November 1946) James Francis Cooke

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11-1-1946 Volume 64, Number 11 (November 1946) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 64, Number 11 (November 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/189

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ELIZABETH Al Her Royal Hi$\mess/ rrincesjr«tif to flic lln one of Grea Britain, after receiving fh« De^PI ni versify of London \&4 summer. The Degree was preSM C han cellor ol the University. P it childhood. S i n ce her •JfRVICH DR. HENRY S. FRY, dis- the THE OPENING PERFORMANCE of tinguished organist and fall season at the City Center Theatre, choral conductor, for the New York, in September, saw New thirty-four years organ- York City Opera Company give a truly Numbers ist and choirmaster at outstanding performance of “Madama Piano St. Clements' Church, Butterfly.” Camilla Williams, sensational Philadelphia, died in young Negro soprano, headed a cast of Priority-Deserving that city on September inspired singers, and with Laszlo Halasz 6, at the age of seventy- Prelude conducting, the presentation, according Dr. Henry one. He had been editor Fry by the critics, “was a thor- S. CM** to the opinion of of the Organ and Choir rM*"*' and in- oughly professional job, smooth Question and Answers department of The action, and it had tegrated in song and Etude for twenty-two years and had which might American that extra something you ability to made many friends through his mo* call art.” give practical aid and timely advice to organists and choirmasters throughout Association THE SAN FRANCISCO Opera the country. He was widely known in the opened its twenty-fourth season on Sep- organ world, and was a member of the tember .17, with a performance of Wag- executive committee and a former Dean Barcarolle CHARLES William ner’s “Lohengrin,” conducted by of the Pennsylvania Chapter of the Allf*” 11" Steinberg. Four members of the cast A.G.O., president of the American Organ Aspiration 5 Francisco debut: Astrid ETHELBERT HEVIN.Op. 2B.N» made their San Players Club, member of the Philadelphia Varnay, Svanholm, George Czaplicki, Set Grand Opera Company, with Leopold the British Museum. Comprising about Music Teachers Association, and direc- Nicola Moscona. and Stokowski conducting. twenty thousand volumes, the library tor of the Choral Club of the Musical Art contains such unique rarities as the 1600 Society of Camden. MUSICIANS EMER- THE PAUL HINDEMITH, has been commis- edition of Peri’s “Euridice” and a large GENCY FUND is planning sioned by the Dallas Symphony Orchestra collection of theoretical books up to the a series of three concerts to compose a symphonic work. This is beginning of the nineteenth century. The this season to raise funds the first of such commissions which will library is the result of the collecting for its work in providing Competitions be set up annually by the Texas or- genius of a German, Paul Hirsch, who in free musical instruction the signs ''*"11 ganization. the middle 1930’s, when danger THE FIFTH ANNUAL CONTEST for disabled veterans, in to of Nazi Germany made him sense the on- young composers, sponsored by the Stu- hospitals. The artists THE JUILLIARD MUSICAL FOUNDATION coming storm, got out of the country dent Division of the National Federation in El Minor. con- Prelude taking part in these leading com- with most of his valuable collection, of Music Clubs has been announced by KOVEN, 0,*»‘ has commissioned seven con brio. •»» REGINALD DE AUfgro certs are Patrice Munsei, is safely housed in the British Marion Bauer, chairman. The awards Con cncrgU- posers to write works for the concert hall which now Robert Casadesus, James are for works in two different classifica- and for teaching purposes. These com- Museum. Melton, Lauritz Melchoir, Eleanor Steber, tions, choral and small orchestra. The missions, according to William Schumann, Pinza. ‘ two prizes in the choral contest are for Licia Albanese, and Ezio FESTIVAL of mu- president of the Juilliard School of Mu- AN INTERNATIONAL fifty and twenty-five dollars, while the sic, “constitute the first steps in a long- sic and drama will be held in Edinburgh, instrumental awards are one hundred SYMPHONY ORCHESTRA, THE DETROIT range program designed to augment the Scotland in 1947, running from August 24 dollars and fifty dollars. The contest of the fiftieth anni- in commemoration repertoire, to encourage the production of to September 13. Among the artists al- doses April i, 1947, and full details may versary death of Johannes Brahms, of the new music, and to provide teachers with ready announced to take part are, Todd be secured from the chairman, 115 West all major works of the 73rd Street, New York N. Y. will perform the larger and more rewarding catalog of Duncan, Negro bass, Artur Schnabel, 23, »u*" a Ai4alMlwi h during the season of great composer student pieces.” Four major works will be pianist, and Bruno Walter, who will con- Gingold, concertmaster of Valse Triste 1946-47. Josef written by these composers: Ernest Bloch, duct the Vienna Philharmonic Orchestra, A.WALTER KRAMER, Op.«7, N? * A PRIZE OF one hundred dollars is the orchestra and Georges Miquelle, first Orchestra. a short work for solo instrument and or- and the Glyndebourne A num- offered by Monmouth College for the best Moderately ’cellist, will play the Double Concerto. chestra; Burrill Philips, a full-length ber of dramatic presentations will be setting of a prescribed metrical version of opera; Douglas Moore, a chamber music included in the program. Psalm 121 in four-part harmony for con- MAX PRESSLER, eighteen- year-old pi- work; Bernard Rogers, a short orchestral gregational singing. The contest, which is anist of Tel Aviv, Palestine, is the winner work especially for performance by the ALEXANDER BRAIL- open to all composers, closes on February 1947. All details be secured from of the $1000 Debussy award, in the con- Juilliard Orchestra. Darius Milhaud, Al- OVSKY, Russian pianist, 28, may nation Thomas H. Hamilton, Monmouth College, test sponsored by the E. Robert Schmitz vin Etler, and Alexei Haieff have accepted recently scored a sensa- XAr Monmouth, Illinois. HAX|fc|. Piano. The second prize of two fcraio School of invitations to write a group of elementary, tional personal and ar- hundred and fifty dollars was won by Intermediate, and advanced piano pieces, tistic success in Buenos Olga Barabini of New York City. respectively. Aires, when he gave a A FIRST PRIZE of one thousand dol- series of twelve recitals, lars, and a second prize of five hundred LILY PONS recently received the honor- THE TOBIAS MATTHAY Memorial Trust each of which filled to dollars, are the awards in a composition ary degree of Doctor of Music from the has been formed in London to honor the capacity that city’s fam- contest announced by the Jewish Music Alexander Council Awards Committee, sponsored Adelphi College, Garden City, Long Is- name of the late distinguished pedagog. ous opera house, the Co- Brailowsky Song by the National Jewish Welfare Board to Moderato, land. The purpose of the trust is to endow a lon Theatre. Mr. Brail- T«-e»po encourage composers “to write musical tlCKLAND rabato Fellowship owsky has concertized regularly in the Student at the Royal Acad- works of Jewish content and which shall American country for twenty-two NEW YORK UNIVERSITY has honored emy of Music, where Matthay spent so South reflect the spirit of the Jewish people.” fol- Birds at Dawn the memory of Sidney Lanier, poet and many years of his life. The Fellowship is years and has built up a tremendous The contest is open to all composers, FANNIE DILLON, Op. *0,N«*

1 Allegretto eon vivo musician, by placing in its Hall of Fame to be awarded to a senior student of ex- lowing of enthusiastic lovers of his mu- without restrictions, and full details may a bust of the distinguished artist, to- ceptional ability. The American Matthay sical art. be secured by writing to the Jewish Music gether with a suitably inscribed tablet. Association has already made a generous Council Awards Committee, care of the National Jewish Welfare Board, 145 East The unveiling took place with appropri- donation to the Trust. THE CHICAGO OPERA COMPANY is in- 32nd Street, New York 16, N. Y. ate ceremonies on October 3. cluding in its seasons repertoire two pro- NICOLAI MALKO, well ductions to be sung in English: “The Em-

- peror Jones,” by Eugene Gruenberg and GEORGES ENESCO, widely known Ru- known conductor, is fill- AN AWARD of one hundred dollars is manian composer, has been honored by ing a number of impor- “Amelia Goes to the Ball,” by Gian- offered by the H. W. Gray Company, his country with the issuance of two tant guest conducting Carlo Menotti. Inc., under the auspices of the American stamps; which stamps also mark the assignments in Europe. Guild of Organists, to the composer of 1 aste Solos Appealing to Critical Interest and Developed twenty-fifth anniversary of the Bucharest His engagements include the best anthem submitted by any com- Represent Other Piano Doser residing in the United States or Following Lists Philharmonic Orchestra, conducted by the London BBC Or- oir The GERRIT SMITH Cl, Canada. The text, which must be in ARTHUR NEVIN Enesco. one stamp is a likeness of Mr. chestra, Societe Sym- E. DAVIS Alpine Rose On English, selected , CHARLOTTE The Fire Fly 50 may be by the com- in A Flat Enesco, while on the other is a frag- phonique of Brussels, GILMORE WARD BRYANT, composer, W CAVEN BARRON 50 Valse Neath the Balcony 40 poser. Manuscripts must be submitted ’ PHILIP SOUSA Toccatella 75 JOHN of the score of his Second Ru- Belgium, and Societe des writer, teacher, died at Durham, North REGINALD DE KOVEN Menuct ment Nicolai Malko not later than January 1, 1947; and full T\ Rivmi Petit Down the Bayou. ETHELBERT NEVIN manian Rhapsody. Concerts, Paris. Anne Carolina^ on September 9, aged eighty- details may be secured from the HOWARD BROCKWAY 50 Ameri- A June Night in Washington 75 SPROSS Serenade, Op. 28 WALTER KRAMER CHARLES GILBERT Brown, soprano and Isaac Stern, violin- seven. He was the founder of the South- can Guild of Organists, 630 Fifth Ave- A. March of the Pilgrims 50 Rhapsody Album Leaf Music, nue, York York. Mon Desir 40 SCORE of Alban Berg’s ist, appear as soloist on some of the pro- ern Conservatory of at Durham. New 20, New I H B .40 Time of Lilac. THE ORIGINAL FRA Polka) . . ^a'^in Water MACFADYEN The Nightingale's Song 50 S[n neh aha g ALEXANDER “Wozzeck,” one of the most im- grams. Mr. Malko is due to return to the Minuet I.’Antico opera, H. ROGERS HARRIET WARE WAKEFIELD CADMAN Nocturne JAMES portant operatic works of the period just United States in November to fill a num- FRANKLIN WHITMAN ROBINSON, mu- CHARLES Prelude 30 The White Moth THE UNITED TEMPLE CHORUS an- To a Comedian The Swan ber of important assignments. sician and teacher, and founder of the following World War 1, was presented by nounces the third annual competition Three Moods National Orchestral Association died on for the composer’s widow to Oxford Univer- the Ernest Bloch Award for the best new LIBRARY, of September 16, at Northwest Harbor, sity. Berg died in 1935. The American THE PAUL HIRSCH one work for women’s chorus based on a premiere of this opera was given in the most valuable of the smaller libraries Maine, at the age of seventy-one. He had text taken from, or related to the Old pupil of Dvofak and MacDowell. (Continued THE JOHN CHURCH COMPANY Philadelphia in 1931 by the Philadelphia of its kind, has recently been acquired by been a on Page 660) NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 601 THEODORE PRESSER CO. —DISTRIBUTORS— 1712 CHESTNUT ST., PHILADELPHIA, PA. : : : 1 : : ; ;

Editorial [FAVORITE PIANO FOLIOS Compiled and Arranged by Leopold W. Roveuger (ESUW(^ LITTLE CLASSICS—A splendid collection of very easy arrangements m(B^J ^Irtidtic ^Jemperament of famous standard classics. Carefully fingered and phrased PUBLISHED MONTHLY Price, 50 cents. throughout for first year piano students. By Theodore Presser Co., Philadelphia i. Pa. CLASSICAL MINIATURES—Excellent easy arrangements of popu- E HAVE KNOWN many impresarios, including Heinrich lar light-classics for the first year performer. Features attractive, EDITORIAL and ADVISORY STAFF Conried, Giulio Gatti-Casazza, Oscar Hammerstein, An- composer. Price, authoritative biographical sketches of each DR. JAMES FRANCIS COOKE, Editor Wdreas Dippel, Edward Johnson, Fortune Gallo, Henry 50 cents. Assistant Editors Guy McCoy and Ethel M. McKray, Wolfsohn, Richard Copley, Daniel Mayer, Haensel & Jones, Fred- Dr Rob Roy Peery, Editor, Music Section NUTCRACKER SUITE—Tschaikowsky's charming and ever-popular Dr. M.ier way, Dr. Nicholas Douty Karl W. Gehrkens Guy erick Schang, Evans & Salter, Arthur Judson (who, by the Harold Berkley Chfford Page suite presented in an attractive, easy-to-play arrangement. Always Edna Fort EbzabethGest N. Ruth Evans Buhman Peter Hugh Heed Henry S. Fry George C. Knck once edited the Violin Department for The Etude) , and many certain of applause and acclaim whenever programmed. Price, Pietro Deiro Dr. William FI R PVPl 1 affairs and 50 cents. others. For these gentlemen who plan the business often determine the success of great musical artists we have a A MERRY CHRISTMAS—A collection of easy arrangements of FOUNDED 1883 BY THEODORE PRESS ER admira- Christmas carols with appropriate stories and poetry, beautifully kind of bewildered astonishment coupled with unlimited illustrated in three colors. An excellent gift for the young pianist. tion. In the first place, the business of managing artists is one of Price, 50 cents. an infinite number of details, subject to innumerable conditions SACRED REFLECTIONS—A choice compilation of forty-one of the beyond the control of anything short of the Almighty. In the sec- world's most beloved sacred selections, with words, arranged, fin- VOLUME LXIV, No. 11 • PRICE 23 CENTS ond place, the impresario must have the gifts of a bank president, gered and phrased for the first year pianist. Price, 75 cents. production manager, a traffic THE WORLD OF MUSIC 601 an advertising man, an industrial BEETHOVEN for the Young—Easy-to-play piano solo arrangements lion EDITORIAL engineer, a whilom valet, a couturier, a father-confessor, a of Beethoven masterpieces, selected and edited for solo playing, Artistic Temperament 603 tamer, an astrologer, a wet nurse, and an ambassador at the Court sight-reading and recital purposes. Price, 75 cents. MUSIC AND CULTURE of St. James. The weather, transportation, illness of the artist or CHOPIN for the Young—Splendid student arrangements of Chopin How Melodies Oscar Straus 605 Come some member of the artist’s family, political and economic condi- compositions skillfully scored and edited to retain the original bril- What is “American” Music? Frank Patterson 606 The Wit and Humor of Musicians Paul Nettl 607 investment liance idiom tions, and many other factors may turn the manager’s and so characteristic of the composer. Price, 75 cents. Piano Fundamentals Dr. Orville A. Lindquist 608 “And So to Music" James I. Brown GOO at any moment into a total loss, as many impresarios have found. TSCHAIKOWSKY for the Young— Brilliant piano solo arrange- least of the manager’s worries is the so-called “artistic ments of Tschaikowsky favorites selected for the beginning pianists. MUSIC IN THE HOME Not the Great Masterpieces Resurrected On New Records Peter Reed 610 Excellent program material for the very first recital. Price, 75 cents. Hugh temperament.” One of the shrewdest of all managers, the late The Etude Music Lover’s Bookshelf B. Meredith Cadman 611 Henry Wolfsohn, used to call artistic temperament “just plain MUSIC AND STUDY fail.” 73 8 SO. CAMPBELL AVE. The Teacher’s Round Table Maurice Dumesnil 612 artistic lunacy, without which both manager and artist may FEODOR 1VANOVITCH CHALIAPIN CHICAGO 12. ILLINOIS Developing Technique Simon Barere 613 On the whole, however, we have found most artists extremely The Singer and Specialization Zi nka Milanov 615 His artistic temperament was a nightmare to his managers. The Bachs and the Organ William Clyde Hamilton 617 well balanced, sensible, stable citizens who take a serious, sober Making Music Count in High School Norma Ryland Craves 618 newspapers, he always had before him the desire to be an im- A New Approach to the Teaching of Drum Rudiments Robert W. Support 619 aspect erf their art and their responsibility to the public, and are Some Studies of Mazas Harold Berkley 621 as dependable in meeting their platform obligations as is a great presario. Thereafter began the remarkable procession of artists Questions and Answers Dr. Karl W Gehrkens 622 The ’Cellist Looks Ahead Edmund Kurtz 623 surgeon in the operating room or a lawyer in the Supreme Court which has made him an international figure in his field. Among “ • • Tig111 g°°d partners, too.” (Gilbert & Sullivan) Charlotte E. Braun 624 his greatest achievements was the management of Feodor PIANISTS MUSIC in fulfilling theirs. have “ar- Chaliapin, who like Caruso was one of the dominating figures in Classic and Contemporary Selections Some managers we have known had quite as much Improve your playing Au Lever Du Soleil A. Gretchan tistic temperament” as their artists Oscar Hammerstein, for operatic history. Managing Chaliapin apparently was not unlike inoff, Op. 173,' No. 1 625 — Serenade to a Blonde Federer 626 Jeepers! instance. however, a of release which always managing a cage full of tigers, monkeys, and humming birds. Jumpm Francesco De Leone 628 Oscar, had form Mazurka ...... by Broadwell Technique Frederic Chopin, Op. 67, No. 3 629 seemed to steady him. cigar maker in his youth, he invented a Chaliapin, notwithstanding all his genius and charm, was as im- Theme from Piano Concerto in E-Hat Major A Learn Ludwig Van perious as Catherine the Great. Once in Chicago, Hurok, with his how the Broadwell Principles of Mental-Muscular Coordination and . Beethoven-Henry Levine 630 very ingenious machine for cutting cigar wrappers, upon which The Church s One Foundation the Keyboard Patterns Method to gain proper keyboard habits can greatly Samuel S. Wesley-Clarence Kohlmann 631 s he received fine royalties. When things got too “hot” for him in Russian Grand Opera company, was about to realize his dream improve your Accuracy, Technique, Memorizing, Sightreading and Playing. FTa al 633 D°0 wn Luuaby L^e' : : i : : : : ; : : : : : : : : : : : : : : : ; : : ; ; ; ; ; \ 2Z7J K?i°a 634 Hungarian Dance, the managerial bull ring, he would withdraw to the restful relax- of presenting Moussorgsky’s “Boris Godunov” with Chaliapin in No. 6 (Piano Duet) Johannes Brahmi 636 REDUCE PRACTICE EFFORT— 10 TO 1 Vocal and Instrumental Compositions ation of his machine and cut a few Sumatra wrappers. Huge and the stellar role. Hurok had invested a fortune in the production, Your piano practice can be scientifically applied to eliminate Waste Effort and Time. Learn how one practice repetition can the of ten e n^ '°W 638 do work ; how memorizing and sightreading are reduced to and great care was taken to please Chaliapin. For the Coronation Berceus^from" "Jocelyn” ^ reckless plunger that he was, Oscar always retained a kind of logical practice principles. The Broadwell System makes memorizing automatic. Makes sight- (Vionn^ 639 .' .' .' .' .' .' .' .' .' .' .' .' A Song •' .' .' .' .' reading a natural, rapid and accurate process. of Gratitude (Organ, Scene, Hurok bought (at great expense) a handsome Persian : : .' J ; HaVo I d K Marta 641 basic common sense. Even this, however, did not save him from Delightful Pieces for Young GAIN IMMEDIATE RESULTS Players disastrous failures; chair. The first act went finely. When the intermission ran up to Hopkins 642 Value of the Broadwell Methods applied to your own playing is appreciated not only in the The Cobbler " 642 We know of one very successful foreign-born manager who thirty-five minutes, Hurok dashed behind the scenes where he improved quality of playing, but also the speed with which improvements in technique, accuracy, November Night aightreading and memorizing, etc. become noticed. Improved mastery skills of such as trills, 643 was always able to control himself before a cantankerous artist found Chaliapin calmly sawing an inch off the feet of the precious arpeggios, runs, octave passages, chord skips, is unmistakably evident after the first ten days. THE JUNIOR ETUDE Elizabeth A. Cest 656 but who, thereafter, would withdraw in a rage *to a room in his chair. The height did not please him. Finally the second act began ADOPTED BY FAMOUS TEACHER-PIANISTS MISCELLANEOUS The Broadwell Methods are used by famous Concert Pianists, Professional Pianists, office and “put on an act” of tantrums which Hitler at which meant that Hurok would have to pay huge addi- reputable H.R.H. Princess Elizabeth Becomes a Bachelor of Music himself could 11.30, Teachers, Students and Organists the world-over. These methods may be applied by the student 604 Music Rhythms Affect Brain Rhythms E Buchei who has had but 6 months of previous piano instruction as well as by advanced students. The ma Koehler 604 hardly have equalled. True, hp did not get down on his hands and tional costs for overtime. But that is just one incident in the life How Peace Came to Zdeborice methods are as valuable to the player of popular music as to the classical pianist. The Broadwell Erna Buchei Koehler 604 Flowers of Puerto Methods have been successfully used for over twenty years by thousands of pianists. Rico g14 knees and gnaw at the rugs, but we did see him tear a telephone of a Hurok. He has been manager for Zimbalist (his first client), Americans Spend Billions for Music !!.!!!!! 1 1 1 ! 1 ! 614 The Ideal Piano Light book to littleJuts and then pick up the pieces. Pavlowa, Artur Rubinstein, Marian Anderson, and many famous '.'.John C.' Heb'e'r'g'e'r 616 BROADWELL PIANO TECHNIQUE New Keys to Practice (X) Maison 616 One of the busiest managers of artists in America, Salomon ballet stars, including Isadora Duncan, whom Hurok worshipped Musical Blessings (A Thanksgiving Editorial) gjg Mail Coupon No obligation for A Worth While Goal for Young and Hurok, has recently published book, “Impresario,”* artistically, led a managerial chase wild enough to — Older Singers. . . . .George Chadwick Stock 6>0 a which we but who him An Old Irish Friend William J. Murdoch 620 have found most interesting. It is another of drive ten insane. Isadora an amoral creatui'e with I Want to Know! those amazing any men was FREE BOOK- "TECHNIQUE” 620 Voice Questions Answered .'..'.'.'.'.'67 . Nicholas'Douty 647 stories of the opportunities in America, the land with streets of such fascination that most people who knew her and admired her Organ and Choir Questions Answered 549 BROADWELL STUDIOS, Dept. 66- L Violin Questions Answered gold a$ well as a few baser metals. Hurok, in a very frank man- overlooked her shortcomings. Covina, California '.Harold Beikley 651 Entered as second-class matter January 16, 1884 ner, tells lie to pianist, Gentlemen: at the P. O. at Phila Pa. how managed sneak out of Russia, wading across Maurice Dumesnil, eminent French teacher, conductor, under the Act of March 3, 1879. Copyright, 1946, by Theodore Presser Co., Send me your FREE Book "Technique'' 7for showing how I may quickly improve my Technique, U. S. A. and Great Accuracy Britain . a chilly, shallow lake, passing through all kinds of vicissitudes in and author, was musical director, and for a time, manager for Memorizing, Sightreading and Playing. I understand there is no obligation. \ European countries, and landing in in NAME America May 1906, with Isadora on a six months tour of South America. Acute observer 50 a year in U. S. A. |2. and Possessions; also in Costa Rica, Cuba. Dominican < atea 3ll Ha ‘jL Mex'CO, Nicaragua, three rubles in his pocket. Starting as a peddler, then working in that he is, very little escaped his sharp, shrewd, artistic eye. He ADDRESS J’j I ‘t Panama, Republic of Hon- dur.s.SnS? Sail ador, Spain and all South American countries except the Guiana* CITY a a d a can factory, a pie bakery, an ice cream factory, and selling embodied this in a fascinating book, “An Amazing Journey.”* STATE d « 50 a a " -her cTmriel Sm*ie c^ Pr,ce T5 «ms •"Impresario A Memoir." By S. Hurok. Random House. •Published by Ives Washburn. Reprinted by permission. (Continued on Page 61B) 602 "FORWARD MARCH WITH NOVEMBER, 1946 MUSIC” THE ETUDE 603 . — —

command attention and increase its 2. Ability to Music and Culture Music and Culture u-w- tow do melodies come? That, alas, is a ques- substitution (as distracting ^^Power of diversion and I—-1 tion that no one can answer,” asserts Mr. from morbid states and replacing wholesome feelings X X Straus. “If we could formulate a system for Music and ideas) inducing melodies, life would be a simple matter of Becomes a Bachelor of mood. hits! form of H. R. H.. Princess Elizabeth 4. Capacity to modify the applying the rules and producing No pictorially and intellectually. predictable, and the creation 5 Capacity to stimulate artistic creation is really be a defect, it is one we outgrow UR English cousins are unreservedly proud of wrote: ‘If youth of music is the most ephemeral of all. A painter usu- myself I see no defect in the the impression which H.R.H. Princess Elizabeth only too soon.’ For ally paints something he has seen; a writer sets down think, did Wordsworth when O has already made upon the other nations by quality of youth nor, I definite experiences—but^ musician? He occupies him- How Melodies Come sang: her dignity, grace, and sincere activity during the he Came to Zdelmrice self with intangible emotions. grove and stream, How Peace War. Her sympathy in the joys and sorrows of the ‘There was a time whert meadow, “There are various ways of composing, of course. common sight, people has been deep and unaffected. The earth, and every Sometimes a melody drifts into one’s mind from ap- A Conference with Pew people know that like her great namesake. To me did seem parently no source whatever. Sometimes—and this is Queen Elizabeth, four centuries ago, Princess Elizabeth Apparelled in celestial light, especially the case in writing for the stage—a scene, glory the freshness of a dream.’ HEN the long awaited Day of Peace came to is a skilled musician. Tlie and a locality, a bit of action, a line of the lyrics inspires is that it is not the village of Zdeborice, in the stricken land When on Wednesday, July 10, the Earl of Athlone, And my commentary on Southey a corresponding flow of musical thought. Again, some mortals to keep even into Czechoslovakia, there was mingled with Oscar Stral n$ Chancellor of the University of London, invested the beyond the power of W of composers work entirely with their brains, their ideas, of the glory thankfulness in the hearts of the towns- Princess with the hood of the Degree of Bachelor of the sere and yellow leaf something the relief and while others develop melodies with their fingers, salt of life. gaunt, tragic looking woman Renowned Composer Music, he said in part, to the graduates: and the freshness which is the very folk a great sadness, the playing them on the piano with a bit of adjustment “Your Royal Highness: “And now to end. None of you, I feel sure, will confided to the four young Americans quartered in emerges. t here and there until the final tune “The world is at your feet. Do everything in ever forget this day. It is a great gladness to all her house the past several weeks, as they stood before your power to make it a better and a happier of us that this Ceremony has taken place in our her tiny patch of garden and looked down the street. SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT world than the one in which you have grown to own home after six years of exile by the waters, With deep emotion, she explained that the beautiful maturity. ‘Live as long as you may, the first not of Babylon, but of Cam, of Isis and of other organ in the village church, three hundred and fifty twenty years form the greater part of your life. streams. I salute your future adventures by what- years old, their treasured organ which had ou Hasted the name of Oscar Straus. Foremost representative of the "great They appear so when they are passing: they seem ever rivers they may lie. I wish you very well. three churches, would not on this Day of Days, when An almost legendary glamour surrounds melodies—from__ "The Waltz_ Dream," "The Chocolate Soldier, and a« score to have been so when we look back to them; and “And to you, Your Royal Highness, I re-affirm their prayers. tradition" of light opera, his lilting life began again, call the faithful to Its . II I I I ll fl-.l i - - L iLn - i i r. I r f\ H I irrt a r\W successes—are as beloved today as when they first took the capitals of Europe by storm, they take up more room in our memory than all our duty affection.” of other popular and our deep golden voice had been hushed since the first days of peculiarly indefinable Viennese verve, Mr. years ago. Born in Vienna, and expressive of the the years which succeed them.’ nearly forty _ That was the view Her Majesty, the present Queen of England, is also the war, when their beloved organist who had .served before attempting to produce hits. He Straus developed himself as a thorough and scholarly musician expressed by Southey. James Russell Lowell once a musician and has the Degree of Doctor of Music. for years, marched away with the other men of Bruch, of the Berlin Hochschule fur Musik them studied first in Vienna and later in Berlin, notably under Max Joachim, Nikisch, Anton Rubinstein, and the village to answer his country's call. The silence where he came into contact with Brahms, Hans Richter, von Bulow, solid musical background, Mr. Straus followed the advice of of their organ was deprivation almost too great, for the all the great figures of the I890's. Fortified by a music of lighter vein for which his natural village had suffered and sacrificed so bravely. the qreat Johann Strauss (no relation) and devoted himself to the appearance of "The Waltz Dream," in 1907, he was launched on the reputa- Tears of hopelessness ran down her cheeks. “It Is bent best fitted him. With the is not country in the world that has Music Rhythms Affect Brain Rhythms his subsequent works not only justified but increased. There a grief the hearts all; is tion which the same in of us there no one Mr. Strausjrame to the United States not sung, whistled, and thrilled to his haunting music. Some years ago, left in the village to play our organ. Its golden tones composer and conductor. He has appeared with not- for the fifth time, where he continues his activities as have brought hope and comfort, joy and cheer m us Chicago, Detroit, Rochester, Minneapolis, Mon- €JLU PJoLL), m. 3>. able success as guest conductor of the New York, Boston, 4 and to our forefathers.” She covered her face with present rehearsing an orchestra of his own for a cross- treal and St. Paul symphony orchestras, and is at outlines for readers of The Etude his views on the origin her thin hands. country tour. In the following conference, Mr. Straus - Ed,to " 5 NoTt ‘ A new light sprang suddenly into the dark eye. of Musical Therapeutics (healing the sick by music) is gradually breaking through the of melodies. nebulous observations of well meaning idealists and coming under the more precise critical the youngest of the youthful Americans. “I can pl.iy observations ol scientists. It is a vital step in all medical progress to make no positive your organ for you,” he said; then added, diffidently, assertions until sufficient clinical tests offer evidence beyond a doubt, that methods have “Not, perhaps, as you are accustomed to hearim it been developed which will in the greater majority of cases prove — valuable. Dr. Podolsky played, but ” he moved a pebble with th* toe of his has interested himself in these matters for years. Editor's Note. stout boot. returns her affection, only to find the more modern manifestations. I remember that he lieutenant who The woman started, removed her hands from her to marry music nothing later than Mendelssohn that he is a prince in disguise, destined face, stared recognized as at the young soldier. “You will play our royal blood. There was my plot, involving ITHIN recent years it has been ascertained effects Bruch even disliked Brahms—though a lady of on the listener, a violin and flute having the organ?” Tears came again and Schumann! into her eyes. “God will bless girl violinist in a completely suitable stage action! that the brain functions in rhythms. In 1923 greatest appeal. He also whether for purely musical reasons it is hard to say, my found that a trio of stringed you for this.” She clutched his ” arm. “Come—come- place between ‘Waltz Dream’ was the result and from that day to Professor Hans Berger was the first to demon- instruments is more effective than a single in view of a little contretemps that took W instru- She hurried him down the street. The three other of theater, strate in his physiological laboratory the presence of ment once showed Brahms a manuscript of this, it has never been off the boards some when used in hospitals. for treating the insane. young soldiers followed the two. Bruch closely. More and yet more in part of the world. It was the first operetta rhythm in the human brain. He made a great many This psychiatrist has also found his own. Brahms looked it over carefully and then some that such elements G.I ’s joined the procession, hastening they knew not produced in liberated Paris, some months ago tracings on strips of film and found that these brain of music as tone, ‘I note from this manuscript, Herr Bruch, to be rhythm and tempo, contrasts in shad- whither nor wherefore. remarked, waves were constant in frequency and that they were ing OSCAR STRAUS beautiful handwriting!’ indeed, it even appeared in various cities during the (fast-slow; high-low; loud-soft) and volume and They sought that you have a clear and first the Mayor of the town, and then 'German occupation. But then my name was removed influenced by various physical and mental states. intensity, each plays a role in influencing the After that, Bruch was less enthusiastic about Brahms! listener. the American authorities. “In own work, I have but seldom composed with It has been found that musical rhythm has a pro- In my as its composer. (The unspeakable Nazis not only addition to music’s capacity to attract attention, it Later in the day, when the hour for the Peace Serv- my fingers. It has happened that, simply while im- free use of all found effect on brain rhythms and thus on brain is also burned books and music; they made capable of modifying the mood, stimulating the ices arrived Is Created the beautiful old organ, hushed the long, provising for my own amusement, I have hit upon "The Waltz Dream" works that brought them any advantage, either remov- function. However, this is but one of several theories. imagination and intellect. Physiologically the response weary war years, pealed forth its glorious, a happy combination of notes which promise a good at earnest, classical composition and One of the most recent is that of Dr. Ira Altschuler, golden tones, “He kept me ing the names of their authors and composers, or sub- M. of the nervous system to low-short music is quieting, calling worshippers from far and near. melody. But that is only the start. For the most part, finally assigned me the task of writing a Requiem. I noted psychiatrist, who has been using music to treat to short-loud And they came. stituting names of their own invention. Happily, music, stimulating. Loud sounds are Again, I work from the musical ideas in my mind. worked at it and Bruch was very pleased with the restore such works to some of his mentally deranged patients. stimulating because they are associated steps are now being taken to with danger; happened that a melody comes to that I simply It Altschuler’s belief it has sometimes results—but it got so depressing to me their rightful owners.) is Dr. that the therapeutic soft tones are quieting because they are associated with me which seems interesting enough to use in an could not finish it. Lighter strains— own strains principle of music rests upon the close affinity between the gentle tones of nature. my then lyricist writes his words to suit but happy. the human organism and rhythm as well operetta; the ran through my head and I was anything as upon the Together with Dr. Bessey H. Shebesta, Dr. Altschuler it. But for the most part, I write my melodies to to light, Bruch Then "The Chocolate Soldier" symbolism inherent in musical sounds. chief sig- When any of these lighter airs came The conducted a series of experiments on insane patients suit the words, the situation, and the moment of would look serious; once he told me that if ever I “ The Chocolate Soldier’ came a year after ‘Waltz nificance of music as a means of healing, lies in the at the state hospital at Eloise, Michigan and succeeded action for which they are to be used. In general, I cease to special ‘story.’ The play was mechanics of the human brain and the way musical in wrote ‘light things for the stage,’ he would Dream,’ and it has no producing a quieting effect. They found that soft should say that this is the better plan. There must acknowledge our acquaintanceship! And despite this, adapted from G. B. Shaw’s ‘Arms and the Man’ and it sounds reach and affect it. Music, according to Dr. music was thirty-five per cent more effective than the be unity in a finished stage production, and this unity the original Altschuler, is first perceived by that part of the light melodies came to me. So, when I got home is the adaptation, of course, and not Shaw the brain wet pack which is used routinely in quieting insane is best achieved when the music is planned to suit great I Hero Waltz written to the known as the thalamus. The thalamus is one of the patients. after the academic year, I secretly and with which set, The My was the action. liked the as older portions of the brain, and it is the seat of all trepidation sent to the great Johann Strauss a number lyrics and to suit the situation. I melody Music therapy was begun at Eloise in 1938. At the sensations, emotions, and aesthetic feeling. That is of things which I had never dared to show to Bruch. it came to me, but I hardly suspected that it was why present time more than a thousand patients have been music is so important as a therapeutic agent. And, to my joy, Strauss encouraged me to do the destined for the popularity which it has been lucky treated with music. They receive music in the wards Melodies Come Out Stimulating the thalamus thing I had always longed to do^write for the enough to find—had I known so, I should most certain- automatically incites the for half hour periods five times a week. For each ward “There is only one general proviso for the writing cortex of the brain, the seat of the higher elements naturally light opera stage! But how my ideas came to me, I ly not have used that theme at the beginning of the there is specially selected music. For the violent pa- of melodies. That is that they reflect, as are involved thinking idea. First Act! In its original (Vienna) version, the waltz which in and reasoning. Thus, tients soothing music is played. and sincerely as possible, the inborn aptitudes of their have no For the depressed and “ through the help of music, physicians are able to reach lethargic other words, melodies do not come— ‘The Waltz Dream’ grew out of a strange co- enters only the second finale and is then heard no patients lively, stimulating music is pre- composer. In Prater one day, production reached the innermost mental life of the mentally deranged scribed. THE VILLAGE CHURCH AT ZDEBORICE they simply covie out! I can speak feelingly on this incidence. Walking down Vienna’s more. By the time the London person. Music in addition to its capacity to replace along strictly serious I stopped at one of the excellent out-door cafes there and New York, however, the melody was well known When music is played it has been observed that these subject. My own training lay various laughing and crying, their babes in their arms, morbid states such as delusions, hallucinations, patients as well as normally clutch- and classical lines, and not until I broke away and and found that the entertainment consisted of an and it was thought wise to use it more frequently healthy men and women ing young children depressions and fears, definitely commends by the hand, old men and old all-girl orchestra, very capably directed by a girl throughout the piece. Oddly enough. The Chocolate attention. react to it by tapping their feet, drumming developed the lighter tendencies within me, did I their fingers women who scarce could walk, Once attention has been gained the patient can be or swaying young maideni, and find complete satisfaction. violinist. ‘There,’ I said to myself; ‘that would be Soldier’ has always been more popular with English- their bodies in time with the music. This youths shaken out of his morbid mental state. who had lost an arm or a leg. situation for typically Viennese oper- audiences, while “Waltz indicates that the music is “When I had completed my studies in Vienna, it a wonderful a speaking Dream’ has been more beginning to have effect. Soon the Dr. Altschuler is one of the most careful old church of Zdeborice was filled to over- good idea is useless without a story, and en rapport with the of modern Dr. Altschuler enumerates the following was my plan to go to Paris to work under Leo etta.’ But a European temperament. Perhaps students chief at- flowing, and those who could of musical therapy. He has thoroughly ana- tributes of music not enter in knelt on Delibes, that master of lighter music. Unfortunately, the thought left me. Then, sometime later, I chanced because ‘Waltz Dream’ is more typically Viennese (in for mental patients: the ground lyzed musical design and has found it to consist outside the sacred walls acres book of adventures Mueller setting as well music) of 1. Capacity to produce changes in — and acre.- however, Delibes died and I had to make other plans. to pick up a by Hans as in and therefore more senti- metabolism, respi- of bowed worshippers, various components which variously with aching ! affect the listener. ration, blood pressure, pulse and hearts, thanking So I found myself in Berlin, working under Max I was not looking for material; the thing was a mental endocrine and mus- God for Peace, He has found that different instruments have different cular energy. thanking God for the blessed boy who Bruch who was a strict classicist, with no sympathy mere chance—and found a story about a girl-violinist “I have always tried to adapt my style to the played for them their beloved organ. for light music and little desire to adjust himself to who goes on tour, falls in love with a dashing young demands of the play being ( Continued on Page 646) 604 "FORWARD MARCH WITH MUSIC’’ THE ETUDE NOVEMBER, 1946 "FORW/ARD MARCH WITH MUSIC’’ 603 n . — ,

Music and Culture

Music? What Is “American” The Wit and Humor of Musicians .

