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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1944 Volume 62, Number 05 (May 1944) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 62, Number 05 (May 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/217
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THE AMERICAN GUILD OF ORGANISTS will hold a convention and spring music festival in New York City from May 15 to 19. The various events for the five days will include services at several of the leading churches, organ recitals by CoLLg^g outstanding artists, and lectures on topics UmusuaL of interest by leaders in their respective AmemcA's most fields of activity. A partial list of those taking part includes Carl Weinrich, Dr. T. Edgar Shields, E. Power Biggs, Walter Baker, Norman Coke-Jephcott, Dr. T. Frederick Candlyn, Dr. T. Tertius Noble, and Dr. Curt Sachs. An Ascension Day Service will be held at St. Bartholomew’s Church with the combined choirs under the direction of Dr. David McK. Williams. HERE, THERE, AND EVERYWHERE THE FIFTH ANNUAL PHILADELPHIA BACH FESTIVAL will be held on May 12 IN THE MUSICAL WORLD and 13 in St. James’ Church, with the chorus and instrumentalists under the THE RACHMANINOFF THE DETROIT SYMPHONY ORCHESTRA direction of James Allen Dash. Choruses, MEMORIAL FUND, INC., gave encouragement and practical as- chorales, and solos from ten of Bach’s to honor the memory of sistance to young conductors by inviting cantatas will be sung, • including “Christ the great Russian mas- the Curtis Institute, the Juilliard School, Ascension Lay in Bonds of Death,” “The ter, recently has been the Eastman School of Music, and the Oratorio,” “Sleepers, Awake,” “Deck Thy- organized. Vladimir Hor- New England Conservatory to send their several others to be self, My Soul,” and owitz has accepted the most talented student in conducting to heard for the first time at these concerts. THE MUSIC EDUCATORS NATIONAL presidency of the new Detroit, to take over the directing of the CONFERENCE held its twenty-eighth meet- group, whose first activ- orchestra for twenty or twenty-five min- HARRY T. BURLEIGH, noted Negro S ing (ninth biennial) at St. Louis, Mis- ities will take the form RAC„ “SmoFF utes of each of the orchestra’s four pro- composer and baritone singer, now sev- souri, on March 2-8, with the dominating of a competition for pi- grams during the month of April. Each enty-eight years old, recently celebrated theme being “Widening Horizons for Mu- anists, the awards to be a coast-to-coast of the four students received one hun- his fiftieth anniversary as soloist at St. sic Education." There were addresses and concert tour of the United States. The dred dollars plus expenses, with an addi- George’s Episcopal Church, New York discussions by some of the leaders in purpose of the organization, instituted tional prize of one thousand dollars to special City. The event was marked by a their respective fields and also concerts at the request of Mrs. Rachmaninoff, the the one considered the oest by the com- program in St. George’s parish house, by the St. Louis Symphony Orchestra, composer’s widow, is to discover and en- mittee. at which Bishop William T. Manning Vladimir Golschmann, conductor, and courage outstanding talent and there- was the principal speaker; Mr. Burleigh other groups. Among the speakers were: after to effect an interchange of such THE AMERICAN SOCIETY OF THE was presented with a check for fifteen J. W. Studebaker, U. S. Commissioner of talent between the United States and ANCIENT INSTRUMENTS, Ben Stad, foun- hundred dollars; the Choir sang his Education; Edith B. Joynes, President Russia, when international conditions der and director, held its annual music choral ode, Ethiopia’s Paean of Exalta- of the National Education Association; make this possible. festival on March 30 and 31 in Phila- tion; and Mr. Burleigh himself sang Go Harold Spivacke, Chief of the Music Di- delphia. The three sessions included a Down Moses. vision of the Library of Congress; Charles GUSTAV KLEMM, of Baltimore, Mary- program for young people and enlisted Seeger, Chief of the Music Division of land, is the winner of the Seventh Annual the services of a vocal ensemble from the TI S. S. LILLIAN the Pan American Union; Luis Sandi, Song Competition sponsored by the Chi- All-Philadelphia High School Chorus. liberty NORi , first Mexico City; Virgil Thomson, music cago Singing Teachers Guild, his prize- Soloists were Yves Tinayre, baritone; ship to be named for critic; Most Reverend J. J. Glennon, winning song being called “A Hundred Carolyn Darrow, soprano; Ralph Gom- a musical artist, was S.T.O., Archbishop of St. Louis; Aaron Little Loves.” Mr. Klemm, who is the berg, oboe; Julea Stad, harpsichord; and launched on March 17 Copland; Howard Hanson, and the Rev. composer of many published works, is a Charles Hois, trumpet. at the shipyards of the Carroll F. Deady, Supt. of Catholic regular contributor to the columns of New England Shipbuild- Schools, Detroit. The Etude. MRS. JOHN PHILIP SOUSA (ne'e Jane ing Corporation in South Van M. Beilis) , widow of the great Portland, Maine. Hon- “March King,” died at her winter resi- Lillian oring the great Ameri- Nordica dence in New York City on March 11, can operatic soprano, a twelve years after the death of her hus- life, well-rounded CcompetitionA They enjoy unusual educational opportunities, a wholesome social a native of the State of Maine, the event band. Mrs. Sousa was a devoted wife and was notable. Congresswoman Margaret great inspiration to her husband who, atmosphere of Christian refinement. open to Corporation of America. One of the prizes athletic program, and an Chase Smith of Maine was the matron A COMPOSITION CONTEST over and over again, referred to her in all composers of American nationality is will be awarded for the best string quartet of honor, and Mrs. Guy Patterson Gan- his conversation as “the brightest submitted from the republics of Latin and nett Portland, Maine, President of announced by Independent Music Pub- College, which stands without Arts and the Doctor of Philosophy degrees, of loveliest thing” he ever saw. She is sur- Bob Jones lishers. A cash award of five hundred America, while the other prize will be the National Federation of Music Clubs, vived by two daughters, Mrs. religion" in the of Fine Arts dollars will be given the composer of the given for the best ensemble work sub- Hamilton apology for the "old-time and and Graduate School was the sponsor. Doris Doree, of the winning composition and also publication mitted from the United States and Can- Abert and Miss Jane Priscilla Sousa. The Metropolitan Opera, sang two of Nor- the absolute authority of the Bible, has had courses leading to the Master of Arts and of the work will be assured, with royal- ada. The contest closes May 31, 1944, funeral took place at Christ Episcopal dica’s favorite songs. and full information may be secured by increase in enrollment of fifty per cent the Master of Fine Arts degrees in music ties on sales and fees for public perform- Church, Washington, D. C. an ance going to the composer. The closing writing to The Chamber Music Guild, Inc., Street, N. W., Zone Wash- in the last two years. Bob Jones College and speech. The Bob Jones College THE ETUDE notes with very deep re- date is September 15, and all details may 1604 K 6, BRUNO WALTER cele- be secured from Independent Music Pub- ington, D. C. variety of courses leading to Academy affords opportunities gret the passing of its friend, Dr. Hendrik brated in March his offers a wide splendid lishers, 205 East Forty-second Street, Willem van Loon, Historian, anthropoli- PRIZES TO THE TOTAL OF $2000 fiftieth anniversary as of Arts and Bachelor of Science for high school valu- New York 17, N. Y. Bachelor training especially gist, author, artist, radio broadcaster, and in United States War Bonds are to be a conductor. The event degrees, and in the Graduate School of able to young men soon to enter upon specially gifted musician, on March 11 THE NATIONAL FEDERATION OF awarded by the National Federation of was marked by his con- at Old Greenwich, Connecticut. An inter- MUSIC CLUBS has announced the sec- Music Clubs to federated music groups ducting performances of Religion courses leading to the Master of military September service. view with Dr. Van Loon appeared in The ond annual Young Composers’ Contest which, during the period from Bruckner’s Te Dernn for total awards of three hundred dollars. 1, 1943 to May 15, 1944, present programs Etude for February 1936 and is well and Beethoven’s “Ninth which in the opinion of the board of worth rereading by those who have re- The major prize of one hundred dollars the nation's Symphony” with the piano, pipe orqan, violin, speech, and art without regular is for a composition for chamber orches- judges most significantly serve Voice, additional cost above tained their copies. New York Philharmonic- Bruno tra, with a second prize in this classifica- war efforts. Donor of the awards is Don- Walter tuition. tion of fifty dollars. There also are prizes ald Voorhees, noted American conductor Symphony Orchestra, academic THE ELEVENTH ANNUAL FOLK FES- of fifty and twenty-five dollars for com- and musical director of a number of out- His first public appearance was at Co- TIVAL will highlight the celebration of standing radio programs. The first prize positions in other classifications. Full de- logne, Germany, when, at the age of Philadelphia. tails may be secured from the National is $500, with smaller awards down to $25, Music Week in The event seventeen and a recent graduate of the For detailed information write Chairman, Miss Marion Bauer, 115 West offered “only for public Derformances of will take place in the Academy of Music Stern Conservatory in Berlin, he was Seventy-third Street, New York City. music given by amateur musical organiza- May 10 to 13, and will bring together assigned to tions within the specified dates.” Full in- conduct Lortzing’s “Die Waf- hundreds of singers, instrumentalists, TWO PRIZES OF SI 000 EACH are to formation may be secured from Mrs. Ada fenschmied.” and dancers, who will present folk music be given for string quartet compositions, Holding Miller, Chairman, War Service of their native lands. Various sections of by the Chamber Music Guild, Inc., of Committee of the National Federation of A MUSICIANS CONGRESS will be held the United States will be represented by Washington, D. C., in conjunction with Music Clubs, 28 Everett Avenue, Provi- in Los Angeles in May, with the general the RCA Victor Division of the Radio folk songs and dances peculiar to each dence, Rhode Island. discussion centering around the part mu- particular district. < Continued on Page 312)
MAY, 1944 "FORWARD MARCH WITH MUSIC” 253 — ; /
Editorial
OF TE TIME CHANGES, BUT THE FUNDAMENTALS REMAIN THE SAME... SWW 1 0u. udtea monthly m / published y / P , A A. niTtP^?!£lu CO-, PH, LADE L H , BY THEODORE PRESSER 1 staff AND advisory disorganiza- editorial while were with Gustav Mahler at his hotel in round-the-clock shifts.” This has meant a prodigious COOKE, Ed,lor NCE, we dr JAMES FRANCIS working plan, and millions of people who are Ycargain, Ass,slant Ed,tors York during the time when he was conductor at the tion of our normal Guy McCoy and Ava New Peery, Editor, Mas,c Sedan yet gotten themselves adjusted to the Dr. Rob Roy Metropolitan Opera House, a young composer came in and living through it have not the N. Clifford Page O °rtd educators, written by well known teachers Edna Fort Peter Hugh Reed things. In this change, what has come of Designed and Harold Berkley Gecfrgc'c:. Krick said, with the customary reverent adulation which youth pays to new wartime scheme of original systematic.
roles, as I heard in those «npr»tiv in the leading Paris. Music and Culture S” “setm. Vienna, ManicB, ana those years, there was some vitality Music and Culture Rut at least, in Experimentation was alive. give democracy to each other until they have risen to the opera repertoire. to towards everything new an elevation in their self-development which teaches There was an inquisitiveness hearing in 1930 and 1931 such them altruism—sincere and disinterested devotion to Ind fresh I remember operas as Milhaud’s “Christophe the interests of others. Altruism is one of the marks variety' of new a Orestes,” of the highest stage of human progress. It does not ” Kfenek’s “Leben des Schoenberg's colomb mean, however, that we must abandon individualism auf Morgen,” Weinberger’s “The Beloved An Amazing, Little-Known “Von Heute Twilight in Europe Notturno,” or the proper reward for talent, labor, and skill. If we Musical Malipiero’s “Torneo George An- Voice” are to believe the Hon. Joseph E. Davies, a capitalist “Transatlantic,” Egon Wellesz’s “Die Bacchan- thems of trusted I could not know then that who made himself one the most and ad- tinnen,” among others. search out the mired ambassadors to the Union of the Soviet Social- Europe’s eagerness to original even American Musical Development ist Republics, Russia is going through the same dissipated. After 1933, now and the new was to be the (except for the development. In his ‘Mission to Moscow’ he points l)ij ^£)auicl £iwen works I heard in Europe fes- new out the enormous attention given the arts. Fore- modern music) were comparatively rare, to tivals of most musicians are recognized by generous rewards, none impressed themselves permanently in my and From a Conference with and the art collections of the great patrons of yester- memory. year are guarded zealously by the State which started Etude, prepared an David Ewen, who frequently ha s written for The out to destroy the idea of private property. t Purge and indicating that H,Msr s slang A Musical hundred words, recounting his travels in Nazi Europe ^ the Jewish pu ic i P ~y^lrclier Qii Son 3.^4. Cj. O. of millions of ’ is devastating as his annihilation speaking of music which “expresses the 7 music as gfe printing The Nazis, in The Art Product of Democracy it is impossible to publish the °rt'cle ° conditions and paper restrictions, °f 1 ~ people,” meant that only paperhanger andj ^his gang.qan highest ideals of the German of the insane fanaticism of the mad Austrian “Music, to my way of thinking, is something for extracts which are significant chauvinistic music, music freed of originality Oistinguished American Organist blatantly everybody. It is not the possession of a limited num- could be encouraged; in alluding to mu- or experiment, ber of nose-lofty intelligentsia. If music has not a sic "untainted by any foreign human appeal to all, it is inconsequential. The boy influences” they meant, of SECURED EXPRESSLY FOR THE ETUDE BY JAMES FRANCIS COOKE Lincoln, with his library of three books, studying by appears course, a music by pure- N A WORLD OP UPHEAVAL, one thing the light of the hearth fire, rose to immortal heights blooded Germans — music reasonably certain: America is likely to emerge the in cur land of vast opportunity. In much the same composed or performed by I greatest existing center of musical culture. What manner children from the slums of our great cities, by war is likely to foreigners, or by German the first World War began, the present (The first section of this absorbingly interesting article appeared in The Etude last month dint of hard labor and fine, native talent may, in a Jews, could not be tolerated. bring to consummation. After World War I, inflation few years, with the assistance of intelligent philan- duress, the flying banner in Europe, social upheavals, and economic Under thropists, find themselves on the stages of our great of musical talent, of their creed, the Nazi gov- brought to this country a wealth concert halls. There are no class restrictions, no re- our orchestras, our opera houses, and our ernment launched upon a is inclined to “It has long been firm belief that real democ- ligious barriers, enriching ^ HE ORDINARY OBSERVER my and in these days of widespread phi- they became comparable (and policy of Sauberung, a gen- support is conservatories so that think little of the extremely liberal to racy an evolution, and can exist only under altruis- lanthropy, few financial limitations. This, then, is the superior) to any similar institutions i.i eral house cleansing. This -* in many cases T musicr which noted American families have tic acts of men such as Washington, Jefferson, Robert art product of Democracy, hand in hand with an War, as a matter in- Europe. It was after the first World Sauberung was applied made and are making. I am sure that many unin- E. Lee, and, in our own day, a fearless democrat such aristocracy of achievement—a democracy which among has of fact, that the century-old trend in America discriminately to every phase formed people throughout the country look upon all as Carter Glass. By this I mean that a group of this gained the envy of the world. musicians to seek their musical train- musical life. By native, talented of German of the occupants of the boxes in the so-called Diamond kind (all Virginia gentlemen by the way) was aristo- “Indeed, our danger may be in a lack of enough in- a definite end; thereafter, our to Ger- ing abroad came to the time I had come Horseshoe at the Metropolitan Opera as exhibits in a cratic to the core, and yet at the same time was essen- dividualism in this machine age. Music schools have virtuosos and composers were to find in this process of cleans- young many, this kind of show window. They would be astonished to tially democratic. It is the only class of people from been turning out students who in many instances are training as competent as was procurable in country a ing showed amazing results. learn that in numerous instances quite the contrary is which a democratic, individualistic state may be ex- mere stencils of some approved method or fad that our of the Europe. It was also after the first World War was - First of all, Germany true. Many are well trained musically and are sin- pected. England has shown this, as did Greece. The moment. Graduates point to the fame of their institu- symphony orchestras (under foreign leadership, for musicians who, cleansed of cerely devoted to the art, which they understand and reason why the German Republic failed is that the tions and to their teachers, and forget about them- the most part) were judged to be without equal, a fact GERMAN OPERA OF YESTERDAY Jews or because they were appreciate both as intelligent performers and as con- selves. They work for degrees and sharply emphasized to Europeans when Toscanini took opera house, the Berlin State Opera, was bombed early in Germany's most famous because they were not in full noisseurs. Those who seem to think that these groups credits obtained by passing exam- tour through Europe sixty notable opera houses in the Reich. Far the New York Philharmonic on a the war. It was, however, only one of gov- sympathy with the new are dangerously near passing, due to destructive social inations, and then they stop. the enemy bombing of a building is her musical The in 1930. more serious to Germany than full-blood- ernment, were not influences in evidence in the world today, may be ridic- great masters would laugh at musical life in Germany; the quasi-suicide by the banning of works, which are acknowledged masterpieces, such The Aryanization of in the eyes of intense as to the present ed Germans ulously mistaken. They do not comprehend the a procedure. Music is a purges in Italy following the formation written in Germany by "non-Aryan" composers. Anxious we are see language, anti-Semitic Nazis. veritable hegira these families over decades have di- monstrous war proceed toward peace, it is tragic to know that buildings devoted to the A vitality of which a universal language, and is sup- of the Axis; the penetration of Nazi Germany into art and religion must be sacrificed in the path of Mars. of great German musicians rected so many of the forces that have to do with the posed to finally, the outbreak of present thought — not Austria and Czechoslovakia; took out of their Fatherland welfare of the individual world, as well as the artistic merely a jumble of gibberish actual warfare—all this has brought to our country, a la place. Bruno Walter was one enterprises which lie at the heart of civilization. steady and uninterrupted stream of mu- Gertrude Stein. This, first of all, since 1933, a in wangler, or Bruno Walter conducted these European of the first victims, and a scheduled concert of his “The Vanderbilt family for years has had many calls for broad sical genius. In this way, some of the greatest com- musicianship. there were performances often poetic and Leipzig assumed at the last moment 'with almost members who have been excellent musical perform- “For posers were to become inextricably associated with orchestras was instance, here are two books Storm troopers ers. The Vanderbilts as a whole have unostentatiously American musical culture (Stravinsky, Schoenberg, beautiful; but not all of their artistry could conceal indecent haste) by Richard Strauss. of concertos by George Frederick Dresden Opera conducted made munificent contributions to opera and to the Milhaud, Castelnuovo-Tedesco, Bela Bartok, Krenek, the uneven texture of the orchestral ensemble. broke into a rehearsal of the Handel, for organ or harpsichord. his with- symphony concerts, through which the public has Weinberger, Hindemith, Toch, Martinu, and others) A particularly shabby rehearsal by the Vienna Phil- by the Aryan Fritz Busch, and demanded They are the original editions, enormously. late Henry Harkness The leading teachers and theorists of Europehave joined harmonic under Felix Weingartner was that in which drawal. benefited The published in London over two mu- Flagler, a pianist of no mean ability, gave a small our universities and conservatories (Hugo Leichten- the “Seventh Symphony” of Beethoven was played. Having purged Germany of “non-German hundred years ago, and signed by Curt sicians,” this Sauberung place with the music fortune to maintain the New York Symphony tritt, Alfred Einstein, Paul Nettl, Karl Geiringer, Weingartner who, in his time, was probably the now took Handel himself. See how splendid- Jewish Orchestra. Sachs, Hans T. David, and many others). Leading greatest living interpreter of Beethoven, paid such itself. Performances of music by composers of ly the paper and ink have endured. the instrumentalists arrived and associated little regard to correct phrasing and to the. precise blood were strictly forbidden—and it was not only Note that on the treble staff there conductors and Real Democracy an Evolution themselves permanently with our musical institutions tempo that, when his back was turned, Arnold Rose, living musicians who were affected but such estab- is one line of notes, and in the Gold- (Fritz Stiedry, Adolf Busch, Hans Steinberg, Otto the concertmaster, rose in his place and beat the lished composers as Felix Mendelssohn, Karl “John D. Rockefeller, Jr., plays the violin; his sister, bass there is another line. No men- were Klemperer, Bruno Walter, and George Szell, to time more accurately and indicated the accent. That mark, and Gustav Mahler. Foreign composers Mrs. Alta Rockefeller Prentice is an accomplished chords are filled in and there is already rich, sponsor tion a few). Thus our musical culture, spectacle, coming in the footsteps of performances not in favor with the authorities; one had to pianist; and another sister. Mrs. Edith Rockefeller no part for the pedals. There are, and achieved unprecedented fertilization. by other European orchestras, symbolized for me at German products. Novelties by Krenek, Schreker, McCormack, who had so much to do with music in of course, the thorough bass mark- the time the disintegration of European musical Zemlinsky, long announced, were cancelled. In their Chicago, was a violoncellist. At their home, this dis- ings. Handel expected that anyone Experience A Revealing performances. place two much-heralded novelties, and two well-pub- tinguished group used to play Beethoven trios and who called himself a musician licized premieres gala musical other chamber works of the great masters. They were The conflagration in Europe has virtually put to an Those operas which I heard in Europe in the years were announced as the could complete at sight these therefore, of 1930 and 1931 were not much happier, events of the year. revivals were Lortzing’s “Der taught by the best teachers and were raised in an scores, adding end all significant music-making. America except for The the necessary notes s world. Begin- isolated cases. After all, .with Toscanini and Waffenschmied” and rewritten version of Wagner atmosphere of artistic idealism. Their father, the elder according to his facility, has become the musical capital of the Karl Muck a ARCHER GIBSON AT THE HAMMOND NOVACHORD experi- Bayreuth; with Bruno “Rienzi”; “Ara- John D. Rockefeller, for I for ning with 1930, and ending with the fall of 1939, I at Walter conducting a never- the premieres were Richard Strauss' whom played many ence, and taste. How many players made ten different trips to Europe, attending concerts, to-be-forgotten “Don Pasquale” in Salzburg; with bella” and Kurt Stiegler’s “Der Schmelde.” years at his home at Pocantico, Tarrytown, New York, would you find today who could Richard Strauss bringing * also a lover of music. sweet voice festivals, and opera houses, visiting the homes of cele- refinement to Mozart in was He had a and do this effectively? such I brated musicians, and coming into contact with every Munich, as had never known it to have; with A Rewritten "Rienzi'' loved the old songs and hymns. people had no previous experience in democracy. “The human appetite for melody is the manifesta- music. It was a most re- singers like Lotte Lehmann, Richard Mayr, “The popular conception of the families of large possible phase of European Germaine Lortzing’s “Der Waffenschmied” was probably the Many of their free spirits were obliged to leave the tion of a spiritual need just as natural as the appetite experience. Lubin, Salvatore Baccaloni in the opera house—one means as living lives of stupid frivolity is, with a few Old Country, they became the source of fine fam- for food. It cannot be satisfied with tonal ersatz. From vealing most banal music that the Berlin Opera has har- and could expect occasional State The Concertgebouw of Amsterdam had a noticeably brilliant performances. But bored exceptions, ridiculous. Many are highly idealistic, and ilies of German extraction in America. Again, it is time to time we are invited to admire morasses of within its walls in many years. It had been defective woodwind section; the Vienna Philharmonic these, I found, were the exceptions rather than the I can assure you, from years of close observation, that only through the spirit of Washington, Jefferson, Lin- discords and are told that these are representative of selected because both in it was said particularly miser- rule. When Elmendorff took over book and in score was poorly coordinated, with a the baton from Tos- to you can find more snobbery in an average church coln, and others like them, that the great body of the times in which we live. Well, we are living in a express the “nobler" ideals of the German people- brass; the Berlin Philharmonic and the Leipzig canini and Muck; when Clemens Krauss, Paul Schmitz choir than in most of our homes of luxury. Snobbery people can expect a real ‘square deal’ in the long run. very crucial period with seemingly interminable men- able It was music stilted unoriginal. Its texture of or Hans Knappertsbusch in character, and Gewandhaus had neither that beautiful succeeded Walter or Strauss' is the vice of the upstart, and families who feel the Remember that Thomas Jefferson, author of the Dec- tal confuson, but I for one am convinced that one of melodies were saccharine nausea; the I had all the glaring weaknesses of to the point of tone nor the breath-taking virtuosity which the musical organiza- responsibility of sustaining the position established by laration of Independence, was a musician and music the ways of getting out of the mess is through a musical content was shamefully shallow. expect from an everyday performance of tions they directed became glaringly apparent. their’ founders, have too serious an outlook upon life lover. return rational learned to As for The rewritten *aS His letters in the Library of Congress reveal this. to and normal beauty and harmony. or the singers of the version of Wagner’s "Rienzi” the Boston Symphony, the Philadelphia Orchestra, leading opera houses, I had never to be guilty of such pettiness. “History shows that the so-called ‘masses’ will not “At a recital I played recently in the home of a especially indicative and sin- York Philharmonic. When Mengelberg, Furt- before heard such consistently bad performances, of the artistic ideals the New and cerity of the 2981 sponsors of the (Continued on Page 1 MAY, 1944 "FORWARD MARCH WITH MUSIC’ 257 "FORWARD MARCH WITH MUSIC" 256 THE ETUDE —
Music and Culture Music and Culture
May Day in Eisenach
A Little Visit to the Home of Bach
hij ,-^ZV. ^Yliaier
In all fhe wild welter of the World War there has been no diminution in the employment of the works of the great German masters created during the constructive years in that country, now so terribly benighted. To have shown any narrow-minded prejudice toward those immortal creations would have put us in the same class with the Nazis when they tossed valuable scientific and artistic books into bonfires in their savage frenzy of hate and intolerance. Dr. Maier visited Eisenach at the time of the infamous Nazi Purge in 1934 and brought back many photographs and impressions which we present here. Both of Dr. Maier's sons are in the military service
of our country . Editor's Note.
