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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
10-1-1934 Volume 52, Number 10 (October 1934) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 52, Number 10 (October 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/827
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. JOHANN SEBASTIAN BACH THE ETUDE OCTOBER 1934 Page 567 mm “The Heights-Reached and Kept” ^ gj ^ “Were Not Attained by Sudden Flight” Quotation from LONGFELLOW.
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WE suggest simply that you send the coupon below and get full ’ i uuuiui There are many: first, book-dividends; for every dollar its members spend on books they CONTENTS receive back on the average over 50% in the form of free books. Second, without a penny • of expense, through the reports of the judges you are kept completely informed about all MOURNING BECOMES the important new books, so that you can ELECTRA choose among them with discrimination, in¬ stead of having to rely upon advertising and STRANGE INTERLUDE hearsay. There are several other advantages, not readily measurable in money, that cannot THE EMPEROR JONES be outlined here for lack of space. Surely, within the next year, the distinguished judges MARCO MILLIONS of the Club will choose as the book-of-the- month or recommend as alternates, at least a THE GREAT GOD few books that you will be very anxious to BROWN read and which you will buy anyway. Why not by joining the Club—make sure you get ALL GOD'S CHILLUN these instead of missing them, which so often GOT WINGS happens; get the really substantial advantages the Club affords (such as the book-dividends IAZARUS LAUGHED mentioned, if nothing else), and at the same time get a copy of NINE PLAYS by Eugene O’Neill, free. THE HAIRY APE desire under the BOOK-OF-THE-MONTH CLUB, INC. 610 ELMS 386 Fourth Avenue, New York, N. Y. Send Orders Directly to Please send me, without cost, a booklet outlining how me . Book-of-the-Month Club operates. This request involves me in I The Etude Music Magazine no obligation to subscribe to your service. — Theodore Presser Co., Publishers — 1712 Chestnut Street, Philadelphia, Pa. Address.. PHILADELPHIA, PA. Cit>..State. Page 568 OCTOBER 1934. THE ETUDE WHERE SHALL I GO TO STUDY? THE ETUDE Private Teachers zJYCusic WILLIAM C. CARL, Dir. Guilmant Organ School -H AVENUE,N~ ALFRED BRUNEAU, composer of “Le -.THE TERCENTENARY ANNIVER¬ “IN THE PASHA’S GARDEN,” : Reve,” “L’Attaque du Moulin” and other SARY of the birth of Count Vincenzo Maria ETTORE PANIZZA, who sue LaFORGE-BERUMEN STUDIOS operas, and internationally known as a critic by the American c o Toscanini at La Scala of Mila Seymour, of Califo- Frank La Fow ^haroRaw^nce Tlbb.tr studied composition with Mas'»nrf "”■<= srsia 'SL’z^s; aa te Pasdeloup in its coming set_ __ ... 5 isr said to be^ the first time that an Italian uccu . ORCHES- manently employed by a German opera attendance house- Fritz Busch will lead the perform- • thousand ances ofui Germanuerman opera.c- Panizza~ won great suer recently of Buenos I »roi's. tulsr„“s^i"/ premtere withhS wsubsequentr-h,i Mperformancesf w. wulcub. The concerts of me CARL ENGEL, probably America’s pre¬ will^b R°yaU ®pera of Stockholm. Atterberg Chicago Orchestra, on the Swift Bridge, are reported to have b mier contemporary musicologist, has resigned 706 STEIN WAY HALL, seats for bert Centenary, when, all unheralded, he won ms post as chief of the Music Division of the the grand prize of ten thousand dollars offered iubraiy of Congress, to become president of LAUR/TSTEINS RHODE by the Columbia Phonograph Company for LEOPOLD STI G Schirmer, Inc., of New York. Mr. Engel of the Philadelphia thirteen years ago succeeded the late and ton, New Jersey, as an honor guest of the learned O. G. Sonneck at the Washington recent Talbott Festival by the Westminster post. It is said that he will remain S honor- Choir School. On the last day Dr. Tohn ary consultant m musicology in the Library, MAX FRIEDLANDER, eminent and Finley Williamson led the afternoon perform- professor of the History of Music at and that, as a member of the committee under the Elizabeth Sprague Coolidge Foundation, lversity of Berlin, has recently passed his advice will be still sought in t' in the world,” at a price Bea7five“thou^and ~ ’ ibly valuable works le policies dollars, the import duty was about to cause is son, on which Dr. Stokowski gallantly of the Music Division. the loss of this treasure to Ireland; upon ■ UP the baton and led the evening per- which a clause was inse"i J ' '' ”■ lance of the last half of the monumental Bill allowing the duty SANGER- Private Teachers second hand furniture (i. .—Jnal Sanger- > June 2nd, in the Arena THE V was a male chorus of Holland, Damrosch the “Aral LEStN!EMBHRBA^DT composer re zna mere was a concert tion thus Lummcmoraung tn ’S “JEPHTHAH” : and Lutheran choirs, with orJ^:’:fri£nP^P,ayinS rom April 25th niversary of the birth of the CALCUTTA SYMPHONY OR- ...... an Singing Societies of St. CHESTRA (India),1, formi nsits fourthiourrn concertconce of vivai oy tne Scottish N< ' Akron Liedertafel of Akron Music at Glasgow. An was me the season, on February 11th, had on its 8 CLAY ST., SAN FRANCISCO, CALIF. placing of the chorus in the orchestra pit gram the Overture to “Die Meistersin.ee while the soloists were assisted in their action ■ Wagner,/agner and the “Hymn of Praise” by 1Men¬ FRANZ DARVAS by a “Movement ™ " ’ ' delssohn. This was the first time that a Eurythmics Cl by Cesar Franck was the choral work of the magnitude of the “Hymn °n ^program were On March 18th the^pr™ was^devo^^ the works of S;_ -' t0 alterations aist The Wangamu OmhLGaTso'cietv11' ^ “ial to‘° the 1Iate British masTer ’ “ * ““ HEPHZIBAH 1__ auued interest by recalling sa ss? swssssaFS “ HEPHZIBAH MENUHIN thirteen that just twenty-five years before he, as a boy Will Hutchens as leader old pianist,P*anist, and sister of*of YehuuiYehudi winwill mm violoncellist, had appeared as soloist with this THE SIXTY-FOURTH ANNUAL\L FESTI- -T - r her . talented violinist brother in some s(sonata VAL of the Allgemeiner Deutscher iviusik- recitals during the present season Thev re yerm (Association of German Musicians) was ceived, lately in Paris the “Candide” Prize held from June 2nd to 9th, at Wiesbaden. At THE NATIONAL ASSO¬ Am6ng'u,c auj uuieaiors was I'm: the suggestion of Richard Strauss, last spring, the London basso of Irish birth CIATION OF NEGRO to the Reich, an Advisory Board for Inter- f§ remembered as a popular oratorio singer in MUSICIANS, with Maude national Cooperation among musicians was these American events of some two decade® Roberts-George as presi¬ organized to sponsor these events. This FOUR AMERICAN ^ _ dent, met in convention ago. The occasion closed with a festival per¬ BRAUN Board at present includes representatives of formance of Handel’s “Messiah.” SINGERS have been added JsiJnPle. thorough" inexpensive. from August 26th to 30th, Germany, Austria, Belgium, Denmark, Fin- to the roster of the Metro¬Metro- Severn» *063 Franklin St„ Mel* at Pittsburgh. Among the land, France, England, Iceland, Italy, Poland politan Operara Company for rose. Mass. eminent colored musicians Sweden, Switzerland and Czechoslovakia, with “LA CENERENTOLA (CINDERELLA),” the season opening on De-De¬ W ir, I1/,.' XU VwlJU OWN IM AM)—Simplified and composers in attend- Richard Strauss as its president. by Rossini, was the interesting revival of the cember 24th.th. They are rnm^VC5lo0 book and necessary tools, Harrv T w“e Harry T- Bur- •«----:-j>; spring season of Italian opera at Covent Gar¬ Kathryn Meisle,deisle, interna¬interna- \ Held? pi® f°r M-96- Ed’ M' Ross- ManS‘ Burleigh Ie«h. R-. Nathaniel Dett, den ; and in its name role Conchita Supervia tionally knowniown contralto, Carl Diton, Rosamond DEBUSSY.’S “PRELUDE A , L’APRES- . MI S MIDI D’UN FAUNE,” in the composer’s is reported to have “achieved a brilliant suc- formerly off the Chicago ~~ vwanucco, lw...v, aa. -- Johnson, Clarence Cameron White and Flor¬ Civic Opera Company; ence B. Price. There were educational con¬ manuscript, was recently presented to Arturo iipiltSS isin^KIVT COMPOSING, Arranging^- Toscanini, by Mme. Ganna Walska, in appre¬ Mary Moore, soprano; Kathryn ferences, demonstrations of teaching methods HALL JOHNSON, founder and conductor Myrtle Leonard, contralto; Meisle ^ellfborp rffnncarUlcism- Len Flgming' and programs by eminent composers and ciation of his conducting, in Paris, a series of four concerts in memory of Walter Straram of the Hall Johnson Negro Choir, received in and Helen Jepson, soprano. Dino Borgioli enceEnpJ),A VTKD- Sell Shirts. No experT- artists of the race, with several noted white EGE si4f necessary. Free samples. Comrois- Orchestra Symphonique, of which /uUnBuoeJd,eg,r.ee of Doctor of Music, from Italian tenor, is the chief addition to the male sion in advance. Free ties with shirts. musicians contributing to the activities. the Philadelphia Musical Academy, of which contingent. dle Mme. Walska is a patroness. hP was formerly a student. lyn,rN.1Y^1118' 875K Flatbusb Ave., Brook- MUSIC AXIOM FOR OCTOBER (Continued on page 628) bef*uUf!?i VOMpOSED AIRS for several START THE SEASON WITH A WILL TO SUCCEED! » MUSIC STUDY EXALTS Lire estedt .liJfn 1 writingJ'J?!"8- pianoWho accompaniments.m*Sht be Inter; Page 565 Page 570 OCTOBER 1934 THE ETUDE The Etude Historical Musical Portrait Series An Alphabetical Serial Collection of THE WORLD'S BEST KNOWN MUSICIANS sixty thousand people attended these concerts from June 16th to July 16th. At the same time the Swift ComPanv Dr. Frederick. Stock and Mr. Ossip Gabnlowitsch also have conducted their orchestras in these VYlusic and '-Regimentation OUNG MAN! Young woman!. Fate has ushered you T of all living men, the foremost example of rugged individualism into a world rabid with regimentation. m giant industry. Regimentation is a concept of life which assumes that humanity is a machine and that human individuals are largely In music, regimentation is just farcical. A genius is a per¬ cogs in that machine. son who is as far removed from regimentation as imaginable. Of course, when such a machine exists, someone must run Beethoven was Beethoven because he refused to goose-step the machine; and that someone is usually known as a dictator. Regimentation never could produce a Shakespeare, a Dante, or It he is a fine dictator, he goes down in history, like Marcus a Hugo. Wagner fled from regimentation in the ’forties of the Aurelius, as a benign ruler. If he is a cruel dictator, like Nero last century and thus prevented a nearly tragic end to his career posterity points to him as a tyrant. Art is the development of one’s gift from the celestial . We do not for a moment think that our President, or any sources along fines that are as distinctly individual as conceiv¬ one of his experienced advisers, has any fool idea that regimen¬ able. The moment that art is regimented, it ceases to be art. tation is adaptable to America. He has definitely told America Certain economic conditions may make class instruction in music over the air that the administration has no such thought. The study seem desirable; but, not until individuality is emphasized music of the muskets at Lexington silenced that. George III apd not suppressed by regimentation, can real art flourish, discovered that a dozen of his machine-finished, regimented therefore the highest in artistic instruction will always remain Red-coats often were not equal to a rugged individual Yankee pnvate individual teaching. Classes reduce cost and are inevi¬ farmer in a tree, with a blunderbuss. We are not a people who table lor some who cannot afford private teachers. Possibly for rest easily in theoretical manacles. (Grant, during the Civil many mediocre talents, classes may be adequate. The principles War, taught McClellan the futility of theoretical regimenta¬ ol .competition and emulation are also stimulating in class oper¬ tion as contrasted with individual action.) Americans always ation For education in general, however, the tendency is have been instinctively rugged individualists; but they also toward smaller and smaller classes, when possible. Probably have been law-abiding, and they want laws that insure justice, all education may eventually be on the standards of those of equality and liberty and at the same time promote business se- English Universities with individual tutors in many subjects. cunty without hampering initiative. The conspicuous stupidity 1 he editors first dose in regimentation came in his student of regimentation is shown by the monkey-like manner in which days, a few minutes after he arrived in Berlin, From the top certain radical countries of Europe have enthusiastically hired ot a bus he espied a regiment marching down the street Sud¬ Henry Ford s experts to install Ford methods; and Mr. Ford is, denly they commenced to stamp the pavement with that'ridicu¬ lous goose-step, which reminded him of nothing but a similar OCTOBER 1934. Page 571 THE ETUDE 0 CTOBER 1934. Page 573 The Secret of VYlodernist VYtusic regimentation he had once seen a file of prisoners perform. dorsing any particular make. That would not be fair to our Sure enough, the reason was the approach of the Kaiser, out for readers or to our advertisers. •An Interview with Z3he Foremost of VYCodern Impressionist (Composers a ride down Unter den Linden. There he was, William II, There are certain things, however, that every buyer should withered arm artfully concealed, cantering with the austerity consider, in securing a new instrument. The main considera¬ of a dozen emperors, and looking with pride upon the military tions probably are: Arnold Schonberg centipedes “regimenting” themselves for his exultation. We 1. How durable is the instrument? have hated regimentation ever since. Secured Expressly for The Etude By Laura Remick Copp 2. How fine is the action? If we are to achieve anything momentous in our musical 3. How fine is the tone? future, we must realize that our great danger is in being regi- 4. How appealing is the case? mented by European musical dictators. Not that we do not TO The Etude readers this message my melodies or musical ideas with which is given. The only way to under¬ respect and admire the illustrious achievements of Europe’s If you do not know anything about a piano, and if you do I work and which I then develop as any stand and enjoy modern music is composer does. These melodies are har¬ magnificent musical past; but we must realize that rugged in- not protect yourself by buying an instrument of a well estab¬ to hear it as often as possible; hear, hear, monized and there is, of course, logical dividualism, and it only, is the basis of our musical hope. All lished make, you are at the mercy of the salesman. It is there¬ hear it, a hundred times. That is the only connection between the melody and har¬ that we have done, that is worthy of real mention in American way. The present generation is conserva¬ fore highly desirable to deal only with merchants of the highest mony and unity in following chords.” music, has been done by men and women with the pioneer spirit. tive and accustomed to certain scales, keys reputation. We have seen many instruments, which have been So Mr. Schonberg takes away from us all