bodily tional contrast to the manuals, in using the businesslike work. If done on the lines word sing in the first verse before proceed¬ Now the organ is likely to be used for detached chord touch. Example 4. ing to the notes which accompany unto the learn to play it. movement, and a more graceful poise on Modem organ writing occasionally calls here laid down, a reasonable period of accompaniment of the service, and that is Ordinary registration on the pipe organ Lord. Likewise, special accents are ac¬ the organ bench—desirable considerations. for such resources, as well as for the fol- study should set the organ student well on to be its only duty in chanting henceforth. The roster of Hammond owners is a blue book of calls, first of all, for Diapason, String, and his way to efficiency. corded joice, pres(ence), show, great, and Instead of putting on foundation stops and leaders in the fields of industry, music, art, and letters. soon, in successive verses. The result is pulling the chorus along by force, give You should hear the Hammond. Any of the studios or often a rapid recitation of, “For the Lord them the first chord on a soft stop, repeat dealers listed will gladly give you the opportunity to is a great,” with the remaining, “God, and it to start them, then simply follow their acquaint yourself with the most remarkable musical Why a Junior Choir? 3 t!”® above a" g°ds,” quite unintelligible. lead absolutely. When they realize that instrument of modern times. . . . For descriptive lit¬ This fault results from a lack of practice they are not depending on the organ but erature, address The Hammond Clock Company, of chanting, as often as from direct train¬ keeping together by their own efforts, they By Dari K. Jones 2929 N. Western Ave., Chicago. ing, and certainly always from a lack of will sing very confidently, while the organ regard for the meaning of the text. The remains a background; and the effect will Despite the fact that the his life. He is being projected directly into to the younger people while reserving the choir, without careful direction or rehears¬ be refreshing to organist and congregation. Junior Choir movement is sweeping the heart of his church by being made, at That such training prepares new recruits the country and that interest in such heavier things for the adult singers ing, will sing the first part of each verse least occasionally, an integral part of its for the Senior Choir is almost too obvious organizations is rapidly growing, one oc¬ Active participation in the singing of the much too rapidly, each member arriving Those False Accents services. And, withal, he is being made to to mention; and, if the same director is HAMMOND ORGAN casionally encounters a few doubters who truly inspiring harmonies to be found in M the accented syllable before the media- NE DIFFICULT POINT we had to see, in the results his group produces, the responsible for both junior and senior or¬ O RETAIL SALESROOMS demand of the director, “Why have a value of subjection to authority and leader¬ ion or ending at a different time, and wait tackle was to keep from giving an bring £ 5™. °f ch°«> ganizations, the advantages to the director mere for the others to catch up before NEW YORK Junior Choir? What do you expect to ac¬ ship. He is being made to feel, too, a re¬ unimportant word or syllable a strong ac¬ (f. o. b. Chicago) example of that ex'HKnce S£, are almost as great as those to the singers. Proceeding. 50 West 57th Street complish with these young people? What sponsibility under which he cannot fail to cent when it falls on a high note, as in Slightly higher when practical results are you hoping to obtain He thus comes into contact with the young chant 100, used for the Benedictus, page CHICAGO develop and broaden—a responsibility for folk of his church, can conduct his constant additional equip¬ in return for the time you spend?” 75 of the “Chant Book.” In the second $1250 ment is needed for 666 Lake Shore Drive carrying his own melody among a mul¬ search for new voices under the most fav¬ As the leader of such a group the writer tiplicity of parts, for the correct memoriz¬ - 10 A MH1HOD which verse, of jumps to a high note and is apt large installations. LOS ANGELES is asked many such questions; and he is orable conditions, and can train these voices helped us in improving our chant to receive an undesired accent. By putting ing of his music, and for his presence and up to the very point of assimilation into 840 W. 7th Street always tempted to reply, “We are teaching making them intelligible and more easil this accent on house and carrying over in conduct at rehearsals and performances. p'~io„ns his adult organization. Often he can en‘ these young folks to -sing well a small part Equally as good, he is being trained in Lri°rme.d- Ca>l the attention of the cho triple rhythm the next two words, thus of the beautiful sacred music that exists courage the fortunate possessor of a truly NOT ALL BEAUTIFUL musicianship, in a feeling for tone and — ° ,*e aC| that il is able to recite tl (house of his) servant David, such prob¬ TOT SYMPHONY in this world.” But on second thought he fine young voice to further study and de¬ beauty far too often lacking elsewhere in withoutand .ce,rtain Payers in ensembl lems can be solved. VOICES ARE GOO-GIVEN realizes that this is a musician’s reason, The Church Profits velopment. and Music daily life. Perhaps the Junior Choir may and « ii,SPie,Cia rebearsing or leadershi Once the canticle words are learned while the questioner is looking for some¬ function also as a teacher of sight singing And Other Goals apart from the chant forms (some churches Kindergarten thing much more practical, and he appre¬ reenforcing the work of the public schools •’ have used the same music to the same ADMITTEDLY, all these things havean ciates the need for amplification. but more important than any mechanics of canticle for twenty-five years) the partic¬ , will make you Independent. -** eye to the future, but even in the im¬ faffs I™” l»e word, of a cantic Improved correspondence singing is the previously mentioned contact ■ ular chant form may be frequently varied A Various Discipline mediate present there is nothing in any oi listening "ng ^em without leadership, bi course by America’s fore¬ with fine music itself. There is so much easv Til ° 6a,cb °ther. They will find th with but little rehearsal and much interest most children’s school. Get evertheless, the child is being the music possible to a church that is more out of the “rut” and make N that is great in the realm of sacred choral en take a chant form with whit will be thus added to the church service. your mornings pay. Exclu¬ given a chance to sing, under the music that no individual can hope ever to impressive to a congregation or to outsiders sive use granted in cities most favorable conditions and under watch¬ than a well-trained junior chorus. Thus >1 of less than 100,000. Only participate in more than the smallest frac¬ tAT home; $30. Terms. Particulars free. ful care and guidance. Coincidentally he is tion of it, nor can he afford ever to sing impossible to even the °f JtS .beauty is undeniably a point of focus for securing A Learn to color photosand miniatures ACT Now. tener; and the studv attentive lis- he number of chorus performances is astonishingly low. . . . They allow being trained to see the part that music anything unworthy. Hence there is a real the interest of otherwise apathetic parents o comparison with those of the orchestras. . . . Genuine musical culture BRUCE SCHOOL, Inc. can be made to play in his religion and advantage in presenting the simpler things the young singer to take’^ mo" Prep?re and friends, and of drawing them further __ into church activities. Indirectly, the choir¬ “e based on widelv-diffused cultivation of vocal music, particularly of 6308 Troon Are., Kanus City, Mo 582 master may find his Junior Choir a means cn°rus-singing.—Pauj Bekker. SEPTEMBER, i936 THE ETUDE 583 Organ and Choir Questions Bands and Orchestras Answered EASY Rhyth m and Articulation You’ll learn more quickly and easily to play a P-A (Continued from Page 551) By Henry S. Fry, Mus. Doc. Sax, Trumpet, Clarinei By Parvin Titus me, because P-As Ex-dean of the Penn.jlv.nia Chapter ei the A. C. 0. produce a shimmering effect indicative of After a period, during which this theme the luminosity of the rainbow, the violon- experiences a number of transitions, the Ho questions will be answered in THE ETUDE unless accompanied by the full name cellos intone the majestic Rainbow motif, three Rhine daughters are heard calling to ORGANISTS are sometimes accused den opening of swell pedals) should be and address of the inquirer. Only initials, or pseudonym given, will be published. backed by old of giving too much attention to used infrequently. the gods (as they pass over the river) shading and registration, in an ef- The too prevalent habit among students pleading with them to return the stolen fort to attract attention from their other of hurrying measures containing few notes—- i h°Z7namTonh™Leaa Usf. WhTh 2SS i. treasure. They are answered by the gods faults in playing. This criticism is generally and retarding measures of many notes will with scornful laughter. based on one or both of two fundamental be overcome if it is remembered that 1 Ex.0 tomebookswh^khave organ music /or all greatest artists.See your dealer weaknesses: poor articulation and poor rhythm is a regular recurrence of beats occasions!—W. j. l! today for FREE BOOK and ho: rhythm. indicated in the time signature of the com- A. We presume jt^^Diapasons^nre acnoir!L^l^hieh ^crniboth £S£ : the softest^ ^ 3. 913 CONN BUILDING In order for an organist to secure good position. Difficult passages containing many ' yjfur 2’ stops Hmay be softer, but they BT. INDIANA rhythm it is an excellent plan to begin the notes to a beat should be picked out and wouldwuuiu have to be playr'__e *..’ octave and available near Port land. °Mflne P{*u'mjJR study of a new composition away from the practiced slowly, subdividing the beats if ’ “tops ^eSForVehearety>Cchoru8’ work**we" suggest 'r. . ; Vhar.ra,‘,f0r,Il,h 0De the SwKi! keyboard, beating time in the proper tempo necessary (one-and, two-and; or, better, use oif full orpan,’ which is probably available iUrh,TnyouWhc* ICONN as if conducting a group of musicians in a wu-un, two-oo). Then the passage should sidT'of1 the^nstrument.6 The'opening of““the performance. The piece should then be be fitted into those immediately preceding, knee swell on the right hand side will in- taken to the keyboard where technical counting the time units of the signature in S^Stops ^b”u°^d fSr*a“compSSyiT“toi r, ^ problems may be solved. There the in- the proper tempo. Above all, students will depend on amount of tone necessary . iiggest •imoUDt .di.trnr,«^ sldered : _o EMapasons's'^md Flute 4*. Bonn and the feeling of pulsation is established rhythm is the lifeblood of music and that you might use for reed organ ai .. ■C.aHS.c tuJW!}^J^v,V0rB0P*“8'-“i- by counting and beating a measure or two counting time is not the privilege of infant and-■ ’ Modern” ’---"-actlcal Get V. ■luntarles" ; Great Organ—Octave I Reed Organ Player" ; "Murray' Pedal Organ—A preliminary 1 .teed Or ---lections for Church might be added. Your Choir Ores , with strong _ms for _ •gar. " by Jackson : Clarinet) I. evidently dt.p|„„F from ing'of recurring accent may be achieved by Articulation at the organ keyboard is a Original Pieces foror Harmonium," by Swel Organ, which also explain, “X CbMr expression being controlled by om holding back at the bar-lines instead of study in itself. But, briefly, the student will Xufll jM'«|fi 1. Cart* ruuHt t»- takrn that «nffi Q. Inn small town churches is it customarg dent wind supplv Is available for flu rushing over them in constant flight, and, learn much by careful attention to attack organist to gag the assistant or sub- tlons mad.- Nearly all organs now brine ham at other times, the impression of accent and release of keys, the exact values of organist! What^ proportional part of* are equipped wlib electric action. ‘ Wotan, as he ponders upon his misfor- • an organist’s salary goes to th tunes, conceives the idea of a race of demi¬ may be produced by slightly shortening notes and rests, and to the clarity of voice Is it left to the organist to choo 0- Wilt uou kindly tell me whether it It the chord or note preceding the bar-line, leading. Because of the sustained tone of ant and to make terms, or do, correct to play hymn, in which the hZrZZ gods who will conquer the Nibelungs by then going into the next measure in strict the “King of Instruments,” these matters committee do thist—A. C. A. ' honors at practically every beat. -lowrr tlZ IVotan stoops and picks up a sword, a the power of the sword. For the first time A. The matter of payment a time. Accentuation by dynamic stress (sud- are of vital importance to the organist. assistant or substitute organls J-?-. part of the treasure which had been dropped the Sword motif is heard—a motif to be entirely to individual arranges ■nts. “wine by Fafncr, and invites the gods to enter much employed in the later operas. substitute. | CONSERVATORY into Walhalla. As the ascent is begun the Ex. 10 r.hChan t or" Martrn. —W.'^r' b*"* mists become more dissipated and Walhalla — a satisfied t entirely in A. While It may he theoretically correct NORTHWESTERN Whither Youth? the hands of bearing of If C*“y bymnjj slower when frequent rhantw stands forth in all its stately splendor as gin Rebuilt Band & Orchestra Instruments the expense is also subjee entirely to local or harmony occur, we do not consider the the orchestra sounds forth the majestic ipfpps HONESTLY REBUILT—FULLY GUARANTEED mditions and.... -i a- r ran genie r' matter of enough Importance to adopt It u Walhalla theme. (Continued from Page 538) n rule, nml that the character of the The Rainbow theme is continued unin¬ WETMANN COMPANY. b«pt. E Q. What concerns i take organ pedal k hymn* be the indication of the proper tempo. boards to be attached terruptedly as the gods enter the castle. any books treat;,.., ... the construction 0- Enclosed find specification oj a three IfflPP|JppGE hook-ups. Mrs. Robert H. Noyes, President, and Jacques two manual and pedal reed organsf What (Part II of this interesting article will tames sell the best two manual and pedal INCREASE YOUR Gershkovitch (a pupil of Rimsky-Korsakov, Glazounov, organs! Name some good books on the appear next month.) books .... lions /or setting these pistons. Approximately INCOME! Tscherepnin and Nikisch), as conductor, deserve splendid all pipe o s.