“American’? HE INTENSIVE intellectual occupation of the Music Is creative musician of higher type makes regular What is, T recreation 'almost an absolute necessity. It PaJ fjettl therefore, only natural that in the lives of great musicians there is a mixture of serious work and merry carryings on. In this sense the words of Goethe fit Dr. Paul Neill, distinguished Czechoslovak musicologist has an international 'Son musicians: reputation in his field— Editor’s Note. Itj Jranh pattet “Tages Arbeit—Abends Gaste Saure Wochen—frohe Feste.” * particularly polished customs. let us not Thus wit, comedy, and humor are necessary and wel- Mozart indulged in low comedy no! only in his letters pie of But Even in the French courts of those days JOHN PHILIP SOUSA come supplements to serious musical creation. and conversation, but also in his canons. At that time be unjust. writers upon music is Mr. Frank . i i tLinldnn of all American there was coarseness as we can see from memoirs of and s raig fact that serious people it was smart in Vienna to go to the Prater, a large One of the sharpest, clearest, musicians. Mr. Patterson It is a well known many commar,ds the respect of oil was x ® r ' Island. The •the time; for instance, in the letters of Liselotte of the whose wide in+erna+iona f occupied with intellectual work, in their free time like amusement park similar to our Coney Patterson, f the International Society for Contemporary ; ca Section of t* Jhi Arr|er “wit i four, Palatinate, who writes of so-called and humor" Chairman of the Music Com interesting treatises to “let themselves go.” They speak nonsense like chil- nobility, on Sunday, drove there with coach and Modernisti - one of the most practical and upon Music. He also has ""tten ^ rfec people with one horse, and the very poor among the noblest French aristocrats. ... glimpse of his opinions upon American dren and behave almost like babies. According to Freud the poor ser ; 0 us and mature h ar(ic | e a modern music. He 9 his observed that this intellectual dis- class the Mozarts often found them- But let us remain a while in the German Baroque .. Mr. Patterson is honest and fearless and o.ialysis it is commonly in which h his op ; n ; on s, but Grofe is on. in position is the wish inherent in human selves so Mozart, on September 2, 1788 age. Let us imagine the old cantors, kapellmeisters, estimate of the position of Mr. Ferde whldH^EdlJorfe explained by —walked. And is Incisive °anDresden in 1700. matter. The origin of the word, Jazz, has been traced on the unification of the two modes. That fact lessens know. We all invented names for ourselves on the tricks. The master of masters, Johann Sebastian Bach, The hero of the novel occupied ii> Italy a very modest to a verb in the French Creole dialect, Jasser, meaning the importance of jazz as a factor In serious American journey. Here they are: I am Punkiti. My wife is himself, seems not infrequently to have displayed a position, as copyist or assistant to some famous com- to joke or to chatter. The old Negroes in the French music. What is left? Well, there is first of all, the Schabla Pumfa. Hofer is Rozka Pumpa. Stadler is fine sense of humor. Thus we know that when he posers. This sufficed for him to set himself up in Ger- Orleans, carve, virtuoso.’’ quarter of New the vieux had a common musio of those w'ho have followed in the footsteps of Natschibikitschike. My servant is Sagadarata . . wanted to go from Leipzig to Dresden to attend the many as a “famous Italian His father had term “Jass’er up,” long before the development of Grieg, through his pupil Percy Grainger, as arrangers These are syllables such as little children stammer, opera he said to his son Friedmann: “Let’s go and borne the name “Teueraffe” (“Dearmonkey”) . And Jazz. Jazz is, obviously, inspired by the Negro. simultaneously there is “virtuoso” translate the modern of national folk music. The best known of these is but therein good-natured hear some of those lovely Dresden ditties again.” His what did our do but name This does not mean that it has been made by the David Guion with his cowboy songs made into piano, mockery of the Czech language, which Mozart knew attitude toward the opera is characterized completely into Italian, twisting it into that of a famous Italian Negroes themselves. What it does mean is, that white and subsquently orchestra fantasies. Does that make only imperfectly, and which, at that time, was con- in these few words. More than in his letters and say- noble family “paraffa.” Caraffa now has sent to him- Americans have felt the gaiety the sidered language peasants girls. self, all letters and tragedy of the music essentially American? Certainly not! The the of and servant ings, Bach’s humor is expressed in his secular cantatas from sections of Europe, with the the race and its American background, have borrowed Wohl-Edlen, Hochloblichen use of folk songs has nothing whatever to do with the and in some of his instrumental works. I think par- pompous address: "Dem its musical idiom, its African rhythms, and have Mozart's Comedy und Unvergleichlichen italienischen Virtuosen Pietro at- nationalism of the result. Of course not! Are the ticularly of his Capriccio on the Departure of the tuned it to the taste of America as a whole. But is it give Spanish rhapsodies of composers from a dozen Eu- And then Mozart’s letters to his nice cousin in Beloved Brother for harpsichord. Witty—to be sure, Caraffa,’’ but prudently he does not his exact American? address, so that the letters must go from one house ropean countries “Spanish” music? To call them so Augsburg, his “Baesle”—they are full of slippery refer- only understandable to the professional—it is when, to the other, to find the “world-famous virtuoso.” Soon would be pure nonsense, as it would be nonsense to ences which can hardly be repeated in English. Many in the fugato theme, in which the dangers which A Matter of Controversy? it spreads like wildfire that a musical celebrity is in call the "Italian” Symphony of Richard Strauss “Ital- biographers have reproached Mozart that he some- threaten a traveler are described, the answer to the What is “America?” What do we mean Dresden. Now there are invitations and honors in con- by it? Surely ian” music; to call “Carmen” a "Spanish” opera—and times let himself go too far. But that is characteristic theme. Instead of a fifth above, falls in a fourth. It is it must be what has grown up here in America through endless of Mozart, that in his idle hours he let himself slip, fusion. similar examples might be cited. No! To begin possible that the talented “Bach Guild,” who heard the centuries since our forefathers came over with, so to say, into of experience, into coarse here the very first essential of the writing of American the depths the piece for the first time, understood the joke im- FERDE GROFE from Europe, not the growth of any one race, but the music comedy. Mozart’s letters to his “Baesle” almost remind mediately. us to A Charlatan Unmasked must be that the writer is a born American, For moderns not so used polyphony, growth of our life as a whole—the Melting Pot child one of the romantische Ironie and of the sort of Americans that have made Amer- of Heinrich Heine who, the laugh will be a bit tardy. Merrier and wittier is The Dresden Collegium Musicum sends a delega- the broth it has cooked. Is that a fact, or is that, too, ica, after a deeply conceived poem suddenly became trivial tion America; that is, the majority. the Bauernkantata, in which Bach assigns a vigorous with the humble request that he take part in matter of a controversy? and banal, and let his emotions turn toward the com- joke to the orchestra of a sort that had better not be its meetings. He pretends to be coy. But the Dresdeners Well, most people will agree that it is a fact; most A Purely American Flavor ically ridiculous. In the midst of a hundred childish expressed in words. In Dr. Drinker’s translation the are not only good musicians, but also good judges of of our habits, ways and North, South, East, and West, verses and not quite respectable puns, Mozart scrib- text to this section does seem so as in human nature. They soon recognize him in his com- But even then, is what they write such as may be not bad German. have fitted into the same general pattern, and it is, termed bled a sentimental ode to his cousin which went thus: The young peasant bass addresses the peasant girl plete ignorance for the charlatan that he is. They "American” in the sense it has a truly — — generally speaking, impossible that to put the finger upon American "Dein susses Bild, o Bdschen in recitative as follows: arrange it that he has to show his art and when there flavor, some slight difference that distin- a any one influence, English or Irish, German, French, guishes it Schwebt stets vor meinem Blick. Molly, won’t give kiss?” is no way out for him but to compose madrigal, from European this Europe- “Now you me a a the Italian, or of anyone race or creed. music? Look at That is true of the an music. Ich seh’ es uienn der Abend and the girl answers: poor fellow is tremendously embarrassed. on It is all split up traits. Ger- He drums commonplace of daily life, by its national business and pleasure. But Mir ddmmert. Wenn der Mond the table, he whistles, man essence is the most therefore, “If you could stop at that. he hums, he growls, but no it is not true of j&zz, not true of our universal and so-called American the least Mir gliimt, seh ich’s—und weine I know you old Gorilliar, melody comes. The sweat drips from all his pores not easily recognized. The difference between — folk music from the days of Foster on to our own Dass du es selbst nicht bist.” day. the German and the The You’d just get more and more familiar.” the trace of an idea. Then after three hours, three Foster had already seen the picturesque and Italian is clear enough. pathetic French, having The Bach joke consists of having the orchestra, as an melodies occur to him—those of three well known Negro Old Black Joe; been for so many years imported— and he did just what many (“Thy tender face, O cousin popular songs. as is our American recent answer, play a folk song, the text of which is decidedly After much racking of his brains, he composers have seen fit to do since; he music—has only in very used the Negro years become Floats ever before my gaze, direct in its meaning: decides, finally, from these songs to make a fourth. sentiment when it suited recognizable (and that mav be merely him, and used the memories I see it when the evening the passing influence Rus- The result is what can be expected, and one can also of European idioms at other times. People of a single composer i . The have said sian, the Approaches. When the moon "Mit mir und dir ins Federbett imagine how the Dresden musicians nearly doubled up that this latter was English, Hungarian, the Spanish, the Norwegian, if so, then the and Shines bright, it’s —-I former are universally there weep Mit mir und dir ins Stroh. with laughter. In Leipzig, Caraffa has even a worse was African. That is clear. recognized. But where come in? do we Then that really thou’rt not here.”) Da beisst uns keine Wanze, time. Speaking as There the students harness him together with But li our daily me, our an individual (and individual opinion manner, our slang and a And under it he signs himself: Da beisst uns auch kein Floh.” another ridiculous musician, DAVID GUION is lar from being that urge them into farcical the rest of it, have become American a scientific approach) I find with the passin rerde "Finis opus coronat. S. V. P. T. attacks upon each other, and finally drag them into years, and without Grofe in his done preconceived intent, “Grand Canyon Suite” has Edler von Sauschwanz” The reader of these lines feels without th somet ling a shock. But one a tribunal in a comical, mythological masquerade. special influence of any single race, that has a purely American flavor. Why? why cannot Amei must not forget that the Germans—nor for that mat- (The second part of this rt i cannot interesting and colorful Photo of Mr. Grilles from Chorles T. Grilles—The Life of an American ican music follow the put it into words, music is •"Hard work,—In the evening guests same pattern of evolutional for the sound of ter other Europeans in Bach’s time, Composer," by Edward M. Maisel, courtesy of Alfred A. Knopf, Inc., Publisher. as Unhappy weeks—ioyful festivals” — were not a peo- article will appear in December.) development? It seems evident impossible to describe perfume, that it must do as is the effect of a so it makes a distinctive and ( Page 645) Continued on NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 607 606 "FORWARD MARCH WITH MUSIC” THE ETUDE ;

Culture « * ND so to bed” is the famous signature of that Music and Music and Culture /\ most interesting of diarists, Samuel Pepys. For XjL over nine turbulent splendid years (1660-1669) Pepys recorded in a secret shorthand impressions of V his beloved London, a London stirred by the Restora- tion of Charles II, the Great Fire, and the devastating “And So to Music Plague. Fundamentals “And so to my musique” introduces us to a less Piano known but equally interesting side of the many-sided Pepys, Pepys—amateur musician. And he it is who Picturesque Glimpse gives us such an unforgettably living picture of the A Delightfully Ouaint and place which music occupied in the English society of his day. Df Music in England in the Seventeenth Century hij Qrville To be sure Pepys the musician is often at odds with Pepys the important public official, the Clerk of Acts Professor of PianofortE Playing in the Naval Office. After playing a bit on his sister’s As Seen Through the Diary of Samuel Pepys “fearful of being taken with musique, Dberlin College, Oberlin, Qhio viol he writes: for fear of returning to my old dotage thereon, and so neglect my business as I used to do.” But he is finally forced to admit that he cannot but give way (1) still feel of piano teaching, foggy than the atmosphere after thirty-eight -years to “musique and women” whatever his business, for ^3. d3t OTHING is more importance to the pupn, by. Ranted Town that there is nothing of more “musick is the thing of the world that I love most.” surrounding the teaching of piano. The ideas his always, when possible, curve the various funda- than that he should When he describes so vividly the Great Fire, it is held by teachers regarding possible. Any N course, this is not always fingers. Of the musician in him that leads him to notice, as the 1633-1703, (usually pronounced Peeps to rhyme with jeeps) was the very individual and mentals of piano playing are as far apart as the two Samuel Pepys lateral reach, .must of necessity these fundamentals, hand with not much Londoners are fleeing by boat on the Thames, that original son of a London tailor, who by reason of his cleverness, enterprise, and ambition rose to a posi- poles. Let us look at a few of scales, all keep the fingers straighter than others. In goods commenting on each. Perhaps we can clear up the “hardly one lighter or boat in three that had the tion in the Naval Office (Secretary of the Admiralty). His diary, written in a kind of cryptic shorthand, fingers curved; in arpeggios h a n ds Should keep the of a house in, but there was a pair of Virginalls,” a is so graphic, so distinctive and so individual that it is referred to continually as a guide to intimate atmosphere a trifle. would need them the small hand, or tight hand, political, time. successful piano teachers say this: popular stringed keyboard instrument of the day. social, and cultural conditions of the Music was Pepys' avocation and love. Equally(2) straighter. allusions Editor's Note. Sit high at the piano. Sit low at the piano. Bit by bit the countless to musical matters — be more firm at the rust LINDQUIST have a loose hang- A curved finger is apt to ORVILLE A. scattered through his Diary bring us to an under- It is very important that pianists im- joint than a straight one. This is an extremely place the arm. Sitting low makes it easier for the player to standing of the meaning and of music in ing that, strange to portant point; indeed, so important above. Play chords close to relax the arm. However, most artists sit high enough (10) Strike chords from piano teachers are unanimous in believing But Pepys is not content. He thinks how happy he downward slant from the elbow to say, all keys. to have a slight firm. the (3) that the first joint of the fingers should be would be to play duets with his wife on the flageolet the wrist. It might be advantageous for a pupil who The artist who raises his hand head ifigh for a x caved-in first l as well as sing with her. finds teacher There is nothing they so dislike as psychological effect to He her a good is inclined to be stiff, to sit low. Such a one would do chord is usually doing it for the pupil is that the finger for the wishing she would will joints. The trouble with such a Aj ,*• l and next few months keeps the piano when practicing; he his audience. Invariably, when he has ,xJ l - >/ f well to sit close to proper it has upon is kept too relaxed. Yes, too relaxed are the practice. Soon she is able to “make out a tune so pret- find this an added help toward relaxation. After he some honest-to-goodness chord work to no, he keeps words. There is no such thing as double-joints. The tily of herself, that I was infinitely pleased beyond feels that he is more relaxed he can take a higher close to the keys. A chord can be played just as loud cure for this fault must be mental; all the exercises whatever I expected from her.” There follow records position at the keyboard. at the keyboard as it can be from on high. When a forward. in the world will not help. The pupil must have a of many enjoyable evenings spent with his wife “at Sit with the body erect. Bend the body pianist plays one from a height the movement down- feeling should be in easier to keep the arm mental idea as to just what the our flageolets,” testifying that another of his fondest Physiologists tell us that it is ward is not necessarily a swift one. The muscular the shoulder. his finger. If the pupil whose fingers cave-in will curve hopes had been realized, she “taking out any tune loose when it hangs straight down from contraction which produces the chord takes place at board, or arm in this position. his fingers and scratch his fingernails on a almost at first sight, and keeping time to it.” Leaning forward puts the upper the keyboard. most pianists lean forward other flat surface, he will quickly understand what Servants were also brought into the family musical Perhaps that is the reason (11) Play chords with a downward impulse of the joint feels like. sit erect are apt to be tense the muscular condition of a firm circle. Pepys was always concerned about the musical when(4) playing. Players who wrist. Play chords with an upward impulse of the if they sit very still. ability of his “boy” and his wife’s “woman.” Almost especially is this so wrist. Keep both feet on the pedals. Keep the left Fingers and Scales all of their servants—and there was quite a changing (5) It seems natural for some pupils to play chords with the floor, a little back of the soft pedal. procession during the nine diary years—were taught foot back on (7) Keep the little finger side of the hand up. Keep a downward impulse of the wrist, while others take says that one should, at all times, by Pepys to play different musical instruments and Josef Hofmann the little finger side of the hand down. better to the upward impulse; especially when playing to sing. of his “boys” sleep night, keep both feet on the pedals. If Mr. Hofmann does older school of piano teachers taught that the be One could not one The widely spanned chords the latter rneth 1 should probably is the only pianist who does. Cer- waking “about four o’clock, and in bed lay playing on this he weak side of the hand should be raised. The modern used. These two methods are not so opposite as they or one up in his lute, till daybreak.” Often the four of would tainly, when playing a heavy passage, it them school, dating from Leschetizky, teaches that should seem. Could we see the inward working of : ire muscles the high treble, one is able to keep a much better spend a musical evening, as when he writes: “my wife be down. Teachers of each school are so sure they we would find that, in both cases, the a me thing balance if the left foot is drawn back a little. Modern and Mercer and Tom and I sat till eleven at night, are right that, in an article such as this, it seems best occurs. (6) players the past. The singing fiddling, it players do this more than of to keep silent on the subject. By no means all of and and a great joy is to see me do (12) Put the pedal down after the beat. Lift the theory back of it is that, in this position, the two feet pupils from master of so much pleasure in my house.” the good come any one school. pedal on the beat. and the buttocks act as a tripod, which makes for a (8) In scales and arpeggios pass the thumb under These not con- keyboard the play- two rules for pedaling are really better balance. The higher up the the hand in order to make a legato key A Wide Variety ol Instruments connection. trary to each other; both are correct, but one is better back the left foot is drawn. 'ing is done the farther Do not try to connect keys in scales and arpeggios. The great variety of musical instruments in vogue to teach than the other. Most teachers tell iheir pupils The legato in scales and arpeggios is achieved, not in his day is surprising. Pepys mentions twenty-five Wrist to put the pedal down after the beat. Of course this Fingers and by key connection, but by rhythmic motion. Without in all, many of which he himself played quite fre- is true but the rule is too indefinite. For instance, if the wrist low. any attempt at passing under the thumb, quently. Everyone from his Lord Sandwich to barbers Keep the wrist high. Keep the C major you play the Doxology, changing the pedal on each would seem to be best for the scale can be played very legato with this fingering, and footmen seemed to be somewhat actively musical. A happy medium chord, and counting four to each chord. • ou will find same as it is kept when walking. 123451234512345, or the arpeggio like this 123512351235. To be sure the music was not always of the best. Pepys wrist—about the that the pedal depression can come or any of the Keep knuckles down so that the back of the On the other hand, this scale and arpeggio can be hears a “short, ugle red-haired slut” playing, but after counts 2, 3, or 4, but, in order to have a good legato knuckles raised so that played with perfect key connection such “country hand is on a level. Keep the and still be not there instant a manner” that he was quite bored. must be an uplift of the pedal at the Photo from Illustrated London News the hand assumes the same shape as when holding a at all legato in sound. Nevertheless I believe thumb- an Hayts, Pins Again he took “mighty sport” at hearing a clerk sing each chord is struck. This old hymn tune makes tennis ball. passing and hand-shifting will always be an impor- SAMUEL PEPYS MRS. PEPYS AS ST. KATHARINE out of time in church. But by and large people seemed excellent pedal exercise for the study of pedal legato. The higher the knuckles are kept the less strain tant part of scale and arpeggio practice. In the scales, A newly discovered portrait of the famous diarist. Pepys referred to her as "my wife, poor wretch." to play and sing passing well. But remember! Always up, not down, on t lie beat. there is in lifting the fingers. Pupils with tight hands pass the thumb under when the second finger plays Of the instruments, a number were played by pluck- Well, it is quite a mess, Leschetizky but the its key. The most important isn’t it. Perhaps would do well to keep the knuckles raised, thing about hand-shifting had "There ing or twanging, such as the lute, harp, and guitar. something of this in mind when he said, r player with supple hands might prefer to have the is that the thumb must be relaxed at the wrist-joint. The lute was a particularly popular solo and accom- c / /w- :. L/-- are no good teachers, only good pupils.” But Lesche- V' f knuckles down. However, teachers should not insist If this joint is stiff it will cause a turning panying instrument. out of the tizky, hun- ^3^ Some recommended quite seri- himself, is proof that his saying is not one on pupils with tight hands keeping them down. hand at the wrist. Scales should be played ously that “lute should with a I e*- — TfLu 4 o c| a be kept in a bed which is dred per cent true. However, I must confess that /vy Fingers should be kept curved. Fingers should quiet hand. in constant use” as all too often the string tension would hesitate cent (9) Play to subtract more than five per be held straight so that the cushion of the finger strikes octaves with action at the wrist. Play forced the belly of the lute to collapse. Pepys was able from that one hundred. The best teacher in the world the key. octaves with action at the elbow. A SAMPLE OF PEPYS' CURIOUS, SELF-DEVISED to avoid that trouble, evidently by loosening re- cannot make the SHORTHAND IN WHICH HE WROTE MOST OF HIS NOTES or once fell asleep while giv- Most octaves are a dumb pupil play well, nor can A fellow teacher of mine played with the action at the wrist moving the strings when not playing it regularly. On worst teacher in the world one from doing ing a piano lesson. He slept throughout an entire piece, However this all depends upon the size stop a good hearts of the people of Restoration England. a certain Sunday, for example, writes: of the hand so. He is disappointed that she learns so few songs, so he “Today at all the faults of his pupil, If the hand feels in blissful ignorance of strained when making the octave There was little if any formal evening entertainment he makes a new bargain with her teacher, namely to noon (God forgive me) I strung my lute, which I had chord Is it any wonder that so teachers are when suddenly he was awakened by a crashing span, the wrist should be raised and the octaves many young then; in fact it was hardly safe to venture out. Eve- pay by the song instead of not touched a great while before.” played at their by the lesson. Before long, like Jack-in-the-box and from the elbow. wits’ end as to what do? If there at the end. He jumped up a Small hands should play they should nings at home were the rule. So Pepys has singing is trouble his lute octaves in are a however, it a different story. He tells us about sing- His chief with was keeping it in tune, fingers.” this manner. any such reading this article encourage them said, “Curve your Even large hands should I can master to teach his wife. At first he' has no patience ing with her “till about twelve a difficulty. According to one writer, play heavy some by at night with mighty common if a pupil of this same teacher I hope not octave passages with telling them this: fingers curved I was once a — the wrist arched and action Always keep with her when now and then she sings a note out of pleasure to ourselves and neighbors” who opened their lutenist reached the age of eighty, you could be sure at when possible, times, this particular pupil—and can readily see why this the elbow. A good example of their first joints firm, and. at all time. writes, octaves played in this He “poor wretch! her eare is so bad that casements to listen. He is forced to admit that his wife he had tuned sixty years, and of a hundred players, a loose wrist. These fundamentals. was his first thought on awakening, for he was a manner are the opening measures of really are the great it made me angry, till the poor wretch cried Chopin’s Scherzo he to see me was “more musical in her eare than ever I thought especially amateurs, scarcely two could tune with ac- is I, in teacher that far stickler for curved fingers. Perhaps that why C-sharp minor. teaches them will not go very so vexed.” He decides not to discourage her, however, she could astray. have been, which rejoices me to the heart, curacy. For that reason it was said that “in Paris it for he sees she has a mind to learn just to please him. for I take great delight now to hear her sing.” costs as much money to keep (.Continued on Page 654) 608 "FORWARD MARCH WITH MUSIC’’ THE ETUDE NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 609 . .

pupil of Rudolf The young pianist, a Serkin, is a but lacking in sensitivity. Music in the Home ramble performer, Mr. Music of the Past Fifty Years Music in the Home is stylistically admirable but he con- Rusch’s direction in Modern Music.” Karl Eschman. pianist play “Changing Forms By issue by having the with the fmes the 180. Price, $2.50. Publisher, E. C. Schirmer it Pages, throughout, thus making practically i _ ensemble ra Music Co. unfamiliar with the score to nossible for one ascertain actually a solo instrument When the piano !s and Dr. Eschman has written what many will consider The older Edwin Fischer performance when it is not. to be the most important book in its field yet done by preferable. Great Masterpieces (Victor) is greatly an American author and, in the opinion of your re- Music Lover’s Bookshelf Dances; Erica Monni The Etude Brahms: Hungarian (violin) viewer, one of the keenest and most understanding (piano). Victor set 1053. Artur Balsam books upon Modern Music. It is a book for well trained musical sophisticates familiar with the out-of-the- Records ordinary music of the modern concert repertory. To on New their taste and restricted ex- Resurrected disc IHOO-XJ. those who, owing to Toccata, Benjamin: Elegy, Waltz and and Harris: periences, look upon modern music as riots of discord, Primrose Soliloquy and Dance; William (viola) and the work may bring some elucidation. American music Any book here Sokoloff (piano). Victor set 1061. finely balanced, and pene- Vladimir may be proud of this keen, reviewed moy Prokofieff: Sonata in D major, Op. 94; Josef Szigeti trating attainment of the Jessie King Wiltsee Professor be secured from THE ETUDE MUSIC Leonid Hambro (piano). Columbia set 620. Denison University. (violin) and of Music of MAGAZINE at the Geiringer has said that Brahms in his Hungarian price given plus postage. Dances not only preserved the characteristic qualities Creative Appreciation of Music to give it of Gypsy music but contrived “an artistic “Listening to Music.” By Edward J. Stringham. Pages, which raised it to a high level.” Miss Morini has form Publisher, Prentice-Hall, Inc. Copland: A Lincoln Portrait; The Philharmonic- plays 479. Price, $5.00. a true flair for this music and she six of the Kenneth Symphony Orchestra of New York, with dances here in a wholly admirable manner. The Boc- Not everyone can study music through learning to Spencer (narrator), conducted by Artur Rodzinski. cherini is a lightweight opus distinguished here by the play an instrument. Naturally, many books dealing Columbia set X-266. rich and flowing tonal qualities of the 'cellist. It is Mr. with music appreciation have been written to meet Thompson: A Testament of Freedom; The Boston ^yjereclitli (^cichman Primrose's persuasive artistry which distinguishes the the needs of those who prefer to listen to music cre- Symphony Orchestra and the Harvard Glee Club, con- music he elects to play. His use of two instruments— atively. Edward J. Stringham, Professor of Music at ducted by Serge Koussevitzky. Victor set 1054. one supplying a bolder, broader tonal quality in the Queens College of the City of New York, out of his rich, of these works are musical tributes to the Both work and one yielding a more mellow sound practical experience, has produced an admirable vol- Benjamin That fact is something which artists and many ing toe-nail, but to any questions concerning your democratic spirit America. Both are interesting, if many of score Immeasurably enhances the com- gives generous consideration to the compositions of in the Harris — accompanists never realize. Because Gerald Moore well-being, your invariable answer is ‘Fine.’ controversial experiments in music. There is a sim- causes. The Benjamin work has an intensity of unusual paintings and numerous appropriate notation poser's commenced his clever book, “The Unashamed Accom- - “A friend of mine once talked too much. He was plicity and directness to Copland’s score which is dis- wart emotion owing to composition during ime. It is an examples add to the interest and value of this practical orchestra shared the Artists' turbed by the oratory of the speaker at the end. Lincoln panist,” with a chapter on “Partnership,” your re- the leader of an and Harris ' ingenious and appealing score. The possesses book, which also includes comparisons between the viewer immediately conductor. For the sake of some- is depicted by the spoken, rather than the sung, word, was interested. Room with the a rhythmic spontaneity and flow not always en- schools of music and of painting. leader which may prove disturbing to some in repeated per- The book is a small volume, but one of high potency, thing better to say, the conductor asked the' countered in his music. His Dance is skillfully con- that formances. Thompson, one of the finest choral writers to those who wish to become fine accompanists. A how he was. My friend replied: ‘Do you know trived and his Soliloquy has a heartfelt quality. There morning I went of our times, utilizes for his text selections from the What is Modern Music? player may have the technic of Liszt, Godowsky, and after our three-hour rehearsal this can be no question that Mr. Szigeti like the Proko- since. writings of Thomas Jefferson. This text being prose "Music in Our Time.” By Adolfo Salazar. Pages, 367. Horowitz combined and yet be a miserable accompanist. straight home and have been teaching ever fteff sonata, for he plays it with sympathetic feeling presents many problems of setting words that are not Price, $5.00. Publisher, W. W. Norton & Company, Inc. All readers of The Etude have heard several of this I am whacked.’ technical brilliance. The work appeals to us for sympathetic to musical sound. There are deeply im- and type. Gerald Moore shows, in a few paragraphs, those “He dropped into an armchair. The conductor in which the composer has handled pressive moments to this score and others which are the adroit manner A rich and understanding appraisal of the develop- sensitive traits and common-sense observations which was furious. He complained to the management, inspira- not so communicative. Both works are well performed his material which is far less persuasive and ments and trends in music since the Romantic Era, by make for a perfect unity on the concert platform. This and asked them what sort of concert would it be and recorded. tional than we find in some of his earlier works. It is the most distinguished Spanish musical scholar of our group of common-sense essentials has made him one of when his leader arrived exhausted. Thus we may record- Respighi: The Pines of Rome. Columbia set 616; a pity that a better balance was not obtained in time, this work immediately becomes a “must” in the the most sought accompanists in Europe. For instance, crawl on all fours in an exhausted condition to a Franck: Symphony in D minor. Columbia set 608; ing, for the violin dominates over the piano. library of the serious advanced student of the art. The listen to this from his chapter on “The Artists’ Room”: concert, but we must walk into the hall as if we are Weinberger: Schwanda— Polka and Fugue. All per- book is so competent and so comprehensive that its “Do not go into the Artists’ Room and say you as fresh as paint.” formed by the Philadelphia Orchestra, conducted by Lieder and Arias critical value will serve as a guide, leading from Bach are tired. If your singer asks you how you are, you Mr. Moore is at present under contract to the Gram- Mr. Ormandy. Columbia disc 12372-D. Schubert: 19 Songs From The Maid of the Mill; to the most modem composers of today. must answer ‘Fine.’ You may be wracked with ophone Company (Victor) of London. The sound of The Philadelphia Orchestra in these Lotte Lehmann (soprano) with Paul Ulanovsky at the Mr. Salazar, who now lives and works in Mexico, lumbago, have shooting pains in the head, have a records is magnificently reproduced. Respighi’s work piano. Columbia set 615. gives generous consideration to the compositions of touch of indigestion, and be limping with in-grow- Musical Pioneer appeals primarily for tonal coloring and sumptuous Celebrated Opera Arias; Bidii Sayao (soprano) Debussy, as the protagonist of a distinctive movement, American “Lowell Mason.” By Arthur Lowndes Rich. Pages, 224. orchestration; that is its only inspiration. Admirable with the Metropolitan Opera House Orchestra, con- quoting Charles Koechlin, the French musicologist, Price, $3.00. Publisher, Chapel Hill, The University of for its directness of line and avoidance of emotional SERGE KOUSSEVITZKY ducted by Fausto Cleva. Columbia set 612. thus: North Carolina Press. excesses, Mr. Ormandy’s reading of the Franck work Mahler: Songs of a Wayfarer; Carol Brice (con- “Debussyism was not the work of Debussy alone Stravinsky: does not have the same freedom of expression one Four Nerwegian Moods; The Phil- tralto) with the Pittsburgh Symphony Orchestra, con- but a traditionally logical stage of modem evo- harmonic-Symphony finds in the Monteux version, but for sheer beauty of Orchestra of New York, conducted by Fritz Reiner. Columbia set X267. lution.” The story of Lowell Mason has been told many times ducted orchestral sound it cannot fail to impress. The ex- by Igor Stravinsky. Columbia disc 12371 -D. Mme. Lehmann has proved time and again that she American composers are given liberal attention in but never with such comprehensive attention to essen- Mozart: Overture to The life of our cerpts from “Schwanda” are most impressive—for the Escape from the Seraglio; is one of the most gifted living lieder singers, but in this comprehensive volume. tial details as in the new study of the famous The London Philharmonic musical pioneer, Dr. Rich. Entirely apart first time on records these pieces emerge with a wel- Orchestra, conducted by her latest set she lets us down badly. Her tonal quality American by realism in sound and effect. Sir Thomas Beecham. Victor disc 11-9191. from Mason's musical achievements, Dr. Rich brings come is often brittle and her pitch is not always perfect. The Stravinsky turns Griegish Musical Fairy Tale in his short piece based on recording also one feels out the fact that Mason first of all was a normal, is unkind to her voice, and "Wee Robin’s Christmas Orchestral Feasts some Norwegian tunes, but does not Song.” By Elsie-Jean. Pages, wholesome type of American business man with a refute his mod- this set is not representative of the lady at her best. 26. Price, $1.50. Publisher, Thomas Nelson & Sons. Brahms Symphony No. 1 in C minor, Op. 68. Colum- ernism. This music will not appeal to everyone. zealous interest in musical education. In 1812 he was a Beech- Miss Sayao remains one of the finest singers of our set 621. am’s latest addition to his bia recorded Mozart is a disc day her artistic sen- successful young banker in Savannah, Georgia. Shortly — treatment of text reveals a rare There is always a demand for illustrated books of Tchaikovsky: Nutcracker Suite, Op. 71a. Columbia that belongs in everyman’s library. thereafter, he started to compile collection of psalm sitivity. Although not equally persuasive in all her a Massenet: Le simple, engaging tales to read to children. Here is one set 627. Cid—Ballet Music. Victor set and hymn tunes, including melodies from Handel, 1058 chosen arias, she certainly commands respect for her which will Strauss, Josef: Village make them ask for more. At the end there Wagner: Siegfried Idyll. Columbia set X-265. All Swallows Waltz. Victor disc “La Mozart, and Beethoven. He peddled the work around performances. The excerpts from “Manon” and are three little songs by the author. performed by the New York Philharmonic-Symphony 11-9189. Both played by the Boston leading publishers “Pops” Orchestra Boheme” compete successful in among the of Boston and Philadel- conducted by with the best. More Orchestra, conducted by Artur Rodzinski. Arthur Fiedler. phia, but none would undertake it, despite the fact that her lyrical work, her florid singing remains somewhat ( Rodzinski’s Brahms’ First is one of the best per- The ballet music of “Le Cid” is Perfect willing based on Spanish studied. The Negro possesses a Partnership young Mason was to forego royalties. The Bos- dance patterns; contralto. Carol Brice, formances on records. His substantiation of the lyrical it is cleverly made but lacking "The Unashamed Accompanist,” ton Handel and Haydn Society sponsored the work and the beautiful voice and the music she by Gerald Moore. qualities spontaneity and elan understanding of of this score is unusual, and the care in of true Spanish music Pages, 84. Price, $1.50. Publisher, The Macmillan during the ensuing years (1822-1858) some 50,000 copies Mr sings. These are early Mahler folk-like in quality which his phrases Fiedler gives it a fine songs, he molds and observes the dynamic performance. The waltz by Company. were sold. It was the basis for the fortune that Dr. the but richly and clearly orchestrated in a characteristic markings of the score bespeaks a sympathetic inter- younger brother of Johann, Jr. may not have the in- manner. ex- Mason earned from music and was titled “The Boston spiration They are, in our estimation, a rewarding preter. There are none of the romantic excesses of of the latter s most familiar works Once, in a cafd in Budapest, your reviewer met that Handel and Haydn' Society Collection of but it ample of a composer unjustly dis- Church Mu- the recent Stokowski version. His treatment of the has an undeniable charm of who is too often inimitable gypsy its own. Its straight- paraged. the violinist and conductor, Radies Bela, sic.” He had no thought of taking up music as a pro- forward performance Mr. Reiner is completely en rapport with fanciful “Nutcracker Suite” is cogent and especially by Fiedler and his court performer for the bewhiskered Emperor Franz fession in fact refused to orchestra do singer, and the and let his name appear as appealing for the fine solo playing. And his Siegfried it justice. recording is splendid. Joseph. It was in a little private dining room, located editor (for the first editions), fearing that it might Bach: Recommended: Song of the Black Swan (Villa- Idyll has considerable charm in its chamber-like quali- Concerto in D minor; Eugene so that we could hear dimly the old Zingaro’s Istomin (niannl Lobos), and Ricardo band injure his interests as a bank officer. ties (he employs a small orchestra) and the Busch Chamber Perpetual Motion (Novacek), some two Players, conducted hundred feet away. Our host asked the aged Mason, all in all, was a born educator, by* Adolf1 Odnoposoff T violin) (Victor who employed Tchaikovsky: Symphony No. 5 in E minor, Op. 64; Busch. Columbia set 624. and Otto Herz (piano) fiddler to Photo Lassalle play an ancient Hungarian folk song. With 6y music as it had not been employed in disc 10-1228); Four (Szymanowski). extensive man- The Boston Symphony Orchestra, conducted by Serge Mazurkas, Op. 50 the first few strokes of his bow, Artur his orchestra com- GERALD MOORE ner before in the training of children. As a disciple of Koussevitzky. Victor set 1057. Rubinstein (Victor disc 11-9219); The Merry menced to accompany Widow— him, although the players could Pestalozzi in America, he rendered great service in A polished performance, beautifully recorded save Waltz ahd Vilia, Eleanor Steber (soprano) not see their conductor. The union of player and or- making clear the principles of the great Swiss educator. for the loss of some woodwind passages in backr- with orchestra Belle the (Victor disc 11-9218); and Ma chestra was so perfect that your reviewer felt that it from Dr. Rich has included in his fine volume an excellent ground, but lacking in the freshness and enthusiasm RECORDS Three Musketeers (Friml), Juanita (Span- was an ideal he had never hitherto heard. and BOOKS digest of Dr. Mason’s educational theories, which all of the Beecham version. 's 11 Air), Accompanying, at Robert Merrill (baritone) with orchestra its best, is perfect partnership. teachers should read. (Victor disc 10-1239) 610 "FORWARD NOVEMBER, 1946 MARCH WITH MUSIC" "FORWARD MARCH WITH MUSIC" 611 THE ETUDE — —