Many of them had scant training, but they were trail-breakers. and chord combinations, so that their hear¬ worth one hundred and fifty to two hundred dollars, sold for of our keys, major and minor (for there They thought out things in their own way and built on new ing has always been along these stereotyped over twice as much. If you were going to buy an automobile, would be no such distinction in his . “all- lines. The new generation may “catch” lines. Mason, Root, Mathews, Bowman, Finck, Thayer, Sher¬ are-equal” ideas); and all of our scales you would not be very intelligent if you depended upon the the modern idiom, as they are not so ham¬ wood, Tourjee, Presser, Goetschius, Emery, Andrews—all of (using only the chromatic, if he uses advice of your butcher or your chiropodist. It would be far pered by precedent. But to understand these were educators; but creators, not imitators. scales). He disregards our system of har¬ better to depend on the advice of one or two unbiased, experi¬ modern music, one must study. It is a In this connection, we are often genuinely fearful of govern¬ enced automobile mechanics. science to be investigated like any other. monics, that is, the lower, simpler ones, upon which our chords have been built. He mental intervention. In Europe, art sponsored by aristocracy In buying a piano, if you can secure the advice of an experi¬ “To know Bach, Beethoven and other and its successor, government, has flourished from time to time. masters, we studied their works; and if we eliminates our scheme of resolutions of enced, impartial music teacher and an experienced piano tuner, chords, piling unresolved ones on top of If you think that it has been uniformly successful, you have had no clear conception of the fugue and in the selection of any particular instrument, you will find it each other. He changes our chord con¬ not heard some of the inferior European orchestras and opera the sonata forms, as presented by them, our advantageous, even if you are asked to pay for this service. The struction, which has been to form chords companies, and compared them with our own fine privately sup¬ critical opinions of them would lack foun¬ thousands of teachers and piano tuners who regularly read of thirds. He does away with the relation ported orchestras and opera companies. dation. And so a clear view of modern art The Etude are interested in seeing their patrons secure a good can be attained only after examining the of tones and the idea that some—such as The Century of Progress Exposition at Chicago must forever dominant, leading tone, rest tones, active piano. The piano tuner usually can tell the probable durability technical ideas and innovations. A knowl¬ sider niy mu- stand as an example of what properly managed private enter¬ of the instrument, and he can advise you upon the responsive¬ edge of the classics interferes with this tones and others are more important than prise may do in comparison with the best governmental effort. understanding of the new and exotic no others in the scale. He has revived the ness of the action. The teacher, however, will probably be in a but rather as free barless rhythms of the old Netherlands This, the most successful exposition of history, was. launched at better position to advise you upon tone, as success in his pro¬ more than an acquaintance with French, a moment when conditions were so bad (especially in Chicago) German or other language would interfere music of the fifteenth and sixteenth cen¬ fession depends upon the quality of tone that can be elicited feel the unity turies—barlines in such places being con¬ that there were grave doubts whether it would be able to open with the study of Chinese. Repeated hear¬ from the instrument with which he has to deal. Here again, of all keys. sidered a nuisance, as they tempt one to at all. Moreover, everybody said and believed that expositions ings are the only solution. A prominent Atonal music however, it is a matter of taste. The piano tone that appeals violoncellist told me he played a Bloch quin¬ render false accents; especially when such were a thing of the past. Yet, Chicago’s great show was almost by modern to one person may not appeal to another. tette seventy-five times before he really difficult conflicting rhythms are his! as much a private enterprise as General Motors, the Pennsyl¬ composers Since a piano will last four or five times as long as the heard it, and then he liked it. vania Railroad, Sears Roebuck or the Ringling Circus. True, admits of no Sincere in Art average automobile, the initial investment is an important mat- the profits will go to public and charitable purposes and the The Courage of Individuality O WHAT ARE WE to do but hear, ter. Unquestionably, thousands of people have been cheated no feeling of S whole conception was public spirited; but nevertheless, if the hear, hear until our ears are attuned by glib salesmen, into buying cheap stencil pianos. Read the AS TO MY own music, years before any definite country had waited for the state or national government to put - I.had the courage to write out what to the new state of things. standard advertisements in your musical paper and become ac¬ center. It is ARNOLD SCHONBERG through this great undertaking, it probably never would have I heard, it came to me from—well, per¬ At least we know he is sincere; for in quainted with the best manufacturers’ products. The Etude not, however, become a reality. Credit is due to a wonderful group of haps from the devil—but I heard and heard his Harmonielehre he says, “I have learned a matter of mathematics, for in music as this from my pupils. From the faults of Chicago citizens, notably Mr. Rufus G. Dawes, as President, has durmg the course of its fifty years, had practically all of the and finally chanced it and wrote. Art is in painting and in architecture it is a my pupils when I gave them insufficient or rePrefnted ln its columns, and their announce¬ ever changing. It must be, to create and thing one feels rather than something one and that amazing Swedish-American with his soft convincing wrong instruction, I have learned to give ments make very informative reading. live. After so long a time, it is better to understands.” voice and genial smile, Mr. C. S. Peterson, Vice-President, who wipe away all existing things and to start them the right instruction.” This proves in the face of the impossible, achieved the super-human, inspired afresh. To a question calling him to account for his sincerity. His vision is an intensely in¬ the whole United States with new faith, brought amazing pros¬ the unusual leaps of his melodies, Mr. dividual one, to which his technic has been “The acceptance of that which is new is, Schonberg replied, “My melodies leap, yes, perity to Chicago and the Middle West, and obliged the admin¬ in general, difficult for men. The very made to correspond. but so do those of Brahms.” Here he istration to repeat the exposition for a second year. Expositions people, who, because they have a concep¬ Asked if any color stimulates him as red rZlt 15 almOSt always destructive, particu- illustrated on the piano one by Brahms that tion of beauty, eventually possess such a velvet did Wagner, or if country scenes or have a habit of creating huge deficits. One that produces a con¬ does leap; and- it is true that he did not i^rai sLiditv °M rF* Anger over little things thing as culture, defend themselves and air help as they did Beethoven or Brahms, spicuous profit, is a curiosity. “Oyez! Oyez! Oyez!” says the always adhere to his “trapeze” form of een toacS wb ^Z Z b°,th here and abr™d> we have what pleases them with decision against he said, “No, I love all beautiful things, clerk of the court, and the jury is the American people. melody, as Robert Haven Schauffler, in his !fuVk h j h ought to bave known better fly into fits of the new, which should in their opinion have “When one considers all of the semi¬ but do not depend on them for stimulation self-fabncated anger over trifling mistakes at the’lesson There is recent book on Brahms, calls it; but he did That profit was due to rugged individualism. Moreover, the the effect of beauty, whereas as a matter tones in an octave of equal importance, the or inspiration. I write because I feel like skip about. Surely though Mr. Schonberg scientific, educational, musical and artistic achievements of’this of fact it only tries to produce truth. Age music thus formed has in consequence no writing. Something, perhaps like an elec¬ must admit and probably does that no com¬ exposition, have been of the highest and most inspiring descrip- old systems of music have reached then- feeling of key or tonal center in the old tric wave, touches me; then I write be¬ poser’s melodies leap from top to bottom, tion. Where in the world has regimentation produced anything limits and old theories have been run to sense; but, as I said previously, there is a cause I must. The urge is from within from highest octave to bass register, as death; the new must be tried. feeling of all keys merged into one or a and 1 write what comes to me. At first like it? The daily symphonic concerts at the Fair, by the Chi¬ d° his. By the way, a suggestion may not cago Symphony Orchestra and the Detroit Symphony Orchestra “In the early centuries a third was con¬ . - - “S',-unlty of keys. (Does it, perhaps, follow hearing this music may affect one as it be out of place. This composers melodies the socialistic tendencies of the timesD broadcast from coast to coast, have been one of the great musical sidered a dissonance, as only fifths and would a cabinet maker if he were asked octaves were accepted; but for me no dis¬ can be more easily heard if the skips are But, at least, it is a very democratic way of about the cosmos; but it can be understood achievements of our national history. And, both are the results deleted, as it were, and if all the pitches conceiving music, as there is no dominant, of rugged individualism.” getting ad ,tSthenf ener8'“ b> sonances exist. Consonance and disson¬ and liked if heard sufficiently, and if the ance are merely a matter of degree, any¬ that are on different planes, or in different dominus or master. All of this sounds aesthetic ideal is understood. The slogan of the real American at this time should be way. Modern composers have not changed octaves, are put as nearly as possible into strange indeed to ears not at all used to Goose-step for Geese Only.” the fundamental principles of music. Many one and the same octave. Try it. It helps, such harmony Art True to Ideals manage the entire countrv Probably more than enough to Naturally this changes intervals and the “From these twelve very democratic tones of what are considered ultra-modern chords /"> NE CANNOT do all things equally Discharge as quickly as nossihlo usm.ess and its technologies, are merely what were once known as pass¬ ettect- and different combinations of them spring V well ; nor should one undertake too BUYING A NEW PIANO anger either towar/yoi^or t£/ardTn£hnrlWhCl hab,t^llly shows ing or changing chords, with the distinction much; so I chose my music and have not must work. He is merelv In* lnyb°dy d?e with whom he that they now leap over resolutions former¬ ^«rEtriiN6.spicrtfijt • consequent SfMrawf painted for twenty years. I had no tangi¬ Tojrffi PUBLISHERS of The Etude Music Magazine never machinery. When you dron him 4 Sand ln the gears of your ly considered indispensable. Thus, totally ble ideal to express in my painting, nothing Whave been in the business of selling pianos, but we have after he has left it may T ar«uLe with him. But new harmonies, new combinations of tones 1 can put into words, neither have I in mv are formed. One dissonance succeeds an¬ music. I portrayed subjects as I saw them counseled with thousands and thousands of our readers in helm price he paid for his wasteful tope?” tlP ^ °ff ab°Ut the other, apparently for no particular reason just as I write music as I hear it. I see mg them to make decisions regarding the purchase of a new causing the mood of music thus written to beauty m an eternal struggle for truth and piano. Obviously, our editorial policies prevent us from en¬ avoidable;bm ete£dtonr?ou haven°US things is sometimes un¬ be frequently elusive and baffling defini¬ self-control. y°U have an opportunity to show your perceive that fulfilment is always .the point tion ; for I do not resolve all dissonances to which desire tends, but which could as (some may ask, ‘Do you resolve any, Mr tw ynbe thC 6nd °f beauty: and 1 «aliZe Schonberg?’). I allow them to follow that harmony—counterbalance—is not a each other, or to merge into other chord motionless state of inactive factors but a combinations without resolution. This pro¬ balance of the most highly strung forces duces to ordinary ears strange chords (of which cause struggle to take place in life’ so-called Schonbergian color). A grouping If I have a musical creed, it is that tn of fourths, g-c-f, c-f-b flat, for example, represent life in art, with its mobility, its: gives new effects resulting from the strange possibilities of change and its necessities to sounding together of these tones and inter- A BIT OF AUTOGRAPHED MANUSCRIPT OF SCHONBERG acknowledge development as the onlv' {Continued on page 609) OCTOBER 1954, THE ETUDE Page 574 THE ETUDE OCTOBER 1934 Page 575 Good Teaching ‘Pieces VYCother, VYCake VYtusic Study ‘Delightful By May Zenn Kaufman ADRIENNE ' out clearly. They also make a part of the No question will be answered in these columns unless accompanied by the full name By R. S. Stoughton little figuration composed of broken chords. and address of the writer. Only initials, or a furnished pseudonym will be published. Play this music with freedom and aban¬ This music really has possibilities as a don—a la Caprice. TUDE “show piece” for recital programs. Systems of Fingering or written down. You will find them es¬ treatment of music as you describe is de¬ ‘Piano Solos and Studies The tempo is allegretto with dynamics CHINESE JADE pecially proud of these valiant attempts, cidedly of this nature; and that, in order somewhat on the quiet side in the first (T E Please let me know If there is a Medium Grades ™ By Frederick Keats which will constantly give increased mean¬ to make a profound impression with the theme. Meausres 2, 3, 6, 10, 11, and so on, system one can follow in fingering Here is a little piece with an Oriental pieces that have not already been ing to their musical endeavors. music the teacher gives her pupils, she is Please send a list of classical piano present syncopation that should intrigue fingered. My teacher told me to apply neglecting those finer details of shading and solos, Grades II and III, suitable young America at the piano. In the play¬ Practice flavor named for that lovely stone of China the fingering of the scale in which the for pupils from eighteen to twenty which Celestials, for ages gone, have held composition is written : but I do not expression which are the very essence of who have not studied long. ing of these measures take care riot to over¬ find this always helpful or practical. QrossTfhythms Also please mention a book of precious above diamonds and rubies. Note —An Inquirer. artistic musical interpretation. look the fact that the melody lies in the I desire to get some information re¬ studies for a girl of twenty who that, except for measure 30, the left hand is There are no short cuts in artistic music plays music of the second and third lower voice of the right hand. garding the type of piano composition grades. She has an excellent knowl¬ staccato throughout. Beginning allegretto. Any workable system of fingering must in which the left hand has four notes study. True, it is possible to be too The second section is in the key of C against three in the right hand—or edge of scales and chords in all keys. the right hand has legato passages through¬ be sufficiently elastic to accommodate the “fussy” about small details, so that one —M. L. minor built of staccato chords and played many variations that occur in actual com¬ just the opposite to the rhythm of out the first theme. In the second section Chopin's Faritaisie Impromptu. Are never takes a broad enough view of the forte and pin agitato. Immeditely after position. There are certain general prin¬ For piano solos, I suggest the following: the rhythm changes and the right hand joins there piano pieces in which this subject as a whole; but to be placed on this, the first theme reappears followed by a ciples, however, which may safely be fol¬ occurs ? They seem to be rare. Beethoven, Albumblatt and Fur Elise; in the “chop-chop” popularity with Chinese For the rhythm of two notes a reliable foundation, the playing of piano new section in D-flat, played andante can- lowed, such as the following: Haydn, Rondo in A Major; Mozart, Fan¬ music. The trio section plunges suddenly against three, I have my pupils study music should be preceded by a careful tabile—slowly, in singing style. 