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

4-1-1949 Volume 67, Number 04 (April 1949) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 67, Number 04 (April 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/163

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L m r conductor of the Main Line Symphony ALEXANDER SCHREINER, famous Orchestra and the Germantown Sym- American organist, gave a recital on phony Orchestra, which regularly give a 9 in the Wanamaker Store, Phila- series of concerts during the season. learning feature attraction of the suggests how to relax while delphia, as a Mr. G-Clef pre-Easter music in that establishment. THE ST. LOUIS SYMPHONY OR- of MUSIC Mr. Schreiner, known to millions through CHESTRA, conducted by Vladimir WHY the WHO-WHAT-WHERE-WHEN-HOW-and his Sunday broadcasts from the Mormon Golschmann, presented in February THE Tabernacle in Salt Lake City, included world premiere of a genuinely rare mu- S. , Camil van Hulse, Concerto for Marimba, works of J. sical work, a Henri Mulet, , and Cesar Franck Vibraphone, and Orchestra. The solo Profitable in coolly on his program. Other outstanding pro- parts were played by Jack Conner, per- grams of the Easter season will enlist the cussionist of the orchestra, who, because ummer services of the Oratorio Choir of Phila- of the dearth of worthwhile composi- a Baker, conductor; the instruments, commis- 3 delphia, Walter tions for these Temple University Department of Music sioned Darius Milhaud to write a con- Choir, Elaine Brown, director; the Choral certo for them. Dr. William ition [aided Society of Ursinus College, lUolC tpprel conductor; the Choir of the OR- t S. Phillips, THE CHICAGO SYMPHONY University of Pennsylvania, Robert El- CHESTRA will have seven guest con- :ores Ora- (New York) Phil- HOm more, conductor; and the Dengler midnight blue for semi-classical, jet black THE ROCHESTER ductors for the 1949-50 season. Two of > Violet conductor. presented in Febru- Edh torio Singers, Clyde Dengler, for popular, lemon-drop yellow for chil- harmonic Orchestra these will be entirely new to Chicago pack up your portable grass ary what proved to be the highlight of Sabata, foolin , dren’s, sky blue for International, audiences; these are Victor da whi foil my ha No Well play me a symphony ymphony a week for performance of >ne LLANGOLLEN International Mu- for Western, and cerise for folk its 1948-49 season—a conductor of the La Scala of hike your st i fo^So THE green record player and ending to the recording, “The Damnation will be held June I to ’ concert opera former con- bring tl copies of Sympft sical Eisteddfod, music. Milan, and Rafael Kubelik, them. Have them each to learn all Classes way I know THasic hundred : Mistory with more than four *in< line melod IV. of at Llangollen, North Wales, with of ,” Philharmonic. Oth- They'll enjoy following the enough—then 19, ductor of the Czech fexplanytion mu- musicians and vocalists on stage. In ad- about the symphony painlessh you-kiddies W. S. Gwynn Williams as honorary WALTER HENDL, for the past four ers engaged to conduct are: Bruno Wal- learn—can't ind let me tell listening, tbe chil tfj^autojpafically Histo ry of Music Roberts as dition to the orchestra, the performers while you cool off toNast-for them Folks' Picture sic director, anil J. Rhys years assistant conductor of the New ter, , Fritz Busch, hard-to-manage teensters or adult rill take Young for tb^se I ooks; Rochester Oratorio Society aren't the only creatures 0>‘,an advanced chairman of the General Council and Philharmonic-Symphony Orchestra, included the Szell, Fritz Reiner. porch with either a r. rd-playcir" York George and sedate session! on your* front Jam^rtrancif^Coiooke voices, the you could arrange That series can go By There will he of the of two hundred and fifty Symphony Series while the rest le< Executive Committee. has been appointed conductor playing inside from GoOtscI ius' Analytic through the Glee student the kiddies, and lemonade known music, various classifications, University of Rochester Men’s Sixth out ideas—how 'bout a picnic for pupils know the important things competitions in Dallas Symphony Orchestra, succeeding ’ with this one. While I rt, dUhing Do your ups hand-in-hand Symphony No. 5 in C cut-out pictures for paste soloists’: Priscilla Gillette d'copy_ibv|^«fHiapttaw: 's masters? Just watch them mixed choirs, female choirs, male choirs, Dorati, who is to replace Dimitri Club, and these given its New York and cookies for the Porch classes? eras of the great other Antal Symphony was in D Minor; their birthplaces and as Mephis- (Pathetic); Franck's Symphony illustrated lives pi th voices, instrumental solos, Min- as Marguerite, Norman Scott Minor; Tschaikowsky's Symphony No, 6 in B Minor in the book, and the solos in all Mitropoulos as conductor of the premiere in February by the New York 's Symphony in G poser^^and pictures of prac- in B*Mff^^fmished); of the old i Petrak as Faust, and in Minor Schubi rPs Symphony musical shrines! Portraits juvenile groups, and folk song and dance Orchestra. Hendl topheles, Rudolph Orchestra, con- Symphony No. 1 C ; Remem- Don't let me forget neapolis Symphony Philharmonic-Symphony and Brahms' Symphony No. 3 in F Major. the modi Iven. Tschaikowsky's Symphony No. 4 in F Minor, tically all the instruments of for the Dallas Thomas Mayne as Brander. Minor; with directions for writing competitions. was highly recommended ducted by Leopold Stokowski. pages of staves in fhi ber, only 35 cents a copy ! about the six position by and Leopold them! Board covers. Price, $1.25 BENNETT LIPKIN, for AS- Stokowski. ARTHUR RAFAEL KUBELIK, conductor son of THE first violin many years a member of the violinist Kubelik, II. Jkarmony a Stand SOCIATION closed its regular season the famous Czech Jan section of The , season that was shorter MUSIC WEEK this year will be cele- will be guest conductor next season with on March 19—a musical director of for Beginners 1 to 8. keynote of the has been appointed and Harmony Book Byi by two weeks than last year, and which brated May The the -Pittsburgh Symphony Orchestra for the Birmingham Civic Symphony Or- ^an; What the Early Church Did observance will be “Music Strengthens the Chicago Symphony. This will be his em How about teaching your old included twenty-five different , By P* Troubadours Were and Groups, chestra for next season. He will leave : the of Individuals, 1935-36, Music; How the System of Wri' Who four fess than were given in 1947-48. Friendly Ties first visit since the season when harmony book exist- Palestrina Orchestra in June at easy-to-understand iw It Came to Be; Who National and Inter-Amer- Flic Philadelphia teachers— listen—this is the most What They Did; What Polyph features included revivals of Nations.” The he toured with his father. Say the appetite for Late season last the suimmer through, whetting such chapters. Each chapter is just the close of the Orchestra’s tour of Eng- knowledge! It gives enough and What He Did, and an ican Music Week Committee has pre- ing to my attention, Was “Salome” and “,” neither of chords are given special by a set of test questions, plus to his ITanOommon i owed Lipkin, in addition more advanced study in the fall. So long enough for a story lesson.. pared a “Letter of Suggestions,” copies land. Mr. of the Con- there aren't any foot-notes or words of which had been given for a number of CANTOR MYRO GLASS re just aren't any! And i hundreds of names and rules, i of Philadelphia Orchestra, Beginners won't be confused by over 200 illustrations angfhe ph of which may be secured without charge duties with The Beth-El Zedeck. has been hon- right in the book, giving the student a qualities this seasons.. In the former, Ljuba Welitsch gregation There's space ng exercises out of breath and still not Fmi.hed listing oil the orchestra cross-references either. foreign origin. Whew! I'm to the committee at 315 has been active in community contract as Price 1.25 to have an in the name role, while by writing ored with a written lifetime work. What Id you ask? , $ must odd, that no particular training is necessary made her dCbut permanent record of his book has to offer, but I development. He is the founder and exceptional Leonard Fourth Avenue, New York 10, N. Y. Cantor of the Congregation. It is stipu- interesting class with this material. Clotfi 'BouhdTTrlce, $1.50 in the latter the Warren again sang the role of Sir John. lated also that upon retirement Cantor 'uiical (Oioffraphy,L CLaides Both operas were given sensationally suc- Glass, who has served his congregation hi. m for twenty years, shall receive, for the Playtime cessful performances. Once-Upon-A-Time Stories V. Wee 3dL’ rest of his life, an annual pension of Temple Beth-El Zedcck thus and More Once-Upon-A-Time Stories Little Rhymes to Sing and Play DOUGLAS MOORE'S musical setting of $2500.00. becomes the first congregation in the Masters Philip Barry’s play “White Wings,” of the Great Music Hofstad arrangement. Arr. for Piano by Mildred which was written fourteen years ago country to effect such an Elizabeth Robinson By Grace one-page tunes in Fellowship, had its little stick boys and girls skip in and out of the titles of these sweet on a Guggenheim I'll bet Chilean , re- a letter, starting with "Dear Children"! time when tiny tots from three to five pick up stories and in February at the Julius RAMON VINAY, Imagine raphy written as five-finger position. Just at the world premiere the stories bring each corn- ovation when he id children in years to come, for attracted to the piano— just at that time you should train them with a book ceived a sensational these intim* by tunes and are Hartt School, Hartford. Connecticut. A easily arranged themes are find iter's understanding, and three or four These are the kind of songs they like to sing, and they'd love to sang the title role in ’s “Otello” at poser's life into ie young written just for them. large student cast and orchestra “per- , Bach, Mozart, Haydn, Schubert, Buns; Mory Had a Little A-Timt Stories portrays Beethoven, melody on the piano. Try it and see! Such songs as Hot Cross Scala Opera House quoted in each I the formed with professional conviction un- the world-famed La Verdi. More On, e-l/pon-A-Time Stories portrays Doodle; Go In and Out the Window, ond , ann, Brah Wagner and Lamb; London Bridge; Old MacDonald; Yankee in Milan, Italy, in February. Victor da Saint-Saens and Strauss. der the firm, eloquent baton of Moshe , Jschaikowski, again. Price , 60 cents , Sibi Gounod, many others. Makes me wish I were that young , the Sabata conducted the performance. j' Price, $1.00 each Paranov, director of the school, and Sawy«f,.. Rob Peery, and Louise E. Stairs, 1 t\~, _ u S, p Elemer Nagy, who 1 y Music Made Easy stage direction of Dr. also designed the clever sets.” AN EXHIBITION of Victor Herbert Childhood manuscripts and memorabilia was shown by the Library of Congress during the 3y Lot%«_ little help MESSIAEN, distinguished l^id^aH about the f u n damentals wlien you have elves to OLIVIER month of February. The exhibition little books! Children fi attract the ye in ms book of theory^ French , will come to the , and play with these vs how to use clever ideas to miniature stage for tl olde opened on the ninetieth anniversary of a, pictures, little pieces to play, even a time signatures, note values, scales, rhytl !nt, ti^ slurs and United States for the first time to teach musical playlet out of these or usi great Irish composer’s birth; he was ur ideas run out—why not make a the illustrations doing the work,, n no time! And ther at the 1949 season of the Berkshire Mu- the Alia eBIWpBlIH iiu uynsu \ melc in- Min difliH! But best twenty-eight, 1 , 1 859. display .... you teii the story?*Eda and true-false tests too. sic Center, at Tanglewood, Lenox, Mas- born February The The Child Beethoven, The Child , The Child ndm rouse the child's lave for Dlksy" 0A gem o^ta' book, forty-five operet- as; The Child BofF Iten to sachusetts. He will teach with Aaron cluded nearly all of his Price, 40 cents each Child Mozart, and T|e Child Tschoikowsky. Price , 50 cents Haydn, The , the assistant director of the tas, a large number of autographs of school, which will open on July 4 and independent works, a collection of let- n Book of Great Musicians Songs run through August 14. Leonard Bern- ters, photographs of himself, and photo- celebrities identified with his y Thomas Tapper stein. Richard Burgin, and Eleazar de graphs of productions. their cutting-up time into constructive Carvalho will assist Serge Koussevitzky Do you have iqaiiy "cut-ups" iA Vour classes? Why don't you curb Bssie i®§f D. away? These clever little biographies are for study os in the class. time while all of you play those hot summer months Rests in California scenes from the composers' lives have their Last but not least— let me recall to your mind three of the most wonderful little collections ROBERT SHAW, who ten years ago well as play! Sheets of numbered pictures covering different children may play "author" and write their own of children's songs I've ever run across! These are true "Children's Classics" in my estima- came east from California to direct the spaces marke&'-on the gallery of pdges. Besides, the CLASSIFYING PHONOGRAPH REC- experience 1 blank pages at the back. After it's all finished, the youngsters may bind tion, with each song a delightful and the subjects varied and many. Vol. manuscript is Fred Waring Glee Club, and then his versions of the story on the ORDS by color will be a reality when THE ORIGINAL autographed copy of scripts. The “Cavalleria” enclosed in each, and really claim them as their "own books". covers 101 songs, Vol. II contains 63 songs, and Vol. Ill has 62 songs, all covering the their books with the silk cord and needle Multi-Colored Vinyl ’s world famous opera, entirely in the handwriting of the com- own Collegiate Chorale, with sensational seasons, life, the country heart the new RCA Victor twenty books in all, depicting the lives of Bach, Beethoven, Brahms and others. and home and any amount of subjects filling the child's It's great! There are ac- poser. picture shows Pierre Mon- success, is retiring from all activities to imagination. Plastic Discs make their appearance “Cavalleria Rusticana,” has been The Price, 20 cents each and Cloth Bound. Price , $ 1.50 each in Cali- teux (right), director of the San Fran- devote two years to intensive study of around April 1. Departing from the quired by Stanford University, Dr. van orchestral conducting. He has been varied-size black records, the new sys- fornia. It will be placed in the Memorial cisco Symphony, and Nathan Stanford professor of bibliogra- granted leaves of absence from the Col- £Music Publishers and ‘Distributors tem will feature small, single-size discs Library of Music, a collection already Patten, for its possession of the phy, examining the manuscript which legiate Chorale, the Berkshire Music THPODORF1 nizvjLJVJ iPRFSSFRrejjcr. ^ff) for all classifications of music, with the distinguished i Center, and the Juilliard School of Mu- 712 chestnut street, Philadelphia i, pa. various ca-tZgories identified by different original manuscript of Flotow’s opera, was purchased by Mr. and Mrs. George colorsi''ruby red for classical records, “Martha,” and other musical manu- T. Keating of Rancho Sante Fe, Calif. (iContinued on Page 268)

APpL, 1949 20J . j

during her first two THE COVER FOR APRIL, 1949 musical talent. She showed some advancement put her ahead. She^ pers lsted Glowing Easter Greetings years, but thereafter it was impossible to Sternberg could do was to teach in having lessons, however. All Mr. Easter is the day mind was like a sieve continue to play fifth grade pieces. Her HISS THE of joy in Christen- her to could DON'T the last, but no discouragement dom. is new piece blotted out Joy often Every ion Stern- All she accomplished was to take Mr magazine best expressed in induce her to stop. HAT ETCH E! the music exclude some worthy pupil. (TIM music. That’s why berg’s valuable teaching time and have an understanding that, the The May ETUDE has been put to- die cover of ETUDE Every pupil and teacher should Published Monthly Following this, for April presents all work should be mastered. gether with especially selected arti- Pa. highest sense of the word, Co.. Telil adelph i a 1, four beaming then require By Theodore Presser ; chor- teacher should cles, irrespective of the fame of the a composition should be memorized. The isters reminding us months later snrmon writers. You’ll like every page of it. play the composition again, three of the the pupil to STAFF famous St. later. Only in tins way The music has been especially chosen EDITORIAL and ADVISORY later nine months later, and twelve months 0 1 a f FRANCIS COOKE, Editor-mChief Lutheran is being acquired to fit the joyous coming of Spring. DR. JAMES convince the pupil that a repertoire Choir of St. Olaf College at Northfield, can the teacher Guy McCoy, Assistant Editor pieces and then to forget internationally maintained. To master and memorize Dr. Rob Roy Peery, Music Editor Minnesota. This known and with a hoi Guy Maier pouring money into a pocket BETTER Berkley Dr. Nicholas Douty Karl W. Gehrkcns Dr. choir was originated by F. Melius Chris- them in a few weeks is like ON BECOMING A Harold Alexander McCurdy Ruth Evans Buhman Maurice Dumesnil Elizabeth Gest Dr. George C. Krick N. Clifford Page tiansen. and has traveled many thousands 111 PIANIST Pietro Deiro Edna Fort the pupil to think William D. Revelli Peter Hugh Reed of miles upon its tours. l)r. Christiansen’s than this, the teacher should encourage More follow works are published by the Augsburg arbitrarily teach the pupil to A new comet on the musical zenith - independently. Teachers who IS S ) BY THEODORE PRESSER taught -FOUNDED Publishing House of Minneapolis, and it independent pupils who are surprised New York last February. directionsS rarely produce successful, is through the courtesy of this firm that have a thought behind She was Maura Lympany, an Eng- tothink. Every phrase, every passage, should has the privilege of bringing will come when lish pianist scarcely known in Amer- Contents for April, 1949 ETUDE ° 'to resize dm the time 1 The pupil it&ld be made this inspiring copyright picture to its then have to think out Ins own ica. The hard-boiled critics "raved" LXVII, No. 4 PRICE 30 CENTS do without a teacher. He will VOLUME readers. he must overnight she celeb- the playing, and the sooner he and became a WORLD OF MUSIC 205 problem. It is he who is going to do ghost ot lus teacher leaning rity. Incidentally, she studied with EDITORIAL can do this independently, without the Mathilde Verne, who also taught Musical Independence 207 able to establish musical inde- over his shoulder, the sooner he will be back to master Queen Elizabeth of England. So MUSIC AND CULTURE pendence. Of course, even virtuoso pupils go ““J®*,ls Grand for Young American Singers (Part Two) Recent ’ much for democracy! The Door to Opera special advice and coaching. 1 he hop toad P“P Wilfrid Pelletier 208 continually, for rarely accomplish much. Locate Theodore Presser (Part Ten) James Francis Cooke 210 jump from one teacher to another, Marilyn Cotlow 211 until you are convinced EVER Beginning the Career teacher and follow his instruction HAVE STAGE FRIGHT? Pianist’s Guy Maier 212 one able The Page Offerings without lus aid. Ten to one you will Overcoming the Crime Hazard With Music A. B. Bunnell 213 can safely venture forth Silvia R. Bagley has written a most that you America Holds the Hopes of the Musical World Ralph Vaughan Williams 215 often than you suspect feel the need to return to him more informative article upon the subject playing and your MUSIC IN THE HOME spirit of independence in all your m that paralyzes young performers Cultivate the A Flood of Distinguished Records Peter Hugh Reed 216 virtuoso, remember that the thing Musical Alphabet thinking. If you hope to become a and singers. If you have ever gone Etude Music Lover’s Bookshelf B. Meredith Cadman 217 your interpretations with that audiences have in mind, in comparing through the experience of having MUSIC AND STUDY indiv iduality. colleagues, is an appraisal of your your teeth and your knees sound Music Teachers’ National Association Theodore M. Finney 218 and Figures those of your all lines are those The World’s Most Remarkable Collection of Orchestral Music (Fleisher Collection) 219 most successful men and women m like castanets, you will want to save Fred Waring Many of the Is KINDERGARTNER instead o There a Break in Your Voice? Crystal 221 FOR THE the wisdom of thinking for themselves this article. The Teacher’s Round Table He made his own models who have learned Maurice Dumesnil 222 AND PRESCHOOL PIANIST and goose-stepping behind some arbi- It is the Organ Teacher’s Job to Inform the Student Alexander McCurdy 223 following some regimented plan As the Adjudicator Hears It! asked the secret of his success, Helen M. Hosmer 224 By Josephine Hovey Perry trary leader. Mr. Theodore Presser, when THE FINGER STROKE IN Bassoon Clinic Series (Part Two) Hugh Cooper 225 it just a little diffeiently. Teen-Agers and Music 226 always used to say, "I did The Violinist’s Forum This new book is not a note-reader. It leaders in America, Fred War mg stand; PIANO PLAYING Harold Berkley 227 Musical Independence Of all the famous name band Questions and Answers Karl W. Gehrkens 228 is a preliminary acquaintance with fig- '1 largely due to Ins the years as the most successful. Ins is This is the third article in a series Musical Boston in the Gay Nineties by Edward Burlingame Hill 229 ures, finger numbers, letters of the al- out through of made Ins own models Today’s Children Build Tomorrow’s Audiences Hazel Griggs 230 phabet, black key grouping, identification independence. He followed no models. He "tell how” sketches by Henry Levine. but we consider the subject so too MUSIC of each black key, and finger and letter HIS is no new text for ETUDE, who, in our opinion, have studied ETUDE readers know how clever We have met many students Mr. Classic dictation of have reiterant attention. The great and Contemporary Selections melodies on the white keys. important that it should the ideas, personality, and traditions of one Levine's simplifications of great long. They have absorbed Dance of the Iris (Ditson) Sarah Ball The author found from long experience T was a magnificent example ol musical There Brouwers 231 Madam Schumann-Heink have become shadows of that teacher. classics are, but Mazurka (Presser 7155) Fr. that the more thorough the foundational teacher so long that they few know that this Chopin, Op. 33, No. 1 234 aid or quarter from anyone. Born at taught Ecstasy *27654) independence. She asked no from the beginning, have (Presser . Thomas Peluso 235 period the more gratifying and pleasura- teachers, however, who, Harvard-trained musician is a vir- are some rare Knowest Thou the Land (Presser) she died in Hollywood, California, (From "Themes from the Great Operas’’) ble the results, and the more rapid the Liehen, near Prague, June 15, 1861, They are the great teachers of the world. tuoso pianist. Every paragraph of their pupils to think. —Henry Levine 236 progress. The book should find imme- Her debut was made at the age of fifteen, when until Harp Sounds at Eventide November 17, 1936. mistake of following tradition this article is a virtual music lesson. (Presser 28011) Louie Frank 238 Vocalists have often made the Dancing diate acceptance with piano teachers of Symphony at Graz. At seventeen we find in a Dream (Presser *27981) Stanford King 239 she sang solos in the Ninth ball and chain, permitting no kind pre-school agers. tradition itself becomes a kind of El Capitan (The John Church Co.) (From "Sousa’s Famous Marches’’) her singing Azucena in "II Trovatore” at the Dresden Court Opera. originality. Pupils of all singing teachers should John Philip Sousa—Henry Levine 240 Price, 75 c was musically inde- of independence or GETTING READY FOR Minuet l'Antico From that time on, to the end of her days, she that when a a (Church *30216) w. C. E. Seeboeck 242 not, like parrots, to mock Why is it Rock of not obtain- be taught to think; Ages (Piano Duet) (Presser) (From "20 Piano Duet Transcriptions pendent. When a girl, if grand opera engagements were of distinctive GRAND the front, it is usually by reason OPERA of Favorite Hymns") Thomas Hastings—Clarence Kohlmann 244 was great singer comes to able, she took what she could get in comic opera. No honest work ol a glon- Carnival Days (Presser 28012) Forest M. Shumaker 246 interpretation, and not merely because Classics In line in The Talmud originality in .artistic FOOTLIGHTS Vocal and Instrumental beneath her and one is reminded of a remarkable as I amagno, Compositions is it that thinking singers, such of any labor, even the dirtiest; be ous voice? Why Thousands of girls have dreamt of The Strife is O'er (Ditson) (Organ) (From. “Twelve Choral Preludes”) which states: "Do not be ashamed Giuseppe DeLuca, Feodor Chaliapin, - Bispham, Sir George Flenschel, being a grand opera prima H. Alexander Matthews 247 Key Kolor ashamed of one thing only, namely; idleness.” fabulous donna. Flower Maidens (Ditson) ... Guilbert, and Maggie Teyte, without (Violin (From “In Playland”) was endowed with an amazingly rich, Victor Maurel, Yvette Polyna Stoska, American prima Cecil Burleigh, FOR THE PIANO Ernestine Schumann-Heink from the public. In fact, Op. 69, No. 2 248 vocal organs, always met with great ovations Mood of the Cross (Presser * 27814) (Sacred Song Low Voice) “placed” voice of great power. But this alone would donna at the Metropolitan, who has — Compiled and sonorous, naturally there have been very few who like Blanche Arranged by of the meat singers of the world, a Lithuanian background, has won Douglas Byles 249 not have made her one of the outstanding singers of musical history. Delightful Pieces for Young Players an incomparable voice with real musical thinking. incessantly and tirelessly, and her Chaliapin, combined great acclaim here and abroad A Joyous Easter Song (Presser) (From "Chapel Echoes") Mary Bacon Mason From her childhood she worked with their little circus, in which the performers come on with her Uth Century Melody and fifty operatic roles. Schumann- Art is not a lovely voice and her spark- Arr. by Rob Roy Peery 252 repertoire included one hundred iota from that of their Bunny Rabbit Beans (Presser *28007) A novel book dedicated to the vast mul- scarcely varying their routine one ling beauty. Ada Richter 252 citizen in 1908. The spirit of American specialties, She tells how she Sandy s Lullaby (Ditson) titude who Heink became an American prints of '....Fanny G. Eckhardt 253 NEVER LEARNED or Spain, we saw some fourteenth century Jolly Little ancestors. Once, in "made the Met" through hard work Brownies (Presser *27809) HAVE FORGOTTEN the scales. independence appealed very strongly to her. William Scher 254 Its stunts that the acrobats of today per- presentation acrobats going through the same and diplomacy, stressing it JUNIOR ETUDE of 27 melodious pieces from that she had seventeen people who looked to her "why A Gesf 2?2 Once she told us circus of today seems classic almost all the acts in the >ays to be MISCELLANEOUS sources in KEY-KOLOR notation artists have trains of dependents- form. The routine of ready when opportunity for support. Scores of successful for a century. makes it easy for such individuals to play pattern, which has varied little Enocks." incapable of standing on their own feet. “Well,” you to follow a stereotyped pieces which in standard notation are those who are “hoofers, ’ and observe how tV the dance routines of vaudeville Organ Questions Answered difficult to read. “isn’t that true of successful people in all callings?" Unfor- Watch Frerierict Phi! III KEY-KOLOR notation may ask, other than those of their terpsichorean is a way few of them use steps g? of writing music (black notes is so. On the other hand, it becomes immediately obvious very A LESSON IN MUSICAL ^e^Stment tunately, this death with the mere repetition for black keys and white notes for grandfathers. The public is bored to white that those who are successful are, first of all, those who have learned keys) which enables a and independence of thought PUNCTUATION person to read rather than dependent. This of forms suggesting little originality u la E. Schelling music in any early in life how to become independent, Letter From an Etude 271 key without first mastering carefully learn all of the Friend and girls in In music we recommend that the student "Phrasing is the key to Ugly Buffet scales and signatures. reason for the numerous sagas of poor hoys artistic to Attractive Record ' ’ is also the Cabinei I independ- j . Louise pricc (he past, and then think BeI! in many callings. traditions of fine performances in musical punctuation," says Frances Entered as second class matter January America who became famous successes 16, 1884 at the P f) nt PLitn p* Price, $ 1.00 interest, new p his own playing, so that he may bring new Taylor Rather in c ht musical education it is the serious responsibility of ently about a highly instructive ^ ™ ct In the field of Lescheuzky pupils (and charm to it. Of all the marvelous article upon the subject of making the teacher to make the pupil as independent as possible, as early as color new who were astounding) there was one who was par- music understandable to the aver- possible. However there are certain pupils who cannot he made inde- there’ were many OLIVER DITSON CO. and different. Ignace Jan Paderewski practiced age audience. pendent. The late Constantin von Sternberg, pupil of and long ticularly distinctive Theodore Presser Co„ Distributors told us once, “Practice without think- Philadelphia, told us that he had a pupil who studied daily from six to ten hours, and 1712 Chestnut a resident of profitable mimMSsssmsms Street, Philo. 1, Pa. all.” Paderewski knew the real secret of with him year in and year out, for seventeen years. She was a lady of ing is no practice at character, but with only a modicum of practicing. 206 large means, of estimable 207 APRIL, 1949 The Door to Grand Opera for Young American Singers

long experience in opera enables one to detect the voices adaptable to the opera. After preliminaries, You Have Heard “The Auditions of the Air” 1 note whether the tone emission is free from any sug- $<545^ Its Brilliant Director gestion of tension. The tone must be well focused, so Here is the Secret as Told by vy> that full advantage of the resonating cavities in the mouth and pharynx are employed. The intonation Soprano must be perfect. That is, the pitch of each note must Wilfrid Pelletier be accurately hit, exactly in the center of the tone. There must be no sloppiness of execution. In Conductor, Metropolitan Opera Association any ensemble a singer with these faults is like a bad apple in the barrel—liable to spoil all the others.

I have a talk with the singer. In the first From a Conference With Jay Media place, however, the singer must be able to read music fluent- ly and accurately at sight. No opera conductor has time to bother with anyone who has not had this Part II Name Phone training. Lucky is lie who has had a thorough drilling City or in solfege, which 1 still regard as the best foundation lor sight-reading. However, some others acquire it In the first section of this article the distinguished Address Town through other means of do French-Canadian-American conductor and edu- Voice Age Weight .... Height study, and exceedingly Musical Education well. Anyhow, the applicant must read music just cator, Wilfrid Pelletier, told in simple, charming as he reads a newspaper. Then the student sings an manner of his musical beginnings in Experience: (Mention Engagements) operatic aria. This will generally reveal voice de- and his subsequent struggle to become Conduc- fects, if such there be. Then I must consider whether tor of the greatest Opera House in the world. In As a condition for the consideration of this applica- the voice is fundamentally good enough to warrant this section describes his he work in building one tion, and in order to qualify for a preliminary audi- sending the student to any one of a half-do/ n voice of the most remarkable developments in Ameri- tion, artists teachers who might he must be prepared to offer at least five (5 ) able to correct the little de- fects. can musical life, the Metropolitan Opera Audi- operatic arias for the judges' consideration if re- tions of the Air. Maestro Pelletier, in addition to quested. These arias must be listed below. What is the defect most frequently encountered? his other important occupations, has recently ac- 1 It is the break between the upper and the medium registers which in the cepted the post of chief musical adviser of the average voice occurs as billows: 3 ; '.’"!!!!!!!!!!!!!!!!!!!!!!!"!!!!!!'.!' In the soprano Theodore Presser Company. —Editor’s Note. the break usually occurs between 4 these notes:

N making the first contact with the Metropolitan Ex. 1 I have read and agree to the rules of these auditions Opera Auditions of the Air, the applicant is asked as set forth above. I I further agree that if I am chosen to make out the following blank (mailed on re- to appear in any of the “Metropolitan Opera Audi- quest), which gives us some idea of his previous work tions of the Air” broadcasts, Warwick & Legler, Inc. The and study. tenor break is about the same. Anna Kaskas may publicize my name and photograph in behalf The alto break is here: Ex. 2 Regina Resnik Contralto of these broadcasts for the Farnsworth Television APPLICATION FOR PRELIMINARY AUDITION Soprano “METROPOLITAN OPERA and Radio Corporation. I further recognize and AUDITIONS agree OF THE AIR” that Warwick & Legler, Inc. is acting in all re- spects as the authorized advertising agency of Farns- Sponsored by Farnsworth Television worth Television & Radio Corporation, sponsor of Baritone: if Radio Corporation ex. 3 : Ex. 4 said programs, and not as principal with respect Rules of the Audition thereto, and that all representations with regard to 1. I hrough these auditions one or more winners will such programs and contest are those of Farnsworth be awarded definite appearance at the Metropolitan Television &: Radio Corporation and not Warwick Some singers have an upper register like a night- Opera House in New York City in a role and at a & Legler, Inc. ingale and a lower register ^Receives Autographed Silver Salver from time to be decided by the directors of the Metro- like a duck. The voice Maestro Pelletier Signed: must be one Opportunity politan Opera Association. instrument from top to bottom, through Metropolitan Opera Stars Who First Won Their Date: the entire gamut. Overcoming this break is impera- Auditions of the Air.” Compensation of the winners for their engagement Llelen Through "The RETURN TO: McDermott, Secretary tive. I have never or engagements at the Metropolitan known a voice with a break to last are fixed by Metropolitan Opera Auditions of through the years and stand the strain Patrice Munsel, John Gurney, Mary mutual agreement between the winners and the of opera. If Standing from left to right are Christine Johnson. THE AIR this break or Metropolitan hole in the scale, exists, the Maxine Stellman, John Opera Association. 230 Park singer Van Kirk Frances Greer, Marie Wilkins, Else Zehranska, Avenue usually sings off-pitch on these 2. Applicants first audition before a preliminary com- particular notes. Some Seated are_ Eleanor Steber, Maestro New York 17, New York singers never Dudley, , and . mittee. Those chosen by have a break. They seem to be born this committee then sing Telephone: 6-8585 Dickey, Paulee, and Arthur Kent. MU without it. A good Pelletier, Annamary Mona on one of the broadcasts over nationwide network teacher should be able to remedy the break in of radio stations a relatively short time—three or four and/or television stations. From Because of American home, educational, and social weeks at the most. If results these broadcasts there will be picked Semi-Final and are not forthcoming in conditions, we have a greater amount of potential that Final audition time, better seek another teacher. singers, and from these Final audi- operatic talent than any other country in the world. In preparing, for the tions, singers will be picked Metropolitan Auditions of for presentation of We have demonstrated this over and over again. It the Air, the applicant must present an awards which occur on the final broadcast of the operatic aria is my conviction that young American artists have a and a series. high-class song of the more popular type, in greater “feeling” for learning opera than the youth English. The applicant 3. The decision of the Metropolitan Opera Committee may require more coaclii no- of any other country. This is probably due to our before rehearsals with of Judges shall be final. the orchestra. We train these international aspect. Our younger singers adapt them- 4. Contestants applicants for weeks and weeks before the appearing on the broadcasts receive selves program. amazingly to the music and the languages 1 SI 00.00 for each of have a man in my office who does nothing appearance for incidental ex- different countries with else. In far greater quickness,' com- addition to this, the singer penses. 1 here is no other financial compensation must have special atten- to mand, and facility than the youth of countries contestants. dom- tion paid to his diction in the foreign inated by their language in own national operatic styles and which he sings, 5. Winners of the two final auditions and also to English' diction, agree to give conventions. However, the applications which Farnsworth for auditions must be impeccable. Then he must Television & Radio Corporation, seemingly come from everywhere— have suggestions through Warwick Europe, Asia, South as to dress, stage deportment-evervthing & Legler, Inc., as agent, an option America—the which will whole world. Our object is to get the give him a on their radio and/or television professional appearance, so 'that services for two greatest voices and singing actors his op- years from of our time. The portunities will be of the April 10, 1949, subject to any prior com- reputation best when he appears. Wc of the “Met” as the zenith of the operatic do everything mitments at the time of their appearance in within reason to advise and a final world makes these auditions a great event help the audition. Their in current st i merit minimum fee for any broadcast musical history. appearance arranged under this h a option shall be Now, what iii- . i me audience is assem- happens when the young applicants bled in the $500 net per program, unless a lesser fee studio. The judges are be mutu- arrive for auditions? I personally . ally agreed examine an average Manager of the upon. of from Metropolitan Opera Association, and eight to nine hundred voices a year. Only former leading tenor of ( Continued on Page 220) 209 208 Baritone ETUDE APRIL, 1949 regularly in Picnics were held summertime at Dela- in Minneapolis, of an ware River resorts and in Mr. Presser’s spacious Marilyn Cotlow was born her parents play gardens, and were heartily enjoyed by the employees. unusually musical family. Both activities was numbers sing- Among other intramural an employees’ and sing, and her mother’s family “The Presser Outlook,” which ran for Young Marilyn, how- paper, many ers and teachers of music. seasons. He also provided a hall for employees’ meet- destined for a musical Presser ever, was not originally the Career Theodore time had a thriving library Beginning ings, and at one for his ages three to career. For ten years, from the of employees. The hall known as Presser Hall was used ready took ballet training and wqs recitals. Alter thirteen, she for hundreds of students’ his death, and when an illness Conference with (1848—1925) to enter a great ballet company A the removal of the wholesale business to another changed, her. Her plans thus forcibly location, the Hall was discontinued. A beneficial overtook Marilyn Cotlow Biography dropped professional work went A Centenary association which aids employees during extended she temporarily Opera Association school girl s life. Leading Artist, Metropolitan and to which they contribute, was another school, and lived a normal illnesses, to of the Air Ten in general and sing- Opera Auditions Part of the firm's innovations. She had always loved music Winner, Metropolitan his patrons, into the markedly Mr. Presser looked upon particularly ing in particular, and entered smaller singing or the thousands of teachers in towns, as well musical atmosphere of her home by by James Francis Cooke as the music students, as essential parts of his suc- family moved to her own amusement. When the Rose Heylbut cess. In dedicating his fortune to musical education was discov- by Los Angeles, her lovely natural voice the forty and more years and musical philanthropy, he felt that lie was giving formerly of Presser was plus interest earned. During ered. At that time, Hans Clemens, The lovable character of Theodore back to those who had helped make his success pos- existence of this society, over eight hundred awarded three annual of than in his busi- of the the Metropolitan Opera, to the natural color never more charmingly shown distributed. I his sible, the means whereby they might lie protected eciualize my scale according thousand dollars was collected and the auspices of dis- things to sing by his employees. Some time making teaching scholarships under me light, easy, gay ness home, surrounded managed by William E. Lamson, Chair- when in dire need, and at the same pro- my voice, by giving fund was ably judges. The fif- use of the middle with him and been promotion of the art in every way tinguished Metropolitan Opera insisted on the correct of these may have differed man, who served the Theodore Presser Company in visions for the He also bm to enter the scholar- of building the voice irritated his persistence in prosecuting his forty-eight years, possible within the financial limits of his bequest. teen-year-old girl decided voice, not only as a means by many important positions during of range from happiest when he was busiest. the value of getting of freeing extremities ideals but this did not lessen their affection prior to that time, was with the John Church Theodore Presser was ship audition, if only for also as a means «"• , and seem, there is a" vacation, bored him. r. Because of her Odd as it may him. -Editor’s note. Company for ten years. Idleness, save when he was on expert judgment on her voice any tightness. for between qualities of tone in these Mr. Presser organized a Presser Choral Society in This applied to many hundreds of night sessions I did not win a scholarship— portant connection extreme youth, she (low) tones are sung UK, able Dr. Preston spent working with him at his home. Leaving the asked extremities of range. If deep 1912. This was conducted by the very the audition, Mr. Clemens to spread but a week after tones will invariably tend Ware Orem, Music Critic of the firm, during his life- office nightly for years, after a severe day’s work, he study with him. One heavily, the high her parents to allow her to faults in the one register may paternalistic inclina- Assistant always had a bundle of work under his arm, Thus/the cure for tonal HEODORE PRESSER’S time, and thereafter by Mr. Guy McCoy, almost a superb natural develop his great desires was to find remedying the other! Since both tions reached their climax at the gatherings at Editor of The Etude. Mr. Presser and I always sang to which he would laughingly refer as being, “loaded of he found in untouched by other “methods; and however, the first and greatest T Christmas time. His preparations began weeks in the chorus. The works presented ranged from for bear,” as though he were going on a shooting voice as yet from the middle voice, believed a superb voice should exerted there. looked forward to the festival Minstrels, given in the Presser expedition. He spent his evenings studying business to build it as he care must be . . in advance, and he “Trial by Jury” and - pro- he had found the ma interesting thing m voice with great joy. Many of the employees Rad finely Auditorium, to such masterpieces as Handel’s “Mes- problems, reading reports, signing bills, auditing re- be built. He believed that I learned another train- of mine, who is not a singer trained voices. Many were professional singers. At siah,” Mendelssohn’s “” and “Hymn of Praise,” ports, studying manuscripts and new books, and sign- in Marilyn. Thus her vocal duction from a cousin terial he sought time, he served four hundred joined teacher. After but a medical scientist. At one one Christmas celebration some given in large halls with orchestra. The quality of ing checks. At his home he wrote original instruction began. She has had no other at all, thu^ ing recognized throat spec.abst and in the carol singing. There was usually an orchestra, the performances was highly praised by metropolitan books, which have been used by hundreds of thou- Miss Cotlow sang all the audi- as assistant to a a period of study, throats of several world-famed and always a Santa Claus. Sometimes well-known critics. sands of students. came to examine the could, and began her career as leading many of these as speakers. tions she was surprised to find how citizens of Philadelphia were selected Mr. Presser in 1916 instituted a cooperative store This capacity for work, combined with his great Colorado Festival, singers. He the Central City ( ) small throats, -malformed At the end, Mr. Presser made one of his few speeches for the benefit of employees. This store ran for sev- determination and strong will, became excessive in soprano of singers had throat defects— Leger. From there, she appealed vocal cords, and so on. Hence, of the year. It was largely a talk about the progress eral years, and disposed of fruits, provisions, and his last days. His best friends and counsellors found under Frank St. throats, nodes on the role of Gian-Carlo basic structural elements that of the business, of little homely occurrences, and some canned goods amounting in value to about fifty thou- it impossible to prevent him from doing things which on Broadway in the leading he made a study of the A ext, she and concluded that the vocal very sage and helpful remarks, some of which are sand dollars. were obviously injurious and liable to shorten his Menotti’s popular “The Telephone. make for good singing, Air not really the source. 1 hejeords, quoted later in this biography. Mr. Presser was never life. In order to get physical exercise, he persisted Metropolitan Auditions of the cords themselves are entered the for the tone than upon such occasions, and he hailed the *** found, arc simply the reeds happier The term “Bentz-Xickle" is a form of the Pennsylvania in sawing heavy logs, clearly a dangerous exertion by Dr. Wilfrid Pelletier and my cousin contest, conducted these reed-1 ike cords entrance of Santa Claus, who he always called “Bentz- Dutch “Pelz-Nickel” or "Beltz Nickel,” meaning “The man for a of voice (or breath) goes over man seventy-seven with an uncertain heart. surprise-she won, ( See conference The with the fur coat,” or better, "The Eur-eoated Saint to her great passages where it is resonated. Nickle” with the uncontrolled joy of a little child.*** He never rode when lie could walk, in his and into the sinus Nicholas.” In Germany and in some parts of the Pennsyl- and only Pelletier in ETUDE for that concern for the welfare of the employees was with Maestro Wilfrid structure of these sinus passages His vania Dutch country ’‘Pelz-Nickel” is supposed to dis- very last years could he be persuaded to use the ele- Thus it is the be a frequent radio appear- these sinus constant and sincere. He visited his sick employees ciplinary character who night March and April.) Her quality-and the smaller appears on the of December vator except when the climb was too high. His men- Your determines voice if doctor's bills were high, he 6. with whips or switches in his hand to punish bad chil- “Family Hour,” and vibration of the resonating personally, and the tality was exceedingly virile and youthful and he ances include CBS’ passages, the greater the dren. He was a kind of boogie-man employed by unwise to lie \ alue of paid them secretly and gladly from his own pocket. be “011 Marilyn Cotlow speaks more brilliant the voice! 1 parents to frighten little children. However, in the “Dic- would found the job” long after younger men Song and Mine.” air and the begin- great importance in He encouraged the formation of a savings fund, tionary of Non-English Words of the Pennsylvania Ger- were tired out. FTUDE readers about the all-important good head resonance, then, is of managed by the employees. This was established in man District” by Marcus Bachman Lambert, published by Mr. Presser was always an earnest —Editor s Note. Photo Peter Basch learning how to sing. the Pennsylvania German Society, the words “Pelz-Nickel” champion of dis- ning of a career. 61/ maxims 1905. The employees made weekly deposits, and at counts to pass on to you two other and Santa Claus are interchangeable. Mr. Presser used for music teachers. He contended that the Marilyn Cotlow I should like Christmas time there was a distribution of savings. teaching. The first is that tone is Bentz-Niekle in the sense of Santa Claus. ( Continued on Page 266) of Mr. Clemens’ first, in the mind! \ ou pro- begins, it produced chiefly, and directions. Later on, when dramatic work planned to only that tone which you have value to have practiced and won this duce musical is of enormous you have thought about. As an ex- quite well aware that success in a over the muscles ot the produce-which AM kind of second-nature control piano tone is a chance. There are of this, he taught us that a is largely a matter of out upon a public stage, ample career body. When I first stepped that puzzled me. Then 1 ambitious young people that small forte tone. At first I numerous gifted and those who were kind enough to say ot there were meant. This is, that a soft tone studios, and all of them dream time I had came to see what he coming out of our myself like a veteran. At that a the right I handled support and the same firmness as opportunity and making I had had dis- needs the same finding the right had no stage experience whatever—but production, not why “A,” who has a back louder one-that the difference (in start. Sometimes they wonder training in ballet work, and this came ciplined think of it. That is to say, doesn’t get as far as B, you are in sound) is the way you magnificent natural voice, helped me. In third place—know what loud no better and the same production for soft or abilities, at first glance, seem to be easily settled, since it in- you use exactly whose doing! This is not quite so and thinking of them differ- that spells success for one and control every tones, but by planning What is it, exactly, an aware, alert, conscious of the an- cludes forth differences between them. The for another? I think I know some with the voice and with ently, you bring failure single thing to be done, both calls con- second great point is what Mr. Clemens swers! . . the body. Still, it can be achieved. singing, natural voice atone isn t relaxation. This means that, while The first perhaps, is that trolled interests en- be free, relaxed-with the ex- story. The public-in whose Right Teacher Important the entire body must the whole The the alertly voices in conjunction of the expanded diaphragm and gagements are given-wants fine years, the important thing ception natural During the preparatory mind. While you sing, the things; things like control of that actu- active and controlling with other under a teacher with whom you can the native ability is to work the diaphragm take over all activities-all voice, intelligent stage portrayal, progress, at this mind and feel yourself progressing. Vocal and face) give, pleasure. From this ally muscles (particularly in the throat to reflect, and therefore to by comfortable sensations other sta <>’e, is largely determined without the least real start of a career is made must be eased, free, ready to obey, standpoint, then, the Another excellent means of checking qualities like these while singing. of their own. in the training years, when recordings and assertive tensions back yourself is to make periodic up on found that the best way to build good can be developed. your weak points, as well I have be the thus to judge, objectively, learn to breathe to the full think the start of a vocal career should fortunate in breathing habits is to I strong ones. I was unusually how of an as your . not only to learn musicianship—the mastery capacity of the lungs . . and acquiring of solid at once, in Mr. Clemens. finding my “right” teacher regularly! good lesson in ability to read scores and understand do it, but to do it A instrument, the in being able to work in Cali- to I was also fortunate little dog. Zip! Once, I advocate some diligent study came to me from my In second place, it tends to slow breathing them. fornia! The climate there is such that and ballet. There is nothing like garden, Zip grew enraged at some birds oi the dance, preferably in Los Angeles, and so in our you down-you can’t hurry at the end ot early, to give poise and control. barked at them for nearly an hour, ballet work, begun working slowly, normally, naturally. ballet techniques you find yourself not at all weary, but ready to That, perhaps, is due to the fact that problem. which time he was to actual vocal work, I had an odd they school the body in a As it came to me that a human are not entirely natural; coloratura soprano, run and play. Now, Presser Hall Although my voice is naturally a length Aesser Hall third-dimensional sideward motion which must being, using his voice so vigorously for that sort of at the start, to sing darkly, heavily. Illinois since nat- I had a tendency, on Page 267) Wesleyan University, Bloomington, Illinois for stage work, be ( Continued Baylor College for Women, be acquired sooner or later this and to of time, would Belton, Texas backward Mr. Clemens helped me to overcome body motions are all in the forward or 210 ural 211 ETUDE APRIL, 1949 ? s

