Gardner-Webb University Digital Commons @ Gardner-Webb University
The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1952 Volume 70, Number 11 (November 1952) Guy McCoy
Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons
Recommended Citation McCoy, Guy. "Volume 70, Number 11 (November 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/123
This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected].
IN THE FINEST HOMES ••. ON THE LeTTeRS CONCERT STAGE
~~ T o T B E E D I T o R ITS liL1ristmasShopping &Juide . ~ ; ¢=.<- ~ am going to try and start one of INSTRUMENTS IN MINIATURE Articles these libraries for my few pupils as Piano, Violin, Cornet, Cello, Banjo, Trom- LYREAND WREATH PIN bone, Guitar, Drum, Saxophone. Sir: I would like to express a the benefit her students receive well deserved compliment to the from this library must be too nu- J-70 reads Music J_22A Gold Plated (Pin Back Only). .60 tJ-228 Sterling Pin or Chorm ETUDE Magazine. I think the Au- merous to mention. .75 J-71 reads Choir (Specify which instrument) gust issue is one of the best ever Roger Warren Roszell J-72 Plain Bar or Engraving *BRACElET WITH NINE CHA.RMS published. I enjoyed the articles Peoria, Illinois Sterling 8.00 J-508 "T6 Those High School Juniors J_70 LYREPIN, Enameled center *BRACELET only "'MATCHING NECKLACE only and Seniors, Why Not Music?" A Talent Show in School J.208 Sterling .1.50 J-2\8 Sterling .1.80 J-190 With Black, Blue, Red or and the Organist's Page "Elemen- • Sir: I have been a public school Green enameled center. tary Study of the Pedal." I sincere- ~~~~~. ly enjoy all departments of music teacher for eighteen years Mono PINS ETUDE. and would like to suggest one very WINGED HARP PIN practical and interesting method of J·60 J-61 J·62 Thank you, I am varying the daily musical pro- J-80 reads Music ~J-60 J-81 reads Choir Martha Jo Todd gram. At 10K Gold .. _•. _...... 2.50 J-82 Plain Bar or Engraving Daylight, Tenn . I find that in addition to vocal music, theory, notation, history of ...... 75 P,ices for above as follows: B Sterling . . S~r: I neglected writing you the great composers, as well as .50 ~J_6' At 10K Gold .. 3.00 C Gold Plated about an article in last month's music appreciation, the children .50 Gold Ploted ...... 40 8t Sterling .... 85 0 Silver Plated,. c ETUDE so this letter will have to desire to perform individually and Ft Gold Filled, _.. 1.20 Silver Plated ...... 40 cov~r several different subjects. in groups, such as a talent show. I J.80 On J.72 or J-82 .08 per letter for engraving. o iPl J-62 FIrst, I wish everyone could am referring to grades six, seven, • know and experience the warm and eight, in particular. In other ~~~-~~~~~~~~~.personality that is shown to all by words, the junior High Group. Jean Casadesus, whose excellent This is my method of proce- LYREPIN in enameled field • PLAQUES article appeared in last month's dure: J-90 reads Music ETUDE. It was my privilege to I appoint a capable chairman J.91 reads Choir The background of circle in Lyre design is Our newest design! Plaques in a rich ivory have Jean Casadesus as a guest in whose business or duty it is to 3 redsign,withblue,lowerwith panellow", panelin black;in white.in Cross de- finish plaster, 3 t.xS inch .. Bach, Beethoven, our home for three days last Feb- arrange the program several days CROSS PIN in enameled field Brahms, Chopin, Handel, Haydn, U",., Men· ruary, when he gave a concert in ahead of performance. This gives J-90 delsschn, Mozart. P8der~wski. Schubert, P~oria. His willingness to converse the performer a chance to practice • Schurnannv d ' ••• Puccini, :-.:::: WIthoutreserve with us and to pla a~d select his material. Most pu- o ~::~::::::~";:~ I ~o: us without hesitation are del pils, strange as it may seem, really ~ rQ p,;", 1o.;:a;;Ko,;::~o~" 3.00 :~:a:k~~Sky,.ve:di' .. a~.n~~( ~i y~. ; .O~ _ ' I~Ite~yattributes of this fine young take pride in performing well and pI~mst. W~ discussed many are prepared, where otherwise they J.92 ~t ~~~~rPlo~;d.:. .. ~:~ . t~mgs; m~sIc education in par- would perform on the "spur of the D Silver Plated .... .60 ~Ll ticular. TIme permitted us a moment," so to speak. ~~~~~~~~~~~~~~~~~~4""'~1 fuller ?iscussion of these things I guide the chairman in the se- than did the space in the article lection of numbers and try to have so I believe that I now have an in- him vary the program so that it BUSTS OF FAMOUS COMPOSERS ~ , , ' LYREPINJ-120 CLEFPINJ-133 \4 I sigh.t as to ,~hat he tried to bring proves interesting. He may have • Pressed White Marble Busts, 4'''''' high ~ ?ut III the article, and I believe that solos, group numbers, instrumen- Chosen a~)Qv~all other pianos by the very first rank Bach, Beethoven, Brahms. Chopin. Handel. ~ 10K Gold 2.40 It ~vasjust this; that there is some. tal or vocal. He may even have ill Ai' Haydn. Liset, Mendel ..sobn, \\ourt. Paderew- ~ of concert. ar.tlsts each sphere of musical expression, the J-120 Bt Sterling .B5 ski, Schubert. humann. J. rreuss. puccini. ~ thI~g lacking in the musical edu- folk dancing, a quiz of musical Baldwlll IS acknowledged as the pre-eminent piano c Gold Plated , ...... 50 Toscenini, T haikow~k", Verdi. WaJ!ner " ~at~onof the American youth who terms, history of the great com· of the concert ';,orld-yet it is essentially a piano for lsn t fortunate enough to go to a posers or some theory work. The D Silver Plated , 50 -::':>;'igh ...... 35 ~ the home. That IS why in homes where quality and ~';'.~[y Conservatory. I would be willing only stipulation I make is that the Ft Gald Filled , 1.20 enduring beauty are the measure of u to wager that American youths program pertains to music. He * Plaster Busts, 8 high value you will find the Baldwin, J_133 the same age that J ean Ca5adesu~ may print the program or an· Beelho\en, Padere"':okL \trndc.l""_ hn, )loz.art. A Baldwin in ;rour home, Brahms, Verdi, Watl,ner, Schubert. ~ was when he started his study of nounce it. PB-B Ivory Finish 1.50 " soIfege" never even heard of the I have discovered some talent exquisite in its superb ~ 0 word or anything related to it. of which I didn't dream in con- craftsmanship, will give you that SCATTERMUSICAL SYLLABLEPINS Bronze finish 2.0 ~ This is just one of the many things ducting this type of program. In rare pride, that lasting * Plaster Rusts, 11" high t~at our system of musical educa- addition to discovery of hidden pleasure realized only throuah DO, RE, MI or LA in Gold on Black Enamel. Beetho\'en, Liqt. ~\ourt. Wuntf. ~ tIOn lacks, and it might be the rea- talent it gives the backward child hi " Also plain Black Enamel Notes. PB-11 Ivory Fini.h ,. _ . _ 2,50 ~aldwin _, ,the choice of Alesandro Arrau BolI'slo owners p of the finest. s.on why America has produced a chance. to perform and thereby r:t~c~,a~r Bernstein, Bolet, !7aryolhb, Cicc~lini, 'Do: ~ kin' be Ier, Flagstad, ,Fournier, Francescatti, Giese. tJ-95 _ ... ,., .... 75 each Bronze Finish . _ 3.00 httle great music. boosts hIS ego. It also gives the l ~' h 0 doYsky,Hennot, Amporo Iturbi, Jose Iturbi Jl u os Ulz 8. Nemenoff, Moiseiwitsch MonTeu/ Secondly, I wish to comment on ~ group more confidence and devel- ~unch, Pennad? Piotigorsky, Pinza, Po~s, Pouleoc: T~~rolmaf Scgwreger., Shure, Spiyokonky, Szigeti, Tax induded in all tax.able ilems • All arfidu pidu,ed or. ot/llal .it. "nl.u ofhe,...... i••• p«Hi.d. the article in the August issue of ops ease in performing before an *Cannot be sold in Canoda tSafety Ca1ch mon~e~th;~5~ el, Whillemore & Lowe, Wild.ond ~ ETUD,~ a~o~t a "Lend·ing Li- audience. ~arbwin f brary. ThIS IS a superb idea! My Colorado Springs, Colo, For informotion, nome of locol deoler write- THE sA W N PRESSER CO., Bryn Mawr, Pennsylvania hat goes off to Rose Grossman. I Mrs. Margaret Stewart Buildersof: BaldwinGrandPianos. Atrosooic'SpinltPiano • ~o'I: :IA,NO COMPA~Y, CINCINNATI 2. OHIO THEODORE Simi on erticaland GrindPllnos • BlldwlDEledronicOrpu
ETUDE-NOVEMBER 1952 I. fif you wont the best in t~,"sole styling ETUDE 'M .0.00 ._"~ • Offices, Bryn Mawr, Pa. . f,;~ Editorial and Business
. C k Editor Emeritus James FranCIS oo/ltdito • 1907.1949) '<:JJ. I Founded 1883 by THEODORE PRESSER r Guy McCoy, Managing Editor ~TI1JrJf Shirley C. Jefferis, Busine.')s Manager Bremen By GEORGE GASCOYNE in th~ie three dro.\motit . K I W Gehrkens Elizabeth A. Gesl Harold Berkley Maurice Dumesdmll\I C a~y . Nicolas Slonimsky PIANOS man. Angela Neulinger, soprano, Guy Maier Alexan er leur Schubert- Mass in G Major NEW 4~ inch consf es by one of the world's Miriam's Song of Triumph and Norbet Scherlich, piano, are Hymn to the Sun fin es t ,pi nets entirely capable in "Miriam's Song November 1952 Tt"iumph of enUUftlenl Three of the most impressive of of Triumph." In the Hvnvi to the JESS~ FR~NCH Vol. 70 No. II CONTENTS buwy. lonal Ind Uruct\ltal all of Schubert's works are pre- Sun for piano and orchestra, Mr. qualilY· Diuinluilhed fOT sented in this recording which bUl"lI1ful proporrionl and Scherlich does some brilliant piano FEATURES (unclLotuI t:OMJlI(lnCil. provides the listener with some playing. All in all, this is a highly ..• Etllviu Franko Coldman MI.url ...lI,. bulle by owiUnd- moving choral singing, some dra- satisfactory .recording. (Vox, one THE FUNCTION OF THE BAND...... Hob(lrl 1/. fJrllf'ril In. l"lMn, ","0 forlllfttilDt matically effective solo perform- LP disc.) MUSIC IN THE SCHOOLS U .. Ilenry VVi!16 hhi: ~'\"(llItd Iheir t-'rillilOtht LET THE CHILD TEACH YO . Doron J(. An'rlm ances, and a brilliant piano and hl.ht." PCrlKfLon 6C&n4arch of EVANGELIST OF :I\1USIC :i~';le. Frtll,ci. C~k~ 55' : : :: :: fine- pl,anomAkln,.d\eBttmm orchestra interpretation of a not l\filhallc1: Piano Concerto No.4 MUSIC, PROSPERITY, AND BUSINE Erma O. LnllC;tliI''''' Sautlatles do Brtlzil THE CAROL RECITAL...... KtttllryJl Cray'I)" plano II nOlt~t1h, (Ot III too-often heard Schubert work. SINGING IN THE MOViES ..... ···· . . .• n C .u buud(1,t1 ~iotI" soIdm Zadel Skolovsky and the Orches- PARENT, TEACHER, CHILD-TRIANGLE on TRIO~ ., .... nQile rOIll'" Jlnsinl tone Ind Itchl, rtlpollo The Mass in G major is given an F ART.SONG WRITING...... EVIIIIH,rli.11J LeIIlJII.,. SPEAKING O ...... Dltul'lI P,,'''r ,h·e action· inspired performance by the Vien- tra National de la Radiodiffusion, SINGERS CAN BE MUSICIANS, TOO...... Crli,t IJlw(l('riI Write lot (m..btO(hllrtfo na_ Symphony Orchestra and the conducted by Milhaud give these DIANE WHO DAWDLES .. ._ .. _-"" ...-..t ...... Akademie Kammerchor, with these two works a spectacular perform- DEPARTIUENTS ..~,.-.,-.,.,-'-"".. soloists: Laurence Dutoit, sopra- ance. The piano playing of the THE CAPRICE,reaeeuns the finest In I8UI Century BrImm Hebplewliltc. Available In mahogany. walnut or LETTERS TO THE EDITOR...... no; Alfred Planiavsky, tenor; and soloist is remarkable in the way bleaehed mnhogany finishes. Equipped with Tone Piano (orporJlion NEW RECORDS...... CCQrge CIUCoyritl the varied demands of the music COMPOSER OF THE MONTH...... ••...... , . , . , . ..-, Harold Buchsbaum, bass; all under MUSICAL ODDITIES...... •••...... Nicoltll' loninuky f1OO" M.fIOlf..... lJ1. the direction of Ferdinand Gross- (Con,tinu,ed on Page 7) MUSIC LOVER'S BOOKSHELF , .. ' , , Dille AIlt/fOnOIl WORLD OF l\IUSIC ·,······· ...... •.. ' . ADVENTURES OF A PIANO TEACHER...... ' , .. , Cuy Mill,.,' QUESTIONS AND ANSWERS , ' . . .• . Karl .W. C,./lrkt'lI.iI TEACHER'S ROUNDTABLE ,· .. ·.····· MClIlru;;, DIHIlNn,1 THE COMPOSER OF THE MONTH THE ORGANIST TAKES A SUNDAY OFF .....•...... Alexand#!r "'('Curdy VIOLINIST'S FORUM...... ' ... 1Iar(lld OerklflY t$THE INTERMEZZO THE CADENZA ontinuing this series of monthly pre· a remarkably beautiful capturing the riCh ele. VIOLIN QUESTIONS...... •...... lIarold Ot:rklt'T plano In contemporary ganee of lovely colonial ORGAN QUESTIONS... ""...... Frederiek Phillip. C sentations, we have selected for this styling, Walnut, rna· styling. Graceful, dlg- hogany and bleached nltlM, dIstinguIshed. In JUNIOR ETUDE. . . . . EIi~abNh A. ~f month one of the best known American mahogany. mahogany and walnut. composers-Ethelbert Nevin, born in Not one ... not two ... but three ~IUSIC Edgeworth, Pa., November 25, 1862; died, superbly beautiful new consoles, styled Compositions fOT Piauo (Solo anti DILct) by renowned Lionel Algoren for JESSE New Haven, Conn., February 17, 1901. As FRENCH ... and each an outstanding Bagatelle. Opus 119. No. 11 (from "Piano COUlIJOsitiUll!! a child he showed a precocious talent. example of the designer's art. One of of Ludwig van Beethoven," Vol'. II ....•.•...... •.•. 8ectlto~n-d'AJber' 21 When only five years old, he would go to them will surely satisfy your special pref· Alba (Dawn), Opns 25, No.1 (from "Un Giorno erence for enduring beauty and musical in Venezia") ..••...... • E,helbert Neei,. 28 the piano and. improvise accompaniments excellence. , . at a price that's surpris- Mazurka. Opus 67, No.3 Cl.ol,;n-lA!dnlJ 29 to songs which he had learned. He received ingly small. Inspect them today at your Will-o'-the.Wisp, Opus 16, No.5 Cedric; W_ Lemonl 30 dealer ... see how you can own a n~w Taraolella (La Danza) (from "Pianorama of his first piano lessons at eight. A year spent Jesse French console so easily ... with the World's Favorite Dances") ROil.ini_A&II,. 31 abroad with his family gave him the oppor· • only a small amount down and low Mcnnello (from "Symphony in E-f1at -Major") (from tunity to slUdy with Franz Boehme in Dresden. Upon his return to payments to suit your budget. "Analytic Symphony Series")...... 'Uo=ar,-C~',chi" .. 33 Runl Rumbn...... Anne Robinilon H America, he gave concerts in E.ittsburgh, one of these being with Faith, Opus 167 (Piano Duet) Hornber~er-Ec;kard 36 orchestra. In 1881 he went to Boston to study with B. 1. Lang and lnlllrunlf~nlal lind Vocal ConLpollilioll1l Stephen A. Emery. This was followed in 1882 by study ,vith Klind- G'-lJ Je Veux Vivre (Clarinel) (from "Romeo and Juliet") worth in Berlin. He was graduated with highest honors from the (from "Ditson Treasury of Clarinet Solos")...... Gou-nod-Ceanaco. 38 Klindworth School, after which he was invited bv von Biilow to J?Frenchssons La ROlllanesca (Violin) (from "Solo Violin l\[u"ic of the Earliest Period") ..••...... •...... iUOTini-Zimbali,1 40 study with him. In 1886 he made his formal debut as a pianist in Love Song (Minnelied) (Vocal) (front "Easy German Pittsburgh. L--Pianos Classic Songs") ...• , ...•...•...... •. Scll11bcrr.Colde 41 Meanwhile he had begun to compose and in 1891 published the F(lmOIiI ForMlIlic(l/ Exceflence Since 1875 Christ Lag in Todesbanden (Organ) (from "The MAGIC KEYS Church Organist's Golden Treasul"}'," Vol. I) ...... •...... Poc;helbd "Water Scenes," the fourth number of which, Narcissus, -was des- FREE BOOKLET guides you in 42 selecting the very best piano Pieces for Young Player, fiRST AND SECOND PIANO BOOIS tined to become his most popular piano piece. His piano suite, "In for your needs and budgel. Imagine a ho~e organ with been available. For tbe first ... by LOUISE CURCIO Arcady", was written in 1892. In 1895 while living in Italy, Nevin Check the coupon below for Hark.! Hark! The Lark (from "The Child Schubert") ....• ScllIlberl-8am Ion your copy of"How to Choose 43 rich, colorful tone for classi- time in organ history you can CIIOOSE Jolly Jo-Jo (from "At Ihe Circus") Johan Fr~nco H wrote his best known piano suite, the popular "A Day in Venice." the Best P-iano."We will also rHE" Trapez~ Time (front "At the Circus") , .. , ...... • Johan Pranco A VISUAL PIANO METHOD send, free, a copy of "Music 4\ Returning to Ne,~ York in 1897, he opened a studio in Carnegie cal music and quick response get ~~Mighty Wurlitzer" qual- in Your ChJld's Develop- 'En Maypo~e Dance (front "Bartok is Ea8Y") .•...... •...•..... Barl 1...... C· 1>0..... 45 Shows diree-t r-eIahon",ip !!II Hall. In 1898, he wrote his famous song, The Rosary. Sung in public for popular tunes! Never be- ity for no more than lowest .. ment. "Mail the coupon nowl 'IA", Stu~y III Yellow (from "Musical Rainbow") ••...... Ji'ladim.i; Po:~ 46 P~p s .Old Wag~n (from "The Am.erican Traveler") ..... Folk Sons.Wa'e,..&e1r Y;luol 1101. olld pioltO b,., ~ w' �MILLS PIANO M'ETHODS~ New Records Easy to Teach-Easy to Learn BOOKSHELF • (Continued from Page 3) • By DALE ANDERSO~ MICHA:EL AARON !!"'-'- • the cooperating forces seemingly Best Known Piano, Course in America • are met. Extreme force and per- r -piiRELEif- --, • cussive tone are expertly balanced inspired to do their utmost, the COLLECTORS A lIVlNG ( I tTIMS! • GRADE ONE .. • with a finely controlled, singing result is artistry to a very mark- •• IBRARYOFSOUNDI Captures pupil's interest. at once, ~e.ep5 it, wl!h excellent Intro- I:J M 303 duction to 3 R's of mU~lc_ReCognlhon, Readmg, Rhylhm-:-?nd piano of the salon type. (Colum- ed degree. The cast includes that brings to vivid life the I • fundamentals of playing. Also covers vlsuo l tr cnspcslncn, I ;~~N,,~~~~:~~~eKI,,~h tenor • Bianca Scacciati (Leonora), Ciu- star 01 00"03 and the concert dramatic excitement of history making events - torn from I Chords, Musical Dictionary. ,$1.25 bia, one Iz-inch disc.I stage to " line !ecoldmg 1 cs cello and double bass, the saxo I yesterday's headlines ... Recreate the magic genius of A H.i~t.oItYof Music .in Pictu ' seppina Zinetti (Azucena), Fran- phone, the trumpet and cornet,a~ great personalities - Right In Your Own Home. I • GRADE TWO • Edited by Georg KUlSky cesco Merli (Manrico), Enrico Igo~;~lSCHUMAN~EINK Stimulating progress ecttem estobli,shed in Grode One no..... Handel: Judas Maccab aeus Ilhe belu .. rl Gel",an eenr.eno well as other instruments such as nMJ09 -,nOI QV212 exponds, including Minor clnd Chromotlc Scoles, Theory ond Molinari (Conte de Luna), Cor- wa, "~ted for an 3mallngly • Harmony, Chord Construction. . .$1.25 The title of this book describes Handel's dramatic oratorio is Irich verce of unusual 13n~e • the oboe, the bassoon, the Engli~Jl secerceo ,n IS08 i~eCRf~I~~u~O~~an"h.Amerlean ~~:~:o~~~~~~;:v~:~em;l.rr pre ;~~SlfE3~~f~~eus.mpe"onatQ'01 I it exactly, inasmuch as the only given a most effective perform- rado Zamhelli (Ferrando), Ida GRADE THREE GRADE FOUR • horn, the flute, the piccolo,the Ie 1.1301 ~~~ra~f :~e ag,~~:"~~~~:ela The Pillsburgh Interna.tioltol the lOO-piece Brevard Festival Or. chestra, conducted by Jame, Chris. Contemporary A-Iusic Festr.val t~ recorder be held November 24 to 30, has tian Pfohl. .' lor new works uiven commISSIOns . Benjamin Britlelt·~ new all-mala in the choral field to nineteen CO~- lets them learn opera, "Billy Budd;' "rill hare it, posers, including fisc native Am~l' American premiere on December 5. - cans. The Americans are: Ross ~ by hearing Finney, Peter Mennin, Vincent Persl- when it will be presented hv the chetti, Burrill Phillips, and. Gardner students or the :\Iu.!'ic Scho~l 01 When students-hear themselves enj\ Indiana 'r:o-ity in Bloomington. recite or perform, it is easy to start Read. Composers representmg other I ndianu. The conductor will be them on a self-improvement program. countries are: Villa-Lobos, Poulenc, MagneCordette catches every ",:ord- Alan Rawsthome- Raymond Chev- Eru-t Hoffman, and the stage di- ever-y musical note-exactly as It reuilIe, HiJding Rosenberg, Carl rector wi]! he Han .. Bu-ch. originally sounded. Then it can be play- Orff Healey '\';'iJ1an. Arnold Walter, ed back time and again for study A rete r GilJ~oll. nationally known and reference. San;a Cruz. LopatnikofJ, aevc~ud. Malipiero, Dallapiccola, and. Gm~. orguni-t, formerly organi ..t and choir- MagneCordette is made by the makers muster or the Brick Presbyterian of Magnecorder, the world's most etera. Roy Harr-is is Exe~ut1~e Di- hurch, \c\\' York it)" died at widely used professional tape re- rector of the Iest iva l which I co- corder. It is a complete unit, and sponsored by Carnegie In titute and Lake 'Iahupae, \. Y. July J.I. at can be carried easily from room Pennsylvania College for Women. the ngc of 76. lie ha ... private organ- to room. Professional in i~t tl, runny of the leading figure. quality, }let simple in the financial \\lIrid. including in operation. The NaliOlwl FPlleralLf,Ul 01 John D. Hockdt:t1,·c. xr.. \ndrrw ll'1usic Clubs has added ano~her arneglc, hart \1. h""ab an.1 project to its long list of pr.a.ll a1 aids to musicianR. It is omplhn~ n I knTY Clil' rrick A veteran band director has words of criticism and advice concerning li.:-.t of all the American-born con· LOll is k 0"1 (I'lln. \lIwrkan\iolin- ductors available. the idea bing I a!'.sist them in <:ecuring recognition. i"l. f;,a\c in fPlcmhtr the fiN p".r· The compo,.er, Grant Fletcher, is forman e in lnp;land 01 .\ntOnJtI compilintr the li'-t and all conduclor~ Vivaldi' pu 1\ (La Celra). In r over 25 a~ereque<:ted to writ him at pre ntint: th("..e 12 con{'('rtl)'o. fo. 115 South \\:.raba~h A,enue, Chicago, violin, !"lrinJ( ordlC'·trd and Harp·.· giving the nece""'ar~ information no; th rd. \1 r. Kaufman had lh, cnll.1Jo. to their training and expericn e. rali n or G 'orgr 'lalcolm. harp'I' I'hordL t, and .h,. .old ..brough Or· From an interview with Edwin Franko Goldman as told to Rose Heylbut The Clwl.llau.qlw yml)!tOIIY chc ..tril. nr \\hkh fmanud Hur,,·iIZ Orcl"eslrll sea "on which clo!"ed iq t hf' leackr August 20, was one of the most Giu eplJ(' (;r('lItore. MItt! hand· successful in its history. Attendance THE PAST DECADE has seen an enor· derives a lift from music, let's have fun. and schools, to inculcate the idea that, 010 t 'r, \\ ho.. fame. al the height passed the 150~OOO mark, and a mous upswing of national interest in But let us also remember that music, as whatever else bands may do, they are pri- number of important premieres took of hi. art' r, ri~al d. Iha~ 0.' J.ob~ band work. High school and college bands music, i~ not a sport but an art. If a band marily a source of mnsic. There are anum· place. One of these ,..'as a new work Philip ..ou d. dl d tn :'\e"t'...\or have grown in quantity 1md (generally) in furnishes art-music, let us accord it art- ber of ways of accomplishing this without for trombone and orchestra in which Cily ugu" 15. at the a~' 01 82. quality; the constant demand .for .....new dignity. the soloi~t Davis Sherman used hi For ~ numbrr of )Ca.r~ he toured the verging on stuffiness. new style angular trombone which Unjted ~t8te<:, an.da and England works has made available an increasing Not long ago, I attended a Band Festival From the moment the youngsters are slides 5idewa~ s in:.-tead of up and with ::-en ..atioual ~U(( ~~. for fi\·e amount of good music. All this is encourag- in Oklahoma, in which seventy-seven bands given their first band training, they should down. )'ea.r::. h abo direcled h.i::: own opera ing-but we still have a long way to go be- from different states participated in a con- also be given musical benefits. Let them compau fore the band assumes its rightful place as a test. Here are some of the points I observed understand that the band's participation in William Jloening, 3rcl, of Phila· . bl dignified purveyor of good music. . . . not in practice, mind you, but in public sports fun does not represent its full scope . MagneCordetle Otto lIarbo It noted playwng delphia, has been taken to Europe The first thing is to tackle the general contest. In the marching event, many of the Let them take pride in good playing, good is supplied in a handsome blond and libretLiH, wa~ recenU)' re-elec~ or dark rich maghogany finish cabinet, by his father William J\Ioening, Jr. attitude toward the function of the band. bands came galloping on to the field, play- craftsmanship. In marching contests, let to his third l rm a' pre~ident of e priced at only $385. Adapter to serve his apprenticeship with Unfortunately, there are still some in edu· ing their marches so fast that the music was them march-not gallop or engage in afro- Ameri Ull 'et' of COlUpo~n'· mechanism for 10" reels available leading violin makers of Italy, HoI· cational circles who seem to regard the entirely blurred. Some, while playing, in- batics. Let them play marches in marching at slight additional cost. land. SwitzerIand~ France and Ger· athor. and PuhJj.h", (ASCAI'I. l rec band as a circus act. School orchestras and troduced prankish dance steps into their tempo. And give them marches of musical many. He is the twelfth conseculi\'e Ir. Harbacu bas --troed 85 a d • · soloists come before their audiences with marching. Many played their music in uni· value within the scope of their playing ~ t' member of this famous family of lor ..incc 1920, a \ice.pre::.idenl :,oce ""~ digni.y-bu. what happens a' band per- violin makers to follow in this ex- 1936 and a, pre,idenl ,ince 1950. son, all melody and no harmony at all; ability. This means a minimum of simpli- acting craft. formances? The event is not uncommonly others played such simple music, so muti· fied arrangements and none of the cut ver- Gralld Opera prad uced e~pc~ial·eJ heralded by anywhere fI;om four to forty lated with cuts and so badly arranged that sions which use one or two easy strains • ,-.~ The Brevard ..llu,sic Festival at I)' (or lele ...i~oD will be rre~nl "majorettes", in odd dress, tumbling, danc- it was scarcely music. And sorriest of all, over and over. If the band isn't ready for " ,.,~ Brevard, N. C. which climaxed the .hi laJl bv Ih )Ietropolitan OW' ing, "twirling" (as like as not chewing the audience saw nothing amiss with all the more advanced marches, the solution - . ··d audience season of the Tran~yh'ania Music Company to :] DSU0I1"'1 e I gum), and generally creating an atmos- this-it was a band contest so what counted lies not in mutilating the music but in see-j'~~ a1:/"Utbtltin- Camp, was one of the most succe~::. on ~·ODlnibu";- the 9O-olillute te ~ phere which defeats any musical purpose was the spectacle and not the music. building np the band. ful ever held. Included on the 13 vi:iion program pr()du~ed by 1I1Fef\ the hand may have. I think it's time we changed that. We can f d nun' This is the work of the bandmaster; for listed in your Classified Telephone Festival programs were :Margarcl Radio '\\'ork~lop of thele?~ \et. If we are to have worthy bands, and not do so only by changing our attitude toward INC. better or worse, his band is a reflection of n8cQOf directory under '·Recorders," for Harshaw, ~letropolitan soprano; dation on th cn T e'I~10n - just gaudy acts, w~ must differentiate be- O~pt. ET·ll ( opt'"~ bands. Young people can hardly be ex- himself. Band contests are really a test descriptive literature and a Anna Russell, concert comedienne; work Two and perhaps t1llee Wut Ohio' Str.