1. In passages based mainly on the Mendelssohn's Song Without Wonts tasia in D Minor; Mendelssohn, Venetian into A major—legato in the right hand No. 20, then Chopin’s Etude No. 26, study of the almost numberless details of diatonic scale, avoid using the thumb on Boat Song, Op. 19, No. 6; Jensen, Elfin INTERMEZZO ORIENTALE against the persistent staccato of the left. in A-flat major.—Cl. K. which it is composed. a black key; and alternate the fingerings Dance, Op. 33, No. 5; Grieg, Album Leaf, By James H. Rogers With proper observance of expression You are quite correct in saying that the 1, 2, 3, and 1, 2, 3, 4, in the right hand Occasionally a pupil is brought to me marks, this little piece also will be found rhythm in question is rarely found. Per¬ Op. 12, No. 7; Massenet, Aragonnaise; One rather suspects the editor of indulg¬ (reverse in the left hand), as far as is with the advance notice that “she can play an interesting recital novelty. haps the example nearest to it is in Schu¬ Tschaikowsky, Song of the Lark. ing in a sort of imaginary world tour when convenient. almost anything at sight”; and I find that A book of studies which is of about the selecting the music for this month’s Etude. mann’s Des Abends, from his “Fantasie- THE NIGHTINGALE 2. In the right-hand fingering of diatonic she is continually called upon to furnish right grade and which will continue her Besides this second number which wafts us stiicke, Op. 12.” In this short piece, the accompaniments, or to “fill in” all kinds of By Alexander Alabieff passages that involve a B-flat (A-sharp), work in scales and chords is “Short Pieces in fancy to the Orient, we have also such meter of the melody is three-eight, while music at a moment’s notice. But when Transcribed by Franz Liszt the fourth finger should generally be used that of the accompanying harmony is six- in All Keys,” by F. A. Williams. intimations of other climes as A Dream on this key. confronted with serious music study, she Fads may come and fads may go but sixteen, divided into two groups, each con¬ Journey; and The Nightingale from Rus¬ 3. For passages which comprise por¬ has apparently lost the ability to pin her apparently Liszt goes on forever, luckily sisting of three sixteenths. Curiously sian folk song lore. tions of the chromatic scale, use the third work to nice details. Result: she may be A Scheme for technical for the survival of satisfying music. Here enough, Schumann has notated the piece But, to return to the point of discussion, DIRECTIONS:— finger on all black keys. The second finger useful as a “hack” player; but is is doubt¬ is a beautiful transcription, typical of the in two-eight meter, in order to emphasize Study Mr. Rogers really has succeeded in im¬ then falls regularly on each C and F in the ful if she can ever become a really first class 1— Write at the top on great master. The introduction opens its essentially duple structure. Hence the ^ I have done no regular practicing parting true Oriental flavor to this music. right hand, and on each B and E in the pianist. His text notes read, “The bass to be played the dotted line the DAYS OF THE MONTH slowly but it is to be played with caprice piece may be classed as an example of the starting on a scheme’ of finger work, left hand. I therefore advise you to stick to your always piano and staccato.’’ In the third length of the period and imagination. These measures suggest cross-rhythm two against three, thus: 1 2 4. Occasional exceptions under (3) most important ambition, which is, and measure, where the right hand begins, the to be devoted to prac- 3 4 5 6 7 the waking of a bird, the slow stretching of wing and leg, the fluttering, as vitality should be, to work continually in the light text mads, “Very distinct—quasi non le¬ 8 9 10 11 12 13 14 To give added fluency to a right-hand returns, all expressed by the excited repe¬ of your highest ideal of music. gato.” There is decided syncopation in passage that contains the notes G, G-sharp, ticing Czerny’s “Op. 337,” each meas¬ measures 9, 16, 19 and so on. 2— Divide the period into 15 16 17 18 19 20 21 tition of the D’s. This effect is repeated Simple sight-reading should be begun as ure should be repeated twenty times three parts, as desig¬ A, A-sharp consecutively, use on these The note of syncopation is to be played after each pause, growing in exhiliration soon as the student has begun to study at a rapid rate. Is it well to plav nated above. 22 23 24 25 26 27 28 notes the fingering: 1,2, 3, 4. Similarly, for easy pieces; and it should continue and in¬ the exercise slowly and with a heavy with sostenuto effect. In measure 28 both each time until the repeated notes are writ¬ fluency in the left hand, play the notes A, touch a few times before playing it tempo and tone pick up noticeably. These 29 30 31 ten in sixteenths and lead into a short but crease in difficulty as long as study and fast? Also, how should I practice 3— At the end of the A-flat, G, G-flat with the fingering: 1, practice are pursued. scales, arpeggios, chords, octaves so proportions are in effect until measure 35 complete practice brilliant cadenza, played pianissimo. 2, 3, 4. as to get the best results?—N.G. is reached, where tempo primo is again in¬ period, add at least Measures 9 to 12, inclusive, are to be I should be glad to hear from other I like the attitude which you are taking dicated. A new theme has its introduction ten minutes for the played espressivo, with much resonance in Round Table members any additions which at measure 51. This theme appears in six- Increasing Ones Speed toward your work, and feel sure that if review of your pre¬ -Put a circle around the day of the month, indicat¬ the right hand. The theme proper follows, they propose to the above system! measure phrases—an Oriental touch. Play vious pieces. played adagio, with the best possible sing¬ Can any of our Round Table members i f you persist in it, you will accomplish good ing that your practice for that day is complete. eacher j results. this music tranquilly and with singing tone. ing tone. The melody lies in the upper send an example of four notes in the left problem of how to obtain anil in? The piece closes with a final appearance of Original Expression in VYCusic to three in the right hand? crease speed in passage playing, such For thorough technical material, start ^amous pedagog, the late Alexander Lambert of New York adontpH voice of the right hand. Accompanying as In scales. The girl in question is the first theme. chords should be released as soon as played, on the eight books of Philipp’s “New studying for eighteen, has studied for three years, so that the melody tones are heard to sing When to Tjeach Sight has had scales—in parallel and con¬ Gradus ad Parnassum,” carrying out this VALSE CAPRICE alone. wn, insteatf of practic- trary motion, and in a few synco¬ course as far as you are able. In practic¬ s and pieces that I give pated rhythms—but finds great diffi¬ By Francesco B. de Leone Measure 24 introduces another bird-like - ...5? If?0> leading culty in playing them with any ing it is better, as a rule, to begin exercises degree of speed. Please advise me. Another interesting offering from the pen made. In the evening one hour was given to review. Every pupil and everv trill followed by a cadenza which should Please tell me in what grade a in a slow tempo, advancing either gradually teacher should remember that no higher results in the history offano uS erest in the work t piano student should begin to study —M. L. or quickly to more rapid work. Notice, of De Leone greets Etude readers this have the purity and thinness of a silver the is studying I* sight reading : also what sight-read¬ month. Play it after the French tradition f1rom any other method than well rounded, well ordered practw ing studies to use. First, make sure that the pupil practices however, that soft practice is fully as im¬ along these lines. There is no substitute for work. The average n,,nu thread. For this effect play with shallow look.”—B. F. and not in the heavy one, two three manner I had a pupil last summer who her scales with a loose wrist. Often the portant as heavy work, so that there should ably cannot find time to practice four hours a day The lenetlf o/Vime touch well over the tops of the keys. The Her inclination to express her own took twelve lessons, and because I of the German waltzes. The little figure didn’t give her sight reading, her whole difficulty in playing rapidly comes be a frequent alternation of the two. allegro vivace section calls for a bit of neat thoughts in music should certainly be en¬ used as a four measure introduction, be¬ mother changed teachers. I asked from a certain “residuum of stiffness” which As to organized repetition, I heartily keyboard control. The upper voice in the couraged ; but not to the extent of seriously the mother a short time ago what ginning pp and growing little by little to progress her daughter was making. still remains, even after the wrists are in approve of it; and you are referred to a hight hand consists of a brilliant trill to be impairing her own practice. Why not let mf, becomes the motif of the first theme She said, “Betty doesn't practice very the pink of condition. certain celebrated pianist who used to place played with the third and fifth fingers while her devote the latter portion of her prac- much as she is taking sight reading, in measure 5. Use a legato touch not too a number of short paper slips beside him the lower or alto voice carries the melody, .tice hour to working on her own ideas; and it is so easy that she can play Second, have her practice with varying thick and with enough finger articulation it without practicing.” Can one on the piano. Each time that he repeated which must be played distinctly and with and let the time thus spent be considered make real progress without practice? rates of speed. Let her begin her scales to insure clarity. Pedal once to the meas¬ ‘The Stude ^Practice Qlock a given passage, he knocked aside one of resonance by the remaining fingers and the as a kind of reward for the faithful per¬ I require my pupils to count aloud very slowly, thefi increase the rate gradu¬ ure, as indicated, and obey the tempo mark¬ Here is a simple, “fool-proof” way of stimu¬ until a piece or study Is learned, lating orderly, well-regulated, daily practice The Etude Practice Clock speaks for itself thumb. ■ While the right hand is thus occu- formance of her prescribed work which ally to a moderate tempo. Let her begin these slips until all were gone. Try this ings which give the proper curve to the also that they watch their position scheme yourself! The greatest problem of nine teachers out pied the left supplies a pizzicato accom- precedes it? Meanwhile, too, give her at the piano and observe the marks again more slowly, then accelerate the pace rhythmical line. The second theme changes bodu7fmmUThUePEtnudeardb°arCl' “ tra“Sfer * of expression, and also that they of ten is that of Insuring the right kind of pamment. In the vivacissitno section (be¬ hints as to the best way to make her music until she is moving as fast as she can go For a list of progressive studies of tech¬ key but continues with diatonic passages daily practice. write definitions over the musical ginning with measure 71) the melody ap¬ sound as attractive as possible; as to what terms, if they do not have a diction¬ with safety. nical purport, the following are suggested- for the right hand to measure 53 where two Desultory practice on “any old thing" never ary of their own.