free, extended fugal passage or fantasia set within an. other composition.

Dominant and Tonic: Another V 7. student writes With Music mystified the Hazard “I’ve always been by word 'Dominant' the Crime tonic be called dominant, Overcoming Shouldn’t the since it is the The Pianist’s Page stronger tone?” To ayoid confusion, that word, tonic, should be Exciting Community Experiment called “Key tone-ic" since it is the chord around An which the other members of the key chord family re- Successfully by Guy Maier, Mus. Doc. volve and which establishes the tonality. Denver Junior Police Bands Have the dominant chord is named How the I suppose because of Noted Pianist and its pull the tonic. It certainly has a Hatches on domineering Been Killing Delinquency Before It Music Educator quality, which you can test by playing the final chords of any slow singing piece which ends in the V 7 I pro-

like the Chopin Berceuse : gression, by A. B. Bunnell

Police Band The function of the Denver Junior homeward journey by the excess steam More Thought-Checks A TTRACTED from my direct the “ginger and sauntered up the today is to a lively march, I and worthwhile musical ERE are a few more of those wayward thoughts: A sound of of boys toward a satisfying stretching beneath the to a mu- l oreen campus slopes that will eventually lead \ toward a accomplishment H Fourth of July sun, a means of obtain- radiant” glow of the or at least to provide V E Counting aloud: When students stub- all they sical career, youngsters giving out with acquisition of a o-roup of' blue-clad education through the bornly refuse to count aloud I overwhelm them with of town ing a college It is easy to hear which of these chords has the strong- beat. Noting it to be an out professional playing, rather reasons for its constant use. I show them that count- had in each down scholarship or the precision and musical er pull. Therefore, the dominant is played with slight- listened w ith amazement to remold delinquents. ing-out-loud is the best way to find out where we are b ,nd 1 smoothness than to attempt to ly more tone than the tonic, which is here the chord and watched the 1937, tins organ- going. It’s the road map which charts us along un- skill of each section, a decade ago in June, selection to anothu Organized of rest or finish. moved from one felt beyond the borders familiar trails. It assures us of reaching our destina- with which they ization’s influence has been On the other hand, in brilliant V-I endings, the guidance of a llire now exist tion quickly without stumbling or tripping. fact, without the apparent States, for similar groups In “°Edirector,lirector of the United dynamism of the dominant must be topped by the there must be a I post an attractive sign in my studio, ‘‘Counting Time Believing that somewhere final tonic, which is played louder than the dominant, crowd and spotted Saves Time,” the most potent argument we can use, I moved about the of course: similarly as and one which invariably appeals to the hardest him at a distance, dressed 2. on the boiled, self-conscious adolescent. other band members, standing the observers and I never compel students to count long at a time; farther side among Chilton Home ol Photography a long blade ot four or eight measures, then I stop. But I compel complacently fingering in the George V. Roy them to count very loud and do not tolerate any crass with seemingly no concern 4. I was about to junior Police Band mumbling of words. At first I use “ands” or “Wuh-un, band’s performance. Conductor of the Denver director s two-oo, three-ee” and so forth, later dropping the cross over and make the nod of lus divided beats. acquaintance when, at a twenty-five, to a mem- years, from the original The hundreds of short, challenging exercises in fellows ceased playing, head, the little and fifty, with a waiting closed bership of two-hundred “Thinking Fingers” (Maier-Bradshaw) offer a pain- silly half-hour or with the skill of Arabs, hour practice nonsense. It’s about Y 8 . Alberti Bass: Another student is and concerned list of several hundred. . less inducement to counti rig-out-loud. After a few time for cases and were gone; leaving my sports, someone to speak out courageously on the over the Alberti bass, which is nothing more than their activities included seasonal the identity The various repetitions of one or two of the exercises in the book subject of this evil. curiosity unappeased as to itself The pupil conscientiously goes those broken chordal basses universally used in accom- glee club, and band. The band —all of them challenging but mercifully drill team, short—the through his assignment, then stops, this outstanding band. s Pro- whether he has panying melodies: of organized when the Denver Policemen habit is set and no further difficulty is met. sometime later, was 3. What’s practiced twenty-five or forty-five minutes. If he wants It w'as not until sponsorship of a tective Association assumed the more important, the youngsters love the exercises. to continue longer, on a juvenile delin- the teacher assigns some Fun Ex. 3 while working class at the Wells Music / that free instrumental music Teachers know that one of the important functions Work—playing over old that I came to know' pieces, sight-reading easy ma- quency case, However, realizing that the athletic of counting aloud is to free the finger tips by way of the Denvei Junior Company. terial, preparing duets or two-piano pieces, a bit ol etc. this group w'as boys only during their the voice, through 5. such a program interested the the larger muscle masses of the popular or boogie music, and so forth. Band which has had was Police periods, the athletic program body—lower and upper torso, full arm, fore arm (ro- Colorado brief meeting Children love drill and repetition. Above all, they great influence upon many pro]- with the band becoming the real tational mechanism) and hands. flourish on the security To the the fact that one dissolved, of knowing what to do, when, composer, Domenico Alberti, was given the boys. For, despite to the regu ar ect as it required, in addition and how to do it. The dubious credit of twenty-three inhabitants most piteous question I ever introducing such basses in the early out of every practice which brought V Facing the music: Whether of rehearsals, daily hours of you are an ele- heard was that of a young child in a progressive eighteenth century. 1 hey have been the United States is a member the stock-in-trade in right back into the home, anil mentary or advanced student, have memorized your school of composers of six million, the boys’ interest who asked the teacher, “Miss Smith, do we ever since. a potential crime army and char- pieces and performed them for audiences, addition, enriched the discipline do not neg- have to do today what we want to do?” Young people But beware! I hese are hard percentage of crime is drop- in to play relaxedly in that the to such an extent it lect to play them over once or twice a week with your like to be told definitely rapid lower age level, acter training program what you want them to do; tempo. No student should be given classic ping to an appalling eyes following a from citizens and par- the music. This is one of the best ways then they’ll it sonatina per cent in- elicited notable comment do almost every time. 01 sonata without first having mastered many and that there was a ten of holding a piece in your “eye,” and is an . . invaluable such figures last year s ents alike. . , as pure technic. Besides light, even finders crease of juvenile arrests over prop for your memory. with three bands totaling a membership V The metronome: I advise all students to us< they require perfect rotary amazing that not one of are at Rehearsal! Today balance in both directions record, it is Here They parental interest I am constantly shocked when I put music in front the Police hundred and twenty-five, metronome in practice; not constantly, of course (towaid thumb and toward fifth finger) sixteen hundred Denver the way juvenile delinquency from of one of which can be the Denver will have little to fear in of each week at a student who has memorized it to find that he is but often, as an exact developed before remains very staunch. Regularly check-up for small time units by exercises such as: Band graduates has ever been Boys' Police Band. all in a dither, can’t follow the youngsters in this representation of fathers the notes, doesn’t know Try this for example: play a fast piece rehearsal time a large written ii a juvenile court. where he is, and is hopelessly the tall stairway to the confused by the score. quarter note basis with eighth note metronome beats Ex. 4 and mothers patiently climbs in almost all of the states, as well What kind is cleaning depart- of “memory” that? Set it at a moderately above the city street fast eighth note speed and se< — Alaska, Hawaii, and South practice room Don’t neglect this occasional, as j n One cannot help regular review with if you are playing it evenly and exactly lower down town Denver. in time. I’l America. Although some of the ment in your notes before you. Like that much advertised bet and sincerity with which these that you will be chagrined by your time inaccura branches have a noting the interest beverage, it Junior Police strict refreshes: also it prevents pieces from cies, chiefly those uneven, their child’s growth, as they take pushed half beats. This i thou- parents watch spoiling, keeps membership of well over five them on an even keel, eliminates one of the best ways not only next week’s assignment and the new scale to prevent time dis carry on various activ- note of the wrong notes, and above all, holds the interpretation sand and six months test. tortion, but also to control your pieces. Many artist and arpeggio assignments for the to the composer's ities other than music, the Charter directions. constantly use such year of training, it is difficult a metronome check-up, settins Organization has At times, in the first Denver Police firm man- the beat for a small time unit—namely eighths or six for some parents to understand the brisk, Practice assignments: Never allow now' ceased all other activities, Roy. V a pupil to teenths. of the band’s director, Mr. George V. leave strictly as a musical nerisms your studio without knowing exactly what he is functioning would An electric metronome is perfect for such practici see their “Willie” as a sensitive lad who to do in his justly rating in all respects Many home practice. He must know just how because it is group— encourage- always exact and because speeds can b< come through in time with patience and to prepare his assignment. 1 o be one of the finest boys’ bands in sure, this necessi- shifted easily. Mr. Roy, seeing “Willie’s” imperfections, tates ment: while writing out explicit directions, which takes time, America. that he to help him surmount his difficulties but pays wonderful dividends. child delinquency his seeks Such a scale to be . Applying Making demands V Hanon; If you want to find a piec as a musician, meet the professional practiced slowly, four times daily with The book, hobby, arid being a show'man and may, right hand, that applies the pure technical practice of Hanon Thinking Fingers” (Maier-Bradshaw) him as such. No boy is favoied four times with am Wal- that Mill be made of left ... so many measures of a piece of chords and offers many examples for entertainer himself. Sergeant finger exercises, examine the Silot applying such rotary pat- to slide by without producing the desired repeated two, three or the local or allowed four times ... a “blind flying” transcription terns. Don t neglect to >' w * ter Heath, backed by of Bach’s Organ Prelude in G Minot work out similar figures for the m detail toward a boy’s progress is watched exercise played in four different for a one year results. Every octaves, hands sepa- This piece is an almost right hand also: Denver police force perfect application for sucl • Whether the boy will become - i ; closely. ! r- - checked rately or together . . part 1 r organization and . of a new piece the to be read drills. Its grade, late intermediate. K’ - *• *1 ,i trial, undertook *»:•** -J ,» , not, Mr. Roy seeks to de- slowly, Ex. 5 ] a professional musician or once with left hand, once with right, twice of the Denver Junior Police. Estab- mastery in the disciplining of one’s self and with hands together. In other words, an exact boys between the ages velop prac- . fi. Fughetta lished for V and Fugato: A student asks, etc. long before tice schedule. “Wha musical technique. However, it is not is the difference between a of seven And sixteen, the mem- fughetta and a fugato parents alike soon learn that Mr. Roy means Such directions often perform miracles with increased, in three boys and a A fughetta is a condensed, miniature fugue construe: Police Band bership steadily youngster’s lagging interest by Wonder-Working Junior doing away with that ed exactly like the longer variety, Denver’s while' a fugato is (i 215 Continued on Page 214) 212 ETUDE APRIL, 1949 q