Music and Study After Simon Barere's sensational Carnegie Hall recital last winter, public and critics alike agreed that the American musical world had found a master pianist, whose artistic Music and Study thought and sheer virtuosity are equalled by few. Born in Odessa, Russia, Mr. Barere's gifts revealed themselves in an unusual way. One day, when he was a small child, his parents found him lying rigid on the floor, as though in a trance. Cannot Use Peclals away, Table Frightened, they rushed to the boy. He waved them not ill; he felt perfectly well but some- years of age now, and Hound however. No, he was — I am twenty-nine been prac- Teacher's was playing piano in the apartment below, and he could for the last three years I have The one piano in my spare time when I not tear himself away from the musicl Technique ticing the Developing grade am not working. I can play third At fourteen, Barere was accepted as pupil by Mme. Annette fourth grade. To a great of the music, and some plays pieces like Clair de Essipoff, the wife of Theodor Leschetizky, and one teacher, but I Also he Lune extent I have been my own in her right. was her young- Lotus Land (by Cyril Scott) and so forth! world's greatest pianists own He had three teachers, none of whom A Conference with have Could you suggest something in this line? est pupil, and remained with her until her death, when he have been completely satisfactory. When I is asked to play before several small his studies under Blumenfeld. It is from Mme. Essip- had polio, and now cannot Conducted by He continued Was young. I locally during the winter pedal the groups and likes off that Mr. Barere learned to acquire his phenomenal tech- use my legs, so I am unable to de- to add to his repertoire. young Barere was ready to begin his own career, cirere piano. Do you know of any mechanical nique. When Siimon V. for the pedal, —Mrs. H. S.. Ohio. of world-political disasters that vice I could use to substitute there began the series in par- or could you suggest some music trapped him at every turn, and the successful emergence from Distinguished Russian Pianist seems to feel I should practice that would not ^bumednil Since your son a special his mastery. The First ticular Wlaurice their effects offers but further proof of require the use of pedals? inclination towards sonatas, why not World War, the Russian Revolution, and passport difficulties —H. M. L., Indiana. make his repertoire more complete both greatly delayed his leaving Russia, so he limited his activities French-American his birth, winning wide recognition Eminent. the beginning and the end of the list? largely to the country of There is no device on the market so at virtuoso and as a Professor at the Kiev Conserva- which can substitute for For instance: before Beethoven I would both as a far as we know earning a foremost rank in England and THE ETUDE BY MYLES FELLOWES Conductor, Lecturer, Ilaydn and Mozart, tory. Just as he was SECURED EXPRESSLY FOR pedal; but you certainly should not Pianist, like to see whose the in other European countries, he was caught in Hitler Germany beautiful literature! sonatas are so melodic and enjoyable, to miss a wealth of and had to spend further years marking time against the and Teacher words. There is Bach, in the first place: from use your own onrush of personal and professional dangers. Only since his Sonata that is find work in the piece which one is studying. the Little Preludes to the Suites (English The Schumann you heard arrival in the United States Mr. Barere beginning to and try the lighter touch which the passage properly passage of pages is probably the of mind to work as he wishes and the first results this results in even more efficient practicing, and French) you have a quantity over the radio second, the peace — needs. And when you do, you will suddenly find that Actually, muscles are supple, acclaim. are admirable and which you will developing. The 22 in minor, the most often played of such work are sensational critical will since one practices In order to play music, not scales! which of a Op. G its difficulties have solved themselves! A control brain is like in an age of advanced technical proficiency, Mr. the Bourrees and the joints flexible. The its harmonious proportions Even be careful, however, to practice the musical enjoy playing; the because of as in your fingers that will enable you to play the One must and retains easily. Barere’s virtuosity is amazing. For years, it was found impos- be Gavottes in particular. The same applies sponge which absorbs compared with the first one in F-sharp Fast playing, passages in the same way that one practices scales absorption sible to secure a recording of Schumann's Toccata, because notes lightly, evenly—more quickly. you have the harpsi- receptivity causes the control. to Handel. Then, This minor which is somewhat lengthy and disc, and too short well controlled slowly, evenly, with complete the ensuing the piece was too long for one side of a then, develops only as the result of the eighteenth century, the to increase during chordists of power over-developed. But the latter contains for two sides. Simon Barere is the first pianist ever to have The Cuckoo by growing period, like the fingers. Sonatas by Scarlatti, years of the a Romanza which I consider one of recorded that work on one side of a disc. And yet he is by worked The Arpeggio Problem Simplified foundation “I consider it a great privilege to have Daquin, The Hen by Rameau, Les Fifres traditional snowball. Such a no means a "mere technician." His round, singing tone, and Schumann's most admirable and poetic and, naturally, I learned a great “The reason that many students find arpeggio work Correspondents with this Depart- Later on these con- under Mme. Essipoff, by Dandrieu, and I only mention a few. will last a lifetime. effectively over his sensitive, penetrating interpretations mark him "as a pianist atten- ment are requested to limit Letters pages. It can be used the her. She had a unique way of teaching, difficult is incorrect practicing! In most cases, the acro- technique is of chief deal from can play Mozart’s Turkish March, and Fifty Words. cease to exist. Look at of first rank. Since the development of You to One Hundred ditions radio. explained anything. Instead, tion is concentrated on the first note of the measure, it is that topic that The however. She seldom Song by Mendelssohn, Schu- ballet dancers; most of them interest to students, however, upon the Spinning bats, at the Following Schumann the logical se- to or the note-group, and the other notes are allowed Etude has asked Mr, Barere to speak. — Editor's Note she would play for her pupils and expect them lovely Scherzo in B-flat. When you they are three, and they can bert’s start when quence calls for Chopin. Liszt, and entered the room for a lesson, to fall in as best they may. To put it differently, the will purely ma- imitate her. When one perform all these without pedal you there do so because their drilling is the natural gifts which must be Brahms. However these masters’ sonatas HE FIRST STEP in developing pianistic tech- Essipoff would seat herself at the second piano ‘high spot’ is reckoned as the passage of the thumb. proper spirit and style, and does not involve Mme. be nearer the the Grace of terial, mechanical, all wrong. note of the arpeggio must in the first place and by involve tremendous technical and musical nique is to realize that technique is by no and give the signal to begin playing. As long as she Now, this is Each than many students or even pianists who brain. : sing or play the arpeggios should God. But remember this to problems, and I would say the same means a mere matter of speed. In nine cases satisfied, she said nothing. But when her pupil be given equal care. If necessary, error of over-pedaling—or knows exceptions and T was fall into the However, age a popular song with good taste and charm more recent sonn'as by D'Indy, students confuse a fine technique would requires starts about the out of ten, music needed correction, she pedaling at all—when tradition the majority there have been cases when late is much more difficult than Dukas, and Stravinsky. Therefore I would with the ability to play fast! Certainly, speed in play- interrupt his playing and play that the greatest clarity be preserved. remarkably well. Let me tell of people realize. What matters in the turned out technical mastery—but the advdse your son, at least for the imme- ing is one of the results of the faulty passage herself. Besides, you have at your disposal you you the story of Raoul Pugno. He had end is the degree of artistry which towards some works not at all identical. Technique means duplicate her one-piano-four-hands rep- teach- diate future, to turn the two are Then one had to considerable in your pianistic and vocal settled down to the routine job of man- will reach which will satisfy him; MacDowell’s su- control—of the fingers, the hands, the muscles, of performance! How one did it ertoire! Since the pedals are always ing harmony at the Paris Conservatory interpretations. for Instance, or the the relationship between the notes to be played, of worry of hers! She bass performer, you can play in the perb “Erolca” was no aged by the will ever regret and being in charge of the organ I do not think you abroad, Ravel’s the dynamics; in short, control of everything that only advanced stu- treble part. Think of all the lovely time “Keltic”; then from accepted the chosen this means of expression, church of Saint-Eugene. In his spare having Sonatlne, and the one by Kabalewski. brings the printed page to life as music. Technique dents, of course, and she be- music you will be able to enjoy; the orig- operettas or piano pieces. One if it is an answer to your personal feel- he wrote singing tone quite and The latter two will add much freshness enters into the production of a fine lieved that it was part of their inal compositions of Haydn, Mozart, day they persuaded him to play the Grieg ing and desire. as much as it does into the dashing off of fast pas- accustom them to Schubert, already or soon available in and coloring to his repertoire. training to Concerto with the Society des Concerts, In exquisite “Petite You tell that he likes Clair de Lune sage work. solve their own problems. this country; Debussy’s the finest orchestra in Paris. It was such me is such perfect control to be acquired? habit Goose”; and that Too Old? and Lotus Land. could v.se the equally “How then, this Way, I got into the Suite”; Ravel’s “Mother a triumph that Pugno’s name spread like He There is only one answer, and that is by slow prac- on the the “Dolly Suite” by Gabriel poetic Reverie by Debussy, and the fa- of doing many things real gem, I have taken lessons for ten months. I wild fire all over Europe! Overnight his ticing with particular attention to the evenness with without being able to FaurA practice from five to eight hours daily. I ap- mous Lento In D-flat by Cyril Scott; also piano reputation had become second only to follow each other. The young pianist you, and keep up the peared in a recital with ten other students, Asphodel; which the notes analyze or explain just how So three cheers to Paderewski. He soon worked up a rep- by the latter the lesser known several having studied five and six years. can make no greater mistake than to work for speed! did them. Not until I began good work! and still in the same mood, Palmgren's I The audience claimed I far surpassed the ertoire of concertos and for two decades have fast passage to learn, let us say; how Paurd's Bar- You a teaching myself, and wanted other students, and found it hard to be- his services as soloist were sought for by May Night, Ravel's Pavane. shall you set about learning it? Surprising as it may clear to stu- I had studied such a short while. I am to make things lieve the leading world organizations. carolle No. 4. Music for Entertainment I must seem, the best is to work as slowly as possible willing to endure the hard work it takes to not way dents of my own, did I probe repeat, that was a rare Although both you and I. L. S. do make my ambition recognized. I am able exception. But it not merely at the beginning of your study, but all and means of secur- I still young—seventeen years to be would the ways am publicly Chopin’s A-flat Polonaise, proves that mention any author’s name, I school to play sometimes “when there is a the time! And while your fingers are working slowly, exact—but I graduated from high ie ing pianistic effects. For this Clair de Lune, Liebestraum, and Hungar- will there is wager ten to one that it Is the Clair last spring and find that I must begin to a way.” use your brain and your ear to check up on what you ian Rhapsody No. 2. reason, I always say that I build upon whatever career I plan to take Lune, Debussy's, of course! This makes twenty-eight years old I have been accomplish. First, you must get the notes ‘into your —naively per- Being have learned more from my up. I have always assumed me very happy, as It shows the great told I am too old.—I. L. S., Indiana. Extending the Repertoire fingers,’ so that no difficulties of note-sequence or teach- haps—that a person was prone to do better great students than from my degree of popularity which our out for work and go farther in' whatever field he I would like for you to suggest finger-passage remain. Next, you must watch ers! The need for explaining If after ten months study you can play some mu- interested. That is why I had sic master’s music has now reached. was most for my son’s use. He is seventeen years perfect evenness between the notes. This evenness, why got me into the habit of planned to study music—piano and voice— the above compositions, it is nothing old and has studied piano since he was five. of course, is the basis of sound technique. It is not thinking about technical prob- with the entertainment field in view. I do short of a miracle! Of course I take it He has been studying sonatas for several fall rapidly successive not expect to become a concert pianist. I years Small Hands difficult to let the fingers upon lems which, in my own play- for granted that you play these difficult along with other music, and owns the favor radio. Beethoven "Pathetique,” I have a piano pupil, age fourteen, who notes—the art lies in regulating the interval of time worked out intui- works in the original text and not some the “Moonlight" ing, I had Is it your opinion that I might come to Sonata Is handicapped by and the Beethoven Op. 57, the Schu- very capable but who Is between the notes to absolutely equal rhythmic value. life tively. dislike music for having made it my of the many simplified arrangements bert A the Is of small major No. 2, and the Grieg Sonata smallness of her hands She And that requires control. work in this field, as surely as if I were to suggest “Thus, each separate prob- which are available. However, I want to Op. 7. He memorized the two middle move- build and I wondered if you could try to be a concert pianist or opera singer? ments of the any She can- lem can be reduced to certain warn you against the acclaim latter for a spring recital. studies that might help her M. L. B., Arkansas. bestowed Go- — ing on from this group, not play this chord in one stroke: technical needs. by the audience attending a students’ what sonatas would fundamental you suggest he Control Through Exaggerated Pressure would enjoy playing for scale work, for example, You are very correct In your assump- recital. I think you would be wise to go melody, In and pleasure? I heard a Schumann is not speed but always does better work for an audition before an expert Sonata played “An excellent way to develop such control is to exert the ‘secret’ — — tion that one mu- from Ohio State radio sta- tion several a somewhat exaggerated pressure upon the keys. That perfectly controlled evenness. and goes farther in a profession which sician whose opinion would be both weeks ago that had some lovely passages. is to say, when you practice a passage requiring a I believe thoroughly in prac- one loves and enjoys. If you feel gen- authoritative and unbiased. What mat- and Most four note chords are too difficult, light touch, give the keys than ticing scales, especially for less attracted to music fit for enter- ters is not that you play those more pressure you uinely pieces, but five note chords impossible. ultimately want. This pressure, of course, must always advanced students. But enough tainment—and I mean even real popular how you play them. Frankly, your age of —E. S., Maryland- be exerted without strain. fingers strong minutes a music—why should you refrain from twenty-eight is a serious handicap. Keep your is enough! Twenty Rather Dr. Guy - Maier’s key but free; keep your wrist loose—‘soft,’ as I like to scale work should be your impulse, why not specialize in that than saying “you are too old,” I would You can help your student at the day of call it. Then, for purposes of practicing, press deeply enough to ‘warm up’ the fin- field and become outstanding in it? You rather say that you are no longer at an New Feature board, and away from the keyboard. b> into the keys, watching always say that you do not expect to become a age when most can be made of the natu- As a daily diet I suggest the book for perfect evenness gers for controlled evenness. “Mastering between notes. When you have thoroughly practiced After that, the same" basic concert pianist, and you probably are ral gifts which may be yours. At six or The James Francis Cooke called Pianist’s was your passage in this way, over a of days, you principle of deep-pressured very wise since this career presents in- seven for instance, which I consider a Page the Scales and Arpeggios,” which number SIMON BARERE may begin to release years favorable to begin written same diffi- this exaggerated key-pressure control can be applied to the numerable difficulties and requires age piano study, the Will Begin in especially to meet the the January Is our and years of hard work, not to speak of structure of the body is in the process culty which you are having with y NOVEMBER, 1946 "FORW'ARD MARCH WITH MUSIC” ( Continued on Page 645) 613 612 'FORWARD MARCH WITH MUSIC" THE ETUDE Billions for Music and Study Again, I Spend Music to be played staccato. ^produced Americans Study the staccatoacca p Music and staccato more helpful than or arm. by hand is of first (?mmlitv ZJticker rapid passages, t°ne * ’eorge accents—first with the “Even in mde oUt Iff be practiced with shifting Chopin who fitted the importance. It was Jt a beat, or accent, on the note played by strong mechanical-exercise catego y with the accent on the second note; of the Etudes from the Associated thumb; then musical following is a release is vehicle of purely great The the third, and so on. When the exercise that great organization's then on being roblel written by one of The Singer and Specialization receiv- are music besides P de- Press with every note (and every finger) ^' ^ f his Ppre of an annual completed his Etudes and th experts. The estimate ex- and control, the difference between ong research equal share of attention in , ing an Chopin’s melodies smg. music of $2,000,000,000 this year is, be careful cessors is that nenditure for arpeggio-problem becomes simplified. And Editor, very conservative, as melodies ( opinion of your with clearly as the first! thinks of them have a in the A Conference that the final note sounds as ^vThmavwhich may raised forty to fifty rather than as speed-drills might reasonably be per development of a fine, singing tone is the fast) and “The is important! , —Editor’s Note tune ) 1 The difference cent. foundation upon which all technique is built. Tone one may be he matter how musically gifted more important than speed, if only for the reason “No' musical ideas is technique to make his while speed results naturally needs virtuoso sounds Zink a Witanov that one works for tone, the simplestscale for music in its various forms in 1946 life. Why is it that he BILL fingers. ‘secret’ of tone develop- come to controlled The • States will come to more from the fingers of a mas in the United than without tension, with the wonderful under ment is playing freely, techmque-the very y dollars. Dramatic Soprano of the Metropolitan Company he has this virtuoso two billion close to the keys as possible, and releas- because T fingers as itself a Performance^An^ the industry disclose that the public ex- he touches the piano is in Surveys of ing one note just before the next is sounded. The a hurdy-gurdies, grows out of the tel*™ buying radios, pianos, sheet which I spoke before, is that performance is aggerated finger-pressure of has more than fleet other forms of musical ALIX B. WILLIAMSON perfect control. The virtuoso music, recordings and SECURED EXPRESSLY FOR THE ETUDE BY helpful here. Of course, the action of the piano itself of He ha He has control over his fingers. entertainment to the tune of forty million dollars be understood. Tone is produced at the exact fingers! must dynamics; control over evennessHisspmt when the key’s hammer strikes the strings. trol over a week. moment has value only insofar the millions spent in box strike his emotion, his interpretation This does not include Thus, for a singing tone, the hammer must not through his The Metropolitan Opera's primadonna auotuta for Italian repertoire, Zinka Milanov, the great Yugoslav he can make it tonally noticeable for dance bands, symphonies and top- string too abruptly, too quickly. By slowly putting as the office receipts dramatic soprano, has made possible within the past few seasons revivals of "La Gioconda," "Norma," the secret of technique lies in estimates are available. tone. fingers! Thus, the only concerts, for which no been performed at the Metropolitan since the days of Rosa down the key, you obtain a richer, more mellow course, level and "La Foria del Destino," which had not over one’s hands. This, of the aggregate salaries control one secures it take into account Hallo in Maschera," which had been out of the repertoire for twenty-four years If one does not understand this, it is quite possible playing. Nor does Ponselle, and "Un matter from mere fast the vast sums paid to slowly at all! That is is a very different professional musicians or following the retirement of Emmy Destinn. Possessor of a phenomenal two-and-a-half-octave range, Mme. to play slowly without playing at least of student should practice United States. one, for the fact that she has been able to encompass key with fast, sharp The serious piano teachers in every city in the Milanov is often regarded as having two voices in to say, by sending down the a the various music day, dividing his time among two hundred and fifty both the florid coloratura singing of a Gilda or a Violetta and the full, dramatic tones of an Alda or one produces a brilliant, brittle, ‘fast’ five hours a This year Americans will drop finger-stroke, surety, even- singer, for of finger accuracy, finger in nickels, dimes Tosco. She is also believed to be Toscanini's favorite chosen by the great maestro no fewer though one counts a slow rhythmic interval considerations million dollars into juke boxes, and tone, even slowness and his baton in Salzburg, London, New York, Buenos Aires and drills. But the main thing is (coin-operated than thirteen appearances as soloist under the notes played. Remembering to send the ness and quarters. There is a juke box phono- between agree heartily with Leopold other musical capitals of the world. Mme. Milanov began her vocal studies with her brother, Bojidar Kunz, finger-pressure, evenness in practicing. I five hundred persons in the United key down slowly, with deep, ‘soft’ graph) for every her operatic debut as Leonora in "II Trovatore" the only test of whether you ZINKA MILANOV and later enrolled in the Conservatory at Zagreb. She made this reason, I do not Godowsky who said that is from $795 to $835 an in- helps develop good tone. For States. The price range at the Zagreb Opera House in 1927, and her Metropolitan Opera debut in the same role on December 17, ability to play it, not fast, all pas- really know a piece is your enjoy working staccato. I prefer to practice strument. FTEN young singers, preparing for careers in 1937. Since her arrival in the Western Hemisphere, she has also been starred during the grand opera ultfmately but slowly!" sages legato, at first—even those which are In 1939, last year of normal production, the opera, ask me, “How is it possible for one seasons in Chicago ond San Francisco, as well as at the Teatro Colon in Buenos Aires and the Teatro million dollars for new singer Municipal in Rio Janeiro. —Editor's Note. public spent two hundred O to do justice to roles as different in de pianos, and forty million dollars for trombones, vocal and interpretative requirements as Gilda and clarinets, violins and other musical instruments. La Gioconda? Would it not be better for me, as a student, With full production restored manufacturers pre- to concentrate on one field instead of trying to learn est and lowest notes of the score. That is why a role was rather a set of vocal show-pieces than an at- dict gross sales of more than three hundred mil- both lyric and dramatic roles, and to forget PUERTO RIEO about the like that of Bellini's Norma was not considered ex- tempt at dramatic composition. But with a century FLOWERS OF lion dollars this year. dramatic-coloratura roles like Norma which traordinarily difficult in 1831, when the opera was and a half of operatic development behind them, the The heaviest outlay of cash for a single item, how- have been mastered by only a handful of sopranos first performed, though today’s standards it leading singers of our own Metropolitan Opera’s will in the entire world?” even by ever, is the six hundred million dollars Americans requires different of soprano voice the “Golden Age” were expected to convey to their audi- answer these is ‘‘If two kinds — spend for new radio sets. Production currently is My to youngsters very simple. you want to be good all-round singer, like dramatic and the coloratura. ences both the aristocratic grace of Mozart and twelve million sets a month, at an average retail cost a the ttie Teutonic mysticism great prima donnas of the last century,” I tell them, of Wagner, as well as a of fifty dollars a set. To service and repair these sets “avoid the A Trend Toward Specialization bewildering variety of intermediate moods and man- additional ninety to a hundred modern tendency toward specialized ac- will cost the public an expression. tivity and arbitrary classification of talent. Don’t let Considered objectively, the trend toward vocal spe- ners of That they did it quite successfully million. For servicing and repairing fifty-six million is fact Lilli a teacher, or anyone else, tell you that you are a cialization is not hard to understand; for it represents shown by the that Lehmann sang the civilian radio sets in the United States in 1945 the lyric soprano and so learn only stated few an artistic course of least resistance. The singer who delicate phrases of Marguerite in “Faust” as effec- million dollars. must a total bill was sixty tively roles, or that your voice is too full and ‘dramatic’ uses only that register of his or her voice which is as the trumpet tones of Brurmhilde ; that for coloratura work. Find a musical mentor who real- naturally easiest, and who treads the beaten path of Lillian Nordica had a working repertoire ranging izes that no two human voices are really any more singing a standardized set of concert songs and from Aida to the Donna Elvira of “Don Giovanni”; Records Boom alike than two sets of human fingerprints, someone operatic roles, has far less thinking and worrying to and that Emma Eames was as famous for her Last year tune-hungry Americans bought one hun- who can help you evalute the possibilities and prob- do than the one who adopts the perfectionist creed Juliette and Pamina as for her Tosca and Santuzza. for dred and fifty-six million phonograph records, lems of your own vocal equipment. Learn how to that produced great singers in earlier days. Pure There is no good reason why this broad interpretative one which, with needles and accessories, they paid use this equipment, as a virtuoso learns to use the vocalizing is terribly tedious; yet there is no other scope should be so exceptional in modern times. hundred and forty million dollars. This year, with violin, for the accurate and effortless production of way to the flexibility and speed of execution whose Singers were not born with greater vocal and ex- production greatly accelerated, manufacturers say they beautiful tone. Instead of trying to fit your voice into lack is often concealed, nowadays, by sheer volume pressive gifts fifty years ago than they are today; it is only that concept will produce more than two hundred and fifty million a conventional pattern, explore and develop its special of sound. Perfect ease and control of sound production their of what a single voice can records and that gross sales will top two hundred potentialities. Then you will be ready to choose music, from top to bottom of the vocal range, with every and should do was sounder than the current one. million dollars. Of this approximately forty million not on the basis of who has sung it before, but by tone equally clear, true, and beautiful, comes only dollars will be for classical recordings, and one hundred the only valid criterion, which is whether or not you through months of rigorous drill in the fundamentals Actor and Vocalist are vocally of sound production; and the limitations of con- and sixty million dollars for popular. and temperamentally suited to it.” After all, the essential characteristic which dis- temporary singers are largely due to their unwilling- Next in importance is the ninety million dollars tinguishes operatic singing from other forms of the picture Return to First Principles ness to impose such strict discipline upon themselves. the public will spend on thirty top motion A vocal art is its fusion of the musical and the dramatic, Many a soprano who thinks she has no low register musicals. Editors of film trade papers estimate The procedure which I suggest is in reality, of and its full meaning as a communicative medium is is actually the victim of slipshod training, which has that the average good film musical attracts a gross course, neither more nor less than a return to operatic realized only by the singer who cultivates the actor’s r t never shown her how to use the low er tones of which gate 500 ,000 , first principles. For those labels of between three million dollars and $3 , convenient which as well as the vocalist’s viewpoint. I need scarcely she is physically quite capable; and many a singer with supers such as Bing Crosby vehicles grossing draw such fine distinctions between kinds of voices point out that the actor’s approach is the very are a fairly who is afraid to attempt a high C could have learned, $4,500,000. recent development in the history of antithesis of specialization—that no one who is satis- through properly directed exercises, to produce that This year the industry will release about thirty top music. Just as an example, today florid singing has fied to be type-cast can hope to build a distinguished note without the slightest strain. In other words, the musical pictures in million become the special province of very high soprano career in theater. anticipation of a ninety A the Similarly, the operatic artist difference between a wide working range and a' small dollar box-office gate. voices, and consequently the word “coloratura” has must always be learning new roles, not by rote nor one is very often a difference not of vocal endow- The sales of sheet music are almost impossible to come to suggest not only a vocal technique, but a through a coach's cut-and-dried “interpretation,” but vocal ments, but of vocal techniques. estimate. Major distributors, however, claim that quality. Yet in the days of Handel and Gluck, through searching out for himself or herself the there were coloratura contraltos. When the voice as an instrument has been per- about fifty major publishers will do a twenty-three- bassos and coloratura deepest emotional meanings of the words, the subtlest Indeed, fected, today’s singer faces another and equally im- million-dollar gross business. even down to the beginning of this century, inflections of the music. And it is at this stage of every singer have the in- portant problem—that of mastering different styles Box-office receipts for the Metropolitan Opera Com- was expected to mastered musical study that conscientious early training in of singing. It is a problem which did not greatly pany for the for per- tricacies of coloratura singing; and conversely, mere pure vocalism begins to be handsomely rewarded; for fiscal year ending May, 1945, trouble vocal agility and prettiness of tone were not enough, the consummate vocalists for whom Handel’s formances in New York City, were $1,391,000: out- when the knowledge of how to sing has become second but had operas were written, because eighteenth-century opera of-town performances broadcasts to be backed up with reserves of strength nature, the printed notes of a score are effortlessly $520,624, and for and $159,443— this dramatic power. Thus, to the great classical com- translated into sound, and all the singer’s faculties This charming picture of Senora Rosita Escalona Nin and her more advanced pupils was taken after a students' a total of $2,071,067—and the receipts year posers of opera, the standard for judging whether a can be concentrated upon recital given early this year. Senora Nin, after four years at the New England Conservatory, studied at the Curtis are expected to be even greater. the refinements of dy- given soprano could sing a particular role was not an namics, the delicate shadings of Institute of Music in Philadelphia, under the direction of Josef Hofmann, and was graduated with a diploma. Concert bookers say Americans will spend more tone and the dramatic adjective limiting “lyric” VOICE given many concerts in Boston, Philadelphia, and Baltimore. Senora Nin is the wife of Salvador than her to or “dramatic” work, urgency which can make an operatic She has R. Nin, one million on ballet in 1946 and another hero or heroine but merely her ability to compass with ease the high- Puerto Rico's leading piano dealer. This picture came to us through the courtesy of the Baldwin Piano Company. million for come to life for an audience. choral groups. ( Continued on Page 653) "FORWARD MARCH WITH NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 614 MUSIC" THE ETUDE 613 there at OMETIMES in musical literature our introduc- Music and Study Nast and Heywood Broun were IHeSSings editor) jflusicat composer and his works is under the Music and Study the other guests, tion to a Before the arrival of partly Pachmann in his most unfavorable conditions. Every musician chanced to see De 0f S ^now -lover has met Johann Sebastian a heavy curtain. He Thanksgiving Editorial and every music concealed behind eesticu- A a mi > composer, who revolutionized music, is the Temperament our presence. He was standing before Bach. This Artistic and the topoin^ misunderstood and badly played composer in the lating to himself, patting his hands most monkey- music. He has become an untouchable tyrant The Bachs and the Organ all kinds of history of head and making of New York, a adored by the serious student and hated by the ( Continued from Page 603) Again, upon an occasion in to be of the Baldwin the late Arnold Somylo, then manager non-serious student. the di De Pachmann announced Bach was born the day before spring, March 21, Piano Company, " most breath-taking expositions of prepared by 1 son It is one of the covery of a new drink. This he “ ? 1685, in the town of Eisenach. He was the of have read. Isadora was mis- and then filling artistic temperament we out the heart of half a watermelon Johann Ambrosius Bach who was an accomplished everything money proceeded l, Llliam C^lijcle ^JJcunilton erable if she did not have the best of which he Ambrosius Bach had a twin brother and it it with a bottle of red wine, musician. y buy, although at times she may have had nothing his dress sh . tell could drink until the liquid cascaded down is said that the wives of these men could not them pay the bills. Yet later she refused to went part way with which to was particularly embarrassing, as we apart. They were alike in everything they did—speech, money, awarded her by the Russian appearance s g- accept her own home with him in the subway and his style of music performed, and methods of teaching. the master by two years and following his death she herring-heads came out with Danish ducats in each courts, at the death of her husband, whom she had Again, at a luncn- gested a murder in the Rue Morgue. When one was sick the other became sick too. They found it necessary to beg from the Council because of head. There may be truth or not in these stories—it supported and who made her his heir. M. Dumesnil New York hotel, he P al s eon with us in a leading ^ died within a short time of each other when Sebastian her destitute condition. really makes little difference—the main point is that writes of an incident in Rio de Janeiro: and spoons in takingly washed his knives, forks, was only ten years of age. Sebastian’s older brother From Cothen Court, where he was very happy, Bach Bach was “human” and that he composed “human” "After signing the register at the hotel, Isadora each article on tne finger bowl and then, after eating Johann Christoph took the orphan and his brother to went as cantor (a step-down really) to the famous St. music. inquired of Monsieur Charles if he nad Pommery again in the fingei menu, washed the implements with him. Soon Sebastian became a choir boy of Leipzig. were four churches answer, live Thomas Parish at There Greno 1904 in his cellar. Upon his negative like Potage Parmentier bowl until its contents looked excellent voice and studied at a German gymnasium in this parish for whose music Bach was responsible. Concerning Bach's Children she requested that a case be sent as soon as pos- this, he took the or some other thick concoction. After custom of choir boys of that period. At the teach three hours climax came: as was the In addition Bach was required to Bach had twenty children most of whom died in sible, from downtown. Then the solemnly drank its contents. Kindly finger bowl and gymnasium whose library was filled with masterpieces each day in the St. Thomas School. He paid someone their early youth. Of those that reached manhood “ ‘Can you recommend me a good place for auto- Pachmann s stage critics sometimes assumed that De introduced to the greatest music of his time. the the very best; he was else to teach Latin courses but managed to teach four are particularly interesting. The first we shall mobiles, a really good one? I want shrewdly worked out tricks of showman- antics were After his voice changed Bach became a violinist and singing classes himself. Here for almost thirty years dismiss quickly Packard, a Lincoln, or a Cadillac. I’ll take were because he is interesting in only one either a ship, but the things we saw him do in private was of such value that he was retained for a short the man labored and composed in pleasure, or turmoil, light—that he was of weak intellect. Tradition depicts it by the week.’ amrihino hut “nutting on an act.” Any psychiatrist Charles knew a place, and time in the gymnasium. through many ups and downs. Much of his time was him from an imbecile to an idio-savant. He was named “Of course, Monsieur his malady. could name position of major importance was at the in his superiors, yet would be pleased to help her. His first spent arguing with and he found Gottfried Heinrich and was represented in the estate he Who cares, moreover, whether Richard Wagner “ automobile?’ New Church in Arnstadt where, in 1704, he became by a guardian. The first of his sons, Friede- ‘When does Madame need the fours, or crawled under the Wilhelm climbed trees, walked on all time here for composition and “ ‘As soon as possible. Can I have it tomorrow organist. He had much mann, obtained a certain success as a composer and piano when afflicted with what was charitably called morning?’ organ practice. It was here that he laid the founda- organist. He was soon addicted to drink and became “artistic temperament”? One page of “Die Meister- American custom of giving thanks to “ IIE the organ. At Arnstadt Bach ‘i’ll call up right away, and let you know within tions for his mastery of a vagabond, deserting his wife and children. Carl singer” condones for it. of our harvest sea- five minutes.’ God at die completion had a rather difficult time upon occasions. He over- Philipp Emanuel Bach outstanding America owes a great debt to its managers of artists, was an son who with Isadora, I tried to talk common stayed his leave when he went to Liibeck to hear the "Left alone and arranging tours so indispensable to T son is one of the greatest festivals we obtained great position in the musical world. For his providing for well sense: great organist, Buxtehude. Buxtehude played on a entire life Carl Philipp Emanuel was a respected and its artistic development. They deserve rich rewards for coine down to us from our ancestors. “ ‘Isadora, please excuse me for speaking like have had built organ and was famous for his pedal passages and suffering the tortures of Hades which are sometimes revered musician and enjoyed fame of a much wider this, but do you realize that for a week we have troubles are trivial in comparison with unusual fugues and figures—long flourishing arpeggios necessary in order to produce results. Our dimension than his father, Johann Christian Bach broke? Why, we haven’t even a masterful style. Bach learned much been absolutely the disasters which Mankind has heaped upon which he did in a became the most famous of them all. He left Germany lucky that on the boat meals this nickel ! It was mighty from Buxtehude and we see examples of man in early life and went to Italy countries. It take where he composed tickets, otherwise we would itself in almost all other may were included in the throughout the writings of Johann Sebastian. When many operas and where he was unequalled in the starved to death. I don’t blame you for want- of debris have some time to clear up the mountains he returned, late, to Arnstadt he was summoned for world of music. From Italy he went to England and ing to have a car, but why don’t you be sensible explanation by his superiors and his excuses were ac- (human and material), after the greatest war then , to Paris where at all times he was entertained and get a nice little Ford, until good money starts cepted. the same time they enjoyed the opportunity The Ideal Piano Light At by the greatest as the foremost musician of his time. It coming in? Then you can have a Rolls-Royce if hurricane in history. they to tell Bach that he wasn’t playing exactly as is to this man that biographers refer when they say you wish, with a chauffeur to go with it!’ re- We cannot expect human beings to he desired and that he was old-fashioned, which was true. that Hadyn and Mozart loved Bach and followed him “But she discarded the idea: oln C. J^lelerrjer Later took a young lady into the church and “ ^ to with the first call for peace. Bach so closely. Mozart was a famous man when he first ‘Oh, no, I must have a nice, big car. I’ll take it h stored normalcy “made music”; and his superiors, upon ascertaining saw the Well-Tempered Clavichord and he spent many like the apartment. In the mean- lives and build- by the week, just We cannot reconstruct the -with him pain- HAVE TRIED many lighting arrangements in my this unheard of situation, remonstrated hours with it marveling at its construction. survey of time, we’ll give the first concerts, and when the A quest for something that would properly light my ings demolished overnight. fully—so painfully in fact that he soon left Arnstadt the music of the sons will reveal great deal bill comes, we’ll have the money.’ Bach a “ I piano music without glare. There was always that there. and went to Muhlhausen. ‘Yes, that’s very nice and logical, if the con- War may end, hut its scars are still concerning the music of Hadyn and Mozart. The F annoying blinding spot near the center of the page, minor Sonata of Johann Christian sounds more like certs go well. But if they don’t, what will we do? It is our obligation for the future security and I had resigned myself to my old gooseneck lamp for Discipline This is just one more case where that little word A Need Mozart than Johann Sebastian Bach, for the younger which was as good as anything. A blue “daylight” of the entire world, including ourselves, to "if” makes so much difference.’ The music situation in Muhlhausen was at a horrible Bach was the bridge between the baroque music of his bulb, as well as other special lamps, did not help. An “‘Eh, bien, nous serons perdus!’ (‘Well, we will leave nothing undone to heal these scars and state. Bach could play beautifully but he was no or- father and the classical music of Mozart and Hadyn. “indirect” lamp used an enormous amount of power choas. had Sebastian is sad be lost!’) help afflicted. ganizer. He could not pull order out of He a man when you see him in the without getting the light where it was needed, so restore the Due to bad management, only seventy-five seats for very definite religious conceptions of his own which eyes of his children. With the exception of Carl Philipg back to the gooseneck, which I used until it occurred blessings, with the rest the first Duncan performance in South America were Our in comparison were exemplified in his compositions, but, when he Emanuel and Johann Christian his children were not to me to try one of those silver-capped bulbs in it. A sold. Then the miracle occurred. The audience went of the world, have been munificent. The vast was confronted with the Pietism movement in Muhl- the type in which he could see a reflection of himself. sixty-watt size gives a comfortable, diffused light wild over the ballet and succeeding houses were sold food; tbe hausen he was hopelessly at sea. Bach had choir That he loved his family is well known by his letters which is appreciated when one spends hours at the fields of grain; the great oceans of out completely. Perhaps it may be wise to have the trouble at Muhlhausen also and in this type of diffi- and a review of his accounts. piano; and it costs only a few cents more than a plain endless vines hanging with purple grapes; the artistic temperament which cannot be satisfied with culty he was completely lost. Later at St. Thomas it It is good to picture the Bach household. Here the bulb. anything less than a Rolls-Royce, although one’s glorious orchards heavy with golden, crimson, was necessary for the rector to attend the choir re- old man sits at his table writing a cantata that must pocketbook is empty! hearsals choir, for Bach could I. S. BACH and russet fruit the v hole land bursting with in order to discipline the be carried to the rehearsal. It is late at night and there Dorothy Caruso, in her singularly alluring “Enrico ; From a contemporary Viennese medallion. Keys to not do this. is much copying to be done. Anna Magdalene sits beside Caruso. His Life and Death,” gives innumerable evi- New Practice the riches of Nature. All these riches have be- It was a happy day for Bach when he left Muhl- him copying the orchestral parts. Later the children dences of artistic temperament on the part of the great to stowed upon us the God-given opportunity hausen to become the court organist and chamber mu- time to write such compositions as his famed “St. assisted their father in copying music. Much of Bach’s tenor, which at the time were as natural and irrepres- If ^Jie WaUon help others. that sician to the Duke Wilhelm Ernst who was extremely Matthew Passion” and the “B minor Mass.” If tradi- music was written as exercises for his children, and it sible as a sneeze. On the tenor’s famous tour to Mexico We shall not fail to grasp X fond of music and who allowed Bach to do almost as tion serves correctly he wrote more than two hundred is no wonder that they became so famous in the world he tells, with his inimitable spelling, how his perform- opportunity. he pleased. At Weimar Bach gave to the world some odd cantatas while he was the cantor, in addition to a of music since they were required to master the ex- ances were influenced by letters from his wife. If he If you shortweight your analytical practice, you As we prayerfully thank the Almighty for of his greatest compositions both for the organ and great many other compositions. ercises by a doting father. did not receive a letter he was in despair, and "blamed will soon find yourself outdistanced. For it is the over- There “George stories weight in thought His goodness, will not orchestra. It was at Weimar that Bach spent a month are many Washington” type of the condition of his voice upon it. and work that paves the way to American musicians in prison. On November 2, 1717, Bach resigned his about Bach. There’s the story about his fight in the Understanding Bach When we went to visit Caruso, we always had our success. fail to remember the bountiful blessings they position there and the Duke had him arrested and kept street while in Leipzig; the story how he dressed as a Throughout this country every student of the organ pockets filled with Russian cigarettes with cotton- Being out of practice means that fingers and key- have received this musicians in in custody for humble peasant and begged for an opportunity to play first board are no longer one. Notes year. Many a month. probably is working on a Bach composition. It may be stuffed mouthpieces, because the time we were in are missed and tone is other death From Weimar he went to the Cothen Court which an organ in a church so that he could astonish the one of the simple preludes and fugues or it may be a the green room in the intermission during one of his weak as fingers slip on keys that seem unfamiliar. The countries are having a life and offered organist with his virtuosity. Then there is the story performances, he was in a rage at his dresser, who had first step towards getting back into no musical opportunities as far as the church simple chorale. In some places the larger creations of practice is to unite struggle for the barest, meanest kind of an was concerned. Here Bach was well appreciated by quoted by Marpurg concerning a journey from Ham- the famed composer are being studied. On the other not provided them. He was certain the next act \*>uld hands and keyboard again. Begin with simple finger existence. We, personally, have sent man} the music-loving Prince Leopold and it was a happy burg to Luneburg where Bach, hungry and penniless, suffer because of his lack of Russian cigarettes. gymnastics on five-finger positions, transposing them hand, a number of excellent students regularly give S13.00 experience for the sensitive artist. Once the musician was standing in front of an inn. Windows opened and organ study because they find the music of The “artistic temperament” of the great De Pach- chromatically, ascending and descending, and playing packages to Europe through CAKE up Johann and the prince mann (and he was great when he was at his best) was them within the range of one octave. to went on a long journey and when they Sebastian Bach too difficult to learn and they see no (Cooperative for American Remittances returned not exactly artistic temperament, nor were his eccen- When you find difficulties for both hands Bach learned that during his absence his reason why they should be forced to master such in- at the same Europe, suf- tric exhibitions on the concert platform “tempera- time, learn to move your Inc.). Perhaps you know of some wife had died and had been buried. A year and a half tricate eyes without moving your contrapuntal numbers. have always been of the opinion head. hear fering later he married Anna Magdalene Wtilken was ment.” We that De We much about “stiff wrists,” but musicians in Europe with whom y°u who Let’s examine why Bach is so badly played and so little quite Pachmann was far from being a normal human in- about those equally serious problems— a musician herself and helped Bach in copying universally hated in some communities. Every teacher “stiff ankles” would like to share called upon at his hotel. in pedaling, your blessings. and orchestrating dividual. Once we him Conde and “stiff eyes,” in interval spacing many of his writings. She outlived of music shouM read the ( Continued on Page 648) THANKSGIVING GREETINGS TO ALL! 616 "FORWARD MARCH WITH MUSIC” NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 617 THE ETUDE HE TEACHING of drumming has been greatly Music and Study influenced by tradition, and methods of instruc- Music and Study T tion have improved very slowly. Most teaching has been based upon the technic used for parades, and with this type of drumming being taught beginners, a radical change was necessary before the student School concert orchestra or High could play well in the band and to the in only small percentage New Approach work. Although a A Count well have happened in any do professional Making Music This incident might other drummers in the school music organizations of twenty-three Music Appreciation classes taught of the of the country plan to become professional players, all Portland academic high schools. It gives a the in the six be taught by methods which do not of why the teen-agers are taking students should Teen-Agers Take to Music better understanding drumming hamper them if they should decide upon Teaching of Drum Rudiments save time for Assistant as a career. Correct teaching methods ^Four^years ago, J. W. Edwards, Superin- both the young player and the teacher; and, in addi- Portland schools, instituted the present tendent of many of the more common faults will not be compulsory music-art classes for first-term tion, nrogram of following methods of teaching have course would present. The He felt that such a provide a freshmen. proven themselves by producing good results in a 1AJ. (Suyyert background for them. (It is interesting to note by. Robert cultural satisfactory length of time. not musical—in his that Mr. Edwards himself is earlier athletic coach). educational career he was an music program” The huge task of “selling the was Rolls and Preliminary Exercises and enthusiastic entrusted to the progressive Music nine alternating single strokes are played in the same Ex. 11 roll is excellent for exhibition Ernst. He soon discovered that it The “Da da Ma ma” Supervisor, Karl D. manner. (Exercises 5, 6, and 7) puiposes; but being a very difficult rudiment to play required expert salesmanship. the utmost of control, it should the teachers from the six academic smoothly and requiring Calling together Ex. B Count 12 3 12 3 of them u ere not be a study for the beginning drummer. Before do- schools, he found that some not at re6, high rudiments, a student should learn to re9t Ex. 12 about the new program. Their classes ing any of the J J J J J J J J J J « R R LLR R:LL R LLRRLLRR all enthusiastic with reSt rest begins I correctly. Whether he 1 1 1 I 1 1 1 1 text books; there was play single strokes j J large—they did not have 4 5 were relatively unimportant if Count 1 2 8 4 5 12 3 of records, pictures and the right or the left hand is little equipment in the way will insist upon ambidexterity and con- Count 12846 12346 material. There was no school music the teacher 8*6 background R L R L R L R _ _L“ _~R "L R L R L_ _. equal tone and technic from both restroo *t *1 *T *1 rest Ex. 13 students (principally boys) re- stantly demand library. Many of their J-J R R LLR: R LLR: R L L R Previous to playing alternating single strokes, rest hands. 1 | 1 | at taking a “sissy'’ subject. belled with a 2 8 4 6 6 7 it is advisable to play one hand strokes evenly Count 1 3 8 4 6 8 7 1 “We are just like policemen with baseball bats,” they firm but relaxed stroke. (Exercises 1 and 2) Count 1 2 8 4 5 8 7 “Imagine trying to get music over to them Bx.7 wailed. RLRLRLRLR L R L R L R L R L when they have made up their minds that they don't it.” Ex.l want , to Mr. Ernst. By means of R R R R 128466789 198466789 That was a challenge Count Count 1 2 8 4 5 6 7 held in his home wherein there was monthly meetings letfc. Ex. 14 round table discussion of problems, where methods and and single strokes into even means of popularizing the course were dUeussed The division of alternating with his groups creates patterns of a non-alternat- ideas “swapped,” he gradually imbued them numbered four, six and eight non- Count 123458789 own enthusiasm. Results began to show in the classes. ing character. These are the (Exercises and 10) LLR R LLR RLLRRLLRRL the picture in 1946? In six schools, twenty- alternating single strokes. 8, 9, rest What is | average en- three Music Appreciation classes with an high rollment of thirty-five. In some of the smaller After one hand strokes are played with adequate Count 128468789 weeks only, schools, where it is taught the first nine control, work on the alternating single strokes should Ex. 15 (M*u* uum-unuirj « »>»"<>» - — — L/CPI,. VI » instructors are advising a full eighteen weeks' course begin; usually this may be introduced during the first and the students want it. lesson. (Exercise 3) IS THE HARDEST WORKING MEMBER OF THE CLASS THE PIANO IN THE MUSIC ROOM During the war when emphasis was laid on such class to indulge in a little harmony. Count 1284 1284 Count 1234 Here a group seises a few minutes before the 1234 needed subjects as mathematics and languages, Ex. 3 Ex.O Ex. 16 Boys’ Glee Clubs, Mixed Choral groups i all elective R L R L R L R L L L R R L, L R: R L L R continued to ex- rest groups) doubled in size and have j de- pand. In some of the schools, upper classmen are Count 1 2 8 4 6 6 1 2 8 4 6 8 manding an elective Music (.Continued on Page 648) tuj Yjorma l^ijfancl Cjraves very often the result 'V Errors in making the stroke are Ex. 10 LRLRLRLR LRLRLRLR of playing too slowly. The correct speed depends upon , , but the strokes must be JJJJJJJJ caught a graphic picture of the interest shown in music by "teen-agers" in the aptitude of the student, Miss Graves has at —Editor's Note. played fast enough to keep both sticks in motion Count 13848678 1384667 Portland, Oregon, which should help teachers in other sections. all times. An inferior aetion is likely to occur when a stick is held motionless while waiting to play the next L L R R LLRRLLRRLLR stroke. tempo for the majority of students is rest A good When all single stroke patterns are played correctly thing I hope all of us will learn before the end of the twenty strokes per SMALL hand excitedly waved a program before approximately one hundred and and with ease the rebound may be added, and work on instructor of Music semester,” she commented matter-of-factly to the minute. Many will be able to go faster, although a the startled eyes of the the double stroke rolls may be introduced. Tempo Count l 2 School in Port- group. “To speak naturally about the music we hear slower be necessary for a few. The sticks Appreciation at Jefferson High tempo may again is important, and the rebound is executed with A Lr L R R LLR: R L L R R L L R She signed and tell how we feel about it. What kind of dress did to twelve inches high, and it is land, Oregon. “Oh, Mrs. Charlston, lookie! should be raised ten ease by the young drummer if he is playing ap- rest more j Miss Anderson wear, Joan?” that the right and the left strokes be it, and talked to me, n’everything!” important both proximately three hundred and four single strokes per all that she had seen and Thus put at her ease, Joan started and in a few the same. In her eagerness to tell minute or—in more musical terms—eighth notes at Count 12346878 days’ minutes lost her fright as she described the artist’s heard, thirteen-year -old Joan, freshman of four the tempo of one hundred and fifty-two quarter notes brought appearance, and of her own personal delight at meet- Alternating Strokes standing, leaned over the teacher’s desk. “I per minute. These tempo markings are arbitrary and for all the class, ing her during the intermission. the above tempo has been mastered back programs and pictures of her When control at will vary with the ability of the student, but it must she added proudly. “When I told her I liked Ave Maria best, she just hundred and forty strokes a minute too—for tljeir scrapbooks,” a tempo of two be remembered that it is difficult to obtain the cor- teacher. “Just wait smiled and said, ‘Did you really?’ Just as if she were most beginners. When alternating “That’s grand, Joan,” smiled her may be reached by rect rebound when playing single strokes too slowly. Actual rhythmic rotation has not been used because I want you to tell glad to hear what I liked. Are all musicians like that, evenly at this tempo, until I take the class roll and then single strokes can be executed Experience will help the teacher to know the exact most students at this stage do not count time well concert last night.” Mrs. Charlston—so modest, I mean?”' groups of three, five, seven, us all about Marian Anderson’s they may be divided into time for introducing the rebound and the most satis- enough to understand, but the teacher must realize into the music room on this The question opened a lively discussion of the sing- of these, three alternating single Any outsider stepping and nine. The first factory tempo to employ. that when the rebound is added, the strokes are would have sensed exer’s life. As each student studied the picture before three strokes each followed particular midwinter morning strokes, is two groups of When applying the rebound to the measured single doubled. reached a climax when, after him, heard a classmate’s report of how the artist advisable for the drummer to citement in the air. It by a short rest. It is stroke patterns do not rebound on the last note of the Using the above methods many young players will been disposed of, their in- looked and what she sang, she no longer seemed “just must be short, crisp and pre- routine clerical duties had count aloud; counting group. The three alternating single strokes auto- be able to execute all the drum rolls in a comparatively the report, Joan. If I were another musician.” She became a part of their own structor turned with: “Now cise. (Exercise 4) matically become a five stroke roll; the five single short span of time. the front of the room,” she life—a personality whom most of them would like very you I would come down to strokes becomes a nine; seven a thirteen; nine a The “Da da Ma ma” or Long Roll, necessary for con- hear.” much to meet and know. encouraged, “so everyone can seven; six an eleven; and the eight test, solo and exhibition drumming may be studied Ex. 4 seventeen; four a frightened little freshman who came slowly But the single strokes produce a fifteen stroke roll. (Exer- when the player contemplates this type of work; it face her classmates was not the down the steps to cises 11-17) may be introduced sooner to progressive students and the preceding few minutes. bubbling -spirited Joan of used as an exercise to develop better control. Rolls, before the class? She couldn't. BAND, ORCHESTRA 3 Give a musical report Count 12 3 12 upon being executed correctly, should be practiced she stood first on one foot, then 1 In her embarrassment and with various degrees of volume. other. and CHORUS S BAND ORCHESTRA on the Dept, o! Visual Education, Portland PuWc No accents should be used until single strokes are (The second part of this discussion on the teaching just what you told me,” urged Mrs. Edited by William Edited by William D. Revelli “Tell them D. Revel! played accurately with control. Five, seven and of drum rudiments will appear in the December issue.) A QUARTET REHEARSES THE WEEKLY and i L- “and don’t be afraid, Joan. That is one Charlston, 'TRIDAY-FOR-FUN” PROGRAM "FORWARD MARCH WITH MUSIC’ "FORWARD NOVEMBER, 1946 619 618 MARCH WITH MUSIC” THE ETUDE 6 3 — 4