~t, tween the uses to which band music can be demonstration, or write us. n pected to evolve standards of their own; it of .he standards and abili.ies of band, 090 10,; illinois Isaac Stern, noted American violin. wiJI be pr -ented by the )[,trap ETUDE-NOVEMBER 1952 8 ETUDE- \'01 EIlBER lQj~ 9 Let the Child Teach You From an interview with Henry Levine as told to Annabel Comfort ..4 well-known pianist and imtructor gathers valuable teaching points/rom his own children's first playing ellorts• • TLY I heard a lecture given by a My little ones had heard them inee their then I would let them test me again. I would •nent music educator before the cradle days: but just how was I to go ahout alternate by teaching them, and then they eacher's Congress of New York. on it? My llxperienee as a piano teacher had would teach me. This lIlimuiated their In· interest pre-school or very young covered many years, but in all of this time teresL Occasionallf," I would make a mis- around the ages of four. five. or I had never taught a pre-school child. My take, and they would howl with slee at th ir , in playing the piano. He chided wife had previously tried to teach them the ability to diacover my mistake. audience of piano teachers. who staff, the old formal way; but she threw up Mler locating the white Ire before the a stilted, pedantic way of teachiog her hands and called it "quits." The chilo two black keys, I then pointed out the i1y crush the child's interest in dren simply walked away. Until someone white key between the two black key and the very start. He said, "Unless a made a game out of it, they just were not then Ihad them find similar keys elaewhere _I>W" how to handle very young going to learn anythiog about music. on the keyboard. Then I went to the three , he or she will be sure to make I knew that my children recognized the black keys, I showed them the white ke y a ~Ie chore." nursery rhym es, and now my problem was before tlie three black keys, and followed educator had a couple of young to get them to play them on the piano. First, the same procedure with the two white ke • and had tried out various I explained to them the layout of the hlack on either side of the middle black key in and hold their interest. Nurs- keys on the key board, and the relation- the three black key group. Even an adult _ his u-ry, and other ship of the black keys to the white keys, I associates the white keys with the black tit which they wl!refamiliar. This showed them a group of two black keys, keys, and if you hide all of the black keys, them away !tom some of the and a group of three f>lackkeys, and then the white ones will all look alike to him. that are 80IIletimes associated we made a game out of finding all of the I didn't use any letter nam for the y01lllgBters.He decided not other two, and three black key groups. present, but I started to play TIlr"" Blind tile stall at first. I let the child ask me to point out a two Mice. I didn't talk about hand po ition, S this ~ I did consider- group, or a three group and I would pur- and I didn't bother with fingering. I found ~i~t the'1'1'lHlChool child. posely point to a three group, when he had that I must not fuas or nag at the children y ~ t decided that I asked me to point out a two group. My about th_ things. soon ..... I made a ~ g tIIeIn. Children children would laugh, because they love to chore of it, they thought that learning mu- ~~Jl.Ound. I noticed play the role of teacher. It strengthens their sic was a bore. All they 'Wanted as to pia feeling of superiority and achievement to In des. a tune even if they did it with one finpr 'l~~ril~:t:.9Des.~ said, "Can't be able to poiot out an error of an adult. The essential thing to keep in mind ia to let ~~'I g that I As there is always a white key before the them play what they ant to play (8t Ieut 'lbe piano all two black keys, I would ask them to find in the beginning). dio teach. other similar white keys before a two black I played the lint three notes of Tfaree listen to key group. Some timesthey would niilke a Blind Mice. preaeJlt, I depended entirel ~olICh Was mistake llIId play a -white key: in froDt of on their _ loca&ion at the keyboud, thatl the three black .iustead of the of and on tlJeir ... 1 IIIarted On the white ~ • ., P, e51) Through his efforts the symphony orchestra was · T WAS a March evening in 1873. The he played in saloons and for all-night I people of Peoria, Ill., milled around the dances at 50 cents a night. Looking for 60 musicians tuning up on the stage as more lucrative fields, he set out at 14 on a they would around the freaks of a circus barnstorming tour of the South billed as sideshow. They had never seen a "sym- "The Boy Wonder." Arriving in a town on phony orchestra" before. "Where's the In- horseback, he would hire a hall, post the terlocutor?" asked one. Another, peering bills, sell tickets at the door, and then rush I at the string bass, said, "That there fiddle's backstage to change clothes and appear on as big as Aunt Hetty." Everyone gazed in the platform. Some people considered the awe at the instrument right out of heaven, violin a malevolent instrument in those the "harp of gold." days, and a sheriff ran him out of one (Clement J. Bnrnhorn. Sculptor) The house quieted as a powerfully built Mississippi town, claiming that he and his Bronze statue of Theodore Thomas, in the man stepped briskly from the wings and fiddle were in league with the devil. College of Music, of Cinelnnatl, of which Thomas next played in one of the first he was the fir-st Music Director. Founded in raised his baton. A faint drum-roll began, 1878, the College of Music will celebrate ib by Doran K. Antrim gradually swelled louder. Now the leader chamber music groups in America, in New seventy-fifth anniversary in 1953. motioned the audience to rise, and the York theatre and opera orchestras, and orchestra swung into the opening strains eventually, at 18, with Louis Iullien. Iullien But Thomas had made up his mind. of The Star-Spangled Banner. The Civil had a large concert ensemble, employed Calling together 60 of the top musicians War still fresh in mind, the crowd sang as first ranking musicians, but pandered to in New York, he sold them his idea, gave never before-then cheered. the crowds' liking for sensationalism. His them contracts, paid salaries out of his The orchestra swept into its program, tour de force for example, was a perform- savings, and began forging a cohesive unit. playing pieces by such difficult names as ance of Fireman's Quadrille in which fire Then he announced a season of concerts. Beethoven and Tchaikovsky. Then the hit broke out in the hall, firemen clanked in He lured ticket buyers into Irving Hall of the evening, Traumerei, by Schumann. with hose and water to put it out; women with lottery prizes, china-ware and embroi- At its close, the violins grew softer, softer, fainted, and all who were not overwhelmed dered pocket hooks. He played pieces the softer until the crowd strained for the mer- brought the piece to a close singing the people knew and liked, such as the Beauii- est sound-then caught its breath, for the Doxology. Young Thomas longed to in- ful Blue Danube and other Strauss waltzes, conductor laid down his baton. troduce the instrumental classics and to interspersing short melodic bits from sym- That evening the Theodore Thomas or- lead a symphony orchestra. phonies. Now and then he'd pack the hall chestra won another outpost for. good An incident that occurred when he was with a big-name pianist-composer like An- music. Next day the people of Peoria 22 brought this objective nearer. He had ton Rubinstein. After paying all the ex- whistled Traumerei on the streets. Music just returned from a hard day of rehears- penses the first season he just broke even. for them had become something more than ing when a messenger rushed in. Would Then came a request to play nightly hrass hands playing Th.e Battle of Bunker Mr. Thomas conduct an opera performance during the summer months at a city park. Hill, dance fiddlers beating out the Arkan- at the Academy of Music? The regular It enabled Thomas to keep his men together sas Traveler. Eventually the Peoria Sym- conductor was ill. Thomas had never seen until the next winter concert season. Music phony Orchestra was born. the score of that evening's opera before under the stars proved so popular that a For 48 years, in 10,000 concerts, Theo- nor had he conducted an orchestra. But spacious summer structure, Central Park dore Thomas pioneered great music in the the players at the Academy knew his repu- Gardens, was built for him-admission 50 far corners of America. He "gave" this tation for reading at sight. So Thomas cents top. Potted plants, palm trees, splash- ....country the symphony orchestra, started took a chance. The evening was a hit, and ing fountains added to the allure. Light summer concerts, "pop" concerts, chil- he was retained as conductor. refreshments were served at tables on the dren's concerts. Fighting indifference, The opporLunity for evangelism was now outer fringe. prejudice, hostility-and seldom free from at hand. To the manager of New York's For 14 years New York's elite crowded grinding debt-he caused a "musically bar- Irving Hall-a barn like structure at 15th this summer garden. It was an attraction ren land to flower. At his death in 1905 and Irving Place used mostly for political comparahle to Radio City Music Hall to- The Musical Courier said of him, "He has rallies-he proposed establishing a "per- day. People from Brooklyn allowed three done more for the development and popu- manent" orchestra. It would be made up and a half hours to get there via ferry and larization of classical and modern music of outstanding players who would give horse car, took along a novel and their of the highest order in the United States their entire time to the one job of playing dinner. than all other musical conductors com- good music instead of having to accept This engagement was the making of bined." fill-in jobs 'with theater orchestras. No Thomas. His men acquired a large reper- It all began one hot. day in 1845, when such group existed in America at the time. toire, playing a different concert nightly. a ten-year-old German boy, a violin tucked "You're crazy," said the Irving Hall Under Thomas' skillful direction, they under his arm, landed in New York with manager. "Noone will pay to hear stuff sharpened into a great orchestra-"The (fr.1n I..elie·. lIIw.l.nled y;eeklJl his family. To help the family finances, like Bach." Grand Music Festival, conducted by Theodore Thomas, at opening of new Music HaU, Cincinnati, ~ray lin est and best in (Continued on Page 19) 14, 1878. J _·) ETUDE-NOVEMBER 1952 12 ETUDE-\Ol E.I/BfR 1'-9 • _ 13 \!f Continued from Page 14 cities and in the country. Some of these home organs are said to have cost over half Here's a suggestion for the teacher a million _dollars. One of these was in the home of the late steel king, Mr. Charles M. desiring to have something "different" Schwab, former head of Bethlehem Steel. Earlier in life he had been an organist and with her pupils at the Christmas season. Music, An Editorial taught music. The private organist in Mr. Schwab's home was the late Archer Cib- son, distinguished and original virtuoso, who might have been called the "court or- by JAMES FRANCIS COOKE ganist" to the millionaires of America. Mr. The Carol Recital Prosperity Schwab's home like that of Mr. Carnegie, 1VIr. Frick and others was a rendezvous for millionaires. Soon there were dozens of by ERMA D. LANCASTER these splendid organs, largely made by the Aeolian Company. Many of the rich men and learned to play the organ as did for instance Cyrus H. K. Curtis, founder of the world NSTEADof a bigger and more elab- Any interesting bits of authentic in- renowned Curtis Publishing Co. These 'in- orate recital for the Christmas sea- formation concerning carols and carol dustrialists became so fascinated with the Ison this teacher tried the idea of a singing collected by the teacher or pupils Business thrills they received from music that they new and appealing carol for each stu- during the year were interspersed as began to wonder if music in many of its dent to play for all the group to sing, reading material in the program. Always forms might not be of. value to their em- Because she was always intrigued by the the reason for the performances of the by a Lo A»gcle f rm and cost .)'!r. W.n.· ployees. new carols she found each year and, in "Messiah" were studied and every pupil and engaging advertising, broader vision The aspect of great leaders, business men knew why an audience stands for the HIS MONTH we come again to the maker 8250,000. He was so delighted with fact, had made quite a collection, she and renewed initiative. and manufacturers toward musicians and singing of the Hallelujah Chorus. period when the affairs of our natio~ the re ult when it wa first hard by a great felt that her students would like to add With more stable conditions many fears music began to change notably. The musi- to the old favorites of Silent Night and Special devices were used during the T. are subject to the results of th~ 'pre~l. crowd in the Grand Curt of the store in about our national future security will ~e cian was no longer looked down upon as a It Carne Upon the Midnight Clear-with recital itself. Each visitor and pupil was dential electorate franchise. Our pOSItIOn 111 1911, that since that time improv ments removed, new hope will be restored to mil- weak, sickly dreamer, incapable of taking some of the unusual happy songs in given a mimeographed copy of the world relations has become so far-reaching and udditi us have be 11 mad hringing the lions who properly look to the government his place among men of big business. Mil- words of all carols to be sung. Each per· and so powerful that the people of all na- cost of the organ up to on half million America and from those the children of as a stronO'hold of integrity. It has been my lionaire musicians began to appear upon other countries sang. former played his carol through once tions are influenced by what happens on o dollar. The organ is plared daii, at 110011 very special privilege to meet numerous the scene. One of the first of these was John Part of her idea was to give each and then all present were asked to join Election Day in our country. It is a day of by Mi s Mary Vogt who ha played upon it leaders in industry, business and the pro- Philip Sousa. On his annual visit with his child a bit of training in accompaniment. in singing one or two verses, the same great and serious portf~ntfor man. Wit.htwo since its opening. Many of th grentc:-t or- fessions who have been strong advocates of hand to the home of the duPonts near Wil- She felt, too, that the children would pupil playing. highly respected candidates for the highest cant ts of til last half ntury have per- the employment of the mysterious and often o mington, Delaware, he was received like a enjoy sharing the carols they learned The children seemed to derive the office in our country, our people have been formed upon the instrument. miraculous influence of music in their great king. Now there are numerous millionaire with each other, rather than merely play- most satisfaction and enjoyment from looking forward to the reeuI.ts, knowin.g undertakings. musicians. ing them to show off a new acquirement. carols like the traditional Wind In the that what the nation has been In need of IS One of the first noted American leaders 1\tr. \V.nnatuakcr once said: HI don't Olive Trees, the old Spanish What Shall a leadership establishing new faith, opti- For that reason she began early, by the in business who gave me his opinions upon know any b Her way of welcoming cus- Mr. Charles M. Schwab foresaw the I Give to the Child in the Manger, the mism, judgment, initiative and energy to middle of October adding carols to les- this subject was the late and great merchant tomers to th tore than with music. I have value of music in industry when he said to French, In Excelsis Gloria and Bring a meet successfully the problems of a con- sons and concentrating on one or two prince, John Wanamaker. His mind was al ways in ist d that one of tit salesmen's me"on one occasion (in a conference) : fused world. This has a vcry direct hear- for each pupil. Copies of all the carols Torch, Jeanette, Isabella, the Polish Star amazingly sharp and keen. He was then greatest a ets i c urtesy, which reates a "My belief in the value of music in in- ing upon all phases of our practical musical being studied were kept by the teacher, Lullaby of many colors, and the English, planning his remarkable store building in better under tanding b twe n the salesman dustrial life is based upon the firmest pos· and a small part of each lesson time was Deck the Halls With Boughs oj Holly, progress. .., and the customer. I don't kn w very much sible convictions that nothing can exactly Music, from the great musical industr ies, Philadelphia, and stated his ambition to spent in singing, with the teacher playing I Saw Three Ships A.Sailing By, and have it built around a huge pipe organ. It about music but an) thing of high character take its place as a great humanizing agent. down to the interests of the music teacher carols on which other pupils were work- What Child is This? Once the first seemed an extraordinary combination of which the public seems to appreciate and My first step in taking over the control of in the small town, is no longer isolated from ing. Thus every child had a measure of American carol, the J ehous Ahotonhia of idealism together with practical down-to- means so much, give tone to any institu- a new plant has been to improve the work- the business of our country. The music familiarity with several new carols. At the Hurons as found in one of the Augs. tion and cannot fail to be an in\-e5tlllcnt ing conditions of the employees. Next the teacher's success is far more dependent earth experience. He said: "There is some- each lesson he had to play for the teacher burg Christmas Books was played by an condition of the bpildings. There is nothing upon a' stable economy in this country and thing I have always noted about inspiring which will raise the atmosphere of any or someoneto sing the carols he was to older child, because the notes are of an music. It seems to take hold of the imagina- so depressing to the worker as dirty, run- upon the attitude of the business ~nen a~d business. " play for the recital. He learned ahead of odd shape. The adaptation of the gifts down buildings. My next step is to organ· women who are the parents of Ius 'pupIls tion of people and affect them both spiritu- Gradually the captain of indu~Lr}'at tbe time the importance of keeping the ac-' and visiting chiefs interested them -ize a musical interest in the plant or in the than lle realizes. As long as the American ally and physically. At Bethany· a gospel beO'inn.inooof the centur)T \\;th their coffers companiment moving for a singer no greatly. community by establishing a fine band, or business man, housewife, factory worker, hymn sung devotedly aud spiritually is cX~lodin~ with newly gained iucredible matter what happened to his own notes. Many collections with carols simpli- as in the case of Bethlehem a fine chorus. farmer, miner, merchandising executive- often better than many sermons. When miluons. realized lhat they would hare to An old Estey church organ with fied to one, two, or three voices are But it is not enough merely to hear music. in other words, the average individual, people hear good music, their faces live a miUenium to spend their wealth. and eighteen stops was part of the studio available, and the melody is accurate As many as possible are advised to partici. looks upon music merely as a pastime, a.n brighten, their pace quickens, they think began to turn their lhoughls to more edify- furnishing and the older pupils delighted and clear. Ada Richter, Irene Rodgers, more rapidly and they seem happier. They pate in it. The parents are counseled to give those whose livelihood depends upon mUSIC ing cultu ral pleasur for the welfare of in trying to play it, although it was hard Bernard Wagness, and Diller-Page are music lessons to their children. The wisdom in any form, are in a precarious positi~n. forget their worries and annoyances and mankind. No industrial magnates since the to pump. For these pupils organ and some of them. the whole world has a brighter outlook." of this is shown time and again." Mr. piano arrangements were found of car- The parents always seemed to enjoy Now this condition has changed, and Ill' beginning of history ha\·e e\-er given so Schwab sponsored the great Bethlehem dustry and music have been joining hands The great organ .in the V;'anamaker much to the world and asked for so little ols, more familiar usually, but always in the informality of these recitals. Every- Bach Choir which became world famous. for the welfare of all. Store on Chestnut Street, "America's most for themselves. Their golden treatn5 were a singable key. They had the practice of one learned something new and shared In his laboratory at Orange, New Jersey, Business itself has gradually been finding historic street," is one of the sights of the poured out all over the world and nO mat· playing for singers and keeping together the enjoyment of it. Pupils who had Mr. Thomas A. Edison once gave me his out that music may be employed in innu- city which not only brings daily musical re- ter whatever you think of some of the::e too. For younger pupils many duet ar· never been with the group before felt opinion upon the value of music in in- merable ways to promote finer relations freshment to customers who live in Phila- much maligned "capitalists" lhere are mIl· rangements were used. By using two freer and less nervous performing for dustry: with the public and also finer intra·institu- delphia, but to the thousands of folks who lions and millions of people on the earth instruments and the duet arrangements, the first time in this way. The teacher "Music is for everybody like the air, the tional relations between management and visit the city each year. It is the largest who look with gratitude upon their aid. plenty of variety could always be worked felt that it strengthened the more formal sunlight and water. Hearing good music un· employees. With fine business prospects organ in regular use in the world. It was These magnates sought in~tincti\'ely for out, giving interest to the program and spring recital and added to the finished questionably has an influence upon the dis· ahead, it would seem that this is the hour originally built for the St. Louis Exposition more beneficial hobbies. becoming collec· facility to the pupil. performance of each child. THE END position of workers in all kinds of occupa- for all music workers including music tors of art, developing education. ~eien~ tions. Music is not merely for the opera teachers to put forth their be~t efforts to *Bethany referred to the Bethany Presb}terian and worthy hwnanistic projecl.s. -'tany ~IS' house, the concert (Continued on Page 64) secure new pupils through the development Sunday School and Church in Philadelphia spon. covered the jO) 5 of music and in..talled un· of new fields with increased activities, fresh sored by Mr. Wanamaker. mense pipe organs in their home" in lhe ETUDE-NOVEMBER 1952 14 ETUDE-.WI E1/BER J9j! • Singing In• the Movies Parent - Child Teacher A popular singing actress of the films, This teacher has the , I d ice to vocal students seekmg snves sounr a v TRIANGLE " , a career In pIctures. right idea concerning , itl Kathryn Grayson the way to secure From an interview WI I or as told to Gunnar Asklund cooperation among teacher, Kathryn Grayson and HO';,ard Keel in MGM's"Lovely to Look At screen work demand vigorous health. That parent and pupil HAT ARE MY CHANCES of singing means more than average care for rest, TRIO? W in pictures? . sleep, exercise, and proper diet. And proper Kathryn Oruyson in a scene from "Lovely .to Look At" That is a question that every senous diet in turn, means the kind of food that vocal student asks himself. Very often, he kee;s you str ng without makin~ you lat. does more than. ask it of himself; he .turns I have had great arguments With opera by ment and enthusiasm for music are far had gotten me to the point where I to people who are singing in pictures dIn th~ star about poundage! Many seem to feel more important than a missed day of prac- would rather have taken a job in a depart- hope of finding out exactly what ~o 0 an that in order to support tone and maintain tice here and there. For my trouble] am ment store than have continued in this un- how to do it. I am delighted to dISCUSSt~e gen;ral vigor, one r quires mo~ethan av~r. told that children should develop a sense professional manner. I was "fighting mad." matter, as far as I am able. All Iny. hfe ROSE age physical upholstery. I disagree WIth of responsibility (does she mean inflexi- So it was with a feeling that the time for ETUDE has been a welc~me ~nd .stunu- this view. The point is to keep strong, not bility?), and she reduces my philosophy compromise was at an end, and that it lating influence, its pages ~lssel11l11atmgth~ fat. Beaid detracting {rom the singer's of teaching, which is to inculcate a love was win all or lose all, that I greeted the right kind of musical advice. My. ~ne pro GROSSMAN appearance (on the screen or elsewhe~e). for and enjoyment of music lessons and parents and announced that the subject of vise in changing from the recervmg end. fat actually defeats its own end. l.t reqU1~es a desire to practice as opposed to ha.ving the meeting was, "How did you select me to the giving bend of such adviVIce IS thtIa effort-and hence t nsion-e-to hft a die- to practice-to "you're too easy-going." as your child's music teacher ?" do not consider myself a vocal expert. I phragm that is full of fat! And the carry- It took several years of such old-fash- Had I exploded a bomb, I couldn't have am still working hard, keeping my eyes on ioned, griping remarks by various parents startled them more. After the initial bubble the goal of a full musical career of con- ing power of a voi e depends ~pon c~rrect resonance rather than on tissue. THE RELATIONSHIP between teacher before it dawned on me that the parent of excited comments had died down I asked cert and opera. Of the things that do adipose I and pupil had always seemed to me a was literally playing a part in our ensem- the question of each parent in turn. These know, however, I am only too glad to talk. Try to eat lor strength, not for bulk! As to special vocal requirements for film kind of duet, in which each one of us had ble. I had been thinking in terms of a duet were some of the answers I received; Three First of all, there are no tricks and short- a part to play. Sometimes I as teacher between pupil and myself with the parent said they had selected me because I was cuts for getting to Hollywood. The time has work-there are none. The motion picture singer should have exactly the same back- had the principal part when a teaching as box-office, audience, or what have you. in the neighborhood. (Ouch!). Two, be- passed when one could "get by" with some- point was to be made, and it required skill, Suddenly I realized that we were truly a cause they had been told that "my pupils thing other than complete vocal mastery. ground, the same skill , the same m~slcal awareness as the concert or opera singer. ingenuity, and enthusiasm to put it over, trio, each with a part to play. If we were liked me." Two, because they liked the Hollywood has room only for naturally ~ne and sometimes my pupil had the principal to be really harmonious, we would each idea of a weekly group lesson devoted to voices, correctly used. Its baSIC reqUIre- I have alwa d rived immense help from listening to the record of establi,hed art- • part when it was up to her by concentra- have to know our parts thoroughly, and performing to each other, creative and merits are vocal. ists-partly to learn \\ hat to do, and partly tion, interest, and practice to master the the parts of the other two as well. Those critical listening, ear training, theory, har- But the mere possession of a fine voice is point. of us who have participated in ensemble mony, etc. (Hooray!) not enough. I have seen many really splen- to learn what not to do! The greatest need. however. is {or pure We might have made "beautiful music work know that each member of the group In reply to the first three, I mentioned did voices come to nothing through lack of together." as Tin Pan Alley would say, has a time for taking the lead, a time for that two other teachers lived on the same proper training; through faulty emission, singing. In using thi term, I have n~paf~ were it not for the discordant notes that 1 ticular "method" in mind-e-l mean sunpl~ being secondary and even a time for not street, were just as accessible, and their through careless habits both vocal and per- crept in occasionally. A mother might the kind of singing that does not hurt the saying anything (rest). Up to now, we fees were much lower. Of the second two sonal. Thus, the second requirement is complain, "Jane did not practice on throat and that comes out without anyfeel· had been a triangle, pul1ing against each who said they came because the children something that may be summed up as sen- Wednesday. Her class had an after school other, rather than a trial blending with liked me, I asked what il the children sible control of oneself. ing of constr-iction. anywhere. Now, there k'dof basketball game-and she didn't make up one another. liked me for the very quality of which Ann Miller, Howard Keel, unr] Kathryn Grayson in The long hours and endless strains seems to be all too little 0 fthi s 10 of the missed time on Thursday!" Jane ap- It was taking a lot of my free time to some accused me, disapprovingly (and un- "Lovely to Look At" free, well-focussed, uu-tense vocal emission. proaches the next lesson resentfully, sud- call parents individually, and besides I fairly!), i.e. that I was "easy-going." Only If I analyze the situation correctly, many Born in North Carolina of a musical family, denly suspicious that music lessons may be did not feel that I was accomplishing my the last two parents were getting their Kathryn Grayson has sung since babyhood. At young singers are taught to concentrateon e I TI tau·ht a kind of prison which deprives her of purpose. I therefore decided to have a money's worth, I pointed out. They knew eleven, she was heard by Frances Marshall results rather t ran causes. ley are 0 h her freedom to enjoy other activities. In- parent meeting. Since all of my pupils, what they wanted, and had actually selected of the Chicago Civic Opera, and encouraged to produce a cerlaill eOect, oflen throU stead of being a harmonious duet, ,\ve are once they "graduate" from my music readi- me on their own terms. to develop her extraordinary voice. When her completely artificial meaus. They are t rd .. now two antagonists (she thinks) sparring ness class, come twice a week, once for a I then proceeded to outline my phi. family moved to California, the girl attended for instance to "lilt a weight with the dla· Manual Arts High School and continued her with one another as two boxers- in the private lesson, and once for a group lesson, losophy of music education, my aims and phragm'\ t~ "bite a pear" with ~eir jaw~ vocal work. One day, unbeknownst to young ring will, each hoping to assume mastery I planned four different parent meetings, objectives for the children, my attitude The fact is that you don't lift weIghtsa~ Kathryn, her singing lesson was heard by over the other. one for the parents of each group: l\1usic towards practicing, and my conception of Hope Loring, wife of Louis D. Lighton, then you don't bite fruit£!. You sing. Hence.