V

economical space covered 4. The small, by the assures solidity and security, thereby aiding accom- thumb he experts and demands definite octaves are business, that accuracy, ease, speed. Thumb practiced shooter” and a real lriencl. formation, plishment, but is a “square includes jaw set, lip and fast patterns of one’s, two’s, cal fitness, which as usual in slow World” to which all the beginning Musical It is the Radio Band hearing ability. so on. of the organ- structure, and three’s, and Hopes students aspire. For, it is this of tn Holds the and first band into classes that you can neglect divided , this means the America nil- Boys are then Don’t think its ICOA broadcasts, that ^purchased o ization, so named for although no instruments are That’s another story! to which many clef players and fifth finger. fills most of the engagements, and of clapping, tapping, plaved as yet. By means Interview with have come. Making nearly dive music An honors of distinction the basic rudiments of Function: Now coming down U.S.O. humming they learn \j 10 Funnies’ to hundred appearances at bond drives, rallies, and spaces, no es include the naming of lines thud, here’s something for you to try. hospitals, and army bases which earth with a Williams entertainments, soldiers’ position on the staff. 4 his trai comic books, Ralph Vaughan has and rests, and their week buy a half dozen cheap not beginning of th^ past war, this band of music Each Composer since the skill in the reading but the milder variety Top-Ranking ing is aimed to develop blood-’n-thunder kind England’s received two honors of distinction. In November, intonation the and the mastery of good band and westerns). Put them on your Police Band and each of its at sight (animal cartoons 1945, the Radio Junior of time valuations and through the correct knowledge table, and you'll have no trouble entic- received a Citation of Merit from the Music waiting room members the mere curiosity seeker and alluring work in notes. It discourages your pupils to lessons. In fact, so have Council of America for its outstanding study. ing V. Brant War consider music a serious often stay long after by LeRoy those who do not > that they effort. On April 4, 1946, while en- students found them behalf of the war and passed the six weeks the band After having completed time to finish ’em up. Mothers have been tertaining twelve hundred U.S.O. workers, purchase the lesson period, the student is permitted to proudly that, “Miss a citation from the U.S.O. training to tell their club friends before He talked was again honored with and is known spent two days the week is then taught fingering Susie loves Wiltshire. whom I had boys’ band in America an instrument. He a wonderful piano teacher. her Gloucestershire and a profound . . . this being the only must be of he has workers them in correct B 1872 on the borders Warrick Braithwaite, for whom asked to name the notes and to finger just can’t bear to tear herself and Trinity Col- of receive such an award. lessons so much that she educated at Charterhouse the conversation veeredIto to and note reading understood and He was d esteem as a conductor, and Radio Band's alumni are time. With the time the studio.” which he took his musical FIc has been Already, many of the production, away from Cambridge, from things we have here. student is then taught tone 1. We Parry America, and the its director. mastered, the (including myself) have found this composition with carrying forth the musical aspirations of Many teachers in 190L He studied completion of this tora'te twice. . . outstanding results. Upon with in America . , students to date belong to the local with very effective. with Parrat, and piano hold in your Twenty-eight boy is blandishment Stanford, organ that you in America intensive six months’ training period, the and English mu “It seems to me Denver Musician’s Protective Association, with one (every one a solid Certainly this is t organization, thus rating 2. Sharpe and Moore the hopes of the world. special dis- eligible to be sworn into the Berlin and took hands having joined at the age of fourteen by on he studied in to me it may be true to that of a police- Later speaking, and it seems solo cornet a badge and uniform identical S). music doe not politically pensation of the union. Having played Maurice . But his least, something g 3. courses with speaking, too. At Den- man’s. nor f tl e musically in the . for the past two years under Saul Caston , iconoclastic Bavc give people boys ad- Musical Quiz resemble that of the of the opportunities you fur- From here on, few failures result. Each that ot must come out ver Symphony Orchestra, this same youth is now 4. Germans. Neither is it like cold and stodgy are , rank in this musical organization are staid and there. The peoples of Europe > at Colorado University. vancement and Charles D. Perlee that of the Briton, thering his education by of Stanford. It is basically write music under such or own progress in the monthly Parry nor it is devilish hard to performances of the Junior Radio dependent upon his and not Outstanding • but see Vaughan Williams. . Schubert, made it bi-annual examinations. Each boy has the oppor- you be musician or listener, how Ralph six cumstances. A few, like Police Band include a featured place in the Cheyenne and 5. HETHER compositions include the Count Williams’ major the conditions are hardly Redskin tunity of eventually promoting himself from patrol- of these questions you can answer. Vaughan War many. Even with us, Frontier Day Celebration, 1947 Washington many respecting the last two, typically British of merits and de- W Scores: Excellent, symphonies of which, music!” (Note. This to chief officer, by the system correct answer. best lor writing and Detroit Lion’s Professional football game at the man one point for each of the Scottish Symphony, example, each bi-annual rick Braitlrwaite, conductor as its background, for National Stock Show, merits. New officers are appointed after 13-15.6. Good, 10-12. Fair, 6-9. the understatement had Denver University Stadium, are to be classed as among thousand to a higher rank a boy said to me, “They traveling more than two Rodeo; with its own concert examination. To be promoted ages. They the fact that in and the Greeley Spud about oceans, compositions of all the miles of t six months’ average of eighty Three of these compositions arc great symphonic England alone, a thousand near the close of the year at the Denver must have maintained a 7. P jxl, col leo miles through being held Mer. B. I In' volumes of Mk me table, urban results with a grade of one is a river. Which is it? A. La upon nor I ever left a Auditorium, where adequate facilities accom- points or better. Elimination but Kd‘eToi™ the Church by car, neither Ruth City Calm Sea and Pros- of scores of hymns for points or less. Moldau. C. Over the Waves. D. tions; the editing hunger as dessert.) the crowds that have in past years been turned twenty 8. Church or rural, without modate for the Protestant Episcopal great com- first examination,- eligible perous Voyage. England and country must produce from Phipps Auditorium in City Park. At the end of the year’s of compositions for “So I think your away Masses; many I only to the First Band, while those fail- 9. slower than allegro ? of America; several say. Only God can say. In the past three Colorado Music Festivals, Radio boys are promoted Which of these terms means incidental music posers. When? I cannot organ; and i examination are given the oppor- Presto. D. chorus and orchestra and many men of talent working Junior Police Band members have scored very high ing to pass the A. Allegro con brio. B. Allegrissimo. C. know that you have Greek plays. their scores, heard tunity of repeating the Beginning Band work again. for several , .i.. read many of as individual soloists. With a rating of eighteen su- Allegretto. Castle,r music now. I have trip took us to Kenilworth a tew ot in the First until a vacancy exists Williams Our wedding I have even conducted soloists and eight excellents in 1946, twenty- Boys remain Band has six strings? A. Guitar. B. Ralph Vaughan much of their music. perior Which instrument overnight in Banbury (Remember much. in the Radio Band. The average time in which a boy whence we stayed I like some of them very one superiors and five excellents in 1947, and twenty Viola. D. ’Cello. and Foxy so on) their pieces, and Violin. C. to Banbury-Cross —and Denver makes the Radio Band is between two and a half to “Ride a cock-horse superiors and seven excellents in 1948, the manager travel more One of these men has not been general early morning set out to to Classify has maintained a state musical three years. However, some exceptionally well quali- age of and with the Difficult Junior Police Band Metropolitan Opera. A. Edward Johnson. B. WILLIAMS, at the our visit and pay students have made the band in a year and a half. of the ALPH VAUGHAN two hundred miles to make out the sheep from the rating of superior or excellent- in solo work among fied English composers. than11 I asked the master to weed Herbert Witherspoon. C. Gatti-Casazza. D. Deems seventy-seven, is the dean of Williams. Through Although the Denver Junior Police Band is not the 10. to Ralph Vaughan sheep, even if he would seventy-two per cent of its members over a three year R Sibelius, now our tribute goats, or at least to name the of the key- Taylor. is, with the exception Jean smiling as if to set sole solution to the prevention of juvenile delin- He lovely rural England, all goats. period. Strauss (eighty-four) per- rode not care to name the compositions not used in the eighty-three, and Richard with the great man, we he quency, which is a local, rather than a national prob- One of these was he note for our meeting unfair to use names so casually, living noted composers. And district as we ap- “It would be Valuable Training of diverse forces within the film, “Fantasia.” A. Sacre du Printemps, B. Sorcerer's haps the dean of all was the southern any present A lem, and a product many al Especially lovely “Besides, I could be mistaken in greatly loved musical figures in Passing a score o declared. it Apprentice.11. Maria. D. Dance of of the most where he lives. in it in building a better youth for a child’s psychological and environmental nature, C. Bach-Gounod Ave is one nroached^ Dorking, those opinions in a day, Serving as does have penned opinions. I might change Hours. British Isles. , where Gray might again, better tomorrow, the Denver Junior Police Band at- has clone much toward meeting the needs and desires the the country churchyards year or two. Who can say? Then, be said to represent the mu- of herds upon a week, in a a radius those boys whose hearts yearn for musical accom- "Car- If any one man can “Elegy,” we saw a score composers, or tracts twenty per cent of its members from of 12.Which singer has not been famed for her probably his immortal taken a whole flock of British people that man is minutes before the it has always its present plishment. sical genius of the and at last, fifteen tip-top of seventy-five miles, while only one of men”? A. Maria Gay. B. Geraldine Farrar. C. Lily Elgar and as many leas, would-be composers, to produce two or three Williams. Since the deaths of upon the charming little estate is the son of a Denver Policeman. These For a happy boy, busily striving for the attainment Pons.13. Emma-Calve. Vaughan hour, came to have a run ot members D. ’ well appointed generation. We have statesmen to speak so England s dean ones in any numer- well defined goal, directed by qualified leader- Delius there is no “elder Whitegates,” where dwells ones. youngsters, attending weekly rehearsals and of a of these the “12- the called “The third-bests to get two or three great 14.Two composers have employed in England, he was for and Foxy. second- or are said high ideals, encouraged by the love and England as he. Born invalid wife, a deaf maid, ous performances over an eight-year period, ship with tone” system extensively. for of composers, his about Handel and Bonacim.- How A. . B. Schoenberg. musically in his native land. H You remember Executive Officer Frank Ingraham to have obtained care of a home, is all that America needs to give de- most part educated by C. MacDowell. D. Alban Berg. posts it go— life there. The small professional Discussion Begins does a musical education with an estimated value of twenty- linquency its well deserved spanking and provide a 15. has lived all his The demisemiquaver is: B. except for a career better tomorrow. A A. Thirty-second note. were in England, although, of the menage. Upon his four hundred dollars, without the consideration of better youth for a he held Foxv is the real master to Bonacini Sixteenth note. C. Quarter note. D. Half note. organist and a few scatter- within “Some say compared to several members, three years as a church punctuality of meals and, the physical fitness it has brought of whims depend the Frederick Handel is a ninny. has devoted his life to com- the household That a student with asthma who had been bed- Who wrote the libretto for ’s ed lectures at Oxford, he Britain’s rationing system, including of gar- the limits of While others say that he to Handel “Ring”? A. von B. Boito. else except his hobby very largely the most of his life, or the correct physical im- Hofmannstahl. Arrigo position, and nothing Foxy’s whims depend ridden menus. Upon fit to hold a candle. Williams is an Enghsh- more things Is scarcely provements brought about in another’s jaw. C. Richard Wagner. D. Hans Christian Andersen. dening. In a word, Vaughan the rooms, and a thousand such, with tidiness of Strange that such differences should be to the very core he is is the Vaughan Operating as it does on a “shoestring,” expenses The Pianist’s Page In which light opera does man of Englishmen; can be mentioned here. Foxy Twcedledee!” politically, and a vast than Twixt Tweedledum and six this line conservative leaning, for the organization are obtained from a hundred appear: “She may very well pass for forty- a definite pet cat. , (Continued from Page 212) Williams’ beloved . , , Policemen’s three in the crown. about music. It s hard dollar annual donation from the Denver the dusk, with the light behind her”? A. respect for I do not talk it’s near. So, “You know “I don’t think that’s just right, but Association and the profits derived from "Pinafore." B. “Trial by C. “Mikado.” D. alone talk about it It was Protective 9. Thumb Octave Practice: I cannot urge too Jury.” enough to write it, let too fast. But your man V Concerning His Compositions after you see, we mustn’t judge to in his lap , the sale of amusement park tickets which net close strongly the practice of rapid octave passages, often “Pirates of Penzance.” Williams himself. Foxy interested himself Vaughan will come; of that I’m sure. dollars. General expenses include the Vaughan Williams has graciously welcomed by the two thousand with thumbs alone. The thumb is always played di- Which of these scores calls for use of a wind Again, I had been such a man- 1 England. And Ruth and if we had not already had materials, and in the folk music of were seated I asked director’s salary, necessary supplies and rectly from the keytop with pointed “finger action,” machine? A. “Don Quixote.” B. “Fingal’s Cave” Over- since his boyhood mistress of the household. We do that in all the master and think you’ve hacl a man like Beethoven, Police Bulletin, let it be remarked huge Erard don't the printing of the Denver Junior it ture. C. “Flying narenthetically, graced by a helped by slight forearm rotation. Never play from Dutchman.” D. “Ein Heldenleben.” certainly in the large drawing-room me to answer in the nega- development, Scotland or Ireland, and surrounded you?" Candor compelled which serves as an agency in the band’s above the keys or with a wrist whack. Do not try to world, not even in than a hundred years old, and Who was the Muse of dance and song? A. Au- except perhaps in piano more “Or Purcell?” Again the answer was no. And providing worthwhile featured articles on instru- anywhere on the continent there were endless shelves ot tive. hang onto the octave span, but hold the fingers loose- rora. B. Venus. C. Terpsichore. not by a balcony in which message could you send D. Diana. folk music than the then I boldly asked “What mental care and importance, opportunities in music, is there more beautiful visit was to be simply a ly bunched together. Here are some reasons why such Russia, books. I wondered if our or what suggestions could well A schottische is in what time? A. Three-four. In this music the composer but to our young composers, best practice methods, character development as practice brings astonishing octave freedom: folk music of England. with a great master of music, occasional collect- pleasant connection your own long years of ex- calls attention B. Two-four. C. Three-eight. D. Four-four. spent untold time and you make to' them from as reviews, poems, jokes, tricks; and has steeped himself; he has more, when Foxy jumped to the floor, 1. The loose, rotating thumb establishes the habit the melodies nothing of these arranging perience?” • now and then to their "PAPPY,” which requires Pa- Which famous singers made his first big words and Miouw rubbed , , 7 octaves freely in impulses, “out of ing melodies and big eyes shining and a plaintive and of shaking the England s great with Williams looked at me searchingly tience, Attentiveness, Practice, more Practice, and a success in musical comedy? A. John Charles Thomas. orchestra so they may be heard at by the goddess of the moment Vaughan the sleeves,” thereby assisting relaxation, speed, and for against my leg. Inspired likely to refuse this an musician. B. Lauritz Melchior. the people to whom they paused. I feared that he was Yearning to be a good C. . D. Ezio Pinza. frequent concerts by floor and began to play with Foxy endurance. and great I dropped to the me; then with a quick smile, Although boys older than ten years may join the had them recorded, many by master apparently swer most important to One of these string players is not a violinist. belong. He has like cats anyway) and Foxy’s stroke 2. The key contact reduces lost motion of hand conducted so tha (I do of his shaggy snow-white hair, and with a First Band upon passing a proficiency test, almost A. Zino Francescatti. B. which he himself has Foxy, that was an end a lift Mischa Elman. C. Ruggiero orchestras concluded that if accepted by knee, he made started in the Beginner’s which and arm. This lost motion is a serious deterrent to to the world at large. All for Foxy who had returned to his every member Band Ricci. D. Raya Garbousova. they might be made known thereafter he spoke with the fluent and brilliant octaves. Williams to my probation, and launched each year in the second week in June. reason why Vaughan reply: . is this is another cogent freedom. utmost • is to genius of . , . , , , c thing your composers must do Those who have been on the waiting list during the 3. The thumb, played alone without the octave ANSWERS TO MUSICAL QUIZ truly to represent the musical burial of Fred- “I think the first may be said told me of the strange midnight • 255) stretch, reduces tension, especially in small hands, •jsqpa, e s,ai - He themselves. They. (Continued on Page year, and other prospective boys between the ages of IS a cA gI people. Sibelius, with believe in y , . , n g Z[ y the English erick Delius. He asked me about Jean and ten accompanied by their parents, are and offers a helpful and relaxed alternative method '9 ’01 '0 '6 '8 'Q ’9 was born October 12, seven V 'L O ’9 'arniaid atp in vuvj\r Ralph Vaughan Williams - 215 for a preliminary six weeks’ training period, of practice. day s/uaqnqos sbm • signed up 3 a f -y -g a z g -, APRIL, 1949 214 ETUDE Romanticist or no feeling for sentiment. Century side, with little However A Nineteenth is admirable the orchestral playing and the recording HOFFMANN; AUTHOR OF THE Tj\LES.’’ fact that it is represented Pnce, ?6.00. splendid, and the on a long, W. Hewett-Thayer. Pages 416. it to Svey Bookshelf playing disc recommends record buyers. University Press. Tchai- Publisher, Princeton Music Lover’s “Francesca da Rimini” is more diffuse Etude kovsky’s than his tone poems-its best pages are those Chairman of the Depart- Records most of to- Professor Hewett-Thayer, Distinguished middle, where Francesca relates Princeton University, Flood of ward the hers and nf Modern Languages at A re- plays volume, m Paolo’s great love. Stokowski this music with of hi mis, engaging s.rela- dramatic vehemence, making it a more .bo». «hich there Peter Hugh Reed consistent ex- ™“r“ Po„ a subject by Z 1. - • citing drama than Koussevitzky did. Either the regu- information in English. E. ilvelv little flash long-playing version is worth acquiring,' geniuses that lar or the as one of those tremendous mmn was the time, are well recorded. Tchaikovsky’s Third of the literature of more both Sym- rrirnet like over the pages of the fourteenth rhapsody for. piano, on, become Masaniello, The Crown Dia- rangement is a work of considerable charm, invention, as time goes Auber: Overtures to and orchestra phony and remain figuresVhich, familiar in the arrangement for piano to h Fra Diavolo, The Bronze Horse: Arthur Fied- and ingenuity. Its neglect in the concert hall is un- Some go so far as monds, virtuoso characteristics almost mythical. 1274. as the Hungarian Fantasia. Its world literature, ler and the Boston “Pops” Orchestra. Victor set deserved. Beecham plays this work with uncanny mu- “one of the great masters of exploit the famous Philadelphia Orchestra was but no Koussevitzky serve to it were pretentious Beethoven: Egmont Overture: Serge sical insight and enthusiasm, making a more ap- composer his compositions advantageously. Massenet’s sacred work, “The Virgin, a the Boston Symphony Orchestra. Victor disc preciable musical experience than Kindler or Coates, are twelve operas, a a11 and Prelude to Part IV— eventful. There J> (L is remembered today only by the and strings,stri recorded it. quintet for harp ^ 12-0288. orchestral who previously nhonv an overture, a The Last Sleep of the Virgin, a tender of these not Beethoven: Symphony No. 1 in C, Op. 21: Bruno and ^ on. None appreciable in piano sonatas, a Mass, lullaby. Beecham’s artistic restraint is Undine, is frequently Walter and the -Symphony Haydn: Concerto No. 1 in C major: Isaac Stern (vio- best-known work, Cadman stressed, might become even his by B. Meredith Microgroove disc ML music where sentiment, if Orchestra. Columbia set 796 or lin) with string orchestra and cembalo. Columbia set cloying. The familiar Mendelssohn scherzo is also well h Romantic^Era ' force in 2027. 799. . Hoffman^asrpowerful handled. It is not the infinite care and accuracy of Dvorak: Symphony in E minor, Op. 95 (From the : Rhapsody on a Theme of Paganini: ^ 1 ' the Footlights Stokowski and His Orchestra. English to understand Beyond New World): Leopold Artur Rubinstein anti the Philharmonic Orchestra, 'for those" con line d to Chopin Biography difficult A New COMPANION.” By Mary_Elhs Victor set 1248. Victor set 1269. “OPERA LOVER’S Walter Susskind, conductor. HIS MUSIC.’ By Hcr- Ziff-Davis. 88 in Eugene Ormandy fifty THE MAN AND Price, $5.00. Publisher, Haydn: Symphony No. G: “CHOPIN,C Publisher, Peltz. Pages, 385. y influence Pages, 358. Price, $5.00. and The Philadelphia Orchestra. Columbia set 796 or £ century. Hoffmann’s bm Weinstock. The Haydn proves a delightful composition, prop- vear’s of the nineteenth Microgroove disc ML 4109. period, all the way from Alfred A. Knopf. Director of the Metro- The composers of the Mary Ellis Peltz is Publicity erly spirited in its outer movements and tender in its Son sui es from Liszt: Hungarian Rhapsody in F minor: Eugene and his lmmorta Association, and has assembled slow section. Moreover, the use of small orchestra with the volatile Schumann from Knopf, politan Opera Talesi of “Borzoi Book” Ormandy and The Philadelphia Orchestra. Columbia set to music the Here appears another of articles by distinguished particular piano, to Offenbach, who bookmak- the Opera News a number harpsichord gives this performance a charm, Yom elegance in the art of operas and disc 12928-D. very striking in many wa£ with its accustomed with thirty-eight favorite to its well-being. Stern plays the work Hoffmann,” was figures in writers dealing The Virgin—The Last Sleep of the Vir- essential ad- in rece t^ one of the most romantic behind the Massenet: seen few musical books ing it deals with the exciting goings-pn mirably and the recording is exceptionally fine. The reviewer has befogged by nebulous with many of gin: and Mendelssohn: Scherzo from Octet, Op. 20: Dr. Hcwett 1 nay life has been is bunging have excited him more than music, whose In these days, when television Philharmonic Rachmaninoff Rhapsody remains the most popular which fantasies, and dramatic extrava- scenes. Sir and the Royal fiction, Hollywood this new book should be cr’s new work. to to millions of homes, 12-0688. work of its composer, except his Second Concerto. A personage has been subjected opera Orchestra. Victor disc gances. After a great screen-side guide. romantic composition, richly scored, its range is both when a straight- a very valuable Mendelssohn: Incidental Music to A Midsummer many biographies, there comes a time virtuosic arid lyrical exploiting a proficient Art some much- Night’s Dream: and the NBC Sym- a one Science of feels it his duty to do The ” forward analyst pianist to advantage. Though Rubinstein is ^ne by a work phony Orchestra. Victor set 1280. more BASIS OF THE ARTS housecleaning. This is usually “THE MATHEMATICAL needed documentary Musical Anecdote Mendelssohn: Ruy Bias—Overture: showy in his performance than was Rachmaninoff or 696. Price, with the impedimenta of Lively Joseph Schilhnger. Pages, so cluttered Francisco Symphony Orchestra. Victor Moiseiwitsch (each of whom recorded the work be- By the biography is lost behind PICCOLO.” and the San Philosophical Library. data that the subject of THERE I STOOD WITH MY Publishers, 1 Ins “-AND disc 12-0657. fore him), one feels his is a valid approach to the com- discussion of errors. 255. Price, S2.7a. Pub- a barrier of controversial By Meredith Willson. Pages, Milhaud: Le Boeuf sur le Toit: Dimitri Mitropoulos position. Aided by a good orchestra, a particularly Art and Weinstock’s Chopin, because we called “The Einstein of not the case with Mr. Doubleday. If anvone may be of the lisher, and the Minneapolis Symphony Orchestra. Columbia fine conductor, and superior recording, the pianist Schilling- colorful life of the great poet " certainly a glance through Joseph have still the gives a thrilling account of this music. Music complex fashion by a conscien- feet of a radio set MX-308. more or le,, appallingly piano, told in most interesting who has been within ten e “piollun l aid ava.L Anyone Mozart: Symphony in E-flat, K. 543: George Szell reveal tharte has exhaustively examined all Willson, the engaging Ba.is ol the Am" «,11 tious author who receiver knows of Meredith set 801 or Ravel: Tzigane: "Mathematical Weinstock, who and the Cleveland Orchestra. Columbia Zino Francescatti (violin) and part o the_ book get at the truth. Mr. arranger who graduated this distinction. A large able sources to young conductor and music Artur is entitled to Inc., may Microgroove disc ML 4109. Balsam (piano). Columbia disc 7277 1-D or and mathematical Executive Editor of Alfred A. Knopf, the New Aork Philharmonic given over to charts, diagrams, is the from the Sousa band and Tchaikovsky: Francesca da Rimini: Leopold Stokow- Microgroove 7-inch disc. is of a book splendid volume. of the Maxwell which present tlic appearance well be proud of this Orchestra to the stirring company Philharmonic-Symphony Or- Beethoven: Sonata in computations ski and the New York A major. Op. 69: Pierre itself, but wholly Ford, Jello, and what have logarithms, extremely valuable in House Coffee Broadcasts, chestra. Columbia set 806 or Microgroove disc ML Fournier (’cello) and Artur Victor of Schnabel (piano). brall 1< a ' 1 picture scores and without thc is the author of motion to anyone . vou. He set 1231. worthless j 4071. of Schillinger. ^mere his orchids largely by his ence to work out the problems symphonies, but has won Tchaikovsky: Symphony No. 3 in D, Op. 29 (Polish): Beethoven: Trio in D major, Op. 70. No. 1: Adolf music buzzed between the science of programs for the home. He has is an historical bond merry tuneful Sir Thomas Beecham and the Royal Philharmonic Busch (violin), Hermann Busch (’cello), Rudolf Ser- creative worker* word pictures art which only too few quite a little, and his sprightly Orchestra. Victor set 1279. kin (piano). Columbia and that of “ound set 804. ancient Egypt and Greece. entertaining. realize. This dates back to of his friends are highly Haydn: Symphony No. 96 in D: Concertgebouw Or- Hindemith: Quartet in E-flat (1943): Budapest before mathematics must have existed long chestra, Eduard Van Beinum, conductor. Decca EDA String Quartet. Columbia set 797. Musical music Pythagoras and his theory of the set 84. the time of of the spheres.” ... • the Proscenium Ravels virtuoso gypsy s mind, At rhapsody is played with question arises in the musician This group of orchestral recordings offers rich re- fervor and OPERA” By George nuanced elegance by Francescatti. More produce any of his marvelous “A FRONT SEAT AT THE wards for the discriminating music lover. There have Zino Francescatti did Bach Publisher, Allen, than any other living violinist, Schilling®: even 307. Price, S4.00. perhaps, he makes this the science of Schilling? R. Marek. Pages, been quite a number of recordings of the Auber composition Shout Part something more than just a glowing in S. Bachs Two Towne, and Heath. overtures, but none in performance and reproduction suggests an improvement J. technical show. The recording is geeatiy nuerebted Toscanini’s performance of the same composer’s in- best in the twelve- Invention No. 8.” Bach himself was that satisfy more than the Fiedler rendition. All ex- inch disc. was Music Editor of Good cidental music to ’s “A Midsummer Beethoven’s third ’cello sonata is to the as related to music but he Mr. George Marek, who is cept the Masaniello or La di Portici overture in problems of physics Muelte cellist and pianist than in wri - given us a lively picture of those Night’s Dream” that alone impresses. Rather, it is the what his “Kreutzer” Sonata is to concerned in composing music Housekeeping, has are from light operas, full of a captivating tunefulness the far more opera-goers youthful buoyancy and light-hearted eagerness violinist. Written around the time of the Fifth science in Bach s day sure to be of interest to he about it. If mathematical things which are and elation. Koussevitzky’s “Egmont” Overture re- and Sixth ine that S the annotations for brings to his interpretation. This assuredly is music- Symphonies, it reveals his genius at its Einstein level we are sure years lie has written veals the beauty of great well had advanced to the For some sound of a orchestra, height. Fournier, discov- programs, and has gathered, making of an extraordinary kind. Monteux tends to unquestionably one of the greatest mind would have rejoiced in Schilhnger s the Metropolitan Opera recorded, but the dramatic implications of this great living his facts about o\ dramatic ostentation in his performance of the “Ruy ’cellists, plays with poised and fluid technique, thing is that George Gershwin history many tales and “tone poem” are by no means fully exploited. Walter's eries The remarkable from musical Bias” overture. giving a performance that remains most musically composers were The book is fresh, en- The memory of Beecham’s older re- others of the Broadway group of eras, composers, performances. performance of Beethoven’s youthful symphony is satisfying. and cording, with its better orchestral playing and suaver At the piano, Schnabel matches the moods principles taught by Schilhnger that sometimes very amusing. more romantic than the famous Toscanini version. so helped by the gaging, and artistry, and expression of his partner with perfect for him. prevails. The Milhaud score, with its early equanimity. developed a kind of musical worship Well recorded, it offers the listener a striking example One of Beethoven’s most thev jazz connotations, is dated today. It seems rather naive delightful trios is his G was born in Russia in 189a and became of the conductor's geniality in music-making. Stokow- major, Schillinger and thematically banal, as so experimental Op, 70, sometimes called the “Ghost” trio be- died in 1943. He ski's latest version much mu- American citizen in 1936. He Development of the “New World” Symphony is cause of the an Music’s Amazing sic of the post World War I period. Originally written eerie character of the slow movement. at St. Petersburg. superbly recorded, showing what American engineers studied with Nicolas Tcherepnme The music is alert, MUSIC.” By Charles W. for violin and piano, it turns in this bright, and ingenious in invention. positions as educator HUMAN SIDE OF can do with range. up recording in Russia he held many high “THE extended The interpretation, less The In Price, S3.7a. Publisher, 1 hilo- an orchestral arrangement made for new performance is exceptionally fine, effective musical Pages, 341. capricious in style a pantomime with the conductor. He also composed Hughes. and pace than the conductor’s impetus deriving md farce called The Nothing Doing Bar (reviving mem- from Serkin’s splendid piano play- part in moving picture develop- sopitical Library. earlier performances, is by far the most persuasive works, took an active ing. An excellent recording ories of an American speakeasy). After several hear- —The Hindemith quartet wrote a technical work upon electricity. now on records. Ormandy’s Haydn is expertly pol- ment, and also us an admirable and ings, our musical curiosity was sated, —written and dedicated to the Budapest String of Fine Arts at Co- Charles AY. Hughes gives ished, but the orchestral perhaps because Quar- T. Martin, Professor tone seems rather heavy for Dr. Charles to try to integrate Mitropoulos ignores its subtleties tet, is more immediately accessible Basis work which essays this volatile music. The older in favor of virtuosic than the composer’s University, says of “The Mathematical thoughtful Toscanini set, though earlier lumbia a style which is serious blatancy. Szell’s treatment of one of Mozart’s works in this form. The technical rhythmical design pre- with life. It is written in less well recorded, offers a more vital greatest ingenuity of Arts:” “The method of music and imaginative the composers of the an appeal to the general symphonies is musically precise, a bit on the stolid part-writing is fascinating, and much Schillinger links together on a but at the same time has reading. The Dutch conductor. Van Beinum gives a sented by Joseph with interesting of the melodic material is and public. The book is filled better performance of the D major warm and appealing. The basis the arts of music, literature reading Symphony, em- mathematical and is a fine performance is one of conviction. Schillinger reveals the information, occasionally anecdotal, ploying an orchestra of proper size for Haydn’s music. the spare arts. In his method, musician Among recent keyboard underly- place in the hands of a young This genuinely fine work, lesser known music recordings is a new mathematical laws of structure work to than the G fundamental Chopin in his art. set of Schumann’s Etudes application thereof to orient himself in life and major Symphony, repays closer acquaintance, espe- Symphoniques (Victor 1272) plant and animal life, and the striving by Alexander ing After a painting by Ary Scheffer cially in a realistic Brailowsky, whose performance is tech- developed cultures of the past. recording that does full justice to RECORDS in' the art forms of 217 nically proficient but somewhat lacking the conductor’s artistic discretion. The Liszt is an ar- in true ro- mantic feeling, Claudio Continued ( on Page 270) APRIL, 1949 216 ETUDE Most Remarkable Music Teachers National Association The World’s Achievements, Past and Present, of Music A Department Dealing With the Collection of Orchestral Organization, the M.T.NA. America's Oldest Music Teaching Ohio. Music Collection in Founded December, 1876, at Delaware, The Edwin A. Eleisher The Free Library of Philadelphia by Theodore M. Finney, Mus. Doc. amassed and their weight was so Head, Music Department, University of Pittsburgh agreed that one half of the placed^fuSerAefl^runder the noo as conductor and it was necessary to have steel girders orchestra was to be devotee! In the Archives Committee of the M.T.N.A. rehearsal time of each the room called the library. Editor and Chairman, works and the other half to of by Mr. Fleisher to the study of standard large collection was presented not familiar already Pin a reading of new or old works Philadelphia (Cit) of Ihe sight 8 and was to The Free Library of of the orchestra. This is housed in a room of to the members delphia) where it is partly fundamental feeling of discontent concern- a great innovation-unfortunately I did play more American volving a from its inception “Well, that was that. orchestras. Many an own. country. ing the attitude of the American performer. He did followed by many amateur music. So did young musicians all over the not works and be to see more perform- familiar with the standard exchanged programs with each other; in fact, I admit that he would happy excellent soloist! Exceptional Collection We failed to pass the An pro- ances of his music (and what composer wouldn t?) technical equipment, has had periodically to throw out huge quantities of with good ra difficult and uncer- ideas: to a professional orchcs World War I it became from all over but, by and large, he had only the following examination for admission After grams of festivals of American music with editions of on hestral music he believes that per- not sight-read a composit.on tain to purchase foreign United States. The upshot of all this activity was “Like many other composers, because he could 1 Fleisher, the American dealers. Therefore, Mr. part that the hypothetical formances subsequent to the premieres are a vital which he was not familiar. through a growing conviction on my twenty- of the leading publishing Especially because conducted the orchestras or equipped with the catalogs entity known as ‘the American composer’ no longer necessity to the composer today. Mr. Happich color- Mr. Arthur Cohn, undertook an extensive trip perform- audiences are confronted with so many diverse and years and was succeeded by houses in Europe, need be the object of special pleading. The six Library Germany, Austria that a Eleisher Department of The Free ing England, France, Belgium, ance of American music had become a commonplace, sometimes conflicting styles, it is imperative Edwin A. head of the Music In each Cohn had been a member of The Czechoslovakia, Poland, and Russia only with myself, but also with everyone else. given audience should be allowed the opportunity to of Philadelphia. Mr. Hungary, not years ago and quantities were purchased. It music full orchestra many of these countries large “It is obvious to me now that, at the moment I hear a considerable amount of one composer's Symphony Club’s Fleisher Music the direction after Mr. Fleisher s return to the music describing the Edwin A- orchestral training under was a year and a half reached that conclusion, American music for me came within a reasonable length of time, so that EFORE received his finally beautiful Free Libia y that the shipments were music lover may develop the ability to judge the music in Collection, housed in the Happich. the United States of age. I played and programmed American Park- of Mr. on the Benjamin Franklin because it was good music; I considered it as music terms of itself. of Philadelphia NE of the fundamental aims of MTNA has B this collec- Collection is excep- how and why A. Fleisher Music pleading. “In the second place, Mr. Etler request from it is important to know Collection is Begun The Edwin been to give the American Composer an op- per se rather than as the object of special would way, The the conductor s in that all compositions include O “For example, I speak today as a member of the the performer a greater amount of both comprehen- tion was amassed. the rehearsal tional portunity to have his music performed. The Mr. decided to devote half of of parts sufficient ago, in 1909 to be exact, When it was together with a complete set Quartet, which is entering its fifteenth year sion and taste in the selection of the American music Almost forty years of a vast score, organization was founded at almost the moment when Walden it meant the purchase now ex- manufacturer and amateur mu- time to sight-reading for a larger orchestra than any performs. is, subjective mat- Eleisher, a in number our country was beginning to be conscious that it of existence. In the course of those fifteen years, the he That of course, a very Edwin A. to supply three orchestras orchestral of boys ranging in age amount of music, sufficient libraries have collections of quartet has performed prodigious feats in behalf of ter and involves matters which are properly beyond sician, organized an orchestra Most oi the istent Most had its own composers. From the appearances of held in material for each rehearsal. conductor s scores, years. The rehearsals were with new but they embrace only the the scope this to sixteen ‘ l e - music, Chadwick and MacDowell, until the most recent American music. As far as one can ascertain from of this paper. What Mr. Etler means, in from*ten purchased prior to that ™ Fleisher nursery conveniently located standard works had been study and reference. Thus the the extant records, the Walden Quartet has performed instance, is that the performer should play only mu- gymnasium of a day the adequate for meeting, music by Americans has had a prominent the con- collection of music had outgrown combines of Philadelphia. The first Bv 1929, the with both the scores and parts, place on MTNA programs. The American composer to date a total of eighty-eight different contemporary sic in which he believes. In the foreign section thousand works had been Collection, then a very young man, a tal- dub house. Some six his works. Of these, fifty-four are American. These eighty- “All of which seems sensible enough; how many of ductor was Jay Speck, has brought not only music but his troubles to instructor of of music; now the music the MTNA. High among those troubles is his rela- eight works represent sixty-nine different composers, us have heard performances of American music which ented student School of Philadelphia. Among this tion to the performer—the concertizing artist or or-' of whom forty-five are native-born Americans and have been ruined because the executant had no genu- the Southern High were many talented young- ganization which, by performing or not performing nine naturalized citizens. To give an idea of the scope ine interest in or understanding of the work? Mr. group of sixty-five there string instrument choirs. Alter his music, may result in the success or failure of the of the performances, it is only necessary to quote at Etler carries his feelings to their logical conclusion iters; especially in the rehearsals, the enthusiasm, the composer. Forums on American music inevitably bring random from the list of composers, as follows: when he says that he prefers that the work not be only a few months of regularity of attendance Ly the mem- this problem into focus. At the Chicago meeting, performed at all, rather than to have it played with- earnestness, the Wayne Barlow Ellis Kohs * convinced Mr. Fleisher that Mr. John Garvey, of the University of Illinois and out conviction. bers of the orchestra, William Bergsma Normand Lockwood aspiring young musicians deserved the Walden String Quartet, spoke on this question He goes on to say, finally, that the performer these eager and Ernest Bloch Charles Martin Loeffler as a conductor and a better from the experience of a performer who has been should throw off his abnormal fear of the reaction of better than an amateur John Alden Carpenter Otto Luening to rehearse. Con- stimulated by the music of many American composers: audiences. Says he: place than a gymnasium in which ‘Let’s get rid of the ‘give the near Paul Creston Douglas Moore purchased at auction a dwelling public what it wants’ attitude! One can trust the sequently, he Norman Dello Joio Robert Palmer Philadelphia, had it altered to fit “Since my high school days, the cause of the Amer- essential soundness of an audience's attitude to any the central part of Marcel Dick Burrill Phillips and gave it the title ican composer has consumed a considerable amount good music, well played.’ the requirements of an orchestra, Richard Donovan Walter Piston Club.” Under this name it was char- of both my time and energy. As a student in college, It must be remembered that this ‘give the public “The Symphony Herbert Elwell Quincy Porter as a philanthropic, edu- I sensed an excitement in the air—things were stirring. what it wants’ attitude derives, tered in Pennsylvania in 1924 Alvin Etler Wallingford Riegger in many cases, not so My imagination was stimulated by accounts of the much from the performer’s solicitude for the audience cational institution. Ross Lee Finney Leroy Robertson opened in September 1910. f he early Copland-Sessions concerts in New York City and as from a subconscious projection of his The club house was Carl Fuerstner Arnold Schoenberg own inferior the well- activities, conductor engaged was of the begun when I was a small child, of taste. So it is that when the violin recitalist, ninety- first professional Paul Hindemith Arthur Shepherd and composer, Mr. Camille the International Society for Contemporary Music. nine times out of a hundred ‘gives them’ Wieniawski known concert pianist Charles William Scliuman youngsters from all sec- “Along with innumerable others of my generation, and Vieuxtemps instead of Hindemith or , Zeckwer. Almost immediately, Frederick Jacobi John Verrall to The Symphony I decided to enlist my talents as a performer, to the it is because he has a genuine tions of Philadelphia swarmed predilection for the formed limits of ability, in former in fact that two orchestras were my furthering the cause of con- Of the eighty-eight works in question, the staggering composers. He knows, of course, that it would Club; so many a third was needed-two temporary music in general and American music in total of forty-five represent world premieres! be in bad taste to express an overt preference for and a few years later even full oarticular. Naturally, I such junior and a senior, and one devoured voraciously each suc- “It seems obvious, from these figures, that in the music, so he satisfies his own desires and, at the string orchestras, a orchestra was, of course, the ulti- cessive issue of Modern Music; my delight in discov- case of this particular organization, the American same time, salves his conscience, by imagining that orchestra. The full technical and orchestral ering the existence of publishing enterprises such as composer has no complaint to offer. The important they exist in the minds of his audience.” mate goal, so that with more were advanced from the the Cos Cob Press, New Music, and the Arrow Press, point, however, is that this sort of activity tends to training those who qualified was unbounded. string orchestra and finally into Many of my associates were affected become more and more the rule rather than the ex- Mr. Garvey purposely omits a junior to the senior detailed discussion although no by the same intellectual and emotional ferment and ception. I hasten to add, to ol the orchestra. Mr. Fleisher himself, mollify any composers appearance of American musical works in the the full all of us, as time went on, began to feel that time, gave three evenings a week to we were in the audience who feel that their works are not commercial concert field. Here the picture youngster at the is by no in each of the volunteers in a glorious crusade. performed enough, that I am attempting to means as encouraging club so that he might play viola describe as his description of the work the "Over a period of years, it was my good fortune to a noticeable trend, not a Utopia; it is obvious that of the Walden Quartet. orchestras. . Music become friends with and perform the works of (the much remains to be done. He continues: Mr John Grolle, now head of the Settlement two seem mysteriously to go together) Zeckwer. It was decided by a myriad of “Now, in thinking about this subject, it occurred School, succeeded Camille younger American composers. that girls should be ad- In the course of in- to me that it was only logical to consult a composer There remains, Mr. Fleisher and Mr. Grolle then, one sizeable and influential numerable discussions, we talked over the problems as to his views on the well as boys. composer-performer relation- factor which has not heretofore been mitted as of the American composer, usually mentioned: the that it was a mistake to into the wee hours ship. Fortunately. I had not far to go, for Mr. Alvin colleges. Those Mr. Fleisher soon realized who will direct the destinies Arthur A. Cohn of the morning. The conclusion reached, insofar of our training to the so-called standaid as Etler, my colleague at the University of Illinois and musical environment confine orchestral in the future are, in large meas- playing Manu- it related to the responsibilities of the performer, was a first-rate composer, was members, boys and girls, tired of the Edwin A. Fleisher Musk more than willing to discuss ur tra < ned works. The Director of jn our colleges and music schools. very simple: the performer should play more Amer- the matter with me. After f- constantly and so did Mr. Fleisher. Free Library of Philadelphia spending an afternoon with Now, it is true these works script Collection in The ican music! that the music department of a Happich was engaged him, I was totally unable to elicit any reaction college has As a result, Mr. William F. t in- many functions, 219 ( Continued on Page 263) 218 ETUDE APRIL, 1949 are trou- RACTICALLY all students of singing to Grand sudden change The Door Opera witli a “break” in the voice. A bled the P puts the singer in a panic. What ts of quality (Continued from Page 208) can it be overcome? cause of this “break,” and how animals, we all make two basic In common with all Voice? whine. The groan has a full- in Your Earl Lewis, Assistant Manager, Frank groan, and % Break the Opera, St. sounds. A a whme has a thin, ligh Is There Conductor, Lucrezia Bori, famous prima toned, robust quality. The Lcger, don- voices. You critic surprising that you have two mm and myself. The well-known and radio an- duality. Is it na , yet in each eyes, two ears, and two hands, Waters nouncer, Cross, opens the program with the have two by Crystal that the sponsor, the two function together. customary announcement the Farns- case transition in your voice is an awkward Television and Radio Corporation, Inc.. The “break” worth i s purpose of vocal lessons one to the other. The Annabel Comfort presenting the Metropolitan Opera Auditions of the from flowing In Conference With these two voices into one smoothly Shortly, the young singers hear their names pro- is to blend Air. lowest tones to the middle tones, vocal line, from your nounced by Mr. Cross's familiar orotund voice. The tones the middle tones to the highest and fame is opening on and from vigorously. T ns must door of opportunity the air who came to me from the West bands have slapped together too Recently, a student thin voice, and returned- noiselessly 1 he to an audience of millions in all parts of America. any low tones. My voice over to the high, and the hum started a soprano, and I haven’t long befor be eliminated, said “I’m constriction. It was not , to regulate this If Everything is done to make the audition as profes- yet I mature This was due to breath will help you thin, like a child’s voice, and m which al How of the voice is maintain an open throat air is being forced sional in character as possible. In fact, there lias been mature thoughts, and feelings, she was able to you hear breathy sounds, too much and I want to express of action, and she was by holding preparation for the event than is customarily Obviously this the vocal bands freedom bands. This can be eliminated far more sing high tones any more.” lowed column of on the vocal j caI1 ’t even the voice with a steady Remember that muscular given to concerts at Carnegie Hall. Our audiences in producing sounds the way nature in- able to support the rib case more firmly. student was not “break’ entirely disappeared. relaxation is are never hypercritical. They want to hear vision- air, so that the place more quickly when the studio voice, up growth takes line of sound m her this means short the singers and want to see them make good. There was a smooth alternated with tension. In your case, wait three or After the singer has appeared, the distinguished and clown. hums. Then, after you take a breath, to strengthen, and judges give their opinions. Of course, they do not four seconds for the rib muscles The First Step to relax. as score cards. surrounding the vocal bands have anything as stereotyped There is have the muscles to avoid a “break” is to length of a half note. no regimented judgment, only a sincere and very The first thing to do Then hum a sound about the around, and you must across the possibilities of mental freedom to move that there are strings stretched practical appraisal of the the singer to the n Imagine with all kinds of sounds, air you arc breathing over It should be that willing to experiment of your nose, and the succeed in opera. remembered we be re- floor order to achieve this freedom, vibration. Do not strike the are just as much interested in securing great talents as just pretty ones. In them sets them into practically no nerves in the without breathiness. the students themselves are to win. After the decision member that there are strings; but blow smoothly, and ask you to si diffi- themselves. If I were to „ scale, you will find this more is the young singers arc given oppor- vocal bands As vou ascend the made, and an for it. you look in the throat until your ribs grow stronger; tunity to appear at the Metropolitan, their position Yankee Doodle would cult to do with purity, motor impulses which tones and the low- Your vocal bands are merely even when you do it on low is far better than was their predecessors'. They are you can go but The Free Library of Philadelphia dictation of the ears. When faint, you are developing muscles already known to millions in America, and they carry out the est sounds are very have breath stream will carry back and forth freely, the which will develop the high tones. This handsome building on the Benjamin Franklin Parkway, which houses the Edwin A. Fleisher not been worn out by years of playing in smaller open and re- and the throat will he so exercise: European opera houses, often under very uninspiring the voice out, Here is another music collection, is one a large group distinguished edifices which greet motorists entering operate under their of of that the vocal bands can conditions. laxed Ex. i the city. The Parkway is boulevard. It out accord- the two voices Benjamin Franklin a non-commercial was laid law. Then the “break” between Not all of the contestants are equally successful in own ing to plans Paris the architect, Cret, of the Champs Elysees in by famous French-American Paul tC after life, but that is to be expected. Life is like that. help for the singing and the noted Parisian architect, Jacques Greber. The distance from the great Fountain of the Howcan this be translated into We in America arc all born with equal rights and correct breathing habits. Rivers to the Art Museum is approximately the distance between the Place and First, you must develop de la Concorde privileges, from voice’ a constitutional standpoint, but when of the abdominal muscles (1) Hum the Arc de Triomphe in Paris. the Benjamin Franklin Parkway are several majestic cultural Did you notice the action On it comes to talent and those ac- Sing Mu other things which have and whined? This spontaneous (2) buildings: The Philadelphia Museum, the Museum, the Board Education, the when you groaned Art of to do with working out a career, that is largely an in- ribs should the breath stream; but the the flow of the breath when you hum. Franklin the Cathedral Peter Paul, tion sends up You will notice Institute, the Museum of Natural History, of SS. and and The dividual matter. However, all those who have been out and regulate same easy be held up, and extended to smooth When you sing the vowel tone, use the Free Library of Philadelphia. It is one of the distinguished streets of the world. given auditions and have passed through the experi- throat must of air into the vocal bands. The breath. Sing this exercise on each half tone as ence, have the flow flow of unquestionably been benefited, from the to allow the vocal bands to purity in the flow remain relaxed and free hi ah as you can go, and maintain standpoint of prestige, if from nothing else. themselves for each pitch. call this voice the falsetto voice, and with study and reference the availability for a per- much too long to note here, but the most important Since adjust of"sound. Men I first started on these auditions I have per- important for them to develop it. It enables formance of each and any work. stipulation is that no work is lent it it is very when is available sonally heard well over nine thousand voting singers. Muscles of the Vocal Bands Developing the Inner their range, to sing pianissimo, and it The term “orchestral music" requires amplification. from any other source. Further, if the work involved them to widen Up to this year four hundred and sixty-one young to make to develop the vocal muscles entire vocal structure. Orchestral music embraces works which have been w'as copied by permission of the composer, his ap- If you want sweetens the singers have been given auditions air. to on the The adjustment, it is important for you written for any number of players requiring a con- proval for performance must be received before the percentage their proper of those who have made outstanding suc- voices, the groan and the to Practice the Robust Voice ductor, and includes compositions for large orchestras, loan can be made. The Library practice the two primitive How makes no charge for cesses is very high. Consider such stars as: independently. The popular singer uses the lower tones with the small orchestras, string orchestras, wind orchestras, the use of music and no one else is allowed to make whine, To eliminate the break, sing Crosby uses it, and he is called The coordinated: and works for solo instruments with orchestral accom- a charge. Composer’s fees are permitted, but are not oroan voice. Bing robust voice and the upper tones crooner. Develop Paget Stocncy whine is used by the paniment. In the last category the collection has com- a concern of the Library—this phase being a matter Frances Greer Photo 111 Groaner.” The 1941-42 Musetta (“La Boheme”) the two voices. In the co- Ex. 2 positions for every conceivable type of woodwind, between the composer, or his accredited Waters them, and then coordinate agent, and >938-39 lliteroff (“Tannhauser") Crystal the the groan voice predominates in brass, string, and even electrical instruments. It in- the performing organization. Every important or- 1941-43 Third Norn (“Gotterdam- ordinated voice voice predominates in the cludes works from almost every civilized country on chestra, broadcasting system, and musical lower tones, and the whine organization merung”) ex- Raoul Jobin I encouraged her to words, the robust voice (groan) the globe. It is important, however, to note that not- in this country uses music from the collection, and 1910 lies Grieux (“”) tended her to produce them. upper tones. In other Anna Kaskas voice would to the voice withstanding the rapid in the musical season 1946-1947, •935-36 Orfeo (“Orfeo ed with finding out just what her warmth, and resonance, and body, and constant growth of the audiences totaling periment gives the change in quality: she groan on her lowest all the way up to the highest Notice collection, great discrimination has been exerted in over thirty million, heard music obtained from Euridice") do. I suggested; (1) That hi less and less quantity the Robert Merrill - •938-39 Germont (“La Traviata”) pressing down on her throat or tigh voice sweetens the quality from your the selection of music, with a very impersonal attitude Fleisher Collection. Patrice sounds without tones The thin Ex. 3 Munsel > whin- 942-43 Philine (“Mignon'’) That she experiment with to your very lowest tones. When as to the compositions chosen. To describe in some adequate manner this vast Regina Resnik ening in any way. (2) highest tones down > 943-14 Leonora (“11 Trovatore”) she take a big strengthen each so The extent of the Fleisher Collection, now num- assemblage of music, two volumes, Eleanor on her highest sounds. (3) That practice them separately, you “The Edwin A. Steber >93910 Sophie Rosen- ing you (“Der with one hand, and experi- part in the coordination ot the bering more than twelve thousand works, can be de- Ideisher Collection of Orchestral Music in The breath, hold her jaw down that it can play its Free kavalier”) to Rise Stevens a low groan, then slide up steel bridge, a strong tower is fined as the largest collection of serious orchestral Library of Philadelphia—A Descriptive Catalogue” * G ment by starting with whole. If vou build a 93 r>- 3 Mignon (‘Mignon”) from tone to music in Singher back again, like a siren. of the river to equalize the weight Now hum, with the gliding continued the world. The word “serious” negates com- have been published. The first volume appeared in > 94' -42 Dapperlutto (“Tales of the high whine and built on either side side. The stronger the body action. If your throat is free parison with the libraries of broadcasting stations 1933 and the second in 1945. These volumes Hoffman**) the bridge clear over to the other tone. Notice are more Leonard of break. Warren > Constriction the bridge. tension, you will hear “no and kindred organizations which contain songs, pop- than catalogues but are in reality veritable source 937-38 Paolo (“Simon Overcoming Throat these towers, the more secure from ular music, and trivia as their main bulk. books of bibliographical information Boccancgra”) throaty, because on orchestral first efforts were choked, and Her Practice the Thin Voice Next: _ , This collection of music is remarkable music and composers, most of reahze How to Ex. 4 in many which cannot be found 0 constriction. It was hard for her to dle*e y°ung artists of throat and respects too numerous to list, but most important of elsewhere. Data was obtained, in most instances, have made pronounced she had to let voice is like a wind instrument, direct S not “make” a tone; but Remember, the 3t tle . that she could is , Metropolitan, been air all the fact that it is a playable as well as a study from composers or their accredited representatives. |w, and several have up and down, sue upon the flow of air. Too much CC1VeC the voice follow her will to move much depends collection. It * )Cldf,rmanccs in and apparatus. Too little includes all of the Mozart symphonies The volumes include such information as the I Europe hazard just to move pushes the vocal per- South Mnerf admitted that it was a big mental crowds and and concerti; one hundred and three out of a possible forming time; the required instrumentation; a high, thin, the muscles to emit scratchy facts voice from a low, robust groan up to starves it and forces Mah and Ah .. . °SSe the I>orta the easy one hundred and four Haydn symphonies (many in about the first performance—place, date, s of dle Metropolitan, this psy- at all. Sigh contentedly with an name of or- thdr 'fumre f ! explained that until she overcame sounds, or none 1 t0 whine. I Ah. If you manuscript and without a performance); ganization and conductor; names erat *c heights depend hear pure clear, thin glide with the vowels Mah and and about of the soloist in con- laro-elv °P must obstruction her voice would not move up emission of the breath, until you Sing the ems® lves chological supports a rising six hundred and fifty works by certos; prize-winning details; ’ u on how they care of voice. If you hear same body action which Latin-American com- and so on. It is unfor- their P take that she could fulfill the demands this in the middle of the maintain the heakh* h°W thcv and down freely, so hums. Do will not posers. tunate that the first volume is avoid those things which are is the tone, the vocal air, and the free, open throat, you now out of print, but detrLen, - siren-like noise from low to high “knock” at the beginning of column of * S,n er of singing. The a break, press out copies of the second are still - and how to If the voice should available. S hard they study and the tones of the musical scale hear a “break.” imnZe ibeV^ art evei like a sea of sound, tone to The value of the Fleisher Collection to 7 day. The human voice is in you can firmly on your ribs as you move from Widely Used this country manv wavs an island on that sea of sound. Until more to the an extraordinarily are rising breath column, and musical world is incalculable. It is tough organ. It will move irom tone. This helps to regulate the not an stand -m V n freely all over the sea, you cannot The use of the collection covers every part of °rnlou s move vocal the ordinary depository, but a living amoun t of use, is rea- off the throat so that the collection in con- . but injured by agreed that this was and takes a burden United States, Canada, and South abuse in a island to island, and she America and, with stant use. rt ti ’ readily. Future generations of critics and historians !'° me Work does not seem to bands make their adjustment more injure , . VOICE certain restrictions due to post-war sniper^?>U Vl sonable. ,,n conditions, Eu- will be able to trace the development ° atln the . , «v Page 256 of most orches- wllich S simple rules of health experiments there was a llop oi (Continued on ) rope. Shipments move daily by express and are\nm n t0 During her first ’plane. tral music to its source through this gigantic ever7 sensible person demands a low, robust col- terrific toll s r, as it moved from the Music is lent according ' S - “break” in the voice, to specific conditions of loan lection. . h“mann Hei nk used 221 YokeVofrom f to say, “I am all head to toes. (Continued 220 on Page 255) APRIL, 1949 ETUDE Round Table The Teacher’s Student! Organ Teacher’s Job to Inform the Conducted by It is the Maurice Dumesnil, Mus^ Doc. McCurdy, Mus. Doc. wonder sometimes if >t isnt by Alexander F our students fail, I Eminent French-American Pianist, T Do we give them an oppor- T our fault completely? enough questions? Do we give them Teacher 1 tunityTo ask Conductor, Lecturer, and we suggest the proper reading, and much more besides 1 t/answers? Do can get this information repetitions, perhaps one their pup Is Scales be Taught? that there must be should be able to help Should we realize teachers - no to experiment Organ answer que ^repetitions? De we allow students and should take time to senior and have to ex- tremendously I am a high school Do we encourage them things clear by ‘ “^uon with the instrument? tions and make certain studied piano regularly for seven years itself, well as inside the organ scales and at the console as with one teacher. I was given P home to me re- organ by him ThTfailing of students was driven should be allowed to try the arpeggios, but when nry family moved who said to student sixteen-year-old daughter to listen to stops to another city my new teacher told me take a few weeks cently by my n- self to experiment, be patient as it may is your respo chords. could you/students flunk, Daddy, it one note at a time and m that it was unnecessary, and I results. Then we graduate to me “If and in combination, to obtain little hard on her books. - instead. K; ” think that she is a material available in practice passages from pieces hold-down of five notes. litv 1 would There is much a full-hand proportion of my’ s U:tdents Organ Stops and I would appreciate your surely, if a large without Audsley’s Is that true? triad. Finally, they can do Father! but ganist should be Then to a If t - • certainly be the guilty one. He should h* opinion greatly. should fail, I would Their Artistic Registration. likewise in their pieces. perhaps it would not which tells — (Miss) D. B. H., Florida. proportion were small, however, book, “The Modern Organ, “Perhaps you can pass this on to the M Skinner’s Tht Co singing b£ A lady who questioned you about recent months in a ErtXS. !?„: Barnes is a I think you were doing the right thing, much interested in Dr. William H.H CST! well as her V have been American Organ,” by tone, and it will help her as students in a fine eastern organist and I disagree completely with your new was given organ book and should be in every test Sch it ve“ important his students.” This group of questions, gives information teacher, although he is entitled to conservatory of music. In this book Dr. Barnes sincere most basic set of questions Kff hundreds of opinion, and I respect it if he is to me, is about the organs in this country, with seems the ques- reoaretino- the students’ I understand that information on and doesn’t cater to so many Recital Among Ruins tint one could imagine. and comments. The sophomores, juniors specificafions should wish to “get there fast, with as little to freshmen, Emerson L. Richards, brightly in the clear tion, driven mixtures, contributed by The moon shone they did very well, as a ex retnely effort as possible.” seniors." From reports, digested by us all. Another sky above as I and a group of friends md the job regu “and velocity, scale must have been on mentioned before but not Apart from developing Conservatoire whole The faculty valuable book which I have made our way toward the and it might ie by other advantages: it the questions below of Organ I laying, playing has many a recital lu-lv I shall list this connection is “Method de Caen where I was to give .lep.rtnten. in would opportunities for the culture of re.dmof this £>««*£ if every organist affords first such event to interesting for Harold Gleason. Indubitably, last November 5, the of the art . - sense of rhythm, knowl- answers are given at the end pages of this book and unde tone coloring, take place in the devastated city since selves. The read the introductory signatures. “Scales, informed concerning he edge of keys and through it, he would be well D-Day. Cautiously we walked stand the exercises can be the compass of the Pedal? more saturated with arpeggios, and mere the rubble along collapsed pavements 1. What is organ. We should all become compass of the Manuals? application “ orga practiced in a musical way,” says Isidor 2. What is the of the organ and its and sidewalks, avoiding piles of stones, tone on the orga construction the rhythms, the are the four kinds of mentioned may be secured Philipp. “Let us modify bomb craters, mud holes, and other traps 3. What playing. (The books transpose and strive to does 8' pitch mean? ETUDE. —Editor.) accents; let us still in evidence. Without mishap we 4. What through the publishers of 8' mean? of which there are two find technical variety until we can prove reached the mansion, miraculously spared 5. What does the organ magazines, on it, what Then stop has Roman numeral V regularly by everyone to ourselves that our fingers are mas- from total destruction, where the Con- 6. When a country, should be read in this of mean? , makes a specialty This variety in practice is neces- does that . One of these tered. servatoire has found a provisional shelter. does the who plays the organ. of combination setting new organs that sary, for the monotonous repetition of a The program bore only two names: 7 What system reporting the activities of organists, ' in this building employ? their specifications and run, or an exercise, is a thankless task Claude Debussy and Gabriel Dupont, organ are being built, together with Aeolian-Skinner) in- organ is an organ consoles and of and the most tiresome of all.” the latter born at Caen and a young (The Alexander McCurdy contains many pictures of at 8' of the 1st G? Dr. with their • the footage together Let us remember, too, that Chopin genius whose untimely death in 1914 at 8. What is struments that are being rebuilt, footage at 8’ of the _nd C? also articles about Liszt, were great teachers, in- the thirty-six such a great 9. What is the specifications. There are and who age of meant is a string! revised footage at 8' of the 2nd G. truly funny. Some say a celeste times, and so on, sisted on scale practice. We ought to loss for French music. large audience 10. What is the celeste?” are building, the trends of the A 8' 3rd Cr particular orga. organ the footage at of the perhaps they are right on some other magazine abide by their example. had assembled to pay tribute to a native Concert Amid Ruins 1 1 What is And are thought-provoking. The 8' 3rd E and the be correct on which at of the flute! This also may ec ' fic a ‘°‘lS ’ 12. What is the footage Some say it is a serious discussion of sP son, and honor his memory. A coal stove This striking wrong! Some goes into more i picture of Maurice Dumesnil, EJitor of The But actually, they are all and a host of other purred gently in a corner it was some organ. of mixtures, acoustics, and Teacher’s and the itself as being < breakdowns Tone and Flexibility Round Table was taken last November at a con- footage at 8’ of the 3rd G meaning of the word be familial. welcome on that chilly night, but efforts 13. Whath the simply give the which we as organists should cert things with of the works of Gabriel Dupont and Debussy, the note? sound. at Bloomington has pub- There is no need to emphasize the to restore electric power had failed, so Claude name of heavenly The University of Indiana given in Caen, the stops themselves are v y organ virtues of flexibility in every phase of France, the town M. Dumesnil’s birth. 14. What is a Celesta? The questions on recently on their splendid it was by the dim light of candles in of organists reaHy lished a fine booklet Caen us, but how few of the piano playing, for everyone knows that brought from nearby church was the ‘'hot spot” in the great 15 What is a celeste? simple to most of by writing to the Manager candelabra a Normandy offensive belong? informed that a It may be obtained tn family of tone does a trumpet answers? When I am historical data without it there is only dryness of tech- that I sat at the piano and played the 1944, and very few public 16. To what know the the University. It gives buildings were left intact. belong? a trumpet is a Auditorium at does a salicional is a diapason, that rebuilding, and nic and tone. Stiffness can often be over- entire program. Notwithstanding, the patronage 17 To what family stopped diapason instrument, the process of its at the concert was very great. belong? reed, that a geigen is a on the 18". family does a bourdon a salicional is a made. It also come through an appeal to the student’s On several occasions I have mentioned To what fluff that discussion on the tonal changes geigen belong. told students anything a short interesting what family does a I wonder if I have my lists the programs which imagination. The following Gabriel Dupont in these columns. That 19. To flute, has interesting pictures, and MacDowell’s the 8' long at 16' pitch, of an organ. Barnes letter sent by M. L. B., of Columbus, Concert Etude A natural). If is natural, then is a bourdon at all about the working rededication recitals by Dr. his name should remain enshrouded in the A 20. Why re- were played in the a of all questions are the ones Ohio, runs precisely along that line: In MacDowell’s A-flat is impossible, and it should be The most difficult relative obscurity is astonishing, amaz- Etude de Concert, Virgil Fox. . ,,, with the minimum of footages of the particular and by . Measure the G-sharp. imagine that garding the pitches and is important. Wc “May I hand in what I think is a ing, incomprehensible, for his music is 21, natural in the left One would All of this suggested reading reading, or the minimum of for hours to make this clear hand trill is ques- the minimum of at 8'. I have tried important is our valuable way of teaching children—and poetic, sincere, intimate, or dramatic, elo- between C-sharp and Now for the second part of your training, notes do lots of it. Even more be able to answer all of organists who have been playing should yes, even adults—the arm weight idea C-natural, isn’t it? And in the R. tion. too small experience, an organist would to some very good with the organ and then to quent, and often tragic. Above all, it is H. When a pupil’s hand is who are ex- ability to experiment trills between an octave for years and years and pitches, pistons, which a former teacher of mine gave moving and goes straight to the heart. and the note to perform a trill involving an octave, th the instrument theory of organ stops, the case. Nine They take out their forget the above, a young pupil with a small I find that this is not anxious to know about it. of making beauti- me. It might be called the ‘Garden hose’ Debussy admired Dupont, and Gabriel hand it is perfectly all right to arrange it. Unfortunately, tremely and keys and to think only finds it of them. They and always get the pedals, impossible to have speed and ten organists can’t answer half pencils, they figure this and that, you? exercise and can be given in a beginner’s Faure proclaimed him “the most gifted Here you have the choice between leav- out of sounds. I still like music, don’t fluency as it is written. flute and a they never were any ful teaching. imagines only metal Would the judge know the difference between a answers? They say that organ maintenance One the musician of his generation.” I firmly be- ing out the thumb, or using the thumb don’t wrong Finally, make friends with your count off if she omitted the about the footage ot a anyway (maybe they flunked parts at each end of the hose, where the lieve that thumb string. They know nothing „ood at mathematics of these things for you. one day Gabriel Dupont will notes of the on the single lower note of the octave Be Get him to clarify some octave? If she made no of answers which are wrong, of numbers in general). man water enters it and leaves it, as being the pipe! There are all sorts out of school on account a pipe or to take occupy a place next to these masters. pretense of playing and the fifth finger above. latter is him occasionally to remove the thumb notes The then down to tenor G tor have to sit clown and memorize Ask tone. rest of the hose is Middle C to A below, as it may, they just chamber and The limp and The attitude of the musicians, the emo- should I cross them reasonably like front that the pipes in the organ off on the copy of easy and it sounds more 8' set. They have amaz- a pipe with a tape- Vou up among without body. are the which is 8' long in an information; they must measure for you. Our arms hose tion of the audience after listening to music given to the judge? the original the pipe the the things that are difficult than the plain trill. questions on the footage of other to try the stops, and get ac- explain and we must learn to keep them as one, the suites, “Les Heures dolentes” and “la ing answers to the measure, and take time -(Mrs.) L. V. F„ Whichever arrangement you select about difficult Nebraska. 8' pipes. They know nothing pitches. They have a ‘without body,’ as a means for the tone Maison dans les Dunes,” warrant this notes in an set of customed to the different to the test questions: should be marked on the music. I would concede and the Below are the answers structure of a mixture. I cannot the names of the notes to pass from the body to the fingers conviction. The first trill you refer even the basic time remembering to is between add a special note mentioning the registration without when they are applied which are, let us say, the means of dis- That night in Dupont’s C-sharp they know anything about resultant names of the stops Reed, Flute, home town and D-natural (not small size that Notes; 2. 61 Notes; 3. Diapason, C-natural). of your pupil’s hand which Perhaps it is not neces- 1 32 patch. One must keep close watch on the and my own, I again pledged myself to A trill between this fundamental knowledge. ,h lowest pipe in an 8’ set is two C’s, or “the same compelled you to about and how String; 4. Unison; 5. The alter the text. if we don’t know something inquiries as to where fingers which must play upon the tips spare no efforts in order to make his note, is a musical sary but I fear that niave had numerous particular stop: /- Capture impossibility The off. be 8’ long- 6. Five ranks in the Let’s judge should not count shall not get very far. Could this while the arm is so loose that if the in- name better known, as it should be. elaborate a little farther: these things, we 2%’; 11. 2’; 12. Tierce; a trill can Whether 8. 9- 4’; 10. 1%; take he does or not depends upon organists make their organs sound so bad y system;’ 5W= structor picks up the wrist in a dead I feel that the lines above, conveyed place on the keys of whv some Percussion instrument; la. A set C-sharp and D-nat- the degree they know so little 13 uy Larigot; 14. weight there will be no resistance. around the ural, of his intelligence. If he does, they play? Could it be that “beat world through the power- and this trill can also when either sharp or flat to make a ; be between please just grope in the dark, of pipes tuned “I start my pupils in this with the ful channel of will don’t feel too bad. It will simply the instrument that they Be- ETUDE, prove help- D-flat and E double about String; 18. Flute; 19. Diapason; -0. flat. But the latter indicate or ensemble which they 16. Reed; 17. third—the strongest—finger up the ful toward the ultimate that he classifies those for some combination C success of this could not possibly be D-natural. among hunting ORGAN Another examiners cause it is stopped. scale, very slowly, and telling them to example: A-Hat and who first should themselves never find? B double flat question, “What is a (not be examinedl Some of the answers to the 223 222 ETUDE APRIL, f949 The Bassoon Reed