extent, Music and Study popularized it to its present most Irish chief,

songs, ballads, and its presentation by title and lyrics, and Music and Study than can ever be accomplished ^SlL^ntsRegardless Londonderry The mo^ Ppretentious ains the Air- ticated forms of vocal music. and scope and per creations are restricted in wo metropolitan, or in other necessarily confined to Some Studies of Mazas localities. for Young to sophisticated cineer of While Goal field in wh ‘ cl A Worth There is an immense V . or ( h ty work. Equipped melodious songs can souli and Older Singers songs that have become a part Violin Technique thirty , and I Want to Know Their Application to Modern to sing wi each one of which he is able he auditor distraction, utter forgetfulness of self and friends of Paderewski, recognizing his goe® of the (dhcichvicb toe l admirers wherever he to the fact that he prac- by Cjeorye will find friends and emost natural genius, point imagination, and the great Let him fill his mind, persistently than any of virtuosi. true and e ticed more through- group of really merely the result of a gift, of young men and women personality with a triumph was not HOUSANDS composer, and he can To him by Ddarold dSerbleey will take their first lessons no matter whom the hard hours of grueling labor. out the United States songs, hut the ’product of long, f° y ' of September and sing with unqualified success seventeen hours a day. He was in singing during the months travel and ever frequently practiced T be- songs; old songs t He every one of these same old economical efficiency of the October. It is safe to say that peating the nd believer in the with inspired feeling f great desire to sing well. It is nec- new because of being sung Madame Modjeska, when she diminuendo by letting it for example, in the famous F-sharp major Largo from ginners is filled with the Studies of Carl Czerny. the bridge, and a that final values. .. essary however, for each one to understand varied interpretative said that he never appeared before approach the fingerboard. While he is de- Haydn’s Quartet in D major—even an experienced this choicest visited his home, depends yourself then for . this, as in all other undertakings, Try to perfect practice was heard from early morn. monstrating this, the teacher should also player is well advised to hear mentally the recurrent success in It is a goal limcheon but his earnest- sphere of performance mastery of unvarying fundamentals, as most useful lunch he was at the piano again, point out how the color ( timbre ) of the tone sixteenths in each dotted group. If he does not, the upon reach of a talented Immediately after fixed determination for and it is within final sixteenth of the group will almost certainly be ness of purpose; which means a worth striving working, working. changes as the bow approaches the bridge plus in- working, win out, and unbounded enthusiasm, singer who really tries. , or retires away from it. The distance from played too soon and held too long. to endeavor to do ones best An Admonition: Constant the end of the fingerboard to the bridge is No. 11 is perhaps the finest bowing study in this telligence. . for unin eii 1 singer, you do not censure of one’s just soul solitude Peopled at book, for it can and should used in different In order to attain success as a lessens the “Who hears music, feels his about two and one-quarter inches, but with- be four of exceptional power and lange, human errors. lie the innumerable ways: in the upper third of the bow martele; in the need to possess a voice °nCe in these narrow limits surpass the world ‘ lower third, the neither is it necessary for you to ROBERT BROWNING: tone-colors of which the violin is capable. bow leaving the string after each climactic and in vocal agility, range, or in astonishing “Balaustion’s Adventure" The pupil who begins the study of tone- note; with the Grand Detache, allowing no perceptible dramatic outbursts. shading and tone-coloring is entering a ter- break between the notes; and finally with the Whole make it of rare If you have a musical voice you can ritory to which no violinist has yet foiind Bow Marteld. inspiring guidance. You can of song, were once The value of this last bowing has been stressed a quality if you work under Irish Friend Mughouses, which were centers HAROLD BERKLEY the limits. It should stir his imagination. a singer by coming into a full An Did was demolished in 1936. number of times in these pages, but it cannot be achieve distinction as famous in London. The last In studies No. 7, 8, 18, and 27, the student influence of the spirit of ale. and stressed realization of the power and patron had his own mug for beer or ASHION has its cycles in teaching just as it can later carry on the development of the principles too often: no other one bowing exercise so the Each in song. Become a devotee at by a harp. When melodic style, these quickly develops coordination in the bow arm or brings truth and sincerity ly William WaJU joined in the singing, accompanied has in most human activities, and violin teaching he learned in No. 1. Being more in will learn how to refresh shrine of pure music, and you Irrespective of whether you. good is no exception. For a period of years certain studies encourage practical application of the tech- into play more of the basic motions of bowing. With all is said and done, F delightful simplicity of utterance in how many no the inns, taverns, pupil should urged this bowing, the study should be practiced in the the world with a OWN through the centuries—just reader are an enemy of alcohol, books of studies are considered indispensable; then nique of expression, and the be to us what has bred many who following manner: song. ... can be certain—has come houses of the world have their popularity will gradually wane, and for perhaps to do full justice to them. you win one and tap world hungers for such a message and authorities, more enthusi- became musicians decades they will used comparatively No. 5 commands attention. Quite apart from its The been pronounced by later, in more sober surroundings, a couple of be good singing through sim- D perfect more for the love of the most little. the upswing inevitably occurs, and after great value for developing good intonation, it is one Ex. do astic than grammatical, “one of of note. But a art of presenting folk plicity of achievement in the in existence. few years these same books are again acclaimed by of the few studies in this grade that call for a really simple emotional tunes . as Would Goa pupils, crescendo you know it as Danny Boy; or almost every teacher. expressive detache. Too many when a Perhaps people hear good music, it makes them Tender Apple Blossom; or as Farewell to “When At the present time the three books of Mazas’ Studies is needed in a detache passage, try to produce it by I Were the something they never had, and generic title, homesick for pressing heavily the This study is an Cucullain. Perhaps you know it by its are beginning to emerge from a period of undeserved more on bow. will have." title and lyrics apply, the never neglect. It is not easy to understand why they excellent medium for teaching them that such a Although the pupil’s ultimate goal should be to Londonderry Air. Whatever Sayings” created E. W. HOWE: "Country Town use the whole length of the bow very rapidly, he melody remains one of the most exquisite ever should ever have been thought unnecessary, for the crescendo is better made by taking gradually longer sung wherever first books, quality possessed bow strokes, and a diminuendo by taking gradually should at first be content to take rapidly only the and one that is played, hummed, and two at least, have one shorter strokes. Only if a really powerful crescendo first four or five inches of the stroke, allowing the is spoken or understood. by no other studies of the same grade—they teach English ocarina, which so many service men have em- of its composer The the student the of technique is required should the bow pressure be increased, and bow then to move more slowly so that he may observe The date of its origin and the name from a to combine study with ployed at the front, is supposed to be derived all the characteristics of a the acquirement of a flexibly musical style of playing. even then it should not be used until the length of the motions of his arm. From the beginning, however, are uncertain, but it has tribes, similar instrument played in Africa, by Kaffir he should say experts. It first appeared in Each study is built around some specific technical the stroke has been increased almost to its possible start each note with a sharp accent, and genuine folk tune, orange for the tunes who used the hollowed, dried skin of an limit. make a pronounced pause after the stroke in order print as part of a collection of old Irish folk problem, and at the same time it calls for expressive first seen in Europe during the nine- by George Petrie and published in 1855. The purpose. It was playing. The student who, at this stage of his advance- A solo of very moderate difficulty, but which calls to prepare for the next accent. The technique of this compiled easy to century. Because it is light, cheap, and for extremely flexible expressive detache, is bowing was described in detail composer was listed as unknown. teenth ment, learns to combine expression with technique has an and on the Violinist’s it. great solace in tooting upon the Allegro by Fiocco, arranged by O’Neill. It Forum Page of The Etude last month, is Petrie, an Irish painter and musician who devoted play, G. I. Joe has found learned something that will be invaluable to him should so there no old for the be played by every student who has attained facility need to go into it again. many of his life’s years (1789-1866) to collecting rest of his days. general in the first three positions. Irish airs, brought the Londonderry Air to first perhaps, that the soul most Tone Coloring of the commonest rhythmic Skipping a String public study through the foresight of a Miss Jane Ross, “It is in music, One faults, frequently great end for which, when to be detected even in the playing of violinists After the pupil has of Limavady in County Derry, who heard a peasant nearly attains the Moreover, the Mazas Studies offer a wide variety whose attained to some mastery of struggles is long years . singing the tune on market day and jotted down the inspired by the poetic sentiment, it of material for the development of bowing technique, study of Mazas many behind them, is the the Whole Bow Martele he should begin to work on inability to make clear the difference between notes. —the creation of supernal beauty." and they are easily adaptable to the requirements of dotted the Grand Detache. This bowing, of which the opening the rhythm and triplet rhythm; such as: section of Kreisler ’s Prelude Allegro It is interesting to note that there are certain music E. A. POE: “The Poetic Principle” present-day school of bowing. In the hands of and is a notable historians who believe Miss Ross may a resourceful teacher, these studies can be an absorb- example, presents no great difficulty when neighbor- students and Ex. 1 have misinterpreted the rustic vocalizer’s rhythms. ing experience for any intelligent young violinist. ing strings only are used; but when the bow must skip and in copying, since the London- Consider for a moment No. 1, in major. Carefully a string, a much greater degree of control is necessary. They suggest the error G r / r p derry Air in its present meter is unlike other Irish explained, this single page will open new horizons To connect two tones smoothly, even though a string folk tunes in meter, and that the original time was a to the imaginative student, for it contains almost all Carefully studied, No. 9, should eradicate this fault must be skipped, is extremely difficult, but the practice three-in-a-bar instead of a four-in-a-bar as presently Do Our Ideader the esssentials of expressive playing. It will teach him at least until the pupil takes for granted his control needed to gain this technique has a profoundly bene- rendered. how his tone may be shaded and colored by varying of the rhythm and again becomes careless! The ficial effect on a student’s bow arm. As there cannot the teacher must impress on him that the rhythm is based Be that as it may, the tune, which takes its name speed of his bow stroke, by using different degrees be any pause between the notes, the initial accent of origin, although there are of of bow pressure, and, most important and interesting, on a group of four notes and not on a group of three: of the Grand Detache is made by taking the first few naturally from its point The content of text and music in this issue it was originally an English by changing the point of contact between the bow and inches of the stroke very rapidly and then sustaining some who believe tune the The Etude is in no way reduced. Owing to transplanted to Ireland centuries ago, was first set to the string. At first, he should be encouraged to make the rest of the bow rather more slowly. in lyrics by Alfred Perceval Graves. acute paper situation, however, the paper the crescendi and diminuendi by increasing or de- Some elementary methods, notably that of Nicholas Graves, a poet, inspector of schools, and a leader in the creasing the speed of his bow. Naturally the effects Laoureux, have very good studies for the Whole Bow The Etude is much lighter because, for will not Martele Detache. the revival of Irish letters until his death in 1931, wrote be very pronounced, but the pupil will soon and not and the Grand The pupil, of course, time being, unobtainable. Our two sets of lyrics under the titles Would I Were Erin’s adequate paper is realize that he has at his command a beautifully cannot be expected to master these bowings at such and Emer’s Farewell. weight subtle means of shading his tone. he has come Ex. an early stage, so he should return to the practice MUSIC ON THE HIGHWAY Blossom O’er You, Katharine mills promise us paper of former Etude When Tyan Hinkson gave it the “apple blossom” interpreta- to this realization he should be taught to combine of them whenever he comes to a study that can be and Portland's city com- to publishing Wm. A. Bowes, amateur musician, accommodate expansions of our increased pretty shopper tion, and Fred E. Weatherly saw and heard it as a or decreased pressure with the changing adapted to their use. Fortunately, there are a number missioner of public works, stands with a The he to “Danny Boy.” Percy Grainger called plans (after a period of a few months). speed of the bow. At once the crescendi take on added of such studies—the No. 27 of Wohlfahrt’s Op. 45, the under one of the signs which he originated and which tribute his Oregon, version power and intensity, afford greater contrast to When this rhythm is played at a slow tempo—as, No. 11 study of Mazas, the No. 7 of feels contributed much toward making Portland, beautiful instrumental pf the melody Irish national paper shortage has forced this condition and Kreutzer, No. 30 in the nation. James County Derry. the diminuendi which inevitably follow them. of Fiorillo, and others. the safest city in its population group Tune From way Presser Co- upon us for which The Etude is in no McKenna, for years of the staff of the Theodore It was Fritz Kreisler, however, who broadcast the Then comes the coloring of the tone by varying the Most students are told to practice No. 12 at the point on all of Portland's main point told us of this smart street sign notes of the tune, already loved by Irish folk song responsible. We appreciate the understanding, of contact between bow and string. The teacher of the bow; some are told to practice it in the middle MacPherson, another employee highways, and Samuel C. everywhere, the greatest should demonstrate crescendo can be effectively also; to very few is it suggested devotees to appreciative audi- patience, and readers. how a that the study be who has been with the company for thirty-three years and indulgence of our made ence. His transcription, called Farewell to Cucullain, merely by drawing the bow nearer and nearer practiced in the lower third. ( Continued on Page 650) who some time ago visited Portland, procured this picture in which the air was interpreted as a lament for us. over an NOVEMBER, 1946 'FORWARD MARCH WITH MUSIC" 621 620 "FORWARD MARCH WITH MUSIC" THE etude o

back to college for I ought to go further to receive a degree even United States from work so as though On his return to the a two-and-a-half- Music and Study married and have a family? I X am shall month tour of Australia under the auspices of the Australian appreciate your advice.—E. S. Music and Study Broadcasting Commission, Edmund Kurti will be soloist with more than ten major symphony orchestras throughout this A. I am glad to have you pay tribute country, and will fill many recital engagements, as well. He mother and your home. will also have the honor of premiering with the New York .A Reader Tries His Hand to your There Philharmonic Symphony Orchestra a new 'cello concerto are too many children now-a-days who al an Answer written for and dedicated to him by the French master Answers take everything for granted, and their and Darius Milhaud. Questions to their parents of gratitude for the "Questions and Answers" lack native of Russia and member of a distinguished musical O 1 In your sacrifice that music A The ’Cellist Looks Ahead The Etude and study and Kurti studied his instrument section of the July 1945 issue of toil family, Edmund under such pop- often there appeared a question concerning other home advantages involve— renowned teachers as Julius Klengel and Diran Alexanian, general and more particu- troubles ular music in this lack of gratitude me greatly. and enjoyed considerable success throughout Europe as a Conference with of Irving Berlin* songs: White Conducted by A larly two that your mother is still alive youthful prodigy, following his sensational concert debut at Christmas and Easter Parade, which the I hope to of each and appreciation the Sala Bach in Rome at the age of thirteen. He also had writer claims are the exact copy enjoy the love of her the unusual experience of playing the famous Saint-Saens other but in thirds. child. with the songs and solo, The Swan, as accompaniment for the immortal X am not acquainted question, my answer 'cello to secure %<>c. As to your is No. at this date have been unable QeUenS, VtU dance interpretation of it by Anna Pavlowa, in almost all of wanted to take advantage W. were teaching music in the schools them, but I have JCJ If you great theaters of Europe. the some reader to help of your invitation to and needed the degree in order to get a Following seven extensive tours of Australia and New Zea- that what Mr. Ber- Noted Russian 'Cellist in the matter. I believe I should probably contrapuntal teaching certificate, be land, and a tenure as Professor of Music in charge of the lin meant may have been a an imita- to answer differently. But since master 'cello class at the University of Melbourne, he came question, in that the one song is Emeritus compelled not a con- Professor this country in 1936 to accept a post as principal 'cellist tion in thirds of the other. I am you have apparently established yourself to not looked trapuntist and, I repeat, I have own community, of the Chicago Symphony Orchestra under Frederick Stock SECURED EXPRESSLY FOR THE ETUDE BY ARTHUR B. WILSON by Oberlin College professionally in your I songs, nor do I even know them remained with this organization for eight In at the credits and years. 1944, appreciate it very advise you to forget and degrees. ear.” However, I would he resigned to devote himself exclusively to a solo virtuoso's could tell me whether or not Webster's New keep on studying—both much if you Music Editor, By all means career, auspiciously launched by an invitation from Arturo they are as I have stated. other subjects—in order that of Gar- Dictionary music and Toscanini to play the Dvorak Concerto with the NBC Sym- bowing, too, represent a tremendous advance in 'cello leading from frog to point 2. Is it possible to secure a copy International (that is with the bow Methods" “keep green at the top.” I sug- phony under the great maestro's baton, and by a contract land's "Popular Songwriting you may technique. This is not to say, however, that Casals’ drawn across the strings outward from the instru- publishers of The Etude? I believe that human with the RCA-Victor Company for a series of notable Red through the gest this because actual fingering and bowings should be followed to ment), and diminuendos with a stroke —S. M. from point to eventuates only when an indi- Seal recordings. happiness the letter by other 'cellists. For the artist achieves frog. The 'cellist can make his dynamics Kurtz's mature mastery his much more grow and to Today, of instrument is communi- vidual continues to strive perfection not through following certain rigid mechan- reliable by making sure that most crescendos very much for your cated to his audiences through the medium of one of the are A. 1. Thank you still higher levels. But I feel that toward perfect 'cellos in the world, the priceless ical patterns, but through interpreting each com- played with a bow-stroke beginning at the point, doubt, however, if you have hit most "Hausmann response. I too much emphasis is being placed far (ex-Fountaine)" Stradivarius, made in 1724. He is also the position in terms of the use of bow and fingering where pressure is naturally lightest and the solution of this problem. X know volume upon the in most degrees, and far too little I warn you that on credits and owner of a rare Domenico Montagnana 'cello and of a which, for him, is easiest and most natural. of sound naturally smallest, and ending at pieces in question, and cannot suggestions. But the frog, the two someone Joyful experience of learning historic collection of Frangois Tourte Bows. — Editor's imi- time soon comes when upon the Note. Students and teachers can continue to build the where the weight of the player's hand and arm can see that one of them is simply an cases the family can get better something that the individual needs and great 'cello tradition, for which foundations have so give body to the climax the in thirds. And if they from outside the of passage. Diminuendos tation of the other this the mother, and when wants. “t TOW did you happen to choose the 'cello as a recently been laid. I cannot repeat too often, “Go back should preferably be played, for the same reason, could parallel each other in thirds (which results than from must take the situation I—I solo instrument?” This question is invariably to original scores and not), they would bear a har- time arrives you frog to point of the they do however, let the present, JL JLput to me by backstage visitors after each of try to interpret what bow; for even if monic relation to each other, not a con- gracefully. For these playing at music Double-Jointed 7 lutmbs concert appearances. I feel you are have the fun of my Hearing it repeated over and the composer in- effects are achieved trapuntal. Even though him * let her have class of forty-two, I have six over again for so many years tended, instead of re- analysis, X nevertheless his own mother; and Q. In my —whether in Europe, through reversed wrong in your with double-jointed little girls who have Australia, or the United States lying instruc- interest you have shown, the fun of doing it! —has brought home to upon bowings, they are the appreciate the thumbs. They consequently find It almost interested in me the full measure of discouragement tions set write again anytime I wish more mothers were second joint of the which the 'cello down By result of artificial and invite you to own impossible to keep the development of their in when a key is student must face while preparing for a professional ‘editors’ who, in many you wish. Perhaps some other reader will the musical thumb from sinking control and needless other mother with the thumb. I use Louise career. For the sake of those students cases, overlooked the further information on this mat- children, and I hope some struck of today, in effort on the part of send us studies, but they don’t written and will Robyn's technic whose hands the musical future rests, like, problems confronting, frank to say that it still puzzles will read what I have I should the performer. ter. I am the opportunity to teach seem to correct that fault as she tells us it will give you case of her own therefore, to examine and explain some of the reasons a 'cellist in actual put it into effect in the ' done. Another 'cellistic me. him to sing lightly and true to pitch. can be should begin in case the why it has been taken generally for granted that the performance.” Most book recommended in my column child. Musical education I have noticed that in every problem comes to 2. Any My second suggestion is that you con- publishers of the first steps are so sim- child has fqt, chubby hands, short fingers, 'cello is unsuited for solo concert work, and at the of the editions avail- may be secured through the work that you have al- the home, and mind in considera- tinue the rhythm mother and weak joints. But I have been able to same time to suggest some eminently practical able today present Etude, providing, of course, it is still ple and easy that any intelligent steps tion of such a work The ready begun so well, playing little pieces strengthen all of them except the thumb. able at least to start her which these students themselves may take toward old-style fingerings in print. of measure ought to be Could you help me? I don't want to waste as Chopin’s beautiful written in different varieties overcoming that popular and on the right path. any more time with the kind of work I am misconception. bowings which G-minor Sonata, Op. and with different rhythmic styles, and child giving them: that is, just watching the fin- In the past, there was no great school of 'cello play- make a clear-cut and which to make physical 65, many crit- encouraging your boy ger and having me hold it in place while ing Shall I Teach My Own Child? comparable, let us say, to the schools of Tartini, well-balanced rendi- ics have condemned that are appropriate to the five-finger work is done in the lesson responses Degree? Viotti, Vieuxtemps, Wieniawski, Auer, tion literally impos- Shall I Try for a you for Joachim, and because there are music. If you improvise, I suggest that period. That isn't enough. Thank of piano for which explored and codified violinistic techniques and sible. In the matter Q. I have been a teacher ask- whatever help you can give me. passages in which the is you sometimes “make up the music,” piano teacher in a large city many years, and now I have a son who Q. I am a —Mrs. H. B. L. passed along to future generations reliable set of of bowing, for ex- reputation of being a a piano -part quite out- half years old, and I would ing him to listen closely and do what the and have gained the three and a basic precepts. There were, to sure, ample, standard edi- education. Will you fine musician and a strong and inspiring be a number of weighs the voice of like to start his musical music tells him to do. Vary the tempo "Prescription for outstanding 'cello tions often assign please advise me concerning methods and teacher. In your article A. I have shown your letter to my players—Bernhard Romberg, Justus the 'cello. The fault sometimes, and encourage him to follow in the is keenly interested in the Music Supervisor" appearing Dotzauer, far materials. This boy friend Neva Swanson, and she has given Friedrich Griitzmacher, Alfredo Piatti, David too many notes, in this instance, as find all the changes in dynamics as well as in tempo. 1944 number of The Etude, you said the piano and he can already April Popper, and Karl sometimes as many runs, is to you the the following advice for you: Davidoff, to mention just a few; yet in many others, is notes on the keyboard. He also walks, Finally, I suggest that you allow him that being a fine musician me it is interesting as three whole bars, his hands in good rhythm to little most important thing in the preparation "The problem you mention is a difficult to note that none of these was entirely only partly that of and claps to play some of the little songs that he at and away from the piano. of the school music supervisor or teacher, successful in proving 'cello’s to a single stroke of games we play and tedious one, but it seems to me that the right to consideration the composer (since about trying to has learned to sing. This may begin at you would say the same thing So far I have done nothing so I feel that as a solo instrument quite on a par with the violin or the bow; and no it, you are on the right track. The Robyn a first-rate 'cellist teach him to read or even to play by rote. any time when he wants to do and for the preparation of the piano teacher. piano. The 'cellist in will you it But I eminent Polish critic and musicologist, the world Will you make suggestions, and perhaps his mother will play an accom- I enjoyed reading this article because material and methods are good. and pianist, working or not you think it advis- describes me in many respects. I happen this Joseph W. Von Wasielewski (himself a violinist) wrote could make every tell me whether to rush , together, can over- employ paniment part of the time, thus intro- must warn you not to try able that I teach him myself or to be one of those fortunate children whose in 1894 that 'cello technique note of such a pas- playing. This matter. long time to correct “has reached so great a come the problem of another person to do it?—J, E. C. ducing the idea of ensemble mother decided even before they were It takes a degree of perfection that it seems scarcely possible it sage sound when it playing will lead naturally into observing born that they should study music. My double joints, and haste can be fatal. poorly-balanced so- can rise teacher was carefully selected and because the much higher, although the violoncello cannot is performed exactly he will probably be “The chief thing to watch is that norities) . The real I a firm believer in the vocal the notation, and A. am of him and my mother I had a wealth of rival the violin in brilliance agility.” according to these di- position, with and It was not difficulty arises be- first suggestion is that greatly interested to have you explain to student have a good hand approach, so my experience during my school days. From until the very rections. It is no won- the book correspond good high end of the nineteenth century that cause some edition sing to your boy every day, using him how the notes in the fifth through the eighth grades I was fingers well rounded, and a you Wasielewski was proven wrong by Pablo Casals, whose der, then, that 'cel- music that he has learned to school pianist, which meant that I played not put too has provided the short, simple songs dealing with subjects with the arch for the hand. Also, do concert in yoyr the school marches and did quite a bit of that performances demonstrated for the first time lists of the past, with piece with bowing the range of your child’s experi- play and to sing. You are right much pressure on the thumb, for EDMUND KURTZ within accompanying. The year I was graduated that the 'cello was capable of musical effects as widely few notable excep- feeling that these early activities should collapse all the instructions which ence, and written in the correct compass from eighth grade I was pianist just causes the joint to for the varied and as satisfying as those associated with either tions—making their of the songs be on the play level, but even play is chorus which sang at the joint graduation more. willing to sacrifice make it impossible for his voice. The range You must be the violin or bit exercises of all the eighth grade children. the the piano, and whose work as a teacher way, so to speak, along a falsely marked trail—have for the 'cellist to play forte certain phrases should not extend beyond the limits of more fun if it is sometimes guided a tone and legato for a long time until which They sang Strauss’ On fhe Beautiful Blue has done much toward establishing new standards of tended toward mediocrity, and that (or that one may do it better. But beware to it tha the 'cello itself, Chopin has clearly marked forte. the treble staff, that is, from E E- so Danube and that thumb is strengthened. Also see — was a great day for me. sound 'cellistic practice. 4 from the very beginning of its history, write this of becoming bossy or dictatorial. There of the has been typed Another serious defect of old-style 'cello technique flat) to F (or F-sharp) . As I My parents and my piano teacher were the student does not put too much Paradoxically enough, Casals’ service to the 'cello as a sort of musical work horse, indispensable is too much bossing and criticising very proud of me. During careful to the lies in the practice of using a glissando, which reply I have before me a book of songs far those years I thumb on the key, and be has destroys was also pianist been rendered through giving primary considera- well-rounded string ensemble in early music study, and that is why for our Sunday School and t e or symphony orchestra the clarity of the musical line, in order to eliminate for small children, and as I leaf through have him concentrate on raising tion Christian Endeavor Society, receiving a not to the technical demands of the instrument but denied any great children so often become fearful. It is also measure of glory in its own right. a break between notes lying far apart on the strings. its pages I find such titles as Blow, Win- small salary for this playing.. thumb wrist. The influence from the itself, but to the much more important task of making Animal Crack- the reason so many of them want to stop and guidance of rais ng Actually, stretching of the fingers should be employed ter Wind, In Candy-Land, my mother during those “A good exercise Is to practice music. The early years Though his art is solidly founded upon the Need For Better Editing Merry taking lessons. played a very important thre , for all intervals up to a fourth, even when ers, Marching Song, Good Morning, part the thumb while you slowly count achievements a slide in making me the success I am today. of the nineteenth century’s master Innumerable specific instances can be cited in which Sunshine, Bow-wow-wow, Twinkle, Twin- Just how long you yourself ought to from t could be used and would be easier; and glissandos And now, here is my question: being careful to raise the thumb cellists, he has continue to direct your child’s musical When I gone far beyond them in his broad 'cellists must simply experiment until they find the should not used as kle, Little Star; and so forth. Most of went to college—no degree joint firm, a” be mechanical shortcuts, but should was offered in wrist, keeping the thumb concept of the 'cello’s entirely on how it goes. Music musical mission, and at the best way to fulfill the composer’s dynamic and melodic occur only are either four or eight measures education depends Education. I studied four years, quickly a in those rare instances where they are them tak- using the side tip. Then drop same time has general principles I advise you to do ing the required work in applied worked out revolutionary new ways of concepts in each bar of a given work. Many standard unmistakably and if you will sing such songs to On music, wi part of the musical pattern. The best long, theory, and music lightly on the key. At first practice achieving correct yourself as long as he continues to be education: but I did not dynamics, combined with a true editions of 'cello masterworks repeatedly call for the solution of this your boy every day, he will soon begin to it have the and t^ particular problem is to learn how to academic courses that are out producing any sound at all. virtuoso use of is willing to take your now rubato. His methods of fingering and execution of crescendo passages with a bow-stroke use all of them back to you, and this interested and necessary to get a four strings, in the ( Continued on Page 655) sing parts degree. Do you feel that eventually produce only a light tone. "FORWARD MARCH ” NOVEMBER, 1946 "FORWARD MARCH WITH MUSIC” 622 WITH MUSIC the ETUDE 623 ' —

in on a rehearsal w&s often allowed to sit and play instruments— Music and Study one or the other of the usually in the wind section. It was this early band, rather than which gives Sullivan’s AU SOLEIL training, music LEVER DU orchestral its distinctive character. It also explains his ability, in (AT SUNRISE) his scores later years, to orchestrate witn amazing rapidity—he had acquired a knack for it by a process his of musical “osmosis” throughout childhood. His earliest public success came when he joined the was too” choir of the Chapel Royal. He immediately given . . right good partners, solo parts to sing and won the praise of Queen Victoria herself, who sent him 10 shillings. Sullivan was already displaying the characteristics that were to make him such a popular figure throughout his life. Quiet, and physically rather small and weak, he had an almost uncanny faculty for making friends. This was true among his contemporaries as well as among adults. It was said later, that Sullivan made friends as readily as Gilbert made enemies. Strangely enough, the charm of the one and the biting wit of the other were later to blend into such a perfect whole. The musical mentor of London, until the time of his death, had been Felix Mendelssohn. When Sullivan was 14 years old, it was decided to establish a music scholarship at the Conservatory at Leipzig in memory of this great favorite. The luck of the Irish was with Sullivan—he won the scholarship. In Leipzig, as in London, Sullivan immediately became popular in the circle of young musicians at the Conservatory—in particular among the young ladies. In fact, so great was the young man’s charm, that he became an object of rivalry between sisters and good friends. It cannot be said that he ignored their attentions, but Sullivan was a light-hearted seventeen at the time and he was enjoying his musical successes far too much to become a mere “ladies’ man.” As it was, he struck the happy medium between work WILLIAM GILBERT SIR ARTHUR SULLIVAN and play and won the praise of his instructors as well as the admiration of the salons.