~ Jane wishes to assert her rights and I Readiness group, first-year piano group, the parents' role. Only now eould they a producer at MG~f. An audition followed- guiding of vocal emi iOIl should be fr intuitively agree with her but cannot You intermediate group, and adolescent group, have a basis for selecting or rejecting then a contract, then rigorous training. In from all such confusing idea~. What th openly criticize her mother's comments, feeling that the problems of different age me as the teacher of their child. 1941 Miss Grayson began appearing in films t <;0 at have to do is to get your tones ou - 591 which would be challenging her mother's groups differ from each other. This was followed by a stimulating dis- and achieved full stardom in 1943. you /eet entirely (Continued on Page authority. I call Jane's mother while Jane I think that by this time the griping cussion and question period. It was won. is at school, and try to explain that enjoy. that is so characteristic of certain parents (Continued On Page 18) 16 ETUDE-.vOVE.IIBER 19;2 ETUDE-NOVEMBER 1952 17 EVANGELIST OF MUSIC ary idea again and again in New a home or he would go elsewhere. York. But it had never materialized. To Chicago, the prospect of Ios- (Cantinued from Page 13) Now he decided to give up the strug- ing this orchestra was unthinkable. gle, accept the conductorship of the The Theodore Thomas Orchestra had London Philharmonic or Boston become an institution. People from the whole world," said Anton Rubin- people who attended the Exposition Symphony - both of which had all strata flocked to its concerts in stein. apparently were not disposed to been t.endered to him-and spend his the spacious old Auditorium build- Under the impact of the Thomas listen to Beethoven and Brahms af- declining years in a pleasant posi- ing where they could hear the best Continued from Page 17 Orchestra the audience for good mu- ter a day of sightseeing - his ob- tion that called for no one night music at admissions that anyone sic began growing in New York. Iigations grew even larger. All his stands. could afford. The city mobilized for The sedate New York Philharmonic, belongings - even the valuable mu- derful to see them come alive and tear While in this frame of mind, he action. Businessmen, housewives, which heretofore had given only five sic library which he had spent years ran into Charles N. Fay, a Chicago clerks, scrubwomen began a door- into the various subjects, suddenly aware desultory concerts a year, began to accumulating ...... ,.were put up for that their problems were typical and nor- Speaking of businessman who had been charmed to-door canvass for funds. In an bestir itself. Another orchestra, the auction. (A friend bought the li- by Thomas's summer concerts. incredibly short time, with gifts mal, and not peculiar to themselves alone. New York Symphony, sprang up. To brary and gave it to Thomas' wife.] "How would you like to have a ranging from ten cents to $25,000, The meeting ended on a social note, with meet the competition, Thomas made He was about to sign the bankrupt- permanent orchestra," Fay said, "in they raised $750,000. The erection coffee, cake, and small talk, plus thank Art-Song Writing a point of being the first to present cy papers when he realized that if which you could devote your whole of Orchestra Hall began. you's from the parents, and requests for works by living composers now well he did, his creditors would lose attention to the music and not have Thomas conducted the first con- known to fame - Wagner, Liszt, money. "I won't do it." he said, future meetings. to worry about meeting the pay- cert in the new hall. He played Brahms, Tchaikovsky. He often pre- throwing down t.he pen. It took him Of the four meetings, only one was ill- roll?" Thomas was incredulous. Beethoven's Fifth Symphony, his fa- What to do when a beautiful melody hegins -sented their works before they were twelve years to pay hack every cent. attended. I scheduled a second meeting for Fay lined up businessmen to give vorite: It had always represented to heard in the composer's native land. To open up the Mid-West to mu- that group, and when the response was no a thousand dollars each toward him the triumph of the spirit over haunting one? Here are suggestions for getting: that In European music circles he found sical development, he started his better, I called up the disinterested parents building an orchestra; and sent for disaster. As he laid down his baton his reputation so well established first music festival in Cincinnati in and explained that music lessons were a tune into the Iorm of an art- ong Thomas. When New York heard to face the greatest ovation of his that .Tohann Stru lISS gave him 200 1873. It was an immediate success. Thomas was about to leave, three career, he knew that he had won three-way effort: child-parent-teacher, and waltzes. How he got the jump on Thomas conducted it for years, and the people of Chicago and ol the without the cooperation of the parents, I Wagner's close - guarded scores it has continued biennially to this offers were made to persuade him country to great music. could not hope for success. Therefore, I caused much newspaper speculation. day. A festival building. one of the to Slay. Chicago countered by doub- by Evangeline Lehman Thomas had a premonition he was dropping their children from my regis- Finally it came out that Liszt, close largest and most com plete in the ling his salary. Blueprints for a per- manent orchestra home in New York would not live much longer. He had ter. \VhcII we think of perfect realization friend of Wagner, had the new scores world. was built specifically for these s MANY OF YOU know, the follow- were drawn up. But once Thomas already picked his successor, a qui- Since that first set of meetings six years of a song, and from all angles, the first copied without the master's knowl- programs. ing question is frequently heard: "I had given his word to Fay, nothing et, unassuming viola player named ago, parent meetings are as much a part of A edge and sent t.o Thomas. He be- Thomas started festivals in 12 often have tunes running through my name that comes to mind is chubert, Frederick Stock. It was a tribute lieved that this was to Wagner's cities. Held in the largest halls could shake him. my program as giving lessons. Parents of Why is Schubert so perfect? Because to Thomas' intuitive judgment that head, and I even hum them. I feel they best. interests. available, they provided a series of In Chicago, Thomas, who had new pupils are made aware that I consider from the singers' standpoint in- would make nice songs, but when it he afternoon and evening concerts at married again, started rehearsing an Frederick Stock carried on the tra- their attitudes and cooperation essential to Thomas easily outstripped all New comes to the matter of writing them stinctively perhaps knew the range] tes- York competitors by the finish, pre- nominal admissions, enlisting the orchestra with many of his former ditions of a great orchestra for 37 our success. Sometimes a busy parent will down, I a111 at a loss. Still, I have had situra) of the voice. He didn't use nwk- cision, and general excellence of his top musical artists of the day, local instrumentalists as nucleus and years try to excuse herself from attendance with Thomas imposed another condi- some harmony and counterpoint; ] ward intervals or difficult jumps. He cou- orchestra. The fortunes of the New choral groups ranging from 300 t.o scheduled a season of concerts. AJ- flattery, "Anything you do is all right with though the sponsors paid the deficits tion on the trust.ees-that they drop know how to put notes on the staff, and sidered the words a an integral part of York Philharmonic sank so low that 3000 singers. and orchestras swelled me. I'll cooperate." But experience has without complaining, Thomas de- his name from t.he orchestra after have a general knowledge of musical the melody, so that accented syllables are he was offered its leadership on his by local musicians. taught me that their conception of how to In directing these massed choruses teruiined to lessen their burden by he died. "I'm not important," he writing. Could it be, perhaps, that when always correctly bound with the mu ical own terms. This put him in the cooperate is not necessarily mine. anomalous position of being his own and bands. Thomas won some of his taking the orchestra on the road. said, "Call it the Chicago Symphony I begin to think in terms of technical punctuation. From the accompaniment As the years passed, a format for parent competitor. I-Ie could have used it greatest conquests. On one occasion He pushed all the way to the West Orchestra." realization the spontaneity of my in- standpoint the pian part n ver can be meetings evolved. We now have beginning to his personal advantage, but he in Cincinnati when the country was coast. Since he was getting older, After the last hand shake on that spiration disappcars?" thought of as being: different from what these one-night stands took their memorable night, he went borne a of the year and end of the year meetings. did not even take the salary from suffering from a severe drought, he I believe that a little analysis will it is. Striking example arc Marguerite toll. But. he kept them up from a blissfully happy man. But in con- If necessary we add mid-year meetings. the Philharmonic which was right- was conducting Mendelssohn's Eli- make the problem an easier one to solve. at the Spinning Wheel, The Ert-King. and sense of duty. A great orchestra and ducting the concert. he had caught To give us a good start for the coming fully his. jah. During the performance a re- When a melody comes spontaneously, Ave Maria .. While other masters may New York was only headquarters sounding clap of thunder shook the a great. love for music were growing a cold. His doctor wanted him to season, each of the four Thursdays in Octo- experienced composers know that it is at equal Schubert in many respects, few for Thomas. While America was building and the rain fell in tor- up in the heart of America. stay in bed, but he insisted on get- ber is devoted to the parents of a different ting up .for a rehearsal-he hadn't first deprived of all its musical raiment perhaps ever achieved th harmonious pushing forward new frontiers in rents just as the huge choir began Finally, in 1903, he awoke to the group. I state my broad objectives for the realization that he was still no near- missed one in 43 years. He colla psed and ornamentation. (No one knows from welding of all rcqui ito that go to make the 70's, 80's. and 90's. he kept lhe singing: "Thanks be to God, He coming year. If we are planning intensive er to his permanent home. He de- at the door of his home. A few days where it comes, but it is what is called a song a finished work of art. Thomas Orchestra on the road as laveth the thil'sty land." It was as work in keyboard harmony or sight-read- much as possible. planting the seeds though Thomas was directing the cided he wouJd give the people of later pneumonia had taken his life. ~~Inspiration_") It is said that a well- Beethoven and \Vagner, when writing ing besides our regular curriculum, I dis- of good music wherever audiences elements along with lhe music. The Chicago six months to build such THE END known composer of popular music wh is- for the voice, were evidentlr carried cuss the mallcr in detail to make sure that could be gat.hered t.ogether. When effect was so overpowering that the ties his tuneSl which become world- away by the splendor of tile musie iLooelf some over-zealous parent does not accuse various cities - Boston. St. Louis, vast audience surged lo its feet, re- PARENT, CHILD, TEACHER-TRIANGLE OR TRIO? Junior of "fooling around" or "doodling" popular after they have been harmonized and paid little attention to vocal case. Minneapolis. Chicago among them- mained standing during the number when he should be working. I explain that and properly developed by experts. This Although the pitch of the orchestra has founded orchestras of their own as in tearful lhank[ulness and cheered (Continued from Page 18) exploring new literature or new harmonies goes to show that the composition of been raised since the days when the a direct result of his visits, they to the rafters at the end. songs is made up of various elements, were eliminated from the Thomas By 1888 Thomas had paid off the fur the year, and we evaluate our things to do outdoors. Then, she is fun, and that enjoyment of music in- Ninth Symphony was composedl lleyer· tours. He moved his summer con- last of his creditors. But to do it he achievments. Then, because it is adds with great guile, "Of, course, formally is an important part of the learn- and if deficiency or failure occur in one theless BeethoveLl submitted his sopranos certs lo Chicago and immediatelr had conducted t.wo symphony or- timely, we discuss spring fever and her father and I make it a point to ing process. It has its place alongside the of thel11l achievement can be blocked to a very trying and difficult la~k eren became popular. chestras in New York. one on the its affect on practicing. I leave it ask for little concert.s frequently to from the very beginning. at that time. more formal aspects of music study: scales, Meanwhile, financial difficulties road, a large concert ensemble, six to the parents to tell how they are make sure she doesn't forget her The first clement is the ability to But now, lct us come back to the technique, up-to-grade pieces, etc. During were piling up. When the Thomas choral societies and innumerable fes- meeting and solving this problem. If repertoire, or I'll get very enthusias- create an appealing melody; the second the discussion and question perio.d, the writing of a song, and here we are Orchestra pulled into Chicago for tival performances. For years he had an out.standing thought on the sub- tic about her new piece or perhaps subjects of practicing and the role of par- clement is the craftsmanship which per- speaking of Art-songs. It seems to me two weeks of sold-out concert.s the seldom had more lhan six hours of ject bas been presented at one group I'll marvel Ihat she has been able ents inevitably come up, especially if "new" mits the original idea to acquire its that first of all the poetry should be the morning of October 9, 1871, a pall sleep a night. Now he was sunk in meeting, I pass it along to the others. La take such a difficult piece for her parents are present. It is a wonderful thing full value. The first mentioned is ob- startillg point, an incenti\"e, for it is of smoke hung over lhe city. h was despondency. His wife had died. He I learn more about what is happen- self-study assignment." Then, we to watch the "old·timers" train the new viously God-given and can hardly bene. through the feelings awakened in one by the great Chicago fire_ The opera had nol saved enough money to put ing at homel with respect to music may discuss the advantages of moti· ones, as they answer questions and make fit from any help, although sometimes a its reading that the inspiration takes its house was already in ashes. Thomas' his five children through college. lessons, during this time than I vation versus making demands. suggestions on points they themselves were few suggestions may enhance minor de- night. Once a sketch is cOlllmitted to conu·.aci prevent.ed him from paying And he 'had only partially attained could by even direct questions on And so our meetings have served salaries of men when performance his goal: he had established an or- the subject. One parent will make confused or vague about only a short time tails. But the second one calls for other manuscript paper, the work of elabora· a tri pIe purpose: first. to acquajnt was prevented by fire. Yet he could chestra that was a model to the disparaging remarks aboul her the parents with mr educational ob· previously. cO~lsideration5: in the first place, the tion begins. A formula of accompaniment not bring hjmself to take advantage world, but, lo insure its permanence, dauglner and will constantly find jectjves each step of the way; sec- We have our final meetings of the season VOIce, t!le organ through which the has to be chosen_ It ought to be of suit· of this clause. He paid all salaries, he wanled jt lo have a concert hall fault, whereas a second will say that ond, to heJp them understand their each Thursday during the month of May. I melody IS to be expressed. Much can be able character and should be made effec- going deeply in debt. When per- of its own, "rith office space for rent her daughter (or son) is not prac- child better, by getting a picture of learned from a careful examination of reread the October agenda, to remind them tive though not too difficult or awkward formances at the Philadelphia Cen- which could contribule to jts sup· ticing much ejther,' but that she how other children behave under the song literature. of goals we had set (Cont.inued on Page 19) to perform. (Continued on Page 49) tennial Exposition in 1876 failed to port. finds it qujte understandable with similar circumstances; and third, to produce the expect.ed profits - the He had proposed this revolution- the weather so Jovely, and so many (Continued on Page 61) ETUDE-NOVF,MB£R 1952 19 18 £TCDF:-,VOVEMBER 1952 PIANIST'S PAGE Adventures be played at J = 72; J = 92; J = 120; treason the eirl had never been por tan , 0 • I d 1 and J = 144! made to feel any need for mu.sIca eve op- of a Piano This tempo disagreement does not mean ment, anywhere along the Iine. She saw that any of the authorities are wrong, but onnection whatsoever between her bar- no c . 'I A d that each one has found his own speed to lessons and her oper atrc ro es. n man Y h· h match Bach's ideal of rhythmic lift and as for sight singing, of w at use is tat, Teacher zest. It proves too that Bach tempi are in- long as there is a good coach around finitely variable; that the only sure test of ~ f d' who is willing to take money or poun In? a slow movement is "Does it flow?" and of out the notes of an aria on the plano until a rapid 'movement, ~"Does it exhilarate?" it is learned by rote? She looked upon all "Does it bounce"? Almost any pace that her music courses, other than her actual Various editions of Bach's produces these qualities is a right tempo. vocal work, as necessary evils which some- But beware of imitating the speed of one decided should be taken for a degree. piaT1;oworks are discussed; Czerny's editing (peters) ~the first "pop- artist's recordings. A superior pianist will In order to understand this young sing- ular" edition of Bach's piano works, is still carry off tempos easily which an ordinary er's attitude more fully, let us examine also fingering and relaxation. good, though there are inaccuracies in it to player cannot reproduce. Perhaps the above the hacksrround usually found in the person guard against. student: apeing Serkin's speed and style, who wants to make a career of singing. "Is clavier Bach to be played with the released merely a breathless, precipitate By GUY MAIER It is not mere chance that 010 t ingers lack legato flow oj organ? It seems to me that performance ... However the judge was sufficient training in musicianship. There such a legato is not characteristic of the probably one of the old guard who thinks is a logical reason for it. The majority of semi-staccato oj the clavier. Is a rhythm-less of the first movement of Bach's delectable young instrumentalists studying for. ~er. character to be cultivated a la organ, or Italian Concerto as a plodding and stodgy forming careers l day began pracucmg does the music of Bach permit li]e and number instead of the happy, bouncy, virile Here is sound advice concerning the their piano, violin, or clarinet at a very TROUBLED musician and teacher movement rather than cold pedonu-y, stupid piece which Bach intended. Bach himself lack of musiciansliip on the part of many present- early age, and were kept at it by fond A writes concermng authoritative Bach tempos, and empty concert halls?" wrote on the score: "A concerto in the parents who felt they had a talent on their editions, tempos, styles, etc. Here, in italics The chief quality of Bach's music is, I Italian fashion, composed for the music day singers; the author is emphatic hands. In the process of developing an are some of his excellent questions and ob- think, its entrancing rhythmic vitality. lover's enjoyment." How many pianists in his claim that instrumental technique they naturally servations: Bach's bounce is irresistible. But we still play the concerto in this spirit? picked up a certain knowledge of the fu~- "An article concerned with the playing of labor under the shadow of the organists Our troubled musician writes further: damentals of music, if only be ause of their Bach's piano works would be extremely whose Bach playing we have been exhorted "Certainly those works conceived in the constant contact with it. Tbi is especially helplul40 teachers, porticuiariy those who to emulate. They have never seemed to un- Italian manner do not deserve the pietistic true of pianists who work not only with {l,repreparing students for ratings or con- derstand the bouncing Bach. Their deadly: approach of the organ works. Those writ- Singers can be Musicians~too the melodic and rhythmic but al 0 with the tests ... What Bach editions are reliable? pedestrian performances have stirred gcn- ten at the Viva/di period would seem to harmonic aspects. They may even have ... Judges are rather opinionated in this -erations of listeners to hate Bach's music; deserve a, different treatment, an Italian studied a bit of theory along the way. respect. One says that Schirmer (von Bue- by Darrell Peter so why continue to follow their unreliable 'temper' rather than German. Bach himself The singer is quite another matter. It low) is overedited. Is this correct? 