a FTER transferring a likely prospect to bassoon, /\ and making certain the instrument is in perfect C* developing a bas- condition, the next step in Bassoon Clinic Series or making suitable soonist is the problem of procuring usable without a reeds. No commercial reed will be the best hand- Part Two great amount of “fixing.” And even made reeds need minor adjustments to adapt them to "fixing” various individuals and instruments. This of the instructor of reeds must be the responsibility by Hugh Cooper himself. Before until the student learns this process Detroit Symphony Orchestra one can “work” or “fix” a reed, he must be able to Bassoonist, or discriminate among those that are good, bad, mediocre. enough more basic to be had, unless one is fortunate Let us attempt to present some of the the naked eye, the tip should ap- only method lllus. 2. tool invented by Mr. and qualities of a good reed. Contrary same thickness to possess an ingenious little characteristics pear to be the Bassoon reed should blow Christlieb, a member of the Los Angeles to most conceptions, a bassoon all the way across; actually there Don in thousandths clarinet reed. When blown Club, which enables one to measure more freely than a good is a slight taper of approximately point on either blade of a finished alone arid not attached to the instrument, the sound one-thousandth of an inch from of an inch any one of these tools and for the past should be a heterogeneous mixture of the root, plus center line to each corner. reed. I have made the results. Mr. “crow” have used it with gratifying several. of the overtones, giving the effect of a The inner surfaces of the tip three years, good, the tool patented, and I am not or “double buzz.” This is the first test of a opening should be smooth, pre- Christlieb has had 1 he light producing its principle in this article. Crane Chorus and Orchestra playable reed. If the reed is incapable of senting two matched surfaces free to divulge when blown State Teachers College, Potsdam, New York. Helen M. Hostner, Director anything but a single homogeneous sound which must beat together rapidly producing a true bassoon alone, it will be incapable of in producing the bassoon tone. nius. 4. is that the reed sound. The trouble in this instance If this condition does not exist, “wood,” especially in the usually contains too much it can be rectified by sanding I make my personal reeds As the it! back and sides of the “lay.” lightly between the blades with Adjudicator Hears sir" 1 the bassoon, but without resorting to testing them on fine emery paper while exerting Rhythm . . G9 relying solely on the production of a “crow” the blade with Intonation rather slight pressure on bvuy Heleniieien Mxvi. Hnsmernosmer to indicate correct balance between the back and tip or finger. Be sure this Routine Mechanics -10 a thumb test alone, approxi- of the reed. With this simple is done while the reed is dry! (See .Musical taste . . _'i Director, of Music without Crane Department mately fifty per cent of my reeds are playable Illustration No. 3). The tip is one reeds will State Teachers College, Potsdam, New York further major adjustment. The remaining place where poor workmanship Direct commeiulatiou was given for: greater or lesser degree be- need additional work to a is obvious and should be scru- percentage must Interpretation ... .76 fore they are usable, and a certain tinized carefully before selecting the difficult to TaperS N February issue of ETUDE, the writer con- (f) Individuality always be discarded as worthless. It is for the student’s use. S»Ae (g) Accompaniment Tone . . 63 the reed tributed an article on Guest sound of a “double buzz” I Conducting. This Appearance 63 describe verbally the exact The side profile of the blades also gives us an op- topic was given a two-fold <> musical ear can actually consideration—from the 2. Intonation Intonation 9 or “crow;” however, a trained to see “within” the reed. Look carefully at portunity suffice for your purposes and does not standpoint of the guest conductor himself, and from several of its most prominent method should (a) Soprano (c) Tenor Diction V hear the root pitch and the line of juncture between the tw'o blades and see that you the desirable call for a specialized tool. Just keep in mind advance activities of those who prepare (b) Alto. overtones, as it rapidly oscillates up and down the their tapers match (d) Bass Presentation III if they are joined evenly and if of both blades, and a group for a guest must receive a composite picture conductor. A still earlier article e Full harmonic series, producing a wild sound almost like ( ) ensemble Rhythm IS Ulus. 3. proceed accordingly. (January, 1949) dealt with conducting and rehearsal. cheer.” It seems paradoxical that then Auuruv 10 a soprano “bronx the preceding techniques, all of As you have probably assumed from which should lead effectively into 3. Accuracy very unmusical sound is the basis for a fine flexi- this workmanship in a either phase of the In cvall,atin ,olu‘ f 'vor.d>l< and adverse com- paragraphs, the prime aim of fine guest conducting situation. (a) Notes (b) Time values R bassoon tone, but it is none the less true. All fine (c) Dynamics‘ ble each is a high degree of symmetry within This article, by treating the subject of adjudication, menu were made concerning: general quality, blend, will produce a “double buzz.” Sad to finished reed bassoon reeds two op- will attempt bo<| a,ul support, forcing, lightlies consistency, bal- blade, plus near-perfect balance between the to make a practical combination and sum- 4. Rhythm y relate, however, all that will "double buzz” are not ance, poten- blades. This balance of blades in a fine reed niary of techniques and performance as applied to ap- (a) Steadiness (b) Freedom spread, swallowing of (one. breathiness, jjosing (c) Flow fine reeds. of the pearances of tial maturity, spin, whiteness, devitalization, resonance, must be so accurate that the average thickness individuals and ensembles for the con- Generally speaking, fine, careful workmanship pro- within two-thousandths of an inch, with sidered judgment of the expert. Retrospect provides 5. Tone depth, focus, confident c. naturalness, refinement, vi- percentage of fine reeds. Reeds two must be duces the greatest critical for proper kind of a Quality brancy. hootiness, clarity, color, even less allowable error between the more preview for improved performance. ( ) (e) Balance nasality, throatiness, of slipshod workmanship should showing the result “working” or “fixing” a In the first place, a triple b Color (f) Blend legato. areas, such as the tip. In formula will serve to ( ) not be purchased. One of the first indications of good launch c first step is to bring the two blades into as rehearsals. Any conductor ( ) Freedom Quantity Concerning interpretation, statements reed, the who intends to sub- (g) negative workmanship is the reed tube. If it does not form a mit possible. Any scraping or sanding his chorus for adjudication, or any individual (d) Naturalness (h) Control touched were: total conception, unsuitable style, senti- and taper gradually to the perfect balance as ( perfect circle qt the back, bring about gen- singer who seeks an evaluation must have: mental sliding monotony, which produces this result can only . and scooping, choppincss, center wire corresponding to the taper of the bocal, C< n the reed!) ” over-dramatic stress, lack of the dramatic, cheapness, general workmanship of the eral improvement of 1. An Ideal z\ Nj. the chances are that the at raI " ess c balancing the opposing blades, one ( ) Uniform vowel quality exaggeration, interpretation. In addition to 2 to /u\ ? wrong spirit, dishonest product is poor. (See Illustration No. 1). In addition A Pcower ami V7P 00 many di.regard of must produce a symmetrical "lay.” T i! ,S, ,o rem«Ci,lly L S y to a true taper following the radii tradition, lack of vitality, virility, loss of respond roughly _ 7 Presentation lack of Ulus. 1. at the back of the lay. For a springboard from which melodic line, and re- of a circle whose center lies to consider / \ ,, . lack of attacks universal c: nr „r ;, spontaneity, poor performance sincerity (b) Convincing No. The center point of this elements, a typical listing of accepted W quality leases, poor shading and dynamic balance, sustaining (See Illustration 5). dC ‘ al points is provided { ' * ex ression by the official adjudication chart of P complete phrase through to end. (See Illustration No. 4). The individual tapers should t le National School Vocal Association. Commendation The adjudica- 8 Appearance was given for: total interpretative approximately two-thirds of lllus. 5. U be evident throughout, WhlCh indUdCS thC 6ight f Il0W ion ° ' ovcr al1 the a seemingly a Stage deportment ' the'blade merging to form ,ng points ( ) (b) Posture fT'"’- the length of h 1 ™S£projection of the spirit, verve and • In the routine pressure dramatic appeal, for the last one-third of the length. of rehearsal , single knife edge it he! sc I. Interpretation any director, before sltlvlt Y poetic message, atmosphere. Reed tube should match the other, and and artistic effect and after each meeting t'nT™ '‘r!!!?’ V The taper of each blade 2. Concerning tonality find refer- Intonation sider the points which will • on the debit side we match. Two of the most impor- come un for sdinrl.v - also each side should to Cross Sectio n 3. Accuracy To measure objectively 110 feeli Mr central tonality, clinging are at the juncture of these and TmpeUnallJ ‘T r "K tant spots on a reed at'n St * Wer cc " 4. e l * le mutilation Rhythm tabulated list will often raise °i tone - abuse of tri tone, Unless the tapers are thin enough, the performing ™ ° longitudinal tapers. 5- f re cated over- Tone of a group immeasurably. P tone - neglect of cadenced passage, are sadly lacking, regardless It is entirely a to judge workmanship, the tube flexibility and response l ° em ” t,0 " al to being good way 6. Diction effectively bring about simulation. make the remainder of the reed. improvemcnt in each nb 'f, f is important because it is actually a part of the bassoon of how thin you ‘ 1SL °f n 7. Presentation every rehearsal. P the credit side for intonation: sensitivity, defi- judging the sym- T bore, so that imperfections in the tube greatly affect The use of the “light method” of Radial TapeT Lines 8. tC fceIing modal Appearance During a recent season of for diatonic harmony, respect for of tlte lay is rather inaccurate adjudication {!! instrument. I feel that a metry of other sections in whicl tl the playing qualities of the Arc Mirks you are -always Heasj Intersecting tube plays an equal role with the lay and balance in the case of double reeds, because in arrangement and bythrnic as good events, the following specific treatment was negatively referred to picture of both blades, as Increase » r\ tfcper assignation but still practical points were criticized ol blades in producing a fine reed. getting a composite shadow P for 3 1 * marked for improvement. ,ackin attention distorted, it reaches The . S to cross rhvthms. pass through both before sidera“’a fmther breakdteeakdLw°n°Wn of the above -T director mav rea Another way to judge workmanship and the reed the light must eiSht ably expect any uninterest, ng will find points is 'as adjudicator to 8 “ alld continuity, the your eye. Often when using this method, you follows considerate °nm anJ*? is to observe the “tip opening.” At this point spot on the blade, with the thick- points. The number of unsusta mcd phrases realiz- circle is the heaviest direct comments • phrases, gasping at ends of working on the wrong blade and not are inrb.H 1 , f thin as a clarinet reed. If yourself blades should be nearly as ness at any other point determined by its relative dis- 1. 3 dra error until it is too late. However, it is the Interpretation and artistic effect ^ ^"g they are noticeably heavier, it means the reed is not ing your radius. The true taper continues down £, ‘ the ccntC(l beats, tempi- tance down (a) Tempo _ wrong and unsteady in a finished state of manufacture and needs addi- rhythms. given approximately two-thirds of the length of the radius, (b) Unity Positive commendation was balanced. If BAND OPf UCCTDA lctr tional work. The blades also should be degree of taper slightly increases (see 1 *''»nfciTRA ,1 continuity, phrase and after which the (c) Contrast ! the turning of the the other, results will not 'i|" one blade is heavier than curved line on Illustration No. 5). As one can (d) and march, take" in heavy Proportion good “give and be good (See Illustration No. 2). Each blade should and ORCHESTRA 011(1 n/fmto BAND quite readily see, the measurement should be theoreti- CHORUS half of a S kS rdt ' ,SC:> also be individually balanced so that each Wiliian D. Revelli ’‘ ltV ' Edited M°re Edited by cally the same along any Continued on Page 260) ment, a by William D. briefly, diction (good ( nd melodic Hne) Revelli . called forth comments sectioned blade is mirrored image of the other. To ™ol or a P° ) "i respect to refinement of vowels, lan- j oor 225 2P-r ’ P treatment 26-) of ( Continued on Page APRIL, 1949 etude

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movement then becomes a mere show- certainly not what the More About Vibrato piece, which is composer intended. rapid, is not mv vibrato, while fairly Do not change the tempt within the speed or ease and seeming satisfactory in movements. Mendelssohn always care- and uniformity Perhaps you Effortlessness indicated any change he wanted, in the hand or fin- Forum fully just where Violinist’s can point out The evidence in his let- Music! pre- there is ample originates and and and die vibrato impulse Teen-Agers ger very annoyed when a where and how, in hand or finger the ters that he was cisely liberties movement is released. What performer took unwarranted free vibrato by perfect vi- Conducted present-day violin- most fosters attainment of the with the tempi. Many what should be added or elimi- theme of the first with brato and ists play the second A Conference position or finger pressure (or the rest of nated in Harold Berkley movement much slower than what?) for its best attainment." movement, thereby sacrificing the Taylor —M. M., California. the Deems Composer, Author, of the music to mere Distinguished American Prominent Teacher and Conductor natural vitality music is Commentator sentimentality. Mendelssohn s Lecturer, and be in error never senti- Don’t you think you may full of sentiment, but it is when you try to locate in any one part mental—unless the performer makes it source of the of your hand the actual so. than that. by Qunnar Asklund vibrato? It is more complex attainment And as for what most fosters When to Use Open String answer can be the perfect vibrato, the is some of “I should like to know if there musical imprint one word—Relaxation. It is of open No one, perhaps, has placed a deeper uiven in principle in determining the choice Taylor. As a. that you have been trying to in violin playing. If upon his generation than has Deems probable string or fourth finger produced by before acquiring the nec- to the principle? 1 composer, his orchestral works have been vibrate rapidly so are there exceptions operas, is common enough this difficulty all through our leading symphonic organizations, and his essary relaxation. It a have met with Perpetuo. I hope you tan Henchman’’ and “Peter Jbbetson." have Deems Taylor error. Paganini's Moto “The King’s . . . , , , Metropolitan develop a good help me out.” -B. B„ Wisconsin. had successful presentations at the Some young violinists writer on musical as they feel the emo- Opera He has sewed as editor and. to listen to the vibrato as soon radio and recordings; care- quite a question! It is difficult leading spirits in the for it. These fortunate peo- This is subjects: he ranks as one of the well-considered discussions of great tional need cannot Publish- ful, have a natural to answer helpfully, because one American Society of Composers, Authors and ple are generally said to music of all types, put forth by these rules for the use or non- delightfully urbane radio talks they should, instead, be consid- lay down set ers (ASCAP); and his never have seen the vibrato; young people who the open string. Exceptions would both pleasure and knowledge into mil- ered lucky in not having developed an use of have brought inside of a concert hall or an opera house! much Taylor’s present activi- vibrato in their early be cropping up all the time. So lions of American homes. Mr. impediment to the is equally surprising to note the ex- music and only “high- It violinists, with an equal- depends on the style of the ties include, the projection of America’s training. Other cellent taste of these youngsters. Their particular type of passage in program (over one hundred sta- urge towards emotional expres- on the brow” disc jockey composers are Bach, Beethoven, ly strong significant favorite owing to which the notes in question occur. But tions), and the direction of the musically sion, cannot vibrate because, Brahms, Debussy, and Delius. 1 have never that you can Music” interviews which CBS cur- teaching or faulty practice, they here are some suggestions “Week-End With preference for the faulty Sunday heard them mention a over, and make use of or dis- rently uses as the intermission feature of the have developed tension in the left hand ponder astringencies of ultra modernism. I in- sense of musical taste may Philharmonic broadcasts. The boys and girls or arm. Tension and a good vibrato can- card, as your afternoon indication of the sound America terpret this as an it is so decide. are brought to New York from all parts of not exist together. This is why best taste-habits being formed in our schools, passage-work—such as the the Standard Oil Company (New jersey). ETUDE very necessary to train a young student In rapid by longer take he has by virtue of which we can no vi- open strings can obvi- has asked Mr. Taylor to outline the discoveries in the relaxed mechanics of a free Moto Perpetuo- students for granted that young people will cham- far more frequently than made while interviewing teen-age high school brato long before he feels the need to ously be used —Editors Note. pion the music of their own generation he melodic playing, for here the sound on music. use it for expressive purposes. When in for no better reason than because it is enough and they often feels that the music he is playing must would be musical contemporary. When such a group reveals Harold Berkley the performance of a passage Photo by Fast Fotos have the color and life that the vibrato facilitate seasoned concert- fin- Teen-Age Week-Enders in New \ork the excellent tastes of have the necessary tech- that would he difficult if the fourth HE stimulating task of getting high school teen- imparts, he will can rejoice in the inltucnces used. But it is usu- has provided students attended the Deems goers, we nique ready to use; will, in fact, be al- ger were repeatedly agers to air their views about music These musically gifted high school of produced from the finger alone is merely that have built their background. tion between the joints and muscles better to avoid, as far as may be T pleasant surprises, as well as the York ready using it. necessary to ally me with a series of Taylor discussions during the intermissions of New bleat. However, it is very Another thing that impressed me is the arm. a to or from an open taking the . . possible, crossing furnishing me with the kind of facts about music that Highland Without knowing you, I am certain amount of “give” in the Philharmonic program. They are John Russell Laidlow, view which these attain evenness in the swinging have a that the hearteningly practical you feel a vivid need As you string on a half-step. don’t get into textbooks. Let me make dear for granted that finger joints while the hand or arm is Park, Michigan Lois Langley, Seattle, Washington: and Robert of professional music. your arm, its speed can gradually be playing, the use of appear during the CBS-Phil- ; youngsters take for the vibrato as a means of musical of produce In purely melodic young people chosen to be over- vibrating. A rigid finger will alkling, Bala-Cynwyd, Pa. Here they are listening to the famed Seventy-five per cent of our "Week-End im- increased. But still do not string on a prominent note is intermissions are all students in America’s W expression, but that some technical how well the an open harmonic is much a cold tone, no matter Vera Appleton and Michael Field. With Music” teen-agers wish to devote producing anxious for speed: relaxation inadvisable. Nevertheless, it public and parochial high schools. No music school concert piano team of pediment prevents you from may be functioning elsewhere. generally careers—yet hardly important at this stage of the vibrato that the avoidance themselves to musical it be produced. With some more frequently happens it as should In the final analysis, the vibrato does toward the future in game. string means crossing strings any of them look thought and some patience you can get the finger, the of the open the vibrato not primarily originate in I wenty years players find that arm a change of terms of virtuoso glamour! rid of that impediment. But it may take Some rather, for a single note, causing the shoul- hand, or the arm; it originates, music" meant violin or comes more naturally from which is almost equally un- ago, “studying a little time. player, as a powerful tone-color or conservatory students are eligible. the forearm. You deep within the piano lessons; and the candidate for professional 1947 I had der; others, from pleasant. In passages such as the follow- In ETUDE for October to beautify and appropriately color This means that those who come to us which use whichever is most natural to urge of Han- honors lived in an ivory tower world of dreams article on the vibrato, telling how should ing from the First Movement a long the shoul- the natural tone of the violin. (three a week, during the entire Phil- Paderewski ora you. But if you vibrate from Sonata prepared him for nothing short of a it could be taught and developed. If you del’s D Major harmonic season) reflect the kind of and be careful that the vibrato does not Kreisler success. It was Carnegie Hall or nothing, do not have a copy of this issue you can, der, Concerto taste-habits, hearing-habits, and playing- Ioday, the become unmusically wide. Tempo of Mendelssohn generally it turned out to be nothing. I am sure, obtain one from the pub- habits that our general schools develop. and as you can vibrate evenly and what are con- dreams are still there, but they arc less highflown lishers of the magazine. In the mean- As soon “Will you kindly tell me Another interesting fact is that the most and speed from either the the correct metronome markings for are far more practical. For one thing, the violin time, here are some suggestions you may at a moderate sidered talented students, musically speaking, Our arm, you should try to blend the three movements of the violin C.onceito the piano are no longer the only doors to music. profitably follow. wrist or the vibrato Is one allowed much free- also rank among the A or B group instruments— the two into one. For the ideal of Mendelssohn? young people are studying orchestral In the first place, don’t try to vibrate within each scholastically. Musical talent seems to go wrist and arm. At first, dom in changing the tempo the Romance by oboe, and they is a mixture of and these . two from ’cello, tympany, flute, horn, trumpet— rapidly. Try, rather, to vibrate with com- movement?” —Miss L. M., Illinois. hand in hand with intelligence, energy, notes of moderate length-three or can feel pretty sure of using their skills in orchestral plete relaxation of hand and arm, and take Svendsen and drive; and this talent is no longer and play four notes with work. This, loo, points progress made evenness. Develop first an four seconds— be given badly balanced, to the enormous with perfect Metronomic indications can only lop-sided training. the wrist vibrato, then four notes from Ex. B possible by radio and recordings. even and relaxed vibrato from the wrist approximate, for even the greatest artists arm. Then two with each, and finally As a result of becoming familiar with music through joint, no matter how slow it may be to the their tempi slightly An-All-Inclusive Development scales in are apt to change — two-octave 1 | J J J listening, number of elim- one note each. Play ~ wc have organized an increasing begin with. It will be A means of from one performance to another. But ^ si* In first in these tluee ways. n X meeting these young people, I were to various positions orchestras. Twenty-five years or so ago. there inating any tendency you may have here, approximately, are the markings was impressed by the way in you find that you arc changing which mu- eighteen land; today, stiffen your forearm or upper arm. When When symphony orchestras in our sub- you want; Allegro molto appassionato, sical development is no longer type to the other almost confined ASCAP has Certainly, you are conscious that your vibrato, from one Al- Ex. C licensed nearly two hundred. of the j= 100-108; Andante, 7= 92-96; to our large urban music centers. consciously, shorten the duration The not all of them are they are there, though slow, is relaxed and even, then Allegro molto of major rank—but later, legro non troppo, J = 100; teen-agers come all seconds, then, PH ^ letc. from over the coun- notes. At first, two 1 they exist, and they a background gradually increase its speed. j — furnish not only will fintl that vivace, J = 88-96. try, from towns, villages, and rural areas one second. Very soon you for our youngsters, hundred sym- the wrist vibrato comes under con- first third but a future. Two As and that You will often hear the and as well as from cities: and unless one the the two types are combining phonic orchestras offer the possibility of jobs that tfbl, you can begin to experiment with played considerably faster knew their residential even and musically movements backgrounds in possible. this, you are producing an open strings are definitely preferable young musician of my day never dreamed the arm vibrato. When practicing than the tempi T have just given, but the advance, it would be quite expressive vibrato. Handel ex- Fotos impossible This is has in is hang- to stopped notes. In the Photo by Fast the work that the talented youngster endeavor to feel that your arm don’t let this influence you; the musical to place them geographically. Youngsters You should bear one point in mind on the D string Illinois, Kentucky, and mind today. I I*ave ing almost limply between the shoulder sacrificed ample, taking the A Teen-Agers from from Several of the teen-agers to whom relaxation in values of the movements are what used to be known as while you are working for three changes of string the spoken, have in pro- joint and the tip of your finger. Then fast. the would involve on the Air already taken their first steps joints of if the tempi are too Take Vermont Hinterland are as well versed in music your arm: Do not allow the within three beats, and tessional music. plays cut let it swing loosely and rhythmically to typical scherzo—one of and tone-color as those who live One sixteen-year-old girl rigid. There is Finale. It is a near Carnegie Hall. the the firmly on your fingers to become emphasize the difference in color Seattle Orchestra. Albuquerque girl of and fro, keeping the fingertip Mendelssohn’s best. But the gloriously would It is really astonishing-thougli An thing as an actual finger vibrato. none ceremonies, perhaps re- first, sounds you make no such the D string and the E, Dr. Deems Taylor, composer and master of same age is in charge rehearsals— the string. At the playful character of the music vanishes between it shouldn’t be!— to observe of local choral is room for it in the at first-hand cently o beautiful, but you will be At least there no (Continued on Page 261) Rucker, and George Orel. she drilled her group for the premiere may not be when a very rapid tempo is taken; the talks to Lowell Creitz, Malcolm the groundwork that has been esthetics of tone production. A vibrato done by Schoenberg's —>°) developing the all-important coordina- Survivor of ( Continued on Page 226 etude APR1L, 1949 depends on the 3. It individual piano the large concert Nineteen-Twenties in Paris, In general, grand piano URING the early How Important Is Weber’s Law? finest tone that of the musical public was centered has the has ever been the curiosity law is so some young composers, rather O. In my opinion Weber’s developed in any piano, but often D in the music of the deserves to be the very "The Group of Six” by a significant that it very small grands are actually inferior ineffectively christened theory. One aspect cornerstone of musical tone to the larger uprights. journalist who perceived some analogy with discrimina- in Parisian law is that auditory of Weber’s Answers In general all grand as the Russian nationalist Balakireff 4. pianos Five,” Nineties keener in ap- have a "The the Gay progressively and in tion liecomes Questions Rimsky-Korsakoff, and Musical Boston little harder action than most pupils Cui, Borodin, softer end of the volume uprights and his proaching the critic this in here again it depends were sometimes termed. The young range. Judging interpretation with but on the° in- M usorgsky least "1 he to be played dis- piano, and there realize that while for a time at mind, most music seems dividual exist many failed to a Specialty to get a better Conducted by in their esthetic creed, from the Pursuing tinctly too loud. In order upright pianos that are very difficult Five” were united your to their I would greatly appreciate composers were alike only in perspective, play because their action is so stiff. outset the French —V. E. H. M y evaluation of Weber’s law. a common source of musical education, advice is that you go to a music store youth and Gehrkens, Mus.Doc. force of Karl W. play on several different Paris Conservatory. The chief animating Burlingame Hill which states that the and pianos, the by Edward A. Weber's law, radicals was the eccentric but intelligent to pro- then pick out the one whose tone and these young increase of stimulus necessary Emeritus poet, critic, Professor appeal to Satie,' although the dramatist, and sensation in any action you most. You may Erik duce an increase of exercised a considerable influence Teacher College need to pay several visits to Cocteau, also Boston Composer and fixed quantity, but de- Oberlin the store Jean Fourth in a Series of Articles by the Noted sense is not a Erik Satie was of French and Scotch ex- proportion which the in- Webster’s New before coming to a final decision, but over them. trends on the Music Editor, was eclectic, includ- Harvard University piano is traction. His musical education E. Ditson Professor of Music at the immediately preced- selecting a important enough to Formerly James crease bears to Dictionary in modal harmony, theoretical an important International make this amply worth while. ing an early interest ing stimulus, is indeed at the Schola courses at the Paris Conservatory and basic principle in the branch of science founded by Charles Borcles, Alexandre was no psycho-physics. But so far as Cantorum pian- but difficult of confirmation, since Debussy known as What .Does Sposalizio d’Indy, in opposition to the sical Society. Later, Ricardo Vines, the eminent primarily Mean? Guilmant, and Vincent in the abolition of “scientific sound is concerned, it applies by of Debussy and Ravel longer alive. He believed Assisted of the Conservatory, with the aim ist who brought the music chief value to educative policies the conventional procedures of “thematic to dynamics, and is of before the public, performed a similar service for music” with Q. i. What is the meaning of the continuing the principles of art inculcated by their instead, basic physicists and psychologists, rather than Professor Robert A. Melcher of Across the Atlantic development” and would substitute, word sposalizio, which is used was Satie. His music was published. ^ as the teacher, Cesar Franck. But Satie’s individuality wrote: Satie practical musicians. Certainly it has placed a directness of music style. Cocteau once to Oberlin College title of a piano composition by Liszt? by these tech- the American pianist George Copeland courses too positive to be affected permanently of our epoch: that of little if any relation to regular on one teaches the greatest audacity 2 . What should he the tempo of the the material Gnossiene suggested by ’s Salammbo nical studies. He merely assimilated in the future theory which include the study last Debussy being simple.” Satie was a firm believer in music movement of the Italian Concerto Debussy had of his recital programs. Early in his career rhythms, har- necessary to his artistic development. by the triumphant of keys, scales, chords, by Bach? — p. H. Gymttopedics, originally for of the ballet, influenced no doubt before the Armistice of 1918; Ravel had had orchestrated Satie’s counterpoint, form, and so forth. died shortly success of the annual visits of Diaghileff s Ballet mony, piano. These were performed in Boston by an ama- begin established his fame, although some of his best works audiences with According to Weber’s law, it is prob- A. Twenty-eight is a bit late to famous Russe,” which had astounded Parisian A. 1. Sposalizio is an Italian word Paul Dukas had reached teur orchestra under the leadership of the to be professional career in were still to be composed; “Petrouchka,’ and 1 lie Rite ably true that much music seems to prepare for a which means "wedding.” Longy. Interest in his music was stim- Stravinsky’s "Firebird,” zenith of his career, while Albert Roussel, despite oboist, Georges loudly. But there are so many music, but it is not too late to begin to the Spring” besides Prokofieff’s inimitable Chout. played too 2. This movement is fanciful, often fantastic, titles affixed of usually played at notable achievements, was still to attain his most ulated by the be considered that most piano, harmony, and composition some subjects of Satie’s ballets are far removed other factors to study about 120. pieces, supplemented by humorous directions But the J= characteristic and mature idiom. to his fine artists obtain splendid, and often for one’s own pleasure. So I advise you from the Russian world of fantasy and imagination; as to the manner of performance. Pieces in the shape itself, and perfect dynamic results without ever to begin to work at both piano and a Dog, they are drawn from the life of the theater A Legendary Figure of a pear. Cold Pieces, Genuine Preludes for law is of possible. will having heard of this law. The harmony as soon as You Information About Leybach Descriptions, Dried Embryos, dealing with especially the music-hall. in music, stemming from poetry and Automatic value, for instance, to the radio to back to some very Impressionism Satie’s even in his songs, is inevitably practical probably need go plants. These titles indicate Satie’s predilec- While music, longer a live issue; it had been re- marine it is to control the to painting, was no : capable of sustained engineer whose task easy piano material so as to learn O. I am writing in the hope that you the ironic humor and origin- humorous and ironic, he w as other materials for controversy, polyhar- tion for the, grotesque; volume of tone that goes out over the play simple things perfectly and with can help to satisfy my curiosity about placed by seriousness, as shown in the vocal work "Socrates, one ality of his music whetted one’s curiosity to become artist per- the composer of one of my favorite vnony, or the use simultaneously of more than with air waves, rather than to the tradition. It is, however, probably rein- real artistry; and if you are to be even Satie was vivacious for which he derived the text, as he asserted musical style of Richard acquainted with the composer. concert hall. tend pieces. Could you suggest where I might tonality, as exhibited in the translations of the dialogues forming in the forced by the fact that comppsers an amateur composer you will of course given to a not entirely compre- great satisfaction, from find more information about Ignace “Elektra,” and the rise and talkative, much to write their more brilliant composi- Strauss’ operas, “Salome” and consistent personality, his need to learn the basic things about hensible Parisian slang and entirely prepared, even of Plato. An unusually Xavier Joseph l.eyhach? 1 know only the twelve tone scale devised of composition based on r It was Do Keys Have Different Colors? tions in the sharp keys and their more constructing and combining both chords art to an word w as esthetic law to the “Group ol Six.” that he Irorn in Strasbourg in eager, to expound his views on musical was 1817 , Arnold Schoenberg and employed by him and his somber ones in the flat keys (although melodies. if by to be present at an afternoon of Is there any validity in the idea that and But you are genuinely visitor. chose for our meeting place a my good fortune O. was organist in Toulouse Cathedral, novel styles furnished the subject for American He tonal colors? many specific compositions could be interested in music will disciples. These Satie his disciples arranged most con- different keys have different you not mind wrote many organ and piano pieces— St. Lazare, undoubtedly as noisy a music by and practice in the works of "The Group cafe in the Gare this he true, regardless of cited to refute that theory), and we doing either of these things. argument and benefit of the American visitor by If so. would So I sug- among them the well-known Fifth Noc- situation as one could find, with the constant arrival siderately for the Six.” Erik Satie happened to span the period whether an instrument were tuned to consider sharp keys brilliant, not be- gest that you begin to of' supporter of “The Group.” A highly divert- work at once turne. It is also known that he studied and departure of trains, the piercing shrieks of loco- a staunch pitch or not? antedating musical impressionism. He was also a standard cause they really are so, but because we under the best with I find nothing presented, including four-hand ar- teacher in your own com- Chopin, hut can motive whistles and the endless clamor of street traffic. ing program was I have always felt that sharp keys had pioneer in the use of polyharmony. He thus affected have been conditioned to that response munity, and after five or six months of else, even after an exhaustive search. coffee to which he rangements of the ballet “Parade,"’ by Satie and while fiats have a more Consuming endless demi-tasses of a brilliant effect by the brilliant pieces written in sharps. —Miss E. to a certain extent Debussy and Ravel, the "Group study you and your teacher will be able J. Satie lost time in ex- “The Ox on the Roof” by Milhaud. In the latter soothing effect. However, a friend of mine Arthur Honegger, added a Normandy liqueur, no The Key of C is usually considered un- to of Six” including Darius Milhaud, jazz rhythms imagination. I should decide whether you ought to con- importance in French work a polyharmonic style and modified tells me this is purely Cyclo- Auric, as well as the less plaining his own historical colorful and commonplace, not because tinue to work there or A. I find in the “international Francis Poulenc, Georges expressive and humorous effect. very much appreciate any information on go away for study music. were used with it is pedia of Music and Musicians” the fol- important composers Louis Durey and Germaine the subject. —E. L. C. actually so, but because so many at some fine music school. Later, piano pieces by Poulenc were performed. No lowing "Ignace Xavier continuing even with the so-called School simple, commonplace exercises are writ- information: Tailleferre, Directness of Style more effective summary of the technical features and Strasbourg chief representative was Henri that it is generally con- ten in that key that we have built up Joseph Leybach was horn in of Arcueil whose these composers could have been A. I believe Shall Parents Attend Lessons? to Satie he was the first to use harmony the original style of 1891. According sidered that sharp keys have a brilliant a reaction to the Key of C by long as- in 1817 and died in Toulouse in Sauget. compressed within so brief a space of time. Q. i. I give piano lessons as a coloristic background, thus preparing the way sociation and several of Kalkbrenner, years Satie had been an almost legendary effect while flat keys are more soothing. with the dull, uninteresting He was a pupil of Pixis, For some Darius Milhaud, after a thorough technical drill the mothers want to stay in the room while for impressionism in music, and a direct influence music we have heard and performed in and Toulouse figure. As far back as 1911 Ravel had performed some But since I do not know whether or not their children are taking Chopin; was organist at plausible, at the Paris Conservatory, Continued on Page 264) a lesson. I do not Independent Mu- on Debussy. This statement was entirely ( scientific basis for this that key. believe Cathedral for years; and composed of his pieces at a meeting of the there is any the children do as well when there many If you are interested in tracing this is piano, as theory, I asked a psychologist friend of someone in the room, and I should like more than 200 salon pieces for matter further, you will it your is mine who has done much research in find discussed opinion and advice on this matter. well as organ pieces and songs.” This A GROUP OF FRENCH MODERNISTS musical problems. He tells me that with in the book, “Sound,” by A. T. Jones. 2 . Do you like arpeggios and different not very much more than you knew be- This may be secured from the publishers fancy endings attached to church keyboard instruments tuned to the even- hymns? fore, but it is all I am able to find. 3- Does a concert grand tempered scale, there should be no actual of this magazine. piano have a more beautiful tone quality than difference among the various keys since an ordi- nary small upright piano?' What Does Colla Voce Mean? half-steps are equidistant. I all whole- and Am Too Old? 4- What make of concert grand is easiest differences that are Because of small Q. I always read your page in to play? I do not like a ETUDE piano with a hard Q. Could you tell me the meaning of into various tuners’ action. hound to creep and it has helped me very much, so now I -Mrs. means c w A _ colla x’ore? I know that voce work, however, there might be some want your advice about a problem of my voice, but I am unable to find the the chords of own. I shall soon he twenty-eight years old, A. 1. slight differences between My opinion is that it is a fine meaning of colla. —B. M. F-sharp. But and I have been interested in music ever thing for remote keys, such as C and a parent to attend some of since I was nine. At that time I these differences disappear when studied the child’s lessons, even but not all. Parents A. It to piano, but quit lessons after completing is a warning to an accompanist one changes from one medium to an- are often entirely ignorant of part the second-grade book. When I was fourteen what the be extra-careful to follow the solo other, such as from woodwind ensemble teacher is trying to do for their 1 began to compose little melodies, and I children, at that point. Of course a good accom- to string quartet or orchestra. have become more and because their cooperation fine and more interested in with re- panist does this all the time, and a My friend thinks that in the days composing as the years have passed. gard to practice is so very Some important, I accompanist listens so intently to the when keyboard instruments were tuned months ago I wrote wffiat I think is my am in favor of having one or the other singer (or other soloist) that he often to the pure or untempered scale, psy- best composition— piece that I have called attend an occasional a lesson, say, one a literally there ‘ breathes with him. But chological differences probably did exist Blue Velvet” although I am not satisfied month. This also gives the teacher are pieces, title. a often passages in songs, violin with the chance to among the various keys. Most likely, in- tell the parent what to Do you think I am too old to begin to kind of and so on, that the composer expects struments tuned to the key of E, for in- thing the child ought to be study the piano now. and will you also rec- emphasizing be performed rather and to in "free rhythm” stance, tended to sound brilliant, where- ommend some books stress the fact that the on composition and pupil must than in “strict and at such as those tuned to D-flat were more practice regularly rhythm,” orchestration? I shall appreciate whatever in a quiet room with out points he sometimes writes the direction somber. advice you may be able to give me, especi- interruption or other disturbance colla voce, which literally “with this difference caused by un- ally as to whether I should study S. ^No, I do not means Today under feel that “fancy are end- the voice.” The words colla parte tempered tuning no longer exists, but one of the local teachers or go to a ings or other ornamentation of church voce, conservatory. — sometimes used instead of colla the idea remains as a sort of musical E. B. hymn tunes are in good taste. and they mean exactly the same thing- 228 etude APRIL. 1949 229 ?