—L. J. did produce results. an ordinary hairpin. Twist half of the pin pears in the upper voice of the right hand, are the best intervals to employ; as to how Brauer, “Op. 15,” Grades II-III; Berens, note phrases are in evidence. Roll these Third, let her play with varying degrees For over a century—that is, from Czerny to this section requires faithful practice for these may correctly follow one another; H., “Op. 61, Books 1 and 2,” Grades IV- gracefully but with precision. the present day—teachers, who have produced splraT springnCiinserttllthte ‘otho'r halfthroifgh You describe a case where progress is of force. Have her begin with a medium how to form with them little phrases and V; Cramer, J. B., “Selected Studies,” The trio section, beginning at measure 77 worth while results, have found that a regular accuracy. A side swing of the hand is easy, but dangerous : easy because the pupil amount of tone (mp), increasing this as she eventually sentences; also how to make Grades V-VI; Czerny, C, “The Art of in A-flat, consists of a right hand melody dally plan, which Insures practice on exercises necessary to catch the extended melody evidently progresses with surprising fa¬ plays somewhat faster (up to mf or /). studies and pieces, Is the most practical pro¬ the accents conform to the sense. Let her Finger Dexterity, Op. 740,” Grades VII- m sustained notes, against a chord accom¬ tones. The piece closes with a typical Liszt cility; but dangerous, because this very Then let her correspondingly decrease the cedure. Liszt, Rubinstein, Reinecke, Mason form some simple lines, such as “The birds paniment. The pedals, prolonged here as Safanoff. Leschetizky, Philipp, and practically cadenza, followed by a reminiscence of the facility is achieved at the expense of those tone until she is playing again in her first are singing,” or “The bees are buzzing,” All these lead naturally up to the Chopin indicated, add to the sostenuto effect. Be¬ nightingale’s song, which fades away on a factors of accuracy and thoroughness which tempo pp or even ppp. this °f VlrtUOs1' have ‘“listed upon and let her imitate the birds and the bees “Etudes.” ginning with measure 109, the melody tones broken C-sharp minor chord. are the very backbone of real interpreta¬ around that day of the month on the calendar. in her music. In any event, it is a mistake to force the Of the older classicists, the most im¬ occur on the second half-beat of each meas¬ _ The edition of this work as presented by tion. I am reminded of the caption that If you give recitals with your pupils (and tone. Let her preserve a light and flexible portant are Bach, Handel, Hadyn, Mozart ure as indicated by the sforzando characters he Etude is particularly well fingered, Mark Twain placed under a rude drawing I hope that you do!), insert on a program touch, without attempting a loud or violent and Beethoven. We then come to the under them. Be sure that these tones sing ” ttncMc at a nominal price phrased and pedaled and, in consequence, which he made, and which he labeled, of fixed numbers occasional little musical tone, except occasionally when the passage Classic-Romanticists, chief of whom are is a most excellent one for student use. “This is a study, not a finished picture.” I evidently calls for it—which should be thoughts which your pupils have suggested am afraid that such a happy-go-lucky Schubert, Mendelssohn, Schumann, Chopin (Continued on page 622) seldom. Liszt and Brahms. Page 588 OCTOBER 1934 THE ETUDE THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME OCTOBER 1934 Page 589 iTYCusic in the Old Or agon Empire ADRIENNE Played with “fancy free” fingers and proper lightness, this piece is most effective, in the second section, play the sustained melody with as much Oy the Well Known American (Composer Lily Strickland LONG A RESIDENT OF INDIA CHINA, BECAUSE of its remoteness the art of music in the Far East, where ticularly in England. From the primitive yet made common use of the more nearly and isolation, retained its traditions civilizations were ancient before the West¬ air pipe organ of the Chinese has come modern occidental scale forms as used in and culture unaltered for nearly six ern world had taken shape in national en¬ into being the greatest known medium of Southern China. Debussy, Ravel, D’lndy, thousand years. Will the present revolu¬ tities. Unfortunately most of the musical expression of religious music. It is strange Stravinsky, and other so-called modernists tionary ferment working in that vast area library of China was destroyed in 200 B. C., to think that Bach, the father of the pipe in composition, have used the pentatonic affect China’s cultural arts as drastically at the order of the Emperor Tsin-Hwang; organ, played upon an instrument that was and whole-toned scales, with amazing tonal as it has her politics ? Modernism’s relent¬ and for many centuries music in China was' created in China thousands of years ago. results; but these effects are gained from less march seems to have invaded the a lost art. With the rehabilitation of music, But the Chinese would have been greatly the harmonic use of the old scale, not from former Dragon Empire, to affect it in many however, new modes were developed and astonished had they dreamed what a mag¬ the single melodic line. So the very newest ways. The innovations of the Western the original five-toned, or pentatonic scale nificent tree would grow from the little forms we have in music are merely a new world; the insidious influences of commun¬ was enlarged to seven tones. Today there acorn of their original invention. form of the old scales used and under¬ ism, and the gradual influx of commercial¬ are between sixty and eighty keys in China, If we begin to trace the origin of in¬ stood in China, for centuries before Westers ism; these are among the changes that we, some one hundred and thirty musical in¬ struments developed and used in the world music was known. who treasure the best of the older China, struments, many involved rhythms, and an of today, we will find that nine-tenths of While we of the West have borrowed elaborate system of theory. them were invented in either India, China the old scales and developed them into a Chinese civilization was highly developed or Egypt. From the simple family group, nature's Tones Classified harmonic system, we at the same time have during the glamorous cycles of the old dy¬ sufficient for the needs of a primitive people, evolved a notation that is much simpler nasties. Throughout the Chou, the Ch’in THE BAMBOO pitch-pipe has twelve have branched out an enormous number of than the complicated, elaborate and, t» Han, the Sung, Mongol, Ming and Manchu tones, one: for each month of the year; complicated musical instruments. This de¬ most of us, undecipherable music system reigns, the country evolved new forms of so, even in a flute’s gamut, is woven the velopment naturally belongs to the West, of the Chinese. As in India, the science of literature, poetry, art and music. It was poetry and imagination of the people. The for in all Eastern countries the single music in China is made extremely difficult in the Han dynasty, 202 B. C., that many eight recognized sounds of nature are used melodic line and the monodic form have The strange symbols, substituting for our changes came, particularly through the in¬ to classify music: first, the sound of skin been all that were desired in music. Where notes, are meaningless to us, particularly troduction of Buddhism, form India. Today, (drums) ; second, the sound of stone there was no sense of harmony, there was Taoism, Confucianism and Buddhism are as there are no time-signatures, no values (conch-horns and the fascinating “King”) no need for the variation and improvement given to notes, but only a system of signs the three great religions of the country. third, the sound of metal (bells, gongs, and of instruments that satisfied the oriental that call for interpretation and time-values. Through Taoism are traced the ramifica¬ so on) ; fourth, the sound of silk (lute, ear. So we have taken the instruments: of tions of ancestor-worship, animism and violin) ; fifth, the sound of wood (castanets, the East and made something different out The Traits of Song black magic; through Confusianism are and others) ; sixth, the sound of bamboo of them, instruments capable of immense traced the purely philosophical and esthetic (wind instruments) ; seventh, the sound of volume, of depth of tone and of a compass /CHINESE VOCAL MUSIC is beyond qualities of Chinese scholars; and Buddhism gourds (mouthorgan) ; and eighth, the not dreamed of by the creators of the early the comprehension of the Occidental is significant in its many aspects and in¬ sound of baked-earth (ocarina). These forms. It is nasal, falsetto and discordant to our fluences on the people. specific sounds are mentioned because it is ears. A choir, or chorus, has no harmonic remarkable that they should be used to dis¬ The Original Whole Tone Scale division, since all music is monodic or A Patriarchal Art tinguish the effect of the various tones of THE SAME development and use of unisonal. Singing was used in the most AMONG THE MOST ancient forms of instruments in interpreting nature. old scale-forms are used by our mod¬ ancient Chinese religious rites and cere¬ - Chinese literature are songs and bal¬ Of the instruments that originated in ern and ultra-modern composers of today. monies. In the Li-Ki, or Book of Rites, lads. The odes are superhly beautiful to China, the ocarina, the xylophone, and the Students of oriental music know that Glinka there is much on music. The worship of all lovers of pure poetry. It was inevitable organ are notable. The organ, above all did not discover the whole tone scale. It ' Confucius was accompanied by instruments that they be set to music. The phenomena instruments in the world, has developed as was China’s earliest scale and dates back and voice: and in the Odes, or any re¬ of, nature’s moods have been the source of have few others, unless it be the piano. to 3000 B.C., in the reign of the Emperor ligious music, the pentatonic and monodic a myraid of inspirations, in literature, in This development, however, was not in Fu-Shi. This five-toned scale is still used forms were used. Nevertheless, the on; drama, in poetry, and in music. Drama, in China, but in the Western world, and par¬ in Northern China, whose people have not fortunate enough to hear the priests chant¬ China was invented in 1260 A. D., that'is, ing in the Hall of the Five Hundred Bud¬ at that period it became organized and prac¬ dhas in Canton, will find the effect moving, ticed by groups of people who developed impressive and not unmusical. In the the idea into recognized forms. Acting strange dignity of the old pentatonic mode, to music and acting with incidental dances used with the earnest intentness of the fol¬ and songs have been the customs for cen¬ lowers.. of Buddha, and accented by a bell, turies. The two arts go hand in hand as complementary and necessary to the crea¬ a gong or a drum, there is a feeling of an¬ tion of a well-rounded and harmonious tiquity, of grave beauty, and a symbolism of worship that one hears seldom save in whole. Music in China has always played an important part in the development of its the ancient Gregorian Chants. civilization. Unlike the actor and musician We cannot say so much for the high- in India, the Chinese player or musician pitched quavering of the sing-song girl. has been respected and admired. There She is not moved by the spirit of worship has been no disgrace in belonging to the but by that of amusement and entertain¬ profession; on the contrary it has been ment. Her songs are not confined to the honorable and practiced by people of sincere old scale-forms but include the more mod¬ devotion to their arts. ern modes. Her voice is as unpleasant to our ears as the dreadful singing of Bengali The Musical Chinese nautch-girls, and we must simply try to MUSIC IS a language of many dia¬ put ourselves in a Chinese mood and enjoy lects; and one of the strangest as her beautiful costume or her dance move¬ w-ell as most ancient and interesting of those ments to old instruments. dialects is expressed in the Chinese idiom. By the very volume and perfection of China is the mother of many inventions, or technic, the singers accompanying the rare and beautiful forms of art and liter¬ drama are more impressive. And they are ature; and in her music we find much that certainly a dramatic adjunct to the work of is fascinating in practice as well as in his¬ the actors in the highly embroidered plots tory and legend. seen on a Chinese stage. The dramatic The oldest countries of the world—such actor, himself clad in magnificent armor as Egypt, India and China—trace their or ceremonial robes, moves majestically music directly to divine origin. Music was through his role, investing with dignity and considered sacred, a gift from the gods, power his part in the play. Those who have and therefore to be prized and used with seen the Chinese genius, Mei Lang-Fang, reverence by man, for his benefit and en¬ who recently won such triumphs in Amer- lightenment. It is interesting to the music '£a> are ahle to understand something of student to learn something about the im¬ me spell of Chinese drama when it is well pulses and ideas back of the beginning of (Continued on page 62 5) British Copyright secured THE ETUDE Page 590 OCTOBER 1934 ► • fen. ♦ f " m £ « ,, £& fdS -.i A . A**l , >r uJ bi ■ IIJ i | 1 p=p HOC /P 45 PPP 40 ' ' crew. 55 1 5° ^ rail. D'C. piu allar =“7/Ts « [~V "d # J • ^ * J | Mf •< pt ' ‘ ^ o mosso 5 -J smorzando ^ Coda< * i ^otoWo rit. gaaJj?Tr '• 1 shV 2 '1 2 ^ 4 11 INTERMEZZO ORIENTALE f^m^hftrJSn^iD!/*r^CaUS*ht t5e*iru*e orientaJ s.Pirit in captivating Intermezzo. The rhythms are not difficuJt and the piece never gets far from the sands of the desert and the towering minarets. Grade 4. F e JAMES H. ROGERS, Op. 53, No. 2 International Copyright secured THE ETUDE Page593 Page 592 OCTOBER 1934 THE ETUDE OCTOBER 1934 VALSE CAPRICE NO. 4 The success of Mr.De Leone’s other valses in this series, so admirably adapted to the keyboard,has been notable.They suggest the fluent and in- British Copyright secured THE ETUDE Page 595 OCTOBER 1934 THE ETUDE OCTOBER 1934 Page 594 MASTER WORKS THE NIGHTINGALE LE ROSSIGNOL This scintillating composition by the radiant Liszt is one of a large number of transcriptions by the Hungarian master. Liszt must have heard innumerable nightingales as is indicated by the embellishments, particularly those in the seven last measures. Grade 8. ALEXANDER ALABIEFF Lento a capriccio _ _ „ „ , . Transcribed by Franz Liszt " 2 3 2 3 3 8 3 2 3 5 8 , 8..J.:yrrr- ~ 3 2 3 2 3 2 3 2 1 British Copyright secured * The melody to be played with side stroke of the hand. sempre staccato THE ETUDE Page 596 OCTOBER 1934 3 r AJJ my 7 nite, Here fold thy wings, and stay 40 ^ flight! ^ -r :r ^ J woes thou charm’st a - way, 45 With thy soft mel - o - dious / fvtf.L f r f r fir f ■ t -r f f —f- . r , f ...r-J r if ^ (giSfe^btJ^- —F—1 1 "J 1 r 1 r J— if -h~r /imt? : i Pffl rl i n ^ i^rurr-m 1■If f f "3 4 -1- lay- 5 1 2 3 4 3 sempre pp e staec. 7 ^ 50 j -r n L—J LJU L—J f—*— iiii 1 'i —— ——. ■ ~ _sr r00^ ^ U . - 5 k.- j k * * ^ 4j75 J*i jiaa 2 y* m g=R p m jggj| jgjaa ^ 1 2 ! lYJ (7--‘“p’-*-=1 MM it on legato ' Y~ 3 t HrnP "first nntp nf oorh ~— u_i_i * \ . i . i r. » . 6 P a> uc pi“yeu wun lne leic nand' Use*lnthls case,the upper fingering for the right hand. k THE ETUDE Page 599 Page 598 OCTOBER 1934 _ THE ETUDE OCTOBER i934 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES STILL, STILL WITH THEE H.B. Stowe I WENT ROAMING IN LOVE’S GARDEN Daniel S.Twohig RALPH COX Moderato con moto jP a tempo l r t p r •■rnr- $ Still, still with Thee, when pur - pie morn - ing break - eth, dawn came to the sky, And I heard the merry mu - sic Of the lark’s sweet song- on high; dew was on the rose, And I watched Gods magic sun-light Make eachsleep-ing' flow’r un-close; told the wak-ing world All God’s wondrous gifts to view, I went roam-ing in Love’s gar - d( ;n As the found a lit - tie / ^ 1 poco a poco eresc Tj^l j J j rit. J J ra ll. f ' r- r n dawn came peeping through. pathway As the dawn came peep-ing through, And in Love’ Copyright 1934by Theodore Presser Co. British Copyright secured Copyright 1923 by Theo.Presser Co. British Copyright secured THE ETUDE THE ETUDE OCTOBER 1934 Page 601 Page 600 OCTOBER 1934 violin r~Y U ' i > : 9 w j-11 5 Piano | *- -m J 3ti ♦ « j/?1 >• > »■ J ^T4--t-t5e '2 IF- L3—g-! 1^ frtef i r i rirff ^SrfYvf i P f Copyright MCMXIII by Oliver Ditson Company International Copyright secured THE ETUDE THE ETUDE OCTOBER 1934 Edge 603 Pa£e 602 0CT0MB im CONTRA DANCE CONTRA DANCE SECONDO L. van BEETHOVEN PR I MO L. van BEETHOVEN Allegro molto moderato M.M. J = ios i > . . ^ 1 % ‘ ~ ‘ ' l 2 5 -W-*l 3 L i > 1 > r . • ' r i r > HP > P 3^ ~jj~n i . 3 t r.€# • 1 ~ 2(^ ? L D. S. % - .-* THE ETUDE THE ETUDE OCTOBER 1934 Page 605 P«gc 604 OCTOBER 1934 pROGjjESSIyE MUSIC FOR ORCHESTRA FLUTE Tempo di Marcia ASSEMBLY ASSEMBLY R.O. SUTER MARCH Arr. by the Composer THU JETTJDB delightful pieces for junior etude readers Copyright 1934 by Theodore Presser Co. British Copyright secured Grade 3. R ATO W RTJTRRTRft 1 3 5 ~~j 1II ,l£b i iu i 4— i ■-X (S’ T J.- *= '-P 1 ^ J.