1s a standards? ... Of course it is often better said that he wrote 'To the glory oj God and is impossible to know definitely what sort phrased and fingered edition the wrong one to play Bach's piano works crisply non- for pleasant recreation.' Doesn't that state- ECENTLY I had a talk with a young vocal development. In spite of the fact that of voice a child is going to develop until to use? Another judge recommends the legato, and above all to play them with lilt ment imply that there is variation possible R. singer who was about to graduate from she is actually singing better, her demands he is in his late 'teens, especially with beys. Kalmus edition in which fingering is and lift. Use damper-pedal if you wish, and in the spirit of the works and their interpre- one of our leading music schools. During are even greater, which is admirable. The Even those who show inging ability be- sparse, and there is little indication of play freely and richly with ,~ide dynamic tation? the course of the conversation I commented sad part is her attitude toward the all-im- fore the voice changes cannot be counted phraseology." range. Play with all the piano's resonance "Needless to say, ajter a lifetime of Bach on her good fortune in having received a portant development of her musicianship. upon to emerge with the same quality that It is a lamentable fact that often in this and resources to bring flow, color, life to playing, I'm conjused ; and I'm sure that thorough training in the fundamentals of She was actually not conscious of the na- they had as children. As often as not the great land of ours the only procurable edi- Bach's music. there are others." musicianship, an asset which many young ture and importance of her improvement. child who never uttered a peep suddenly tion of Bach's Chromatic Fantasy and "In preparing a concert student UJ play No need for such an intelligent and dis- singers do not get during their years of How did such an attitude arise? In the blossoms forth with a beautiful adult voice Fugue, Italian Concerto, etc. is von Bue- the first movement of the Italian concerto. cerning musician to be confused . . . Let study for the opera or concert stage. Her first place the girl may have heard stories which cries out to be trained. uless such low's, which Ernest . Hutcheson, distin- I used the Prades Festival recording oj Mr. him go forth courageously into the fray. reply came as such a surprise to me that I about, or had contact with singers who had a person has shown a decided musical tal- guished Bach scholar and player says "can- Serkin for reference. His tempo is J = .96. We need many more dauntless, new Bach should like to quote the gist of it here. had some degree of success in spite of their ent as a child he stands at this crossroads not be recommended for accuracy or style." (circa) The result is a brilliant, attractive "authorities" to break lances with those "When I first entered school I was sing- lack of musicianship. Unfortunately the of his life with little or no knowledge of The Kalmus edition comes closest to the piece. There didn't seem to be any argu- doddering old traditionalists. Out with ing beautifully, much better than I am idea that singers 'do not really need this music. All he knows is that he has this Bach Gesellschaft volumes which are the ment with a player of that caliber! Result: them! now. It seems that the more harmony, ear training is quite prevalent, hence that per- voice and is dying to use it. What's to be final authorities on all Bach's works. The the student was graded down ... Judge's training, music history and the like that I sistent cliche, "Oh, he's not a musician, done? pity of it is that almost all Kalmus editions remarks; perjormance too fast; should be SHARPEN YOUR TIPS! . __ ..... have taken, the poorer my singing has be- he's a singer!" What more stupid state- The next step is usually an audition lack fingerings, which makes them imprac- taken twice as slow, as the music of that To "sharpen your finger tips" doesn't come. I regret that I ever took those ment could possibly be made? One may as with a vocal teacher. Since the candidate tical for student use except for reference. day was taken with the eighth note as the mean to contract hands or arms. Rather it courses. They are absolutely unnecessary well say that a person can be a great has an outstanding vocal organ, he is im- The most solid and helpful Bach volumes count unit. Suggestion: use a recording of is like getting ready to "scratch" the keys. for the successful singer, and are more a Shakespearean actor without understanding mediately accepted, and promised a glam· are those edited by Hans Bischoff. (Stein- an acknowledged artist as rejerence"! either gently or strongly, but without un- hindrance than a help." English! orous career in opera and concert. Work graeber) Lees throw out, once for all, these stupid due tenseness. As you feel the key under What an amazing response from one But, secondly, and here is the more im- is begun at once on voice placement. For the Well Tempered Clavichord use Bach traditions. Not even the Bach "spe- your finger tip, a gentle scratch will make who has had what is presumed to be out- breathing, diction, and later on actual songs Knoll's editing (Peters) or the English cialists" can agree in the matter of tempos. a soft tone, a sharp scratch (or dig) will standing instruction of its type, and who is and operatic roles. The latter are learned printings by Harold Samuel and Donald For example, witness the divergence of make a loud tone. Remember three things: going to receive the Bachelor of Music Darrell Peter, pianist and educator, con- Tovey. Busoni's editions of the Inventions ducts a private studio in New York City, by rotc with the aid of a coach recom- recommended speeds in the Goldberg Varia- (1) Never lift the finger tip off the key top degree in voice. Is it true that the girl's (Presser) are indispensable to teachers and where he also serves as Student Adviser and mended by the teacher. The conscientious tions. Various recordings and editions-by ... (2) There must be no tenseness before singing is poorer now than it was before Director of the Summer School at the Man. teacher may send his pupil for work on students needing help toward technical the celebrated Bach authorities of the last the scratch. (3) Instant wrist release must she came to school? Of course not. Her hattan School of Music. He has done special musicianship, either to a tutor or a music mastery and musical interpretation. 100 years-prescribe the same variation to follow the scratch. (Continued on. Page 63) standards have changed, subconsciously, work in teaching the musical layman, and has school. This is the exception. however. due to her increased knowledge of music, long been concerned with the development of rather than the rule. I am not referring • and have probably out-distanced her actual the well-rounded musician. here to tbe (Continued on. Page 56) ETUDE-NOVEMBER 1952 20 ETUDE-NOVEMBER 1952 21 QUESTIONS PERIODS ,OF MUSICAL HISTORY 1. About what year did the Pre-Classical, Classical, Romantic, and Modern periods start? 2. Will you ',indly correct the following: TEACHER'S Pre-Classical Period: Bach, Clementi, AND Cowperin; Handel. Classical Period: Beethoven, Cromer, Czerwy, Mozart, Schubert, Weber. Romantic Period: Berlioz, Chopin, H el~ ROUNDTABLE ler, LeCouppey, Liszt, Nlendelssohn, Schu- ANSWERS mann, Wagner. Modem Period: Albeniz, Brahms, Bauer, Dvorci/" Elgar, Franck, Ganz, Gonnod, Conducted by KARL W. GEllRKENS, Godard, Crieg, Horowitz, Lavellee, Mac- Music Editor, Webster's IVew International Dowell, Moszkowski, Paderewski, Rimsky- Dictionary, assisted by Prof. Robert A. tions that are used by various authorities. Maurice Dumesnil, Mus. Doc., Korsakov, Saini-Soens, Sinding, Strauss, Melcher, Oberlin College The first position which you describe was Sibelius, Tchaihovsley, -A. L. L., Maine used quite widely at one time. but is not discusses Ravel's music and 1. It is obviously impossible to place in general favor today. Although it made definite beginning and ending dates to any for clarity of finger action, it \\a" not con- periods, but I believe the following is about ducive to a rich tone. gives Ravel's own ideas on several (L. to G.) Edouard Ravel, Dr. Dumesntl, Mauricc Ravel, in the what is usually given in most reference Modern: Bartok, Berg, Copland, Hinde- r believe that most teachers today advo- master's gardens at MontfOl·t·I'Amaury neal' Versailles, Pic- mith, Honegger, Ives, Milhaud, Piston, books: cate approximately what you describe in of his compositions tnrc taken by Evangcline Lchmnu (1\11'5. Duruesnil ) in 1936. 1000-1200 Homanesque Poulenc, Riegger, Schoenberg, Stravinsky, your second paragraph, though therc would etc. -R. M. 1200.1300 Notre Dame and Ars Antiqua be considerable disagreement as to how 1300·1400 Ars Nova low the wrist should be. In gen ral, the 1400-1600 Renaissance (Burgnndian, hand should be comfortably arehed, with NE OF THE characteristics of Ravel's sician since Debussy. In any case, only one talk about it," he said. "It is sufficiently Flemish: and Venetian schools) ABOUT HAND POSITION IN the wrist a bit beneath the knuckles. The piano music is the clarity and lim- thing matters in Art: that the creator old to let the composer give it up to the 1600·1750 Baroque PIANO PLAYING O /ingers should be finn, and the playing pidity of its graphic notation. It is most should reach those mysterious spheres critic. From so far I do not see its merits 1725·1775 Rococo done on the lips or balls. This position perfectly and completely written out. All where spir-it and matter are blended in one any more; but alas! I can see its defects 1750-1810 Classical Early in my study of the piano I was should give firmness without tensi n. whole, and where it becomes impossible to very well: the influence of Chabrier which 1810·1890 Romantic taught to play with a level hand and wrist, the magic tones are there in black and While it is certainly lrue that a teacher separate fantasy from technics, so perfect is is too obvious, and the rather poor form. 1890·1910 Impressionistic with my fingers curved at the second joint. white, and in all of their details. An ade- must not let his students play in any hap. quate interpretation should therefore be an their blending. In my belief it is the talent of the inter- 1910· Modern And I was told to play on the tips of my hazard fashion, I think some teachers fret preters which made and continues to make You will note that I have not used the /ingers. easy matter for one endowed with a capa- Inspiration and sensitiveness are present too much about the matter of hand posi- term "Pre-Classical." That would mean, I Later I had a very fine teacher who ble technic and following the text scrupu· in all of Ravel's works, even the most sim- the success of this timorous, incomplete tion, even to the point of impeding a stu- suppose, everything before the Classical taught me the "bridge" position in which lously. But, on the other hand, there are a ple and direct ones like the Pavane pour work." No one of course, will subscribe dent's Auency by insisting UPOJl a position period, and I feel that the earlier periods the wrist is low, with the back of the hand certain subtle insight and also an effort of une Infante deiunte and Jeux d'eou: (The to this judgment. But let us proceed to which is not natural to him. A hand posi- that I have mentioned are important slanting upward and the knuckles promi- imagination which often surpass-and by Fountain) with which I will deal in the Ravel's advice regarding its interpretation: tion which will give control (without erifi- enough to be noted separately. For a more nent as the highest part of the hand. The very much-the possibilities of the average following lines. Both can be classified as "One must not attach to the title more ness) and relaxation [without flabbiness) complete, yet brief discussion of this mat- middle joints of the fingers protrude out executant. This needs a little explanation: the most popular piano numbers written importance than it has. Avoid carefully ter, I would refer you to the "Harvard Die- slightly down below the "bridge," and the is the best one. In Beethoven, Schumann or Liszt, for by the composer. Although dating from his all dramatization. It is not the mourn- The book, The the tionary of Music," article History of Music player plays on the halls of the /ingers. Cronnduiorlc of Le- instance, the expression, the emotion, the early period, they already show consum- ful lamentation over a princess who has schetizky Method by Malwine Bree contains and related articles. Which hand poaitiouis the accepted one passionate or dramatic feelings are there mate craftsmanship on his part. Half a just died, but the evocation of a pavane 2. Just as periods do not fall into exact at the present time and why? Also, what many pictures of hand positions, discus- in their primitive, genuine condition; or, century has passed over them with no other which some princess painted by Velasquez dates, so all composers do not fall exclu- books and illustrations can be obtained on sions of these problems, and exercises for we might say, more or less in the state of effect hut to make them take place among might have danced, of old, at the Spanish sively into one period or school. Because correct hand position? various kinds of control. Some of the prin- raw material. Each interpreter can use the standard repertoire. In these times court. Consequently, there ought to be of the quality of his later works, some As a piano teacher, I constantly run into ciples it expounds may be a bit outmoded them through the channel of his own na- when everything must at all cost be new, deep feeling, somewhat melancholy, but might prefer to list Beethoven as a Roman- this hand position controversy. I will very today, but in general I believe this book ture, in many ways dictated only by in- they retain an astonishing freshness and remaining in the character of a slow dance. tic composer instead ofClassic. And there much appreciate this information. will help you. Another useful book is A dividuality. This does not hold true with loveliness. "Generally speaking, all arpeggios (end are elements in the music of Schubert and -Mrs. D. L. K., California Visual Approach to Piano Technique by Ravel's music, and there is only one kind Now let us see what Ravel had to say of measure 7, and similar) very fast and Weber that stamp them as classicists, and Ian Mininberg. On an elementary level, of poetic sensitiveness which is suitable: about their interpretation. Would he be in the manner of a harp glissando. other elements that stamp them as roman- There is, of course, no one universally Children's Technic Book by Guy )!aier, the author's own. Therefore it will be well satisfied with what one hears nowadays in "No rubato whatsoever. The motion re- ticists; actually they could be placed in accepted hand position. There are probably and Finger Plays by Jessie Gaynor, both for the performer to remember, at all times, recital halls or studios? Certainly not. mains steady and dignified throughout, either or both categories. But I believe the as many different positions as there are contain pictures, discussions. and exer- the features of Ravel's personality, in or- Over-emphasis which turns sentiment into with no other variations than the ritenutos, following revision of your lists is reason- teachers-or as there are players. Even cises. Your best source of help. however, der not to trespass and thereby betray his sentimentality and current displays of py- allargandos. or meno mosso indicated in ably accurate: one teacher cannot insist upon exactly the would be some serious study with a fine intentions. Ravel has been termed, at the rotechnics would be severely criticized by the score. These should be slight, in order Baroque: Bach, Handel same position for everyone of his students. teacher, for the problen1 you ha, e raised is same time, scholastic by a certain number him. Since through the years it was my to preserve the unity of tempo. Rococo: Couperin A person with a small hand and short fat one which is difficult to rettle by means of of French modernistk composers, and privilege to perform many of Ravel's com· "Many editions are in circulation, which Classical: Beethoven, Cramer, Clementi, fingers will obviously have to use a some. the printed word. -R. A. M. "tarabiscote" (over·concerned with de- positions in his presence, I am sure my omit a natural before the last B of the last Czerny, Mozart. what different position from that suitable tails) by some never satisfied musicologists. fellow Round Tablers will be glad to hear measure of Page 2. It is B natural! Romantic: Schubert, Weber, and aB of for a person with a large hand and long, Both definitions may contain a good deal what he had to say, and how he wanted the "On the second line of Page 4, the those you have listed under the headings tapering fingers. And even the same per- of truth, hut it is precisely because Ravel Pavane and the Jeux d'eau to be inter- first two' measures ought to have reversed Because of the demands 011 Dr. of Romantic Period and Modern Period, former will need a different position to has known how to achieve an almost mirac- preted. 'swell' signs of A-F, E flat-C, B flat.G, Gehrkens' time, correspondenl.5- although Albeniz is probahly better under execute a scale passage from that which he ulous equilibrium between sane tradition Strangely enough, he had become rather like those marked on the last line of the are requested to make their qu~· the Impressionistic Period. uses for a wide-spread arpeggiated figure. and an ardent thirst for novelty, that he critical of the Pavane in his mature years. same page. The pattern should he care- Impressionist: Debussy, Delius, Griffes, In spite of these differences of details tions as brief as possible-not asserts himself as France's greatest mu· "I do not .feel in the least embarrassed to fully slurred (Continued on Page 57) more than 150 word •. plea,.. Ravel: Respighi, etc. however, there are certain basic hand posi: ETUDE-NOVEMBER 1952 22 ETUDE-SOl £lIBER 1952 23 VIOLINIST'S FORUM / STACCATO This difference in tone results to a large extent-though 110t entirely-from a dif- The Organist ference in the quality of the vibrato. You NOTES should concentrate for a while on improv- ing your vibrato, for through it your inner nature is given expression. First of all, you must try to vibrate and faster, for this will help to give added in- Takes tensity to your tone. But don't try to vibrate fast all at once. Let the development of speed be a gradual process. The best HOW THEY by HAROLD BERKLEY material for improving the vibrato is scales, for they call for the use of all four fingers. Practice scales, then, giving at first five A Sunday Off seconds to each note, then four, then three, ARE Very many such passages should be played then two, and finally one second. By this with a pure legato; in Iact, the legato time you should be able to vibrate five And finds he can should always be used unless there is a times to each second. But don't imagine PLAYED staccato dot on one note or the other. that you can acquire this speed in a week To return for a moment to the fundu- or two. The course of study I have out- learn much as a mental rule given above. This rule has to lined in a Iew words is likely to take two be interpreted with considerable flexibility. or three months. But be patient and stick There are very many passages that are member of a to it-you'll be glad if you do. " ... The jollowing puzzles me; 0 sprinkled with staccato clots which would The increase in speed should be made by ALEXANDER McCURDY (Ex. AJ, The rule about this states that sound stiff and wooden if the notes were entirely by the wrist vibrato; if it comes played as short as the rule decrees. And by congregation, e'ven there should be a momentary rest between from the ann it is likely to stiffen your left- the two notes, which melees it sound as the same token there are many passages hand technique. It would help you a lot if jollows; ..rl'l (Ex. B). My question is where the notes need to be played even you could refer to the article on the vibrato the service. about which T shall have some- more staccato than the dots would indicate. On the other hand, if things arc not quite this~why ~lce the doued eighth short in the October 1947 issue of ETUDE. of his own church. thing to say later on. Some composers are thoughtful enough to up to the mark, nothing is so likely to jolt by stopping it, when the staccato dot in- When you can vibrate quite rapidly from At about ten-forty I arrived at the church mark these passages with small, vertical, us out of our complacency faster than hear- dicates that it should be shortened? lP"hy the wrist, it is time to work on the arm and found it well filled, By eleven o'clock wedge-shaped indications, as in Ex. E: ine the service as others hear it. not keep moving to the sixteenth, tlien stop vibrato in order to widen the swing of the there were at lea t 900 people present. OW MANY organists go to church on Dr. Lynnwood Farham used to tell his jar the staccato?" f f r r But this mark, too, is quite often hand. The ideal vibrato is a sensitvcly When I saw that Franck and Be h were on pupils that, if one kept his eyes and ears -A1rs. 11/., Minnesota misused by being given when such an blended mixture of the ann and wrist. By H Sunday? . the program I looked forward to at least I mean: to listen to a church service open, he could learn something useful from abrupt shortening of the notes would be in "sensitively" I mean that at times the wrist fifteen minutes or beautiful music. I never instead of playing for it. . every service he attended. Evel~ a l~ope- This is just another example of the in- poor taste. vibrato will predominate and at other tire of Franck's A 'Minor Chorale. nor of A areat orchestral conductor at one tune lessly bad service has the negative virtue adequacy of our music notation, which How staccato a note or a passage should times that of the ann, according to the de- any Bach chorale. . arral~ged for each of his 110 men to have of showing what not to do. does not make all details clear to us-and be played must depend on the character and mands of the music. In the classics the morning At five minutes to eleven the organist a night off whenever the orchest~a played. Not long ago I attended wor- very many of the points that are amhig- mood of the music. There can be JlO hL-HI vibrato should be narrower (more wrist came ill and played about two pag of the Each man in turn sat in the audience and ship at the leading church in a small city. uous are concerned with the use or the mis- and fast rule about it. In fact, music being and less ann); in the romantics it needs Franck. I could hardly believe what listened to the music like any other con- This was the order of service: use of the staccato dot. the beautifully flexible art it is, hard and to be wider (more arm and just as much Prelude: Chorale in A Minor Fr-anck heard. There were so many wrong notes certgoer. . The fundamental rule for staccato is fast rules are out of place. The pla yer who, wrist) . that it sounded as if the organist were read- Some of these men have told me they Doxology that a dot over or under a note shortens through study, has acquired experience and But your vibrato may 110t be the sale ing at sight-and as if he were not a very were thrilled beyond words to hear ~heir Opening Sentences the note by one-half, the remainder of its taste can say, with Josef Hadyn, that the cause of your dissatisfaction with your Tnvocation good sight-reader. . orchestra play. It gave them an .entIrely time value being silence. The fact remains, rules are his most obedient servants. I tone. I am always ready to give a student When the choir came in. the orgamst new perspective to heal' the mUSIC as It Lord's Prayer however, that the sixteenth in a dotted the benefit of the doubt, and perhaps your switched abruptly to the Bach chorale. sounded to an audience. They went back Gloria rhythm is very rarely shortened in this Her Tone is Pinched. violin is not helping you. It might pay you which was 0 Gott, Du Frommer Cou, to their music-stands "lith renewed enthu- Anthem way. A convention has arisen whereby the "W ould you kindly udoise me what is to have a friend whose tone you admire Psalter While he played the first line of tbe chorale, siasm and a fresh point of view. dotted eighth is shortened instead, so that meant by a 'pinched' tone and how 1 play on your violin. ]I he or she produces Hymn: Faith of our Fathers the nine singers and the minister entered. The shrewd orchestra leader who con- the effect in Ex. B. is indicated as in Ex. A. might correct it; also how can 1 develop a a round, warm, tone then you will know Scripture After the singers bowed their heads. he ceived this idea was Leopold Stokowski, Like many other conventions, it is a mis- wanner quality of tone? I am a,high school that your instrument is not at fault. Prayer played the first phrase of the Doxology and then in his great days as conductor of the take; the result probably, of confused girl, age 16, and have studied violin for Besides a responsive violin and a left Offertory: "Melody in FO) Rubinstein everyone in the church stood up. Philadelphia Orchestra. thinking. A number of composers and pub- about seven years. Recently ... at an ex- hand which has a strong grip and produces Dedication The way that congregation sang was an What is sound psychology for orchestra lishers still adhere to the exact notation for amintuicni ... , was told that I had a good a good vibrato, another factor is necessary Anthem inspiration; but they sallg in spite of the players is sound for organists as well. Yet lcit-luuul technique and sound bowing in- for a beautiful tone-and that is a flexible, Sermon organist's playing. not because of it. The Ex, B which is n (Ex. C). With two I know organists who for years have 110t "---' solar as rhythm and phrasing were con- sensitive bow arm. Is your bowing supple Prayer organ's tone was thick and muddy. The quite different ways of indicating the same attended a church service in which they cerned, but that my tone was plain, lacked and free? If not, you must make it so. A Hymn: How Firm a Foundation organist used so many 16' couplers on the effect, it is no wonder that confusion exists. did not participate. . warmth, and was a little pinched at times." compete control of the \Vrist.and-Finger All of us in time tend to fall into a corn- Benediction manuals that one could not hear the pedal When the staccato of Ex. B is not intended -Miss H, t, B., Ohio Motion (ETUDE: November 1945 and fortable routine. Occasionally we -necd to Postlude: Fugue Bach part. Throughout the service hymns were to be made so sharply, the following indi- "P. S. As a matter of information my vz- April 1946) and the Whole Bow Martelli go out and see how the other half lives. There were many things about the serv- accompanied by the same muddy sounds cation is often used: (Ex. D). .n brato is slow and small." (October 1945 and October 1951) is essen. We may even engage a substitute and l~ear ice which were excellent. The anthems, from the organ. The organist's rhythm was Many violinists seel~ have the notion tial for every ambitious violinist and if the service seated in our own congregatton. which] shall not mention by name, were not precise. Most unforgivable of all. he that all passages of dotted rhythm should You,. postscript, I think, gives the an- you have not this control you should work If we are doing a good job and the choir well sung. As for the accompaniments, they interrupted the hymn after every stanza to be played staccato, or at least with a slight swer to your problem. A tone that is to obtain it.. A careful study of chapters is well-trained, it is comforting to know it. reflected the organist's whole approach to give the pitch (Continued on Page 48) Jifting of the bow pressure after the longer "pinched)' is thin and lacking in vibrancy; three, four, and eleven of my book, "The note. This is not by any llleans the case. It is the opposite of a round singing tone. (Continned on Page 63) ETUDE '01 FlI/JER 19j1 24 ETUDE-NOVEMBER 1952 25 f · Bagatelle "This is your lesson time, and we are ale tWhid Ie fnoth too demanding. technically.' t hiIsplccenevcrthelessrequlresanunderstandingofitsexpressive. . content which a mere ready very late in starting." 5. U tyohi t . e notesG wi l5l not pr cv ide . Strive for a s mgi mg. t one Inin t hehc topt ou VOIce,voi and a restrained,. almost devotional attitude in render "I forgot my red book!" But that was an lUg IS pleco. ra de . LUDWIG. van BEETHOVEN, Op.119, No. 11- We wonder how many teachers old one, and I was prepared for it. "Well then you'll have to use my red hook; I Andante, rna non troppo have ,extra ones, you see. " ]) 4_ I ~ ,., I 8~ j will recognize Diane "Oh !" Diane was crestfallen. "Then I 51 ~ 61 .. ., 51~ I ar"'"1 J ;g~, guess I'll have to play that piece after all." --- .. Children can be so enchantingly trans- .. as one of their pupils! It I 12 '2 I '2 II 2 12 I parent! II II 1 I b 2 a I "I guess you will. Here's the page; now .P innocentemente e cantabile let's start." "Ooooh! My gum got stuck in my teeth! Il . "What, gum again? Here's a piece of . ~ .. waxed paper to wrap it up in," I said calm- , c;. I • 2 • '2 bl 4 • '2· 13 4 DIANE ly, feeling like the Latin motto "Numquam a 3 non paratus," which means "Never not pre- 8 _ pared," or something to that effect. I also 4 rj I 5 ---4. 3 5~ !..,,!~ keep a supply of Kleenex, bobby pins, soap, '0..2 4 ~ ...... --. & b~-,I Who Dawdles and nail scissors on hand for various emer- .. gencies. ~ =l! It ~ ~ II • >- "Oh Miss Saunders! Did you ever sec It ~f2 r ~.. .. 'Iz • by CELIA SAUNDERS ... !" but I did not let another thought C1YJSe. .P dim . emerge to the point of vocal expression. .. 2 2 1 .. ~ "We'll talk ab ut it later, Diane!" I in- - Diane." Practically every week you've told I · .=f "TEN MINUTES late again, Diane." The terrupted hastily and firmly. "Now put your · i . , me, I thought, annoyed with myself for be- word "again" bore the merest stress as hands up here and begin." J 3 c. 2 , ing annoyed over the lengthening saga of 3 3 5 4 Ia I greeted the little girl. "Look, nail polish!" she di played the 5 the dogs. "But now let's get on with your "I know, I know!" Diane agreed bright- obvious. ly. "But this time I really honest truly lesson." I ignored it. "Begin on the third beat. "He's such a cute dog, this one is! And positively couldn't help it!" you know what ELSE? The people across Now-one, two, ... " Last week she really honest trnly couldn't "But look, it's real, real r d!" help it; the week before, she really honest the street have a new baby, too!" A new baby was important enough for Heavens, yes! couldn't help it; week before that she really "Diane!" I said harply, "We're not go- brief comment. "How nice!" I'said-mild- couldn't help it, and before that she just ing to talk about another thing until you molto cantabile ly enough, I hoped, for I was increasingly couldn't help it. I wondered what adjective impatient to leave off the news and begin get into your lesson!" would be added next week to an already "Even if the rug fall ofTthe piano bench the music. imposing array. , "Yes, it's really AW'FLY nice!" Diane like I think it's going to--Whoops! There it "You know when this first lesson is late," goes!" She dove under the keyboard yelp- I admonished patiently, "then I either have was delighted for even small encourage- 1 3 I 3 2 ing in joyous pursuit. S 3 5 to shorten it, or else all the people who ment to further conversation. "A new dog and a new baby! Only they didn't get the "Leave it where it is!" My voice was too come after you have to have their lessons 3~ ~. 