residence near Kennett Square. Pennsylvania. . , in Mr piene S. duPont's (made the Aeolian Company) a g These pictures show the famous "Longwood Organ by • Firmin Swinnen (who helped to prepare the Be , gian-American. largest residential pipe organs in the world. The organist for years has It is one of the . magnificent instrument may he heard, , . public), in which this IN is (occasionally„ ope„ , the P AY THURINGIA a season of magic. . . . Eisenach streets. But we must forcibly restrain our- picture at the left gives a glimpse of the extensive conservatories ' specifications). The is operaoperatede by electric motors ol 72 horse- The organ weighs 121.000 pounds and y To greet the Spring anywhere is always a selves, for in this country no on the right shows the interior of the organ, and some of the 10.010 pipes. one ever makes such an The Picture ne te-t g. as compared with the size of the pipes thrilling adventure, but when, of all places, unseemingly spectacle power. Note the size of the organ expert in the white shirt in the middle of the picture, M of himself! you find yourself in Bach’s home town, Eisenach, on But I’ll wager that young “Bastel” (as Johann the first day of May, it Sebastian Bach was probably and as individuals gives double cause for re- called) didn’t worry that materialism so ruthlessly has a part of our obligation as a State about member of the Rockefeller family, I gave a short talk Hell, after the war year’s Photo by Guy Maier that civilization in every way worth the des- joicing. This May dignity on such early Sunday of a forced upon them. These splendid young men, who to make BACH STATUE preceding the performance. It was the conclusion Day holiday is to be espe- their own, perate struggle of all of our people to preserve it. morning occasions when he called attention to the fact that came into the world through no volition of series of recitals. I cially festive since it falls raced themselves on the threshold of manhood, con- Every one of us who can uphold civilization by keep- down these same streets, the hostess was in principle providing for her friends, find on a Sunday. ... So here history. ing the light of beauty burning at this time is doing past the house where the boy, lilac and pine in a very precious way, something of real importance fronted with the most horrible conflict in -scented valleys, follows us over the soft great value to the future of our we are, fresh and shining Martin Luther, had lived, great emotional They have no choice. They must fight, not merely for a patriotic service of and green summits of the Thuringian forest, rests with in keeping people normal at a time of at 6:30 A. M., ready to step country. If you love beauty and revere things of the sped alongside the walls of us in it would the freedom of the world, but for the physical safety the shadow of the Wartburg—that high, old pile stress; that without music of the highest type out in an atmosphere tin- are spirit, they must be guarded and fought for, or we, the old castle and the school of stone, dripping be difficult to keep the spiritual life of our country a of themselves and their loved ones. Naturally they with romance, religion, and poetry. gling with the clean, bright yard to his well-loved look forward when thinking of the worthwhileness of the civilization for too, could have the soulless chaos of which Hitlerism church Like us, young Bastel Bach must often have heard, fit thing to which our boys might cold of early spring morn- their passage through the fires of which they are expected to make such sacrifices. It is is a hideous illustration.” how up there in the twelve hun- they return from ing, the air throbbing with dreds, the Wartburg castle had the excitement of events rung with resounding battles of to come. Even the night- song, when the topnotch Minne- ingales, forgetting that Snapshot by Guy Maier singers of the world. Wolfram von night is over, are cheerfully How to Improve the Enunciation of Choir Singers Eschenbach, Walther von der working overtime, reeling BACH HOUSE Vogelweide, and others, fought in off their ecstatic roulades ly. Jessie F IT IS TRUE that marriage is the most important Music and Culture event in a man’s life, certainly it must be more sound from the church the strident The Etude Musical Quiz I important for artists and musicians. Some may say, Music and Culture multiplying a of loud speakers sardonically, of course, that it must mean more to guttsral hundredfold the harsh artists because they marry so often. Wagner, Verdi, His CLrL 2>. PerL official. L accents of a high Nazi Smetana, Ravel, and Debussy were married twice; harangued raucously rasping voice Johann Strauss, three times. Be that as it may, a cre- thousands for what and intelligent the silent he CONSISTENT listener of ative musician is so extremely sensitive, so influenced of time. . . seemed an eternity today knows almost as much about music as by everyday life, that taking a wife who is to be w’ith jagged- the Matrimony its Masters and After an hour, when Responsible for the constantly affect his whole career for better 1. average musician. dissemina- him may finally became T dissonance musical information are radio edged tion of all this and its or for worse. voice ceased as intolerable, the commentators, excellent instruction in our public A jeering chorus may immediately protest that begun. Then They Are Not suddenly as it had and the increased number of fine books and Beethoven, Handel, Schubert, Brahms, and other great When Wives Are Elelpmates, and When church schools, flowed out from the 2. misogynists will there articles’ on music. How much do you remember? Count musicians were bachelors, and the through the doors, windows, organ two points for each correct answer. Fair; 50; Better assert that they became great because they remained and loud speakers the rich po- great bachelors could not avoid than average: 60; Good: 70; Excellent: 80 or higher. single. But even these of Bach’s “St. Anne lyphonies Which composer is not Spanish? feminine influence and interference. During his entire In a flash the strident L 2V. a %td Fugue ... career Handel had to cope with the tenderness or the J 3. A. Turina out. f p Nazi dissonance was wiped prima donnas. Indeed, B. Falla belligerence of his we know organ released the golden The Villa-Lobos little or nothing of Handel’s relations with women. cres- C. flood and in a triumphant immaculate in this respect, but the moods D. Albeniz His life was the loud speakers 4. cendo of relief who wrote musical criticism of prima donnas who cast their eyes on the mighty unpleasantness. Then there are women of a middle that he would have lived better and longer if he had poured A famous writer under lifted it up. The Fugue else. be sure, there nothing de plume, Como di Bassetto, during genius, he met with fear -inspiring clarity. We know group whom one could call “passive.” And finally, we married someone To was streamed out the nom the from the church, of in he once held the could put those who exert a good influence in Group really evil to say about her. But the Weber family, of last decade of the nineteenth century was the famous story how London over the crovrd, inundated the to Carl Maria 5. Hardy shrewish singer Cuzzoni out of the window and threat- One, which we may further designate 1-A, if we so which she was a member and which von through the nar- A. Thomas square, escaped ened to throw her down onto the street if she didn’t desire. Weber, the composer of “Der Freischiitz" also belonged, B. George Bernard Shaw row side streets, ran riot over the comply with his directions. Handel, during this inci- Group Three is extraordinarily large. Its patron had frivolous, champagne-like blood in its veins. How, C. John Masefield town, rushed out into the fields for prefer Kipling dent, displayed considerable courage, for Cuzzoni, a demon—one could hardly expect a saint to put up otherwise, would it have been possible her to even pushed up the D. Rudyard and meadows, magnificent singer but dreadfully ugly woman, had Xanthippe, wife of the philosopher to accompany her husband on all of his trips instead 6. following is not a ballet a with them—was Wartburg. ... It One of the hill to the high poisoned one of her lovers, of taking care of the chil- the feeble Nazi “heils" A. “Les Sylphides" BACH STATUE overwhelmed the harpsichordist Sandoni, dren, whom she entrusted were mere mouse B. “Three-Cornered Hat” as though they and had escaped the death to inefficient servants and squeaks. It washed the earth clean, C. “Billy, the Kid" 7. penalty in Venice by the strangers? No wonder some purified the spirit and left no D. “Turandot” skin of her teeth. of Mozart’s children died at fvoon nf Wiiotfli' onrl hnmhocf Find the violinist hidden among these pianists: Other composers, to be a tender age, and that the A. de Pachmann sure, did not display Han- two boys who survived were The Eternal Bach 8. B. Paganini del’s firm attitude toward weak and undernourished! During all this time the impres- ' C. Rosenthal women. Beethoven, without Even Mozart’s health suf- sive figure of Bach’s statue loomed D. Smeterlin advertising the fact, loved fered under the financial over the crowd; Bach, unmoved One of these instruments does not belong in the 9. a whole series of women worries for which his wife and aloof, standing before his mu- standard string quartet: and girls. He always wanted was largely responsible, and sic desk, pen poised in air. While A. Violin to marry, but continually which hastened his death. the slightest suggestion of pity B. Violoncello put it off. Schubert was hovered over his face, he seemed C. Bass-viol constantly falling in love, Perfect Harmony to say, “Poor little children, you D. Viola but drew back cautiously And now what about and all this will pass like a bad One of these modern Russian composers is an from any definite commit- Group One, 1-A as we have dream in the night; but my music expatriate. ments, and even the deadly called it? Here we find the will bring light, hope, strength, A. Mossolov serious Brahms could not truly artistic marriage in and happiness forever ... for it B. Stravinsky do without a woman friend which man and wife both comes from God, the Eternal." C. Gltere on whom he could bestow have artistic ambitions. In Whenever we are apprehensive, D. Shostakovich his platonic, intellectual the seventeenth and eight- depressed, or despairing we have Lento means friendship. In his youth it eenth centuries, famous only to think upon this power of A. Slow was Clara Schumann, Rob- Kapellmeisters were wont music. It is one of the few precious B. A song to be sung during Lent ert Schumann’s widow, who to marry their favorite gifts of God which escapes the C. Mournful was fourteen years his sen- prima donnas, and fre- world's greed and malice. Good D. A dance rhythm ior. Beethoven, it is said, quently these were quite Guy Maier % Photo by music is everywhere a boon, a CHOIR A cavatina is inspired by the woman he harmonious unions. The KURRENDE BOYS blessing, a joy, no matter whether A. A court dance happened to be in love with wife of Claudio Montever- Bach was a member of the choir, as was also Marlin Luther two hundred years it be Russian, French, German, B. before! An obsolete Roman instrument at the time, composed some di, the great Baroque mas- Italian, or American. It is free C. A melody of one strain of his loveliest sonatas, ter, was Claudia Cataneo, from national animosities, it tri- D. A form of recitative such as the “Moonlight the singer so famous at the umphs over hate, and brings peace An instrument normally used in both military Sonata,” which he dedi- court of the Gonzagas in to tortured souls. bands and symphony orchestras is the cated to his unsterbliche Mantua. The composer loved What can we, musical mission- A. Violin Geliebte (“immortal sweet- her dearly, and wrote a aries that we are, do about it? . . . B. Clarinet heart”) Countess Giulietta series of his loveliest com- We can hold our heads high with , C. Sousaphone Guiccardi. positions for her. aspiration, our hearts deep in D. ' Often, however, it but the Socrates. Also in this group was the wife of Papa The German-Italian composer Adolf humility, Comet was not the sweetheart famous Hasse praying that our little Answers legitimate wife of the musician who influenced his Haydn. Haydn was good-natured and gentle, but his married the no less famous singer Faustina Bordoni, candles may help keep the light life and career more definitely. One of the most im- wife was just the opposite. Originally he had loved who once made a name for herself by ear-boxing burning through an the black :q ; night. a—6 8 :v—i -a—9 o—s a— the daughter barber, , portant directors of modern times, now living in this of a but she preferred the con- duel with her rival Cuzzoni (whom we have mentioned The inscription over • dupanj Aq — the church Brado try) a—E 'a—Z (until28-® O 1 door country, has a wife who has not always been able to vent to his hand. Haydn rashly allowed her father to already! on the open stage of the Haymarket Theater back of Bach’s statue is Mar- make herself popular. The story goes that once he was talk him into marrying another daughter who was old in London. This marriage is a very interesting one tin Luther’s “A MIGHTY FOR- TRESS IS to become the director of an opera house in Europe, and ugly. His whole life long he could not endure her. from the viewpoint of the history of art and music. OUR . GOJ3.” . . What a the highest position to which a musician could attain She was egotistical and jealous—with her jealousy Faustina was a typical Italian singer, full of passion pity that the Germans in Eisen- A Million at that time. The administrative director of the thea- causing Haydn to give her more cause for jealousy. for melody and coloratura, a hot-blooded woman who ach and elsewhere could not have New Potential Music ter, the “Intendant” had handed over to the Kapell- She was also extremely extravagant. Haydn expressed was strongly ambitious. Hasse was a typical German, had this graven in their hearts! meister, who had been directing, the matter of choosing his feelings for her in a canon: introspective and idealistic, devoted to Italian music. • • It is the only fortress worth Students a successor. When he was asked for his opinion he “Ein einzig boses Weib gibt’s hochstens in der Welt. The Venetian prodigy Faustina absorbed from him fighting and dying for! laconically answered the letter of the “Intendant”: Nur sclilimm, dass jeder sein’s fiir dieses einz’ge halt.” something of German character, and he became the by -J4orace ~J\. $5o “See ‘Fidelio,’ Act II, No. 14, Page 131.” At the desig- (“One single, evil wife there is at most in the world. Maestro Italianissimo whose arias were interpreted nated place was found that pathetic exclamation of Too bad that each thinks his own is the one.”) in an unsurpassed manner by his wife. They worked * * * The birth rate in the from United States jumped the heroine Leonora to the villain and torturer of her Can we place a halo on Mozart’s wife Constanze? together for three decades, in great demand by the eighteen per thousand in to twenty-one per thousand husband: “First kill his wife.” The immortal Wolfgang Amadeus married the sister of public. They W'ere an ideal, musical married couple. the past few years. This post-war means that in the One might place the wives of musicians in three girl Hasse wrote many arias for his wife. period the whom he had once loved fervently, and Con- there probably will million more “He who learns his craftsman- be at least a categories, according to their more or less benevolent stanze was a much better wife than Madame Haydn. Incidentally—to stick to the subject of Italian opera children needing increase ship early becomes education, and in this huge influence careers of their Verdi, of WARTBURG WING a master early are upon the husbands. The lady She was even charming, a bit of a coquette, but untidy, — too, married one his best interpreters, his Likewise, thousands who will pupils- youth is by far the become new music I have just mentioned would belong to the third group, almost slovenly, and not very thrifty. Through her, second wife, Giuseppina Strepponi. The marriage was best Laugh at time in this statement if the writer, which to cultivate you will, but that of those who cause their husbands all kinds of Mozart fell into financial difficulties. It is conjectured a happy one. pro- w o (.Continued on Page 305) ficiency.”—Robert is a business man, can assure you that the men Schumann. who are concerned in Page 298) the ( Continued on MAY, 1944 "FORW'ARD MARCH WITH MUSIC” 261 260 "forward MARCH WITH MUSIC” THE ETUDE ; — by Sir Ernest conducted MacMillan. Vic- A Notable Biography Music in the Heme tor set 929. Music in the Home is a suite If Edward M. Maisel (now in the United States “The Planets” of seven tone poems, based on the generally accepted Army) had done no more than set right many of astrological association of the various the amusingly absurd incorrect legends about the life RCADELT (arr. McDonald): Ave stars which each piece is named; and work of one of the most distinctive of American Maria; and Bach (arr. Cailliet): after this, in- cidentally, is the only program the composers, Charles T. Griffes, his biography would Fugue a la Gigue; The Boston work The Etude A one. Nearly a decade and have been a notable Through hurried writing, “Pops” Orchestra, conducted by Arthur contains. a half ago composer recorded the entire many curiously false statements had gained currency, Fiedler. Victor disc 10-1070. Records the suite for The Latest The appeal of this music in some of which there were “fairy tales” of con- The Ave Maria of Arcadelt, the famous Columbia, is not a program; spicuously pure fiction. This was wholly unnecessary madrigal composer of the sixteenth cen- contingent upon indeed, those admire the score because Griffes himself, in his pathetically short tury, is generally regarded as a spurious who greatly contend that emotionally thirty-five years, had written voluminous diaries, let- Music Lover’s Bookshelf work; however, some say it was adapted the music is satisfying apart ters, and comments, giving the facts in his own words. from a three-part chanson by him. It was from a knowledge of the astrological asso- Review Clearly a genius with an inborn sense of the beau- a work Pass in ciation of the planets. The four first published in 1845. Whether tone here are tiful, a finely poised mind, a precious family back- by Arcadelt or not, it is a fine setting of poems recorded unquestionably ground, and a musical training here and abroad with the Virgin’s prayer, and has long been in- the most popular of the seven. Mars brings Any book here brings peace; Mercury masters of the art, Griffes sensed the changing modes reviewed may cluded in the repertoire of the Catholic war; Venus is the be secured from of musical expression and produced works of rich Church. McDonald’s orchestral arrange- winged messenger; and Jupiter brings jol- THE ETUDE MUSIC charm, impeccable craftsmanship, and a distinctive MAGAZINE at the contrived, is none has realized these ment, while effectively lity. Holst qualities price given plus originality which brought him to the forefront in the less a modern inflation of an essen- effectively in his music, which is most .postage. American musical achievement. tially sixteenth-century composition. Cail- impressively scored. This book, then, is one of great importance in our liet’s transcription of the organ piece by Holst and others have done more for this musical history, and we recommend it as a “must” Bach is also inflated, over-orchestrated, music than MacMillan does. The latter for every complete musical library. Irrespective of the and tending toward weightiness. It is stresses its weaker elements, and one subject, and purely as an exceptional piece of bio- doubtful that those knowing the works in familiar with the composer s performances graphical writing, Maisel original forms will welcome these has done a notable work. their feels that the true spirit of the different Idfjereditli C^ucLman transcriptions. works quite evades him. Add to this, re- “Charles T. Griffes” (arr. Stock): Prelude and Fugue Bach cording in which there is a confusing re- By Edward M. Maisel in E-flat (St. Anne); The Chicago Sym- verberation—one which causes an over- Pages : 347 phony Orchestra, conducted by Frederick Price $3.50 lapping of tonalities—and the value of : Stock. Victor set 958. Publisher: Alfred unceasing work. Living in a rational and creative Ger- this set becomes highly controversial. Any- A. Knopf Song Without Words Bach: Triple Fugue in E-flat (St. Anne) many, as 'different from the Germany of today as a one taking the trouble to compare this set played by Joseph Bonnet on the Hammond The life of vernal field is from a charnel house, the world may be with the older one by the composer will Music and Mendelssohn never has been more sym- Museum Organ, Gloucester, Massachusetts. Gastronomy grateful that Mendelssohn was spared any such dread- note the disservice to Holst here. pathetically and ably handled than in “Song Without Victor disc 11-8528. ful disgrace as that which has come over the Germany Mozart: Concerto in A major, K. 414; Favorite recipes of famous musicians—two hundred Words,” by John Erskine, whose literary skill has pre- Although Bach wrote his Prelude in he loved, some ninety-four years after his passing. Louis Kentner (piano) and the London ninety pages of them—compiled by Charlotte Morris, served the work from the stereotyped encyclopedic E-flat and his Triple Fugue in the same Fortunately, he could not even vision the Nazis, in Philharmonic Orchestra, direction of Sir make up one of the most novel of all musical volumes. complexion which usually railroads such works to the key as separate compositions, they have their ridiculous spleen, pulling down his statue in front Thomas Beecham. Columbia set 544. The book gives one the impression that musicians last dark crannies of the stack house in libraries. linked together. are long been Both among devote as much time their with facilities of the Gewandhaus in Leipzig, to which he had This is one of Mozart’s most delightful to kitchens as to their art. Surrounded the for luxurious progress Bach’s most imposing works of their kind. One hundred well-known carefully brought so much glory and beauty. piano concertos; one of which he was ex- musical artists contribute and protected from most of the hardships of There have been many arrangements of many times that recipes, Dr. Erskine has done a splendid piece of biographical tremely fond. He played it frequently and many which would mean the “Prelude and Fugue,” seeking, of nothing at all if the recipes portraiture in this work. it to of his pupils. Why it themselves were not ex- course, exploit the grandeur taught many to wealth and citing and evidently very practical often in public is diffi- and most delectable. “Song Without Words” of Bach’s ideas more advantageously for is not played more movement The greatest of all musical cooks, Giacomo Rossini, John Erskine other mediums. Perhaps the most preten- cult to understand. The opening By unfortunately could not make contribution. filled with facile drama, the Andante is a Pages: 205 tious arrangement is the one by Schon- is Your reviewer, has a spiritual poetic contemplation, and the last move- who membership in Price: $2.50 berg which is inflated out of all propor- the Club du Cent, and has fussed its thematic forerunner of around a kitchen all Publisher: Julian Messner, Inc. tion. Next to it, Stock’s arrangement is ment, with his life, ever since he learned the charm of conjuring almost Innocuous. Save for the intrusion Three Blind Mice, is full of sly humor. Orches- fancy comestibles at his grandmother’s apron strings, of a single drum roll in the middle of the Kathleen Long and the Boyd Neel Scriptural Music feels that he has concocted many viands which de- Fugue, his instrumentation remains almost tra once played this work on Decca discs. serve the cordon bleu. Yet with food rationing, few The number of references to musical subjects has organ -like in quality. Stock directs this Both Kentner and Beecham bring more of the recipes in the book will have a chance to con- been cataloged by someone. When we first heard the music in a straightforward manner, re- contrast to their outer movements, and the ex- tinue on the menus of great restaurants. As for Ros- total, we were astonished to note how very widespread vealing at the same time an understanding of the the imagination or satisfies the senses like Iberia. The Andante is played here with more searching in sini, his dishes is rank with those of Brillat-Savarin and was the interest in music in Biblical times. "Music broad plan of both compositions. The recording is first, based on an Irish jig-tune, is rather wayward in pression. Kentner’s tone in the outer movements Escoffier. and the Scriptures,” by I. E. Reynolds, Mus. D., will good. mood, and “Les Rondes,” in which the composer em- more forceful than Long’s but quite in keeping with Seriously, this is a mighty good cook book, even if supply a real need for a text book of theological schools Mr. Bonnet gives a musicianly account of the Fugue ploys a French folk tune, is—as one writer has said Mozart’s music. it was written by musicians. One interesting feature and schools of sacred music. The book is excellently on an organ which lends itself very well to recording. “a tour de force of the imagination, without any very Beethoven: Quartet in A minor, Op. 132; The Buda- is a ten-page list of suggestions for dinner music, organized, with practical blackboard outlines preceding CHausson: Symphony in B-flat, Op. 20; The Chi- substantial musical basis.” Of the two works, however, pest String Quartet. Columbia set 545. prepared by Moses Smith. Another is that portraits of each chapter. The author indicates that “History im- cago Symphony Orchestra, conducted by Frederick it owns more appeal. Monteux plays both works with Of the several previous sets of this work, that by the the musical cooks, as well as short biographies includ- plies that there was a very elaborate and beautiful Stock. Victor set 950. sympathetic feeling, and the reproduction is excel- Busch Quartet, has always been most highly regarded. ing their signatures, precede their recipes. order of services in the Temples and the Synagogues Those of us who admired Stock’s readings of the lently attained. It is unquestionably one of the finest performances of Christ’s time. The greatest meeting of soul winning “conservative-modern” scores have cause to rejoice Dvorak: Slavonic Dances in C major and D major, that the Busch Quartet has realized for the phono- “Favorite Recipes of Famous Musicians” was held in the Temple, which had its beautiful order at this recording, for he not only gives a fine per- Op. 46, Nos. 1 and 2; The St. Louis Symphony Or- graph. The playing of the Budapest ensemble, as re- By Charlotte Morris its Pages: of service. The music included vocal and instrumental formance of this music but reveals a greater insight chestra, conducted by Vladimir Golschmann. Victor vealed in this recording, is not characteristic of 301 forms.” Clergymen and church musicians will gain than did Coppola, who previously recorded it. Repro- disc 11-8566. best work as heard in the concert hall. The reproduc- Price: $2.50 that Victor many valuable suggestions from this book. It is issued ductively, the set is one of the best has Although these are admirable performances, one tion tends to coarsen the tone of the ensemble in loud Publishers: Prentice -Hall, Inc. under the direction of The Sunday School Board of put forward in a long time. feels, in view of the fact that Talich’s more sympa- passages, and there are evidences of insensitive moni- similarity between Chausson’s “Symphony” and thetic interpretations are still the Southern Baptist Convention. The included in the Victor toring on the part of the engineer. Neither the open- Scoring a Romance the Franck is a foregone conclusion, but it is catalog, that these are needless one by duplications. ing movement nor the famous Song of Thanksgiving not factor which detracts from the work as so Haydn: L’Isola disabitata Overture; the Your reviewer “Music and the Scriptures” a — — The Indian- are as effectively achieved as in the Busch set; on could never bring himself to recom- like to believe. In our estima- apolis Symphony Orchestra, Ey I. E. Reynolds, Mus. D. many writers would us conducted by Fabien other hand, in the Finale, the play- mend a novel merely because the author had chosen Scherzo and the Pages: 149 tion, the Chausson hangs together better than the Sevitzky. Victor disc 11-8487. to have it ing is freer and more expressive. Choice of perform- occur in a musical arena. Frank Baker’s A rare pencil drawing oi Mendelssohn in his youth Franck, and owns none of the purple and gold of in- One does not hear Haydn’s Price: 60 cents operas today, but in ances will remain recording one “Full Score,” however, is an extremely fine piece of on what quality of Publisher: cipient decadence. It is, we believe, a more commu- their time they were highly regarded. This Overture, that musical romance of the novel The Broadman Press likes in music of this character; it strikes us type which would merit life to which so many of the less fortunate com- nicative work than Franck’s, with its long lines of while not representative of the greater Haydn, very favorable is none- Columbia errs in not realizing a more intimate quality comment judged by any literary criteria. posers were subjected, Mendelssohn was unique. His poetic lyricism and its romantic beauty. In the coda theless appreciable. It opens with a broadly It is the tense story dramatic of tone in its chamber music recordings. of an eccentric musical introvert precious genius seemed to require the sheltered care Pioneer Lady of the last movement, Stock departs from tradition section, which is followed by a blustery Allegro and a Hei- who, after writing to please himself, wanders Mozart: Divertimento in E-flat, K. 563; Jascha back to which destiny provided for him. At the same time, Eleanor Morton, in a very folksy, homey, by introducing an organ which, it must be admitted, graceful and Stately Andante. Sevitzky American gives a straight- fetz (violin), Emanue his old home only to find the problem of adjusting William Primrose (viola), he was no anaemic aesthetician. His works often rep- book, has told life story does greater justice to a passage for divided horns and forward account of the music the of Margaret McAvoy and the recording, out- himself to real life as it is, instead of as he would Feuermann (’cello). Victor set 959. have resent surprising bursts of power, organic in strength, Scott, borr. in a one-room log cabin the trumpets which all too often is not well played in the side of some coarseness in the on top of one forte sections, is good. It playing it, an insoluble one. reflecting must be admitted that this is ensemble and his intimacy with his adored Bach. of the hills of the Blue Ridge Mountains of Virginia concert hall. Holst: The Planets— (1) Mars, Venus, (2) (3) Mer- par excellence; beauty Drilled boyhood in industry, his life there is an extraordinary tonal from was one of in 1862. Miss Morton has related it in the words of Debussy: Images— (1) Gigues, (3) Rondes de Prin- cury, (4) Jupiter; The Toronto Symphony Orchestra, “Full Score” in the ensemble. On the the playing tends Mrs. The San Francisco Symphony Orchestra, di- other hand, Scott, and thus has preserved a fine biographical temps; toward many By Frank Baker a virtuoso elan, with the result that WHBtMSMSSBSSBSBM record of a courageous, fearless type of American wom- rection of Pierre Monteux. Victor set 954. " Pages: 344 subtleties of the quite f°r Debussy’s “Images” for orchestra contains, besides music are lost. One cannot an, who rose over innumerable obstacles to become the 1 ® Price: $2.50 get, in listening the playe BOOKS the above two scores, one of his most famous orches- to this performance, that owner and manager of a large chain of hotels. RECORDS are case oi Publishers: Coward-McCann, Inc. 1 all great virtuosos. in the The book is filled with (.Continued Iberia. Neither “Gigues” nor “Rondes” stirs - ! It was different on Page 298) tral works, I 3021 the performance by the (Continued on Page MAY, 1944 "FORWARD MARCH WITH MUSIC 262 "FORWARD MARCH WITH 263 MUSIC" THE ETUDE — . Music and Study Music and Study instead of eliminating it. The teacher looked quite surprised and considerably puzzled; she admitted that the problem must be taken up at once by the head A Loose-Leaf Plan master in the school. It might be noted that a slowed- down moving picture of several artist pianists playing Why cannot we have loose-leaf etudes, an arpeggio shows no thumb-motion whatsoever. The graded and technical material to books, Table arm moving sidewise up or down the keyboard deposits be used for individual pupils as the The Teacher’s Round Many Piano Pupils Why the on its proper key by of slight, teacher sees fit? She could charge some thumb means a light token for each separate sheet, or quite as vividly as on the larger canvas, easy, balanced, rotary motion. a specified single amount for the term. but of course reduced in scale. So it is What a boon it would be if teachers by might have such material in reserve, free Conducted in music. . . . There is no absolute “norm” An. Arpeggio Lesson in the Way It to apply the technical problem to the for loudness or softness. Musical compo- Never Pass the Fourth Grade Should Be Done student instead of having all pupils bur- sitions, like paintings, are built on dened with a whole volume of something an in- The arpeggio really is a light, decorative flow of tone they may not use. Children and even finite number of dynamic scales. What used as accompaniment to a melody. Its sound, as adults get weary of looking at a book would pass for fortissimo in the light an of things to be accomplished in the dis- texture of a Mozart Rondo or Scarlatti the artist plays it, is that of the nonlegato or legaiero tant future, whereas they are wide-awake “Sonata” would hardly muster up touch. It might well be called piano-legato; that is, a and alert to something new—just handed Mus. Doc. to a out. The students could have their own lusty forte required in a composition (>ij c*Ce l\oif C'cimplcll smoothly flowing series of tones. loose leaf book cover, and store away thumb crossings, especially descending in both Noted Piani-st built on the heroic scale of the Bach These each sheet as it came from the teacher, scale and arpeggio (Ex. and depend upon and and as their own problems technical or “Chromatic Fantasia and Fugue” or the 1, 2, 3), — Music Educator musical—arose. and Brahms Rhapsody in E-flat. are controlled by a correctly adjusted rotary forearm Do you think such a plan is too fan- perfection. so-called “rotary motion” might not be But don’t worry about the actual dif- UBLISHERS tell us that 94% of all piano pupils A tastic?