—V. B. how much tea..;.I II ...I f- . J , . , . A. We do firm oinking a Easily—Substantially—Pleasantly recognition for their labors not, only in building up this -„uilding c pedal board, for > this pan t ...A bout-Vw Zek wou?d Z -Take Subecription. for- pJaenoasUyY ' ' present time i/ built by group but also in bringing the people of Portland to _.AnSSSerpS?K,w,5 M233 |W'£?... . ificatioas. 0/ Why Every Child Should Have A THE ETUDE MUSIC MAGAZINE realize that such an orchestra for the young is a precious i practical orjran mechanic We do ,>ritnnm madr hy Wurlitzcr or Arotian allow of any book on the subject of reed UfA", civic asset. organ construction. We are sending bv mull and/"'* $73,000,fIS.000. basedba, on_ theater or concert type, Musical Training Plat*? urnd me information In April 1921 The Etude launched a very flexible plan information as to builders of reed organ, '',r”’r "rod me in/ormalmn relative to rfed For. bowyvoj.°fe uuon uuiiamgending otof pipe oriransorgan, we Khuc- ' - -E." W.” R.” which might be adapted to the purposes of any school. gest:FyStiL:!* ‘Thee CcmtemporaryContemporary 1' AmericanIn,--®! Orgnn^’ . , A- . sIwr<* not permit our trtvinjr com- By Mrs. R. E. O’Brien by Barnes ; “The Electric Organ.” bv Whit- hInatlona for nil of the forty pluton* available It was known as “The Golden Hour,” a daily or weekly worth ; Cinema and Theater Organs " bv 2n yo.,,r niment. In general, use four nr period of from fifteen to sixty minutes to be devoted to Whitworth; “How to Build a Chamber f\ve.P*8fonM *n department for a graduil . by M'>ne ; "Organ Building for Ama i'bilihl-ut)" and use the remaining pistons for (One of the letters which just missed winning a character building and music. To-day this “Golden Hour” teurs,’ by Wicks. Individual combination, ,uoh a a Clarinet Yos Humana. I'hlm.- prise in our recent contest under the above heading) Answering Etude Adver¬ plan can be made of even far greater interest by mingling Will you name a /ew available Amcri- universal combination, might be set up with I A with the musical numbers, played and sung by the chib ionmodern electric pipe organ build- siring,. Choir Clarinet, and Grear Gross A RECENT newspaper cartoon con¬ recognized. The field of musical thera¬ tisements always pays foe Jon Cr,e can secure plans and blue prints ’i ‘"i*' for varied color, on different manuals. trasted the modern youth, flippantly peutics has been only touched, though it dren, great masterpieces on famous radio programs as well /or Hope-Jones type1 console!—C. V K Another might he ,et with solo stops ami has been long realized that music has sooth¬ nd delights the reader. as fine recordings. Files of The Etude are to be found in can “Tlle Contemporarv Amerl- DroPcr accompanying slops. Since the Full turning on his radio, with the boy xua-Tmiin.Mimaa of past years, practicing long and weary ing and recreational value. Nothing steals most all good libraries and we suggest to teachers that they &0opoCJonesCUtvD?**?* *"ucE'atop/'uG^a Fhlte. «
Violin students who produce the best tion, has no one present except the stu¬ □ THE QUEER LITTLE HOUSE n TOLD IN MUSIC results and who generally continue their dent very often is at a loss to explain, OF LINES AND SPACES D 1ULU ** studies over a longer period of time are convincingly, why he does not want the hose whose parents keep in constant con¬ parent present. He may give his reasons, tact with the teacher. but the parent, if really interested and de¬ Violin teachers may be grouped into sirous of helping the child, usually resents “Send to SUMMY’S for ALL your music needs” o classes: The teacher who welcomes a rule that bars his presence from the —the recommendation of thousands of satisfied customers. studio. After all is said and done, it is parent to the studio when the child Prompt service intelligently rendered . . . Liberal terms. es * *esson and the teacher who dis- the parent who pays for the lessons. It 1 M the presence of anyone but the stu- is true that many teachers will send home A Neu) Book by Buenta Carter CLAYTON F. SUMMY CO. fcnt during the lesson period. a carefully graded report card and will □ PIANO PIECES AND DRILLS he teacher who appreciates the pres- probably indicate just what the next les¬ ON THE CHROMATIC SCALE of the parent in the studio has an son is to be; but the actual contact with vantage over one who does not. The the parent is lacking; there is an absence PMent becomes a friend of the teacher and of personal friendship and spirit of co¬ fnii y ,sees t0 k that his instructions are operation; and the child is more apt to have a poor lesson when alone with the at home °Ut Whe" tlle student practices teacher, than when playing for both teacher Send for a copy “On Approval.” The teacher who, while giving instruc- and parent. 587 THE ETUDE SEPTEMBER, 1936 VIOLIN QUESTIONS Publisher and Composer 1867 —70th Anniversary Year— 1937 Answered In THE January, 1936, issue of The known composer, fifteen dollars for each NEiude the article, “What Makes a of them. One of those anthems has aver¬ By Robert Braine Successful Piano Piece?” by Herbert aged a sale of over five thousand copies a CHICAGO AMERICAN st aSrought ate response from well year ever since publication (over 150,000 P^ui musicians, among them Paul Am- in all). I might say that these anthems had Ho question will be answered in THE ETUDE unless accompanied by the full name ° r— previously been rejected by another pub¬ CONSERVATORY and address of the inquirer. Only initials, or pseudonym given, will be published. My Heart, Lord Jesus. Mr. Ambrose lisher. The reason I refer to this is that MUSICAL !“ yon 0f the composer of the widely I have always felt the transaction was ac¬ (Much of the mail addressed toto tthe Violinist's Elude consists of written known One Sweetly Solemn Thought. ceptable to both sides, when made, and that descriptions, vphotographsiisntnnrnnha and labellabels8 of old i iolins. On the basis of these th* OF MUSIC ‘Ufrite.ru ask us to tell them if the violin* After endorsing the article menttoned Mr. neither side has any justifiable later com¬ to say that this is impossible The actual ’misTV^amwes- fv' plaint. Sometimes the publisher profits, but CHICAGO 50th SEASON majority of labels in violins are countirjeit... - ..J indication of I Ambrose continues: COLLEGE ______<1 ™aker. “Mr Steams makes some very helpful many times he is the loser. Since the re¬ We advise the owner of a supposed calualtable old violin to lake or send ii „ RUDOLPH GANZ, President repuiuute eiepe,. Jr'dealer in sulh instruments.~_The"addreJ..-~J," of such dealers can, newal of copyright this anthem has been be obtained from the advertisiny columns of The Etude and other musically suggestions- I am glad he emphasizes the Founded in 1886 by John J. Hattstaedt, today The American Conser¬ Ucations.) X-aye the necessity—of melody. Any¬ put on a royalty basis and I am glad to say is still maintaining its yearly average vatory of Music is outstanding among institutions for music education one with sufficient study can learn to har¬ A professional school of Music accredited by the North in this country. Its graduates are to be found occupying positions of Itifi'ht Hand Pizzicato. (other than the E) monize or technically develop a theme, but sale of over five thousand copies. _. M.—In playing pizzicato„ ..'ith the right ■h practically* topSSalbte■— “urn-"™: i!?,? no one can be taught how to write a beau¬ “We frequently hear (generally from Central Association of Colleges and Secondary Schools. honor and responsibility in every department of music. hand the thumb should held against the *—•I. ~of the.peg sends laemthem rarUr offJJ nt e fingerboard - the end, and About the only virtue they have in ill tiful melody; that is the Divine Spark composers whose compositions have usually .. V..—,, Vi,.,.- Tliev ••■■mlngly i.- 18 duralii Artist Faculty including Master Teachers of National and The Faculty—One hundred and thirty the picking with the fingers. Some play- l b''.’ which unfortunately is conspicuous by its brought loss to the publisher) that all Professional and Teaching Enga cio ...... finger only, but others uw International Distinction. artist teachers of national and interna¬ ments—Although the management d the first and second fingers alternately. This absence from many modem compositions. music publishers are ‘bold, bad bandits’; tional reputation comprise the faculty. sSaS| gives great speed. In playing pizzicato chordt but I think it is as gratifying to the pub¬ the fingers of the right hand sweep the “What the young composer usually fails Complete Courses leading towards Bachelor of Music and lisher as to the composer when substantial Accredited Courses are offered in Piano, strings from left to right, sometimes with to recognize is that the profits from one Master of Music degrees in all branches of Music. Vocal, Violin, Organ, Orchestra and the thumb being held against the edge of successful composition must be used to royalty checks can be sent. If young com¬ the fingerboard - - they are mvC moSe/V Band Instruments, Public School Music, posers can be made to realize that the pub¬ Music Education Department. Credits accepted by all State Children’s Piano Work, Class Piano, Mu- gard to your description of playing a suc¬ overcome the losses occasioned by the pub¬ cession of chords pizzicato, first sweeping the *•«’ lication of music is an investment; if it sical Theory, Dramatic Art and Dancing. strings from left to right, and then from I rhrcc of the a lication of dozens of nonsellers. Departments. i reasonable in keeping w right to left, I would say that such an effect lng “I have not much sympathy with the turns out well, both publisher and com¬ Certificates and Degrees are conferred In violin playing, although possible. Is rarely wrist, at the frog, middle' 7n5iKut TbS poser benefit; if ill, the publisher is the All Academic Courses given at University College of the met with, although occasionally used In bra¬ doleful tales we hear of the poor composer by authority of the State of Illinois and having received only ten or fifteen dollars loser; also that the losses of the many recognized the country over. Degrees 'hich will be mailed on ri vura pieces. In doing this, the thumb would University of Chicago. not be held against the fingerboard. an- heh‘ pracihaUy motTo'nl^ th'^hih^M for a composition of which thousands of poor guesses on the prospective salability These to and fro effects from left to right on the string, and short hows prulumj to- , Special Courses in Conducting, Class Piano, Normal Train¬ and right to left sweeping across the strings, *“■“3 , hiotremcnt of the band. This man copies have been sold. What of it! It was of a new publication must be met by the Students’ Self Help—The arc often seen in guitar, mandolin and banjo “«.«< bow lug Is frequently referred “ « profits of a successful one; there will be makes every endeavor to playing, but very rarely in violin playing. a legitimate and acceptable transaction on ing, Eurythmics, Radio Technique, Dramatic Art, ••w rist liuwlng ; hut It should more VorJLn fewer disappointments and a more intelli¬ l»- cnlled "hand Is,wing from the wrlo n both sides. The composer was doubtless Languages, Church Music, Dance, etc. tmodations can be Manyntfind work** a? tScl Selecting a Violin. should be- practiced drat at the middle then glad to get fifteen dollars and the publisher gent idea of the many angles in the publi¬ !Vl.-' nosT nll'l •Rl Uh “ ,hr fru*- «hich £ cation business. I think the article should rates. Particulars mot help you in the [he mast difficult. When practicing this bow. was taking the risk. I could give a per¬ Special Students may enroll at any time. without seeing the instrument you are con- lng at the frog, .are must—— be takenla to keep be most helpful and informative in bring¬ sidering purchasing. The Etihe, in just ire the little linger on the atlek of sonal experience. In 1905 I sent three an¬ Fall Term Starts September 14th to its advertisers does not recommend the »* to balance Its weight. Until thems to a Boston publishing house and ing this knowledge to young and inex¬ perienced composers.” For free catalog address John R. Hattstaedt, Pres. was glad to accept, as a young and little Fall Term Opens Sept. 14th AMERICAN CONSERVATORY OF MUSIC tlon' ,J “Kr"m The Origin of Sousa's Name Write to the Registrar for the new Fall Catalog and 575 Kimball Hall, Chicago, III. orchestra musicians. information regarding the details of Registration. Improvement of fat (Continued from Page 545) music. Pupils nr.- __ CHICAGO MUSICAL COLLEGE 64 E. Van Buren, Chicago siders his rea there Id an Increased demand for orchestral "“Hcult it is to I e'vloli^'wt player*, and business generally Is Improving. ipletely satisfi Articles In the press also have a mora cheer- spected him for his breadth and his The life picture of Sousa as a man and rill tone ns regards concert going, nnd music an educated, cultured gentleman, entirely generally. From this I would Judge that the “decent” treatment of friend and foe alike. NEW CLASP PINS for i fairly good violin depression, ns regards music. Is “on Its wav He had a very pronounced dislike for both apart from his musical genius and his great SCHOOL OF MUSIC think you need to worry In skill as a conductor, was one that can never School and Church Musicians pert to pick it out for you. If you have fan taking up a. ______,__ profanity and risque stories. At hundreds tie experience In violins, nud'trv to wl.-, If y l ha vi be erased from the minds and hearts of Obtainable in the following OF THE UNIVERSliy OF MICHIGAN e for yourself, the chances are tluit vou wl -toney, courage, nnd ratho- and hundreds of meetings with Sousa, and 8 t fare so well. If you have no friend wh your musIciU studies until with groups in which he was a part, we those who knew him best. It is therefore Complete curricula leading to degrees in really first class musician *A—10 Kt^Grid*’.$2.00 all branches of Music. Faculty of distin¬ competent to make the selection for yot never knew him to make an objectionable highly important that the statements re¬ will be necessary to depend on the muni garding his name and his ancestry should *B—Sterling Silver.50 guished artist teachers. Concerts and May aler. It would be better, however, to ink Hull. remark; and if he was forced to hear any¬ D—Gold Plated.30 Festival by world’s greatest artists and selection, and t i o .J- ?■—Ole -Bull, famous Xorwegian thing that disgusted him he merely turned be truthfully set forth and false rumors no. so E—Silver Plated.30 organizations in Hill Auditorium seating Violinist (born iu Bergen lRlO-dJed ISSo), scotched at once and forever. ie of the i away without comment. We have seen him This same style pin is obtainable with a 5,000. Chorus of 350; student symphony friends.
