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

5-1-1936 Volume 54, Number 05 (May 1936) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 54, Number 05 (May 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/844

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]. "MAKING YOUR MUSIC LIVE" a Conference with H. L. Mencken Compositions of VOCAL SOLOS W. H. Neidlinger

American Composer, Teacher,

Conductor and Lecturer

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MAY, 1936 271 -SPECIAL notices AND announcements

I SPECIAL NOTICES" 7Tut Ad AppuiM Qhitij Qmz f aT >vc. Thompson, 1788 & 178 1800 others. Hows: Hodd l- Its nurnose is to offer every Etude reader the opportunity to piano, organ, violin, voice, ’cello and other instruments—combine leJ- in fully guaranteed. R. ^ Elizabethtown. N. 1 L ANNOUNCEMENTS

»r- wooiir^.BF°irCourt-

The “Master Music” Series contains several volumes, each one The “Leisure Hour” Music Series is designed especially for the specially designed for some particular instrument, and regarded recreational use of the amateur musician. The “Miniature Score” by critics as the finest publication ever issued for that instrument. Series presents great symphonic works with a special arrow-signal The “Pianist’s Music Shelf” is an anthology of original compo¬ system so that anyone who can read ordinary instrumental or sitions and arrangements for the piano extending from the period vocal music can follow complete orchestral scores. All these vol¬ of the harpsichord to the present day. The “Violinist’s Music umes, and many new ones to come, are described in this attrac¬ Shelf is an anthology of original compositions and arrangements tive, illustrated 48-page catalogue which also contains a fund of for the violin extending from the earliest period to the present useful musical information. Just write “Send me your music cata¬ day. The Singer’s Music Shelf” is a series of volumes containing logue” on a postcard, but do not delay; this announcement of special groups of songs not available heretofore in this form. the first edition will appear only in this issue of the “Etude”. VETERANS OF FOREIGN WARS OF THE UNITED STATES HARCOURT, BRACE AND COMPANY • 383 MADISON AVENUE • NEW YORK

272 THE ETIVE MAY, 1936 273 Editor JAMES FRANCIS COOKE Fireside Symphonies THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER at nominal costs, to our homes. It must be obvious to all Published Monthly WENTY years ago music students traveled thousands T that it will increase the interest in music, the curiosity to By of miles in pursuit of that elusive thing known as Music Magazine know more about music and the desire to emulate the THEODORE PRESSER CO. atmosphere. performers. This means music study, and more music 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC What was atmosphere? study. PHILADELPHIA, First of all, it was the opportunity to hear great artists We believe, however, that many people do not get the PENNA. Vol. LIV No. 5 * MAY, 1936 and great musical organizations. Second, it was the glamor of seeing great musicians and utmost joy from the radio, because it is so new that we of being with people who could talk sympathetically and have not learned how to use it as a real cultural factor in modern musical life. It is now possible, in many instances, understandingly. Third, there was the kind of care-free life, sometimes to get announcements of programs in advance; and fireside The World of Music harmless, sometimes dangerous, sometimes fatal. symphony concerts, operas and recitals may be arranged The greatest of these was the chance to hear fine music on a plane which will place music in your home upon an entirely new basis. Interesting and Important Items Gleaned in a Constant Watch by foremost organizations. The formula of the atmosphere was ofttimes an enigma. For instance, for a comparatively trifling expenditure, Happenings and Activities Pertaining to Things Musical Everywhere Once we paid a visit to some art students who were shop¬ it is possible to get miniature score copies of the great ping for atmosphere in the lurid Mont Parnasse district of symphonic works of Beethoven, Mozart, Brahms, Strauss, TWO CLEMENTI Tschaikowsky, Rimsky-Korsakoff, and of many others of THE HISTORIC TEATRO REG*0 SYMPHONIES have been Paris. What with the grotesquerie of the patrons, the fumes Q THE CONSERVA- ARTURO TOSCANINI has declined to re¬ (Royal Opera House) of Turin, Italy, built the masters. When one of these works is scheduled for air Mmms. TORY OF MUSIC OF GE- main as conductor of the Philharmonic- reconstructed by Alfredo of Pernod, Cognac, Anisette and Cafe' Expresso, the odors in 17S0, and among a rare group of the Casclla, from fragmentary performance, get out your score and follow the work. It is NEVA, Switzerland, cele- Symphony Orchestra of New York, giving world’s oldest theaters, was destroyed on of a dozen kinds of cheese in the last stages of mortifica¬ brated recently its first as his reason that, “After a half century of manuscripts in the Library tion, the stench of stale beer and the smoke of cheap a new game being widely played in musical circles, and it continuous conducting,” he now “feels the February 8th, by fire. of Congress at Washing- CuMlNn Nathan centenary. Foundedin 183S, monopoly cigarettes, we found an atmosphere that had all adds a new thrill to musical life. If you play the piano, you Bloc through the generosity of necessity for a release from the great respon¬ ton D. C. A “Symphony in D major" was KING EDWARD VIII is said to be “no the flavor of an embalming fluid. Just why this was sup¬ can secure these works arranged for piano in the “Analyti¬ the Geneva financier, Francois BarthoUni, it sibility of presiding as music director of a heard for the first time in any form what¬ permanent orchestra.” ^ mean performer” on the concertina, a popu¬ ever in a hundred years, and for the first posed to be magically beneficial to art we were never able cal Symphonic Series” by Dr. Percy Goetschius. These have had as its first director, and head of the violin lar British musical instrument of the accor¬ department, Nathan Bloc, who continued till time at all in the composer’s native Rome, to find out. all of the leading instrumental parts indicated by cues; THE TWELFTH HASLEMERE FES¬ dion family but rather small and of hexago¬ when on a program of January 5lh at the 1849. Franz Liszt was engaged as professor Musical atmosphere was a very expensive commodity, and, after the work has been heard over the air, one has TIVAL of music from the Middle Ages to nal shape. Augusteo. A “Symphony in C major” was of piano for the first year. Other famous the 18th Century, under the direction of when it concerned itself with buying tickets for concerts, the fun of taking it to the keyboard and studying the professors have been Bernhard Stavenhagen, 4—----t* heard for the first time in its revised form, Arnold Dolmetsch, will be held from July THE BETHLEHEM BACH FESTIVAL on December 11, in Casclla's native Turin. operas and recitals, to say nothing of standing in a queue effects. Jose Iturbi, Henri Marteau, Hugo Heerman 20th till August 1st, at Haslemere, near and Emile Jacques-Dalcroze. will be held on May 22nd and 23rd, with for hours in order to get admission. Again, let us suppose that Josef Hofmann is announced London. Bruce A. Carey conducting. The programs of JOSEF STRANSKY, eminent as musi¬ How amazingly has the situation changed! It is now to play at a certain hour. Do not let an opportunity like the 22nd will be of a miscellaneous nature, RARE 17th CENTURY MANUSCRIPTS, “IL CAMPIELLO (The Little Cham¬ cian and art collector, died March 6th, in possible to secure records of many of the great sympho¬ that pass by. Get the program, by all means, and secure collected by Sam Franko, veteran violinist whilst those of the 23rd will be devoted pion),” a comedy opera by Wolf-Ferrari, New York City, aged sixty-one. Bom Sep¬ from your own library or from your dealer some of the and conductor, were given on his recent had, early in February, its premiere at La to the great “Mass in B minor,” which is tember 9, 1874, near Prague, Czechoslovakia, nies; and, at the same time, in the course of a season scores seventy-ninth birthday, to the New York Scala of Milan. It is based on one of the being presented for the twenty-ninth time. he was educated in the universities of Prague, of symphonies are heard “over the air.” The cost of this is works that he is to play. Then, in the quiet of your own Public Library. The collection includes many comedies of Goldoni with the plot laid in The soloists will be Louise Lerch, soprano; Vienna and Leipzig; and his musical studies nominal, when compared to that of buying tickets. The living room, follow the music as you listen to the interpre¬ unpublished scores edited from sketchy com¬ Venice of the 18th Century. Rose Bampton, contralto; Dan Gridley, were completed under Jadassohn in Leipzig tation of the master pianist and mark with a pencil any of tenor; and Keith Falkner, bass. convenience of having music brought right to your fireside positions. _^ •41--* and Fuchs and Bruckner at Vienna. He came, his distinctive personal phrasings. Do this alone or with MRS. O. C. HAMILTON of Asheville, in 1911, to New York, as conductor of the is extraordinary. THE PIANO’S RETURN to popularity is a group of friends. One great advantage is that you will North Carolina, widely known as musician ALBERT ROUSSEL’S “Fourth Sym¬ Philharmonic Society, a post he retained for What, however, is to he the effect upon music and indicated by the report of a prominent east¬ and music patron, died February thirteenth. phony” had its first performance in America, twelve years. music study? Will these mechanical conduits kill the have adequate light and not the dim or dark auditorium. ern firm that it holds orders for $3,000,000 It was through Mrs. Hamilton’s genius for when given on the Holiday programs of the 41-► desire to learn the art? Our own feeling is that they will Another is that you will not disturb your neighbors by worth of instruments to be delivered during organization that Asheville had a Biennial Boston Symphony Orchestra, with Serge BRONISLAW HUBERMAN’S “STRAD.” enormously increase the demand for the study of music. turning the leaves of your score. the current calendar year. ^ Convention of the National Federation of Koussevitzky conducting. valued at thirtv thousand dollars, was stolen Why? Well, we were told that the introduction of the All this requires preparation, but you had to prepare Music Clubs, its Asheville Music Festival, 4t-*• on February 28th, from the dressing room ANTONIO SCOTTI, one of the world’s regular seasons of opera, and visits of many of Carnegie'Hall, New York, while the artist player piano and to go to a concert, most loved of baritones, and who, from 1899 of the most noted concert artists. RUBIN GOLDMARK, eminent composer, was playing his Guarnerius on the stage. did you not? We till his voluntary retirement on January 21, and president of “The Bohemians,” the mu¬ the talking ma¬ 1933, was the Scarpia of every performance SERGE PROKOFIEFF was the guest sicians’ club of New York City, died on chine would an¬ have known of of “La Tosca” by the Metropolitan Opera artist, on February 9th, of the Concerts- March 6th. Born August 15, 1872, Mr. Gold- “GIULIO CESARE (JULIUS CAESAR),” nihilate music music lovers and a new opera in three acts by Francesco Company, passed away on February 26th, at Pasdeloup of Paris, on which occasion he mark finished his musical studies in the study. Just the teachers who have Naples, Italy, where he was bom January Malipiero, had its world premiere when was the soloist of his “Concerto in C, No. 3,” Vienna Conservatory, and with Rafael had the time of 25, 1866. A large fortune, accumulated dur¬ for piano and orchestra. ^ Joseffy (piano) and Antonin Dvorak (com¬ lately presented at the Teatro Carlo Felice opposite was the ing his long and brilliant career, had been position) at the National Conservatory of of Genoa, Italy. It is based on the Shakes¬ result. Music their lives in do¬ swept away in the business cataclysm of M. W. EGK, a leader among the younger New York. His compositions have been fre¬ pearean tragedy, retains its spirit, and the study jumped ing this. recent years; so that the finest “patrician” German composers, has been commissioned quently on the programs of leading orchestras prevailing vocal style is that of melodic The great of the modern operatic stage ended his days declamation, with the general conception de¬ ahead by leaps by Herr Adolf Hitler to write a musical of the world, and several of his pupils, in¬ point we want to in need. work for the inauguration of the Olympic cluding Efrem Zimbalist and George Gersh¬ rived from the Monteverdian school. and bounds, Games, which will be transmitted to all win, are internationally known. For the last paralleling the make is that the “THE DAMNATION OF FAUST” by parts of the gigantic stadium by loud eleven years he had been head of the de¬ THE UGANDA CHORAL FESTIVAL progress of these radio, as a musi¬ Berlioz lately had its first performance at speakers. ^ partment of composition of the Juilliard (South Africa) brings together on a Saturday mechanical ap¬ cal instrument, the Royal Opera House of Stockholm, when Graduate School of Music. of each October about twelve hundred singers pliances. Now, and as an invalu¬ the leading roles were interpreted by native A MEMORIAL TABLET to Sir Charles of the Native Anglican Church choirs, for a able aid to music artists and Nils Grevillius was the conductor. Santley, rated by many as the greatest bari¬ AN INTERNATIONAL MARIMBA SYM¬ festival of hymns and other church music. the player piano tone which England has produced, has been PHONY ORCHESTRA of one hundred mem¬ The event is mostly cooperative, with only is practically non¬ study, is not half THE BOSTON FLUTE PLAYERS’ placed by the London County Council on bers has lately returned from a tour of Europe. the hymns and the Hallelujah Chorus from existent, but its appreciated. CLUB gave on February 23rd a concert the house at 13 Blenheim Road, St. John’s Composed of fifty young men and the same the “Messiah” in concerted form. Priceless concerts partially in honor of Alfredo Casella, who Wood, where the last ten years of his life number of young women—many of whom as-6 disappearance was present as guest to hear the American were spent. were members of the Century of Progress has not helped are passed by 41 t “CYRANO DE BER- jMR- premiere of his ‘‘Concerto for Flute” and to --»• Marimba Band—the organization was assem¬ GERAC,” a new opera by flj music study. without any more conduct his “Serenata” for clarinet, bassoon, THE AFRICAN BROADCASTING COM¬ bled and is led by Clair Omar Musser. Franco Alfano, founded on Sk/ Atmosphere, consideration trumpet, violin and violoncello. PANY’S Symphony Orchestra, of Johan¬ •8-D- the romantic drama of i when people went than ordinary nesburg, with Jerry Schulman conducting, “FAUST ET HELENE,” the cantata with Edmond Rostand, had its ' DUSOLINA GLANNINI recently closed its season with a program in¬ which Lili Boulanger, the now eminent French thousands of broadcasts. The cluding the Overture to “Rienzi,” by Wag¬ first performance on any ) • made her American debut composer and teacher of composition, won stage when given on Janu- V- /' miles and spent radio is so mar¬ ner; “Les Petits Riens,” by Mozart, one of r in opera, as the Aida in a in 1913 the Grand Prix de Rome for the first ary 22, at the Teatro M- AM thousands of dol¬ velous that we HV performance on February the earliest of the master’s twenty-eight time it ever was awarded to a woman, recent¬ divertimenti; and the Symphonie Espagnole, Reale dell’ Opera (Royal lars to get it, have not begun w "m2 12th, of this perennial ly had a performance at the famous Concerts- Opera House) of Rome, * favorite of Italian operas, for violin and orchestra by Lalo, with H. Pasdeloup of Paris. never hurt music to realize its ; 41--;-D* with Tullio Serafin con- F«anco flp ^ by the Metropolitan Opera Ketelbey as soloist. ducting. It is reported to Altano study — it pro¬ educational im¬ .^■kj JKr T Company. Miss Giannini A PRODIGY ACCORDIONIST is Canada’s have been received with extraordinary en¬ moted it. Now portance. Intelli¬ t received an ovation for an THAT SCIENCE AND ART are indis¬ boast. At four Emelia Haymen made her pensable to each other has been- recognized by thusiasm. A four act opera on this same musical atmo¬ gently used in interpretation which com- stage debut in a Nova Scotia town- at six romance, by Dr. Walter Damrosch. was pre¬ Dusouna bined a wide gamut of the internationally famous Franklin Institute she played in the Capitol Theater of Mon¬ sphere is brought, connection with Giannini emotional and dramatic of Philadelphia (also the oldest scientific in¬ sented for the first time on February 2,. treal; at seven she retired for two years of 1913, at the Metropolitan Opera House, New warmth with a voice opulent in its coloring, stitution of the New World) by the establish¬ study with P. Marrazza; since which time ing of a Music Section with Guy Marriner, York, and had three other performances be¬ passion and richness and used with a fin¬ she has appeared in the largest theaters of fore the season closed. pianist, composer and lecturer, in charge. Montreal and other cities of the Dominion. ished art of the best school. (Continued on Page 334) Music Axiom for May May, the Festive Month, of Music. Music Study Exalts Lit* MAY, 1936 275 r i:_„ tliat with more bands for Making Your Music “I have a very stro“S ee A the future fewer bandit music study, fireside concerts should accelerate the stu¬ our young folks we shall la8t week I saw a notice dent’s process enormously. We confidently predict that chasers and police patrol - O y twelve new super- fireside concerts, with the use of published music to follow in the paper that Detr™* “ catch the old bandits, the programs, will be, in the near future, conducted in speed bandit chasers. These may ca turning up? Live millions of homes. . hut what is going to P*® ‘There is no chance of my Let us put this another way. There are several series ol concerts of very fine symphony orchestra? to be heard on From a Conference With the Distinguished the air every season, notably the New York Philharmonic, the Boston Symphony, the Damrosch educational concerts, American Author and Editor and the fine orchestras of Chicago, Minneapolis, Los An¬ geles, Rochester, San Francisco and St. Louis, to say nothing of the General Motors Hours, the Ford Symphony Henry L. Mencken Orchestra Hours and others. oirls in hand work are subjected to discipline and tram Let us say that there are thus at least one hundred svm- girls m Dana w j objectionable influences. phonv concerts on the air each year. With good seats The ml who *1, 7ofh..L.e ,i Secured Expressly for The Etude Music Magazine costing two dollars in the auditorium, the radio owner has chaser is merely protecting the community rom presen Two Hundred Dollars’ worth of fine concerts for practically dangers. In this day and age we have learned the wisdom no expense. In other words, at least five million dollars a of insurance; and investment in the training, instruments year is spent creating musical atmosphere that teachers and uniforms that go to make a fine school hand may HENRY L. MENCKEN was bom at process of learning to eat or to walk, music and students in former days found indispensable and very make it unnecessary in the future to put our tax money Baltimore, Maryland, September 12, may become as natural to the little one as costly, hut which is now in every home. into bandit chasers. Which is fairest to our children, to 1880. He was educated in private schools any of the regularized acts in our routine The teacher in the small town is literally put upon the provide something that will keep them out of trouble and and at the Baltimore Polytechnic. He en¬ of living. It was taken for granted that every child should study music, unless ab¬ same educational basis as the teacher in the big city, in give them great enjoyment, or to invest in something to tered journalism as a reporter, later rising solute poverty prevented. My father was this respect. shoot them down? In a civilized country there can be to high editorial positions upon the Balti¬ Every teacher should capitalize this enormous increase more Morning Herald, the Evening Herald, in the tobacco business. He employed a only one answer to the question, ‘Shall we have bands or bookkeeper who was the son of a piano in musical opportunity and make it clear to ‘ prospects and later on flic staff of the Baltimore Sun bandits?’ ” maker, and himself an excellent musician. that music study is not only more delightful but also iar and the Evening Sun. He was, during 1916 and 1917. an American war correspondent. This man gave me two lessons a week. He more necessary than ever before. was a good pedagog; and they said that Musical managers are discovering another remarkable From 1914 to 1923 he zcas editor of Smart Helpmeet Set; and, from 1924 to 1933, of The Ameri¬ I learned more in a year than the average thing about the radio. Just as the sale of the talking ma¬ can Mercury. little pupil learns in two or three years. chine records of a performer increased the desire of the Then I had the misfortune to get into the The Etude, during the past year or so, has been pub¬ He is the author of the following books: HENRY L. MENCKEN public to see that person “in the flesh,” so do radio broad¬ lishing some articles upon the “Romances of the Great “Ventures Into Verse,” 1903; “George Ber¬ hands of the type of itinerant house-to- house teacher of those days, who had no casts advertise the artist. Many artists have enormously Composers.” They have been perhaps properly directed nard Shaw—His Plays," 1905: “The real idea of a musical training other than increased their income from public appearances, because to the more emotional side of the love affairs of the Philosophy of Friedrich Nietsche,” 1908; the radio has created a demand to hear them. John Charles "The Artist” (play), 1912; “A Book of teaching a few showy pieces and earning a who do not know what to say when things like to play on that evening and what we masters. , Thomas, Lawrence Tibbett and many others are in this Burlesques,” 1916; “A Little Book in little pin money. sound cock-eyed. might like to purchase for future gather¬ There is, however, a very practical phase of the creator s The chief stock in trade of these teachers ings. We delegate someone to buy the music class. The public wants to see the one they have heard C Major,” 1916; "A Book of Prefaces,” work, in which a helpmeet is of extraordinary importance. 1917; "In Defense of Women,” 1917; was that masterpiece of mediocrity known Toiling Upward in the Night and then we share the expense when it over the air. . • . An understanding, cooperating, sympathizing helpmeet is as The Fifth Nocturne, by Leybach. This ELL, I HAVE WORKED like 3 comes in. Once a year, in the spring, we We recently talked with a leading musical manager ol “Damn—a Book of Calumny,” 1917: “The W invaluable to anyone who i« obliged to carve a career out American Language,” 1918; “Prejudices”— was a conglomeration of mawkish tunes horse ever since I was eighteen; and always seem to get around to the “Spring¬ New York, who said, “Only a few years ago all managers of himself and his art. Haydn complained that his wife First Series, 1919, Second Series, 1920, suspended on arpeggios and interspersed everything I have got out of music I have time Symphony” (No. 1) of Schumann; felt certain that the radio was going to put an end to our did not care whether he was a cobbler or an artist. I n- Third Series, 1922, Fourth Series, 1924, with artilleries of octaves. It was the piano had to dig out myself. It was irresistible. and on the Saturday after Good Friday we business. We were all wrong: dead wrong! The radio has manufacturer's most valuable friend, prob¬ play the Good Friday Music from “Parsi¬ questionably she made his life miserable, by her inability Fifth Series, 1926, Sixth Series, 1927; I could not have kept away from music if enormously increased our opportunities. As for myselL l ably the best known piano wrecker of the I had tried. Fortunately, in 1902 I became fal.” Oh, I forgot; we end every evening to realize that she was living with an immortal. Clara "Notes on Democracy," 1926; “Treatise on think it will unquestionably have the same effect on music the Gods,” 1930; “Making a President,” age. In the hands of a growing boy, it a member of a group which has been in¬ with a waltz. That is our invariable tradi¬ Schumann, on the other hand, gave her husband, Robert, study and on music teaching.” One tenor will this year 1932; "Treatise on Right—and Wrong,” could ruin the peace of any civilized neigh¬ valuable to me. This group is purely ama¬ tion. Probably we have played every known the kind of help that most certainly did much to place receive gross fees of $175,000, or just double those of last 1934. borhood for days at a time. Its equal was teur in its aim. That is, it comes together waltz of any consequence. The Strauss year. Most of the outstanding artists had every date filled him on a high pinnacle. Mr. Mencken has gained zvorld recogni¬ never discovered until the cheap radio with to play for the love of the thing and for waltzes, with their enchanting, exhilarating a jazz program was permitted at large. rhythms, are some of the loveliest things in for this spring’s season; and the prospects for the fall are The creator does not want silly adulation, nor docs he tion for his vigorous and original style, the no other purpose. It is the most informal want criticism from those whose taste and experience do freshness of his thought and his delightful thing imaginable. It has no name, no all music. What could be more beautiful amazingly fine. , . , , humor. His interest in music has been life¬ The Age of Youth officers, no dues, no constitution, no direc¬ than Mein Schats from “Der Zigeuner- The radio is now and will be in the future one ol the not entitle them to speak with knowledge. Many a creator has had his ardor dampened by a wife who has taken it long, and his familiarity with the art would HEN CAME the age when baseball tor, no rehearsals, no nothing but the joy baron” (My Sweetheart from “The Gypsy most powerful advertisements of music and music study. Baron”) ? But those English titles for a upon herself to impose her taste and individual opinions shame many professional musicians. I he rightfully claimed its own. Baseball be¬ of getting together every Saturday night came my chief and only life concern. I was and making music, good or bad. We don’t Viennese waltz are like Pilsener beer with upon her husband, instead of making a sincere effort to Etude is especially proud to present the results of this conference as one of a series sent to the Polytechnic to continue my edu¬ fuss—we just play. Many professionals, milk in it. see what he is trying to do and to help him to do it. It is coming from some of the foremost thinkers cation; which was, of course, a parental some of them of national reputation, have The Strauss Era Bands or Bandits—Which ? very much as though two people were starting out to go of the age. blunder, as my inclination was not toward from time to time been members of the to a given place. Suddenly one decides to go towards an Mr. Mencken’s home in Baltimore is a science, except in the field of chemistry, group; but they have no other motive for HAVE PAID in part my tribute to THE Budget Committee was meeting in a western city altogether different point and tries to pull the other in delightful reflection of the Victorian Age, which has always interested me. Music playing but that of the delight of the thing. Johann Strauss in my “Prejudices: and the item for defraying the cost of bands in the that direction. One or the other must determine the goal, set with many a rare “family piece" which would have been a far better field for one In the thirty-three years of its existence the Sixth Series,” published by Alfred A. Knopf, copyright 1927, in the following public schools came up. and each must consider the labor and the individual sacri¬ makes his residence especially restful.— of my bent. group has never played publicly. Sometimes “Phew!” said a manufacturer, “just look at this. Ihey fices necessary to reach that goal. Editor’s Note. There are two things that have always guests turn up who are permitted to sit lines: “The Strauss waltzes, it seems to me, didn’t have any school band when I was a boy. Now they Fine it is when two people can go liappilv, hand in been a great regret to me. One is that I by and listen. did not have a broader training in foreign have never been sufficiently studied. That expect us to put up thousands of dollars of the tax payers’ hand, triumphantly toward one splendid ideal. Frequently HAVE YOU any recollection of the time when you learned to read— languages. I know some German; but I True Amateurism other Strauss, Richard, knows what is in it happens that musicians marry and live the happiest money for music, teachers, bands and uniforms!” when someone taught you your A, would like to be able to speak a dozen E ALWAYS play together, no mat¬ them, you may be sure, for the first act of “Well,” said the Mayor, “when you and I were boys, of lives. The idea that musical marriages are likely to he B, C’s? Few adults have. It was much the tongues. I also wish that I had had a very ter what the combination of instru¬ ‘Der Rosenkavalier’ proves it: but the you could hardly get across Main Street for the mud holes. failures is ridiculous. From a very wide acquaintance, we same with me, in music. I cannot remember thorough grounding in musical composition. ments is, because you see our object is musical pedants and pedagogs have kept Now we have concrete paving. The city was so dark we have a strong conviction that the proportion of “musical” any time when I was unable to read music. I shall always have a feeling that I have self-expression and not exhibitionism. We aloof. What they miss! Consider, for ex¬ could hardly see our way around at night. Now it is as marriages, which have turned out finelv. is very much My lessons began so early that I have no missed a great deal by not being put usually have two at the piano, a string ample, the astonishing skill with which light as day. We have recognized the progress of things in higher than of the average marriages. Why should it not recollection of what may have happened through a practical course of thorough bass, quartet and various other instruments as Johann manages his procession of keys— a "physical way, but that is not enough. When we were be thus. Happy marriage is based upon spiritual affinities. at the first ones. My parents were simple counterpoint and composition. I have a they happen to come into the group. the inevitable air which he always gets boys our Police Department could he put in one small Two people, of fine ideals and a common understanding people, and, being Germans, they naturally secret conviction that I shall die an inar¬ Through the years we have acquired a into his choice! And the immense ingenuity ticulate man, as my natural form of ex¬ very large library of music of the concerted with which he puts variety into his bass— room. Now we have armies. Why? Because we all ol the practical problems confronting them. a« well a* of looked upon music as a more or less com¬ pulsory part of the education of a child. pression was musical. My ear is not a type, ranging from duos and trios to sym¬ so monotonous in Waldteufel, and even in know that crime in America has grown at a ratio far the interests involved, should he happier than those whose In fact, if the child was a girl, the lack of particularly good ear. I do not think that I phonies. We have played through most of Lanner and Gung’l! And the endless re¬ greater than the advance of population. Our schools need Inexperiences are wholly different. Fortunate is the man a musical training was unthinkable. The could tune a fiddle well, but that perhaps the big symphonies, time and again; and I sourcefulness which marks his orchestra¬ these bands and it is our responsibility to keep them up. with the helpmeet who unselfishly works with him for German girl who did not know how to is not altogether essential for the composer. often think that if I were to wake up in tion—never formal and obvious for an in¬ They have a very vital part in the morale of youth—any them mutual success. However, do not despair if you are play the piano was looked upon very much From some of the music we hear to-day, the middle of the night and hear two meas¬ stant, but always with some new quirk in novice in public school educational work knows that. a bachelor—Brahms was. as we would regard a girl who did not the composers must have ears that act like ures from any Beethoven symphony, I could it, some fresh and charming beauty! And take a bath. I am firm in the belief that the eyes of a cross-eyed man. The music spot them at once. his codas—how simple they are, and yet children should learn music at an age when they make probably sounds all right to The amount of music one can cover, how ravishing! they are too young to resist. I do not mean them, but it does not sound that way to through the years with such a group, is “Johann certainly did not blush unseen. that taste should be forced upon them, but others. So much for “musical strabismus.” surprising. We have no set plan. When we He was an important figure at the Aus¬ I do know that just as in the unconscious Perhaps that is a new term for the critics come together we decide what we would trian court; and, when he passed, necks