—Sister M. M., California. ference in dynamic extent between one never go much farther than the fourth grade. of value to the speed crossing in rapid passage work. answer may be that up to the fourth grade The simple motion might be too slow and sticky un- Fantastic? Not at all! Sister M. M. composer and another. There are pas- P The simply slow motion. less the correct rotary adjustments are carefully per- proposes a capital plan. When first I sages in Mozart which require every bit the playing of pupils is usually looked over six piano books for begin- fected and incorporated in the subconscious mind. By heard it, I rushed, full of enthusiasm, to If you are lucky enough to have the as much power and intensity as Beetho- Recently we that the exer- correct adjustments, we mean the instant release on present it to publishers, but was promptly ' opportunity of studying music seriously ven demands in certain of his dramatic ners and were impressed by the idea suitable for organ. both the supination and pronation side of the fore- turned down by them all. ... It seems and continuously at this time, you are a moments. On the other hand, Beethoven cises and pieces were eminently arm. These crossings are practically the only difficult . you’ll cannot see that there are practical considerations, fortunate mortal indeed . . and sometimes exacts the chiaroscuric pianis- And as we consider the piano action, we immediate or future bear- places in the passage work of a scale or an arpeggio. . this has any insurmountable obstacles standing in the have to face a few facts. . . First, you simo of Debussy. Then again, Debussy where material These difficulties depend almost solely a correct way, concerning which we laymen are Correspondents with this Depart- will accomplish nothing by “self-study.” often asks for the precise, perfectly ing upon the perfection of a technic adequate to the upon ment are requested to limit Letters mechanical principle, the principle of free ignorant. The new concepts, need a teacher six months or more graded, stepwise crescendo of pianoforte. Certain facts relative to notation can be and easy new proc- to One Hundred and Fifty Words . You Mozart. balance. esses, revolutionary methods of distribu- of every year. If your parents can’t pay So, dynamics seem to me to be a mat- learned this way, but not much piano technic. A simple exercise for securing this feeling of ease, tion and merchandising which such an for your lessons, then you’ll either have ter of the composition and not the com- Let us study the nature of the piano. The piano leather, buoyancy, and balance, and for making possible an undertaking would require might upset staccato for brilliance, and the gently to get a full or part-time job to earn the poser. action is made up of springs, bounding felt, correct it small pieces of wood. The hammer is a bounding, easy and rotary movement or balance in either the whole music industry. . . . So, reluc- plucked or dusted finger-tip variety for money, or borrow from someone who And here’s great happiness to you in direction, is the following: tantly, we must relinquish the loose-leaf light, rapid work. has faith in your talent and industry. your musical life! springing piece of felt on a wooden frame and is so beautifully adjusted mechanically that it leaves the plan for the present. . . . But what pos- “Finger flashing” is just a vivid term And now as to your first question: Ex. 4 sibilities lie therein for an after-the-war string in one forty-fifth of a second after sounding it. meaning that: 1. If you must secure a paying job don’t A "Sample" Lesson project! Publishers had better look out 1. All energy is concentrated in a split do it by teaching piano. The world is Now, in like manner, the drum is not exactly what could My problem Is this: I teach several Jun- for us then! there be called a legato instrument; the drum stick leaves second; must be no tension before already surfeited with too many well- ior high school girls, aged Uiirteen and or after playing. meaning but incompetent youngsters fourteen, who can take only one private the drum head in one-fifth of a second. Therefore, the lesson of forty-five minutes weekly. These piano action is 900% more staccato than the drum. The Staccato Touch 2. No fingers are held in the air when (and oldsters, too) who teach just “to Take the left hand in the opposite direction, and girls want very much to continue their mu- not in use; the swing on the key comes make some extra money." You have not By noting the springy and buoyant piano action, then, sic lessons, although they can give only each hand alone. Impulse exactly to the tone with a one would naturally come to the conclusion that the I find myself in some doubt as to the all in a flash. studied long or seriously enough to war- one hour or even less to daily practice. rather sharp impingement. Release instantly at tone, best means of teaching staccato touches. student would have to meet this type of action not 3. The word “flash” (instead of rant making a business of teaching. At How much ought I try to accomplish with and change the fingers on the keys with just enough Matthay’s directions say to cease all exer- “stroke”) infers that although the finger most, you might modestly such students? Shall I insist upon technic with organ technic but, on the contrary, with a grace- tion the instant tone is produced, and take one or easy weight to keep the keys from coming up. This and studies, or shall I concentrate on try- to allow the key to rebound while the fin- is curved when it plays the key, it tends two beginners, frankly fully light touch. admitting that ing to teach them to read fluently and play easy balance sensation will soon become a habit. This gers remain in contact with the keys. The piano music from the fourth grade on to the to flatten out slightly as it swings into you are using them as “guinea pigs” to a few pieces well?—B. A.. New York is the key to all legato piano playing. first lessons These things can be done when the notes The the air. In other words, it does not pull learn a little about the serious profession tenth is full of runs, arpeggios, and passage work—all are played piano and not very quickly, One forty-five minute lesson then should look ahead into the perspective of these a week velocity nimbleness. the fourth but as the tone and speed increase, so away from the key, rigidly curved, in of teaching music. It is fine that you demanding and From certainly seems inadequate; but I’m sure DR. LeROY B. CAMPBELL difficult crossings in passage work and so prepare to does the difficulty of letting go—and then the old-fashioned claw-hammer .-. grade on, then, the acquiring of this ease and fluency way. . want to teach, for only those who pas- meet piano, instead of organ, sensations relative to thfe temptation to play with plucking you can manage successfully, as many Try both ways and see for yourself which sionately love teaching, and who very should occupy a considerable amount of the student’s fingers and stiff wrists is great. But, other teachers have already proved. If chief counsel from most of those books to the pupils. the habits needed in the subconscious mind. feels better! thoroughly attention. One may have a poetic nature and good after all, in his “Basic Principles of prepare themselves for it, ever As scale arpeggio crossings you plan your lessons carefully in ad- This muscularly holding down of the key until the the and have been taught Pianoforte Playing,” no less an authority make a success at it. ideas of expression and interpretation, but without a vance, and force yourself and your stu- next tone sounds, produces anything but a conception and are taught for the most part today, the motion than Lhevinne declares—in passages which Please fluent technic, his attempts to produce beautiful music Shall I Teach? rid yourself now of that “con- for the correct balance-mechanics is he quotes from Liszt’s Campanella, Schu- dents to concentrate of buoyancy and floating arm, which really should done in nearly right from the be- at the piano will be a sorry affair. It will be noted that mann's Papillons, and Moszkowski’s Etude cert” stage illusion. For many years to every case in exactly the wrong direction for I am eighteen years old and have studied ginning to the end of the period, you can pervade the mind of a piano pupil. The pupil should securing in Notes wrists this fluent passage work is composed for the most part Double —that stiff and for five years. come you must have only one ambition ease, freedom, piano After a summer of cover all necessary impress into his subconscious mind, not a pressing and future progress. pointed fingers are absolutely necessary. points; but you must of scales and arpeggios, or fragments of scales and self-study I am aware of the necessity for —an all-consuming zeal to learn to play May I conclude then that only in slow choose in advance those which you think down feeling, but a buoyant up feeling or concept guidance under excellent teachers. Present as beautifully arpeggios The real difficulty in the scale is indicated passages is it necessary to remember and movingly as you can, conditions make study in distant cities the most important for the student, and a floating feeling—an easy and free springy feeling. Matthay’s and, in here by X. instructions? In your replies, difficult. addition, you must possess a tre- hold unswervingly to these for at least This is what is needed in all passage work from the you frequently speak of quickly flashing 1. mendous drive Would teaching help me? I love it; but and indomitable spirit to Ex. 1 fingers. Surely that high finger lift- a month or six fourth to the tenth grades, and the very best time to means would teaching two days out of the week implement weeks before changing that zeal. . ing? If clarify points . . Then after years you can these for make for practice I to other routines. secure any muscular or mental perfection is in the up would lose? If I try of me, I shall feel much obliged. hard study, intelligent work under for the concert stage it will be after some the Just to see what could accomplished, early lessons of the young child. A. M. S., Washington. guidance be — teaching. of first-rate teachers, you may For example, in playing down the scale or arpeggio, I gave a forty-five lesson to an A certain teacher in Vienna once showed me exactly 2. Should lessons be prepared by concen- learn to play well minute There will be time the pupil is to play the first octave slowly with rather Like you, all intelligent teachers worry trating on certain “average” girl, about In the arpeggio we find this same chief difficulty, how to play and teach the arpeggio. pieces each day, or by enough then to fifteen years old, of gradually consider a concert career. high fingers, muscularly holding each key down until about staccato; but not many of them working toward lessons, say, one Grade V. Here’s what we covered in forty marked by the X. lesson a week? 2. Sorry, I don’t understand this Ex. 3 the next tone sounds (two octaves in the case of the have thought about it as clearly as you ques- minutes—leaving five minutes at the end 3. .An examiner told me that a dynamic tion Progress in have. Not only have you expressed piano playing comes for arpeggio) Next he plays two octaves with two tones the marking in one composer would mean a me to jJlay a short composition, as only as you yourself to beat, staccato problem perfectly, but you have different thing in another. Please say-“by concen- the a and later three or four octaves with three explain trating student’s reward for concentration this. G. E., Texas on certain pieces every or four tones to a beat. offered an excellent solution for it. — day,” in and addition good effort: to daily, systematic, thorough This seems to be the scale and arpeggio plan pre- Yes, slow staccato is best taught by Since I know nothing about 1. To stimulate concentration, deep you other technical training. To These scales and arpeggio crossings, both ascending scribed flashing finger rebound. This means this end, at least breathing, I was told to hold down each key carefully until the by nearly every school for its own use, as well than ac- . that you are an aspiring young fel- one lesson a preparedness, key contact, week with a fine and descending, present a difficulty which has been next tone sounded (at X) that is, to hold the third as for an entrance simply that the finger tip first touches teacher is curacy, ; examination to its institution. In low eighteen years old, I assume that you indispensable. and brilliance, I started out by and is still a formidable stumbling block to nearly all finger down on G until the thumb sounded the C. This most cases, if the candidate does not make these ex- the key-top, then acts suddenly on the have physical or other disabilities hearing diminished seventh chords, four which o. i ms is a piano pupils. The reason for this lies in the fact that key in a “flash,” either directly from the fallacy, I think. Dvnami I was told would perfect any break in the legato that actly wrong motions in the first slow octaves, his prep- exempt you from the draft, or that your range and notes to each hand, in several different gradation do not necessaril that wrong mechanical means for a piano touch is might occur otherwise. I asked the teacher what to aration will be condemned, and he will have to wait key-top or by means of a swift “surprise” parents cannot afford to send leap-patterns all you to a depend on composers over the keyboard. employed. The wrong mechanics produces a fling in air. or eras but on then do about the break which this manner of practice until he learns this wrong motion before he will be the But be sure the finger good teacher. I hope, therefore, that th 2. By contrast, simple, quiet you compositions themselves. gave a wrong conception, both in the conscious and subcon- flash has its complementary rebound, It is not neces caused between C and E. admitted to the school. Here is the crux of the matter will not be too downcast by my realistic drill in playing without at the sary to use separate looking scious mind. first or active release, the dynamic approache Take those instruction books, men- The answer was that no break occurred there. I (see X in Ex. 5), the vital place in the scale where instant after the reply to your questions, for I must keyboard. speak to Bach, Beethoven, tioned in the first paragraph, note that key is played. Mozart, or Choph and we the asked if holding the third finger on G until the thumb the wrong motion takes place; the place upon which sensibly to you, I think. No other course but only 3. In Whitefleld’s “Boogie-Woogie to each individual markings and directions are all for equalizing finger played did not absolutely hold or cause the second future progress into the higher grades depends. As you say, this staccato touch is is work of thes C not possible nowadays when millions of masters. Book” i taught the student to play the strength; for keeping the arm still and playing a mus- finger to find itself at least six inches away from its The pupil is told to hold each key down until the applicable to rapid or brilliant passages. boys your own age are everywhere facing left hand of Taxicab (which we r—v. Honks cular legato all of which is perhaps organ — good work. . is (purely In such cases you must use, as you sug- the sternest — in paint next key (E) I maintained that the thumb-under next tone sounded organ technic, and bad realities which life can im- sharp contrasts called “Taxi Toots”!) rapidly and easily; of light, Hold one key down until the next tone sounds is the manner just was at that if the pupil spends gest, the high-wrist-and-straight-finger pose. shade, line and shown me what caused the break any more force on the key color are all then stimulated quick sight-reading present on the small can ( Continued on Page 297) MAY, 1944 "FORWARD MARCH WITH MUSIC” 265 264 "FORWARD MARCH WITH MUSIC” THE ETUDE ” — for the General had no love “Lights-out” call P ALL INSTRUMENTS for the making of music, °V The else the handed down from the human voice is the most personal, Music and Study Music and Study was either a little careless or _. then in use. It had been the early the most a healthy i to his sensitive, musical subjective. The processes that produce hungry, and the result was of West Point, but ear it O tone on his fm days The tendons in all, it did not the piano or on the violin are both visible and held down than just enough to keep the key from Johnny's extended left hand. sounded discordant. Above seem to suit tangible hog's bite. and are, consequently, open to direct gers badly torn by the f ,. great camp spread out under the stars. investigation . Ex. X, he holds the were scene of a coming up) Therefore, in 5, at nanip this the power * to turn over in while they are active, as well as while they are at rest. thumb down on P, and connects this held tone to the were completely without . General Butterfield began his mind vio 1 far as playing the express The expert pianist knows just how high he lift E, third finger. This of necessity causes the third finger and rendered useless as musical phrases which would that strange must courage on his part and care- his fingers from the keyboard in order to make a muscularly forced crossing which could be concerned. Nevertheless, quietude—the hush that overhung the army of tents to play a given transformed John y ful from his teacher men slept while sentries passage at a given pace; the violinist can show and done in slow tempo, but not in future rapid passage coaching where thousands of kept What Is “Bel Canto,” Anyhow? explain into a left-handed fiddler. settled upon a combination of to you how., he produces his harmonics just as work. the watch. At last he notes performs his fiddle solos on clearly as a billiardist can demonstrate The remedy for this most common and serious error Today, as Long was in harmony with such surroundings. to you his entertainment spo s, that he felt relaxation-con- bandstands of the nation’s top Norton, his bugler. masse shot. The technique of these instruments can, is simply to perfect the capacity for “blonde He then sent for He whistled on in amazement as the therefore, be developed by objective criticism. A Masterly Discussion of “Dear Did Voice Production” sciousness in the pupil; otherwise he will not notice his the public looks over, and Norton tried it The voice featuie o the new call over and out on left handed. The redeeming is in quite a different case. Its mechanism tensions and, of course, will not be able to correct maestro” bows Whenever he made a mistake in a note has been tone quality and tech- the bugle. or them. In preparing then for a rapid scale or passage, the “freak” sight is that the Butterfield would carefully studied and its functions pretty accurately with right- the phrasing, General correct him. forth by Johnny is on a par established, but, after all, it is certain that the thumb is released as quickly as possible at X, so nic brought bugler had it the process popular music. In a very short time the down perfectly. standard violinists now playing of singing goes on inside the singer and to rancid that the motion of the third finger for the E may be handed, Butterfield’s a large /a, has meant little That same night General brigade was (see arrows above To Johnny, the change of hands degree must be judged by inferential, rather than by made in exactly the reverse manner the lingering refrain of that he did disiupt pro- the first to listen to Taps. It the staff in Ex. 5) to the usual motion made by hang- with the possible exception direct, means. Or- thrillingly in the middle of the camp, and the ceedings when he played in the Duke Symphony rose There is an abundant literature Professor of Singing, . on the subject of ing on to the F with the thumb, as at Xb) Now, in- long, the bow of the player plaintive notes echoed down the winding valley. stead of a forced motion at Xb, full of friction, ten- chestra. Often he’d tangle with voice technique which contains much that is helpful was solved when the con- effect was magical. The next morning buglers Juilliard of sion, stickiness, and conflict, the motion is done simply next to him. The problem The to the student, but, despite the existence of many ac- School Music finally placed Long in the viola section and on adjoining camps came to General Butterfield’s scientific by easy balance and is quite free from all these ten- ductor from cepted principles, the art is, to this day, to inquire about the new call. They asked sions just mentioned. Therefore, unlimited progress an end nhair. headquarters largely one of individual experience on the part of to learn it and the General gave his ready Francis Rogers is one of the world's most distinguished teachers of the art into the higher grades of velocity is easily accom- permission both singer and teacher. Without questioning the of singing. After being gradu- It was not long before it was being used ated from Harvard University he studied for one year at the New England Conservatory and then went plished. If the tempo is rapid, the piano-legato will be consent. validity of these principles, or denying that a thor- Army of the Potomac. to Paris (Bouhy) and Florence (V'annucinni) for further study. After concert tours (one with Marcella quite flowing and perfect; if the tempo is slow, then throughout the ough knowledge of the construction and the mutual Sembrich) and a year in opera, he became a teacher. Since 1924 he has been a member of the faculty of Taps spread fast. Wherever it the thumb is released as before, but with enough con- The popularity was relations of the different parts of the voice-mechanism of the Juilliard Graduate School First Blown of Music. The following is the third and final installment of a short How “Taps” Was stirred listeners to enthusiasm. It passed from is great aid intelligent trolled weight left on the depressed key to keep it heard, it a to study, it may be asserted series of scholarly and essentially practical articles giving the background of the historical development corps, and all the men grew of bel canto. The Etude considers these articles from coming up until the next tone sounds; then any army corps to army to that there is a great deal the singer must establish for so important and so "meaty’' that it is hoped that our general orders, it was substituted and by himself. is vocal teacher readers will insist upon their pupils becoming familiar with them. degree of legato can be easily accomplished. bu Francis -JJ’Oward love it. At last, by This done by experiment which he Editors Note. Beyond the theory of key relations and scale or for the old "Lights-out” call, and appeared in the offi- finds valid in his own case, but which may be quite arpeggio fingerings, most practice would best be done cial United States Army regulations. Since that time invalid in other cases. P ALL THE BUGLE CALLS used in the United on real music. The pupil is so pressed with school work Taps has become known and enshrined in the hearts Patti, of the flawless technic, always maintained that States Army, none is more musical and has such today that his practice time should be spent in the of all Americans. she knew nothing of vocal processes. Melba’s voice was universal appeal as the one blown for “Lights Part Three most musical way. The isolated Scale practice impresses O footnote must be added about the composer. As a a perfect instrument before she left Australia A and out,” commonly called “Taps.” When one thinks of a into the subconscious mind a monotonous straight line young man, the son of wealthy parents, General But- entered Madame Mar- camp, in which are thousands of our boys, suddenly of tone; and the muscles use always the same expan- terfield’s travels through the South had convinced him chesi’s studio in Paris. going dark as those haunting notes rise to the stars, to train the pupil to great singer. sions and contractions. Real music does not use this that a civil war was inevitable, and when he later The writings and casual hear A great singer’s great qualities are Lis the effect is moving, to say the least. his own monotonous tone progression, nor does it use equal the American Express Company’s superintend- utterances of many suc- voice much as own; the teacher is helpful only in evoking them. It is became ; JtlPJer But Taps has even tenderer associations. the the teacher expansions and contractions. “The straight line is the ent in New York City, he gave all the time possible cessful singers go to hears it, Successful teachers of singing belong to numerous one army call that is used at all military burial serv- and to enhance to a and diversified categories; line of duty; the curved line is the line of beauty.” to drilling with the State National Guard. Step by show that the beauty of successful singers who take ices. It is always blown to mark the end of the “minute their high degree of discrim- up teaching as Most scale and passage practice is the kind in which step, he rose in the ranks until he became Colonel of art is founded a kind of side issue in their careers or of silence” on Armistice Day. Memories of the nation’s ination the student works on the scale or passage hoping that of men around which quite as much on em- the pupil’s power avocations, or as a means of recreation or livelihood heroic dead are awakened at the first notes, and a the Twelfth Regiment, a body piricism of self-criticism. after their he will somehow or other secure the correct act of affections permanently entwined. as on conscious The retirement from activity; the moderately reverent hush falls over any crowd while it is being his were touch; that is, he works to overcome a difficulty. The science. ideal Teacher is rare, be- successful, or even unsuccessful, singer sounded. He was made a Brigadier-General at the outbreak who finds in correct psychology would be simply to find and remove cause, in addition to his teaching a reliable livelihood that public performance How did this call originate? Pew Americans may be of war, and later a Major-General. At Gettysburg he The Value of the cause the difficulty, as here indicated. keenness as a critic, he has not provided him; of severely the heavy cannonade that the pianist or accompanist aware that it has been in use for eighty-two years, was wounded by Intelligent Criticism must possess such pa- whom association with singers tempts to hang out and was born under the most dramatic circumstances. preceded Pickett’s charge, but he did not retire from his But at no time in his tience, such fertility of shingle as a vocal expert; the laryngologist who be- It is to General Daniel Butterfield, famous Civil War active field service until he fell a victim to fever dur- career can a singer af- suggestion and sympa- lieves that singing is a science, not an art, and can be leader, that the nation is indebted for the most cele- ing Sherman’s march to the sea. A jeweled sword and ford to dispense with thetic insight into the taught as he was taught his laryngology; the conduc- brated of all its service calls. badge and a Congressional medal were presented to Porker Changes Musician's Career competent criticism temperament and poten- tor, or all-round musician who, often enough, drifts The story of the origin of Taps is found in the per- him in recognition of his record, and he was honored other than that of his tialities of his pupil as into teaching almost unknowingly; the man (or sonal letters of Oliver W. Norton, General Butterfield's everywhere. IKE ANY OTHER STUDENT bowing the strings, own senses; for the rea- will enable him to impart woman) who without marketable vocal gifts, loves the brigade bugler, which the latter had printed for the After his distinguished military career, General But- Johnny Long was an orthodox right-hander; at son that his voice, being to the pupil the capacity art and also loves to teach. The history of teaching benefit of his friends long after Appomattox. The epi- terfield went back to civilian life, holding an impor- 1wJ least he was until age seven, when the freak inside of him, is audible to hear his own voice records valuable work done by representatives from sode is of special interest in these times when the tant position in the Sub-Treasury in New York City. accident took place. The event that changed things inside his head as well discriminatingly and to all these categories. country has again become one vast army Frequently, on account of his organizing ability, he for Long occurred in the pig pen on his father’s farm camp, and as through the outer judge how others hear the United States Army bugle is heard in many far was asked to take charge of big public parades and in Newell, North Carolina. Like a thoughtful little ears and, consequently, it — a mighty difficult From Whence Come Teachers corners of the world. exhibitions. When old age forced him to seek a less man, considerate of the animals and at the same time never sounds to him as task! As a general thing a famous singer makes an in- In July, 1862, the Army of the Potomac was en- active life, he retired to “Cragside,” his delightful wishing to help his father with the live stock chores, it sounds to others. At The belief is all too different teacher, for the reason that most of his camped at Harrison’s Landing in Virginia. The Seven home at Cold Spring, New York, overlooking the Hud- the outset the student prevalent among young experience with the art has been purely personal. Busy Days’ Battle before Richmond had just been fought. son, where often of an evening, in the twilight of his must sing constantly, students that a teacher during his active years with his own career and his General Robert E. Lee had only recently taken com- days, he could hear the West Point bugler sound his even exclusively, with can “make” a voice. The own vocal problems, he has never had occasion to mand of the Confederate forces, and already in these beloved Taps just across the river. his teacher, whose duty inexperienced singer does study the problems of other singers, and he takes up engagements he had displayed the superb military it is to instill in him the not realize that the teaching without that all-important qualification of a genius which was to make him the idol of the South fundamental principles teacher can only evoke teacher experience. Theoretical knowledge has its and the despair of more than one Northern com- of breath control and what is already there. value, but, every pupil being different from mander-in-chief. every other of complete muscular There are one hundred pupil, the teacher who has worked with a thousand General McClellan’s losses had been severe in freedom. the The teacher, sixty-eight hours in a pupils is better able to grapple with the problem of recent fighting. There were gaping holes in the 'ranks Purposeful Practice reierring tirelessly to week. In the usual con- the thousand-and-first, than one who has focused his to which the Army had not yet become accustomed. these principles, with servatory curriculum of attention chiefly on his own voice, or on a handful of Earlier in the spring the cry had been “On to Rich- the object of establish- THE INCOMPARABLE NELLIE MELBA today, vocal students do casual disciples. mond!” But now, for by filler 2)ixoni the first time, it was realized ing in the pupil’s under- not have more than two The more or less unsuccessful singer who takes up that the war was likely to be long and heartrending. standing their influence hours weekly of individ- teaching because it offers him a financial The result was that an Many pupils remark that they love to take music security atmosphere of seriousness on the production of beautiful tone, strives to train ual teaching of the voice. other words, the pupil the> In denied to him as a public singer is, if he loves rested over the entire camp. lessons but they do not like to practice. Perhaps to The younger volunteers and develop the pupil’s ear find general sensibil- is responsible for his own voice one hundred sixty-six need to It may teach, excellent teacher-material. His struggle to make were homesick, and even the older have a goal or a purpose in practicing. ity men’s thoughts to such a point of acuteness that the pupil can hours out of the total one hundred sixty-eight. This a go of his turned be that many use that must own career has taught him much and given to the anxious families they had left the same period of time judge for himself up North. the beauty of his tone, and recog- fact emphasizes how important it is from the very first him interest in and sympathy with the When night closed down over be used for practice. It may be a time when someone difficulties of the Virginia hills, nos- nize reliably the mutual relations of cause and effect. for the teacher to awaken and develop the pupil’s is after other singers. Occasionally pianists and talgia gripped the ranks. waiting outside to play tennis. It might be just accompanists The ideal teacher of singing, therefore, is not of powers of °* self-criticism. No teacher ever “made” a have given good accounts of themselves as General Butterfield dinner, or at the end of a hard and tiresome day, teachers of must have sensed the general necessity a man who has written volumes on the tech- during to rest voice, even though they themselves have never been mood. He was an accomplished musician the noon hour when Dad comes home nique and had writ- of the voice, or who has had a great career 'as able to sing through a musical ten a number and should have everything that he can relax. phrase. It must be of original compositions. But his quiet so a singer, or who has had the good luck to launch a chief practice admitted in the long run that a good teacher, hobby was the invention of Anyhow, there should be a pleasure and joy in no bugle calls. Now, while the successful singer. Rather, he is one who, in addition that many children should be matter what his antecedents, is only one whose pupils young Johnny took great delight in feeding the live whole camp was in a pensive mood, he are missing; and there to an ear that will never accept turned to this no as beautiful a tone VOICE usually make progress. stock. day, while feeding his pet porker, Johnny peacetime pursuit. distracting activities by during the practice One others that is not beautiful, is able by one means or another . . . hour. . — i ; The profession of teaching (.Continued on Page 298) 266 "FORIY-'ARD MARCH WITH MUSIC” MAY, 1944 THE ETUDE "FORWARD MARCH WITH MUSIC 267 — — Music and Study Music and Study means of the swell pedal he can reproduce the merest whisper, and swell the tone to a thunderous climax. In lieu of the sounding board on the' piano, a radio principle amplifier is used, and this can be nlaced Instrument with 253 Million anywhere. I have a friend who has in his home a Research The Hammond with an amplifier downstairs, and one up- Exciting Futures in Musical stairs for the benefit of an invalid mother. Being electrical, the tone is produced the instant the key is depressed. Then, too, the action of the Hammond is very easy. As a result, a more pronounced A Conference with Tonal Duality Combinations staccato and a faster and sprightlier type of music is possible. These are features in which it resembles the piano. In other respects it has manuals, a swell pedal, stops, clavier, foot pedals—as does the traditional Requirements in Flaying the Hammond Drgan organ—and is played with much the same technique as the organ. But it is more orchestral than either the Director of Musiral Research, piano or the organ, and does not get out of tune. Company An Interview with One accustomed to playing the organ can switch to The National Broadcasting ' the Hammond with only a few hours’ practice. The stops present the chief difficulty, but familiarity with them is usually quickly acquired. Since the touch is so SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT (^thel .Smith easy and the tone responds so readily on the Ham- mond, the organist is likely to release his keys too Popular Radio Artist soon at first. However, a little legato practice accus- toms him to the touch in a short time. A LL THE PARTICIPANTS in musical events do attends to most of the musical research for all the not appear on the programs. You sit before your NBC programs. Thus, a network researcher might be 4\ SECURED EXPRESSLY FOR THE ETUDE BY DORON K. ANTRIM Special Problems of the Pianist Js. JLradio, waiting for a world-famous orchestra likened to an editorial writer on a widely circulated The pianist requires longer to transition. under the direction of a world-famous conductor, to newspaper. Much research, however, is done by the make the has been begin one of the Beethoven Symphonies. But first an builders and the musical directors of the individual He accustomed to regulating his expression and dynamics by touch as well accentuating announcer, or commentator—also a famous personage, programs. Hence, the network itself needs no more as his Ethel Smith was born in Pittsburgh, Pennsylvania, and began piano lessons at the age of six. Later she melody most likely tells you some pertinent facts about the than three or four musical research specialists. and to holding his tones by the pedal. All this — attended the Carnegie Institute of Technology where she studied German, Spanish, French, piano, and distinct from copyright re- is changed on the Hammond. He must use the swell program you are about to hear. Deftly, expertly, he “Musical research (as organ with a view of making music her career. After graduation she secured a position playing the piano pedal for volume control, and his left foot on the low acquaints you with facts you never knew before; facts search, which involves a knowledge of the copyright in the pit of a Schubert show and toured with it for twenty-six weeks. In a Hollywood studio Miss Smith tone pedals takes the place of the fifth finger oh his about the composer, about the times in which he lived, laws of all countries) generally falls into four cate- chanced upon one of the Hammond organs and has specialized on it ever since, making three trips to left hand on the piano. Possibly about the circumstances under which this symphony gories: we search for music; we search for facts about South America to play professionally and to study Latin- American music. Currently she is featured on the hardest thing he will soon be in pictures. has to do is to coordinate his was written. You listen and, possibly without realizing music and composers; we search for instruments and the radio in the "Hit Parade" and "Hit Parade of Old Time Tunes," and hands and feet. Some never quite learn this trick, although the majority do. it, you wonder at the amount of knowledge these radio their, traditional performance; and we search for Depending upon his skill and adaptability, a pianist announcers possess. What a lot they know! Well, some talent. That sounds rather tame, at first statement ERNEST LA PRADE should be able to make a satisfactory adjustment of them do know a lot—but it is in no sense a dispar- but life can become highly complicated at a moment’s to the Hammond in three agement of announcers to make it known that their notice, when the Program Department confronts us research—deaths of composers, new compositions, to six months’ time. own store of information has nothing whatever to do with a sudden request for someone who can sing, dates of performance, printed program notes from EOPLE are constantly asking me questions about Instead of stops I facts script of fixed Hammonds are now with the they narrate. The takes care authentically and authoritatively, in the Quechua other cities or countries, and so must find their the Hammond organ, chief among them being: which supply a on— finding that; and the factual part of all scripts dealing with language. set of tones on the their way into The Quechua language? But then, being re- way into the running file of Ihe research division. And Is it easy to learn if one has had no previous notes and comments on music comes from the Depart- searchers, traditional organ, the homes, and children we soon discover that this is the tongue of the researcher must put them there, by dint of spying instrumental training? How long does it take a pianist ment of Musical Research. And the men who dig out certain tribes of Indians living in the over? an organ- Hammond has nine without previous in- highlands of the them out and judging them important enough to clip. with a keyboard technic to switch Or those facts, work them up, and put them in readable Andes, who are direct descendants instrument drawbars located strumental instruction of the Incas and (In this connection, I take special pleasure in outlin- ist? These and other questions about the are taught. order seldom get any share of the glory that surrounds whose music is believed to be the glad discuss above the top manual. b®ng The same as that of the ing the clip-and-file system for The Etude, because and its playing requirements, I shall be to is possibly that program you are waiting to hear. Incas. Since radio research is entirely practical, in The Etude I have read and from which I Each drawbar can be Hammond the a very large proportion of NBC's file entries are clipped which research is business in its no more difficult to Musical a own right. Many demand for a Quechua singer points to a program of from The Etude!) have played piano pieces since I was a girl in pigtails. pulled out in eight of the ambitious students now in our studios will one Inca or at least finally learn to play than the — South American influence To begin with, the Hammond organ is a unique lengths ; when —and the "Less usual is the is search for new music, which starts day find their way into it. Hence, The Etude has Quechua singer must be on organ be- closed, it provides a piano when one hand before the program also part of the researcher's musical instrument. Probably it is called an work. Where certain types at an early age, and asked one of the country’s greatest authorities in the in question is due to rehearse! cause its tone is sustained as long as a key is pressed, ninth, or silent, posi- of music are needed and cannot be had in our library, field to outline the nature and problems of the work, tion. One drawbar gov- teachers of this in- the research and because it bears a closer resemblance to that in- Notes for the division must provide them. Recently, strument are in de- and to comment on the qualities best suited to engag- Announcer strument than to any other. Nevertheless, it has many erns the fundamental for instance, a program needed a piece id symphonic ing in it. He is Ernest La Prade, Director of Musical “Most musical research, to measure it quantitatively, characteristics possessed by no other known instru- tone and the other mand. music that could be used to illustrate the vendors' Instruction usually Research for the NBC Network. centers in facts about music. What does the script ment. eight, the harmonics. street cries of either North or South America. It was writer need to know, in order to prepare for instance. The proceeds with exercises the material first Compare it with the pipe organ, Musicology vs. Research of all a problem to find and authenticate the for the hands and feet that the announcer will read at the broadcast? That, tone of the latter is produced by a series of pipes street cries themselves and another one to dig out The Pre-Set Keys First of all, Mr. La Prade calls attention to the dis- whatever it is, must be found and checked — of Hammond separately; then they by the re- symphonic actuated by air pressure. The tone the tinction between musicology and practical research. search division. music which made. use' of them. Obviously, degree to which are used together, after Normally, these facts have to do is electrically generated without pipes, reeds, or strings. The with the street The former covers the almost limitless field of finding the cries in Charpentier's “Louise" were useless, each bar is pulled out which the student exact name of the composition, the name It is possible not only to stimulate the familiar organ of the since those out and digging out any and every fact relating to any composer, the dates of are strictly Parisian. In the end we un- determines the volume learns volume control both, the circumstances sur- tones and those of such instruments as the flute, earthed one work of the de las the particu- possible branch of music, sheerly for the sake of the rounding the composition of the work, any type required La Voz French horn, oboe, trumpet, and others, but also to in which and how to bring out interesting Calles, information thus uncovered and without any special details concerning by the Chilean, P. Humberto Allende. lar harmonic it gov- a melody. Hymns are any of its performances, special produce tones never before heard from any instru- practical purpose in view at the time of projecting the meanings erns is present in the excellent exercises, or significances associated with the work ment. In fact, engineers have calculated that 253,000,- Authentic Tradition tone produced research. Practical research is just what its name im- and so forth. 