the drama. Thorough, specialized training under one hundred capable instructors, who are also ALL CHILDREN are familiar ■ successful artists, gives an impetus to ambition /A numeral markings, from the and talent. Students from far and near have found A. Jl they enter school until they le that Sherwood helps them to succeed in teaching, so why not mark music lessons the s concert work, radio, dancing, etc. way. It means more to them. Divide me age fiv< Fully accredited instruction. Courses lead to Certificates, Diplomas and Degrees in Piano, Vio¬ lessons into five subjects, twenty points for divided, lin, Voice, Organ, Cello, Wind Instruments, each subject. If each subject is pra ' Theory, Composition, Public School Music, Band, correctly (not necessarily perfect- Orchestra and Choral Conducting, Class Method may depend on the subject, age of the of Teaching Piano and Band Instruments, Micro¬ her knowledge of music or the tint phone Technique, Dramatic Art, Play Production, practicing) they will receive 100 points Liberal Arts and Dancing. Student aid and scholarship opportunities for their lessons. deserving pupils of limited means. Dormitory. The pupils, regardless of age or gn SEND FOR CATALOG are marked alike. A young child deser as much credit as an older one, as its les is just as difficult in comparison to ye SHERWOOD MUSIC SCHOOL and ability. A young child does not real 410 S. MICHIGAN AVENUE. CHICAGO. ILLINOIS the necessity of practicing, but older o know they cannot accomplish much wi out practicing. The teacher must use 1 own discretion in marking the lessons. Here are two examples in marking 1 they are in the prizes or stars Sfr* Qtebrfanii jfnsfitut? nf (Dubit sons with numeral points of average: pupil will shirk or omit any partpa of his Subject No. 1—Scales or Scale. lesson, even though he does not 1, e a cer- Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Subject No. 2—Transposing . • ’ ' ause by i he will Public School Music Course in conjunction with Western Reserve University Subject No. 3—Trill Exercise . BERYL RUBINSTEIN, Director, 260S Euclid Avenue, Cleveland, Ohio Subject No. 4—First Page New Piece Subject No. 5—Review Piece .
LAWRENCE COLLEGE CONSERVATORY OF MUSIC APPLETON, WISCONSIN Faculty of 84 artists. Accredited Teachers' Certificates) Carl J. Waterman, Dean Empty-the-Basket Game Diplomat and Degrees. Desirable boarding accommoda- Courses in piano, voice, violin, 'cello, organ, theory, Bachelo^aSd MaTtlr degrees°ir directln* leadin* 40 Addresa B.^ MANVILLE. Bus.’ Manager ^ By Annette M. ]
oberlin conservatory of music Review notes by using spools in an Empty-the-Basket Game. Take five or TRINITY COLLEGE OF MUSIC eight notes for one test, and attempt to (LONDON) ENGLAND cover two tests at one lesson. First, ask (Instituted 1872) President the child, “What note is on such a line or The Right .Hon. Viscount Hailsham space?” and, secondly, “Where is A on the Illinois Wesleyan of Hailsham, P.C. staff? Where is B? Where is C?” For Chairman each correct answer, the child takes' a spool University Sir Granville Bantock School of Music EXAMINATIONS am conducted by the Col¬ Courses leading to Music Degrees lege throughout the world, including the United For information address States of America, for Teachers' Diplomas, and HAROLD FLAMMER, Secretary—Presser Hall, Bloomington, Ill. Pupils Certificates in all Musical Subjects also Your Piano Pupils Lose; Interest 7 Elocution and Spoken English. Radio and Music !| Do Full particulars may be obtained from the States I Do You Want to Know How to Overcome-ercome It * TO ORDER MUSIC .“ON APPROVAL” (Continued from Page 579) From many catalogues-Simply check (x) any groups fistedl belowand INSTITUTE OF MUSIC F You Must Supply Them With Teaching Material “ send this coupon to Harold Flammer, Inc., 10 East 43rd Street, New YorK AND FINE ARTS I containing the modern harmonies and rhythms they Piano Teaching Long Beach. Calif. which no single concert hall in the world sible. I am strongly in fi Operettas Thanksgiving hear daily. Old teaching material when finally executed perfectly, Cantatas Pieces SUMMER MASTER CLASSES C N. H. Rod well, Secretary**.' could: offer, and which has made possible j||p system □ Grade School Trinity College of Music, London, W. 1. □ 4-Part Mixed □ Grades 1 to 2 the preservation of the American compel i- ted bro: gives no satisfaction. The present generation, with its ears atune □ Junior High School Cable address:—Muaicatus, Wesdo, London tive system of privately owned and oper¬ □ Senior High School Thanksgiving □ Grades 2 to 3 to welcome a to modern (not ultra-modern) music, demands up-to-date music □ Grades 3 to 4 Free and Partial Scholarships Awarded ated broadcasting stations, and this with □ For Boys Anthems is the price I ti —recently published. po license fees paid by the listener. This □ For Girls □ 2-Part Treble Piano Recital Pieces privilege of free expression. □ 3-Part Treble does not point to a cheapening of taste. Organ Pieces □ S.A.B. □ Grades 4 to 5 CONVERSE COLLEGE 1 ATLANTA But, in the last analysis, radio broad¬ MT Here is a New Book of Nine Piano Pieces! [AlAta?j£p1£a?g?Kinlm^ 11] Grades 5 to 7 SCHOOL OF MUSIC FOR WOMEN □ Recital □ Church □ 4-Part Mixed □ CONSERVATORY of MUSIC A Public Servant casting is not alone responsible for the type SPARTANBURG, SOUTH CAROLINA Each piece selected for a Collections An Endowed Professional School, Nationally HCQH HODGS°N GEORG LINDNER of programs we get. The public, it is, Secular Choruses Accredited. Full B. Mus. Degree and Diploma T am OFTEN ASKED whether this ONLY particular teaching point. Mixed—A cappella—4 to 8 parts □ Anthem Books—Mixed which, very literally, calls the tune. □ □ Anthem Books—3-Part Treble Courses. College Environment. Teachers of 1 4- American system of commercial broad¬ □ Mixed Voices—4-Part National Reputation. Artists’ Concerts. ING, DRAMATIC ART AND DANCING casting or the English system of govern- Steadily improving public taste is making Analysis of teaching points by □ Junior Choir—2-Part Treble Summer Session. Moderate Tuition Fees. it possible for us to enjoy the wealth of □ Women’s Voices—4-Part □ Children’s Anthem Books—Uni¬ For Catalogues Catalog upon application mentglly controlled operation is better. □ Women’s Voices—3-Part Peachtree and Broad Streets Atlanta, Ga. splendid talent we do get. Radio is by no Edith McIntosh son Address; N. Irving Hyatt, Dean • 61 , ef Is better’; the question roots □ Women’s Voices—2-Part □ Girls’ Voices—Secular—2-Part means in a perfect state; it is still open to successful piano teacher with a constant l°i’ophles of government, which go □ Men’s Voices—4-Part □ Girls’ Voices—Secular—3-Part deeper than any matter of mere programs criticism; but what it needs most of all is Postpaid □ Boys’ Voices—3-Part □ Men’s Voices—Secular—4-Part _ ESTABLISHED 1857 intelligent criticism. The people who con¬ □ Boys’ Voices—2-Part □ Boys’ Voices—Secular—4-Part In England which is a smaller country' Contents: □ Sop., Alto and Baritone □ A cappella—Secular—Mixed sending its broadcasts over a smaller num tent themselves with a mere disparagement The Arab —Belden Penny Whi of the things they do not like will never Wood Nymphf „ . . •Gw5’nn Anthems—General ber of stations, radio owners pay a license —Aaron Chi Marihom Sprmgtime improve conditions. Radio has, in a sense, Sing Lee, China □ Mixed—4-Part—with Solos n PEABODY for the privilege of listening in and Boy —Lively The Wc □ Mixed—4-Part—without Solos made art critics of us all. But, if we would —Paldi Pickaninny March X^857>X OTTO ORTMANN, Director the networks are governmentally owned Fairy Barque □ Women’s Voices—4-Part One of the Oldest and Most Noted Music Schools in America. and controlled. We, here, cling t ‘ our tra □ 2-Part Treble □ Women’s Voices—3-Part i. It is not t< □ 3-Part Treble □ Women’s Voices—2-Part □ 4-Part Treble □ Men’s Voices □ Mixed—A cappella Jazzy Repartee Sacred Songs Secular Songs l, suggest- □ High □ High Christmas Cantatas ig a means for improving on every fault □ Medium □ Medium □ Mixed □ S.A.B. □ Low □ Low □ 2-Part Treble □ 3-Part Treble A Good Musical Memory length the difference between an augmented points out. It is indeed heartening t< control; but the system in gove™ment nyone, who will take the trouble Landlady: “If you don’t stop playing that and diminished triad, said: “Now, what is Name...... saxophoneaxophone you’ll drive me crazy.”crazy. this chord?” (playing a diminished triad) iart0rSc thC seeds °f ^nger w7 cTn^li suggestions known, can do his Saxo.._ n,-Player: «tt.“Ho, ho, 1 You’re, crazy al¬. Pupil: Long wait. _No answer. improving the general stand- TELEPHONES: Cable Address: FLAMMARION Address... - a„5wer. comrol oft^H-C°UntrieS Where government MURRAY HILL - - ready. I stopped playing an hour ago.” programs. Radio, in its largest 27812 £) References, if new account.... means of widening the field of 7813-7816 rstanding; and, if the sum total Ear Tests! is still greater than Music teacher, after having explained at •-<* - —-i sus i the sum total of human knowledge, t! HAROLD FLAMMER, inc„ io east43- street, new york city make radio communication pos¬ is just so much more opportunity for e: 590 pansion and growth. 591 THE ETUDE SEPTEMBER, 1936 Music Extension Study Course
(Continued from Page 552) After a Most Successful Summer Master Class, as Guest Teacher of the
CHICAGO MUSICAL COLLEGE (many students desirous of studying with larked by the alto voice, played on the iumb side of the right hand. Allow the Mr, Samoiloff could not be accepted for lack of time), eight to rest on this side of the hand, he second section is more animated and langes to the key of D major, dominant :y. Here the melody lies in the upper, or prano voice. With the return of the Lazar S. Samoiloff ARPEGGIO THE CLOWN Reopened His By L. Scarmolin A clowning arpeggio which shifts from BEL CANTO STUDIOS and OPERA ACADEMY even eighths to triplet figures. Be sure that the rhythmical divisions are well marked. 610 SOUTH VAN NESS, LOS ANGELES, CALIF. Roll the arpeggio groups and finger the diatonic passages. Phrase as indicated and PHONE. FE. 8294 pedal with discretion. August 3rd
A new American composer, of fine prom¬ ise and training, is Stanford King, who Beginners, professional singers and teachers, are accepted— teas born June 21st, 1912, in Nczo York Mr. Samoiloff is offering a special teachers' course. City. He began his piano studies at four¬ teen, with his father, Arthur C. King, a zt'ell known composer and arranger of his OLGA DANE—Contralto, student of Samoiloff for 3|/2 years, is engaged by the Chicago City Young Stanford started an early profes¬ THE FOLLOWING ARTISTS HAVE ALSO Opera Company for the season of 1936, and is engaged by the Chicago Musical College, to teach. sional life as a “bat boy” at the Yankee STANFORD KING Stadium and at the Polo Grounds baseball STUDIED UNDER SAMOILOFF INSTITUTE OF MUSICAL ART BLANCHE PHILLIPS—Mezzo-Contralto won first place over all of the 307 women's voices, in of the parks in New York. From this exciting of the piano. He then became intei beginning he made a sudden determination in the radio and has composed for sc Julia Claussen • Curt Taucher the contest of the Festival of Allied Arts for May 1936. JUILLIARD SCHOOL OF MUSIC to devote his life to music. He received a commercial programs on both the Nat Clair Dux • Bianca Saroya scholarship in the Institute of Musical Art, JOHN PANE-GASSER—Leading tenor of the Chicago Opera Company, who studied and sang ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean and the Columbia broadcasting nelzi Dmitri Onofrei, and many others of Nezv York, where he studied piano with White Daffodils, which appears in th for many years in Italy, writes: "Caro Maestro—Permit me to tell you that in the 30 lessons I have Thorough instruction in all branches of musical education. Private lessons Harold Lewis, harmony with George A. in all standard instruments, courses in theory and composition, normal sue of The Etude, is from Mr. A Wedge, and counterpoint zerith Dr. A. taken from you, I have learned more about singing than in all my life." Chicago, July 1936. courses for teachers, methods of group training for children, preparatory suite for piano, “From a French Gar WRITE FOR BOOKLET courses for children, extension courses, and many others. Madeley Richardson. He zvas graduated in zt’hich includes also tzio other char (Signed, John Pane-Gasser.) Public School Music course leading to degree of Bachelor of Science with 1932 and established himself as a teacher numbers. Dawn Lilies and Bluettes. Major in Music. Catalog on request. 120 Claremont Avenue, New York Music at Harvard
(.Continued from page 542)