MAY, 1936 277 a wilderness. More than this, she is musi¬ see how his music galvanizes them; note cally literate and can attend concerts and were craned as if at an ambassador. He recreation. That is, I feel recreated. My how the luster returns to tired eyes. how hear the radio, not as a musical ignoramus, Beginnings and Endings traveled widely and was received with week is very hard. My vitality is usually vertebrae straighten out and the urban low when I start out for our “boiler-fac¬ but as one who is familiar with many of honor everywhere. His waltzes swept the bonds of the human chain gang mo world. His operettas, following them, tory.” After five minutes of playing, I am the fundamentals of the art. Is not that streets seem to drop—severed by the magic worth while in this radio age? offered formidable rivalry to the pieces of more optimistic. Troubles, that seemed un¬ power of music. Sousa remains one o our We should be careful of judging other How the Masters Brought Their Works to a Close Gilbert and Sullivan. He took in, in his just afflictions of Fate, grow less unendur¬ great national assets. We should hear his able. This, I find, comes far more readily people’s musical receptivity by our own. time, a great deal of money, and left all works constantly. The episodes, or middle from playing music than from hearing it. Many highly civilized people, with enor¬ his wives well provided for. More, he had sections, in his marches are regarded very At the club I can throw off restrictions, mous intelligence, find their minds a blank the respect and a little of the envy of all highly by musicians. I have long had a By Dr. Percy Goetschius dress as I please, say what I please, and do when they come to music. In the matter his musical contemporaries. Wagner de¬ way of judging a composition by the im¬ what I please. At the concert hall I am of natural receptivity, there seems to be lighted in his waltzes, and so did Brahms. portance of its coda. Here the composer often obliged to sit in a mighty uncom¬ no correlation between the arts and gen¬ Brahms once gave the score of one of them sums up his idea and culminates his work fortable seat, in respectable,attitudes, as I eral intelligence. Some are completely anti¬ to a fair admirer with the inscription, of art. Many of the classical codas are im¬ know that I am under the inspection of esthetic to any kind of art. For instance, I ‘Leider nicht von Johannes Brahms’—Un¬ mensely impressive—take the coda at the other auditors. To get there I have to run have never been able to develop a taste Such imperfect cadences are by no means fortunately, not by Johannes Brahms. end of the first movement of Brahms first HE ENDING of a musical phrase is and at the close of the day we return to Coming from so reserved a man, it was a the gantlet of the town bores. I can take and appreciation for painting, although I T uncommon; even in large, symphonic move¬ known, technically, as a cadence. our home, as a matter of course, and as tremendous compliment indeed—perhaps no part in the program but have to listen am very fond of modeling or form. You ments, one occasionally finds the third or Hence, a cadence serves to terminate unerringly as water runs down hill; at the most tremendous recorded in history— to a musical menu that may contain the see, color does not seem to reach me, while fifth of the chord as final melody .tone (at A Living Investment the phrase and to separate it from the least this is the case among normal, civilized nor was there any mere politeness in it, Brahms’ “No. 3” which I love, followed sculpture does. That is why I have made the top). Thus, at the end of the slow IME SPENT in music study is rarely following one; and since these interruptions beings. for Brahms had written plenty of waltzes by a lot of stuff which I hate. I am not T this collection of oriental objects carved movement in Beethoven’s “Ninth Sym¬ ever wasted, although it sometimes in the course of the movement differ in This instinctive impulse asserts itself in himself, and knew that it was not as easy in the mood to hear the other things, but I phony” (A) ; and the end of the First seems so. My niece, for instance, was from ivory. Yet I know that painting moves force, some being positive and fairly com¬ music as everywhere else, and we need not as it looked. The lesser fish followed the am in a kind of musical trap and cannot Movement in his “Sixth Symphony” (B). started in music at the age of six. She millions, and I am very anxious to do all plete, and others lighter and more transient, be surprised to find that every piece of whales. There was never any clash of de¬ escape. If it happens to be a concert of I possibly can to promote anything that music we have ever played or listened to, studied for six or eight years. It became it follows that there are varying grades A. ;s from Beethoven’s first sonata; the bate over Strauss. It was unanimously chamber music, intended for a room the gives happiness to such multitudes. At the almost invariably comes to an end on the obvious that she had no particular talent of cadences, corresponding very accurately two cadence chords are shifted forward agreed that he was first-rate. His field was size of a parlor, it is usually given in a same time we, who are interested in music, tonic cho*. There are but very few ex¬ and no special taste. Were the time and to the punctuation marks in written lan¬ one beat, so that the final tonic occupies not wide, but within that field he was the hall so big that the effect is like a Lillipu¬ have a right to expect that those who are ceptions, especially among classic works: tian company on a grand opera stage. money spent upon her musical training guage: the comma, semicolon, colon, full the unaccented second beat. B. is from a unchallenged master. He became, in the not musical should endeavor to understand with an increasing number in “modern” Chamber music is intimate music. Once I wasted ? By no means. If at any time in the stop and even the dash and question mark. mazurka of Chopin; the final tonic is shifted end, the dean of a sort of college of waltz the cheerful fanaticism of the musical en¬ music, in the eager quest for novelty; but heard Chozinoff, Kochanski and a pianist future she decides to take up music, which Any or all of these cadences may be em¬ to the weakest (third) beat of the meas¬ writers, centering at Vienna. The waltz, as even there only as the exception which whose name I have forgotten, play the she very probably may, music will not be thusiast. ployed in the current of a composition; ure. C., from Chopin’s First Polonaise, is he had brought it up to perfection, became proves the rule, and which does not alter “Trio in B, Op. 8” of Brahms when Alfred anything may happen during the unfolding similar. These particular rhythmic forms the standard ballroom dance of the civilized or suppress our habit of expecting the tonic Knopf and I were the only auditors. It was of the architectural tone-purpose. of the Perfect Cadence are characteristic world, and though it had to meet rivals chord at the very end of the composition, a most delightful experience. I like to be But it is not our object, here, to consider of the Mazurka and Polonaise (Polish constantly, it held its own for two genera¬ be it large or small. You will no doubt be right in the midst of music. If I could sit Fifty Years Ago This Month all the varieties of cadences, for we are con¬ dances). Further, the final keynote in the tions, and even now, despite the murrain surprised at some of the instances of ir¬ in the orchestra pit at the opera, I might cerned solely, in this investigation, with the upper voice is often so embellished as to of jazz, it threatens to come back once regular ending, that will be shown later on. go every night. final ending of an entire composition, the extend past its legitimate accented place in most rapid progress when I count aloud. I am of the mind that one should de¬ A. J. Gantvoort, a leader among the last concluding tones of the whole piece. the measure. Such expansion of the final 6. I must practice those_ passages, wherein The Imperfect Chord Music, Life's Restorative velop as catholic a taste as possible in American musical pedagogues of that Bear this in mind. We shall limit ourselves, keynote and chord merely lays an orna¬ I hesitate and stammer,’ separately, with N THE ABSENCE of any one of the OW WHAT has all this music-mak¬ music—that we should learn to like every¬ period, gave to T he Etude a set of “Rules therefore, to three important species of mented fringe upon the melody, without I N each hand alone, till I am thoroughly mas¬ fiVe essential factors we have noted ing done for me, whose life job is thing that is good in music. Let the music for Practice” which he required his pupils cadence: in any sense weakening the concluding ter of them; and then, and then only, with (only excepting the rhythmic location of pushing a pen across acres of paper? Of itself determine what is good and not the to write in their note books. They are here force of the cadence. Thus (both from both hands together. The Perfect Cadence, the final keynote), the cadence is not fully course it is nothing but what the Germans prejudices of prigs or the banalities of reproduced. sonatas of Beethoven) we have; 7. I must never play too fast; because The Imperfect Cadence, and perfect, but “Imperfect” (or Plagal). Besides these two instances, there are call “Haus Musik”; but “House Music” is critics, many of whom do not know the Ex. 15 How Shall I Practice? The Plagal Cadence, What I have always called the “Imper¬ only four cases in all his nine symphonies rare in America—rare for the time being, difference between a passacaglia and a my practice will be careless, and careless fect” cadence corresponds to the perfect where Beethoven closes the complete move¬ at least. We do not, as a rule, get together Ming teapot. I like everything, from a 1. Very attentively, so that I may learn practice does no good, but docs harm. for these are the three forms of interruption one, excepting only that instead of the root ments upon any other melody note than the in the home and make music in this coun¬ piece of Mendelssohnian musical embroi¬ as much as possible. 8. I must not look at the fingers when that are involved in our illustration of the (keynote) the third or fifth of the chord tonic itself—as regular perfect cadence. try as they do in Germany. But we are dery to the great Gothic “Mass in B minor” 2. Very slowly, so that I may be able to playing, but must look at the notes, except manner in which an entire piece of music is given to the uppermost voice. Thus, both And in the entire “Well Tempered Clavi¬ coming back to it, and I think that The of Bach. Many a time have I traveled to see everything and attend to (a) fingering, when practicing finger exercises, when I may be brought to a conclusion. (For de¬ from the “Songs Without Words” of Men¬ chord” of Bach there are but two numbers Etude will have a big part in this. I was Bethlehem to hear that—always a wonder¬ (b) marks of expression, (c) rests, legato, must, on the contrary, give all attention to tailed information regarding cadences in delssohn : that end similarly, with the chord third as “brought up” on The Etude and I take ful pilgrimage. Again, I get a wonderful staccato, and so on. the fingers, because a good tone and a good general the reader might look into my final melody tone; namely, Fugue No. 2and a proprietary interest in seeing it promote thrill from a brass band playing a march. 3. Listen attentively to how I play, and touch can be acquired only by a good posi¬ “Structure of Music,” pages 157 to 159.) Fugue No. 23, both in the First Book. this work. Sousa rose to great heights of inspiration especially listen as to whether the tones are tion of the hands and fingers. Examine for yourself the entire collec¬ To me those “Saturday Evenings” have in his marches. What is more invigorating pure, full and distinct; and whether I am 9. I must always practice the studies first The Perfect Cadence tion of “Beethoven’s Sonatas” and see how meant everything. After a hard week’s than a bully band marching down the street properly playing pp, p, mp, mf, f, or ff. with each hand alone. THE SO CALLED Perfect Cadence is many (if any) of the complete movements work, one is naturally down. Music is a playing El Capitan or The Stars and 4. Always in exact time. 10. I must always carefully note all repe¬ very strictly defined; five factors com¬ end with these imperfect forms of the priceless relaxation to me. It is a real Stripes Forever? Watch the crowds and 5. I must always count; and I make the titions of the different parts. bine to form it: (1) the final tonic chord; (2) preceded by the dominant chord; (3) cadence; that is, with the third or fifth of the tonic (keynote) is the uppermost voice; the tonic chord in the melody, at the very (4) upon an accented beat: and (5) with end, instead of the keynote itself. both chord roots in the bass. Thus: The Plagal Cadence are properly located, as shown in the lower THE SO CALLED Plagal (Unauthen- ^Any lemjio parts; only the embellishment of the melody tic) Cadence is made with the second shifts the final keynote to a later beat. Such dominant (subdominant) and tonic chords, examples are very numerous. thus differing in the manner in which the On the other hand, in larger works the final tonic chord is approached. Observe the final tonic chord is often extended and em¬ Instead of ending decisively, the music distinction, the Perfect Cadence consists of . q y°0t [Root C major i phasized, in proportion to the dimensions seems to float out of hearing, in a manner the dominant and tonic whereas the Plagal of the work as a whole; as, for example, that is as charming and impressive as it is Cadence is made with the subdominant and at the very end of Beethoven’s “Fifth Sym- unquestionably legitimate, tonic chords. A. records clearly the five essential phony,” where the chord of the key extends Also from the mazurkas of Chopin: The Plagal Cadence occurs in two differ¬ factors of the Perfect Cadence—in G through twenty-nine measures; at the end Ex. 17 ent ways: (1) following the Perfect major. B. is the last line of My Country, of his “Third Symphony,” where this chord Moderate Cadence, as sort of extension; and (2) as ’Tis of Thee, with the conventional de¬ fills twenty-one measures; and also at the substitute for the Perfect Cadence. The cisive cadence formula, in C major. end of the first movement of his “Eighth former method is the older and more com¬ Sometimes the Perfect Cadence, while Symphony” it has ten measures in striking mon ; for, strictly speaking, the Plagal retaining all of its fundamental conditions, rhythm. Cadence should not appear as actual, in¬ is slightly embellished, particularly in its dependent ending, but should follow after rhythm; for the location of the final key¬ The Home-Chord the legitimate Perfect Cadence has been note upon the accent has never been con¬ pronounced—thus constituting a kind of sidered strictly imperative. In other words, NOW THE NORMAL obligation of “Extension” of the keynote at the top; shifting the final melody note (the key¬ a musical sentence to close upon the precisely as an Amen is often appended to note) to an unaccented beat, does not appear keynote is as evident as the necessity of our our church hymns, chants and anthems; in to influence to any great extent the decisive returning home after an excursion or fact, it is popularly referred to as the effect of the cadence. digression of any kind. For the tonic is the And the exquisite ending of the Aria in “Amen Cadence.’ For example: For example: home chord; the keynote is the center Schumann’s “Sonata in F-sharp minor”: around which all the activities of the tone Ex. 18 community revolve. There is probably no Andante EX 20 J I Per/.Cad. Plagal Cad. human sentiment more insistent, intuitive, * more deeply ingrained in our nature and habit, than the love of home, the normal THE NEW OPERA HOUSE OF BERLIN instinct to return thither, as to a haven Here is the latest of the world’s fine opera houses. Its architecture seems to be a kind of compromise between the old _.1 . , of rest and security. We leave our home in style devised by Richard Wagner for his Festspielhaus at Bayreuth. Observe that the Royal Box is still . .---°f- theater with galleries, and the the morning (at the “beginning” of the The second dominant chords (or subdomi¬ mnith mirnTtv The TllnctrirtA ZpiliinF. frnm mhirh nirturex nro rz>nrnr7»^/i/7 i . >,i. although CGermanyrerm/1 is supposed to have done day) to pursue the round of daily duties; nant lV, II; IIi or IVt) may assume a the Fuhrerloge,” which, of course, implies that 279 278 THE ETUDE ending on the dominant seventh chord of the subdominant key. It is not unthrnkgle and, after a fashion, quamtly effective But it leaves things strangely up m ■ Perhaps the most extraordinary exper ment of that adventuresome romantic spirit, Robert Schumann, is encountered in the final ending of his Impromptu (or Fat la- tions) on a Theme of Clara Wteck, Op. 5, as it appeared in the first edition of the This is the masterly conclusion of the The E-flat at the very end. which creates First Movement of Brahms’ “First Sym¬ a final impression of the dominant seventh phony.” Examine every movement of his in B-flat major, is amply justified by its four symphonies and determine for your¬ place in the theme. And it is further justi¬ self the nature of the final cadence. See fied. esthetically, by the unobstrusive, also the ending of Sibelius’ “Finlandia, shadowy pppp. which precludes every jar¬ and of “Les Preludes” by Liszt, and of ring effect. It appeals to me as an indica¬ any other legitimate compositions that fall tion of the infinite quality in music. Music into your hands. cannot stop; it is immortal, a ceaseless Other Unusual Endings flow of nature’s rapture. The need of check¬ ing this flow, at appointed times (like the A RARE (almost isolated) instance of The upper notes are a fragment of the a final cadence on the dominant chord pauses for sleep at the close of day) has “theme” ; the lower ones are those of the (instead of the home chord) appears in been felt since the dawn of composition; bass that accompanies the first phrase of the Op. 15, No. 4 of Schumann, Das hence we place the Perfect Cadence at the the theme, and this accounts for the G-C bittende Kind (The Pleading Child). momentary end. to give clear outline and at the end; which confirm the Perfect the sense of finality—to round out the Cadence: the C of the alto, which belongs project. It seems foolish to stop in the to the supertonic, simply “fades out” dur¬ middle of a sentence. But such glimpses, in ing the decisive bass. It is noteworthy that cases like the above, of a “hereafter,” are Schumann, in subsequent editions, aban¬ surely not censurable, when revealed by a doned this quaint form and substituted a master mind. legitimate Perfect Cadence. There are some vastly inferior irregular Finally, I would cite what is possibly the endings; one, especially popular in the pres¬ most ingenious and truly exquisite example ent age of mental and moral aberrations, of poetic endings in musical literature. It consists in sticking the sixth step into the occurs at the very end of Ignaz Fried¬ final tonic chord; for instance, in C major, This very exceptional ending, on the mann’s Passacaglia ill F for the piano: adding an A to the C-E-G of the tonic chord of the dominant seventh, is justified Ex. 21 harmony. This seems to form the suh- by the title of the little piece—the child is mediant, a very rare chord, never used in begging some favor, and concludes its peti¬ any independent capacity. Hence it is tion with a wistful upward gaze into the absurd, as ending; it is incongruous and mother’s face. It is an admirable example wholly disturbs the vital restful quality of of poetic musical suggestion and imagery. the tonic chord. And there is still another excuse: this No. Innovations are valuable only when they 4 is evidently interlocked with the follow¬ are based upon sound fundamental prin¬ ing number (Gliickes genug), which, in ciples. Ponder that, ye champions of the same key and meter, pictures the child iconoclasm 1 “completely satisfied.” So No. 5 does serve ROUGE PLANT FORD MOTOR CO. as the resolution of our final dominant seventh chord. Another indication of Schumann’s sensi¬ Why Every Child Should Have A "Start the Day with a Song" tive poetic genius appears at the very end of No. 12 of this same Op. 15, Kind ini Musical Training A Conference with the World’s Most Famous Industrial Leader Einsclilummern (Child Falling Asleep), Ex. 24 By Gertrude Harpst Henry Ford Secured Expressly for The Etude Music Magazine B. and C. are from Bach’s “Well Tem¬ (One of the letters which just missed tcinnh pered Clavichord,” in which work numerous prize in our recent contest under the abi heading) PART II similar examples may be seen. D. is from /N THE foregoing section of this ar¬ Most people have to spend some time in to live in the satisfaction of doing some¬ cians tell me that melody is one of the a suite by Josef Suk; it is somewhat un¬ MY REASONS, for believing that whether the companionship of music might ticle, which appeared last month, many the vicinity of Greenfield Village, in order thing usefully and well. most difficult things to attain in the art. usual, inasmuch as the keynote at the top every child should have a musical not have assisted them to pleasanter habits of Mr. Ford’s ideals were outlined, par¬ to grasp the magnitude of Mr. Ford’s We all like melody—I don’t know anyone is not held, during the plagal ending. E. is training are based upon the many of thinking. ticularly his advocacy of “Starting the Day original educational ideals. As he says, Making Knowledge Useful who doesn’t. Watch even a symphony - the end of the slow movement in the keen regrets I have experienced over having To know the harmony and beauty cf with a Song," and its adoption in the “There is only one way to begin and that UR CHILDREN are not brought loving audience, when a melody appears! “Fourth Symphony” of Brahms (note the Quite a startling, unheard of innovation; an appreciation of music without having sound is a step toward knowing more of schools of Greenfield Village, which he is at the very beginning. Few children in up entirely on books; we want them That is perhaps one of the reasons why I the whole piece ends upon the subdominant mastered the art of playing. lowered second and sixth steps—F-natural the harmony and beauty of living. The bit founded and the Assembly of which he at¬ America have any idea of the pioneer con¬ to know, by actual sight and touch and by have tried to pay tribute to our greatest chord of the key (E minor) in 6-4 form! and C-natural) ; and F. is the dramatic The child who can play has a source of of nature, the painting on canvas, the words tends every morning at eight o’clock, if he ditions and surroundings in which most of understanding, the things which mark the American melodist, Stephen Foster.” The weary little soul floats out into the termination of the First Movement in the entertainment for himself and for others. of the poet—all these will have a deeper is in Detroit, having missed but two morn¬ the really worth while Americans have achievements of the past. There is as much Mr. Ford’s philosophy, like that of the same symphony. In all of these examples strange land of oblivion. It is true that “Listening in,” with all the pleasures it appeal to the lover of music, because he ings in six years. developed. Schools should seek to bring material for culture in understanding a world’s outstanding characters, is original you will observe that the Plagal Cadence Schumann finally adds the root (a) in gives, cannot take the place of the merry- has already- felt their impulses vibrate in out the individuality of the pupil. We are kitchen invention as in reading a poem. and distinctive. He sees elemental and follows the Perfect Cadence, as extension. the bass part, thus restoring the triad form. group and the player about the piano; nor his soul. N VISITING this extraordinary edu¬ and always have been a nation of indi¬ We have rushed ahead so rapidly in fundamental things, with a perspicacity The other of the two methods of apply¬ One almost regrets this “retraction” on his can it while away the hour of loneliness I If "music hath charms,” then some of cational undertaking, one gradually be¬ vidualists. Our strength lies therein. We America that we have discarded thousands which is uncanny. At times he has a look ing the plagal ending is that in which the part. Otherwise it would be a genuine in quite the same way as does the calling comes conscious of the unusual vision need have no fear about the American com¬ of things which still have in them elements in his eyes as though he were seeing un¬ plagal chords operate as independent sub¬ “fade out,” that significant device of the those charms must be the companions that forth of one’s own music from the piano of the founder. We might describe it as a monwealth, so long as the people are given of very great value. In the Edison Insti¬ limited miles ahead. Perhaps that is the stitutes for the Perfect Cadence; that is, moving picture. You saw, in our Ex. 9 A, follow in its train. Out of the past cotne keys, or the strings of a violin. “back to American simplicity movement,” opportunity to develop their native gifts. tute Museum there are represented prod¬ trait that led him twenty years ago to the Perfect Cadence chords are omitted; a beginning on the 6-4 chord of the Bach and Beethoven and Handel, living The daily habit of practicing conveys to in which he is affording the American For this reason, children should be taught ucts and processes which have in them the purchase nine thousand acres on the out¬ and, instead of closing with the expected tonic—from the Allegretto of Beethoven’s again in every note of their matchless cre¬ a child, in a subtle, unconscious manner people a manifestation of his tendencies first of all to think for themselves; so that germ of new developments for those who skirts of Detroit. “I didn’t know what final dominant-tonic harmonies, the com¬ “Seventh Symphony.” That movement also ations. Then there are the recitals, bringing the value of well ordered habits. The mas¬ toward that democratic honesty which is later in life they will not be the dupes of study them and think about them. They I was doing it for, then,” he remarked, as position reaches its end with the plagal ends with the tonic 6-4 chord. And the children together in friendly competition: tery of difficult selections will likewise in¬ the real foundation of our national great¬ any fallacy, however plausible. represent principally America in the he surveyed his great enterprise, “but now subdominant-tonic chords, thus constituting same 6-4 chord form occurs at the very and what pleasanter way is there for culti¬ vest the child's mind with a love for ness. He realizes that whatever we have “We believe in experience as a check on making. I know.” the actual conclusion, and not a mere ex¬ vating a young friendship than through the end of Schumann’s exquisite Romania in attainment, so that when the more compli¬ accomplished has been the result of the theory, and in theory as an enlarger of “The point I desire to make is that many tension of the perfect form. F-sharp. Op. 28, No. 2. The Prelude, Op. tie of music? As the children pass out of cated problems in life present themselves work of men and women trained in these experience. The reason why we have of these things have within them certain Might in Simplicity This is somewhat rare, but very effec¬ 28, No. 23 of Chopin takes the following he will be there, in a conquering attitude. the school of practice into tlie school of very simple American fundamentals. laboratories is to get experience. Mr. Edi¬ elemental principles which are sure to be HILE WALKING with him tive ; more common in modem works than ending in some editions (not in all) : W Music is cheerful and happy; and, as the appreciation there are the choirs and the Among the buildings at Greenfield Village son’s great achievements were made largely revived again in other forms. Everything through Greenfield Village, many in those-of the classic era. For example: great masters played out of the very exu¬ choral societies, all of which have in them are the little red brick schoolhouse in which through experience. He was the greatest that has been made in the past is the result people visiting the village passed, and al¬ berance and inspiration of their hearts so the possibilities of fine friendships with he himself received his early school train¬ experimenter the world has ever known. of somebody’s ideas, and many of them though his face is one of the best publicized will the child, in a lesser degree, learn to people of culture. ing. Other buildings include a log struc¬ Many of his triumphs were made after were excellent. We recently came across in America, we saw none who apparently express himself hopefully and joyfully. His Ah! if I could but retrace my steps. ture removed from the property of William interminable trials and failures that would a simple household machine which em¬ identified him; and we were impressed with outlook upon life will become one of op¬ I would begin as early as possible to make H. McGuffey, and a town hall, built in have wrecked the patience of a dozen bodied an idea that had been abandoned. the fact that, likewise, many educators at timism. Think of the morose, embittered music a daily and a most charming com¬ resemblance of an early American town ordinary men. A school, therefore, is not It contained a principle that is really su¬ this time seem incapable of identifying and people you know today; and then wonder panion. hall. These are all now in practical use a factory for turning out so many thou¬ perior to present methods; and a maker realizing the extraordinary nature of his as school buildings. The high school is sand identical things, but a place where is now reproducing it. I am sure that the very original educational achievements. As located in the buildings of the beautiful and individuality may best be helped to develop. same thing applies in music. It may be we sat beside him in the Martha-Mary modern Edison Institute, which is a part Everyone has something—some genius, that there is something in the old American Chapel (named after the mothers of Mr. "What love is man, music is to the arts and von Weber. mankind."—Carl Maria of the group. some art, some skill—which will enable him music which should be recovered. Musi¬ and Mrs. Ford) we could not help being