DANCE OP THE IRIS WALTZ CAPRICE opportunities. The thang Tomorrow’s Audiences! charm and out- of-the-ordmary keyboard Iris is invested with Today’s Children Build Sarah Ball Brouwers’ Dance of the

A Conference with HEN I returned home from my studies in France, I had an experience which helped shape Griggs Wthe course of my career. I attended a concert Hazel Auditorium (which seats about in the Houston City Eminent American Pianist and three thousand), at which a major artist of world-wide Specialist in Children’s Programs recognition played to an audience of about five hun- dred listeners! I noted, also, that this audience was preponderantly feminine. In France, concert audi- ences numbered more men than women, and in New York the sexes were pretty equal. That set me think- by Myles Fellowes ing. It worried me to see so great an artist playing to so small and so feminine an audience—to admit that the music-habits of individuals formed in youth the pleasurable inculcation of good tastes and habits, seemed to mean so little in maturity. Something, the bringing of actual music (not lessons!) to chil- somewhere, must have gone wrong with our system dren, is better managed abroad. Let me show you of inculcating those music-habits. But what Next, some of the things I saw! I looked into the state of music teaching. In Houston Jn England, the BBC has for years sent out con- alone, I found a large number of accredited music certs for children, cleverly presented by the team of teachers. (Two hundred piano teachers advertised in Babson and Young, a pianist and a narrator, who the daily press!) If there were that many teachers explain and then present, always as pleasure, the functioning, one could conclude that there must be kind of music that young children can understand. a large number of children taking lessons. And that Also, quite independent of their radio work, these was all to the good! What happened, then, after les- gentlemen visit certain schools where they give sim- sons stopped? How was it that so many pupils yielded ilar music fun to the youngsters in their classrooms. such scanty audiences? How to explain the stoppage To my knowledge there are neither radio programs of music interest? The conclusion at which I arrived nor classroom visits of artists, developed exclusively education our children was in- was that the music of for children, over here. Yet, if we expect today’s from the very start—they were given lessons, complete school children to grow up with a genuine love for little encouragement or opportunity to hear but very music, there should be such projects! as entertainment. music In France, Les Jeunesses Musicales de Trance, un- der the direction of Rend Nicoly, founded in 1940 A Different Picture (during the War) carries out the dual purpose of pre- only years ago, there were too At that time, a few few senting concerts for the young in 'the schools of all presenting to and for chil- groups in our land music France, and gives special performances in Paris. The dren. One of these—the Philharmonic Children’s Con- program material is sent to the schools in advance, was active only in York. Another, the Helen certs— New for pointing-up, study, and discussion. By the time Norfleet Trio, toured the country. Thus I learned the performers arrive (they include soloists, chamber the children who did not live in New York, and that groups, and choral groups), the youngsters are ready had no opportunities for official concert-going, were to enjoy something about which they already know. simply deprived of hearing such music as they didn’t Photo by Bruno of Hollywood And enjoy it they do! These programs, under State happen to hear at home. Our schools concerned them- subsidy, bring the best in music and the best in per- selves with teaching music (which is quite different Hazel Griggs formers to the classrooms of France. The musical from presenting programs for pleasure). Further, in material is graded according to the ages of the little both the Philharmonic and the Norfleet concerts, only listeners. Public school programs include uncompli- orchestral and chamber music could be offered, which cated works of strong rhythm and strong melody. meant that there were no facilities at all for the Hazel Griggs was born in Dallas, Texas, of a High school programs are more advanced. public-school-age child to hear programs of solo mu- musical family which encouraged the child to “In Switzerland, I saw the work of the Zurich Con- sic. Having thought things out thus far, I saw why develop her marked aptitudes. As long as she can servatory, which reaches Switzerland. that Houston concert had been so poorly attended. out into German remember, Miss Griggs has played piano. They follow much the I have just de- I saw also that there was work to be done in bringing She same plan began lessons scribed for France, a fur- music to children. Accordingly, I arranged recitals at five and, at ten, entered the except that they introduce ther useful step. sent of music—not about children, but for them, includ- Kidd-Key Conservatory in Sherman, Texas. As After the programs have been to the classroom teachers before ing such pieces as they could understand and even winner of the Texas Federation for preparation, and of Music Clubs the artists come to play, a day is arranged for a local play themselves. (Such works include the early Bee- Scholarship, she attended the Cincinnati Con- music teacher to point out thoven “Sonatinas,” parts of Bach’s “Anna Magda- servatory, come to the school to where she studied under the late Mar- themes, lena Klavierbuechlein,” Schumann’s “ for the answer questions, and generally give the chil- guerite -Liszniewska pupil and dren Young,” Mendelssohn’s “Songs Without Words,” ( assistant such information as the class teacher might not of Leschetizky). Next, she came possess. Schubert’s “German Dances,” Octavio Pinto’s “Chil- to New York, Dr. Rudolf Wittelsbach, Director of the where she won Zurich dren’s Scenes,” charming works by Tansman and a scholarship at the David Manne’s Conservatory, pointed out an interesting con- viction Goossens, and American folk music arranged by Paul Music School, her teacher being Bertha Bert, of his in planning the young people’s con- one-time certs. He inclines their Nordoff, David Guion, and so on.) The project of assistant to Alfred Cortot, and later was to begin the little people on musical journey with the bringing music to children, of trying to give them awarded the Walter Scott Foundation Fellowship the flute, the oboe, and clarinet, rather His sound musical tastes before they were ensnared by for study in France than with piano or orchestra. under Cortot himself. On re- reason lesser values and thus getting them to accept good turning is that these instruments give the untrained home. Miss Griggs launched her ear music as pleasure rather than own a clear idea of tonal melody. A as “lessons,” had no cat quality as well as eer as pianist and specialist in presenting ute, for public “glamour,” but it fascinated me. What fas- mu- instance, with piano accompaniment, results sic to children. In this field, she in two lines cinates me even more is the knowledge, today, that ranks as pioneer of music, each of vastly different quality. and foremost practitioner. piano children respond eagerly to concerts of this kind. I She has made coast- selection, consisting of several lines of the to-coast tours same quality, can report only delighted enthusiasm on the part of devoted exclusively to presenting would cause confusion as to melody, piogiams accompaniment, very young hearers who have the opportunity of mak- foi children and has done more than and so forth. ing friends with good music. any Again, the Zurich curricu- other concert pianist, perhaps, in developing Conservatory offers two When I embarked ums, one for profes- on my foreign tour, last sum- this important field students who hope to become of building musical tastes sionals, mer, I combined each playing engagement with an and one for amateurs. I think, and habits. Miss Griggs’ recent concert It is significant, investigation of Europe’s present methods of bring- tour of at ln a CIt of four amateur ; Y hundred thousand, the Europe has yielded interesting results in cioo, ing music to children. The results of what I saw come her ob- has an enrollment fifteen servations of something under to this: teaching, of bringing music to children, un re music music teaching materials, (while the professional school numbers some- group participation in bands, orchestras, and so forth, -Editor’s U lder one Note. Tn ', hundred seventy-five). are better managed here—but Alt this the sheer joy of music, splendid work being done in bringing International Copyright secured music to children as pleasure ( Continued on Page 261) Copyright MCMXLVIII by Oliver Ditson Company '230 231 etude APRIL 1019 i —

ECSTASY plan , makes-J.n excellent romance for } composition very slowly at first piano piece, the “theme song” of a coast-to-coast radio broadcast, advisable to study this so that very effective frequently ^played works.lt is This is one of his y composition especially Chopin’s G-Sharp Minor Mazurka make this be - with abandon. Grade contrasts in tonal effects au when played 5. PELUSO will be especially clear.T ThThe effective THOMAS the voice leading in such a measure as the sixteenth „„ /~* T t /~\ n t m espressivo t Andante ul. Grade 4. ^4 — 1 ten. Mesto(J = i38) ^ 5 5 -T^ I 1 Jf. 2 2 5 ^4 " 4 - - /r-£&ffii rs ^ n~ m 0 A* • 1 V= i i —J ^ - — J- j j #M= hf i M p mT a ; —> " P : & • 4-4-=4= pz 1 l —#- • (m — a s

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British Copyright secured Copyright 1945 by Theodore Preeser Co. 235 APRIL 1949 KNOWBST THOU THE LAND

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236 APRIL 1949 STUDS DANCING IN A DREAM EVENTIDE care u AT grasp of the average player, e HARP SOUNDS here presents another fascinating piece well within the LOUIE FRANK Stanford King KING full value. Grade 3. STANFORD for their

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239 APRIL 19i9 EL CAPITAN Quixotic hero, was^one^hm swasnoucaiiiig.“tiling opera with ._D„. g«,s. Sousa’sSousa's brilliant march, which is ihethe outstanding number in hishi, the stage for years. Sung by the excellent baritone and comedian, De Wolf , it held Arr. by Henry Levine - _ - . 3 1 f ? A A A . . 2

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Copyright 1948 by The John Church Company Copyright International .APRIL 1949 240 j STUDS MINUET A L’ANTICO No. 3 settled in Chicago in 1S81. He studied William Charles Ernest Seeboeck (1859-1907) was an Austrian pianist, teacher, and composer who his Minuet, which has had a very wide sale. for two years with Brahms and with Rubinstein. By far the most popular of his compositions is Grade 5. W. C. E. SEEBOECK

213

APRIL 1949 ROCK OF AGES THOMAS HASTINGS SECONDO Arr. by Clarence Kohlmarin

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Copyright 1945 hy Theodore Presser Co. 244 etudr APRIL 1949

I Registration THE STRIFE IS O’ER CARNIVAL DAYS Hammond (PALESTRINA) (iO) 00 4323 2il @ H. ALEXANDER MATTHEWS do) 20 7755 201 Slowly

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APRIL 1949

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.2,57 APRIL 1949 A JOYOUS EASTER SONG

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APRIL 1949 —

to make . learning • Lucky children . . the poser would use such melodies as themes America Holds for a major orchestral or chorale com- of their daily lives! JOLLY LITTLE BROWNIES of the Musical position. music a part Hopes “No, I don’t mean that,” he said flatly. Grade 2|. World “Composers devise their own themes And learning to play the modem way more often than not. What I do mean Continued from Page 215) ( is that there is a spiritual atmosphere in is fun! Simple pieces can be mastered that hovers around these age-old mel- everything that Europe odies, and that when a once not imitate man an amazingly short time. But a good piano Europe has done may f" done What breathes in that atmosphere he is never thing to do, or the way the same again. He begins to live on a m be the best to learn on is essential— piano whose n° be the best way a w done it may not higher plane. His feelings for harmonies, be done. I daresay that developments, all which it could contrapuntal idioms, light, responsive action makes learning t were living to- Beethoven or Brahms are changed because he has learned the write in the sonata they might not simple musical truths that came straight easy; whose wealth of tone day form for form, good as was that from God, and are to be found in music tlLro some- purposes. They might find like this. makes learning fun. their with your w better now. It is so “Mr. Brant, -I think these are the composers. I have read hundreds things that your composers, our com- voung Acrosonic works, for I am interested in posers, ALL composers must learn. Until ...on which Such a piano is the If t heir for the most part did the world music. I find we learn them, we are—how teacher, who tells them ‘sounding brass, tinkling - incomparable in the small thev go to some Psalmist say it— — done thus and so, and things must be cymbal’—.” teachers blindly. They jumped to the floor piano field. Built by Baldwin, the they follow their At this point Fdxy to huild! famous teacher remind me of a certain and ran to the door. Mrs. Vaughan Wil- years ago; all the am- her husband to call the deaf Acrosonic is famous among in France some liams asked were going to the bitious young composers maid (who evidently had not heard master of theo- know piano tone and him for he really was a bell) to serve tea, and after tea the shin- people who But he so set the stamp ing sun invited the taking of a few after- retical music. qual- on all these stu- lion-maned Vaughan action — famous for the very of his own individuality noon pictures of their music all sounded alike. Williams, his patrician wife, and Foxy! dents that inspire be, if we are ities which your children need to Such things should never A partial list of the music of Ralph genius burning record- to have true individual Vaughan Williams available on their efforts, to speed their way to at its brightest. ings is given herewith: old Delius, “I am reminded of poor HMV DB-9024-28. Job, a Masque for who wanted one of your theorists to Dancing—British Broadcasting Orches- learning. teach him harmony when he was down tra referred to in Florida.” (Note. Williams HMV C3388-92. Symphony No. 5-Halle Thomas Ward, former organist and Orchestra, , Conductor choirmaster of the Church of SS. Peter Victor DM-916. London Symphony— and Paul in Brooklyn, whom Delius met Cincinnati Orchestra, Eugene Goos- in Jacksonville in the early eighties.) sens, Conductor “The chap refused to teach Delius har- Columbia MX-121. Serenade to Music— mony after hearing him play some of BBC Orchestra and Chorus, Sir Henry his own compositions; he said Delius Wood, Conductor knew harmony better than anybody Columbia MX-159. Suite English Folk- could teach it to him. I remember he songs—Columbia Broadcasting Orches- did teach him counterpoint, but said he tra, Howard Barlow, Conductor wouldn’t ruin Delius' harmony for any- Decca AR982T26. Mass in G Minor thing in the world. Now I call that a Fleet Street Choir, T. B. Lawrence, wise man, and that’s what I mean about Conductor your young composers. They mustn’t let Columbia MX-300. Fantasia on a Theme Or- anybody take their individuality away of Tallis—Minneapolis Symphony from them.” chestra, Dimitri Mitropoulos, Con- ductor Simple Musical Truths DM-7. Concerto for Oboe and “Another thing. I think your country Strings—Mitchell Miller, Oboist, Said- must have all the musical wealth of the enberg Little Symphony world there in the way of folk music to Victor M-440. Symphony in F Minor draw on. I’ll show you what I mean.” BBC Symphony Orchestra, Ralph He quickly mounted the stairs to the Vaughan Williams, Conductor balcony, remarking, “—I keep my books The student of Vaughan Williams’ of on the balcony and nobody bothers them music is also referred to the catalogs there, and I can be as untidy as I want—” church music, and to the new Episcopal and soon returned with two volumes of Hymnal for strikingly beautiful music of songs, melodies with words, without ac- this British composer. companiments. “These are all English melodies one of my friends gathered in the Kentucky are from The Door to Grand Opera mountains. These of England Ask your Baldwin dealer for a copy alone, you understand, and ( Continued from Page 220) there must be thousands of similarly body or my the booklet "Planning Your Child’s beautiful things from hundreds of other Anything that affects my voice.” parts of the world to be found in Ken- mind affects my in the world Future!” or write directly to The Baldwin tucky and other places in your country. There is no greater thrill of helping the coming America is so big, and so many people than the privilege rejoice that it has Piano Company, Cincinnati 2 , Ohio. go there from all parts of the globe- generation, and I meet and assist so many peasants if you want to call them that, come my way to young artists. people who sing the songs of the earth. delightful and inspiring Opera Auditions of When you consider the whole picture, The Metropolitan democratic you must have in America the music of the Air is a thoroughly voice, the the entire world.” project. Any singer with the He physique, the intelligence, the THE // EXaUI SITE asked me if I knew a book called talent, the ACROSONIC and the will- BALDWIN Southern Harmony.” and seemed de- appearance, the training, HAMILTON AND HOWARD PIANOS hghted is given a fair chance. to know that I had a copy of it ingness to work BALDWIN ELECTRONIC ORGANS on my be remembered that the shelves. “They tell me it is hard But it should requirement are grow- crosomc get," *;° he said, “but it is a source book levels of artistic or some higher every year, and composer in the days to come.” ing higher and BY B A Jj J> TV X 2V 1 very stiff. asked hint if he meant that some com- the competition is secured British. Copyright 255 mum APRIL, 1949 —

pi frHO Is There a Break in Your Voice? p^NO 20ff copy 20(f a ° Every R. C. ( Continued from Page 221) Copy What Voice Questions

Are you a popular singer who is lim- tones were out of balance with her high Should Know! ^acreb ited to low tones? Then you will want tones. Her answer was that large, low JJltisac : ihose low tones to sound warm, full, anti tones were not for her voice, because the t*7 g>acreb jtt ' HER WHOLE- LI EE THRU clear. Here is a set of simple exercises. quality throaty. Let remind USj Answer DR. NICHOLAS DDUTY THIRD. FOURTH and FIFTH GRADE became me c J L} Excelsior, Sauted Song Inhale you that the vocal bands will always “ nd SEC0ND Iff} Med., G-3..Howley (1) and exhale until you can "": GRAEE tfcfate 3642 Good Friday Spell, 3895 Silver5 name Parsifal, . . remain in the throat. I explained that Trumpets by the full C-3. tYagner expand your waistline in the back D-2 | No questions will be answered in ETUDE unless accompanied 3723 and Gulbransen Hallelu|ah 3539 Ave NEEDLE Chorus, The , D-4 Maria, C-3 Vivian; TRANSCRIPTION will be published. front to she was pressing down on her throat to Sc and address of the inquirer. Only initials, or pseudonym given, “let” the air fill the lower part 9 Prayer C ‘7 *"WKo,i, SPINET PIANOS ' MODERN ’u« r’d' S e , SHADOWGRAPHED NEW 1319 Heavenward, March of the reach a low sound instead of just groan- •3699 God Be With You p n M 100% Religioso. F-^Viltre lungs. Then pull in the abdom- Till We M.„, r f "»c» •3576 Holy AgQ lfl( City. The, Bb-3 .Adams inal ing, and freeing the self-acting vibrator 632 muscles to expel the air. Be sure Mornin Jerusalem, The Golden, Eb-4 Freeman JJJ 9 Prayer. C-I Poll', Many a *Record Collec- that your to respond to the thought of pitch dic- 328 Morning Prayer. LicAner eSU 5 V6r ° f My Soul Eb ' 4 ribs remain firmly extended F.} ' - Freeman already knows thot I / J t? S, tor *3619 Lead, Kindly tated ear. C h ,io " Soldi skillfully Light, G-3.. all the time. by the You need not be con- . P? eis'F-2 s tonsillectomy was ' 'r°m° . the Dykes Continue this until you 3407 Church Organ, ••»«/#» Actones are best for The Contralto With a Short Range 2 and 3 If 646 Nearer My God to Thee, 2 j C-2 04 voice G-4 //.'.Freeman have cerned about singing in your throat if d A it is quite likely that your established the natural breathing Cathedral. The. 'rnaut performed, ne Solemn Thought, ? C-I valuable records. Each i. 1 sing from F-sharp below Middle-C A Eb-3. Freeman 1823 Polmj. The, H°Ph Q. better than ever. n that you used you will take your tongue out of G-2. will be as good or even ward Chr ' stian Soldiers, as an infant. your is Shadow- Middle-C. I C-3. . .Sullivan SOW Polling Actone to C-sliarp an octave above , the ^oure ? Church. C-V. discouraged if at first the “pose m - 5 Faure-Leybach Now when throat, and allow the sound waves to 3180 Prayer, H age, Do not be 2994 a (2) you pull in the mus- A. G-2. °Phns graphed . . . insuring have a heavy quality of voice for my 2 r er ™V :c ’ little strange. I his °V t Der Ereischutz, E-5 3551 your voice seems a Kon Weber cles, r fulfill their law Star of Hope F 2 7 start les- of xt5 Z think a low of amplification. points . . . in- I you advise me to 654 Rock of Ages, C-4 groan or grunt. Do not L perfect fifteen. Vould you be- Freeman 3665 Stilt; Still With Thee,* F-2 feeling will gradually wear off as 2700 Song of Heaven, be disturbed if the If you have a low voice you will suring clear, undis- sons now or wait until later1 B-3 7.7 sTee, sounds that you emit need to the slight difference in 182 Stabat M endelssohr,.p come accustomed Mater, Cu/us Animam, Eb-S are coarse-fibred high tones, and if 3403 At Vespers C-I 0 l,e ^^torted tone and a 2. What ranee does a contralto have? Rossini at first. These experi- you have a high voice of the musculature of the throat. ar ^ope, F-3 2071 Easter Lilies, A'm° u, the shape Kennedy Reverie C- 1 record -V. G. | mental sounds are merely you will need low tones. The teacher’s *3577 , minimum of tonsils were badly in- f ° F-4 Kennedy an indication Easter Song C-2 Certainly, if your I -W38717? Star1 that job is 1 wear. Actones are of the East, F-3 your throat muscles are too re- to help you to sing from your fected, it was wise to have them removed. Kennedv mention is quite 5 U ' A. l. The range you S° UK Eb 4 '''Freeman stricted, and tense. lowest to your highest THIRD, FOURTH and riFTH used by wise As your vocal technic improves, it is 20472047 S The problem to he tones without a GRADE usually is able 4. SundayV Morning, Eb-4 Bnhm Record Collect- short for a contralto, who worked “break.” J 0, Mnn s semitone or two will be added 2731 out is to .. Da'idng, G-4 likely that a Sweet Sabbath Bells, Bb-4. coordinate body action 3730 Bach four or five semitones higher. The ...... Holt Pams Angelicasv A t ors everywhere! to sing 446 Twilight Reverie, with a relaxed, 1 lie to your range. F-4 Rohm open throat same smoothness is 3821 I Need Thee tone suggests two column. This necessary Eviry Hour Ah 1 c.P heavy quality of your of ’ privilege nder f he Cathedral *3619 Give your child the w . Tower. 6b-4....Holt coordination when you Abide With Me 3 1840man comes about more quickly sing from very soft to very C things: That you are a contralto and that, Vesper Bells Are Ringing F-3 3487 Ave Maria. l Spinet Porter C-3 r graph Proc- learning music with a Gulbransen 2696 when we let loud. It is In the . Shadow deep-voiced women Wayside Chapel, The? F°3-4 7. go of intellect, and en- mastery of the same 3185 A*. Mario -1 Note: influenced by the many ... '. 7. Wit coordi- F son s?*T2 needle is magnified ' ,ri each courage the animal nation used 2422 Cathedral Meditation “i ess, singers oil the radio, you use the chest tone Can He Become a Concert Singer? an instrument so fine and •Has instinct to produce when singing high, thin C-3 , and shadowed against How Piano— words ' times for singing if desired sound. 1790 Chapel Thoughts, f-1 200 head register. tones to low, robust Ar.' cl St Z* outlirr of a perfect only and neglect the I wish to have your opinion on a cer- will cherish all Ask your dealer for tones. The vocal a scaled \ Q. responsive that she Century music If he cannot than healthy, supply If it deviates more 2. If you are normally strong and namely, you, send your order (3) Commencing on the apparatus is •Has words for singing point. tain problem which confronts me; direct to us Ou lowest pitch equipped to make these it desired from .0002 to companionship with it. P e a tolerance of is old enough to commence lessons, her hours of ' by 9Ue i$ti " V ' r that Ask fifteen amount pianistic ability required 9 ° 3900 number! !s you can utter, changes. Our your dealer tor Century the of FREE on re^eiL plan to groan a work is to free the music. If he cannot .0015 inches, it is discarded. “America's | vocal it, consult supply you, send your order but if you have any doubt about is ambitious to become a concert Gulbransen Spinet Pianos, small musical pattern bands so that direct to us Our one who such as I-2-3-2-1 they can fulfill C one their law 9U * li,,In9 0V,r 3900 A Product of an experienced singing teacher. The singer and a concert singer only. 1 do not famous for (C D-E-D-C). I am asking and to master FME o*n\. q«|° « Smartest Piano Fashions,” you to groan, the breath column which you select should be able to show rather to perform in and not whom wish to teach, but think of singing generates the Write for free booklet. , when you do sound. you how to produce the upper tones, for public. Here are the factors which enter tone and styling. this, because J&agdaur 4 the thought Practice tiie present range it is unlikely that and I _ of singing thin voice at least a half with your into the picture. I am twenty-one often creates r the top.” an artificial voice produc- p°“ a da M°re if you could ever “reach have studied singing for five years, and have COMPANY 7' - you have the time. for Fine Needles Since 1892 G-U LBRANSEN tion. t Famous Also, the thought of I lattice the completed Grade Nine requirements of the 816 N. Kedzie Ave., Chicago 51, III. singing fools robust voice at least \ Dept. E, a half H. W. ACTON CO., INC. you into thinking various iour a day. Toronto Conservatory of Music. There are pitches as sep- Practice the coordinated arate 370 Seventh Avenue, New York 1, N. Y. Interfere With the by the degree of A.T.- elements ascending and descending 'oice, or the two Do False Teeth ten grades, folloxeed voices working together completed Grade a stairway, while for at Emission of the Voice? C.M. In piano I have the thought of groan- least one hour a day a hindrance Seven. There are two degrees for singing; 47 WtST 63rd ST. ing allows you to roll Q. /. Would false teeth be STRAP SECURE out the sound as S per- ° nRS >’ou or lower alone? one for a teacher and one for a solo "MUST" for women one continuous ^ ’ wi « to a singer? Either upper A stream of discover that ^ straps Nt\N sound your requires Grade musicians. Holds \ORK23,U.\. voice will soar from hotli? former. The one for teacher Practice VAttST T ST. Or having Pinned in (4) these exercises pitch to pitch 47 63 6 PIANO solo performer. FREELY in place. with the without a “break.” the saying, "A singer is born not Eight in piano; the one for seam. If you 2 . Does shoulder pad or groan voice as high as you { can, without Nt\N YORK 23, HY. made," have any truth in it?—D. I. T. Grade Seven only. GOLD FILLED CHAIN; PIN AND SAFETY change. Gradually, years, you will d 2. After wearing bands for five in be able to • Mailed anywhere $2.79 f ust remember that TUNING Fede^at'Tax TTTmTmummmmm sing higher. wUi 7r it straightened. I find that U. S. A. pair included. These high disappear teeth are expertly made my teeth are finally tones with the with correct A. i. If the false SECURE robust voice practice. with extreme nervousness, Make checks payable to STRAP will be ex- fitted by a skillful dentist I am stricken III. too loud, and coarse- professional service costs nothing and carefully p. Q. Box 205. Aurora. Learn to Skilled teacher, after pre- sing fibred for book for local members little or no trouble experi- even when playing for my H 1 your songs; but you tra. See your phone there should be 0H will be r An llie uncrowded profession . . . to below. lesson well. Could ivearing strengthening the muscles LEARN or write address enced either in speaking or singing. If they paring the which unlimited income . . com- l*ycr* of all I instrument*—make for'the FREEMANTEL of "hot" break*, ebonite*, obblieatoa. out last week. of the poetry you sing, your style, VOICE INSTITUTE •mt»#lll*hm#nt*. Ojrurationa. etc. l had my tonsils taken standing Dept. blue note*, whole tones, i E-4, Steinway Hall. modern voice? looks, your personality. We har e never 113 West 57th St. dance arranging Is there any danger of damaging my your i New York mianettes cboruss* Beat j 79, New York and ensembles— operisl permission to sing seen you, nor have we heard you sing. How Don’t Miss A modulating io other keys— suspensions antlclpattoni 2. The doctor gave me an lnt,— to take a step UAAAA co,or effects— swingy backgrounds— was better. Asking the could we dare to advise you I and MAIL j \V^jff Uui^y as soon as my throat CUP “ teachers, one men- which would affect your whole life? It seems ELMER B. FUCHS advice of a few voice ' I THIS AD TODAY, 835 j E, *< l»th St. Brookty. N. Y. six months; you should consult with the «. tioned not singing for about to us that A WM. S. Quickly and Accurately Transposes follow the teacher in the conservatory where you have I FIND OUT HOW HAYNES another, about a month, or to j COMPANY Single Notes or Chords to Any Key an easy case. studied for so long. These people know you Send $1.50 (Cash or Postal Note) To doctor’s advice. Mine was • Flutes of PIANO FRANZ i Distinction TUNING PAYS Lloyd Walters, Blenheim St. a your ability from every angle. 4170 a high lyric soprano. Is there and can judge Vancouver, Canada j. I am I ELECTRIC STERLING Learn this Independent Profession or in- If you prefer an outside opinion, have an SILVER — GOLD — PLATINUM chance that my range will decrease AT to avoid audition with one or two of the excellent METRONOME HOME crease? Is there anything I could do Catalog on request conductors who live and work in your won- WILL HELP YOU 1 stiffness?—G. F. their frank, honest 108 Massachusetts Avenue, Distinctive Arrangements derful city. Ask for ACHIEVE Boston 15. Mass. about a month. opinion and advice, even if it should prove FOR A. Rest your voice for I PERFECT HAMMOND ORGAN removed painful to you. return to the surgeon who PERFORMANCE Then the By FRED FEIBEL at your throat 3. Consult with your dentist, man your tonsils. Ask him to look opinion as to who put the hands on your teeth, and ask I FRANZ ELECTRIC FREE Just as Mr. radio. Un- more and give his Sample Record Feibel plays them on the once should be the re- 815 equalled regis- healed for you to him if your nervousness METRONOME in musical craftsmanship. "With whether it is sufficiently I ^VTyears revealing how Our tration for for It sult of wearing these bands for five years. you can be taught singing patented TONOMETER with BEAT Hammond Organ. Also playable your lessons and your practice. and resume treat- Dept. FRANZ MFG. CO., INC. speaking by famous GAUGE is a scientific teaching-tuning pipe organ. There are 22 releases now available. sign, do not If he says it could, ask him for some | IM— , cocherJ , h h gives ,you the “go ahead” instrument ahd Price only will all of them. he very highly Educational Record,. that simplifies learning 50c* each. You want quite so stren- ment to cure you. We sympathize 53 Wallace St., New Haven 11, Conn. Wri,e assures knowl- Send post ar- quite so long nor j accuracy with or without card for complete list of Feibel practice hope you will lie Send I hen ask with your ambition, and Send me FREE BOOKLET on Franz 35 Cents-,, „„„ edge of music. Action Model and tools rangements or see wherever you buy music for about another month. I pack,glng 0 „d them uously in furnished. Great for course of able to realize it. By the way, modern Electric Metronome '^7/£A/E£/ Diploma granted. the Hammond Organ. advice once more. In the I t r his a8' the orchestra IHSTRUCT-O-T • e *uners makes this a PROF- to be times neither the piano nor OMES SIERRA MADRE, CALIF r^ l ^ months, your throat is apt ITAB LE and field. several to quote | Name UNCROWDED Publishers of the sxar can be “the slave of the singer,” ^ONEER G.I. well again and most SCHOOL—50th YEAR. almost parts they play have an Address I hen your your words. The | APPROVED. W^rite for free booklet. will have disappeared. 256 EMIL ASCHER, Inc. tissue equal value with the voice, and must be NILES BRYANT SCHOOL and your lessons may also return 10 640 practices prepared. Bryant Bldg., W ashington 16, D. C. Madison Ave. New York 22 range, and volume. carefully to their normal length, etude 257 APRIL, 1949 * T- ] s 9 !!