NEW YORK SCHOOL of MUSIC and ARTS ““v'- aim»cu ai narvara, we find such 310 West 92nd Street, New York City (At Riverside Drive) names as George L. Osgood, ’64, William RALFE LEECH STERNER, Director F. Apthorp, ’69, Arthur Foote, 74, Henry Lowest rates for tuition and hoard Illnck> ’76> Owen Wister (novelist), 36th year Enter any day 82, John Alden Carpenter, ’97, Louis A Vocal and All Instruments Coerne, ’90, Percy Lee Atherton, ’93, Fred¬ Diplomas and teachers’ certificates erick Shepherd Converse, ’93, Edward Burlingame Hill, ’94, Daniel Gregory Mason, 95, Blair Fairchild, ’99, John H 11 ahorough individual instruction in Piano, TRINITY PRINCIPLE Densmore, ’04, Philip Greely Clapp, ’09' “ Violin, Organ, Voice and all orchestral PEDAGOGY Chalmers Clifton, ’12, Francis Stetson instruments. The only Scientific Pedagogy based Rogers, 91, Henry Lambert Murphy, ’08, John S. Dwight, 1832, Alexander Wheelock CLASS OR INDIVIDUAL INSTRUCTION IN; Thayer, 43, Gardner Swift Lamson, 77, Beginner’s Harmony and Composi¬ Myron W. Whitney, Jr., ’95, Leo Rich tion—Keyboard Harmony- Lewis, 88, Hugo Leichtentritt, ’94, Nathan Counterpoint—Orchestration—Ap¬ preciation and History of Music— HTheVDt?le’ 74’ PhiHp H‘ GoePP. ’84. The highest distinction awarded at the also a special course in Arranging Katherine Carey for Radio and Dance Orchestra. Successor (o Mrs. Babcock's atTr^ ‘he Music Department Courses leading to the Degree of at Harvard is the degree of Ph.D. This Bachelor and Master of Music—- INTERNATIONAL MUSICAL has been awarded but six times, to Moderate tuition fees—No High and EDUCATIONAL AGENCY the following candidates: Louis Adolphe School Education required, except PhnT’r tChlhn!d ThomPs°n Davison! for Degree Courses. T hk ?/ee y ClaPP’ Royal D. Hughes ticulars write or phone POPlar 0640 Tel. Circle 7-2634 Jacob M. Coopersmith and Vincenf L Jones, upon the acceptance of scholarly SCHOOL of MUSIC theses presented by the candidates The of TEMPLE UNIVERSITY honorary degree of A.M. was conferred 1812 Spring Garden St., Phila. upon John Knowles Paine, John Alden THADDEUS RICH E. F. ULRICH, E. M. Carpenter and William Clifford He,Yma„
Diplomas, Certificates of Awards, Medals and Other Requisites for Awarding Pupils « Personal and active ° ^ a faM; a"d Completing Courses in Music Qo you take advantage of the many THEODORE PRESSER CO. excellent merchandising oppor- 1712-14 Chestnut St. Phila., Pa. tunities which ETUDE Advertising Columns offer you? 592 ,ro?iucrw Strengthening the World of Music n the Publisher’s Monthly Letter A FAVORITE Finger Tips (Continued from Page S36) eQ& Publisher’s COMPOSER ANDRE GUETTA, a twelve year old vi¬ By Otto L. Fischer olinist of Alexandria, recently made his debut in a program that would tax the sea¬ soned virtuoso. When Bronislaw Hubermann Adam Geibel Many piano students find that the nail some months ago heard Andre play he is Probably no other individual afflicted joints of their fingers are weak and that reported to have prophesied fine things for these cave in with even slight pressure, •» JSST-STta the8field oTmnltc the lad. • Adam Geibel accom- h •“ -, - V - "ui imuusning This condition may be overcome by prac- ietime. His complete wastaorai'withth^gree^o“i>octorHf ticing this exercise which has been found MOZART’S “DON GIOVANNI” had its ons would total over M”"" m-...... -f 0 very helpful in developing a sense of firm¬ e of his piano solos. Bucharest premiere when presented on April Presser s Annual Fall Bargain pipe organ ness at the tips. 5th, with Jonel Perlea conducting. It had The Cover for This Month been translated into the Rumanian language Offers Lay the right forearm across the black There is a definite ftalnS of Spies. Undoubtedly keys, palm of the hand down, fingers flat, for the occasion. A good precedent for tie-up between the One of the most helpful things for a pub¬ Of his gospel songs and hymns hav« so that the elbow and third finger are in English speaking nations to follow. editorial pages of The Rewards for Accomplishment lisher endeavoring to realize on an investment minted into the millions in vanoui Ethde and the cover in a music publication of a standard or edu¬ Jons oi gospel song hooks and remarkable mu: a straight line parallel to the keyboard. 'itch possessed by 1 THE RAVINIA FESTIVAL, with a new presented on this cational nature is to get copies into the hands “Km°Ge!berwas tofn in Neuenheim, Germai set of words be g Catch the middle of the B-flat key with management and a purpose to develop along month’s issue. There • Are rewards a good thing in education? Ask yourself. When of active music workers. Theodore Presser on September 15, 1855. When he was only ni the nail joint of the fifth finger and, the the lines of popular desire, opened at the are many , ways in you have done a thing well you have in the fact of accom¬ Co. years ago made the decision that the best days old, through full weight of the arm resting on the park made internationally famous for its which music teachers way to gain an introduction for its new book Sf’tfcf sight1of °both his eyes was permanen tiy back and dictate the alto, t black keys, pull the arm along by con¬ sumptuous summer opera under the princely may make use of this plishment the greatest of rewards. But, in addition to that, publications, and at the same time provide d^wed^he little blind boy was seven yfars of Then he would sit down at tracting this finger. The pull must be felt patronage of Louis Eckstein, when on July material to promote there is a great deal of satisfaction in recognition from others. its and play the music and sii an inexpensive means by which progressive ' He displayed a real talent for music principally at the nail joint, but there will 2nd its first orchestral concert was given to serious consideration members of the profession might keep ac¬ One of Dr. Geibel’s best All the great nations of the world confer awards for dis¬ len he was admitted to the Pennsylvanii s the / lullaby,—nw ' f'S.Kentucky---— Be ““ vocai also be a strong sense of grip at the sec- a capacity and enthusiastic audience. Ernest of music study and quainted with new publications and obtain * for the Blind in Philadelphia, Ansermet, the eminent Swiss conductor, led wholesome music ac¬ tinguished achievements. The Congressional Medal, the Legion actual reference copies for their own libraries, he opportunity study violin, piano, and ill Christmas solos'The^avoritegolpd^ongf 0nd and hand j°int' The forward pull will le highly proficient in playing am in a manner to win the hearts of his hearers. tivities in their com¬ d’ Honneur, the Victoria Cross are badges of recognition which would be to offer works in Advance of Pub-’ .hymns from his^pen are too numerous to bring the nail joint of the fourth finger munities. Careful reading and study of the all three of these instruments. The famous blind me just beyond the A-flat key and this finger are a great encouragement to those who wear them. lication at a very nominal cost and then, once organist of St. Stephen's Church. Philadelphia. sue s Stand Up, Stand Up for Jesus, THE TEATRO DAL VERME of Milan, editorial pages therefore should prove a valu¬ a year, to make Final Introductory Bargain Dr David D. Wood, was his organ teacher and Soi lay I'll Understand; also for sacred in turn grasps the inside of the A-flat key able use of time for those whose livelihood also his teacher in the study of musical com- he te a number of cantatas for Christi second only to La Scala in its historic interest, depends upon the teaching of music. Teachers have found that awards, honestly bestowed upon prices on the works issued during the past oosition. Adam Geibel graduated from the In- Ea and general use. Undoubtedly many pi and pulls the arm along until the third twelve months. is reported to be about to be demolished to The Ethde wishes to make grateful ac¬ the deserving, have a very stimulating effect upon ambitious Stitute in 1874, winning the gold medal for the stu — whose had given " finger is ready for the G-flat key. The give space for an Auditorium with five thou¬ No publisher could stay in existence selling composition award. He became organist of the of deep Waltz recognized third then pulls forward carrying the sec- knowledgment to Mrs. Katharine F. Noyes, pupils. Of course such rewards may create jealousy upon the Church of the Redemption, then in 1875 took the up. i the publi ! popular s sand seats, under which will be a subterranean Mr. Randolph T. Kuhn, patrons of the Port¬ such publications day in and day out at these °' ond finger to the E-flat key; then this moving picture theater. part of those who do not comprehend good sportsmanship, organ position at the Church of the— ...-—Advent T" -a Kreat favorite in ...- Iauul u land Junior Symphony Association, and to reduced prices. It can be seen readily, how¬ 1885 he became the organist at the JohnJohi B. Stet- Sleep (Sleep, Sleep, Sleep, How / Love to Sle< finger pulls the thumb into place, not, how¬ Mr. Henry Berger, Jr., photographer of Port¬ but such individuals would be jealous anyhow. All in all, little ever, that if a music teacher obtains at a aon Mission, where later he organized■ --j — that here was a popular song adaptation of_ ducted the Stetson Chorus. Visions of Sleep melody. Fortunately Dr. Geibel everever,> to the middle of the D-flat key but EDMOND DeLUCA, twenty-seven year land, Oregon, for the privilege of drawing tokens of recognition have been found very beneficial. Even bargain price a reference copy of a good method, a worthwhile set of studies or a col¬ _ in his composing endeavors and was living at the time, and personally enjoyed close the edge of that key. The thumb old musician and composer of Philadelphia, upon material copyrighted by them for The colored paper stars have a markedly encouraging effect, when success in this field that he was the profit of royalties resulting from this p< ’ won first honors in the nation-wide contest Etude cover of this month, and for the illus¬ lection of attractive pieces suitable for use nto the music publishing business. song adaptation. A selected list of some . now helps the arm on its journey down¬ properly employed. with pupils, that there is certain to result, ward by flexion, first of the nail joint and of the Robin Hood Dell Concerts in Fair- trations accompanying the mentioned edi- e Adam over a number of years following, order after later of the remainder of the thumb, until mount Park, Philadelphia, with his “Robin The Theodore Presser Co., as a part of its far reaching order for additional copies, to lie sold by the the fifth finger is ready to grasp the next Hood Dell Suite.” The contest was open to American composers, for an overture or suite service to teachers, has prepared a large number of awards, teacher to the pupil. Likewise, the choir¬ B-flat key. The Etude Historical Musical master or choral conductor coming across a ... 2Mi $0.40 descriptive of the sylvan beauty of the Dell such as reward cards, musical jewelry novelties and booklets. 17509 Alice. Waltz . This downward slide of the arm should and in the title of which the words “Robin Portrait Series good anthem book, cantata or choral collec¬ 4336 Allegresse. False . ... 3Vz .50 These may be secured at trifling cost. Ask for Catalog-V 15. 24018 Alpine Glow. Reverie .. ... 3U begin well up toward the top of the key¬ Hood Dell” should appear. tion in these bargains and obtaining a copy, 24849 Around the Campfire .56 16188 Momi Many readers of The Etude have told the is quite likely, at some time in the future, to board, starting with the elbow near the publishers how highly they value the series On another page in this issue will be found an idea for a 17512 At Even Time. Meditat s Lullaby . 2% place an order for a quantity to meet the 3892 Balm for the Weary .. Iso highest black keys and proceeding down¬ THE BEETHOVEN STRING QUAR¬ of portrait-biographies now running in the Roll of Honor which should splendidly promote the work of needs of the choir or chorus. ward four or more octaves. The left arm TETS complete were played by the Buda¬ journal. Each month’s copy is carefully pre¬ pupils. It is printed on fine paper that will permit the teacher 404 Bicycle Waltz . 1 pest Quartet in a series of six early sum¬ served so that 44 more musicians’ likenesses Some wise merchant years ago said some¬ 13409 Boys of the Nation. March . . . 2' 24851 Pap__ begins with the elbow over the lowest to write in the names. This Roll of Honor may be secured thing to the effect that "Nothing is a bar¬ 24848 Chieftain. March . 