MAY, 1936 281 THE ETUDE interest in new things, new people and new “Happiness is, of course, a state of mind experiences. It is highly desirable for ones Physic*j He further remarked, “Life is a mill for and mental condition. That is one of the grinding out character. We are all here reasons why music and singing and health to be ground into shape to make our con¬ ful dancing are so desirable; they give so tribution. We are all here for some pur¬ many people so much happiness. pose. The thing that gives the greatest Mr. Ford then took us to the large room devoted to folk dancing. It is in the great interest to us is to find out that purpose. building used as an experimental labora¬ Sometimes things do not turn out in the tory. Here, during the school season, way people had expected, but that must students from the schools and also groups not be taken as final. A big work has of adults meet to join in the dances of many turns and twists before it is finished. old time America—dances which came We must not mistake some half-way stage down from the royal courts. There, with as the finishing point. I should say that a very original orchestra, which includes most people, who are now feeling that old fiddlers, a Hungarian cymbalon, an things have not turned out very well for early American dulcimer, an electrical them, are on the verge of the very best guitar, and other early American instru¬ period of their lives. Most of us in the ments, the dances are held regularly. Mr. end find our own place and we have sense Ford is very familiar with the early tunes, enough to know it. Talent, when combined which are largely traditional. The dulcimer with energy, is like water. It will find its player was born in northern Michigan. level. Our ideal of success in the past has He is a man of middle age and learned been a very cheap ideal; many persons had the instrument and the tunes “by ear,’ from success without recognizing it, because it his father, when he was a child. did not fall into the current pattern of success. Well, perhaps we are growing Where Art Takes Root wiser on that score. There can be only one IN KEEPING with his philosophy, Mr. conductor of a great orchestra at one time, Ford feels that there is much in this but there cannot be even one conductor profoundly impressed with the fact that, without. Or, man is like a receiver—he music which is peculiarly American and unless there are thousands of real artists in all probability, not one other American transmits more than he originates. business leader has felt the responsibility of “I am told that composers of music are being personally present even a few days often quite unconscious of the source of a year at the opening exercises of any their melodies. The tunes come from the school. He is there at the Chapel, without ‘great somewhere’ and the composers are fail if he is in the village, every morning merely the instruments for putting them at eight-thirty. on paper. This, of course, does not mean Mr. Ford explained again, “These exer¬ that things come without labor, and hard Opera on the Screen cises give me the greatest of happiness. I labor. Mr. Edison used to say that crea¬ see here the beginning of new lives. There tive entities are around us all the time, is a thrill in hearing the children sing and and our labor makes us accessible to them. in joining in their happiness. Happiness I have found that when one thinks long By Harrison Lawler is found along the road to achievement. enough and hard enough upon a problem, The man who is creating and the man who the answer seems to come in some mysteri¬ presentations do not necessitate. The main ments make it almost impossible to use is working intensely has no time to be ous manner that is very hard to understand. NE VERY DEFINITE result of “Hollywood is paving the way for the plot and music can still be retained, but the natural color in all feature-length pictures; unhappy. Much of the past depression was This is often only after much exhausting I 1 the current presence in Hollywood reproduction of grand opera on the screen,” action and background must of a necessity besides which it is a moot question as to due to the fact that people kept harping and heart-breaking disappointment, but the V_X of a veritable host of grand opera remarked Lily Pons, the other day. This be expanded in the same way that scenario whether the public would accept one hun¬ upon it. Grief and gloom like to pile them¬ fact is that it does come. Mr. Edison also stars will be a widespread improvement in conviction was based, Miss Pons continued, writers now adapt stage plays. It is not dred per cent color on the screen, in its selves up as high as possible. There is believed in hard work. Remember his what now passes for acting on the operatic “on personal experience, noticing new and enough for motion picture audiences to present stage of development. It is to be nothing that anybody can do about a famous aphorism, when a Gaelic admirer stage,” said Lawrence Tibbett, first of the constantly widening audiences at my con¬ commented upon the great inspiration in hoped, however, that it will be ready by disaster but to forget the calamity and start Metropolitan Opera stars to appear in the cert tours.” become opera fans—-operatic audiences must one of his inventions, ‘About five percent the time the public is ready to accept grand afresh on lines that may prevent its re¬ films. Well, it is not difficult to admit that The great mass of entertainment lovers, also become movie fans. insoiration and ninety-five percent perspi- opera on the screen. A spectacular high¬ currence. most of the acting which has been and is known as the general public—the mass to In their splendid effort to instill a greater which the movies make their appeal—has appreciation of the masters, arias from light of its possibilities can be visioned by The Great Unseen still being done on the operatic stage is “You noticed in the Edison Laboratory long been afraid of grand opera. For that grand operas are included in the lighter a mind picture of the Inferno scenes from in the Menlo Park group, the organ which bad enough. “Faust”—the eerie Ride of the Valkyries, HERE IS A SENSE in which it is With such illustrious vocalists as Lily fear the public is not so much to blame. operettas of today embodying one or two proper to depend entirely on our¬ a manufacturer who was a relative of the the colorful parade of the matadors into Pons, Gladys Swarthout, Nino Martini, As at present performed, opera is a foreign numbers sung in French, German and selves ; self-reliance is a great resource. late President Theodore Roosevelt gave to the arena of “Carmen,” so photographed Grace Moore, Jeanette MacDonald, Law¬ thing to them, rendered in a language and Italian, by the star, because in addition to But there is also something outside our¬ Mr. Edison for acoustical experimental and presented that the natural colors, in rence Tibbett and Nelson Eddy now ap¬ a manner beyond the understanding of the the handful who really understand them, selves—some power which may fortify our purposes. Mr. Edison frequently stopped all their delicate tints and riotous flashings VILLAGE CHURCH pearing in screen productions, and the mass. It is only natural to shy off from there are those in the audiences who feel own strength. Name it How or what you work and called his helpers around the of brightness, will be visible on the screen. possibility of many more to follow, it is things which defy comprehension. that they have been classically cheated un¬ will, most men and women, eminent and organ while one of the workers played it should be preserved. In this, of course, he “But through the motion picture screen less they have been given something they This is indeed but one instance where color for the mental relaxation of all. When Mr. and tens of thousands of appreciators. reasonable to anticipate a change in acting lowly alike, have been compelled to realize is strongly endorsed by sociologists as well our country is being made opera conscious,” do not understand. Or it is possible that not photography would definitely contribute to Edison was here in 1930, to rededicate this Somehow in all lines of human endeavor, technic from the days of the old “opry” the existence of this great force. Man is as musicians. Some of the greatest music spoke Gladys Swarthout, who has been far distantly in the future these producers plot-promotion and be almost certain to Menlo Park group, he played a simple tune, in the long run, there is not much private house, from which it has not made any very much like a storage battery. The bat¬ of the world traces its origins to folk song recently seen in her motion picture debut. consider presenting to us entire operas in capture genuine popularity. However, one with one finger, on this organ. Mr. Edi¬ success. Everyone must share in it, because decided change, to one that may become tery itself generates no power, but it may roots. Mr. Ford feels that the failure to “Such pictures as ‘Madam Butterfly,’ ‘One our own language. Already there have been hit production, one hundred per cent in be charged with magnetic power from son’s great happiness was in his work. everyone had a hand in making it. This revolutionarily modern. preserve these elemental evidences of our wider view of success indicates a growth Night of Love’ and ‘The Rogue Song’ have more than three hundred written in our color, of an operatic version, could con¬ American beginnings is a serious neglect. in wisdom. The success one can keep en¬ A School of Acting had a great deal to do with the effect of own tongue by American composers alone, ceivably start a stampede of producers The world, to him, is a vast province of tirely to himself is a very tragic failure.” AN OPERA STAR can learn much by winning the confidence of the public, of of which fifteen have been presented by the toward this trend, even now, and might . acting for the screen, for many agree familiarizing audiences with the stories on Metropolitan Opera Company, including be the beginning of a new revolution in that histrionism on the singing stage is too which operas are based.” “The King’s Henchmen,” “Peter Ibbetson,” film making, comparable to the upheaval The Practice Lesson undisciplined. There are stock gestures, Lovely Grace Moore and Jeanette Mac¬ “Emperor Jones,” “Merry Mount” and created when the screen first learned to postures and mannerisms which may assist Donald answered almost in unison when “The Pipe of Desire.” talk. the singer vocally, but surely mean nothing requested for their opinion by saying, The success of some of these works By Rupert M. Goodbrod And Stars to Come so far as helping an audience to understand “Ultimately this will result, in the building proves clearly that such a thing is not as These' suggested formulas have been 6. A connected playing of all the divisions the story. of an audience which will support grand impossible as it sounds—there is no reason PRODUCERS AT Hollywood foresee a found to be efficient in directing the pupil with special attention to interpretation Operas are sung in French, Italian and opera, both on the stage and on the screen, that the standard operas, “I Pagliacci,” reversal of the current trend of grand how to practice. and expression. German; and that part of the audience not in far greater scope than ever before.” “Rigoletto,” “Carmen,” and all the other opera stars toward it and feel that eventu¬ Exercises and Pieces: familiar with those tongues may be reason¬ “So far,” added Miss MacDonald, “I masterpieces, could not be successfully ally it will give back to New York’s Met¬ 1. A rhythmic playing of the entire study to Memorization: ably expected to know little of what it is believe that the success of the lighter translated. ropolitan Opera House two stars in return gain an elementary knowledge of the 1. An eye memorization of the individual all about. The artist’s gestures should have operas which have been done for the screen . for every one that it borrows; and they whole composition and to promote sight phrase divisions, committing the position the value of pantomime. By watching a has been because of their simplicity and Away from Black and White believe that the day will come when grand reading. of notes, key, and chord progressions. If great dancer perform, it is possible to naturalness; and I am sure that I am not OLOR FILMS, too, will add consider¬ opera will ask for stars from Hollywood. 2. The dividing and numbering of the necessary, reproduce on the staff the diffi¬ visualize the story the dancer is interpret¬ alone in my surmise that practically the ably to the attractiveness of the screen Firstly, the opportunities for an unknown phrase divisions. cult chord or measure in order to insure ing. It should be possible to do this in entire structure of opera must be Ameri¬ presentations of grand operas. Coming film singer to “crash” Hollywood are far greater 3. The recognition by eye of like and unlike complete mastery of memorization. opera. But singers have been taught, since canized if Americans are to support it.” To attractions will increase in popularity, par¬ than the possibilities of slipping through phrase divisions. 2. An individual memorization of the sepa¬ the days when operas were first presented, which Nino Martini, who was one of the ticularly because of the extended length of the jealously guarded portal of New York’s 4. The tapping of the rhythm in difficult rate hands. group being interviewed, added a most color films for musical features. Metropolitan. It follows, therefore, that as divisions. to think of nothing but their voices. Acting 3. A uniting of both hands. If there is now for the motion picture screen—especially emphatic, “Yes, I know that you are right.” Predictions, in certain cinematic circles, grand opera becomes popular on the screen, 5. The preparation and mastery of each unit any difficulty in memory, there should be are that complete natural color, for all seekers of singing fame will prefer to try (phrase division). singing for it—will develop them in the no guessing, but the .measure should be art of pantomime; and, with this revision Production Problems screen presentations, is inevitable. Under their fortunes first in Hollywood. Secondly, a. Individual hands with attention di¬ studied until the eye has a perfect image of technic, they will find it of immense RIEFLY, in adapting grand opera for present economic conditions, to film all of the screen unquestionably gives the singer rected to fingering, rhythm, and phras¬ of it. ing. benefit when they return to the stage. the screen, producers are up against Hollywood’s product in color is impracti¬ a much wider public—a single appearance 4. A final uniting of the phrase division with Moreover, they will find it a permanent the complex problem of exercising the cable. Special lighting, special camera equip¬ of an artist can be viewed by millions b. Hands together with attention to dy¬ consideration for rhythm, interpretation INDEPENDENCE HALL namics. liberties which motion picture and stage ment and other extra-technical require¬ throughout the world, at one showing, in and dynamics. 282 MAY, 1936 283 THE ETUDE of Schumann-Heink’s services and the de¬ aters have been built that can be rightfully sire to pay her a fabulous salary. A woman comparison to the limited number of per¬ for grand opera, brings the serious thought termed cinema palaces. Modernly lighted whose career was supposed to have been formances now given on the stage. Many that perhaps this occasion will result in the air-conditioned, with comfortable seats and The Freedom of the Air finished many years ago, now steps into times the amount of money is spent on the rising of an entirely new school of operatic divans—what a comparison with the opera another role and one that is predicted will filming of one production for the screen, singers, for the number of stars from the house” of old, which humorists so much bring her more worldwide success than A Radio Interview, conducted by the famous Radio Commentator as compared to the stage production. Time, operatic stage, suited to films, is, unfor¬ enjoyed making the butt of their )okes ever before. effort and cost are not considered. Their tunately, too limited. and rightfully. It is here, in a setting of So the screen will develop its own opera Indeed, Hollywood, the film capital, does goal is a perfect presentation and not de¬ beauty, that the arias of the world s great Boake Carter singers from the vast array of talent al¬ provide a new and larger field for the musi¬ pendable on one certain performance. In est sopranos, the voices of the finest bari¬ cal artist—for the operatic singer who has with James Frances Cooke many instances several days are spent in ready in its hands, such as Nelson Eddy, tones with a background of melodic Michael Bartlett, Jan Kiepura, Evelyn already attained success—for the artist who the ‘shooting’ of one particular scene. Be¬ choruses and strains of a gigantic symphony Lave, and many, many others. It would has been, as yet, undiscovered. The films Editor of The Etude Music Magazine sides the huge sums spent in production, orchestra, will reecho through its further¬ not be surprising to find that Hollywood may truthfully be said to have revived our Cost of Radio in Europe hundreds of thousands of dollars are in¬ most corners, with a true reproduction of Dr. Cooke : Government intervention of that we can hardly breathe. I a i told will be soon able to give the Metropolitan interest in music; they have infused a new vested in publicity and exploitation—all of the richness of the artist’s voice, which en¬ i broadcasting should, in my that the governmenttax on radio Mr. Carter: Is the cost of the radio more stars than it borrows. There is a life blood into an art that was becoming any kind which mean box office power for the star— gineers are untiring in their efforts to re¬ t, concern ltseu oruy wnu uwkh —--- - ,n?'b'°ns dollars a high in most European countries? proper place on the operatic stage for many lost in a jazz age; they are making it pos¬ ^ a thing which even the haughty impresarios produce with flawless perfection. obviously injuring or against pub- year; and, while British broadcasting is Dr. Cooke: Yes, it is, Mr. Carter; and, of these artists; just as it has been so sible for the world to hear its joyous mel¬ not sponsored by any advertiser) on Feb¬ that a of opera today cannot afford to ignore. Shades of Bizet and Toscanini, could they a high plane, it is not to be compared, m as in the case of the telephone, the results We agree with Jeanette MacDonald when delightfully proven that there is a place odies, the golden notes of its divinely ruary 7, 1936, in a nation-wide hook up, lie welfare. have visioned a Joan Crawford, a few short Mr. Carter: You speak of radio op¬ the quantity of excellent programs, with often ridiculously inferior to those we she says that, “I believe that grand opera on the screen and in the hearts of a larger talented artists, and to flood the earth with and it was heard by millions of people. years ago, as a Carmen, after the Russian eration. How does that differ from control? that of American companies, which send have in America, with our commercially public for the present day operatic star. the unequaled beauty and happiness that Many requests have been received. for on the screen is coming and coming soon, manner. And was it not but a few days astonishing programs without operated ’phones. I found, for instance, It is heartening to know that we will be none other of the cultural arts can hope to printed copies; and it therefore is published and I am preparing myself to be able to ago that the heads of two of the largest Control versus Operation cost to the public. when I was living in Paris, that a ’phone add my little part when it comes.” This able to hear these musical masterpieces in give so well as this marvel of an age of in this issue of The Etude. major producing studios threatened court Dr. Cooke: I do not like the word Mr. Carter: May the be said subscriber thought nothing of taking up statement, coming from one of the most a setting comparable to their beauty. Today, Mr. Boake Carter was born in Russia, action against each other for the privilege wonders: ‘control.” American business interests of the countries of Europe, other thanii ^ recejver and waiting from one to three prominent women of the screen available in almost every city of consequence, the¬ the son of a British consul. At the age of “control." American Dusmess interests are five he zoos taken to England, where he resenting the idea of government control. Britain ? minutes before getting any reply from al ah HR Dr. Cooke: Yes, and I have ? very “Central.” American owners of short wave was educated at Tunbridge Wells and It seems inevitable, however, that ♦*>* __ ‘Supreme strong feeling that the number and excel- sets all know of the lack of continuous pro- Cambridge. He also studied art at the future we are likely to have — dis- Court of the Ether,” which may determine lence of the programs in other countriescou",'’-”“ grams on many European stations, and famous Slade School and fincZ p^teT''At the out- certain major matters. The body should on the continent are not upup, generally,genera to they ais0 know of the disturbing “stage break of thetVWorld World War he entered the be composed of men of the highest stand- the standard of the British. The taxes waits” while the musicians If you aviation service. With the return of peace ing, elected for long terms of, let keep the radio out of the hands of many ready, or goodness knows what. fifteen to twenty years, or more, people.. where the earning .power i have a short wave set, listen in on half a he came to America, engaged in journal¬ leading Swiss city I was surprised dozen stations and see what I mean. For ism, andana Becamebecame an American citistemsen. ne it would be independent of partisan ... , ,■ zoos asked to report a Rugby Football party influence. Its guiding principle should to find that a radio was to be found these reasons alone, I have a firm convic- Many American tj011j baseci upon years of intimate study Game over the air; and this zoos so sue- be the dictum of the great English phi- in only one losopher and economist, Jeremy Bentham, homes_ have_ three each. That 0f the whole situation in radio, both here ccssful that he became a radio commenta- reasonably priced American receiving sets an(j abroad, that the least government in- entually acquired a willing The greatest good to the greatest “ -K1" ’ idience of millions of listeners on the her.” It should be broad enough and with splendid short wave bands are in tre- terference possible is likely to be the wisest 'Philco” period.—Editorial Note, enough to know that in the end the public, mendous demand abroad is due, I am told, policy. * * * * * and the public alone, is the best judge to the fact that all over Europe radio lis- j^r. Carter: What of music and radio entertainment, and teners are anxious to participate in the ;n America, Dr. Cooke? ELLO EVERYONE, Boake Carter «Pon mf.tters f taSte> all questions of personal appeal to the in¬ wonderful American programs. Many of dr Cooke : We have been blessed more speaking: dividual. But government operation :“ the American radios are extremely popular than any other nation by the extraordinary H In these days of emotionalism and in Europe. number of very fine musical programs pre- ^ the very outstart, I am emphaticafly In all European countries, of course, sented on the air. This has promoted a really magnificent symphonic programs tremendous interest in music and a far tne radio nas cume iu piayplay a greatergicaici roleimv. -- c " s done in Europe, **for are now and then presented; but in no one wider appreciation of what constitutes than ever in the life not only of America ^Keo^Matesthat such operation could lead country are the number of exceedingly g0(xl music. Broadcasting has advanced but also of the world as a whole. It is a enormous increase in taxes; and fine programs comparable with those given musical taste in the world more in the last personal, vital thing, this radio; it is already so suffocated with t n America. _i years than in the previous 1 young, yet withal immensely powerful; and turies. And these great programs—the its power is still growing. Those of us on broadcasting of great orchestras and the the inside of radio try always to realize broadcasting of the greatest artists—are and recognize the responsibility that falls really rare events abroad. Is not that in upon us to be honest, earnest and decent. itself a very clear indication that our And as time goes on, a more and more American system of commercial sponsors important role in American life will be has furnished something which the govern¬ played by radio and broadcasting. With ment-owned systems of Europe, despite all me tonight is Dr. James Francis Cooke, their monthly taxes on receiving sets, have president of the Presser Foundation, Editor not been able to produce? JEANETTE MacDONALD of Etude Music Magazine, a business ex¬ ecutive, composer, author and once deco¬ Sponsored Programs rated by the Government of France for his Mr. Carter: Yes, it would seem so. What Is "Popular" and What Is "High work in art education and public affairs. Brow"? Elaborate a little on that thought, Doctor. By Frank J. Black He has been connected with radio, since the days when it was but a struggling Dr. Cooke : Well, it is impossible to conceive a broadcasting system, supported baby, a wonder baby at which the world Com poser—Conductor—Arranger by subsidies derived from taxation, that gaped and wondered. As you know, Doc¬ could begin to afford such magnificent con¬ General Music Director of the National Broadcasting Company tor, there has been a lot of “hullabaloo” certs as American commercial sponsors recently about the freedom of the air, cen¬ (Editor’s Note: Frank J. Black is do not hesitate to confess that I consider “I wish that the term ‘popular,’ as it has and frivolous, melodious and ultra-modem. sorship and freedom of speech. Charges give to this country. I am told, on good one of the most brilliant of the present Jerome Kern’s Old Man River as much of been applied to music, did not imply cheap¬ But the public reaction is swift and sure. and countercharges have been flying through authority, that one commercial sponsor day writers for the orchestra. Millions a masterpiece as Schubert’s song, Dcr ness or bad taste. I have heard the current If it is a tin-pan alley tune it has to have the air, as thick as the snow that has been paid for a musical program of the highest hear him in his programs through the Erlkonig. It may not be a classic in point so called tin pan alley tune. Love in Bloom, something, and that ‘something- is a catchy flying outside to-night. You are an au¬ type, with great artists and a great con¬ National Broadcasting Company over of years, but it certainly is in content—yet, presented in a very beautiful way, well lyric and a rhythmic melody that can be thority on the American broadcasting pic¬ ductor, sixty thousand dollars, or one thou¬ the air. In the follozeing statement, to many, Old Man River is nothing more orchestrated, and played with exquisite remembered easily. And. speaking of catchy ture. What about this freedom of the air, sand dollars a minute; and the American which was made in Washington, before than a so called popular tune. On the other taste; which to me is much to be preferred lyrics, radio is extremely careful in its cen¬ Doctor Cooke, as it pertains to music? public, owning radios, had this served to the Federal Communications Commis¬ hand there are some persons of such exalted to a poorly performed Beethoven symphony. sorship. Some songs we permit to be per¬ Dr. Cooke: Well, luckily, I escape the them on a silver salver, as it were, entirely sion, he makes some very interesting musical erudition that they condemn Schu¬ “The American public today is hearing formed only orchestrally, others we permit political fireworks of the subject, Mr. free. I mentioned this to a famous radio observations upon the slight difference bert to the dustbin because his music is the finest performances in the world, not to be performed only when certain lines Carter. Although music contributes in all official from Europe, and he nearly fainted. between some fine popular music and more melodious than learned. I cannot for¬ only of symphonic and operatic music but are changed so that one may listen in one’s sorts of ways to most all broadcasting, He said, “Such programs would bankrupt much so called classical music.) give such persons whose appreciation of likewise of so called ‘popular’ music. Most own living room and not wince at bad taste. still, it is, in itself, free from propaganda my government.” Yet American commer¬ Schubert is qualified because of the fact of this is yours for the dialing. In fact, the or intrigue. On the other hand, music can cial sponsors must find these programs A Question of Quality that he was just about to study counter¬ performances in our concert halls have had A Growing Public Appetite be a tremendous stimulus to patriotic profitable, or they would not continue them “"DECAUSE Vict0r Herbert wrote musi- point when he died. In fact, there are some to keep pace with those presented over the LAST SPRING over the National thought. We have Land of Hope and from year to year. cal comedies fashioned on nonsensi- conscientious persons in the realm of serious air—or s.uffer inevitable comparison. In J Broadcasting Company networks I Glory for Great Britain and Stars and Mr. Carter: Well, why do these pro¬ -I—^ cal librettos, should we reject his music who believe that it is criminal to this connection let me point to just one fact. conducted the first performance in America Stripes Forever in the United States. grams cost so much? music as trivial? Should we listen only to write recognizable melody today. If we Time was when concert singers refused to of the music to the Russian ballet, ‘The Red Music can play its part in political cam¬ Dr. Cooke : Because great artistic genius the composers who wrote for the opera were to satisfy that group by broadcasting sing songs in English, because it was Poppy’ by Gliere. It is a long work requir¬ paigns, too. Everyone will recall Man¬ is like every other kind of genius. It is house and concert hall, those who unsuccess¬ only the works of the so called ‘modern’ thought to be an unintelligible language for ing two full hours for performance. Gliere hattan’s “national anthem,” The Sidezvalks rarer than diamonds or radium. One fully, as well as successfully, dealt in the song. Radio demanded understandable Eng¬ genius in five million people would be a composers—Stravinsky, Milhaud, Hinde¬ is one of the outstanding contemporary com¬ of Nezo York, in all A1 Smith's campaigns higher realm of deeper emotions? Those lish from singers. Radio artists perfected good average. Tell me, Mr. Carter, can mith and their kind—if we were to broad¬ posers of Russia; but strange as it may —and Happy Days are Here Again! in who worship everything the master com¬ their enunciation—and the concert singers you or anyone else name any one who cast such music daily, in a short time we seem, some advanced musicians called it old the Roosevelt campaign of 1932. posers wrote, their pot-boilers as well as are stepping fast to keep up with them. Mr. Carter : That is very true. But could take the place of Shakespeare, Wag¬ would drive most of our listeners to despair fashioned and reactionary. Nevertheless, the their masterworks, are not as discriminating “As wholesalers of music we must pre¬ should the government step into this pic¬ ner, Dickens, Franklin, Mark Twain, Liszt, or develop in them a hatred for music in public response was immense and immedi¬ as they are devout. Let us not be misled sent not only the best of the old but also ate. We do not list such performances ture, in either a hidden role or as an out Caruso, or let us say. Will Rogers? The by names and reputations. Personally, I the newest in all types of music—serious (Continued on Page 326) and out censor? BOAKE CARTER Almighty never made two geniuses alike. 284 THE ETUDE MAY, 1936 285 The American radio public expects the American broadcasting is1 clean, in the best; and, through a very remarkable con¬ sense that “dirt” is taboo. This is not Salzburg and the Mozart Spirit dition, the broadcasting companies and the because the government said it should be records and radio commercial sponsors give it to them for that way. It is because the sponsors know that it would be bad business to have it nothing,; and at the same time they do By Peter Hugh Reed By Grace O'Brien something else which is even more impor¬ otherwise. They have investments at stake. tant. The radio speeds up trade unbeliev¬ This profit motive is, to me, the motive which keeps American programs on the the colorful life in Spanish lanes and vil¬ ably; and I, for one, am very happy to TOKOWSKI, who is appearing with The Birthplace of the Great Master becomes one of air clean and wholesome. And it is this S lage streets. The second section is the share in the prosperity of a country which, the Philadelphia Orchestra in its motive which is a far more potent guard¬ nocturne—a dream picture which no words to my mind, would not be doing nearly so nation-wide spring tour under the the Musical Festival centers of the world. well if the radio did not manufacture new ian for our national broadcasting interests can ever successfully describe. And the last sponsorship of the R. C. A. Victor Co., as armies of customers daily and do it through than all the control demanded by mistaken section represents the bustle and life of a idealists, educational groups, religious done wisely, in continuing his series ot^re- paralleling their announcements with music “Fire festive crowd on the morning of a fete-day. Salzburg. Its picturesque charm captivates chord with its quaint brown and white key¬ groups, brain trusters or sociologists, often recordings, to re-play Stravinsky s The Highway of Music and other influences' of great cultural, in¬ : interprets this Piero Coppola and the Paris Conservatory one at first sight. In the distant back¬ board. It now stands in the room in which bitten by radicalism. Bird Suite.” For no o spirational and educational value. ; effectively Orchestra give a comprehensive perform¬ EVEN BEFORE Mozart’s day, music ground rise the noble summits of the Aus¬ he was born. Beside it is his little concert Mr. Carter: Of course, you will agree music more brilliantly o Mr. Carter: Are there any other ad¬ ance of this music for the new recording was seriously cultivated at the Court trian Alps, down from whose steep slopes piano. As we entered, upon the case lay with me that there are many types of pro¬ than does he. vantages to a free, untrammeled direction of it. of the Prince-Archbishops. Salzburg was rushes the roaring Salbach River that a little bunch of red carnations, tied to¬ grams on the air. The “Fire Bird,” written in 1910 for of musical programs on the radio? Most pianists are familiar with Debussy’s particularly fortunate in its geographical divides the town in halves. The narrow gether with laurel leaves, the touching Dr. Cooke: Yes. Diaghilev’s Ballet Russe, is both romantic Dr. Cooke: Naturally, having been a expression of paternal love—the album of position, its closeness to Italy, the land streets are pressed close to the river banks, homage of some admirer of the undying Mr. Carter: Do you feel that the same and modern in its aspects. For this reason, musician and at the head of musical inter¬ pieces he wrote for his daughter in 1908 where music flourished so magnificently in by high wooded hills crowned with red- genius that first saw the light of day in profit motive should cause a coloring of undoubtedly it has proven itself one of ests all my life, I have given the subject under the title of “The Children’s Corner." the sixteenth and seventeenth centuries, and roofed church or mediseval fortress. A this little room. opinion upon the part of the commentator ? Stravinsky’s most popular scores. The bal- much thought. Listening to good music, It recalls to mind Schumann’s “Kinder- whence it spread to all the countries of In another room are Mozart’s first violin, Dr. Cooke : I most emphatically do not. let was founded upon an old Russian striking landscape, of beautiful contours and, to an even greater extent, music study scenen” and Moussorgsky’s "Chambre northern Europe. letters, manuscripts and some pieces of For years I have been editing a magazine legend. Although the music of the suite and vivid colors 1 And, even in our strenu¬ and the playing of an instrument, each is As we travelled up the Brenner Pass, jewelry presented to him by great person¬ and we never have permitted an alteration can be enjoyed apart from the story it must d’enfant.” Perhaps nowhere in music did ous twentieth century, Salzburg has re¬ among the finest of all emotional safety one of the most beautiful in the Alps, with ages. These objects and the portraits of or eten a suggestion of an alteration of be admitted appreciation is enhanced by Debussy evince a more subtle expression tained its atmosphere of leisured calm, its valves. Music, through the radio, has its rugged, towering mountains, its woods Wolfgang, his sister and his parents, help truth or fact, because it might be commer¬ some knowledge of the tale. This, of course, of humor than in this suite. For this reason, old world repose. come to millions like the blessings of an and lakes, we thought and spoke of all the one to reconstruct the life of the artist cially desirable. We try to avoid hurting is given in the booklet with the set (Victor this music lends itself to attractive or¬ angel. Therefore, I think that music on Italian maestri of long ago, who had jour¬ Mozart’s Childhood family in their homely apartment; a happy anyone’s feelings; but when we have had M 291). On the odd side (six record face) chestration, because the various instruments the air should include all kinds. It is just neyed over this great highway. From the life, one gathers; a life of simple comfort, to tell the truth, we find that we have of the orchestra can color its varying S IT ANY WONDER that in such an as though one were making up a bill of of this set, Stokowski plays a prelude “Everyman,” as presented before the Portals early homes of music—Venice, Rome, I of Gemiitlichkeit (filled with good feeling). fare for a restaurant. The fellow who never lost a worth while friend by doing (which he has freely orchestrated), by moods more successfully than the piano. of the Cathedral of Salzburg environment, the son of that fine musi¬ Bologna, Naples—they carried their art to How the four must have rejoiced when wants corned beef and cabbage or pig’s Shostakowich—the young Russian com¬ Coppola and the Paris Conservatory Or¬ cian, Leopold Mozart, should have de¬ all the little northern courts and gave a the Prince-Archbishop released father knuckles is not going to be satisfied with poser. This seems to us a poor substitute chestra also play this work for Victor veloped his musical genius so harmoniously. marvelous impetus to a German musical Leopold from his duties, to enable him to caviare or crepes Susette. The air belongs Genius Limited for the superb Entr'acte to Moussorgsky’s (set M 280). His father, who belonged to the musical OME HALF DOZEN continental art. And a century later, through that take the six year old Wolfgang and his to everybody, Mr. Carter, and let us keep “Khovantchina,” which occupied a similar Haydn’s “Emperor Quartet” is badly S household of the Prince-Archbishop, was Mr. Carter: You apparently do not towns have come to be regarded as same mountain pass was to flow the mag¬ sister on their first tour to Munich, Vienna; it that way. To put a tax on the indi¬ think, then, that the government could pos¬ misnamed, for the prime reason for this not only a talented artist but also a far- position in the old set. in a special sense sanctuaries of music nificent stream of German music which, in and, encouraged by the enthusiasm they had vidual radio in the owner’s home, to pay The greatness of Beethoven’s artistry— sobriquet is an altogether extrinsic circum seeing business man—one of the cleverest sibly run programs at lower cost? —shrines to which the music lover makes its turn, was to inspire and revive the art aroused, the following year to Paris, Brus¬ the tremendous costs of such glorious pro¬ Dr. Cooke : It could; but the programs its enduring worth, its realization of human stance. This title is derived from the fact impresarios that ever presented an artist to his yearly pilgrimage. These favored spots of Italy. sels and London. How those rooms must grams, would have made the home cost of would suffer. The Soviets tried that—and drama in the greater emotions of man, its that the second movement is founded upon Salzburg, so near the Italian frontier, the public. He watched with pride the are permeated by the spirit of some great have re-echoed to Wolfgang’s laughter and maintaining the radio virtually prohibitive. note that the greatest of Russian-born pantheistic reaffirmations of faith, its as¬ the Austrian national anthem, which musical development of his two children. genius of the past or stimulated by fresh felt the full strength of these musical cur¬ chatter when he returned triumphant from singers, Chaliapin, has not sung in Russia surance of strength and belief in the ex¬ Haydn originally wrote in 1797 for the rents and took the impress of Italian art First the daughter Nannerl was the object Elevating Taste currents of modern art. One of the most successive journeys and related to his since the Reds put this scheme into effect. pression of the ego—is being reaffirmed Emperor Franz Joseph’s birthday. The more definitely than any of the other little of his assiduous care. But even in infancy delightful of these centers is Mozart’s birth¬ mother and sister the adventures he had al¬ Mr. Carter : Well, we hear some pretty They wanted him to sing for a pittance. quartet is not in any way regal or imperial¬ little Wolfgang showed that he was des¬ daily in multitudinous homes throughout place at Salzburg, Austria, for some years Germanic states. Its rulers, the Prince- crude music from time to time over the As I have said, artists are worthy of the istic as its name might imply, but music of tined to outstrip his sister. Then all the ready described in his amusing letters home the civilized world by means of records and past the scene of a festival which has grown Archbishops, were imbued with the south¬ air, don’t we, Doctor? highest fees, because the Lord makes so great geniality and, in the case of the father’s hopes became centered in this re¬ —some of which are to be seen today in a radio. One wonders what the phonograph steadily in importance. ern culture. They built their palaces, Dr. Cooke: Yes, but who is to say few of them. By very nature itself, the second movement, poetic beauty. In Colum¬ markable son. He trained the tiny fingers case in that very sitting-room. and the radio companies would do without Political disturbances of the last sum¬ castles and churches in the Italian style whether it is good or bad? Everybody has supply of the great artists is limited. Yet bia album 246, the Lener Quartet performs to a virtuoso-like skill on the clavichord; this tonal Titan’s works—the individualized mer in Austria, following the murder of and decked them with art treasures col¬ The Link With Bach his own tastes. Who am I, to say my the public demand is unlimited. It is right speech of which has come to mean so much this work in a highly refined manner. lected during journeys over the southern encouraged the first attempts at composi¬ Premier Dollfuss, threatened to upset the AT EVERY COURT, in every capital, tastes are better than yours, or vice versa? and proper that these artists should be paid to mankind, and which since its inception Monteclair was a contemporary of frontier. Like the other German princes tion, noting down with immense pride the arrangements for the Festival. We were the “wonder child” was acclaimed with Musical development, Mr. Carter, is like in accordance with their rare gifts. Be¬ has never ceased to satisfy the discriminat¬ Rameau, hence it is not surprising to find of that day, they were admirers of Italian minuets of the four year old baby. He a ladder. People start upon the bottom in Italy on our way to the opening cere¬ the utmost enthusiasm. But during these cause American commerical interests are ing music lover. his music of similar genre. His Plaisir music and invited Italian composers and planned with great astuteness and worldly rung, with music which shows little skill monies at Salzburg when rumors of war journeys the wise father lost no opportunity willing to pay and the Soviets are unwill¬ The new recording of Beethoven’s “Em¬ Champetres, which the Paris Society of virtuosi to their courts. knowledge the first concert tours of the and inspiration. If these people can hear, threatened a check on our plans. Was it of improving his son’s musical education. ing to pay, the American public has heard peror Concerto,” played by Walter Giese- Ancient Instruments performs in Columbia The architecture of Salzburg still shows child prodigy and watched with joy and side by side with their trashy music, mel¬ safe to cross the frontier? Would it, in¬ He took him to hear the best music of the Chaliapin. The Soviets have enthusiastical¬ king and the Vienna Philharmonic Or¬ album 248, is music of a quiet charm—a this influence, the stately cathedral is astonishment the unfolding of his extraor¬ odies of better quality, something very re¬ deed, be possible to hold the Festival? countries they visited and saw to it that ly endeavored to promote music. Great chestra, direction Bruno Walter (Columbia bygone era, which should prove most ac¬ modeled on St. Peter’s at Rome. Today dinary genius. How bitter must have been markable happens. Fine music seems to Eventually word came that the programs he had lessons in the various branches of artists, however, are international; they set 243), is one of the finest performances ceptable to those who like eighteenth cen¬ its marble facade serves as a setting for his disappointment when Wolfgang failed to draw people up to a higher level. This were to proceed according to schedule; and, his art, from the most celebrated masters. are world people, and they must be paid, of this great work we have- ever heard. tury music played in the manner of the Hofmannsthal’s miracle play, “Everyman,” obtain the recognition and the honors which has been confirmed in my own experience, in spite of untoward circumstances, the Thus in London he became the pupil and not with plaudits and money of but local Gieseking realizes its heroic qualities (not so wonderfully produced by Max Reinhardt were his due, to the attainment of which time and again. Conservative estimates season, begun under such unfortunate aus¬ friend of Bach’s youngest son, Johann value, but with currency good on the ex¬ regal—the concerto was misnamed by a Berlioz’ Funeral March for the last that it transports one back to the mystical the father had sacrificed his life. have been made that from forty to fifty pices, was a particularly brilliant one. Christian, whose music, definitely Italian changes of the world. The same is true of publisher, not the composer). Under his scene of “Hamlet” is impressive music, atmosphere of the Middle Ages. Many of per cent of the broadcasting time of the other singers from other countries. I have The backbone of all the musical per¬ The Mozart Home in style, was then better known than his hands the first movement emerges as a which realizes without exaggeration the the ancient houses of Salzburg, set in major companies is given over to subjects formances was the Vienna Philharmonic father’s severer compositions. A “Sym¬ just been looking over an exhaustive report song of triumph, and the lovely slow move¬ significance of the tragedy it seeks to con¬ charming irregular old world squares or THE LITTLE FLAT, where the family that are quite definitely cultural, educa¬ of the astonishing programs and the great Orchestra. Great conductors directed and phony in B” by Johann Christian Bach ment a thing of deep devotion. Walter and vey. Sir Hamilton Harty and the London “Platze,” have a touch of rococo ornamen¬ lived for twenty-seven years and tional and inspirational. It seems to me number of great artists who have appeared famous soloists collaborated in a succession was performed at the first symphony con¬ Gieseking are ideally mated in their concept Philharmonic Orchestra play this work for of splendid productions including operas, tation round their windows and doorways. where Wolfgang spent his childhood, is that this is a mighty fine record for the in them. Any boy with a radio in an cert of the Festival. The fresh, beautiful of this music. For this reason this set Columbia (disc 68429D). symphony concerts, recitals of chamber And mediaeval archways, leading from one today a place of pilgrimage for the musi¬ broadcasting companies and their sponsors. American farmhouse has today more ad¬ little work, as interpreted by the Vienna ranks as one of the great phonographic Koussevitzky, making less of the second music, and sacred oratorios. Works by narrow thoroughfare to another, recall little cian. One climbs up three flights of stairs I really do not think that the public of vantages for hearing fine music than a to the four roomed apartment in the Philharmonic Orchestra, under the con- any country could digest very much more, contributions. The recording is spacious and and third movements than most conductors various classical and modern masters were old world towns south of the Alps. student in the heart of Berlin. Getreidegasse. It still contains a few ductorship of Willem Mengelberg, was an without academic dyspepsia. Now then, unexaggerated in its amplification. do, builds his reading of Mendelssohn’s heard, but Mozart’s name held the place Mr. Carter : Do you feel that the radio Scenic Beauty pieces of the family furniture and the blue- unforgettable pleasure, as well as a strik¬ suppose a government were to appoint a Beethoven’s “Sonata in C Minor, Opus “Italian Symphony” toward its brilliant and of honor in the programs; and, better than has injured the interests of American green porcelain stoves at which, on bitter ing revelation of the affinity between commission, composed of the finest mu¬ 30, No. 2” comes from one or the freest vivacious finale, which is founded upon any other music, his exquisitely suave BUT IF the Prince-Archbishops were at music study? winter days, young Mozart warmed his Mozart and Johann Sebastian's youngest sicians in the country. They would then and most joyous periods of his life. It was the Italian duo-dance form called a Sal- strains seem to suit the atmosphere of his pains to beautify their capital, nature Dr. Cooke : Most certainly not. At the too has lavishly showered her treasures on fingers before sitting down to his clavi¬ select only programs representing their start it unquestionably diverted attention written in 1802. Next to the “Kreutzer” terello. His interpretation of this section this sonata is perhaps his best in this form. own cultured tastes. The results would be from music study; but radio is the great¬ is truly miraculous and Victor’s recording It is essentially poetic, and though more disastrous to those millions climbing up est advertisement music ever has had; and of this work, made at the same time as the ladder. It would be far better for the I feel that in years to come it will be diffi¬ capricious in form than the “Kreutzer Strauss’ “Also Spake Zarathustra,” is government to keep out of the matter al¬ cult to find enough well trained teachers Sonata” or the “Sonata in G major, Opus superb but not exaggerated in its realism. together and to allow people of wide ex¬ to meet the demand. 96,” it is at the same time particularly Recommended recordings: Heifetz’s per¬ perience to decide these matters, as they ingratiating music. It is splendidly per¬ formance of Vieuxtemps’ “Fourth Con¬ have indeed been decided so well by the Keep the Air Free formed in Victor set M 283 by Adolf certo” (Victor set M 297); Kirsten keen insight of American commercial in- Busch and Rudolph Serkin. Flagstad’s singing of Elisabeth’s Prayer Mr. Carter: It is very clear, Doctor, A most welcome re-recording is that of from “Tannhauser” (her best record to that you are opposed to anything but very Debussy’s “Iberia” which Victor lists under date) (Victor disc 8920) ; Marcel Movse's The Profit Motive limited government control of our broad¬ the old set number of M 77. In “Iberia,” flute playing in Ferroud’s “Trois Pieces casting business. Mr. Carter: Just what is it that has Debussy succeeded in creating perhaps the pour Flute” (Columbia disc 68433D); brought about this high standard in this Dr. Cooke: Yes, absolutely opposed— most beautiful orchestral nocturne ever because it would mean greater taxes for a Zemachson’s “Chorale and Fugue in D country ? written. This is the second section of the minor”—Ormandy and the Minneapolis Dr. Cooke : The “profit motive,” I product that might be inferior; and it work, known as “Perfumes of the Night.” would mean interference with free thought, Orchestra (Victor discs 8924-25); and think; the “profit motive.” Remember, The whole suite is, of course, an imaginary Thill’s singing of the aria Inutiles Regrets before large commercial interests invest free choice, free speech; all of which are picture of the gayly romantic Spanish inherent attributes of a true Democracy, from Berlioz’ “Les Troyens a Carthage" millions in broadcasting, they examine ex¬ peninsula. It opens with a tonal picture of (Columbia disc 9098M). haustively the kind of programs which such as ours. I do believe that the govern¬ they believe, in the long run, will produce ment ought to safeguard the public from the best impression on the public, in re¬ fraud, or fraudulent advertising, from in¬ lation to the product merchandised. Now decency and injustice to any individual or ... 'T , rveenr musical phenomena, oi THE MOZARTEUM AND CONSERVATORY AT SALZBURG INTERIOR OF THE FESTIVAL PLAYHOUSE AT SALZBURG what has happened on account of this? (Continued on Page 332) striking is the revival of interest in Mosart.’’— Francis Toye. 286 MAY, 1936 287 THE ETUDE court costume the Empress Maria Teresa presented to him when he so delighted the The First Operas, Viennese court with his music. A charm¬ THE VOGUE FOR OPERA had ing interlude in the more serious events oi spread from Italy all over. Europe. It the Festival. BAND AND ORCHESTRA DEPARTMENT was the ambition of every composer to suc¬ ceed in this favorite form. During a visit The Little House of to Vienna the eleven year old Mozart began Conducted Monthly by “The Magic Flute” to try his hand at opera, and composed his first two works: “La Finta Semplice” and UP ON THE HEIGHTS of the Kapu- VICTOR J. GRABEL “Bastien and Bastienne.” The latter was zinerberg stands an interesting me¬ FAMOUS BAND TRAINER AND CONDUCTOR given, there and then, in Vienna. On morial to “The Magic Flute,” most of Mozart's return to Salzburg the Prince- which Mozart wrote in a summer house Archbishop had “La Finta Semplice” per¬ adjoining the Viennese theater where the formed and he then awarded the little prodigy opera was first produced. Some sixty- the honorary title of “Konzertmeister.” years ago the owner of the property, Count But the father realized that only in Italy Starhemberg, presented the wooden hut tc could his son learn how to write Italian Mozart’s native Salzburg. It now stands opera. The Archbishop, who was of the on the hill overlooking the town, at the same opinion, gave them both leave of ab¬ edge of a lovely wood. Green trees and the Richard Wagner's Overture to "Tannhauser' sence; and Leopold was able to carry out song of birds make a poetical setting for his long cherished plan of an Italian tour. the little house in which Mozart wrote this What preparations there were in the little music which retains an everlasting fresh¬ flat! The mother furbished up his ward¬ seductive wiles and surrenders himself to a Elisabeth has heard their approach and ment. In the specified transcription the ar¬ ness and charm akin to the beauty of nature. AN OVERTURE, or prelude, to an ranger has sought a more sonorous effect robe. The fine court clothes he wore at life of pleasures. Finally, becoming satiated anxiously watches for Tannhauser—-but he /A opera should foreshadow the mood than that designed by the composer and his concerts, the brocades and laces, were with this existence, he begins to long for is not among them. As she broken-hearted- THE SALZBURG CASTLE, AS SEEN FROM MIRABELL GARDEN SELF-TEST QUESTIONS ON A. and spirit of the ensuing drama. has employed all the several clarinets, four freshened up and packed by the mother and a sight of verdant nature, the green fields ly ascends to the palace, Wolfram, who has MISS O'BRIEN’S ARTICLE While this seems quite patently obvious and horns, bassoons, saxophones and tubas. It sister; whilst Wolfgang practiced and Leo¬ and valleys, the songs of birds, the com¬ been observing her with profound emotion, logical, the procedure has not always ob¬ may be found advisable to limit the num¬ pold planned a veritable siege of the Italian 1. Note has the natural location of Sol:- panionship of his earthly friends. tunes his harp and sings the lovely Song deep well of the courtyard, to the starry fect interpreters of the roles of “Don Gio¬ tained. ber of voices to be employed in the open¬ music centers. For, though the boy was hurt} affected its musical history? Venus reminds him of the earthly sor¬ to the Evening Star. sky, floated the delicate notes of a Mozart vanni" and “Donna Anna” could be im¬ Prior to the time of Christopher Gluck, going to Italy as a student, the father was 2. Hmv hare the rulers of the province af¬ As he sings darkness descends. A lone ing. “Serenade.” Music full of living beauty, agined than the two American artists of the overture generally bore no relationship rows he endured as compared with the joys determined that the pupil should astonish fected its musical developmentf which he has found in her companionship. pilgrim, ragged, emaciated, and exhausted, It is worthy of note how the great even today, though the princes for whom Italian lineage, Ezio Pinza and Dusolina to the opera and thus had no dramatic sig¬ master, John Philip Sousa, performed this his masters. And so he did, arousing such 3. Tell something of the precocious youth He seizes his harp and, in the Song to appears leaning wearily upon his staff. It it was written have passed away and their Giannini. Their personalities, the beauty nificance. Overtures were often even bor¬ passage. He employed the clarinets and admiration that Leopold wrote home, “It is of Wolfgang Amadeus Mosart. Venus, extols her matchless beauty. But is Tannhauser. Wolfram is astounded that staterooms are dark and silent. of their voices, the verve of their acting, rowed from other works. Gluck first horns as Wagner had done but substituted the same here as everywhere else—no need made the performance an unforgettable ■/. What characteristics did father Moxirt his desire to leave becomes ever stronger. his old friend should return unpardoned. employed thematic material from his operas bass clarinet and first tuba for the two to describe it.” one; and the gripping beauty of the music, display in the care of his children? for the construction of his overtures—thus She refuses to let him go and he finally Tannhauser details the trials and tribula¬ During that Italian year the young genius “Figaro” and “Don Giovanni” rather “slow-speaking” bassoons. This gave its humor, elegance, and emotional depth, 5. Describe the Mosart House as it stands imbuing them with dramatic and logical calls upon the Virgin Mary for aid. His tions of his unhappy pilgrimage and how acquired the skill in vocal writing and that UT THE friendly Prince-Archbishop a richer and more sonorous effect. Mr. made one ask what other operatic composer today. prayer is heard. A terrific crash ensues; finally the Pontiff had pronounced him for¬ . suave beauty of melodic line that charac¬ died and his successor, Count Collo- significance. Sousa once told me that Emil Sauer, the ever attained such perfection of dramatic 6. Tell the story of "The Magic Flute" the realm of sinful pleasure disappears and ever accursed—that there was as little terize his operas. Having won his spurs redo, made Mozart’s life in Salzburg un¬ Mozart, Beethoven and Weber further great pianist and composer, came to his expression. House. the repentant Tannhauser finds himself in chance of forgiveness for him as that his in Italy, all the roads to musical fame endurable. The story of how the great infused the dramatic and romantic spirit dressing room in Dresden after hearing his Though the music of Beethoven, Weber, 7. Write a sketch of a Salzburg Festival a beautiful valley, with the castle of the pilgrim’s staff might again put forth green seemed open. But for the present he waited composer was literally “kicked out” of his into the operatic overture but it remained band play the overture and told him he Wagner, Strauss, and many other great as here outlined. for that Titan of dramatic music, Richard Wartburg in the near distance. leaves. in Salzburg, where father and son con¬ service is all too well known. A rosy mist appears and Venus is re¬ wished that Wagner might have heard the Mozart now settled in Vienna and mar¬ composers, was performed at the Festival, Wagner, to reach the highest culmination In the woods near by the tinkling of bells tinued to carry out their duties as court vealed calling to Tannhauser to join her improved effect at the opening—that he ried his cousin, Constance Weber. He was everything in Salzburg seemed to speak of in the art of symbolizing in the operatic is heard; a shepherd lad, seated on a high musicians. again in the ardent delights of her realm. was sure that after doing so Wagner would to live only ten years more, years of con¬ Mozart: the town has indeed become a overture the spirit of the opera itself. rock, celebrates the coming of a new spring Wolfram struggles to save his friend from have changed his orchestration to accord Music at the Salzburg Court stant struggle against the intrigues of monument to his glory. The subject for the opera “Tainhauser” as he plays upon his pipe. From the dis¬ these fatal seductions. He tells of the faith¬ with it. rivals. Deprived of the guidance of his Three times a day the eighteenth century Heavy Thumbs (the German pronunciation being Tonhoy- tance a group of pilgrims make their way ABOUT THIS TIME Mozart wrote fulness of Elisabeth and Tannhauser halts. After sixteen bars a second subject enters worldly-wise father, who remained in Salz¬ carillon, the Glockenspiel, rings out its ser) was taken from a mediaeval legend down the mountainside. With a song of . some of the lovely Serenades which Down the mountainside descends the —the thrice soaring of the melody to the burg, Mozart was quite unfitted for the chimes, and how delightfully the notes of By Gladys M. Stein which the composer so modified as better praise they cross the scene and disappear the visitor to the Festival can still hear Landgrave, accompanied by a train oi octave, expressing joy and exultation, is played on balmy summer evenings in the contest. Yet during those difficult years he the menuet from “Don Giovanni” float over In piano passages like the following to comply with his dramatic purposes. It upon their way to Rome. nobles and followed by a group of young entrusted to the violoncellos. courtyard of the “Residenz.” Mozart him¬ wrote some of the most beautiful music Mozart’s town. We find him even in the taken from My Bonnie by Grcenwald, is worthy of note that Wagner wrote all Tannhauser has stood silently viewing pilgrims who carry on a litter the body of self no doubt often took part in these per¬ the world possesses, his three great operas: Marionette-theater. No doubt Wolfgang young players often have difficulty in mak¬ his librettos as well as the music. This the scene. Church bells are heard in the the young Elisabeth who has gone to formances, given for the entertainment of “The Marriage of Figaro,” “Don Gio¬ and his sister often visited the old puppet ing the melody sing out above the repeated libretto was completed in 1843, about the valley; he falls upon his knees and prays her heavenly reward. Tannhauser, grief- the princes and their guests, assembled in vanni,” and “The Magic Flute.” shows of Salzburg. Today he is himself notes played by the thumb. time of his thirtieth birthday. The music for forgiveness. As he silently prays a stricken, invoking her heavenly aid, falls the splendid staterooms above, on the -first During the first week of the Festival one of the characters in the clever Marion¬ This can be cured by having the pupil was completed in April, 1845, and the opera hunting party comes upon the scene—it is beside her and dies. At this moment floor of the Palace. Today these serenades there was a splendid performance of “The ette plays that fascinate young and old. We practice playing the repeated notes lightly received its premiere at Dresden in Octo¬ the Landgrave and his knights, some of of the young pilgrims advance carrying the This leads up to a climax in which the are some of the most poetical events of the Marriage of Figaro,” in German; whilst were attracted thither by the performance and very staccato while keeping the upper ber of that year. whom are former friends of Tannhauser. pilgrim staff which has put forth green trombones enunciate the Pilgrim? Chorus Festival. The first impressions of one of the following night we heard “Don Gio¬ of his early operetta, “Bastien and Basti¬ notes heavy and legato. The composition of the overture was left They rejoice at his return and bid him a these nocturnal concerts remain a delight¬ vanni” in the original Italian form. The enne.” It was followed by a little scene until the last and all of the material em¬ joyful welcome. They tell him oi the com¬ leaves, betokening Divine pardon. against the rapidly moving figurations in accidental juxtaposition of the two works from the composer’s life. ployed in the overture is taken from the ing minstrel contest at the castle, the prize the violins. Following this the second sub¬ ful memory. The Overture The courtyard of the Palace was in dark¬ —due to a change of program—provided a When the tiny curtain rose, there was opera. The music represents two distinct to be the hand of the Landgrave’s niece, ject (Ex. 2) returns and a gradual dynamic ness, except for the dim lanterns on the most interesting contrast. In spite of the the sitting-room in the Mozart home which opposites—the allurement of sensual sin, the lovely Elisabeth. Tannhauser is per¬ THE OVERTURE OPENS very abatement proceeds until the opening theme musicians’ desks. So mysterious was the beauty of the “Figaro” performance, there we had visited that very morning. Papa and redemption by Divine mercy. The suaded to join the contest. quietly with the broadly sustained is again presented by the two clarinets, two atmosphere that no one spoke above a could be no doubt that this music should be and Mamma Mozart seemed to have stepped P Venusberg music represents the former and The great hall of the castle is set for the Pilgrims’ Chorus, set forth by two clari¬ horns and bassoons. The final phrase is whisper. The audience were vague, sung to the Italian words for which Mozart out of their portraits; they were talking the Pilgrims’ Chorus the latter. The signif¬ contest. Elisabeth, who has loved Tann¬ nets, two horns and two bassoons. The suppressed and the Venusberg music sud¬ ghostly shapes huddled on the benches. of their wonderful little son. Presently Such work gives independence of fingers icance of the music may be transmitted hauser and has mourned his absence, now is deeply religious spirit of this chant could denly enters. How refreshing wa% the cool night air, “Don Giovanni” was one of the outstand¬ the door opened, and in tripped the six year best by presenting briefly the story of the animated and joyous as she enters the hall not be more effectively presented than by and teaches the pupil to listen for the The Overture Pattern after the hot concert hall. Then up the ing events of the Festival. No more per¬ old Wolfgang, dressed in the lilac-colored melody. opera. and salutes it with her song, Dich, theure the rich, cavernous tone of the clarinet in Halle (Hail, Hall of Song). The Festival its “chalumeau” register, combined with THE OVERTURE is based upon the The Plot March ensues as the knights and ladies, the nobility of the horn. sonato-form and the Venusberg music TANNHAUSER WAS A knightly preceded by pages, enter. Throughout the opening sixteen bars the (Ex. 3) constitutes the first theme of the troubadour of the thirteenth century, Wolfram is the first of the knightly min¬ melody is carried jointly by the first clari¬ Allegro. one of a class of German noblemen who strels to appear. He sings of Love as some¬ net and first horn while the other instru¬ Violins & Woodwind wrote poems and songs, and often sang thing pure and ethereal, comparing it to a ments supply the harmonies. them on festive occasions to the accomf spring of limpid water which he would fear paniment of their own lyres. to disturb by his approach. Tannhauser inadvertently strays into the He is followed in turn by Walter and Venusberg (subterranean realm of Venus), Biterolf. Tannhauser combats such defini¬ or Hill of Venus. After entering the hill it tions of Love and proceeds to sing the is found that the grotto extends to great praise of pagan Love. The assemblage is distances. In the background, under a rosy horrified, other knights draw their swords light, a blue lake extends. In its waters as he sings of the delights of Venus. Elisa¬ sirens are disporting themselves; on the beth saves him from death. As he recovers shores lovers are grouped and nymphs and from his mad frenzy and realizes his guilt, bacchantes are dancing in wild abandon. he is overcome with remorse. He agrees to It is the spell of Venus embodied in the In the foreground, upon a magnificent dais, join a band of young pilgrims on their ethereal trills and tremolos of the violins Venus reclines. Here the Goddess of Love way to Rome and thus to seek pardon for and upper woodwinds, beginning pianissimo lures men to her abode of sinful pleasures, his sins. and alternately swelling and subsiding with holds sway over them, and finally casts The season of autumn arrives. Elisabeth sensual crescendos and languorous diminu¬ their souls into perdition. As Tannhauser has prayed daily for him who so cruelly be¬ endos. From the thirty-second bar of the approaches he is surrounded by.enchanting trayed her. The pilgrim bands are now re¬ Allegro the Venusberg motive pervades the perfumes which steal away his senses. In turning from Rome and one of these groups, orchestral texture, being allotted mostly to the most seductive of half-lights he beholds singing a chorus of praise, passes across Since many high school bands will be the viola and clarinet. THE “MAGIC FLUTE” HOUSE the form of Venus who beckons to him. the valley in the distance and later descends playing this overture in this year’s state At the 44th bar an amorous theme ap¬ on the Capuchin Mountain near Salzburg, inhere Mozart - Unlike Parsifal in the enchanted garden, the mountainside and passes across the and national contests it is fitting that some pears in the violins (un poco ritenuto) composed his famous opera. The Room in which Mozart was bo Tannhauser cannot repel the enchantress’ front of the stage and on, into the distance. reference be made to the band arrange- (Continued on Page 321) the Instrument is one used by Maze 288 MAY, 1936 289 THE ETUDE COURSE MUSIC EXTENSION STUDY Analysis of Piano Music appearing in A Monthly Etude Feature The Teachers’ Round Table the Music Section of practical value, For Piano Teachers and Students of this Issue Conducted Monthly by by an eminent Specialist fu. Dr lohn Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR _ ease in playing passages divided betweeq LONGING FOR HOME the hands. Necessarily the divided pan, IN LILAC LAND The second theme, in F major, is a By Franz Liszt change into the key of the lowered sub¬ must sound as though played with one ' By H. D. Hewitt mediant, and here proves effective and a One of Liszt’s lesser known piano pieces hand. No perceptible break, tonally rhythmically, should exist as the passage Tenseness in Octaves Appropriately enough Mr. Hewitt’s In welcome variation from the more usual Lc Mai du Pays, ments a place a. the Staccato with Pedal No question will be answered in The Etude unless accompanied by the full name transfer from one land to the other. Lilac Land comes first on The Etude’s dominant or subdominant key. Quieter in renertoire of the young pianist. It s t>pi Why, In music supposedly care¬ and address of the inquirer. Only initials, or pseudonym given, will be published. The answer yon made to an in¬ cafly Liszt in treatment and pr°v,des firie quiry regarding octave playing in musical menu this month. mood at the beginning, this second theme It will be found effective to roll the fully edited, does one find such ap¬ All questions directed to this Department must be of a nature to interest its readers the November Etdde I have followed From the teacher’s standpoint this piece preparation for some of the niore d.fficult parent contradictions as staccato works up to rather big proportions tonally broken chord passages as this gives a tux marks with pedal? For instance, on in general. Mr. Maier can not answer personal questions by mail. The Etude’s through very carefully. is of definite value. To begin with it climaxing at measure 75 where largamente and complex compositions of the differing in quality from that of the chord page 58 of “Favorite Compositions" staff of experienced musical experts will endeavor, however, to give advice and in¬ I desire to ask information regard¬ stresses the importance of rhythmical ob¬ master. The varied rhythm in the first sec- by Mozart (Presser), in the Pastor¬ ing a problem I never had before. is followed by rit. e dim. and the mood es¬ passages. ale VariCe, the pedal is marked every formation when possible. We can not answer lists of questions for examinations I have a third grade pupil, thirteen servance, since it is written in mazurka tablished for the reentrance of the first tion suggests a certain unrest in keeping In accordance with tlie title the pk« half measure and directly above this and contests. years of age, who appears to have style, and third graders should have con¬ with the title. This entire section is in the marking appears the direction, ben normal hands and does very good theme. A pedantic interpretation of this should be schersando—'“playful” in char- staccato it basso. One of my alert work in playing Hanon and Czerny- siderable practice in playing the dance little number is to be avoided and freedom nature of an introduction to the adaqm beginners has questioned me about Liebling, but as soon as she com¬ mences to play octaves, the left hand forms. Also, it provides fine practice in theme which begins at measure 20. This The second section, in the relative minor a similar discrepancy in one of his of style encouraged. pieces. Ali I could say was that the 2.—As to your Plaidy triplet-scales, I the scales, arpeggios and studies of takes a deformed position. A high playing dotted eighths followed by six¬ theme employs a device of which Liszt was key, is played somewhat faster than the staccato marks indicated that one is Czerny, Cramer, Bach, Mozart, Cle¬ wrist persists and the knuckles sink must confess my ignorance. Years ago ment!, and numerous other master in, especially the fourth and fifth, teenths—a matter which presents problems fond and which is in evidence in many or first, Piu Mosso. This section should ntt to use the touch usually used for detached notes, but the pedal modi¬ I loaned my Plaidy book to a pupil and pedagogs. This takes more than four causing the fingers to ascend. I have to certain pupils. A DAINTY GAVOTTE his compositions; to wit, a sustained years, as we know, yet I do not wish tried having her close and open the sound too “thick." It is well down in the fied the effect. Most of those who do have not seen it since. I have not missed Beginning at measure 17 use the rolling melody against detached chords. Do not tonal register and should be played wife not notice this apparent discrepancy hand and have explained the neces¬ of rotary motion for the right hand when By Percy E. Fletcher are those who harbor the delusion it for I never thought it a very important sity of a lower wrist and knuckles allow yourself to be tempted to destroy the somewhat shallow touch. that the damper pedal is just a loud ‘mptj being more prominent. So long as playing the five-finger groups in sixteenths. book anyhow. So I cannot answer your A nice little number is this of Mr. effect desired by the composer, by inju¬ Add this interesting little number to tlx pedal.—F. G., New York. the outside of the hand is pressed question. upward, her playing is normal, but After the reentrance of the first theme a Fletcher’s. In origin the Gavotte is French, dicious use of the pedal. The melody tone „„ ..../"difficult numbers well, ti_. when my hand is taken away, the teaching repertoire. Thank you for helping me out! You But this much I can say—that I see no new theme is introduced at measure 49 in and is said to be named for the Gavots, a in the upper voice of the right hand must how can these young high school old position is taken immediately. have very cleverly answered your own earthly reason for practicing scales in students with only a few years’ I shall appreciate any help. the subdominant key. A more animated race of people who lived long ago in be heard to sing after the accompanying training, interpret -- - section follows beginning at measure 65. SEE-SAW question, viz: when the staccato touch is triplets excepting an occasional one for the —G. S., Michigan. Dauphine. It differed from contemporary chords have been released. When they hav- The tempo is mz. ked piu mosso and the used with the damper pedal, it is modified rhythmic swing, or for practicing two notes fflay? S-'ie of it“ is atrocious and its dances in that the dancers lifted their feet The edition presented in The F.tude is By Edna Piktsch _se is that it brings out and given a different sonority. You can in one hand against three in the other. dynamics messoforte. from the ground whereas in other dances carefully and comprehensively edited, and A one-line First Grade melody supplied . Would not a short examina¬ I am very glad that you brought up that Be careful to preserve the mazurka illustrate this conclusively for a student by Playing all the scales in triplets seems tion on general musicianship eleva’ they either walked or shuffled. The Gavotte it should prove difficult for the student with words so that it may be first teamed these contests from the hue’ matter of “deformed” hand position in rhythm throughout. showing him that a tone played lightly so unimportant to me compared with the is frequently confused with the Bourree— to go astray in the matter of interpretation. as a song. T!»c swinging effect of the first variety of musicians and tt ___ octave playing. Do not let this worry you, and of course it shouldn’t be since the two staccato with the damper pedal has a difficult task of playing even one scale fast cenary teachers? I hasten to say my Directions carefully followed will mean two measures of the left hand and measurer totally different timbre than when the same work is given gratis to the afore¬ for it is a natural condition in persons with THE BROOK vary considerably in tempo, mood and gen¬ and smoothly, having it" so under control mentioned pupil, but my conscience small hands and thin wrists. Many pianists that another charming and valuable piece five and six of the right hand carry out the tone is played pianissimo with pure stac¬ By Camille W. Zeckwer eral character. The Gavotte, too, always that you can play it well the first time you shouts just as lor”- 'r“ . J.T G„ idea suggcstrel by the title. cato. This staccato pedal effect is frequent¬ Illinois. (especially women) can play rapid, loud From the pen of a man who was a fine begins on the third quarter while the try it each day. I practiced the C Major octaves only with a very high wrist and Can be taught by role or note. ly used in all varieties of music. Your question leaves me a bit up in the pianist and an excellent teacher comes this Bourree begins on the fourth quarter of scale for years and years before I could sunken knuckles, their hand span being NICE OLD TREE By the way, do you know that there is air, for I am afraid I do not understand it piece which is, to say the least, unusual. the measure. control it, and even now it eludes me if I so small that the thumb and fifth finger Mr. Fletcher’s composition opens with a By Robert Nolan Kerr A DAY IN MAY much doubt as to the authenticity of the do not constantly work at it. fully. In one sentence you say that your The Brook is, first of all, satisfying as a Pastorale Varicet There does not exist are stretched to the limit to achieve composition and offers in addition real and staccato theme in double notes. The staccati Here is a tuneful first grade piece with By Edna Pietscb Try this as a test: sit down first thing high school girl believes in hard work as strength and “cleanness.” In such cases should be crisp and sparkling and un¬ the melody in the right hand throughout. positive proof that Mozart actually wrote in the morning, and with your left hand an approach to difficult pieces, and in an¬ definite teaching values. Another one-line, first grade nxWv. it. In fact most musicians hold that even if wrist-octaves must be almost completely Practice the trill in the four-measure hurried. As contrast play the second theme It lies comfortably for singing—in G major, play the C Major scale down and back other that you, too, believe in long, ade¬ The tempo this time, however, is faster- the theme is Mozart’s, the variations are dispensed with, all the octaves being pro¬ Introduction until it can be performed with rather broadly legato. and is written in four-four time. It should for four octaves, very fast and very lightly. quate, technical preparation for this loO quarter notes to the minute The Bendel’s. As for myself I do not regard duced by the fore-arm in combination with such evenness as to suggest the waters of Short as it is, this little piece offers many be learned first perhaps as a song. In trans¬ If you can do this beautifully the first time “advanced” music. So far, so good! You whole- and lialf-step progression in cither any of it as true Mozart. At all events it the full arm. Be sure to insist that these the brook running quietly but persistently possibilities to the teacher. It is fine for ferring to the keyboard learn the left hand without “stuttering” at the beginning, with¬ and she are apparently in accord. But then hand follows the idea of the verst whidi should be programmed Pastorale Variee, be played with the fingers on, or very near over the smoothly rounded stones which are developing style and at the same time has chord patterns first. The melody, too, runs out having to start over several times, on top of this you disapprove of her want¬ invites to a walk in May sunshine. Mozart-Bendel. the keys, and not whacked at from above. suggested by the slurred phrases in the left value pianistically since it demands nice more or less to pattern and simplifies without having to begin slowly and grad¬ ing to master and play such music, even Among the so-called Mozart pieces of Persons with small hands invariably tend hand. The diatonic figures which abound tonal and rhythmical control. memorizing considerably. ually go faster, if you can hear every note though you admit that her efforts and ac¬ SKIPPING AND DANCING doubtful authenticity are the Romance in clearly and evenly (with no “thumb to strike the octaves from the air—which throughout the composition are to be played The tempo is allegretto and should move complishments in the Rondo Capriccioso only results in lost motion, bad tone, in¬ with smooth finger legato, with due atten¬ along in cheerful manner. Play the two- By Edna Pietsch A-flat, and the “Five Sonatines” recently bumps”) and without getting in the least are excellent. (To do all that you say she MIRTH AND GAYETY “discovered” in Italy, for which no one has accuracy and additional contraction. This tion to the dynamic changes all of which measure interlude (measures 9 and 10) This eight measure tunc f about grade tired—then you have the beginnings of a has done in two lessons, is extraordinary, as yet offered satisfactory proofs. tendency must be watched constantly. are clearly indicated. The right hand forte as marked. Keep the tempo even and good scale technic. Try it—and good luck I think.) By Carl Wilhelm Kern one-and-a-half) affords practice in jfayinf One good way to develop span, strength figures in the four-measure section begin¬ apply accents exactly where they belong. in six-eight time. It contains broken triadi. to you! If she were my pupil, I would be very Old friend that it is, this number will When you can pass this test try a harder and endurance is to practice octaves slowly, ning at measure 10 should be rolled and divided lictwecn tlie hands, and there art Scales in Thirds happy to find that she is so impatient to need no introduction to many Etude one. Play this same C Major scale (down using the fingers only, that is, holding the tossed off against cleanly articulated Will you ,___r personally hurdle the difficulties, even though she is readers. A popular teaching piece for A LITTLE GOSSIP also unbroken chords to be played via wrist and arm high and quiet and playing eighths in the left hand. the following questions? and back 4 octaves) with hands together, not quite ready for them. I would give her years, it continues to hold its prominent By N. I. Hyatt arm-stroke. 1.—Is there any other way to play A new theme opens at measure 48. Ob¬ but play the hands two octaves apart. Can plenty of “hard” pieces—music that is be¬ each octave strongly forte four or eight position in the repertoire of modern piano As with the other two numbers of*® scales in thirds, other than thirds serve the slur signs in the right hand alter¬ A Little Gossip is really a musical dia¬ as listed in “Mastering the Scales you do it the first time? If not I am yond her (but even better stuff than the times with as pure finger stroke as possible. teachers. Pictsch’s composition, verses are suffM and Arpeggios” by Cooke, and double nating with separated chords in eighths and logue. The three-note phrases in one hand afraid that I shall have to prescribe this Mendelssohn Rondo) for even if she plays This should also be done by large hands It has, to begin with, the advantage of to stimulate the childish imagination. thirds, as listed in “Mason’s Touch allow the left hand to suggest the monoto¬ are answered by the other hand. This toss¬ and Technic, ¥61. II”? If so, will plain everyday C scale for you to prac¬ these inadequately she will advance much with the thumb and fifth finger curved being tuneful and musical; and therefore it you please advise me what books to nous running of the brook in ascending ing back and forth persists throughout the tice on exclusively for a long time to come 1 more quickly than if you hold her to the when possible. Astonishing endurance and is a joy to the aspiring young student. As purchase for this purpose? scale passages. At measure 72 the trill fig¬ piece. The tempo is moderately fast and AT DANCING SCHOOL “in playing scales in triplets, music of her grade. Like you, I, too, am a power can be developed in this way; but a further recommendation it has definite 1 - ' Plaidy Triplets cor- care must be taken not to practice such ure which begins in the left hand continues the tone rather light. Messofortc is the By Edna Pietsch If n _, _ _ - Contest Material very old-fashioned pianist; but I think that pianistic value. The opening theme develops exercises to excess. The tension and mus¬ in effect until the reentrance of the first loudest dynamic mark indicated and this M iss Pictsch’s final offering is a -L. A. M., Alabama. A former pupil who had three you could more easily persuade her of the legato scale playing, and demands evenness appears in measure 17. years’ class piano and one year of cular exhaustion which results if this is theme, D.C. al Fine. with tlie melody in the left hand apt® necessity for pure technical practice when¬ in passing the hand over the thumb. It fur¬ 1.—If you have mastered both the Gooke private lessons with me, is being un¬ done for more than a minute or two at a ther demonstrates that the scale can be an right hand small chords as aecompamw* and the Mason exercises in thirds and wisely influenced, I feel; inasmuch ever she tries frantically (and vainly) to TWO BROWN EYES as much resonance as possible. At the e as she believes hard work can bridge time are dangerous. interesting melodic figure and not merely Phrase the left hand as marked anc double thirds, you must have a very fine unravel some technic knot in one of those of the last line return to the beginning a the expanse of gradual approach to By Charles Huerter a dry exercise. Phrasing, also, plays a accord tlae melody the best possible scale technic indeed; and I congratulate playing difficult music. Last year in difficult compositions. The octave hand position is almost as end at Fine. my absence she was persuaded to variable as the human hand itself. I have Again The Etude presents a composi¬ part in the first theme. To play this compo¬ tone. Establish a comfortable wait1 you, for I know of nothing more “ad¬ play Marche Militaire by Schubert, Naturally, it is unwise always to be play¬ tion by Charles Huerter in lyric vein— sition effectively, observe the slurs strictly and maintain it throughout the little «*■ vanced” than these. If you want a change in the high school contest, which she ing pieces that are too difficult, but I known students to develop extraordinarily did, surprisingly well, but with an firmly believe that gifted students who good octaves with thin, bony, narrow hands, this time in waltz form. Like so many of as marked. position. you might try P. W. Orem’s “Scales in unvariable woodenness. I am now Mr. Huerter’s compositions this one pre¬ The middle section (Trio) is somewhat By Mildred Adair Double Notes.” giving her lessons and she insists on reach the “intermediate” musical grades, holding their wrists almost ludicrously playing Rondo Capriccioso by Men¬ and who are sincerely interested in their high; and, on the other hand, men with supposes a certain grace and refinement in slower in pace. The key changes to C This graceful little second grade w; Scales in double thirds (how hard they delssohn, in the 1936 contest. I ad¬ the technical equipment of the performer. major and opens with staccato chords in caHs for melody playing in the right ha are!) are chiefly valuable for acquiring vised against it and she became dis¬ work, should follow this course about half tremendous hands and arms, compelled not couraged and would have discon¬ the time. only to curve their thumbs and fifth fingers The tempo is Moderato Grasioso, and a the right hand alternating with descending broken chords divided between the har a smooth, beautiful legato. They are irri¬ tinued her lessons. I relented and we great deal of elasticity tempered with an legato figures in broken thirds. All of this carefui phrasing and exact rhythm. More animals in opera might I tating—yet fascinating—to work out, since diligently went to work. After two As you say, it is indeed true (and quite exaggeratedly (in order to keep the oc¬ equal amount of musical discretion is in¬ is played against a steady even left hand to form the critical perceptions!of the hands frequently have different finger¬ lessons she plays nine pages accu¬ wonderful, I think) that the young gener¬ tave span intact), but also to hold the . ’I he/empo Is moderate—about 166 qu rately as to phrasing, time, tempo dicated. Pay close attention to the many which employs the same figures as that ter notes to the minute. audience, if we may believe tbisjto ings, and indeed, hardly any of the scales and general mechanics. I now feel ation of today boldly tackles any problem, inside fingers (2, 3, 4) in a kind of claw¬ that she is probably capable of add¬ sostenuto marks. All chords or single notes used throughout the first section. . A S°?d waltz swing, without stiffness a recent music critic of the Daily have fingerings in common. But, for me, musical or otherwise. Thank Heaven, it like grip to keep from striking the fall- the principal joy is that after I have prac¬ ing color and beauty to it, as for¬ knows no fear and has no bogies 1 And it board of the piano. You may answer the marked with the little line signifying sos¬ A section marked Schersando begins at imperative. If pedal is used nrrssT press of London, on a per formal merly she played numbers within her tenuto are to be played with special inten¬ measure 26. Since schersando means “play¬ the first beat and release on the secJn7b ticed double thirds and come back to the limitations very musically. She is is our duty to stand shoulder to shoulder question as how best to hold these inside "Gotterdammerung"Grant, beginning to lose the stiffness of tion. Observe, too, the accented chords as fully,” the interpretation of this section is of each measure. common garden variety of scales, these mind and wrists. with these confident young people, to urge fingers for yourself. Try playing a few they appear, since all of these have a direct obvious. The marks of dynamics are of horse, proved himself a critic t* . latter seem so easy and sound so smooth Now to the point—am I justified them onward without burdening them with octaves with the claw curvature just men¬ as an actor. The uay in w*** in teaching what I feel to be a too the limitations of our generation. relation to rhythmical and tonal color. Let course to be followed carefully. When that I can hardly believe my ears! It is difficult number for her four years’ tioned. Then do these same ones with flat the interpretation be a little—well, flirta¬ studied conscientiously and played up to flattened bis ears, when Sep**". one of the best ways to make one feel one’s We must frequently remind ourselves of (inside) fingers. Which feels easier? You By Kob Roy Peery tious! Brown eyes are, after all, so often tempo this caprice proves effective as a one side of him or Hagen on the “oats.” And how we do need scale en¬ I belong to the “old school” and the old French saying, “Autres temps— will have no difficulty deciding which is Designed as a study i„ ohra • find difficulty departing from the flirtatious! brilliant and pleasing recital piece. produced an indifferent note, couragement at times ! rule of gradual approach, through mitres moeurs,” “other days, other ways”! the best way for you! Peery s composition develops freed" most instructive." 290 MAY, 1936 291 the Efim FASCINATING PIECES FOR THE MUSICAL HOME The Musician's Relation to the Public IN LILAC LAND H.D. HEWITT From a Conference with Edward L. Bernays INTERNATIONALLY FAMOUS PUBLIC RELATIONS COUNSEL