MICHAEL AARON PIANO COURSE THE FIRST NAME IN PIANO METHODS! Teen-Agers and N Music! Dbgm am Choir Uuestioivs N°,e M°der" Pi M.CHAEL °n° ,ni,"“ ,i0 " AARON P,A^pR;;ER - 60 ( grade four.. ...each 1.00 Continued from Page 226) MICHAEL AARON PIANO ..... 1.00 TECHNIC BOOK ONE T BOOK TWO ...each 1.00 Meet Uninterrupted Sequence - Natural Progression Warsaw, and she was able to discuss the •Many .Answered FREDERICK PHILLIPS American parents work with the clear-headed surety WWhowh i. of a musiciustc at all had in theirt oL!. .-nono veteran! Let me make it clear that the homes, 1 * t*e* have come, through 10011 ^^jTSI^NPlNG two hundred orchestras just ' diefoif PIANO mentioned of radio , lutll BOOKS and records « writing to your department for in- I procure books on the various makes of reed are entirely professional t ( , Q 1 am groups, and not Meal h 3 in our church organs construction, YOUR tolerance. It “f concerning an organ and their also pipe organs CHOPIN to be confused with is there aid formation BOOK the twenty-two thou- they bears the trade mark, "Vocation, Mason and their construction; also electric organs? Selected don’t quite like if ,„hich and sand it, they whether or not Please also advise Edited by GUY college and high school orchestras £ “ &Risch Worcester, Mass.", as to where I might procure second MAIER having it Swl to around. Then still in business. The organ in hand one or two manual reed organs for prac- (not bands!) which furnish wheifth this company is ,n basic train- dren < in go to Chi l’ in need of repairs, especially tice work, also a blower for a reed organ. n,ennia' Editi ing to school and auestion is badly Telides o^^^T these youngsters in taste, are 5 the Swell Eludes. Sonatas Ma ILT ^N° C,Urnes reper- seeds of sound thc reeds—Middle-D and High-D on —O. D. K. and Ecossaises. ' W°"«b Polonaises, toire, musical taste- new Meticulously edited and ensemble playing. S® , not been in use for years. Is there here is a e * cellen come have book indispensable ' P e doling and home and manual to every leached ^ fingering, tell of what h Pittsburgh which could be contacted? A. We do not know of any existing book on -^o ' Pr ' firm, in IQ*, film, to ° ,eS5i° ' hc a | no P 0y a nd - *>»* learned; when ‘; yW' J. K. enjoy ^cepti^'lt ^btr Revealing Comments they „| ay sn — the construction and makes of reed organs, 1.00 types and specific taste ' although some reed organ methods, such as Our intermission selection??^ar° LET talks produced a house, uncl dw this name in Landon’s, would give a brief outline of the S LEAR the parents It,-,, ! been unable to find N , A. We have ABOUT number of interesting ,,ccu disposal, but general structure and operation of such organs. MUSIC by STANFORD pictures of Amer- good stomcd to reference books at our KING music in e\aP mere This strength could endure habits! liuu O Rest in the Lord. Mendelssohn publisher can deliberately ignore the people for her re congregational flections on her home town Also suggest registration for whom they are writing. After a song has been could scarce! and soloists. K. W. S. Write for Free P/ang V have been singing, choir numbers, — written with piano accompaniment, I see no Co>g , , called flattering. og Depf I under the manuscript could not be given ^ «is wc reason why lid vc i...,. seen onl\ , 1 ,tu orchestras. many different arrangements to a practical organ composer to be arranged •!,«.. . There are so MILLS MUSIC, B 0 inti A. men dWOy * were (loin 1 1 in that it would organ. I am sure there are scores of INC. ' NeW York,9,N.y. |g*V-&lK2iSESS . ted hv exDcri- of the three numbers mentioned, for Xgo ; . med foreign specific registrations who would be glad to do the work. 1 suppose a I-OS pjaye,,. Lvei, be impossible to suggest Angeles 14 aloS of are be- organist can arrange such ac- ° without knowing exactly what copies well equipped ,?Nl,ld ‘ ca there are thousands had to used. In all three compositions, however, companiments at sight, but 3 1 '' chance her ing 8° " ! f rtanie n ar(1! The from Norton to melody which should be who would welcome the publishing of sacred quern ?, most fre- thi some- there is a definite Organ doesn’t am, r g M;I11 a against an accom- solos with organ accompaniment. —L. R. B. When you press the keys of the And the Hammond foreign sounding twist brought out on a solo stop GonsequenUy,f diapason and cost nearly as much as you think it 1( . background. The stopped Hammond Organ, you know. ,i onK outlet for panying the usually effective solo In answering this question, it is necessary oboe on the Swell are A does I „ nUS ' t,an Was is to life than money, ,,f a kind that could use the Open bear in mind a few fundamental facts. (1) There more Costs no more causit i ; stops, and on the Great you to not necessarily y and fri< uds to say, with Diapason, Melodia and Gamba (if not too Because a song is sacred, it does and work, and worry. There is music. than most fine pianos minali i ST and with ccll t;gs of effects—always using softer follow that it is sung only in churches expressive. Full of color do 1S °ssib,e to f pits and scorn, harsh) for solo Rich and You can enjoy the music of a great with and for P S background. The accompaniment. Frequently such songs music! e combinations for the organ ouly tt piccolo stops or and feeling. And you’re playing it. player.” To- balance. For privately, and sometimes in churches organ for no more than you’d pay for div , H pedal should also be kept in tonal are used hC ,ncrtast- uf that it is Musical - - orchestral job softer stops on either which have no organs. This means clear call of brasses, the quick a fine piano. You have no installation Background ooppnl'nr« accompanying solo the The in Reverse uuit.es, together sparingly on the necessary to have the regular piano accompani- Head with the “back- manual could be used, but go cry of strings, the mellow laughter problem with the Hammond Organ. mat This g d dolce provide organ accompaniment Pianist"? ™,' ,n reverse” families 4' stops, and do not use the piccolo or ment. (2) To mUS ' C and friends woodwinds, all rise and fall at It’s at home in any living room. You of om you could add the would mean not only the expense of making a of SraWhtTfeen 9?^ ashamedly comet. For choir numbers 1 the agers i upon a musi* in- also the expense of making command. You’re playing the merely plug it into an electric outlet nique ourse- out Still ‘, oi nts Melodia, rearrangement, but your and Aly P ca ' medium stops such as Gamba and "JZ^hZe^mp^oved^” E tech- another rend 1 d ° )UngStcrs "ith jobs in or- festive anthems an entirely new set of plates—which is one of Your Hammond play. approach the instrument ,mporta,lt l can seems as nc which chestrascites, r cluding the Open Diapason in Hammond Organ. and with cm u or V expensive phases of music publishing. authority" Vencou bands are no longer let- anthems. Four foot stops could be the most might raging. a or sections of Organ in your own home! speak I organ student is taught, as The Hammond Organ is proved by t 3 OSC who used more liberally, but always keep in mind (3) The average ground al <*- ° love them! Socially, read from . . in ba as well c For regular instruction, to like dream? It in revew “V*« ’ supporting but not drowning the voices. part of his Does it sound a can years of satisfactory performance Th n nC ' ally n ag0 ’ d,ey re n°thiDg t0 score, so that we personally believe there f musical ’ the singing the full organ may piano to learn homes. It ° UnS°,idted background 0 he ashamed of most congregational be very real. It is easy to thousands of churches and file^BrdweUsS Abates in the fo™k°bome suggest keeping the are comparatively few organists who would the • be used, but here we musical meant even play the Hammond Organ. is the world’s most widely-used com- tastes I A an, 1 0,lie climaxes. difficulty in making the few changes there flu ences '! 'bteresting thing brought out more powerful stops in reserve for have much by the planted hu . f, therefore, that the plete organ is the only organ in ^ feel, and adult, ^ I y y ta ks The 4- Great to Great will be very necessary. We sincerely If you can play the piano, with the teen-agers is that and 16-foot unconscious as an for specially arranged organ accom- can’t get out of tune. ^ tb se helpful here. Fifteen minutes of experimenta- demand you call quickly learn to play the the world that ER A ~ 3 UrSe 8 who do not compositions) is HL 0 children. b >' . intend to be- their paniments (except for a few y?orrsr a ^ 20 repetition practice Young the rrm,,? ? tion with the effects of different stops and Hammond Organ l^°PianistT does the • 0D l P t . and work m professional additional wait longer? i* educator of 1 for the Why any O mI ... musicians, there are more than hardly likely to compensate Founder of Broadwel, know) about (°r didn,t various combinations will be worth studios.' automate. music^ de "^t tban involved in publishing such special Anyone who can read simple piano P C mg g'rls deeply interested in pages of detailed suggestions, so we suggest expense whatever they ’ u on mos; tl Mail the coupon now Broadwell Gain ' heardd hw r ? . P phat, keyboard ex- arrangements. quickly learn to play the Students Immediate . too, that you spend much time at the music can Results home. ( d,dn ' hear) i.- ' would have been some- are at t on the Worldwide ent after appar ‘ Whenyou t a su perimenting with everything you have Organ. lew lessons won’t For complete information about the the first T g rprise years ago, sketch of our Hammond A 10 days “• even a , when red- Q. I am enclosing a floor Yof HI glimmering With '1,1 , organ, individually and collectively. Canada, w appreciate '?0ded young make you a professional performer, Hammond Organ, for the name of England, speed . ^ the also three organ specifica- Australia of your nrnsr«/ . names w,th males shrank in hor- Lutheran Church; and terms the suggestions as dealer nearest you where you can Weden lmmediate of 0171 1 lc would appreciate any but they will enable you to express the ' tions, and France, provement ln - sissified” of ^ > C ' atmosphere addresses / in stmctively ’ you Q. Please send me the names and Holland. in ; Curacao, technical skUIs. thought 3 ftmkhngn n 1 to purchase for our church. play this magnificent Nigeria, “H, tunes! organs to the best organ yourself in music as you never have see, hear, and British musical S from of people who have two manual reed organ with couplers Honduras, Cuba home.” a Also, is it better to buy an S> One of L t t has c with pedals for sale. Do the organs of this type done before. instrument, send coupon now. New ^° S tS ' ' pme out told that the Zealand, coun F m ever>' why reasons of these stirnu- or unit organ? We have been Rhodesia, Americans 1 athii the a India, tr^acknm^edgmMit^ls p° did not ta Iksm have electric blowers? I am a beginner on trouble Palestine, Egypt ii VCn t0 rinkT* g with musical teen-agers direct electric organs will cause a lot of yP j rao S Broad musical m°" tbe years. leeward q methods— weII nations g organ, and have studied piano for three the electro-pneu- ,s, ands! by concert mns,V was 1 upkeep—more so than A''a sTa hm the cxtremeiy and ; ' American • healthy state of I play a 3 Wurlitzer with 11 sets of Hawan, sionals. eachers home average m . manual that? Which of , V" on Philippines, > PFofes- did nJ‘ c you enlighten us Malta, They am ouicW. f’ 1,1 -America. the matic. Can Mexico, hve music YVhat these youngsters pipes, twice a week for 15 minutes before suitable to a Colombia, Br°adweI1 with music and 1,, | the electro-pneumatics would be Canal nique to- Tech- to the Say main theatre. This organ Zone, * —theirv*i. WWUown ^ T^' °- lnd i ca tes feature at a local L. Argentina, wS.WUIK. the a vigorous interest in church playing? —A. Peru, average aS in r>, greater degree Bo- German, USIC would be O. K. for foot work, and to perfect Hammond Oiioan livia, among Austrian arnon others ... broadjmeu home. °r g tomorrow’s citizens; a and PIANOJECHNIQUE To this Italian wlmi my organ technic, would it not? —R- E- M. including average a™ ' sorlle would suggest that the floor every °f a an outlook on A. First, we MUSIC'S MOST GLORIOUS VOICE state II Broadwell~ generation home , professional mu- very in the U.S. _ "vu Studios,jiui or so -f s ;..;.i llp you have submitted allows only a Dept.‘ 69D a s sketch Covina, and ]Tlusic Was lif Plend ‘ ( l integration of A. We are the names and ad- which in our opinion Calif. was e mtisir ’i sending you small organ chamber, | somethin c hom UC cryday lifc f dresses desired. reed organs the smallest of the Gentlemen: it. ’ b virtue ° Some two manual hardly permit even Something apart winch :;; > would like TiS' ; suggest a cake, the f stln frosting-on-the-cake” are equipped with electric blowers, and others specifications you have enclosed. We music atti- I was a S °n tiidf. i 'i are thoroughly with FREE "Technique" prettv or as ( hsa without, but these could be added. Your that this matter be gone into I mew showing In no wise ament Ppeared; and a determina- Hammond Instrument Company an b«' tion practice course be thinks it necessary, 7 P ying* 1 essential <> on the theatre organ will of organ builder, and if he Diversey Illinois is no undefstand W^"6 Crea tC the 4210 W. Ave. f Chicago 39, Obligation. there People ’ °Ur tbe hind of the ; have >'° l| ng of atmosphere benefit to you, but suggest that you guard should be found to increase changed th n . ii . we some means Without obligation, 9end me full details about all models tbath 1 ma BOOK > h e specifications, tastes too! America everlastingly careless to the Name. of the von The ,- a genuine music against forming any size of the chamber. As of the Hammond Organ. ? centpr greatest "Technique" fleeted 1 111 con.trast habits which would retard future development. themselves, we believe No. 2 offers the back ^ bcing re ’ to just a place that to their mvc r If all three I Address fondr* ° r possible get a competent teacher, but if this possibilities for good results, although m t* s * c)- Walt mail coupon communities, thcir Whitman had is improved direct Name with shimb ,r ears not possible get some good Organ Method are quite acceptable. With the City.c sound «u ' [ P. when he ”1 »y | and that a . said. hear Amer- such as the very excellent Stainer, and do not believe there is much ~ valid ; one by electric action we « m, —-— State 1, back lng- follow although this type Street L being - That’s care. trouble, built by gTound is ? exactly what she’s instructions with the greatest danger of upkeep Y the" 1 clol the smaller in- 258 oldsters! youngsters for nd y°u can find proof of action is usually confined to the of no better City P. O. Zone State and in your case we rather think 1311 ln tbe hearty, Q- Please tell me the names of firms who struments, comm spontaneous would give best results. comments manufacture reeds reed organs. Where can electro-pneumatic of America’s youth. for 259 ETUDE APRIL, 194 ) . * ) v ‘ 0

on the blade and tip Bassoon Clinic Series is ex.i posite' whicli enables us, ’ i The Violinist’s Forum ( Continued from Page 225) bined use of these wires, t0 achieveul desired any combination of strength arc struck from the common center, and tip opening within the limits KEYBOARD MODULATION MOTHER’S of ii (Continued from Page 227) PRACTICAL The best ly method of working the blade adjustment. Such • Pe of adjustment ls to achieve this contour is to follow the natl ra limited by the . Uy Self Instruction necessity ,,l ) For Class, Private, or imaginary line of these radii while work- a good reed tube md >'ou)d is in keeping with thc char- at least a dotted quarter note. Then DAY ing with knife, file, or emery paper. only f which To used for verv sli-du 'bf n Mus. Doc. fin ,1 music. Furthermore, the use the shift is made to the first position. By ROB ROY PEERY, prevent raising the grain, confine the Another adjustments. acter of the way of making problem of fin- Ex. is played in the same way. '"' a C final11 1 string creates cutting motion or stroke from the back ad ust >f the D men ts is that of • * dipping'n,," cannot be smoothly solved. I mentioned above that it is usually toward the tip. Beware reed, ueriiw that in re- DELIGHTED Wlufudic of any reed serves two purposes; this This book was prepared, MANY , nanielv in Exs. B and C are not good to cross on a half-step to or which shows gouged out spots fl\ t The open strings on the strengthen the ’ f° reed, and < o\’t not because avoiding from an open string. It should always be requests, by a USERS SAY: surface of the lay, or 1 to be preferred, sponse to many general lack of sym- the pitch. This » . raise— s , . for avoided in for effect metry in "method h« would involve changing strings melodic playing, the us contour, for it means a use- not be them thirty minutes I learned more resorted to until ' musician and "In one , s in each case is strikingly unpleasant. If, as a result, well known church less reed Mir , note, but because or one, at least, that needs measures he rce(l a single S«'« up to all m i the fourth finger falls a long note, ™„. Catalog P stan note is the first note of a new on this particular subject than l rk . '7 **'•*<11 half «... ‘° reCtif the ‘ g *rd»Vi. ‘the composer. It is intended for the on y mak (>l manufacture r.n,i ^.l'"j ^ I Range adjustment. should be played on the same a change of position definitely should be And I Hove You (25096] Price eTstrror Then phrase and ii sun necessary, years.” 3 ' notes of thc made. in ten Candle W - Rue proceed the succeeding little or no the- had Light (25176) bb-Eb $ .35 Even with perfect symmetry wv carefm?’ firing as musician with r J of blade to clip the tip Dear Little d-g not more than' of similar examples could It is a fairly good rule for the play- Mother With Silver ,7°" bb-Eb .50 and balance there is one-sixt/ phrase. Dozens par- Hair M w yet another ini- as well as "Answers a long-felt need, Dreo m , ng , Watkins E-ab c'-F arc sulficient to ing of scales that the fourth finger be oretical background, H ome and Mothe b-Eb .50 portant factor ' , m< quoted, but these which determines '. unt ‘l be Little P ' Urdwa the the Mother y d-Eb .50 desired result "i" i" question. used when ascending, and the open (25776) playability” of obta,n ed. The illustrate the point in ticularly ambitious young stu- Little Lehman a reed. This is the rela usual for the conservatory graduate. for Mother (19632) d-E .40 string the rule five thicknesses Fortunately, there is an interesting when descending, but Little Mother between the tip o' Mine (18580) P' cjt-D .50 and those in piano and organ.” ' enables the player does not hold for scales which is nec- dents ** back measurements. technical device which No knowledge of theory of Memories (23283) Ward Eb-Eb .60 Notice that I said Ulus. 6 quality usually asso- adhering to it would mean crossing- Mother M. Rohrer Eb-g relative; it is not so to avoid the “dead” copies. .40 much the actual to understand the quick "My pupils are eager for Mother S. Hosmer measurements with the unstopped string. It con- strings on a half-step. In the scale of essary Eb-F .50 of these points but rather ciated Mother Hein unison or the oc- B-flat major, for example, it is much to ( 17956) c-F their relationship sists of stopping the to sell my oivn copy a .50 that is important and easy methods of passing from Had Mother, F ' Wic^ ener strings The (30867) c-F J rue —whichever is more convenient—of better to use the open D and A .40 measurements of a fine reed tave R - D 'Sgle will could not Mother-Callinq! (196951 E-D .50 vary string, and vibrating on it for than to use the fourth finger and thus another. pupil’s mother who , according to«/ the open one key to Mother A. Hall the..in, quality of cane Dear Eb-g .40 the clashing half-steps. but the relationship almost the entire duration of the note. produce Mother Mine k Braine Eb-Eb will remain the wait for me to order another.” .50 ”e tor A, the third finger should lie vi- Open strings may be more frequently Mother's E. ^S. Hosmer '„ example, ..it is uiiucun.difficult In Ex. Day (26002) d-g bb-Eb .50 ioto pro- Classic period, F ° on the E string an octave above employed in music of the TO THE MINOR SECOND Mother . ’ Grey n n the brating o' Mine (30795 Jj. c-E .40 hi h Tgister Bott o m * on a be so in- is given one of the author s Mother Claossen teedceed tlthat isV string; the bow, of course, re- in which the vibrato cannot C-DV Here o' E-F# heavy the open Mine (26559) c-D .50 at the tip in relation — modulating music, • - original examples of Mother Kello s, string. In Ex. B, the tensely used, than in romantic 6, 1 ~n I o' Mine (6884) 99 o#-g .50 “iyo the back. maining on that ~ Jj Conversely, a of all pos- My Re !clt reed presence of unvibrated interludes. (Examples Mother's Song 7’ d-E which has change to the D string at the where the an (24043) , i' .35 heavy back bow must $* r nr~f e measurements in ? r intervals are given in the °P " sha » d-g relationship second measure, but note is distinctly annoying in the mid- TTfT sible ° ear Mother and .60 to the tip will beginning of the Prooyer^ToZT Her cause trouble »sV Wir« P book. The student may transpose (19404) vibrat- dle of a passage in which the vibrato ) mlow register. the second finger should remain J 4*t> - M. P. From this keys, O Little Mother of Jones d F relationship V these little intervals to other Mine .50 of been consistent and expressive. E~4 _ _ J the string for the duration has 1 Old-Fashioned Geo. B. Nev n baSiC rules ing on G 1 F~ necessary, Dear-'-'-I IWU7Q c-F a-D .50 ,or ««! writing them down if (18696),\ I OIJ r I 'Vo in?/V7'(I) Id-Fashioned C. O. Ellis c-F T° Itn rove the useful and appropriate Mother of Mine ', .50 ister - P high reg- to provide (24020). , , , "r. 3 ' n fr service playing. n g .60 Y °, ° nt on«hird modulations for (24021) of lav f2) f Q. E-F / (-) ToTo improve low register unri- 9 +» b «* ' VOrlk size, hy/’xioy*". Flush Old Mother, Th” on back Book w (Die Allte ^ d-Eb two-thirds of n I s, _ Mutter) c hv Thl Build Tomorrow’s Audiences! T eg d-FS W»T€ Today’s Children Cloth Bound. 68 pages ' bb-D M ° ,her try d°wn to r« ponsive P° +)' |UI416314 1 63) the S . Mothe- ) Hosmer-M anney tin Tf ri me / years. It seems odd that war could produce any PRESENTS NEW MUSIC MARKERT & CO. fc=V( past ten COMPANY Dl 4983 Treble .18 almost halted—during thc NEW JOHN Deane La March Lorena, 141 WEST I5TH ST.. NEW YORK II. N. Y. Shure Mixed sent our mu- constructive results—yet the fact remains Beautiful Rose March, 45^; .18 Those same ten years have American March, 45<. VTOLIKS OX.D Sc SSW of plain 45<; Italo sic and bounds! that hundreds of thousands Expert Repairing. Send for Catalog Anthem with education ahead by leaps D’Angelo Music Publishing Company spoken C back with a knowledge and Los Angeles 37, California l prolanue Sed ° f: Thus, while Europe entered the War G.I.’s came P.O. Box 7054, Station G, Motheer-Angel and (1) :l good" k n i?e" Queen ( D oi pable they 1388 1 of , appreciation of good music that (Sop. or Ten. hoT S period with a far richer musical heritage, an Solo) D . < 2 ) »"«!« (3) never had an op- Mother Mine P'njutl-Ryder Plaque nr’ t‘ we have outstripped them in many ways. never had before—and (Ten. So o) (D Mixed .20 ongue for inserting LUCIUS DUNCAN ' 13893) between Mother, S. Hosmer bladesblades— to enjoy. They tell you, today, TEACHERS of VIOLIN So True (21554) M ixed -aa guitar On the display tables in music shops in portunity .20 n " ‘ pick works fine, Concert Violinist—Teacher Little of this a S (4) in” for good mu- financial o Mother of Mixed i ? «h accomplishes small fine, Copenhagen I was sur- that they are “going who desire greater artistic and Mine (D 14499) .18 f two‘th cut file, and The Hague, Pupil of Schradieck . , , . “fin” a Geo.^. Nevin increases or n : (5) quantity of their Army ex- Men's .18 f decreases the -- ® prised and delighted to see American sic, oil the strength of success should, for the "Icnow-how," write to ( tip D 1 303 CONCERT BUREAU . 5 opening a are the WESTCHESTER Mixed in direct books periences with it. And these men Nevin-Austin p and American methods prominent- Plains. N. Y. Philadelphia, Pa. (D 14366) amount it White ( Mixed I of arch. audiences! FINNEY VIOLIN KEYBOARD SYSTEM Thus ly displayed as in music fathers of tomorrow’s 54 Bank St. 104 N. Mole St. o, Mother or novel advances of My I Boy's OCT7 kl Rapnnrd ChirnflA 47. III. Heart ( experience that the Plains 9-7808 LO 7-0723 (35151) r n . teaching— It has been my White Responsive ' D° V,S the John M. Williams’ books, Service for Mother's Mixed .18 for Day he the Diller- children who have no opportunities l Minister : Same "" ‘ John Thompson books, the and Cho r) ,C ,ist ' ( D 14 1 7 1 1 putting cane as T^' total cost of back on f , tni, music at home, who make Rock R V r ' s Se hearing good Me To Sleep '- °. Mixed 1C Quaile books, and so on. Europeans take (20010] Y' .18 first wire reccL The Uli "" the rea mer. OWN AN ITALIAN VIOLIN! Many Artists of the fa- | L has the should the age of Weavmg o Crown J ' Sm,th Mixed L f ff not be nt!" up these as no contact with it before Lowest prices anywhere! New and Old imported Italian mous NBC TOSCANINI for Mother .18 ffect ’ srcatcr volumes and study them, strength, on the th;ln five dollars- Hand-Made Violins—$75 to $300. Superb Italian tone, Orchestra are using G. B. Virzi (Sop. -Alto and the Second . a small risk of drifting into less Duet) , ' methods twelve, run the workmanship, varnish. Shop around! Compare! . Instruments. (21604) Wlre S VCStrm t from which they can learn. On wood, I. H. «seful in -’ morc n which will Meredith Mixed adjusting self repay it- habits. If good music can Save two- thirds! Free trial. Expert repairing oar specialty. ,,’ ‘ , the musical .15 Kn en,n i, ort tlnlc other hand, I think that we can worthy Sluyvesant Ave., IRVINGTON, NJ. Fifth Ave., NewYork otit with- SUBURBAN MUSIC. 643 E.J.&J. VIRZI CORP..503 Cantata: Slumber noticeably °P S , - ( . chances Songs of the 3 part 'affecHno* , t . before that age, the Madonna May 1 S the ‘ cen learn from present-day European pro- catch them A. Strong Here again, strength. ‘mpossibleimpossible for me to corn- i women's }- we find pl ] it and it with $ 1.00 the PlCte,ycte C cedures, not so meth- are they will stay with voices formulating for thc art much of teaching • I four ” reed "making” rules: and ”fivi^ ods in later life. And so the problem • VIOLINS Pipe Organ Selecti w‘thin as of bringing music to children as them, RARE lions the scope of this that the $200 to $1000 (Reduced 40%) articlearticle. It 'i" a them! I am convinced At the Cradle Side have been source of pleasure. is to catch 0 0 u 6 able to point out remit Has Your Child Hymn of Hugo Goodwin Stren th only the lor means of doing this is, not to FRANCIS DRAKE BALLARD Faith (24569) ® ’ P'nch first more one thing, Europe’s advantage best .60 from^sides. wire basic 50 Chippewa Road — Tuckahoe, N. Y* 0 the advantage of piano study with W ' D ' 0 Prayer and Ciadle A rm over us zeal for study and formal educa- Song (19337) . fi°"g .40 2 Sl '°" 1t no State subsidies for bringing mu- tomorrow’s 30 E. Adams — . CO. second p, n( i, ,es| tate n 4 wire Iron? to experiment, A goal of achievement for every student suitable ,Sn 47 and on U sic to children SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. SOn 4- To bott °"" —and any project of musi- empty!” to his age and advancement. ° • "ni. initiativ C and The decrease ^ e, apply the 1874. WRITE FOR CATALOG °!! ^hn Church Con^ basic nrinr 'i cal ESTABLISHED IN (NOT A CONTEST) Co. P ’ Wlth good launched in Texas or New York 171217 1 greatly S °ut l)resent 2 Cl - . ed in this article PUBLISHERS OF "VIOLINS and VIOLINISTS" Chestnut Street, decreasing The more does Music Supervisors who The Better Teachers Are Members Philadelphia I, ptS not extend to Maine or Kansas. (Public School Pa . second wire pinch yOU ,n;lk e, the $2.50 per year—Specimen Copy 354. from^r^ er your stnre^f .great- Again, reprint this article in Chapters in every large music center ° f r in America, mav desire to kr owled e to be applied radio does almost FOR INFORMATION WRITE on succeedin ? g nothing part are herewith given per- (See towards fostering a love of mu- whole or in Illustration following by- IRL A. No fil t i sic in so, with the ALLISON, M. that children. England’s BBC can send mission to do 260 the resultant music IOLINS FOUNDER AND PRESIDENT action °’ lt ETUDE thc s™ tit the - programs Reprinted from wonderful instruments. to to all of Britain’s school line: Easy terms for TEXAS children— 1949 by the Theo- Get details today. Box 1113 AUSTIN, but similar projects over here magazine, copyright GUSTAV V. HENNING •ire 1106 49th St., Seattle. Washington handicapped at the outset by the dore Presser Co.) N. 1 ETUDE 261 HPR/E, 2949 . ,

As the formance and, in general, pertain to the pared for adjudication. The fact that a of melodic, harmonic, Adjudicator • and rhvil conductor. m lc Here consider ' are tone and rhythm. d he ideal PIANO... we prepara- performance is to be publicly adjudicat- ments, an understanding ele writer’s opinion, has been set up and a work- LIGHTER# MORE MODERN 0 f ft f TO FIND A tion, attention of properly conceived and ing HOW Hears It! the singers to the di- ed has a tendency to prepara- structure, ' n tone, procedure in rehearsal sharpen and a plan for W Good has been sug- rector, , indefinite directing, distracting tion. This is in but, treatment reIat a great deal to eliminate gested for a constructive analysis itself desirable of dynamic levels ed effected does during mannerisms, arrangement against singing of singers, ac- whenever a composition moves up from In other words, it criticisms levelled the preparation of the music. ( Continued from Page 224) companiments, means a m, the balance between voices that first sight-reading step, the director conception and terful The presence of a good tone as- We progress to the final stage, which application 0 groups. and accompaniment, use f“ of tone pro- is of music or and the performers should be measuring demanding of correct Un' a thorough knowledge the assembling of all carefuliy worked memorizing, mood men? sumes posture and appearance (in- it placement, proper breath techniques incipient and final consonants, against the ideal or perfect standard, tempo. 1 here is a musical and duction and and the result is interpreta- lack of cluding assurance, intern?’intent vowel confidence, and poise), thus giving it an diction or natural and tion. By this time, the composer’s musi- focus, distortion and personal adjudication. composition deemed y support, good impurity uniformity or worthy of oi vowel sounds, lack of uniformity in dress, What formula may be followed? The ante and a study use of pure vowels and functional cal intent should be the intimate per- abuse of letter R independent of th?4e correct responsibility of the sing- first requires freedom of all sonal of M and thing is to set up the ideal concep- a< teristic s win reveal consonants. It possession and responsibility of N - eis, that i an economy of effort for tion in me „ and involves KSh. maximum the “performing ear,” so that all study, to be truly S organs of articulation, each performer, and his message has be- attainment, development effective, must the Musical taste of group per- efforts will J ' and enunciation. come the trust was good 1 1 be pointed to the accomplish- tensive ln pronunciation of those who are to re- or bad depend- sonality. and imaginative bm a; proper ing upon choice of material, ment of that ideal. This ideal will keep by high Standards med correctly supported tone insures create this work for an audience. The taste in W hile the of musician^ The interpretation, above points are fairly com- is more than perfect evident lack of musician- ahead of the director throughout re- better intonation, which no balance is present between lead- ship on plcte and contain within themselves the part of the director, the hearsal and it will not remain a static triple combination of musicianship, er and performers. They are a poised absence possibilities of the a or presence of near-perfect perform- thing. Good tone has instrument ready to sing music. Based general musical refine- Such an ideal presupposes a must be able to heat attitude, and technique. on ment ance, they do not represent an the attention to exacting organized choice of music suiting 16 continuous quality and ap- correct technique and the musical in- musical de- plan for the capabilities •>f preparedness and a fluid and mands, the director to use in be^b^^aLT attacks and releases. preparing of the performers and bearing a ze color and recognizes line as its tegrity of the performers, there is now us group for evidence the condition of his choir ? propriate Routine matters, adjudication. Let us focus of at 1 mechanics, and so musicianship and good taste; in atmosphere, tone color, and magnetic on, attention diligent any rehearsal. I core. nave a on a fundamental he two marked effect on the attack for study of the music, most a l-i? is rhythm. This quality. The work relives on the tongues total per- the choral the poetry, the back- elusive and important The next fundamental number which is elements to be pre- ground of the composer’s to watch tempo, pulse, steadiness within of the singers. Because we have walked style; mastery for to insure eventual ‘ involves success in rec- there should the the measure, rhythmic honesty, and hand in hand with ideals, ognition of cross rhythms. Rhythmic be ah eagnerness to appear before a new totality must be conceived as a perfect adjudicator and receive a new evalua- tapestry. Complete unity is there in the tion. The director and performers have finished work, but threads are inter- constantly been comparing themselves woven, unbreakable, and interdepend- with themselves at progressive levels of allotted with others who ap- c'4 ent. Every piece of music has its achievement, and U of eternity. It begins and ends, proximate or surpass these levels. ike Success'- time out but between these extremes, it has A work of art is ready for sincere marched honestly and effectively across projection. The performance has design, the pages of time. Plunket Greene ad- line, color, texture, form— all essentials plus” vises: “Never stop the march of a song.” of art. There is “that something monotonously and tire- to command the respect of the adjudi- is It marches, not somely, but fluidly, freely, and uninter- cator. ruptedly with inherent rubatos, variety A song by a chorus, devotedly nur- of the within its parts and honesty toward its tured, guarantees a re-creation beginning and end. composer’s intent.