2 17511 Petite Humoresqi black keys and proceeds upward the same mer concerts at the Salle Pleyel of Paris. and accompanying biographical data may be 9047 Conestoga. Indian Dance.21 4 Progress. Gavotti The playing of this entire group of master¬ added to these readers’ permanent reference at the nominal cost of five cents a sheet. May also be bought gain unless both participating parties are number of octaves, beginning with the fifth satisfied.” Theodore Presser Co. adheres to 3401 Constant Devotion. Reverie 23906 Rem pieces is a tremendous undertaking and library. Teachers, who like to make their in lots of one dozen for fifty cents, thus providing a new 2017 Row _ _ ■- Idyl . .50 finger tip grasping the inside of a G-flat a policy of trying to make each new book 9044 Dainty°Footfalis.'' Waltz.V 11053 Secret \ ishes. Gavo worthy of the plaudits received from the recital programs more interesting by includ¬ Roll of Honor to be put up in the Studio each month. large and enthusiastic audiences. In Novem¬ ing notes on the composers, find this series publication such as to stand up among the 17508 Dance Oriental. 2 18882 Sleepy Time best in its field, and in presenting these it 23903 Dreams of Youth. Reverie_2 15143 Song of the Brooklet .. . The main essentials to observe are; (1) ber this famous string ensemble will begin of much assistance. Of course, for classes in 7862 Enchanted Moments. Polka Co- 2606 South Car’lina Tickle. a coast to coast tour of America. music appreciation it is invaluable. tries to give a dear and honest description Walk . 50 that the arms have a feeling of relaxed of the type of work that is being offered. 24836 Event,,_„ 9046 Spanish Carnival. Bolero weight (without pressure) ; (2) that the Begun in the February, 1932 issue of The 1393 Eventide Revel.. 15141 Starry Eyes. Waltz - Etude Music Magazine the series is now This leads to satisfaction on the part of the ’"“81 Fairy Spell. Waltz . 2 Vi 24780 Sylvia's Drea . False . finger joints always bend out; (3) that COMPETITIONS well along in its fifth year. And it will be buyer, particularly when a copy Is obtained 13406 Going a-Fishing. March '. . 13405 Taking Dolly’s a strong pull is felt at all the finger joints. PRIZES of One Thousand Dollars each, almost as many years more before it is com¬ at a bargain price, and thus, in gaining an Governor March. Two-Step.. Words . 40 Alternate the arms in practicing this ex¬ and a New York debut, are offered to pian¬ audience for the publication with some active Guinevere. Idyl. 24058 Trysting Time. Valse. ists, violinists and singers, by the National pleted. For the convenience of those who may Happy Days. Girl's Glee Sony.. 1919 Up-to-date March. Two Stt ercise. not have been able to secure every issue of orders made to replenish stocks, and for those music worker. Theodore Presser Co. is quite 24852 Indian ...... 4095 Visions of Sleep. Waltzes . Federation of Music Clubs. Also there are the magazine containing The Etude Histori¬ who like to check over these works to see if satisfied on that copy to forego the margin *3 Jn Rhythmic Step. March 9D4.", Wanderers. Gypsy Vance . two prizes of Five Hundred Dollars each that ordinarily is required to meet the neces¬ 18879 In the Old Swing . 1218 West Point Cadet March . for vocal contestants to be chosen for the cal Musical Portrait Series, additional copies there are any which may appeal to them, we 17510 Keeping Time. March... 23905 Whispering Trees. Waltz of the page containing it have been printed give but a selected list from the publisher’s fIAN? STUDIES AND TECHNICS sary expenses in the conduct of its business. 15142 Learning the Minuet 23904 Winter Sports. Sugaestio Service that is Service Schubert Memorial Award which provides a AA debut in a major role in a Metropolitan and these are obtainable at the nominal price printing order of the last month. Complete FirirSl s ' *°'™ On other pages in thb issue you will find “837 Legend . Sleigh Bells. of 5 cents, each. the Fall Bargain Offers of this year. Note 18880 Let's Play Soldiers! . 4070 With My Thoughts. Idyl . Opera Company performance. Further in¬ copies of any of these may be secured for .. 4071 Light Hearts at Even .... 18897 Woodland Rhapsody . From a citizen in South America (over examination from the Theodore Presser Co. SHEET MUSIC—VOCAL SOLOS that you save postage in ordering at these one thousand miles from Philadelphia) we formation and bulletins may be had from bargain cash prices, and do not overlook the Ruth Haller Ottaway, National Chairman, “Full Many a Flower is Born PIANO, FOUR HANDS receive this letter: 320 Wait Avenue, Ithaca, New York, SHEET MUSIC—PIANO SOLOS 30098 My Rixlwmcr andM™PLord (High)— Pr'Ce fact that the prices are good only until the ?kyde Waltz . 1V4 $0.40 2358 Governor March. Two St to Blush XJnseen” Cat.oat. No.iso. Title andana Composercomposer Grade Price 30166 Thi end of the month of September, 1936. 24604 Boys of the Nation. March .... 2 V, .40 24803 Keeping Time. March . .. “Your efficiency is surprising. Per¬ 26065 My Little Pony—Dunn.... 1 »" vraestoga. Indian Dance.2 Vj .60 23451 Marine Corps Reserves. I mit me to say that on the same day PRIZES of five thousand francs (about No one ever has evolved a means by which 7272 Learning to Waltz—Missa 17378 Enchanted Momenta. Polka Ca- * 18259 Momus. NoveUette. three hundred and fifty dollars, at present every one might have the opportunity to do 25673 Little Playmates—Mallard in maytime High)—Speaks. ke. 3 .60 2003 Up-to-date March. Two f I wrote to you I sent another order 26119 Playful Echoes—Gilbert . . >8 Recessional (Low)—DeKoven fUarning Against Swindlers exchange rates), twenty-five hundred francs, his or her utmost in the exercise of individual 26307 Song of the Willow—Cop to a large music dealer in our capital, and one thousand francs, are offered by Les talents. Similarly, it would be an impossi¬ 18990 Purple Twilight—Lawson OCTAVO-MIXED VOICES, SACRED Many fine men and women add largely to only a day and a half from here. That 5009 Bicycle Galop—Bechter . . Editions de Paris, for love songs by composers bility for any one person to become ac¬ 6255 Hear Our Prayer (3 Pt. S.A.B.)_ their incomes through taking subscriptions The Angels' Refrain. order has not been filled, and your quainted with all of the worth while gems of 26095 In a Chinese Garden—Ove bhgato (d-g)_ of any nationality. Entries close on September 26169 Step High—Kerr. for magazines, and The Etude in particular. 8051 The music (an order for five rare com¬ 30th; and full particulars may be had from music which exist in published form. 7235 Rose Petals—Laivson _ ’ Refrain. All authorized representatives carry our offi¬ positions) is in our hands. That is the Paroles et Musique, 13 rue du Conservatoire, As a result, many turn time and time again 18686 The Darky Fiddler—Bain cial receipt. Unfortunately, there are some 24391 The Angel's Song. CAHrtWUii (d-F 15378 In the Hush of the Twiligl to music publications that they are sure will (c-E flat) . reason why I always write to you for Paris, France. unscrupulous men and women who sell The fill ^ Me (E-a flat) '.'. 3952 It Might Have Been (d-a) serve their needs because they do not have Etude and combinations of The Etude with 4149 A Jolly Good Song (a-E) . what I want. time to examine new or unknown publica¬ 26022 ThenGay"old °Fro|—Bn. 8061 The Light of Hope (E flat-a THE PHILHARMONIC-SYMPHONY 26023 Indian Sunset—Klemm 30 35528 other magazine publications at any price they ggSMiSflfiK! :::::: “The Etude is excellent and is my tions, particularly when the outcome of such 19242 Old Lace and Lavender—vair can secure. The money is pocketed and before 8053 Th! Dream of Peace (E flat-a flat I . . 8062 The Light of -- ORCHESTRA of New York offers a prize a search may not be satisfying. S ihe .Dr«™ Of Peace (b flat-E) .. . . s Echo (F-F) favorite musical review.” 25357 Turkish March—Beethove complaint reaches us, the swindler b gone. (E flat-E flai of One Thousand Dollars for an orchestral In the gigantic stocks of music maintained Huhmst tin-Sawyer . 8066 Sake (c-g) . 23074 Mazii composition ranging from twenty minutes 1919 Up to Date March—Geibel. . 50 °CTAV0-MEN'S VOICES Pay no money to strangers unless you are 6 G1°™ in Excelsis Deo. Glory be to „„„„ __ay (d-E flat) by the Theodore Presser Co., there are 0883 My Lord What a Morning—Work. . % satisfied as to their reliability. IVe cannot be 8054 The Pilgrim's Drear (d-g to full symphonic length, and a second prize twenty-five million copies of music and music Dreal-__ of Five Hundred Dollars for an overture, responsible for the actions of “crooks” posing 6 The...J HL.Pilgrir Dream (b flat-E books, representing stocks of hundreds of SCHOOL CHORUS The Risen Lord (d-F sharp) ... suite or symphonic poem not longer than ten 23178 March of the N< 35074 Drink, to Me Only with Thine Eyes as magazine salesmen. thousands of individual compositions or com¬ 26032 Ticklin’ Toes—P (S.A.fi.)-jonsJM!S 8060 The Risen Lord (b «»t-D)..... to twenty minutes. Entry blanks and full piled works. Every one of these works must 8»47 HaB Glorious Morn', violin' Obbligato -... Sweetly, Babe of Bethleh information may be had by writing to the 23032 Fireflies—Rolfe . in Obbligato (a flat-E fla A Suggestion to Premium have had some appeal to have prompted 23453 Butterfly Dance- Philharmonic-Symphony Orchestra, 113 West 30630 Dance of Desire Good News for Magazine Readers 8057. . ,.e Three Visions some one to have invested money in its pub¬ Th™ MIXED V°ICf0S76 8004 Hia BieSK1 t*ce < E fla VS > '.'.'. 8 The Three Visions b flat-E) 57th Street, New York City. lication, but since active music workers can From September 1st and up until Novem¬ 8165HhS£S {b Workers not encompass so much music within the time SHEET MUSIC—PIANO, POUR HANDS ber 10th, lovers of fine magazines may pur¬ 19908 Blossomtime Waltz—Crammond 2 $0 40 Changes of Address chase their favorites combined with The The season for selecting holiday gifts is THE ELIZABETH SPRAGUE COOL- available to them, many items on our shelves 23087 The Arkansas Traveler— 25189 Happy Days VOCAL DUET .(Sop. & Alto) $0. are like the flowers to which the poet Gray Donald. 50 „ Those^ subscribers who have had tw Etude at a very substantial reduction in fast approaching. Let The Etude help you IDGE PRIZE of one thousand dollars is referred. price. Place your order during September and make your gift selections, and without any offered, in a competition open to composers While there are publications which are re¬ SHEET MUSIC—PIANO, SIX HANDS October and make this desirable saving. See PIPE ORGAN cash outlay on your part. The Etude Music of all nationalities, for a chamber music work kind,y l^ifyh maining unseen, there are many for which 1060 Sylvan Sprites—Engelmann_2 3 fZTeet™S^d 0 - a? page 533, this issue for a complete Ibt of maga¬ 'Time. Arr. 0. 16210 A Shepherd'ssnepneru » Idyl.xujs. . _ Magazine offers fine merchandise in exchange for four stringed instruments. Compositions there is a steady demand. It is these works zine publications clubbed with The Etude. Noel sc h . 6 *°'40 for subscriptions to this magazine (not your must be submitted before September 30th, PIANO INSTRUCTOR own). Each subscription secured counts as 1936; and particulars may be had from the which find a place on the publisher’s printing ook for Older Beginners—WUlia ms We will be glad to make quotations on any *1.00 addresses. This is important * d new special selections combined with The Etude ANTHEMS FOR MIXED VOICES •012 one point toward any premium. Send post Coolidge Foundation, Library of Congress, on receipt of request. 2Wl85 ThfeiVoices. . *0.12 20853 Guide Me 0 Thou GraWehovah '.12 card for complete list. Washington, D. C. Advertisement n Eye That Never Sleeps. The So" of Righteousni is. .10 20914 There Advertisement THE ETUDE MEMBER, i936 595 Final Introductory Offers Philadelphia, Pa. XAat OPuicA -^T introductory prices are for orders placed OCTOBER 1ST, 1936, AND FOR CASH WITH ORDER CAA&ld