Secured Expressly for The Etude Music Magazine

advancement of music as a whole, has gone Of course these desires can be split up a long way in establishing himself in his Mr. Edward L. Bernays maintains an themselves, such as conversation, letters, into many others, but they are a few of chosen field. Only if he can do this sin¬ organisation of experts dealing with the the stage, the motion picture, the radio, the the fundamentals. Then the teacher m cerely, and if he really has something to proper presentation to the public of im¬ lecture platform, the magazine, the daily go about providing means to inform others contribute, can he hope to be a success in portant matters of interest to the financial, newspaper. The counsel on public relations that he is in a position to help clients commercial and industrial world. The serv¬ is not an advertising man but he advocates the best sense of the word. advertising where that is indicated. Very gratify these desires. In this connection it may be suggestive ices of his extensive organizations have S It is the first essential for the music often he is called in by an advertising been for years engaged by large and im¬ teacher (be it of piano, violin or singing) to set down some of the groups of people agency to supplement its work on behalf of portant industries. Mr. Bernays, as a to be sure of his objectives. Take a paper in your community whom it would be valu¬ a client. His work and that of the adver¬ young man, had many important musical and pencil and sit down to analyze your¬ able for you to contact. These include: connections. In this conference he tells tising agency do not conflict with or dupli¬ self, as objectively as a medical diagnos¬ Music Dealers musicians and teachers some of those things cate each other,” tician might analyze you. Local editors 5which should help them in their profes¬ Set yourself a definite objective as to Borrowing a Technic Local musicians sion.—Editor's Note. your field of action and your time. Say to OW CAN the music teacher, in his Local teachers in schools and colleges H yourself, for instance, “Here is a certain Local music supervisors Problems of the Musician particular way, adapt to his own work district in a certain city, and before six Local clergymen of all d ROBABLY no profession has greater the principles employed by the Public Re¬ months I desire to have forty pupils from a P lations Counsel? Let us jot down a few need of an understanding of mass psy¬ group of five hundred prominent families. The president and members of chology and how to employ it to best ad¬ helps for him. The teacher should make Now if, after a study of the situation, you as close study as possible of the desires local clubs vantage than the profession of music in all conclude that this is impossible, you may which make people want to study music. Managers of local broadcasting its forms. Music is something which (ex¬ decide to seek another field. The next step Roughly they might be classified: stations cept for musical compositions) is highly is to analyze the market itself, particularly intangible and evanescent. Unless the 1. The desire to experience the thrill of the motives active in the choice of a teacher. Take an active interest in all music musician’s services are presented in just the mastering an instrument to the extent It is far better to find out the motive, and movements in which you can be of possible right way, his capital and his dividends are of getting enjoyment from it in soli¬ to concentrate on that, than to waste time service. Official positions in clubs afford both liable to be lost. So also, in all phases tary performance. with an indefinite appeal. an excellent opportunity to demonstrate of the amusement business, in which mil¬ 2. The desire to have some more inti¬ your ability. lions are invested, the time element is of mate key to the great art of music, Finding the Correct Fit Interest yourself in all music movements vast importance. Nothing is so perishable now pouring into millions of homes NEXT, it is important for the music that have a public interest. Let people as the stock in trade of those who deal with via the radio and discussed daily in teacher, whether just starting out, know that you arc eager to help in any way amusement. Thus it was imperative that general coni’ersation, clubs, news¬ or with definite experience behind him, to in which your music can be of servke. the press agent and the publicity manager papers and magazines the world over. be aware of himself and of his place in The public grows disgusted with people should develop. They created a crude 3. The desire to be able to interest the larger world of music. He must think who arc interested only in furthering their technic in their day, but what they did others, to inspire others, or merely to of himself in terms of furthering music, own ambitions. pointed the way for the more serious work show off before others, by playing. not in terms merely of advancing himself of the Counsel on Public Relations. 4. The desire to become eligible to a and his own interests. Only in this way Turn Every Stone In defining the field of a Counsel on Pub¬ more interesting social group or one will he be able to strike a responsive chord OR EXAMPLE, the teacher, who lic Relations, let me quote from my book of recognized higher social standing. in his prospective pupils, who are funda¬ F plays and has his pupils play ooly the “Propaganda,” (published by Liveright 5. The desire to study music with the mentally interested in music, besides want¬ Publishing Company). “The public rela¬ view of working in the art profession¬ ing to take music lessons. The teacher, cut and dried programs, is not, likely to tions counsel, then, is the agent who, work¬ ally and of making money from it who has succeeded in thus impressing him¬ attract much attention from the wide awake ing with modern media of communication —the profit motive. self on his public as a vehicle for the public of today. One teacher ransacked the and the group formations of society, brings shelves of the music stores to secure com¬ an idea to the consciousness of the public. positions that were unique. The pup3s But he is a great deal more than that. He who played these at a recital were so well is concerned with courses of action, doc¬ trained that they could not fail to make an trines, systems and opinions, and the secur¬ My Piano impression. The recital commanded in¬ ing of public support for them. He is also stant attention for its high artistic merit concerned with tangible things such as My piano is part of me and I am part of it. The teacher, who gives recitals that are manufactured and raw products. He is The affectionate sense of possession that exists between a per¬ colorful and distinctive, is making a con¬ concerned with public utilities, with large former and an instrument never can be grasped by those who do tribution to his public that cannot fail to trade groups and associations representing be mutually helpful. not understand the joy that comes from being able to play. entire industries. Another teacher, who lived in the suburbs “He functions primarily as an adviser to There is a consciousness of living personality which seems to of a great city, made it a point, at Ins his client, very much as a lawyer does. A pupils’ recitals, to induce some man of lawyer concentrates on the legal aspects grow in my piano like a mystery that banishes all thoughts of the prominence from the great city to come of his client’s business. A counsel on fact that it is in itself a material thing. and “make a few remarks.” All the printed public relations concentrates on the public When one has traveled for years through the gorgeous fairyland or other advertising of this teacher could contacts of his client’s business. Every phase of his client’s ideas, products or of music that we enter by means of the keyboard, a certain love hardly equal the value of the presence of activities which may affect the public or develops for the companion that has gone with us on these irre¬ this personality from the greater world ot the nearby metropolis. You see, the in which the public may have an interest placeable journeys. is part of his function. teacher had legitimately borrowed some- “For instance, in the specific problems of It is something far more than the sentiment which attaches thing from the larger prestige of a widely the manufacturer, he examines the product, itself to an old chair, an old vase, an old picture. known man. This teacher built up his clientele so that he was obliged to have the markets, the way in which the public The piano has been so many times stimulated to life by the in¬ reacts to the product, the attitude of the many assistants. employees to the public and toward the spiration of the masters that it has become a living thing. Favorable attention may be secured by product, and the cooperation of the distribu¬ It is my dear friend—my very dear friend. cooperating with local broadcasting sta¬ tion agencies. It is no longer wood, felt and steel. tions in preparing interesting musical pro¬ grams. But such programs must be in¬ Securing Public Interest It has been born into my great world of joy in art structive, novel and have a human appeal THE COUNSEL on public relations, It has a soul. as well as a musical interest. The radio after he has examined all these and My piano is mine. public has become very aware of goo” other factors, endeavors to shape the actions music and instantly recognizes what has a of his client so that they will gain the in¬ It is an indispensable part of my life, without which the thine spark of originality or genius m it. terest, the approval and the acceptance of which gives me such unbounded happiness would perish. * The musician, who can and does do some¬ the public. My piano is a part of me; I am a part of it! thing to further his art and who can man¬ “The means by which the public is ap¬ age his relations to the public so that it prised of the actions of his client are as ~J. F. C. will invariably look upon him as a symbol varied as the means of communication of the best in music, will meet with high Copyright 1923 by Theodor* Presser Co. British Copyright secured favor and need never fear a depression. MAY 1936 292 293 THE ETI DE 2'T'2''2 1 5 3 1 1 1 1 2 _ h 1 > 3 --

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THE BROOK This is one of those rare compositions which may be said to be both a useful etude and an excellent piece. The late Camille Zeckwer was a pupil of Antonin Dvorak and wrote many works in large forms. Grade 4. CAMILLE W. ZECKWER, Op.46, No.l

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Copyright 1921 by Theodore Presser Co. British Copyright 294 MAY 1936 29S THE FTVDi TWO BROWN EYES ^ wHbM6e„onl u,le. a mu. p-«i«

One of the most melodic of our American composers has treated the themes - ^.‘-SSSl t ‘bem6S “ CHARLES HUERTER will make this work flow with the desired smoothness. l*raa Moderato grazioso M.M. J = 138

Copyright MCMXIV by direr Ditson Company International Copyright secured MAY 1936 297 LULLALO MIRTH AND G-AYETY CARL WILHELM KERN, Op,! AN IRISH LULLABY Grade 3f. W. CAVEN BARRON, Op. 10, No.l Allegretto m.m. J = 120 CAPRIC Tenderly,Simply m.m. J-= about

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Copyright MCMV by The John Church Company International Copyright MAY 1936 299 Andantino master works

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theetvvi OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTI AS PANTS THE HART Psalm 42 LILY STRICKLAND (Swell: Strings 8 Great: Doppelflote 8' PRELUDE RELlGrIOSO inF Choir: Clarinet & Flute 8' Pedal: Bourdon 16'to Swell ^ . tit 11 ITT XJITT T\1 _ Swell to Great

. rzt. |4-j. r r J r 8M God who will em - ploy His aid for thee, and c]hange these sig-hs To tliank-ful hymns of '-&4-1-7-T- ;-r-T- -tH—h -hJ -hi hJ h j>j imm i ii ua ; si i U i = i i i h fir** rit.