~ - i #JJ J 35 3 1 Copyright 1934 by Theodore Presser Co. British Copyright secured DAINTY PUSSY WILLOWS Copyright 1934 by Theodore Presser Co. British Copyright secured THE .ETUDE THE ETUDE OCTOBER 1934- Page 609 Ijhe Secret of JYCodernist f/Y[usic (Continued from page 573) Learn to be CHARMING A BOOKLET «The Smart Point of View” eternal law; these should have a more fer¬ of genius are the laws of the future of tile result than to accept any finite point in mankind.” WITHOUT COST development because a given system finds its conclusion there. My continual develop¬ SELF-TEST QUESTIONS ON How much Charm have you? Just what impression do you ment has been in the direction of newness. MR. SCHONBERG’S ARTICLE make? Grade yourself with Margery Wilson’s “Charm-Test.” From my earliest works, which naturally 1. Why are repeated hearings of modern¬ This interesting self-analysis chart reveals your various personal are much easier to hear, I have always istic works necessary? qualities by which others judge you. The “Charm-Test,” to¬ 2. What innovations in the uses of disson¬ written just what comes to me, perhaps un¬ gether with Miss Wilson’s booklet, “The Smart Point of View,” consciously. The artist, who has courage ances are characteristic of works by gives himself up wholly to his inclinations. modern composers? will be sent to you without cost or obligation. This offer is made Only he who yields to his inclinations has 3. How does Schonberg use the twelve to acquaint you with the effectiveness of Margery Wilson’s per¬ courage; and only he, who has courage is semitones of the chromatic scale? sonalized training by correspondence. an artist. To him it is sufficient to have ex¬ 4. Name some Schonbergian novelties in pressed himself. To say what had to be treatment of musical resources? A Finishing School at Home said according to the laws of his own 5. What might be said to be Schonberg’s In your own home, under the sympathetic guidance of this dis¬ nature. The laws of the nature of a man “musical creed"? tinguished teacher, you learn the art of exquisite self-expression —how to walk, how to talk, how to acquire poise and presence, Distinguished Tributes how to project your personality effectively—to enhance your For Fluency in Arpeggios appeal. Margery Wilson makes tangible the elusive elements of Charm and gives you social ease, charming manners, finish, By Madge Parsons Stoner RUTH CHATTERTON wn grace—the smart point of view. The piano student will find the accom- ness of the fingers on the keys. The same To receive the Booklet and the “Charm-Test” write to: panying exercise of great value both in fingering is to be used for all. MARGERY WILSON familiarizing himself with all the major With the left hand play the C major 1145 FIFTH AVENUE, 74K, NEW YORK, N. Y. and minor scales and in developing an even- arpeggio, followed by its scale and chord. Then, with the right hand, follow the same model, but in C minor. Carry this model through all the keys of the scale circle till the C an octave above the beginning point is reached. Be sure that the rhythm is kept smooth and flowing; as this will add M^ m much to the interest of doing it. Now reverse the figure, as in example 2; and again proceed through the entire circle of major and minor scales. Ex. 2. 3 1 ^ m ' ij>L-s-=-r > ^ 'JT FF^ihr W wFZ j j j a . j: P-Mj- * T T * T T * TT 15 mp 10 HAVE YOU A COPY OF =^i 1= THIS FREE “WHOLE WORLD” CATALOG? 5 This booklet will be of infinite service to you ji|gi in the selection of music collections. One of v®* JGmfhtrGAd*90* ’C! the most attractive catalogs ever issued of Pupils will become really interested in bringing out the musical qualities of this standard music for piano, voice, violin, organ study, so that its practice will become a and other instruments. Every book illus¬ pleasure. trated, and described, together with its com¬ plete contents. If you are a teacher, student (l5rain the ^Memory or lover of music, be sure to write us to-day By E. Constance E. Ward •—a postcard brings it. (Not sent to Canada or European countries.) ■ Everybody in the beginning is equipped Repeat the playing three times correctly in with a memory. But this memory must be succession, gradually increasing the tempo trained before it begins to be of value to THIS FREE CATALOG CONTAINS if note perfect and otherwise reducing the DESCRIPTIONS AND CONTENTS OF OUR BOOKS the music student. The first essential is to speed. Now you should have a fair idea attain absolute accuracy in playing, con¬ of the piece. FOR THE PIANIST centrating strongly on what you are study¬ Leave it till the next practice time. Then Piano Pieces Wh< Light Opera ing. try how much you can remember. But, at Modern Piano Pi Light Piano Piec Start with a new piece. Very carefully the first hesitation or error, get the copy it Hom< play through it once, in a tempo slow and study it in sections, noting carefully enough to allow you to play it perfectly expression marks, modulations, cadences, igs Whole World* Sir as to notes and fingering. The pulses or pedaling and so forth. oo,.Bs whole World Sings. 125 beats must be kept strictly regular, and Consider your memory as a very sensitive Sacredl=nga°L Musicthe-S unny. South. j1.25 25 not be sacrificed to note finding. plastic substance which will record all im¬ FOR YOUNG PEOPLE Now rest a few minutes. Think of the pressions, good and bad. Thus, if an error Children’s Piano Pieces. Si 25 melody you have just played, testing your is made, it will require to be obliterated, FOR THE VIOLINIST Children’s Songs .III."" . memory of it by thinking it or humming it. and a new correct impression made, involv¬ Pieces Whole World Plays. MISCELLANEOUS BOOKS Modern Oi„___ Little phrases have caught on, probably. ing extra time and energy. Standard Organ Piec (Cl°th).$5.00 Standard Organ Piet Saxonhon** ^ Do You Know About Music? ' Encyclopedia of the Violin...... Cloth S. Ever since I began to compose, I have remained true to my starting For Sale at all Music Stores (Except in Canada and European countries) or principle: not to write a page because some public, or some pretty girl wanted sent direct on receipt of marked prices. it to be thus or thus; but to write solely as I myself thought best, and as it Copyright 1934 by Theodore Presser Co. gave me pleasure.’’—Mendelssohn. British Copyright secured D. APPLETON-CENTURY CO. 35 W. 32d St., New York THE ETUDE THE ETUDE OCTOBER 1934 Page 'ill Page 610 OCTOBER 1934 Even with what has been said in mind, tion. To this end singers should be urged the fact remains that the reason we have to become serious students of literature, not a much larger number of fine artists and especially of the best poetry.. cannot be traced to a lack of good natural CONCERT ARTISTS voices. It is not at all uncommon to find The Complete Singer a good voice that is being badly mistreated THE IMAGINATION, like every KNOW THIS THE SINGER'S ETUDE by an indifferent singer. This clearly shows other faculty, is capable of unlimited The word “musician” has many where the difficulty lies. The singer can¬ development. When guided by sound musi¬ different meanings. It refers to any Edited for October by not give what he does not possess. The cal judgment, it is the singer’s greatest one who can play an instrument... Eminent Specialists same is true with listeners. The feelings asset. The artist lives by his imagination. fromthetyro to theacclaimed master. of some people lie close to the surface and Many people still hold the imagination in | The tea world,also has its inadequate are easily stirred. The feeling of others rather bad repute. They look upon it as j descriptions. For example, tea can It is the ambition of THE ETUDE to make this Singers Department "A Singer’s Etude” complete lie far below the surface and are difficult that which is freakish, fanciful, insincere, mean an unsatisfactory and inhar¬ to awaken. Every artist learns this early and with no foundation in fact. But, when monious concoction... or a thor¬ in his experience. it is guided by sound judgment, its power oughly captivating beverage, rich, and usefulness are unlimited. Every singer winy and full flavored. Therefore, The Artist should read John Tyndall’s essay, “The to get the kind of tea that gives a ■ real performance in tea cups, wise “ ART IS A transfer of feeling,” said Scientific Use of the Imagination.” Here tea drinkers ask for good Black tea How to -Acquire d ‘Beautiful Vocal ‘Diction tl Tolstoy. If the singer succeeds in Tyndall shows that all of the great dis¬ from India. * making his audience feel the truth of what coveries of the past have been due to the f he is singing, and holds its attention to the scientific use of the imagination; that is, j Studied u Recently an organ pupil was playing the was due to the fact that the pupil’s atten- Fugue in G Minor” of J. S. Bach, which tion was drawn to the tenor part which in fugue is one of the eight short ones to be this measure contains more notes than the found in Volume VIII of the Peters Edi- treble. Harmony? tion of Bach’s organ works. In the follow- The second mistake is just the contrary ing passage (measure IS) ; of the first. In the pedal part, the “ and “D,” instead of being separated by an Music is a universal language eighth rest for half a beat, were inad¬ and like the language of speech vertently joined together. How often is it has its own grammar. The gram¬ necessary to tell students that occasional Getting the ‘Results from d Qhoir mar of Music is Harmony—and rests are as important for rhythm as notes! 4 if you have not studied the subject This leads to the third mistake whichI "Great Hymnals you should not delay any longer. concerns the repeated “A’s” in the alto Long tested by leading churches. These ■Page 614 OCTOBER 1934 fading by Comparison ESESSSSiKP Answered By Herman Holzman .» HEN«y S. MUS^ D«b. ss^fersss’is £ ££ss fiondf gift of voice. To become a singer is impossible if yon have no ear, for no mathematical combination will put that into you. Time and rhythm h THE ETUDE THE ETUDE OCTOBER 1934 Page 617 Page 616 OCTOBER 1934 wrist. The stroke, in all such bowings, others of the German school of violin-play¬ resembles that of drawing the bow on one ing, decidedly poor and unreliable. L6ng, string meanwhile accommodating the height rapid and brilliant staccato passages he was PROBLEM IN of the arm to the string on which the bow unable to execute. In every other respect, is engaged. Thus, in the foregoing illus¬ his right-arm skill was superb. In other trations, the arm is simply lowered as the words, his own manner of employing the CLASS PIANO INSTRUCTION THE VIOLINIST'S ETUDE bow passes from string to string. The wrist bore no resemblance to that which he reversed changes in the height of the arm advocated at the Hochschule. One of the problems of the private teacher of Class Piano Instruc¬ Edited by would occur were the bow" required to pass What, it will be asked by young violinists tion is to enroll sufficient pupils at the right time to make it profit¬ from the7 E to the G string. of the present day, was this so-called able and to be able to properly grade and classify them. Robert Braine An entirely different question arises when “Joachim Bowing” which was taught at This problem is successfully solved by the teacher;who has ambi¬ the bow is required to pass back and forth tion and. business ability as well as teaching ability. It is the ambition of THE ETUDE to make this Violin Department "A Violinist’s Etude" complete in itself the Berlin Hochschule for many years ? It over any two strings, as in the following is easily described. We offer a plan by which such teachers may work their way to measure: ’ success far beyond any of their past hopes. Interested ambitious Ex. 8. Lateral Wrist "Wor\ piano teachers willing to work hard for results should ask for a description of this plan. It is offered free and freely. It is simple HE “JOACHIM BOWING” was an and conservative. £ V>he Violinist's ‘Right Wrist attempt to achieve great skill and flexi¬ bility of the wrist by means of rigid and Here, especially in a rapid tempo, the prolonged exercises in which the wrist WEAVER PIANO COMPANY ----- ~ HAROLD FLAMMER, Inc. 10 EAST 43rd ST. — NEW YORK — Music Publishers — Dealers in Music of all Publishers New York Distributor for: Chas. H. Ditson (6 Co., Inc. Oliver Ditson Co., Inc. Theodore Presser Co. John Chut Forcing the rhythm so as to make one part THE THE ETUDE OCTOBER 1934. Page 621 Page 620 OCTOBER 1931 Price, $1.50 l^Tooithat can be done wlth ATTRACTIVE BOOK ENDS DICTIONARY teachers and studi Theodore Presser C°- AMERICAN CONSERVATORY OF MUSIC , Ill. When the Piano Sings Legato OXFORD PIANO COURSE and MUSIC FORWE pre-school child By Josephine Menuez GAIL MARTIN HAAKE Co-Editor A WISE CRITIC once said that the carefully the quality of e he i 621 Kimball Hall Oxford Piano Coi /A chief aim of a pianist should be to during. CHICAGO, ILLINOIS Another great obstacle to a good legato X V. make his audience forget that the subscription!"' Y°u piano is an instrument of percussion. If being incorrect fingering, the proper fingers this be true, very few players, either ama¬ to be used should be carefully worked out COMPOTE teurs or professionals, really succeed in ac¬ by the teacher and marked on the music. H_B.y complishing the desired results. For a For, even where the fingering is indicated singing legato, which should be the founda¬ on the printed copy, it can at best be only tion of all piano playing, is all too seldom approximate. There is a great difference heard among concert players and very in the shape and size of hands, length of —. T~ crunni **««>«* -IK. rarely among amateurs. fingers, and so forth. An excellent device, In the first place, the tone must be pro¬ which should be learned early in life, duced primarily with the fingers, although that of slipping fingers upon a key, as in heavier passages these may be rein¬ the organ. Each phrase should be played, forced by arm pressure. All young pupils if possible, under one hand position, and, have weak hand muscles and those which if it is necessary to shift, this can nearly 1 Fall term opens Sept. 19 serve to raise the fingers are particularly always be achieved by neatly slipping so, the upward motion being almost un¬ another finger, thus avoiding a break known in the child's previous experience. the legato. A change of hand position IISSHS? Therefore he finds it easier to play each correct at the end of a phrase, but not neces¬ Sis sary; and in many pieces it is better to note with the whole arm. If this habit is continue an unbroken legato throughout the The Etude Music Magazine allowed to continue, it will soon be almost period. An excellent teaching piece for V The WoHd’s larpes^and most hiShly impossible to eradicate. The only remedy this purpose is The Robin’s Lullaby by is simple legato finger exercises, which Krogman. By using the slip-finger device must be played very slowly, with quiet arm, in measure fifteen, it is easy to carry the the fingers being curved and raised as legato throughout the whole first part of Etude Advertisements ate Bulletin, of Splendid Buying Opportunities high as possible. It will take months of the piece, thus giving the left hand melody hard work on the part of both teacher and the effect of a cello. This novel set includes 3 books 4" pupil before this becomes a habit; but half Perhaps the greatest enemy to legato, end T^dephone^ Numbers of the battle is won when it is achieved. strange to say, is the legato or damper and an automatic Pencil. The Tones produced by a firm, even finger touch pedal. This should not be used until the Tri ToneS h^jdertare covered with last much longer than those produced by piece is fairly well learned and can be or black. Your reward forWsecurfna n m r-i a weak, superficial stroke and are also played correctly at a slow tempo. The TWO SUBSCRIPTIONS. 