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OFFER No. 22— OfFER Ho. 44— OFFER No. 52— (Be Sure to Name Parts Desired) THIRD YEAR AT THE PL4NO OFFER No. 24— TEN FAMOUS SOLOS ositions UNDER THE CHRIST CHILD MARCHETTE BAND BOOK tions which have won the approbation of discrimina By John M. Williams THE BIG TOP musicians and yet which always have given delight to get Cantata by Chas. B. Hawley Arranged by Mayhew Lake Arranged, for audiences that know only melodic and rhythmic appeal • Advance of Pub. C^sh Pr.—-^Oc Postpaul • A Collection of Circus Arranged for Three-Part Chorus of (Band Parts—Price, 30c Each) numbers given in this collection are: Mighty UP a B-FLAT CORNET OR Ethelbert Nevin; By the Waters of Minnetonka. Thurlow Pieces For Piano Women’s Voices • Introductory Cash Pr. - 20c ea.. Postpaid • TRUMPET SOLO Lieurance; Recessional. Reginald deKoven; l Love Life Mana-Zucea : The Gypsy Trail. Tod B. Galloway; 1 Heard lit ’ (Conductor’s Score and Piano Acc.—Price, 50c) Voice of Jesus Say, F. G. Rathbun ; My Heart is a Ham • Advance of Pub. • Advance of Pub. Cash Pr.—35c Postpaid • Arranged by • Introductory Cash Price — 35c Postpaid • Irving A. Steinel: The Green Cathedral, Carl Hahn; I Shall Cash Pr.—30c Postpaid • Because this special treble voice arrangement of Hawley’s notable The young school band gets a fine variety of marches in this Hugh Gordon Not Pass Again This Way, Stanley S. Effinger, and A tea' H his Second Year at* the Piano^that he has collection of 16 selections arranged in superb fashion by none other than the incomparable Mayhew Lake. There are no dif¬ Christmas ficulties for the well-trained first year band and yet each selec¬ (Price, 60c) iBm proper phases of study to supply the >f publication price. Excep tion possesses a fullness and a musical interest that will make Third Year study course. While this well rtet or a semi-chorus in fo it acceptable to other bands wanting pulsating marches which • Introductory Cash planned book of interest-holding 3rd grade all of the choruses m this y acceptable to ii is thfmnvenient ^x Iktoband size^Instromentetion isCasPfok Price — 35c Postpaid • publication, the advance offer is being soprano, mezzo-soprano, and contralto ' lows: D-flat Piccolo, C Flute and Piccolo, E-flat Clarinet, 1st JOHN M. WnilAMS made. B-fiat Clarinet, 2nd B-flat Clarinet, 3rd B-flat Clarinet, E-flat is also possible to make a Comet and Trombone Duet cot Alto Clarinet, B-flat Bass Clarinet, Oboe, Bassoon, B-flat So- THE DESCRIPTIVE MATTER ON RIGHT COVERS “1 bination just as it would be possible to make a Clarinet a: OFFER No. 53— t Alto Saxophone Duet combination. prano Saxophone, 1st E-flat Alto Saxophone, 2nd E-flat Alto THE FOLLOWING OFFERS OF THE DUET, PIANO I OFFER Ho. 45— Saxophone, B-flat Tenor Saxophone, E-flat Baritone Saxophone, With any of the solo instruments, or with any of the du PRESSER’S Solo B-flat Cornet, 1st B-flat Cornet, 2nd and 3rd B-flat Cornets, ACCOMPANIMENT, AND COMPANION ALBUMS J combinations, the Piano Accompaniment may or may not FOURTH YEAR AT THE PIANO 1st and 2nd E-flat Altos, 3rd and 4th E-flat Altos, 1st and 2nd used as is desired. TWO-STAFF ORGAN BOOK Horns in F, 3rd and 4th Horns in F, Baritone (Bass Clef), By John M. Williams For One or Two Manual Organs Baritone (Treble Clef), 1st a~J m-u- OFFER No. 27— 3rd Trombone (Bass Clef), : OFFER No. 25— OFFER No. 26— • Advance of Pub. Cash Pr.—50c Postpaid • Clef), B-flat Bass (Treble Clef), masses B-FLAT CLARINET DUET • Advance of Pub. Cash Pr.—40c Postpaid • Score or Piano Acc. for rehearsal use. B-FLAT CORNET OR B-FLAT CLARINET SOLO TRUMPET DUET PART PART Thousands of piano teachers throughout the United States and Most persons, when commencing the study of the organ, find i OFFER No. 23— • Introductory Cash rS personally have attended the lectures of, or have paid quite di~ " ’ * " ^ -J , • Introductory Cash • Introductory Cash Lleasonsin, the courses of John M. Williams. Thousands more PRESSER’S Price — 35c Postpaid • k»funne to know of his materials through other means. To Price — 35c Postpaid • “ it of his Third Yea . LIBRARY MANUSCRIPT BOOK Price — 35c Postpaid • (Price, $1.00) 28— OFFER No. 29— OFFER No. 30— E-FLAT ALTO SAXOPHONE E-FLAT ALTO SAXOPHONE TROMBONE (Haas Clef) OR SOLO DUET PART BARITONE SOLO ctory Cash • Introductory Cash • Introductory Cash - 35c Postpaid • Price — 35c Postpaid • Price — 35c Postpaid • OFFER No. 54—(Sold Only in U. S OFFER No. 32— CRIPT BOOK FOR BEGINNERS TEN FAMOUS SOLOS By Alberto Jonas PRESSER’S* CONCERT MARCH ALBUM PIANO ACCOMPANIMENT FOR ORCHESTRA to leofPub. Cash Pr.— Hugh Gordon’s Solo and Duet Arrangements for B-flat Cornet or Trumpet, B-flat Clarinet, E-flat Alto Saxophone, RECREATIONAL ALBUM ictory Cash Trombone (Bass Clef) or Baritone FOR DUET PLAYERS Price—35c Postpaid < (Piano Accompaniment—Price, 60c) For the Piano • Introductory Cash Price — 40c Postpaid • >. Cash Pr.
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Jimmy's Daily Check-Up Plan Junior Etude Contest By Gladys M. Stein The Junior Etude will award three pretty and address of sender and be received at prizes each month for the best and neatest Carl and Jimmy were slowly walking “That gave me an idea,” Jimmy went on, the Junior Etude Office, 1712 Chestnut “and now every day I spend the last fifteen original stories or essays, and for answers Street, Philadelphia, Pa., before the eight¬ honK fro® ^°o1 one *fte™°°n whe" to puzzles. i Carl remarked that he guessed hed minutes of my practice hour checking-up eenth of September. Results of contest will Any boy or girl under sixteen years of appear in the December issue. jitter hurry home and practice his piano like this; age may compete, whether a subscriber or “I count the number of lines there are Put your name, age and class in which not, and whether belonging to a Junior in my lesson (I have to do this counting you are entering on upper left hand corner '“t don’t cafe much about practicing,” he Club or not. Class A, fourteen to sixteen admitted, “but I like music too well to give only the first day after my piano lesson, of paper, and put your address on upper years of age; Class B, eleven to under he added), and if I have forty lines I mark right hand corner. If your contribution un mv oiano lessons. fourteen; Class C, under eleven years of age. takes more than one sheet of paper do this P,.fused to feel the same way before I down the figures 60. Then I go over the Subject for story or essay this month on each sheet. Write on one side of the forty lines just as if I were playing them k»an my daily lesson check-up plan," said “One’s Year’s Progress.” Must contain not paper only. for my teacher. If I make more than one jimmy, “but now I really enjoy practic- over one hundred and fifty words. Do not use typewriters and do not have tiny mistake in a line I do not give myself Competitors who do not comply with ail any one copy your work for you. By Hermia Harris Fraser credit for it, but I try hard to bring my “»‘Daily Lesson Check-Up’? Isn’t that of the following conditions will not be con¬ When schools or clubs compete please score up close to the one hundred mark.” something new?" asked Carl. sidered. have a preliminary contest first and send in Companions Terry Mellin glanced at the mantel clock. sounds like a piano, and I know there isn’t ???Who Knows??? “In other words,” interrupted Carl, “you “Yes, it is,” Jimmy answered. I got the All contributions must bear name, age only two contributiqns for each class. “It’s a fine thing,” he grumbled, “when a any piano in Haunted House!” subtract the number of lines in your lesson (Each correct answer counts ten points) idea from that college boy who lives next By Harriet B. Pennell boy has to stay indoors all day, doing school Mustering up his fading courage, Terry door to us. This boy,” he explained, “is from one hundred, and then try to earn a homework and dragged himself up the porch steps and 1. In what opera is there a boat pulled In music, two lines studying to become a music supervisor, and point on each line in your check-up?” “Terry! Are you through practicing, peeked in the front window. Then, he n last summer he went to a conservatory for "That’s it,” agreed Jimmy. “You’d be That curve over the notes, already ?” exclaimed his older sister, Leona, ly fell backwards with surprise. For 2. Who wrote this opera? Are often, by children, confused; an intensive course in piano work. He took surprised too,” he concluded, “at how much Me and My Music “You’ve only been at it three minutes.” Haunted House looked almost furnished. 3. How many sixty-fourth notes equal a more careful it has made jne in my practic¬ Me and My Music The one is a TIE, dotted eighth? a lesson every day, and after he came home “It’s these dreadful melodic There were chairs, a table holding a lamp, ing. And it certainly has made the practice 4. Where was Bach bom? (Prize Winner) (Prize Winner) groaned Terry, ‘A minute at them feels pictures on the walls, and a tiny cottage hour lots more fun!” piano, being played by a large, old r 5. What was the nationality of Grieg? like weeks." a small chi When I practice music it just seems Leona tossed him his cap. “I know what with white hair and a thin, kind face. In- 6. What composer's home was in Peter¬ in an oiphan lioim the trouble is—you want to play ball with deed, if the face had not been so gentle, borough, New Hampshire? tunity to li a Merry-go-round it seems I The other a SLUR, Terry would never have shouted hoarsely, 7. What is the meaning of poco a poco d of n pish that somedaj The difference? Now don’t be amused. The Haunted House Five years a r life chan t that,” flashed Terry, swinging “Hello, Ghost! I’m not afraid, I’m not!” ritardando? - .t wonderful people adopted n n the piano stool, “but we’ve made “Of course, you aren't 1” replied the man, 8. From what country docs the folk-song me a lovely home, education, and the uesc or (Continued) all. education in music. up our minds to explore the Haunted swinging slightly on the piano stool, but All Through the Night come? I got a very good violin and I take lessons House.” continuing to play a tune that sounded like 9. What was the greatest number of lines town. The colors aren’t nearly as nice, conquer the road to beautiful rhythm. regularly now. For the past few months I will prove worthy o Terry retreated to the door, “I’m stout have been playing in the school orchestra. “Oh, you mustn’t, Terry I” she cried. “If raindrops on leaves. ever used in the staff? either. Up here, it’s just like a painting, • lly only wish Is that some day I will be It’s a serious matter, “That’s the Raindrop Prelude," he said. 10. How many semitones in an augmented purple and blue and orange.” hearted,” he declared, “or I wouldn’t have able to play so well that I can say my thanks fifth? come here. I think I’ll go home now and ill heavenly tones to those dear people who The TIE means to play, “Now, I'm going to play the Fourth “That’s it!” the man exclaimed. “The present this music to me. Then HOLD the tied notes their full time; r there the Ballade, by the same master, Chopin.” (Annvers on next page) higher up you are the better you see, the fight the melodic minors.” Selma Koran (Age 12), Michigan. The SLUR, like two comas other day, and she distinctly heard After a moment, Terry, who had slipped higher up you are on Melody Hill, the The musician stood up, his eyes smiling, inside the room, and now stood beside the better you hear, is it not so?” “Come and see me again,” he urged. “Next In verses you read, A Loyal House Makes a sentence of musical rhyme. “Well, I’m not afraid 1” Terry declared, whispered, “That prancing sounds “I suppose so,” nodded Terry, watching time, bring your music and I shall show Me and My Music as he raced outdoors. He rushed down the just like Bob Philip's pony! My, I wish I By Gertrude Grecnhalgh Walker the gnarled hands as they swept into a you some short cuts up Melody Hill.” seaside street to call for his chum, but could play like that, Mr. Ghost 1” sonata, like waves rising and falling. “I’ll “Thank you! I’ll be glad to come!” (Prize Winner) Tommy's Marble Came Sandy had forgotten his appointment, either Robert was again at his dad’s office have to get to the top of Melody Hill, be¬ Terry replied. Then he ran down the steep purposely, or by accident. waiting until his father would be free so fore I can play like you do.” cliff, as fast as if he had really seen the Me and my music have great times to¬ By Mildred Tanner Pettit “I’ll explore the Haunted House, any¬ that they could have their regular Satur¬ gether. If it were not for my music I would The old man sighed, dropping his hands ghost of Haunted House. But, of course, feel lost; and my music is the best friend in JUNIORS OF GLEN DALE, W. VA. how!” Terry decided, beginning to climb. day afternoon hike together. “I shall be “How was your lesson, son?” asked on his knees, “Only one is never finished he wasn’t afraid any more. He was merely the world to me. When I am sad It helps to The Haunted House stood out plainly ten minutes longer. Bob. Would you like climbing, for it is a long, long trail, son, anxious to begin another, longer climb, the get me out of the mood. When I am doing Tommy’s mother, as he returned from his against the mauve sky. It was old, dark my chores and no one is with me, I sing and second lesson with the new teacher. to come with me? I am just going to give and, as one goes up, and up, the horizon climb up the hill of MUSIC, by the trail whistle and it keeps me company. When I and three-storied, high above the road and sit and read for a long time I get tired; then tunes on the piano with one finger and at four a ten-minute pep and loyalty talk to our extends. It takes the stout hearted to of GOOD PRACTICE. “Not so good,” sighed Tommy. “I think the sea. As long as Terry could remember. t ulo ir, rviay my trumpet. If I did not have and a half I played any tune I heard, putting I could have done all right if Miss Brown executives.” Bob was thrilled, as all the lily music, I am afraida I would be very lone¬ the bass to the melody. I started lessons w'- ~ Haunted House had been there, in a perfect heads of the departments were there. Dad Dund. had let me play fast, the way I practiced, setting for mystic hap¬ e people who si but she had me play very slowly and count said, “It is such a fine day, gentlemen, I does not do them any good; but in later life penings. As he climbed will not keep you long. I find that some these people will find that they use music to an institute of music later. aloud, and it was pretty terrible.” the rocky path, he shud¬ Answers to Who Knows Puzzle every day. That is why it is our best friend As a hobby I make a scrap book with pic “Have you been doing everything she of the departments are slipping a little tures of composers, instruments, scenes fron dered, remembering the 1- “Lohengrin.” Victor Kassmassen (Age 14), operas and many articles on music. told you to do? You know a music teacher behind their scheduled quotas. I think it By E. Mendes From your friend, time he had peered in a is because you are not firm enough in ?