4 baby at the kennel, like we got the dog at loud. "Let the rug alone, and start playing (.. /I.". ~ ~ ", I 2 I late too!" even i£ the heavens fall! "-but that was a e ~ -tr "I know, I know! You told me before." the kennel!" She laughed enthusiastically fI I f= l::f=~ ~ ~ E ~ ...... --..1 ------51 :J, df'.. mistake. ~!~ \ T :r l There was not a trace of rancour in her at her little joke. "Of course they didn't," said I, echoing "1 f the heavens fall? ALL of 'em at elfin smile. • once ?" So I had, so I had. And I'd have to tell her mirth a trifle feebly. t. I IN J us 21'1 J "N 0, his mother borned him!" "Never mind the heavens-just stop , her again. . . 1 .P ~ talking! ...... ---- "Well then, set up your music and let's "That's the usual procedure," said I, at- C i-. __ ,...... """ tempting a note of finality. Piano lessons "Diane, put your hands up on the keys- .. get busy," I urged, for Diane was taking · - • no, just put them there and begin playing! off her wraps layer by layer, pausing to all-tao-often had to be checked in a tend- · ency to become discussions of elementary No no! not a word! PLAY YO "R PIECE!" examine each garment with attentive con- 2 .. 1 I 4 I A sudden spasm of hiceoughing seized ~ I 5 ~ • ~ ~ cern, as if she expected to find butterflies economics, philosophy Of-as in this case 5 ;t 5' 3 Diane. Just how far does a child control 3 2"--"'; a hiding in its folds. -physiology. "Ya know, Miss Saunders-ya know But Diane had not finished. "He's got these things? She looked up, sidelong, at WHAT?" she exclaimed breathlessly, turn- little brown spots all around his mouth, my stormy face. "Can I-hie-get a-hie drink of 5 ing suddenly from her inspection. "We have too !" ~ ~ f] I ~I ~°r1j1~ "1' ~I ~1. 4 51 ~ J 41 4 , 3 ~ 3 4 a new DOG!" "Why, what's the matter with him!" I water?" .. Confound the dogs, I thought privately; rose to the bait, alarmed. "When did they I realized that I was angry aud would they were always good for too many min- notice the spots?" have to get both of us firmly in control "1 utes of music lesson time. "It seems to me "When they got him at the kennel I again. With an effort I relaxed, held up a I' I T ~ I I 1 I I • '=-~ ___I 1 ~ ~ I 2 r f'--r T you are always getting a new dog," I said, g~ess," D'lane murmured artlessly_ Then,' non-trembling hand, and went into my best : 1 I 2 .P .=- not wanting to sign off too abruptly. WIth a sly glance in my direction, "YOU psychological approach. sf ~ ;-a. "Oh, yes, something always happens to thought I was talking about the bahy!" "Diane, dear ," I began with mighty calm, · ~ - ~ .. --. u.!U'" Diane was casual enough. "One got Peal after peal of her sudden laughter made over-iooklllg the hiccoughs, which were "'1: lbst and one got run over and one got the the piano strings hum in sympathetic vibra. ranging over a sizeable field of pitch and t 2 I ..... • 1_ ~ 'stemper and one got into somebody's car tion. I didn't vibrate quite so sympatheti- dynamics. "Now you must listen while I tell • ;t' 5 ~I ~ 5 and ... " cally. you something. When you came today, you 3 "Yes, yes, you've told me all about them, "No,"• come, D'lane. I" I announce d edgily. didn't know yom (Continued on Page 48) FromCO" "PIil.UOC. ompos~ "t·Ions of Ludwig van Beethoven,Vul.. II;' Edited by Eugene d'Albert. [430.40003] llYllght 1909 by OlIver Ditson Company ETUDE· NOVEMBER 1952 27 ETUDE-NOVEMBER 1952 26 -r------~~~- .,... Alba ~ ~ J>.. 1\ ..------"" x>. . . (Dawn) ETHELBERT NEVIN ------. ;J Turn to Page 3 for a biographical sketch. Grade 4. , I , Op. 25, No.1 I I ~ Andante quasi "dolce far niente" ~. fj ------:!' mf _ . - l--- '~ ~ _I 1~ . ~: /" ~ ~ .IJ.J- 1\ , -- - -: ... · . . . -. · ~ . '~=- -r ..;. I """i: 1=- ~ ~t 7f L.J ...". f~ #; ~- .",piuten.- _ cantando ,... .- ~ PIANO I~·. · ~ ~..-:--.;;. -r:. !~>- • - . """ IOi "'" Come prima ~ . • - - I> ...... - ~ ~ ~ ...---.. - ~ !/ 2 . ~ 1 5 a . · 5 3 ------. ,. ~ · ~ ...... - .. t" . 1j' ~4 mp==- pd~ mf==- J-=-::.~ , <, p t .- pp f9~ '=i.ll' ~~ b~~;- , ------J. ~ ~ 1 ",~. .,,0:1'- ... ,,,,0. . . ~ · . '" ~ • -- · , . ~ · ,. 1(' I , ~ V P --=:::::--===- p conamOre I I...... ~.. cresc. t-----).. I",~.~ ,.:1;_ -.. - -::;. :::r I. / .. . :• · . --- . -.>" 110-2776 ~ Ud if'>' i,'espressivo r:...-C' Mazurka ~ r>' r- This gay dance requires buoyancy and molding of the musical phrasing to achieve its maximum effect. Beginning in Dar 9 be sure to play the sixths in as legato a manner as possible with a good sturdy tone. Grade 3. . FREDERIC CHOPIN, Op. 6·7, No.3 : porlamenlo Allegretto (J : 1!fJ.J Edited by Henry Levine -== mf can lando ~ 243 4 I, 2":"';' 1~4 343 I? 4 3 3 4> 3 ...... # 2 >...--.- # 1 -9 ~ '" , - · ------. It ...... '-- v .- I I PIAI\O ~=- > prUb~~ d ~ A 1.>- ;,; ------., t.. ;.. ... '> ~~ ),J... ,j~ ) ..... I ~ ~~j '" ...---:----.. · . --- · • •• - - · . - , · · . I I I I , I I I 11· I ~ '- , L! __ -, - L--...l .i: C: /" ~ ./" ~ -. · ~ 4 11. liz. 5 · 4/ 11 I 343 t 5~ 3 . 5 · · 5 5 4 343 1 ·5 454 4 2 4 5 3 · . #~ 1 1 ... I l~ II"'""': · 1 t1 " 25 41 I ~ I # 2.-.~ l~l 2 I lr~ -~. ... 1 ,.. . ~. 3 2 , "" 2 I 5 ... . """"3 ~ · It I "l- I j! I 1 -..,:'-....C ~ J\ I I> .------...... ~ f Il" • ....: . . . 1.---- cresco -=if P " . ----- ~~ ~ )I~..( ff P'j,f0 :;if. :; ~ . '> -=n '> rJ .. I , .- II -r 1 ' I I It poco eres!]. . · - I '1 ...... ---.... I • ~ ~ ".IT:lJ""fj I , 1 , ! , , ! I ! ! ! ! ! Fine d ~ .. -. ~ J. r I" I 1:-. ~ ~ · . atempo~ . · : . . 345 45" 5 I I ,. 4 len. 2 2 3 2 3 4 ~ I I:lii -~I~ ~13t ten. 2 r---- I:P > i p leggiero I 3 2 1 2 :::..-'~ ..../LI --' 'L ...J D.S. al Fine From "Un Giorno in Venezia"·by Ethelbert Nevin [420-40015J senza rfpetizione Copyright 1898 by The JOhn Church Company International Copyright ETUDE· lI"OVEftfBER 1952 29 28 ET.uDE-NOVEMBER 1952_1 .. _ a tempo' '3 t 4 3______L.H. 3 ~ 5 e- !~~. !l t t ..-!-.I- ~.~uf~ '~ u#~ ~ II 130- 40131 Will~_o'-the-wisp CEDRIC W. LEMONT 1\ • "Op. 16, No.5 Grade 3. . I' '--' '----" t. I.... '! I- " Allegro b. !~ 1'it. =-1'it...... _••••••• 2;.~If.-~...., #L~ , cresc. f 8 - 2 , I I'sub.p I U ;• • 3~ 3 3 3 2 3 • :t . ... r • • ~ " . DC . al Coda -- ~ ':""!'~ ·r-~ io: . ~. "". -- ,--... ~ -'~ 3 PIANO p leggiero ::;: .. 3_ 2=-'1 .;. ~ . - 1\ u 3,--.... .:#~ d••~t ="'T e ~ -- . ~ ·"!'v' l~ •<:»: • CODA 1 pp senza 1'it. it. -~=----~=-'8O';::::··=·~=··:::_··;-·-;:-===, =~~'-'---II2 AL --- ..:. 3~ ~' to Codav . : I J'M 3 ~ l"ri I.Jj ~ '!' r ~ .. ~ .... I • .' p f ___8....:::...... : mf 1'it. - Tarantella j... (La Danza) This music is typically Rossini - ebullient, impassioned, and full of the joy of life. It is a good study in velocity, but care must Co~ _ =1= be taken to control the speed. Do not play it too fast, otherwise it will become a mere blur of notes. Grade 4. r - - r Allegro con brio GIOACCHINO ROSSINI a tempo 3______• a ~~ t A ;;;;;;;, 3 3 3 5 , I ~~ 2~ #~~~ > 3 I 2~.~,,:, ~!- ~ fL. 1\ ~~~I,+- ~1l~1"" > , , > > z> ~ 1'1 U =no -----...... ~ I ';-.~ , - '-' ~ ... 1'it. I ~1'it.lr t. t =- I~I~~ h it. PlANO f - ,c~~~ ::::-~> :WW ~ II : ~~.(;'~"r:F-C~"C~C~~:::r ~ ~~JY. q.-. ... I , . . '-.....--./l- 11"'...... - ~<7 1~::::::=:::::::-6 '-- ...JAL ~AL --'AL "---' -=- =-- 1 3 ~ ., Cantando «(.\) 132 -...... t. 5~ 2 t t > 5 3 ,...... , ll:;;- 1":- ~I > ~ - =""1 - > > 2 u . ------, , - · -;;0.0 ...... -... ,11 • 1 ...... '!""!'"!, "f-- ~ t «(.\) > > > f to ~"!'"! -j'- '''!' j----..-'''!' == - p f ~_=t; r"_ I~ . m-/-~ It, ~ ~ ~ ~ ~ --r'1 1""'1""'1 f11' r1?1 ;..:. ~. · , , -- · , . ioo"" "'2 .. 1,..10'" 1,..10'" ~ ~~ ~ I-J.." I > > ;. ------> , ! > «(.\) 112. .' ~ .Jl ~211 !. ,L 3 2~ ~~2~ ~4 > 5~~~> .:. ,r .._ -~ .- t 2 t ~ - ---.. .. ;. .. .-- ~- --- /"' }' It. • «(.\) I· ~ > p -:z:::! I j;. > f. ---.. f- to ~ ,=t;. ~: I~..: '>.... , - - If, ~:-- - :J:) .:--- " ;". ~ ~ ~.: C~ r~ . ~ r~ rt...... ~ t I 2 3 If> > I 2 3 , , !~13 ! 2 3 , 5 ~2 , 11"> .. ~ I 3 , 5 .... 2 I 2 ...... ~ • t 2 ioo'" , ... 2 2 I , ,(', a tempo ~ :::, I ::::- _I ! I ::0; , > ~. I ~ I 2 -----.. ::O:-/l" ~. ( -- ~~JJJ\ ,--...., ~ ~, ,~~ . ---;. ;. ;. ~ .:. ,a .. "~~: .... "-~.II-- ~I:: ~ • . . .. . ~ . 12 I . 1'- [. r . ~ III - I!:' ... : ! f> II~ rl1 l.- ," I " ------.. > >- > >~. >/'~~. P""I""\r'T"1 ,,---;;. tr~ I • ~. to 1'f:~ dim. ~~~. - ;. I(]~ ~t:; t:'~ ,..1;: F- b~ ?1L 7e >- > ...... ~ , , I("~ . ~ A A A A A ~ ...... I cramF ".Planorama of The\Vorlds --Favonte Dances" comptled and arranged by Denes Agay [410.4101~- ... apynght 1951 by Theodore Presser Co. International Copyright Secured Copyright 1916by Oliver Ditson Company I ETUDE-NOVEMBER 1952 .11 ETUDE _NOVEMBER 1952 30 ___ L _ ¥ Menuetto ~ >-t.~ • >- 1- t (from "Symphony in E-f1at Major") ..~ ~ 4,----;:41 1<.1 I<. J ~ . ·>, .-, ., >. ~ I , >- . Mozart, who is widely (but perhaps erroneously) considered a composer of "gay," "sunny" music, was considered by his con- - . . I r lJi . I temporaries a composer of dramatic, impassioned music. In this "Menuetto " we find a perfect balance between the virile, angn- lit I i fr '2 '2 tar expression of the first part, and the grace and singing line of the trio. Grade 4. ''': . 'f '.~ I A-_~ r-_ A.. "'!1.-r'1 /"'. P""I1.--'!""1 v_ r-..-r." ~: WOLFGANG AMADEUS MOZART . - Allegretto . 10'" ... 4 I ~ -' ...... A 2 I 2 __ ,..,.l ... I . 10'" A I - .... ~l,;oo I A - A A I I A - ~t>- >- >->->- »» ::> t~ t 5 4 ~t, t';" • t 4Bt~ ::>.-? >- - · . · PIANO f · . . 1,,0.... 1_ [ r -r · \...- ~ ~1I' ~ > 5 > ::> ::> >::>::> > >::> >- >- >->->- »52 I____. 5~ . ::» ::> \...~ \...~ tJ \..~ . . if 2 2 5 ~ 4 5 f f pcresc. " A I 4 A · . - 2 z 5 2 t I 2 • • · - ;II ~. lh. ;II. ::> --A..--A::>ll:> ::>AL -', f ~ 2 ~ ~ [II 1e-/f'lI -6" - .c=::: if'semprej if- ::> ~ I A A >~=:t=if 2 I I" ::> I ------I "f _ ~ ------I ~ ~: .. if f I 2 I I B 4 ---. F'I.~ ::> II~' :j~1't- 'I II II L----...rf"" i J I ~, . " ,- ." . " " , ~ ~ I ...... 5~2 I r " f t 2 Jr. - if f - •• lit /" --;.;:--- 1/ , ~~~ ~~~ ..r:~r:~ ~ - . " - - - " 2 I I ~~ 1,..loo~ u.-~ -o;u.- ~ > 1 A A L.- -'AL -.JA'- ---.JA'-- __ .-JA'-- .'.J 5 I 2 ;-- 4 3 5 - I 4 "- 4 5 5 5 121~ S.~211 "~ I 2 l;;-~ - I I 2 5 'I t ::--\--...,~ ':--.. 2~ 2 1 4 ~ . . . r . , ~ I...... ~ ~~ 1.--:../>- I':,. \ --===f ~~.~ r~"> ~ ~if . "r:~r:~~ - - ~>- I 1\ - " ~~ l:.J..-"w,. Uo--\...l- ::;; . • 4 A , 1 A A . A I I A I .-A Adapted from "Analytic Symphony Series} No.1S" edited by Percy Goetschius [430-40107J Fine Copyright 1929 by Oliver Ditson Company International Copyright Secured 32 ETUDE-NOVEMBER 1952 EWDE·NOVEMBER 1952 33 • f 9 Last time to Coda. espress._------9 - -- 4 . 3 TRIO <>: t :!...~...4-.::1 ) ~ .J.J #------...... - fI r 3'-- ~ -, , "---' -t. dolce cant an do 3 ..----. pp 32f- r-__ • >- 4 2 .---I..lUl l..J I..ll 1. U ]- f1..J I..J I IIJ IJ I 3rr..JLJ J I~III : I ('. e I 2 1 >- simile ('Co I (' ~ 2 I ~ ~ ~ ~ I ~ ~ I " t> >- 2 4 I 11 I r p dolce espr. 4 2 ...... 3 . . . . 4- 2. . 3 2: l~JIJ lTI l L.H. legato ~ 5 a ) I ten. ten. 3 ------~ 4 4 4 >- f ~,.~ ... 4 1 ~ cresco .;. #- --. ... 11 r >----- , - pp espnss.1 I @. • p 4 3 pp i i i ------. 3 3 2 t ------2 I.) I..J ..J. r-...... 0m 1 I..J U I II..lIJJ I J ! I I..l I..l I I..l I..l I >- >- . :>- :> ::0::-- >- (' (' ( ~ (' ~ -~ I ... ~ ~ ~ e I I ( I ~ ~ o.c.s: F,ne ~ qr 130-41114 ~. ~ mJ-n; .J. Grade 3. Rum Rumba ANNE ROBIN SO" I 3 Moderato ",1:76) 3 $:j- -fit CODA r---yo - -->- :> PIANO 111p - - -' .. simile s.ff DSal Coda 3 ..... >- 3 I mf-=: >->>- >-:>:>:> >- ---- f aceel. 1':\ :>:>:> :»~ ~ :> Copyright 1952 by Oliver Ditson Company International Copyright Secured 8 8 8 J4 ETUDE. NOVEMBER 1952 ETUDE·NOVEMBER 1952 35 4 110·40191 110" 40191 Faith Grade 2112. Faith Grade 21/Z. G. O. HORNBERGER, Op. 167 G. O. HORNBERGER, Op. 167 An. by WalteY Eckard SECONDO PRIMO Arr. by Walter EckaYd Andante religioso (J: 80) 'I ------...... ' I --..... , --- l!. . PIANO mp =- =- f "'P 'I , , =- . , . l!.. >- ~ ..---..... --...... i ~.. .. .J J ------==- l!. crescopoco a poco f r cresco Jloco a poco f >- , . -t l!. I n • Pin mosso 8 . .,. {ii lin I- ~ (2. ------t I , : mf--== mf --=== f______'I ------. -- l!. >-n~ ~ ~ ,----- , ./ I 'I I I ,~ --..... , t • , , I I f 1 mf '---"' r· mf --==- -= 'I ;:-~ 1 ------• , , Tempo I ----- ~ Tempo I ---- 8····················································· ...... •...... •...... •...... •...... •...... •.•.•..••...... - - ~ J I I'~ ~I ~ ~ .....-:----. '~, . I .. " J I , r r I I I I r r F~mf l!. "If ~ ==- mf 'I ~ ~ =--mf .------? n. .. ~ ------ ~ /' I Lento Lento 8 ------: 8 -- . : I~ ,I~ ----.. 1 n r. ~ u p cresco poco a poco I I , f t I I I -~~ =- p cresco poco a poco ~ - nB -e- ~ , Copyright 1952 by Theodore Presser Co. I nternational Copyright Secured 36 ETUDE. NOVEMBER 1952 ----- ETUDE·NOVEMBER 1952 37 • • Je veux vivre " 11- ~ ~~p ~ r-;:; , .:... p. . , - (Waltz Song from "ROMEO AND JULIET ) C.F. GOUNOD - Transcribed by John Geanacos I~ I - ~ mf-= -= -= -2 -= t 4- • T- #: ~ #:.~ :j:J .-.. -=== .- .. - 1<>. . 1<>. "->. 1->.-== 1-> • .. .. ~ - - ~ - ~ ;j ;jj - It ~ I . J;.; »>, l::"- ~ " l.l ~ ~ ~ I It P 'i'I V. pp '~ ~ ~ -~ :1 ~ :1 - ..... 1I--1I~ ..... -.: ppt'. ~' .' ~ .~ 11 11 . 11. {I -./ • ~ -.J ~:.J ~:.J Piu animato »> ~. l.l ~ - ..;; . - fI u -. It mf mf I' rit. motto -= rI 1":\ 1":\ 1":\ 1II • ... ~ 1 - I~ :I i ~ :I ~ "1 :1 f ~ ~ :J J #~ #~~ "J;~ z: It ::~ rit. motto . , , ~ . 1":\ 1":\ 1":\ ...... If r r .. r r .. From 'jDitson Treasury of Clarine't Solos" by john Geanacos [434-41000J ~.:J Copyright 1951 by Oliver Ditson Company 38 ETUDE. NOVEMBER 1952 ETUDE· NOVE MBER 1952 39 Ludwig H.C. Hiilty Love Song FRANZ SCHUBERT La Romanesca BIAGIO MARINI English Text by Constance Wardle Minnelied Edited by Walter Golde Piano pal"t realized by Efrem Zirnbalisl Moderato (J. :56) p Andante VOICE VIOLIN ~~iiS~~~~~V~~2~~~~3~~~l ~ mf 1. Sweet- er sings the soar- ing lark, Ris - ing from the hedge rows When the dar -ling -==- ~ 2. With - out her all things are dead, Fad - ing droop the flow ers , Lost the charm of 1. Hol- der klingt der Va - gel-sang, wenn die En - grl - rei - ne, die mein fiing-lings- 2. Oh - ne sie isf al - res todt, welk sind Bliit und Erii« ier, und kein Fruh-lings-: mf ...-:::; , . =-mf -----=------.,- of my heart Wa n - ders through the mead OWS, Bright - er gleam the skies a- bove, sun - set red Bit - ter grow the hours. __ Stay then near me, oh my dcve , herz be-etuang', wan- dell durch. die nsc : ne. Ro - fer blii - hen Tal und Au, a - bend-rot diinkt mir schon. und hei - fer . Tran - te min - nig - Li - cite Frau , I • ~. . p , Green-er grow the grass - es As the. fin _ gers of my love Brush them as she pass - e s , To dis-pel all sad - ness, That my heart with words of love May pour forth its glad - ness, grii-ner wird der Wa - sen, wo mir Blu. - men rot und. blatt ih - re Han- de la - sen, Pin moto tool-lest nim-mer fiie - hen, dass mein Heri: gleiclzdie - ser An' mag' in Won - ne blu - hen, .r-: " , p /"1'1 ~ As the fin - gers of my love Brush them as she pass- es. That my heart with words of love May pourforth its glad-ness. wo mir Btu- men rot und biau. ih - re Han-de la - sen. dass mein Heregleich die-ser An' mog: in Won-ne blii - hen, mp p -= mp From'I.Easy German Classic Songs" edited by Walter Golde [431.41002J From "Solo Violin Music of The Earliest Period," compiled and edited by Efrem Zimbalist [414~41001J D. C. al-Fine Copyright 1952 by Oliver Ditson Company International Copyright Secured Copyright 1951 by Theodore Presser Co. International Copyright Secured ETUDE· NOVEMBER 1952 40 ETUDE . NOVEMBER 1952 , 41 Grade 2~_ Hark! Hark! the Lar k Christ lag in Todesbanden William Shakespeare FRANZ SCHUBERT JOHANN PACHELBEL Allegretto .. I I I -: 2 2 ...I -. 3 4 3 4 .:1 2 4 3 I 5 5 2 3 5 I I 5 3 3 I 3 2 PEDAL ,I I L'----.. I 1 ~ " , steeds to wa - ter at those springs On cha.I-Lce d flow'rs that Iies,_ on chal > iced f1ow'rs that -.-. 2 I 1 I 2 2 I 5 6 3 4 4 3 2 2 I 2 4 3 2 I 2 3 2 1 I I '--: lies; - And wink ing Ma - ry - buds be -gin_ To ope their gold - en eyes;------__ With J . J I i""11 1"'1 I 1"'1' " I ,I . . -<, 'I vi T'- r'-f r- i 3 I I -=Tyr 5 ~ II r I I f 6 r I r li \'- J,. Ih. 3 ,ah4 IHJd J lb~ l~ 1~6- 4 3 5 3 1 5 · 2 2 I 3 2 3 3 l I · ev - 'ry -thing that pret - ty bin, My la dy sweet) a - rise!__ With I I IJJ1"! ------J J I I 1\ I I . 5 3 I I 3 I 5 3 5 3 5 ~I 5______5 5 'l!. I 6 1 2 t I If f- rr urr .t. .',_ ~ 3 2 1 6 3 2 2 "2 " n I~·I ~& I~.I~I--- u il.J,JJ -~ I~ fr ikH:' · Grade 2 Tra peze Time JOHAN FRANCO if dim,poco a pooo Allegretto (J,= 72) 5 4 5 5 4 5 4 3.;:... 5 2 4 5 3 3 ------.:: - " 2 ...... 1 f 1 . 4 6 f . 5 f. . ~ 12' it· p 1 ~.·r , cresco vt PIANO 3 t~ •. 11;/' t ~r:·· dim. ______L.H. 4 • ~ , . ••...... 6 p 1 2 1 -='2 1 2 1 2 r. 2 3 ,1 .. 2 ,r 3 4 3 4 6 3 .' 6.' 6 4 4 " l 3 2 1 :I 2 4 3 2 t "f 3 2 1 2 13~4 '" 3, 3 2 " . . 5 I . . f...... • • ~ft~ ..ir; Pa f:: ~1 r~/l~dim • < • ,f·H, P ,.. -. .L,H. m ~ ...... · . pp , 3 t 2 1 1 2 I 5 3 1 '3 4 3 2 r. 3 r.4 5 - I 6 A'- __ --' '-----' l-._-J 5 3 4 a 4 6 1 4 421 31 2 1\ 3 I, 2 I ,I 4 ~ t 4 6 2 4 I . 5 · . · . . f. . ~ .... 1 ' 4 V -l..J 13 r ~•. II" ~ la ~ t ~ t .- ~ oresc. ft· 32~5 f i:.f 4 -t. I}. i-:J. . . . 1 , 2 3 '6 6 I :J l-_...JA'- L.L..__ 4_~"___" __ _', ~6 2 f 5 5 From"Atthe Circus:l by Johan Franco. [110.40192J From"B !'k' [ ] Copyright 1952 by Theodore Presser Co. Internalional Copyright Secured C ' ar 0 IS Easy:' compiled and edited by Denes Agay. 410··U020 opyrlght 1952 by Theodore Presser Co. 41 ETUDE. NOVEMBER 1952 International Copyright .!ecured ETUDE NOVEMBER 1952 45 No.110 0 40189 Grade 2t Study in Yellow VLADIMIR PADWA Grade 1~~ Olimbing So High Moderato marciale (J=144) Moderato (J = 120Y BERYL JOYNER 11 1~ " 5 3 1 2 . --- . . ,/ , I~ ~ , FIANO Up we are climb-ing to- geth - er, Upfrom the val-ley be- low; "if - .,.. r-~ 'r-~ / .. ~----- ! 5 3 5 1 3 1 »:»: 1 2 4 , 5__ 4- - 2 3 2 3, 2 1 . . .---- I~ 1 I, Thro~h trees and 'rocks on the moun - tain, fup ;0 the top we will g-o. .. r-,... ~ (;;. .,.. . -. -. '5 2 1 <\ 1 1 '5 2 1 3 5 2 3, 5 1 1 2 3 3 1 5 1 5 1 s.s. 1 4 LoH. LoH. molto r it. PL,R. Climb-ing so high, Reach for the Climb-ing so high, The top draws nigh! over f p f ... 1if R.R. 1 1 4 5 .",~__ 2"-....::.1 ~,,,-5_--,2,---,1'------J Meno mosso :I 2,'-__ --' ,., II 1~ ~ 1"""-" iii;. 3~ 4 1 1'-L • a tempo 3 ' . .... ~ ~ I 'U' ~ .~ .. " 1. sfz f~ 3 qrif I.';~.~I~ ~ ~ -& .. f . Up we are climb-ing to - ge th e r, Up to the top we will go. "1' = I"i 5 .w ~ ! \;J From "Muslcal Rainbow;' byVladimir Padwa . [4-3041010] Pad. "-.-.J Copyright 1951 by Oliver Ditson Company International Copyright secured , Copyright 1!.l52by Theodore Presser Co. Interna.tional Copyright secured Grade 2. Pop's Old Wagon Amer ican Folk Song Grade 2. Arr. by Afarie Westervelt Vicksburg Round the Bend Lively (J=144) 3 Americn.nFolk Song 4 1 2 1 5;_------:--11.:-.--~ Moderately slow (J=84) 2 1 ~--7'-;;---.".. An: by flIaI'ie Westervelt t:'\ 3 214 2 4 2 5 5.---.... PIANO Vicks-burg is'" round the bend, How 2 1 1 1 1 1 1 1 1 4 5 4 5 4 5 4 5 5 5 5 ----- 5 3 4 3 3 4, 1 1 - 3 1 2 1 , u· Dr iv- ing down the road in Pop's old wag- on, Gain to town to - day. lone-some sounds that Mark 1 1 1 1 1 1 1 h 2 5 4 4 1 2 5 5 From I(The ~lllerica.n Traveler:' by Marie Westervelt and Jane. Flory. [430.41013] 5 ~ 1 Copyright 1952 by Odiver Ditson Com pany reet International Copyright secu FrOlllHThc America.n Traveler"rby Marie Westervelt and Jane Flory. [430-41013] 5 46 ETUDE-NOVEMBER 1952 CopYright 1952 by Oliver Ditson Company Interna.tional Copyright secured ETUDE-NOVEMBER 1952 17 SPEAKING OF ART·SONG WRITING THE ORGANIST TAKES A SUNDAY OFF (Continued from. Page 18) Mrs. MacDowe1j's own (Continued from Page 24) Experimentation is in order, fO,rif, sidering a first draft as final, it is ly begin with a piano introduction, be applied to the vocal repertoire. stories and reminiscences . e before ticular church. in the majority of Gases, the plano well to lay it aside for sometime, for the next. The unison not II People who go to a great many This creates the proper mood and This will enable many teachers to . e"ary and tota y . . h .. f ~art supports the voice from under- then come back to it. At once the an expectation of the vocal part. select appropriate materials for indi- RANDOM NOTES ON EDWARD MacDOWELL each verse IS unnec . hi h concerts mamtam t at It IS 0 ten pos- neath, there are cases when, lovely value of such a period of rest will Discretion and good taste are in or- vidual voices and needs. destroys the steady pulsatiOn W f,e I sible to spot a debut recital simply ega lion to ee 1 I effectsare achieved by reversing the become obvious. Certain harmonies der, for if the introduction is too In conclusion, what matters most AND HIS MUSIC enables a Iarge ccngr by looking at t ie program, nex. JOsitionsand placing the chords and will be improved, or elaborated to short or too long, it may fail to es- in the writing of art-songs is the Ell (Mrs. Edward MacDowell) the tempo of a hymn. h perienced performers have not yet by MARIAN MacDOW ~assage work above the melod): it- better advantage, for instance by tablish the needed atmosphere. The sincerity of purpose, coupled with The organist fared no better 1w en discovered what they are best in, self. Great care ought to he given . th lUS All t ie ac- . h h altering the chord formation occa- same holds true for the ending which patient consideration of all factors This lltrle book reveals the charm and warmth of the author's personality as we.lI accomp~nymg an e. or loud, and accord ingfy a.ssume. t, a~ t ey when using a long sustained tone. sionally. Almost invariably the re- should sound as a logical postlude involved, ranging from the welfare as th~t of her famous husband. A short biographical sketch of t.he eompo~er lIS oompaniments, whether soft 1 are best in everything. Violinists of- ·1 h ]6' coupters There it is wise to keep the piano vision of a manuscript will result in concluding the music after the voice of the interpreter to the enjoyment included' also pictures of those ports of the MacDowell Colony which we;~ c o~e2~ were played WIt 1 t e. he Iast fer music of all styles and periods. part moving in s?me way so a~ to elimination rather than addition, and has terminated its part. bv the audience. Much can be at- identified with his life and work. nee . on the manuals, I should be t e R 5 Singers perform arias in French, h h annals are va 1u- '" I' P" avoid an impression of stagnation, the accompaniment will sound better On the interpreter's side, consid- t~ined by working patiently and yet to deny t at t e m b d German and Ita Ian. rarusts at- or a sense of falling into a hole. once unnecessary notes have been eration of the grade is a matter too taking care not to fall into an ex- able, but they should not . e efc tempt ~verything from Scarlatti 10 b ' ts as a substitute or " . ke i In building a climax the piano part removed, Mme. Debussy, who was often neglected. Whereas all pub- y 1azy orgarus I hiI Prokofieff ThIS amateur s rmsta e IS cess where spontaneity would disap- THE ARTHUR P, SCHMIDT CO,. INC. l is paramount in importance. The an admirable interpreter of art-songs, lished piano music is graded, thus pear. A good thing to remember: the pedals. The close inte~va s w lC almost ne'ver made by seasoned old- I emotion conveyed by the singer's told me how extremely fastidious her Boston. Mass. sound so pleasant on t l- man.ua s timers They know what they can do making a convenient index for never be entirely satisfied. A great 120 Boylston St. part must be shared by the accom- husband was in this direction, as she bl· another w len n ans- . A Sib teachers to follow, nothing of the writer was once asked, "Which one ur mto one and stick La that. rtur c Ina el paniment Voice and piano cooperate presented me a copy of Francois ---r-=:-=------, posed two octaves lower,. made an enviable career playing lit. kind exists in the vocal catalogues. of your works do you consider the 1/ F()li()Of Great Interest I il1 I d F which in a gradual and simultaneous in- \lillon annotated by his own hand. One may hope that sometime in the best?" The reply was. "It hasn't Rubinstein's / e 0 y ~~~ , d I t tIe besides Schubert, Beethoven, and Aceordionigfg! le~cherQ! : to TEIICHERS and. STUDENTS I crease of tone volume, pace, and in- The majority of songs customari. fUlme the same careful grading wiII been written yet!" THE END served as the offertory, IS nO ou,) Mo"'ar' Alexander I3railowsky is a . f . d Ilas ItS ... • tensity of expression; the latter can -Christmas Music- a fine piece a musIC ~n. .' Chopin specialist. Loue Lehmann often be emphasized by a slight I I· h in my OpllllOn 15 In . I . EASY CHRISTMAS SONGS If} .If, H"S pace, W lIC ..' was a German lice er slI\ger pure change of rhythm, passing from g g the repertoire of be mn ll1 bPla,no, and simple. Almost any great artist Easy arrangements to 21 famous Christmas d T . ce no ward s a au I eights to triplets, for instance. and stu ents.. 0 n~m k d 1 th se one can name has learned the great songs. With words. EIISY TfJ PllIY neye olher such devices. Early beginners .85 iVlelody ~n F 15 hac I . n e, secret of simplifying his repertoire, All in one book l listeners lowever remo ebb d with talent for art·song writing with Words days, w.len, d Simplicity should e our ywor, Easy Solo Arrangements f d lar<7e cities are accustome " . should pay special attention to the WHITE CHRISTMAS ...•••.•• .40 I e-UHtJ. : rom Ie "'.. ' I. d· nd An elaborate mUSical ervlce IS not matter of modulating. So often the Opportunities • ONCE IN A WHILE I to hear fine muslc.t'uOUgl 13 10,a. necessarily u beautiful rvice. and n sketch of a song is a "tonic and RUDOLPH. THE RED-NOSED I SINGIN' IN THE RAIN I cordin<7s there IS no reason a I - .. d I' 1 .40 ,e 0 I'. Rul,instein's In the SUlllmcrs I allen a Itt e dominant" affair! The modulating REINDEER ...... ••.•...... I AT LAST I clude sue I a pIece as TI '~ issue may be the one which wiII .45 I JUN!E NIGHT I overworked lvlelody in F in a service country church, Ie ~rgo.ll b an Bet,ter Income FROSTY, THE SNOWMAN .... I CHARMAINE • . electronic instrument WIth excellent lransform a simple attractive melody • • • The8e are typical of the mo're than 1,000 I I UNDERSTAND I of worship, I ., k I ed be When the time came for the Post- lone, lUYlIlg .Its spea 'cr pac . into a musical achje\"ement of last- accordion ln~blicatiQnB listed in Ql~r fref> I LINGER AWHilE I I · d, be 'he C :MaJ'or hind a b autlful organ case. The or, ing value. Gabriel Faure, of whom Positions Open catalog lVritf> for your copy today! I JEANNINE (I Dream Of lilac Timel I 1ud e, It prove a I' t. ',. Dept. ET All I DO IS DREAM OF YOU I f B I, E' .1" 51,ort Prel- lYuni t kn ws t Ie III trumen, I..., I have previously written (ETUDE, Advance in MUS I C Fu<7ue rom ac 1 s I", . I:> • r .. U' Interesting positions are open I THIS IS THE BEGINNING OF THE END I ud:s and Fugues. The organist ap- capacitie and It Imllallons, smg October 1943) was an outstanding : If'-uu #1.00 I eared to be sight-reading this one the e as a frame of rderence t~leor· master of modulation, Increasingly everywhere. Schools and Col~ fhru Extension Conservatory ~lso It was a relief when the piece ganisL pI' .