University Music Teachers National Association Extension Conservatory (iContinued om Page 2181 - THE WORLDS LARGEST ft HOME STUDY and CONSERVATORY OF but one of the most important of these of a few composers are published, MUSIC - .349 the remainder. If MEMBER OF is to provide the student with a mature none of the works of Extension large city, he may have Courses by noted teachers, orientation in regard to the music of his he lives in a leading of to time and, particularly, of American mu- access to the publications of certain Diplomas, and Degree 10 of Bachelor of 6 requiremen,s smaller houses which are doing yeo- Music. except for Degree sic. In this respect, many of our colleges the Co-Courte'es. reason. man work in this regard. By and large, You can prepare ^Credits earned are lacking, and with no good yourself for a better by using your spare however, he will be forced to remain position tune After all, the college music department for advancement. of a number of the y studying at your is largely freed from the necessity of ignorant of the work convenience by the Ex selling members best American composers. tension Method. tickets and of placating llluslrated of the orchestra board or rich subscrib- “In this respect, one feels compelled to lessons sent without Center. Lo- obligaH ers. In environ- mention the American Music ligation“fto fact, the college musical you. Check 57th Street, New York coupon below. ment is capable of producing the highest cated at 250 West A Music Center acts as distinguished faculty OF level of excellence as far as choice of City, the American ARTIST TEACHERS house for the works, in all dealer show you one of WHAT PROGRESS highest works is concerned. For the cause of a clearing Before you buy a piano, be sure to have your ARE YOU MAKING? STAN categories, of practically every worth- Plate. equip YOURSELF Dards OF American music, no better device can be the beautiful, new spinets equipped with an Alcoa Aluminum for A BETTER Music instruction composer. The majority Your PosmoN found than the Contemporary Festival, while American alumi- musical knowledge—your Look inside the piano and see its light metal “backbone”. Why position and in- or with special American com- of the compositions in the library of the come today-are °PP tunity—Mail emphasis on lighter than a the result of the r --‘t the Coupon Today! although a Because it’s just as strong and at least 80 pounds training you posers. For example, at the University Center are in manuscript, num? have given your natural ability. published work is of the piano—and feel the differ- Additional train- of Illinois last year, the first in an an- complete file of every cast-iron plate. Lift or move one end ing will open up new The Center will lend, arrange- fields, new opportunities, nual series of Contemporary Festivals also kept on hand. ence! Think how much easier it will be to change your room greater income and cans and teachers ^ perusal, any composition to qualified higher in the was presented. involved for standing in the past c< ,cfl 0< The programs listen to the full, rich tone of the piano. When you can get mush regarding 3, sample lessons and full information ment. Then cal world. com?? j the works of twenty-two American com- musicians. It is hoped eventually that a national 6 marked wi,h performance in a lighter piano, why look further? home study U «at.o.Piano t an X below. organization can be set up in such fine musical council Teacher'sT Normal posers, only three of whom were citizens similar ouncil is an Association Course Voice interested of America, 652 Gulf Bldg., Pittsburgh 19, Pa. this of which rv major city for the use of Aluminum Company valuable training, w» P‘ano. Student's by naturalization. Of these twenty-two, every through our Extension ™»b- Course '• only Piston, musicians in the vicinity. I urge all mu- Courses, may be taken r*"*° S** Choral Conducting Copland, Thomson, Schoen- at home 100 . with no US . interfer- P^l'C M Beginner's berg, names.’ sicians who are interested in contem- ence wuh your Publicn Clarinet and Hindemith were ‘big ALCOA regular work just School Q contact the by devoting to Mus-Supervisor's “I venture to suggest, therefore, that porary American music to self-study the many Dance Band Arranging minutes each day that Advanced Q the most Center, outline their needs, and so on. nonly ordi- Composilion effective way to mold the ‘com- go to waste. The Violin be found works of those progressive musician, as 0 prehension and taste,’ as Mr. Etler puts Here, too, may usy as he S' 1'*"'3 about whom may be, realizes the H^lory^nd 0 Guitar it, of the next generation of musicians, not-so-well-known composers value of such 11 ^VAnaiysis s udy ^ of Music and I venture to and finds the is both to I have been talking; time for it. Well paid Harmony 0 Mandolin expose them to and involve are positions extensive acquaintance with avaiiable to those them in the playing of large quantities suggest that who are ready for D Cornet 0 Saxophone tbZ Trumpet of American some of the music to be found in the tam Double Counterpoint music, preferably selected the Degree of 0 Center Bachelor of Music. Professional largely from the ranks are library of the American Music YOU can do il too! Cornet— of those who It's up to YOU! Trumpet 0 Banjo musicians radically to A Diploma Name. not quite so well known as some of those will cause many Is . Your KeyCT to as to the ww Success!success! Age mentioned above. revise their present opinions Slreet No. composers. . . Given the interest, there still remain relative status of American City if we in the problems for the young performer who “It is to be hoped that, stateState. wishes these activities diligently Are to program American music. In colleges pursue you possible com- n0w the first place, pur- enough, it will one day be You? ? If so, pupils have when he attempts to how many such as chase it, he finds the situation pletely to eliminate discussions ILL. ^°U *1°* d a ^ that same Have you eacber's Certificate? American music will stud ? Harmon obtains with the publishing houses as we have today, for 262 •he Y? Would you like to earn Degreeeqree of y with the major become a normal and recognized of Bache!^ . commercial performing have 0{ Mus c? life.” organizations; that is, that all the works part of our musical 263 etude APRIL, 1949 ) 7 2

the Boston in ' Musical would not realize, willingness as a group to ex- Franck. by prince of amateurs,” and that Florent without det-iiVT by their One purpose of my visit was received with an approving murmur study, the careful tenets to the Schmitt, on learning that an American workmanship involved plain their artistic Amer- to have d’lndy autograph his photo- the ladies present. This quaint former Gay Nineties in this work, us studying at the Schola, remained MUSICAL themes developed visitor. graph. 1 was received in an office monastery offered a fitting background was JEWELRYAwor'd^rizes with ican . for several minutes, so a mastery of complex polyphony diametrically opposed esthetic prin- thronged with visitors, against bitter obstinately mute ( Continued from Page 229) astound Of mostly feminine. for one who had labored, for Commencement and En d-of-the-Seoson Recitals mg in a composer that the visitor was hesitant whether to barely over thirty ciples was the Schola Cantorum, an At my request, d’Indy added to his sig- opposition from more radical composers, began his career as a composer with so- leave. He next returned to the memorial to Cesar Franck, nature the opening theme his transmit to younger generations the remain or NOTE: Prices Include ballet for educative of hne to f the Federal Tax of 20% natas which, combined a classical basis in a mimed symphony, “ the headed by Vincent d’Indy. The Schola violin sonata. He looked confused at robust yet consecrated striving of the Vic Lectures at Strasbourg with marked originality of expression. tor,” whose tragic in a former monastery one illustrate this WINGED HARP PINS GRAND PIANO scenario based noon had its quarters point and said: “I don’t remember mystical Cdsar Franck. To He soon began a thorough research into of Mr. James Livy, justified the Benedictines, an appropriate exactly how it goes.” hostility I add that the illustrious Through the generosity Clasp Pin employment of an of English The American may the possibilities of the new polyharmonic acrid “linear music given over inconspicuous Flazen Hyde, unalterably hospitable to counterpoint,” i„ whj choice for a school of visitor replied, “I know- that music al- teacher Gedalge, himself A miniature grand piano , style. He returned from a trip to Brazil highly dissonant the musical, gospel of most by heart,” termed d’lndy “The visitors from Harvard, then living in melodic lines clashed to perpetuating a statement which was as a composer, in black and gold. with a series of dance-like piano pieces, with he established exchange pro- overpowering results. Honegger Paris where No. 84A Gold “Saudades do Brazil,” in which pun- between French universities — Dipped 48 soon returned to the purely orche«r,i fessorships gent polyharmonic this *No. 84B—Gold Filled 72 effect and syncopated field with a scherzo and Harvard over a period of years, Chaep Pin Clasp Pin Clasp Pin entitled Rueb\ No- 14 No. 15 No. 16 rhythms were adroitly combined. Some- American visitor was invited to give a Without being realistically descriptive OTHER what later it INSTRUMENTS he introduced the polyhar- sought to convey the short series of lectures at the Univer- LYRE and WREATH PINS complex activity IN MINIATURE monic style into several string quartets. and Lyon. At Stras- , of sities of Strasbourg \ iolin. the English game. On his Cornet, Ceilo, Banjo, Trombone, Guitar, But first visit Drum, Saxophone. he also showed his capacity in the to this bourg. Guy Ropartz, a pupil of Franck, country it was suggested to field Hon- Gold Dipped, .48 each of dramatic music, ‘‘Proteus,” by egger that organized the lectures and provided the professional hockey might *Gold Filled, .72 each Paul Claudel, and incidental the faculty of music for supply him with a subject musical illustrations from adaptations lor musical of Greek dramas, also by treatment. the local Conservatory, of which he was The idea evidently appealed LYRE OR CROSS Claudel. He was perhaps the first to ac- the director. In Lyon, a famous critic, to him, but the crowded routine Chasp Pin Clasp Pin of his IN company a dramatic scene with instru- tour Paul Huvelin, fulfilled a similar func- No. 17 No. 18 did not permit ail opportunity ments of percussion to haz- ENAMELED alone. In later years become inspired by tion. The visitor chose, somewhat LYRE IN SHIELD the \mcrican ver- ins opera, “Christopher Columbus” pro- ardously. to trace the growth of French FIELD sion of this tumultuous sport. A- brand-new design in musical After the Clasp Pin No. duced an impression of astounding music from the time of the Franco- jewelry novelties. The lyre and 87 Clasp Pin No. 85 vital- widespread success of with word 'MUSIC" ity. “King David" border are in gold or silver, the with word "MUSIC" In the early Nineteen Twenties, Mil- Prussian War to date. In France, such Clasp Pin No. Honegger was impelled background in black, blue, red or 88 Clasp Pin No. 86 haud, to return to with word "CHOIR" with then barely turned thirty, was lectures have a somewhat intimidating green. (State color preference and word "CHOIR" the dramatic field with a vocal Clasp Pin quality already work number in ordering. The background of circle in the remarkable for his versatility. feature in the presence of eminent fac- No. 90 Lyre design is red He "Judith,” later with lower panel transferred to ihc stage in black: in the Cross design, had then composed at least the behind the Prices, Numbers blue a hundred His ulty members upon stage 14, 15, 16, 17, 18, 19, 90 with lower panel in white. All other dramatic masterpiece was parts songs, in the opera as- * 10K Gold of the pins are in gold or silver. addition to his chamber music lecturer. A Gallic sense of courtesy $9 40 “Antigone," based on the Creek legend ‘Sterling Silver "7 and dramatic works. As a loyal sured a cordial hospitality from the A— 10K Cold $2.40 member It was first ‘Gold Filled *90 B performed at tin Theatre — Sterling Silver... .72 ol “The Group” he de university. direct Gold Dipped D —Cold could not well ig- la “rectors” of each A ,43 Dipped 48 Monnaie in Brussels, which had Silver Dipped E—Silver Dipped .... .48 nore the ballet. pre- musi- # 4g “The Ox on the Roof?’ contact with musical critics and Special CIud, viously been hospitable Society or Class Initials engraved With scenario to several French on No. 15 and by Jean Cocteau, was vir- cologists, far too numerous to particu- No. 18, 25c additional operas, among them Chahrier's “Gwen- PRESSED MARBLE tually a skit on American prohibition larize in detail, convinced the visitor LYRE and doline,” cl’Indy’s “Fervaal" and “The TREBLE obtained immediate success YOUNG PEOPLE as to the solidity and wide range of BUSTS OF GREAT on ac- Stranger,’ CLEF count of and Chausson's “King Ar- the vitality of its musical French musical scholarship, a worthy MUSICIANS in- thur. often at *A—10K Cold $1.80 vention. the expense of even ^ Other ballets followed, includ- complement to the achievement of its *B—Sterling Silver... .72 adequate are smiling because Here is a suggestion ing financial return. In They Tor a gift that J he Creation of the "Antig- composers. However, one cannot forbear Gold Filled 90 // will ever be «n inspirational World,” which one, orna- which is far too tragic in atmos- D—Gold Dipped ment in the homes ol the musical, opened with an overture Dr. 48 ((v$S) of Handelian mentioning the late Henri Pruniferes, those busts are made of white phere ever to become University/ E—Silver Dipped ... .48 vsl/' pressed type the fugal popular, Honeg- they attend "The World's Most Unusual marble and are 4% inches section of which was ger author of an intensely witty volume on ®’ ac‘h ,s packed has achieved a Clasp Pin Illustrations in an in- based upon tense orchestral idiom are Clasp Pin dividual container. a theme in jazz Lully, a hook on the French ballet, and No. 20 Busts of Bach rhythm as well as Exact Size No. 33 Beethoven. Brahms. treated an entirely novel recitative Chopin. Han- in polyphonic style. where students have the reputation a History of Music; Andrd Pirro, an del. Haydn. Liszt. Mendelssohn, With the style both Mozart. flight of which accord most fittingly MOTTO PINS Paderewski. Sehubert. oi years, however, Milhaud authority on Hcnrich Schuetz and Bach, Sehumann. J. Strauss. has with the Toscanini. long dramatic vividness of a Tsclmfeowsky, Verdi, since abandoned morbid in his aid to American stu- and Wagner experiment, his and gloomy of being "The Happiest Young People In The World." generous style lias become subject. Price. 35c each—Transportation unified and is the legiti- dents: and Leon Valias, biographer of 6c extra mate outcome of an essentially Gallic Debussy, and -more recently of Vincent 1 Poulenc’s Style They have unusual educational standpoint. d’Indy. Always MOTTO BAR PIN At Sometimes Never the time of visit. B Natural my Francis B Sharp B Flat (Enamel Notes) Clasp Honegger’s 1 oulenc, then opportunities under a scholarly, Pin Clasp Pin Clasp Ideas slightly over twenty years N°. Pin 21 No. 22 No. 23 of age, Arthur was at the beginning of his ca- *A -10K Honegger shares with Gold Clasp Pin SI 80 Milhaud reer. In B—Silver Clasp Pin the leadership temperament he was more akin Christian faculty. They enjoy 6 q of “The Group.” Al- C—Silver, Gold Plated Clasp to Satie than the Pm.7 ; 60 though of Swiss older members of this L>—Silver, Enameled parentage he in Red, Black, Blue obtained liberal coterie. reen Clasp most of his technical A pupil in composition Musical Fireworks 5f.G Pins training ^°i esome s ° c ' a ' ar, d ru k r— , 60 at the ol a w E Gilding Metal Clasp Pin. Charles ... 30 Paris Conservatory. Amiably Koechlin, he had already F— lld ,n Metal 6 submitting £ . « Enameled in Red a 0 S a d 1 composed , elt rin °f 'hi* bar to chamber Black. . « pin interview Blue or Jreare in‘ h' ,? P u , f in his music, songs, an Green Clasp Pins .36 in hard French black enamel, Montmartre apart- with Christian young forming a opera boufje, shoulders Behind 0 r aSt thc ment. not far from and several sets of piano The ill “‘ r»?ion the Place Picralle MEDALLIONS is' acfuai™ze since pieces. The more immortalized by G.I. soldiers, obvious qualities of "No. 12A—Silver Hon- is live Size, 3 V4 x 5 inches " SO qa egger frankly music were vivacity, people from all over the world. They The Iron Curtain 1 *9* confessed exuberance, and B—Silver, Gold Plated. his sympathy for Bach Mendelssohn ff°- a sense of etaI Gold F'nisi, German music. humor. He did not use lonZrMj''"* ¥, ,- .48 He had studied, make Beethoven No. 12D—Gilding Metal, Silver during ot the Mozart Finish 48 Ins apprentice grotesque titles so dear to Satie. atmosphere of Christian In ETUDE for January, Mr. Victor period, the music of Wa<£ in the Chopin Schubert Jut pieces Seroff well known pianist and teacher, ner, Richard Strauss, Max like the Impromptus, Per- Reger, and petual Handel Schumann MOTTO BAR PIN Schoenberg Later, Motions and Promenades are contributed an article upon “Musical he was influenced by refinement which characterizes Haydn Verdi (Bas*relief) Stravinsky. characteristic of Fireworks Behind the Iron Curtain.” Among French composers his musical invention, Liszt he is Wagner lelt drawn towards appreciation of polyharmonic style This was accompanied by an editorial - Florent Schmitt be ... Highly finished photographs, and I. , cause of the musical wit. note: “Victor Seroff, ETUDE’S repre- witn easel back, of the above named polyphonic This is dearly illus- composers. conception ’and trated An attractive ornament for studio or home. treatment of his in the subtitles ' sentative, an American citizen, born in music. But notwith- of his Piom- Price, 50 cents each; plus standing de “On Foot,” Russia, endeavored to enter the Soviet transportation his sympathy for V~ l[ “Bv Motor Car.” JONES UNIVERSITY S a ery Teutonic BOB a t ctiv bar mu- ,in> in sS*les Nos. n n Horseback,” Union but was unable to get any fur- l.^A,HA B,R D,n andi E,u theif i Ser as “By Boat,” “By Air- BAS-RELIEF PLAQUES staff, clef, notes and ardent member , GREENVILLE. SOUTH CAROLINA ? ' letters are raised a miniature nf “-n° Grr? 'f' pkne, “By ther than Prague, Czecho-Slovakia.” Mr. of the bas-relief u and coul 'l Motor Bus,” “By Rail- Ivory finish • P only _ plaster plaques, ,n N and „ , ? be log- °if-J3C 13F the background is "ay, By with clasp for hanging, I fiVl !i 5 a Bicycle,” “By Seroff desires to make clear that since size 6 h ’lrd Cnamel French Stagecoach.” As in the Colo ' s impose?. by 8 inches. I tinned below Lik^rihLike Milhaud proved lay his later he left Russia, twenty-seven years ago he Honegger at first showed works, Poulenc’s tal- Mendelssohn *N°. ] 3A—Silver a ent was SO 9A predilection for the sonata essentially lyric, and the older lias neither expressed any desire to go en Mozart *No, 13B—Silver, Gold Plated li form. Later Rubinstein No. he took up memicrs ol The back to Russia .nor ever tried to so. 13C—Silver. Enameled in Red, the ballet. His Group" regarded him do Black, first pro- as Schubert Blue or ’ a gifted XT _ Green 9a nounced success was youngster from The statement is the result of a verbal Schumann “King David.” for whom much et¥- GoId Finish 7 48 solos, was to he Tschaikowsky M°' ,¥ chorus, and orchestra. expected. misunderstanding for which ETUDE’S Mf-G'Ming Metal. Silver Finish 48 This work Wagner No. 13F—Gliding As a Metal, Enameled Fin- somewhat eclectic in style, whole, the vitality, Editor is personally responsible. In say- ish nevertheless independence, in Red, Black, Blue, or and Price, manifested, an obvious progressive technical of ing that Mr. Gilels is closely guarded, $1.00 eoch; plus dramatic instinct standpoint transportation ‘ 60 Safety catch. and tese notable musical invention. composers, combined with the con- Mr. Seroff did not mean Mr. Gilels “is Shortly tinuance afterwards he startled of definitely protected by guards day and night.” the Parisian pub- French traits, 1 c and pleased the established respect Theodore liberals with hi for' their validity as Presser Co. or- IS chestral piece, “Pacific, s Sane s influence # # * Music Publishers 231,” in which \ was manifested and he cr U1 t Distributors sought to convey - le works an impression , of Henri Sauguet. 17!2 in r ese 1 Chestnut Street music of an express impressions Depr. E-5 locomotive steaming could not be obtained “Every day listen to beautiful Philadelphia!. ?t rest critIC music, > starting ponderously, ?* articles or and piclT p books, however look at a beautiful picture, read a beau- ing up 1 and high school speed until it attained search'ng; they were the re- in connection seventy- sni? r tiful poem, and. if possible, nt personal say some contact supplemented reasonable thing.”—Goethe. ETUDE April, 1949 265 J

Theodore Presser Bach Beginning the Career s4ttKOU*tci*up t&e Beethoven (Continued from Page 210) Bohm Brahms ( Continued from Page 211) Chaminade teacher in many cases went to consider- he could nevertheless make FOR PIANISTS Chopin, an "COURSE Vol. I excell,,,, Zip close- aware of being critical— able time, labor, and expense procuring ’ After that, I watched they don’t come Chopin, impromptu speech upon tired out. Vol. 2 .subject his simply music (particularly when the teacher which he found that, while he barked, to be entertained! It was through Drawing Room Favorites, was interested. V„ iu ly and Vol. I ! in and out like a bel- an audition, however, that I was heard Drawing Room lived at a distance from the sources of ioned ‘‘ants in body went Favorites, Vol. 2 the pie” picnic 1 ttle in “throat” and "chest” by Mr. St. Leger, and while no imme- WEYBRIGHT supplies). In this, '" i just the CHOPIN addition to the teacher woods thrilled him far ows_not % JUNE more than thing, must meet the cost of handling the music a his body, but the whole diate engagement followed, he must have RADIO white tie and tails” function part of CITY I also kept and materials, the wrapping, the postage, Unfortunately, back as well as in front. saw me in mind, for some weeks later he had a habit n a the of ex of breath he took while he invited me to sing the role of Blonda comprehensive library of keeping of accounts, and so on, for pressing himself very that the kind piano classics forcefully and * Method! which he should justly be reimbursed e was a free, steady, full m-and- in Mozart’s “Abduction from the Se- BRILLIANT NEW phatically, ,n a manner barking to both Easy Classics which raglio,” has immediate appeal through discounts. Mr. Presser some panting. I tried to imitate him! at the Central City Festival. At . . , That knew times gave a wholly dillercnt out Favorite French Composers imprest voice at all, I en- that time, I had already made my debut piano teachers and students what lie was talking about because of of his intention Without using my Favorite Russian to com, v — Composers his active the series of pantings, breath- in Minneapolis, under Mr. Mitropoulos. contribution to piano pedagogy experience as a teacher. The nished gaged in long . .. Matchless Favorite Salon Compositions truth. This on one or average teacher’s two occa full capacity of my lungs, Perhaps Mr. St. Leger felt kindly to- First income has limitations, sions cost ing to the .75 Recreation Repertoire him friends, which always Book — Price and Mr. Presser did not believe hurt with my whole body. It ward me because, at the audition with ONE — The Beginner’s that breathing Godard the his feelings. H,s and BOOK nt dee. op, h's unguarded reading prelected so that 'the Grieg, Vol. teacher should be “out of franknes things for my breath con- him, I had sung not only the part of The principles of intelligent music I pocket” in his sometimes did wonderful put him in In four ports: «~d -»9 UP °" d Grieg, humorous sit, Blonda but also that of Constanza in skill to his fullest ability. Vol. 2 purchase of music. More than this, he For a while after that. I would note reading tions. Once at an Atlantic trol! From the Space Notes of & City boarrT the as well as the two great Staff, Reading Up and Down * Streabboq looked upon the teacher as a singer friends by asking them, same work— Middle of The Introduct.on to missionary walk hotel he startle my Note, of The Bass Clef and ^ Liszt was introduced Up and Down From The Space of the art, to whom the publisher should to an you pant like a dog?” Queen of the Night arias from “The Reading Mendelssohn author of national distinction “Can always be Mr Pres actual stage Magic Flute.” (It is a good thing to be Musical Playing. grateful for introducing liis to getting ready lor Modern Classic scr said “This isn’t really As Rep., Vol. I Mr Ip- works. Therefore, he believed best and most sincere advice able to demonstrate a wide and versatile Modern Classic that the "I am afraid ” work, the — Price .75 Rep., it Book Vol! 2 is replied 'the repertory at an audition!) The Central — The Follow-Up teacher was entitled to consideration author. give is for the ambitious young BOOK TWO Srodualty Moszlcowski in Well, well, well! I can Weybright compositions, .he student progress the said Mr. presser as City experience was richly rewarding, Through familiar and original Moussorgsky matter of discounts. He was so sin- "I to get out before an audience and leg °' never dreamed singer to chords and intervals staccato that I would it a dif- and consistently, being introduced Mozart cerely concerned meet the needs artistically, and I followed by ' in protecting the teach- you soon as possible, and to learn shading, the oppogg.atura, accents, and *°U a c onc phrasing, finger planning, key signatures, tone Offenbach er s interest f most important the ferent kind of experience—that of sing- upon this point that once ,?/ au- of the stage, not in a studio, but on thors in my life. student’s first piano duet. Old Masters he rose public. ing eight performances a week, in "The the from a sick bed against his doc- stage itself—any stage, before the Pianists Specialty, "You flatter me," Vol. I tor s exclaim, Broadway. Facing eight advice to go to a dealers’ d , he author sense, the best possible experi- Telephone,” on and TWO Price .50 each Pianists confer- In this to accompany BOOKS ONE Specialty, Vol. 2 ence in an excited tone. in WORKBOOKS to stand up for the chorus of a Broadway different publics a week, week week through testing" of the principles and Rachmaninoff rights of the ence is in the Workbooks to offer additional "leaching Not at >” Unusual definite music teacher. a,1 s ok <’ up Mr. of starting in out, whether you feel in the “mood” or scientifically planned to accompany Rim sky- Korsakoff „ T P Presser, show. Don’t be ashamed materials in the first two books. Each page is Although vigorous I never flatter drill in not, is just about the best luck that can Rubinstein and emphatic, Mr. anyone. I have a cony the chorus—it is an excellent sections of Books One and Two. Schubert price Presser had no of your latest in public. happen to any young singer! You learn 60i each patience with those who book on ,m bed table learning to handle one’s self employed and to handle your- In Preparation Schumann EDWARD B. profane or coarse every night how to work and how MARKS MUSIC language. when 1 mire I read Second CORP.I He ago, Scale & Chord Book Recreation Repertoire was altogether decent in one or two Value of Auditions self—that is why I spoke, a moment The Key Signature Book • BOOK FOUR — The RCA his thoughts paragraphs, and it BOOK THREE oibelius Building New puts me York, N. Y. without being in fast of trying to get into a Broadway chorus, to accompany BOOKS THREE and FOUR any way sacrosanct. He asleep! When I began my career, I spent WORKBOOKS Tchaikovsky coveted to you. Book • BOOK SIX— The Classics Book congenial is the only thing open The Dance Form company and compan- nearly a year singing auditions—for man- if that BOOK FIVE 20th Century Operatic At You r Mus ic Dealer — NOWI Repertoire ions. I tried the This New June Weybright Course Occasionally he would get (In stations, for the smaller After “The Telephone,” See a group next month’s issue agers, for radio of boys and take ol Theodore “Metropolitan Opera Auditions of the them for a hike in I resser s opera companies. At that time nobody Centenary Biograpln N. Y. 1 hiladelphia other f .s- I am, trying to do what • 1 61 9 Broadway, New York 1 9, s three thousand it a wonderful ex- Air”—and here of MUSIC, Inc. acre Fair- unating stories wanted me! But was AMERICAN ACADEMY mount Park, where of his distinctive mil every young singer attempts: to work he himself became highly perience, because audition conditions SOLE SELLING AGENTS • MILLS MUSIC, INC. a original personality boy again. Rarely speaking will he pre- public singing. hard and to keep alertly aware of what in public sented.) are far more severe than The judges are more critical and more I am doing!

Tips for Teachers of Class Piano

by Frances Montague

your teaching A RE you one of those teachers who 5. Do be careful of with little children. believes that pianistic fundamen- tempo, especially time to get the idea. tals can be taught successfully in Give them is Material: groups? Next on the list questions when you are se- Well equipped teachers all over the Ask two for beginners. The first— country are demonstrating this fact, both lecting material second— Is it teach- in the public schools and in the private “Is it tuneful?” The best if they stay studio. able?” Little pieces are finger position. Avoid Here are a few pointers for teachers pretty well in five around very much until who wish to do this work. We will list pieces that skip acquainted with the them under three headings: the child is well keyboard. There is a wealth of good 1. Procedure. material on the market—investigate it! 2. Material. Now for suggestions to teachers: 3. like Teaching Suggestions. It is important for children to important for them to Important Do’s and Don’ts under the you. and equally business. heading of Procedure: know that you mean flexible assignments, one new 1. Do have the tables, chairs and mu- Give class and extra work sic racks in readiness before the children piece for the whole come into the room. This saves con- for smarter pupils. fusion. Always strive for good tone and hand 2. Do wait until they are all seated position. This will solve and listening before you begin the les- Keep your class busy! son. Then speak slowly and distinctly. most discipline problems. can do many con- Be very definite in your instructions. Pupils at their seats others are at the 3. Do have your lesson well planned structive things while the rhythm, count- but Don't try to cover too much in one piano. Try clapping on. lesson. Have your word signals w’ell un- ing aloud, and so least, try to develop a derstood such as: Last but not each child. Surely the Ready”—meaning hands in position. love for music in children whose interest “Begin”—meaning start to play. large numbers of class piano, 4. Make and clinch one point at a in music is aroused through in building a future National Society tor Crippled Children and Adults, time in as few words as possible. Many will have a part teachers America! talk too much! musical 11 South LaSalle Street, Chicago 3, Illinois 267 ETUDE APRIL, 1949 / — r

from E. Lee, Chair- of may be secured Jack conclusion that a good player must have The World Music man, National Drum Major Contest, relied more on his dexterity and on the WHERE Michigan Bands, Harris SHALL I GO TO STUDY? University of strength of his embouchure'than on the ( Continued from Page 205) Michigan. Hall, Ann Arbor, resources of the instrument itself. Later makers, however, added a multiplicity of Private Teachers AN AWARD of one thousand dollars keys, both above and below, which only (Western) P RIVAte Teachers [New York City) and guaranteed publication is offered by complicated without facilitating per- sic.dilr* Hei AC VAJJCV>kiJexpects toIt-/ study.JtUCi thistlllo summerOUiSiillVA AW* years old. She had J studied voice with Pennsylvania College for Women, formance. HAROLD HURLBUT riiVAein A.-»rl lafnn to IrA nn intonci' the EDWIN auEuropeci* v_/|y v. anduuu lateriau.1 toivy takeiimi up intensive Mme. Pauline Pons HUGHES X Viardot-Garcia for a twenty-minute organ The serpent consisted of three parts: SUGAR New * — ^or <— Hollywood PIANISTS PREPMED and hS Pittsburgh, Member Natl. Assn, of FOR PUBLIC PERFORMANCE studvstudy in -thisthis countryrminfrv with one ol the done much to encourage I n. Teachers of Singinq A young in three or four movements. (1) the mouthpiece, the crook, or N R N VERSITY ' Ame'ri composition (2) er ° f n ' COLLEGE AND 4 erS Metropolitan Opera. ^Chi- ro t?cc^ .T^ J Faon r? u n °i < S R V R famous conductors. can musicians. to citizens of the curved brass R ad! TEACHING positions contest is open tube leading into (3) the SPICE °' etc - His book SUMMERSUMM ?o u a AI? X, The "voicfE r MASTER CLASS, JULY '.k'/Lnui} FUN DAMENTALS" (J. Fischer 11—AUGUST 13 SofkTen H lim&n & Bro., N. Y r States. The closing date is Sep- wooden body. The instrument was some- -p.lkiPub.) was endorsed n,0rma,i ° n a d d United by W. J. Henderson (critic 338 asSSS N West BYt°h SN et' THE E. F. WALCKER organ factory in HERBERT mat°' 6lspham Journe N ew To^ 24, N. Y. STOTHART, 1, 1949; and all details may be times made of brass or copper. It is usu- MuntrA UBinuu ' h and others of that prominent tember great Ch le [ er^ MONTHLY 6 Germany is building an organ to be in- writer of film music, whose writing to Mr. Russell G. ally said to have been invented 2150 Beachwood SESSl6NS m wASH |NGTON. scores in secured by by a aov** Dr., Hollywood. Calif. D. C. stalled in the Lorimer Chapel at Colby eluded such H successes as "The Green Wichmann, Pennsylvania College for canon of Auxerre, named Edme, Guil- CHARLES College, Waterville, Maine, a gift from Years," and “The Yearling,” Pennsylvania. laume, in 1590. The "Serpent DEL PURVES LAGOURGUE STUDIOS died Febru Women, Pittsburgh, d’Eglise” VOICE PRODUCTION-SINGING Dr. Matthew T. Mellon, a member of ary 1 in Los Angeles, was a recognized Concert California, at the functionary in French pianist — Teacher M. COMPLETE’ MUSICAL- -"-u- CUUVyrtllUINEDUCATION the Board of Trustees | of the college. age of sixty- L( " four. Ilis scoring churches' being used as a substitute for Purv es-Smith Piano School “ the au,hor of The Secrer-Daily of “The FIFTFI INTERNATIONAL I nos. , , THE 2934 Avalon Avenue. Poco/ Exerases.£*erc/ses This would seem to be evidence that Wizard of Oz" made the organ. "It Thornwall 3-9797 him an Academy for Musical Perform- gave tone in changing and 0/ a pr ' COMPETITION Berkeley 5, California " obems of the SINGING and German industry is making a genuine Award winner. SHAKING!^,LV r?Poice played the bass when they sang in parts SUGAR AND SPICE — Ward. Easy tunes and 'HUSKINESS, NASALITY, Geneva, 1949, will be held at the THROATI- recovery from the ravages of ers, ness. Also World . . . mixing with them better the in- stammering corrected. Conservatory ol Music, Geneva, Switzer- than rhythms using whole, half, quarter notes and ISABEL War II. HUTCHESON 35 West 57th Street, DR. FRANK CUTHBERT. for organ, as it can augment or diminish a triplets dotted quarters. .60 New York the last land, September 19 to October 2. The troducing eighth, and Teacher EL. 5-2347 for Piano Teachers twelve years head of the sound with more delicacy and is less 7 music depart- to singers, pianists, vi- Pian ° Technic: contest is open with Group work for Teachers- A NEW LIFE-SIZE television projection ment of the University of West likely to overpower or destroy.” For CAR-TUNE-LAND—Rabineau. For beginners 9 C rt '°"' S,S: Virginia oboists, bassoonists, and in- 7 P C°" ducti "9 "Piano EDITH SYRENE system, featuri oloncellists, - Teacher" Fo rum' LISTER ng an optical barrel which died January 27 in many years the instrument was an in- Illustrations by Gene Byrnes, the creator of "Reg AUTHENTIC Morgantown West of sonatas for violin and BR VOICE PRODUCTION for the first terpreters OK S YS MUSIC STUDIOS 405 Carnegie time is suspended from a Virginia. He dispensable of the primitive or- lar Fella's". Your boys will like this book. 1.00 100510041/ ci 2 . M Hall, New York City was fifty-four u-ars old. member 2 Elm Street, are Dallas 2, Texas Phone piano, of all nationalities. There C-6214 r< :onvenient ceiling mounting, 0r d ^aejate Teacher with W. Warren has been chestras, which accompanied the singing Sh°a'w A° M c°a first and second prizes in the various — Lake. Favorite school Endorsed by Tl°yd S. announced by tiie A DILLY DALLY BOOK r . Muckey M. D & Sound Products Sec- A. ATWATER in rural churches in England. It was emons Trahon of correct KENT, im mor, pio- for submit- EVANGELINE LEHMAN; rhord,' P action of vocal tion of classifications. The deadline songs simplified to play and sing. .75 Mus . Doc. h?W the RCA Engineering a ' Products neer TEACHER " Columb| a Univ., Cornell Medical radio manufacturer, phil used a good deal in French orchestras _ . of singing Clfnl M r u iithropist, is 15; and all r Vermont us!c Department. ting registrations July Compeer of - M Teachers Assoc.. East- The system is especially Sugar Cookie ' c' -l , died of the early eighteenth century, was Soldiers", "The Good- er P h) , March 4 at Bel-Air, n ar and LAKE'S DAILY DOZEN — Miss Lake gives teach- Con,erence '- Holly. — Pub. Theo. - Hunte College-Physicians adaptable details and application forms may be a Presser. & Art sts- for use in industrial plant wood, introduced to London in Handel’s time. Author of Reflections California. His age w. s book. Helps build strong and on the Art of Singing"— recreation seventy- secured from the Secretariat of the In- ers a time-saving | Wednesday: and lunch Troups Music Studios, Lancaster. rooms, custom-built five. Mr. Kent Wh’en Handel saw it first, he said in Monthly Pa. made million in auto- for Musical nimble fingers and good technic. .75 Recitals No change home installations, ternational Competition to^dfS churches, schools, motive and radio inventions, his broken English, after shrugging his 8<" 3 (FRANK) hospitals, dubs, it one lime Performers, Geneva, Switzerland. Address: 167 Elmhurst (ERNESTO) and hotels. it igo dat FIRST — King. An album | Av. employing in his shoulders "I tink de serpent FUN FOR GRADERS Detroit 3. Mich. LA Philadelpli a plant as FORGE-BERUMEN STUDIOS many as tempted Eve.” pieces. .75 12,000 persons. He established of good-time piano Voice Piano THE EDNA GUNNAR a — AMERICAN OPERA CO., of 1 he Atwater The scale of the serpent was capri- PETERSON Among those who have studied Kent Foundati >n. with Mr. La Forge are- I hiladelphia, which, — Moore. Eight favorites M r n added to its BIG NOTE WALTZES P'aoist Artist d 0 L W r e " CeTibbett laurels in through radio cious, and indeed fortuitous. Mersenne Teacher ' Rkh ° rd C '00ks auditions I 229 So a nd - gave millions So. Harvard Blvd.^ 'M mt Ma tz"en a°u e r February with for piano. .35 I Lol a spirited and simplified A „g.|eI. Ca|If< highly en- of dollars gives it a compass of seventeen diatonic HOO Park to tieserving, talen Ave., Corner 89th St., New joyable cl young ^ York performance of Mozart's people. eight foot upwards, Tel. Atwater 9-7470 "The tones from D and Send for 'examination" copies Marriage of Figaro.” Sung in the ex- intimates that the intervening chro- THE SAMOILOFF cellent English translation by E. The Musical Serpent BEl CANTO STUDIOS & OPERA RICHARD }. Dent, matics can be obtained by half-stopping. I TL j ACADEMY McCLANAHAN the cast Competitions Exponent of young singers acquitted . TOBIAS MATTHAY them- Berlioz, who speaks slightingly of it, states Private lessons, MUSIC COMPANY selves ss-Sr src.3ra.Td~r.it class lessons in Fundamentals with much credit. by Dr. Alvin C. White „"3»a Rosalind Nadell that it is in B-flat. Old parts, however, Summer-class, Southwest Harbor Me sang the ,ERICAN STREET BOSTON 16, MASS. Stemway Bldg. role of Cherubino, guild of or- 116 BOYL5TON AllAO MusicXX....V Of Allnn Publishers °W New y'ork City Beverly Bow- used in England were invariably in C. The direct.on of Zepha ser i.AiMVIS™t*c is Writ. Samoiloff. was Susanna, and promoting a National 09 3150 fan Gbur san-y The serpent is usually replaced in pres- °' ’ Walt *£»».. Los Angeles Upen HE NAME of this instrument was Phone FE f2% 5 figaro. Others in the Competition in Organ Playing, No charge for EDWARD E. cast were Estelle the tuba. Audition TREUMANN the finale obviously derived from the curved ent day performance by A Harrop, Eugene King, of which will take place T Concert Pianist— Milton Sandler, in named Artist-Teacher connection form in which the tube was contorted. Yorkshircman of Richmond, 0 e e and Duane Crossley. with the DR. FRANCIS L. bV V°" Sauar M ° ritZ Vernon 1950 National Bi- YORK ' Mo« k °wski Hammond the ancient Hurworth who played in the private Ttew TKactenK rffr/toMLcAr tb t&e 'Pion* Advance Piano and To™e ph Ho f m™' was ennial Convention. It formed the natural bass of Interpretation and the Theory the musical director. There will be pre- required for work of George Third, could execute the degrees of Mus. Bach. 9 *37 5 liminary cornet family, played with a cupped band and Mus 1*1 5%?5°' ^ ’ and regional Mas. ^Pecial Te Co semi-final Chopin interpretation. lumbuf ™ I contests, elaborate flute variations with perfect DETROIT Summer & the latter mouthpiece similar to that of the bass CONSERVATORY Master Class—June 15 to KURT WEILL’S to take place OF MUSIC August 15. one-act opera, during the Re- this unwieldy instrument. Detroit, Mich. “Down gional trombone. This weird and unwieldy accuracy on 16 Valle wiU be Conventions of the Guild in the D” given its New lingered MME. GIOVANNA VIOLA YorkWrk premiere ate spring of 1949. member of the zincke family Private (HULL) by the Lemonade Opera The contest is open Teachers (n.w York Cin,i Dramatic Soprano ‘ to any until the middle of the nineteenth cen- Company during its third organist twenty-five years Teacher of Singing— "Bel summer season of age The Real Inventor s Canto” r being Experienced at the ®, uuder, tury. It is now obsolete, its place ! the ; European trained Artist Greenwich Mews Playhouse. only stipulation being The Arthur Co° lchln9 Opera, For ophi- musician of the church of St. Peter, No*e Baecht Concert the A rra/., and Radio 1 S a 1 taken by the serpentcleide and Piano r„ c ™6 m °ne °f itS not havc played recital rodu«ions. f J? a i? a SCHOOL OF VIOLIN 1 ". he Hitt P for the cleide both of which have also fallen at Lille, by name Regibo, had already, ! °PCra gr A.G.O. prior 0 h be9;n In9 , "SEaUKK* ° U[> WiI1 make use to the date of Com- For Beginners finishad artistry" a of petition into disuse. Russian bassoon was in 1780 made improvements on the ser- 75 SouthsTi,/h Orangen Ave.,A t° chor i Preliminaries.” The South Orange J Full details may ' N several keys and modi- — Tel S.O. 2-3084 be secured the transitional instrument between the pent by adding if..,. . by writing Public Recitals to Mr. M. Scarle by Orchestral Training etngiu, serpent and the ophicleide. fying the bore, so that Regibo may in RICHARD ELBEL, conductor, Chairman, American Guild of CRYSTAL WATERS violinist as the inventor even pianist, organist, Organists 630 'the serpent consisted of a wooden fact be considered and DALE BARTHOLOMEW HELEN ANDERSON Concert Singer music merchant, Fifth Avenue, Room 1708, BETTE — Teacher died New tube from of the so-called Russian bassoon. Concert Voice Building, February 7 at South York 20, N. Y. about eight feet long made Pianist Breathing Bend, Indiana at Diction, the like part for the serpent is to be found In Collaboration with Interesting course—piano, Expression, Style. age of eighty-one. two pieces of hoflowed wood, shaped A harmony In Mr. Elbel preparation for for the score of Mendelssohn’s oratorios, Radio, many years conducted THE CHOPIN a serpent, that were glued together and in Screen, Stage, the Elbel band PIANO CONTEST, be- HUGO FREY Concert, Opera. ’ covered with leather. The serpentine “The Calm Sea and Prosperous Voyage” f ded by 1027, and held every years Write for Circular ^ father S,™ five Paul,” and in the overtures to 405 E. 54 Sf. hit Isa/"itsal. In l887 until interrupted form was given to the instrument to and “St. N6W ° 1887The organized by World will MARY BOXALL Y fk C “ V Elbel War II, BOYD Tel. Vo-5 Bros “Masaniello,” “The Siege of Corinth” — 1362 music store, from Sl, med this year bring the fingerholes within convenient (Pupil of Leschetiilcy) the presidency in connection with . of which reach. It five- (between the sezond and third trom- st—Teach er“"Coach- he retired only ro rllniclnora tion increased conically from p rogram Building four'years , 0 f the one -hun- lh1 , l. LEOPOLD ago! tiro Wagner’s "Rienzi." It is also i , , WOLFSOHN eigluhs of an inch in diameter at the bones) and l ~' anniversary I Writes of the great Polish Ul^ Hte^ )i,S^g; Pianist and of “I Vespri Siciliani.” ° | I e9C teacher tr S mouthpiece at the open found in the score A d r Ha • < ea, L Elimination to four inches Y Nolp Studios— Teacher of Aron Copland, hr c contests will as f| 3 wlVlfsr57t 1 St Elie used it in “Samson” (1742) -' NewJ t-York City Siegmeister oegm September end. The mouthpiece was bent towards Handel i N ( a o A-l t Y and many artists 15, and the will (Also 9 Chambers^ Terrace^ and teachers finals (though it Princeton, N. J.) BEGINNING r™ World ue timed to the performer. There were six holes on well as in “Solomon” (1748) TO ARTISTIC FINISH war, February'! end on October the date £ I 'in 17, in List Price in the score), and Hotel Ansonio. B'way at New \ork City. ot Chop,,, s the lront of the instrument, to be does not appear 73rd St., New York City He would have death in |g49 A]] informa. been Music” (1749). ser- seventy-three years old ma ,he stopped by the three middle fingers of the “Fireworks Thf 75c on - secured from ROY CAMPBELL February 22 r Jnt y the Chopin by Rossini and JACK EPSTEIN Centennial either hand; those for the left hand, on pent was also employed Teacher of Successful Zana£ell° has Committee, c/o Polish Re- I Singers of ^ hid a for the Serpent” R successful teaching a the third descending those for Verdi. The “Method ' nd branch, ° ict re ~ Concert - Opera BARITONE career. In ign - Information Service, 250 ''STYLeTzincY.5 YLE-IZING ( o J- he K duets, tvas pub- for Radio and the Theatre Concerts married Maria Gay, D«t 5/th the right, on the fourth ascending containing studies and — Opera — Teaching noted Spanish Street, New York City. , —Studio Cr!, I ~ men I 607-8 Carnegie Music Studios He sang branch towards the bell. holes were lished by Cocks. Hall m v . Palm Beach. Fla. many The 1 New York City notable roles Telephonet u Y Inquiries to eluding i„ was shown in the Cl 5-9244 , that of Pinkerton , set in groups of three, within reach of A “contra-serpent” 1401 Steinway Bldg., New in “A N1VERSITV OF MICHIGAN York City Butterfly.” B \ vn! the Exhibition of 1851. made by Jordan of which he ’ outstretched fingers. Owing to the created at ",nb 'h 0 idea of developing MUSIC CORPORATION • 799 seventh avenue, n. Y. 19 performance the W hotter shape in E-flat of the sixteen- ROBBINS of the opera njarobing of the instrument, the fingering Liverpool. It was P at LaT %Scala, bands and band leader- STUDENTS-MUSIC LOVERS Milan, > shin was, however, too un- to earn Liberal Commis- in 1904. P- tvill sponsor was inverted in the two hands, the scale foot octave. It sions their first annual Na- se img ETUDE and all player, and other maior magazines, proceeding downwards the left and wieldy to be carried by the ‘ rum Major in ° r b,,sat,on a . Contest, May 21, at ° - Write far complete upwards independent support. Another details 0 S K 1 MT in the right. serpent is required Would you rather pay $50 in CASH for sheet music every year? today °a: ATHERINE ’ Michigan. The EVANS The contest is de- in- siVnr i was C probably modification of this instrument ?S SNNER f to create interest the only instrument exhibiting ETUDE SUBSCRIPTION CS (!cnt in drum major- or AGENCY the National P of j.f so quaint by Beacham and played on by 2400 WALNUT OperaOTa "('ini f ! espeaally and unscientific a device. This vented ST., PHILA. 1, PA. Club of for male participants, voice te-arh L. .. America, orchestra. It was Subscribe to and get nearly $50 in music for only J 3 fact, and the different lengths of sound- Prospere in Jullien’s ETUDE $3 yearly? in New York ” 7 ing-tube intervening the serpentcleide, and was essen- 268 Cty. She was lor entering between the holes, named RENEW PROMPTLY - SAVE c,gl„,. n is April 15; with a body of wood MONEY a information indicate the great mechanical imperfec- tially an ophicleide and entry blanks tion of the instrument, and point to the instead of brass. ETUDE APRIL, 1949 269 I —