• Richard Wagner. is a musical doctor, and you have to do Find the opposites to the following words. Charlotte Stcckel (Age 12), cracked window, and insisting on cooperation. I trust you men, L Twelve. New Jersey. everything and follow all the directions, if i high A Eisenach, Germany. The initials of the opposites, reading down, N.B.—We regret that space does not permii you want to grow strong in music,” ad¬ and you in turn must make the men under Letter Box printing Charlotte's picture which she en full of dust and cobwebs. 5. Norwegian. will give the name of a musical instrument. monished his mother. you so loyal that each department will closed in her letter. b- Edward Alexander MacDowell. Answers must give all words. “Well,” said Tommy, a bit ashamed, “the function 100%. I do not demand over¬ Dear Junior Etcde, real trouble is this six-times-perfect method work, and do not expect under work. I '■ kittle by little slowing up. VICTORIOUS The last time our Music Club met at my Dear Junior Etude : 8. Wales. house we played a game that I made up. It is I have taken violoncello 1< of practicing she wants me to do. It seems shall give you men three months’ trial BUSY called Musical Bunco. ( ghost, son,” the man replied, couple of years and am playing difficult and if in that time you cannot get your 9- Eleven. Bach player is given a slip with the staff music. 1 love my instrument. a_ -J course like a lot of trouble and I get all mixed up.” I. iust moved into my home, here, after YOUNG on it, with the lines and spaces numbered. departments up, then I will have to get Eight. I think it is the best ilo and group instru- “That’s easy. We’ll make a game of it,” being away for ten years. I was never INDUSTRIOUS The player throws a dice and a note should somebody else to inspire the working be marked on the staff according to the num¬ answered his mother, thinking up a scheme really happy abroad. I kept thinking of UNDER ber on the dice. If a double number is thrown, force. Here is a slogan for you—‘We are while she spoke. Melody Hill—that was what we used to OLD the player receives an extra throw. If the and have played in many engagements. I also So when Tommy came in to practice a cooperative, loyal house.’——Good night, HOT player throws a number that has bi n thrown, play in the school Orchestra. Although the call this spot.” „e misses hi..- violoncello is my favorite, I am also taking later he noticed a small saucer at each end and a happy week end.” FULL arks a] a the “Play that again, please!” Terry in¬ Question Box The placer who n the school of the piano. The one at the right held six sisted. “I love to watch your left hand, it “I say, Dad,” said Bob, “that was some FIRST staff " *■ | Hjjr ~ shiny marbles. From your friend, let us e violoncello articles works so fast, and the way you keep slip¬ talk you gave them. Did you ever speak Will1?1011 : EARLY Marion Lemke (Age 11), in The Etude ! “Now,” said his mother, “we are going to my music teacher that way?” Michigan. ping in those melodic minors. I never knew 'le&ZPmS?fiVP me an e*PIaDati<>n of CLOSED to play marbles. The ones in this dish are “No. Why do you ask?” before that they sounded so nice in pieces. mine and you are going to try to win them I ve had such a time with them, I thought “Well, she has been getting after me a from me. Every time you play your piece good deal, lately.” somebody made them up just to pester me.” perfectly, counting aloud, good rhythm and While gulls circled above him, crying “Is that so? I am glad to hear that Honorable Mention for April expression, you take one of my marbles. So you dislike practicing, eh! Perhaps weirdly, Terry continued on his journey. you have the wrong point of view. That is she realizes her responsibilities. It is up Essays: Every time you miss, back come all the Several times he stumbled and fell, but a the whole thing, Sonny.” to her to chart a profitable course, and to Sarah Granthai Sma, Dorothy marbles to me.” faint, tinkling noise ahead roused his curi¬ make it as interesting as possible, and Christensen, .1 am . Jton, Mary Ruth “Oh, this is going to be fun,” exclaimed “I don,t understand,” said Terry, leaning Cooper,_, Ire_ Henderson, Winona McKee, osity. Stars twinkled over Haunted House, against the piano. then it is up to you to follow it faithfully. Jean Holicky, Mabel Nichols, Betty Parks. Tommy. and one seemed to drop inside. At all events, Shall I give you and Miss Brown a three _; Crammond, Ruth Beck. Lura L. “Look out of my window there! Does the It was fun, and practice time was gone when Terry squinted and stared, he did months’ trial, too?” Selma Steiler, Bertie Huffmeister, Dorothy sea look the same from your house down Caruso, John Ike, Nadine Bellinger, Leila before they knew it. Tommy won four see a light in Haunted House. below, on the street?” “No indeed, Dad, that will not be neces¬ Philpot, Aletha Fox, Charles Medlin, Louise games that day, and ever so many during “I’ve certainly had enough of this!” he sary. She has already worked out a great McCann, Gertrude Griffin. Lewis P. Livings¬ ton, Irene Anderson, Iola Jacobson, Genevieve the week. When he went for his next lesson reasoned to himself. It was then he heard J°v,V°!YCrry murmured- “We don’t see half as far as you do, and we don’t program and I’m going to show results. Reese, Jack Chessick. Anne Sullivan, Mildred —well, you should have heard the improve- quite plainly, the sound of a melodic minor. But I will take your motto, though, and Parkinson, Anna Marie Solbach, Edwina v of the steamboats, and the Knight Crammond. Katie Morrow, Emmelvn “Dear me,” Terry cried. “That certainly (.Continued o tell her about it. ‘Here’s to a cooperative Rhyme, LaVerne Giessick, Evelvn Stevenson f page) and loyal music house.’ ” Edna Applegate, Geraldine Robinson, Marian 600 THE ETUDE Good Humor in Music Musical Books Letters from Etude (Continued, from Page S40) Reviewed piano Teachers of To-Day Friends or communistic Russia, they are apt to be- will arise who will have thee way come musically strabismic. One of the ex- low the words of.the, -P f„rm as did ceptions is George Gershwin. His song through, thus creating his own form^M^ about his cousin in Milwaukee is remark- Schubert, Schumann,F inspired The Metropolitan Opera are helping individuals of ALL AGES satisfy A Scrapbook for the Alert Student able, because the worse you sing it the and then, if he is both si p . • By IaviNG Koloiuk The story of the Metropolitan Opera Com¬ better it sounds. “Porgie and Bess” is a we may have some real American folk pany of New York City, since its inaugura¬ really American opera, which proves that songs to rank again with t tion in 1883, is the most significant in and profitable diversion in keeping a musical American operatic history. This organization a craving for personal participation in Music. it is better to be a happy healthy vagabond Foster. _nearest t _t In Europe_ n„„ Iifneariy all the leading newspapers, he will the Eoyal or State opera. It has dominated find many items of special significance to his th“ a usaVnd Ackly professor, Jh Good Humored while the duet between the sweethearts „ — --long“■ ’—" and “so finely that even EVERY piano teacher may know the suitable first instructor own particular studies. Much space is devoted he remarkable work of Oscar Ha..'lammerstein. to interesting facts in the lives of famous musi¬ suggests that love is more ecstatic in many ABOUT THREE THOUS y nd of the Chicago Opera cannot be ranked cians ; photographs ; activities of the leading a southern hovel than in the most expensive /i ago, David the greatest^ of^ ^ ^ “ '*■ *■"“ fashioned operatic traditions for the PIANO BEGINNER OF ANY AGE THROUGH "PRESSER’S” willing¬ ; of his and concert performances ; criticisms, and so pent house on Park Avenue. Ferdie Grofe poets and musicians, wrote ness TO SEND ANY OF THESE SUCCESSFUL WORKS FOR EXAMINATION. —. For instance, the metropolitan newspapers i angel, when he takes the many songs, “Blessed : ! the meek, for arried gi vrite-i S like The author of the first comprehensive work of Ms _ telling about trouble. The audience chortles with delight they shall inherit the earth. This is a mos upon this subject is on the staff of the New her brilliant career, the details of when the burro neighs in his “Grand Can- surprising statement, from the mou o York Sun ami has had plentiful sources of in¬ —LITTLE BEGINNERS UP TO AGE EIGHT— friends, and of her death —’ formation and reference. He has rendered a yon Suite,” a truly original piece of Ameri- king who kept his seat upon his throne an valuable service in chronicline the ereat can music. Deems Taylor, Carpenter, and a his head upon his shoulders only by con- achievements of this famous company, under MUSIC PLAY FOR EVERY DAY scrapbook. They are invaluable foi the reigns of Abbey, Grau, Damrosch, Con- and general knowledge. whole flock of less known but talented men tinuously fighting with the tribes aroun ried, Dlppel, Gnttt-Cusazzn and Johnson, with Complete—Price, $1.25 Or in Four Parts—Price, Each Part, 40c Jessie L. Beainebd. their constellations of star singers and con¬ ductors. A captivating first instructor using game-like procedures. Filled with illustrations The book is filled with interest and relates and charming melodious music. Appealing to juvenile imagination. Best for 5 to Etude Jig-Saw Puzzles many incidents, historic, romantic and amus¬ 8 yrs. There is a sequel book called Happy Days in Music Play. To The Etude : ing. It makes a valuable permanent record of The average music student sees and hears, performances, casts, premieres, debuts and in his home life, so little about the famous other important information. In the appendix Tunes for Tiny Tots— Middle C and the Notes Above and Below— composers, that it becomes the teacher’s duty Next Month thirty-four pages are devoted to a cfaeslfica- to supplement this side of the child’s edu— tion of the performancea of the operas pre¬ By John M. Williams—75c By Lidie Avirit Simmons—75c ossibly c sented, from the early days of more popular Little beginning "steps" for THE ETUDE for OCTOBER 1934, W choice, when W. J. Henderson referred to the Music Scrap Book (A Kindergarten Piano building as “Dag Faustsplelhnus” (as Gounod's youngsters. Beginner’s Book) — opera was a sure "sell-out”) to the present A RENAISSANCE IN seasons, when the operas of Wagner, Verdi Bilbro’s Middle C Kindergarten Book— By N. Louise Wright—60c and Puccini have held first place. All in all, By Matbilde Bilbro—75c The youngsters love to put them together, MUSICAL EDUCATION this is a book which all active music workers Playtime Book (A Primary Grade Book) will desire to possess. It la Illustrated with A fine work by a favorite author. By Mildred Adair—75c This Is a long awaited conference with one of sixteen full page plates of important figures the greatest of living pianists, Josef Hofmann, in the life of the great company. Director of the Curtis Institute. Students and —Albertha Stoyer. teachers will find It among the most practical p?