000 tonal-quality combinations are possible. One can whole played first without the plies; it is not less thorough and exhaustive, but it is Another type of research down when the key is de- — uuuiposers, involves tracking spend a lifetime experimenting with these and not low pedal note and such lac performers, never engaged in without a practical purpose. Thus, are to be found the or^at least models of authentic traditional pressed. then with it added. m recognized manuals of biogr; exhaust the tonal possibilities, which, to me, is one the musicologist may devote years to establishing the phy and research, and performance of music or instruments no ionger cur- At the extreme end Among the suggested the research worker’s task of the most exciting features about this instrument. influences surrounding Cherubini during the twentieth comparatively rently used. In preparing ‘Music of the keyboard of books for beginners are simple when he deals with Bach Be material for NBC's year of his life, purely for the sake of establishing thoven, of the New of nine the and Brahms. But what of material World Series,’ we ran into a number each manual are Stainer-Hallett, that Music Pale lie them; the practical researcher will be given the as- needed about works difficulties involving genuine tradi- A pre-set keys which and “Graded Material and composers who have not South American y tions. signment to assemble all the known facts about the penetrated the standard manuals? For instance, there was a need for Gaucho music. The Hammond organist mixes tone color on a music make available to the for the Pipe Organ,” What of the t>r composer of the overture on next Tuesday’s program, gram notes Now, there is plenty but palette of painter in oils. He is player the tone from irirnmm by James H. Rogers. that must accompany of Gaucho music to be found— much in the manner a a broadcast of tl for the sake of writing the program notes. It is prac- newest work of ve had no way of perform- not limited colors. beautiful tone eighteen ready-mixed In fact, pipe organ as Shostakovich? It is part assuring ourselves that its by ready-mixed A ETHEL SMITH AT HER HAMMOND KEYBOARD of the n ance tical research in which Mr. La Prade is himself en- searchers task to build his reflected the ‘genuine traditions. The quality on most instruments depends mainly on the stops. With this be- well as piano music own library of currei Gaucho gaged, of which he speaks. aucho, and facts, day by day, almost hour by or cattle-man, was in his prime nearly a cen- relative intensity and number of its overtones or har- wildering variety, the can be played on this hour. He mu iny Is there a future in musical research? “Decidely, acquire the knack of scanning ago and it is not easy exact tra- monics—which are determined largely by the size, organist can play the same piece a dozen times, each instrument with equal effectiveness. the columns of new to track down his there is,” Mr. La Prade enthuses; “but it is not so wide papers, musical journals, dition of tone, manner, in his shape, and construction of the instrument. But the time with a new tonal combination. In volume, too, by Opportunities for playing the Hammond are con- news letters, ‘gossip’ shoe emphasis, and phrasing a field as is generally supposed. At present, radio songs. The for any reference to musical same thing is true folk-music; much pianist or organist has little to do with determining stantly increasing, and I feel they will be greatly ex- personalities and the of our offers perhaps the best facilities for professional re- works; and in addition, of it exists, to be or measuring his overtones. On the Hammond, how- panded after the war when manufacturing can be the knack of estimating sure, but usually it reaches us through search, but the immensity of radio’s outlet is deceptive. value t so-called of such news and jottings, so 'hill billy’ musicians distort rather ever, the player can regulate the harmonics at will; resumed. As it is, Hammonds are now installed in a that he mav cl who often In the case of the major networks, the hundreds of and file anything an reflect eliminate some, strengthen others, and so create almost number of churches, schools, theaters, and everything that might the authentic tradition of our folklore, and radio sta- ever be , stations using their facilities do little, if any, indepen- practica! use in rnrough a long in any tone, or of tone, which he happen tions, as well as in homes. their furnishing musical data! series of searches, both here and shade may Owing to compact dent research. The New York Network AH far bouth Research Staff which have not yet America, singer to desire or need. size and orchestral features, ( Continued had time to get into the we finally located a Gaucho on Page 300) booS , who, as far as 304 > we could ( Continued on Page 268 MAY, "FORWARD MARCH WITH MUSIC” 1944 ''FORWARD MARCH WITH MUSIC” 269 THE ETUDE . — Stand with arms straight SUGGESTIONS: out af height. Expand quickly and HE SILVER CORNET BAND was the band with Music and Study sides at shoulder silently . Music and Study walls with the tips of the fingers, too many cornets. These cornets lined up under try to reach and ex the word phew. Do the right ear of the band’s director, who was hale vigorously to not allow T the or “cave in” after also the town barber. The boys behind the cornets chest and ribs to sag exhaling. Keen well expanded and make the stuck to one dynamic panel: fortissimo. Elmer, the solo the rib cage lazy at,, cornetist, “went to town” with an especially highly dominal muscles do the work. high overhead, refined, leatherlunged blast about the time Tom got 2. Stand with arms elbows straight behind playing the second comet “um ta ta da da." Tone down. Stretch toward the ceiling with The Secret of shoulders the When Elmer deserted the band for his annual Fourth- The Silver Cornet Band as finger tips and exhale indicated above. of-July visit to Uncle Henry and Aunt Abigail, the Stand with hands hanging loosely at the 3. sides band depression hit bottom. Expand silently; exhale quickly with strong action of Both clarinets (Albert System) together with the abdominal muscles. Keep ribs well expanded. Work the D0 in Choral E-fiat clarinet, were isolated under the left ear of the not sag. tonsorial L Walt, Sen versatile, baton-swinging, artist. These gentry f P Ol the Tone were constantly on the alert lor high notes. (They Sustaining Director of Music, Fremont, Nebraska Articles by wanted to be heard too.) The fact that one clarinet The Second of a Series of Expand silently, exhale SUGGESTIONS: to the was pitched A 435 and the other A 452 was of little letter S as slowly as sound of the possible. Keep concern to anyone, because clarinets were expected to perfectly even and steady, the sound without fluc- sound off-color. The pads were given a sound dunking The municipal concert band of today has traversed a long and difficult journey. tuation. in oil, the mouthpieces sanded down, and the lone Start Its predecessor, "The Village Silver Cornet Band," while of questionable cultural value, nevertheless Carol Pith 2. Use the syllable Hm. the tone gently but reed burnt off on a nickel, so everything was set for m contributed much to the happiness, spirit, and wholesome living in that period of American life which Professor of Music firmly and sustain as long as possible without the pitch the summer. Assistant preceded the advent of the radio, talkies, and recordings. Then use any well-known song and sing All eight keys on the Meyer System piccolo received sagging. as different from the dissertations usually presented by this Trenton, New Jersey The following essay by Mr. Olsen is quite State' Teachers' College, phrases as possible on one breath. Practice daily, a good going over. One instrument against so many. many department. It is not intended to be a scholarly discussion of bands, but rather a realistic picture of noticeable and in a short time a improvement will be The odds were terrific. One thing was certain, “Pic- the characters, functions, and experiences of the village bands of days gone by. made in the ability to sing long phrases and to sus- colo” made the program instrumentation look good. Your editor suggests that you seek an easy chair, make yourself comfortable, and enjoy this thoroughly tain tones. Three disappointed cornet players holding “peck humanistic description of the forerunner of the modern symphonic bond . Editor's Note. The first of these interesting and valuable discussions appeared in the February issue horns,” alias “rain-catchers,” alias “alto horns,” Stream rev- The Vowel eled in lofty rapture, playing alternately “Oom pa pa,” In all musical performance there must be continu- then “Oom pa,” depending on the meter. the battle been over its status as or Henrietta Hinklestruber gave forth weekly vocal- The Nature ol the Instrument coordination in the breathing act and must be thor- ous tone. In spite of diction problems involving tongue, The saxophone, wrong-side-of-the-tracks in- had waged a G B-flat are es- teeth, and lips, pitch difficulties, long sustained phrases! strument, was tolerated; not too warmly, to be sure, instrument. The band bought it years ago from the izing on Take Me Out To The Ball Game; Home * LL MUSICAL TONE is produced by one of three oughly trained until correct breathing habits legato or staccato, the stream of tone must flow on but reservedly. The manipulator of this instrument of proceeds of a concert played for the Axe-Handle Sweet Home; and other "classics.” The parson pri- media: 1. Vibrating membrane or solid (drums) tablished. iA vately thought sang through nose. without interruption, change of quality, or loss of doubtful lineage had problems other than defending Makers’ picnic. Secretly, half of the band thought she her This opin- xA. 2 . Vibrating strings (stringed instruments, in- Inhalation pitch. its integrity. He had to decide which, when, where, it a tenor. Its tone was a bit thin. With Frank weigh- ion might have been prejudiced somewhat by Henri- cluding piano and harp) . 3. Vibrating column of air of the involve vowels and and how soon he was to use the octave key. ing out sugar and prunes all day, keeping a vigilant etta’s patronizing “better-pay-the-mortgage-interest” (wind instruments, including woodwinds, reeds, brasses, The first step is to secure complete expansion All languages consonants. Some torso. Air does not need to be drawn or sucked into offer greater difficulty than others. In English, for di- eye on small boys intent on making away with pepper- air during the Sunday morning services. She was a and pipe organ) . It is, of course, the displacement or is so The Stimulus of Competition mint stick candy, adding up the “day book,” and set- power in the choir. In fact, she was the choir. Her movement of the air which causes the tone. the lungs with audibly unpleasant results, as stance, one vowel may have many variations. The often done. By expansion or enlargement of the rib vowel A may be Ah, as in father; long A, as in way; Off to the left sat two "trombonists.” Oil rationing ting the mouse-traps, he just “don’t” have time to throaty vibrato stood a chance there, whereas in the The voice is a wind instrument, the air passing cage, the air sacs or lungs are automatically enlarged, in fall; A, as in cat; semi-broad, would hardly have been a problem for these gentle- practice. tired. After all, he only human. band she fought a losing battle with the accompani- through the trachea or windpipe over the vocal bands Aw, as short and as Too was thereby containing greatly increased amount of air. lone E-flat “bass ment din. All in all, music provided her the opportu- located in the larynx or voice box, and producing tone, a in France. In some languages, such as Italian, vowel A This expansion will be observed in several ways: 1. The predominate, words do not horn” was present. He nity for some smug tyranny. After all, she did study which is resonated or amplified in the mouth, head, sounds and end with the abdominal wall rounds out; 2. ribs expand or lift; usually the with Professor Petunavitch, and the town had better and chest. The consonantal closing of the English language. The five managed appreciate her talents. 3. The chest comes out (not up) ; 4. The waistline en- first part of the long Since all vocal tone is produced by the action of the •vowels seldom vary in basic pronunciation, which larges; 5. A sense of lifting is experienced. run in L. Kling’s The tuning of the band was often an expression of breath, together with the vocal bands, it is fitting to greatly reduces the singer’s difficulties, whereas in K. conscience and duty. Occasionally during rehearsal discuss the function of the breath in the production of SUGGESTIONS: Sit well forward on the edge of a English there are as many as seventeen vowel varia- Princess o] Persia. It a someone felt that it about time give the the singing tone. straight chair, spread the knees well apart, keep feet tions. To this, add the great number of consonantal was only when he got was to im- flat pression of superiority It is obvious that tone of any kind can be made con- on the floor, place the elbows on the knees, drop sounds employed, and it can readily be understood that to the last and lowest musical by demanding, “For tinuous only by^the continuous movement of the the face in the hands, leaning forward as far as pos- beautiful, freely flowing, resonant tone does not just portion of that long gosh sakes, let’s time up.” Nobody trusted either of sible. Keeping ’’ the clarinets, so they attempted to agree with Elmer’s vibrating body. The violin or violoncello string is kept shoulders down, inhale deeply. It will "happen, but is the product of painstaking care and moan, that his false in motion by the player’s bow. Different qualities of be noticed that the ribs are well expanded, the chest continuous practice. teeth dropped out. The “C.” It was embarrassing to some to be required to the waistline sound right tone and all dynamics are determined by the player’s high and considerably enlarged. A notice- resulting wheeze was one note out in the open all alone. A none use of his bowing arm. An important factor in the able expansion can be felt below the waistline as far The Vowels one instrumental effect too reliable embouchure added to the uncertainty by treacherously artistic standing of any player is his handling of the back as the spinal column. Practice inhaling slowly On all vowel sounds, the tip of the tongue should of which our most ex- sagging and pinching at the wrong time. bow. at first and then more quickly, until the individual always be touching the lower front teeth. A pulled- treme ultra-modernists Corrosion had sealed the tuning slides, so no one could The wind instrument player from the very beginning can expand quickly without stiffening or raising the back tongue results in a stiffened larynx, causing im- are still unaware. do much about it anyway. Opinions seldom agreed as must master the use and application of the breath. shoulders. paired tone and poor diction, especially in the upper The bass drum rose to whether the one naked utterance was sharp or flat. This control, with the coordination and correct use of 2. Stand, with good head posture (not thrust for- register. to the occasion in An attempt had been made to curry favor of the ' ward) keep shoulders Muses, so conscience tongue and lip, is essential if fine tone is to result. ; down and expand quickly. As the breath passes over the vocal bands it divides many a crisis. Inde- having been salved, the rehearsal Think of reaching the floor proceeded. The singer likewise must understand the function with the shoulders and into two streams, similar to two roadways at an over- pendent, mighty, and stretching the spine to the ceiling. of the breath, how to apply it, control it, and use it pass. One stream moves into the mouth, on which the struck dead-center, 3. Stand with feet slightly The Big Night Arrives to the utmost advantage, thereby removing strain apart; bend over till vowels are sung. The other passes into the resonating nothing bolstered wav- from the vocal mechanism and insuring ease of vocal the fingers almost reach the floor. Keep shoulders cavities, increasing amplification. The young singer ering musical deter- Came the night of the concert. The bass drummer emission and beauty of tone without forcing, or fear down and inhale deeply. The same feeling of expan- usually pushes so much breath into the mouth that it mination more. A bat- had managed to run the gauntlet of playful town sion will be observed. folks, passes at the of either high or low tones. is mixed with tone, resulting in what is commonly tle of beats between who made drum with anything It is important that from a hatpin to a ball bat. It is fact that, the act of expansion (com- called “breathy” tone. If all tone is started by an up- director and drum a out of The Breath Reservoir monly called inhaling), be accomplished quickly and ward movement of the abdominal muscles, and the rib often created an inter- one hundred people walking by a drum and thinking automatically. Seldom themselves unseen, does the singer or wind player cage is kept well expanded, difficulty is usually esting diversion. The ninety-nine cannot resist the Since adequate breath and its full control are es- the have time for a long, slow breath. corrected. drum usually be- primeval urge to thunder away making music. Here sential to good singing, and the ability to increase won, is In sustaining any vowel, to keep the cause the bigger stick one evidence of the straight line connecting all of the amount available is one of the first problems of Exhalation it is essential "HERE THEY ARE, BOYS!" jaw relaxed. quiver. us with the dim, cloudy dawn of man’s efforts at self- the singer, the act of breathing will be discussed in At first the lips may tremble or carried the advantage. This is picture cornet of late Place the palm of the hand on the front Never result. a of the typical band the decades of the past century. expression. Perhaps the Almighty will view this clan- some detail. of the body try to control or stop this, as rigidity will The anemic pancake at the waistline. Say There were hundreds of such bands in the United States. Former President “Whoa” vigorously, as if trying to It is caused by -development of the snare drum seemed to destine practice as a pathetic manifestation of musical The human torso (the body without its appendages, weakness and non Warren G. Harding's chief claim to musical ability was a stop a runaway horse. A sharp as member of such a contraction or lifting lip muscles, and will gradually disappear. have a wanderlust famine, and benevolently forgive. legs, arms, and head) , contains two air sacs—the lungs. band. This particular group is Hapgood's Military Band of McPherson, Kansas. of the abdominal muscles will be noted. lower Anyway, Elmer was late, and so Frank. It These form a reservoir which the singer must learn to Next, cough THE VOWEL OO: Drop (do not push) the complex. The darn was was sharply. The same contraction, even more jaw to the the lips impossible to start without them. If they weren’t late, fill quickly and empty slowly. These air sacs are some- vigorous width of about two fingers. Round thing would never stay will be felt. This contraction, or inward over upward men. re- it would be somebody else; it just what pear-shaped with their greatest capacity at the pull, and the fingers. Start the breath with an Two of them had missed the Tuesday night put on a folding chair. Flamless rhythm patterns, happened to be upward lift of the abdominal muscles sus- hearsal their turn. Preparations lower part, and are enclosed in a flexible, bony struc- has set the movement of the abdominal muscles and sing, —couldn’t pass up the Owls’ Club Clam Bake. subtly anticipated long rolls, with late entries added were made to get going. At air in motion upward through the you the last minute the clarinet ture, or rib cage. This rib cage is fastened or anchored windpipe and taining the tone for fifteen or more counts. As Joe couldn’t break himself of playing a few measures as a variation, contributed somewhat to the subcon- music was discovered over the vocal bands, resulting in vigorous Hold missing. to the spine in the back, and the breastbone in the vital tone sustain, imagine you are sipping through a straw. of the bass clef part before he discovered his mistake. scious uneasiness of the personnel, but lumpy rolls This was actually not a calamity because back rib clef. nobody would the part. front, extending from the shoulder blades down to the with the breathing muscles by keeping the He had been “trained” to read treble The boys and delayed “stingers” were taken as a matter of miss As a courteous gesture hips, and including the abdominal cavity. cage well expanded and shoulders down. considered his clef meanderings a rich joke. He suf- course. of deference a search was made, and was successful the only through efforts of The floor of the chest is the diaphragm, a powerful BAND, ORCHESTRA THE VOWEL O: Same procedure as for Oo. Use fered plenty from the joshing he was handed, looked the organization’s J. Edgar dome or saucer-shaped muscle which separates the word “Whoa.” through his eyebrows, and muttered something about Hoover, who always knew where everything was likely Oo chest cavity containing the lungs from the abdominal and CHORUS THE VOWEL JOIN OR BLEND: Sing the vowel glasses needing changing and the light was poor any- to be. PP for ten sustaining how. He was the fellow who usually had cavity. The ribs or intercostal muscles, the diaphragm, Edited by William or more counts, then join to O, BAND and ORCHESTRA a half dozen D. Re vein each. step Ah, real competitor extra clothespins, rubberbands, and the abdominal muscles work together in complete This blend, or joining of vowels, is the first the baritone! Elmer’s only when Edited by William D. Revelli and carried two music in securing legato singing, (Continued on Page 3°®' it came to giving out on the melodic line. Many a racks. He built the fire in the band hall. He swept out 270 "FORWARD MARCH WITH MUSIC" THE ETUDE MAY, 1944 "FORWARD MARCH WITH MUSIC" 271 ——- with,” he says. ‘The mus.e is dispensed holes on - the Music and Study old story of the rustic P example, are numbered. Those Music Study which to build. It's the tonette, for numbers and mustache cups, the p certain arrangement on the covered wagon, are written in a a blackboard had to start so ' constitute a simple stove, and chokerpants. We and when followed, musical selec with all its finery, g ’ the instruction booklets The symphonic band, tion. Similarly, in the words rightly respect its rough, crude are numbered instead of having should ;’ of a song musical while the others stood around after rehearsal arguing Silve ornet old grandfather, the remains is for the player to tobacco-chewing notes. All that cover the as to the musical standing of the band of the rival Band.” corresponding numbers on the instrument.” quietly persuaded the Light Violin Bowings— fellow The village. was the who He Howard cites one occasion when back band. (That impor- Captain he en- trombone player to come to group of about a countered a reluctant hundred G. i, tant dignitary huffily resented the implied insult s “Working on the supposition that if you can that maybe he could play his solo in “Memories of Get ’Em Playing get a to sing for thirty seconds they will sing he’d practice.) If justice requires group for Stephen Poster,” if called HOWARD, A.U.S., just thirty minutes,” he said, “I for twelve volun- that monuments be erected to commemorate the de- APTAIN GEORGE S. How aiid to Teach Them of When tour of Nor from the audience, none whom was musically serving, the country will be plastered with tablets returned from a three-month teers former director of the trained. I gave each a tonette. extolling the praises of these J. Edgars. C Atlantic bases, is the at Pennsylvania about five minutes the men were playing The march was performed and the audience, fairly band, orchestra, and choral groups “In jn The Spiccato and the Sautille' degrees of Bachelor oi Soon the reluctant audience joined in well stuffed with popcorn by this time, knew the con- State College. He holds the unison. the he was given the job They sang for nearly thirty minutes. cert had started. The band personnel adjusted the Music and Doctor of Music. When singing. When the Army of provid- time for the showing of the film that they small visored caps to an even more rakish angle. A by the Special Services Division of it was had hundreds' of men in lonely to see, they stamped and howled until the little trading went on, too. One of the boys felt a little ing musical activity to the come picture and continued the singing rubber, Arctic posts in Iceland, Greenland, Newfoundland, was taken off. Then we session. by Samuel silly wearing a cap that fit him like a fruit jar Si evaum musical consciousness among commanding officer told me later that he had TP so he traded with the unfortunate who vainly tried to Labrador, he found that The tried play small basic get those men to sing and had cover his gleaming pate with a hat the size of No. troops is fostered by teaching them to everything to failed.” Six and five-eighths robin’s nest. musical instruments. orchestras, Samuel Applebaum, violinist, is a graduate of the Institute of Musical Art of the Juilliard School of While the heavy number, the overture, was in prog- “These men will not play in symphonic Music. After his graduation he studied with Professor Leopold Auer, until the death of the famous nor do they master bigger musical instruments in ten ress, children augmented the ensemble with noisy pedagog. Mr. Applebaum's articles on violin playing and teaching are widely read throughout America, minutes,” Captain Howard says, “but they do learn to yells and dashed around the bandstand. One or two and in England. carry a tune on the easiest instruments to learn Home Concerts Stimulate Children more enterprising characters almost wrecked the The material in this article is gathered from years of experience- in practical teaching, as well as from the toilette—the lat- rhythmic equilibrium by crawling under the stand harmonich, ukulele, ocarina, and detailed discussions of these bowings with some of the leading violinists ot the present, including midget clarinet which has become a favorite Szigeti; also with the viola virtuoso, and pounding the floor. However, one well-synchro- ter a novel t, snfa mu tu Heifetz, Menuhin, Spalding, and and distinguished William Primrose. the world.” nized yell saved the day. It came opportunely during with our troops all over Special Services distributes to a cadenza and rather effectively tided things over for The Music Section of along with thou- PROMINENT TEACHER of violin, a faculty a while. troops, booklets of self-instruction, sands of pocket-size musical instruments. These have member of a school of music in the West, some HE PUPIL is usually well into the third position The next step is to create from this stroke, the proved particularly successful in isolated stations where years ago was faced with a problem which The Hero Saves the Day A 1. before is ready to begin the lighter bowings. actual spiccato stroke. Again the teacher will hold he other forms of recreation are impossible during long, happily she has been able to solve with most satis- With the effort at attempting serious music well It is understood that he has a fair working the pupil’s lower arm and actually perform the stroke YEHUDI MENUHIN after T sunless winter hours. factory results. She had observed that the first hurdled, the band settled down for a rest. Exploring knowledge2. of the manner of playing the detache and for him. First, he will demonstrate the spiccato; then, Captain Howard assisted in organizing dance or- baby arrives, the average mother is usually so absorbed bugs were tracked down. Nothing could be more ex- martele bowings. For in playing the lighter bowings— by holding the pupil’s forearm with one hand and bowing by that time, another book may be chosen. chestras, military bands, glee clubs, and "barbershop in her duties that music practice is crowded out. Fa- cruciating than the deliberate march of an adventure the3. spiccato and the sautille—the requisites are the holding the screw at the end of the frog with the If more material is needed, more difficult studies can quartets,” all of which morale boosters were furthered ther, on the other hand, may keep up his musical bound beetle down the middle of the back. Smoke re- detache and the martele strokes, used with various other hand, he will actually assist the pupil in the be used in the positions. There is much to be gained work. The remedy this teacher has found is to have lieved both band and audience temporarily, but parts of the bow: the upper third, the upper half, the physical motion of the lifting of the bow. if the pupil has the ability to perform the stroke at both parents continue with ensemble playing by ar- Tempus Fugit, and the program moved on. lower third, the lower half, at the frog, at the tip, The spiccato is performed in the same manner as the frog, using the wrist only. The additional control encountered. ranging to provide “Little Concerts” in the home, Presently a difficult passage was The in the middle, and (for the grand martele ) the the preparatory stroke, with this difference—that the gained by doing it with the wrist will serve him well. which in time will prove to be the best safeguard of band rocked rhythmically from side to side and all whole bow. bow actually strikes the string, and then leaves it. We are now ready to incorporate the use of the the musical interests of the children as the family seemed lost. Elmer valiantly jumped a couple of meas- The spiccato should be demonstrated to the pupil The little finger remains on the bow at all times. The forearm in the spiccato stroke. This involves practice grows in size. ures, found good, solid melodic fragments and hero- two weeks in advance, so that he can obtain the im- following diagram gives an idea of the arc -like motion of the spiccato bowing in the three ways, but with Let the children urge the parents to play and prac- ically “gave.” Director and personnel glued themselves pression of its sound. The impression in the sub- of the bow upon the string. the forearm and a flexible wrist. Here the teacher to his coat-tails and the number ended with Elmer’s tice with them. Thus, an interest in music in the conscious should precede the actual performing of must carefully scrutinize the performance to make home is cultivated. Any would be a more inter- screaming high C. Grins flowed freely, and Elmer in- home the stroke. This mental preparedness enables the pupil A>_Z_ certain that though the forearm is being used, there esting place in which live if father or deed appreciated the open admiration of his dramatic to work and to more readily fall into the knack of the stroke. In is a supple wrist and sensitively flexible finger action. Bobby Material for this “come to the rescue" moment. mother, preferably both, played or sang with teaching the spiccato, the pupil should subtly be made stroke should be a series of studies Just how much forearm and how much wrist, are to or Peggy. With this in were suggested in eighth notes, preferably in the first position, so Intermission, or rather promenading time, arrived. mind, concerts to feel that this is an unusual moment in his violin be used, must be governed by the speed and the emo- in which the parents their chil- that the pupil may concentrate on the stroke itself To some, this was the best part of the concert. It was would perform with study. He is to be given the following directions: tional content of the passage. For a soft, delicate play and not become concerned with technical indeed the best opportunity to bask in audience-admi- dren; thus family. groups would be encouraged to Place the bow on the string about six or seven left-hand spiccato, there should be a greater percentage of wrist, difficulties. Studies which he before, ration. The crowd usually hit its peak after the con- for each other. inches from the frog. Allow the bow to remain may have had regardless of tempo, except at the frog. For a spiccato all At first adopting such as 1, 2, and 3 in Wohlfahrt, “Op. 45, Book I,” cert had started and had left by the time was the parents were reluctant about motionless on the A string for a few moments. passage in mf or f, there should be a higher per- are suitable material. packed up, so really the intermission was the best the idea, though they agreed it was excellent. They Draw the bow on the string as far down as the centage of forearm; and in a rather slow tempo, an Now the next step. teacher will present time. Miles have been walked during concert inter- hesitated to show up their musical deficiencies before wrist will permit. (This