Joint Public Attention £. ream Gilbert and Sullivan came to public attention at bif C^bavLite & almost the same time. The former, after having spent several depressing years in the Education De- partment, had turned to law, but this proved un- satisfactory. In fact, Gilbert did little more than pay greatest verbal and musical operatic caricaturists of the last his annual dues. was living in London’s Bohemia, Th Is sprightly article, giving a picture of the He is reprinted permission. Copyright 1946, by the yearsars of the Victorian Era, appeared first in "Forum" and by writing what he himself termed “doggerel.” Still, Editor's Note. Events Publishing Co. — despite the doggerel rhymes, the sharpness of the wit was not lost on the public. His work began to appear regularly in the publication Fun, a prototype William Gilbert ran off to the theatre. Unfortunately of Punch, under the title, “Bab Ballads.” Mostly, the N 1869, England was living in the golden age of theatre chose an ballads treated grotesque themes, or burlesqued serious Victoria. It was, too, the golden age of the for him, the director of the he was of his father’s and promptly packed him ones and were illustrated by line cuts done by Gilbert I bourgeoisie, the era of sentimentality and the old friend off school again. Gilbert went on to take his degree himself. This was in 1861. triumph of the common-place. In retrospect, then, it to such as at the University of London, but his spirit was still The following year, Sullivan ( Continued on Page 652) is hard to see how a musical phenomenon the Gilbert and Sullivan association could appear and restless and he try for flourish, unless it was decreed by fate that some decided to leaven was necessary, even for the Victorian palate. a commission in fight- Perhaps that is why William Gilbert and Arthur the Army Sullivan were bound to meet. It was a casual intro- ing the Crimean duction, with little to indicate that it would lead to War. The war perhaps the most famous collaboration in musical ended too soon history. At the time of the meeting, both young men — which was a had already attained a measure of popularity in their lucky break for respective fields, but neither had as yet found the the English com- magic touchstone of fame. edy stage. Gilbert, the elder of the two by six years, came of As Gilbert had 1 i 1 — 1 1 -J l A_ A 1 I surrounded from up in a A 1 a family of some means and was grown —A 1 early childhood by the literati and theatre people literary atmos- who were constant visitors at his home. At the age of phere so Arthur Oi two, Gilbert started his musical comedy career. He Sullivan, the a tempo o Anda ntc o was taken to the Continent where, in Naples, he was “Mr. Music” of 3 -— 4 .y s 5 tricked out of his nurse’s hands by two bandits and the team, grew -^ * - t- ^ held for £25 ransom. In later years he claimed to up in a com- > -O 5 1 ^ | the incident perfectly and who is to deny pletely musical —1 remember ~ig * j —1 6 it, for, again and again in his operettas, recurs the family. Son of an n In fp theme of infants exchanged in their cradles, or mix- Irish father and espressivo * ups caused by careless or stupid governesses. So, even Italian mother, nr mf poet ico c con liber 'a • A at that early age, Gilbert was “gathering material” he was born in rail. -0- o -&-• for his future works. London in 1842. 15-* The sly wit that was to enliven the English comedy He was virtually *Fjr| hi * J * 9, -Jr-:: m • ki - > t school, Gilbert raised l-P e e - . stage manifested itself early. At was on music, ^ E » e — —* r — e known as a sharp-tongued, touchy boy, quick to take for his father 2 offense and more ready to make enemies than friends. played with the 1 A 1 1 1 His intense competitiveness made him a good student. band at Sand- 1 A i A SULLIVAN'S BIRTHPLACE Many young boys run off to sea or to the circus: hurst and Arthur ST. PETER'S CHURCH IN LONDON In Lambeth, a poorer district Copyright oi London. . Ditson Company Where Sullivan wrote Onward, Christian Soldiers MCMXLVI by Oliver International Copyright secured 624 "EORWARD MARCH WITH NOVEMBER 1946 *>5 MUSIC” THE ETUDE 1 — - 1 1 —

BLONDE _L2J -L A OSEBENADEHi XVi 1M TO sprightliness and never with a sug- ou nlaved with through the sparkling neon signs. s This work is as brisk as a walk down Broadway KALrn FFDFPFP1 £' U£' K gestion of forcing the tone or the tempo. Grade 4. hK

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L J Copyright 1945 by Theodore Presser Co. British Copyright secured 626 THE KTUD& NOVEMBER 1946 627 MAZURKA JEEPERS! , I JUMPIN’ p simplest and one of the any suggestion of boisterous^ This, the loveliest of all Chopin Mazurkas, appeared after his death. At first its authenticity was doubted, but now it It should be played lightly without Don’t mistake the intention of this composition. in representative collections. is included It is not the Chopin of the great Sonatas, Ballades, Scherzos, and Polonaises, but rather the Chopin a tempo Grade 3. Allegretto moderato(J = of the B-flat-Nocturne. 72) 2 1 2 1 2.1 , y J—l y 7^ jtfjjgj3 Henry Levine ^ Edited by FREDERIC CHOPIN, Op. 67, No. 3 (Posthumous) Allegretto (J=144) 243 2 4 3 t C 2 71 1 2 i m i * S JJ rubato A A7A ±=m 22j

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HUNGARIAN DANCE No. 6 (EXCERPT) HUNGARIAN DANCE No. 6 (EXCERPT)

PRIMO JOHANNES BRAHMS Vivace (J=i08)

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THE ETUDE November 191s 637 THERE’S JUST ONE SONG — 3 y 0 —

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NOVEMBER NIGHT DANCE Grade 2 i. WIGWAM H.P. STEVENS HOPKINS Quietly(J-=54) MILO Grade l. Moderato (J= 72) 1 5, 5i 4 -> i — - — =£=~i> m-m~ LU It -A — a i tr — > — — • — 4=*| 4=1 "=J 4-4 _ < f P E=* jU

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I I I J L J J THE COBBLER WILLIAM SCHER i l 2

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3 2 1 Copyright by British Copyright secured Copyright MCMXLIII by Oliver Ditson Company seen 1946 Theodore Presser Co. International CopyrigM November 1946 643 642 THB ETU» —

heard on our programs. The general The Teacher’s public still clings to genuine music. The most gifted of serious American Round Table composers was the late Charles T. Griffes, Ideal Christmas Gifts composer of The White Peacock, The Continued, from Page 612) Fountain of Aqua Paola, The Pleasure ( Dome of Kubla Kahn, and other works exercises will bring about an n.mll These possessed of real beauty splendidly con- if ‘ hand without injury, Tn.ion of the ceived and executed. But it is pure I >»ve grsn°ne modern French. Without Debussy and, arising from them, be- WORLD SERIES known any injury perhaps, Ravel, Chausson, and Cesar WHOLE k based upon the theory of f° thev are Franck, it could scarcely have been writ- and relaxation. When SERIES alternate stretching ten. That does not, to my mind, lessen AND MASTER-COMPOSER sensation of pain, or strain, L unusual its value. Beauty is beauty, and where it student’s hand from the develops in your comes from does not matter. Its deriv- Music-conscious people everywhere look she should stop and relieve it Dean of Modern American Music says: stretching, atives are inessential. PAUL WHITEMAN, of technic, series publications as represen- should gain increasing to another branch to this of SHANGRI-LA will earn many concert performances and bv turning It seems fair to say that among distinc- students. action for instance, which calls tative of the world's greatest music. Be- recognition from music patrons, teachers and the wrist tive American composers John Philip action. other muscles into Sousa must take first rank, just because cause of their high standard of musical can also be developed by More stretch is not distinctive. There is no Spanish, outstanding composer of "Grand Canyon Suite," etc. says: he merit and economic value, FERDE GROFE, the fingers laterally, away from concept of modern writing at its best. exercising or Latin-American, or African, or Hunga- SHANGRI-LA offers a refreshing the hand on a table, in WHOLE WORLD volumes the piano. Place rian, or Russian, or Oriental influence position and the fingers normal playing in his music. It is of a universal sort, are practical necessities for Vice-President of Columbia Recording Corporation says: the fourth finger re- EMANUEL SACKS, apart. Then move basic, as German music is universal and recorded in recent years. fuJI music in SHANGRI-LA is one of the most interesting works right to left and left to the enjoyment of peatedly from basic, and this is its greatness and the coming in contact with the home, school, ri«ht, each time reason, no doubt, why it is accepted, fingers. Do the same the third and fifth universally and without comment, abroad. church and con- between the second Chemistry with the third finger And what can music representative of How much cert stage. with the index. and the fourth. Then the American melting pot be but univer- the hand as far as it can Finally, stretch sal? BALDWIN ? recoiling the fingers to- is there in a reach, each time What, we may ask, is our American gether. characteristic, not of a group, but of all keyboards have not been manu- days to assure beyond SHANGRI-LA Silent of us, not of today, but of all the function of the Chemical Labo- tory Technicians xhe in quantities for years. The settled factured since the first of our forefathers question that each new consignment a modern composition for piano has been ratory in the building of a Baldwin Virgil Piano School Company on these shores? One answer may be for cla- of such materials is identical in form MUSIC able to furnish a few second-hand which will hardly be disputed: would seem to the casual observer to by MAH MALNECK and ROBERT MAXWELL made viers. Their address is Bergenfield, New and all that goes with composition with those which are Energy! Energy, be virtually negligible. As a matter of and EVERY Jersey. vigor, vim, push, go-geted- it; courage, already in use and which have dem- PRICE 60c fact it is extremely important. For the ness; and the music of Sousa is made OCCASION onstrated their capacity to oerform up of all of those qualities. Baldwin is built to last a lifetime and is another quality not so functions for What is “American” And there capacity to do so is dependent to their required ROBBINS MUSIC CORPORATION Conservatism. Conserva- its easily defined: of time. 799 SEVENTH AVENUE • NEW YORK 19, N. Y. senti- on the reliability of the definite length tism, and an absence of any sickly a large extent Music? popular lines reason that precise MUSIC mentalism; a solidity along materials which are used in its manu- It is for this solidity of Beethoven. (Continued from Page 606) that is akin to the materials in use chemical formulae for all materials .(thrigitmaQ JEugie, the Sousa marches facture. All such THE WHOLE WORLD It is this that gives to the sentiments. But quality. proven of this nature have long been kept in • saw. a direct appeal to ageless flavor, their lasting today have been tested and music their LOVES and PERFORMS B-XKios << there is something about the Grof6 hard it must be to prepared and jealously p/7 C/,S “nTir^ But just think how by actual usage over a long period of a meticulously llitWmas Carol Book about other Grofe music—that has [7 V< —and along these lines and yet attain create scientific guarded file and it is for the same rea- a sort of unaffected expression of what interest! time. And every available individuality and sustained THE COMPLETE ' CATALOGUE moves me in the American scene as I genius, genius to preserve son that each new shipment in any of There is proof here of real device has been employed */ have seen it these many years. PIANO COLLECTIONS ORGAN COLLECTIONS that of Johann Strauss, the categories is subjected to a com- such as the quality of these materials in strict these Then there is Charles Ives. He is much Vienna, which lifts popu- Chopin at Home (M-C No. 3) $2.00 Organ Pieces the W. W. Plays (No. 35). . . 3.00 King of Waltz plete and exhaustive chemical anal- thought of, and seems to be considered gives it a conformity with that which the test Concert Piano Pieces (No. 21) 4.25 Familiar Organ Classics (No. 33) 2.50 lar music out of its class and “American.” According to Olin Downes serious music. ysis which establishes its precise con- Dance Music (No. 11) 1.75 Modern Organ Pieces (No. 29) 2.50 place beside what we call has proven to be adequate. after of time in the New York Times, reviewers, arises as to how .Grieg at Home (M-C No. 4) . . 2.00 The Slow Movement of the Handel Violin question naturally established standards. early The Special glues are used in the build- formity with a recent performance of one of his into seri- Light Piano Pieces (No. 19) 1.75 Sonatas (No. 36) 1.00 idiom may be assimilated symphonies, were unanimous upon the this Research in the field of new ma- is: symphony, ing of pin blocks, sound boards and Modern Piano Pieces (No. 8) 1.75 ous American music, that “national quality of the music.” symphonic carried on year in and year Pianist, The (No. 34) 1.75 VOCAL sonata, the concerto, the parts. Each of these has a terials is COLLECTIONS Well, there something definite, the action we have are being made by our Piano Classics the W. W. Plays (No. 30). . 1.75 poem? Attempts the ceaseless quest for im- Ballads The Whole World Sings (No. 9) 1.75 CHILDREN'S just as definite as a comment, once read slightly different function to perform out in CHRISTMAS — Wayne Norman. Ten Fa- jazz, African, and other Piano Duets the W. W. Plays (No. 17). . . . 1.75 composers to use # Love Songs the W. W. Sings (No. 6) . . . . 1.75 somewhere of Harris, with plas- vorite Carols — attractive illustrations -> upon the music Roy not moving in variation in the provement. Experiments Piano Pieces for Everyone (No. 32) 2.00 may be col- exotic idioms, but is that and the slightest Sacred Music the W. W. Loves (No. 7) . . 1.75 wherein he was called “the most Amer- ored to add interest direction? Would not synthetics, light metals and Piano Pieces the W. W. Plays (No. 2) . . . . 1.50 25 exactly the wrong one of these tics, Songs for Everyone (No. 31) 2.00 ican of American composers.” Both of chemical analysis of any of Sousa’s conserva- Recital Piano Pieces (No. 18) 1.75 frank acceptance developments Songs of the Sunny South (No. 27). . . . 1.75 CHRISTMAS CAROLS — Piano Duet — Wallis. Eleven these composers “dissonant” a its other modern scientific are of the expressions of American might conceivably compromise Schubert at Home (M-C No. 1) 2.00 tism, of his the . Songs Whole World Sings (No. 1). 1.50 bestvknown carols in duet school their is spoken of as form 35 and music characteristic be more test of are constantly in progress. Tschaikowsky at Home (M-C No. 2) 2.00 energy our basic capacity to stand the exacting “racy” and full of vitality. Aaron Cop- HAPPY CHRISTMAS — Marlowe. Seventeen familiar to the point? Special metals are Chemistry is just another tool OPERATIC COLLECTIONS land is also of the dissonant schools, less con- lifetime usage. VIOLIN COLLECTIONS carols, poems, stories. Music within moment’s thought suffices to second grade 50 so in the A expertly used by Baldwin Gilbert and Sullivan at Home (No. 26). . . 1.75 the “Lincoln” than in “Music for pins, strings. Special which is Concert Violin Solos (No. 14) 4.25 that the living music is not used for plates, Theatre;” vince one Grand Opera at Home (No. 3) 1.75 FAMILIAR CHRISTMAS CAROLS — Pond. Twelve carols, but is his music “American”? existence to local to safeguard the sacred Light Violin Pieces (No. 20) 2.75 that which owes its finishes are used for preserving in- technicians Light Opera at Home (No. 10) 1.75 single notes in the melody, for young pianist 50 I cannot see the Americanism in any of lasting sym- Modern Violin Pieces (No. 12) 3.00 idioms. Nowhere do we find unbreakable rule which is the Modern Opera Selections (No. 15) 1.75 these works. I simply cannot see how terior parts; for finishing cases. and Operatic Violin Pieces (No. 23) 2.75 CHRISTMAS STORY IN MUSIC -Flye and Smart. phonic value based upon the “character- they could appeal to the taste of the not basic principle on which the uni- Standard Violin Concertos (No. 25) 4.25 rhythms and harmonies. I do Each of these items now in use has Here's a different type of Christmas Book. Sixteen average of istic” SAXOPHONE COLLECTION American, as an expression fact it Violinist's Book of Songs (No. 13) 2.75 why this is a fact, but a capacity to with- formity of Baldwin quality is pre- familiar Carols, music within second grade, illustra- the feelings know demonstrated its Saxophone Pieces, E(j, Bb or C (No. 22) of that American. basic qualities of Violin Pieces the W. W. Plays (No. 5) . . . . 3.00 certainly is. The tions I was most served. This rule may be stated in a each 2.20 can be colored with crayon 50 in Paris when the first exhibition Brahms, are evident stand the test to whi?h it will be sub- of Bach, Beethoven, CHILDREN'S COLLECTIONS the paintings of the Cubist School and Unless it can be im- B. M. CO.'S CHRISTMAS CAROL BOOK -Wallis. indisputable; and is it not just a bit jected in actual usage. It is the re- few words— the wild lucubrations of the Dadaists and Children's Piano Pieces (No. 16) 1.50 GENERAL COLLECTION rations: the solid Twenty Carols, poetry and illustrations 75 like our daily food proved it will never be changed. were given to the world. I became con- sponsibility of the Chemical Labora- Songs The Children Love To Sing (No. 4). . 1.50 What Do You Know About Music (No. 28). 1.50 simply prepared? vinced that the reason these people things we are in a day Presented was Obviously, however, YOUR DEALER CARRIES THEM ALL IN STOCK HAVE YOU RECEIVED YOUR COPY OF THE NEW their art in that manner we demand new that they were nothing and age of revolution; talentless and had harmonies, 1947 MUSIC LOVERS CALENDAR? Price, to for the old tunes, new $1.00 say, and wished to call attention to dress effects but might it not themselves by recourse the bizarre. new orchestral to recognize the solid Ptatfanin for us to BROADCAST MUSIC, INC If a composer gave birth to an idea which be well he of old Father Sousa, and considered beautiful, he would not risk conservatism THE BOSTON MUSIC COMPANY that framework, instead of THE BALDWIN PIANO COMPANY FIFTH AVENUE, spoiling to build on 580 NEW YORK 19, N. Y. its chance of public acceptance OHIO by make American music of modes CINCINNATI 2, 116 BOYLSTON STREET • BOSTON 16, MASS. burying it in discords. Music that is trying to ..., ^ - » .... —dm of ACR0S0NIC, HAMILTON and HOWARD Pianos overloaded to our shores? Makers BALDWIN, with discords is ceasing to be alien 644 THE ETUDE FORWARD MARCH WITH MUSIC” 645 November, 1945 ” — — — , —

How Melodies Come

(Continued, from Page 605) Voice Questions Another in- set, and to the temperament of the him, he would feel insulted! von Billow, people for whom I write. Thus, my teresting character was Hans strange per- Parisian operettas—notably ‘Trois Vaises,’ a masterly musician but a sensation and would and ‘Mariette,’ which I wrote with Sacha sonality. He loved L DR. NICHOLAS D0UTY Often he JinswerJ Guitry, for Yvonne Printemps—are some- gb to any lengths to secure it. f and what different in character from my would turn around on the podium I heard Viennese pieces. Somewhat different, but direct speeches at the audience! questions will be answered in THE ETUDE unless accompanied by the full name Says a recent letter, "Century No Many people think the three B's are shortly after William II is f0 the inquirer. Only initials, or pseudonym given will be published. not entirely so—because, deep under- one such speech and address of , three best. It is be congratulated for reminding every also the the logical neath a composer’s conscious ‘styles,’ ascended the imperial throne of Ger- to teacher that there is great music thing to select your favorites in Cen- there lies the essence of the man himself many. One of William’s first acts was avail- Billow in the early grades.” tury Edition. They are complete, au- and that does not change. That is true, dismiss Bismark. Now, von able We think that At this con- examination thentic and beautifully printed —and, of course, of the music of all composers; greatly admired Bismark. an of these numbers at your if they cert, von Biilow had given a superb dealer will bring enthusiastic Should They he both you and him. However, if you still have of course, priced at I5£ a copy. their strains come out naturally, agreement Adolescent Voices, How ‘Eroica’ Sym- any doubts as to the honesty of these gentle- must reflect the source from which they reading of Beethoven’s from you. Tr teacher of eighth grade public men, you should seek further until you find BACH come. When one has made himself a phony. After, he turned and spoke to Q—As a music and eighth grade choral clubs. I one in whom you have implicit confidence. recalled circumstances school 3378 Air for the G-String, C~4 thorough musician, he can write all kinds the house. He the advice please on three points; New York is perhaps the greatest musical 3607 March, Anna Magdalena, D-2 Bach should like your 3417 Arioso in G, -3 of music—light, serious, classical, mod- of Beethoven’s dedication of that work 3709 Minuet #1, Anna Magdalena, G-2... should I carry on vocalizing or tone center in the world today. It contains a great Bach 1 How 3488 Fugue No. 5, D-6 3710 Minuet Anna Magdalena, exercises" so as to number of famous music schools, conserva- ern; but always, the themes that spring (he had inscribed it to Napoleon, but #2, G-2.. Bach work in the "warming up 2400 Gavotte in B Minor, -3 3608 Musette, Anna Magdalena, early tories, D-2 . injury to and colleges Bach the best results without of the first rank and many 3257 Prelude in C, -3 most freely from one’s innate endowment tore off the dedication page when Eb-2 net 3711 Ecossaise, Beethoven voices? 2. Is it safe to assign not too world famous private teachers. Surely among 3558 Toccata and Fugue in D Minor, -6 adolescent will sound best. Napoleon made himself emperor), and 413 Sonatine #29, G-2 Beethoven baritone parts to newly this number you will scarcely need a new 34 1 8 Two Part Invention No. F-4 difficult tenor and 8, 414 Sonatine #30, F-2 Beethoven should Diogenes with “Even though my formal studies did said that, since the Symphony was now changed voices? 3. What specific dangers his lamp to find an honest man 3235 The Doll's Lament, G-2 Franck undedicated, proposed to rededicate in training these children so as to pro- in whom you can trust. It is manifestly impos- BEETHOVEN not encourage my native endowment, he 1971 Gavotte, C-2 Gossec I avoid develop their voices?—K. M. sible for the editor of the Voice Questions they furnished interesting it himself to the world’s three great 2264 Song of the Fatherland, Eb-2 Grieg tect and 1313 Bagatelle in D, Op. 33, No. 6, -4 me with many — issue of The Etude Answered to single out one school or one 2257 Watchman's Song, E-3 A.—In the March 1942 3328 Bagatelle in Eb, Op. No. I, -3 Grieg 33, experiences. Chief among these was my B’s. Everyone expected that these would excellent article by John T. Wilcox, teacher in a city where there are so many ex- 1186 Moonlight Sonata, C#m, -6 628 Gypsy Rondo, G-3 Haydn there is an acquaintanceship with Brahms. I knew be Bach, Beethoven, and Brahms; but 3712 Oxen Minuet, C-2 treats of the adolescent voice and sug- cellent ones. Nor could we venture an opinion 375 Rondo, Op. 51, No. I, C-3 Haydn which 1177 Venetian Boat develop and train it. Quite a as to whether your son will eventually become 3345 Rondo, Op. 51. No. him well no, von Biilow announced them as Bach, Song, gests exercises to CROWNED WITH THE LAURELS 2, G-3 —or as well as a young student Op. 19, No. 6 Gm-3 Mendelssohn books have been written upon this a tenor or a baritone without hearing him. 3494 Six Variations, . of "Nel Cor . G-3 could know him, for Beethoven and Bismark! The house number Brahms was a dif- — 3713 Menuetto & Air, F-Bb-2 Moiart subjects. Among them are Time alone can solve this problem for you. It OF TEACHERS’ PRAISE 398 Sonata, Op. 49, No. I, G/n-3 same and kindred ficult personality. at was electrified. But that was not all! In 3714 Tarantella, Dm-2 Prokofieff and Gehrkens, may be that physically, mentally, and vocally 400 Sonata, Op. 49, No. 2, G-3 Kind heart, he was ‘‘High School Music" by Dykema Rich, resonant tone . , . volume . . . responsive action . . . smart 1341 3639 Tambourin, Em-3 Rameau "Music is unusually mature for a boy of less than Sonata Pathetique, Cm-5 brusque and harsh. One never knew how announcing his imperial program, Wil- large and comprehensive volume and he 3715 Little Waltzes from Op. 9A, 2-3. a .Schubert Junior School,” by McKenzie. Frederick fifteen. It is highly important that this ques- styling! For over fifty years Gulbransen pianos have met the to take him. If, after some great per- liam had said that whoever did not like 3716 First Loss, Em-2 Schumann in the BRAHMS WodeH's book "Choral Directing" contains tion should be decided before he commences conservatories, formance, one complimented his decisions might ‘brush the dust of 268 The Happy Farmer, F-2 Schumann W exacting demands of piano teachers, music him, he valuable hints to the conductor. These regular singing lessons, so that his vocal organs 2447 Hungarian Dance No. I, Gm-5-6 3717 Sicilienne, Am-2 Schumann many would brush one off with an unencourag- Germany from his feet.’ So, when von obtained through the publishers should not be strained. New Yorkers are always colleges and universities. Their enthusiastic acclaim is a trib- 2395 Hungarian Dance No. 3, F-4-S 2450 Soldiers' March, G-2 Schumann books may be on the lookout for young men of exceptional 2203 Hungarian Dance No. 5, F#m-5 ing grunt—if one failed to compliment Biilow had finished his address, he took 2356 Wild Horseman, Am-2 Schumann of The Etude. ute to the integrity of the Gulbransen name. The new post- *0*0***°'" 3249 voices of the young people talent and are unusually willing to help them Hungarian Dance No. 6, Db-6 out his handkerchief, carefully 2451 Toy Soldiers' March, D-2 Tschaikowsky 2 and 3—If the dusted discre- are found. war pianos, improved through scientific research by Gulbran- °n °*it 3336 Hungarian Dance No. 7, F-4 3718 Sweet Dreams, C-2 Tschaikowsky with care, knowledge, and along towards a career when they r his are taught 3491 Intermezzo, Op. No. shoes, and then spat! Official Berlin boys, whose If your son's voice is as rare as you say it is, 119, 3, C-5 896 Waltz, No. Eb-3. . . why the craftsmen, are available Today, as always, STATEMENT OF THE OWNERSHIP, Op. 39, 8, .Tschaikowsky tion, there is no reason sen master NOW. 2448 Waltzes, I. 2, 8, 15, Op. 39, -5 was sure that Biilow would be arrested matured, should not be if he is a fair musician and if he has a pleasant MANAGEMENT, CIRCULATION, ETC. voices are sufficiently Gulbransens are "America’s Smartest Piano Fashions.’’ REQUIRED BY THE ACTS OF CONGRESS that he would certainly allowed to sing the tenor and bass parts. They personality and moderately good looks, it not be allowed Ask your dealer for Century music. If he cannot Ask your dealer for Century music. If he can- OF AUGUST 24, 1912, shout or bel- should not be too difficult for him to win a free AND to conduct again. But he should not be allowed to scream, 3, 1933 did conduct. At supply you, send your order direct to us. Our the not supply you, send your order direct to us. MARCH low. Nor should the most difficult music be scholarship and in this manner to reduce Of The Etude, published at his next complete listing 3700 Our complete catalog listing Monthly Phila- concerts, the house was full of catalog over numbers is that which lies very cost of his musical education. We wish you over 3700 num- attempted, particularly III. delphia, Pennsylvania, for October 1, 1946, GULBRANSEN CO. Dept. E, 816 N. Kedzie, Chicago 51, FREE on request. is a in the world. bers is FREE on request. police, but von Biilow retained his post! for the sopranos and tenors. This both all the good luck State of Pennsylvania ) high usual mistake. Led on by an overreaching County of Philadelphia J “If this has nothing to do with the very public school grade teacher Is She Soprano or Contralto? CENTURY MUSIC PUBLISHING composing of melodies, ambition, many a CO. Before it is because I CENTURY MUSIC PUBLISHING CO. within I thirteen years old and have a sweet, Make THE ETUDE Your Marketing Place. me, a Notary Public in and for the State is not content with simple music written Q. am and county aforesaid, honestly 47 Wes* 43rd S*. New York 23, N. Y. personally, appeared do not know how melodies 47 West 63rd St. New York 23. N. Y. a moderate vocal ranj^fe. He attempts to vie full, and exceptionally strong voice and people Etude Advertisers Open the Doors to Real James Francis Cooke, who, having been duly come! Perhaps the college choral society or the local find it difficult to believe I am only thirteen. Opportunities. sworn according to law, deposes and says that answer is that they with the society, often with quite disastrous My range is from F below middle C to A above he is the Editor of The Etude Music Macazine come, if at all, when one is born with oratorio TRAIN please, that these children the staff. When I sing words my best tone and that the following is, to the best of his . results. Remember a Bgift for memthpm AlterAfter that,that ttim knowledge and belief, a true statement of the they simply never sing too high nor too low. too quality is from Middle C to F on the fifth line. Music Readiness Program come , should ownership, management, etc., of the aforesaid out as the truest expression of loud, or too long at a time. Make their rehears- I have been singing soprano in our church publication for the date shown in the above sopranos badly. None the by Sister M. Xaveria, O.S.F., Mus.M. one’s personality. For that als short and if necessary have more of them. choir as they need of caption, required by the Act of August 24, 1912, reason, the Give a few minutes rest once in a while anthems go higher than A and very few that Alverno College of Music, Milwaukee, Wis. as amended by the Act of March 3, 1933, aspiring composer must be them “HIGH em- perfectly sin- not fully high. Do you think that singing soprano is bodied in section 4537, Postal Laws and Regula- if possible. Never forget that they are cere in saying the thing it build, organs— CATALOG has We strengthen the vocal MUSIC been given adolescent boys likely to be too much of a strain on my voice? • MY MUSIC PICTURE BOOK.. 60c tions, printed on the reverse of this form to wit: not with singing lessons but bv sound, sci- developed men and women, but 1. That the names and addresses of the pub- him to say.” entifically correct silent *n<1 vocal exprclpes. girls that their musical training I have been contemplating having my voice *nd absolutely guarantee complete satisfaction and and • MY MUSIC COLOR BOOK 65c lisher, . A complete listing of Gospel editor, managing editor, and business r 8ult Wrlte tor Voice Book. FREE. Sent to no to them, rather than placed this summer and perhaps taking a few „ !ii *- should be made a pleasure managers are: ons under 17 years old Unless elsrned bv parent. H. • MY MUSIC LETTER BOOK 60c a mere task to be endured, for the sake of lessons. Do you think me too young?— J. W Music. Song books for every Publisher Theodore Presser Company, Phila- KIFECT VOICE STUDIOS. Sfullie 3588. Kimk.ll H.II 811,.. Ch.cigl 4. 18. S. scholastic marks. If the teacher does all these TONES • MUSIC delphia, Pensylvania. WM. HAYNES church need including solos, MY NOTE BOOK 75c COMPANY difficult classify a Editor James Francis Cooke, Llanberris Rd., things discreetly and well, he may be assured A.—It is extremely to • description. personal and trios. AND HOW TO SING THEM MUSIC . written duets, quartets, AND GUIDE BOOK. . 80c Bala-Cynwyd, Pennsylvania. Flutes of Distinction that the children will improve both musically voice from a A Managing Editor better. From your let- None. c and vocally and that their musical training in audition would be much Send for your free copy now. The Music Readiness Program is intended Business Manager None. STERLING SILVER — GOLD — PLATINUM 5 00 Printed Namei"/\ the grade school will be of inestimable value to ter which tells us that you have an exceptionally A new, authoritative work by to build up musical concepts and experiences 2. That the owners are: age, that your BoxC-11, 2923 Troost Ave. Frederic Freemantel, world- them in after life. En passent it might be men- strong, full voice for your necessary to comprehend the many abstract Theodore Presser Company, Philadelphia, Penn- Catalog on request LILLENAS PUB. CO. Kansas City lO, Missouri famous recitalist and voice sylvania. 6 Address Labels tioned that the grade school teacher himself, range is from F below Middle C to A above the ideas implied in the study of music, and to de- teacher for over 40 years. Con- The Presser Foundation, Philadelphia, Penn- 108 Massachusetts can never know too much about the theory and staff, and that your best tones are from Middle velop fundamental playing and reading habits. Avenue, Boston 15, Mass. tains secrets of reaching and sylvania. practice of voice production, and that he should C to F on the fifth line, we should be inclined sustaining high tones, includ- Estate of Theodore Presser, Philadelphia, Penn- not stop studying just because he has a job as to believe that you have either a mezzo soprano CHRISTMAS ANGELS ing techniques of Enrico Caruso Circular on request sylvania. a voice teacher. or a contralto voice. Even though the soprano By Lester L. Sargent and other famous singers. James Francis Cooke, Llanberris Rd., Bala- that you sing in your for or Quartette, New Arr. f Published by THE SERAPHIC PRESS Cynwyd Pennsylvania. parts in the anthems Christmas Song Chorus , with violin obligato. Send 3c stamp for sample page. 1001 diff. uses for these sparkling, appealing 2 choir do not go above A. yet they are apt to 1501 So. Layton Blvd., Milwaukee 3. That the known bondholders, mortgagees, The Boy of Fourteen and a Half With a Octavo Ed. 15 cents per copy. Prof, discount for SEND FOR IT TODAY 4, Wis. What is the purpose Color GUMMED Labels nicely printed with your and other security holders owning or of the “lie” rather high, so that you would be singing quantities. holding name & address. Stick ’em on pkgs., books, letters, Well Developed Voice 1 per cent total the time in the upper or more of amount of bonds, music, etc. 300 labels bound in neat Imit. leath. Q. My son Joseph was fourteen in August. a goodly proportion of "High Tones and How To Sing Them” shows you mortgages, or other SHEFTE Rapid Fabric FESTIVAL MUSIC COMPANY securities are: None. Course in CASE; easily removed as needed. Just 50c is well built register. Your letter sounds as if both physically how to lose your fear of high tones how to keep He five feet nine inches tall and Street, (P.O. Box 3156) ; LEARN AT HOME 4. That the two paragraphs next postpaid. Money back if not pleased. 12 or more. 1115 K N.W. above, giv- and has a taken him to and mentally you are unusually well developed. voice round, free, and open without sacrificing ing the names of the owners, stockholders, and Modern Piano 35c each. 1 COLOR LABELS: 250 labels with name beautiful voice. I have Washington, D. C. Playing? rtntP in quite about or not you are old enough to sing in a brilliance; how to rid yourself of squeezed, high- security holders, if any, contain not only the P d black, no case. 30c Postpaid. a few teachers. They all comment Whether ANNUAL PRESS. lessons larynx singing. Here are the truths of breath sup- list of stockholders and security holders as they Box 591-AZ, Lynn. Moss. the bell like tones and beautiful quality of his choir and to take singing depends NEW WAY port : how to save the voice while sustaining high appear upon the books of the company but also, The purpose of the voice. Some teachers say he should not sing largely upon these two facts. We would suggest SHEFTE course tones ; the true explanation of Falsetto. Mr. Free- TEACHES in cases where the stockholder or security during yet that you consult your family physician and ask YOU is to this period, others say he should; mantel's master work shows you how to make your holder appears upon the books of the encourage a great FREE Sample Record company number of all say he should continue to take lessons. his advice. Also have an audition as soon as "head” tones^s easy to reach and as trustee or in any other fiduciary relation, music Teachers!...Students! singing teacher lovers to play the Should he, or is it just to get a pupil? Some say possible, with the best known -^-revealing how you can be taught singing sustain as your middle tones! the name of the person or corporation for whom piano . . . HOW to SING he will be Can you in your neighborhood and ask him to aid in Mail coupon today for this in- such trustee is acting, is given; also that the to satisfy their longing to Be a PIANO STYLIST a tenor, others a baritone. and speaking by famous teachers through Frederic Freeman tel, famous operatic concert singer, play the tell voice. If both these men give dispensable instruction. If you are said two paragraphs contain statements em- at this time? They all agree that he is classifying your and voice teacher for 40 years, has discovered a new music they love Educational Records. not delighted, your money will be way to — bracing affiant’s full knowledge and belief — the simpler, • Jazz going through break. He you the "go ahead” sign, by all means take train your voice in your own home! If you can as more • Swing • Jump • Boogie-Woogie the change without a refunded at once. lalk to the you can now learn to sing. circumstances and conditions under melodious takes E very easily, goes higher with the teacher. some lessons. Disabuse your mind that what Write for record Sent absolutely free popular music. 0.u r NEW 100 page en- PHONOGRAPH RECORDS OF FREEMANTEL’S VOICE which stockholders and security holders who Music of . Piano Instruction Book will 2 voice” is a quick and easy a you —Is there any place in New York where I can you call “placing the Freemantel’s Letter-Lessons, and do not appear upon the books of the the light populartype to play Popular Songs with all the fancy actual voice on company is taught in this u get an Singing process. There is no end to learning and the records, guide every embellishments employed honest opinion his voice? • • • Institute, Inc., you step of the way. Voice culture, as trustees, hold stock and securities in a by the professional. of INSTRUCT-O-TONES SO S. OIK KNOLL AVENUE PASADENA 5 CALIF. Freemantel Voice Dept. 11EA breath control, diction, timbre—taught and demon- method accurately Your Own — lessons cost I would who thinks he knows all about it is || capacity other than that of a bona fide owner; and artistically. Arrangements — Add Notes so much, but if I were sure man Steinway Hall, strated so you cannot fail, if you your part. Chords— are very do and this affiant has no reason to believe that Basses — Breaks — Blues— Rhythms— Modu- not mind so much the expense. He also takes already on the downward path. You lations --Transposing— slowly. 113 West 57th St., New York 19, N. Y. WRITE FOR FREE DETAILS any other person, association, or corporation Orchestra and Radio Playing piano lessons to help R. T. young, so learn to make haste very At Introductions— his voice—Mrs. has any interest direct or indirect in the said Write TODAY for Endings, etc. 1001 sparkling new exercises and comparitively Even If You Can't Sing a Note the descriptive first study simple Music Printing Please send me a copy of "High Tones and How FREE stock, bonds, or ideas all contained in one book. Not an ear or cow res- other securities than as so folder on A. songs for a year or two; then under a to Sing Them,” for which I enclose $3.00. Read what Freemantel’s new method has done for stated the Shefte Rapid pondence course. You In- —According to your letter the many easy Small Quantity — Low Cost by him. Course. receive CAVANAUGH'S difficult ones, others. Prove that YOU can develop a beautiful singing struction Manual teachers whom consulted about your competent teacher gradually more and speaking (Signed) James Francis Cooke, Editor which shows you step by step how you have SONGWRITERS • LYRICISTS voice. Pay as you learn. Write NOW for o apply contents s v ce operatic and oratorio arias and the Name full details. Course Sworn to and subscribed before me this 1st of this famous book to any popular ?* agree in describing it as one with reserving I available under "G.I. Bill of Rights.” song. For the chest MUSIC TEACHERS day of October, 1946. Forster Beginner. Medium or Advanced Student. bell like tones of beautiful quality.” They German Lieder until the muscles of FREEMANTEL VOICE INSTITUTE Music Publisher, our write to seal Inc. * b<«»k NOW I $10.00 com- also sufficiently developed to Studio 11E Steinway Alberta M. Allen TODAY! Price report that he is going through the change and the larynx are Address — Hall 216 South P ete. 1 Notary Public Wabash Avenue, ostpaid and insured anywhere in the world. of difficult tasks without danger of 113 W. 57th St., New York 19, N. Y. Chicago 4, III. voice without a break, a rather rare phe- perform their B. <£ L. MUSIC PRINT (My commission expires Jan. 5, 1947.) VANAUGH nomenon. so strain. The modem tendency is to put boys City, Zone, State k PIANO SCHOOLS This very unity of opinion among 74 Arcade Bldg. Prov., R. I. I 47547