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Copyright 1919 by Theodore Presser Co. British Copyright secured MAY 1936 303 praise of Him who is thy God, Thy health’s e - ter - nal Spring.-

DEEP IN YOUR EYES GEORGE DUNBAR SHEWELL minuetto JOHANN M.BLOSE,Op.30 (MOZART) _ Tempo di Minuetto

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Copyright MCMXII by Johann M. Blose 306 CoPyright transferred 1913 to Theo. Presser Co. THE ETUDE THE PINES the PINES A TONE-POEM FOR PIANO a TONE-poemvl FOR iPIANO I*** - - In lofty galleries of greenery Now like the minor surging of the sea, ■ Now like the “in" ®^^thU sUrtle by - They rise and meet the azure of the sky, Or low and faint as wings that startle by- In lofty galleries of greenery 0r loW and faint a & quavering^ sigh A pillared nave,whose arches frail and high, As sweet-tuned Winds that quaveringly sigh They rise and meet the azure of the sky ^ gweet. tunedwmds that q™ *fantry Breathe with an organ’s solemn melody; A-downdim aisles of cloistered pageantry. A. pillared nave ,whose arches frail and high, As d.m aisleS 0f cloistered p *5 ' Thomas S. Jones, Jr. Breathe with an organ’s solemn melody; A *%«**«* 5. Jones, Jr. H. ALEXANDER MATTHEWS

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Copyright MCMXXVII by Oliver Ditson Company International Copyright secured Copyright MCMXXVII by Oliver Ditson Company MAY 1936 309 308 International I PROGRESSIVE MUSIC FOR ORCHESTRA “‘KSV1.!:.,. SPIK1L°I JS H0CR Wallace a. Johnson,^ m

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Copyright 1926 by Theodore Presser Co. British Copyright secured 310 THE ETUDE 311 Words by SEE - SAW Preliminary Presentation of the Piano Keyboard DANCE OF THE DAFFODILS By Fanny L. Hanlon

IN THE TEACHING of most subjects, absolute and relative pitch of the normal Grades. Tempo di Valse m.m.J = 160 the teacher usually presents the broader scale, and may be compared with the vision, the idea of the subject matter seven primary colors, red, orange, yellow, as a whole or unit, the general aim as well green, blue, indigo and violet. The dif¬ as the immediate aim. “Line upon line, ferent tonal shadings of sound of each precept upon precept” may be necessary letter as found on the piano may be com¬ in teaching the details, but it is well to pared to the different shades of the pri¬ show the pupil more of the scope of the mary colors. work than just that principle indicates. A simpler ladder, representing only the The teaching of piano has many possi¬ white keys of one octave (from C to C), bilities and many methods of approach. having the half-steps of course between It is most interesting to be able to open E and F, and B and C, should be made, up to a new pupil the broad vista of music writing the letter names at the ends of the study and its relationships. rungs. The comprehension of the keyboard as On the keyboard, the pupil should name a whole should be the first objective. The all the white keys from left to right, pupil should be allowed to play all the should locate the various C to C octaves. white keys of the piano keyboard, begin¬ Have him pick out (by their relative loca¬ ning at the left and proceeding a key at tion to the black keys) all the C’s, all the a time to the right. It is essential that E’s, all the G’s, and so on, until he is he listens as he plays, noting that the tones thoroughly familiar with their positions. seem to be climbing a ladder. He ob¬ Meanwhile he should note the tonal serves that there are only two colors of variety of the keys having the same letter keys, black and white, and that at first he names. Aside from skipping over the key¬ plays only on the white keys. Next he board to test the child’s knowledge of may play all the keys, black and white, positions, much of this work should use the very name intrigues you! beginning at the left again and proceeding the keyboard as a whole, from extreme It spells charm set upon a to the right of the keyboard. He should left to extreme right and vice versa, for the background of scope and also play from right to left, first all the sake of unity. grandeur! “The playground white keys, then black and white. Now Thus the student is more able to grasp of the world” is within easy he notes that the tones seem to be descend¬ the continuity of the succession of sounds distance of all Europe. Rail¬ ing the ladder. and will not be apt to be confused later when road fares have been reduced It should be pointed out that the steps he is taught the positions of the same tones up to 45 °/o throughout the between the white keys as played alone, as seen on the musical page. He will see entire year to American ascending or descending, are most of them the connection between the keyboard visitors staying in Switzer¬ twice as far apart as the steps between the “ladder” and the “ladder” on the printed land 6 or more days. black and white keys, as played ascending music which presents the letter names on or descending. lines and spaces of the two staves, as¬ SWISS FEDERAL RAILROADS - 475 FIFTH AVE., NEW YORK Copyright MCMXXXIV by Oliver Ditson Company International Copyright «nr*4 In order to show the child that the tonal cending and descending. distance between any two adjoining keys on the piano is one-half step or a semi¬ Primary Tone Colors tone, have him draw a ladder with thirteen A Study in Phrasing PIXIES’ FROLIC N ORDER TO convey to him better rungs, half an inch apart, to represent all I ROB ROY PEERY how any two C’s or any two D’s, and Grade 2±. Allegretto_M.M.g) = 116 the half steps in an octave. Five of these so on vary in tone color, he may now draw rungs should be made very black to repre¬ a ladder representing the white keys of sent the black keys in proper positions. any two octaves, that is, from middle C to The octave should commence with C and the second C above middle C. Again use end with C. the idea of the seven primary colors, The Keyboard Analyzed coloring the rung representing middle C light pink, the first C above a deeper pink, HE TEACHER SHOULD make it and the third red. The two D’s may be plain to the pupil that the keyboard similarly two shades of orange, the two is composed of a number of such groups E’s two different shades of yellow, and so of keys, each group being eight white keys I & and five black keys, the black keys ar¬ The child should think of these draw¬ ranged in twos and threes. (Of course in ings at first as representing the keyboard saying eight keys instead of seven, it is as a whole, being made to realize that the understood that in each case one letter two octaves drawn are typical of any two name is repeated to make an octave). By adjoining octaves. When he has mastered listening well and being properly instructed, watet the pupil learns that there are really only the letter names of the keys and under¬ seven distinctive tones in going up and stands the tonal relationships of the differ¬ down the white keys on the keyboard. ent keys having the same letter names, he These seven, represented by the letter is ready to use this knowledge with the names C, D, E, F, G, A and B are the printed musical page. temutei (J to mend torn sheet music or book pages with Training Pupils for the Recital By Iva Dingwall Scotch Cellulose Tape

If more teachers would adopt a plan of the public recital until this has been done. Fully transparent—slight pressure seals it. training pupils for recitals similar to that The instructor sits with copy in hand employed by a mid-west piano teacher, and marks every measure which might Will not dry or crack, or wrinkle any mended surface. Send 10c in stamps for sample roll. there would be less nervousness, therefore be improved. better playing on the part of the pupils, The other students are called upon for and as a consequence, much less worry by Minnesota 1 kindly criticism. and suspense for the teacher. Patented under one or more of the following U. S. patents: No. By the time he has gone through this 1357020, No. 1779588, No. 1814132, No. 1856986, No. 1895978, Recitals are held regularly the first No. 1954806, No. 1959413, Re. No. 18472, Re. No. 19128. week of each month. Monday night of “grilling” for three weeks in the presence each week is class night, and as soon as the of his fellow students, nervousness has recital piece has been memorized, the practically disappeared, and he is able to student is required to play it three succes¬ take part in a pupils’ recital that is sure Minnesota Mining & Mfg. Company sive class nights before the assembly of to prove a delight to the most critical Saint Paul, Minnesota. Address . students, and he is not allowed to play at audience. Gentlemen: Please send me one sample roll of Scotch Cellulose Tape for which 1 City . enclose 10c in stamps to cover cost “We cannot imagine a complete education of a man without music.”— of handling and mailing. State. E536 Copyright MCMXXXII by Oliver Ditson Company John Paul Richter. 314 International CopyrigM sec*1^ MAY, 1936 315 the Erupt voice is breathy. This means that the vocal Follow this with nee, carrying the cords are not offering sufficient resistance resonance of the n into the e. We use e for to the breath to convert it into sound waves the first vowel because it resonates more strong enough to create resonance in the easily than any of the other vowels. After The LESTER upper cavities. this practice carrying the resonance of the The following are exercises which, when vowel e into the ah as follows properly practiced, never fail to create a resonant quality. Qettoj (kotos Know the Transpose upward by half steps. Homeland Apply the same principle in a five note of run, as follows Immortal Nee- Ex. 6 In practicing this exercise, close the lips Music— and the teeth, and let the body of the tongue Vocal Pitfalls in the rise and fill the mouth cavity. Try for the Escape Some pure string tone quality, but with no feel¬ Transpose upward by half steps. How to ing of pinching the throat. Connect the The problems discussed above are those AUSTRIA tones by means of portamento. That is, that have come under my observation “in From the folk lieder of the tiny frescoed keep perfect continuity of tone. When the the day’s work.” The solutions outlined Day's Work villages to the great symphonies and tone has the pure string quality, it means have been always successful. Every teacher operas of Vienna, Linz, and Salzburg, the term, by the way, that causes some to have that the vocal cords are vocalizing per¬ will have his own angle of approach to the opposite. The well known rule, "Let same impassioned love of music prevails. same length and thickness of vibrating tissue sleepless nights, they classify her as alto. fectly and would produce a good vowel if these and many others; but we shall surely THE NATURE of the day’s work in yourself sing, do not make yourself sing, Whether you seek the masterful spiritual the studio will be governed by the and reach the high tones by adding tension This is done because she can sing low and conceptions of Bruckner, the beauties of the mouth were open. Practice also with agree that all vocal problems are solved in applies particularly to low tones. character of the teacher’s judgments, is the direct cause of hard, unsympathetic by reason of not having had her upper Mozart, or the airy frivolity of Strauss; n. Transpose upward by half steps, to C. the studio, not in the laboratory. Further, somber tones in the low voice which may tend toward the physiological upper voices. voice developed, she cannot sing very high. whether it be the profundity of the have no carrying quality. The somber tone or the psychological aspects of singing. The To overcome such a habit the singer must I have in mind a number of sopranos, some "Ring" or the lightness of operette that demands an expanded throat cavity. This reason for these tendencies may be found in learn to release the upper voice and do that of them lyric, that were so classified and you crave, you will find all here. Hear puts the cavity out of tune with the pitch the works of the masters in the atmos¬ The Miraculous Musical Ear the teacher’s natural gifts plus the breadth which approximates the piano. From the low trained, notwithstanding that there was not and destroys its reenforcing power. phere in which they were conceived. e/lN entirely new conception and quality of his training. end of the piano scale to the upper end each a suggestion of alto in their quality. Hem' In the use of the somber tone in the lower Study at the famed music schools of E ARE INCLINED to believe sing a seventh of a step, but that real Looking back to my student days, I recall pitch uses a shorter and lighter string. When a lyric soprano is to make a place for her¬ Vienna and Salzburg. W of the piano, combining voice, baritones seem to be the chief offend¬ musicians would have no difficulty in sing¬ one teacher who had an uncanny sense of the voice is so free from interference that self as an alto, merely because die happens Incidental attractions are varied; rates mod¬ that we hear all that is going on ers. In the mixed quartet and mixed chorus, around us; but, in fact, we hear ing a ninth of a step. That is, he maintained detail. The lesson period was given almost it does this automatically, it will be found to have a good low end to her voice and erate; up to 60% reduction on railways. 'grand' performance with they must of necessity sing the bass. Here Austria is Europe's most inexpensive country but a small part of it. Many of the lower that four-ninths of a step and five-ninths entirely to correcting details, and there were that the upper tones will be no more difficult can sing a hollow, sepulchral quality and overnight from all ports. or uncomfortable than the middle tones. they are prone to try to make themselves animals, owing to the nature and neces¬ would sound so differently to a musician compact size. Only 3 feet always a considerable number left over for through her middle voice, is a problem that festivals: Vienna, June 7-21. Bruckner at This releasing the voice, we shall see, ap¬ sound like basses. They open the throat and Linz, July 18-21. Salzburg, July 25-August 31. sities of their environment, have developed that he would easily sing either one. We the next lesson. These details always had old Zeno himself might find difficult plies also to the lower voice. produce a hollow, rumbling tone which lacks Passion Plays ac Thiersee, Sundays, June- the sense of hearing far beyond that of wonder how many singers of to-day can 2 inches high, it features a to do with tone production. The tone never When wrong classifications of this kind resonance and will not hold the pitch. do it. was quite right, and there was no small are made the heavy lower voice is often full 88-note scale and is a amount of time given to the vocal mechan¬ The Middle Voice During a long experience as a choral con¬ We learn to hear by learning how to In the Greek system the quarter step was forced up until there is a distinct break at ism. His great idea was that singing began HE MIDDLE PART of the male voice ductor, I have had to work a great deal with listen. Music is something to hear. It can as familiar as the half step is to us. One T about E or F. first line, treble clef, and For itineraries with rates and fares, booklets, revelation to hear and play. after one had learned how to use his voice offers no serious problem to the teacher. the baritone and bass sections, in order to reach us only through the ear. Therefore of the tetrachords of Aristoxenus is as fol- the middle voice is pushed up to the top festival programs, and data on International and not before. Any one with a working knowledge of the get a quality bright enough to carry reso¬ Tournament, consult your travel agent today ot it follows logically that the ear should be Catalogue upon request line F and no use whatever is made of the I recall another who talked about voice voice and a reliable taste in tone quality nance and get rid of the dark, muddy char- trained to recognize everything which is a Austrian State Tourist Department Ex.3 production only in a general way. He be¬ will find there no difficulty. The value of a head voice. Such instances are far too part of the material of which music is lieved that one would never get very far reliable taste can hardly be overestimated. To develop the carrying quality in the familiar. It is spoiling what might have 630 Fifth Avenue, New York Circle 6-3667 Dept. ET made. LESTER PIANO CO. with singing until he stopped tinkering with The training of a singer is so largely a low tones I find this exercise useful. been a fine soprano in order to product a Going back to the time when musical in¬ matter of training his ear that, when this is useless kind of alto. struments played a smaller part in public 1506 Chestnut Street the vocal mechanism. To him singing was Ex.l The cross before the quarter note means self-expression and he began it at once. He accomplished, all other difficulties quickly What to do with the chest voice in alto performance than they now do, ear train¬ PHILADELPHIA that it is to be sung a quarter step higher believed that learning to express a variety disappear. When the singer’s taste reaches or soprano, is a matter upon which at pres¬ THE CHILD’S OWN MUSIC BOOK ing was carried to a degree of perfection than the preceding note. No self-respecting of moods was the best kind of voice train¬ the point that an imperfect tone offends his ent there is no general agreement Some which seems today to be practically a lost Greek singer would hesitate to sing quarter ing. ear, he will very soon change it. Use a rather bright ah for vocalizing this. good teachers, whom I have known, make steps. But it is easy to become an extremist. I have little faith in beginning voice train¬ Transpose it down by semitones to the bot¬ no use of it in cither soprano or alto voices. Tosi, bom in 1650, tells some interesting It has been my privilege to know a few There are students that can stand this micro¬ ing with an explanation of the function of tom of the voice. Do not try to push the They carry the middle voice down over it HARMONY BY MAIL things about ear training in his day. The musicians whose sense of hearing was as A practical and thorough course of 40 lessons. scopic detail; and there are others to whom every part of the vocal mechanism. Such voice downward. Again “Let it sing, do not and make that answer the purpose. By do¬ even tempered scale was not in general use, acute, I think, as any of the ancients. One Small monthly payments. Send lor particulars. it is so trying that they walk out and are teaching does nothing to improve the stu¬ make it sing.” In this way, only, can one ing this they avoid the possibility of a Music composed to your words. and this created some rather disturbing is recalled who could tell whether a piano no more for that studio. dent’s taste and will make him conscious of reach the lower limit of his voice and retain break between the lower and middle voice. situations. Price reasonable. What all students need is an even scale his throat, than which nothing could be the singing quality. There is considerable that could be said was tuned to 435, to 438, or to 440. ALFRED WOOLER, Mus. Doc. In their musical terminology they had In a small company, of which a famous 1511 Boone Court Lakeland, Fla. from top to bottom of the voice. This we worse. in commendation of it. Again we refer to The Tenor Voice the major semitone and the minor semi¬ conductor was a member, the question of rarely find. Untrained voices never have it. the individuality of the voice and the neces¬ tone. In the language of today it means a The Low Part of the Male Voice absolute pitch was under discussion. He We may say that this is due to organic im¬ IN THIS LATITUDE good tenors are sity of good judgment on the part of the large half step and a small half step. The was asked to sing A. He did so without perfections, malformations in the vocal in¬ THE LOW PART of the male voice, I rather rare birds. It is well to remember teacher as to what should be or should not large half step was written as we write a strument; but this does not relieve us of am speaking of baritones and basses, that how high or low one sings is not hesitation, but when the piano was touched be done. minor second. it was found that his A was a shade above the responsibility of at least trying to build requires careful attention. First it must be primarily the thing that classifies his voice. There remains for discussion the C Ex.l that of the piano. His explanation was im¬ an even scale for every one. I incline to the said that, as a rule, voices can not be ex¬ Tenor, for example, is a quality. It is not octave of the soprano voice. For every A most complete and satisfying music mediate. Your piano, he said is tuned to belief that when the teacher discovers any¬ tended downward to the degree that they unusual to find a baritone that can sing well tone a soprano sings outside of that octave book for the child and juvenile. It can be cultivated upward. There are various 435; but I sang 438, the pitch to which my thing wrong with the voice it is his business up in the tenor range, but this does not make she will sing several inside of it There¬ contains many grades of teaching and reasons for this statement. In speaking we orchestra tunes. to fix it. him a tenor. On the other hand, all of us fore, it is essential that this part of the recreational work. It is replete in unconsciously locate the pitch in that part Their minor semitone was our chromatic I recall one time in a class the teacher have heard tenors who could sing well down voice be firm and well built. Frequently reminders of your own early efforts, The Head Voice of the compass where we speak easily and in the baritone range, but that did not make assuring you of many happy periods half step, asked a certain young man to sing A. He it is not The part lying between THAT THE UPPER VOICE fur¬ comfortably. Usually this is somewhere in them baritones. Again we often find lyric rehearsing your old favorites. Its Bx.2 did so, but when the piano was touched it WILBUR ALONZA SKILES nishes the teacher with more anxious the middle and lower part. Consequently tenors who are worth nothing below E- Ex.2 contents includes: was found that his was a trifle off. He said, Voice Specialist — Author — Teacher of Singing moments than all other parts of the voice this part of the voice receives daily a con¬ flat, first line, tenor clef. All that can be “It is the piano that is off pitch;” and, (Contributor to The Etude Since 1927) YOUR questions (problems) on voice (speak- will, I think, be generally admitted. The siderable amount of usage. For this reason done with such voices is to keep the low drawing a pitch pipe from his pocket, he lng or singing) fully and expertly answered upper, or head voice is that part of the baritones and basses are apt to sing about tones bright in quality and try to develop 19 PATRIOTIC SONGS In our even tempered scale these two blew A and, as he had said, the piano was (analyzed). NO COURSE. REASONABLE compass lying above the speaking voice, and as low before they have had any training as resonance in them. often has very little carrying quality- 31 NATURE SONGS intervals use the same keys of the piano, off pitch. He was a piano tuner. RATES for mail service. REFERENCES. Ask a soprano who lias not finished her 43 ANIMAL SONGS Write: #194 Lane St„ Freeport, Pa. it is there that wrong habits of voice pro¬ they do afterward. In fact they are fortu¬ All of this helps us to understand that 40 GIRLS’ AND BOYS’ SONGS but observe how the singers of that day Contrast such a sense of hearing with duction are most often found. nate if, in developing the upper voice, they the voice is individual. All tenors do not training, to sing this scale. 30 SACRED SONGS & HYMNS treated these intervals. that of the average body of music students, 39 WORK AND PLAY SONGS As we move toward the lower part of the do not lose one or two half-steps at the smg equally high or low. This is true of all Ex. 3 They divided the whole step into nine who have difficulty in detecting any in¬ AT home: Both words and music on all of t _ Learn to color photos and miniatures voice the vocal cords must vibrate more bottom of the compass. The only way to types of voices. It would be a serious mis¬ and in addition there are: commas. Our chromatic half step was terval smaller than a half step. slowly. Approaching the upper part they avoid this is to vocalize daily to the bottom take to try to make all tenors sound alike 100 PIANO PIECES four commas, but our minor second was five Looking over musical conditions, we are ,natPon»'WAL‘iRTjcHOot.“ ■StS’Si u2Sto-c must vibrate more rapidly. Here we soon of the voice. and sing in the same compass. 27 PIANO DUETS commas. To make it perfectly clear, when led to believe that what all of us need is 3601 Michigan Ave. and almost invariably she will use 1< reach the danger point; and, unless the There are two rules that baritones and For sale at you: avorite music counter or the singer was confronted with F—F-sharp to have our ears sensitized. It would un¬ The experienced teacher will hear in the voice descending than she did ascending- sent POSTPAID on receipt of price. Money student has the guidance of a teacher whose basses must strictly observe when singing fiber of the tone even though it is wrongly refunded if volui he sang four-ninths of a whole step; but questionably result in more perfect public One reason for this is that the breath pr«- does not meet with your ear is so sensitive that the slightest degree low tones: approval (NOT LD IN CANADA). Illus- when it was written in F—G-flat he sang performances. As a step in this direction, produced, something which tells him what sure is diminishing in the last half of the trated folder wi contents cheerfully sent of interference is instantly detected, he has the quality will be when it is rightly pro¬ upon request. five-ninths of a whole step. every one working with music should be MUSIC PRINTERS exercise and it is easier to let the tore little likelihood of producing his' upper voice duced. If we adhere to this rule, and classify Some of the musicians of Tosi’s day urged, not to say compelled, to master the fade away than to exert enough breath MUMIL PUBLISHING CO., INC. correctly. voices according to their quality, we shall be were in favor of making the whole step bi-chromatic scale, that is the scale in quar¬ ENGRAVCRSandLITHOGRAPHERS pressure to keep the power. 1140 Broadway. New York, N. Y. To force low tones is to kill them. One guilty of fewer errors of judgment. Enclosed find $- for which send pos seven commas, but he objected. He said ter steps. This alone would furnish employ¬ ■print anything in music- by any process The Vocal Cords cannot force low tones, as he can high tones. It long since became evident to me that paid The Child’s Own Music Book. ment for a large number of people and for ( ) Paper ( ) Cloth that, to divide the whole step into seven 1 WE PRINT FOR INDIVIDUALS ITH ONE PAIR of vocal cords the The lower one sings the slower must the Soprano and Alto if one continues to carry a soft tone down commas made it too easy, as any one could a considerable length of time. i, REFERENCE ANY PUBLIS W1singer must produce his entire scale. vocal cords vibrate. This demands perfect toward the bottom of the voice, she vn« Name SERLOUS ERROR classification lose the body, tlie carrying quality in “* To raise the pitch one of two things must freedom. If anything beyond normal pres¬ A is often made with soprano voices Street _ lower tones. How to resonate this part « be done. The vibrating length must be short¬ sure is exerted in the attempt to increase the When a soprano has what teachers have The first opera house was opened in Venice, in 1637. ened or tension must be added. To keep the power of a low tone, the effect will be just been accustomed to call a chest register a the voice should be considered. In instances the middle part of the sopr*» MAY, 1936 316 317 the etvde the alto, may be sustained, as in Ex. 2 (b). But here, as indeed almost everywhere, much has to be left to the intelligence of 'The Oiqan fiot Musical ‘flme’Lica the organist and to his sense of rhythm and of the exigencies of the situation. If WICKS presents to Musical America either of these qualifications be faulty, a product of outstanding merit—an failure, partial or complete, will result. instrument which is attracting interna¬ No battle was ever won when the' trumpet tional attention. The voicing is done by (in this case, the organ) gave “an un¬ famous artists to suit YOUR INDI¬ certain sound” either melodically or rhyth¬ VIDUAL NEEDS. No space or purse is mically. too small to interfere with the placement of this creation. It is easy to install and operating cost is negligible. Hundreds of installations available for reference. There is one near you. The patented Developing Tone Confidence Through Humming Wicks Direct Electric Action, which elim¬ inates all pneumatics, insures freedom Tune Playing By Guy McCoy from trouble. Thirteen hundred (1300) Wicks in use. There are numerous models Repeated Notes in Hymn to select from. IT IS SOMETIMES difficult to get tion sing the words of a passage while the inexperienced singers of a volunteer rest of the choir hum their parts may be Free Booklet on Request -$775.00 By Orlando A. Mansfield, Mus. Doc choir or chorus to sing alone in the followed also when the director, in begin¬ second place, attention should be given to presence of the entire group. Such per¬ ning work with a new group, wishes to WICKS ORGAN CO. HIGHLAND, ILL, j And Now With Taste the musical training and capabilities 0i sons usually do not object to a voice trial determine the quality of tone or the ability -^0 THE SERIOUS organ student Playing” asserting that “Some inconsistent T< OUESTION of the articulation both choir and congregation. If the in the studio of the choir director; but to of a particular section. We have reference ■ who has been rightly and —™, — - - y *n the treble part former is intensive, and the latter extensive. hear their own voices alone, with the others of course to inexperienced singers with no less rigorously trained to play organ playing whichb'-e would in ih. **** more legato style of accompaniment may of the choir listening, fills these young confidence, of which there are many in the music exactly as it is written, the perform- other part-playing, and which be favored, sustaining, perhaps, the re¬ singers with dread. They become panicky average volunteer choir. The director, in ance of a simple hymn tune often occasions sible in a ^zjtsizzvery considerable a very short time, can learn a great deal considerable “searchings of heart.” This weak and indefinite congregational sing- of their iter , Y music accom- peated notes when occurring simulant- and the resulting loss of breath control in • ii# ously in both parts. But when choirs lad makes it almost impossible to produce any about the ability of the singers, by a ju¬ because a hymn tune is set down as it is ing.” C©»- tuition and congregations intuition, the kind of a tone, much less to sing a solo bit. dicious use of this sectional humming and BALDWIN PIANOS • CINCINNATI intended to be sung, and n s it usually tinuing his TODAY’S GREAT PIANO better plan would be to tie only one ol In such a situation it is very often help¬ singing. should be played upon the organ or even mplaint the simultaneously repeated notes. This ful to have three or four singers go through A further use of the humming accompani¬ upon the pianoforte. mthor method, while preserving a measure of a passage of an anthem, singing it in unison, ment may be made in trying over the sepa¬ As is well known, the method, when avers that in rate parts. Suppose an alto part is to be MERIT PINS—CLASS PINS TINDALE playing a hymn tune upon the organ man- some cases legato will also prevent undue slackening while the others in the choir hum their re¬ of the tempo. Both methods are shown In spective parts. This can be repeated two gone over repeatedly. Let the other sec¬ RINGS AND MEDALS Music Filing Cabinet uals only, is to use the right hand for the “The repeat- tions—the soprano, tenor and bass sections treble and alto and the left hand for the ed notes are petitions our Ex. 1, (a) and (b), the opening or three times until the singers are suf¬ Needed by every Musician, measures ol Dr. Dykes's tune, Nictto: ficiently familiar with the part to be fairly —at the same time hum their parts of the Music Student, Library, tenor and bass, the right hand taking up all tied to- passage. Or if several measures in the bass School and Convent. the tenor when that part and the bass are gether indis- confident. Then reduce the number singing Chas. A. Winship & Co. Will keep vour music orderly the words. Have just two of the group to part need special rehearsal, let the basses protected from damage, and more than an octave apart. Further, when criminating• sing the words as usual, while the soprano, where you can instantly using the pedals these should then take the ly, so that the sing the words while the others hum the alto and tenor sections hum their parts. find it. bass, leaving the left hand free to render playing is passage; then ask each one of the two in This procedure also, by keeping the entire KlNNE MEMORIZE MUSIC Send for Hit of correctly the tenor either upon the same without turn to sing it alone with the humming ac¬ a four-part choir occupied, reduces to a minimum the Memorizing Course ***8ure or (as a solo) upon another manual, pulse, and the companiment. In this way the singer who opportunity to gossip while a particular ends forgetting Lastly, in “giving out” or accompanying a congregation is inclined to be timid about singing alone hymn tune in the “solo style,” the right does not section is being rehearsed. MARION KlNNE, 1324 So. Undenwood St., W. Philadelphia,P» may gradually become accustomed to hear¬ The resourceful choir director may find hand takes the melody on one manual, the know with ing her own voice and in a short time may left hand renders the alto and tenor upon assurance other practical uses for humming as an aid develop sufficient confidence to sing a small in rehearsing. It often produces results another keyboard, while the pedals—usu- just where it BEAUTIFUL SONGS with Texts Appropriate for ally coupled to' the accompanying manual— is singing.... solo part when called upon to do so. that no amount of practicing otherwise execute the bass. Indefinite- This procedure of having a small sec- might bring. In each of the foregoing cases the prob- ness and the lem of this discussion is present, namely, resultant un- how to deal with the repeated notes, certainty are Mother's Day Sooner or later these will occur, and their fatal to Electrical Amplifying of Church Organs appearance is often a source of doubt and strong, confi- difficulty to the conscientious organ stu- dent, univer- _ M By David Barr dent. sal participa- PraSSS^KMi Concerning Ex. 1 (c) we shall ha« some¬ VOCAL SOLOS 3. Title and Range Composer tion in the thing to say presently. An Open Question hymn sing- Lastly we have to consider the case ol I For many years builders of organs have organ amplifying unit—consisting of a spe¬ Candle Light (d-g).Charles Wakefield Cadman HALING FIRST of all with repeated inn." been experimenting on systems of amplify¬ cially designed microphone with a rever¬ Candle Light (b-flat-E-flat).Chades Wakefield Cadman D repeated notes occurring in the bassi«i An exquisite poem by Lee Shippey in a musical setting of particular hymn tune. These repetitions should non? ing the tones of the organ, with the view beration eliminator, the amplifier and loud richness. This song has been adopted by the American Parent-Teacher always be articulated, and are ind»M of increasing their pozver without disturb¬ speaker—which electrically transmits the Associations for Mother's Day Programs. in Dr. Dickinson’s advice to “repeat w ing their tone quality, and, at the same time, organ tone to the choir, Sunday School Mother's Day (c-E).Frank H. Grey or sustained. The j outer notes only.” Besides, nothing # with the ideal of transmitting the more rooms, or any part of the church. The Mother Calling! (E-flat-g).Alfred Hall portance of this subject is emphasized by latter, we L case ,|1C ni|e much prevents “dragging" on the pah delicate tones to adjacent rooms, for use in organ tone can be transmitted also to the One of fhe most appealing Mother songs, in music as well as words. Dr. E. J. Hopkins (1818-1901), the late gather that, A beautiful Organ in St. Saviour Church, Dartmouth would be to the congregation as the throb of processionals. The following paragraphs outside of the building, if desired, for such Mother (c-F)...... Stanley F. Widener organist of the Temple Church, London, while all the Parish, Devonshire, England; reproduced from a photo- tie the two pedalled hass; and when there » are quoted from a letter of an organ builder. occasions as open air vesper services and who asserts that “an accompaniment which repeated graph by Andrew Freeman, in The Organ World. notes since, 24022 power in the resources of the pedal —Editorial Note. lawn parties. Old Fashioned Mother of Mine (d-E-flat).Richard Kountz is to direct and sustain the voices of a notes occur- as Dr, Hop- “Organ amplification is coming into “With the organ tone amplifiers, it now 24021 Old Fashioned Mother of Mine (E-F).Richard Kountz and the throbbing develops into a 24020 Old Fashioned Mother of Mine (F-sharp-g).Richard Kountz congregation,” while-being “marked and ring in a hymn tune should not be tied, some kins further shows, “A very little will suffice punctuated staccato, no congregation ^ general use, and it solves a problem that is possible to lead a large choir in proces¬ decided in character, without being dis- may be so treated. Our task, therefore, is to to steady and connect the organ tone- a The above song (published in 3 keys) is a song which will do anyone's resist, and tire stroke of this specie* churches have encountered. In many sional or other singing, and the softer and heart good to sing or hear at any time, but ft is particularly accept¬ jointed or broken,” depends largely for apply to our selected subject some of the single note being frequently sufficient for “drum ecclesiastical’ brings them mto j churches, of all denominations, it is difficult medium voiced stops of the organ can be able for Mother's Day. “this combination of distinctness with con- discrimination, the absence of which Dr. the purpose, and that even in an inner at once. In fact, given sufficient pox for the choir singers to stay on pitch. In used. An Echo Organ effect can be created, Liftle Mother (d-E).Evangeline Lehman tinuity” upon “the manner in which the Dickinson deplores, and to give a few part.” In the second case mentioned— Dedicated to Mme. Schumann-Heink. the pedal organ, this method «"*** # other cases, owing to the geometrical design when the organ is in the chancel; or a sanc¬ repetition notes are treated.” definite rules for the treatment of repeated that of repeated notes occurring simul Little Mother (c-sharp-D).Daniel Protheroe leading of five thousand people as O-. of the church, the choir is located at a con¬ tuary organ effect, when the organ is in the That note repetitions should not be tied notes in hymn tune playing, taking into taneously in both of the inside parts—to gallery. Little Mother o' Mine (E-flat-E-flat).Herbert Ward is the general opinion of all recognized consideration the particular part or parts strike both would be calculated to nroducc that of fire hundred, or even fifty- siderable distance from the organ and is But, as there are exceptions to often placed under the canopy of an alcove. “The dynamic range is very large, and authorities upon organ playing. For in- in which these notes may be written, and a more or less disconnected and volume is controlled from a dial or directly 6884 Mother o' Mine (d-E).Bertha Remick rule, t tie re arc several deviations tn» “Such situations ruin attack and make it stance, Dudley Buck (1839-1909), in his discussing some special cases which call effect, and to create what Dr Dickin. n from the organ swell pedal, not only for the 2404? My Mother's Song (d-g).John Openshaw methods we have been advocating. 19404 work on “Choir Accompaniment,” while for exceptional treatment. would term “an impression of impossible for the choir singers to hear the full organ but also for individual softer Never Forget Your Dear Mother and Her Prayer (d-F) these, two seem to us to call ** May Parker Jones stating that in the case of “certain syllabic When occurring in the treble part of a commonplaceness.” Hence this a ,1, softer voices of the organ. Processional stops such as Dulciana, Aeolian, Voix notice. The first is when whole Old Fashioned Dear (c-F).Cecil Ellis repetitions of the same chord ... the idea hymn tune, each repeated note should be recommends the plaver to “su t” 'o' noticc- singing and antiphonal singing are prac¬ Celeste, and so on. There is no longer any are repeated for a longer or » - Song of the Child, The (d-F).Mana-Zucca has prevailed in many quarters that such firmly iterated, as otherwise the ordinary inner voices and repeat the outer , ar- •* tically impossible under such conditions; necessity for a choir to sing out of pitch repetitions in the voices should no# be re- congregation will “drag” or sing with thus giving the rhythm decidedK- k, i‘ T period. In this case it is often adva The musidanly singer will appreciate the effective and dramatic and these annoying acoustical problems owing to building design or to the faulty qualities of this song. peated on the organ,” declares that this uncertainty, having lost the melody for the ing S greaterGreater dignityd5* rhythm to the decide 1',',d!y, but ..Icnd- to sustain the hass and crisply ^ . . - .--^~i — Concerning these repeated '_ nymn tune. have been solved by the development of an location of the pipe organ.” You (d-g). .Mentor Crosse method, “had better be avoided as disturb- time being. Concerning these 'repeated Here, as in^o^lnv^bil"!!! T1"6'” . , the upper parts. This method >*_. You (b-E). ..Mentor Crosse ing the rhythmic relation between players treble notes, Dr. Hopkins remarks, “As matters, safety lies in th controversial in Ex. 1 (c); but even here the ^ and singers.” This is not very explicit such notes present no melodic movement middle course In the first a ,p,1°" ot a shown in Ex. 1 (a) and (b) 1 and might leave or lead us to conclude but only rhythmic progress, congregations of the church or buildinJi . V"® MZC fectly admissible and effective. ^ -t With Kant I believe that all knowledge begins in experience, and so I am that all repeated notes are to be struck, have on that account a tendency to wait into consideration—=. 1, t.?J.be ukcn exception, the reverse of the (°rcf ^ optimistic about the outcome of the present chaotic sitmtion of music. Ex¬ and none tied or sustained. to hear the step from a note to its itera- a proportionate conrJ.t ** d,n? w,th exhibited when the verbal ^ perience will teach the dabblers that there is little satisfaction of permanent Theodore Presser Co. Turning from this distinguished Amer- tion announced, before they proceed; so mitting and generally ,! PCOp,e per' mauds a decided break ,n the P" value to be derived from purely physical music. The reaction will inevitably ican organist of the past to one of the that if the repetition note be not clearly and more detached T 1mand,ng- a crisper that is. as in Dr. G. Elveys S- come; but it is a slow process, and sometimes I feel that I should like to put 1712 Chestnut St., Phila., Pa. present day, we find Dr. Clarence Dickin- defined, hesitation amongst the voices is companiment " !!* hyn’.n tunc ac‘ when sung to the words p ; a bomb under it and hasten the return of eternal melody!—Max Rosen. son, in his “Technique and Art of Organ apt to arise, and the strict time is lost.” less numerous gathering * -^1,,CC .a"d a -Come, ye thankful ptofle. MAY, 1936 318 319 the stm This ir the Vent \ forth in t