will mean using about The to the even greater use of the arm. pupil the same spiccato in the missions in apparently aimless wanderings; in reality the children. It took a good deal of courage for a tired two inches of bow.) Then stop. bowing two remaining When a series of notes is played, as in the follow- parts of the bow: about one inch they are carefully planned excursions to place the business or professional man to practice long-neglected Draw the bow back up again, using the wrist only. above the nut of ing, and a crescendo is desired, care must be taken but the bow, and an inch below the middle of the musician in a spot for suitable observation by proud compositions on which his children were working, There is to be no lower arm participation in this bow. to avoid striking the string any harder. Ask the pupil to play the same study (or any other parents, sweetheart, business rival, or even a visiting, a few stuck to the idea: and ten years ago the School stroke. In order that the pupil may memorize the Ex. 2 simple study in the first position) using the spiccato neighboring-village band member who has been held its first Music in the Home concert That was an physical sensation of the stroke, it is best for the , bowing, in three places: spotted. eye-opener and other parents, who had not yet coop- teacher to hold the pupil’s lower arm. With the other 1. At the frog (an inch above) Another march opened the second half of the pro- erated, fell in with the plan. hand, hold the end of the screw. The teacher should 2. About one-fourth of the way the gram, and a novelty number followed. From now. on, Now, four to six such concerts are given each year. then draw the bow down as far as the pupil’s wrist up bow (about six inches from nut) the audience patiently milled around waiting for the The list of en- will the one given last April had such a long permit, and up as far as the wrist will allow. The A crescendo in a spiccato passage is accomplished end. Tired mothers felt the weight of crying babies. pro- 3. At the middle (or an inch below the middle) trants that two evenings were required for the pupil thus experiences the sensation of disassociating by holding the bow firmer and by using more forearm Cigar butts got shorter and shorter. Little interest was gram. and The pupil must be made cognizant of the various The concerts last but little over an hour the hand from the forearm. The pupil should not in proportion to the crescendo itself. qualities of spiccato, well shown in the announcement from the rostrum that a half, pupils, not the as as of their emotional because all the children are school At this time the pupil is ready to experiment with the weekly meeting of the Helping Hand Society would Ex. 1 possibilities. At the frog it is a slower spiccato, used to be kept up late. Often number on the program angle CAPTAIN GEORGE S. HOWARD a the of the stick above the string. Various effects be held at the home of Miss Adelaide Peabody at will though, for dramatic, majestic moments (heavy). The second include the entire family; more often, are produced, depending on whether the stick is ver- “seven sharp.” at (about one-fourth of the way up) is a bit lighter (most one or two children and one parent will perform tical or tilted towards the scroll. It is certain that Angus Ferguson was quite provoked that the band- by the distribution of child commonly used). The third way is for the more deli- monthly “hit kits,” which are one time, and it is a humorous touch to see the when a soft, delicate effect is desired, the stick should stand was not pulled up in front of his store. This cate passages. packets containing words and music of popular selec- sometimes anxious over the parent's performance. attempt this alone. If difficulty is experienced in play- be tilted slightly. And so, for a few weeks or made three times he had been missed. He wondered tions. a ing this perhaps a few months, A favorite number is a duet, with one performer with the wrist only, the pupil should be asked, Any eighth-note study is invaluable for the com- pupil will play if maybe Grocer Burns had not pulled a fast one and Soldiers make their dif- the various exercises in eighth notes, own instruments from odds and parent; and compositions are widely varied hi while sitting, to raise his forearm to a suitable height plete mastery of the spiccato. It should be practiced little bribing. using the spiccato. This should be a daily done a underhanded ends of cigar boxes, cheese boxes, ficulty have on it study, in drums or kegs, bits but unfailingly show that the performers the arm of the chair, and to practice on the in the three places on the bow, first using the wrist simmered, but small talk boiled merrily the three parts of the bow. It might be a The concert of wire, and paper clips. “One soldier in worked open A with wrist only. will develop a free use good idea Greenland," and had a good time doing it. This exclusively, and then with the use of the forearm along. The music was half forgotten; unprogrammed Captain Howard to go through all the Wohlfahrt books, using only states, “has made one of the finest- A representative composi- of the wrist, minus the aid of the lower arm. The and supple wrist. program included such studies to which events, such as trading horses, selling corn, settling toned violins I have ever heard from those the spiccato bowing is appli- a few strands of tions as Haydn Sym- teacher can write out exercises similar to that shown The origin of the sautille is the actual detache itself, Schumann’s Merry Farmer; a If pupil the boundary of the “east eighty,” and the latest cure wire, wood, and a little glue.” cable. the has not sufficiently mastered tins phony; Waifs by Engelmann Grieg's Norwegian in Ex. I, which the pupil will practice. and proficiency in this stroke can come only from the for whooping cough took the stage. “However, ; music best serves the interests e If at the next lesson he is able perform this, of morale Spring Dance—here nine-year old twin girls play not to practice of the smooth detache stroke in the middle However, let it be said to their everlasting credit, recreation and in lonely areas lacking in he must continue is unwise to almost all two pianos; Brahms’ Lullaby, played by a harp-violin- these exercises. It go of the bow. Confusion exists as to the name of this that these Silver Cornet Bands braved the elements other forms of diversion," Captain , to the Howard said ex- piano trio; harp Mozart’s Minue actual spiccato itself until this is mastered. VIOLIN sautille bowing. It is referred to by authorities as the poor lights, meager plaining and piano duets; band music, bugs, accommodations, the Army’s method of speed-teaching Even if music and Rubinstein’s sisters, eight he is able to do it the first time, he should natural spiccato, and as the fast spiccato. In a num- rehearsals, and “artistic Melody in F, played by Edited by Harold Bericley little or no pay, few tempera- “with numbers.” by spend a and nine arranged week practicing this preparatory stroke. ber of editions, I have found ( Continued Symphonic something years old; Home on the Range, on Page 302) ment,” giving the Band on “In this simplified teaching, the normal approach to Thompson; Puppet Show, and Love’s Old Sweet Song- MAY, 1944 "FORWARD MARCH WITH MUSIC” 212 "FORWARD MARCH WITH ” 273 MUSIC THE ETUDE , ! . — ” — — Shall a Wind Instrument Music and Study Music and Study Student Study Piano? Q. I have some boys who are studying also wind piano and instruments from other teachers. These teachers are anxious the boys join an Difficult Pieces to have orchestra as soon possible, and the boys as have the idea Q. 1. (a) What are the chief technical that the piano does not amount to much difficulties of the following works? (1) Answers comparison with other in and instruments- so Prelude and Fugue in A minor, by Bach- Questions Claudio Monteverdi—Father of the Opera they do not want to continue piano Liszt; (2) Polonaise in A-flat, Op. 53, by even though their parents wish them to. Chopin; (3) Phantasie, Op. 17, by Schu- Would you write even a line about this?— mann; (4) "Sonata Op. 31, No. 2,” by E. p. l Beethoven; Mazurka, Op. 17. No. 4, Conducted by (5) A. You are entirely right in by Chopin? urging hese boys to continue to study (b) What is the grade of each of the piano. In UJa/J in ar ^chweidhu/eid heinter. a. pieces? case of m above he my own daughter, even 2. What is the grade of each of the fol- .hough violin was to be her instrument lowing pieces? (1) "Italian Concerto," by end W. we had her take a year of "Sonata, Op. 7,” by Grieg; (3) QM piano Bach; (2) before MacDowell; (4) the four "Sonatas," by beginning violin; then had her continue Psychologist Paul Randolph Farnsworth of of the violist, Giacomo Cataneo. Claudia and "Preludes,” by Debussy; (5) “Preludes,' Mus. Doc. to study piano for several years after Monteverdi fell in love a short time after the by Shostakovich. be- Stanford University recently took a poll of ginning to work on violin. 3. Can you give me a list of a few piano learned members of the American Musicologi- latter’s arrival in Mantua. Obtaining the neces- Ravel, Liszt, Sho- Professor Emeritus works by Rachmaninoff, The study of the piano is probably the sary ducal consent, they married; Monteverdi and Leeuona that do not exceed Hamilton (Preliminary Studies and Vol- cal Society on the question: "Who, named in stakovich, best way to become a musician, immediately gained the unlimited, though not fast, are interesting, berlin College and the Grade 6, are not too umes 1 and 2) order, are the twelve greatest composers in trouble with many performers very lucrative, favor of Duke Vincenzo. and sound difficult? in- on both 2. If one is to improvise with any New the history of music?" It is astonishing to note 4. Is there a concerto in D minor by Music Editor, Webster's wind and string instruments is When the Duke, in 1595, conducted a contin- thorough that they Vivaldi-Bach? If so. what grade is it? telligence, he must have a that Number Eight on the list wos are players only—not musicians. There- Monteverdi, gent of troops to Hungary in order to support 5. Can you recommend some arrange- I would sug- International Dictionary knowledge of harmony, and following the names of Bach, of The Star-Spangled Banner which fore I urge you to do all you can to get Beethoven, Emperor Rudolph II in his campaign against the ment gest that you concentrate on this subject is suitable for concert performance? What your boys to continue piano, suggesting V/agner, Mozart, Palestrina, Haydn, and Turks—and again, four years later, when the learn chord structure, grade is it?—R. B. first; then as you to them that they divide their practice Brahms. Monteverdi was recognized in his Duke made a pleasure trip to Spa and Antwerp chord sequences, and so on, gradually try day other cities in A. 1. All of these compositions, except time between piano and the other instru- as being without rival in Italy. and Flanders—Monteverdi was to apply that knowledge in original a Soon after the Chopin, demand prodigious technique, ment. In the end they will be not obliged to accompany him, together with some phrases, periods, and song forms at the only his death he was forgotten, and forgotten he clarity of execution, and great strength better musicians but better wind-instru- other musicians. All in all, the composer did not keyboard. It may be that the material remained until the so-called Renaissance of of hands and arms. The Chopin needs not ment players as well. Be careful, how- like those lengthy trips, as his personal free- suggested above will furnish you with all the last few decades. only clear-cut playing but, what is more ever, not to antagonize the wind-instru- dom was hampered in many ways. you desire to know. Your Editor, in visiting the home of Fran-' important, a fine, sensitive interpretation. ment teacher. Get acquainted with Monteverdi was appointed Maestro di Camera There are, of course, many different him, cesco Malipiero at Asolo, Maestro di Cappella b. The approximate grades are; No. 1, tell him what you are trying to do, near Venice, had and by the Duke and re- styles of improvisation, and I know of offer Grade 7; 2, Grade 7; 3, Grade 7; 4, to have some of your better an opportunity to go over many of the mas- ceived the honorary title, “Citizen of Mantua.” no one book which treats of even one piano stu- Grade 6; 5, Grade 4. dents learn to play terworks of Monteverdi with Mr. Malipiero, However, he never became accustomed to court style adequately. It may be, however, accompaniments for service nor to the sultry and fever -laden mias- 2. No. 1, Grade 6; 2, Grade 5; 3, Grades some of the wind-instrument is that some of the following books will give players, who Monteverdi's greatest modern expo- 6 and 7; 4, Grades 4—7; 5, Grades 3—6. mas of marshy Mantua. He always longed for you some help: “First Lessons in Ex- take an interest in the orchestra and nent, and welcomes this opportunity to present 3. Rachmaninoff, Polichinelle, Op. 3, the pure, strong mountain air of Cremona. temporizing on the Organ,” by H. C. band, cooperate fully in every respect— Dr. Schweisheimer's able article on the great Moreover, his position at the Duke’s court al- No. 4, Barcarolle, Op. 10, No. 3, and Elegie, and you will have your reward. MacDougall; “Extempore Playing,” by A. Italian precursor of Bach . Editor’s Note. Op. No. Ravel, Rigaudon in C, from ways seemed to him mediocre and undignified. 3, 1; M. Richardson; “Extemporization,” by F. “Le Tombeau de Couperin,” and “Vaises J. Sawyer; “Lyric Composition Through Who Is Right? Nobles et Sentimentales”; Liszt, Hun- The Beginnings of Opera Improvisation,” by Frederick Schlieder. Q. In the June issue of The Etude, Theo- garian Rhapsodie No. 17, Eclogue in A- new style of opera appeared first in Flor- All of this material- may be obtained dore Steinway had an article on "War- A flat, and various numbers from “Annees time Piano Conservation" in which he ence, where Peri's and Rinuccini’s musical through the publishers of The Etude. de Pelerinage;” Shostakovich, Three Fan- said that the piano should be kept closed tragedy, “Euridice,”' had a sensational success. when not in use. In the July issue you tastic Dances, Op. 1; Leeuona, Malaguena. Duke Vincenzo, eager to be the leading Maecenas answered a question about the care of a ew ITALIAN CITIES are as well known 4. Bach arranged for clavier sixteen Can One Learn Without a No question will be answered in THE ETUDE piano and you said a piano should be kept In the musical world as is Cremona, the of music in his country, encouraged Monteverdi unless accompanied by the full name concertos after Vivaldi, of which two are open, as a closed piano is more apt to home of famous violins and violin CLAUDIO MONTEVERDI to set to music the libretto of “Orfeo.” The first and address of the inquirer. Only initials, F famous Teacher? gather dampness. Which one of you is in D minor. They are about Grade 5 or 6. or pseudonym given, will be published. makers. In the sixteenth, seventeenth, eight- As in Ihe case of his contemporary, William Shake- performance of this famous musical drama took right?—D. A. and I nineteen years old and for ten 5. Concert transcriptions have been Q. am eenth centuries the handicraft of Andrea and speare. there seem to be no portraits of Monteverdi place in 1607 in the ducal palace at Mantua. It years I have begged and pleaded for piano which give, in satisfactory made by Josef Hofmann and Leopold A. Mr. Steinway was probably thinking manner, his probable like- decisive success once, it lessons, but my father thinks any kind of Nicola Amati, of Stradivari and Guarneri, had a at and has been of dust and dirt getting inside the piano, ness. The German woodcut presented herewith is a Godowsky. They are about Grade 5 or 6. music except the mouth organ is foolish- brought world-wide fame to this provincial capi- considered ever since not only a masterpiece in reconstruction of a very indistinct portrait found on the ness, so I have not been able to have any and from this standpoint he is probably tal on the itself but one of the foundations of operatic de- bank of the Po. However, in 1567, of his lessons. I have learned the scales, rests, cover first publications. right. But I was thinking about dampness when Monteverdi velopment. It was “Orfeo,” with its rich con- notes, and other things from a book that know, for I have no idea what intellec- was bom in Cremona, it was Problem Pedaling causing I still A of meant to teach singing, and I found the strings to rust and not yet known as a cradle of the great trasts of feeling and acting, that gave Mon- was tual or musical ability you have. But I masters Q. How should I pedal The Flight of the that I could apply these to the piano, so believe that in general it is better to leave of the viol family, Claudio teverdi his fame as “originator of the opera.” Zuan-Antonio . do believe firmly that where there is a Mon- Bumblebee by Rimsky-Korsakov? Should I have learned to play simple pieces on the piano open circulating air is At the Court of the Gonzagas will because teverdi was the son of Baldassare Monteverdi, a Through his success, Monteverdi was encouraged to I change the pedal with a change of har- the piano. But I have to learn them by there is usually a way, and even apt to be drier than stagnant air. That physician. His elder brother, Mantua, birthplace of Virgil, was one of the Italian write another musical drama, “Arianna.” It was first mony, or should the pedal be held through heart because I cannot read the music fast though you can’t have a career in music, Giulio Cesare, became a most of the piece to give the effect of the enough to play it. What can I do about is the reason the basement of a house is musician, cities where in medieval times violent internal strug- performed in 1608 before an audience of more than you can get a great deal of satisfaction too, and in later years published some of lessons? I live in the country and have no buzzing of the bee?—M. B. always provided with windows or venti- his famous brother’s works. gles raged between the nobili and the popolo. The four thousand people. The master at that time had way of getting to a piano teacher, but I from learning to play the piano, even lators, and I that it was Ghibelline Pinamonte Bonacolsi, “Capitano del Popolo” gone through much grief and sorrow. His wife, Claudia, A. Pedaling is often a matter of per- love music dearly and whenever I am without a teacher. myself found Cremona, in Monteverdi’s time, was a renowned city sonal taste. So don’t you try it sev- around anyone who can play I just cry better to open the windows in the summer of venerable culture, with picturesque buildings and in Mantua, was succeeded by the Guelph Luigi Gon- had been in ill health for several months, and despite why First of all, you must have better ma- because I can’t. B. J. I. eral choose the you like — so as to avoid excessive dampness in my great palaces. All roads lead to the center of the city, zaga, whose family succeeded in elevating the city to the care of Monteverdi’s physician-father to whom he ways and one terial, and I suggest that you write the Italian best? In general, it is best to change the A. When I was a boy I, too, loved mu- basement. However, when authorities dis- the beautiful Piazza del Duomo (Plaza of the Cathe- a center of culture. They governed Mantua first brought his ailing wife, she died in Cremona, leaving publishers of The Etude, asking them to own dral) as Capitani, then as Marquises and Dukes, until city two young sons, Francesco and Massimiliano. pedal with each change of harmony, and sic and I, too, lived in the country and agree the reader must make up his , surrounded by the city’s important buildings send you several books of suitable studies that is a good rule to follow here. Or, this had no teacher. So I made up mind mind, so take your choice! the twelfth-century Cathedral of S. Maria Asunta and and country at the beginning of the eighteenth cen- The music of “Arianna” has been lost, with the ex- my and pieces. They should be of no more piece is effective even without the use of that I would learn to play anyway, and Baptistery; the mighty bell-tower Torrasso; and the tury became part of the Austrian Empire. ception of the famous Lamento d’Arianna, and into than second-grade difficulty, for it is Vincenzo da Gonzaga a real this Monteverdi put his whole soul, the damper pedal at all. for an entire year I practiced at least an very important Gothic Palazzo Communale. To this Cathedral young Duke was Renaissance lament had aroused that you learn to read Boohs for the Composer Monteverdi walked pupil of the choir- prince—unscrupulous in political matters but ex- by the loss of his beloved wife. When the actress, hour every day, teaching myself the no- music even if every day as a the easier material is not Q. I have studied up to Page 60 of "The tation as I went along. I worked at hymn school. There he found one of the best music teachers tremely interested in the various arts. To give evidence Virginia Andreini, first performed the lament in the Studying Harmony and quite so interesting musically. You might Material Used in Musical Composition, tunes until I could play every one in the by Percy Goetschius; but it is now neces- of his time. This was the Verona-born Maestro di of his violent temper, Prunieres quotes the tale that in theater constructed in the interior of the castle, she enclose this answer of mine with your sary for me to continue my studies by his youth, Vincenzo had been banished from his own was said to have brought “a thousand sighs from a Improvisation book. I found some old Etudes and I order for music capella, Marco Antonio Ingegneri, an excellent com- so that the situation will myself. I Goetschius' style of like Mr. poser whose sanctae" were territory by his father as a result of the cowardly thousand breasts.” It is interesting to notice that learned to play everything in them be understood. writing, recom- “Responsoria hebdomadae Q. 1. Can you recommend some good, After you get your new and wonder if you would songs and all. I discovered a book of mend for me to so similar to works of Palestrina that for a long time assassination of the prodigiously versatile Scottish Richard Strauss, in his opera, “Ariadne auf Naxos,” clearly written harmony text for me to music, the next thing is some more of his books to make yourself Also, study by myself? technical studies and I worked at these study after I have finished this one. they were considered creations of that famous com- humanist, James Crichton (1560-1583), famous as “the also composed an extended lament for his heroine. practice regularly at least on an hour every could you tell of a good book 2. What material would be useful to until I could me poser. Ingegneri Claudio singing, instrumental admirable Crichton.” Meeting him one night, Vin- Monteverdi estimated the Lamento highly and later play them at fair speed. I day—more if taught acquire the art of improvising? M. R. E. you can. In this way you orchestration?—H. S. R. — have forgotten music (especially viola organ) composing. cenzo collided violently against him in the dark. arranged it as a madrigal for five voices. In the opera the name of the book, but will begin and , and to make steady progress, and “The Ma- A. 1. “Harmony for Ear, Eye, and Key- it had a black cover and there were A. After you have finished At the age of eighteen, Monteverdi published a book, Crichton drew his sword and they fought. At Vin- it was accompanied by the sonorous sounds of viols. just if, in addition, you could go to a piano terial Composition, board,” by A. E. Heacox lends itself well an even hundred studies in it. They were Used in Musical ‘‘Madrigali spirituali’’ for four voices which, in the cenzo’s cry; “Hold, Scot, I am the Prince!” Crichton Monteverdi always felt neglected at the Duke’s teacher even two or three times “Ele- a year study “Lessons Music Form,” knelt and delivered his sword. Vincenzo took it and court. was poorly rewarded, despite his extensive to self-study. Since you are interested in pretty stiff going, but I had made up my and get in following years, was followed by a series of other He criticisms of your hand position "Counter- applying your knowledge of chord struc- mentary Counterpoint,” and madrigal only the plunged it into his heart. duties and his glorious reputation. When the court mind to learn to play the piano—and I and your tone books. Of his first madrigal book quality, that would help Goetschius. It ture to the keyboard, I would suggest did. Later on I had a chance to study point Applied,” all by Mr. bass part is still in existence. It was Monteverdi’s Duke Vincenzo took pride in engaging the best celebrations were over, he returned to his father’s very much. You will be the discouraged to study Italy for his company. Monteverdi went that you supplement the Heacox text under a teacher, but I had laid the foun- sometimes, would be possible for you merit to have evolved gradually the dramatic cantata musicians of home in Cremona in a state of utter exhaustion and but if you have a good prefer. with either “Harmony in Pianoforte dation myself. back- third book before the second if you from the lyrical madrigal. short stay in Milan in- to Mantua in 1590, first only as violist in the Duke’s depression. He tried to sever his connection with the bone you will " A stick to it. And some in or Study,” by Ernest Fowles, or “Keyboard “But I dav You will find “Project Lessons troduced violist composer to Duke service. Duke, but since the latter had set his mind on Mon- can do what you did?” you ask. things will open up the young and so that you can study a practica Harmony and Transposition,” by A. H. To which I have to reply that I don’t under chestration” by A. E. Heacox Vincenzo of Mantua, who had a decisive influence on At the Duke’s court Monteverdi made the acquaint- teverdi’s return, he raised his salary and provided a a fine teacher. Good luck! book for self-study. Monteverdi’s further career. ance of the young and lovely singer, Claudia, daughter modest pension for him and ( Continued on Page 298) 274 "FORWARD MARCH WITH MUSIC THE ETUDE MAY, 194-t "FORWARD MARCH WITH MUSIC’’ 215 — i • 1 — — Music and Study PATRICIA CERTAIN of confusion surrounds AMOUNT For many years this alluring waltz melody has been heard weekly by millions of people on Sunday evening over the NBC network as the musical the elementary steps of violin instruction, and theme of one of the most popular of all radio hours, “One Man’s Family.” It is now available for piano, in response to wide demand. Grade 4. A it seems to me to be due, not to the shortcom- ings of individual teachers nor to the lack of special talent of individual students, but to some aspects of Violin Study our teaching. Joy in Early First, let us consider what I call the problem of the “advanced teacher.” At no time is there ever more than a limited number of truly great violin teachers, and they, naturally enough, devote themselves to the A Conference with most gifted and advanced students. The great teacher has only twenty-four hours in his day, and he can assist no more than perhaps a dozen students. Conse- Samuel (jardrier quently he selects them by audition, and sets a stand- ard below which he will not go. The first half dozen Eminent American Violinist and Composer students who fall below that standard may be very talented, very earnest, and yet they are not accepted for the class of the great teacher. Instead, they are THE ETUDE BY MYLES FELLOWF.S advised to study “somewhere else” and come back for SECURED EXPRESSLY FOR another try when they are “ready.” But the master teacher, as a rule, does not supervise their studies, in the quantity and quality the past ten years have witnessed a slump makes no suggestions as to what the candidate needs In the opinion of Samuel Gardner, student popularity fo the brass and violin has taken second place in to do before he is “ready.” And so the youngster is of violin study. Quantitatively, the fhcult.es and confusions that grow violin study has been beset w,th d, left to himself and to luck. wind instruments; qualitatively, material that emsts on paper and thus influences teach, ng. In directly out of much of the faulty study some of the causes of these violmistic ills, and suggests A Serious Deficiency the following conference, Mr. Gardner outlines to serve as musical physician, having dishngu,shed means for their cure. Mr. Gardner is well equipped If he gets into the hands of a good teacher, he may w.th Charles Martm Loeffler FehxW.ntern.n himself as performer, teacher, and composer. He studied great If, music, Mr. Gardner has devoted himself to teach- go ahead to things in time. on the other and Frans Kneisel. From his entrance into professional not only a faculty for diagnosing student error., hand, he finds his way into the studio of a “lesser ing as well as to public performance, and has evolved . editor s Note. light,” he may be seriously harmed. Certainly, I am hut n nrartirnl technic for curina them. His opinions arc pointed and helpful not suggesting that our greatest violinists and master teachers devote themselves to students whom nature has not prepared for the highest virtuosity, but I am country came from or who iris former teacher convinced by experience that many of these students love the violin try to establish a sort of Mayo Clinic of the he had been, these special danger spots never failed to could be greatly helped if the same high standards for the Violin? from pitch. I noticed this for so long that govern advanced and master-class work could The need for instruction of this kind roots in the bring deviations find out just where, along be brought to bear on the teaching of elementary fact that good teaching can never be entirely theo- that I made up my mind to line of progressive learning, these special errors work. This could be done if our master teachers would retical. The best printed “method” in the world is the creep in. aim to develop more student-assistants, thoroughly only as good and as useful as it can be made under- had been allowed to prepared to carry on standable to the in- Through a number of years and under a number of their principles. I was dividual pupil who circumstances, I made it my business to investigate fortunate enough to studies from it. At the work of pupils of various elementary grades—un- observe this system any point the teacher til I got down to the very beginners themselves. And at first hand, and I must be able to ex- in each case I found that the student had not been can speak with as- plain the “method,” given sufficient ear-training at the violin. Ear-train- surance of its help- adapt it to the indi- ing (or solf&ge) as a separate course is something fulness. vidual needs — most different; I speak now of that consciously acquired To Coda When I was fresh important of all, to awareness of hearing that builds the tones into the _ ^ > students 1 out of the conserva- demonstrate it by ear itself. Very few of the elementary violin ,, AJL rzr J L 1 1 | _ / —Jr—tt! i ra _ T?T~b taking his listen • —— — - m ^ tory, my own great up own whom I investigated had been taught how to 1 JCL,—hli J » ^S £ —1 JJL ^ • y m m — — +9— master, Franz Knei- instrument and show- and hear the pitches. This discovery sent me a • ° - A , iLML fr r. • n - sel, helped me towards ing how a problem step further in my researches into elementary in- > • '>• — Tmi * & T 6 my first teaching job. is to be met and struction. I T I was privileged to solved. For these rea- rit. “ CL iy. work with him. Once sons, the best teacher A Revealing Examination 1 1 t- ff -fa Vff — UfiT*-7TT 1 -t % • r r1— l l• —j a week met his is is also 1 he one who an Having been Wisconsin .j X fj 1 j it * invited by the University of 1 ___e_A4ii£f_ r • • n 7 J fr V — - students, listened to experienced and ca- to present a methods-course for violin teachers, I ex- u L * ? - them, made sugges- pable performer. ' I amined practically all of the manuals and books on h T. 3 tions; JLT w at the second realize that the two violin instruction 1940. I p. " * t published between 1907 and A A A A A A weekly lesson, I heard capacities are differ- charted the contents of these, and found that not one J\ A them. Naturally, I ent; that not every had anything like adequate explanations of intona- 5 5 5 5 ( 2 was present when good performer is a tion of p and signatures. (The other basic principles idi-V i Ta- s i i r Mr. Kneisel made his good teacher, ^ j 1 and violin study were explained, but not without consider- m J i rJ . suggestions, and I vice versa. But the _ 4L i "V able contradiction and confusion.) That various teach- J — knew whether they teacher r g must have ers will disagree as to the explanation and applica- £ had been carried out. p a, tempo * 3 1 r 5 enough practical tion of basic r pedagogical terms is only natural; but the £ \ mjp T r i r, Having been a pupil playing skill to en- principles are (or should be) recognized by all. None 1 1 3 of Kneisel’s myself, c. able him > 1 to clarify of these basic principles than in- 1 T T i* iMla ^ is more important ®^ ^ m : I f w-Mm i / — 9 I sort of r H r 1 knew the and demonstrate any tonation. work he wanted, and 1 point that comes up Retracing clear my investigations, then, it became y. cur. the means he em- in the instruction he to me that this vagueness and confusion on the ques- T 3 ployed to get it. At gives. In this sense, of A A Pad. simile ' tion of intonation were responsible for a number r vr the next lesson, then, teaching . and 3 per- things. Certainly, this explained why difficult pieces 3 Kneisel took over forming 4 4 - 3 must be involving the upper positions always revealed devia- -- - again, and his com- SAMUEL GARDNER 1 =j== m dovetailed. This point tions J! f- from pitch. But that was not all! Defective in- Try? J — ( J ments to his pupils J • is sometimes over- tonation produces disagree- 3 implied a certain disagreeable sounds—and t looked when consid- able sounds defeat the study. s pleasure in music check-up on what I had been doing with thefn. Now, ering the qualifications of potential teachers. f r . The piano has its tones and intervals clearly marked i-f pooo rit. it seems to me that if every great teacher followed During my long experience as a teacher “Mr i I often by mechanical means about which the student need S ^ • *j strides . ii . such a system, immense could be made in as- noticed a queer thing. Both in (J the classroom and / ir\» i — • at not worry. If he strikes the correct keys of a properly — ». TLt r Pi A==^ J suring expert instruction, not to a few exceptionally audition — =p examinations, certain pieces — (such as the tuned piano, and he gifted students, but to the rank-and-file pupil who second Kreutzer Etude, he will find the correct tones— ^=-- in C-major, parts of the Men- 1 as)-! has enough to bother him in elementary studies, needs and deserves careful teaching even if he never delssohn “Concerto,” and his so on), invariably showed even r the professional concert when he finds the tones built into this instru- gets anywhere near platform. up defective intonation in the same spots. r~~ T~ No matter ment Copyright IS r for him! The same is true of certain of the 43 by Paul CarstJ- British Copyright secured Great doctors follow this system—why cannot we who how gifted the student might be, no matter what part brasses and 304) winds. But the ( Continued on Page MAY 19-5-i 277 276 "FORWARD MARCH WITH MUSIC” THE ETUDE APPLE BLOSSOMS Hans Engelmann, composer of Melody ofLove (which sold over a million copies), looked upon Apple Blossoms as one of his most appealing compositions It should be played like an idyl, considerably slower than a waltz. The cadenza is simple and may readily be mastered with a little practice. Grade 3. British Copyright secured 278 THE ETUDE EONDO a joy ' ateh the is memorized it becomes stac- This fleet little rondo from Mozart’s “Sonata in C, No.l” intrigues the fingers, -so that when it cato marks very carefully, to insure a kind of “feathery” lightness. Grade 4. W. A. MOZART Allegretto grazioso J = i04 a tempo I & m i P is — p poco rit. m SEE i 1 K tr n V -f- ^3- & * p i i £ FINALE, FROM SYMPHONY No. 1 cresc. m performed until 1876, when Brahms was PIP Like all of four symphonies, the Opus 68, No.l, in C minor is the work of a mature adult, as it was not p p Brahms’ presented here, in which this great master employs forty-three years old. He devoted several years to writing it.Thereis a grandeur about this introduction described as a culmination of all the resources of s if timpani, woodwind, and strings to create a lofty dignity which critics at the time of its first performance I m Others described it as the greatest of all first symphonies. Grade 3rr. i Bach, up to that time. y v g m £ 5= Beethoven, and other masters JOHANNES BRAHMS p cresc. K m:"f mp pz 281 MAY 1944 — — — — — —— d — — —j Allegro non troppo, ma con brio M.M. J=m ROBIN IN THE PINE TREE J tJ-’ j -Jen jS — J | - s bi -^7 4. g ? ' C s=p=^ Grade . LOUISE DITTENHAVER W~' F~~g S— SARAH l Allegretto m.m.W = about 72) fepEj ~h p r m < 2>ocof p V -j ^ * * 1 j— / 1 > t=f=^=J v = « r =*=£ % £ . ^ — ; * L 0 7 — 0 f 2. it d 2 T ri5j> r" - i f r ifr -r--ME p ft 1— i dL J -i= = 2 , - - 1 / > „ > « > l.a _ fl a =^F=p=F=- t a g ^ a• a , - — -0 ; >-# — _u 1 «b-* J-L — J *;— — — fWH-j—- ^ L* j- -j- J J- — f * -J- «. -- ^0 ~:: 0 — y • • W s lr « j I 1 I _J I J L A A A II A I I A -A A A —A A—i L /L A A A A A A A A A ^ 9 0 — ~^ ; 0. *s 0 r-i 3 i £ - 1 & 2| l—, 21 - V ^ V 1 / -ar / 0 f -c; m— ft J 1 J 1 # -d a g ft — * 1 fJJLj ^ — a a & > ^ ' »» l AW — a £* -AIL i 3 : dj I [7 — — I- Is -h — 4 0 * t nt r t 1 1 1 — m m 0 a r < 1 a a r= :E= —a — - It ! a =*i f- \b±=d JB P H w- -J- L-a a — a a a\ 0 -A A A A A A A A A A A /\ a A ' 5 .y -J m -=r tzt r mm *1 mm PPP T •1 0 r 2 r r O' mf p ,o \ m 15 12' > T3 3? Copyright 1943 by Theodore Presser Co. British Copyright secured Copyright 1911 by Theodore Presser Co. secured 284 British Copyright 285 THE ETUDE MAY 1944 — — — —- — — —U —— RIGAUDON II mm r - • SECONDO + r . e^ee£ee Arr. by PHILIPP der In Leopold J. Beer JOHANN KIRNBERGEP ’Neath blue skies _ I wan - ( 1721 1783 ) Allegro s^- r- M. M. J =88 -t j. -i- ==^ il -" : = * * : =* -f- l =t 3 — X- 1 1 « J ' ( uTr %T= f P X a -9=^— f - — J-L- r %<±^~ j WM. i \ t m \\ f t 1 • m i » *= ' cii-, 0 Af f • > * • > 3r T *> j —*= ^ : ol— — t %— —«L f £ — — — * — — J — 0 — a T 49 tew. , ' &L; A : • r4rk=±=tr 1 A ^ — -d- T— J ' H= jo. — 5 J 3 • -J E^F — r -f-^G - - it, re- ech oes A s p i r li ght. and free; My gay hearl en. i * p=- — =N= . i"= —— Ed -s- - s 4-J- =i 1 =a m jp=-*- j= jL y'J^ % • /T^*L: — — -» - !