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Organ The Bachs and the 1 Continued from Page 617) MICHAEL AARON PIANO COURSE ( Oman and Choir Questions in FOUR GRADES Most of Bach’s music is written Johann Sebastian music. in existing biographies of six voices. Each voice U INSTRUCTION m four, five, or has to The NEW NOTE In MODERN PIANO order to play the mans Bach. In be recognized and played over and over understand the • it is necessary to becomes firmly Perfect Uninterrupted Sequence again until it fixed in the sing or Play e what stops to use in play the situation It is impossible to mind. It is dangerous to Can you tell me is to amplify the instrument. I Natural Progression Pa - student’s sight Q the St. Matthew an electric organ ? What stops usually go have written to the builders of the organ but choral number in Bach for there is too much there ina conceptioi read to —J- W. D. K. they could not give me any information as to combines student and teacher without knowing Bach's together? The course that sion be seen at one glance. Each voice should how to go about this process. We would like to interest and are the interpre- appeal. Devised to sustain students' of death. How revealing separately until mastered. Since you do not send a list of the stops know how contact microphones could be used, the be taken Then A enthusiasm. Smooth step-by-step advancement, com- chorale and some of in the organ to which you refer in how many we would need, and where would be tations of this each hand should be played separately included bining the elements ot piano technic with melody. Bach’s philosophy inquiry, we will give you general in- the best location for them. We have a seventy- Chorale Preludes when thoroughly mastered. The vour Space does until hands formation as to the stops of the average organ. five watt amplifier in the building. However, been mastered. pitch, the amplifier is in the very first lesson the student of death has be played without the feet. 8' stops produce normal same as piano, at the rear of the chapel, and GRADE ONE. suffice should After Simple, direct, modern full explanation but produce a tone one octave higher, 2' a cable of at least one hundred feet would be actually begins to play. not permit a each part is thoroughly known they 4' stops ful- may higher and 16' stops one needed.—W. L. V. approach to a solid foundation in piano playing. death to Bach meant stops two octaves it to say that be put together and-care should be taken Teaching Material Visual medium octave lower. These stops usually mix, though Descriptive Original — fillment. Death was a triumphant to play them very slowly at first. By this must be present as to the use of 16' stops. A. If the builders of the organ cannot tell you Transposition— Mojor Scales and Chords— Note himself and really care by which man found fascinating you do not state whether the organ is how to place the amplifiers we cannot give you Tests and Games. method Bach becomes a study. Since Reading not afraid of might say that on the such information. The trouble is that or- began to live. Bach was pipe or reed organ, we reed In teaching by this method the interest gan tone does not of the “dirge” to him. organ the Vox Humana stop is usually carry unless it is amplified. The student interest is sustained through Easy Arrangements death and it was never a reed GRADE TWO. be maintained by pointing out the Sub Bass is a 16' stop, appear- We advise consultation with the builders of an Construction of Music—Minor drip-pan may the tremolo, and Classics—Original Melodic Material— Pedal Studies— we do not find amplified instrument, as Consequently excellent construction of the fugues. ing in the lower section only. to whether you would and Chromatic Scales. in his death-music. This be free of their patents, as they may have bid emotionalism Obvious? Certainly, all students of or- For PARENTS used later by What is the correct way of enunciating on the placing of their instruments in the which "sound difficult" but are in keeping philosophy of death was Q. GRADE THREE. O riginal Descriptive Pieces gan know that this is obvious—yet do and Hallelujah? What chords would chapel, and such instruments are supposed to A 2-color book of Sight Reading. Alleluia with the third grade—Original Etudes—Studies by Heller, Czerny, etc.— last month I have met a mixed choir to use in ear be used by the parties installing the amplifiers pictures and text messages. they? In the more you suggest for masterful in their triumphant would you direct the —however, there may be a difference in your fifty students from all over the training drills? How showing the advan- A greater variety of style including an insight to many forms of com- playing Bach than John Farmer? specific case, and we advise consultation with GRADE FOUR. The first approach, then, to Madrigal Fair Phyllis I Saw, by tajtages instrumental Seventh and Dominant Seventh ’ who have been studying organ them previous to position. Special' Study of the Sonata Form— Diminished this “human country The change of time bothers me. In directing amplification. is to know something about mimusic training can Chords and Arpeggios Valuable Recital Material. for more than a year. Approximately April is in My Mistress’ Face, by Thomas Mor- givegi' your child now man. likewise the change Q. Recently I have been playing at a small Price each book. forty of them have never studied Bach ley. I am confused by of $1.00 more often than church (substituting temporarily). anand in later life. Bach is over-phrased time. If you find difficulty in answering the last Is it possible UiONOHKL at all and it was amazing to see and hear to in Bach is answer the first. We are having play legato in a fast hymn, such as “Holy, Excellent Reading Approach to the Piano! under-phrased. The clarity two questions, what the other students did when Bach an argument as to the proper pronuncia- Holy, Holy?” Also in playing a response such \ long melodic themes being quite ’fQO'W obtained by as “The Lord Is in His Holy Temple,” I who was played at sight with all voices going tion of “Alleluia.” I think it should be pro- find THIS WAY TO MUSIC repeated in various voices. Students if I do not play the eighth notes staccato the in opposite directions. nounced Ai-lft-lo-yah.—A. E. and congregation drags the tempo. Is it by HAZEL COBB are taught to play the B-flat Prelude not correct A PIANO METHOD: To master the organ works of Johann to play staccato then? In directing the choir is Fugue with over-phrasing will soon give A. We agree with your pronunciation of the give the student a more it not proper for the singers to take a breath Miss Cobb employs lateral reading from nine known notes to of Sebastian Bach Is a life-time task. But, word. The word Hallelujah is a Hebrew form it up. The fugue especially is lifted out after each staff. Tuneful, original melodies. The book word. In reference to change of comma? I do not break the organ rapid knowledge of note placement on the Preludes in studying Bach it is possible to prepare of the same its sphere in the “Eight Little other questions part at this time (at least not always). Is this extraordinary skill through its progressive planning. rhythms, mentioned in your develops oneself for any situation that may be correct? How is a tremolo passage treated and Fugues” when it is divided up into we refer von to Chapter XX of the book “The Price organ literature, (written for piano) on the organ? Would you 75c cannot modernize presented by any in- Art of A Cappella Singing” by Smallman and four note phrases. You advise using three part women's voices mu- cluding the transcriptions. To play the Wilcox enlitled “Rhythmic Variety.” We sug- emotionalize the music of Johann Se- sic, when you have only five singers to work or gest the Tonic, Subdominant and Dominant INC. piano well a student must know the with?—L. H. S. MUSIC, bastian Bach. drill. MILLS chords for the ear “Well-Tempered Clavichord "; to play the An approach to Bach must be different York 19, N. Y. A. We are taking it for granted that you re- 1619 Broadway, New composers. In organ well a student must know the Q. What would be appropriate pipe organ from the approach to other fer to repeated notes instead of legato, and "Eight Little Preludes and Fugues" plus music to play at funeral services in addition music this is essential anyway suggest that you play the repeated notes in church to the hymns? We have a new two manual as more as he can learn. Here is the soprano part of both the hymn you men- and this factor in Bach makes him the many organ and the seating capacity is about two tion and the response. We do not advocate the medium for learning church the foundation for all musical technique. hundred and fifty. To give you an idea of my outstanding taking of a breath, nor a stop after each ability I play for Sunday services, from such , comma. Probably you breathe correctly in the books as “At The Console ” and “Chancel organ part, and we suggest that you try to Christmas or New Year Greetings Echoes,” by Felton; “Organ Music ” Diggle; For have the singers breathe in the same way, in- For YOUTH and the “Standard Organist.”—F. J. R. stead of making a stop after each comma. In a Colorful, profusely tremolo passage (written for the piano), we " A. We suggest “Wedding and Funeral Mu- illustrated, packed suggest that the principal note (if possible) sic,” edited by E. A. Kraft, which may be ob- with , thrilling SONGS be held while the accompanying notes are tained through the publishers df The Etude. examples of how Making Music Count In High School struck. If the singers for three part women’s voices are well balanced, and produce a mu- youth can have fun Q. Is there any way by which the keyboard sical effect, we see no objection to using three and be popular, by of a large one manual reed organ may be sepa- BELOVED” (.Continued from Page 618) part music. rated from the organ proper in order to am- making music. 9 plify the tones If the organ is installed within Q. Will you suggest registration for a two a box only the amplified tones could be heard for 1947 Appreciation course. are a fairly good cross section of life manual reed organ for preludes, hymn sing- Calendar and the tone controlled more easily.—J. H. The idea has even spread to the fac- some of them think music “high brow”; ing, and soft interludes? I enclose list of stops included on the organ on which I play. The ulty personnel. Two years ago a Music others are moderately interested, while a A. If the keyboard can be removed mechan- Clarinet on the Great manual is very strong, Only 10 cents Each appreciate it. ically, and the instrument will be used by the Appreciation class from Jefferson High small minority love and but if I do not use it, the tone sounds empty. person installing the amplifiers, we see no aroused de- If you can suggest a way to remedy this, I demonstrated one of its lessons before a The amount of enthusiasm reason why the instrument cannot be so $1.00 a Doz. shall appreciate it. What is the indication of group of some four hundred high school pends upon the personality of the teacher, treated. However, one prominent piano builder the number after the name of the stop, such and constructs a amplifiers, and it teachers. the novel methods she introduces, reed organ with 8'. E. for Each Calendar Included) as Swell Oboe, — H. (Envelope is to protect you from possible infringement “We didn’t know how interesting mu- the facilities she has to draw upon. of the patents that send you this advice. Whether you are teacher, bandmaster, par- " but we A. The registration for preludes depends on calendar includes a x sic is,” many of them commented at the Facts and figures tell many things, The complete ^2 the number being played, character of the ent or student, you’ll want one or both of conclusion of the enjoyment and Q- I have TEACHERS, NOTE! program. “Why can't they don’t reveal the the opportunity to practice on a passage and so forth. For hymn singing much leaf fpr each month, lithographed in 2 colors. two manual but these valuable new books. Parents will be we have a faculty music class? When opportunities coming to these teen-agers reed organ with pedal board, will depend on the heartiness of the singing. do not These books are know what music to order because the singing especially interested in "Music, the it comes to music we’re dumb—those as result of the new course. Take Joan For hearty we suggest use of “full Emo- worthy of permanent preservation. They give a instrument acts as pipe organ. I also want the important to you. These calendars are organ” usually available through the use of tional children know a lot more than we for instance. If she had not been enrolled names and prices books beginners and Outlet for Youth.” The other book, melodies of 12 widely loved songs which are of for the pedal used for that purpose. The Dulciana They’re certain to bits of the words and Anderson pedal studies do.” in the class the pleasure of the for the organ.—J. H. M. or Salicional would be used as soft stop for "Fun and Popularity Through Music,” is accompanied by interesting pictures, portraits of the composers or help increase your Although the idea was impractical at denied her, for Interludes and so forth. The Clarinet is usually concert would have been A. The written expressly for youth. Just fill in the authors, brief paragraphs telling things worth knowing about the the adaptation of pipe organ music to a a solo stop, and we suggest that it be re- student enrollment. and the time, it has not been wholly aban- she could afford the price of reed not organ is possible, as you say, and we sug- served for such use. The number after the coupon and mail it today. We’ll send the songs and those who wrote them. doned. It is unfortunate that gest that Send for your free many ticket. you request a catalog of organ music name of the stop indicates the pitch of the postpaid, a from the books free and without obligation. academic instructors evaluate present As each registers, he pays publishers of The Etude, stating that stop, whether it is 8' (normal pitch—same as copies today. The Songs are: "Home, Sweet Home"; "Darling freshman you wish music courses buys music for a reed organ. Pipe organ piano) or whether an octave higher or lower by the made-to-order fifty cent fee. Part of this money music CONN BAND INSTRUMENT DIVISION Nelly Gray"; "Carry Me Back To Old Virginny"; 'Til will have to be adapted to the reed or- 4' or 16' respectively. You can test the pitch classes of their own youth—forgetting music library gan for Kathleen"; "Mighty Lak' a new books for the school’s registration, and slowness of speech of of the stops by trying them out individually. Take You Home Again, really al- any reed that progressive music instruction, (twenty-five dollars additional being organ. We suggest, in addition to re- The Voix Celeste is an undulating stop, that is, Story Ever Told”; "America, questing Rose"; "The Sweetest like fashions, must but the catalog, that you investigate "Reed out of tune with the Salicional, but usable CONN BAND INSTRUMENT DIVISION keep pace with the lowed by the superintendent’s office) , the Mocking Bird"; "Drink J—gan Selections for Church Use,”—Ditson; alone, not in ensemble. C. G. Conn Ltd., 1113 Conn Building, Elkhart, Indiana The Beautiful"; "Listen To period. As a direct result of the three demon- the greater proportion purchases Classic and Modem Gems, for Reed or Pipe Only With Thine Eyes"; "Annie Laurie^; stration, however, the Organ,” Please send postpaid, free and without obligation, the book checked below:- To Me several faculty mem- series of concert tickets—part of and “At the Console,”—Felton, all of which If All Those Endearing Young Charms"; bers enrolled in o may be secured through the publishers Music The Emotional Outlet "Believe Me the music courses offered major artist series offered the people — for Youth 1® Etude. For study purposes we suggest New -PIPE ORGANS -Used and "Old Folks At Home." by the State University. each con- UJL/ Fun and Popularity Through Music Portland. A few days before uhe Organ” Stainer-Kraft and “Studies in Builders of pipe organs for church and studio. Ef- Naturally all lucky used instruments on hand at all Music Appreciation cert, for two I'edal Playing” Nillson. ficient, up-to-date names are drawn — priced very reasonably. We also rebuild and Name_ classes in the Portland times, high schools are members to represent the class. modernize tracker and tubular organs, additions of not taught the Q- In our chapel we have an electrified reed stops, couplers and chimes installed. Yearly care Address same way—there is the name® solicit inquiries. PRESSER CO * PHILADELPHIA PA no Not very long ago one of organ. We of organs. We THEODORE 1, set procedure are troubled with the fact that the any more than there is could we organ is a drawn was that of a girl who located in the balcony in the rear of Delesh Brothers — Organ Experts City. Zone State. specified text book. The He auditorium, incoming classes (Continued on Page 650) and that it is inadequate for 3 508-1 05th Sheet Corona, L. I., N. Y. City congregational singing. Our only plan to rectify I am a Teacher LJ Student 648 "FORWARD MARCH WITH MUSIC" THE ETUDE November, 1946 "FORWARD MARCH WITH MUSIC 649 8 — — N — " — ! —

the b°°k shouW enough to indicate why "^COMPOSITIONS FOR THE PIANO and why neglec Some Studies of Mazas be held in high esteem LEOPOLD WOLFSOHN any justification. PAGANI By of it is without u-J Intriguing Melodies and Harmonies Violin Questions are suPP^d w, Ideal for Studio and Concert. all the studies that Linger. ^/erfect Tempo Not teachers and artists. Page 621) and the teacher ACCORDION Used by progressive ( Continued from enough expression marks, cres 1st fo 2nd Grade put in additional I 7^ AT THE SNAP OF A SWITCH! would be wise to LIBRARY UPON A TIME .30 he , diminuendo signs where ONCE the magic playing it near the frog cendo and EXCELLENT FOR: WALTZ 30 Nevertheless, appropriate.. There is TOY . to be 3 5 OF THE of developing feels them I LULLABY r is the most effectual means line l BEGINNERS RUSSIAN -Answered L) HAROLD BERKLEY noticeable melodic 3 0 coordination. When it is a definitely AND GOOD FELLOWS MARCH flexibility and even in those studies, ADVANCED MINSTREL. . .30 last two practically all the WANDERING P*. MARIMBA being studied in this way, the 21, THE as Nos. 12 and STUDENTS to 3rd Grade / as specifically technical 2nd notes of each group should be thought lose ALSO should not be allowed to INSTRUCTORS SAILORS HORNPIPE . . .* 40 separate bows and not as and pupils V- #V of as two Up musical will 40 Violins by F. A. Glass At your age, people think they cannot are most sight of it. Those who Send for Catalog MINUET in one bow. In other words, Mrs. I. S., Arkansas. The violins of Fried- to your two notes these studies Circular E. REMEMBRANCE 50 — learn any more, and just give up. Now VMi instinctively play rich August w. almost Glass are between the first Up bow and the second, 50 not popular, owing to questions. (1) Making some records of your teacher can content HUNGARIA fact expressively, and the the that the inferior varnish he used gave studies and is an excellent way to improve hand should return to its original Medium difficult, fo concert grade solos the word of en- them a hard, glassy tone. He worked in Ger- himself with an occasional .40 your playing. If you listen critically to the starting-point. The best results will be LOVE SONG many between 1840 and reminder; but the av- 1855, employing a records, you will learn what you should or are made couragement or w 50 number of workmen. obtained if the bow strokes "289 BOLERO The value of his instru- should not do much more quickly than by needs something more than Bfeecker St; New York 14, BY. remaining erage student ORIENTALE 60 ments today is between fifty and one hundred criticism. Not from the wrist, the arm appropriate receiving even the best outside this he needs to see the IDYL 60 dollars. of course, motionless except as it may rise or fall — that you should not have lessons, marks of expression on the music. CLASSIFIED ADS SERENADE 5 0 but hearing oneself play is always a salutory when lower or higher strings must be book of Mazas, the 27 REVERIE 50 A Genuine Schweitzer? experience. (2) I do not think the records The second have 1 used. as are YOU X TEACHER? We Just Thematic Circular on Request J. H., Louisiana.—Johann Baptist Schweitzer would have any commerical possibilities, though every way Brilliant Studies, is in compiled a list of 250 most successful FOR THOSE The study should be practiced near was a very good maker, and a specimen of his I have often wondered why some of the large EASY first book, and some graded piano teaching pieces by Thomp- LEOPOLD WOLFSOHN EDITIONS SdfietiMf accentuation, and at valuable as the work, if in good condition, would sell today recording companies have not engaged estab- Play score better with this the point, with firm son. Williams, Diller, others Valuable Ansonia, Broadway at 73rd St., New York City any outstanding studies will be Hotel for between five and seven hundred dollars. the standard STUDIED PIANO Another excellent way of its more Teaching Guide. Cost 25 cent- Refund- lished artists fo record some of WHO HAVE the middle, lightly. But there discussed in a coming issue of The Etude. able with purchases. BROOKLYN MUSIC are a large number of very inferior books of studies. (3) Most players do need a modem precision instrument to discard the slurs, playing ’ "Doubling" on the marimba multiplies of using it is HOUSE, 772 Nostrand Avenu.-. Brooklyn violins on the market, each bearing a good fac- shoulder pad. If you feel you have to push up the triplets with the following bowing: 16, N. Y. Serving Teachers Kvcrv where. simile of the Schweitzer label, which are not your left shoulder in order to hold the violin the musical pleasure of those who I'ltlVATE (personalized i T7\ l.s for worth more than fifty dollars, if that much. firmly, then you too need one. On the Violinist’s for have studied the piano . . . Easy Ex.5 Classical, Popular recordings Attractive, Without examining your violin no one could Forum page of the August 1944 issue of The Music Count Electric Metronome Making practical, inexpensive. Samples Free. tell you whether or not it is a genuine Schweit- discussion ust plug [in the Franz pianists to play, the marimba may ViotiinA Etude there was a rather lengthy n v n, v n v Evanston, Jilin, is, 3ine U-P. Drawer 71, zer. In the January 1946 issue of The Etude of this subject. (4) The matter of sliding J dial the desired tempo—flip the switch and be carried anywhere to add life, lift AMAZING CAKOI, flloRD CHARTS: Old & New there was an article entitled “Fine Fiddles between positions is entirely a matter of taste. you have the ACCURATE, UNVARYING and so forth. This brings the accent on hr., -ns; piano; and sparkle to any kind of gathering in High School for strings, wood-wind; and Fakes!” which discussed Schweitzer at If it is done too often, the player is open to the alternately. organs; accordion; guitar. Names; S200 to *20,000 beat of any tempo. That's how easy it is with this expresses the Up and the Down bow all some length. accusation of lacking taste. If the emotional — a lifelong companion that readings: symbols: enhanrm; s; nota- The study should be practiced in this way content of the music urges you to make a new ELECTRIC METRONOME! . s every musical mood. Investigate. (Continued from Page 648) tlon/dlagrams-Ongerlngs/b : 15 types We endeavor to sell choice instruments at the frog, the middle, and at the point. chords; each based 12 chrom itically de- from our collection at prices considerably The Makers Ruggeri and Roger! slide, make one, but do not make another The new Franz Electric Metronome is a sensational improve' immediately afterwards. slide is effective ment over the old'fasbioned pendulum beater. No distracting rather too much scending lifths. Superb designs. Knrh below regular market value. Send for new P. B. t Utah.—Franciscus Ruggeri was bom The J. c. D EAGAN, INC. It would be asking with limping end $1.00. Analytic, Illustrated out , gue-10f. catalogue. in 1620 in Cremona, Italy, where he lived until in inverse proportion to its frequency. (5) The pendulum motion ... no spring to run down expect him to work on an afford to buy her own ticket. At the 1770 Berteau Ave. Chicago 13, Ml. of a pupil to Box 21K EelTerts, Brooklyn 25. X. V. about 1694. He was the first and most important difficulty you find in keeping a finger firmly tempo! The Franz Metronome is always steady, always accu' the period she went to the instructor exercise such as this until he had mas- of YOUR UNWANTED MUSIC banged member of this fine family of violin makers. set when you are using other fingers can be rate, always a joy and a convenience request. qualM . matched, mi-Jrente easily tered all the different bowings. He would with an unusual piece by piece, 5r each: Brandi SDraL BJLJ He is thought to be Nicolo Amati’s first pupil, overcome by the practice of simple - < don’t. ought Burpee's Specialty Shoppe, i . i n, Mich. but his work often differs extensions. Practice them, forward and back- As Dependable as Electricity probably, and justifiably, rebel. A better “Tommy loves music; I He Collector-Dealer considerably from ' /tbe> Muyi/dfr .... LEARN PIANO TUNING AT HOME. that of his masters. The tone of his instruments ward, with all fingers. Begin with halftone arriving at the same results to go to the concert. I want to give the AY SO CHIPPEWA ROAD, The Franz Electric Metronome is ofcrated on way of Course by Dr. Wm. Braid Wli rite Karl is large and generally of excellent quality. extensions; when those come fairly easily, if it is all right with you.” ls St.. 1 - rite, lnd. TUCKAHOE, NEW YORK would be to give him two of the bowings ticket to him Bartenbach, 1001 Wel Today they are valued from $4000.00 to $8000.00. try whole tones. All good wishes to you. AG current. It gives a clear, resonant efeds-tfL for a couple of weeks at most. Then, In most schools the course is planned COMPOSER- ARR A G EH ! "la set to But there are many violins and cellos on the mark any tempo from 40 to 208 beats per minute. Planoscor. < npywork. school calendar. For Music. Complete market bearing his label which are only in- Hopf Violin Makers if he has made fair progress, to drop with an eye to the oared for You can change tempo with one hand while Manuscripts corrected and ; ferior copies. (2) G. B. Rogeri was bom in Miss E. R., Brazil.—It is always a pleasure study for a month, returning to it example the course often begins with a' publication. Danford Hall, 12 5s Greenleaf, the Franz Electric Metronome is beating, and you the Brescia, Italy, about 1650, and worked until to hear from our readers in distant lands, but “School linking school songs with Chicago 2C, Illinois. ANTONIO STRADIVARI’S HISTORY with two more bowings. And so on. Unit”— about 1730. He, too, was a pupil of Nicolo Amati, your letter was doubly pleasant reading be- can start or stop it instantly. Timing is controlled IIE ill PI ANO enjoyment of school life. That is DON’T EMBARRASSED Second Edition, S3. SO cause of kind things you said about the the PRACTICING. Use Mayo’S liming device and ranks at least as high as Ruggeri. But he the by an efficient motor—the kind used in high grade too was extensively copied by inferior makers. Violin Department of this magazine. Thank followed in turn by the national, mod- In > ,mr prac- "Snapping" the Fingers which enables you alone to , electric clocks. The Franz Electric Metronome is ticing. Easily attached with mt harming you very much. The name “Hopf” is that of ern, symphonic, folk and spring-dance fool-proof—built to last a lifetime! mechanism. State make of piano and send Imitation Labels Again an unusually large family of violin makers intermediate grade there are units. $5.00 for Silencer full mictions. who worked in Klingenthal, Germany. The The simple classic beauty of the Franz Electric Metronome In the and C. K., Ohio.—Stradivarius was bom, lived, “finger-exercise” studies than In all courses, however, there is a Guaranteed. Richard Mayo. I no Tech- first known Hopf died about 1711; the last of will enhance your home. Rich black plastic case 5* wide, 4" no better and died in Cremona, so naturally all his violins tt nlcian, 1120 Latone St„ Phllad l a 47, Pa. whom I have any record was bom in 1830. high, $% deep, with 10 ft. cord and plug. Case is completely MUSICAL FLOWER RACK Nos. 13 and 19. They are excellent for definite tie-up with musical news. When were made there. Instruments having a “Strad” — ATTENTION! Will sell, The family may still be making violins. Most sealed and dustproof. with Motif STUDENTS The only complete book on sale. label, but made in Czechoslovakia, are very Decoration a Music word of Jerome Kern’s death was flashed ’ < increasing the strength and independ- Phllomonlc Edition, set of Mu- Encyclo- Hopf violins are of ordinary Excellent for personalizing your studio. Gift cards Illustrated. Prospectus Free. inferior, factory-made affairs that bear no an commercial ' to the world, regular class work was in- pedia, Published by Unlvei ir Society, '/ choice Ma- of fingers. However, their value quality, worth at most one hundred dollars; Try for 10 Days, at Our Risk! enclosed. Size M'/i" by 22 2 ' • Your ence the V. C. SQUIER, Author and Publisher resemblance at all to the works of the great seven volumes, covering eni . range of hogany, Maple, Natural, Chinese Red, Char- noticeable results terrupted and time was devoted to this but occasionally one member or another of is much enhanced, and music, beautifully bound, in r rt condi- Battle Creek, Michigan Antonio. It is not often that one finds a genuine Hundreds of students and teachers depend on the Franz Electric treuse—$7.95 Postpaid. the family produced an instrument of much more quickly, if they composer’s life and the music he created. tion for $20.00 paid $79.00. Mr- Louis J. Stradivarius label inside any other make of Metronome for accuracy and correct tempo. Prove this pre* Also Musical What-not Shelf—Same tasteful are obtained much better 1 Gladstone, grade. These have sold for as much as * Smith, 815 Minnesota Ave.. . violin, imitation labels are to found in cision, yourself! Mail Coupon today with $12.50 (check or 1 '/ but designing & colors. 2 x ll'/V', depth— play them; Portland’s pre-Lenten opera season of- be 5W are played as a pianist would two hundred fifty dollars. Michigan. and Apparently your money order) for io-day trial or, if you prefer, we will ship S4.95. PHILIP fered excellent opportunity many thousands of violins, instruments worth — JACKSON that is, if each finger is lifted with alac- an for intro- special Tjg Henning Violin violin is one of the better ones. -i , ued-songs C.O.D. much your playing is improved! 3828 Wilshire, Los Angeles 5, Cal. MUSIC COMPOSED, orcln from ten dollars up. See how If not duction of material. rity and “snap” at the moment the next fresh Five classes at arranged at small cost. Zygmund Rondo- Credit jp* deep - mellow - soulful delighted, return Metronome for prompt refund. And remem* manski, Holke ltd,. Independence. Mo. a limited time you can pur- The Makers Neuner and Bertolini ber, the Franz Electric Metronome comes to you with a finger stops its note. When the studies Jefferson voted “Carmen” their favorite On For Violin 5-year chase this high-grade violin, with A Gagliano L. E. F., Used 6 keyed ~T > Flat low Kentucky.—Mathias Neuner worked written guarantee. only one finger opera and reserved a block of one WANTED— the qualities of the finest, at a price are played in this way, hun- rendition. S. B. H., Ontario.—Many thanks for your in Mittenwald, Germany, pitch piccolo. Must be In geo.) far lower than ever asked for such an between 1795 and TRICKS! given dred tickets that they might attend Ball- interesting and friendly letter. I am glad that PIANO string at any mo- the Ford St., possible by our 1830. of large family will be on the Address Joseph Kerley, 11 instrument; made A member a of makers, our bi-monthly Break Studies many years of experience in violin my reply was helpful to you. Your Gagliano Every issue of finger should be lifted as opening performance in a body. ston Spa, N. Y. he was influential in building up the firm of ment. The TTT making. Satisfaction guaranteed. brings you clever arrangements for building f{ , must be a very fine one, and I congratulate FOR SALE Violin by Me'r aS Albani. Neuner and Homsteiner. The violins he made extra choruses of 8 popular songs on the cur- possible—but remaining curved, They selected as their slogan for the lor GUSTAV V. HENNING high as Bulsano 1690 lias certificates of for you on possessing it. himself Enables you to fill in new about Information Box 405. Belfalr, Washington are of much better quality than those rent "hit parade.” they must fall on the opera season: “Go to an opera or hear Dykes and modem-style breaks, novel figures, boogie- of course—and Messers. Beare and Messers. produced under the firm’s name. They are Sons oversize back, beautiful woogie effects and tricky embellishments. strings with an instantaneously strong one.” Those unable to 'attend a per- 14% Inch A Violin Made by Gorz worth today between two hundred and four condition and lovely robust lone suitable formance were required Minnesota. I find no mention hundred dollars. INVALUABLE TO PIANISTS, grip. This method of practicing finger to listen to the orchestral work, bargain $650. Howard A. Miss L. A., — can (2) Nicholas Bertolini is a of a maker named Sebastian Gorz in any of the modem Italian maker whose work is quite exercises and trill studies is of compar- broadcast. Familiarity with the story and Walker. Box O, Parkside Sask. Canada. TEACHERS AND STUDENTS! your IVilluun- andSon reference books, ^nd the experts I have spoken unknown in this country. He is not mentioned recent origin, but a few days of music made the performances doubly en- MUSIC MANUSCRIPTS made from Single copies are 25 cents, stamps or coin. By atively 1 not of him. Are you in any of the books, but pencil Draftsman, 207 South . III. to in New York do know an expert to whom subscription: $2 for 10 consecutive issues. Send joyable for them. copy bv professional Wabash Ave Chicago 4, experimentation with it should convince made for sure you have deciphered the name correctly? I spoke said he had heard of him, though he now for the latest issue. Mention, if teacher. frame the original. Tracings SPECIALISTS IN VIOLINS, BOWS. REPAIRS, etc. Students look Dixie had not anyone of its value. forward to their weekly photo prints. Work guaranteed. CATALOGS and LITERATURE on REQUEST If you have, then he was probably an amateur, seen any of his violins. The value of AXEL CHRISTENSEN STUDIOS 74S, Drafting and Design Co., P. O. drawer PUBLISHERS else a workman employed by some firm but your instrument would have to be III. it is indicated that Nos. “Friday for Fun” program. On that OF "VIOLINS and VIOLINISTS" or determined 752 Kimball Hall Bldg. Chicago 4, On the music day Doucette. Texas. America's only journal devoted to the violin who signed some of his instruments with his by its individual merits—its workmanship 21 and 22 are to be played at the point. they sing the three selections, receiving VIOLIN for sale, Andrews Guarncrius Specimen Copy 25£— 12 issues for $2.50 own name. The value of such an instrument and tone quality. the highest vote. But if they are also practiced at the frog A recent group Included' 1669. Authenticity guaranteed by Hill « can be judged only by the workmanship and Sons, Presented in 185s the resulting gain in flexibility of the Yankee Doodle, “Sympho.ny,” and 'Bells London. England. the quality of the tone; it would have no by Lord Dunmore to Dr. F. 1L Terrington, #T HOME noticeable. of St. Mary’s. Musical standard market value. LEARN PIANO TUNING wrist will very quickly be guessing games Toronto. Beautiful tone and in first class I purchaser. JOHN MARKERT & CO. ATTENTION TONOMETER No. 21 is played at the frog it and cross word puzzles also find a favor- condition. A violinist preferred 135 W. 45TH ST.. NEW YORK 19. N. Y. ! WITH OUR HEW PATENTED When On- Apply Dr. H. M. Torrington, Sudbury, VIOLINS 8c Questions of Interest Answered be started with a Down bow as ite spot on the program! OLD NEW Several invaluable should tarlo, Canada. l Expert Repairing. Send for Catalog A scientific teaching-tuning instrument J. H. R., Illinois.—Thank you for your splen- VIOLIN MASTERS alike. Simplifies learn- well as with an Up bow. Playing the As each unit of work, is finished, to beginners and professionals the HARMONY, Composition. Orchestration, did letter. No one could help admiring the guesswork, and assures accuracy. I have ing, eliminates upper notes with the Down bow calls student makes an. appropriate title page Musical Theory. Private or Correspond- courage and ambition of a man who resumes retired from music and will sell my original 53 Wallace St., New Haven, Conn. ence revised and "Janurius Gaglianus" violin. Beautiful and a per- voic- Motion for his Instruction. Manuscripts study after being so long away from it. Send the FRANZ ELECTRIC METRONOME, We teach precision tuning, action regulating, for a greater use of the Rotary scrapbook and enters material violin fect pattern after Strad., made in 1700. This violin corrected. Music arranged. Frank S. But- for which I enclose $12.50 (check or money order). 1' and ing and fine repairing in one practical, easy 1945 used. has never been taken apart and has not a single of the forearm—see the November The latter varies widely from ler, 32-46 107th St., Corona, N. V. If after 10 days' trial I am not thoroughly delighted, complete correspondence course. Refresher course mu- crack in it yet perfectly balanced by the Master and — I may return Metronome for refund. great shortage of issue of The Etude than is needed when sical programs, copies PIANIST! popular hits, standards, possesses a tone of the utmost purity with Tonometer al60$ available. A of -school songs, Play and tremen- today. Here is a well-paying, with breaks Phil Saltman, dous penetrating power. Brought to this country piano tuners exists these notes are played Up bow. This can- musical pictures down to composed by PIANISTS TEACHERS Name three months you can sketches and pianist. years ago by my parent. And in 1924 I’ve compared uncrowded field. After two or leading Boston teacher and radio are interested in methods or exciting (PLEASE PRINT PLAINLY) agility of the caricatures; Whether you its tone quality Our School established in not help increasing the from books that Sample glorious the inter- against two $25,000 Strads and one begin to earn money. are artistic Up-to-date, new ideas monthly. violins piano solos, you will find them among MUSIC hand-made of $18,000 Garnarious and its tone proved unique. Address 1898. Send for free booklet. student’s bowing. to the smudgy offering Bulletin—25 cents. KENMORE Frasers. Singing tone esting ROBERT WHITFORD PUBLICATIONS for of the ijoy C t5 lng Only $10,000 takes it or will sell to who 1«. ', Power. every- At your favorite music counter or direct. the highest COMPANY, 581 Boylston St., Boston ?!r Winning fame PIANO. of these Thirty Spe- devoted catalog. State if teacher. bidder. More information if desired. City There are others an extra page to “Bock”—“be- Mass. pYm. Moderate in price. Free folder. Write for free Zone State NILES BRYANT SCHOOL y t ne • of other violins corrected. Ex- cial Studies that deserve comment; what cause he rests me.” Glis- perttipV?. 9 WHITFORD PUBLICATIONS Check here for C.O.D. shipment. Pay postman 16, D. C. PLACID J. POLSINELI.I VIOLINS repairing, ROBERT P.O. Box 5565 Washington refinishing. LEONARD KEND $12.50 plus postage. Same io-day return privilege been said, however, is probably ( Continued tom Made $750 up. Exclusive Varnishes, of Exclusive Piano Material has on Page 660) CHELSEA FRASER M.V.M. "Publishers applies. 922 Sherrlck Rd. S. E., Canton 4. Ohio. Dept. 5E Erie, Penna. P.O. Box 52 Phillips, Wise. U.S.A. — 2025 STARK. SAGINAW. MICH. 18 North Perry Square "FORWARD MARCH WITH MUSIC” THE ETUDE November, 1946 "FORWARD MARCH WITH MUSIC” 65 . —