>ares and ,1>lay sl.mP Ie, his songs are being heard on recital leges make it necessary 'for When you inspect our Sample lessons you will readily ROBBINS MUSIC CORPORATION agre~ that you can acquire new ideas for bettering your- 799 SEVENTH AVENUE • NEW VORK 19 N V .fi . 1 d beautiful and appropTlate musIc or1 programs.In French modern music, was nlS Ie . _ every teacher to be equipped self as will your students. You can become affiliated with Faure can be considered as an au· ilG4 .... i= iI.~; II The service as a whole was, in my the church serVice . for his work; Radio and TV a school in existence over 50 years, recommended by 1..... 1:11.~-=.i... II.I.,_r .... =;:."- ... 11 . dgment poor. Yet the materials I find in these ummer serviCes thentic successor to Schub'ert. 'Vhat thousands of successful teachers, and be sure their confi- Il_J..,..,_---. •• , )<.. 1 are calling for highly special- ~~r an ex~ellent service were at hand. a refre hin,g rel~lin~cr tha,tthe me.a~ Schubertexpressed in his own Leider dence justifies yours. The new ideas and technical im- HARMONY and COUNTERPOINT . ized training. Standardized provement will revitalize your work. A fasclnatinR study. S.."d for pamphlet descnb- If the or<7anist had been able 10 look ure of one skill IS not ~ securm~ in Germany, Faure expressed in his Ing th"se clear and complete lessons, onraUlzed eSl'ecl~lly ror self_lnstructlon. objectively at himself and his musi· the most elaborate materlal- PO~I' "Melodies" in Francc. teaching makes cOmpetitIon HOME STUDY in Spare Time cal pro<7ram to sit in the congrega- ble, but in making the most effecll\·e The contrapuntal element can be keen, even in small commun- If you are ambitious to progress, to enjoy greater recog- tion soo to ~peak there could have use of the material one finds at profitably used here and j.here in nition, and financial return, you owe it to yourself to ities. investigate this great Home Study Musical Organization. been, an exce 11'··ent service In tI'liS par- Ilao d _ THE EXD. order to form with the voice an in· At very little cost and no interference with YOUI' regular BALDWIN·WALLACE JAMES MILLIKIN UNIYERSITY terval that will inlensify its expres· CONSERVATORV OF MUSiC Are you a Busy Musician work, you can easily and quickly qualify for higher and SCHOOL OF MUSIC si,'e efficiency, Massenet, whose mu- more profitable positions in music. BEREA, OHIO (suburb 01 Cleveland) DECATUR, ILLINOIS ond Ambitious? OIYcr. thorongh training III I"u~ic. Courses lead- sic is so transparent and delicate, Affiliated witl, a first cla", LllJeral ~o\rt. inl: t~ degrees of: Baclmlor of ,\lllsle, Bachelo,r o~ Diploma or Bachelor's Degree College. Four a,,<1 tlve year cuurses Jeadlllg \lusle Education. Master of \.iu,ic, and IIla,te used this with consummate skill. A A successful musician is al- to degreea. Faculty o( A niH Teacheu, Send "I M\lsi~ j';dllcutl()ll. . . study of some of his scores will be We help you earn more and prepare for bigger things in tor ca~alogue or Information to: Jl[emherof the /Ii a tiollal Associ ation SchoolS ot .\IIlSIC ways a busy one. It is almost teaching or any branch of the profession. We award the CECIL W. MUNK. D;rector, Berea. Ohio BUlletin sent upon re{]Ue,t mostvaluable in this direction. and W. ST. CLARE MINTURN. Director DIANE WHO DAWDLES Degree of Bachelor of Music. With a diploma or Bach. will serve as a guard against over· impossible for him to go away elor's Degree you are ready to meet all competition. P E A-B-O-O-Y (ContinLLed from Page 26) loading"andclumsy heaviness. Tech. for additional instruction; yet Start now to revitalize your growth in Music. CONSEIlVATlItRY OF IUUSIC lesson-didn't know it at alL You )-OU nicallyspeaking, t1;e awkwardness of he always finds time to Instruction in all branchos of lIlu,lc for lh", lle/tinner didn-t work. Finally had the or adranced student. B.1I1us., :U,.\lus: Prepares for certain intervals-octaves, augment. profesiional c"r~ors in music. incllldl!ll: COlnl!o,ln!:, really don't mean to deceive me, hiccough ... ,.. broaden his experience. To University ExtenSion, music tlI~rap)' {«aching. Complete IIlstru~tlon In but you had an idea that if we could ed fourths, fifths or sevenths. should public school' mu,ic, AccredIted Sumlllcr :';['hoo1. Diane' eyes had grown wide. an.d such musicians our Advanced Scholarships. Mcmber !'i.A.S . .\!. Catalog. get interested in other things, we were ~udd nly filling wit1\ pathetlt be as much as possible avoided. A IlEGINALD ST.~WART.. lJireetor Extension Courses are of :. CONSERVATORY .~ might not have time for very much tears. "'\ a Illy \oice so .!Otern?After composerof songs should not think • I Dept. A·no, 28 E. Jackson Blvd_, Chicogo 4, III. • U EUNt lUt. Vernun Place .. Baltimore 2~ IUd:,...... of your lesson. So you talked about all, sbe wa just a litlle. li\"el)', of the voice- in terms of violin or greatest benefit. Pill In IltJd Mllil This Coupon • • UNIVERSITY EXTENSION CONSERVATORY, Dept. A-no • ftRftOftO~SEVELTCOLLEGE Department of Musil; the new dog, and the new baby. eager child .... ! I was quickly cello,where the matter of wind sup- KNOX Galesborg, Illinois ply does not come in for considera- • 28 East Jackson Blvd., Chicago 4, Illinois. • SCHOOL OF MUSiC Member N. A, S. M. Your foot itched and you had to get contrite. Please 5end me catalog, illustrated lessons, and full information regarding tion, Attention must be given to COLLEGE Thomas W. Williams down and scratch it. You were '"What i it. HOlley?" M,- heart • l;ourse I have marked below. • CatalQf1 sent 11pon req"est Chalnnan establishing "relays" where the sing- • 0 Piano, Teacher's Normal Course 0 Harmony 0 Violin • afraid the button at the back of softened abruptJy. "Why are )'OU o Piano, Student's Course §Cornet-Trumpet 0 Cuitar your dress was loose and you spent ers can replenish Ulat supply with- Public: Sc:hool Music-Beginner's Advanced Carnet 0 Mandolin • crying?" University • Public Schaol Music-Advanced Vaice ?ut having Locut the musical phrase § CONVERSE COLLEGE S:3!~CL some Lime trying to look down the ., 'Cause you said I-bic!- • Advanc:ed Composition Choral Conducting 0 Saxophone Eor Training & Sight Singing Clarinet 0 Reed Or,an • Edwin Gcrschchkl. Deall, Spartanhurg. S. C. back of your neck. You 'forgot' YOlir niff~niff- Inadequately, or to draw in the 8 thought of Lh.ings" • 8History of Music Dance Band Arranging 0 Banjo • red book; you brought chewing hreath so hurriedly that it diverts the hie! 711 attention away from the music. • Nome Adult or Juvenile • gum and we had to wrap it up. as "Well. dear. isn't iL really trUe. Extension All the preceding constitutes the • Street No. • usual. You thought we could have r asked gen,ly. . ~~rk, of '.'polishing up." Perhaps a long discussion about nail polish. "Hie! r o. it' not! I-h~ • City State • You wriggled around untH the rug hiS IS as Important as the creative Are you teaching now? If so, how many pupils have you? _ CONSEflVATOflV rea]]y didn'L think of the be«OP" phase of the composition itself. One • Do you hold a Teacher's Certificate? __ Hove you studied Hormony? __ • L. ~'£~,j.'~'". sli pped off the bench, and you had Maybe not. ma)"be not. poor httle Conservatory SHENANDOAH • Would you like to earn the Degree of Bachelor of Music? • to crawl down around the pedals should refrain from yielding to pre. Courses leading to the B. Mus. and B. Mus. killen. _ I Ed degrees. Member NASM. In th~ ~e~rt mature satisfaction. Instead of con- L •••••••••• ••••••••••••• of the Sh~nandoah Vall~y, Dayton, VlrgtnJa. and pick it up. You had a dozen But I'll bet you do nex' ume. more things to do in case these THE E.'W ETUDE-NOVE.lIBER 1952 49 48 ETUDE-NOVE,IIBER 19;) l LET THE CHILD TEACH YOU MUSIC IN THE SCHOOLS (Continued from Page 11) For Christmas (Continued from Page 10) Teaching Pieces In Earlv Grades BOSTON UNIVERSITY key after the two black keys, and bass C, double big C. ested in doing something themselves. then played two white keys going I taught only the treble staff in These selected Christmas numbers are ar- are for his physical well-being. It has been truly said that the ad- College of Music down, and to the left. I told them the. beginning. Now they had to vis- ranged to sing and play. Tec cbees, fOI The young people in our schools PIANO SOLO years, have been using this type of holidoy vance of civilization in the future is to listen. I said "Each note that I ualize. I told my kiddles that these today are often in a quandary about All Branches of Music material to add interest to piano study. going to depend a good deal upon play will sound lower." They lis- BARTOK,InA 1f'j4g~ 42 Hungarian Folk Melodies (For Children) , ...•.. 2.00 the society around them. Even our and Music Education le~ters, had to live in a house. and __ 10 Easy Pieces 75 Like all numbers in Century Edition, all what we do with our time off. efforts to provide them with unheard tened eagerly. I had them play this was not difficult for them to t.(XU, TMILO~ __ I. Come Out and Play...... 30 titles listed ore 25~ a copy. See them at 1 can remember wr-iting a sketch your Century Dealer. of security have not lessened their Robert A. Choate, Dean Three Blind Mice other places on understand, as in our neighborhood __ 2. The Chase . . . . .30 for a convention for the Western So- the key board, using both the black __ 3. Dance of the Mosquitoes. .30 deep-seated perplexities. They are families live on differen~ floors i~ __ 4. Dreaming; Skipping ... .30 3725 Christmas Hymns 1:01fe ciety of Engineers, which was held Courses leading to the degrees A.A. often bewildered by the problems and white keys as starting points for houses and apartments, and my chil- __ Frogs in My Flower Garden...... 35 1 Silent 1'\lght, 2 "I'he ]?ir,l Nool. 3 0 in Chicago in May, 1927, more than in Mus.; B. Mus.; M.M.: M.M. Ed. In DAVIDSON,HAROLD G. Come .en Ye li'aithflll, 4 Hark the Heraill which face their elders and which the tunc. This is the first step in dren will tell you that Mrs. Smith __ Toy Parade .35 conjunction with the Graduate School ,Angel~ Sing, 5 0 Ll tt.le Town of Beth- they know will soon be their prob- twenty years ago. They had a new teaching to play in different keys, lives on one floor, and Mrs. Jones flOOD, ~ItOTHY F.~'~own the Avenue. .25 lehem, 0 Calm ell the Listening Bar of and daring idea, base a one-act play -M.A.; Ph.D. In conjunction with the __ Merry Go Round. .30 Kight lems. In this time of crisis our young and the rudiments of modulation. on another. The house that we were School of Education-M.Ed.; Ed.D. __ A Ride in the Air. .25 3724 Christmas Carels ..... notre people need every consideration in on the idea that developing efficiency I noticed that my children were going to build had five floors. C1 1 Good Killg Wencoslas. 2 GDd nest You GlURE, IUINHOLD!i!!IIIiIIIBi__ A Happy Life. ..,...... 35 could cut our work week down, not Year-round Projects and Worhhops include- Merry Gentlemen, C5. At this learned how to make teaching more dollars goes for admission charges lic schools is part of the best that stage the children began to ask I I fluent. Send for circular. =1.Ka~fOio:-'·:nen" montblybllUetlll 01 attractive. The child's jnterest must I CITY ZONE __ STATE I to professional or amateur competj- breaks and flU-ins fOf h1~-IOIlI$. or 52 IGI we ~now, and we should not be ~out 'he C ~t the left of middle C. be your guiding star. In that way EFFA ELLIS PERFIELD l:l monUll. MenUen if teuber. I tions. Certainly some of these mjl- afraid to acknowledge its impor. THE AXel CHRISTENSEN METHOD. 723 North Hiqhland e called thiS one little C. and the they will teach you what to teach BUY FROM YOUR MUSIC DEALER OR DIRECT lions of spectators should be inter- Studio f-p .0. Ba.. 421 Oiai, Califo(tllo Los Angeles 38, Calif. tance. The End. next octave dOwn h·Ig C. and the low them. THE END 50 ETUDE-SOI'DIRER 1952 ETUOE-NOVEMBER 19.;2 51 .1 / JOlt / I plqy- World Famous "0iolin I(lluestions ¢JrgQn I(tluestions alzd a new adventure 6egiilS JOHN JUZEK VIOLINS ) . Violas aru{ Cellos Answered by FREDERICK PHILLIPS By HAROLD BERKLEY 'E.ere must be some reason why the JOHN .JUZEK VIOLINS are in such a great demand all over the • frle have a two manual organ, and APPRAISAL SUGGESTEO - About 1890 a two-manual tracker country. NOT A ,ViOLIN MAKER have just been presented with a set action pipe organ was installed in Just compare the violins of other of chimes. Since I do not have any a local church, and by 1944 the makes at double or even triple cost to Nlrs. T. 5., Louisiana. I am very Dr. D. D. u; Pennsylvania. It is music with chimes, I would appreci- operation of the organ was becomitie the superb tone and excellent work- glad you realize that your Strad- the confirmed opinion of experts that ate some suggestions for a book of unsatisfactory and unreliable a~ manship of the JOHN JUZEK VIO· labeled violin is not likely to he Dutffoprugcar-r-or TiefIenbrucker, to genuine. Few of my correspondents su.itable voluntaries, music nat too times. In March, 1945, a new two- LINS. give him his right name-never ~ade who have similar violins seem to advanced. manual electro-pneumatic action or. ----we have innumerable finest com- any violins. only Iutes and gUJtars. know this. [f you wish to have it -K. W. K., Canada gan 'Was installed. The old or- ments from teachers and professional cars The many so-called Duiffogrug appraised you should lake or send it gan had 13 ranks. Not long before violinists-many an artist prefers 10 oriainated. after he died. in both (I to one of Ihe dealers who advertise There are few collections of or- the old organ was removed I tried play on a "Master Art·' JOHN JUZEK Fr-ance and Germany. They have a in ETUDE. gan music designed for use with out the sounds of each pipe. With VIOLIN rather than 011 au expensive curiosity value only. chimes, such as "Organ Music With the exception of a number of Oboe old instrument. BOOK ON VIOLIN MAKERS Chimes" by Kinder, published by pipes the organ was fairly good. Student outfits from the lowest price to the NOT WELL KNOWN Presser, one with a somewhat similar Some pipes sounded as if they might Master Art grade E. It, New Jersey. I'm sorry, but title published by Lorenz, and pos- need some lUning or regulating. The We arc the sole agents for /,he famous F. N. 13.M .. Muniioba. I have been able J do not know of a book, in English. sibly others. The Presser Com parry new organ sounds som.ewhat de- Voirin Bows, Bonr daui and Creoille Clor- to obtai;l no more information about similar to Fairfi ld's "Known Violin will be glad to send these to you for ficient as compared to the old, mostly inets. - a maker named D. Stirrat, of Edtn- Makers." Lutgendorfl's monumental examination. There are also many in "[uli" organ. When I hear the METROPOLITAN burah. Scotland. than that there was work is uf course the Bible of violin single numbers, among which we new organ there are times when I Hammond Orgon illustroted above is the Home Model- price on request. MUSIC COMPANY a rnun so named who made violins. lovers. but it iii in Ccrme» and is might mention the following: An feel badly about it, coupled uiith. You press the keys of the Hammond Organ and a new adventure There is no standard price Ior his now almost irnpos ..ihle to obtain. Evening Medit,aliofl, Demarest: Ca- memories of the old one. Do you begins. The song of skylarks- the brilliance of brasses, the whisper Wllolesalers, Im porters, mul MtUlUjllC- instruments : each would have to be lurers of lilt lIutSical inslrrunellls thedral Shadows, Mason: Galilee, think from the specifications sent or ",ilJows come alive as you play. This is music that relaxes )OU REPAIR FIRMS SUGGESTED 222 fOURTH AVE., NEW YORK 3. N.Y. judged nn its own merit;:;. Matthews; Gesu Bambino, Yon; you that I am justified in feeling . refrc~hes you ... renews you. And it happens each time you pl::ty. Sunset and Evening Bells, Feder- as I do? What are )'our opinions on Publishers 01 tile famous books 0/1. P. S. N .. Wi'Sf Virginia. Any of the Violin Playing: COUNTERFEIT LABELS lein; Chime Preludes (published by the Vox Humana and Chimes on violin firms Ihut a(hcrli~e in ETUDE Gray); Evensong, Duddy; Vesper the new organ. instead of some other "SIMPLICITY Of VIOLIN PLAYING." Vol,. I, 11 Mrs. C. C., Illinois. As I have are equip» d 10 gi\c an expert ap· YOUl" fanlily joins the [un H)'mn, Bishop; Twilight Musings, possibly useful stops which are not l¥: "ALL VIOLIN TECHNIQUE" (complete, from beginner to artist) praisal on u violin and also 10 make when thcre's a Hammond uften had occasion 10 remark. it if' Kinder; In Moonlight, Kinder; etc. present. Is it possible t.o preserve by Robert Ju:zek any necc5~ary rcpllir~. Other firms Org·an in your home. For impossible to give any definite opin- Most of these also may be had on and usc the pipes of such. an organ ion on a violin from the evidence I can recolllmend are A. Eisenstein & even your youngsters can approval. as lhe old one. and simply replace supplied by the label. Labels can so SUII. 1585 Broadway: hropshire & s'fiftly capture the beauty the console, chests, etc., if the trouble easily be faked. If the date or spell- Frey'. 119 Y C,!-,t571h treet; and of music, the feeling of • I aln preparing for a m.eeting of seems t·o be here rather than in the SPLENDID NEW SETTINGS FOR TWO PIANOS ing of Ihe label is wl"Ong. one is us- Rembert \Vurlitzer. 120 West 42nd kinship that comes with my club which will study the fife and pipes? Or is it better in most cases ually right in saying that the instru- Street. All thcse firms are in New playing snch an instru- by Whittemore and Lowe lwrk of Albert Schwcitzer, and I am to replace the entire instrument, ment bearing it is an inferior copy. York it). ment. "'hat's more, on the reading"Music in the Lifc oj Albert pipes and aU, with a new instru- FALLING IN LOVE WITH LOVE .Richard Rodgers but further than that one cannot go. Hammond Organ even Schweitzer" by Charles Joy_ Follow- ment? A WONDERFUL GUY. .. Richard Rodgers lf you have real rea"on to believe MASS.PRODUCTION OF VIOLINS beginners play surpris- ing page 140 there are scvt'ral pic- -W.R.M .•Md. Each af tile abave at $1_25 that either of your violins has value. ingly fine music the first (Set of two copies) Miss S. I.. P.. Ohio. Thihou,ille· lures. In one, showing Dr. Sc.:hweit- you should take or send it to one of montIl. And your friends ::erat the piano in the GUllsbach We ellU well understand how the the Chicago dealel·s that adverti!"e in Lumy & Cie. is one of the most im· home,the music is opetz. on lhe rack; like to visit a home where ETUDE and ask for un appraisal. portant factories of Illusical instru- replacing of the old organ with a I should like to know the name of they may share the fun of For a slllall fee a reliable opinion ments in Mirecourt. a concern dating new one, gives you the feeling of * * * * * the composition. I should also . like music+making, too. * * * ·will be given to you. back to 1790. They ha\'e worked on a having lost an old friend, and also, OTHER DISTINGUISHEO MUSIC FOR TWO PIANOS mass-production ba~is in a purely information regarding recordings by from the respective specifications, Dr. Schweitzer. A VAGUE ANSWER commercial \\a~. making thousands how you miss something of the solid Richard Addinsell of instruments a year. They produce ~L. A. Z., lVisconsin tone qualities of the old instrument, You have room enough in your home for a Hammol~d Organ. There WARSAW CONCERTO (Transcribed by Percy Grainger). .3.50 H. G. c., Washington. An institu· instruments in different grades. as compared with the "nice" tones of are models to fit your home, available on payments exactly wiled We regret very much that the book tion that would certainlY benefit ranging jn price from 15.00 to Ihe new instrument. We believe, how. to your l~eeds. Hammond Organ priccs begin at 51285 including by Joy referred to is temporarily out Arnold Box from the t.hought you have in mind is about 150.00. ever, that if the new organ was in· lOne eqUJpment and bench, Lo.b. Chicago (for the Spinct :.\[odeJ, of slock, SO that we are unable to "THE DEVIL THAT TEMPTED SAINT ANTHONY.. .2.00 The Music School Settlement. 55 stalled on the recommendation of a not shown). Ask your dealer for a demonstration. Then you will NO INFORMATION AT HAND identify the particular composition reliable builder, there would be good "HARDANGER 1.75 EU!"-L Third Street. New York City. know 'dlY the Hammond Organ gives lasting musical satisfaction shown.The Columbia people have is- It is a splendid school. I am purpose- reasons for a complete replacement, to so many_ "THE POISONED FOUNTAIN . 1.75 Miss C. E. J .. Irisco"si"- -'either ly vague in this answer. hut that is sued foUl' volumes of Schweitzer rather than an effort to preserve the "RED AUTUMN ... 2.50 Grove's Dictionary of )Iu:,ic nor the organ recordings, as follows: old pipes and install new action what yOll wanted. "SONATA FOR TWO PIANOS .4.50 Oxford Companion to ~lusic gi,·e Chorale No.1 in E, Franck and console. It is possible the Open .E£4MMOND OElGAN any in[orm8tion on Jean Ten Haye. A OISCREPANCY IN DATES o set MX·IOO Diapason on the new organ would MUSIC'S MOST GLORIOUS VOICE Abram Chasins However. I hu\-e the illll)r~ion that rgan :!\'lusic Vol. I, Bach.Preludes also give more body than the stops ... 2.00 he was a andina\ ian ,iolinist who an.dFugues in C Major, G major, F PERIOD SUITE Mrs. F. S. R .• New York. Your on the new one, but all in all, we lived during the latter part of the llunor; Fantasia & Fu"ue in G minor r---- MAIL COUPON FOR FUll INFORMATION -----. violin wa~ made by Friedrich August feel that the new organ is faidy ade- George Gershwin last century. H any of our reade~ "L· I" '" , Hammond Instrument Company I e lass somewhere between 1840 and Itt e Fugue in G minor' Toccata quate, and we believe you wBl come FANTASY ON GEORGE GERSHWIN'S PORGY AND BESS.. 3.50 know morc about Ten Ha,e. I'd & Fugue in D Minor se; MM-310 421OW. Diversey Ave., Chicago 39,lllinois 1855. Translated, the label says the to like it more as tjrne goes on. The \Vithout obligation, please send me information on the (Transcribed by Percy Grainger) glad if the)" would write to me. instrument was made by him after ~rgan i\lusic Vol. 2, Bach-13 Choral addition of an Oboe or Doppel Flote fonowing Hammond Organ models: (*two copies needed for performance) reludes set M~I.320 CHURCH ~[ODEL_ the model of a Stradivarius made in might he more effective on the new o Spinet Model 0 Church Model Hammond Organs arc used A SELLING SUGGESTION ~rgan ~usic Vol. 3, Bach-Preludes & Home Model 0 Concert Model 1638-which is interesting. because organ from an ensemble point of in some 27,000 churches. o Fugues m ~ mjn., C major, E minor; view, instead of the Vox Humana THE CHAPPELL GROUP Stradivari was" not born unlil 16441 A. K., California. As )"OU wi,;h lO Name _ . ugue A nUllor set MM-320 and Chimes, but these latter are Cllappell & Co., Inc. T. B. Harms Co. Wllllomson Music, Inc. ~~aybe the violin is not even a gen. dispose of your ,-jolin. I would ~g. Concert Model bas 32-note Street .. e AGO pedal keyboard and an DeSylva, Brown & Henderson, Inc. Gershwin Publislling Corp. ume Glass. In any case, it is proba- rhes could prohably he procured very effective within their somewhat ge~t that )"ou gel in touch with )lr. additional Pedat Solo Unit, City P. O. Zone State .. ~~omyour local dealers, or from the limited uses. tunable to preference by RKO Bldg. _ Rockefeller Center - New York 20, N. Y. bly worth between $50.00 and Faris Brown. 5625 Wibhire Boule· @19'2.HAMIHIHC INSTRUMENT COMP~'lY II SlOO.OO resser Company. THE END the organist. yard. Los Angelei'. ~------J ETUDE-NOVEMBER 1952 52 ETCD£ \Q1DfB£R 19j1 53 The MASTER and the BOY .Junior Etude Contest Junior Etuile will award three attractive prizes each month for the neatest I SHIH WOUD MUSIl: SEHOUL by WILLIAM J. MURDOCH and best stories or essays and for answers to puzzles. Contest is open to all boys and girls under eighteen years of age. Distinguished since 1895 for the training of professional Class A-IS to 18; Class B-12 to 15; Class C-nnder 12. musicians. Member of the National Association of Schools come to the boy's concert in Vien- THE eleven-year.old Hungarian na. No, he was not interested in Names of prize winners will appear on this page in a future issue of the of Music. Faculty of renowned American and European boy, accompanied by his .father ETUDE. The thirty next best contributions will receive honorable mention. and his father's friend Schindler, his playing. No! No! artists. Degree, diploma, and certificate courses in piano, The boy's dream was thus rudely fairly trembled with awe as he Put your name, age and class in which you enter on upper left corner of voice, violin, org-an, 'cello, wind instruments. Public School and suddenly shattered. Beethoven your paper and put your address on upper right corner of your paper. Write stood in the home of the great Lud- music, composition. In the heart of cultural Chicago. Liv- would not pay him even as much on one side of paper only. Do not use typewriters and do not have anyone wig van Beethoven. copy your work for you. ing accommodations at moderate cost. This was a dream come true. as a moment's heed. The boy The boy had almost worshipped wanted only to please him, yet the great one would not give the Beethoven for half his young life. Results of Original Drawing Contest SPRING SEMESTER BEGINS FEBRUARY 2nd He had studied his compositions. chance. * Nevertheless, the boy could, and Prize Winners Ellen Gogus, Leona Green, Joane Culy- * Edited by Elizabeth A. Gest He had stood in reverence before would play for the rest of musical Class A, Kay Gabrielson (Age 15), ban, Bergine Haakenson, Suzanne Har- For free catalog, write Arthur Wildman, Musical Director. his portrait. He had played some of alson, Shirley Henderson, Edith Hiller. Vienna, whether or not the city's Florida his piano works for an astounded Class B, Elaine Jennings (Age 13), man, Rosalie Horowitz, Julie Kempffer, 1014 SO. MlI:HlGAN AVENUE • l:Hl[;AGO:i • ILLINOIS public. He had dreamed over and foremost musical figure would be Arizona,tied with Louise Rentsch- Jo Rita Marrs, Joan Mercer, Melissa Forgetting and Remembering over of being received by the great present! On the night of the con- ler (Age 13), West Virginia Manneschmidt, Alice Mushles, Jocelyn Class C, George Webber (Age 6) t Con. McAfee, Martan Mel.cod, Claude Nor- master himself and playing for cert the large hall was crowded. neoucut ton, Marc Nusbaum, Jean Ort, Louise him. And now, at last he was face Thousands had come to hear this sides it can be applied to any part Special Ilonorublc Mention, Parker, Dolores Parsons, Dorothy Peb- SOME PEOPLE tell us it is a good to face with his hero. amazing child who was acclaimed worth, . Sydney Ross, Billie Romine, thing to use the system of remem- of the staff, not only beginning at l\lary Russltuno And Beethoven scowled rude! y a brilliant pianist by all who had Hnnorablc Mention for drawings John Ruseltano, Carolyn Seymour the first line. bering something by remembering at him! He shook his head sadly heard him. (elphubetleal order): Frank Walton, Elayne Wcbber, Loi~ something else first. Did you ever There is a still longer string of And suddenly, the dream that FrancesCellc, James Craig, Leah Fraser, Violet, Winslow, Ellen Winters, Floretta Witzig Leslie Wood. try it? For instance, you might words that some people use for was shattered came true again. Wilma Fuller, Wah Ccntatn, Patricia remember when Bach was born by remembering the order of all the The boy spied his hero in the au- first remembering something else sharps, which goes like this' dience. There was Beethoven! In ST. LOUIS INSTITUTE of MUSIC "Fanny -can -get-dinner -and -ear 1y- -that he was born the same year spite of his former rudeness and Musical Acrostic Contest I John Philip Bloke, Jr., President in which Handel was born. But if breakfast." An. this to be remem- his rebuffs, the master did have 8y Marion Her/son Maldleu)s Letter Box bered first, just to get I-c-g-d-a-e-b! you forget when Handel was born, the kindness to come to the boy's Suppose you forgot what it was Bachelor of Music Degree in 24 Fields then-one, two, three, you're out concert. after all! And the young Take the letters as called for from that Fanny could get. Then your Send reptles to Icttces in car-e of and you don't know when' Bach pianist poured forth aU the artistry the words below and find the name Junior Etude, Bryn l\Iawr, Pn., Master of Music Degree in 23 Fields order of sharps would disappear, was born either! of his life into his performance, of a well-known symphony. (Send and they will be forwarded to the Some people remember the lines too. It is much safer and quicker writers. Do not ask for addresses, Graduates Music Education Maior program well qualified to teach all phases of playing to the very limit of his answers to Junior Etude before Foreign mail is 5 cents; some fm· •. to KNOW that each sharp in the Music in public schools. A catalog will be sent on request. of the staff by first remembering skill, playing as he had never November 31.) cign airmail is 15 cents and some is signature is five notes higher than something else, such as the string played before, playing for the mu- 25 cents. Consult your Post Offiee Institutional Member Notional Associotion of Schools of Music of words "every-good-boy-does- the preceding one. 1. The first leiter of the name of a before stamping Iorclgn air mail. sician he revered above all others. 