~^=1 - ( ^4,— • o — > * i i — * p l» i -J. i ri-t ^ —• T’ = : —« — ^— . — EBS>* .J m -r • 291 WHITE SAILS Time was when the piano student was kept for a painfully long period within the range of a few .notes in the Centex of the keyboard.Then came what might be called “orientation” pieces, such as this smooth-flowing WhiteSails, which enabled the student to find iis way about over the range keyboard; in other words,“to orient obtainable. Grade 2L of the whole himself,” giving him a sense of liberty and balance, not otherwise ' SHORT’NIN’ BREAD NEGRO Grade 2. FOLK SONq Arr- b With marked rhythm m.m.J =120 — y William Scher 5 5 4 . o SPRING IS HERE Grade 11- Moderato *M.M. J- = 72 SIDNEY FORREST cof - fee too! Mam-my’s - lit tie ba - by loves short -’nin’, short-nin, m Mam-my’s lit - tie ba - by loves 1)«—I- short-’nin’ bread. Mammy’s lit- tie ba-by loves short-’nin’, f short-’nin’ Mammy’s , lit-tle ba-bv loves short - ’nin’ bread. SJ 0 Scarboroush ^ - Used bypermission of the Harvard Copyright MCMXLIIl'by ofiXlldfs«fn "comyany' University Press. YELLOW International Copyright secured Grade 1. BUTTERCUP In waltz time M. m. J-=60 THOMAS 3 3 J. J. Copyright 1943 by Theodore Presser Co. 394 British Copyright secured THE ETUDE J . PRELUDE The Teacher’s Round Table ( Continued from Page 264) With lesson by Dr. Guy Maier on opposite page. The Technic of the Month of the right hand, while I played the left. independence and rotary freedom. Allegro molto M.m. f CHOPIN, Op. Conducted by Quy cuer played a Spanish piece as J=i20 Wai, 6. Finally I . . process . same 28, No. jq We went through the v ’rS with Cleopatra, which offered a slightly a “treat” for her. Jllii-iMUin. — different technical and reading problem. All during this time I wrote clear direc- brief, vivid observations 4. Then again for contrast, we went tions and made over Palmgren’s May Night for interpre- in the student’s notebook. All such note- tation and review. The student had books should contain carbons so that Prelude in C-sharp Minor, Dp. 2B, No. ID worked well on this piece and I compli- you, too, have a record of each pupil’s mented her highly. assignment. accomplish 5. I gave some short, concentrated, It’s not at all difficult to two-finger exercises for the left hand, this in a single lesson IF you plan ahead lij ddrederic dltopin since (in the Boogie-Woogie pieces) we carefully and stick to your plan through found this hand sorely lacking in finger “the hot place” and high water! HOPIN shaped this compact C-sharp Tempered Clavichord,” were written al- minor Prelude with expert crafts- ternately in the twelve major and relative a musical professional point of view, C manship. The swift, two-measure minor keys? . . . The other, less familiar, “Not defending amateurism from opens the C-Sharp minor defend it a mental hygienic point of view. It helps many a flash of silver wings which Prelude, usually num- I from succeeding bered oppressed soul to reach some substitute happiness and piece is matched by two ma- “Twenty-five,” is a separate com- forlorn and could not be obtained. It is up to the pro- zurka measures. Thereafter this pattern position (Op. 45). ... It is one of Cho- satisfaction which otherwise repeated, with two bars pin’s most sensitively fessional musicians to seek out the talented amateurs and perfect them is three times beautiful composi- professionals not quench the spirit of a added at the end for better finish. It is tions, and should have a place in every in a technical sense. But let the —William van de Wall interesting to note that each of these pianist’s repertoire. dabbling amateur.” opening two-measure motives possesses its own personality to such an extent that two preludes of entirely different charac- ter can be made by playing Measures 1, 14 for one prelude, 2, 5, 6, 9, 10, 13, and and Measures 3, 4, 7, 8, 11, 12, 15, and 16 for the other. OPPORTUNITIES For memorizing, placement, and secur- ity, “skeletonize” and practice Measures and 4, and all similar meas- 1 and 2, 3 tlie Wjusic Jietd ures thus: ...in ADVANCED COURSES OFFERED BY THE UNIVERSITY EXTENSION CONSERVATORY BY THE HOME STUDY METHOD Music has always ranked high among professions. There is never an overcrowded field for the well trained musician. Always play the right hand with the top no interference with your 9 Interesting positions are open in every part of the field. very small cost and note of the sharply rolled left-hand you, easily and quickly can qualify Schools and Colleges are making it necessary for every regular work, profitable positions in the chord. teacher to be equipped for his work; the Radio is calling for higher and more Practice the right hand in these im- for highly specialized training, and standardized teaching musical world. pulses as shown in Ex. 2: makes competition keen even in small communities. DIPLOMA OR BACHELOR’S DEGREE musician? Ex.3 Are you an ambitious Because We help you to earn more and to prepare for bigger A successful musician is most always a busy one. things in the teaching field or any branch of the is almost impossible for him to go away of this very fact it of finds time to musical profession. We award the Degree for additional instruction; yet he always our Extension Bachelor of Music. With a diploma or Bachelor’s broaden his experience. To such as these Degree you can meet all competition. Courses are of greatest benefit. Digging out for yourself new ideas Fill In and Mail This Coupon betterment of your students for the UNIVERSITY EXTENSION CONSERVATORY, Dept. A-429 time-taking task. is a wearisome 1525 E. 53rd Street, Chicago, Illinois. school you can affiliate with a course When Please send me catalog, illustrated lessons, and full information regarding recommended by thousands of suc- I have marked below. sure cessful teachers, you may be Normal Course Harmony Violin (Combine as usual.) Piano, Teacher’s your Cornet Trumpet 71 Cuitar that their confidence justifies — Piano, Student’s Course _ — Don’t neglect to work at those gently Public School Music— Beginner’s Advanced Cornet ~| Mandolin in new ideas for your 1 confidence ~] School Music Advanced Voice Saxophone “ripped" left-hand to Public — chords by themselves; work which we make available Advanced Composition Choral Conducting H Piano Accordion you Reed Organ will feel more secure if you practice you. Ear Training Cr Sight Singing Clarinet 7] Music Dance Band Arranging Banjo them without looking at the keyboard. History of * over the past year! What Note the lovely, lingering stress which Look back Name Adult or Juvenile. you made? Chopin indicates on each last chord of progress have the further Street No. mazurka measures. Observe, too, how If you are ambitious to make this chord slides unobtrusively into the progress, enjoy greater recognition, City. . State measure which and increasing financial returns, then Are you teaching now? If so, how many pupils have you? follows. . . . How magically it to yourself to find out hold Teacher’s Certificate? Have you studied Harmony?. Chopin has fashioned his design from you owe Do you a this great Home Study Musical Would you like to earn the Degree of Bachelor of Music? these apparently unrelated fragments of what has to offer you. At mosaic! Organization Above all, be sure your “wings” whirr with finespun color, and the mazurka UNIVERSITY l X T E IV S I D W C^onServcitorif measures give answer with deep-toned THE richness and slightly capricious rhythm. ILL. 1525 EAST 5 3 R D STREET (DEPT. A-429) CHICAGO, Surprising, isn’t it, that many students bo not realize that Chopin’s “Twenty- four Preludes, Op. 28,” like Bach’s “Well- 1 11K KTUJ/K MUSIC’ 297 MAY, 1944 "FORWARD MARCH WITH —231L . 1 Francesco Lamperti, one of the best Monteverdi was a cultivated man who Your Musical By-Product Claudio Monteverdi— knew the classics as well as the con- (1813-1892) seventy-nine. teacher of Melba. temporary literature. Mathilde Marchesi, He was especially ( Continued from Page Sanderson, and others 255) Father of the Opera fond of Plato. A strange trait of his Eames, Sibyl character was his unusual interest in (1826-1913) eighty-seven. specialist in Ger- note that Arnold Bennett himself, alchemy. He succeeded, according to his Julius Stockhausen, in v ( Continued eighty. enormously industrious life, from Page 275) letters (Prunieres), in fusing gold with man romantic song (1826-1906) which mad him a man of relatively mercury. Luigi Vannuccini, last of the Florentine large wealth -Answered L, DR. NICHOLAS DOUTY found time to become ’ his heirs. In his last years Monteverdi was School (1828-1912) eighty-four. a very accom teachers today plished pianist. He rated his In August. 1613, Monteverdi was in- grieved by the fall and sack of Mantua The dean of American musical -nits vited to Venice 1630- probability, Lino Mattioli of among his chief life assets. to become Maestro di (1630) by the Imperial armies. In is, in all Somehow he No questions will he answered in THE ETUDE unless accompanied by the full name ninety is contrived to get in a total Capella at San Marco, with a salary of 1631 the plague ravaged Venice. Nearly Cincinnati who, at the age of of one hour and address of the inquirer. Only initials, or pseudonym given, will be published. ideals a day at the keyboard three hundred ducats a year and an ex- fifty thousand persons perished in six- still active in upholding the highest during the busiest for periods of his life. He tra fifty ducats for the expenses of his teen months. After the cessation of the of bel canto and sound musicianship, acquired a sur- prising repertory journey, and also a residence. Three plague, a great thanksgiving service was which he has worked so fruitfully (Maurice Ravel was (ty Kathleen -(itmoul T*iG*ticsUbecL hf. Walter Ralfie voices. The years later his salary was raised to five held in the Cathedral of Saint Mark. throughout his already long life. one of the enthusiastic admirers of Can One Learn to Sing Well With no Piano tenor) is the rarest of all the his told us how grateful they were numbers, Rolfe transcrip- Teachers have and Little man who possesses such a voice must have a In ever Increasing hundred ducats. Thereafter, he dedi- For this, Monteverdi wrote a solemn surrender yourself to playing) . It is said that Bennett pieces. so that pupils Money? for the better So, dear reader, was able for the Armour Written strong, healthy physique, capable of great tions are becoming standard Q I am twenty-two and have never had a belief that cated himself entirely to the service Mass, in the Gloria and Credo of which voice production to give a good account of will enjoy playing them, and based on sound teachers; proof indeed, of Century's of the delights of dear old himself in the good singing physical endurance. He must have a large teaching practice, it is no wonder that her lesson, but I have had a year’s Walter Rolfe is the ideal simplifier of music. the Republic, signing his he introduced an accompaniment of long time. Grieg “Concerto.” chest, strong vocal cords, and possess sinuses name “Claudio and live happily for a long, works gain in popularity every year. Here is a training in the high school glee club where Without discernible loss of fluency, feeling, and Caruso was the Monteverdi, Veneziano.” trombones. His religious are partial listing of Kathleen Armour's numbers my voice was director, al- free of catarrh. The late Enrico musical values, this superb musician brings faith had grown Let us repeat with William Byrd: There scores of books that are thor- picked out by the Century Edition at 15c a copy. the outstanding example of the dramatic greatest music to those who are not yet skilled The Venetians, the “Athenians” stronger and like other Maestri oughly practical in available in though I had no solo work. He never listened of — many “Since singing is so good a tiring, helping you to develop tenor. The lyric tenor is a much more usual enough to play the original versions. 3467 Auld Lang Syne G— especially to any voice other than mine, which their time, were the leaders in art for di Capella—he gained admittance to the your musical talent, C useful voice. it has considerable I wish all men would learn to sing.” and if you will out- 3148 Babette, — was a compliment. I have an inborn desire and Often 3213 Amaryllis, G—2 King Louis XIII 3462 Camptown Races (Foster) C— produced, a Cantabile Tschaikowsky many years in Italy. The city long pos- priesthood. line the project in to sing on the operatic stage, which prompts power and always, if it is well 3382 Andante which you are 3468 Carry Me Back to Old Virginny G— 2 Lainare most it carry well. It 3383 Andantino, F— sessed 3155 Darting In and Out.... C— to give years ring and metal which make Heller schools of cultivated music in the When he was seventy-five years old, interested, your Editor will me two at least to study. I know 3356 Avalanche, Op. 45. C—2 be glad to 3175 Dark Eyes Dm— is more flexible than the dramatic tenor and Dore choir without being told that I have a voice, mu- 3538 Blue Butterflies, G—2 of St. Mark’s, in the theaters, and he felt the desire to see once more his 3469 Dixie (Emmett) C— The, No. 4. 2.. Merkel advise you, insofar as possible, as to the high tones come out more easily. The 3357 Butterfly, Op. 81. C— the 3463 Goodnight Ladies F— sicianship, a good ear, and a great deal of con- 3179 Chicadee (Symphony No. 8). F—2. Beethoven above all, in the four great scuole native town, Cremona. A visit to this Rose Time B-flat— light tenor (the expression tenor di grazia or best material to secure for this 3154 In centration. I am five feet seven and one-half 3358 Christmas Eve, Op. 43, G—2 Hems Musical Twilight purpose Jingle Bells G conservatories. Today we think city and some other cities in Lombardy 3470 — seems to be obsolete) is a pleasant voice 3216 Elegie, Em—2 Massenet of the Little Dutch Dance F— high and I am underweight, but I am far from Sibelius 3145 without the power of the robust tenor or quite 3388 Finlandia, G—3 Venetian School as that golden chain of gave him much joy and satisfaction. He 3146 Luise G— being a hospital case. I am unable to finance 3386 Fuer Elise, Am—2 Beethoven Marietta C quality of the lyric tenor, but 3147 — and I incapable both the lovely 3545 La Fontaine Bohm teachers and fell ill the in Europe my own way am of musicians who effected to on trip but managed to re- 3156 Moonlight Waltz C— with still more flexibility than either of them. 3363 La Zingana (Mazurka), Am—3 Bohm 3471 By Bonnie Lies Over the Ocean C— working and studying at the same time. There 2 Gautier a great extent the transition turn to Venice, where he died The range of the tenor voice varies with the 3364 Le Secret (Inter. Piz.), F— of musical on No- 3150 Nannette F— is no piano at home, no place to put one, and 3176 March Militaire, C—3 ..Schubert 3464 On Susanna (Foster) C— individual, but if a tenor can produce a ring- 3220 Merry Widow Waltz, F 2 Lehar influence from the Flemish vember 29, 1643. The whole of Venice ( Continued from Page 256) there are facilities to practice vocalises. — School of Old Folks at Home (Foster) C no 3465 — ing high B-flat or B-natural he should con- 3221 Military Polonaise. G—2 Chopin • the early sixteenth century to the mourned him. He was buried in the 3466 Polly Wolly Doodle F— What shall I do? What would you do? My 3547 Pas Des Fleurs, (Naila), G—2 Delibes The Etude Music 3151 Roaming Up and Down C— sider himself lucky. The high C of good qual- 3548 Poem, 2 Fibich Italian Lover’s family is not musical.—H. S. C— composers. It had been started Chiesa S. Maria Gloriosa dei Frari, a “new” German music. This opera, which 3153 Shepherd’s Lullaby. The O—l ity and power is quite rare. The baritone is 3366 Polish Dance, Op. 3. Dm—3 Schwarenka 3144 Singing in the Glen C— 3180 Prayer, A, (Symphony No. 2).G—2.Beethoven when Adrian Willaert, hall of the normal male voice. It, too, has individual of Flanders, be- fame for many Venetians, where speaks of a hero fanatically given to an 3157 Soldiers All O—l 3222 Prelude (C#m), Am—2 Bachmaninoff Bookshelf A. The first thing you should do is to have 3472 Star Spangled B-anner G— differences of range, power, and quality which, 3395 Priests* March, F—3 Mendelssohn came in 1527 Maestro di Capella of St. his remains still rest in a side chapel ideal, appealed strongly to officials the 3192 Two Guitars F— a thorough examination by a physician to see of course, make baritones more interesting 3223 Rondo Capriccioso, C—3 ...Mendelssohn Mark’s. of large 3152 Wandering Minstrel, The C— 3368 Rose Fay, (Mazurka), C 2 Heins In Venice, at the beginning of the church. as a nationalistic document. With a little if you are physically fit. No doubt he would alike. The baritone — than if they all sounded 3369 Rustio Dance, C—2 Howell ( Continued from Page 263) Modern Piano Method for Beginners and diet to the seventeenth century, instrumental surgery, “Rienzi” might very well be con- A suggest some course of living of voice is a few tones higher than the bass and 3224 Second Mazurka, G—3 Godard (Kxc. ),Dm 3. Beethoven music and 3196 Part I— cure your underweight. Subject to his advice a few semitones lower than the tenor. It is 3552 Sonata Pathetique, — opera showed fundamentally verted into a loud trumpet singing the Learning the Letters on the Keyboard 3398 Tales from Vienna Woods, G—2 Strauss you might join a gymnasium class where, un- distinguish between the 3197 Part II— sometimes hard to 3225 To Spring, F—3 ...Grieg important development. The Cathedral praises Hitlerism laughable and exciting incidents. The in of —and the Nazis were Notes, Bars, Measures, Time Signatures der a trained specialist, you might indulge high baritone and the dramatic tenor because 3400 Valse, Op. 64. No. 2. Am—3 ...... Chopin of St. 3193 Waltz in A-flat. Op. 39. No. 15. —2. Brahms Mark was the spiritual and, in a astute enough to realize this. This sur- only reason why it merits comment in 3198 Part Ill- some exercises to develop all the muscles of their timbre is so similar. The range of the What Is “Bel Canto,” Writing Exercises, Five Finger Exercises 3327 Waltz of the Flowers, F—2. .. .Tschaikowsky W'ay, the musical center your body, especially those connected with baritone is usually contained within the tones Witches Dance, 3 MacDowell of the Venetian gery was entrusted to Dr. Julius Kapp this department is that "Maggie” Scott 3199 Part IV—The 2/4 Time Signature 3372 Am— breathing. A-flat, first space of the Bass Staff and the Republic. Monteverdi, naturally austere, who, with sublimely has always made music a hobby and has 3200 Part V—Introducing the 8th Note The above is but a partial listing of Century’s untroubled con- audition with a fa- Certainly are transcriptions Walter Rolfe. shall be happy music. 2. You should have an A -flat two octaves above. you by We felt as happy and serene in Anyhow? Ask your dealer for Century If he complete catalogue listing over Venice as science, rewrote the entire book and re- written a number of songs of the simple mous singing teacher, for only his word and freak but a very confused young singer to send you our cannot supply you, send your order direct not a 3600 numbers at 15c a copy. It's free on request. his nature permitted. determine his art. He loved the free arranged the musical score so that it Stephen Foster-Gospel Hymn type, which to us. Our complete catalogue, listing over not your own emotion could who has much to learn about Ask your dealer for Century music. If he cannot ( Continued from Page 267) and broadminded 3600 numbers, is FREE on request. whether your voice is good enough for you supply you, send your order direct to us. atmosphere of the Re- might become an allegory in praise of have been heard quite widely over the to embark upon the long and troublesome public, the gaiety and animation of the the Nazi Questions from a Young Contralto CENTURY MUSIC PUBLISHING CO. movement. radio. Among these is Jesus Is Listening CENTURY MUSIC PUBLISHING CO. road that leads to success on the operatic Some big city, the colorful of singing is fascinating to those that Q. I am seventeen years old, a contralto 254 West 40th Street New York, N. Y. and unrestricted Of course, it is now known how re- In. The songs are included in the volume 254 West 40th Street New York, N. Y. stage. Somehow you must get a piano even who has studied voice a year and a half, but serenity of its inhabitants. teach core amore, and because it is a real lentlessly the if you put it into your bedroom. Somewhere Nazis continued in their reviewed. has made no headway with the high tones Monteverdi vocation. To take the fresh young voice you must find a place to practice, for without was very busy with the purge of German music after 1933, even F and G. I am able to reach these tones only TRAIN "Memories of Life of Margaret Mc- practice you are doomed to failure. You are , composition of sacred music for the cere- of an ambitious, musical pupil and little sweeping The when I sing softly and entirely “on the away those musicians who at first man who has started with a not the ” tone monies St. by little to develop it Avoy Scott” breath When I try to give the volume at Mark’s, the training of the into an eloquent first were willing to make some con- handicap and you will not be the last. Eleanor IMPROVE YOUR PLAYING I force it. Can you suggest a remedy? singers and instrumentalists who per- instrument of song is a real joy to the cessions By Morton and compromises with the new 2. Recently my teacher makes me vocalize Pages: 270 Pianists Send for free booklet show- formed it, with the direction of teacher. It is like the satisfaction of the regime — nostrils. This choir but whose racial background was ing how you may greatly improve your Is He a Tenor or a Baritone? with my fingers in front of my Price: $2.00 sight- tenor, resonance and places and orchestra under his command, and sculptor when he evokes a lovely human of questionable “purity”; technic, accuracy, memorizing, Q. My teacher tells me that 1 am a gives the effect of much also other mu- reading and playing thru mental Publisher: Meador Publishing Company but my range is only from A the first space the voice, she says. Is this not harsh treatment entlfically correct silent and vocal exercises, with the arrangement of festivals at figure from the unhewn block of marble. sicians, of muscular co-ordination. Quick results. Practice effort absolutely guarantee comolete satisfaction Aryan birth, who refused to clef. and minimized. Used by famous pianists, teachers and to G the third line above the staff, bass and should I continue it? with results. Write for Voice Book, FREE. Sent to no Chioggia and other places. Most of The “good master bend the knee one under 17 years old unless sismed by parent. the and apt Seoler” that to every Nazi whim. students. No obligation. When I sing forte my first octave is very deep 3. Some days my voice seems to float; others PERFECT VOICE INSTITUTE, Studio 5585. 64 Lake SL, CHICAG0 singers in those Byrd refers Broadwell Studios, Dept. 64-E Covina, California there harsh, and when I sing I feel as if E. days doubled on various to have many happy hours Of the rich and productive crop of and vibrant like a baritone, but from it sounds exactly like a tenor. 1 resemble I were forcing it. I am in good health except instruments : violins, viols, bass violins, together, and often worldly success as German composers of the pre-1933 up I sound era, Will this I from a good many colds. M. G. cornetti, a great deal the great Tito Schipa. that suffer — WM. S. HAYNES COMPANY trombones, and flutes. At great well, to reward their labors. only the chaff was left. There was, of difference in quality overcome itself in time , festivals more musicians were summoned One of the rewards usually course, Richard LEARN accorded to Strauss; but Strauss "SWING" MUSIC I freak? . Flutes of Distinction had A Million New Potential or am a A. A tone is the resultant of the action of to complete the orchestra Quick course to players of all instruments—make your ranges tenor robusto, to festival a successful teacher of singing is a long long been in his artistic senility. There own arrangements of “hot" breaks, choruses, obbligatos, 2. Please give me the of the breath upon the vocal cords, plus the ” embellishments, figurations, blue notes, whole tones, etc. tenor di grazia, and the baritones. STERLING SILVER—GOLD—PLATINUM strength. life. Almost all of the famous teachers was also Hans Pfitzner, ARRANGING lyric tenor, resonance of the cavities of the chest, nose, whose inflated Music Students MODERN DANtE —P. L. P. Most of the operas and Duets, trios, quartettes and ensembles—special chorus## and face. If there is too much pressure of Catalog on request written by Monte- have survived more than seventy years; overwritten music could be so de- to —modulating to other keys—suspensions—anticipation# A. It is manifestly impossible for us breath the cords will open slightly and the verdi in Venice have been lost. ‘Particu- only one on the scriptive of —organ points—color effects swingy background* following pretty compre- German chauvinism (as in — classify your voice without a personal audi- resulting tone will be slightly breathy in 108 Massachusetts Avenue, Boston, Mass. i Continued from Page 260) Write today. larly successful was his music to the dra- hensive list, Manuel his “Von deutscher B. tion. If you are not satisfied with your teach- is too little breath the tone Garcia, Senior, died Seele”) . There were ELMER FUCHS quality. If there 335 East 19th St. Brooklyn 28. N. V. opinion, why do you not sing for the most soft as to be almost inaudible, matic interlude, “II Combattimento di before sixty; the average is not far from some older men who found er’s may become so themselves, in neighborhood and famous singing teacher your or it may be flat. Your own common sense Our Monthly Break Bulletins Tancredi e Clorinda,” in which he used eighty. overnight, recognized composers manufacture and sale of clothing because and ask for his? You are only nineteen and and your ear, plus the advice and example of bring you original arrange- the famous their taking this ments for building up extra episode of Tasso’s Gerusa- Apollo, immortal. music was valued as being essentials for children are have before you many good years for tell you just when the PIANISTS! in tune you your teacher, should choruses of popular hit-tunes with novel breaks, tricky lemme Liberata. with extensive your voice will eventually His two last operas were Orpheus, no dates. the times: men like Georg Schu- very seriously and are making vocal study. What proper balance is obtained. bass figures, boogie woogie effects, riding the melody, CLASSIFIED ADS depends upon many things. Among the Editor etc. Send a dime for sample copy. "II Ritorno d’Ulisse in Patria” (1641) and Byrd (1543-1623) mann, Max Tropp, plans for the needs of a new and im- become 2. It is scarcely the province of eighty. and Georg Voller- of CHRISTENSEN STUDIOS. 752 Kimball Hall, Chicago 4, Illinois others; 1. What now is the true character of Voice Questions to criticize the studio prac- “L’lncoronazione di Poppea” (1642) _ Tosi (1650 (c.) -1732) thun, the cheap rhetoric of portant market addition. health. eighty plus. whose works .FOR SALE at SACRIFICE: A fine mu- your voice. 2. The condition of your tice of any singing teacher. If your voice im- speaks a teaching sical library condition, con- education. 4. Your Monteverdi increased the importance Pistocchi, founder of the Bologna language that is ponderous and Those who are concerned in in splendid 3. Your intelligence and proves under the method employed by your sisting of operas, piano solos, piano four- personality. of the orchestra unoriginal. There this huge in- opportunities for study. 5. Your teacher, it is good for you. If, on the contrary, by the use of organ, School (1659-1726) sixty-seven. were also young com- children should look upon hands, piano with violin, cello, etc. 175 Whether or not you can find a teacher it is up to your teacher trombones, posers receiving crease begin at hooks. Lists submitted upon request. Frank 6. it does not improve, SCHOOLS-COLIEGES and comets, in addition to the Bsrnacchi, pupil of Pistocchi, “II Re attention because they as an opportunity, and If your voice even W\ Teupe, Dreamthorp Raytown, suited to your needs. and yourself to change it. It all takes time, were faithful to impress par- House, strings with theorbos, harp, and cembalo. dei Cantori” (1685-1756) seventy-one. the new regime; the this time to make plans to Mo. remotely resembles that of Tito Schipa you so do not be impatient. degeneracy enough with which to start. He invented such aids to dramatic ex- Porpora (1686-1767) eighty-one. of German music was no- ents with the value of a musical training, have more than 3. No singer can hope to be always in the SINGING Book one dol- encouraged to work hard and pression where more marked than ceaseless ar- MADE EASY— You should be best of voice. If you have succeeded in find- as the tremolando bowing which, Mancini (1716-1800) eighty-four. in the pompous through emphasizing the lar. Eastern Studios, Chambersburg, Pa. success CONVERSE COLLEGE carefully at all the things necessary to ing for yourself a way of singing which is 3 when first introduced, ™jkative music of ticles study that Ernst Bacon. Dean. SpariansDurg, 8. C. so astonished the Marchesi, famous castrato and teacher, such writers as which promote music voice production, musicianship, and lan- comfortable and reliable day in and day out, Kurt Stiegler, pub- FOR SALE: STEINWAY CONCERT performers that they refused to play it. (1755-1829) seventy-four. Hermann Grabner, Kurt appear in The Etude, in other music grand SUB- guages. you should be satisfied. Of course, you cannot absolutely like NEW. your Thomas, Hans Vogt, Manu- Holstad, 2. The difference of quality between as well when you have a cold. Why do No wonder that he was acclaimed “father Manuel Garcia, Senior (1775-1832) or Friedrich Milt. lications, and in the daily press. STANTIAL DISCOUNT. Joseph sing Department of Music oo7 Oak Grove, Minneapolis, Minn. low and your high voices is the result of a you not consult a throat doctor and see if KNOX Galesburg, Illinois of instrumentation!” He did not hesitate fifty-seven. facturers of music instruments already James MacC. Weddell, difference of production. It is the business anything can be done for you? Chairman influ- COLLEGE Catalogue sent upon request. to scandalize the orthodox by intentional Manuel Garcia, Junior are taking into consideration the WANTED: Hammond Organ or Orga- your teacher to explain just what causes (1805-1906), one Music it not illusion, tron. of but revelation State model, serial number, age, con- cure it. use of dissonances without preparation, hundred one. ence that this potential mar- this difference and to tell you how to rather. Its huge, new, dition and price in first letter. Address triumphant power resides vocal difficulty ever cures itself as you in order to enhance the in ket to the Chaplain, U. S. Naval Air Station, No CONSERVATORY dramatic effect. Gilbert Duprez, famous for his high the may have on their businesses. this difference MUSIC C fact that it reveals to us Ottumwa, Iowa. suggest. If you are well taught OF The origin of the Italian overture beauties we This among Wad* E. MiUer. Pres. goes and as a teacher in Paris (1806-1896) find calls for organization will become less pronounced as your knowl- SHENANDOAH nowhere else, and that the BUY WAR BONDS AND Courses leading to back to Monteverdi. At the beginning of ninety. appre- teachers collectively CORRECTLY VIOLINS have per- and skill improve; that is if you are hension of the young, who MADE edge the B. Mus., and B. Mus. Ed. degrees. Rates of them is not transitory, fect tone without age; synchronizing enough to understand your teacher “Orfeo” a simple, fanfare-like toccata in Pauline Viardot-Garcia but can present the ideas in printed mes- proves intelligent STAMPS FOR VICTORY reasonable. In the heart of the Shenandoah (1821-1910) a perpetual reconcilement this through the aid of electrical his ideas into practice. 3. The to life." eco- devices. cor- and to put Valley, Dayton, Virginia. C major was played three times over. eighty-nine. sages for distribution far more Malconstructed instruments dramatic tenor (in German, Helden- —TCHAIKOVSKY. rected. V. L. Schwenk, Richmond, Illinois. robust or nomically as a group than as individuals. 298 "FORWARD MARCH WITH MAY, "FORW'ARD MARCH WITH MUSIC” 299 MUSIC” THE ETUDE 1944 — ! The Instrument with P53 Million Tonal Twc-I^ianc A4usic Quality Combinations Organ and Chdih Questions PIANO TEACHERS 269) (FOUR HANDS) ( Continued from Page On the Hit Parade FOR ALL PLAYERS they are widely used in radio stations program I piav SPEED DRILLS (SS) both for incidental and featured music with orchestra and arrange all my own ^Answered Lij HENRY S. FRY, Mus. Doc. From the Students on programs. music. After selecting a piece to be pro- for Teaching Beginners I shall never forget the day I glimpsed grammed, I experiment with it, trying- Just Beginning to in Holly- out different effects, retaining my first Hammond. It was a those that No questions will be answered in THE ETUDE unless accompanied by the full Reading Performing Artists studio where I had come to accom- seem to bring out best the idea and address of the inquirer. Only initials Sight wood of the name , or pseudonym given, will be pub- pany a singer in an audition. The instru- piece and to accentuate its rhythms. The lished. Naturally, in fairness to all friends and advertisers, we can express no opinions ment was the first I had ever seen, and title, “Blow, Gabriel, Blow,” for instance as to the relative qualities of various organs. Keyboard Finder and Grade Price Complete Set of 32 Cards, Grade Price the ALBENIZ. I. KOHLMANN, CLARENCE was quite new at the time. It fascinated gave me thought of featuring the Book of Instructions — Only 50/ 26353 Tango in D. Arr. E. Gest 5 trumpet. So I opened $0.70 27415 Christmas Fantasy 4 $1.00 me and I got permission to practice it with a trumpet in Drill No. 1 26614 Joy of Spring BILBRO, MATHILDE 4 | .00 daily. The more I practiced, the more I the left hand, playing against a moving SIGHT-PLAYING easily and quickly learned by tiny tots, For stressing visual 30234 Birds of the Forest MacDOWELL realized that this was my instrument. It rhythmic figure in the right. accuracy 2 .50 EDWARD Then I had or beginners of any age, with these Speed Drill Cards. 30231 Brownie Dance 2 .50 SECOND SUITE (INDIAN) combined the speed of the piano with recourse to the trumpet again at inter- easier and quicker for class or individual 30233 Little Artists, The 2 .50 Makes teaching 25258 Dirge 5 .90 Q. Will you please tell me what is meant including appropriate gifts to the persons, if 30232 Singing and Swinging " the color possibilities of the organ, both vals. When I have the 2 .50 25257 In War-Time arrangement -action organ and a pneumatic- these instruction. 30235 Summer Moonlight 7 2.50 by a tracker features can be carried out for future 2 .60 25255 Legend ' pretty 8 2i50 of which I had studied. Soon I was able well thought out I go over it with action organ? Would a vacuum-cleaner motor transfers. 