partnership Ear, Hand Eye, Ear, Hand-Eye, Ear, Gilbert started Thereupon the was dissolved Eye, Hand-Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear, into the sentimental slough of the sixties. Two years later, in 1869, German Reed, and Sullivan returned to more serious to in the public eye, he to prepare librettos for . . right good In order remain oratorio, Gatherings” were the music. An The Light of the was setting to music anything that came whose “Illustrative book theatre. Humor World, a Te Deum and a number his way, including a number of inferior Victorian euphemism for of A Ttecu AlfefrrruzcA ta t&e 7eae£i*ty t&e “Piatta toQ" cheap lighter works established him as TtO partners poems by Tennyson. However, both Gil- and cleverness began to replace the for Pinafore, leading composer in England. A bert and Sullivan were slowly coming to wit, and the foundations degree of Doctor of Music from Cambridge ( Page G24) etc., were strength- con- ISIDOR Continued from the crossing of their paths. Pirates of Penzance, PHILIPP LOUIS SUGARMAN his position. w firmed The former had now ventured into ened. the merest these same “Illustrative It was chance that led had his first great success in London. musical comedy, via the burlesque. He It is for This METHOD represents an original yet simple approach to the teaching of elementary started to Gilbert and Sullivan together again. with the score singled out a number of popular operas Gatherings” that Sullivan had The piano. Its chief value Jies in the fact that it at once attracts ihe interest of the pupil and, more He returned from Leipzig prepared librettos by Burnand. former had a libretto, Trial piano by for incidental music to Shakespeare's of the day and wrote parodies of them. prepare scores for essential, retains it. The aims of this METHOD are attained by a novel system of progressive and Box, and Jury, based on one of his early Tempest. The music was well-received Some examples are Dulcamara; or, The Two of the pieces, Cox Bab lessons which are characteristically illustrated and provided with appropriate lyrics. In conjunction considerable Ballads and had given it to Carl with this, and won for Sullivan the friendship of Little Duck and the Great Quack, Contrabandista, met with Rosa the individual functions of the eye, ear and hand are coordinated towards acquiring the 300 for scoring. However, the latter Charles Dickens, with whom he subse- (L’Elisir d’amore); The Merry Zingara; success, the former having a run of was un- fundamentals of sight-reading, ear-training and transposition. Another important feature is the able to complete the task. HO® * Some technical quently went to Paris. There followed, or, The Pipsy-Wipsy and the Tipsy performances. time development of the left hand on an equal basis with that of the right—a feature later, Gilbert took the MET William piece to from Sullivan’s pen, a large number of Gypsy, (Bohemian Girl); and The Pretty It was at this point that Richard heretofore little stressed in other methods. D'Oyly Carte, manager of the incidental compositions, many of them Druidess; or. The Mother, the Maid and Gilbert and Arthur Sullivan finally met, Royalty By its appeal to the latent musical talents of the student, this METHOD by its genuine Theatre. Carte needed a short cooperation prove permanent foundation “parlor pieces” of the type which adorned the Mistletoe Bough (Norma). These although two years were to pass before opening “Piece SI.00 of the three senses active in music, should to be a piece and suggested that Sullivan every Victorian music stand. Like Gilbert, burlesques were, for the most part, quite their collaboration began. At that, the set the towards the study of advanced piano. verses to music. the young composer was having diffi- crude—Gilbert at his worst. Yet, they first venture was hardly a success. EDWARD B. • composer was delighted MARKS MUSIC CORPORATION • RCA Building • Radio City New York 20, N. Y. culty in finding his niche in the musical pointed the way to the Savoy operettas Thespis ran for just one month and did The with Gil- bert’s libretto—he was, world and he was in danger of falling that were to be their offspring. not play to full houses in that time. in fact, con- Eye, Ear, Hand—Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear, Hand—Eye, Ear, Hand-Eye, Ear, Hand-Eye, Ear,

vulsed with laughter during the reading mented their on method of collaboration: opera, but was really becoming a play THE MAGIC and in three weeks had completed the “We have been working together har- with a few songs and some concerted scoring and the rehearsals. The work moniously for the last seven years and music.” Tn other words, each felt that was presented on the same program have learned to understand each other his particular medium was being sub- ff with La Perichole, a tuneful operetta by so thoroughly that even the faintest ject'ed to the other’s, %ACCCCt>0 -f—lUC CCC&& that master of light music, Jacques Of- suggestion of the one meets with a The beginning of the end came as a fenbach Yet, within a few weeks, it was ready and sympathetic response from result of a business, rather than an Trial by Jury that the audience came the other. In all this period of active artistic, argument. It involved D’Oyly FINGER DEVELOPER to see. Thus, unpretentiously, English cooperation it has never even once oc- Carte, and the installation of new carpets comic opera was reborn and the pattern curred that we have disagreed as to the in the Savoy Theatre, agaipst the express A new invention for pianists was started for the Savoy operetta. There way in which an idea should be carried wishes of Gilbert. The latter’s famous Why TRAINED MUSICIANS The use of this exerciser a few minutes daily is was the unique use of the chorus, so out, be it either poetically or musically.” temper erupted, there was a violent quar- guaranteed to improve the touch of any pianist. It has been stated by many that it will revolutionize different from the overblown character Many years later, the teamwork was not rel in which Sullivan sided with D’Oyly pianoforte technic. hands and of Italian opera; there was also the as smooth as is indicated here. Carte, and the partnership, which had It develops the muscles of the fingers, arms in a new and wonderful way and so quickly a Better of Income astonished. appliance consists Command that users are The famous autobiographical ditty which was been so profitable both artistically and an ingenious arrangement of rings and line silk cov- to recur in every Gilbert and Sullivan financially to both sides, ered elastics, which creates wsistance on'^hi) ' down- Artistir ClnnAc r... was at an end. ” ward'' and assistance on t he ‘upward” movement of .operetta; 'The Judge’s song: “When I, Several months later, Gilbert was moved the lingers. The effect of this is noticed immedYif^ly. good Friends, was called to the bar”; the Patience, the to apologize for his rashness greater speed and brilliancy being attained. The next operetta, was but Sulli- Send for valuable free literature. Order today. magician’s tong, “Oh my name is John first to be produced in the Savoy Theatre, van still smarted under his biting re- It costs less to have one than to bo without it. PRICE $10. University Extension Conservntory Wellington Wells”; Sir Joseph’s autobi- henceforth to be the home of the com- marks. They collaborated on only one Mfg. and sold by ography, “When I was a lad I served a pany, and from which is derived the more work—the unsuccessful Grand 1903 - THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC - 1943 term,” among others. term “Savoyard” for admirers of Gilbert Duke. The famous association did not CHAS.,T. MARSH The success of Trial by Jury gave and Sullivan’s works. But the easy even end grandly—it petered out slowly 895 EAST 64th AVE., VANCOUVER. B.C. MEMBER OF D'Oyly Carte an inspiration—why not collaboration of the early operettas was and damply. form a comic opera company on the style becoming more difficult. Sullivan was However, the association had served its MUSIC IN MEDICINE Extension Courses by noted teachers, leading No entrance requirements except for Degree of those on the Continent for the pur- growing dissatisfied with the sameness purpose, and, considering the wide dif- hy pose of encouraging and propagating ferences in temperament between its to Diplomas, and Degree of Bachelor of Music. Courses. Credits earned by using your spare of the plot, which he referred to as the two Dr. Sidney Licht English comic opera. It time to break members, it had fared better than anyone was “lozenge” plot. After the completion of Price: $3.00 time for advancement. the influence of the French stage in Iolanthe and Princess Ida he insisted that could have hoped. It re-established Eng- You can prepare yourself for a better position Published by Britain and this seemed the ideal mo- Gilbert give him a libretto of "human in- lish musical comedy and left a legacy New England Conservatory of Music by studying at your convenience by the Ex- Catalog and illustrated ment. Accordingly, in 1876 the Comedy terest and probability” rather than the of gay and charming music and witty lessons sent without Boston 15, Mass. Opera Company was organized. Its first fairy tales he had been concocting. He lyrics to brighten the theatre, tension Method. obligation to you. Check coupon below. production was H.M.S. Pinafore. Writ- felt that his tunes were becoming “mere Make THE ETUDE Your Marketing Place ten for the company which D'Oyly Carte repetitions,” that they were beginning Etude Advertisers Open the Doors to Real had organized, it was a much better work possess strong family resemblance.” A DISTINGUISHED FACULTY OF ARTIST TEACHERS “to a Opportunities — HIGHEST STANDARDS OF MUSIC INSTRUCTION than its predecessor. Its satire was more In short, Sullivan had grown tired (or pointed, Americans WHAT PROGRESS EQUIP YOURSELF FOR BETTER the music more polished. It thought he had) of the musical comedy ARE YOU MAKING? A POSITION This is Your Opportunity—Mail the Coupon Today! added to the typical plot situation the stage. Also, personal relations between the A proof of quality is important for one inter- Spend Billions elderly lady with her elderly admirer, collaborators were no longer as cordial as LANGUAGE Your musical knowledge—your position and in- ested in further musical training. Our courses offer UNIVERSITY EXTENSION the youthful pair parted and re-united, they had been. Sullivan felt that Gilbert come today—are the result of the training you CONSERVATORY, Dept. A548 for you the 765 Oakwood Music same high quality of preparation which Blvd., Chicago. Illinois. all of which were shortly to become was making him the butt of his witticisms IS POWER have given your natural ability. Additional train- ( has developed Please traditional. Continued from Page 614) . • . Forge ahead, win and trained many successful musi- send me catalog, sample lessons and full information Again, the venture was and had confided to a friend that he ing will open up new fields, new opportunities, regarding special assignments, cians and teachers in the past. course I have.marked with an X below. crowned with success, not only In Lon- could not stand it much longer. On the There % no possible way they say of promotion, better job greater income and higher standing in the musi- Piano. Teacher's Normal on, ut in the United States as well, other hand, Gilbert was doing his best to NATIONAL HOME STUDY COUNCIL Course Q Voice estimating how much money the public in global peace time cal world. where a pirated production was playing patch up the misunderstanding and fi- opportunities through Piano, Student's Course will pay to attend concerts but they point The Council is an Association of which we are a Choral Conducting some ability to speak a for- monuis before the composer and nally, in 1884, another plot was agreed _ Public School Mus. out that top flight artists such as Lauritz eign member. It includes the outstanding correspond- 0 —Beginner's Ubrettist laoguage. This valuable training, through our Extension Clarinet came to the States.. Some of upon-one “without the supernatural or Melchior Public School Mus.— of the Met or Jose Iturbi the MASTER A NEW LANGUAGE ence schools in the United States with headquar- D Advanced ite lines Sullivan hopefully it. Courses, may be taken at home with no interfer- Dance Band Arranging became stock phrases in ordi- improbable” as put pianistj attract gross gates of $10 0q 0 to quickly, easily, correctly by ters at Washington, D. C. Members are admitted Advanced Composition conversation, as for the Gilbert gave him The Mikado. ence with your regular work just by devoting to Violin example 15 ,000 for each What! $ concert appearance and only after rigid examination of the training courses Ear Training & Sight Singing Never?” "Hardly ever,” com- Certainly, The Mikado did not sound UNGUAPHONE self-study the minutes that Guitar tbey average about thirty concerts a year, many each day ordi- The world-famous Linguaphone Conversa- offered. History mnation which still crops up today, 75 like the music of a composer who was narily of Music are about twent artists whose tional Method brings voices of native teach- go to waste. The progressive musician, as Mandolin years later. It got to be too much for the played out. Its tunes are among the most popularity ers INTO YOUR OWN HOME. You learn the We are the only school Harmony sustains these high figures ‘ busy as he may be, realizes the value giving instruction in authors new language It's of such Saxophone themselves and in the Pirates colorful in the Savoy repertoire but its by LISTENING. amaz- music by the Home-Study Method, Cornet— There is no central registry in existence ingly simple; thousands have succeeded. study and finds the time for it. which includes D Trumpet Well paid positions Reed Organ nce’ Gilbert included line plot situation were definitely in the “lo- a that accurate i estimates the number HOME-STUDY COURSES IN 29 LANGUAGES in its curriculum all the courses necessary laooutt «l“ y are available to to ob- Advanced Cornet that infernal .” tradition. Still, the verses are Gil- those who are ready tor them. Banjo nonsense, Pinafore zenge” of dance bands in the United States Send for FREE book— tain the Degree of Bachelor or of Music. Name could they escape their own creation bert at his best as are the characters. Age 011 LINGUAPHONE INSTITUTE a subsequent visit their next work, Ruddigore, the YOU can do it too! It's up to YOU! to the continent With 39 RCA B ldg., • 7-0830 A Diploma Is Your Key to Success! Street No. where, New York 20 Circle at a royal reception at Kiel, breach between the two men continued to LEARN "SWING" MUSIC City Prince Quick course to players of all tnstrumenta -make your UNGUAPHONE INSTITUTE, Wilhelm, future Kaiser of widen. Both expressed their dissatisfac- own arrangements of “hot" breaks, choruset,, State Ger- 39 RCA Bldg., New York many, embellishments, figurations, blue notes, whole tones, etc’ 20, N.Y. bowed to Sullivan and sang, as a tion. Gilbert writing to a friend: “That MODERN DANCE ARRANGING Are^you teaching Send me the FREE Linguaphone Book. now?...... If so have chorus Duets, trios, quartettes and ensembles—special choruses University Extension , how many pupUs of one: seems to my uninstructed ear to be Conservatory “He polished up the music —modulating 0U handle to other keys—suspensions—anticipations Name y°u hold a Teacher's Certificate? of the big front door.” very fine indeed, but—out of place in a —organ points—Color effects—swingy backgrounds 7 6 5 BLVD. (DEPT 5 4 ^ Write today. Address City OAKWOOD A- 8 ) CHICAGO 15, ILL. ave you studied It Harmony? to earn was in an opera,” while Sullivan complained ELMER B. FUCHS' Would you like interview published in comic Language Interested _the Degree the New 335 East 19th St. Brooklyn 26, N. Y. of Bachelor of Music?. York Herald that Gilbert com- that: “the piece was supposed to be an

'FORWARD MARCH WITH MUSIC” November, 1946 "FORWARD MARCH WITH MUSIC” THE ETUDE 653 o ” — I

Music” simple notion that is there of a utterly “And So to “the false basis. The number of fine with a rod in her hand keeping woman compositions for ’cello is staggeringly to the musique while it plays, which large, time and many worthy new works are Page 609) simple, methinks.” being produced ( Continued from is each year. Yet among He is much interested in hearing the many ’cello concertos which should JOHN M. WILLIAMS sing as is the new fashion eunuchs in be featured on symphonic programs, the they sing high court. Although and have only works known to any When Pepys of poached eggs, now in a coach full large section of a lute as to keep a horse.” “mellow kind of sound,” he adds that the OBERLIN takes of passengers. a musical public are one of Haydn’s, lute it first attempts to tune his been as well pleased with FAMOUS has wom- one eac t* with There was evidently no standard size he by Saint-Saens, Boccherini, him the greater part of a morning . pitch, each instrument perhaps en’s voices. Dvorak, and (to a lesser degree) Hill, an instrument or differ- one by the help of Mr. to the most others although ail Finally we come striking Lalo and one by able to tune it by him- ing from containing Schumann. In other maker. Later he is of all—his reaction to a new BLUE passage words, there are mentions doing several a true scale. For that reason Pepys has very fine concertos by self, which he instrument, a “recorder”—“so sweet to make a special order of a flageolet wind Elgar, Hindemith, Toch, Villa-Lobos, times. that it ravished me, and indeed, in a Milhaud, genuine contempt to match' his own so that he can play Delius, Schoenberg, and other Pepys shows more soul BOOKS did wrap up my as that it well- duets. In addition he orders one to word, composers of similar stature, which are COLLEGE for the guitar than for any other go really sick, just as I “low and soft,” which pleases made me have almost never heard because most ’cellists, known instrument. Perhaps his worry him “mightily.” formerly been when in love with my unwilling to lose their precarious and trouble with the King’s guitar, hold GRADE-BY- GRADE These are but typical allusions wife; that neither then, nor all evening on the public’s fancy by playing CONSERVATORY OF MUSIC which was placed in his safekeeping at from un- going home, and at home, I was able familiar works, Restoration, soured him the Diary to the instruments in vogue fail to realize that the PIANO the time of the anything, but remained COURSE and the frequency and flavor of a good to think of all truly far-sighted performer advances his against it. He writes, “I troubled much transported, so as could musical evening at home, with family night I not be- own cause by advancing the cause of A professional music school in an attractive with the King’s guittar, and Fairbrother, PROPER TEACHING SEQUENCE or friends. lieve that ever any musick hath that music. the rogue that I intrusted with the carry- college over the soul of town. (Member of the National Fortunately the Diary also real command man as In recitals, too, ’cellists tend to ing of it on foot, whom I thought I had contains con- VERY FIRST PIANO BOOK 75 references of even broader this did upon me.” tinue drawing the same small Pupil’s musical vocabulary and playing experiences are limited to Middle C Association of Schools of Music.) lost.” significance specialized With this glowing personal tribute to —four notes up and four notes down. certainly not to anyone interested in the development audience year after year, because their His low opinion of it was THE HAPPY HOUR BOOK .. 1.00 Thorough instruction for carefully selected and history of music. The diary music we take our leave of Pepys, grate- programs usually confirm the widespread hearing it poorly played, for years Pupil enlarges his musical vocabulary. Plays and reads notes on the entire the result of which, were years marked by change, ful for the details when fitted opinion that the ’cello is a medium per- grand staff, altho playing is confined to five-finger position. students in all branches of music under artist teachers. he often admits the skill of the perform- by new together, form a living mosaic, a re- fect for the FIRST GRADE PIANO BOOK .. ... 1.00 heard a Frenchman play "upon influences. Charles II introduced conti- playing of somber and touch- Special training in band and choir direction. er. He Pupil learns all the major scales, the tonic, dominant and sub-dominant nental ideas and encouraged certain markable picture of music in a period ing opuses, but incapable of verve or the guittar, most extreme well,” but adds chords in each key. changes in musical fashions far from our own. gaiety. The standard selection Write for catalogue describing Oberlin’s conservatory his opinion of the instrument, saying, and trends of pieces, ADVANCED FIRST GRADE BOOK 1.00 Thus Pepys’ Diary stands as a Bridges the gap usually found between first and second grade books. is a which Pepys is quick to notice and re- monu- many of them arranged for ’cello from courses and its superior equipment practice “though at best methinks it but (200 ment to that period in musical history compositions SECOND GRADE BOOK 1.00 bawble.” On another occasion he heard cord. written for violin or voice, rooms, 23 modern organs, etc.). Degrees: Bachelor of dominated by the amateur musician. It fails THIRD GRADE BOOK 1.00 a Signor Francisco play admirably, “so to take into account the great num- A Changing Musical World Mr. Kingston, organist, FOURTH GRADE BOOK •• 1.00 Music, Bachelor of School Music; Master of mightily troubled that all is a who tells ber of works written specially for the well as I was FIFTH GRADE BOOK 1.00 been taken upon For example, it is amusing to share Pepys about the plight of the profes- ’cello by most of the world’s great com- Music, Master of Music Education. that pains should have All contain carefully chosen selections each preceded by explanatory sional musicians, saying that many of posers, including so bad an instrument.” Pepys’ pleasure in discovering that the sonatas for ’cello and and analytical text with practice suggestions and procedure. King is “a little musical.” Thr discovery them are on the point of starvation, piano as rich in variety of tone, tempo He his little to say about the harpsi- Frank H. Shaw, Director, Box 5116, Oberlin, Ohio. “they being five years behindhand for and emotion as the chord, important predecessor of the pres- is made during a church service when more popular sonatas WRITE FOR COPIES "ON EXAMINATION" their wages; nay, Evans, the famous for violin and piano, ent-day piano, which during the six- he observes that the King “kept good man and also a variety of upon the Harp, having not his equal in other brilliant teenth, seventeenth, and eighteenth cen- time with his hand all along the an- display pieces which would the world, did the other day for be turies held a position analogous to that them.” He comments on the new music die mere worthy additions to any ’cellist’s want.” now accorded the piano. For one thing in the service, “the first day of having repertoire. BOSTON MUSIC vialls COMPANY he could not persuade his good friend and other instruments to play” The monotony of the ’cello programs between verses of the anthem. heard in our American is Mrs. Turner to give him lessons on her The King concert halls 116 BOYLSTON STREET BOSTON [0, MASS. new harpsichord, which did make him was modeling his chapel after the one not, however, altogether chargeable to the CHICAGO MUSICAL COLLEGE quite angry. at Versailles, using twenty-four violins, artists themselves; for the sad truth is “after the French fantastical light way.” that only a small fraction of existing Founded 1667 by Dr. F. Ziegfetd ^ RUDOLPH GANZ, President Pepys and His Violin Some of the foreign Ideas introduced ’cello works are available in this country Short Rote Solos CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. The ’Cellist Member of North Central Association and National Association of Schools Music by the King are not received too warmly. Looks Ahead in their published form. Now that the war of The violin, even in Pepys’ day, was ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Pelham, a musician brought from France, is over, ’cellists can make a great step considered the basic concert instrument, Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois was high in the King's favor. Pepys con- ( Continued from Page 623) forward, in the matter of securing fresh fl Set of Seven the art of playing it as generally under- siders an antheni done by him “a good program material, by insisting that stood as piano playiifg is today. Pepys piece of musique,” but he cat. it call it American music stores carry a more com- spent many enjoyable hours at his vio- FOR PlflflO anything but instrumental music with upper ranges up to the highest, as nat- plete stock of European editions and V \ -SMOPOLITAN lin. While on 'ship-board making that the voice, for nothing is made of the urally as one does in the first position. (even more important) that American SCHOOL momentous trip to the continent to bring 8T \ OF’ MUSIC words at all. Such judicious distribution of work music publishers bring out new editions, ROSSETTER COLE, Dean back Charles II, Pepys and Will Howe When the Puritan regime had set in, among all the strings would eliminate with improved modern fingerings and No. 8230 • 35 Cent. \ 43rd year. Accredited. Offers courses spent many hours “at our viallins.” in all branches of Music. Certificates, an ordinance was passed against “Idol- a great deal of the jumping from one bowings, of old works which have gone diplomas and degrees. Desirable board- The violins needed a bass to balance E / atry and Superstition” (1644' in which position to another which lessens speed, out of print. Another aspect of reper- ing accommodations. Located in down- their high “scolding” tones. What was / town musical center. the destruction of all organs was en- makes intonation insecure, and often toire-building which deserves very special CONSERVATORY Box E, 306 S. Wabash Ave., ChicagQ4, 111. known as a “chest of viols”—two bass, I. FISCHER & B R 0. joined. By the time of the Restoration necessitates either breaks or glissandos. consideration is our duty to give repeated NEW TORN / OF MUSIC \ two tenor, and two treble viols—gave the 119 West 40th Street there was “scarce an organ-maker in the I use the word “judicious" advisedly, hearings to the ’cello works of contem- 80th ANNIVERSARY YEAR M1LL1K1N CONSERVATORY OF MUSC needed balance. / \ kingdom.” Pepys dates the refurn of however; for this, like any other mu- porary composers. While our present A complete school of music, dramatic DECATUR. ILLINOIS Of the viols, the bass viol was the most organs, did sical repertoire is as large, in proportion to art and dancing. Courses lead to degrees. saying, “that day the organs ^ counsel, is subject always to the PIANO Offers thoro training in music. Courses leading to important. Time and again we see Special Pepys IMPROVE YOUR students may enter at any time. Certifi- begin to play at White Hall before the requirements the number of first-rate solo performers, Bachelor of Music Degree. Diploma and of the music itself. Some- SWING MADE EASY Public School “a great while at my viall and voice.” SECOND SEMESTER cate in Piano, Voice, Violin, Orcan, King” (17 is until times, to violinists pianists, World’s easiest system teaches . June 1660). But it not for example, it is much better to as that available and PIANO PLAYING Beginners or Advanced to Music Methods and Music Kindergarten Methods Whenever he wished to relax he play like Radio-Record Artists! Learn runs, breaks, blues, had only the Opens January 27 next month that he himself hears have a slight break (or the volume of new writing for ’cello tricks, basses, negro effects, chimes. Boogie Woogie, intros, \ $ Bulletin sent upon request between notes “TECHNIQUE OF PIANO PLAYING” Introductory free to turn to his “viall and song book a ends, modernistic, futuristic, weird “the organs in sur- even and will increase as the number of 24 Lesson Course on chords for those who Offer styles, off-color, riding- Write for catalog and singing men a glissando ) than to lose the con- should read notes. Teaches the chords thoroughly W. ST. CLARE, M INTURN, Director pretty while.” And when he melody, jam-hot-blue choruses, etc. HTNDREDS of effects. 2660 Highland Ave. Cincinnati 19, Ohio \ goes out vis- in their various positions on the keyboard, plices . I re- tinuity is increasing. Send for Free Booklet No. 8 and low prices. . . the first time that ever of tone color by moving from one virtuoso performers Fur- which is the key to “popular playing”. iting it is often to play songs on the viol Money refunded if returned in 10 days. $2-50 has string TEACHERS Use new loose-leaf system. Write member.” By November an organ to another. After all, it is vir- thermore, because today’s concert artists Send 10c for Sample Lesson. with his friends. , WILLIAM A. OTTO. 4215 Park Ave., SLONE SCHOOL, 2001 Forbes St., Pittsburgh 19, Pa. been installed in Westminster Abbey tually impossible to make unchangeable are constantly finding still more effective Union City, N. J. Complete! The trumpets in those days were with- where, even a month later, its novelty^ rules in music, ways to play the ’cello, today’s composers out valves, since what is right for (Diiatr more like our bugles. Pepys “the - one Qkbrianijnfititut* nf has not worn off, Pepys ^noticing bar is often quite wrong for another; are better able to make use of its expres- It the Protects f&ty did not consider them even as HANDS you Music you want music music. He great there and potentialities. from confusion of people that came really great art lies in knowing when sive Composers, however, Bachelor of Music Degree, Master of Music Degree, Artist Diploma says that he went one day to hear some TONKabinet has special dirt or to hear the Pepys to apply write, any more than ’cellists can damage. organ.” Another time a rule and when to disregard it cannot drawer-trays that file sheet music, but “only trumpets and drum • Mus. D-, Director 3411 Euclid Ave.. Cleveland, O. ; in music easily; keep it neat, or- BERYL RUBINSTEIN, attends services at Hackney Church, the interest of effective per- play, without an audience, and we must which displease me.” a more derly, clean, findable. Every Richly styled. of National Association of Schools of Music chiefly and Charter Member the to see “the young ladies” formance. guarantee them hearings for whatever sheet is so quickly accessible, Beautifully From the thirty odd references to the it almost hands you the one crafted. “also the organ, which is. hansome.” I would also worthy works they may produce. flageolet remind every young artist, you want. At your dealer’s, or • in the Diary we are able to piece at on Pepys is also a theater goer. It is the threshold of his professional ca- put it on your postwar shop- By makers of together a good idea of the instrument. list. Nationally the Theater Royale that he motices the ieer, that he can * * * ping Tonk Mfg. Co. 1980 It help build new prestige N. Magnolia Ave., Chicago 14, Knoivn Tonk was a vertical flute type. Pepys’ was oi AMERICAN CONSERVATORY use of an orchestra pit, "the musique the ’cello and for Furniture. small himself by thought- enough to slip easily into his coat ui being below” and “most of it sounding and courageous program building, “When Handel was told try his sov- OF MUSIC—CHICAGO pocket, ready for use at all times. We t and Sizes under the very stage.” He is not able i would urge ereign that the performance of the and Offers courses in all branches of music and dramatic art often find every ’cellist to a thor- him passing away an idle styles for hear the basses at all, nor the trebles ough exploration ‘Messiah’ had afforded him pleasure, the Faculty of 135 artist teachers moment of the of the available litera- \l ONKa hinets day in “piping,” now ure Homes, Member of National Association of Schools of Music on well. He says, “it mended.” His for the replied: ‘Your majesty, I did his way home must be instrument. For one of the composer on the Thames, now in a He Schools, Send for a free catalog—Address: Johp R. Hattstaedt, President, 583 Kimball Building, Chicago reaction to a director is amusing. oomrnon complaints against the not intend to amuse or to afford pleas- drinking house while waiting for an order ” Bands, etc. attends the Globe Theater where he sees meant to make the world better.’ Sheet Music H° its repertoire is limited— ure; I for hn d this Karl Merz complaint happens to have an — H THE ETUDE November, i 946 "FORWARD MARCH WITH MUSIC m .

Junior Etude Contest Troyer, and Thurlow Lierrance. The are these composers?” “Who composer Puccini wrote is Italian an will “Well, let me think. There The Junior Etude award three at- you enter on upper left Girl of the corner of your LEOPOLD FOEDERL opera called “The Golden each month for the neatest paper, Charles Wakefield Cadman. He made tractive prizes and put your address on upper Member of the Artist Faculty West,” in which he used an Indian essays and for right serious study of tribal music and and best stories or answers corner of your paper. a collected of the Violin Department Indian melody that was by Arthur Contest is open to all boys and Write on one side of wrote an opera, based on an to puzzles. paper only. Do Farwell.” eighteen years of age. not use typewriters and do not have story, called “Shanewis.” His song, girls under any- Concert .violinist and teacher of many of Europe’s “Here we are, almost at the mu- fifteen to eighteen years of one copy your work for you. the Land of the Sky Blue Class A, foremost violinists. Formerly first violinist of From Essay must Another seum, Uncle John. I certainly do Class B, twelve to fifteen; Class C, contain not over one hun- Water is very well known. age ; Vienna Philharmonic Orchestra; guest conductor dred and fifty words and must be re- Indian story was written under twelve years. opera on an ceived at the Junior of Budapest Symphony, Vienna Symphony, and winners will Etude Office, 1712 Victor Herbert, called “Natoma.” Names of prize appear on by Chestnut Street, Philadelphia Pa., ienna Philharmonic. (1) , by V admired the - Jj this page in a future issue of The Etude. MacDowell greatly the 22nd of November. Results of contest thirty next best contributors will re- Indian melodies and wrote an The will appear in February. No essay contest mention. Instruction from eminent Artist Teachers is avail- “Indian Suite” for orchestra. You ceive honorable this month. Contest puzzle appears on at Sherwood, from the know his piano piece called From Put your name, age and class in which previous page. able to talented students an Indian Lodge. Charles Skilton is beginning of their studies. Certificate, Diploma, another American composer who Degree courses in Piano, Voice, Violin, Organ, Cello, Wind Instruments, ELIZABETH A.GEST uses Indian themes in his composi- Public School Music, Conducting, Theory, Composition. Dormitory ac- tions; also Arthur Farwell, Loomis, commodations at moderate cost. Courses for veterans under G.I. Bill of Nevin, Gilbert, Grunn, Arthur B. Rights. Winter Semester opens February 3. For free catalog, write of the American Indian The Music Arthur Wiltlman, Musical Director, 412 South Michigan Avenue, Phrasing Chicago 5, Illinois. by Paul bouquet by Gladys Hutchinson obby and Uncle John were on And the Indians have colorful, cere- In reciting a poem, you would not their way to the museum to monial dances, too, and these are think of doing it this way, now would MUSIC SCHOOL 8* of the older B visit the Indian Exhibits. accompanied by some you! JUNIOR MUSIC CLUB, Churchville, Md. (See letter below) “Uncle John,” said Bobby, “do you men singing and beating drums. Mary had a little SH know what I was thinking?” Some of the well known dances of Lamb its fleece was include the Sun “No, but knowing the way your the various tribes White as snow and Some Ideas hxpressed in Why 1 Why l Like to Play in Recitals "Cheyennes, the Rain mind works, I’d say it had something Dance of the Everywhere that Mary (Prize winner, Class B) CHIEF in Recitals Contest a Music Teacher Child Dance of the Junis, the Snake Dance Like to Play Each spring my thoughts turn to the ap- ARE YOU Has Your to do with music. Am I right?” Went the lamb was wolf-robe with proaching piano recital. I do not believe there who wishes to enrich her teaching the advantage of piano study of the Hopis, and lots of others, Dorothy Zeckman, Pennsylvania, says she Bobby nodded. “Yep. Here we are Sure to go. is a better way of seeing how I have improved a member of the receives a deep sense of personal satis- equipmenJ? Or a student who Corn Dance, Grass in the on our way to see Indian things and Buffalo Dance, In music, too, we must group the Buffalo Dance in music during the year than to play faction when she plays for interested wishes to become a teacher? If so, NATIONAL GUILD Deer Dance. Besides the annual recital. It is the easiest way to express I don’t believe I ever heard any Dance, sounds correctly in phrases, just as Painted by Chief Wolf-Robe people. my thoughts and emotions before an audience. write for catalogue and full in- Indians have societies, of PIANO TEACHERS They have music, dances, the in language. At the end of each The pieces I have so diligently practiced sound Indian music. Freda Goldblatt, Maine, says although formation about our TEACHER Inc. named for animals, and contests. see their instruments and more beautiful when played in the recital and don’t they? What’s it like?” phrase, or sentence, we should “fly” want to amateurs, playing gives students the A goal of achievement for every student suit&kU make me feel that my year’s work and prac- TRAINING COURSE. The Ojibways used to have a drum- things.” to his age and advancement. “Well, Bobby, you ask so many (let the wrist rise a tiny bit and let satisfaction of giving the best they can. ticing were not in vain. Nothing gives me (NOT A CONTEST) have beating contest.” “Bobby, some day you must go out greater satisfaction than sharing my talent questions at once! Sure, they the fingers come off the keys a tiny Eva Brown, Georgia, says there is a com- D1LLER-QUAILE The Better Teachers Are Members with other people. At the end of the recital I in every large music center music and we’ll see some of their bit, before starting the next phrase) to the Indian country, Arizona and petitive spirit which inspires practice. Chapters see where I stand in comparison with other FOR INFORMATION WRITE the more Bill Powell, School of Music instruments today, but there will If you sing the phrases you will New Mexico, or to some of South Carolina, says the fun pupils and I realize how much harder I will of a recital is in preparing the piece to have practice the following year to continue IRL ALLISON, M. A. not be any Indians around to play find it necessary to take a new, small Northern Reservations, and hear the to 66 East 80th Street FOUNDER AND PRESIDENT climbing, step by step, the ladder to success. * could never describe music and see the dances. The big be played. New York 21, N. Y. on them, and I breath for each phrase; therefore Martha Scott (Age Box 1113 AUSTIN, TEXAS Florence Snell, Kansas, says she likes to 14), their music to you. You really have “flying” at the end of a phrase is Indian pow-pow, held every year at Michigan play in recitals because it gives a to hear Indian music to know what nothing more or less than letting the Flagstaff, Arizona, is very famous, chance to show her parents, teacher Philadelphia Conservatory is like. But, you know, the music and attending it is a never-to-be- it music breathe, and expressing itself and friends liow has improved. BALDWIN-WALLACE she Of Music Founded 1877 of all primitive peoples is so differ- forgotten experience.” in phrases, or sentences. When the Mary Helen Bray, Oklahoma, likes to play CONSERVATORY OF MUSIC 216 South 20th Street ent from ours it is hard to write it music breathes it has life and mean- “You take me there, Uncle John!” in BEREA, OHIO (suburb of Cleveland) recitals because of the good she gets Maria Eierman Drake, Managing Director with a first class Liberal Arts College. down on a staff. That does not mean ing, and then it is easier and pleas- pleaded Bobby. So what could Uncle from them. Affiliated Faculty headed by Four and five year courses leading to degrees. Faculty it is not what we call musical, for anter to play, as well as easier and John do but promise to do so—some Myralin Daniels, North Carolina, likes to of Artist Teachers. Send for catalogue or informa- Olga Samaroff, Musical Director tion to: Courses leading to Degrees the Indians could make music out of pleasanter to listen to. day! play in recitals because it is possible to ALBERT RIEMEN SCHNEIDER, Dean, Berea, Ohio anything. It is just different. The surprise your teacher by playing better than ever before. Indians use drums, reeds, bones, and Send $1.00 for Lindsey Jackson, Alabama, likes to prac- SCHOOLS-COLLEGES gourds to make music, and they have Musical Beheadings RHYTHMIC DRILLS tice for a recital lullabies, work songs, harvest songs, by imagining the pub- Puzzle lic is watching him. RHYTHM LESSON ONE BOOKLET and ceremonial chants. Most of their Irene Levine, Pennsylvania, thinks re- and CONVERSE COLLEGE ZTC music is vocal music, and even their 1. Behead a group of players and leave 6. Behead a musical tone and leave a citals are very helpful for one’s future 1 EXPLANATORY BOOKLET Edwin Gerschefski. Dean, Spartansburg, S. C. ceremonial dances are accompanied a conjunction. number. work in music. If Department of Music 2. Behead a male voice and leave 7. percussion instrument and ELLIS MAY singing. As their melo- an Behead a EFFA PERFIELD Galesburg. Illinois by drums and Florence Jones, Ohio, likes to play in animal. leave an alcoholic beverage. Junior Etude Club, Toledo, Ohio 103 East 86th St. (Park Ave.) New York City AAI 1 E^E Thomas W. Williams. Chairman dies are very limited in scope, and recitals to observe other pupils and, by Catalogue sent upon request. 3. Behead a symbol in notation and 8. Behead a musical embellishment and (Letter will appear later) they know nothing of harmony, the comparison, find her own faults. leave a string instrument leave a large vase. Geraldin Sherfman, Louanne Wisler, Jerry main feature of their music is c6m- Brookenthal, Ruth Hawkins, Patsy Werrell. 4. Behead a fermata and leave aged. 9. Behead a briar and leave a brass ^ SHENANDOAH flKieive X TKe&tre leading to plicated rhythm, in which they are Courses 5. Behead a mechanical device for sub- instrument. answers to letters in l Star making. Students seeking professional engagements Answers to Quiz No. t5 Send coached by Stage, Screen, Radio and presented in pro- the B. Mus., and B. Mus. Ed.Sdegrees. Rates ductions showing to B’way-Hollywood Talent Scouts and very skillful. Sometimes they beat duing the tone of instruments and 10. Behead a rock and leave a musical care of Junior Etude for reasonable. In the heart of the Shenandoah 1, Verdi; 2, 1526; per- public. B’way also Summer Stock. Spring course opening. 3, Hungarian; 4, SEC’Y SHUBERT. 1780 BROADWAY. N. Y. Valley, Dayton, Virginia. their drums in one rhythm while leave a tribe of Indians. sound. cussion; Etude: 5, majestic; 6, augmented; 7, Dear Junior singing in another! You could not do I wish to tell you how much I enjoy The twenty-four; 8, A-flat major; orches- 9, Etude, especially the duets, which I play with that, Bobby.’’ tra; 10, A. Brook Mays and Company Music neighbor’s girl. We like the peppy duets and Whittle Company Indian Chieftain our “You couldn’t either, Uncle John!” Quiz No. 15 about in grade three. Blackfoot Tribe said Bobby. Other From your friend, 1. “Playing in Recitals” Contest Winners: Was the opera, “Rigoletto,” composed augmented triad? (Age 16), Present Class A, Annette Minnema “No! And they have songs for “Bet that was good,” said Bobby. by Verdi, Puccini, Margaret Ferrio (Age 15), Ohio Mozart or Mas- 7. Is a dotted half note equal to twelve, Class Michigan C, Mary Lou Sanders (Age 10), Tenn. everything, for planting, for harvest- “The best way to hear Indian senet? sixteen or twenty-four thirty-second Dear Junior Etude: BERNICE FROST ing, for fire, for the forest, for lakes music is through recordings that 2. Was Palestrina born in 1484, 1526, notes? Our Music for Victory Club aims to promote 1685 or and rivers and all sorts of things. have been made, and also through 1770? 8. If the signature of a key is B-flat, better music for our members. For this we 3. Was Liszt c a club tree. Any one of our difficulties, Music is really a part of an Indian’s the compositions of some of our a Bohemian, Czecho- E-flat, A-flat, D-flat, is the key have Series :: ' u Lecture and Piano Class DECEMBER 2nd-3rd-4th-1946 6n * Joanne fingering, and so forth is slovakian, Hungarian or pj [y Olage, Susan Roser such as rhythm, life, they work it and live by it. American composers have used Austrian? minor, b-flat minor or A-flat major? Derrlck by who , Jan Winders, Carol Hill, worked on for one month, and when mastered, 4. Is the M=vL tympani an instrument of per- 9. Is a symphonic poem written to be n Barbara is placed on the The modern industrial world is Indian themes in the compositions. ', June Harris, David Si a small token of achievement DALLAS, TEXAS Hilrtkkei e cussion, wood-wind or brass-wind? ’ Barbara tree becomes one filled with played by an orchestra, played on two Shiri^ l Carruth. Jacklyn R tree. Thus a bare really imitating the Indians when While these themes have been set Bavison, sending you a pho- 5. Does maestoso mean mournful, ma- pianos or sung large chorus? Camille McDonald. leaves of progress. We are by a r ^ />? . i Aubrey Everett—6206 Richmond Street factories install radios and ‘piped- with rich harmonies, they still re- anet Ellen McCrosky, Mary tograph of our Victory Club. jestic, or dainty? 10. Mart-, ’r t\eyiStrarS Is the lowest ,key on the piano key- ' ,tean Lena N ; cholson — 1003 Elm Street Stephens, Florence Jones. From your friend, in’ music for the workers in the tain their Indian style and charac- 6. Do the Ann tones C E G-sharp form a board C, B-flat, A or G? 17 a Forster Patsy Gorrell, Secretary, Dallas, Texas tinana ' . Ronald McHay ants. It makes the work go better. teristics.” minor triad, olsnij°n. S'Nancy Maryland a diminished triad or an ( Answers on next page) Ritter. THE ETUDE November, 1946 657 — ————— — —— — —