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similar situations as they arise. goes up and down the keyboard picking out For the formation of the major scale at the whole tones and the half tones regard- sSKsSssFREE cumbersome and involved, dealing as it to see that the major scale is made up of ° US SUCh’ or ° PPY Y themselves Z with “ eight tone content right at the two ^ ^ha'.floS £ “ ** Theory is all very well in its time and This ready formula soon becomes a sort of 64-PAGE BOOK containing 141 i > (full size) from the Place. The main endeavor, however, in sing-song with the child and he says, “two Walter Jacobs Ba“d B°°kG and/°r teaching the child should be to get him on and a half, three and a half, two and a half, 48-PAGE BOOK containing 51 1st Violin Parts, some full concert size, of the Walter Hgr^ie “ a half,” rather enjoying the easy »

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WALTER JACOBS, Ino 120 Boylston St

MAY, 1936 enjoyed with hushed awe, and one recog¬ ance of school boys and girls are the home nizes the depth of emotion, for the music work and physical and social activities of has gripped the soul; individualism van¬ the school. The disturbing feature of tuning ishes and a feeling of great oneness or ac¬ and keeping in tune a number of violins for THE VIOLINIST’S ETUDE cord takes its place. rehearsal may be obviated by insisting on From the standpoint of the instructor the the instruments being kept at all times, as difficulties associated with training a violin nearly as possible, to a standard pitch, 440 Edited by ensemble are not insurmountable. The fac¬ for A being the vibration rate most used. tors most disrupting to the regular attend¬ (To be continued in The Etude for June) ROBERT BRAINE

VACATION in Germany this summer will jr It is the ambition of The Etude „ Master Composers as Violinists A be an event of more than usual signifi¬ By Kenneth J. Deacon cance for lovers of sport, culture and scenic grandeur. The fact that many of the masters of especially noted as a pianist of dash and symphonic and choral works were remark¬ fury, he was a violinist also, having been Combined with the Xlth Olympic Games in which the elite of more than The Value of Violin Ensemble ably proficient in the art of violin playing taught by his dissolute father. Not per¬ 50 nations will participate, there will be contests between the greatest should be of interest to all lovers of this forming in public, he found personal enjoy¬ contemporary masters in music, art and architecture; scientific and ed¬ By Ellen Amey instrument. ment as he would play his themes in his Bach and Handel both played the violin, ucational congresses and expositions; quaint, picturesque folk festivals. will be more marked than in any other way. the former receiving instruction from his The Schubert family was musical, father serve good purpose with their wealth of For music devotees, the programs will be richly T IS DOUBTFUL if the value of en¬ for developing that clean phrasing and ar¬ material, especially the piano trio-piano, In no other work is there required such re- gifted father. Their solos, to this day, are Schubert, a school-master having taught I varied and fascinating: Grand concerts in the Berlin semble or group playing is fully un¬ tistic delivery which should be the posses¬ violin and violoncello. The goal how ex er. fincment of detail as in quartet playing, found in the concert and recital repertoires the youngsters the stringed instruments. derstood outside the more experienced sion of the young student to enrich and for professionals and amateurs alike, is the which becomes actually a process for the of the leading virtuosi. The group of home musicians would play State Opera, the Golden Gallery of the Charlotten- teachers and older musicians. Our better make saner his technical efforts. In each string quartet—the pinnacle of ensemble refining and maturing of the musical mind. At the age of twelve, Gluck went, to the the early chamber works of Franz, who, burg Palace and in the Schlueter Court of the Berlin of the six Handel “Sonatas” we find a music schools require such courses, though music. In the literature for this perfect While its influence as such can not be Jesuit School at Komotau, Bohemia, where like Mozart and Bach, preferred the viola breadth of tone in the slow movements, City Palace. Gewandhaus Concerts in Leipzig. Cli¬ with the pressure of other work these often medium of balanced tone and sensuous measured, there is still a deeper signifi¬ he had his first taste of music lessons. His in the ensemble. At church services, he and in the allegro movements, the straight¬ maxed by the great Wagner Festivals to be held in lose some of their efficacy. Only among beauty we find the choicest and loftiest cance, for in this intimate and most perfect skill in the capacity of violinist proved would often play solos, and even conduct forward bowing over the strings, that Bayreuth, and the Mozart and Wagner Festivals at groups where the Study of music is pur¬ thoughts of the greatest composers. Begin¬ music the young musician will find a source rather convenient when he maintained his the choirboys’ orchestra in the absence of sued more leisurely, or less superficially, should likewise be cultivated in the earlier of inspiration hitherto unknown to him. early livelihood by playing his instrument the leader. Munich. years of study. Counter to the violin is ning with the classic forms of Haydn, Mo¬ do we find a sincere regard for ensemble zart and Beethoven we are carried through at peasant dances. It is not generally known that Felix the interesting work of the piano, now Of course, there will be the famous attractions of training. We have, however, been gradually the romantic and modern periods to the The String Quartet “Besides the clavier, Haydn diligently Mendelssohn had studied violin under leading—now following delicately woven Henning. Later in life, he made a strong entering a new era in music and it would barbaric music of Stravinsky and the sono¬ practiced the violin, so that although no Germany: Romantic castles on the Rhine, charming .themes and developments, questions and here are few violinists who friendship with Ferdinand David, to whom o be a auspicious ti rous music of Hindemith. While the early T conjurer on any instrument, he was able health resorts, medieval towns, the Black Forest and the Bavarian Alps, answers in short phrases, then again fur¬ have not. for a time at least held in he dedicated his brilliant concerto for this important part of a music student’s composers, as masters of form, were prodi¬ to play a concerto.” So speaks Sir George nishing an alluring background of intricate important part in a string quartet. Some to mention but a few. preparation. The special programs of violin gal with their compositions, those of the Grove of the youthful Haydn, who himself rhythms and harmonies that challenge a well known virtuosi have demoted consec¬ once wrote: “By the time I was six I stood Clashing with his ambitious father who and piano sonatas given in recent seasons later schools wrote sparingly, because of With Travel Marks and a 60% reduction in railroad fares, the traditional violinist to his best efforts in both prepara¬ utive years to this kind of work—like up like a man and sang masses in the sought to end his musical career, Johann by Spalding and Gabrilowitsch, Eddy the great perfection required. In the play¬ tion and performance. Joachim of the famous Joachim Quartet of church choir, and could play a little on the Strauss, nevertheless, stuck fast to his hospitality of the land of Gemiitlichkeit will be enjoyed most inexpen¬ Brown and Felix Adler, and many others, ing of these compositions musical progress must have been enlightening to music lis¬ There are other combinations, too, that Germany and Knciscl of the Knciscl Quar¬ clavier and violin.” violin. And then, how did the “Waltz sively. For help in planning your itinerary, consult your Travel Agent and King” regard music for his sons? He teners who accept these programs for their tet of this country. There arc several or¬ The son of a great violinist and eminent write for Booklet 123. educational value. They point out definitely ganizations at the present time whose pedagogue, Wolfgang Amadeus Mozart combated it to such an extent that Johann, that we have not only entered a new era, members arc devoting their talents to attained rare artistry on the King of In¬ Jr. and Joseph gained most of their violin but that we have returned to the more quartet work. The string quartet holds pos¬ struments. His father, Leopold Mozart, ability, unknown to their father and with¬ GERMAN RAILROADS INFORMATION OFFICE intimate kind of music which is adaptable sibilities for the young professional looking the writer of a violin method of popular out the aid of a teacher. We are indeed 665 Fifth Avenue at 53rd Street, New York to the home and community as well as to forward to a career. The ambitious ama¬ recognition, wrote the precocious genius a thankful for the undying efforts of these the concert platform—music that offers teur also will find in it opportunities for letter, saying: “You have no idea how well men, whose lilting waltzes and Viennese rare recreational opportunities to the ama¬ development musically and intellectually you play the violin; if you would only do operettas have thrilled and lightened hearts teur and is of inestimable value to the and, in the social contacts thus gained, an yourself justice, and play with boldness, young and old. professional. In this development lies the occasional respite from more serious work. spirit, and fire, you would be the first This aptitude of the masters is just one indication that we should strive more ear¬ There is no doubt that performances by violinist in Europe.” It was in his youth phase of their many-sided careers. Equally talented on other instruments, such as the nestly in fitting a pupil, amateur or profes¬ amateurs arc greatly inferior, from an ar¬ that this incomparable weaver of melody piano and organ, or perhaps gifted vocally, sional, for effective work in group playing tistic viewpoint, to those of professionals composed his violin sonatas and concerti. In quartet playing, Mozart would invari¬ they profited by their early training, which as well as solo work. Especially is this The concern is not for the effect of amateur ably prefer the somber viola to the spark¬ expedited and facilitated to a great extent true of players of stringed instruments. ' music on the listener, but on the performers 5 a vital ling violin. the creation of their wonderful musical all of whom ensemble playing themselves whose musical development can Although Ludwig van Beethoven was need. be made in no other way. Then, too, by Students of the violin particularly are attaining through performance an intimate too often allowed to use all their efforts conception of the beauties of a composition in acquiring technical skill, ignoring the and the art of reproducing it, students are fact that technic is only a means to an end, A Study in Ear Training prepared to enjoy it more thoroughly when and that musicianship and self-control on By Flora Touvc Harris which true artistry are based, are likewise hearing it performed by artists. Familiar developed over a long period of study. forms become an intellectual treat and the While technical problems must be solved artistry of the performers is appreciate® To the beginning violin student this little pose, too sharp. “No! no! that is too through devotion to individual study, it is with a better understanding. illustration may be found very helpful in light.” We call it light if it is too sharp not only more interesting but also more establishing a sense of pitch and in locating or high. “Now listen carefully”—or “No, convincing, to exercise and develop musi¬ Violin Group Placing the proper position of the finger on the that is too dark (meaning low or flat), or cianship by playing with others. THE VIOLIN ENSEMBLE or violin fingerboard. “that is fine, just right.” choir is a form of group playing that Say to the student—“Now let us suppose, So we go on playing the progressions A Variety of Combinations adapts itself to the needs of violin students John (or Mary) that your mother is send¬ of notes or scales matching the color shades THERE ARE MANY ensemble com¬ among boys and girls of grammar or mgn ing you to the store to match some ribbon— closely. binations for the violinist. Close at school ages, though it may be used recre- a certain shade—say pink. When you Until the student’s sense of tone location hand, for which he may not find it neces¬ ationally by any group of violin players, arrive at the store you will find that there and pitch is fairly well grounded this little sary to go outside the family circle, are should supplement violin study and it are perhaps a dozen shades of pink, and scheme may be found useful. Sometimes the violin and piano. This combination is be counted on to provide the staying qua* you must be very careful to select exactly when a pupil hesitates about the location on most favored in having in its literature the right shade, or Mother cannot use it. School Music Collections ities. Youth will show the ,su^ the fingerboard, to establish his conception sonatas in great number from Bach and It will not harmonize with her work. If All clarinet and cornet parts for Bb instruments Orchestra tibility to the attraction of ensemble of tone firmly and quickly, we will say— Handel to Brahms and Szymanowski and, you bring the wrong shade you must go Books published for saxophones ing that is found in the artist: it “I do not care where you put your finger, at the present time, Huss and Stoessel. back to match it exactly. Columbia Collection of 120 Patriotic and Favorite Home Songs.Orchestra .50 be satisfied and just as carefully gn just so you produce the right tone for These compositions represent a period of “Just so, there may be as many shades Jacobs’ Album of Master Classics.Orchestra, Band 1.00 .50 two hundred years and more and, while An artist knows what he w»nts ““"t between two tones though there is but one me”—and he soon learns to . detect his Jacobs’ Band Book of Classics, No. 1.Band .30 to get it. a mere professional will find they embrace all known difficulties for this right shade to match our harmony pattern, slightest digression from the true tone and Jacobs’ Band Book of Military Marches, Nos. 1 & 2.Band .30 Jacobs’ Concert Album.Orchestra, Band, Saxophone Band 1.00 kind of work, there are among them many for what he considers an asset for m** for the slightest misplacement of your gradually learns to master that most dif¬ .50 Jacobs’ Ensemble.Orchestra, Band, Saxophone Band 1.00 .50 that can be used during the early years of gain. The young student should have [» finger will produce the wrong shade of ficult feature of string instruments—his within his reach every possible ■****, Jacobs’ Evergreen Collection of 50 Famous Old Songs.Orch., Band, Sax. Band .60 study. The Schubert “Sonantinen” are very own producing of the tones—until it be¬ Jacobs’ Folio of Classics, Vols. 1, 2 & 3.Orchestra 1.00 melodious and should please any ambitious the development of physical, mental “Now, when I play this tone, match it comes an infallible instinct or so called Jacobs’ Folio for School Orchestras, Vols. 1, 2 & 3.Orchestra .75 young student to whom they should be spiritual emotions. The realization of exactly for me.” He plays, we will sup¬ second nature to play in tune. Jacobs’ Loose Leaf Collection of Standard Marches, Vols. 1, 2 & 3.Orchestra 1.00 quite possible, though they have been rep¬ subtleties is aided by well-chosen Jacobs’ School and Community Band Book, No. 1.Band .30 resented on a program of no less an artist class playing. The strongly marked R. B. Hall’s Band Book of His Most Famous Marches. . . . ’ Band .30 and technician than Szigeti, who gave to FIDDLERS THREE mic piece, like a march or dance. W”*- To Musjc Supervisors: Send us your name and permanent address, together with your present this simple music his most tender expres¬ school location, and we will mail you free miniature solo cornet or 1st violin parts to these folios. This picture was just too charming to let nass hv l'l>,> i . . an enjoyment that has appeal to “No doubt, words, theories, rules are of comparatively little importance sion. Some of the easier of the eighteen Mae Ridley, Jean Rhinehart and Barbara Williamson are 'the n'^'i C"firie cal; a melody which stands out vn. ,)* in art. What really matters is: first, the works, then the performances."— WALTER JACOBS, Inc., 120 Roylston St., BOSTON, MASS. Mozart sonatas will also furnish examples Etude enthusiast. Miss Celina BizTt inTexa^ P‘U °f "" herence will evidence itself throng j, Adolfo Betti. JACOBS- BAND MONTHLY and JACOBS’ ORCHESTRA MONTHLY, $1.00 per year, each mental; a beautifully harmonized p*” 322 MAY-, 1936 THE ETUpS 323 The "Little Recital Hour” Rhythmic Wisdom VIOLIN QUESTIONS By Rena Idella Carver of the Philadelphia Music Teachers Association Answered IT IS SAID that quotations are not ings. It is sometimes something of a shock Earn A Teacher’s Diploma good art in literature; but I have found to the young pianist to be asked to accom¬ By Robert Braine , ..crcrestion of a Piano—“Gypsy Life” .Wagness no better way to impress a careless pany such a singer for the first time. He OUT OF a chance sugg' ■ f the Elizabeth I-cis; Pupil of Helen Babis pupil than to quote some statement made by finds himself being dragged along into new member at a Cab-net Meeting ot^ pjam>_..Betty.s ,,irst Waltz” .Light a loved artist concerning certain faults to thought channels of which he had known Xo question will be answered in THE ETUDE unless accompanied by the Philadelphia Must interesting Jessie Kh-tcrma,,; Pupil of which pupils are heirs. but little. and address of the inquirer. Only initials, or pseudonym given, will be published. ciation grew one 01 ... . . Recjtal Anna G. Mukenfus When I am held spellbound by the play¬ “Rhythm should not be thought of as and effective activities Hawaiian Guitar—“Manono” (Hawaiian ing of Josef Lhevinne, I recall a statement something dead. It is alive, vital, elastic. Hour programs. ^ program on the Love Song).l)e Law from him, in an Etude of some years ago; Of course, in the even thump, thump of the las^Saturday afternoon of each month Robert Snover; Pupil of and I repeat it to my pupils. military march of the Schubert type, there A Bachelor’s Degree within the first year they have created such Katherine L. Bennett “Practice in rhythm is something which is not the sprightly rhythm that one finds American students in particular should not in a Chopin Etude. Whether the piece is an enthusiasm that already there is a tie p;ano_“Through the Forest".Jenkins fail to secure. The student should look played slower or faster, the rhythmic de¬ mand for two of these in the month. Shirley Kirk ; Pupil of Carrie H. Matchin lioations.) upon the rhythm of a piece as part of the sign must not be obscured. It must always Teachers report that their pup”* ar® Piano “The Storj personality of the piece. It should be In every community there are ambitious men and women, who know the thrilled with the idea of “going down town jane Daniels; Pupil of F.Ua K. Fitzgerald marked by a strong vigorous design in the I have found that a striking idea—the advantages of new inspiration and ideas for their musical advancement, but Chaffing of the Neck. . to play before other teachers and students, \-in]()!U.t.|i,, Romance” Rentck McC. E—Much playing oi the violin oc¬ „n all things musical, instruments, background. The Bohemians, Hungarians, rhythm of a piece as part of the personality still neglect to keep up with the best that is offered. casionally results in causing lntle hnes^or and that there is a great deal of compe 1- Phyllis Reitheimcr; Pupil of performers, musical compositions, in fact, Poles and the Russians seem to have an in¬ of the piece. Is the piece gentle, gracious, tion and better practice in order to be ready Mile. Jeanne Modave They think they are too busy to study instead of utilizing the precious most common trouble Is the formation of everything pertaining to the “^“.L^'Vhese* stinctive sense of rhythm. The Americans charming ? Then the rhythm shall be sores, chafed places, or lumps at the spot it is quite useless to ask questions like tnw. minutes each day which now go to waste. “Who is the greatest violinist m the world . , seem to fail in it. It puts me to my wits’ swaying, rounded smooth and graceful. Is where the edge of the violin rubs against the “Who is the second best ?”, “What is,the great- The most successful musician is always busy. The demands upon his time neck. This is usually caused by the violin it forceful? Then the rhythm shall be being held too tightly against the neck, or ends to know how to develop this sense of one is played the most ?”,'“Who is the greatest rhythm, which is one of the most human vivid and decisive. are never ceasing—yet he always finds time for something worth while. It is from swaying the violin to and fro when violin maker now living?”, “How much does playing. The instrument should be held per- things in music. Playing duets helps to Play book after book of simple marches, to such a one, chiefly, that Extension Courses offer the greatest benefit. fectly still, and should not be pressed too he charge for his violins?”, “Who was the greatest violin maker of Cremona. , How strengthen it; and of course hearing a great such as are in the albums published by Because it is hard for him to give up his interesting class or position and go tightly against the neck. many violins did he make ? , Are new violins better than old?” and so on. deal of strong rhythmic music is an aid. Presser, to attain a feeling for rhythm. away for instruction. I den tlfylng^ Yhe'January, 1936 number of Tons of paper, and gallons of ink have been .v This can be heard in concerts and also by Sing with accompaniment, or play with But extension work is equally advantageous to the beginner or the amateur. a direct descendant of Johann Sebastian The Etude, you will find an article on used, arguing on these subjects, without get¬ means of the talking machine. band or orchestral instruments. Play for '•Carved Scrolls,” in which the matter is dis¬ ting anywhere, for the simple reason that Bach. Another time, when two boy* hap Accompanial Eleanw Fi It] I” The work can be done at home in spare time with no interference with one’s cussed at considerable length. The names of there is such a vast difference in human taste “Accompanying an instrumentalist or a esthetic dancing, or attend a dancing class pened to have prepared the same piece, it Emma A. Price regular work. a number of violin makers, who frequently and opinion on every conceivable subject. singer with a strong rhythmic sense is and watch their so regular movements. made carved scrolls, are given. 2.—As your In regard to questions sent to this depart¬ was thrilling to hear both play so well, *0 pj^ .., ,,r , .... Beethoven violin■ _'--no label, or identifying marks of ment, as to who is the best living violin maker, also a very good way of awakening the Put the heart in it, for rhythm is really any kind, 1 fear that it would be difficult for who is the best violin teacher, which is the differently, and yet so musically; because Ro>e Holzhauer; Pupil of Ethel Stubbs The Increased Demands for DEGREES have Resulted in any violin - - ,, leading conservator^ - ---- ■- •’ - lethargic pupil to his rhythmic shortcom¬ emotion put to music. the maker. He might, however, be able orth, i both were talented and yet of so different ,, Larger Classes for the ADVANCED COURSES offered by the name the school of violin making to which bvious that, in justice to personalities. Robert Haring: Pupil of Jeanette S violin belongs, and to specify th_e value uch questions cannot be a: UNIVERSITY EXTENSION CONSERVATORY. the instrument. he columns of The Etude. The policy followed is; hirst of all. no Soprmno_"A Heart that in Fret"..Rubin teacher may present more than one conns.- r..s , Pupil of E.l • Acoustical Revelations The Violin Strings. Look back over the last year. What progress have you made? Perhaps O. L. R.—Violinists differ in r^ar^ Violin Adjustments. sition on a program: and there can F. R. L.—-To pack an old violin away so you’ve wanted to send for our catalog and sample lessons before—just to examine entirely within* thef bounds o^good Vdgment -■ will be unaffected by moisture and encores ; though a pupil may take a tow Martha Sinclair: Pupil of The Etude is indebted to the researches phenomena of vibrating strings. them. That is your privilege. We offer them without obligation to you. Ours when he advises you to use plain D and A dampness, 5you might put it in a fleece-lined if demanded—which eliminates criticism, I«ahdla K Blake of Prof. Dayton Clarence Miller for the King Henry VIII owned some four hun¬ is one of the leading musical institutions offering the finest musical instruction that gut strings, since many famous violinists fol¬ „„6 of cloth or rubber. Place it in a favoritism and any cause of jealousy. A „ _ following facts taken from his “Anecdotal dred musical instruments, including one low the same course. However, other fine wooden box and store the box in an upper shelf can be obtained anywhere in return for the spare moments you are surb to find. artists differ to some extent. Jacques Thibaud, of a dry closet. 2—The little work, “The Violin composition may, however, require more Piano—“Cliarmantc . .. ■'•rot'vi History of the Science of Sound” (The hundred "and fifty-four flutes. His favorite But you must not rely upon your good intentions, as you have in the past, or who bears the reputation of being the great¬ and How to Master it,” by a Professional than one pupil to play it; which helps 1’upil oi Karl /apt MacMillan Company). instrument was the recorder, a form of flute you will miss this opportunity. est violinist of France, showed me his fine Player,Player, will give you the desired information Stradivarius on one occasion. It was strung lbout the adjustn towards variety. Then the programs arc Violin—“Gavotte .. •_-11’ Pythagoras invented the Monochord, an upon which he played daily. He had bands There is a greater demand all the time for the courses we offer because they fit thus: G, gut, wound with silver wire; D, gut, 3—The3—-The physical e timed to one hour, so that they may not 1! instrument for studying the vibrating of recorders, with as many as forty players. teachers for better positions. And the service offered to teachers in our classes wound with aluminum wire; A, plain gut; continues long after the diploma or degree is awarded. This is an age of special¬ E, plain steel wire. I do not think that this violin playing is concerned, 1 grow tiresome, and so that all participating Piano—“Prelude in C-»harp minor _ strings (about 550 B. C.). Imagine, forty flutes! arrangement can possibly be improved. too violent. or in attendance may plan the hours before ization and the specialist is earning fully double or more the salary of a musician - ” - t advise you to use steel D and Aristotle agreed that the sound of the The musical scale now in use was first and after. Polly Hoot. Pupil of H. J. Weber with only a general knowledge. Openings in the music field are growing very . They a Cleaning the Violin. human voice was sweeter than any instru¬ proposed by Zarlino in 1588, but was really rapidly. There are big paying positions for those who are ready for them. F. T. Q. F.—I have not heard of any sales A sample program is here given. Piano—“Gavotte” _ Bach—Saint-Sac® ment. established by Johann Sebastian Bach in quality. Every artist now uses the plain steel recently of Auguste Delivet violins. As this A Diploma is the key to the best teaching positions. Do you hold one? E, with the little tuning device, attached to maker is somewhat obscure, you may have some c ...i n 1 ». .. Virginia Ziegler; PapB of Mae-ABem EA Ptolemy (about 130 A.D.) attempted to 1722. the tailpiece. Some players use this same little trouble in getting an appraisement of Seventh Little Recital linn, establish the relation between tones of the The flute, according to Professor Miller, tuning device for the other strings. his violins. Write to several dealers in old Our Diplomas and Degrees are Awarded by the Gut G strings wrapped with aluminum wire violins, and they may be able to furnish the Philadelphia Music Teachers Association Cynthia Preston: Pupil of scale and colors. is probably the first musical instrument are rarely met with, because the aluminum information. 2—With $800 to spend on a violin, Kepler, the astronomer, in writing upon used by man. Its origin antedates history. Authority of the State of Illinois wire is too light to give the string the proper the average violinist would buy an old one in Edward Ellsworth Hasher, Mus. Doc., Katherine I- Rogers weight, and the resulting *~m *- o shallow preference to a new one. 3—Maybe the extreme¬ planetary harmony, called Saturn the basso The siren was invented by Cagniard de la It is up to YOU. On your own decision will rest your future success. Fit your¬ ly thick calluses on the ends of your left hand Presser Recital Hall—March 30th, 1935— This idea could be used in almost any profundo, Jupiter the bass, Mars the tenor, Tour, in 1819. It was the first instrument fingers, which you complain of, are caused from self for a bigger position—demand larger fees. You can do it! You can easily and 1 or Machine Made. your exerting too much pressure on the tips Three o’Clock community by the cooperation of resident Earth the contralto, Venus the soprano, by which the pitch or frequency of sound quickly fit yourself right at home through Extension Courses. of your fingers. Your remedy of sand papering and Mercury the falsetto. He also insisted could be definitely determined. This great musical organization, now in its 33rd year, has developed and trained the callused places lightly with very fine sand¬ * * * * teachers, and greatly m their advantage in paper will not do any harm if you do not Program many ways. Nothing would help more to that the melody of the earth gave forth mi, Alexander Graham Bell, inventor of the more accomplished musicians and more successful teachers than any other musical School in existence. And we offer you the same advantages they received. •hinery, hut many of t overdo it. A reasonable callus on the end of Piano Duet—“Flying Doves”.Heins create a music consciousness among the the third of the scale, which meant misery telephone considered that his great life work the fingers is an advantage, as it results in and fa, the fourth of the scale, which meant was helping the deaf. The invention of the Now is the most opportune time to clip the coupon below. It will bring you clearer tones than if the fingers were soft on Nelson Tanner and Leonard Colovita; public and thus to create a greater demand information about our lessons which will be of untold value. So don’t waste the ends. 4—Sorry I cannot furnish the ad¬ Pupils of Jane Behm for the services of all teachers. famine. His fantastic ideas were inter¬ telephone was really a by-product of this dress of the violin maker about whom you in¬ another minute. Take advantage of Your Opportunity. quire. 5—If the violin is wiped off with a cloth mingled with inspired discoveries. noble ideal. daily after using, the rosin will not accumulate Galileo (1564-1642) was the first to give Rudolph Koenig, greatest of modern Mail the Coupon TODAY! N. A.—The list of articles you wish t( on it. If your violin already has an accumula¬ any real scientific observations of the acousticians, began life as a violin maker. tribute to The Etude has been received, tion of rosin, this can be removed by various only course would be to prepare one o: preparations (put up in tubes) which you can First at the Mill get at any large music store. If the rosin is University Extension Conservatory 0 words, stand the very thick and hard, it can be removed bv best chance of acceptanc rubbing lightly with linseed oil. to which a By Zelda Hines DEPT. A-52, CHICAGO, ILLINOIS small amount of powdered pumice stone has Watch for This Impostor been added. 6—The publishers of The Etude F. H. L.—You will find an article on “Carved can supply the book. “New Aids to the Techni¬ Scrolls” in the Violinist’s Etude for January, cal Development of the Violinist.” bv D. C. An old French proverb runs “Qui pre¬ progress of the pupil greatly lessowf To The Etude: in weight, discolored gray hair combed 1936. which will supply much of the informa¬ Dounis. 7—The “Violin Concerto, Op. 28,” by Information has come to our attention back, and light brown eyes. tion you require. Without seeing your violin, Goldmark is frequently played by leading mier arrive au moulin, premier doit Because the lesson often intrudes upon it would be pure guess-work for me to try to violinists, and is among the standard con¬ moudre,” which may be translated. “Who the next and so injures the interests of tt* that one, Dr. Tieger or Tegier, also known He has been collecting funds from stu¬ name the maker. Send your violin to an expert, certos. 8—The “Violin Concerto." bv Delius who might possibly identify it. Send the violin comes first to the mill should have the first as Dr. Robinson, has been representing dents as application fees for admission to has some fine passages, but does not rank with grinding.” following pupil. itself, and not a written description. If the student only could realize tM> himself as being associated with The Curtis the Institute and has even engaged teachers, The habit of being prompt—the first in what the teacher has to sell is his know- Institute, as having been appointed Director receiving, no doubt, some remuneration line—is one which is usually profitable, and edge. skill and experience: but that thereof to succeed Dr. Josef Hofmann on from them. □ Piano, Normal Course □ Trumpet □ Guitar April 1, 1936, and as being presently en¬ for teachers □ Ear Training and especially to the music student. There are trackage that he sells it in is made up The State Police of Arkansas have been □ Cornet U Piano, Course for Stu¬ □ Voice Sight Singing few things that irritate the teacher more seconds, minutes and hours, and that once gaged in a lecture tour on behalf of the Thumb Position notified regarding this impostor; however dents □ History of Music □ Mandolin than a habit of being late. Why’ a second is gone, no power in the univer* Institute. This person is entirely unknown to the Institute and his representations are you may wish to call this matter to the G Public School Music □ Choral Conducting □ Saxophone lo®— the PUP'> 'oses and 'the teacher can bring it back; he would perhaps realiK □ Harmony Clarinet Piano Accordion By James Gibson Davis both false and fraudulent. attention of readers of your publication. □ □ the teacher’s position and determine to □ Adv. Composition □ Violin The last information received was from Sincerely yours, teacher is annoyed.thC PU,pil is flustered a"d the “on the minute.” Dorothy S. Lynch, If you want the best, be first in the I®*' Little Rock, Arkansas, and it is believed The correct position of the thumbs, in The most up to date violin methods teach Because the lesson is hurried and the he is still in the Middle-west. He is de¬ Assistant to the Director, Name . Age . holding the violin and bow, respectively, is that the thumb of the left hand should not last. scribed as a small man about 105 pounds Curtis Institute of Music. Street No. a factor of violin playing often overlooked come in contact with the neck of the violin by student and teacher. on the ball and almost at the very thumb City . State . Holding the bow demands that the first tip. When the arm is then brought well joint be bent outward, not inward, or even How long have you taught Piano?. How many pupils have you under the right bout or side of the instru¬ "The mystery of musical inspiration is quite as baffling to one who pos¬ held in a straight position. Neglect to ment, it becomes much easier to shift from gain, cither fir ^Ihe'hL i°rr SUrC^.SS to “‘"Pdcr •** •** beginning the financial sesses it as to the general public. I hare no use for false modesty which now?. Do you hold a Teacher’s Certificate? . Have you observe this rule results in cramped muscles one position to another. Also, the impor¬ has been ackZwkdaZi * - «"■#«*«■. As soon as artistic recount, leads one to deny a gift generally recognised.. But one is no more responsible of the wrist, making it impossible to ex¬ tant vibrato can be executed with greater Therefore be true to vn ^agnition foliates as the day the for it than one would be for having red hair or a prominent nose.”—Rudolf. studied Harmony?.Would you like to earn the Degree of Bachelor ecute rapid passages in sixteenth or thirty- ease from the forearm or wrist. Let your you are extteZV jt ?^ *°"r f'"™ ’"a«. and ,0 your art. and unless Friml. of Music?. second notes with a free wrist stroke. thumb be a guidepost to the positions. Philip Sousa. ‘ unfortunate your life to,II be a life of gladness."-John MAY, 1936 324 325 Crayons as Critics ““““JUILLIARD SCHOOL OF MUSIC Question and Answer Department By J. Lilian Vandevere John Erskine^President Conducted by IT WAS THE ONE or two rough spots came trotting in with an air of accomplish- Karl W. Gehrkens CHICAGO MUSICAL COLLEGE JUILLIARD SUMMER SCHOOL in their pieces that drove me frantic. ment, and a goodly display of checking. Every one could tell me gladly and glibly Professor of School Music, Oberlin College My B class was a group of_ hve mm■- SUMMER MASTER SCHOOL Musical Editor, Webster New International Dictionary George A. Wedge, Director cal, enthusiastic nine-year-olds, but hclack where he had tripped, and why. There were of final polish in their memorized pieces purple slurs over slippery runs. Evasive No question will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. Third Session July 7 to August 14, 1936 was my despair. I went into serious con¬ octave skips stood out in rampant red. First Session Major Session Changes of clef that had been blandly ference with myself, and finally emerged, July 20 to August 29 Reservations Now Being Received Embellishm, and Fingerings. A Difficult Rhythm. May 11 to June 20 June 22 to August 1 overlooked now loomed in glaring green. Q. 1.—In ■’« Second Rhapsody, meas- Q. Will you please explain the time ure H, is tl a »i.... -lie right hand SmSeni„g to the “5 and 10” I expended Nor were the splashes of color the main the figure in the first measure of Debuss,, Instrumental instruction Vocal instruction the D -sharp Des pas sur la neige and how it is played! Some of the Prominent Members of the Summer Faculty . . . a dime, and came home to prepare certain result. The children had focused their own octave of the bassf'" The first figure of triplets receives one beat Theory of Music Music Education attention on the weak spots in these pieces, 2. —Are the embellishments in measures and the quarter note one beat. In the triplet mysterious slips. At the next class lesson 29, 35, and !,1 played before, or on the beatt figure, is there not a sixteenth note missing t Ensemble my plan was sprung, with much ceremony. and had proceeded to master them. The 3. —Exactly how is measure 59 figuredt Rudolph GANZ Lazar SAMOILOFF (Special Engagement) i-—What is the fingering for measure 851 _ .e this measure .... To each child I gave a slip bearing the colored marking made the part needing A. Perhaps If 5. —How is the mordent played in Chopin’s unders md. The first beat consists Alexander RAAB Louis GRUENBERG Beginning and advanced students accepted names of the six compositions he had last practice stand out vividly. The child who Waltz In D-flat, measure lot sixteenth notes tied to had stopped to draw an orange line under 6. —In Leschetizky’s Lucia di Lammer- eighth noi ti Is tied to the quarter n... memorized. Besides the slip I proffered a moor, third measure, is the grace note, A-flat, on the st ■at. The third and fourth Leon SAMETINI Isaac VAN GROVE Catalog on request crayon, a different color for each child. a tricky measure had time to think clearly in the left hand played before the chord? In the same manner. T - what his mistake had been. Accidentals —In Brahms’ Hungarian Dance, No. 7, The children looked from these articles to do the grace i -*—* before the bass Silvio SCIONTI Graham REED 130 Claremont Avenue Room 221Y New York, N. Y. me with wide eyes. Having thus intrigued were respectfully heeded; pudgy thumbs octave F ." meekly “went under.” and small hands dived and impressed them, I explained. to play it before. If' played togetherrdeiay Rollin PEASE Arthur Olaf ANDERSEN Two weeks from then, at the private nimbly and fearlessly into the bass. Con¬ your pedaling until the embellishments are fronted by a tangible evidence of mistakes, passed. George WOODHOUSE Nelli GARDINI lesson, each child was to play his list of 2. —As your questions originally numbered pieces from memory. But—there was a each pupil had honestly worked to clear 2, 3, and 4 ask about the same thing, I have combined them in question No. 2. These em¬ Mollie MARGOLIES Belle Forbes CUTTER much more important item. He must have up his pieces. bellishments are usually played before the marked, on each piece, in his particular Teachers are prone to forget that the beat. No doubt you are puzzled because you have read that such grace notes should start Viola Cole AUDET Helen CURTIS HAROLD HURLBUT colored crayon, the parts that had proved long-suffering and too-often dulled ear is on the beat. Theoretically they do, but not the only method of approach. Let the artists Just as often play them before the Mary Strawn VERNON Max FISCHEL International Voice Specialist troublesome. Moreover, he must be able to beat: especially is this true in such strong tell what the problem had been. pupils' eyes grow more alert, and allow rhythmic pieces as this Rhapsody. Learned his profession from the unrivalled artists: them to do their own unaided checking on 3. —You will And it easier to keep these Franklin MADSEN Lillian POWERS Delighted grins proved my point well s together by using an interlocking trill DE RESZKE—MAUREL—CAMPANARI-CLEMENT. taken. Having the teacher’s red and blue the fingers. They will then look back at Mary Ann KAUFMAN Eric SORANTIN Made numerous transcontinental master¬ pencils dashing about, leaving a trail of you across the keyboard with a sparkle of J J> J> J> J> J J> class and lecture tours. Author of “Voice havoc, was one thing; producing their own new interest. New interest will mean that gaudy graphs was quite another matter. the pupil will remain in your class, and not A. My preference is for B, first, because Complete courses leading to degrees Bachelor of Music and Master of Fundamentals” (J. Fischer & Bro.) the word is in-to, rather than in-to ; second, Two weeks went by with no slightest only remain, but also progress. By such because the effect of a triplet in the melody Music, with Major in Piano, Voice, Violin, Music Education and Theory- A great music critic says: reference, on my part, to either crayons simple means as crayons, intelligently used with the accompaniment, also in triplets, is “Harold Hurlbut, true exponent of bel canto.” is your professional success enhanced; and a little smoother. or compositions. Then came the eventful Rudolph Ganz, President Harold E. Ray, Business Manager (Signed) W. J. Henderson, your efforts will be repaid a hundredfold Q. I am studying Schubert’s Menuetto. At Leon Sametini, Vice-President Gustav Dunkelberger, Dean Music Critic N. Y. Sun the end of the piece are the letters M.D.C. Can you^ptease tell me what these letters SUMMER COURSES FOR SINGERS Write the Registrar for Summer Bulletin AND TEACHERS A. I have looked up another edition of Music Study Helps a Lad this Menuetto and find at the end the follow¬ 64 E. Van Buren St. ing words Menuetto Da Capo. That is a direc¬ 2150 Beacliwood Dr., Hollywood, Calif. tion indicating that the performer is to repeat A Letter to Un-musical Youth the first part (minuet) then skip the trio and play the coda, thus bringing the composition By Thomas M. Hayes to a close. The three letters M.D.C. evident¬ ly stand for the words Menuetto Dn Dnnn and I am not surprised that yoi understand them, for this is not Time and again I have read in The I saw that I was able to grasp my other abbreviation. Etude that “Music Study Exalts Life.” studies more readily; and now, after eight I do not recall where I read that “Music years of music study, 1 have very little Repeats and Cadenzas. MILLS COLLEGE Q. 1.—I am to play Beethoven „__ Study Helps One in His Other Studies”; trouble in getting a hold on almost every¬ Op. 53 in scholarship competition. Do you Near San Francisco, California but I know it to be a fact. thing else 1 try to study. think I should use the repea’-' AMERICAN 2. —In the Steingraber edit When I was in Grammar School, and SUMMER SESSION of MUSIC—June 22 to August 1 (6 weeks) I think that, if music teachers would vary Concerto in D Major there a-- - for a year or two in High School, I was ■written by Von Winding and Hummel. I their presentations of lessons, they would m heard a pianist in New York play this and Complete Curricula Leading to Degrees in All Branches of Music actually the “dumbest boy,” all the time. get better responses to their instruction, he left the cadenza out. Do you think I CONSERVATORY We had music lessons, but I hated music and that the pupils would become much shouldt Faculty of Distinguished Artist Teachers 3. —At what speed should I play the Allegro and could not learn it. I think it was be¬ more enthusiastic over the subject. I shall of this “Concerto"! cause those who- taught it did not under¬ i.—Could you possibly give me the address Guest Teachers be always grateful to a friend who gave of Dalles Frantz! OF MUSIC stand presenting music in an interesting me a “History of Music" to be read before 5.—I have studied music two years and manner. have accomplished the following: Studies by Marcel Maas noted pianist and teacher of Brussels, Belgium I took up the fundamentals. That too, Streabhog, Burgmiiller, Heller, Czerny, Cramer, CHICAGO 50th SEASON For a long time I was anxious to select might be a good approach for other teachers. Bach “Inventions." “Preludes and Fugues,” Pro Arte String Quartet of Brussels, Belgium Beethoven “Sonatas,” Chopin Nocturne and a “specialty study”; and, as the idea grew This bit of experience has been written j=b Etude: also numbers by Ravel, Debussy, and Offers Accredited Courses in piano, vocal, violin, organ and all A residential summer school for men and women. Dormitories on cam¬ upon me that this should be music, I had with the hope that in passing it along it De Falla. Would you, without hearing me, other branches of Music and Dramatic Art leading to to force myself into this study. Up to a nelody tone. The chord say this was accomplishment enough to war¬ pus. Many recitals and concerts. Summer or Winter bulletin on request. may help others to find that music is not rant my taking up a professional ci-* minute before that decision was finally a bore. —it W. DEGREE—MASTER OF MUSIC made I hated music and knew as good as A. 1.—Many artists leave out this repeat; ( This is one of the most inspiring letters certainly, in a contest I would do so. DEGREE—BACHELOR OF MUSIC Address—Luther Brusie Marchant nothing about it. But, when I once had tve have read in many months. Cannot 2. —In Mozart’s day performers were in the habit of improvising these cadenzas. Later Dean of the School of Music begun study in earnest, I soon was inter¬ someone else relate a similar experience when improvising was not so common they DIPLOMAS—TEACHER’S CERTIFICATES 85th Year Mills College P. O. California 1 ested; and, best of all, it was not long till with music study T-—Editorial Note.) were written by others for performance. It is customary, but not at all obligatory, to use v 7T"Jhe 8™ce n°tfs start before: the right- them. If you have a good cadenza and play Under Authority State of Illinois hand C comes with the bass octave F. it well, you probably will make a better im¬ Ex. 5. pression on your audience. Zoellner School What Is "Popular," What Is High Brow"? 3. —An approximate tempo would be J Thorough preparation for concert, radio, opera and teaching posi¬ 132. tions. Many special features, weekly recitals, concerts with full SCHOOLS-COLLEGES OF MUSIC 4. —c/o Evans and Salter, 113 W. 57th S orchestra, lectures, school of opera, training in students’ symphony 2100 S. Western Ave., Los Angeles, Calif. (.Continued from Page 284) 5. —I should say that if in two years yo orchestra, bureau for securing positions. can accomplish so much, you must hat. Courses in Piano, Voice, Violin, Cello, Organ. talent; however, not knowing how you play BRAUN p«. Theory, 'Dramatic Art, String Ensemble them, I cannot advise you. Whv not ask - ... i>iuSiam ana this generation's symphony patrons re¬ your teacher, as he knows your ability best? SUMMER SESSION—JULY, AUGUST. 1934 ses, tor we read no academic program no FOLDER ON REQUEST ceived their first musical thrills from those SUMMER MASTER SCHOOL to proclaim why the public should ace. A Schumann Novelette. CONVERSE COLLEGEgJC- memorable band concerts. More than one Q. Will you kindly explain how measure Three Summer Sessions—May 14 to June 24, this as good music. We presented it simi has confessed to me that his path to the two of the Trio in Schumann’s Novelette, because we believed its Russian popular Interpreting a Chopin Nocturne. Op. 21 is playedt The last note of the second June 25 to August 5 and August 6 to September 16 INSTITUTE OF MUSIC concert halls was made smoother by listen¬ , /■ An Chopin's Nocturne Op. 15, No. count is written both as an eighth-note and a 1/tinV CONSERVATORY OF MUSIC pubHcnded 3 hearing before the Americ ing to the ‘March King’s’ rhythms. ^ first eight measures of the doppio movi- sixteenth, each if played in their proper time K N 1 11 Galesburg. Illinois AND FINE ARTS 5en j—are the five sixteenth notes to he would not be played together.—-Nelson, B. C. One Hundred Twenty Artist-Teachers 1111U A Catalog Free Wm. F. Bentley, Director Long beach, Calif. “No one can make listeners digest ‘high played evenly t “John Philip Sousa once told me that 1 SUMMER MASTER CLASSES brow’ music until their tastes demand it 9_ti7jabout the inner melody notes Special Summer Courses in Public School Music, School of Opera, School public came to his concerts because he ! having the up and down! of Acting, Children’s Musical Training, Class Piano Method (Oxford), T h T J“ne’c^uly’ Au6us,» 1936 Radio has, in its short life, brought the 3.—In m 33 and on, is the bass note tertained them musically and did not trv the first note of the trip- Theatre Organ Playing NORTHWESTERESa Free and Partial Scholarships Awarded musical taste of the American public a great edu.c,at® them But he also added, ‘Tl way along the road toward better music. Mes City? Mont. ** could have stayed away and been a dol A- L—The five uvra ,should■>. be played Send for free catalog. Address John R. Hattstaedt, Manager Not by learned discourses about the sub¬ , The accompaniment uuies, on or two richer in pocket,’ which applies two and four in the left hand, should H® you take advantage of the many radio in this sense—the public canalwa ject but by presenting it as something for "? IfL"’ waya? between the third and fourthfour AMERICAN CONSERVATORY OF MUSIC the enjoyment and pleasure of the •Btener- of thefhe right hand. excellent merchandising oppor¬ turn off their radio sets if they are —The inner double-stem n< A. You are right, You will often find IHiiPRAjyiii The public has learned to crawl musically, fact they should not be contradictions in musi notation. It is gen- 575 Kimball Hall, Chicago, Ill. being pleased. But by entertaining Organ Tuning. Rates Reasonable. In the heart of the Shen¬ tunities which ETUDE Advertising and we are helping and hoping to enable ? the o erally a good plan t< favor the important andoah Valley, Dayton, Virginia. Columns offer you ? audience Sousa did arouse an imer voice—in this case, tl ; melody. Treat this in music. I dare say that a great many it to walk.” as a dotted eighth-note and a sixteenth. Thus have nations been made musical. 326 MAY, 1936 327 THE ETVDE VOICE QUESTIONS