9 much superior in quality. As Lhevinne pedal sustains the tones, but it can never Send Orders Directly to: often said in his master classes for pianists, take the place of a genuine finger legato and should be used, aside from reinforcing “The tone lies at the bottom of the keys.” the tone when needed, only to connect notes Rapid practice being a distinct hindrance which the fingers cannot reach. The Etude Music MAGAZir to good legato, the pupil should practice A good legato, then, depends upon three Foreign $3.00-%2.00 A YEAR-/,, Canada *a.a5 slowly enough to get a clear impression of things: the touch, the fingering and the 1712 Chestnut Street, Philadelphia, Pa. each note, and should be taught to listen pedaling. THE ETUDE THE ETUDE OCTOBER 193/, Page 623 Page 622 OCTOBER 198/,. 'Bhe Last Hours of Frederic Qhopin Sousa Personalities Join the Etude Music Study Expansion League fghp Qlpfaelanijitatitutf of 0)uair By Jacquelin Jones Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Clarence j. russell, who was Public School Music Course in conjunction with Western Reserve University the librarian for the Sousa Bandfor and Secure T5hese Practice Pledges many years, told, in the “Music Women, according to some reports, were The Abbe was patient. On the 13th of BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio. Lovers’ Guide” for November, 1932, of the allowed to sing in the Roman Catholic October, four days before'Chopin’s death, things about John Philip Sousa which en¬ JJo Expense of -Any Kind Church for the first time eighty-four years the Abbe during his usual visit said to deared him to his men. Mr. Russell was a ago. The occasion was the funeral of him: “My friend, today is the birthday of Frederic Chopin, famous Polish composer Williams College graduate and before join¬ my poor late brother. You must give me DANA’S MUSICAL INSTITUTE and pianist; the rites were held at the ing the trumpet section of the band was a etude* something for this day.” Professional and Teacher's Courses on the Daily Lesson Plan. Degrees granted. Superintendent of Schools in a sizeable Chapelle de la Madeleine, in Paris, October Departments in Piano, Voice, String and Wind Instruments 30, 1849. Guy de.Pcurtales brings this in¬ “What can I give you?” New England community. “Your soul.” Public School Music Courses State Accredited. In speaking of the formation of the teresting fact to our attention when he Supports its own Symphony Orchestra and Concert Band—Daily rehearsals. describes the funeral of Chopin in his valu¬ “Ah! I understand,” cried Frederic. Catalogue on application to Lynn B. Dana, Pres., Warren, Ohio, Desk E. Sousa Band he says: “Here it is. Take it.” “His idea was to assemble a concert able book, Polonaise, “The Life of Chopin.” band which would combine the finesse of Music was Chopin’s life. He came into Weeping, Chopin took the Crucifix. He a symphony orchestra with the virility of a a world of music. Exactly at six o’clock immediately confessed, received Communion I man SCHOOL OF MUSIC military band. This he secured by having ^ ~ in the evening of February 22, 1810, when and extreme unction. OF THE UNIVERSITy OF MICHIGAN fully one-half of the band woodwind, in¬ Realizing that never before in the history he was born in a small village near War¬ Chopin died on the 17th of October, but cluding the larger and less familiar instru¬ ^ have there been such opportunities as now to enjo saw, Poland, the rustic violins of the vil¬ thirteen days were required to prepare the Complete curricula leading to degrees in ments of this choir, and the remaining half finest music, and . , . . -Aiff lagers on the way to a wedding were giving funeral. Among the musical numbers se¬ all branches of Music. Faculty of distin¬ of the band brass and percussion. He also Realizing that to avail myself of those opportunities 1 his mother a serenade under the windows! lected for the services was Mozart’s “Re¬ (femserbatarja <>ffllu$ic guished artist teachers. Concerts and May Festival by world's greatest artists and introduced the harp for light accompany¬ of personal effort that can only come through regular da: And throughout his short life—only thirty- quiem,” that beautiful composition which, ■ ' - • ■> --following tmo — i-.— , Under Auspices of The Cincinnati organizations in Hill Auditorium seating ing effects. In using his band to accom¬ .. minutes every day, and nine years—music was his joy and comfort. according to W. J. Baltzell, brings into use Institute of Fine Arts and Affiliated 5,000. Chorus of 350; student symphony pany singers, violinists or pianists, he em¬ study music ar lease... . , Because of ill health and disappointments the “most powerful dramatic resources of with the University of Cincinnati orchestras, glee clubs, bands, etc. Recitals ployed the woodwind group with just a I Further Pledge myself to induce as many other musically intereste persons many of the thirty-nine years of Frederic orchestra and voices to portray the spirit each week on $75,000 organ. touch of brass and percussion.” possible to sign one of these pledge cards anv cost or Chopin’s life were filled with suffering and of the ‘Mass for the dead’.” Sixty-Eighth Season Now Open I understand that signing this Practice Pledge entitles me without any cost or Second Semester Begins 1) Regarding Mr. Sousa’s relations with the loneliness. But how did this genius use t It would have been impossible to have Special Students May Enter at any Time other obligation, tc membership in The Etude Music St“dyJlxJ’a"s,on LeagUJ" February 11 IL members of the band, Mr. Russell says: If I send in the attached card, this pledge becomes a his sorrow? He brought his divine gift of given the “Requiem” without the aid of Write for catalog and detailed information Write for catalog JJ “Although Mr. Sousa held the commis¬ music into his suffering and loneliness and women’s voices because many of the parts certificate of membership. 2650 Highland Avenue Cincinnati, Ohio CHARLES A. SINK, President sion of a Lieutenant-Commander in the wove for us innumerable melodies of ex¬ were written too high for the voices of United States Navy and the degree of (Signed)... quisite loveliness. men. M. Daguerry, the cure of the Made¬ Doctor of Music, to the members of his Although Chopin did not apparently seek leine, says de Pourtales, “put in two weeks OBERLIN CONSERVATORY OF MUSIC band he was always Mr. Sousa; and every¬ the comfort of the Church during his un¬ in obtaining permission to have women sing one connected with the organization would happy years, the Church came to him in his in his church. It is to the obsequies of MUSICAL ART do anything in his power to further Mr. last days to prepare him for death. It was Chopin that we owe this tolerance.” Sousa’s interests. In traveling, Mr. Sousa Abbe Alexandre Jelowicki, one of Chopin’s Besides “Requiem,” other elaborate mu¬ was a very approachable man. On the childhood friends, who heard the confession sical compositions were heard at Chopin’s U artists. Accredited Teachers' Certificates', morning railway trips a member of the of the young Polish genius and administered last rites. All the heads of the musical and CONVERSE COLLEGE band always felt free to stop at Mr. Sousa’s the sacraments to him. literary world were present. The coffin SCHOOL OF MUSIC seat in the center of one of the coaches and The Abbe and Chopin had been on cold ' was lowered while the famous “Funeral SPARTANBURG, SOUTH CAROLINA chat about the weather, politics, music or An Endowed Professional School, Nationally terms, but, when the ecclesiastic heard of March,” orchestrated by Reber, sounded Accredited. Full B. Mus. Degree and Diploma ATLANTA one’s family, and always found him helpful the gravity of his friend’s illness, he was for the first time. During the meditation Courses. College Environment. Teachers of and inspiring. On a long ride Mr. Sousa National Reputation. Artists’ Concerts and CONSERVATORY of MUSIC extremely anxious to see him. Three times which followed the descent of the bier, a Annual Music Festival. Moderate Tuition Fees. GEORG LINDNER. Director would often wander through the coaches The Etude Music Study Expansion 1. The signing of a pledge to practice in promoting music study with your friends in succession the Abbe was refused ad¬ hand was seen to throw on the coffin some For Catalogue Address: N. Irving Hyatt, Dean Courses i n PIANO, VOICE, VIOLIN, ORGAN, with a personal word for each member. He League was established by The Etude a sufficient amount of time to assure and pupils. Simply write as follows: mittance to the room of Chopin; but, when of the Polish earth which had been given PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ ING, DRAMATIC ART AND DANCING was solicitious for his men’s welfare and in¬ Music. Magazine, which for over fifty real musical understanding that can “I am now ready to visit others, with a Chopin heard that his old comrade was Chopin in a silver cup the day he left his view to interesting them in the far reach¬ sisted that they be accorded the same treat¬ years has been the champion of the highest come in no other way. near, he sent for him. native country nineteen years before. Peachtree and Broad Streets^ Atlanta, Ga. ing plan of The Etude Music Study ment that he expected for himself. He ideals in musical education and which has 2. Interesting others in this pledge and Concerning his confession Chopin told The body of Chopin, except the heart, never released a man because of advancing Expansion League; and I wish that yon every month supplied invaluable study ma¬ Jelowicki, “I should hot want to die with¬ was buried in the cemetery of Pere La years, but kept his men as long as they would send me, without expense. terial and carefully chosen compositions For years teachers have been more out having received the sacraments, in Chaise. The heart was sent to Warsaw, ESTABLISHED 1857 wished to stay with him.” Music Study Pledges to the following ad¬ for the lover of good music. The League anxious about ways of promoting practice order not to pain my mother, but I do not where it has since remained in the Church His relations with the public were un¬ dress : seeks to overcome the indifference of many than about any other one thing. Here is understand them as you wish. I can see noth¬ of the Holy Cross. usually cordial: who do not realize that study and- regular Name . fPl! PFAROnY CONSERVATORY ing in confession other than the relief of a Even the death of Frederic Chopin was “When reporters sought an interview he the most practical means we ever have seen Wmm * Baltimore, md. practice are' essential to the proper enjoy¬ Street . burdened heart on the heart of a friend.” a contribution to music. 1 of expanding music study and of promoting OTTO ORTMANN, Director at once put them at ease and supplied them ment and appreciation of our finest music. City. State. with whatever information they sought. He practice. You, who will visit your neigh¬ Membership in the' League involves no One of the Oldest and Most Noted Music Schools in America. would listen to young performers, advise bors to promote music study in your com¬ Address your request to The Etude expense—no initiatio'n fee—no dues—no and encourage them, read composers’ scores munity, are entitled to a sufficient number Music Study Expansion League, 1712 and often, if meritorious, have his band play anything but just of these cards to take care of your work Chestnut Street, Philadelphia, Pa. them. He was glad to greet visitors and, L5 he P>ar\ of VYCusic Musical Books Reviewed although tired after a day’s travel and pair of concerts, would autograph program Rossini e. This is really a fine piece of sheets and music until the janitor insisted By Katherine B. Morgan By Francis Tote , which should be in the refer- that everybody leave the stage so that he Music Extension Study Course Few figures in musical annals every choral organization. could lock up the hall for the night. lure the biographer than does tl capricious (Continued from page 586) Gioacchino Kossini. Ther “Mr. Sousa always kept faith with his In these times, when thoughts are lars. At the meeting each pupil brings his s in e American Choral and Fes- le demigod and so much il Alliai public. If he advertised a band of sixty- turned more often to banks than to music, music bank book and his deposit slips that eun-ng of the rake' and so five musicians, he had sixty-five musicians; ' TUMBLEBUGS " ' .. DAINTY ’PUSSY WILLOW The piece should be played at fairly last I have found a way to unite both. My the teacher has given him at his lessons nan of the world, something so much of the tender A and if he was billed to play a concert at a . By„ Berniece Rose Copeland By Olive P.- Endres tempo and with sufficient lightness and class is a bank, owned and operated by the from time to time and puts them in the ice and reality tumble over The Art of Cappella Singing certain time he would spare no expense to class members. The bank has open house bank. These slips are on colored paper, ?e to page devoted rto their By John Smallman and E. H. Wilcox Miss Copeland’s novelty for-Junior Etude A little piece in gavotte form, to be played delicacy to justify the title. have his band on hand ready to begin, if it once each month, and the personnel of the blue, for home work, white, for writing on A more practical or better conceived book, it pianist’opens1 with figures divided between very daintily and with nice contrast between s unusual biographical tale -ould be difficult to imagine. The chapters was humanly possible. Once his personal A DREAM JOURNEY class make up the bank officers. At this music, and so on. They are made out just ; for he knows the value of re short, the language concise-and lucid. In the hands in -such a way . as- to suggest legato and staccato. There, are fluctua¬ giving vitality to manager showed him where he could save open meeting of the stock owners each as slips to any bank might be. act there is something about the Very physiog¬ optically,'‘as- -well -as- aurally, ’ the antics of tions in tempo, all clearly indicated in the By Marie Hobson with this has a nomy of the work that makes one immediately several thousand dollars on a tour by hav¬ pupil brings his deposits and puts them in none too .graceful tumblebugs. A little piece in lyric style, in which a Sctt lnJ° fis contents and then to ing two of his musicians double on clarinet the bank. The pupil having the largest TO THE BANK OF MUSIC The accents in measures-3 and 4, 7 and 8, good, swinging six-eight rhythm should be warmth of w ment & PlaU tG t6St ltS t,'a<'hlll8s experi- and saxophone—so as to bring a saxophone In the second' section, beginning at the amount is' the president for the month; the NAME . The illus 11 and 12, and so on, should be exaggerated preserved at all times. il of which are new to American readers. Chapters on Breathing, Pronunciation Pri- octet to the footlights for a special number. end of measure 16, the left hand carries the second largest depositor takes the next of¬ ADDRESS . mary Vowel Sounds, Combinations and Varia¬ to create and emphasize a certain clumsi¬ The tempo is somewhat slow: but never¬ Excellently indexed. A real contribution to tions of Vowel Sounds, Consonants, and Vowels ‘Well,’ replied Mr. Sousa, ‘in that case they melody. To be effective’the piece must be fice and so on, the pupils being elected HOME WORK . musical literature: for this in many wavs ness of rhythm suggesting the movements phrased exactly as indicated.' ' : theless, the composition should be played greatly gifted composer has hitherto lacked' a Introduced by Consonants, give in the most won’t do the best kind of clarinet playing because of the quality of their work. The LESSONS ... whu n1 fhi11/1 n *5er’ just .the very information of this awkward beetle. good and sympathetic chronicler. which the leader ot chorus singing without ac¬ nor the best kind of saxophone playing. without loss of the sense of moment®’ money’ deposited consists of the grades WRITING ON MUSIC SUBJECTS.... Pages: 269. The character of the composition changes Technically, this number is very simple MEMORY WORK ..TOTAL. Price : $3.75. companiment especially wants You had better engage two good clarinet SNOW FLURRIES received tor work for that month: each Publisher : Alfred A. Knopf. With all of these, there are nresentpii in in the second section beginning at measure Musically it requires reflection, if it's t0 full score, fourteen classics of those marvelous players and two more good saxophonists.’ 