1801 8onhomme Avenue St. louis 5. Missouri fine." All that, just to remember It is never safe in music to try famousAustrian composer. At the conclusion of the concert, 2. The second letter of a social enter- Dear Lnnior Etudes the lines, e-g-b-d-f. If you forget to remember something by trying NEW YORK COLLEGE OF MUSIC while the audience was sending up tainment featuring music. Arved Kurtz, Director Chartered 1878 to remember the string of words to remember something else first. 3. The lhird letter of the art of com- I am a reader of ETUDE Music Maga- The Boy Lisat Meets thc Mustcs-, a deafening applause, Beethoven 75th ANNIVERSARY YEAR and say "every-good-gi rl-does- Also, it does not develop good bining tones and chords. zine, my family's and my favorite maga- Beethoven rose from his seal, rushed to the zine. College ond Prof"ssionol Cours"5 well" it would not fit in with the sight-reading, and every piano stu- (picture frOlll a Gerlllan newspaper) 4. The fourth letter of a composition Full or Part Time. Closs and Individual Instruction Day or Evening stage, grasped the boy and kissed r play the piano and am in second Preparatory Troining for Children and Adults staff at all, and one, two, three, dent should try to become a good written for full orchestra in several movements. year at the College of .Music and Arts Write for Catalogue 114 East 85 Street, New York 28. N. Y. sight reader. for he was in poor health and his him on the forehead. That aflee· you're out again and you can't 5. The fijth Jetter in characters placed of thc Philippine Women's University. bitterness over his lost hearing was tionatc embrace was undoubtedly remember the lines of the staff. This system of remembering on the staff to cancel sharps or flats. My hobbies are stamp and coin _collect· the proudest llloment of the boy's COSMOPOLITAN SCHOOL OF MUSIC Why not omit the string of words something by remembering some- deeply marked in his stern face. 6. The sixth letter in the name of a ing. listening to good music, sports, No! No matter how \\Tildly the boy life. reading and writing letters. I would like Preparatory, Co.llege, Special, and. Graduat.e Departments. Courses leading to and KNOW that the lines are thing else first is caned "mnemon- famous nineteenth century violinist. Bachelor of MUSIC, Bachelor of MUSIC Education, Moster of Music and Teacher's And who was the boy? Franz to hear from other Etude readers all merely every other letter of the ics". The word comes from a Greek was acclaimed he would not listen 7. The selienth letter of a word mean· Certificates in Music and Theatre Arts. ' ing one who exhibits great instru- over the world. Clarence Eidam musical alphabet. This is certainly word. The dictionary defines it as to him play! No, he would not Liszt! . Sonia Fe Flores (Agc 16), William Phillips mental skill. President Member NASM Deon much quicker and safer, and be- "the science of artificial memory." 8. The eighth letter of an orchestral Philippine Islands Edwin L. Stephen-Mgr .• 306 South Wabash. Chicago 4. Illinois composition preceding an opera or r enjoy the ETUDE a lot. especially the oratorio. articles by concert pianists as I hope to Did You Know? (Answersmust give all the words become one myself. My favorite compo- nf called for) sition is Beethoven's Fifth Concerto. I ~QltlnlatW Instttutr {Dustr By Gertrude G. lf7nlker would like to hear from anyone who is Bachelor of Music-Master of Music-Bachelor of Science in Education Dear JUllior Etude: (B.S. in Ed. by arrangement with Kent State University) interestcd in music or in Beethoven. 'Y~have had a good many piano celeb- BERYL RUBINSTEIN, Mus.D .• Director Sue Fortney (Age 15), Wisconsin 3411 Euc;:lIdAve .. Cleveland is, Ohio That BACH is called "The Father That CHOPIN is called "The Poet niles here but it would be interestin 54 ETl DE_SOI'ElIBER 19;] ETUDE-NOVEMBER 1952 55 addition to vocal coaching lessons llIu~ical ones. Wouldn't this he the SINGERS CAN BE MUSICIANS. TOO there arc languages to be learned, Oh:lOUS. kicking-off point for devel- a large number of roles to be mas- oping Ius understanding of basic har- (Continued from Page 20) tered, as well as stage work, and mony, rhythmic patterns, music read. piano muolc 0/ Gnoch & Cie., often dancing. With a schedule like mg, . and. form? Certainly nothing life force, and not as something this most singers shy away from what great artist-teachers, who are usua~ly musical IS of more interest to him Hew American edition! parij therne! ."extra", to be added on top of the they believe to be dull, uninspired at the moment. careful that their young pupIls three "R's", and often omitted if a lessonsin textbook harmony, dicta- There are those who will sa v that CHAMINADE- Children's Album, Vol. 1·11eo. .. $1.00 set the most complete development time is lacking. Please understand folloW tion,and solfege, and they cannot be learning cannot take place il~ this LAPARRA- Rythmes espagnols 2.75 ;ossible. And yet, many of these that I am not referring to a specific blamed for it. They spend most of ""-~y, that one must have a textbook MOSZKOWSKI-IS Etudes de virtucslte. Oc. 72.. 2.75 top' rank teachers, who .are th~r. body of musical knowledge, but to It's Christmas! So let's have a theirtime in the glamorous, magical '~Ith examples for practice, etc. All PHILlPP- Coprice-etudes in Octaves 2.00 oughl y skilled as voice builders WIll an "attitude" toward music in gen- recital that is different and fun! world of opera, only lO, have some- right, buy a textbook if you must PHILIPP- Exercises in Veloc.ity 1.00 take an indifferent attitude when eral which win serve as a broad it comes to insisting upon musician· one shove a series of dry textbook but make it a good, up-to-date one foundation for any child who may exercisesin harmony and solfege at with plenty of musical examples. and ship in their singers. wish to build a musical career upon fur piano, 4-hands What is the result of this brand them.They can see no need for it, u:e it only for reference. Any ~xer- it later. Such an attitude is infinitely MOSZKOW5KI-Master & Pupil, Op. 96 .,... 2.00 of training? There is no doubt" th~t and they are right. crses you need can be drawn right more important than any amount 8 lif1le duets with 5-nofa basses Base your program on the delightful. book it is capable of producing a ce.rtam Obviously a different approach hom the pupil's scores and will cer- of the wrong kind of piano lessons. must type of attractive, well-polIshed be used, if the singer is going tainly mean much more to him. It is order from your dealer, or directly from CHRISTMAS IN MEXICO, by Marie Wester- Obviously this problem must be product, a singer who knows sev- to be interested enough in develop- only through such a meaningful ap- velt and Jane Flory. These traditional songs fol- attacked not only in our public eral roles letter-perfect, and who ing his musicianship to really work proach that the' singer can ever low the fascinating and gay Christmas celebra- schools, but also in our homes, llSSOL:IA'fED MUSIl: PUBLISHERS, Inc, can conduct himself in a presentable at it. Where can such an approach be become vitally interested in the ma- 25 W, 45th Street • New York City 36 where personal musical expression tion of the children in Mexico. manner on the stage. But what hap- found? Of vital importance to the terials of music so that he will 'Want has been all but replaced by radio, The continuity of the book is perfect for a pag- pens when he is presented sudd:nlY singer are the songs and rdles he is to develop into the musician that he television, and phonograph. COMPLETE COURSE IN HARMONY with a strange score to read at SIght trying to learn. More often than not should be. eant-like program, with songs to sing and play, Secondly, a great deal can be A "SELF· INSTRUCTOR" BY JOSEPH A. HAGEN for an important audition, or a theypresent many difficulties, mostly TIlE END formerly Editor 0/ JII/sical Theory /01' ·'The /nternatioll(fl MI/sieja,," and little dances for all to do. Also, the illustra- done by the voice teachers them- modern operatic role which he can- To comply witll many reauests for.a Self. Instructor a KEY has been added to this eeur-so to er . I tions in the book give wonderful ideas for cos- selves simply by adopting a more not learn alone and has no time to conscientious attitude toward the TEACHER'S ROUNDTABLE tumes. coach? Usually nothing. The need rii;:;\}~~~g2:f;~'4~,:;};:~"\£,;~;th£{::~:i'~i~~"i:;'1~!';~~:l,j::~I!:i:F1h::~':iii'.~:~~iE:~~ com plete development of their for musidanship, which he has I-J;;O;;S;;EP;;H.;..;A;;...:;H;;A;;G;;E:;,N:-_..:.._...:._....:: __ 7:.:D:..:W~E~.::S::T.:E:,• ..:A~.::E::N~O~E~,~P~A~T~E~.:S~O~N~,~N~.;..:J:..J pupils. Of course their own feelings i Continued [roni Page 23) never felt usually strikes him with • • • For a larger program, here are some general great for~e and he loses a' large about the matter may be entirely within a very gradual diminuendo. "In the last line of Page 3, make ~ Christmas solo suggestions. part of the security and self-confi- different, in which case the cause "Whenthe first motive comes back the crescendo very gradual and do dence which his teacher had so is all but lost. I talked recently with 110-16192 $.30 on pages 3 and 5, much attention not reach 'FF' too soon; it must AROUNO THE CHRISTMAS TREE (G,. 21 .. Crosbv carefully built up. If he has enough a leading voice teacher who aston- I 10-06380 .25 must be given to the damper pedal. occur only on the last measure. CATHEDRAL CHIMES AT CHRISTMAS EVE (G,. 31 Enqelmonn ambition and stamina he may he ished me with the following remark: 110-11451 AD Be sure that the bass notes of the "At the fourth line of page 7, keep CHIMES AT CHRISTMAS (Gr. 31/2). . .. Greenwald able to fill the gaps in his develop- "As far as I am concerned, all 110-25840 .35 arpeggioed chords of the left hand the 'FF' of the tril1 in chords as far CHRISTMAS BELLS (Gr. 3) ... Johnson ment quickly, but usual ly he loses opera singer are merely puppets aregivenenough tone to su pport ade- as, and into the next measure: then CHRISTMAS BELLS (G,. 31 .. WII,o' 130-40287 .40 heart and quietly disappears from op rated by the conductor. The more CJ3ell 130-40 I80 .40 they know about rnu lc, the more quately the harmonies, and are diminish gradually to the Tempo CHRISTMAS CANDLES (G,. 3-4) .... Adler the musical scene, a victim of sheer 'caught' within the pedal at the 11110. The' A natural in the low hass, ... Blake 110-17925 .30 musical inadequacy. they insi t upon inging their own CHRISTMAS EVE (G,. 21 changesevery other haH measure. left hand, is eon-eel. The difference ·Stairs 110-40120 .30 Those whose voices and talents way, which makes lhem absolutely CHRISTMAS EVE (G,. II useless to the onductor, who would "One dIett which is not printed with G·sbarp-whjch it ought to be ve~--witlt 1 . Mueller 110-23105 .50 (not to be confused with real knowl- CHRISTMAS FANTASIA (G,. 3 121 prefer that they knew nothing." in any edition consists of playing hut does not exist on the keyboard ... Pitcher 110-25103 .35 edge of music) are highly su peri or CHRISTMAS HYMN AND BELLS (G,.2'hl I fear that. in a sense. he was the final chord-and bass G octave -is unnoticeable because of the low j 10-26528 .30 usually continue in their careers HDLIDAY (Gc. 2'(2) .. Ketterer precedingit-piano subilO." register. through sheer dogged persistence, right, if one i considering the dog· HeariLLonic 'j3eLL~!" ... Pierpont-Richter 1tD-27198 .35 Now we come to the Jeux d'eau" "Page 11, first measure of last JINGLE BELLS [1'121 their own or their manager's. They matico formalized approach to music ... Engelmann I 10-07609 .40 thefamousFountain, a moH difficult line, make a slight gap before start· UNDER THE MISTLETDE [G,. 2'(2) skillfully avoid the difficult assign- usuaUy considered by the a\"erage piece indeed, and remarkable in ing the second measure . ments, and sing the same old roles teacher o[ theory' and ear training. • There is a section in the book about gifts and toys more ways than one, for here the "Page 12, measure 3. the B.sharp and concerts over and over, without Yet, there is one important fact Your Church-with or authorre"ealed himself as a precur· is held down; take the pedal off so here are ideas for additional pieces about toys. the slightest artistic flexibility. Their which he overlooked. There is a without a tower-can bring greater danger that the rote-drllled sor.Of course, the lineage with Liszt after the fourth heal of the preced. 110-40180 .30 performances are showy and effec· BIG BASS TUBA (G,. 2) ·DeVito isevident (see the latter's Jeux d'eau jng measure. Play the upward pas· a new spiri tual awareness tive, but su perficial because they singer will be ab olutely inAexible in ... Ketterer 110-23665 .30 de fa Villa d'Este). But 011 Ravel's sage with swift, fleet, swinging im- to the community with CLOWN (Go. I) do not come from within as an ex- the hands of the conduclor. On the . Kern 130-40182 .30 part there is an audacity, a richness pulse. The second and third lines CLOWN (G,. 2) pression of real musical intelli- olher hand. the singer who has a "!=,arillonic Bells". At the ,Travis 130-40196 .35 of ?armonies, a power of description softly. with left hand held very high DANCE DF THE PAPER DOLLS [Go. 2·31 gence . thorough knowledge and understand· touch of a finger, or 110-23123 .30 which belong only to him. It was above. HThe final line of Page 13, DOLLIE WALTZ (G,. 11121 ... . J3aldwin Is there any way in which today's ing of the music he is singing has a 110-27577 .30 w.fitlen~n 1901, and sharp scruti· very 'pp', drowned in pedaL and automatically, their beautiful DOLLY IN BLUE (G,. 2) . Connell young singers can be hel ped to security in what he knows which ac- 110-27742 .35 rllzerswill not fail to notice in De· absolutely without ritarding." DRUM (My First Toys) (Go. I) ... Richter overcome this nearly universal lack tuall y gives him a feeling of com· true bell music carries hussy's "Pagodes" written in 1903 To the above enlightening advice FIFI, THE LITTLE BALLET GIRL (G,. 2'12 I .... Altbayer 110-26272 .30 of musicianship? I think that there plete freedom and flexibility. This is your church's message to all ~h~in.fluenceexer~ised by the pian~ I might add the following metro· ·Richter I 10-26368 .30 are several ways. the singer who can be a boon to the FIRE ENGINE (G,. 2) ISUC mnovations of his yOWlrr col· nomic indications: the tempos be who hear-at a fraction ·Dungon 130-41040 .30 The first remedy is a basic one, conductor because he understands JACK.IN.THE·BOX [G,. 2) league. co recommended~a way from a metro- of the cost of cast bells. 130-40023 .35 tire musical language the condudOf LITTLE TIN SOLDIER (G,. 2) ..:-.... .Travis It looks to the development not of ;'In J~a.uxd'eau the interpretation nome-vary slightly with those is speaking. aturally I.here can be LITTLE TOY SOLDIER [G,. 2) .. Ketterer 110-27409 .30 the present crop of singel·s, but of lliust stIll be more simple if possi. printed in most editions. The 54 to a They are light in weight, 110-06701 .30 those of the future-those who now no halfway about it. hI , . ' MUSIC BOX (Go. 3) · Poldini e, t Jan JJl the PaVUlte, and com. quarter note for the Pavane can be yet 25 "Carillonic Bells" exist among the millions of children Conductors and managers can be MY KIDDIE CAR (G,. I) · .Adler 110-27050 .30 pletely void of expression" Ravel pushed ahead to almost 69. In The in our schools. It is with their musi- of great help br refusing to hire said 'IN, . ' provide the same musical MY PDPGUN (G,. 1 (2) · Richter I 10-26995 .30 .' 0 ot ler feellllg than that in. Fountain, the 144 to the eighth JlOte ' singers who are only baH·trained ..... Richter 130-40027 .30 cal experience that we must begin. (hcat~d by the verse of Henri de can become 76 to the quarter note. range and volume of cast MY SCDDTER (G,. 1'(2) We must lead them into the under. musicians. ueh persons ba\-e be- .... Arnold 110-27247 .30 Reg.Oler placed in epigraph: .. 'A This concludes one of the Round ' bells weighing 73,000 pounds . MY TEDDY BEAR (G,. 1'121 standing that music is not merely Come a drug on lhe market, and ...... , '" .. . .Stairs 110-26139 .30 flu~lal God laughing at the water Tables I have most enjoyed to write, Write for complete information • SAILBOATS (G,. I) ... . a facile performance on the piano they should be weeded oot. wluch. tickles him'"• It· JS an. Jm·. for I feel it will bring beJp-from TALKING DDLL (Gc. 1'121 ...... Risher 110-17359 .30 or the playing of a professional sym- BUl most important of all, the p~essJOnof what the fountains can the most a uthcntic source-to the ...... Robinson 110·40137 .30 "Ca,.tllonic Beil~" is a TOYS ON PARADE (G,. 2'(2) phony orchestra, but an art for the singer must u.:anl mu~ician.JUp. He giveto ou II <; \ r eyes as we as our ears. great number of Ravel admirers who tradema,.k fo" products of everyday life of everyone capable of must be rnteresled in working at it. &hulmeru:h EliXuoTUce, inc. For TRADITIONAL CHRISTMAS CAROLS, , 1 t the hOllom of Page 2 launch arc studying those two delightful satisfying many of the ~ost urgent must consider il important tlcarp . I h ' see back cover. He . eggJO0 t e last measure very numbers. But remember . . . To I hun:a~ needs. They must develop a enough to devote some of his pre- SWiftly,and link it to the first oc- reach a point wllcre you feel com·'. CUrIOSIty about music, and be allow- cious time 1.0 it. And if he is train· ,',ave (IC.sharp)01 the left hand in pletely secure in the IJcdormancc 1)£ I earillonic ':Bell6 ed to satisfy that curiosity in any ing for a career in opera or concert. Ie lolowiJ D THEODORE PRESSER CO. Ig measure. 0 the same 1vux d'eau iL lake, a lung. very h,ng SCHULMERICH CARILLONS, INC.III'1 A ( ." way that seems right at the moment. his time can be quile preciouS, for Ior the staI· II . , aro on Kill, SElLERSVILLE, PA. .ddJ ~ e m Sllla notes m the lime. I Bryn Mawr. Pennsylvania They .must ~xplore music freely and there are few careers ,,-hieb call for rlli e of Page 5. THE E'ID • experIence It constantly as a vital 'as strenUQUS an apprenticeshiP' III • ETUDE-NOVEMBER 1952 56 ETUDE-SOVE.IIBER 1~;! 57 SINGING IN THE MOVIES THE FUNCTION OF THE BAND (Continued from Page 16) Beloved Baritone 1be,e~ (Continned from Page 9) free, easy, natural, and comfortable. We have all witnessed vocal performances that leave vision performers who make a trade- <-0dO]f us a Reason made the possibility of good work ph)'Ficallytaugue , simp y rom watching the grimaces the mark of some personal idiosyncrasy GULBRANSEN so much more accessible. Even in singersgo through, the stretching of the lips, the heaving of of rhythm. harmony, instruments. the smallest towns, the bandmaster the chest, the appearance of cords standing out in the neck tion. and apply it to everything they .,. why so many encounters ready-made interest. Bet- Theymay be lifting weights or biting pears by such con tor: touch. regardless of suitability, How. prefer the ter music has been made available tions, but they are certainly not giving forth pure sin "in ~ ever it startJd, it's bad. You can't to him, in better editions and ~r. Since purity of singing. is so largely a matter of personal train a band on oddities of "arrange. METRONOM de Maelzel rangelllents. We have an ever-in- ~cnsation,it is hardly possible to chart it by hluepr ints. Much. ment." Earlier. I spoke of gearing creasing library of excellent original a! course, depends upon natural physical structure. The true by SETHTHOMAS band work so as to give the young band works, by fine composers of singeris born with a certain breadth of resonance-ella mbera: players some musical benefits. Re- eminent standing. And the many ex- it is this which allows tone to "sound" and since it is struc- . spect for the com poser's text is one cellent high school and college bands tural, it can~ot be acquired. Further, pure singing depends of them. Let the band's function be stand as examples of what can be upongood d1apluagmatJc breath, a completely relaxed throat Teachers and students of music done when the visual elements of to make music as well as possible; and jaw, and good posture. let it exercise this function by play. and dancing realize how impor- circus-show are subordinated to the I believe it wise not to wOJ~ry about breathing. Once you tant it is to establish the habit of ing music as it was written. Thc art-values of good music. understand the act o.f breathing, physiologically, you have correct timing. It's only natural simplest folk-air, correctly played. that this "time conscious" group "Without discarding the legitimate only to cx~rt clear thinking tu accomplish it properly. Over. fun of the sports field. t.he good wit h good tone. sound rhythm. pre- concentratIon on breathing makes one self-conscious. should prefer the superb Seth cise attacks. is more effective than Thomas" Metronome de Maelzel- bandmaster stimulates his players to Resonance is another matter. Actuully, it is the resonance- some tortured version of a difficult a precision instrument made by an want to make music. First of all. he chambersand not the vocal cords which produce the ultimate classic. American finn famed for fine time should train his players in intonation effect of tone, The vibration of the "0"::<1] cords originates the instruments since 1813. and tonal quality. It needs time and The bandmaster must also give his lone, but the goodness or ba duces of its rc-onunce is what players adequate rehearsing. This infinite care to build fullness of tone, causesit 10 SQUlllI. And resonance, fortunately, is a skill we means more thuu simply reading The Seth Thomas Metronome is uni- Seth Thomas craftsmen painstakingly brilliancy of tone, cra itsmanlike han- cancontrol. fashion the sturdy key-wound mecha- versally recognized as the finest made. dling of jllstruments~but a hand through the parts for note accuracy, The coloratura voice achieves its chief resonance in the nism to assure that each Seth Thomas The band must do more than pl~y Renowned for dependability and ac- cannot be built otherwise. In the great frontal chambers, under the eyes and back uf the nose curacy, it faithfully measures time Metronome is the very finest yOll can Festival contest to which I referred. without slip!'. 11 must polish for at- The deeper voices make greater usc uf sinus resonance he: audibly by n distinct tick ... visibly buy. Handsome hardwood case. Ask tacks, dynamics, accents. phrasing. your music dealer, department or bands of a hundred came swinging hindthe chcck~, back of the checks. and bdlind the ears.' The by oscillating pendulum-with tempo shading-exartly as the orehe<:,tra easily adjustable from 40 to 208 beats jewelry store to show )'Oll this fine down the field, in gaudy uniforms miceof great runge draws 011 llJl tlie clw,ll1hers of resonance. per minute. And it's portable, too. metronome'priced at only $12.95.; and quite ineapable of good tone. doe~. ~l)' normal range, without the Jea::lt [urdug:. extends four oc- Then came a band of less than fiFty, Repertoire mll~t he built. 10 give 6R"!l". u.s. Pal. orr. lares,and it is always intcreslin~ tu me 10 fed thc change of fPr,"" sUhj~Cllo<,h"nge the band som thing 10 play and alc;o in nondesedpt dress hut playing so resonance as I go through my scale. to give the player5 n s('ne;c of musical well that the audience cheered. Whenit COUles to b~)ecial driJl~ or cxcrcj~e5, I feel that yOLi continuity. Marche"'. or course. are Besides training t.he separate sho~lld develop tc~lllllque~ us yOll need dlCIll, llIwars remem- an importunt part of band litera· choirs, the bandmaster must work hermgthat what IS good for one need may be quite U15elC::5::i Thomaston, Conn. ture: and Ihc lea"t ('xperienced hand for balance of tone. Too oft.en, the f~I,anothcr. Hence it is good not to be too rigid in une's prac- Div. of General Time Corp. can find g od marches \\'ithin its over-all pounding of the drum!' tJClllg-allulyze your \'ocnl probJems of the moment, and try playjng ~cope. Other excellent 8tarl· drowns out brasses and reeds. The to work all them. To de\'elop the long breath and the Jon" ing work.:; in lude merican patriotic leader should afford his players am- phrase, for cxamjJ~e, fill your lungs to capacity, let th~ airs and folk ~ngs of all lands. ple practice-drill in rhythm. in read- breathout as, rOll ::llllg. vocalizing it; and, using the lungs as Gradually, the band progre<::::esto STATEMENT OF OWNERSHIP, MANAGEMENT. CIRCU~ATION, ETC. ing. and in the important knaek of a,bellows, raIse the breath ulrough the vocal cords with the the beller type of concert mu<::ic.of learning how to watch the conductor dlapbragm (in which the sensation should be one of relaxed Required by the A.:ts of Con9reu of AU9ust 24, 1912, and March 3, 1933 and read simultaneously. which there is an enormous variety freedom), inl.o the sounding·boards in the head. But for color- qf ETUIlE, the llIu~ic magazine pub· James Francis Cooke, Uallberris Rd., in all grade 0 Next on .the good handmasler's atura ?giHtYlolle should not use too much poweL hshcd. Monthly at- Philadelphia, Penn- l:Jafa,.Cynlcyd, Pennsylvania. As to the looks of the thing! Cer· list of "musts" is the selection of DOln worry about vulume-and never force it. As the voice s)'lvGltta, for Octouer 1, 1952. 3. 1 hat the known bondholders, morl· the right music. All works should tainly, the hand need~ ~meone ont State of Pcnnsylvania 1 gagee;:; and other :.ccurilr holders own- del'elops. volume develops wiLlt it. And yOll can test your County of MOlltgumery J 55. be good music. Where lighter num- in fronL but it should be a military ing or holdjllg 1 per cenl or more of Jlro~ress~s),ou go along by your carrying power. \Vithout Before mc, a Notanr Public in and for tutal alJlou~~ of bonds, mortgages, or bers are wanted, they should be the officer. not n travesly. I 3m glad to !.~rcm~, ~'Jlh only a norma] amount of breath, tone will carry the Slate and county aforesaid, per- other ~ccuntl'2" aTe: NOl/c. best in their categor;', AU selections say that many bandmasters are son~lIy, appeared Guy McCoy, whol nhen It IS correctly resonated. 