Answered

By Frederick W. Wodell SUMMER COURSES—JUNE 22 PUBLIC SCHOOL MUSIC Ro questions will be answered in THE ETUDE unless accompanied by the full name and address of the inquirer. Only initials, or pseudonym given, will be published. CHORAL CONDUCTING INSTRUMENTAL SUPERVISORS' COURSE Fear of “ H ft' !t hi h c." powerful, but sue hears BOY CHOIR TRAINING Q.—I have studied singing with my choir- called >ne than does the listener Her: but. though I have sung out a good seated at nee away. Some sopranos, TEACHERS' TRAINING AND REPERTOIRE CLASSES i, and solos in church, I am afraid of my singing with force _n the_ las.. *—_ pitches of h tones above O, for fear of breaking. Is their upper range, use undue breath' pressure, LITURGY AND GREGORIAN CHANT improper placement-• 1 ’ —>t Up a semirigid pharyngeal ity.” Whereupon their tones APPLIED MUSIC— yf_Probably this trouble is due in large — — less metallic, piercing nart to nervousness—fear, which should wear quality,_ quite” unlike' the Including Voice, Violin, Piano, Organ, off as you continue your studies and singing of the \ i the lc before the public. Quite possibly you make compass, Some force these notes into a Cello and all Orchestral Instruments. more ohYsical effort than is necessary, when tremolo.. Others hold them perfectly steady, ■ ■_hiorh nitcVlOd Uptl r ill 1111 but with the hard, steely quality mentioned. I Courses given Universi credit. For catalog E wri e Arthur C. Becker, Dean. The Adult Singing Student. ROOM 400 64 EAST LAKE • CHICAGO Q.—I have been studying voice for thre e than thirty years of age. is the one whom we may expect to make his i rather long __ _ _ heaviest tones (usually "nois e treble staff. Have had three teachers. SCHOOL OF MUSIC of his range. When practieL.,, _ -satisfied The fir ..m. a lyric soprano. My at first with tones of medium force in the r said I u : a lyric coloratura. upper octave. Rightly used, they will grow "_hroflilth A tone need not he so touth real wide for high n ANNUAL SUMMER SCHOOL could e the « rds. The teacher June 22 — August 1 e attentive listener, chelor of Music, Maste of Music Degree. sing contralto. He sc l°keep conjunction with Wesl :rn Reserve University, he ground and, when singing the er REGULAR FACULTY. o keep my head straight forward iseful for mu use mure breath. I can pronounce far vocal stuii, ,< ( norc distinctly; it is much easier for me to >,o talk about h ing. and it sounds well. Now that I am using ng diaphragm more, I have a peculiar feeling rf (Dufitr it the nostrils. Is this a —-- BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio s told n twing a * you might scholars c of my aget I have had b a few p ms. If I did not turn out “The Principles of Express!' n in Song,” he a co iger, I would love to be by Hubert Brown. This is a sn • OBERLIN CONSERVATORY one packed full of points for tb • singer.’The piano lc quotations are from English pu Ushers' song «aAj,~J now what you mi lists, which will give a slant at the nostrils.” material. ?y have a feeling IPHSlfl PS of, MUSIC “Interpretation in Song," by Harry tonal, vibration.. ... the bridge of the Plunkett Greene. A book especi n.. especially in thett. long middle range. students of " ” ’ ~ T' mouth is different receptive min '.Adinc this work but and this fact is taken into account also question Intentmeut mademade, until you skilfulhad a sayinfvoice ,_teacher. ..IIe whn The Pfln old hrpnth( Italian, are satisfied a» m w Answering Etude Adver¬ “Great Singers on t of Singing.” by which fixes the lips, to James Francis Cooke. A s ies of interviews A professional school fAtisementsl always pays ists, on problems ssible for s in a university environment of the study of singing. unit a usical t with a “The Singing of the For Free Bulletins Write to and delights the reader.■ } Ffrangcon Davies. A voiui mouth, t : high pitches, ah, aw_, , _ S and a thoroughly educated viaeu xne tongue is..._., loot and the jaw, as it his subject. Will require a •tided were, “floating.” rmThe” natural- raising of the SCHOOL OF MUSIC upper lip, as in _ - 1830 Sherman Avenue Mr. Greene has many a pointed remark, of devotion, assists in many icluding the following : "A visible breather ing easy production of high like a 'roaring' horse ; he may do his work, facto it he is distressing." NORTHWESTERN The publishers of The Etude can supply production o lese books, and any vocal works suggested lips together on the vowel. It v i them for study. UNIVERSITY . Things can be man~enter vels. 5SMOPOLITAN rather Tigl teems to be growing fuller. .in. sides of the mouth. But it is t.._ 'a I practice in the morning simplify the question of tone production and SCHOOL OF MUSIC -supple than later in singing as much as possible. Let the parts SHjRLEY^ GANDELU M.A^Oxford ie dayt—Mrs. T. P. adjust themselves, in a free, unforced man¬ i the ner, in obedience to the willing of the realiza¬ morning than later in the day. The tion of a tonal concept, meanwhile seeing to quite readily shows fatigue from any cause. it that the breath is so controlled that there Many professional vocalists do their best is no interference, through rigidity, to that singing at night. They say they get “tuned freedom. Your present teacher has given you up during the day. Church quartet singers some good advice as to physical exercises, and are noted for complaining that the voice is reducing the amount of physical effort in . c°'d" or “stiff" at the Sunday morning serv¬ song. “Making faces” hinders, rather than Illinois Wesleyan ice. No one, who wishes to sing very well, assists the singer in tone production You ran put oat much energy in other directions. might write to the various Schools of Music University whose announcements appear in The Etude, School of Music That Etern stating . 0 —Hold nun one siuslop vibration „_shipsr_. *”_ Courses leading to Music Degrees breath which makes the'*"■ ‘~ne sound with a iy need .....ich . n . ...Jdy of voic., — For information address tremolo on some pitch the upper voicef and theory, f teaching methods, and of 41st Annual —Mrs. 0. C. generally. Secretary—Presser Hall, Bloomington, Ill. assume from the wording of your question that you do not notice a tremolo Summer Session n your singing, except upon a few particular botes. At ,hese points you are trying Tell your Music Loving Friends about THE ETUDE and ask them to give Faculty oi 100 teachers. Private instruction in eflwai<1 to slng ■ putting too much physical von the privilege of sending in their subscriptions. Piano. Voice. Violin. Organ. Cello. Wind into your work. Look to the freedom ,™'-'k of the tongue, and of the muscle Ask for Catalog of Rewards for subscriptions you send Instruments. Theory, Composition, Dramatic n? In thn *aw which extends from the point THE ETUDE 1712 Chestnut Street Philadelphia, Pa. Art and Dancing. f,, e™ to the neck. There should be no torcing EASTMAN SCHOOL OF MUSIC Peabody Conservatory By Lila Kennedy (Wintergreen Grasshoppers) The Parade for her imagination and makes for compe¬ of the Grasshoppers—J ohnson tition among the parents, which always of OTTO ORTMANN, Director (Dream Bars) Silver Dreams—Ewing stimulates interest. The ingenious teacher BALTIMORE, MD. (Lemon Daffodils) Swaying Daffodils— will invent dialogue to suit her program The University of Rochester Overlade and to display the talent of such pupils as Recognized as the leading endowed musical conservatory of the country (Candied Violets) Sweet Violets—Heins have a flair for acting. Howard Hanson, Director June 22nd Raymond Wilson, Assistant Director This is an endowed institution of The orchestra of 110 students, Summer Session August ist Cultivating Concentration national scope offering courses in band, ensembles and chorus broad¬ all branches of music. The recog¬ cast over NBC system, Thursdays, By E. Constance E. Ward nized University degrees, B.M., WILMER BARTHOLOMEW LOUIS ROBERT 3:15 P. M., E.S.T. M.A. in Music, M.M. and Ph.D The degree of success in music study determination not to leave off till you are in Music are granted. Due to limited enrollment early Tuition $20 to $35, according to study depends greatly upon the amount of con¬ satisfied that some improvement has been registration is advisable both for » Pianos and Organs Available centration used in the working period. reached. Then, as intense concentration is Library facilities, physical equip¬ To acquire the power of absolute con¬ ment and University affiliation af¬ Circulars Mailed FREDERICK R. HUBER, Manager somewhat tiring, relax for a few minutes, summer and winter sessions. centration is not so easy as one might be¬ after first noting how long the practice ford unusual opportunities for ;nts for classes now being made lieve, as the conscious mind is so readily was continued before concentration wavered. graduate study. The Placement Bureau has avail¬ distracted by incidents occurring about it. Practice is of little benefit without full con¬ able candidates for professional One may think he is honestly giving his centration, that is, undivided attention. Several yearly concerts enable positions and for teaching in col¬ SCHOOL OF MUSIC SIXTH ANNUAL whole mind to his work, when a door sud¬ After a few minutes of rest, the mind composers to hear own works per¬ denly opens and at once the eyes are turned will be ready to approach another portion formed. leges, public and private schools. OF THE UNIVERSITY OF MICHIGAN “STUDY VACATION” in its direction to see who or what opened of your work. Do not set too much to be it. Then, right in the middle of a piece, Summer Session June 22-July 25 Fall Session Opens September 22 Complete curricula leading to degrees in FOR done at one trial; and always record the all branches of Music. Faculty of distin- there will come a thought of something time spent before resting. It will be found For Information and Catalogs Address: PIANO TEACHERS The Stage, as arranged for a Recital in Musical Candy Land that was not done correctly in one that has that the length of time, during which close by pupils of Ada Relle Morris been studied before. Involuntary interrup¬ concentration can be sustained, will grad¬ organizations in Hill Auditorium seating Arthur H. Larson, Secretary-Registrar 5,000. Chorus of 350; student symphony AT FAMOUS tions, such as these, cannot but have a ually increase; but there should be always a Eastman School of Music, Rochester, N. Y. weakening effect on the ultimate result. period of relaxation after each period of orchestras, glee clubs, bands, etc. Recitals On entering, each player announced what each week on $75,000 organ. Hotel Chamberlin WHILE ON VACATION, I visited A few suggestions as to methods of study, work. he or she represented, as indicated in paren¬ with music-working friends; and which will stimulate and strengthen the This study should be arranged where Old Point Comfort, Va. theses, which also suggests proper costumes. we not only had “shop talks” but power of concentration, may be acceptable. there will be the least possibility of inter¬ also exchanged ideas that would be helpful June 29-August 21 Piano Numbers for “Candy Land” Suppose technical practice is about to be ruption of any kind, so that the mind may "Good INSTRUCTION f AUGUST 16-22 to each other in future work. College of Fine Arts CHARLES A. SINK, President Program begun, probably some finger work which is be fixed definitely on the work to be done. Music on Piano, Voice, Violin and One of these friends always has some¬ thought to be quite simple, but which, after Do not undertake this type of study if Syracuse University thing very practical to offer. She lives in PART I Develops all other Orchestral Instru- all, contains little points which require par¬ at all unwell, or if the mind is fagged. This Culture” ments. Harmony and Com¬ Degrees: a town of about fifteen thousand inhabi¬ Candy Stick Land—Miles ticular attention before it can answer its would only undo what already has been position Counterpoint. MTHAIT institute of tants and, for years, has had always a wait¬ Traffic Man (of Candy Land)—Cramm Piano, Piano Teacher Training, Voice, l&IKUII MUSICAL ART GUY MAIER purpose. Now, instead of saying, “I will achieved. Be content to take needed rest; Individual Instruction for beginners ing list of pupils, even through the recent (Cream Mints) Spring Flowers— Rolfe Violin, Organ, Cello, Harp, Composition, devote ten or fifteen minutes to this only,” this will only refresh you for greater future or advanced students. Moderate WILL CONDUCT CLASSES depression. She is a teacher strict, thor¬ (Molasses Taffy) Sweet Taffy—Bilbro Public School Music first decide on what points require especial achievement and conserve your vitality for Tuition fees. Dormitories—Branch All the advantages of a large University. Special “MATERIALS & METHODS” ough, systematic, insistent upon well pre¬ (Lime Bon Bon) Bon Bon Caprice— study, and then keep the mind fixed on a a longer career. Schools. dormitory, with 35 practice pianos for women pared lessons, and uncompromising about music students, 5 pipe organs Immlcr Courses leading to the Degree of C(1 Covers All Expenses details. Which has a great deal to do (Cotton Taffy) Cotton Taffy—Adair Bachelor and Master of Music. SUMMER SESSION July 6 to Aug. 14 Including Room, towards her popularity. (Chocolate Creams) The Popular Choco¬ Pupils may enter at any rime during For bulletin address Then another factor in her success is that late Creams—Bilbro Dean H. L. BUTLER Meals, Tuition, Etc. Teaching the First Scale Room 3 5, College of Fine Arts *47 she has learned the secret of giving recitals ( Peppermint Sticks ) —Duct—Peppermint No High School Education re¬ Syracuse, N. Y. LAWRENCE COLLEGE For Details Write which draw capacity audiences. I live in Sticks—Adair By Alice M. Steede quired except for the Bachelor and CONSERVATORY OF MUSIC FRANCES LEWIS, Secy. a city where recitals by visiting artists (Parisian Sweets) French Sweets—Adair Master of Music Degree Courses. often are given to depressing gaps of (Cinnamon Clown) The Clown—Kern In teaching a young pupil to play a must play eight. Five from eight leaves BOX 515, NORFOLK, VA. vacant seats. Programs by students of “be¬ (Maraschino Fairy) Swinging in Fairyland tween ages” are given before a “corporals scale for the first time—presumably the C how many?” £?i!2h V.S1S lEealre —Harker major scale—the task may be simplified if “Three.” S guard”; yet here is a teacher with a 1812 Spring Garden St., Phila. vJ,5°S3rMmlic*oi°5w.tTu&‘p5 (Cream Puffs) Cream Puffs on Parade— we proceed somewhat in this manner: “Right again. So how many more fingers usual attendance of a thousand at one of her Klemm THADDEUS RICH E. F. ULRICH, B. M. cLuur."lA^ recitals, and this with the common counter- "Now we are going to play all the white do we need to finish the scale?” WILD GOOSE EDUCATIONAL CAMP (Cocoanut Doll) The Clock Work Doll— notes from this C (third space C) to the “Three more.” MILLIKIN CONSERVATORY OF MUSIC attraction of movies, clubs, card parties, Ewing DECATUR, ILLINOIS dances and other social distractions. next C below it. How many notes must we “Just so. So you must put the third finger (Peppermint Cube) Peppermint Pranks— play?” over your thumb and play 3 2 1. Now you Offers thoro training in music. Courses leading to Let my friend tell her story. Klemm After careful counting comes the answer, have played all the way down from C to TRINITY PRINCIPLE Bachelor of Music Degree. Diploma and Certifi¬ Fpr this year I tried a novelty in the way PEDAGOGY cate in Piano, Voice. Violin. Organ, Public School (Pistachio Juggler) The Juggler—Kern “Eight.” C. You must go back the same way, only Music Methods and Music Kindergarten Methods. of a “Candy Land” Recital. The stage was (Caramel Pirate) A Pirate Ship and a The only Scientific Pedagogy based “Quite right; and how many fingers have use the three fingers first and then 12 3 4 on Feeling, and practically set to represent a candy shop, with a set Pirate Crete—Mueller W. SLCLARE MINTURN. Director you?” 5 to reach the top of the ladder again. Re¬ applied to Music. of scales, a shopkeeper and some purchasers, (Tutti Frutti Ring) Duet—In Hanging with one of the boys dressed as a page to “Five.” member that five and three make eight and Gor dens—Davies “Now, let us begin at the top, and play also that three and five make eight.” EFFA ELLIS PERFIELD ATLANTA deliver the parcels bought. (Spun Sugar) Spun Sugar—Klemm 103 East 86th St., New York, N. Y. CONVERSE COLLEGE downwards. Let the fifth finger fall on C If the pupil has had some preliminary SCHOOL OF MUSIC FOR WOMEN CONSERVATORY of MUSIC There was a brief dialogue before the (Peach Nougat) Peach Blossoms—Stuart SPARTANBURG, SOUTH CAROLINA HUGH HODGSON GEOBG LINDNEB pupils, each dressed in costume, began and play 5 4 3 2 1. Have we come down exercises for facility in passing the thumb to middle C?” An Endowed Professional School, Nationally Ceur.el’in'mNO. VOICE, VIOLMLORGAN coming on to play their pieces. PART II under the fingers, he will have only slight Accredited. Foil B. Mos. Degree and Diploma “No, we have not.” difficulty in playing the scale. And good Courses. College E ‘- nn—— PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ “But the expense?” someone asks. Piano Ensemble Katherine Carey National Reputatio ING, DRAMATIC ART AND DANCING “We have played only five notes, and we scales mean good pieces. Successor lo MRS. Babcock'S Catalog upon application “I pay for the-stage settings and pro¬ (The numerals designate the number FmCatalogZTM' Peachtree and Broad Streets . Atlanta, Ga. grams. The mothers furnish the costumes.” t, Dean of players.) INTERNATIONAL MUSICAL “Does not the mother object?” (Sugar Hollyhocks) March of the Holly¬ “I never have had an objection. The hocks—Briggs (4) and EDUCATIONAL AGENCY children are so happy in the make believe Inspiration By Playing Church, Concert and School Positions Assured (Licorice Cats) The Backyard Army— Carnegie Hall, New York Tel. Circle 7-2634 Mr. and Mrs. Crosby Adams that the mothers enter into it in the same Koehler (3) Montreat, North Carolina, 1936 By Annette M. Lingelbach (Peppermint Sticks) March of the Pepper¬ Two SUMMER CLASSES “But the boys? Do they not object, or for TEACHERS OF PIANO feel sissy? mint Sticks (3)—Bilbro It is said that Leopold Mozart used to played before the lesson begins, just to Atlanta, Ga. June 8-13 (College Ginger) American Capers— INSTITUTE OF MUSICAL ART Schaum (2) play to his infant son by the hour, with quicken the child’s imagination and to in¬ —pirates, cow-boys, soldiers, sailors, (Lollypops and Lemondrops) Lolly pops Jhe idea of inspiring the child to love spire him to try to do something of the of the dians, movie favorites. Just give a boi beautiful melodies. same kind These pieces should be not so piece that he can play in a Douglas F- and Lemondrops—Bilbro (4) JUILLIARD SCHOOL OF MUSIC (Sweet Bells) If ark. Vesper Bells—John¬ So it is an excellent plan to set aside a very far in advance of the ability of the banks costume, and then see him swag son (2) certain portion of each lesson of a very pupil, so that he may feel that with a little ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean onto the stage and play like a hero'” young pupil, to be used by the teacher in extra fine practice he soon should be able Thorough instruction in all branches of musical education. Private lessons NEW YORK SCHOOL of MUSIC and ARTS This year I had more ensemble pi; (Red Hots) March of the Wet Folk— Bilbro (4) playing pieces which will have a definite to do this same composition. in all standard instruments, courses in theory and composition, normal 310 West 92nd Street, New York City (At Riverside Drive) mg than ever before. The pieces w courses for teachers, methods of group training for children, preparatory (Vanilla Marguerites) Marguerites—Sar- value m the child’s education. There may Play any piece for which the pupil may RALFE LEECH STERNER, Director brief and lively. The little class pia, e ear training work; there mav be “tune ask, if only to satisfy his curiosity. Your courses for children, extension courses, and many others. were easily moved to the stage after torio (4) Public School Music course leading to degree of Bachelor of Science with SPECIAL SUMMER COURSES memory” work; but be very sure that there main hold upon him is his admiration of first half of the program. This portion (Candy Heart) I Love Thee-Engelmann Major in Music. 36th year Enter any day is no neglect of this opportunity to lead the your character and ability. Make your (Ice Cream Lanterns) Japanese Lanterns— Catalog on request. Diplomas and teachers certificates Here fs f eat deal of inter, Keats Pupil into a better appreciation of lovely playing so beautiful that it will charm the , a Candy Land ’ Program w melodies and fine harmonies. pupil into wanting to do the same. It will 120 Claremont Avenue, New York the numbers taken largely from T„e Err (Chocolate Bear) The Dancing Bear- Something very short may be sometimes do more of good than hours of talking. 330 THE ETVDE MAY, 1936 331 The Dangerous First Six Weeks CQ^/ Publisher’s Monthly Lfett WHERE SHALL 1 GO TO STUDY? By NORA JORGENSON A Bulletin of Interest for All Music Lovers " r—^ ' CONCERT ARTIST