25. Here we have slower tempo and a By Harold ,Locke hour of practice, one hundred dollars; each The receiving teller who is elected for the medieval composers of unaccompanied sor.ir • “Mr. Sousa usually made quick decisions, be played with significance. and these with extended discussions of their legato theme to be well sustained. After In this grade three piece Mr. Locke sets page memorized, two hundred dollars; each season does the adding, and the winner’s Music Festivals in the United States but, if not quite sure, would ‘think it over.’ the second theme the first one is again a nice little problem in pianism, for the SPRING GREETING lesson counted out loud without being told, name is called out. After the bank meeting By William Arms Fisher plicity phraseK’ Sim- Generally the next morning he would have heard—D. C.—and then ends at Fine. one hundred dollars, willingness to play the pupils have to play the music they have solution of the student. While the left hand By C. C. Crammond This historical sketch is an excellent and a definite answer ready. His favorite or company, without being coaxed, three memorized and received money for. Then authoritative review of the musical festivals Pages : 197. carries legato dotted quarters; the right of the_ New World, from about 1750, or the recreations used to be riding and shooting— This waltz, for second graders, has the hundred dollars; writing the story of an the story of the operas, composers and Price: $2.0(1. supplies little figures in two-note phrases beginning of “singing schools” in America, to Publisher: Oliver Ditson Company, Inc. he was one of the best trap shooters in the melody in the right hand for the first-eigh opera, of a composer or a song, fifty dol¬ songs are read. country. After an accident to his left tions, but his Semper Fidelis is -perhaps the . winch begin on double notes and are tossed measures, after which the left hand has 1 off on single notes. The second section, One of two rival village chapels had just got a new organ shoulder some years ago he was unable to finest example of the military march and for eight measures. , A member of the other congregation met the caretaker leaving the chabel ride or shoot, but he took daily walks. the title, Ever Faithful, symbolizes Mr. n the relative minor key, contains diatonic The first theme is in F major; the second legato passages for the right hand, inter¬ one day. Ah reckon thas gotten a organ," he said. "All tha needs now “Mr. Sousa’s The Stars and Stripes For¬ Sousa’s life—faithful to his public, to his in C major. The tempo is in waltz m°ve' spersed with short phrase groups. The Nothing is really ■work unless you would rather be doing something else.” is a monkey.” uw ever is the best known of all his composi- band, to himself and to his God.” ment time and should be kept fairly even second section is in the form of a tarantella Sir James M. Barrie. "Aye,” said the caretaker, “and all tha needs is a organ!” throughout. THE ETUDE THE ETUDE Page 624 OCTOBER 1934 OCTOBER 1934 Page t ‘Music of the Old Dragon Empire In the Choosing of (Continued from page j 88) NEW YORK SCHOOLo/MUSICam/ ARTS 310 West 92nd Street, New York City The Appeal of Rhythm of intrinsic beauty, worthy to house the Tel. Schuyler 4-4140 Cftrisrtma* Cantata^ THE DANCING of any country is °®ces °f music. Their decorative value more easily understood than its instru- a on® adds an important part to the en- RALFE LEECH STERNER, Director * - All dances of semble of color, form, and harmony of idea Presser’s Examination LOWEST RATES EVER OFFERED BY THIS FAMOUS INSTITUTION BUT SAME Privileges Aid Greatly. CELEBRATED FACULTY. Send for Catalogue, Biographies and Programs. soundf- and The new ^"strangef sounds of ^-Shi/^OW^B.C^^he^rings are that we hear in the East do not fit in A^C, D, E, G, A; and, as we INSTITUTE OF MUSICAL ART "^Aside^ from° all "the ' afien^sounds^that ern violin there are sevei/strings" The of the - ' fore, is much JUILLIARD SCHOOL OF MUSIC First and Last Measures THE ETUDE THE ETUDE OCTOBER 1934 Page 627 Page 626 OCTOBER 1934 Among the Yuletide Carols for such as may be played by any average pianist, Birds Men’s Voices or the student who has had txvo or three Piano Collection . years of study. The contents provide oppor¬ It is only natural 1. c?ro*s m this group are not the con- tunity for taking care of large or small groups that many musical ven™nal. arrangements with the melody in- and present ideas for getting everyone in¬ compositions should varlf‘y m *-ke first tenor. These arrange- terested in having a merry and an enjoyable be given “bird” titles. nl5, are, made in the modem style popular time with others. The warbling of our men s smging groups; each voice has an Advance of publication cash price is 60 feathered songsters is laterastfng part to sing and the melody is cents, postpaid. nature’s most beauti- fvact~ 111 „ vo*ce which can carry it with ful music. Composers of piano music for t le . .*• ®“?ct. The favorite English carols Advance of Publication students in the earlier grades have written aJe mcluded as well as English translations bird pieces to illustrate rhythmical figures, . , . - st known carols originally published Offers Withdrawn Did You Ever Think About such as Bobolink for the triplet, others hax’e m i?Felgn languages. True to our promise we hax'e ready for —THERE IS NO SUBSTITUTE FOR PRACTICE- tried to imitate bird-calls, some have given . 1 , Publication will be ready in ample Modern Transportation? . ’ icli tn them tlrae f°r holiday rehearsals but during this delivery this month both the Thanksgiving bird titles to compositions which to them tIme for holiday rehearsals but during this and Christmas cantatas announced in the convey various impressions of bird char- °. ,y smgle copies may be ordered at The engineers designing automobiles, air¬ • Thousands of teachers have asked us Three Christmas Carols September issue of The Etude Music Maga¬ planes, locomotives, electric speed line cars, acteristics. tple specla advance of publication cash price. zine. As is customary, the special advance Advance of Publication for practical helps to induce practice We For Two-Part Singing Piano teachers know the interest young 8 cents> postpaid, etc., have made great strides in stream-lining By Mrs. E. R. Forman of publication price for a smgle non-return¬ to avoid air resistance. No longer do they believe that practice should be made as pupils have in birds and many have given able copy of either cantata is now withdrawn, Junior choirs, Sunday school choirs, and costume recitals with the program entirely -p waste considerable percentages of the propel¬ Ojfers—October IQ34- delightful as possible; but at the same but, as these works are placed on sale, direc¬ ling motor power generated by making un¬ school choruses will find a ready use, during devoted to bird titles. To supply the de- 1 HE CATHEDRAL CHOIR tors, and those having in charge the furnish¬ time teachers are beginning to hnd out the approaching Yuletide season, for these wieldy shaped conveyances push against wind mand for easy grade material, the publica- A Collection of Distinctive Anthems for ing of music for the above mentioned feasts, resistance. AU of the Forthcoming Publications to their sorrow that the pupil, who has Three Christmas Carols by the well-known tion of this album of bird pieces is planned. Chorus-Choir may obtain single copies for examination composer of church music, Mrs. R. R. For- Publishers of today likewise avoid wasting in the Offers Listed Below are Fully been cajoled into thinking that all that is H win contain agenerouss^ect.onofpieces Choirmasters, fortunate enough to have under the liberal terms of Presser’s “On Sale” energies in trying to push into general accept¬ Described in the Paragraphs Follow¬ necessary is a few sugar-coated exercises m Grades 1% to 8*4, carefully edited and under their direction a competJ choir with plan. These are the works we take pleasure ance, music works which do not find a ready The separate titles are When Christ Was arranged progressively. the usual four soiG voice ”m be interested ing. These Works are in the Course of and studies, often becomes a disgraceful in presenting: reception with the profession at large. Bom, The Star and the Song, and The Name While this book >s m preparation orders in the announcement of this new compilatlo„ Harvest Home by William Baines is a can¬ Preparation. The Low Advance Offer Over AU, with texts by Miss Helen J. Thomp¬ Those works which by means of especial failure. . tata for the Autumn season or for Thanks¬ merits prove to be “stream-lined” for travel¬ Prices Apply to Orders Placed Now, What is most needed now is honest son, with whom Mrs. Forman has collabo¬ p"'p"b"' br ■uch * giving services. It is scored for a choir or rated in many of her sacred works. The ling to success are discovered by publishers with Delivery to be Made When hard work at the keyboard in order to chorus of mixed voices, with effective solos composer has arranged these Carols for two- While xxe intend to continue supplying through sales records. Finished. produce the glorious results that come . easy anthem collections from time to time, for the principal voices, Soprano, Alto, Tenor In this space devoted to publications se¬ part singing, both parts being within a limited and Bass. The text was selected and written THE ETUDE PRACTICE with beautiful playing. There is no sub¬ range for sopranos and altos. ADVENTURES IN BlANO Technic such as our recently issued Voices of Praise, lected from the Publisher’s Printing Order of Adventures in Piano Technic—Ketterer....J0.30 A Book of Pleasing Studies for we ^ tllat there has been a real develop- by the composer and the time of performance the past month, there is opportunity to be¬ CLOCK stitute for practice. Three Christmas Carols will be published is about 35 minutes. The average volunteer Among the Birds—Piano Collection ... .35 together under one cover; a single exami¬ Piano Students ment m cflolr standards m recent years, and come acquainted with a wide variety of music However,uu„CvCli we„„ ^„vehave produced two devices, “The Etude d I-,,. we are confident that many choirs will find choir will find this cantata well within its works which are selling constantly. Teachers Autumn ( "Around the Ybar with Music”) nation copy may be ordered at 10 cents, post- By Ella Ketterer useful this more advanced couection of our Piano Collection .3° Musical Expansion League Campaign Practice Pledge and capabilities. Price, 60 cents. may secure any of these for examination. The Cathedral Choir—Anthem Collec- It was to be expected that such a success- very best anthems which, while not neces- Hosanna in the Highest by Alfred Wooler “The Etude Practice Clock,” both of which are described in ful method as Adventures in Music Land by sarily difficult to perform, require a chorus is, as the title implies, a cantata in the text other sections of this issue. They can be procured by writing First Grade Piano Collection .55 The Moon Maiden Miss Ketterer would create a demand for a with solo voices. The editors have been able of which the angels’ song of Bethlehem is Grown up Beginner s Book—For to the publisher. “follow-up” book. In answer to this demand, to find a great many excellent numbers, by featured. Indeed the highlight of the work An Operetta in Two Acts we are pleased to announce a new work, by the foremost American composers, from which is the xvonderfully effective closing chorus, 24011 Let’... _ Moon Maiden, The—Opi We think that these devices will do much to help teachers, Book and Lyrics by Elsie Duncan Yale 6460 Ding Dong Bell—Spaulding 1 the same author, a book of melodious studies to choose the contents for this book, “Hosanna in the Highest.” The carol “O 15445 Heigh! Ho! March—iSoi/e. . 1 nd Friends. who have been misled by the false methods of sugar pills, to Music by Clarence Kohlmann Chorus Collec- which will be useful as a second study book A reference copy may be secured for your Guiding Star” is another featured number. 6755 Fairy Footsteps—Farrar. . . 2 Philomelian Te bring their pupils around to well-ordered, practical, productive An airship with its passengers and crew, 9420 Dixie Land—Steinheimer. . . 2 tion—Women’s Voices . to follow any beginners’ method. music library at the nominal cash price of There is a fine trio for alto, tenor and bass, ‘ ' ' Jump Over the Candle- Throe Carols for Christmas—Forman. practice. driven out of its course by a storm and Adventures in Piano Technic consists of 30 cents, postpaid, a trio for women’s voices and the usual solos. itlck— Violin Vistas—Violin and Piano. We strongly advise all teachers, who have not already done forced to land on the Moon, provides the twenty-six short exercises, in Major and All of the music can easily be rendered by 3 Rustic Dance—-Howell. 2 theme for this modern musical fantasie. Minor Keys up to and including four sharps the average volunteer choir after a few re¬ c of Dream s- Yuletioe Carols so, to write at once for the “Guide to New Teachers on Teach¬ irey . .... _ Many amusing incidents occur, through the and flats. Each exercise is given an attrac¬ Violin Vistas hearsals. Price, 60 cents. 18686 ’___e Darky Fiddler —_Baines 2 ing the Piano” which outlines the material to be used in all strange power of the magic Lamp of Ro¬ tive title to capture the pupil’s imagination, 5100 The Frolic of the Frog„ mance, that the Moon IVitch contrives to and brief preparatory studies introduce the For First Position Players Watson . 