&V$™V mo*clo,h “ and useful articles we ever have been priv¬ Publishers : Oxford University Press. —FOR BEGINNERS IN AGES SEVEN TO TEN— ileged to publish. BEGINNER’S BOOK (School for the Piano, Volume One) Good Articles Live Liszt, Composer, and His To The Etude : THE MIDNIGHT KING By THEODORE PRESSER Price, $1.00 I have recently subscribed to The Etude. Piano Works THE STANDARD I feel that one article I have just read is The historic tragedy of Bavaria’s mad musical The immensely popular ’’red book” for piano beginners. It is as simple as a "first worth a year’s subscription. It is in an older monarch, Ludwig II, who, by coming to the By IlEniiERT Westeiibv, Mrs. Bac., F.R.C.O. GRADED COURSE OF A new Liszt book by Herbert Westerby, reader.” There are two following books:-—STUDENTS BOOK and PLAYER’S issue, loaned by a friend, and it is called, financial rescue of Richard Wagner at the Mus. Bac., proves to be a very individual “Singing at Three Score and Ten.” most critical period in his life, prepared a way STUDIES FOR THE PIANO It is an interview with the noted Welsh JOSEF HOFMANN book. It is not at all like the conventional BOOK. for giving to the world some of the greatest biography. In fact, in part It reseintiles a kind Originally Compiled by W. S. B. Mathews Tenor. Dan Beddoe. My voice director knows musical creations of the last century. of Liszt scrap hook. The author has read very Mr. Beddoe, personally. I feel that if this Bilbro’s First Grade Book— article were published, it might be an in¬ widely upon his subject and Hie documenta¬ Adventures in Music Land— IN TEN GRADES PRICE, $ 1.00 Each Grade THE PRESENT-DAY STATUS OF THE HARP tion reveals scholarly research. Over half of By Ella Ketterer—$1.00 By Matbilde Bilbro—$1.00 centive for other adults to begin the study the book is devoted to helpful comments upon This, the original and most successful of of music and to be subscribers to The This excellent instructor is by a gifted A most practical and up-to-date Etude, which I think is an excellent maga- This Interview with Carlos Salzedo, the most famous living master of Liszt's piano works. The publication of the all graded courses for the piano, gives in the harp. Is indicative of THE ETUDE’S policy of securing discussions work is obviously tuned to meet the com¬ composer of easy, melodious piano work. by the leading authorities on the Instruments In general use In the memoration of the fiftieth anniversary of logical, progressive order the best materials —Mrs. W. E. Rogers. Liszt's death; and we are sure that our pieces. for practical and successful instruction from Editorial Note—The article by Mr. Beddoe, band and orchestra, or for solo purposes. Story of Nanynka—By John Mokrejs—75c First Steps in Piano Study as mentioned in this letter, was published readers will find in this volume much infor¬ By Theodore Presser—$1.25 the very beginnings to the highest degrees in The Etude for May, 1935; and we are HEINE AS A MUSIC CRITIC mation that Is not elsewhere assembled be¬ A novelty for the younger students of virtuosity. constantly in receipt of requests for issues tween two covers. The work is written In an which weaves first lessons into an The Amateur Musician containing this and similar inspirational Poet and friend of Chopin and Liszt, Heine was one of the most im¬ engaging anil interesting style. By Russell Snively Gilbert—75c writings. pressive figures In the salons of that momentous period of the mid¬ Pages : 338, cloth bound. old Czech legend. Materials Selected From Best Sources nineteenth century with its fineness of culture. This Is the last article For each stage in the student’s progress, from the virile and engaging pen of the late Hon. Tod B. Galloway, the works of the greatest piano pedagogs jurist, and composer of many charming works including the famous and recognized authorities were carefully Gypsy Trail. —THE BEGINNERS OF TEN TO FOURTEEN The Music Handbook examined, and only those selected for in¬ When Should Piano Study HOW TO START WITH BACH FIRST YEAR AT THE PIANO clusion in this course that are best adapted By Percy A. Scholes for insuring as rapid progress as is con¬ Miss Hazel Gertrude Klnscella, an educator who has done some of the A small volume prepared to give in a con¬ By John M. Williams Begin? most significant pioneer work In our musical education of the last densed hut very practicable way just the sistent with thoroughness. quarter of a century, here gives our readers a spirited and highly help¬ sort of Information which every radio listener Complete—Price, $1.00 Or in Four Parts—Price, Each Part, 35c (Continued from Page 548) ful series of solutions of many of the problems in the interpretation and concert goer desires. Six hundred of the FIRST YEAR This is one of the masterpieces in twentieth century first piano instruction material. May Be Taken Up At Any Time most used musical terms are briefly defined. It is not necessary that the student be The book Is so planned that any desired in¬ AT THE PIANO It holds up interest always and achieves a satisfying speed of progress. such devices as are familiar to all diplo¬ formation may be located with the utmost started in the Standard Graded Course. matic grown-ups. expedition. FOR FOURTEEN TO SIXTEEN Especially is this true with very young achers and practical «, Pages : 95. cloth bound. ard Graded Course of Studies— Forcing a child to continue to take les¬ Price: *2.50. By W. S. B. Mathews—$ 1.00 Book for Older Beginners— students for whom a number of valuable sons against his will, when in the Sensory Publishers : M. Witmark & Sons. By John M. Williams—$1.00 "play and work" methods are available. This first volume (grade one) of this But thousands of teachers early lead their Period, may develop in him a distaste for celebrated graded course makes a fine One of the first works to recognize the older beginner’s aversion to ju¬ students into the Standard Graded Course music that will persist throughout his en¬ first instructor. It starts with both Children's Song Manual venile materials and it most success¬ and therefore any grade may be purchased tire life. Beethoven’s love for music would and women, are introducing to us pleasant, him. Perhaps the translators are at fault, clefs and there is the advantage of its have been lost entirely by childhood hot A course in the fundamentals of musical fully gets the older beginner to that separately since pupils at any grade of well conceived and comforting music, some for the Latin word, "mites" might be ren¬ notation and of singing at sight, for children definite lead up into the second grade ability-to-play-something stage he de- progress may go from other works into house forcing, had it not been that his of it “Songs without a tear.” dered “mild” or “kindly,” as well as in the second year of school. The work is so (Vol. 2) of this popular course of this graded course. genius survived it. But how many of our planned as to guide the child gradually into piano study. If only the popular song writers could “meek,” while the German “sanftmuthigen” a knowledge of the mysteries of the written These studies are interesting and stimu¬ children have the genius of a Beethoven? escape from the tyranny of the “song form.” could easily be the “tender hearted.” It re¬ page of music and how to translate these into lative throughout and, with a minimum of The Genius. Speaking of the child who audible song. Interspersed throughout the Verse and refrain follow each other in mains for the Frenchman, always an artist pages are many old folk and church melodies, time and trouble, develop the best of musi¬ has special talent, or genius, for music; FOR THOSE OVER SIXTEEN AND UNDER SIXTY cianship and technic in the average pupil. endless formality, that even the arrangers to pve a hopeful clue to the phrase, for he which assist in coSrdinating the functions of there is no need to discuss when he shall the eye and ear in this art. Grade One may be had with both clefs at seem powerless to change. Instead they calls it les debonaires,” which I venture to GROWN-UP BEGINNER’S BOOK commence lessons. If no one teaches him, he Volume I. Pages : 224, cloth bound. the start (revised edition) or in the original transpose the song into many keys, tumble transiate into English as “the cheerful.” Price: $1.50. will learn by himself anyway. Nothing it heels over head, hum it, sing it first as Volume Il.^Pages: 128. By William M. Felton . in^iif'fora" re¬ edition using the treble clef approach. will stop him from satisfying that wonder¬ Blessed are the cheerful” sounds so sensi¬ a male and then as a female quartet, a “Hill ble so reasonable, that we may easily per¬ Publishers :’ Catholic Education Press. in this day and age when every one seems to Kstayl"^°“"*’t‘toe p/ay but ^ust* never had the ful urge that nature has given him. “Art Billy” wail or a cowboy’s lament, and score markable share of attention upon the part of those who want p y is long and time is fleeting,” and the suade ourselves that it must be true It chance to start studying when younger. it with every conceivable orchestral effect. ought indeed to be true; for to be cheerful A Musical Companion genius will need all the time there is, from It is all very skilful and exceedingly clever; This new book stops all groping for suitable maKrial to aid foundation as k carries Theodore cradle to grave, in which to develop the in the distressing conditions through which John Erskine has edited “A Musical Com¬ but it remains just what it was at first, only the whole world is now passing takes that panion." which is issued as "a guide to the to satisfying playing ability. This book step by stepjg S , musjc is given. A keyboard ideas surging within him. a verse and a refrain. Nevertheless some understanding anil enjoyment of music." The along a clear exposition of what is being learned Much at ^ve ^u^otes the stav/s with intestinal fortitude” which so many writers volume is an abbreviated form of “The Musi¬ chart comes with the book making it possible quickly to associate tne no of the popular songs of the day have real believe to be the highest attribute of the cal Companion." with the addition of a chap¬ value, because they are sincere. They ex¬ ter devoted to American Music, contributed the keys on the piano. Presser Co. human race. It ,s a fine tribute to the by Mme. Oign Samaroff-Stnkowski. It covers o Duets for press in a clear, simple and, above all, a American composer to say that, in the the entire field of music, from early notation Book of Piano Pie< Adult Beginners $1.00 IMPORTANT! kindly and witty fashion, the ordinary, to the great masterpieces, with the scholarly Adult Beginners— 19 interesting four-hand piano pieces Prompt 1712-1714 r\he [I %ht headed and cheerful. manner that characterizes British thorough¬ This book provides 27 easy-to-play, every day emotions that move rich and Therefore though he may not “inherit the ness. It Is a book of manv facets: and music for 2 mature adventurers on the Direct-Mail CHESTNUT We are very sorry for an error in the set poor, high and low, educated and ignorant, lovers will read it with keen interest. but cleverly filled-out, melodious piano keyboard. up of The Etude for August, when the lines: earth,” yet he will unquestionably receive Service on STREET “fact that it is not wise for even pro¬ alike. To dance, to sing, to laugh and to In this book of over five hundred pages, favorites. fessional music teachers to teach their both applause and encouragement from the only seven are given to the United States: Everything in PHILADELPHIA, own children. Besides, it takes several make love are surely more healthy and but Mme. Samaroff-Stokowski had. of course, common people, who form the great major¬ scant opportunity t- —— nhases Music Publications PA. more sane than to worry one’s brain over ity of the American nation, whom Abraham and accomplishments' l were dropped out in going from page 480 to things that can neither be understood nor Ask for FREE Catalogs of Real Help to the Teacher of Pia"° the continuation on Page 524. They may be Lincoln said God loved, because He made New World. added to Page 480. changed. Some day an American composer Pages: 558. World’s Largest Stock so many of them. Price : $1.75. request will bring you graded and classified lists of studies an P . of Music of All Publishers Publisher: Alfred A thematic portions of a generous number of attractive piano teaching p 602 "Everybody’s Music"... an ambitious title for a radio program ... especially a program devoted to music ordinarily considered above the grasp of the average listener. Yet the Sunday afternoon programs of the Columbia Symphony Orchestra . .. directed by Howard Barlow . . . have demon¬ strated that the music of the masters is in truth "Everybody s Music! Tune-in this melodious hour of Beethoven, Wagner, Debussy and other musical immortals . . . and hear Henry M. Neely, radio s popular "Old Stager,” chat about the music the orchestra is to play. Tune-in with Philco and High-Fidelity reception adds tremendously to your appreciation of Howard Barlow’s superb interpretation of symphonic, operatic and choral music. Are you in the mood for more music on the same plane? 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