25256 Love Song 6 .90 EASY TO USE— Speed Drills consist of 32 cards with BIZET, GEORGES to pick up engagements in and around the orchestral arranger, and built into an organ be sufficient to blow the 25259 Village Festival 8 2.50 there may instructions for their use. On 25226 Menuet de reeds? Will you please send me a list of used, Q. I am the organist-director of a very complete and easy-to-follow I'Arlesienne 4 .70 Hollywood. be some further changes. In featuring cor- MacFADYEN, two-manual reed organs, with prices? amateur volunteer choir middle-aged peo- each card is a picture of the note on the staff which ALEXANDER the of BRAHMS, JOHANNES Hammond organ against an orches- ple. It is our duty to sing every on the piano keyboard. Thus, 30671 Cradle Song. Arr. L. V. Saar 5 1.00 Sunday ex- responds with the key 30441 Latin-American Tunes A. A tracker-action organ is one where the Etude. Founded on Chopin's tral background, care must be taken not cept the first Sunday of the month, and we the student learns through his eyes, rather than the written Op. 25, No. operation of the action is accomplished through 2 6 1.25 MARZO, EDUARDO to duplicate too have one rehearsal a week. I have tried in location and position of each note. Drill No. 2 Latin-American music had long in- many tone colors on the of mechanical levers. There are three or spoken word, the 18365 Galop Marziale a system vain to get these people together more than recognition BROWN. MARY HELEN 4 .85 trigued organ in For instant me, especially the rhythms, and the orchestra. So types of pneumatic action: tracker, where the • and I must once a week, but the vast number of activi- Drills are an-advanced of keyboard positions 15348 Gavotte Miniature the action of a tracker; AN ADVANCED STEP-Speed 3 .50 MENDELSSOHN, FELIX believing the Hammond was know just what the orchestral pneumatic is moved by ties going in the plus 15347 particularly arranger on church, the preoc- quickly identify the note on Maytime 2 .50 action where the pneumatic is op- step in aiding the student to 30623 Elfin Dance. From A Midsum- adapted has in tubular, cupation of the greater number of choir mem- 15346 Pussy's Lullaby 2 to playing this music, I made a mind before I complete my score. These handy cards .50 mer Night's Dream. Arr. O. erated through a wind supply: and electro- the i staff with the key on the piano. trip bers, excepting Friday (our rehearsal night), Sutro 4 2.50 to South America to study it first- Timing is important the pneumatic is moved recognition of the keyboard posi- BURLEIGH. CECIL when playing on pneumatic, where by makes more rehearsals impossible. We are re- stress visual accuracy, 30236 Nocturne. From A Midsum- hand, adding Portuguese to my college the radio. Each piece is electricity. The usual §Jze of a vacuum cleaner quired sing special the tions, producing rapid visual, mental and muscular 26349 Coasting, Op. 9. Arr. G. mer Night's Dream. Arr. O. given so many to a number for both Anson Spanish. In is 1/20 H. P. which is not large enough to morning and evening services. Can recom- 6 .80 'Jtro 5 1.40 eight months I had collected minutes and seconds, and you coordination. the whole reed organ. If a pipe organ is 30583 Scherzo. From A Midsummer supply the mend several collections of very easy anthems a number of examples of the samba, schedule is thrown CHAMINADE. C. Night's Dream. Arr. off if the piece does meant, the size of the motor required would mental pictures. This O. rhumba, for four voices? Also please include any col- THE LARGE NOTES make vivid 14480 Flatterer, The. La Sutro 5 tango, and conga and not end “on the nose,” depend on the pressure, and so forth, but the Lisonjera.. 4 .75 3.00 found to use studio par- lections of more elaborate hymns suitable for feature is important, but best of all ... children like Speed that cleaner motor would not be sufficient. the Hammond lent itself particu- lance. When the piece vacuum choir numbers. My choir consists of nine first lesson, and the CHOPIN. F. NEVIN, ETHELBERT is finally set, I Drills. They should be used at the Drill No. 3 larly We are sending you by mail, a list of persons sopranos, six altos, tenors and four to these sparkling rhythms. It practice it alone four pupil should have a set for daily home practice. For stressing rapidity 30242 Etude. Op. 25, No. A DAY IN VENICE, Arr. O. Sutro was with a stop watch and two-manual organs for sale. 4 5 .80 having used, . 30243 30288 Dawn while playing basses —F. W. playing the keys Etude. Op. 4 | at the ! . . .00 play 25, No. 8 6 .80 Copacabana in Rio it with the orchestra in rehearsal. Prices can be had from those who have them 30241 Nocturne. 30289 Gondoliers 41/, more and more of a re- Op. 9, No. 2 6 1.00 j.50 that I was offered A. You seem to have made every effort to SIGHT-PLAYING is becoming 26630 Polonaise, 30291 Good Night a radio contract in I do feel that the available. Op. 4 | .25 40, No. I Arr. Hammond organ rehearsals for the group. The quirement of pianists, and students at the very start, should E. 30290 Venetian Love Song the United secure additional Gest 6 .80 4 1.00 States, and returned to holds forth unique foundation 30244 Valse. opportunities for the only suggestion we would make is that you be trained to attain it. Speed Drills will lay the Op. 64, No. i 5 1.20 accept it. I choir director in a very fine small- PIERSON, ANNA | pianist and organist, either as an acces- Q. am make your rehearsals so attractive that the for proficient sight playing. COOKE. JAMES FRANCIS 24245 Galloping I am often asked town church, with an average attendance of members of the choir will prefer the rehearsal Horse, The. . 2/2 how I play popular sory instrument or as a specialty. For two hundred and a volunteer choir of about 24992 Sea Gardens. Arr. E. Hessel- music of this to other engagements (church engagements TODAY Speed Drills may be obtained country and South America church use, it GET YOURS — PRESTON. M. L. is naturally played twenty-five adults. have a fine pipe organ. berg 4 .60 like We excepted). For collections we advise examina- direct to us, the pub- on the Hammond. It from your local music dealer, or send 26488 Tommy's is difficult to de- a pipe organ. 1 am giving you this background so that you New Drum.... l'/2 .50 But as a specialty, it has tion of the following: “Anthem Devotion”; only DELIBES, LEO scribe. lishers. Complete set of 32 cards with instructions, 50c. None of this music is written unhmited may better answer the question I have to Repertoire”; “Anthem Worship”; for possibilities. And in time, I “Anthem 30245 Pizzicati. From ROWE, G. H. I extensive library Sylvia 5 .80 the instrument. It ask. do not have an from “Voices of Praise.” For hymn anthems, we Drill No. 4 comes largely in piano believe it will have its 30246 Forget-me-not. Mazurka 3 own literature of which to choose numbers for the choir, and “Hymn An- For stressing rapid vis- DURST, .80 copies and suggest examination of Schmidt City Mo. SIDNEY C. some of the folk tunes I music. To JENKINS MUSIC COMPANY, Kansas 6, ual, mental and muscu- we use an occasional hymn as an anthem. them Books” 1, 2, and 3. All of the books 3C548 In Stately Mien. Prelude RUBINSTEIN, ANTON I picked up in lar coordination 4 | .25 South America are not vary this form to make it interesting to the secured from the Publish- 30487 Light even (Additional books arranged mentioned may be and Gay. Scherzo 4 .90 27314 Romance in E-Flat for Ham- major scored. Popular music must be choir as well as to the congregation sometimes ers of The Etude, who will quote you prices Freely transcribed by Silvio adapted mond Organ are: “At the to Console," Fel- I have one member of the choir sing a certain request. ENGELMANN. H. Scionti the instrument by the on .70 player. It is ton; “Chancel portion as solo others hum, or per- 16953 Grand Valse Echoes,” Felton; "139 a while the Caprice 1.25 laigely a question of whether you feel Selected haps the entire choir will hum the four parts. in- SAAR, LOUIS VICTOR it Organ Pieces,’’ edited by Vib- Q. There is in our neighborhood a very FEDERER. RALPH or not. If you don’t Is this humming in any way out of place or combination 24967 Merry Wedding Tune, A. Op. feel it inherently bard; “Standard teresting and rare organ—a of Postwar Planning Compositions for Or- ? O. B. Rhapsody in the performance incongruous in our church service — O. organ. It has one manual and D-minor (For is likely to be stilted gan," pipe and reed Solo Piano arranged by Higgle; 8' and Orchestra, and to lack "The Ham- pedal board—contains two sets of reeds in on things you'll buy? 2nd Piano in SCHARWENKA, abandon, especially if A. While humming of the parts, with the Score) 6 1.00 XAVER you mond Organ,” Stainer-Hallett; bass the manual. The treble consists of “ Album all right, the of 30058 Polish Play just what you see melody carrying the words might be 4' Clip this ad as a reminder to make sure your postwar Dance, A. Arr. Ph. on paper. It is of Duets for Organ two sets of 8' reeds, one set of reeds, and a GAYNOR. JESSIE L. Werthner and Piano,” Kohl- humming by the entire choir might be out of ft record cabinet is a beautiful TONKabinet. Made by the 5 1.25 necessary to put a lot wooden pipes called Clarabella.” 30599 Guitar of yourself into mann; place in the music set of small craftsmen who create famous Tonk occasional furniture, Serenade, The. Arr. D. and "Playing the Hammond Or- the church service, where tone. this music. The latter have a beautiful and smooth to finest Styles to suit all rooms; sizes G. Blake 2 SEEBOECK, W. C. E. with the absence of the words might be looked they are a credit homes. 50 gan," Elementary Instruction 16' in the treble which 30598 March of the Wee Folk. Arr. Book .) There is also a stop to fit all record collections. Askyour dealer. TONK MFG. CO. 30049 Minuet a I'Antico. Arr. L. upon as “entertainment,” which, of course is D. G. Blake gives a loud and reedy tone. It is called Vox 2 .50 V. Saar 5 not the function of music in the church. We 1.50 Humana. The Pedal stops consist of Bourdon would not approve of humming by the en- GRIEG, EDVARD 16' Violoncello 8'. The pedal board can be SOUSA, JOHN PHILIP Music Lovers to earn tire choir the absence of words and 30188 Butterfly, LIBERAL COMMISSIONS with necessary in use. It The. Op. 43, No. I. 8 .75 pushed under the organ when not 30862 The Stars and Stripes Forever! securing subscriptions as a churchly practice. 30057 Norwegian Dance No. 2. Op. for THE ETUDE. Part or about seventy Arr. Michael was made by George Wood 35. Arr. Zadoro 5 1.00 full time. Ph. Werthner 4 1.25 No Cost or Obligation. Write for com- you think this organ is worth 30348 Peer years ago. Do Gyrrt Suite No. I. Op. 46. 6 2.50 plete details TODAY! Address: I Would it be satisfactory for a 26352 Puck, Op. No. 3. Arr. SPROSS, CHAS. G. Q. As organist and choir director , am much today? 71, E. motor were installed? Would Gest 5 30274 Valse CIRCULATION DEP'T eager to receive information regarding a serv- small church, if a 3Q Caprice 5 1.25 •? 30462 Two Elegiac ' dollar be too much to pay for Melodies. Op. 34. THE ice or program pertaining to '‘Promotion of twenty-five Heartwounds ETUDE MUSIC MAGAZINE and The Last TERHUNE. ANICE Chapel Choir Members to the Senior Choir.” it?—P. K. Spring. Arr. Ph. Werthner.. 1712 CHESTNUT 4 | .25 ST., PHILA., PA. 30502 Bridal Song organ has more 3 .75 A. We do not know of any program or A. We doubt whether the HESSELBERG, time, and you EDOUARD service for such occasions as you mention. than its intrinsic value at this 30547 El Trocadero. TSCHAIKOWSKY, P. I. be satisfactory March-Two Step 5 1.20 Whatever you do for the transfer of the per- can judge whether it would 24982 about and ask them to give Russian Rhapsody 8 1.25 30314 March of the Tin church. The price you mention is Tell your Music Loving Friends THE ETUDE Soldiers. . 3 .60 sons should be done for any future transfers for a small 27237 Theme. From would llieir subscriptions. the Piano Con- to avoid charge of ‘‘discrimination." We sug- not excessive, but the cost of the motor you the privilege of sending in KETTERER, ELLA certo in B-flat minor, Op. cost of the organ gest, if practical, that the persons be trans- have to be included in the subscriptions you send 23. Arr. R. Ask for Catalog of Rewards for 25328 At the S. Stoughton. ... 4 .70 Dance 1 1/- .50 ferred at a public service, arranged by you? in estimating the expense. 25326 Mazurka 1712 Chestnut Street Philadelphia, Pa. 2 .50 WILLIAMS, FREDERICK THE ETUDE 25327 To the Hunt 2 .50 23530 Firefly, The 3i/ 2 .55 KOELLING, CARL -MUSIC IN EVANGELISM WRIGHT. N. LOUISE HYMNS” 24961 Hungary. Rhapsody AND STORIES OF FAMOUS Mignonne 4'/2 24565 Spanish Serenade 3 .50 PEABODY CONSERVATORY BY PHIL KERR CHOIR tracing BOY textbook, A valuable the history and development FIRST dis- HYMNAL BALTIMORE MUSIC of Christian music, and MY 2, MD. AND EPISCOPAL CHURCH cussing the use of music in — 10-14 modem Christian service—par- CONFERENCE JULY re- CATHOLIC HYMNS REGINALD STEWART, Director ticularly in evangelism and FAVORITE THEODORE ligious radio broadcasting. Also PRESSER fascinating stories CO. included are ' FaCU,ty of of how 179 famous hymns were by Instructions in international musicians. CAMP WA-U-RO arranged FOR PIANO aU branches”"! written. The author is a well- Music Publishers Dealers, °f Public artist, musical , and Importers Scholarships, Diplom Sch °°< Music known radio ’ * Certlficate» Dr. Tucker evangelist, and composer-mu- and Colleges. and Academic Credits in Schools T. Tertius Noble Bishop Beverley Distributors for OLIVER sician. DITSON CO., and JOHN CHURCH Rev. F. B. Atkinson Walter Blodgett $1.00 RICHTER CO. pages. ADA 244 C I RC U LARS — ^ ON REOU EST want a copy of If you’re a gospel singer, you’ll PRICE — 75 cents net Songs containing 89 beau- 1712 Chestnut Street, Philadelphia Address— “Phil Kerr’s Gospel , 1, Pa. Paul Allen Beymer •— ' . The Lover SUMMER tiful “specials— Cials“, such as “In Love With SESSION June Divine”, etc. 50c. McLaughlin & reilly co., boston, mass. — 26 to Aug. 5 University School of My Soul’’, “Melody aacdci Mimr* n iir Cleveland 22, Ohio 300 "FORWARD MARCH W'lTH MUSIC” THE ETUDE MAY, 1944 "FORWARD MARCH WITH MUSIC” 301 — — higher from the string. a bit Again, as The Light Violin in the case of the spiccato, the pupa should experiment with the Our Three Moller Organs angle of the instructor at One ot Bowings stick above the hair. pupil has GUY MAIER After the mastered passages Page 273) (Continued from where each note is repeated four times it is well to play the same CLASSES IN PIANO PEDAGOGY exercises, re- f# sautille bow- peating each note twice. An often \ the term saltando, when the neg- there is a lected but highly valuable form ing was indicated. While of the -Answered HAROLD BERKLEY and the sautille is in passages where relationship between this bowing each note • ATLANTA .... June 19-30 (Classes, June 26-30): Manager, Helen Knox so much that is dis- is played three times. Numbers Spain, Hotel Atlantan. spiccato, there is which No questions will be answered in THE ETUDE unless accompanied by the full name warrants a incorporate the sautille where similar, that the bowing each note and address of the inquirer. Only initials, or pseudonym given, will be published. • MINNEAPOLIS . . July 3-7: MacPhail School of Music, LaSalle at Twelfth sautille is is played only once, can different name. The term be considered Street. as life studies, as excellent and the pupil’s left • CHICAGO. . . . July 10-19 (Classes, July 10-14): Sherwood Music School, sautille stroke hand develops, the standard The first lesson for the perpetuo 410 South Michigan Ave. mobiles may be used. is as follows: left-hand finger TWO IMPORTANT play a After the spiccato A Trade-Name (?) amplitude of vibration. A firm, • BUFFALO .... July 20-28 (Classes, July 24-28): Manager, Elsie Stein, 1. In the middle of the bow, and sautille are notes are slow grip is essential; and if the QUESTIONS . . • TWO mastered, the pupil is 0Lmait L. W. S., Minnesota—Without seeing your should be 703 West Ferry St. series of smooth, detache strokes. ready to begin the enough to allow it, a rapid vibrato violin, it is impossible to say very much about one-half given note. If you are doing all these STRAIGHTFORWARD ANSWERS 2. only about one and ricochet and the staccato bowings. These to each • NEW YORK CITY . July 31 -Aug. 11 (Classes, July 31- Aug. 4): Juilliard Use it. The name “Florentina” is obviously a does not things, and your pizzicato tone still Marimbas being made School of Music, 120 Claremont Ave. inches of bow. important bowings will be discussed in trade -name, and the instrument is probably Q. Are Deagan satisfy you, I would suggest that you have later article. CoiiAczvatotij worth about what you paid for it. It may be in these war times? 3. Use the wrist only. a your violin adjusted so that it gives a quicker of American workmanship, but is more prob- passage, properly execut- considerable quantities for the 4. Start slowly and gradually get faster. response. A pizzicato A. Yes—in ably a German import. This, however, is im- reso- ed, is a good test of a violin’s inherent armed forces; in limited quantities for this for about ten or twelve seconds, possible personal in- Five morning sessions in Materials, Do to determine without Methods, Analysis of Familiar Masterpieces, ojJlliTSic. nance. civilian use. stop. The stop is important, spection. and Young People's Repertoire Class Inclusive fee, $25.00. and then Q. What about deliveries? Students because if the pupil keeps it up longer, (under 18) of teacher members of classes admitted to Young People's Various Questions . , The Latest Records A Division of Brenau College First Public Appearances Montana.— (1) A slight whistle the needs of our armed forces Repertoire sessions for fee of $5.00. a motion foreign to the stroke may creep Miss V. P., A. Because fac- stroke may be All branches of music. Distinguished F. L. B., New Jersey—Your problem is, un- at the beginning of a bow come first in war-time, and because In certain cities afternoon courses will be offered; "Music Before Seven" in. find himself tensing, or using Preparation for by He may ulty Splendid equipment. caused one or more of several different — performers. fortunately, by no means an uncommon one: by Deagan is heavily engaged in the Mary Nelson, "Miller New Way" and "Maier Technic" by Florence Binkley, The length of time may be Pass in Review careers as teachers or left-hand finger grip; a bow the forearm. Choral club. Military many ambitious young musicians have found things: Insufficient combat "Dalcroze Eurythmics" Symphony orchestra. amount production of many types of by Leontine Plonk,—and (upon demand) a repertoire class the pupil is free Vested choirs (a capella and accom- their first public ap- that needs rehairing; an inadequate increased as long as band great difficulty in getting time to fill Smaller vocal and string ensemble a lack of firm- equipment, it takes some for advanced players. later he (iContinued from Page 262) panied). pearances. Nevertheless, there are ways and of rosin on the bow hairs; or from tension. A week or two units Performance of two operas. Frequent Deagan Marimbas. But what tell ness in the right hand. I would suggest that orders for Also, private lessons, technic groups, artist recitals. student recitals. Public school music. means by which it can be done. As you be asked to do this stroke a little Opportunities for all these things. slight delay in delivery compared may Courses in conducting. me nothing about your age or your violinistic you check up carefully on is a quickly enough, hearing concert artists. of tone quality in rapid satisfaction of playing faster. If it is performed Pasquier Trio (Columbia set 351) ability, I cannot say what course would be (2) A deterioration to the lifetime ; there Moderate rate for board and room in be playing is a very common fault indeed; never- instrument? Good by a slight whipping of the wrist, the the playing was more intimate and more College Dormitory on 350-acre campus. the best for you. In this, your teacher will the world’s finest theless, it is a fault that can be easily over- with major in mosit. advisor. The most obvious thing to worth waiting for! ASSOCIATE TEACHERS automatically lift from the DEGREES: B.Mus. or A.B. your best things are bow will subtle, with the result that one thought come. Its usual cause lies in the player’s do, if you are equipped for it, is to rent a most For catalog, address: his strings, creating a rather delicate bounce. less about the performance and and give an invi- attention being directed almost wholly to j. C. DEAGAN, INC. Miss Julia Amolsky (Boston) more CONSERVATORY small hall or church room Mrs. J. Montague Holland (Richmond) BRENAU left hand, leaving the bow arm to take care of Avenue, Chicago 13, III. Mrs. Florence Binkley The bow should find itself a bit nearer about the music. To be sure, Mozart tation concert, inviting those people whom you 1770 Berteau (Oklahoma City) Miss Augusta Kahn (New York City) can is slow prac- in hearing you itself. The most effective remedy Mrs. Margaret Diefenthaeler (Milwaukee) Miss Helen MacVichie (New York City) to the fingerboard than it would be in think would be most interested stand virtuoso treatment, particularly in tice, with keen attention to the quality of each Mr. Roland Dittl (Milwaukee) Mrs. Evelyn Prior (Rochester) play. I should advise you to ask a singer to Miss ordinary playing. this you play a rapid legato passage May Etts (Brooklyn) Miss Rosalie Smith (New Bern, N. C.) work which is one of the finest ever share the program with you. Having another note. When Miss Elisabeth Tillman (Atlanta) slowly, your bow must cling much more Do not exert too much pressure with devised for an ensemble of its kind. Pref- artist on the program would help to attract a closely to the strings if you are to produce a the first finger on the bow. The exact \ larger audience, and it would relieve you of erences in such matters will rest with good quality of tone; this will give you the the strain of giving the entire program your- spot on the bow where this involuntary the individual. This trio dates from the \ “touch” necessary for producing a good tone Immediate registration is advised to insure self. your place in the classes. bounce takes place is different in various when you play rapidly. Keep in mind always time of the composer’s three great final If you would rather start in a smaller way, / \ the fact that a passage of rapid sixteenths bows because of differences in weight let it be known at your church symphonies. It ranks with the best of you should touch as a one or two needs as firm and sensitive a bow and balance of the bow sticks, and be- \ that you would like to take part in VIOLINS his quartets and quintets. The recording other single note of the same duration. RARE OLD of the church socials. If there is any cause this is influenced by the length of is (3) If the open string sounds when you A Revealing New Book in Two Farts excellent. \ organization in your town that^ gives musical Perhaps one reason our customers find so i that string to another, it the bow arm of the individual player. approach the persons in move a finger from of BOSTON UNIVERSITY Liapounoff: Lesghinka (Caucasian programs, you can satisfaction in old violins from our ^^Vparagon rhythmic counting yon is a sure sign that you are not moving your much It is safe to say, though, that in most i \ charge and tell them the same thing. Also, FOR ALL RHYTHMS Dance), Op. 11, No. 10; Alexander Brai- quickly enough. Or else that you are is: SELECT ONLY FINE EX- 13^ with someone connected with finger collection WE c/l ftudic cases it would be about inch can get in touch that Cofleqe an below lowsky (piano). Victor disc 11-8567. \ for allowing your bow to remain too long on TONE. After all, PARAGON OF HARMONIZING / the nearest music club and offer to play AMPLES WITH EXQUISITE Piano, 78th To play two consecutive notes on neigh- applied to Offering complete courses in Voice, Organ, the middle of the bow. of the club. Another string. want; sonorous, Brass, Woodwinds, and Like Liszt, Liapounoff wrote a series of the program committee tone is what all players Violin, Cello, Percussion instru- \ three boring strings with the same finger is not at I FOUR KINDS OF HARMONIZATIONS ments, Public School Music, Composition, Church This special study must be kept up for / SUMMER SESSION you can do is to organize two or studies which he called “Etudes d’execu- thing it better to use two responsive, soul-satisfying TONE! J Music, Musicology. Chorus, Glee Club, Orchestra. Band. home or all easy, and is much Send for explanatory circular quite a number of weeks. informal musical evenings at your 1^® Faculty includes members of Boston Symphony. The pupil will tion transcendante.” work, / 6 weeks term \ different fingers, if at all possible. This, of Bache- The present friend, inviting a different EFFA ELLIS PERFIELD at the home of a second Send for New List. $100 up. lors and Masters Degrees in all musical subjects. Dorms. go through rather peculiar experiences 19 to 29 inclusive two or course, calls for a fluent use of the ^ 103 East 86th St. one of the most famous, is similar in June July people each time and having (Park Ave.) New York City Catalog. COLLEGE OF MUSIC, 73 Blagden St.. Boston. / group of with as the stroke develops. on the (and fourth positions. However, familiarity Some days he will character to Balakirev’s “Islamey,” a Write for summer school announcement three other young musicians take part these positions is essential for a violinist with BALLARD find that it will spring evenly, and others, / Ohio with you. FRANCIS DRAKE work regarded by many as the most diffi- 2650 Highland Ave. Cincinnati 19, programs artistic aspirations, and the time spent in ac- suitable in your com- that it will be impossible to get a bounce Other possibilities, quiring fluency in their use will bring real ROOM 408 cult piano composition ever devised. The occur to you if you give munity, will probably rewards in facility and clarity of technic. at all. But finally the happy day will however, N. Y. unrelenting flow of the melodies and the the matter some thought. One thing, 320 EAST 42nd ST., NEW YORK (17), arrive when he will get an even and COLLEGE OF FINE ARTS you must not expect—a fee for your initial swift pace of this composition make it al- paid Aluminum Violins delicate series of appearances. Consider that you are being bounces. most SYRACUSE UNIVERSITY H. C. W., Wisconsin.—About twenty-five or as difficult to perform as Tslamey.” experience you are gaining. If your We find that in a successful perform- bv the thirty years ago some aluminum violins were Lesghinka owns similar characteristics people, It will not be long playing attracts made that were put on the market and rather ance of this stroke, a slight trace of fore- Nine Major Courses leading to Degrees ask fees for most of your en- to an Italian tarantella. Listening to before you can advertised. However, they proved very ©epenbabtlttp Master of Music luck, for widely arm will enter in. It is not of Bachelor of Music and I wish you the best of advisable to Brailowsky’s clearly articulated perform- on cements. unsatisfactory, for the tone was quite unlike allow the pupil to become aware of violin. They quickly disap- isnnee 1874 H>crbtna a Clientele this ance of this work, one might not think Piano Violin Music Education that of a wooden 5F and I doubt very much that you could —it should be considered rather . Organ Cello Composition peared, String ptapersi as an it difficult, yet would of ©iscrtminatins one in the know - obtain one now. They have probably been inevitable motion, due to the connection 'TgF \ Voice Harp Piano Teacher Training e*\°X realize his performance was not accom- Hi C nc melted down and are now in the war effort SPECIALISTS IN VIOLINS, BOWS, REPAIRS, etc. soarin' ! of forearm to wrist. In tadiana.-The ideal violin the spiccato the Summer Session July 3-August 12 J s! parts of airplanes! In any case, you would CATALOGS and LITERATURE on REQUEST plished without considerable effort on — Cv r motion of as ; tAea'~- produced by a combined — forearm plays an important part, but Regular Fall Term Starts September 6. vibrato is find that even a very inexpensive wooden of any teacher! The main thing is to stimulate love and enthusiasm joy in Early Violin for the violin—and that can be accomplished only if the confusions that Study still exist in its earliest presentation are cleared away real rmencan Page 276) We violin teachers need clearer SONGS OF EARLY AMERICA ( Continued from and AMERICAN musically developed more elementary (1620-1830) dif- violin methods. (Collection violinist, who has all the elementary must and Arranged by ficulties of any beginner -student, Compiled CONSERVATORY manufacture his own tones besides! This, jU PulLU! more ELIE SIEGMEISTER of course, makes the violin seem its difficult than other instruments in Exciting For a long time these songs of early America lay forgotten. Elie Siegmeister has rediscovered the elementary stages. Naturally, the stu- Futures in Army Music Billy and the Code Billy and the Cade (Prize winner in Class C) Continued (Playlet) ( The soldiers of the United States Army like music and other entertainments cradle songs and after their such as their long days of hard work. Also they like to get and ddforence -Jdorecith canoe songs, where each syl- to the canteens and dance to good dance lu ddrneitine their music. song is sung to a stroke lable in the Some songs are fine for keeping up morale, such as This is the the paddle. Army , There’s a Star- of Spangled Banner OBEBLIN Characters: Waving Somewhere, and America is the place Sailor: Latin others. Of course the best way to keep a sol- ! stirring dier in good Billy Army Nurse to hear music The rhythms condition is to keep' up his morale, thus he will not feel as lonesome as he (his sister) Soldier Spanish songs are heard every- Ellen of would if he were just sitting in his barracks WAC Sailor where; people even sing and play with no entertainment or music. So let’s give him plenty of good music. Each branch Army Pilot Marine the streets, serenading each of the on Service has its own particular song, as: Army, other. Then, there are fine con- Caisson Song; Navy, Anchors Aweigh; Marines Hymn; Air Corp, Air Corp Coast Scene: Interior; a table, a piano, an too. Yes, we feel close to Army Guard, COLLEGE certs, Semper Paratus. flag. (Plays American good music down there. La Yes, music is a must for the Service. Fred Weterich ELIZABETH A.GEST Palorna, or any Spanish number.) (Age 11), New York OF MUSIC I never thought about CONSERVATORY Billy: ( seated at table, tapping with first part of the Song of India, by Billy: Well, (plays) being in all those queer pencil) ; Dit-da, dit-dit-da, da-dit- Rimsky-Korsakoff music Army Music da-dit. Marine: Good! I never knew you places. Dad must be hearing music A Music Lesson from the Circus (Prize winner in Class B) A professional music school in an attractive time in the Army, no mat- Ellen: ( entering with music book, played the piano. We hear lots of all the Music plays a great part in building the college town. (Member of the National stands listening) Billy! What in music in China, too, for the sol- ter where he is. morale of men in the army. In the last world If Mie W. Jordan war General Bell said: “A singing army is a of Music.) the world is that? The Eskimo diers sing, the knife grinders Soldier: Sure he does. Keeps him Association of Schools sing, fighting army.” This is still true. Today the strong, and makes language? the ricksha pullers, the farmers, happy, too, and total number of army bands is four hundred selected Ben had been to the circus that you see about piano playing. It isn’t Thorough instruction for carefully to you. I bet the and forty-two, the greatest number the army Billy: Of course not! It’s the Morse the cobblers—in fact, nearly all him feel closer afternoon and he was eager to tell merely striking the right note that has ever had. Each of these bands has a students in all branches of music under artist teachers. code. Don’t you know that just one the natives—sing. Besides, there first thing he asks you when he minimum of twenty pieces, and some are his mother about the hair-raising counts. Almost anyone can do that, “How’s the music much larger. The U.S. Army Band has tran- Special training in band and choir direction. stunts hundred years ago, in 1844, the are moon-shaped guitars, flutes, gets back is, of the trapeze performers. sooner or later. But its striking each scribed twelve famous marches, each of them first message was sent? I’m learn- drums, castanets, and violin coming?” history. marches “Three horses were galloping round note at the right instant and holding like throbbing with military These Write for catalogue describing Oberlin’s conservatory ing the code in honor of the event, instruments Billy: Maybe he will. Well, I’ll prac- have been distributed throughout the country. the ring,” he explained, it with two strings. We practice “and a girl the exact length of time required, Music is truly a tonic for our fighting men. courses and its superior equipment (200 and to surprise also tice all right, just for him. It’s our from way up near the roof dropped neither Dad. hear lots of Western music In cruisers, battleships, submarines, and trans- more nor less, that chiefly rooms, 23 modern organs, etc.). Degrees: Bachelor of Ellen: Oh, I bond, just like the Morse code. It ports there are machines to play recordings; right down on the middle one. If makes a see. Well, ( going to the there. (Plays Chinese Dance from musician’s performance a short wave receiving sets and many musical Master of piano) have you practiced your the “Nutcracker Suite” keeps us closer, the Morse code! Music, Bachelor of School Music; she’d been an instant too soon or success instead of a failure. If you by Tchai- instruments which are constantly in use dur- lesson practice scales in the ing the brief periods of relaxation the men Music Education. too late she’d have been under the become the fine yet? kovsky.) I’ll my Music, Master of pianist I think you have. Billy: Practiced! of the Morse code; then hoofs of one of the other horses. And And at a time like Army Nurse: In the Pacific area we rhythms Margaret Goodman (Age 13), scales at Carolina there were a lot of other perform- this! I told you I’m studying the hear lots of music, too. The Pipes I’ll be learning code and North Frank H. Shaw, Director, Box 554, Oberlin, Ohio. ers doing things just as dangerous, code. of Pan is a popular instrument on the same time. Good idea! Never Ellen: Let’s all reaching safety by just a split sec- Maybe you are, but you know some of the primitive islands, but thought of it before. sing Prize Winner in Class A: as ond. Wouldn’t it be grand to have Dad told us to practice regularly the songs played on it are rather America. (All join in singing Norris L. Meredith (Age 16), Mary- such marvelous skill as that?” while he’s away in the Army. I’ll monotonous, as they are confined Billy plays. He then plays Hands land. Ben’s play my new piece for to Across the Sea, March by Sousa, mother was looking over the you. I’ve the interval of a fourth < plays evening paper. “Here are some pic- just memorized it. (Plays, as service from F down to C). Then, there as all exit.) Musical Nets Puzzle men and tures and a paragraph or two about women enter, listening.) is that popular song from Hawaii Curtain. by Aletha M. Bonner the circus,” she said. “Listen Billy: (as Ellen finished her piece) called to this, Aloha Oe, ( Fareivell to Find the word NET in: ianbjnfittlutr nf(DubIt Ben. ‘In all phases of I haven’t time to practice now, Thee), written Honorable Mention for F.ehruary C(leb* show business by a queen of the 1. A small harpsichord. it’s timing and besides, that counts. Imperfect Dad won’t care about island ( plays Aloha cf Oe). Essays on Army Music: 2. Small percussion instrument Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma timing may endanger life and limb music. He’s got too many other Army Pilot: In Faculty Alaska we hear mu- Barbara Visscher; Harold Feller; Janet 'Hil- Spanish origin. WARD LEWIS, Dean of the TIMING IS IMPORTANT HERE and it certainly makes the differ- things to think about now. sic of the ferty; Lawrence Vitzthum; Anita Weissgerber; Director (on leave of absence) 3411 Euclid Ave., Cleveland, O. Alaska Indians. They 3. A little air or song. Beryl Rubinstein, ence Soldier: Frances Chesson; Elvara Gallagher; Maurice between a mediocre perform- are You’re wrong there, Billy! made rattles out of shells, going to be, Ben, you will have and Mickle; Doris Collum; Gertrude Webster; 4. A form of poetry. ance and a top-notcher that thrills You’re very wrong there. whistles out of mastered the art of timing in your walrus tusks, and Roger Hard; Mary Barich; Ruth Smith; Lor- 5. A horn of the brasswind family. a great ” Pilot: raine audience.’ She handed Ben line Army ( going to piano) Yes, they had all kinds Leronzo; Ann McKenzie: Martha Can- CLASSES own as absolutely as those won- of drums. Some 6. A horn of the woodwind family. RIVERDRIVE SCHOOL OF MUSIC & ARTS SUMMER NORMAL the page she Billy, you’re terbury; Alma Jpy Howe; Sue Brown; Anita had been looking at. derful acrobats wrong. In the various of their songs are very McMurtrie; for TEACHERS and STUDENTS have in theirs. Then tender, Russel Boardman; Evelyn Bab- Drive “Now,” she said, “this thing branches of the Service cock; Harold Wilson; Marianna Watta; June 84 Riverside will be conducted in the Revised Dunning Course of of tim- some day an audience will be we have (Continued on next Page) Music Study and the Carrtck Creative Pre-School and ap- Wohlman; New York City Musicianship Courses, by Mrs. Jean Warren ing is just what I’ve special music which Carl Winters; Tillie Voge; Marjorie Red Cross Afghan Junior tried to make plauding you.” we love to sing Kershaw; Carrick (Dean of Dunning and Author of The Carrick Betty Brown; Roger Miller; Edwina and her corps of efficient Normal and play like Knitted squares and wool-goods squares FREDERICK G. KOEHLER, Director Creative Courses) these ( plays Look Clark. Teachers in leading cities of the United States. For recently been received from the follow- booklets of information, address Out Below, Paratroopers The Clock have Dormitories dates and song; The Ann Oliver; Carolyn McConnell; Betty S.E. 68th Ave., Portland, Oreg. ing: Catalogue on request Special Summer Session Secy. 940 Caissons Go Rolling Along, Artillery by Helena Sid is Letter Box Brown; John Calvin Brown; Hilda Fairies; Jones; Eva Johnson; Kay Song; Anchors Aweigh, (Semi answers to letters care of Junior Fran Shoron; Julia Navy Song; Connor; Pat Connor; Don Walker; Mrs. M. Junior Club E!ude) SCHOOL 50TH Outline No. 33 or any similar songs.) Dfar Colwell; Gladys Hawkins; Mona Guadipee; YEAR Junior Etude : THE MANNES Shirley OF I am a Delores Preston; Dolores Carpenter; iene Theatre WAC: . second-class Girl Scout. While work- Berlioz These are grand songs, too. Ann McDowell; Star making. Students seeking professional engagements and Orchestral Development ing for my first-class badge I had to write a Scotland; Marie Olson; Joy coached by Stage, Screen. Radio and presented in pro- story Lopez; MUSIC SCHOOL ductions for showing to B’way-Hollywood Talent Scouts and They give me a thrill. about a famous and I McBride; Mae Boyd; Marjery But this is musical composer Mary Jo public. B'wav also Summer Stock. Spring course opening. chose Weeks; with Artist Teachers, Y. not Johann Strauss. I know very little about Marian Lopez; Katherine Lopez; Joyce Study complete courses 1 SEC’Y SHUBERT. 