214 ten grades. There is no charge of any kind. Just send the (With Piano Accompaniment) Rewards for Securing 11636 Sweetheart Waltz—Kern . . . 2 V, request on a postal card with your address, to the Theodore steal from its rightful owner, the Moon various problems which each exercise pre¬ 19010 Apple Blossoms—Rolfe .... 21/, Maiden. With such fanciful material to sents, such as grace notes, broken chords, The average violin student 4193 Summer Idyl—Rothlcder.. . 2% Presser Co., Dept. R, 1712 Chestnut St., Phila., Pa. New Etude Subscriptions The Cover For This Month work upon, the composer has produced melo¬ ornamental notes, trills, intervals, mordents, usually spends a year or more 17517 A Blushing Rose—Lawson.. 21? mastering the first position, for 15293 Black Hawk Waltz—Walsh 3 dies which are romantic, appealing, and in¬ finger patterns, etc. Attention is given also Elsewhere in this issue xvill be found a list 1126a Little Tarantelle, Op. 46, No. It is with pleasure gratiating, yet easy to sing. to pedalling, accent, and phrasing. with the first position comes of attractive premiums for those who care to —Heller that The Etude has The operetta is in two scenes: Act I. The The progressive teacher will do xvell to the problem of holding the in¬ devote spare time to the securing of new’ sub¬ 18949 Dance . Rosebuds—. been responding to strument correctly, developing Keats . 3 GrowN'Up Beginner’s Book Moon Desert, and Act II, The Moon Garden. secure a reference copy of this work by plac¬ scriptions for The Etude. This is pleasant 30111 Stars and Stripes Forever— the expressed desire The Remarkable Historical The change of scenery is quite simple, the ing an order in advance of publication at the tae. n arm, and perfecting accurate into- work and will prove profitable to you. A of many for famous Until these fundamental phases of Musical Portrait Series For Piano addition of grotesque flowers making the special cash price of 30 cents, postpaid. list of other premiums may be secured musicians’ portraits, transformation. violin playing are comprehended, the student through a post card request addressed to the by running a series of To meet the demand for a type of first should not undertake the higher positions. Circulation Department of The Etude. piano instruction book especially suitable for The_A principal singing characters are The 911 I_ * ““ lii' l , a ,1 JyiOOn JYiaiucuMaideni (So[(Soprano),\ouuiaim; ' , ”Evelinar. veima (Soprano),foupiauu/i' To supply interesting recreational pieces 1126 Water Spriti of The Etude. most outstanding and perhaps most valuable grown-up beginners, our staff of experts lias p (Contralto), and Miss Amelia (Mezzo- First Grade Piano Collection for this first year of study, our violin special- —Heller . 4 24801 A Garden Party—Benson ... 4 This month’s issue of them all, is the Historical Musical For- worked out a practical approach to music Soprano),.. all __passengers on__ the airship.hip. The1 The success of great musicians, as with have made a careful selection of violin Changes of Address 7014 Hungary, Op. 410—Koelling 454 presents a very beau¬ Series. In alphabetical order this series study which is entirely different from any Moon Witch (Contralto), The Captain that of the foremost individuals in other pieces limited strictly to the first position, It is of vital interest to us that no sub¬ hb.jl Silver Spring, Op. 6—Mason 8 tiful piece of portrait presents 44 pictures and thumb nail biogra- heretofore available, (Bass). The Poet (Tenor). a passenger, and professions, may generally be attributed in an this“““ method does not devote , --- —- — . r , . A judicious use of supplementary material teachers and young players. The violin parts 2651 Sunshine on the Prairie— biographical records of this epoch-making work of its kind ever attempted, enough time to technical^ phases^ which younger Qrainger . 1 the Stage in the form of pleasing piano pieces is usually are carefully edited with bowings which 17305 Tinkling Bells—Bugbee .... 1 genius of music. Every Dictionary of Com¬ a most satisfactory solution. With an album “come out right,” and the piano accompani- 1SF,!s Message of Spring—Rolfe. .154 posers gives considerable information upon When to a proficiency that grown-ups would not Mami(>er s biiKk- which w... - of this kind the teacher can place in the ments are of a grade which may be played Satisfaction Compulsory 40(8 To Arms! Op. 2—Ortlepp . . 214 25 Bach and there also are numerous individual -r-, — , - - -— their own playing. 31(2 The Joyful Peasant—.Sr-It u- hands of the student, at little expense, prac- by a third year piano pupil, The late George T. Boldt, most famous mith . volumes upon his life and works. Among markable and permanently valuable works The use of familiar songs and melodies tically all supplementary and recreational A single copy of this book may now be the shorter biographical works is The Etude the literature of music. from the very beginning, and the easy this_ fascinating xvork may be ordered nr of all American Hotel men (former owner the special price in advance of publication, material needed for the first year’s study, ordered in advance of publication at the of the great Bellevue Stratford Hotel of Musical Booklet Library’s short Biography Small xvonder students, teacherseachers and lovers rangements of favorite classic melodies in • ■ , At the special advance of publication cash cash price of 40 cents, postpaid. Student’s_, of Johann Sebastian Bach by James Francis of music everywhere are preservmg every duet form for teacher and pupil, help to keep ° cents’ PostPaK1- Philadelphia) used to say: Vol. 2)—Presser . “When a patron complains, it is a Cooke, price ten cents. page in the series—why we are constantly the attention of the adult beginner focused E’little ind“dindeed.nts Order a cc tie3 All In One—Melody-Rhythm-Har Johann Sebastian Bach was born in Eise¬ receiving requests for separate copies of all on his own progress. sign that that patron is not satisfied, Autumn your first grade pupils wi Piano Fun with Family and and we are in business to satisfy Standard Graded Course of Studies nach, March 81, 1685; he died in Leipzig, pages which have appeared to date. These A single copy of this book may be ordered such a book as this in the lOrig. Ed., Or. l)~Mathews.. . ■ July 28, 1750. we are prepared to supply at the nominal at the advance of publication cash price, 40 “Around the Year with Music” Series of Friends people.” First Year at the Piano (Parts 2, ,i & ,}j Piano Qollections The Presser staff of expert music clerks All down through the ages mankind has has been schooled for decades in seeing e Plano (Complete) Be not misguided by Bryant’s lines, "The shown a tendency to leave for awhile that William Stage Guide for a Pantomime Philomelian Three'Part that the customer’s exact desires, his time Second Yi__ .he Pia no—Williams'.' melancholy days are come” in estimating which is good, only finally to circle back and his pocketbook are given every possi¬ The Music S< p Book (. the nature of the contents of this album- again. In the last decade, it seemed as Method)—Wngict "7^ ^ Klnder»^en Performance of “The Vision of Magazine Racketeers Chorus Collection ble consideration. All of our younger Mathews’ Graded Materials, Or j. Remember that the Harvest Festivals, Hal" rh • • , though the good, heart-warm, character- clerks are taught to follow this ideal. One of the meanest and most irritating forms of racketeering in America is that of loxve’en and Thanksgiving are celebrated a Scrooge” by William Baines l Is t0, be a volume for those who love building home life of the American people Expect satisfaction in every transaction ‘Ma/Boofc 2[°SreSS “ the r’lai,° ’ Class the magazine racketeer. By this we mean the fraudulent agent who goes brashlv un this season. This is the fourth and last vol¬ to rend g0 andstud-"s ,SI"r 15580 in the Land— ORCHESTRA century, and for the more recent “Four Easiest Orchestra ^Collection—Peery Horsemen oi me npucaiyysc. ..#i •15 E?rts vcc.:::::::::::$ :ll •«— -»• onnm ,s..7 T.j,,ro . ■15 Pian° ACC.BAND THE CENTENARY of the birth of Amil- Hearts anti Blossoms—Stulta.$1.00 3r.027 Love Divine—Marks _ g“3H? .ms ^ £5 THE ETUDE Page 630 OCTOBER 1934 JUNIOR ETUDE -(Continued) Works Used in Group Instruction Junior Etude Contest Around, the World in ‘Music A New Piano Method for Result'Qetting Classes of 9 & 10 Year Olds— (Continued) Piano Class ALL IN ONE corner, and the address in the upper right- The Junior Etude will award three Materials of Charlemagne, said to have been sung by hand corner of the paper, and must be re¬ Melody—Rhythm—Harmony music history or see the Junior Etude for pretty prizes each month for the best and A Distinctive Method for Plano Beginners Joan d’Arc, which is on Victor, No. 20896; ceived at the Junior Etude Office, 1712 December, 1928, in the Little Biography neatest original essays or stories and for (Class or Private) French Folk-songs on No. 72165; Trouba¬ Chestnut St., Philadelphia, Pennsylvania, dour Songs of Adam de la Hale, on No. answers to puzzles. before the fifteenth of October. The names By ROBERT NOLAN KERR Price $1.00 Two great opera writers were Gounod The subject for essay or story this month (died in 1893), whose opera, “Faust,” is 20227. Others present Lully (Victor Nos. of the prize winners and their contributions MY FIRST EFFORTS 7424, 9917, 5003 and 20351), Rameau (Nos. is “My Best Effort.” It must contain not one of the most popular operas of today; over one hundred and fifty words. Any will be published in the January issue. IN THE PIANO CLASS 1199 and 22166), and Couperin on 1503. Do not use a typewriter and do not have THE CLASS side^ed.^0''6 VIOLIN INSTRUCTOR By ANN HATHAWAY and HERBERT BUTLER MAKING PROGRESS BOOK ONE BOOK TWO A 5c Winner l IN THE PIANO CLASS SS8S2U VS KSKJSU Ci MUSIC CLASS WRITING BOOK PROFICIENCY ENSEMBLE FIRST FOLK IN THE PIANO CLASS METHOD FOR SONGS FOR THE VIOLIN VIOLIN Text Books That Stand in Qreat Favor- THE FIRST PERIOD HARMONY BOOK AT THE PIANO FOR BEGINNERS POLYPHONIC STUDIES FOR RHYTHMICAL VIOLIN A B C’s MUSIC PLAY FOR EVERY DAY CLASSES IN FOUR PARTS Price, 40 cents. Each Part SS BS533K THEORY AND COMPOSITION FIRST YEAR AT THE PIANO OF MUSIC YOU ARE INVITED TO ASK FOR Ssl piano tea^ers Beautiful Hell STANDARD HISTORY OF MUSIC THE ETUDE IV "to.£SSSSS; EVERYTHING Have you ever heard tell IN Of beautiful Bell Theodore Presser o Whose piano never gets dusty f MUSIC o She plays every day 1 In her very best way. PUBLICATIONS 1712 CHESTNUT STREET PHILADELPHIA, PA. Her music will never get musty. RHYTHM BAND, ERIE, PA. ATTRACTIVE NEW ISSUES CHRISTMAS MUSIC AND OTHER TIMELY SUGGESTIONS Published by OLIVER DITSON COMPANY, INC. A Christmas Mystery Play New Christmas Anthems and Carols For Schools, Sunday-Schools and Communities Octavo 14,697—John Spencer Camp THE WATCHER'S CAROL.* -15 THE NATIVITY For mixed voices with organ accompaniment. Harp (or piano) part A Musical Mystery Play ad lib. published separately, 40 cents. A melodious and effective festi¬ For Voices val anthem with no difficulties for the average choir. One verse is for With Piano or Organ Soprano Solo with accompanying harmony for men’s voices, ad lib. With the addition (ad libitum) of First and Second Violin and ‘Cello. Octavo 14,701—Gordon Balch Nevin Words and Music adapted from old French Noels by UPON THE SNOW CLAD EARTH.15 LINDA EKMAN and ELIZABETH FYFFE For mixed voices with organ accompaniment. An effective setting of Arthur Sullivan's sturdy carol, elaborated for use as a festival anthem Vocal Score .$ .75 with sections for three-part men’s and three-part treble voices for Libretto . .25 variety. Presents no difficulties for the average choir. This is a modern adaptation of the old mystery plays which were given in Octavo 14,700—Alfred Whitehead Church or Square during the Middle Ages. The three scenes may be simply indicated, or elaborated to pictorial beauty; and the costumes are described with THE GOODWILL CAROL.10 directions for making. The play may be given wholly by children of various For mixed voices, preferably A Cappella. Another masterly setting by ages, or by children and a few adults—enlisting a small number only or a very Whitehead of an old German carol-tune. One verse is for Soprano large company. The music is beautiful in melody and arrangement, and the Solo accompanied by the chorus. effect of the play is reverential and full of the deepest joy of Christmas-tide. Octavo 14,737—Carl F. Mueller HANDEL'S MESSIAH MARY’S LULLABY.15 For mixed voices, A Cappella, with Soprano Solo. Accompaniment for CHORUS PARTS ONLY rehearsal. Portions for S.S.A.A. and T.T.B.B. alone and the use of a Price, 60 Cents humming accompaniment give extraordinary choral color and variety to this little carol. Exact reproduction of the choruses in open score from the authoritative edition of the Oratorio, edited by Percy Goetschius, Mus. Doc., complete with accom¬ Octavo 14,738—James H. Rogers paniments. O ZION, THAT BRINGEST GOOD TIDINGS.20 Handel’s Oratorio THE MESSIAH (Complete work) $1.00— For mixed voices with organ accompaniment. A bright, colorful, and spirited festival anthem with a Soprano Solo. Straightforward part edited by Percy Goetschius, Mus. Doc. writing presenting no difficulty to the average choir. SUCCESSFUL DITSON OPERETTAS Tuneful—Enjoyable—and of Sound Musical Value INTERMEDIATE—GIRLS GHOST OF LOLLYPOP BAY by Cadman—Time (1)4 hours). Costumes and COSTUME BOX by Knowlton—Time (1 hour). Costumes and Setting (Civil Setting (Modern—Summer Camp), Number of Acts (2), Copies re¬ War Period), Number of Acts (2), Copies required for performing rights quired for performing rights (15), Price, $1.50—Stage Guide, 75 cents. (10), Price, 75 cents. PEPITA by Knight—Time (2 hours), Costumes and Setting (Mexican and Modern), Number of Acts (2), Copies required for performing rights SENIOR HIGH SCHOOL—GIRLS (15), Price $1.50. 66 DRESS REHEARSAL by Diehl and Gaines—Time (1 y2 hours), Costumes and Setting (Modern and Cinderella), Number of Acts (1), Copies required RADIO MAID by V. M. and C. R. Spaulding—Time (45 Min.), Costumes and for performing rights (5), Price, $1.25. Setting (Modern—Living Room), Number of Acts (2), Copies required for performing rights (10), Price 75 cents. ^ SE-A-WAN-A by Lester—Time (1 hour), Costumes and Setting (American Indian), Number of Acts (1), Copies required for performing rights SOUTH IN SONORA by Cadman—Time (2 hours), Costumes and Setting (10), Price, $1.25. (Mexican Rancho Gardens), Number of Acts (3), Copies required for performing rights (15), Price, $1.50. Stage Guide. SENIOR HIGH SCHOOL—MIXED GROUPS THE NIGHTINGALE by Peery—Time (1 hour), Costumes and Setting FIRE PRINCE by Hadley—Time (2 hours), Costumes and Setting (Court— (Chinese), Number of Acts (1), Copies requtrec l for performing rights Garden and Ballroom), Number of Acts (2), Copies required for per¬ (15), Price, $1.00. Vocal Score and Dialogue, complete with sugges- forming rights (15), Price, $1.50—Stage Guide, 75 cents. tions for costumes, staging and lighting. ANY OF THE ABOVE LISTED WORKS MAY BE HAD ON APPROVAL FOR EXAMINATION FROM YOUR DEALER OR THE PUBLISHER OLIVER DITSON COMPANY, Inc., 359 Boylston Street, Boston, Mass.