4. 'fha.t . the two para:;raphs next should lie within the players' capa· showing increns.ing opposition to tlle havJl1g been duly sworn according to above, gwwg the names of the owners, As to general practice habits, I find that it is much wiser bilitjes'. One sometimes hears bad twirling. gyrating. oddly-garbed. in· law, deposes and says that he is the stockhol.cle~:;, and security holders, if Ilot to work when you feel ill or tired. There are times when :I\lauaging Eclitor of ETUDE the music any, conlam not only t.he list of stock. music (or bad arrangements) de· artistic "'majorette.u Bllt there are ercrroue feels a bit below pur, aud at such times don't sing! magazine an~ Ihat the following is, to hulders and security holders us they fended on the ground of expediency: slill bands which spend more for the Lest of IllS knowledge and heEd, a avpcar upon the hooks of the company ~fcour~c,there is grQtlt value in absolute regularity of prac- the balld would like to play certain the outfits of these majorettes than tJ'ue statement of lhe owner"hip, man- but abo ~n case;,; where the ::;l.ockholder ll~e; still, the good gained from re ....ularity can be under- works, isn't ready for them in lheir lhey do on actual band training. agement, etc .. of the aforesaid publica. or :.ecunty hohler appear!; Ul)Oll thc llUlled II doe 0 . bjO ~e Ull lie !:itram (not only all the YOlce but on the tioll for the oate shown jll the above books of the company a::; trustee 01' jn original form. and gets pleasure ant Vlhy? ~'hat good does it do. eidler caption. required by the Act of August any other fiduciary rdatioll the lIamc of 1entIre' I,h}'sical. O"f""l:>anlSm 0 (I W lIC0 1I t1Ie YOICe0 IS0 but a part ) of the next. best thing. That kind of to the band or to the girls. to en· 24, 1912, as amended by the Act of !he jJcr5?n or corporation fur whulIl such ly SlllgUlg when one isn't feelillg up to it. co~promise is t.he surest way to courage such a circus atmosphere? l\tareh 3, 1933, embodied in section 537, tn:lstcc b acting, i" giyen: also that the And,where are all these skills and drills and precautions 1'ostal Laws and Regulations, printed rum the bane1. DO~l't give the young- Wouldn't it be of greater adysnlnge SUlcl twy paragraJ?hs contajJl statell1enls tolead~Just how is the talented }'oun"" e;illger to ....et to Hollyo on the reverse of thjs form to wit: em?racJllg affiant s full knowledge and sters works too difficult for them to all around to U5(' the time and thl.' wood?'!'1 b-' "'~ e- 1. That Ihe names and addresses of h~l.Jef a~ to the circuJlJ'stances ancl COll- " IC est adVIce anyone can gire you is to approa'cb p~ay-and don't give them cheap money for beller hand training? the pub~shcr, editor, managjng editor, clltlOI~S under \\ hich stockholders and lllollOn picture ' k I 0 1 ' '\01' - tlroug 1 some other field in which yOll and bUSlllCSS manager are: secUrity holders who do not avpear pIeces or mut.ilated editions for no lot for a moment am I sugge~ting I lare , alreadj' demollstrate d w]lat you can do. It IS0 always Publisher Theodore Pr~sser Company, UJlon the Looks of the company as trus. better r~ason than that they're easy. that our bands gi\'e up their fun· pos~lble of co' I 0 0 Bryn Mawr, Pennsrlljall~a. tees, .hold stock and seeUl'ities in 58 ETC m:- YO/ElIBER 190j~ ETUDE-NOVEMBER 1952 59 ,...tnp---- PARENT,CHILD, TEACHER-TRIANGLE OR TRIO? ...... __ _._-_ __ ...... •...... _-_.\ (Con/inned from Page 19) help them understand their own role musical efforts way bcyon'd that of and the important part they play just «liking her pieces." In addition at ~~~,~~,~~:::.. * .... ill our success or failure. It is par- she finds herself being challenged ticularly gratifying to me that mere on a var-iety of subjects: What rec- * * * * * and more fathers are coming along Vlha~:~* ADVANCE OF PUBLICATION OFFER ords do you recommend for this OF MUSIC !':~~ 10 the meetings, urged on by their age group? What programs do you * * * * * , . 0 d limited to two copies per book. Pleose send wives who don't want to see their recommend? What is your opinion These books are now In prepkorat,on. r edrs or:quested ) As each book comes off the press, euud work undone by a careless reo of coaxing an unwilfing child to • For the serious student who wishes in- remittance with order. (Chec or money or er r . ~wrk from the father to the child, play Ior COlllP ETUDE-NOVEMBER 1952 60 ETL·DE-.YorElIBER 19;] 61 t VIOLINIST'S FORUM • (Continued from Page 25) • TEACHER CERTIFICATION JUST PUBLISHED! Ok! You're A Wo rId 0 f Mus i c CHRONOLOGICAL OUTLINE J MUSICIAN· Newest Goal of the A Book of Cartoons by Modern Technique of Violin Bow- pushes it to the left on the Up. If International Piano Guild OF MUSIC IN HISTORY GLEN MICH~LS (Continned from Page 8) . a" will help you a great deal. The you can acquire this feeling you will Pa,d kIimlemith- "It's a In.. , I· I .I Write for Details WIt 1 be well on the way to producing a BY ELSIE D. BERL pleasure to recommend eleventhchapter dea s ennre y Glen Michaels' hook of which' opened the series on October Tone Production. . tone that will satisfy both you and An encyclopedic chronology of mu- drawings." turc the company's star performers 19, and the first professional per- The function of the bow m pro- your listeners-always provided that Pupils are enrolling now sic, history and culture of China. Alan Dunn-"Oh! You're and conductors. The' dates and A Musician is a work of formance of Leonard Bernstein's ducinu a vibrant tone is very im-. your left hand is doing a thorough Arabia, Palestine, Greece, from year great originality and choice of operas will be announced to qualify for cash prizes humor." "Trouble in Tahiti" which win be porta;t. It must maintain .3 close, job. 3000 B.C. to modern times. later. from $25 to $1500 "There's Reel! For your own Eu- $1 'nuing touch on the stnng that But above and beyond the tech- NotllingSinc(' mrrainment or a presented on November 16. The I Request Descriptive Circular E. ,10, illi f in the The Cl"s_~ics" Gift to a friend. akes use of every rm metre 0 nical means .of tone production you Ada Clement, co-founder of tl~e series is again under the musical O. PAGANI & BRO., INC. Send 51.00 to the Publishers and artistic direction of Peter Her- ~owhair.This is not an unrelieved must have a vivid ideal of the tones San Francisco Conservatory of MUSIC INTERNATIONAL RECORDING 289 Bleecker St .. New York .14. N. Y. LOOMIS & COo, 201 DEVONSHIRE ST., BOSTON, ~ASS. you want to hear, whether they be died recently in San Francisco. She man Adler, with Samuel Chotzinoff downward pressure, but rather a drawing and pushing of tile string. soft and wooing or strong and virile. FESTIVAL was a prominent figure in the as producer. Given this ideal, your tone is sure western city where her teaching was Thefeeling in the right hand should to improve. National Guild af Pian·o Teachers the means of guiding many success- The Ninth Y (lll(lo music festival be that the bow draws the string to WHERE SHALL I GO TO STUDY? of American works was held at the right on the Down stroke and THE END Founded by lrl Allison in 1929 ful careers. She herself was a pupil Box 1113 Austin. Texas of Lhevinne, Godowsky, and Bauer. Saratoga Springs, N. Y.. Sept. 12, 13, and 14. New works as well as CRYSTAL WATERS The American Academy in some previously heard, occupied the Singer and Teocber of Famous Rome is again offering a limited time of the various programs. Among T.V., Radio, Stage and Concert Stars number of fellowships for mature the composers represented were ADVENTURES OF A PIANO TEACHER Voice Building CLASSIFIED Breathing students and artists in musical com- Ceorge Antheil, Burrill Phillips, Roy ADS • Wider Range • Resonance Harris, Aaron Copland, Ross Lee position. Fellowships are awa:ded (Continued from Page 21) RARJIONY. Composition, Orchestra- ORCHESTRA STATIOSER.Y A:\'D Phonetics • Projection on evidence of ability and achieve- Finney, Quincy Porter, Wallingford tion, Musical Theory. Private or POSTERS. AD C,\.RDS. Exclusive 2- Correspondence Instruction. Manu- color line. Samples. VV. S. K'u ter-ba.ch, Expression • Dramatics Hiegger, Robert Palmer, Irving Fine, ment and are open to citizens of the Of course, the "scratch" must The fallacy of the raised or high scripts revised and corrected. Music Box 664, Pottstown, Pa. Voice Perscnolitv end Confidence Developed United States for one year beginning Nicolai Lopatnikoff, Stephen Bonta, arranged. Frank S. Butler, 32-46 107 MARY BOXALL BOYD only be imagined, since the finger finger is that the effort must come sr., Corona. N. Y. ~IONEY FOR YOUR SP,'-RE 'l'Il\IE. Popular Songs and Classics October 1, 1953. Applications and Albert Tepper, and Robert Evett. Man or woman part or full time to Renowned teacher of Piano . doesn't pull over space but stays in from too far back in the hand. Also, LEARN PIANO 'l'UNING-Slmplitied, ca.ll by a.ppointment on piano stu- y Nola Studios, 113 w. 57th St .• New York.Clt Beginners or Advanced Students submissions of work must be re- authentic instruction $4.00-Liter- dents who wiH welcome your visit. the key spOt. This "feel" is of in- the lift produces serious lost mo- ature free. Prof. Ross, 456 Beecher For appointment write Residence Studio eceived before January 1, 1953. Re- Charles O. Roos, authority on A car and some k no wl edg e of music Season srcrts Oct. tst. estimable value in centering and tion which blocks accuracy, speed, St., Elmira, N. Y. will help. For details, contact: 'rhe 44 Ncsscu St., Princeton, New Jersey Indian lore and the author of lyrics, quests for details should be ad- NE\V PIAN"O )lU'l'E LE'l'S YOU University Society rnc., 468 F'o urth 405 Eost S4 St. New York 22, N. Y. producingthe tone by the extreme and tone control . . . so sharpen Ave., New York 16, N. Y. dressed to the Executive Secretary, many of which were set to music PRAc'rICE DAY OR NIGHT wr'nn- EDWIN HUGHES El-dorado 5·131>2 fingertip, and in developing finger your tips on the keys! OU'.' DIS'l'URBING OTHERS, Mutes American Academy in Rome, 101 by Cadman. Lieurance. De Leone ARRANGING for Band - Orchestra- PIANISTS PREPARED FOR PUBLIC powerand control. THE END piano about 85%. Easily attached or and other composers, died in Clen- detached without harming mechan- Plano Vocals. Manuscripts corrected PERFORMANCE AND FOR COLLEGE. MME. GIO.VIOLA [Desmond] Park Avenue, New York 17, N. Y. ism. State upright, grand, or spinet! and prepared for publication. Words UNIVERSITY AND CONSERVATORY dale. California June 19. 1952, ac- Sold only on money back guarantee. set to mustc-scnoot songs. Send Dramatic Soprano Send $5.00 for mute and full instruc- manuscript for estimate. Prompt TEACHING POSITIONS Teacher 01 Singing-"Be! Ccnto" The NBC Television Opera cording to in formation received be- tions. Richard Mayo, Dept. 004, 1120 service. Val's ArrangIng Studio, 310 Experienced European trcined Artl~t 33B West B'1th Street, New York 24. N. Y. Latona Street. Phlla. 47, Pa. West 10th St., Sarasota, Fla. Coaching Opera. ~oncert end Rc dic . Theatre is presenting eight per- latedly by ET DE. Me. Roo, was Correct voice production, defective singing formances during its 1952-53 season. gr eatl y interested in Indian works "\VUl'fE SONGS: Read "Songwriter's LEARN PIANO TUNING AT HO~IE. LEIMER-GIESEKING METHOD corrected. COMPETITIONS Review" Magazine 1650-ET Broad- Course by Dr. Wm. Braid w nt t e. of Piano Playing including the television premiere of and was widely known by all the way, New Yorlc 19, 25¢ copy; $2.00 world's leading piano technician and for beginners and advanced students Benjamin Britten's "Billy Budd" various tr-ibes. year. teacher. Write Karl Bartenbach, 100lA Wells St., Lafayette. Ind. V. GODJEVATZ (Continned from Page 62) ]\IELQDY H_"-RIUONIZATJON cha.rd Pupil of Korl Leimer DR. WM. MASDM'S "TDDCH & TECHNIC"I ! chart Stackpole's Shorthand: rapId, VIOLINJUAKERS-Amateurs-Pro_ (Teacher of Gieseking) exact' notation, $1. Paul Stackpole, P.O. Box #131 New York 19, N. Y. (Arm weight, relaxation, rotory. method) fessionals. Fine tone European wood, Develops rhythm, tone, concentration, speed! • The 20th Biennial Young Artists Auditions of the National Federa- 2i10-i2 West Venango, Phila. 4-0.Pa. materials, supplies, patterns, instruc- Closs, Private tions. Illustrated catalog 10¢, refund- (FRANKl (ERNESTO) tion of Music Clubs. Classifications: piano, voice, violin, string quartet. BACK POPULAR SHEET ~IUSIC. TO LEILA TYNDALL MOSES COltlPETITIONS (For details, write to sponsor listed) 18:iO Ballads Ragtime. Everythmg. ed. Premier Violin Supplies, Dept. LA FORGE.BERUMEN STUDIOS (Former pupil & Assistant) C 4-1>351 Awards in all classes. Finals in the spring of 1953. All details from vVrite your' wants. Fore's, E3151 V.E., 430 S. Broadway, Los Angeles 315 w. a6, N.Y. 24. N. Y. S . 13, California. Voice-Piano Mrs. R. E. Wendland, 1204 N. Third Street, Temple, Texas. High, Denver 5, Colorado. • The Horn Club of Los Angeles and Joseph Eger. Contest with two A.mong those who have studied with Mr.. Lo CLARENCE ADLER S"\V)NG PI,'-NO-BY ~IAIL-30 se.U- PLAY ACCORDION. STUDEI'iTS AND I'orge are: Morian Anderson, Lawrence Tib- prizes for new American works featuring French Horn. Awards S4OO. • The 13th Biennial Student Auditions of the National Federation teaching lessons, $3.00~ Six folIos TEACHERS of other instruments bett Richard Crook>, and Mme. Matzenauer. Teacher of famous concert pianists now tour- (classical and popular), each 51.00. can easily master the bass buttons. . 1040 Park Ave., New York Closing date March 1, 1953. Joseph £ger. 7209 Hillside Ave .. HoUy· Chance to win $200.00 on new theory. ing the world. Pupils now teaching in Harvard. of Music Clubs. Awards, Stale and National. Spring of 1953. Mrs. "Guide to the Basses", with Indicator Tel. Atwater 9-7470 wood 46, Calif. Order 46-page original classical im- and Index Slide, covers everything Eastman. Syracuse U., Smith College. Floride Cox, 207 River Street, Belton, South Carolina.' provisation composed on a new the- necessary for a thorough knowledge ory price $20.00 (money back guar- of the accordion basses and their 336 Central Pork West New York 25. N. Y. antee). samples. Phil Breton Publi- uses. Reading from accordion music • Song Writing Contest, sponsored by the City Loan and Savings Co.. • Mendelssohn Glee Club. N. Y. c., second annual Award Contest fOI" cations, P.O. Box 1402, Omaha 8, and piano music, Relationship of the Lima, Ohio. Subject of song must be the slate of Ohio. First prize the best original male chorus. $100.00 prize. Closing date January Nebraska. buttons, Fingering, Building other chords. Substitute chords, etc. Every- PRIVATE TEACHERS (Western) 52,500. Closing date Nov. 10, 1952. Details from The City Loan and 1, 1953. Details from Mendelssohn Glee Club, 154 W. 18th St., New THE SCIEN"TIFIC IUUSIC TEACHER thing you can possibly learn on the Savings Co., Savings Building. Lima, O. -MonthlY-$2.00 year. Request sam- bass buttons of an accordion. Sent York II, N. Y. ple. Morong, Box 21, Brooklyn 25, POSTPAID for. $2.00. CY BROUGH- New Yorlc TON, 2834 Que St., S.E., Washington WILLIAM FICHANDLER EVANGELINE L~HMAN 20, D. C. • Cambridge String Choir Award of 50.00 for the best arrangement • Marian Anderson Scholarships for vocal study. Closjng date not D ,\.XFORD HALL, COiUPOSER-AR- Pianist Composer, Teacher Mus. Doc. RA~GER. All types of compositions 314 West 75th St .. New York Su·7-3775 for string orchestl·a. Closing date, June 15. 1953. Details (rom ::'Ilrs. announced. Marian Anderson Scholarship Fund, c/o Mjss Alyse FOR SALE. Rare records. Lists. Col- Voice Building-Repertoire corrected. Lyrics set to music. 1914 Recent Compositions published by Robert Conner, 524 No. 10th S1.. Cambrjdge_ Ohio. W. Lunt Ave., Chicago, Ill. lections bought. E. HirSChmann, 100 G. Schirmer, Inc. Opera, Concert, Church, Radio Anderson, 762 S. Martin St., Philadelphia 46. Pa. Duncan Ave., Jersey City, New Jersey. Studio address: 11>7 Elmhurst Ave. PLAY BY SIGHT. Pianists-Sight Detroit 3, Michigon • Women's Auxiliary of the Toledo Orchestra Association. Award of • Purple Heart Songwriting Awards. Popular, standard or sacred Reading made easy. Improve your BOOKS ON THE VIOLIN for the col- CHARLES LAGOURGUE O. I. \) Telephone: Townsend 5·8413 playing by studying THE ART OF lector, maker and player. Chamber $500 for 5 to 10 minute work £01' symphony orchestra. Closing date. SIGHT READING. 5 lessons complete and orchestral music cheap. List1:! VOICE PRODUCTION-SINGING songs.First prize $1000; second prize, 500; four pdzes of $250 each. December 15, 1952. Details from Women's Auxiliary. Toledo Orches· $3. Danford Hall, 1914 W. Lunt, Chi- free; Houghton Music Co., 19 Carsluith for information: EDNA GUNNAR PETERSON Closing date not announced. Order of the Purple Heart, 230 W. cago, Ill. Avenue, Blackpool, England. 35 W. 57th St., New York Concert Pianist-Artist Teacher tra Association, 401 Jefferson Ave .. Toledo 4, Ohio. 54th St., N. Y. C. PIAXO TEACHERS. "THE PIANO- LEARN PIAi'\'O, SINGING, SOXG- 17447 Castellammare Pacific Palisades, Calif. GRAPH~'-Note indicator and !'light EX 4-6573 WRITI1\""G, or help your children GRACE L. FIELD • The American Guild of Organists Prize Anthem Contest. Award • Sixth Annual Composition Contest sponsored by the Friends of reading aid. Invaluable for begInner with our amazingly easy self-taught students. Complete with 5 Discs, $~. courses. :MUSIC TEACHERS' ASSO- Harpist-Teacher ISABEL HUTCHESON $100 and publication offered by The H. W. Gray Company, Inc. Harvey Calli, Inc. Open to all composers. Prize 400 for b~st one-act Danford Hall. 1914 W. Lunt, Chi- CIATES, 26E Potters Lane, Great 345 East I>lst St., New York 21 cago, Ill. Neck, N. Y. ('1 A.M.·I P.M.) Mu. 3·0045 Refresher Course for Piano Teachers: Closing date January 1, 1953. American Guild of Organists. 630 opera. Closing date December 1, 1952. Victor Sawdek, ChaIrman, 315 (after 2 P.M.) Te. 8-5091) Fifth Avenue, New YOl·k 20. SPECIALIZED ARRANGING AND Modern Piano T echnic:Coaching Conce rt Pianists: Shady Ave., Pittsburgh 6, Pa. CO:'\IPOSING. Piano, vocal, band RENT CLASSICAL I~ONG PL,",-Y Group Work: For further inlormotion address: (dance, concert) and orchestra sc.or- RECORDS! Choose from hundreds! Classic ClUb, 510 South Ogden St., Studio 202, 10051/2Elm St., Dallas. Texas ing. Melodies composed for Iyncs. • Northern California Harpists' Association Composition ContC5l. j\-1anuscripts revised and corrected. Buffalo 6, New York. Two $100 awards. Closing date January 1. 1953_ Details from Y"onne Prompt service. Stein Studlo, 1680 SAN FRANCISCO CONSERVA· East Orange Grove Ave., Pasadena, HAND DUILDI~G EXERCISES FOIl 'La Mothe, 687 Grizzly Peak Blvd., Berkeley 8. California. California. PIANISTS by Weldon Carter. Seven TORY OF MUSIC, INC. exercises which with twenty min- ILLUSTRATION CREDITS OLD AND NE"\V VIOLINS, Cellos, utes daily practice give results HERTHA ENGEL 3435 Sacramento Street Walnut 1-34'11> • Composition Contest. for women composers. sponsored by Delta Bows, Supplies. Repairing, Eaken, quickly. For busy teachers, inter- FarmerPiono Instructor at State Music Acod· mediate and advanced pianists Who Bachelor 01 Music Degree Opera Department 310 E. Washington St., Chambers- emv. Brussels, Belgiurt,"l, for ':Jdvanced students. Omicron. Award 150.00. Winner to be announced at Delta Omicron Cover-C. A. Walbridge burg, Pa. wish to improve and strengthen the For information. write or coil Arti,ts Diploma Pedagogy Ce~tificate hand for a better technic. Send $1.00 Riverdale Towers. Apt. 4-J National Convention in 1953. lO closing date announced. Addr~ WANT TO BUY-Harp in good con- Approved lor veterans 13-College of Music of Cincinnati per copy to \Vashington Musical In 3103 F-airfield Ave. New York City Lela Hanmer, Contest Chairman, American Consen-atorr of )Iu~lc. dition. Write Nels Remlin, Red Wing, stltute, 1730 Sixteenth Street, N.'V. King,bridge 3·7677 Children's Saturday morning Cla~se,. Minnesota. WaShington, D.C. Kimball Building, Chicago 4. Illinois. (Continued on Page 63) 20-Encydopaedia Britannica Films, Inc. 62 En DE _.'OID/BER 19;1 ETUDE-NOVEMBER 1952 63 , MUSIC, PROSPERITY AND BUSINESS • ~rmmmBl~ Presser Suggests .. LfARN ANOTHER (Continued from Page 15) by Ii• LANGUAGE hall and the theatre. It belongs in 1 LlNGUAPHONE .,. the home and in the factory." l HESE VOCALSOLOS AND DUETS FOIL CHIUSnUS Dr. Beardsley RumI, eminent psy- ·Iet the World's.Standord CONVERSATIONAL METHOD chologist, economist and business FRENCH Are interesting career. travel. cut- uunt opportunities passing von lJy consultant, former Chairman of the christmas solos SPANISH nee.use you need another language. Composer Range Cot. No. Price Federal Reserve of New York City Title GERMAN... AT HOME learn casnv. quickly Ill' E·E 131.40637 $.50 tho I.lXGUArHON~; CONVEI~SA- and Chairman of the Board of R. H. Around the Manger BEACH RUSSIAN 'fIOKAL i\lETHOD. You LlSTEN- 131-40363 young ones NORWEGIAN YOII heal' native men and women Macy & Co. once said to me: Bethlehem Lullaby • GRETCHANINOFF g-E .50 NESE speak-c-yuuunderstand-r-ynu SPEAK. JAPA Worldwide educational endorsement; "One of the most important of all CADMAN F-g 111-25536 .50 _29 homo - study Birthday Star of the King a million students. usages for music in the future will 111·25537 .50 Languoges Slop Wishing-Start Talking- doE I available WHITE TODAY for ~'RE:g unux. unquestionably be in connection with Lrnauanhone Institute, 3911 Radio City, N. Y. 20, N. Y. Eb-g 131·40225 .50 industry. Thus music leaves the stu- Cantique De Noel (E-F-l) ••••.•.. ADAM play and sing ©Hlc;l db-F 131·40226 .50 ------, dio, the music room, the concert hall Linguophone Institute I McENANEY 131-40621 .3S 3911 Rodio City, I and the opera house and becomes Christmas e.c New York 20, New York I identified with the worker every day Send me your FRJ<;E hook. J I Christmas Eve Revery CURRY a-D 131-40431 .40 want to learn.. I of the year. As a means of eliminat- languago. I ADAM b-F 111-19808 .50 the carols I ing fatigue upon the part of the Christmas Song (E-F). I worker it has been demonstrated with ... PEYKE l' 1·26'447 .50 I Christmas Spirit (Reading). a high degree of probability that un- ______f'ity&State .JI SPROSS d-Eb 121.)0032 .so der varying circumstances, from tell Emmanuel to twenty percent more work can be Gently, Litt/I! Jesus LYNN-FISHER bb-Bb 131-41045 .60 done under the inspiring influence of Go Tell it on the Mountains music without additional effort or (Spiritual) ... DORSEY eo 111·27bb5 .50 ... after all ... strain, mental or physical." bb-E 131·40527 .50 Small wonder that the movement BURLEIGH F·ab 111-12234 .so for music in business has been de- Hail to the King 111·08048 .so . 'Iime pianos in30days veloping in OUf country. One of the In Old Judea (Obbl.) .. GEIBEL Eb·g ;';0 lllusical knowledge needed. Plano tuneTs in great c-E 111·08049 .so ""mand. LoWcost training hy e"perts, Rcvolutionary most conspicuous instances of this n"w pllOOOl("raPhre"ords gi\'c true P'''OO tOneS. We "'rn\sh prOfessional tools (record player if n'-'edem. is that which has been systematically Jingle Bells (With chorus) . PIERPONT Eb-F 131-40419 .50 IJ,struction "'.aou"ls. including: spinet tunin!'.". Fuil frainlnl'! in plan" repair_and how to lin" up worl< built up in the five hundred million 'or BIG "arnin:e:s. Send today for free tilerature. Lamb, The SHAW F-F 131-41040 .50 CAPITOL CITY TUNING SCHOOL dollar Dow Chemical Company, of Eb-Eb 131-41041 .50 Dent. 1140, 129 E. Michigan Ave .• Lansing 16. Mich. Midland, Michigan which has spon- 131·4104b .so sored music in industry since 1936 Magic Night of Christmas LYNN-FISHER .a.o when Mr. Frank M. Whaley estab- Night After Christmas (Reading). PEYCKE 111.18366 .50 lished the Dow Male Chorus. It is Night of Nights ... VAN DE WATER dog IJ 1-40033 .50 now one of the largest industrial mu- b·E IJ 1·40034 .50 sical organizations in the world. From o Little Town of Bethlehem a relatively small beginning of a few (Vio. obbl.) SPROSS s.o 121·30535 .60 employees, 'eager to become memo bers, it has developed into a far Poor Little Jesus WHITE F-F 121·30861 .40 reaching organization serving the Ride On, King Jesus, •...... GAUL E-g 131·40711 .50 musical interests of the company c-E 131-40486 .50 and its many affiliates and subsidi- Rise Up, Shepherd, and Follow ... DORSEY bOD 1I1·27bbb .50 aries in the United States and Can- ada. The Dow Music Department was Shepherds and the Inn _.. GAUL E-E 131·40089 .50 formally organized in 1943 by Dr. Shepherds in Judea. ROGERS c.F# 131-40090 .SO Theodore Vosburgh, former Asso- Shepherds of the Mountains (Los Pastores ciate Professor of Music at Albion .50 009~ College in Michigan, and graduate of de 10 Sierra) INZENGA-SCHINDLER a.o 131.40718 the Eastman School of Music. In 1945 Sleep My Jesu the Midland Music Foundation was (Cradle Hymn of the Virgin) . BARTLETT d-F 131-40093 .50 established to encourage music Song the Angels Sang...... STULTS Eb-g 111-07S2b .50 study among the children of sur- rounding communities. In addition Star Divine...... • . .. .VANEUF bb-D 131-40107 .50 to the Dow Male Chorus highly Star 01 Bethlehem ADAMS dog 131-40108 .50 praised for its fine quality and artis- c-F 131·401~ .SO tic efficiency, there is a Dow Girls Star of Bethlehem PLOGSTED 111.1JJ31 .40 Chorus of US members, a Dow Sym- db-Eb phony Orchestra of 75 members This is the Day the Christ is Born. .. KRAMER E-F 131-40741 .40 (Wilford Crawford, conductor) and d-Eb 131·40742 .40 various ensemble and chamber mu- Three Kings (Catalonian Christmas Song, " sic groups. The Dow Music Depart- 15 century, E-S) SCHINDLER F-F 131-40743 .SO ment is staffed by excellent musi- christmas duets cians. Title Composer Voices-Key Cat. No. pr.ce This editorial is written with the Cantique de Noel confidence that we are on the thresh- (0 Holy Night, E-F) ....•...... ADAM .85 old of a new and splendid era in our S-A, Eb 131.40228 American life and that great musi- In Judo's Land (Easy) _KERR 2 Med. Yes. cal opportunities will be opening in in C 111.27802 .40 .. many fields. This is a time to make Night 01 Nights VAN DE WATER SoT, Bb ':' every moment count. Remember the M-L, G 131.40035 .75 N wisdom of Beethoven: "Every day spent without learning something is THEODORE PRESSER CO., Bryn Mawr, Po. THEODORE PRESSER CO., Bryn Mawr, Pennsylvania a day lost." THE END "~~~«,.«g~~~~~~=t::~~~"""~:::.."~.g':ol'~~'fa.~~ When in Philadelphia, visit our retail store 1712 Chestnut Street 64 ETUDE-NOVEMBERl%! 1'1t1ll"UO 1'1 "1£ II. S A .Y T~( "lao pIUS. I.e- _ ...... __ THE MODERN INSTRUMENT Someday your beginner will catch that golden glint of 'inspiration- and practice will be fun! And you can speed the day of achievement! Hundreds of users testify to How? Add power and variety to those repeated, simple studies. Today', new ease of playing Organ child can use those same piano keys to play rich organ tones, or combine piano and organ in new duets. You can provide an infinite range of rich new tonalities to spice the hope for accomplishment. This is just one of the many ways the LOWREY ORGANO proves itself the modem instrument that solves today's organ problems. Easily installed on your piano-so easy to play-so 8exible- so low in cost. See how this electronic piano-organ will thrill the family. For full information. send the coupon on page 64, now. LOVVREY o 0 CHICAGO ------New Principle Makes Possible GET COMPLETE INFORMATION IN lIDS NEW ORGANO BOOKLET. Organ Music from Your Piano Keys! Use handy COupon on page 64. This sevee your Etude cover. The LOWREY ORGANO provides a concealed Key Swiech Mechanism. Installed under the piano keys. its self-adjusting key contacts LOWREY ORGAN DIVISION assure instant organ action. A portable Key Switch unit is also available Central Commercial Industries, Inc. for use where the ORGANO is to be moved. 332 S. Michigan Ave., Chicago 4, Ill,