1780 BROADWAY. N. the only music we music or Teacher’s Certificate. Special hear in the yet, but I love to listen to Strauss Shirley Prichard; Louise Jarrell; ing to Artist's Diploma (a) During the nineteenth century Dozier Allen; courses for children. Class and individual instruction. (d) Give a term meaning very soft. Army. Waltzes. Those of us in North Africa Billy Fletcher; Patsy Nell Hirt; Claudette Violin, viola, cello, harp, piano, voice, wind instru- many improvements were From your friend, Conducting, Chamber Music Depts. Write: Make THE ETUDE Your Marketing Place made in (e) What is meant by hear Rocco: Sara Ann Wiggins; Roxanne Chew; ments. Opera, dynamics? native music; quaint instru- Maxine Eckbledt (Age 16). Doors Real the development of Carol Hartman. Many thanks! DAVID & CLARA MANNES. Directors Etude Advertisers Open the to orchestral in- Keyboard Harmony ments, such Texas IrfS Brown; struments; as the rebek, which 157 EAST 74th STREET NEW YORK 21, N. Y. Opportunities playing technic was im- (f) Refer to last month’s Outline found its way into Spain centuries proved; orchestras were increased in if you forget how to form an aug- ago and became the forerunner JUILLIARD SCHOOL OF MUSIC size. Hector Berlioz was of responsible mented triad. Attention the violin; must be also the tar, a kind of for some of this development. One given to the Contest alphabet in these triads; tambourine; and gourd Junior Etude ERNEST HUTCHESON, President of his compositions required drums sixteen C-E-G-sharp i s an corner of your augmented triad They’re fascinating. The Junior Etude will award three at- you enter on upper left trombones and eight pairs of kettle on C, not inverted; but Soldier: tractive prizes and put your address on upper C-E-A-flai We hear the rebek in India, each month for the neatest paper, OF MUSICAL ART drums; he made the violas take a (the INSTITUTE same on the keyboard) is the too. Tick, tock, and best stories or essays and for answers right corner of your paper. It is played by minstrels who GEORGE A. WEDGE, Dean more important part, and frequently first inversion Tick, tock. to puzzles. Write on one side of paper only. Do of the augmented wander about; and then Contest is open to all boys and used choruses with the there is girls and do not have any- orchestra. triad on A-flat. Play an Hear the chanting under eighteen years of age. not use typewriters augmented the music of the snake charmers. Individual vocal and instrumental instruction. When and where was Berlioz born? triad, Class A, fifteen one copy your work for you. root position, on each degree We get a Of the clock. to eighteen years of good lesson in Oriental a e not over one hun- Instruction” in theory, composition and music education. (b) S ; Class must contain He developed the form of com- of the chromatic When I learn B, twelve to fifteen; Class C, Essay scale and call the music in India. It re- is mostly in under and fifty words and must be the B. S. and M. S. Degrees. position called “tone poem.” What is letter-names the Quite well twelve years. dred Diplomas and of each triad. This is five-tone, or to play, Junior Etude Office, 1712 pentatonic, scale. Names of prize will appear on ceived at the a tone poem? not easy, I’ll winners so think hard. Repeat, and (Plays not hear Philadelphia (1), Pa., Catalog on request. the pentatonic scale) this page in a future issue of The Etude. Chestnut Street, Terms do the same in a The clock first inversions, no- good example of all day. The thirty by the 22nd of May. Results of contest (c) the pentatonic next best contributors will re- N.Y. Give a term meaning very loud. ticing how Tick, this 120 Claremont Avenue Room 432 New York 27, the alphabet changes. scale that tock, ceive honorable will appear in August. Subject for you all know is mention. the Tick, Violin.” tock. Put your name, age and class in which month’s essay, “The 308 "FORWARD MARCH WITH MUSIC” MUSIC" 309 THE ETUDE MAY, 1944 "FORWARD MARCH WITH — as well as played. Those ordered the special THE COVER may be sung modulations between keys. Hence the superb judgment in his selection of ma- single copy may be at FOR THIS MONTH-When the strumental features in church or Sunday with the previous works of Mrs. aspiring performer should equally noted Advance of Publication cash price of 35 picture first came to our familiar acquaint him- terial for this book. He is attention over School, and certainly in many her publications are homes Richter know that self with the principles governing modu- for the pianistic quality of his transcrip- cents, postpaid. a year ago we immediately decided that they will be utilized frequently in four- well within the limits of the lation. it was so outstanding always tions, of which he has made a number among the many hand recreational playing. As in the case capabilities of the students for whom she This book presents these principles in just for this volume. OF PUBLICATION OFFERS pictures we have seen of children solo ADVANCE at the of the transcriptions he has thoughtful study of pro- writing, and show a manner understandable by the ama- The contents include all the familiar WITHDRAWN—As is customary when piano keyboard that we should like to use vided, Mr. Kohlmann is has made these possibilities of the material teur. It it teaching shows the easiest way to pass and best-loved melodies. They have been works described in advance of publication for the cover of The Etude Music duet transcriptions in the the keys in which consideration of the limita- from diffi- Magazine. as well as one key to another. It does not simplified so that they are not too on these pages are ready for delivery, the hymns are usually sung, so they may of small hands. attempt to exhaust the subject, which is cult for the average pianist to play, while notice is given stating that the spe- Whoever took this picture succeeded in be used for four-hand piano tions this accompani- the Advance of Publication of- one of the most striking preserving the essential catching these fine children During effects in music, at the same time cial price at which they have been of- when they ments if desired when the hymns Latin-american are single copy of Our but is concerned with the shortest route texture and richness of the original har- fered is withdrawn. The books that will were intensely interested in their music sung. fer, a undertaking. neighbors may be ordered for the special between keys. It presumes little knowl- monies. be made available this month appeal to This photograph beautifully A single copy of this book may be or- 40 cents, postpaid. edge of de- typifies the first cash price of harmony and is practical and We believe there will be a great piano teachers and choirmasters. recital efforts of many dered in Advance of Publication young music at the workable for the beginner. One hundred mand for this book and urge that you students who at springtime special cash price of 60 The Child Haydn, by Lottie Ellsworth Coit cents postpaid. AND SING!—for Voice Students, and thirty-two actual By so doing, you and close of the season recitals READ THIS models are given, place your order now. Bampton, issued in the “Child- contribute All advance subscribers will be and Ruth supplied and Choir Singers, by Clyde R. and a supplement provides brief musical will not only be sure of your copy but a piano duet number in demonstration Chorus of Famous Composers” series, In making this arrangement for piano with a copy of this book out of the hood Days of their accomplishments. first Dengler-From his wealth of valuable in- examples of interesting modulations to receive the benefit of the special Advance —four hands, Mr. Felton was able to re- copies completed by the follows the plan of its predecessors, The With Waif 1944 printers and gleaned through years of ex- all possible intervals. of Publication cash price, which is only the children of today being given tain the original or- formation Child Mozart and The Child Bach. Few much of the color of binders. At the present time, however, ac- the privileges which this the perience as trainer of young voices, con- A single copy may now be ordered at 40 cents. We regret that we cannot photograph de- chestral score, but it will not be too diffi- of the great music masters had as thrill- book is just in the editorial preparation residing outside picts this brother and sister ductor of high school choruses, and the special Advance of Publication cash cept orders from those enjoying, ADVANCE OF PUBLICATION cult for players of average ability. And stage with the plate ing a childhood as the warm-hearted in- making and proof herein pre- price of 50 the United States and its possessions. they are gathering into their lives some church choirs, Dr. Dengler cents, postpaid. as then the eight numbers provide variety reading details to look after. Due dividual who later became known of those things to copy- material for a thirty-six weeks which will help them to OFFERS for the pupils’ recital program, or for sents “Papa” Haydn. His courage, thorough- right restrictions this book is offered only the Fifteen enjoy in the future the privileges of course of vocal study. Designed especially MORE CONCERT TRANSCRIPTIONS OF A SECOND PIANO PART to good playing in the home where duet playing to those in the United ness, and devotion to his art should be an living States and its use, FAVORITE HYMNS-For Piano, Clarence Two-Part Inventions BACH, by Ruggero which millions of young men of for Junior and Senior High School by of All of the books in this list are in is practiced: Overture; March; Dance possessions. inspiration to young musicians. Among our country are seeking for use in grade school, it Kohlmann—As we approach the writing of Vene—In keeping with the present wave to keep and preparation for publication. The of the Candy Fairy; Russian Dance; but adaptable easy piano solo arrangements of Haydn work, make secure through their heroic efforts low Advance Offer Cash presents practically every action neces- this Publisher’s Note on the forthcoming of enthusiasm for two-piano we Prices ap- Arabian Dance; Chinese Dance; Dance FINGER FUN for the Little compositions introduced in this delight- on Piano Beginner, of Second Piano far-flung battle fronts. ply only to orders placed NOW.- sary to produce a singing voice—breath- new publication we smile in pleasant are preparing this book are of the Reed Pipes; and Waltz of the by Myra Adler-In modern piano ful biography or biographical playlet We are grateful Delivery postpaid teach- legato, reminiscence of little youngster who Parts to accompany that standard item to the parents of these ( ) will be made humming, staccato, and a Flowers. ing ing, the favorite Gipsy Rondo, the Andante children, when the books are the tendency Is to avoid placing in Two-Part In- Mr. and Mrs. Harvey Roberts, published. sostenuto; the forming of consonants showed delight over his first dish of ice of studio equipment, the “Surprise” Sym- Paragraphs This suite will be a distinguished ad- the hands of students large, and Minuet from the Postville, Iowa, and their music describing each pub- formidable- drooping; time cream by calling enthusiastically, “More!” ventions by Bach. This will please an teacher, dition to the Presser Collection volumes, and vowels: scooping and phony, the Emperor’s Hymn and the lication appear on these pages. looking volumes. Much more interest can Mrs. Nora Jorgenson, Hollywood, Cali- tone intervals; note values and beat- Of course the pianists who bought copies extended circle of musicians for several Symphony. and in advance of publication we shall be aroused by a small and Andante from the “Clock” fornia, for the privilege book which the Concert Piano Transcriptions of reasons, for these accompaniments will of using this be ing. Reviews and test questions are pro- of Symphony.” glad to accept your order for a single student can master in short The duet is from the “Toy photograph on the Album of Marches a time. Favorite Clarence Kohlmann enrich the two-piano literature with a cover of this issue. for the Organ 60 vided throughout, with a complete ex- Hymns by er copy of it at the special price, $1.00, post- Finger Fun Price, 35 cents. ™9 fun Adler '.20 presents but 12 exercises, small masterpieces heretofore Oems of at the end of the book. are by no means juvenile, but they have group of Masterworks for the Organ paid. but they amination Reignetli. LOOKING cover virtually all work needed restricted to the solo category; they will Thy God A Cantata for Gen- AHEAD TO SUMMER CLASSES- Tonner .60 Manual correlates the expressed their delight with these tran- _ , _ . The Teacher’s More Concert Transcriptions by young pupils to supplement eral Use, by Lawrence Keating, makes War-time conditions will of Favorite the first scriptions with their enthusiastic requests provide new interest for pianists in whose keep many peo- Hymns REVERENTIAL ANTHEMS William material in the student’s book, and pro- Kohlmann .45 by Baines instruction book, except pieces for available for the average volunteer choir ple at home this summer. This means Nutcracker Suite— Piano Duet recre- material for the in- for “more.” In this forthcoming publi- solo repertoires they already are estab- —Here is a collection of anthems by Wil- vides supplementary enthusiastically Tschaikowsky- Felton 1.00 ation or recital use. Each study will of distinct a work that should be opportunity for every _ , , . be eventually lished; and they will prove music teacher right Our Latin-Amencan liam structor. Because it contains valuable cation these many requests Neighbors. . Baines, . whose Richter .40 many cantatas and accompanied by attractive It is not too lengthy for a spe- in his or her own Practical Keyboard Modulation.. an rhyme. All are certain no one value to teachers, who will find them welcomed. community to organize Peerv 50 separately published information on all the attributes of the will be answered. We Read This and Singi—Student's anthems have been are written within the cial Sunday evening service of song, and special music study groups. Book compass of five disappointed, in fact, we are just useful in presenting the original Inven- Why not start so uniformly successful. art of singing, with quotations from great will be 25 This new book notes in each hand; it be used as the nucleus of a pro- now to plan ways and Read This and Singi Teacher's they are in the Key day tions to students. may means of announc- — Manual^ is a authorities on the subject, this book will a little fearful that under present compilation of Mr. Baines’ most of C, time, given in celebration of an anniver- ing and making known in K common both treble and bass amount of pa- Mr. Vene’s Second Piano Part to the gram your commu- Reverential Anthems popular anthems, be welcome to the library of every sing- war limitations as to the ^Sines' 25 which, together with clefs being employed or some special occasion, or for nity the fact that you will Second Piano Part to from the beginning. publications Fifteen Two-Part Inventions of Bach sary continue Bach's Fifteen Two- the inclusion of ing teacher, and choral director as well per we may have for book “art Inventions several numbers never So that teachers for a money-raising concert. The texts are teaching during the summer or least Vene 35 may become acquaint- will have to disappoint some who has been created with genuine regard at Second Piano Part to before published, as to the music educator. To be certain that we for Thompson's Tuneful makes it truly repre- ed with this book, unusual, but deeply devotional. They a good portion of it, and that Tasks the special introduc- third volume after seeing the original work. Every harmonic and you Benford .35 sentative of this composer’s of obtaining a set of the first copies, place will call for a are Themes from the Great Operas best work. tory price in Advance of Publication to, were contributed by Elsie Duncan Yale organizing special classes in which Levine .40 has second volume. More Concert Tran- rhythmic pattern has been adhered Twenty Piano Duet Transcriptions Mr. Baines’ your order now at the special Advance this _ of compositions are suitable been made exceptionally often has successfully collaborat- groups may take up special music studies. Favorite Hymns low, 20 cents, scriptions of Favorite Hymns, for the and faithfulness to mood also is an out- who so Kohlmann .60 for the average volunteer choir of Publication cash price of 25 cents for For instance, and the postpaid. Order now and a copy will be For convenience in ed with Mr. Keating in his favorite a group to meet once or for the piano. standing feature. solo requirements are modest in their Read This and Sing, and $1.00 cantatas. Inter- twice a week to study music delivered to you when published. Mr. reading, each of the second piano parts Christmas and Easter history can demands and within Teacher's Manual. There is nothing ornate or florid in be started the range of capa- with the orig- spersed between the variety of musical readily, using for grown-ups out the country, Kohlmann’s transcriptions, but they do will be published in score since frequently in the bility of the average singer. In addition Scriptures or young people down GEMS OF MASTERWORKS FOR THE OR- solo version above it in small numbers are passages from the to high school ages past we have had to the Robert T. Ben- enhance the hymns considerably over the inal piano many requests for an many splendid anthems for gen- GAN — SECOND PIANO PART—by recited the minister or such a text book as either Standard His- —with Hammond Organ Registration play them notes. to be read or by album that would give the eral use, special ford— to Tuneful Tasks— John Thompson usual efforts of a pianist to tory of organist a numbers for Christmas, Compiled and onner— by special narrator. Price, 60 cents. Music by Dr. James Francis good variety Arranged by Paul T vocal score printed in While this book is in preparation, a a of marches for the Lent and Easter are also -The forthcoming publication of these from the four part Cooke, needs included. You This is or Outlines of Music History by which a book of carefully chosen clas- collections. organists often face when playing may order a single copy now, accompaniments to Dr. Thompson’s suc- hymn books and gospel song Prof. Clarence G. Hamilton. for imme- sical works which adapt themselves well OF FUNDS Juvenile for churches, lodges, diate delivery Tuneful are glad to be able to say that this HELP YOUR COUNTRY NOW AND ASSURE YOURSELF community gather- as soon as the book is re- cessful studies for first grade, We classes in music history can use such a ings, or to the organ. Every home, church, and ap- WAR BOND PURCHASES school or college assemblies. This leased, at the special Tasks, has aroused genuine interest new collection of Mr. Kohlmann’s LATER FOR A NEW MUSICAL INSTRUMENT THRU text book Advance of Publi- club will find as Young Folks’ Picture His- is a collection it a “must” for the library. transcriptions of hymn which is being planned to cation cash price of 25 cents, among teachers. With good reason, too, pealing piano tory of Music by Dr. postpaid. Written as a simple score on two staves, James Francis supply a goodly number melodies will be available within not too Cooke, of practical and for these equally easy and enjoyable this book being ideal for young- attractive it presents to the not-too-advanced play- of the marches which will serve the TWENTY PIANO not only many months distant. Some hymns sters with DUET TRANSCRIPTIONS er, parts for a second instrument reading ability up to 10 or 12 average organist who might be confused by a third Beneath the Cross of in church or elsewhere. OF FAVORITE HYMNS, will make possible two-piano work dur- it will include are years of age. by Clarence Kohl- stave, twenty-nine selections from some While this work is in and Tenderly; O Love That oA New Album for preparation any- mann—Many of the good things ing the early stages of the student’s de- Jesus; Softly Collection Another fine special summer study one in life of the finest original organ works and On, O King A interested may order a copy at the never get much velopment, lend inter- Wilt Not Let Me Go; Lead which lays a substantial publicity. We know of arrangements but also will new Pianist basis for real special Advance of of excerpts from sym- Lord Jesus; and other Every Publication cash post- many who feel that est to these studies. Since Eternal; Fairest Young Piano Pupils musicianship is the they are well in- phonies, already popular study of harmony. paid price of 60 cents, sonatas, concertos, and over- favorites. Ought to Possess delivery to be made formed as to what is the were con- equally strong Harmony and theory used in music, who tures. small original Tuneful Tasks classes can be or- as soon as published. The pedal part is printed in like to be assured of Hammond Organ would be amazed at the ceived as melodious practice fare in the Those who would ganized and conducted very easily great number notes, and suggested registrations for the DITSON by any registrations are being included this book as soon as it is pub- Our Native THE fairly well in the of pianists who want yet not technically easiest grade, Mr. Benford’s complemen- a copy of equipped teacher with the aid editing of two-manual and Hammond Organ are assurance this book. difficult piano lished may not only have that ALBUM OF of such books as Dr. Preston arrangements of favorite indicated. tary parts have been kept on the same Ware Orem’s benefit of a bargain price by American Airs Harmony Book for hymns. level of difficulty. The result is an en- but also the PIANO SOLOS Beginners, his Theory NUTCRACKER You may order now one copy of the sub- SUITE by P. I. Tschaikowsky, In many cases becoming an advance-of -publication AND COMPOSITION OF MUSIC, these pianists prefer Gems of at gaging contribution to the limited rep- FOR PIANO SOLO FUNDAMENTALS arranged for Piano Masterworks for the Organ of Publica- Every pianist delights in Duet by William M. music of this type for scriber now at the Advance of Music by Gehrkens, Harmony Simpli- their own diver- the special cash ertoire of early grade two-piano mate- playing Engelmann’s Felton—it is easily Advance of Publication price of 45 cents. Only BAMPTON fied understandable why sion, while others have rial, tion cash postpaid Compiled by RUTH "Russian Dance,” "The by York, or Elementary Music The- a real need for price of 60 accepted and one which will be welcomed by the excerpts from the writings cents. Orders can be be ordered at this low Pines’’ (Matthews), ory, by Ralph Fisher of the such pianistic arrangements to help students and teachers. Their uniformity one copy may Smith. master symphonist them only from the United States and its pos- Arranged by WILLIAM SCHER "Jeunesse” (Manney) and which make up this in the music price. effective piano solo ar- Likewise we can suggest books contributions they make to sessions. of grading will allow for an interchange the for mu- suite are so popular. rangements of Cadman’s Tschaikowsky, for church and Sunday School of and As this country was developed into a great nation many sic appreciation classes, materials for services. Mr. parts at will between teacher "At Dawning,” Cowles’ all of his serious moods, must have had a Clarence FROM THE GREAT OPERAS- were inspired to put their experiences, emotions, and repertoire classes, etc. Kohlmann has been particu- pupil, or two pupils. THEMES "Forgotten," and Bart- great love OUR LATIN-AMERICAN NEIGHBORS—/or yearnings into song. These songs started on prairies, for children, because he seems larly adept Solo, Compiled by Henry Levine lett’s "A Dream.” These Most important in making piano An order of this work For Piano sailing vessels, canal paths, of all, music teachers to be arrange- Piano, Compiled and Arranged by Ada for a single copy mountainsides, plantations, and almost a dozen others talking directly to them in his itself, is sufficient to open ments of hymns which are Ad- -The title, in is such songs some lusty, some plaintive, and are presented in this al- should make it a special point this sum- Nutcracker satisfying to Richter—The pulsating and tan- may be placed now at the special etc. It — Suite, based on a well-known rhythms and beauty of been selected and arranged for bum. All of the composi- mer to add to their performers and listeners and which vance of Publication cash price of 35 up vistas of the wonder some carefree—that have personal performing nursery will talizing melodies of our neighbors South children as well tions are within the cap- tale. The foremost orchestras fre- serve for stage. To the countless thou- this collection. There are 20 numbers that and teaching repertoire and to instrumental rendition alone or cents, postpaid. the operatic ability of the average pian- “brush quently program of the Border have added much to our as adults with only limited playing ability will enjoy being numbers from the suite, as accompaniments learned to love opera, ist. Ideal for students in up” their own technical attainments in the singing of the sands who have render on the piano. They are chiefly in grades and or play it in listening pleasure, and now Ada Richter able to grades 3 and 4. its entirety; motion pic- hymns either performance or via the are given in musical knowledge. as solos or congregational has PRACTICAL KEYBOARD MODULATION— either through 1% and 2. There are illustrations and texts tures utilize the delightfully added an opportunity for the joy of re- character- numbers. In this more delightful way to score. Price, $1.00 volume Mr. Kohlmann performance. grade For Class, Private, or Self Instruction, by radio, what istic pieces for “atmosphere”; and Arranged for second by play- Price, 50 cents ALBUM several provides piano duet transcriptions Rob Roy treasurable memories than tL OF MARCHES FOR THE ORGAN- interesting of piano students, Mrs. Richter has selected Peery—To be able to pass smooth- new piano solo arrangements of some themselves in the The title of this favorite hymns, and we are ly and to another ing over the melodies album, which is on the it have been published, sure such familiar tunes as El Choclo, Cielito quickly from one key including the that there are home, especially when com- Distrib’rs schedule of new publications now many throughout the Lindo, Tu without a break in the melody or chord quiet of the THEODORE PRESSER CO., in simplified version by Ada Richter which La Paloma, Carmela, Tu connoisseur as course country who will be glad to piled by such an expert Co. 1712 Chestnut St., PHILA. 1, PA. of preparation, is sufficient to win brings the have such a Maramba, and La Golondrina. Special succession is a problem which confronts Oliver Ditson music within the playing piano is noted for the interest of four-hand collection. These every too, Henry Levine. Mr. Levine many organists through- capabilities of piano English translations of the songs have church organist. Accompanists, grade three players. duet transcriptions sense and has exercised may be used as in- been are often required to make unexpected his keen critical placed between the staves, so they Advertisement 310 311 Advertisement THE ETUDE MAY, 1944 < CARLO PERONI, music director of the World of Music San Carlo Opera Company for more FREE . - than IT’S moths" twenty years, and who during the TO F1GHT Page 253) First pamphlet H ( Continued from BEGINNERS new, non-commercial World War was a U. S. Navy band con- HARMONY BOOK FOR A Mus. Doe. our press. you ductor, died on March 12 in New York By Preston Wore Orem, is just off information to help . minute sic can contribute to the war effort. Quot- City. He was conductor also of harmony is an asset to every music stu- wealth o the of the Scotti Some knowledge contains a p . pest, with the It household ing from the announcement, “The pur- Opera Company, and during dent. It helps him to "think musically.” Beginning |stent 1941-42, 0f ravage P as the dominant seventh combat the copy, or send of Congress is four fold: 1. It rudiments and proceeding as far f ree pose the the Chicago Opera Company. Mr. Pei'oni chord, this book starts training in melody writing, making it p»»nol is to mobilize music and musicians in was born in Rome and attended Ask you, , flow. the St right '"“'-“f » ideal for use as a basic text. Blank staves are provided, the present fight for a civilized and free Cecilia Conservatory there. He began * I200.000.001 his in the book, for writing out all exercises, making the com- WAS world. 2. It is to improve and expand career playing under Mascagni at the pleted work of added value for future reference.. Price, $1.25 the musician’s function in our changing Teatro Constanzi in Rome. He was nat- society. 3. It is to create and develop new uralized several years before the First 4. It THEORY AND COMPOSITION OF MUSIC The AMERICAN SOCIETY of audiences and new uses for music. World War. PIANO TUNER-TECHNICIANS, Inc. Mus. Doe. is to discuss and act upon the common By Preston Ware Orem. Address correspondence to 6747 N. Sioux Avenue. Chicago, III. problems of musicians and those con- An ideal text book for students past the elementary stages in ARNOLD LINDI, principal tenor of the the study of harmony. Fine for either class or private instruc- nected with music.” San Carlo Opera Company, collapsed and tion. The work is presented in the same fascinating style as died on the stage of the War Memorial that in Harmony Book for Beginners and it enables the pupils NOTICE FRANK BISHOP, pianist, who had ap- Opera House in Los Angeles, application of knowledge gained to the California, to make a practical peared frequently in recitals abroad and music. of the 25 chapters are: Pattern In an effort to insure subscribers receiving their copies in the best possible condition on March 8, just as he finished singing composition of Some in this country, died on January 30 in in Melody, On Accompaniments, On and to eliminate the danger of damage in removing wrappers from rolled copies, the the aria, Vesti la Giubba from “Pagliacci.” Melodies, Modulation publishers of The Etude are New York City. It was on the advice of Planning Melodies and Harmonies, The Song Form with experimenting with a new method of mailing. Most of our He had been a member of the San Carlo subscribers late March Form Dance Forms, The Sonatina Form, (not all) will receive their copies of this issue unwrapped with the Ossip Gabrilowitsch that Mr. Coda, The , merely a Opera Company since 1934, following sev- label pasted on the cover indicating the name and address. Bishop entered a music competition and Modern Harmony, On Song Writing Price, $1.25 eral seasons with the Chicago Opera So that we may know whether this change is working to the best interests of sub- won. He studied at Oberlin College and scribers, Company. Bom in Tunasma, Sweden, he it is hoped that all will feel free to advise us just how the new method appeals the University of Michigan School of began his career in THE ART OF INTERWEAVING MELODIES to them and whether it is an improvement that country and or otherwise over the old method of mailing. Music; and in Paris under Philipp and then sang with the La Scala Opera Com- By Preston Ware Orem, Mus. Doc. Wanda Landowska. In 1937 he appeared Y# oung teachers and advanced pany in Milan. This is a first study in counterpoint for students of all ages. as soloist at a concert in New York in students can use these outstanding publica- Not a dry, pedantic series of exercises but a breezy, colloquial memory of Mr. Gabrilowitsch. discussion of the subject that actually makes good reading. THE NATIONAL MUSIC COUNCIL tions on various subjects by noted authorities has The author treats the study of counterpoint as a method of WHERE SHALL published a Digest of the to good advantage in self-study work. Estab- GO TO STUDY? WILLIAM TURNER proposed new making enjoyable music, not as the assignment of a group WALTON’S “Con- lished teachers will find them dependable for Social Security Bill as i would apply of mathematical problems that must be solved. A thorough 1 certo in A minor for Viola and Orches- to self-employed music teachers and to use in special summer classes. knowledge of harmony is presupposed before taking up this tra” had its first New York hearing Price, $1.25 other self-employed persons in the field book on March 7, when it was on the program Private Teachers (Western) (New city) of music. Copies of this Digest may be Private Teachers York presented by the Philadelphia Orchestra obtained by writing to the National Mu- MANUAL OF FUGUE under the baton of Eugene Ormandy, sic Council, OF MUSIC THE STRUCTURE OF MUSIC H. 338 West 89th Street, New STANDARD HISTORY By Preston Wore Orem, Mus. Doc. FREDERICK DAVIS MARIA CARRERAS with William Primrose, the distinguished By Percy Goetschius, Mus. Doe. York 24, New York. Revised and Enlarged Edition contradictory rules a lot viola virtuoso Latest There is no maze of puzzling, and Teacher of Many Successful Singers Renowned Pianist as soloist. First composed crystallization of many important Cooke This volume represents the of higher mathematics in this "manual.” The student soon 1 All Branches of Singing "INTERPRETATIVE AUTHORITY" in By James Francis Taught. Beginners Accepte 1928, Mr. Primrose in 1935 collaborated principles the author learned from a lifetime of experience in 1 Studio: — N. Y. Herald-Tribune 1 this book success- sees from the author's explanations and original illustrations 606 Templeton Bldg Salt Lake City, Ufa , graphic, well-told tale, with Mr. Walton in making In a style rivalling a theoretical subjects. With- Teacher of successful concertising pianists. 1 a complete music teaching, lecturing and writing on that anyone with average intelligence may learn something Phone 3-0316 (or 4-5746) for appointment mission to impart a useful knowledge of revision of the concerto and fully fulfills its out being voluminous.it covers an amazing amount of detail Write for Free Circular Accepts talented students. in that same instruments, and com- of the Resources of Fugue Construction, going into Imitation history from the earliest known facts, Goetschius 169 E. 78th St., New York City Tel. Bu 8-0311 1 year gave the first London on the subject. But, best of ail, in writing it Dr. Imitation in Three Parts: Double Counterpoint performance living composers, and the present in Two Parts; posers to the epoch-making diction, not disdaining homely of the new edition with has adopted a "simple, intimate in the Octave, in the Tenth, and in the Twelfth Contrapuntal the London Phil- education, in our social life, tn the ; LUCIA O'BRIEN LIVERETTE MRS. HENRY HADLEY (Inez Barbour) I eminence of the art in it thoroughly harmonic metaphor" and anyone who loves music will find Sequence; The Fugue Form; The Tonal Fugue; and How to Orchestra. In 1938 Mr. Primrose in opera, and in radio and motion VOICE Soprano band and orchestra field, readable. The whole realm of existing music has been drawn was again the soloist, colored music map Analyze a Fugue Price, 75 jazz" arrangement, Mr. Abbott’s book leads to a he has compiled Studio: 167 Elmhurst. artists. From his rich experience Ave., Highland Park <105 prac- famous (3) E. 54th St. New York City perception of the composer's message. The author is a PA. (Detroit), Michigan 1 special list of songs suitable to various types 1712 CHESTNUT STREET. PHILADELPHIA.1 Tel. Vo. tical Dr. for this book a 5-1362 | musician and serious thinker, former assistant to and registers—a real help to the aspiring singer. Walter Damrosch in arranging the notable NBC Music I* At Art 312 Appreciation Hours Cloth— Price, $3.50 "FORWARD MARCH WITH MUSIC THE ETUDE PRINTED IN THE U. S. A. BY THE CUNEO PRESS, INC. GRAZIELLA PARRAGA, Latin American Singer and Guitarist, heard on "Folkways in Music” programs broadcast on "Music of the New World” by NBC Inter-American University of tbe Air £ ]\lusic of the New World” has Part 2 of Course II—titled "Folkways <2 during the 1943-44 season alone in Music.” raised the curtain on first perform- Listen to these inspiring programs, ances of nine outstanding symphonic presented by the National Broadcast- works ... a total which does not in- ingCompanyand independent stations clude the many traditional tunes of the WORLD PREMIERES HEARD ON associated with the NBC network on other Americas introduced to North "Music of the New World” Thursdays, 11:30 p.m. to 12 EWT. Concertino on Peruvian Themes Luis Saudi American listeners in this series. Laying the Rails Ernst Bacon This significant series is just one Timberline Express Ernst Bacon "Music of the New World” pro- of many public service programs The Pinery Boy. .* Irving Landau — The Second Freedom Irving Landau grams planned to demonstrate the brought to you by the NBC Inter- Suite Indigena on Mexican Themes. .Candelario Huizar Suite on Colombian Themes Candelario Huizar relationship of music to ways of living American University ofthe Air—giving Smoke and Steel Richard Donovan among the peoples of the Hymn and Fuguing Tune Henry Cowell Western new color . . . new excitement . . . and Hemisphere— is now continuing in new value to educational programs. America's No. X Network Stay tuned to the National Broadcasting Company It's a National Habit A Service of Radio Corporation of America