greatest and most perfect in the United Please Dad is one of the. composer’s most ingrati- Pieces That A Flood of States. How our military music has ating vocal offerings, which few will be CLASSIFIED The Marine Band grownl It is estimated that we have in by Rose Cordain able to resist. Of five reissues of ADS America two million boys and girls play- Distinguished Records recordings (Victor Heritage scries), all tunes that he and mother danced ing instruments in school orchestras and S a general rule the musical taste of songs, Lamont songs like of which deserve to be added to a well- connec- to, all dear to him. Western YOUR UNWANTED Ml Schelling bands; and some 25,000 cities and towns Dad is elemental. His chief SIC exchn „„ , by Julia E, A rounded operatic library, we especially piece for piece, 8 on the Range, appeal to most (Continued from Page 216) 5c each; quality rnntiJL are said to maintain orchestras. tion with music in the family is to pay Home Burpee's Specialty d ’ Gene- recommend the golden lyricism of the Shoppe, i >elton old sentimentals, like Mich May these follow in the the bills for lessons. He does it cheer- men, as do Marine Band is the oldest of modern bands Flarry School tenor’s Spirto genlil from "La Favorita,” HE of providing vieve,” or “In the Gloaming. I he of Music American military bands and marching steps of our first American fully, with the satisfaction Arrau, the unfamiliar aria from Leoncavallo’s HARMONY, all Lauder songs, among them “Roaming in playing the Chopin Andante Composition, OrchestraM/, T people band, the Marine Band of Washing- for the pleasure and education of his Musical Theory. " 11* only one known to the with la pa- Private or t no, was the “I love a Lassie, Spianato and Polonaise, (the lat- “La BoMme” coupled Ah, mil?®nce be times when the Gloaming,” and Op. 22 Instruction. Manuscripts revise,! 1830. ton, D. C. children. Yet there may ..g ' Washington until well as the announces ter with the Little terna mano from Verdi’s “Macbeth,” reefed. Music arranged. r of efforts the have always been loved, as Orchestra Society) Prank s l ,ff faltering of Sutler,n the Continental Congress au- Our brave Marines have fought on he listens to the and the Vois ma niisere, helas from 32-4G 107 St., Corona, N. Y. In 1775, tunes that came from the First (Columbia set MX-307) does justice to every battle front; they have nobly dem- small child or the rendition of the classics fine thorized a military organization known “Roses of Pic- these lesser works of a famous composer. Saint-Saens’ Samson et Dalila. Last, but children, that he wonders World War, “Tipperary,” Marines, and with them a band onstrated their motto: “Semper Fidelis.” by the older Josd Iturbi is less not least, we wish to call attention to as the ardy,” and “Charmaine.” happily heard in Bee- LEARN PIANO TUNING—Kimnim.j if it is worth the expense and often the thentic instruction U ' lifers and drummers. From this Summer School thoven s familiar Fur Elise Cetra’s issue of Haydn’s “” $4 00 — Lit, nro*fi? of twelve A medley arrangement can be made and Debussy’s Prof. Boss, 450 sacrifice. Beecher St.. -> Ira, beginning developed the famous Reverie (Victor disc 10-1458). His (Set III). Here is one of the composer’s JSY small conspiracy be- of his favorite tunes, simple enough to be play- Band. Here is a chance for a finest United States Marine children. It is sure to ing lacks fluidity and the tone of his works sung by three gifted Italian and mother to make a played by the LEARN PIANO drums were the only instru- tween teacher piano is too brittle. Arturo artists—Gabriella Gatti (soprano), Fran- TUNING VT HOME Fifes and for Dad. please Dad, start him to humming, and Bcnedetti Course, by hr. Wm. Braid A Letter from gesture of friendly thank you Master Classes cesco \V> i t0 Pay as used in the Revolutionary War, for mu- Michelangeli, the Italian virtuoso, plays Albanese (tenor), and Luciano you learn. Write Karl ments tunes in his memories of to assure him that the money Barton!, , h tnni There may be ’ 01AT band. Granados’ Neroni (basso), Wells St., Lafayette, Ind. twelve players making a has been well spent. Spanish Dance No. 5 and with the Chorus and Friend childhood days, or rollicking college sical education Marescotti’s Orchestra of With the Declaration of Independ- An ETUDE June 20 Fantasque on Victor disc Radio Italiano. to July 22 the • 12-0736. In the former, ence, the Marines were disbursed and Thirteenth Season he achieves some PIANO PRACTICING AXMiung • Announcing the oth in 1798, Con- To ETUDE: rare tonal EHsf Mayo’s Muting ,- bands also. But (first term eloquence, though his rhyth- Devi, ,,'ly At military taclud or Detached hv Any.,- ! again of our Marines. In your January issue I read the query: mic liberties are open to debate. In the harming gress felt the need STEPHEN COLLINS FOSTER MUSIC CAMP mechanism. State u,a : >n “Are Early Keyboard Instruments Being latter, he or spinet. Send their return, the bands came TEACHERS COLLEGE, RICHMOND, KY. exploits his prodigious tech- $5.00 for mule, mil instiiio With EASTERN KENTUCKY STATE Technique Forms tions. Money back guarani,- permitted Made?” The answer given was a reference nicjue in a work which is back. Congress now too eclectic Mayo, marching it 12 JULY 16 Plano Technician. Dept 003 nun to Lyon and Healy, Chicago, and ex- 5 WEEKS—JUNE TO ’ thirty-two drums and pretentious for* its good. E. Latona Street, Phlla. the bands to consist of Power 47. Pa pressed doubt "as to any such instruments Orchestra • Ensembles • Instrument Classes Biggs, Structure drum-major and Band • turning his attention to French and fifes, headed by a being manufactured today. Organ Music, instruments were soon plays Widor’s Toccata fife-major. New John Challis, of 549 East Jefferson Ave- Only $85.00 ALEXANDER by M. V. Allison ORGANS FOR SALE, fi.iar teed RAAB front the Filth Symphony organs, nine and in 1800, the Marine Band nue, Detroit 26, Michigan, has been making and Marche reed organs and plan,, ^'marsa added, Board, Room, and Recreation Pontificate, Organ Company, The beautiful models of old key- For Instruction, em inenf piano Gigout’s Grand Choeur Dia- Uollldayshin gave its first concert in Washington. for years very I pedagogue — many re- O THE student FACILITIES logue, of the pianoforte instruments, far more accurate, exact, STAFF : : EXCELLENT Boellmann’s Suite Gothique, Du- leader was William Far. The Band must board COMPETENT I nowned the students. Classes In importance of scales, chords, beautiful than anyone else in this coun- LIMITED Interpretation ple s Antiphon II, Alain’s T brilliant sight as it marched and COMPLETE EQUIPMENT : : ENROLLMENT Litanies, and SCHOOL TEACHER sells have been a and arpeggios should be emphasized 11 HIE try, and I doubt whether foreign makers I and Piano Literature; Teacher Vierne’s Finale from in PHONOGRAPH streets of the Cap- Training. the First Symphony RECORDS 1 ta p through the crowded to $1.50 Each Extra connection with Hirschmann, certainly not surpass, him. Mr. Private Lessons at $1.00 their relation to the 100 Duncan. .1, can equal, (Columbia set * •> Band at its for- 802). The recording is New Jersey. ital. The uniform of the several years Peursem, Director structure of musical selections. Challis studied and worked for For Details write James E. Van quite full and at times almost debut was gorgeous. Short, scarlet over- When a student mal with the world-authority on old music and FLORENCE powering. The learns a musical num- gold, blue Beautiful Blue Grass Region of Kentucky LAMONT HINMAN performances are typical coatees faced with blue and its instruments, Arnold Dolmetsch, who de- In the ber written in three sharps C l’",SEnS Biggs, more or less he should he SONGWRITERS. MUSI. scarlet- has technically proficient

ETUDE APRIL, 1949 273 —

THE CHAPEL CHOIR BOOK TECHNIC TACTICS ORGAN MUSINGS NOAH AND THE ARK ADVANCE OF PUBLICATION Original For Three-Part Mixed Voices Twenty-one Short Studies for Piano A Collection of Compositions A Story with Music for Piano OFFERS WITHDRAWN Collections the Organ (Soprano, Alto, and Baritone) by Milo Stevens and Transcriptions for Organ by Ada Richter The new releases for this month fea- This contribution to works by Wolf, France, The familiar the - Original Biblical story is of two with Organ Accompaniment Music Mn delight- ture books added to the catalogs tery Series, fancifully titled Overholt, Sheppard. Roepke, fully presented Compiled and Arranged and delight- Marks, by Mrs. Richter, inter- outstanding music publishing houses, AT THE ful to play, is a Norris, together with spersed LIGHTER MOODS by Rob Roy Peery collection of tuneful Broadhead and with her easy-to-play-and-sing Theodore Presser Co. and Oliver Dit- will have spe- studies of technical problems arrangements of Schumann’s Fu- piano pieces, and colorable the latter ORGAN This forthcoming book for the sec- new line draw- son Co. The book issued in -with ond grade pupil. Wieniawski’s Romance; ings. A complete Hammond cial appeal for choir leaders few Written in the easier neral March; recital may be given, catalog is another from the studio of With themes with Registration male voices at their disposal, for it com- major and minor keys, these are melodi- Allemetto by Haydn; from an older student as narrator, as the celebrated Chicago music educator, bines in one part both the tenors and ous and will capture the imagination Chopin’s Fantaisie-Impromptu and Prel- directions for dramatization are in- Louise Robyn, whose distinctive works Since these easy to baritones. The Special Advance of Publication ude in D-flat: Berceuse by Liadow; and cluded. Your pupils will enjoy to the are extensively used by many piano medium grade selec- The Chapel Choir Book will include Cash Price is 25 cents, postpaid. Legende by Tschaikowsky help in com- fullest a performance of this work. teachers. The new Presser publication tions for church and : recital organists are such works as Bless the Lord, by Ippoli prising the liberal offerings of this vol- Reserve a single copy now at the spe- will appeal to school music educators drawn from the Theo- toff-Ivanoff; Praise the Lord, O Jeru- YOU CAN ume of the same series as The Organ cial Advance of Publication Cash Price in the choral field. As is customary, with PLAY THE PIANO! dore Presser Co. copy- salem, by Maunder; Pan is Angelicus, by Player: Organ Vistas; and Lighter of 35 cents, postpaid. this notice the special advance of pub- Part Three rights, these numbers, Franck; and Rejoice and Sing, from the Organ. Many other com- lication prices on these books are with- A Book for the Older Beginner Moods at with Hammond Organ Bach’s “Christmas will arrangements have been drawn. Copies be obtained from Oratorio.” There by Ada Richter positions and may registrations, will not A Monthly Bulletin of Interest to All Music Lovers be seasonal anthems for Christina*. East- exclusively prepared for this book. Ham- your music dealer, or from the pub- be found in other This attractive STANFORD KING’S er, and Thanksgiving, and the book also mond registration also is provided. A lishers for examination. books. Cloth bound. presentation of PARTY PIANO BOOK will boast several original will available by Louise works by the just-off-the-press copy be The Ornament Family , Price, $1.50 study material en- An ideal “ice- April compiler. the special Advance of Publication Robyn, is designed to prepare the piano , 1949 ables the older at breaker" for par- Orders for single copies of this book Cash Price of 80 cents, postpaid. student for playing with adequate flu- student to play ties, this book is *ECCLESIAE ORGANUM are being accepted now at the special ency and understanding the ornaments ADVANCE OF PUBLICATION what he wants welcome any- Compiled and Edited by Dr. Wm. C. Carl OFFERS Advance of Publication Cash Price, 40 in the Two and Three-Part Inventions while learning. where at anytime A remarkable and well assorted collection cents, postpaid. Sold FIFTEEN RECREATIVE ETUDES the Well-Tempered Clavichord of only in the United and of interesting music chosen specifically for All the books I for “round-the- of in this list are in preparation States here aie orig- FOR THE PIANO for publication. and its possessions. J. S. Bach, as well as those in the piano church use, giving 10 preludes, offertories The low Advance Publication inal numbers and Scher piano” sing ses- of Cash Prices apply only to single by William sonatas ol Haydn, Mozart, Beethoven, and postludes, each. For Pipe Organ, with copy orders favorite sions. Even the av- placed prior to publication. Delivery selections The works of a successful composer of and the works of the classical composers. Hammond Organ registrations. Cloth bound. ( postpaid ) will ECHOES FROM OLD VIENNA be in new arrange- these erage player who made when the books are ready. teaching materials, each of sup- The use of this bbok should prove espe- Price, $2.50 For Piano Solo plays for his own ments. as, for ex- plementary studies bears upon a partic- cially valuable with younger children. Delightful musical fare for adults or will ample, Bizet’s grades of dif- “amazement” All young players ular technical phase. The The explanatory notes and suggestions VISTAS Through the Year—Twelve Character- (grades 3 and 4) nostal- page ORGAN Noah and the Ark—A Story with Music Toreador Song from “Carmen.” three, enjoy every istic Pieces for Piano Ketterer gically and the ficulty throughout are two and for the teacher provide a procedure in .30 for p,an ° recalls old Vienna in numbers for a new compilation has resulted The Richter .35 Theme from of this book. Demand Chapel Choir Book— For Three-Part Schubert’s “Unfinished all are touched with a special me- presenting this material much earlier in Organ Musings suitable for recreational or and in this fine selection of numbers by present M.xed Voices (S.A.B.), with go recital play- Only one copy may be reserved at the Organ Ac- Symphony.” A single copy will he re- receiving companiment ing, such lodic quality. Among matters the student’s course of study than hith- Bach, Liszt, Jensen, Peery .40 Second Piano Part to Streabbog's as Viennese Dance; Souvenir Price of day composers, and by Twelve ", Advance of Publication Cash Easy and served for you upon receipt ol cents, alternating right and left The Child Schubert—Childhood Melodious Studies, Op. 64 of Old Vienna; Valse attention are erto has been possible. Price, 75 cents. and Field, including numbers for Easter, Days of Viennoise; and 60 cents, postpaid. Be sure to order yours Famous Composers. Gauntlett .40 the Advance of Publication Cash Price, legato Reg- .Coit and Bampton .25 Vienna hand scale passages; rhythm: First A Collection of Christmas, and other special occasions. Six Whispers. Advance of Publica- Choral Book. Organ Transcriptions from Bach. Kraft postpaid. today. Chopin Preludes—With Study Notes. .30 playing; staccato; broken Secular Choruses for Two-Part Treble istrations are for both pipe and Hammond Maier .75 Songs tion Cash Price, 40 cents, postpaid. and cantabile of Worship—A Collection of Songs The Ditson Album of Organ Solos development: chord Voices offers for the organs. Cloth bound. 50 tor the Church Soloist, For High and chords; left hand upper grammar Low Echoes from Old Vienna— For Voices each chromatic scale pas- grades, Price, $1.50 Piano Solo .40 >40 LITTLE KEYBOARD APPROACH EO and pedal work: and junior high school, a wealth Stanford King's Party PLAYERS GROWING Fifteen Recreative Etudes Piano Book. 60 UP triads. TRANSCRIPTIONS for Piano . Scher .35 HARMONY sages; and interlacing SIX ORGAN of up-to-date material for assembly or Sousa's Famous Marches— A Piano Book An Introduction to Score Adapted for single Reading. .Schluer .80 School Bands by Margaret Lowry Orders may be placed now for FROM BACH concert programs. The contents have *AT THE CONSOLE — Individual Scores .25 by Robert Nolan Kerr Ivor Peterson's Piano Kraft Comp, and Arr. by Wm. M. Felton Accordion Book 45 Conductor's Score .75 Here is an opportunity that assures copies of this work at the special Ad- by Edwin Arthur been carefully selected from choruses Although designed to Keyboard Approach Technic Tactics Twenty-one follow Little Mr. Kraft 46 compositions for those who perform on to . this Harmony. . Lowry .75 Short Studies the pupil lie will be able to vance of Publication Cash Price, 35 In assembling album, that have been frequently used with for Plano Players and Tunes harmonize Little Stevens .25 for Little Players, the pipe organ, with special registration for Pieces from the Classic Masters— a melody at has rigidly adhered to his own high young choral groups and some newer Ten Choral Preludes this book -the piano as well as on cents, postpaid. For Piano Solo Beer and a Fantasy— For may be used successfully Hammond Organ. .30 Organ with paper. standard of musicianship. A he contents numbers that are bound to please sing- the Matthews .60 any This new approach is a “singing Little Players Growing Up—A Piano Book system of instruction. You Can Play the Piano, Melodious his customary dis- ers Price, $1.00 Part III—A Book pieces, and playing” study of harmony, intro- have been chosen with and their audiences. Special care has Kerr .35 tor the Older gay with verse and Beginner Richter .35 illustration SECOND PIANO PART workman- the ducing tiie subject matter cernment, and a high order of been exercised in choosing only num- teaching value of phrasing, chord by chord rhythm, in To Streabbog's Twelve Easy and in the registrations, etc., bers limited voice range. *CHANCEL ECHOES scales, chords, the familiar piano idiom, instead of ship is reflected of Price, 60 time signatures, etc., are Studies, Op. 64 the usual four-part Melodious for standard and Hammond organs. cents. Compiled and Arranged by Wm. M. Felton offered, together with helpful voice hymn tunes. THE DITSON ALBUM OF explana- Folk by Basil D. Gauntlett Included in this collection are the The contents are eminently suited to the IVOR PETERSON’S tory notes for the songs and quotations from Mozart, PIANO teacher. Advance of This Second Piano Part contains in- requirements of the church service. For ORGAN SOLOS ' Haydn, from the “Italian Concerto”; ACCORDION BOOK 1Cat, °n CaSh Pn Liszt, Chopin and mans others, Andante THE YOUTHFUL TENOR Ce ’ 35 CentS ' material with Hammond registrations. Organists cannot ’ post teresting and harmonic Pipe Organ afford to miss the form an melodic Je.su, Thou Art Mine: O Saviour Peterson is not only a recognized paid important part of the twenty- Jesu, Album of Songs for new “Ditson suggested the original work, greatly An Price, $1.00 Albums" addition! It has Swedish seven excellent by Sweet. O Saviour Kind: Sarabande, from accordionist but a Victor re- lessons. all the characteristics of the adding to the effectiveness of the various Sarabande, Studio and Recital previously cording artist Reserve your single the “Second English Suite”: published as well. In this book he SOUSA’S copy now at the piano, four- albums, and contains such FAMOUS MARCHES low pieces and making good two the “Third English Suite”: and A fine group of familiar light recital ORGAN TRANSCRIPTIONS OF presents Ins arrangements of such Advance ol Publication Cash Price, from best-sellers as: Stults’ num- Adapted for School hand material. The special price offer pieces with several Irish ballads. There The Sweetest Story bers as Brahms’ Bands 75 cents, postpaid. Subdue Us by Thy Goodness. Single FAVORITE HYMNS Hungarian Dance No. 5; are no notes above F in the collection, Ever Told-; Bartlett’s is only for the Second Piano Part, with- special Kohlmann A Dream, and the Russian Folk Twelve of copies may be reserved now at the By Clarence others. Song Two Guitars; making it adaptable to the teen-age There are also several numbers John Philip out the original in score. Publication Cash Price, 30 This new album provides twenty transcrip- Strauss’ Sounds from the Vienna Woods, LITTLE PIECES Advance of voice. written especially for this Sousa’s FROM THE Be sure to order a copy at the Advance tions of popular hymns, effective without book, includ- and many most cents, postpaid. ing original compositions. Every CLASSIC 75 Cents ’s transcription of popular MASTERS of Publication Cash Price ol 40 cents, going beyond the ability of the average accordionist should jump at the For Purcell’s March Maestoso. chance marches, Piano Solo postpaid. performer, and including Hammond regis- to order a copy at the such THE YOUTHFUL BARITONE Owners of electronic special Advance Compiled and Arranged trations. organs will ap- of Publication as The Stars Cash Price of 65 cents by Leopold PRELUDES An Album of Songs for preciate the Hammond registrations. and J. Beer TEN CHORAL Price, $1.00 Or- postpaid. Stripes These der your first-off-the-press ten rarely heard classics paint CHOPIN PRELUDES AND A FANTASY Studio and Recital copy now, at • Forever FI the Capitan; a charming picture For the Organ special Advance of Publication Washington Post etc of an eighteenth cen- With Study Notes A delightful recital can be presented *THE ORGAN PLAYER Cash AN hovo tury luce, 50 cents INTRODUCTION TO been modified for° drawing room, where Guy Maier H. Alexander Matthews by a young baritone with the aid of Compiled by Dr. Preston Ware Orem postpaid. Sold only in performance by^ such dances by by SCORE as of its the READING dent instrumentalists. the Courante, collection follows the plan these twelve light concert pieces. The first suggestion to an organist without United States and its possessions. Thirty-sevei/pam Gavotte, Rigaudon, An important This Our - by Carl G. Schluer are Sarabande, Preludes voice ranges run from B-fiat (below C) available for and Menuet were performed. contribution from predecessor, I welve Choral any library would be this immensely success- symphonic band, al ap- This book concerns a highly proved he Matthews. to the line D. answers practically every ALL special- by the Music works of Bach, Francois the pen of a dis- the Organ, also by Dr. ful album that THROUGH THE YEAR ized Educators National , for field of musical endeavor, Louts Easter. Lent, and 75 Cents need of the organist. Cloth bound. Twelve Characteristic Pieces and will 3nd by Standard Couperin, , Handel. Kuhnau, tinguished Amer- Hymns for Christmas, for Piano hold much interest music pub for the general hs^T,hers Purcell’ included. I he choral Price, $2.00 by Ella Ketterer mu- Advance of Publication and are represented. ican pianist and general use are PRESSER CO. sictan and teacher as well Cash THEODORE An as the embryo 5 Ihe contents on Angels from the invaluable teaching ’ 23 tS: are in grade three. pedagogue. Here preludes are founded experience has conductor. It ** Conduc- 1712 Chestnut St., Phila. 1, Pa. proven of is concerned especially toro 'sVorer"s Score, 7j Let us reserve When I Survey the great worth to Miss Ketterer cents; rboth postpaid. your single copy now Dr. Maier pre- Realms of Glory: with such matters as vocal at Forty SOLOVOX ALBUM m her activities as composer scores- read- ‘be special Advance of Publication sents the beauti- Wondrous Cross: Forty Days and of educa- ing practice in the Compiled and Arranged tional alto, tenor, and Cash Price, is Risen Today; materials for piano. So, so- 30 chnts, postpaid. ful Chopin Prel- Nights; fesus Christ with her prano clefs; HP CHILD by John Finke, Fr. customary combinations of the clef- rl J SCHUBERT 'Evening Blessing; understanding, she has C Childhood udes with careful- Saviour. Breathe an ETUDE READERS pre- transposing Days of Famous ALL This first collection ever to be published pared these instruments; miscellaneous Composers Shepherd Is; The interesting pieces for by Lottie ly prepared study The Kina of Love My early orchestral combinations, Ellsworth Coit SONGS OF WORSHIP for the Solovox, contains more than thirty grade students. They and playing a notes Goes Forth to War; Fairest Any musical publications, are in grades two full and Ruth A Collection and sugges- Son of God numbers of folk, opera, classic, and stand- and orchestral score at the piano. Bampton of Sacred Songs Almighty King: two-and-one-half, and Nu- Here is tions for their fesus; Come, Thou will establish merous examples the most recent for the Church Soloist in- Lord sheet music, books or other- ard pieces, with special registration to themselves are drawn from the addition to in W oe. The quickly as excellent this music r terpretation. These masterly annotations and Oft in Danger. Oft emphasize the varied tonal resources of teaching great treasury of appreciation and Voice or Low Voice in the pages and recreational music, including ex- education Tu° Morning Gilds wise, mentioned instrument. numbers. The title series scaled to these will prove of great serious stu- fantasy is based on When this new of rerpts from Bach, the young musician sincere songs have a definite value to each represents a Beethoven, Handel, story Th Registrations for standard and can (when in print) Price, $1.25 special month. Notes of Schubert’s appeal for the dents of Chopin’s works. As is true of the Skies. of ETUDE Haydn, Mendelssohn, life is highlighted church congregation. Of on interpretation are Mozart, Pales- four bv n all organs are included, but the in storylike form trina, favorite melodies, un STade, they Dr. Maier’s writings, the reading mat- Hammond be secured by mail on receipt Schumann, to«ethe? ! are suitable for and Wagner, and whl, , left to the * there are some delightful Weber. simple duet. ci ter the\ ter in this choice of solo stops has been SOLD ONLY IN U.S.A. and POSSESSIONS. illustra- Place your The wealth of young or more experienced book is set down in a most tions. order now for a single materia indd player. This feature of order, through the Theodore interest in this singer and are engaging style. discretion of the copy of this book at new book is ,,,!;,' an unusuallv fine source The special the special Advance C° ' Philadelphia Advance of Publication parable to the other m lor emergency Prior to publication, single copies of adds special interest. Presser Company, Cash of Publication Cash Price, 80 seven of hi solos. Texts are from Price is 30 cents, postpaid. cents, post- Advance scriptural, this special Advance of Publication THEODORE paid. 1 of Publication h ym n book may be reserved at the special The 1, Pa. PRESSER CO. Ca h CC and contemporary cents, post- cents, postpaid. ^i^T’ 2;) sources Advance of Cash Price for this book is 60 Advance of Publication Cash Publication Cash Price, 75 1712 Phila. 274 cents, Chestnut St., 1, Pa. Price, 40 cents, postpaid. postpaid. paid. Advertisement Advertisement 275 ETUDE APRIL, 194g : —

Ugly Buffet to Attractive Record Cabinet in One Easy Lesson with the NATIONAL GUILD by Louise Price Bell

F YOU are a music-loving family and amusing designs. The one shown is ef- have piles of records that you have fective with its base color 1 WAGNESS of PIANO TEACHERS an off-white BERNARD I idea difficulty storing, here’s an you and the perky little figures and designs might want to adopt, particularly if you carrying out the colors of the room. If also have an old, cast-off buffet the of you use a musical motto such as the one TKeyJL t& Enroll Tout Entire 1930 vintage! It’s a jiffy-job to saw off shown, write it in your own handwriting Class for Auditions the back and “bandy” legs of an old with no thought lor perfection. Perfect I buffet such as the one shown, to remove tion is for bona fide artists and you are the “gingerbread-work,” and then to just a home decorator who has a yen to paint the resulting chest or cabinet. And create something from Course nothing. &ueee&ShfiiL Piano Irl Allison, M.A. , Mus. when the task is done, you’ll D. , have as Lacking time and Founder-President inclination to go off smart a record Box 113 -> cabinet as ever graced a the deep end when it comes to - Austin, decorat- Texas home ... a roomy spot where scores and ing the cabinet, paint the body of it one scores of records can be stored safely and color, the top another and put the sim- splaying systematically. ple corner designs and wavy line-effects Paint the cabinet any color you wish of the same color as the top. Write the and decorate it as little or as . much . . motto in the color of the bottom, and dependent upon your joy at swinging a don't forget the musical clef . Qbbrlmiii . . that’s Jhfililut? ufQ)nHir paint brush and your ability to make mighty appropriate! BERNARD WAGNESS Bachelor of Music Degree, BERNARD WAGNESS Master of Music Decree, Artist Diploma BERVL RUBINSTEIN, Mus. D„ Director PIANO COURSE 3411 Euclid Ave.. Cleveland, O. PIANO COURSE Charter Member of the National Association of Schools of Music BOOK ONE BOOK TWO used also This book begins exactly where Book One ended. It can be A Splendid First BERNARD Progress is the para- Schools— very successfully to follow any first grade book. Colleges reading material covering five Instructor WAGNESS mount aim in this book. It introduces Tetra- octaves, and a complete development, with diagrams, of the This book may be used to follow CONVERSE chord. Scales, Intervals, and Chords. Supplementary pieces used in ATLANTIC CITY, NEW JERSEY COLLEGE or as a Edwin the Preparatory Book, of distinctive ' ' '' Gerschefski, Dean, First Recital Repertoire . — Spartanburg, S. C this book supply the pupil with a with the very first instructor feature the training and ' « Department character. The technic principles in this book - KNOX of Music Galesburg. Illinois average piano beginner. It ex- wrists, hands, and fingers, in order to keep Thomas W. Williams. Chairman development of the arms, COLLEGE Catalogue sent upon cels in features of vital impor- request. pace with the development of other faculties. At the conclusion of successful teaching: CONSERVATORY tance to of Promotion to Book Three. OF the book is a Certificate MUSIC in Rhythmic — — - - L. E. Hill, a thorough course SHENANDOAH Pres. Price, $1.00 Courses leading to the B. Mus., and B. Mus Training, complete Flash Card degrees. Member NASM. In the [of heart the Shenandoah Valley, Dayton, Virginia, assignments, an infallible ap- Student Residence j Bernard Wagness was born at Tacoma, Washington, Harmony 0i Vio ,in 11 proach to Keyboard 0 ' Composition. Radio, July 31, 1894, and died there November 1942. WAGNESS - ' Speech, 28, BERNARD Painting.pJinHnT Ceramics.^V HighS? , School Send $1.00 for Academic and Music He devoted his life to the development of a piano 9 Vf Transposition, a detailed, U »: a,lon “ l Psychological Guidance? and l m«°rlS‘ ; Ten Rote Pieces for the course based on modern principles of child pedagogy. Supervised recreation.L Personality development. Pre-School Child developed in Piano Technic, and a superbly PIANO COURSE Excellent The Bernard Wagness Course is recognized as one of well-illustrated course cuisine. Write for booklet Dept. 22 and the most scientific approaches to piano study for begin- Lesson Plan leads to a Certificate MRS. Play plan of Ear Training. A practical WILLIAM HENNE Myself Book No. 1 ners yet developed. BOOK THREE 3001 Pacific Avenue See February Etude Advertisement Book Three contains materials selected from beloved folk songs as EFFA ELLIS PERFIELD BERNARD WAGNESS well as from the classics, selected etudes, and original compositions 103 East 8 &th St. (Park Ave.) New York City and Ionic minor scales, and revo- OSMOPOLITAN of the author. It presents all major 15, PIANO COURSE The many illustrations of pianis- SCHOOL OF MUSIC lutionary methods of chord analyses. CLARENCE Philadelphia Conservatory SUPPLEMENTARY MATERIALS hand, fingers enable the student EIDAM, President tic problems involving the arm, and ROSSETTER G. COLE, Dean Of Music PREPARATORY BOOK Founded 1877 ENSEMBLE BOOK OF THIRD YEAR ETUDES to develop piano technic with rapidity and ease. 45th year. Offers courses in all branches THE or Makia Bernard Wagness Music. Confers certificates, diplomas Ezerman Drake, Director THE BERNARD WAGNESS By ami degrees. Member of Ideal for Price, $1.00 N.A.S.M. Allison R. Drake, the Pre-School PIANO COURSE (For Developing Style and Velocity) .Located in downtown musical center. Dean Price, 75c Box E, 306 S. Wabash Ave., Chicago III. Eminent Faculty Parts to 4, Age Child’s Piano Beginning (Duet and Second Piano Courses leading to Degrees Pieces in Book One) ATTACKS 216 EIGHT CHORDAL Examination privileges on any of these books So. 20th St. LO 7-1877 This Price, 75c By Bernard Wagness book provides the type of first lessons that JAMES MILLIKIN UNIVERSITY Price, 75c will be cheerfully granted by your dealer or beginners of SCHOOL OF MUSIC BOSTON UNIVERSITY pre-school age require. With the TECHNIC FUNDAMENTALS DECATUR. ILLINOIS MY WEEK IN CAMP aid of unique diagrams, each centering on one By Bernard Wagness the publishers. rs th0 By Bernard Wagness 0UE t’? 1 n!n& In music. Courses leading to 9£,i „ I S , 1 B,chelo Muiic a cjt.,. o/ USlC pedagogic step as o for teacher, with illus- Pieces S®"*.® ’ » <'l'elor of Music n, preparation for the follow- (A book the (10 Interesting Grade 2 Piano , f - M'“ ster “ f Music anli ‘ Master of Music technical exercises) Both Boys and Girls) EdSion Offering ing step, the author trations of first for complete courses in Piano. Voice. takes care of the various Member of tire National Association Violin, Organ. Prlce^ 75c Schools of Music Cello, Brass, Woodwinds, and Percussion Price, 40« Bulletin sent free upon struments. ini band, ear, eye, mental, request Public School Music, Composition Church and rhythmic problems W. ST. CLARE MINTURN, Music Musicology. Chorus, Glee Club. 14 SKETCHES IN STYLE Director Orchestra Band involved in the 1™r ludes 11361,8 of Boston first lessons of any piano stu- SECOND YEAR ETUDES ISr* , Symphony, Bache- YOUNG ARTISTS an( e s"J®” FOR * I, DeSrees in all musical subjects. i t Dorms dent. Bernard Wagness catalog. COLLEGE OP This is a most helpful preliminary book By of Early Third-Year —The DUNNING MUSIC, 73 Blagden St. Boston (A Collection COURSE for any Style and Accuracy) Etudes) of IMPROVED course or method. (For Developing ASK FOR THIS FREE THEMATIC CATALOG MUSIC STUDY Price, 75c Gladys M. Glenn. B.Mus., M.A., Mus.D BALDWIN-WALLACE Price, 75c interesting Dean of Education Faculty Price, 50c A series of tuneful and piano solos ANNUAL CONVENTION CLASS CONSERVATORY OF MUSIC (issued separately), especially recommended by Colorado Springs. Colo., Aug. BEREA. 1 , 1949 OHIO (suburb of Cleveland) Dr. Maurice Dumesnll, guest artist for after- Mr. Wagness for use with the Bernard Wagness noon Lecture Affiliated with a first class Liberal Arts Senes and Clinic (5 days and College. 00 a e ,aar Cl, “ r8e leading in degrees. dealer will ?" I?.- non-Dunning Course teachers) » ; Faculty Piano Course. Your or the publishers 5"53fi ^eac^er8, ®end * class or catalogue or lnforma- rvrr’iirtir'r dates address tion to*** BERNARD WACNESil glad to give you WITHOUT CHARGE a thematic EXECUTIVE HEADQUARTERS jno T y , er st. HAROLD be — ______Amarillo, Texas W. BALTZ, Dean, Berea. Ohio Oliuer ^j£)itdon __ catalog showing portions of these pieces. NAZARETH COLLEGE N 0 THEODORE PRESSER FREE TO ANY PIANO TEACHER pKiene *£ Est. TKeacfre 1894 Rocked,,, fl. * Dramatic, Lyric Distributors y. anil Dance Arts TEACHER’S MANUAL—WAGNESS PREPARATORY BOOK Offers complete courses toward STAGE • COURSE B A and B 9 RADIO • grees in Music Education TELEVIS Vocal Tn^rnmerTtai 1 anrt training essential TEACHER'S MANUAL—WAGNESS BOOK ONE Theoretical subjects. Special°work ESS?!'! to a pro- PREPARATORY “liveTin ^Litur * teacilIns aral directing. Class gleal Music. Faculty private and includes Relilious 2nd T STREET TEACHER'S MANUAL—WAGNESS BOOK TWO Teachers of distinction. 1712 CHESTNUT All advantages of musical Enroll now. Accredited for Vets. BOOK Rochester obtainable, as opera, concerts nn or etc Soeciai1 and children. summer «--ibft< Ii 1 < l o 1 I K PA. courses for Religious. Write Writ*Write Sec y. Shubert, 1780 S 0 COM p A N Y PHILADELPHIA 1, Any or all of these manuals will be supplied FREE RelS? Broadway, N. Y. City 19. to any piano teacher, upon request. 276 After | ETUDE

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