CAN PLAY THE PIANO, A Book SHORT STUDIES, for Tech- LET YOU for TWENTY-FOUR S PLAY! A Piano Book for Young Be - THE WHOLE WORLD WANTS MORE the Older Beginner, in Two Parts, by Sightreading for Piano, by L. A. ginners, Ada nic and by Ella Ketterer—Among the most In supplying active MUSIC THAN EVER— Richter—For the past few years more and The work in this excellent addi- popular pieces for Wilmot— the young pianist 1 STUDY? civil- WHERE SHALL GO TO music workers in all parts of the adults have been studying Music Mastery Series will more piano. tion to the those by Miss Ketterer are outstanding. ized world with needed music publica- particularly true of This is many who cover grades two to three-and-a-half, Such sheet music favorites as The Banjo tions a great international mail order previous training have had and who now will use up to four sharps and Song; The Big Bell and Theodore and the Little Bell; business is conducted by the are doing “refresher” work from the are no octaves in flats. Since there the and The Bobolink are only a few of those it has placed this com- Private Teachers (Mid-Western) Presser Co. and very start. You Can Play the Piano are especially Private Teachers (Western) NOTES is book, the studies appro- which are evidence of the skillful writing position to note over many PUBLISHER’S pany in a especially suitable for such students, small for priate for pupils with hands. Stud- which distinguishes her work. She has DR. FRANCIS L. YORK years musical trends as well as the author presupposes the HAROLD FREDERICK DAVIS Music Lovers the student’s Passing Thumbs; Solid and Broken unusual talent for combining a smooth Advance Piano Interpretation and the Theory work amount of activity in music study and A Monthly' Bulletin of Interest to all ies in VOICE familiarity with the fundamentals of Scale Passages for Hands Singly flowing melody with required for the degrees of Mus. Bach., and Mus. Chords; enchanting words, Association of Special Chopin interpretation. in general musical undertakings. The and presents interesting Member National Mas. music material Together; Thirds and Sixths; and along with this the patience of the great volume of correspondence and the and Teachers of Singing DETROIT CONSERVATORY OF MUSIC from the very first lesson. The term, Shifting Hand Positions; scientist Detroit, Mich. Grouped Notes; in testing each piece with her 606 Templeton Building Salt Lake City 1, Utah huge number of orders for music which beginner,” includes the “older student of Notes, and Phrasing Problems own pupils 3-0316 (or 4-5746) for appointment indi- Repeated to be sure it is appealing in Phone have come along in recent months School age. Junior High opportunity for the mastery of every detail. Here that the 1946 and 1947 musical sea- provide is a book of pieces de- Private Teachers (New York city) cate attractive method is This arranged so signed especially for kindergartners of HURLBUT son is bound to top in the number of Cantata for Two-Part Treble technic. HAROLD KING MIDAS, that the pupil is always aware of Yjoveinber, a sense editing as to phrasing and fin- between five and seven. All pieces have Paris—New York Hollywood students and in the number of musical 1946 Celia Thaxter, Music by Careful — HELEN ANDERSON Voices, Lyrics by accomplishment. The contents Singing of of each in this new book, a attractive titles lively Member Natl. Assn, of Teachers of undertakings any season that came to This engaging new can- gering is apparent and words, and Concert Pianist May A. Strong— consist of new arrangements Developer of Singers of Metropolitan Opera, Chi- part of which may now be ordered at there are suggestions for the teacher Interesting course piano, harmony the notice of the Theodore Presser Co. fare for spring con- copy of cago Opera, So. Calif. Opera, Radio, etc. “VOICE — ADVANCE OF PUBLICATION tata offers excellent folk tunes from Europe and the Amer- special Advance of Publication Cash and review questions. Provision is made FUNDAMENTALS" (J. Fischer & Bro., N. Y. Pub.) Many Successful Pupils since its business was established in 1883. It is well written work, and its the cert. a well as adaptations from Endorsed W. J. Henderson, Bispham, Amato, Etc. 4-8385 icas, as Brahms, cents, postpaid. for the eager beginner to play a simple by 166 W. 72nd St., N. Y. C. Tel. Sc This is something for everyone in than assured for the Price of 30 Beachwood Dr. Hollywood, Calif. OFFERS popularity is more Strauss, and Stephen Foster. The 2150 work piece in his very first lesson. Tel. Gl. 1054 music to be happy about and in the that its charming music simple reasons in Part Two follows that in Part FREDERIC FREEMANTEL One in SELECTED SECOND GRADE STUDIES, for One copy may be ordered now at the United States of America thousands of is entirely singable, and no solo voices Voice Instruction All the books in this list are in logical sequence. — of Piano, Compiled by David Lawton This special Introductory Cash Price of 25 LEE ANGELL Author of 24 home study lessons, music teachers are finding it difficult to are required for its performance. The SYDNEY preparation for publication. The An order for a single copy of either or "The Fundamental Principals of Voice Productions and accommodate the many, from little tots collection of attractive study material is cents, postpaid. PIANO TEACHER low Advance Offer Cash Prices ap- music is in the grade level of upper ele- Singing"; also "High Tones and How to Sing Them" both parts may be placed now at the combine melodic flow with Eminent Teachers to grown-ups, who want to study music. junior high singers and designed to One of America's Studios: 205 West 57th Street ply only to orders placed NOW. mentary and special Advance of Publication Talented Beginners Cash the composers represented TWENTY TEACHABLE TUNES, for Piano, Advanced Pupils or Phone Circle 7-5420 It is a matter of very, very great regret, Delivery postpaid will be made accompaniment for technic, and New York City ( ) there is an easy Price of 35 cents each, postpaid. Correspondence Solicited however, that in these days all music when the books are published. will be Edmund Parlow, Cornelius Gur- by Opal Louise Hayes—This favorite com- piano. 2065 Clarkson St. Denver, Colo. CHARLES LAGOURGUE STUDIOS kept in print at Paragraphs describing each pub- Mathilde Bilbro, Louis Streabbog, poser of children’s piano music has fanci- publications can not be Celia Thaxter’s flowing text is founded litt, VOICE PRODUCTION—SINGING- lication appear on these pages. THE CHILD CHOPIN—Childhood Days of in the easier fully titled a book of practical little ISABEL HUTCHESON all times in order to give teachers and on the well-known Greek myth of the and Louis Kohler. Works COMPLETE MUSICAL EDUCATION Famous Composers, by Lottie Ellsworth Coit the more pieces that many teachers will welcome. Teacher for Piano Teachers Mr. Lagourgue will conduct SUMMER CLASSES in other active music workers prompt serv- king whose insatiable wish for gold keys will be used, and among Modern Piano Technic: Group work for Teachers: SINGING in the INTERNATIONAL COLLEGE of ice on requested music publications. and Ruth Bumpton—The numerous music studies to be included are: The pieces in this book range from easy resort French Riviera. The Adventures of Peter the Plano—An brought him despair when everything he than twenty Coaching concert pianists: Conducting "Piano CANNES, renowned of the Studios. problem Illustrated Story for Children teachers who have found earlier books cross-hand melodies, divided between the hands, to For information apply to New York Paper is the number one of touched, including his food and even his Fairy Bells, offering work in Teachers Forum." Dorothea J. Byerly .50 35 West 57th Street, N.Y.C. it is in this series indispensable teaching aids Her attractive little compositions in grade BROOKS MAYS MUSIC STUDIOS the music publishing industry and daughter, turned into gold. playing; The Witch Rides Broom- The Child Chopin Childhood Days of young l005'/2 Elm Street, Dallas 2, Texas Phone C-6214 just impossible to get in hand sufficient will welcome this new addition with high passages in both hands; one-and-a-half. All are written in easy Famous Composers— Lottie Ellsworth Coit While Miss Strong’s cantata is being stick, with scale EDITH SYRENE LISTER paper the reprinting of all publica- and Ruth Bampton 20 enthusiasm. A fluent biographical ac- keys, and with some of them, for made ready for publication* a single copy The Magic Stream, an attractive study major EVANGELINE LEHMAN; MUS. DOC. AUTHENTIC VOICE PRODUCTION Ella Ketterer's Book of Piano Pieces For tions on which stocks have been de- count, stressing young Frederic's early arpeggio playing; and Pickaninny, a catchy verses are supplied. The appro- 405 Hall, York City Piano Solo 35 may be ordered now at the special Ad- in Mastercourse in Vocal Coaching Carnegie New pleted. Every lithograph press in this sensitiveness to music, and simplified priate titles and the clever illustrations Collaborator and Associate Teacherwith the late W. Fantasy in F-Sharp Minor For Two Pianos. of 35 jovial study in syncopation. vance of Publication Cash Price for Artists, Advanced pupils, and Teachers Warren Shaw and Endorsed by Dr. Floyd S. Muckey country that can be used for the highly Four Hands Ralph Federer .35 arrangements of six piano numbers students, but, best cents, postpaid. form Prior to publication, a single copy of will fascinate young Grand and Light Opera, Radio and Concert Wednesday: Troup Music Studio. Lantt. *er, Pa. Two-Part Treble 167 Elmhurst Ave., Detroit Mich. specialized job of printing music is being King Midas Cantata for — the major features. A carefully chosen Selected Second Grade Studies may be of all, the book will be printed in the Studio: (3), Thursday: 309 Presser Bldg., Philadelphia. Pa. Voices Thaxter-Strong .35 Telephone: To. 5-8413 run riight and day, and yet production list of recordings of Chopin's music are published at convenient oblong style, so helpful when Let's Play A Piano Book for Young THE ADVENTURES OF PETER THE PIANO reserved for delivery when (FRANK) (ERNESTO) in this direction, while running high Elia Ketterer valuable inclusions. private keyboard. Beginners .25 Illustrated Both teachers the special Advance of Publication Cash tiny tots are seated at the —An Story for Children , by Dor- LUCIA O'BRIEN LIVERETTE LA FORGE-BERUMEN STUDIOS above normal years, still is not sufficient The Light O'er Bethlehem A Christmas of piano and public school Instructors to order now a of Price, 25 cents postpaid. The sale, how- Teachers wishing may assistant to Voice—-Piano Cantata for Mixed Voices othea J. Byerly—Charming, indeed, is this Several years to keep apace with demands. Music Appreciation will find this ideal of Twenty Teachable Tunes Among those who have studied with Mr. La Forge are: Louise E. Stairs .40 story of a personalized piano ever, will be limited to the United States single copy LAZAR SAMOILOFF named Marian Anderson, Lawrence Tibbett, Richard Crooks, We only can suggest that teachers and .75 for use with their pupils. special Advance of Publication Mendelssohn's Organ Works Kraft Peter and of his adventures through a and its possessions. at the How Teaching in His Academy and Mme. Matzenauer. other music buyers keep ordering or ask- More Themes from the Great Concertos— For the special of Publication cents, postpaid. lifetime. Miss Byerly has related this Advance Cash Price, 25 3150 West Sixth St. Los Angeles 5, Calif. 1100 Park Ave., Corner 89th St., New York Henry Levine .40 ing for their favorite publications and For Piano Cash Price, 20 cents, postpaid, one copy FANTASY IN F-SIIARP MINOR, for Two Phone Fe 8294 Tel. Atwater 9-7470 The Music Fun Book A Work Book for narrative with such skill that any child, count upon publishers doing the best pos- may be ordered now. Pianos, Federer— FOR LITTLE PLAYERS, for Piano, Young Piano Beginners and probably his parents, too, will de- Four Hands, by Ralph TUNES sible HENRY FRANCIS PARKS RICHARD McCLANAHAN to supply those publications. Ob- Virginia Montgomery .25 Although Ralph Federer is known to by Robert Nolan Ken—Teachers who light in the happiness and sympathize Representative TOBIAS MATTHAY viously those in greatest demand get first Rhythmic Variety in Piano Music For the Robert readers of The Etude through the many achieved satisfying results with ORGANIST Private lessons, class lessons in Fundamentals Player of Moderate Attainments 40 with the misfortunes of Peter. The MORE THEMES FROM THE GREAT CON- call available paper available Summer-class, Southwest Harbor, Me. on and on Piano Compiled lilting waltzes and clever characteristic Nolan Kerr’s Little Players will be CONDUCTOR Selected Second Grade Studies for Piano.... youngster of pre-school age will find the CERTOS, for Solo, and 801 Steinway Bldg. New York City press time, so the ones asked for the * David Lawton .25 know It will soon be possible sixty-nine colored drawings a strong Arranged by Henry Levine—The piano compositions that flow so easily from his gratified to VOCAL COACH most will be the ones on which special Ten Etudettes in Thirds and Sixths For Piano logical sequel to this book. initial attraction, and one who can read player of average attainments will be pen, he also has demonstrated his ability to obtain a SAN FRANCISCO CALIFORNIA EDWARD E. TREUMANN efforts will be made to meet the demand. Mana-Zucca .25 Play- delighted to write in the larger form. The new title is Tunes for Little Tunes for Little Players For Piano will spend enchanted hours with this with this second volume of Concert Pianist—Artist-Teacher consists of first grade music which EDNA GUNNAR PETERSON Robert Nolan Kerr .25 book. Although is melodies from the great concertos as Mr. Federer now presents this fas- ers. It Recommended by Emil Von Sauer, Moritz Moszkowski THE COVER FOR THIS MONTH— ar- there no music accom- By Twenty-Four Short Studies For Technic and cinating in one will familiarize young beginners with Concert Pianist Artist Teacher and Joseph Hofmann. panying it, the tale itself will stir the compiled and arranged by Mr. Levine. new piano duo, cast — rangements with the International News Sight Reading for Piano... L. A. Wilmot .30 Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. movement, and not too lengthy for con- Notation, Rhythm Drill, strengthening 229 So. Harvard Blvd. Los Angeles, Calif. Tunes For child’s imagination and stimulate his in- A choice bit is from the popular first Tel. Columbus 5-4357 New York City Photo Service The Etude Music Magazine Twenty Teachable Piano FE. 2597 the fingers and good basic 15. Opal Louise Hayes .25 terest in learning to play movement of Rachmaninoff’s Second cert, recital, or radio performance. It and control of Summer Master Class—June 15 to August is able to present on the cover of this the piano, Can Play the Piano, Part One. .Richter .35 principles of piano technic. You thus proving itself an ideal preparation Concerto, and another is from the slow presents a challenge to ambitious stu- issue a charming close-up of Princess THE SAMOILOFF MME. GIOVANNA VIOLA You Can Play the Piano, Part Two . . Richter ,35 arranged so that for the first lesson. dents and players of some ability who de- The entire book is Elizabeth, heiress-apparent to the British movement of Tschaikowsky's Concerto BEL CANTO STUDIOS & OPERA ACADEMY Dramatic Soprano of in- — In advance light in adding variety to their programs the child’s conception of it is one The only place where you can learn the original Teacher of Singing "Bel Canto" throne, after she received a Bachelor of of publication one copy in B-flat Minor. Other themes are taken play. “Finger Samoiloff Bel Canto Method which developed such Experienced European trained Artist may be ordered at the special from by presenting the meritorious works of teresting new pieces to Music the University of Lon- MENDELSSOHN’S ORGAN WORKS, Edited Cash Price such familiar works as Beethoven’s outstanding voices as NELSON EDDY, BIANCA Coaching Opera, Concert and Radio degree at each tune, of 50 cents, postpaid. contemporary American composers. In Parade,” which is given before ONOFRI and many others. Now Correct voice production, defective singing corrected don. The ceremony at which she received and Revised by Edwin Arthur Kraft—Im- Concerto in G Major, Brahms' Second SAROYA, DIMITRI acceptable under the direction of Zepha Samoiloff. Beginners accepted Concerto, advance of publication a copy of this is a feature which provides this degree was presided over by her portant among forthcoming publications and Grieg’s Concerto in A Phone: Trafalgar 7-8230 words to the tunes Write for Catalog, 3150 West Sixth St., Los Angeles 5 will Minor. unique piece may be ordered at the spe- technical work. The 8 West 86th Street New York City great uncle, the Earl of Athlone, Chan- be this newly prepared volume of THE MUSIC FUN BOOK, A Work Book for Phone FE 8294 No charge for Audition cial Introductory Cash Price, 50 cents, and attractive illustrations also will stim- cellor of the University. Music long has Mendelssohn’s complete organ works. Young Piano Beginners, by Virginia Mont- Orders may now be placed for single postpaid. ulate the child’s interest. CRYSTAL WATERS been one of the Princess’ great interests. FoUowing close upon the appearance of gomery—This supplementary material is copies of this important new book at the ELIZABETH SIMPSON Orders may be placed now for a single Concert Singer — Teacher This photograph has been colored in oils Mr. Kraft’s fine edition of Bach’s designed as an aid to the teacher in special Advance of Publication Cash Author of "Basie Pianoforte Technique” RHYTHMIC VARIETY IN PIANO MUSIC, copy at the Advance of Publication Cash Voice Building, Breathing, by the Philadelphia artist. Miss Helen Eighteen Choral Preludes for the Organ dealing with individual differences. The Price of 40 cents, postpaid. The sale is Teacher of Teachers. Coach of Young Artists. Diction, Expression, Style. for the Player of Moderate Attainments To of 25 cents, postpaid. Pupils Prepared for Concert Work. Class Courses in the famous Presser Collection, this lessons are presented according to confined to the U.S. and its possessions. — Price In preparation for Toerring. sub- in Technique, Pianistic Interpretation, Normal the many thousands of piano teachers Radio, Screen, Stage, distinguished organist and scholar is ject matter, and the order of use is left Methods for Piano Teachers. Concert, Opera. and advancing ETUDETTES IN THIRDS AND SIXTHS, - making ready this volume, with carefully students who seek a novel TEN 79 McAllister St., Room San Francisco; 405 E. 54 St. New York City THE LIGHT O’ER BETHLEHEM, A Christ to the discretion of the teacher. The drills ELLA KETTERER’S BOOK OF PIANO 1, collection Piano, by Mana-Zucca—Musicians asso- 2833 Webster St., Berkeley, Cal. Tel. Vo-5—1362 mas Cantata For Mixed Voices by Louise E. planned adaptations to the modern or- are varied, and sufficient of recreational material, this for , repetition is PIECES—Among contemporary composers album will be most welcome. As its title ciate Mana-Zucca’s name with many suc- Stairs—This new cantata should interest gan, and with newly prepared fingerings, provided so that each new point is im- of piano music suitable for teaching, none songs, and attractive pedaling, and registrations. printed suggests, its keynote will be real variety cessful piano solos, directors of volunteer choirs, for the score on the child’s mind. Used as has been more uniformly successful than SPECIAL CHRISTMAS GIFT PRICES Mendelssohn's in rhythmic content, though variety of teaching materials. These etudes reveal Answering Etude Adver- is ideal for the choir of average capabil- Organ Works comprise busy work in piano classes or as home- Ella Ketterer. of for THE ETUDE Among the best-known melodic fine qualities of musicianship ities. Besides chorus the three Preludes and Fugues in A work for private style will be an important fea- the same tisements always the attractive num- students, the book will her numbers are grades two- pays A subscription to THE ETUDE makes a perfect many In ture. Tlie in her earlier works. Written in bers, there are solos for soprano, alto, Minor; G Major; and D Minor, Op. 37, bring a sense of satisfying pieces in this collection will be found Christmas Gift for a musical friend and if you accomplish- and-a-half and three. and delights the reader. °f of keys and rhythmic patterns, have 3 or 4 more such friends, you can get a real tenor, bass, baritone; soprano and and the six Sonatas, Op. 65, in F Minor; ment to young children about third grade difficulty, among a variety and as they learn, For bargain, if you will include all of the subscrip- this book the composer has selected them and fourth grades of some of favored sheet and in the third tions in one order. alto duets; one trio, and passages for C Minor; A Major; B-flat Major; D with the use of pencil, crayons, paste, her the most favorite numbers, all attractively music are delightful educational men’s voices and women’s voices. The Major; and D Minor. Among them one and scissors, music publications. Already chosen for difficulty, they One or two Gift Subscriptions $2.50 each fundamentals includ- titled, presenting in considerable variety inclusion are material on thirds and sixths. HARMONY BY CORRESPONDENCE Three or four Gift Subscriptions 2.25 each music is written in an easy range, and finds- some of the noblest organ music. ing the alphabet, notation, position, Szvaying Daffodils, Dance of and tempi wish A greatly simplified Course successfully used for Five or more Gift Subscriptions. . . . 2.00 each and rhythms. Teachers who the Rosebuds, wanting to obtain new ma- the solos do not place too great demands Organists wishing to reserve a single time. and many others. Teachers a number of years by the School of Music of to become acquainted order A beautiful four-color gift card will be sent to with it may Until a high caliber should place Temple University, Philadelphia. on the individual voices. copy of Mendelssohn’s Organ Works for A single copy of this new Rhythmic Variety in Piano terial of the recipient in the name of the donor. However, music work single copies particulars write to the Author: now at the special Advance Music is single copy at the For we suggest that you send your order early, so as A single copy may be ordered at the delivery when ready, may do so now at book may now be ready for the market, a single their orders now. A reserved at the low of EMIL F. ULRICH. M.B. to avoid delayed delivery of first copies and late Publication Cash Price, 35 cents, post- copy may be Advance of Publication Cash Advance of Publication Cash Price 40 the special Advance of Publication Cash Advance of Publication reserved at the special Ad- special 233 Roberts Ave., Glenside, Montg. Co., Pa. mailing of the gift card. Remember we are still Cash Price of paid, deliveries the to be made when vance postpaid, will avail- Former Associate the experiencing difficulty in securing enough paper cents, postpaid. Price of 75 cents, postpaid. 25 cents, postpaid. of Publication Cash Price of 40 Price of 25 cents, be Dean oj School of Music of book is published. Temple University. to fill the demand for THE ETUDE. cents, postpaid. able on a pre-publication order. '8 Advertisement ETUDE THE NOVEMBER, 1946 Advertisement 659 2 V VV V V V V ) ) .

In past years the culmination of the Making Music Count year’s work in music has been a competition-festival in which certain required numbers were interpreted by choruses, Music and individual soloists. Each pgulettbe Piano In High School orchestras, school would be rated superior, excellent, Attractive Selections for Pupils' Recitals, good, fair or poor. Fearing the evil ef- (^Jnfvoclucing a post-war marvel of During Page 650) fects of school rivalry, the Department Study Use, or Recreational Playing (.Continued from the music world, completely revolutionizing of Music resolved to experiment with a the Holiday Season. Some Are Suitable for new type of program. the old type metronome . . Use in Sacred Services. all schools were asked Jefferson High, with its ideal music In 1945, high to room, extensive equipment, and seven choose the music for a particular unit. The Festival featured music for power, PIANO SOLO full semester courses, is not confronted with the problems that face the smaller worship, beauty, darkness and light, Title Grade/ Cat. No., and Composer Price brotherhood, exhiliration, , high school. At Lincoln, limited as to reminiscence, Adeste Fideles, March (2) (19447) Martin. . . .35 CHRISTMAS MELODIES ^Met/iononuu^ room, Music Appreciation must divide its dancing, youth, reassurance, sorrow and Adoration (4) (18483) Borowski 50 Carols and Songs in Easy Arrangements fun, changing moods and jubilation, Around the Xmas Tree (2) (16192) Crosby. . . .25 with Art I. Yet in the short time joy, for Piano—By Ada Richter term Around the Xmas Tree (1 Vi) (17358) Risher. .25 narrator tying in the sequences. Here is a collection that brings the best-loved of nine weeks its instructor, Ariss Jones with a Arrival of Santa Claus (3) (2728) Engelmann .40 Christmas melodies within the reach of young group was asked to listen to the Bells of Christmas (3) (8755) Karoly 40 Englund, manages to cram it full of ma- Each pianists along in the first and second grades Cathedral Chimes at Xmas Eve (3) (6380) and yet the arrangements will satisfy older terial, interest, and fun. other participants. Engelmann 25 pianists of limited playing attainments. The An outstanding choral consultant was 1 classes reciting in Chimes at Christmas (3 2 ) (1 451 ) Greenwald .40 Music Appreciation book contains thirty-one well-known Christ- Christmas Bells (3) (25840) Johnson 35 evaluate each school, but to mas songs and carols with texts for those who a science room require something extra invited to Christmas Bells, March (4) (19961) Wyman , . .40 love to sing them as well. Price, 75 cents. Mrs. Englund give no individual ratings. Following the Christmas Day (2) (11 822) Spaulding 25 to stimulate interest, so Christmas Eve (2) (17925) Blake 25 starts with bulletin boards. She has one festival which was given in the civic Christmas Eve (2) (1678) Eyer 25 Title , Grade, Cat. No., and Composer Price for the students, who post musical pro- auditorium, a week-long clinic was held Christmas Fantasia ( (23105) Mueller. . . .50 3 2 ) Little Tin Soldiers, March (2V2 ) (25484) Grey .40

Bells ( (25103) the adjudicator visited each Christmas Hymn and 2 2 ) March Carillon (5) (23856) Hanson .50 grams they have heard, pictures they in which Pitcher 35 March of the Candy Dolls (3) (26224) Renton .40 have clipped or bought—anything of mu- school, discussing, counselling and dem- Merry Sleigh Bells (2) (25836) Preston .25 Christmas (With interest. The other one she uses onstrating choral techniques with the CHRISTMAS IN THE COUNTRY Cn Morn Words) (1) (27178) sical Copeland .25 to announce coming events; to call at- teacher as well as the students. Six First Grade Piano Solos O Holy Night (4) (27414) Adam Freely — elaborate music festival By Mabel Madison Watson transcribed by Peery .50 tention to interesting books or magazine This year an Holy Night (23142) Adam-Hess .50 the The Christmas Tree (1) (25386) Watson. .30 O (5) articles. was staged in conjunction with Rose Poinsettia ( 2 (26207) Overholt .40 Games and Toys (1) (25387) Watson. . . .30 3 ) “Variety is the spice of life” with her, Festival. March of the Merry Men (1) (25389) Santa Claus (1) (26051) Stairs .25 Wdtson 30 Santa Claus Is Coming (2) (2354) Hiller .25 for she rarely uses the same approach In working out a program for the fu- Playing in the Snow Watson .30 Santa Claus Is Coming ( 2 2 ) (24802) Varkony .25 (1) (25388) to a regular class unit. For instance one ture, Portland’s superintendents and su- Snow for Christmas (1) (25384) Watson. .30 Santa Claus March (2) (1420) Nuernberg . . . .25 Santa On His Way (27407) Thomas .25 grade school where pervisors have allotted music an even Song of Sleep and Snow (1) (25385) (2) class, fresh from a ompson's Silent Night Kohlmann .40 Watson 30 (5) (23949) they had been fed up with “singing music more important part in the lives of teen- A Sleighride (3) (15046) Clark .50 (2 Ashford .40 about dead composers,” was agers. In the larger high schools three The Sleighride 1/2 ) (13836) and reading Christmas Morning (2) (1680) Eyer 35 The Talking Doll (17359) Risher .25 SPELLER (1 2 ) NOTE y Christmas Morning at Home (19090) sent scurrying to magazines and news- rooms are to be devoted to Music Ap- (2) Three Christmas Songs (Jingle Bells, Silent 35 Mats' f clip all musical advertise- preciation and Harmony classes; two for to progress in exactly the order Night, Jolly Old St. Nicholas (1 V2 ) (27198) papers to the The only music-writing book designed same Christos Suite (5 characteristic pieces) 2 ( V2 ) Arr. Richter 06781) Armstrong 75 ments they could find. When they came the smaller schools. as the lessons at the keyboard. It con be assigned almost in the very first Three Little Christmas Pieces (1) (23456) Coming of Santa Claus (2) (1681) Eyer 40 is Notation, Values and induces the young Hammond .25 back with their material, estimated costs “The next step of music educators lesson. Teaches Elementary Time Dreaming of Santa (2) (9238) Greenwald. . . .35 Drum ( (24405) Risher. . . .30 50c Tommy's New 2 2 ) of the advertising were figured out. Many to provide music for everyone,” states pupil to use the ear as well as the eye Hanging the Stockings (2 Va ) (9239) Green- Toy-Town Soldiers (1 V2 ) (26253) Richter. . . . .25 wald 35 realized for the first time the millions of Mr. Ernst. “Formerly a small percentage Toys and Candies (2) (9243) Greenwald . . . . .35 Themes From An Introduction To Hobby Horse (2) (25832) Clafflin 25 Under the Christmas Tree (2) (9244) Green- dollars spent in advertising music. Music of talented students was encouraged, BACH Holiday Sleigh Ride (2) (26994) Hopkins. . .25 CONCERTOS wald .35 PIANO - never needs winding! must be pretty important, they con- with little provision made for the re- A Collection of Short Examples from Mistletoe ( Engelmann .40 Under the 2 2 ) (7609) Miniature Settings of Well-Known it Venite Adoremus (5) (23143) Bernard .50 cluded. maining eight per cent. In accepting the of Johann Sebastian Bach. no spring . . . just plug in and will run forever UNDER THE CHRISTMAS TREE Why? Concertos, Arranged for Piano Solo the Works Waiting for Santa (With Words) (1 V2 ) (27302) r Piano Suite by Mildred Weston Or she may teach the symphony unit challenge of youth, w e realize our re- Compiled, Arranged and Edited by Stairs .25 by John Thompson $1.00 This little book delights young pianists yet in Yuletide (2) (23148) Williams .35 through jazz. Three popular dance band sponsibilities, We must have more music John Thompson 75c the first grade of study. Its eleven little pieces, (2i/ -never slows down! Yuletide Bells (13837) Ashford .60 2 ) records Stic up enthusiasm. What is the for more people on their own level.” SCHEHERAZADE each with text, are Hobby Horse, A Doll That MOZART Korsakov. Simplified for Simplified Goes to Sleep, The Tinkle-Tinkle Box, In a solo instrument in each? What other in- There is no doubt in anyone’s mind as By Rimsky no running down . . . precision beat perpetually Little White Cradle, The Big Compositions Arranged Red Drum, NUTCRACKER SUITE struments do you hear? Have modern he evaluates the present program and Piano Solo by Chester Wallis 60c Ten Favorite Wooden Soldiers, Tops, The Little Pop-Gun, for Piano Solo by Chester Wallis. ,60c Jumping Jack, Candle Lighting Time and (Tschaikowsky dance bands Changed much from or- visualizes future plans, that Portland IN THE CIRCUS RING -never wears down! Twinkle, Twinkle Christmas Tree. Price, 75 GRIEG A Story with Music for Piano chestras of years back? Novelty and public school music will continue to grow cents. Piano Suite by Nelle Stallings Simplified Arranged by Ada Richter freshness of unit presentation often in popularity. If it ever the no moving parts. ..no motor. ..no gears. ..no oiling comes to Scales 50e Twelve Favorite Compositions Ar- Holy Night, Peaceful Young pianists have reached the point of change student boredom into student of you Night (2) (13530) who question “taking it or leaving it,” ranged for Piano Solo by Chester Greenwald 25 grade to grade 3 in playing ability here 2V2 participation. can make a safe bet that these young- MUSIC AND PICTURES unique.! Hush-a-bye, Dolly (With Words) have brought within their reach some of the Wallis 60e Gjtdalutebf (1) (26955) A Beginning Book for Young Pianists, Stairs 25 most charming and most fascinating music A daily Radio Log in which one of the sters will take it! SCHUMANN Impromptu (5) (23855) Hanson 50 ever written. The interesting and entertaining Encouraging the Coordination of students points out the best programs of Simplified In a Manger music, (With Words) (2) (26752) Strick- story that inspired Tschaikowsky’s ballet Music ond Art on the Child's Own flash-beat signal land 25 runs along through the book and there are the day has greatly influenced listening Fourteen Favorite Compositions Ar- has a often in a Level. By June .Weybright 60c Jack-in-the-Box (3 2 ) (27010) King 40 illustrations. Tschaikowsky wrote listen Chester habits. “I used to to murder mys- ranged for Piano Solo by visual beat synchronized with an audible beat Jingle Bells 1 a ( /2 ) (6863) Lawson 25 vein of melancholy and sadness, but the num- teries, Bob Hope, and the hottest music Wollis 60e Knight Rupert (2) (4023) Schumann 25 bers in this suite are bright and colorful and AT THE ZOO The Lead Soldiers, March (2i/ (25516) fit in with the yuletide mood. Price, 75 cents. I could find,” pupil confided 2 ) one to her. The World of Music Little Songs for Little Pianists. EVERYWHERE CHRISTMAS Baines 35 “Now when I hear a beautiful melody on Words, Music ond Pictures by Astrid Christmas Carols Arranged for Piano adjusts louder or softer the radio, I listen.” ( Continued from Page 601) Ramsey 50c Duet by Richard Harding 35c PIANO—FOUR HANDS to any degree. Tone adjusts also: sharp to mellow Recent good musical films have done Title, Grade Cat. No., , and Composer Price THE PIANO in varying the work, too. A DOZEN DUETS FOR Adoration (4) (24373) Borowski 70 much “A Arrival of CHRISTMAS CAROLS By June Weybright. The duets in this collection are designed to be used os Santa Claus (3) (2664) Engelmann .50 Rhapsody in Blue” introduced the Mod- Testament. The competition is open to DIALS the tempo easily Christmas Eve (2) (9377) Hiller 25 supplementary for First Grade Course of Study _ 75c In Very Easy Arrangements for em Unit in which such composers as American and foreign composers. The material any Christmas Festival (3) (1791) Buttschardt . . . .60 Piano Duet Ada Richter winning work will receive an award of the whole range from 40 to 208 beats per minute Coming of Santa Claus (2) (4763) Eyer 40 —By Stravinsky, Kern, Berlin, Grofe, Shostak- LITTLE FRIENDS OF MUSIC LAND one hundred Message of the Bells (2) (25724) Beer 40 and fifty dollars, with pub- Writing Book 12 of the favorite carols arranged for first ovich, and Cohen were featured. By Eulo Ashworth Lindfors. Musical Drawing, Coloring and A Sleighride (3) (15315) Clark 60 lication guaranteed by Carl Fischer, Inc. A Christmas Toy Symphony (Piano 4 hds. parts grade pupils to play as duets. The texts also Most of the Music Appreciation in- for Little Fingers $1.00 The closing date is December and full only) (9807-A) Hewitt 75 1, precision! in ANY position are given for singing with the four hand ac- structors agree on one thing: they never details may be Tommy’s New Drum ( (25499) Risher. .. .30 secured from United MUSICLAND 2 2 ) ON OUR WAY TO companiment. Price, 75 cents. Two Xmas Melodies (3) (16076) Garland... .40 cease being surprised at the far-reaching Temple Chorus, The Ernest Bloch Award, doesn’t need flat surface. Precision at any angle By Sister in music giving the basic fundamentals Under the Mistletoe (2’/ (7615) Engelmann .50 Stanislaus, S. P. A primer 2 ) results of these classes. One graduating Box 736, Woodmere, Long Island, New in piano study. 60c York. I SIX Senior periodically brings new records to 00 PIANO— HANDS HANDSOME CABINET. . . REAL MAHOGANY FINISH his former teacher. “Thought I was IJMI $IS A Sleighride Clark 75 Under the Mistletoe Engelmann . . . Fully Guaranteed (3) (15424) | (2 2 ) (9943) .75 A mmwuMm A LIFETIME PRECISION INSTRUMENT bored to death in your class, didn’t you?” MUSICAL CREATIVE CONTEST for Youthful NAME . he laughs. “Maybe I acted like I was, but Composers of Los Angeles, California, is TWO PIANOS—FOUR HANDS announced by the Depart- ' I wasn’t.” ' address.. ment of Municipal Art through the Bu- Christmas Fantasy— Introduces "While Shepherds Watched", "Adeste Fidelis", “Silent Night'* A young soldier donated his valuable (4) (27415) Kohlmann $1.00 reau of Music of the City of Los Angeles. CITY collection of present day conductors to STATE. Cash prizes will be awarded each first I 14 6 the music department of his school. “I place winner, •G- 6. StHIRMEILin. and honorable mention cer- want you to have them. X may not come tificates for each second best work in 3 East 43rd St., New York N.Y. back,” he said simply. three classifications 17, THEODORE PRESSER CO —orchestral, choral, AVAILABLE AT gift and vocal solo. The closing date is Decem- Everything in Music Publications Today that from the boy who did ber MUSIC CO. YOUR LOCAL DEALER 1 and full WILLIS ; details secured 1U not come back is being used to make mu- may be 1712 CHESTNUT STREET, PHILADELPHIA 1, PA. from Charles Wakefield Cadman, General sic “come alive” to hundreds of teen- 124 EAST FOURTH STREET, CINCINNATI 2, OHIO Chairman, Bureau of Music, a product of CRYSTAL RESEARCH LABORATORIES. HARTFORD. CONN. agers. Room 190, City Hall, Los Angeles 12, California. p "FORWARD MARCH WITH MUSIC” THE ETUDE

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