I Private Teachers HOMER MOORE t Voice and Diction ► duties and those of private musical in¬ J (Western) Specialist in tone production b APPROXIMATELY SIX weeks alter Residence Studio f struction, the latter is summarily dropped. J\ public schools resume their sessions » ARCH BAILEY 760 North Doheny Drive West Hollywood, Calif.b This period, therefore, is one during l\. in the fall there comes a period * Distinguished Baritone and Teacher of Singers, which a teacher of music may easily lose Pupils Prepared for Radio, JOHN A. PATTON which may be so critical that it approaches " Oratorio, Concert and Movie Engagements. one or more valuable and talented pupils Advance of Publication Summer Music Classes VOICE - a climax. Over a period of fifteen years as 1541 Westwood Blvd., Los Angeles, Calif. First Teacher of * if she does not recognize the storm warn¬ ■4 Los Angeles, Calif. Conductor of Chicago Opera & European Companies „ manifestations that simulate hysteria. work previously assigned This not only them meet once a week or so during the is a measure of self-protection, but also one AND JPttcn—w j CHARLES DALMORES One factor is a tendency on the part Lindsay—Each IN ONE hundred and twenty-three days we summer time to take up some interesting VSar ''Chicago Musical College of protecting the sorely harassed child. m 12 Years Principal Tenor with Manhattan, of many pupils to squander their time dur¬ Evening Moods—Album of Piano Solos .... shall be standing again on the doorstep of September. phase of music study. Some hold these meet¬ m Metropolitan and Chicago pperas Now located at 4054 Yucca Hollywood, Calif. « ing the first four or five weeks of school. By so doing the child is permitted to relax Fourth Year at the Piano—Williams. Every military leader knows that battles are won more ings on the porch or the lawn and make m Teaching Opera, Concerts, Radio, Movies somewhat from the demands of musical them partly social affairs. Possibly a nomi¬ h Repertoire in French, Italian, German They either do not catch on to the daily Piano Studies for the Grown-up Beginner by well-planned strategy than anything else. The teacher routine of study after the long summer study, and to sulk through a period of Presser's Concert March Album for Or¬ nal fee or small club dues are charged, just * 5873 Franklin Ave., Hollywood, Calif. LAZAR S. SAMOILOFF ; who looks upon the next four months as a kind of period * Phone Hempsted 9949 vacation, or they deliberately neglect their fatigue and fear without being further ir¬ chestra Parts, Each. sufficient to cover the expense the teacher Voice teacher of famous singers » Piano Accompaniment .- incurs and to pay for her time and trouble. From rudiments to professional engagements work. This contention is proved by the ritated by routine demands of musical for a “let down” is usually the one who has a struggle to J Mr. and ABBY DE AVIRETT Beginners accepted. Special teachers’ courses « Sabbath Day Solos—High Voice . get pupils when Fall comes. Thus is kept alive an interest in music study 408 So. Van Ness Avt., Los Angeles, Cal. • fact that pupils who are known to be study. Sabbath Day Solos—Low Voice . that is almost sure to pay big dividends in ; TEACHERS OF PIANO steadily studious and industrious do not As a matter of fact, nothing is lost there¬ It requires a great deal of ingenuity to plan new business. x 108 South Larchmont Los Angeles, Calif. Sacred Choruses for Men s Voices . the subsequent fall and winter teaching reveal any symptoms of this strange “six by, so far as musical progress is concerned. Singing Melodies—Piano Album. Every teacher knows his own business better than any one BERTHA VAUGHN ’ season. ANDRES DE SEGUROLA weeks tension.” A child coming to the study in a blue funk Ten Tonal Tales—Piano—Locke . else. Look out over your field now and see whether there are Material for summer music study classes Voice Teacher of Many Young Artists » , TEACHER OF SINGING The other factor lies entirely with the of fatigue and fear cannot make progress; Third Year at the Piano—Williams. any possible avenues of approach that you have neglected. is readily obtained, and Theodore Presser N 12 years with Metropolitan Opera, New York, in the Folder on Request J public school teachers. Many of them meet on the contrary abject discouragement may Thirty Rhythmic Pantomimes — Riley, Co. will be glad to offer suggestions or to N Goldendays of Toscanini, Caruso, Farrar, etc. Gaynoi - ”. At your Spring students’ programs, make careful announce¬ 702 5. Crenshaw Blvd. Los Angeles, Calif. , their pupils in the fall for the first time. result if such attempts are made. send music for examination. Possibly the Beginners or Professionals Changing—Chorus ments of your Fall plans. Some teachers even go so far as ! COACHING-BEL CANTO-INTERPRETATION They are strange to the children and the Once at the height of one of these tense When most popular form of summer music activity * Chairman Opera Committee, Hollywood Bowl children are strange to them. The result periods at the beginning of the school term to acquire new music in the Summer and the Spring and is the Music History Club. The Standard Private Teachers ■ History of Music ($1.50) by James Francis N Chairman Opera Committee, Festival of Allied Arts is that scholastic achievements are les¬ a little girl with exceptional talent came play over especially attractive pieces as an inducement- to I 1962 N. Highland Ave. Hollywood, California (Eastern) I Cooke is the text book most frequently used sened for a time. Almost over night, to the studio in a state of tension that was pupils who contemplate studying in the Fall. The Theodore N Phone—Gladstone 9988 The Cover for This Month in classes of students in the teen ages, or KATE S. CHITTENDEN > however, the six weeks tests loom upon nothing less tlian pitiable. Her face was Presser Co. will be glad to send samples of publicity matter adults; the same author’s Young Folks’ Pic¬ LILLIAN FLICKINGER Pianoforte — Repertory — Appreciation > the horizon and the teacher may become pale and there was a far-away look in her There is an edi¬ for teachers to send to parents with the view of getting new ture History of Music ($1.00) provides fas¬ torial in this issue to Science of Singing THE WYOMING, 853 7th AVE., " panicky in her effort and determination to eyes. She was inarticulate and the slightest pupils. A postal request will bring this material gratis. cinating material for classes of juveniles. > German Lieder, Oratorio, NEW YORK ; which the cover for Then there are classes in elementary har¬ make a showing, to accomplish the amount effort on my part to correct wrong pro¬ this month is virtual¬ * Movie Pictures, Radio of work which is regularly expected for cedures immediately precipitated a sulk mony. or the theory of music, using such ; 434 El Camino Rd. Beverly Hills, Calif. ALBERTO JONAS I ly a supplementary valuable texts as Harmony Book for Be¬ k Phone Oxford 3235 that period. That, in addition to causing which quickly assumed the proportions of message. While thou¬ Celebrated Spanish Piano Virtuoso N a certain tension in the teacher which de¬ ginners ($1.25) by Preston Ware Orem. Teacher of many famous pianists J a violent though silent rage. Strangely sands upon thousands Musical Essentials ($1.00) by Harold B. : HOLLYWOOD OPERA COMPANY tracts from his or her poise, immediately enough, she did not know what was the enjoy the master sym¬ ' LEON ARDIN, Musical Director—Teacher of Celeb- 19 WEST 85TH STREET, NEW YORK CITY * Maryott or, with groups of youngsters. Com¬ ' rities. "Ardin coached Emmy Destin and Caruso, Tel. Endicott 2-2084^ On Wednesdays in Philadelphia n is a signal for a sudden stricter discipline matter. However. Iiaving made a study phonic works as position for Beginners ($1.00) by Anna ' —Los Angeles Times. and an added quantity of work to make presented in radio student or the pupil who has been rarded notables in music whose family name begins of such conditions I knew what it implied with the letter M. H. Hamilton. Music Appreciation study also up for lost time. broadcasts by great for being promoted. LINGERS productions!01" ^ ^ and I proceeded to ignore her attitude The Theodore Presser Co. carri . com- If you do not have all of the pages from is feasible with students of all ages and in ■ dIMULltd J56 s, Oxford, Los Angeles, Calif. And the reaction immediately becomes entirely, to immediately ease her musical symphony organiza¬ some communities successful classes are con¬ LaFORGE-BERUMEN STUDIOS “ tions under famous prehensive line of prizes and awards_ for , ist issues you can obtain missing copies apparent in the pupil thus affected. The requirements and to meet her belligerent ducted in piano, violin and other instru- : ROBERT HURD Voice—Piano conductors, there are music students. Many of these are illustrated from the publisher at 5 cents each. child is harrassed (in fancy, if not in fact! attitude with calm and gently deft efforts but comparatively few who make the most and described in the catalog “Musical Vocal Teacher and Coach by the more rigid discipline, by tire tense Really there is no good excuse for a sum¬ I Radio-Concert, Opera, Moving Pictures to shunt her away from her stormy mood. of these broadcasts. It is possible, for quite Jewelry Novelties” a copy of which may be 14 WEST 48TH STREET, NEW YORK » and therefore easily irritated teacher, hy had FREE. Also ask, if interested, about the Thirty Rhythmic Pantomimes mer of idleness; the pupils’ musical progress " and Popular Repertoire Tel. Trafalgar 7-8993 * The teacher who encounters this sudden a little less than the cost of a ticket for a is retarded and the teacher not only loses N 672 S. Lafayette Park PI.. Los Angeles, Calif. the addition of an extra load of school Jekvll-Hyde aberration in her pupils pre¬ good seat at an orchestra performance, to new stvle Music Diploma or Certificate For Home, Kindergarten and Pre-Piano N Phone: Federal 7703 Form, size 10" x 8" for which a permanent Classes current income, but in addition must go to work, and, finally, by apprehension over ceding and during the various test periods buy a copy of almost any of the master considerable expense for advertising and an¬ GEORGE S. MADDEN * holder, to keep the award neat and clean, possible failure at the six weeks test. conducted in the schools, should imme¬ symphonies in miniature score. With one of Song Texts by Alice C. D. Riley nouncements when the fall season is ready : HAROLD HURLBUT Scientific—Mental Art of Singing [ mav be secured. A catalog of musical liter¬ Music by Jesse L. Gaynor Based on psychological 100 P. C. tone vibration „ Basically, and from a psychological diately "let down” on her demands upon these scores, those who know sufficient about " Voice Teacher, de Reszlce Exponent music to follow notation will find it possible ature and books of music also may be ob¬ J Paris Rome Nice New York By a Singer Who Makes Singers » standpoint, the manifestation is one of the child and ignore entirely the tem¬ Descriptions and Illustrations Begin to plan NOW your Summer Music Metropolitan Opera House, 1425 Broadway, N. Y. C. » to get greater enjoyment out of the broad¬ tained. Classes. Write to the publisher for informa¬ x Teacher of stars of screen, mingled mental fatigue and fear. porarily changed mental attitude. To Incidentally, the Theodore Presser Go. is By Dorothy Gaynor Blake Tel.: Penn. 4-2434 J casts and a more intimate knowledge of the tion or for a selection of material “on ap¬ * stage, radio, concert, opera For the private teacher of music this those who arc not aware of the cause and prepared to render special service to those Aside from the great need works performed. proval.” Catalogs and descriptive folders " 2150 Beachwood Drive Hollywood, Calif. period is one of difficulty and possibly desiring ornamental lettering on graduation for materia] of this kind in RICHARD McCLANAHAN j the nature it may be alarming. It is. Some who may not be familiar with all cheerfully supplied. peril. To paraphrase the old theatrica’l however, quite simple and assuredly only the instruments of the symphony orchestra diplomas and promotion certificates, or en¬ kindergartens and pre-piano : DR. GEORGE LIEBLING Representative TOBIAS MATTHAY classes, this book will make slogan, “The show must go on.” Parents temporary'. Nevertheless, tactless methods also will find it helpful to gain a knowledge graving on medals and pins. Address Per¬ ] Master Classes—June, July, August 1935 Private-lessons, class-lessons in Fundamentals J an immediate appeal to Sacred Choruses for Men’s Voices Available as Lecture-Recitalist J insist that school work must continue, and may result in the loss of valuable pupils Of each of these instruments through some sonal Service Dept., Theodore Presser Co., » Teaching Methods, Materials and 1712 Chestnut St., Philadelphia, Pa. mothers who begin the > Interpretation. Lisit Exponent. 806 STEIN WAY BLDG., NEW YORK CITY m if the child cannot carry both his school and of prestige. such help as Presser’s Musical Instrument The average collection of music for men’s ; 5533 Hollywood Blvo.. Hollywood, Calif. Pictures. This nominally priced eight-page musical training of their choir consists of harmonizations of hymn- children in the home. For FRANTZ PROSCHOWSKI jj publication (10 cents a copy) gives pictures A Suggestion to Teachers, tunes and short devotional numbers in hymn : MARGARET ELLEN MACCONACHIE ?* ‘"0 instruments, pictures of how they are it is in the home that the style. The present book, however, goes much ; STUDIOS Vocal Teacher , held by their performers, descriptions of the Students and Music Lovers foundations for later life are further than this in that it includes only “ Teacher of Voice 200 W. 57th St., - New York > laid and fortunate is the Tel: COLumbus 5-2136 ► The Freedom of the Air instruments, and an indication of the range Why not utilize some of that spare time numbers of anthem proportions, composed . Address Care of Musical Courier of each. The Theodore Presser Co. gladly this summer in making for yourself a per¬ child whose first musical and arranged for men’s voices in four parts. , Roosevelt Hotel — Hollywood, Calif. (Continued from Page 286) 1 quote prices on miniature scores for any manent musical biography reference library. training begins under the 'While much of the material may be utilized EDWARD E. TREUMANN ; sponsorship of an alert and conscientious ; ALFRED MIROVITCH desired symphonic works. It is also possible Here’s how you can go about it. by a quartet of trained men singers, the Concert Pianist—Artist-Teacher , 0 f” uiany of the classical chamber music Each month in The Etude Music Maga- mother. book seeks chiefly to furnish good numbers n Concert Pianist and Teacher ■ , , - ‘"V me siai ceedingly so—and it is only by frankly "orks m miniature score. February, 1932 there has appeared The music contained in this book * 10th Summer Session—Los Angeles for larger groups. ards already set by the broadcasting cc honest expressions of opinion such as you ntainin^’ 44 pictures and brief lected from the three volumes of Songs of ! July and August—1936 Studio. Carnegie Hall, Suite 827, 57th St. at 7th Ave. ! panies, and sponsors, have been amazin A glimpse of the contents reveals favorites, have given to the questions I have put to biographies» of individuals who have made a the Child World by Alice C. D. Riley and , 2223 S. Cochran Ave. Los Angeles, Calif.■ Tel. Columbus 5-4357 ^ ltts (NJY(JiYork ci,Y . Prizes> Gifts and Awards for Jessie L. Gaynor. Thirty songs are given, such as Accept Our Thanks, an arrangement , Phone—Oregon 4940 high. Their very livelihood depends worthwhile contribution to music—com¬ of the theme from “Finlandia” by Sibelius; you to-night, that we can all get a better uu.uu.>mvp=.=, with directions for the pantomimes, descrip- maintaining these high standards—and understanding of what part American radio Music Students posers. artists, conductors, philanthropists, 7 Shall Not Pass again This Way, by Effin- greater the responsibility for this is fi- the fifty-second tions and illustrations showing the action plays in American life and what are some rnH!l?n presenl!ng prizes and awards at the etc. With this month’ ger; Seek Ye the Lord by J. Variev Roberts; on them, the safer will be the freedom and posture presented. The titles of 75 addi¬ of the problems that face it. Again, thanks eol1»crJlnCeIjen*; exercises of music schools. page is published. Hammond’s Behold, the Master Passeth By; the air for American people. Obtain from a local stationery store a tional songs from Songs of the Child World, so much. rf!»d academies, a medal, an honor for similar rhythmic use. are listed in the and choral works of Maker, Handel, Bee¬ Mr. Carter: Thank you so much, D for m rtl.p oma °r certificate, made especially large scrap book folio and then remove from thoven, and others. “When I am away from a piano very long I miss it. I hope to go on both And, now. on behalf of the Doctor, as your old Etudes the pages containing The text. Chapters on the value of rhythmic pan¬ tor. All this has been most helpful_ faction Stt ''lU< ents- wil1 Klvc greater satis- There is yet time for those desiring a playing and conducting until the end of my days. When I am playing 1 well as myself, may I say “Good-night.’ Etude Historical Musical Portrait Senes, tomime, suggestions for procedure, ways of eral M a s,ook design, made for gen¬ the order stepping, relaxation, and free pantomime, reference copy of this book to place an order enjoy the intimacy of my instrument and its relative simplicity. But with an eral education awards. r for a single copy at the advance of publica¬ orchestra of one hundred musicians you can express so much bigger emotion, a]lr| rf .Uaj'on Pfts from parents, relatives of publication cash tion cash price of 30 cents, postpaid. Copies and the tone colors are so much richer, though not necessarily better, that the WricafinS llake °n more s'Pdficance when single copy of this of this book will be available only to patrons piano seems very small. The literature of the orchestra,- too, ■ is much eaHahJ , haracter- A book 011 some nrnsi- in the United States and its possessions. “The language of music is infinite- series is being publishediisneu ... alphabetical important new work will prove a bargain richer.”—Ossip Gabrilowitsch. all. —Balzac. it contains all: it is able to express "ill be °r j a*bum of fine music, long reached the listing of purchase for far-seeing mothers and teachers. (Continued on Page 334) he treasured11 by the graduate, the honor order and has Advertisement 332 may, i936 333 THE ETUDE World of Music lobib bprin, as a j-taay—£> trie/clan g of Spring—Stults. . Piano Studies for the Grown-Up Pressed s Concert March Album ■—Elgar. . Each month we propose in the Publisher's Monthly Letter to (Continued from page 274) 35073 The' Beginner for Orchestra SSSS-gffS A FAVORITE OCTAVO—WOMEN’S VOICES, SECULAR favor in which music buyers of today hold his compositions. Evidently the title Concert marches, as contrasted with the COMPOSER of this book is a usual type of “quick-step” marches, offer a ARNOLDO SARTORIO, internationally 15716 The Gypsy Trail—GaUowav^arts wide variety of selections suitable for orches¬ presented more attractively, known composer, died on February 15th, at War hurst . g tgi, bit misleading to 21150 Springtime in My Garden- ? ' 5 some and it has tral programs of a serious nature, including the age of eighty-three. Of Italian lineage, definitely been de¬ Commencement and Festival occasions. Re¬ published,^ he was born in 1853, at Frankfort-on-Main Frederic A. Franklin alizing this need for concert and grand 21131 The Call of the Lark—Cadman a cided that the work, ably before this month is out, in the Mustc His education was entirely German; and in and his son-in-law a_aughter, Mr. marches in superior arrangements, we are Mastery Series of piano stud.es, the uniform 20987 The Cuckoo Clock—Dressier 3 which shortly will 1912 his compositions had reached Opus 35065 Cradle Song-Mac Fadin ' 3 tudied piano, and Mrs. John VanDeventer, are an be published, shall pleased to announce this new album for those price of which is 60 cents. Teachers wlho 1000. His works have appeared frequently 35322 Hindoo Song—Bemberg-Spross 3 aught o: professional musicians and teachers. have another and proficient players making up the Junior and wish to take advantage of the special ad¬ in The Etude and are among the most suc¬ violin, know the nan._... Mr. Franklin's entire adult life has Senior High School Orchestras of this coun¬ OCTAVO—WOMEN'S VOICES, SACRED lin and his attractive and student-help¬ been devoted to the teaching of piano more descriptive vance of publication cash price, 2o cents cessful in the catalog of its publishers. ing compositions. Such a successful and violin. In Springfield, besides name. It seems that try. postpaid, should order a copy now as this ■a-1- composer is worthy of being^ known a teaching privately, he also was on the a number of Etude readers have it confused Choice selections of outstanding modern special offer , will be withdrawn when the 10250 Babylon—Watson-Warhurst . .TT* $o.l0 little more than just by a name printed faculty of the Springfield School of European masters are well represented in the THE “DON CARLOS” of Verdi has been on a composition, and therefore these Music for s ’ ’ I ttf with Grown-Up Beginner’s Book for the book is published. revived and warmly received at the Theatre Screen Tests OPERETTA Piano by William M. Felton (who, by the contents. Edouard Poldini contributes the A Day in Flowerdom—Spaulding. $0.60 superb Marche Fantasque; Edvard Grieg, the de la Monnaie of Brussels, where it had not As the art of motion picture producing has way, also has compiled and arranged these Educational Vocal Technique studies) and have ordered copies on the Festival March from Troldhaugen; Delibes, been heard since 1867 when it had its progressed, the selecting of performers has CHURCH MUSIC COLLECTION premieres at both Brussels and Paris. March 17, 1871. Hij tor of the Fredericks!)! assumption that it is an instruction book for the stirring Marche from Sylvia; and Gabriel in Song and Speech become more exacting. Experts may pick Anthem Repertoire. $0.35 founded " - - • • _„ School of •a-P out likely prospects, but not until after Franklin, was beginners. Pierne, the popular March of the Little Lead By W. Warren Shaw in Collaboration with THEORETICAL WORK 'hich he 11 conducts although it has some moving picture “shots” have been rk, England. Bot 1923 as the Frederic A. In this note we would like to emphasize Soldiers. George L. Lindsay THE WAGNERIAN SOCIETY of Theory and Composition of Music—Orem. $1.25 Violin Studios. that this book is composed of studies made Present day requirements are fully met Buenos-Aires has given a festival in com¬ taken and the sound engineers have regis¬ 16 to 1922, Mr. Franklin to conform to the particular requirements with the complete instrumentation, including In Two Volumes—Vol. 2 memoration of the birth of Bach and Handel. tered the voice, can it be told just what the STUDIO SUPPLIES at the Fredericksburg State five different violin parts, the Solo Violin and Educators, everywhere, laud Vol. 1 of this The programs, including works for orchestra, chances each has for screen success. The Writing Book No. 2—Marks. $0.25 and capabilities of the adult hand; that the College (r position at St. George’s easiest of these studies should be taken up 1st Violin utilizing the higher positions, the work, published a few months since. The chorus and soloists, were under the direction recent development of color films requires Ohio. At t age of ten he began piano study, usual 1st and 2nd Clarinets, 1st and 2nd later takinj up the violin under Robert Braine, about the time the student has completed practical arrangement of the material ap¬ of Juan E. Martin. even more severe testing for aspiring “stars.” Beware of Swindlers r years has been editor of the Violin De¬ the work in the first instruction book, and Trumpets, Alto Saxophone, Tenor Saxophone, peals to all interested in voice training, es¬ •4-► In the music world to-day. where the rich¬ nt of The Etude Music Magazine. Sub- ;ly he went to Chicago where he entered that faithful practice of this material should etc. pecially those who conduct classes in the GEORGE ROSEY (bom George N. ness of musical programs to be heard every¬ Pay no money for subscriptions to The ental Etude Music Magazine unless the solicitor licago Musical College, studying violin rchestl bring the adult student to the development Parts may now be ordered at the low ad¬ schools. Unquestionably, Educational local Rosenberg, at Dusseldorf, in 1859), inter¬ where has developed even among juveniles 5. E. Jacobsohn, and piano under Maurice among his t of technical proficiency sufficient to enable vance of publication cash price of 20 cents Technique w ill be designated, in many places, a sense of tone coloring far beyond that de¬ is personally known to you, or can produce »ld...... _— -. pupils V -- each; Piano (Conductor’s Score). 40 cents, nationally known musician, composer and credentials, which to your satisfaction, are 893 he married Bessie M. Duvall, of e developed under Mr. Franklin’s teaching, him to perform creditably many fine com¬ as a standard text book. arranger, died recently in New York, at the veloped by the average music lover a few such individuals as Harold Genther, pianist positions of intermediate grade as well as postpaid. Copies of this book will be avail¬ Vol. 2 of Educational Vocal Technique is generations ago. a composition must measure above question. We are in constant receipt organist (New York City), Miss Audrey able only to patrons in the United States age of seventy-seven, fifty of which years of complaints from our musical friends some of the playable piano arrangements almost ready for delivery to advance sub¬ were spent in America. His reputation as up to real testings to lie successful. A review eman, violinist (Fredericksburg). Miss Mary and transcriptions of classic, symphonic and and its possessions. scribers and this is probably the last month of the orders for reprintings of music publi¬ throughout the United States and Canada iw Mrs. John rery, pianist and organist, (Fredericksburg), a composer rested on such popular pieces that orders placed for The Etude have not ited Mr. Franklin operatic masterpieces. during which orders will be accepted for as Honey-Moon March; King Carnival; cations is virtually a reading of a list of fnckhndren.PInci ;a Peters' There is still time during the current been filled. Singing Melodies copies at the special pre-publication cash Espanita Waltzes; and l Love hty Girl; and those which have passed the testings of month to place your order for a copy at the price, 40 cents, postpaid. Educational Vocal practical music workers in various fields. Beware of the man or woman who offers special advance of publication cash price, 40 A Collection of Piano Solos with IFords he is credited with the suggestion of pro¬ The Etude at ridiculously low prices. Cana¬ Technique, Vol. I is priced at one dollar. fessional copies with orchestrations, which Following is a selected list of some publica¬ cents, postpaid. Some one once said that While the educational material in this work dian subscribers are particularly warned a fact expressed in poetic revolutionized the methods of the music tions upon which reprintings were ordered Compositions of F. A. Franklin has been pronounced invaluable, there is during the past month: against a swindler using the names of Bel¬ form was more readily trade. lamy, Davies, Baker and other aliases. Some¬ PIANO SOLOS When Voices Are Changing another feature of these two books that fastened in memory. It is should not be overlooked. This is the fine ' SHEET MUSIC—PIANO SOLOS times he presents a so-called printed receipt idvance Guard Ma . 2% $0.50 3803 Joyous Dance. . Chorus Book for Boys collection of art songs and operatic numbers DR. GEORGE ERNEST HESSER. director (it. No. Title and Composer Grade I of the McCall Company, again the National it Close of Day. I human acceptance that .t the Fete. Polon The human voice is a priceless treasure that have been employed to illustrate the of music in the Cincinnati public schools, has 6945 Dolly Darling (With Words) — Circulating Company. Also a printed receipt Chain. Schottische. 4503 Music of the Bells. 2(4 and music educators, who have in charge the average youngster can vocal truths enunciated and as a complement been selected as head of the music department Spaulding . 1 in the name of the Curtis Publishing Com¬ 6512 On the Levee. Darky Sketch.. . 3 classes of young folks in the early teens, get more out of a melody to the vocal exercises. These will form the of New York University, to succeed Dr. Hollis 11335 Dream Dance ( With Words) — pany. These receipts are all faked. 5620 Our College Girls. March. 3 to which he has words to sing. Then again, Spaulding . 1 4549 Dancing Sunbeams. take every precaution that nothing they are foundation of a comprehensive and most Dann, who retires with the title of Professor 23812 Gollywog’s First Waltz—Alcock I The man or woman who takes subscriptions 4369 Fluttering Leaves. Waltz.. 3877 Phyllis. An Old-Fashioned given to sing may, in any manner, impair at a certain stage in early piano study, texts useful repertoire for the student. Even ex¬ Emeritus, in accordance with an age limitation 6459 The Buzzing Bumble Bee— ^ for The Etude Music Magazine is usually 3988 Gondolina. Little Boat Song. to piano pieces help in phrasing and in estab¬ set by the university. 4614 Heather Blooms. Scotch Dan the future use of the singing voice. Especial¬ perienced singers will find this book a good located permanently in the town in which 4568 Rose from Spain. Valse ly with boys is this care necessary, boys lishing rhythmic consciousness. •3—-P 7040 Daisy Chains—Spaulding . 1 subscriptions are taken and carries the official 7291 In a Shady Nook. Waltz.. Thus it can be seen that this collection of 8231 Water Nymphs—Anthony .... 2 5174 In Stately Measure. o whose voices are changing from the childish THE STATE OPERA HOUSE of Berlin 18488 Over the Top—Uotfe. 2 receipt of the Theodore Presser Co., pub¬ 3907 In the Cotton-Field. Plantation 3162 Rustic Dance.'.’.’ .'.'.'.'!, treble to tenor, baritone or bass quality. first and second grade piano pieces, all with 16653 Little Indian Chief—Strickland 2 Dance. 3381 Serpentine Dance. Third Year at the Piano has had a thorough renovation. A unique lishers. 4331 Song of the Crickets.. Part songs that stay within a safe voice pleasing texts, will prove exceptionally serv¬ 7689 In the Gipsies’ Tent—Crosby.. 2 Please co-operate with us to protect you. 4340 Ii the G iceable to teachers and delightful and help¬ feature is that a part of the scats have been 8801 Sparkling Eyes—Anthony. 2Vi 3881 Sunshine ~ range for young folk are not plentiful. In Fourth Year at the Piano provided with instruments for people hard " " t Day — Cram- We cannot be responsible for the work of 4158 Japonica. Waltz. 4202 Under th wing Song. 2(4 -25 ful to young students. These are not pieces 3496 Whip an fact, it is only in recent years that students By John M. Williams of hearing. American promoters of opera frauds and swindlers. 5175 Jolly Dance. at this age are sufficiently advanced in music created to make an album; they are the re¬ mu . Springtime—Rolfe. 2 4590 Jolly Schoolboys. Bagatelle 4698 Woodland sult of editorial search through many pub¬ Practically every teacher will be interested to know that this institution Marlowe—Benson . 2 to be able to sing in parts. This improve¬ has a list of thirty-six thousand subscribers. How Sweet the Moonlight Sleeps ment, of course, is due entirely to the fine lished pieces to make up a compilation of of piano is familiar with Premium Workers progressive work of the music educators in the very best as indicated by teachers’ de¬ the name and work of our schools. mand for them in sheet form. John M. Williams, as more THE CLASSIC MASTERS have returned Music lovers everywhere secure fine mer- Every song that goes into this book has In advance of publication, a copy of this than one million of his to first place in the favor of London program handise without any cash outlay by secur- PIANO, SIX HANDS album may be ordered at the special price lg subscriptions to The Etude Music 12175 Meadow Queen. Schottische. 2—3 been specially arranged for boys’ voices. Not piano instruction books makers, which means of the concert goers. 14181 Souvenir of Stephen Foster— 12898 Summer Night. 2—3 only has much care been taken in the selec¬ of 25 cents, postpaid. have been used by them. For the early part of the season Mozart edged Stvlwitt . 3(4 Iagazine. The rewards are carefully selected, Bach from first place, with Schubert a close 22584 Ballerina—Sc time idler . 3 Vi ^present the production of high class manu- VIOLIN AND PIANO tion and arranging of the music, but texts Mr. Williams is recognized 24096 Hungary—Rakoff . have been chosen that will appeal to lads of Sabbath Day Solos as one of the foremost second, Beethoven and Brahms following close 1 Most Nioht_IA*„ >A iclurers, and any article chosen will please. 18367 The Bob-o-Link 2 $0.50 7360 Pizzic authorities on piano peda¬ behind, and Bach and Handel as good “self¬ We take pleasure in listing the following 18445 The Bohemian G ■1 {Balfe) 3 .50 18450 Quart this age and all texts that might be frowned *High Voice Low Voice 18447 Coronation Marcn, irom me upon by them have been studiously avoided. gogy in this country. starters on a frosty night.” ifts offered in exchange for subscriptions to Prophet” (Meyerbeer). 4 .60 9323 A Ro It will be a few months before this book Singers know that the purchase of an For that large group of teachers who have ■a-► ’he Etude (not your own)—- 22519 Daffodils. Waltz. 1 .35 11225 Sextel album of sacred songs is a real economy, used Mr. Williams’ First Year at the Piano Gits-Nife—a pocket knife with a new prin- 22520 Drum. Fife and Trumpet. .. is ready, but copies will be available before VALUABLE AUTOGRAPHED MANU¬ 22518 The Happy Dancers. 8088 Songs of tte Homeland—No. 1 2 the opening of fall classes. An order for a especially when the album contains plenty ($1.00) and Second Year at the Piano iple. Different from the traditional spring¬ 6360 In Mischief. Polka. 8089 Songs of the Homeland—No. 2 2 of good usable numbers. Our editors are SCRIPTS of Domenico Scarlatti are report¬ single copy, to be delivered when the book ($1.00), we do not need to enter into a ed, in Musica d’Oggi of Milan, to have been 13430—In the Bright Moonlight— losing knife. Blade opens into four positions 22516 Keeping Step. 8090 Songs of the Homeland—No. 3 2 is published, may be ordered now at the striving to make this book 100% practical; detailed description of these new' books. Spaulding . 1(4 -simply press a button and slide blade out 7361 Little Love Song. 9438 Songs of England. 2 that is, each and every song will find a place discovered in Naples. They belong to the 11202—No Surrender—Morrison.3 22517 A Little Song. special advance of publication cash price, 25 Third Year at the Piano and Fourth Year period when he was in the Conservatory of f handle. A safety knife—no danger of 18449 March from "Faust” {Gounod) in the permanent repertoire of the church reaking finger nails nor can fingers be caught cents, postpaid. at the Piano. Suffice it to say that the ma¬ Music of that city. 6359 Meadow Queen. Schottische... singer and each will meet with the approval terial consists of studies and pieces selected, etween blade and handle. Especially handy of vocalists buying copies of the book for ■«-► 3r women not accustomed to using pocket Evening Moods edited, and arranged in the concise and’ nives. Decidedly attractive, finished in black, thorough manner which has made this COMPETITIONS ■5|) 18448 Valse from “I Album of Piano Solos It takes considerable time to compile and “teacher of teachers” so successful in his nd fitted with a fine razor steel blade. Only edit an album of the kind described and writings. The publishers had hoped to have copies THE WIENIAWSKI ASSOCIATION ne subscription. . VIOLIN AND PIANO COLLECTIONS some advance subscribers have patiently offers a Prize of One Hundred Dollars for of this book ready for delivery in May, but While these two new books are in prepa¬ Bon Bon Dish—artistic in shape, with gen- The Juvenile Violinist at the time this note is being written (mid- waited for months for their copy. The cour¬ ration single copies may be ordered at the a composition for violin and piano. Open to ine red or black catalin handle. Only one Operatic Selections.. March) , it now hardly appears probable. An tesy of these patrons is much appreciated special advance of publication cash price, all nationalities. Particulars to be had from ubscription. . , ... Selected Classics. extra heavy publication schedule, which in¬ and we assure these, and others who may 50 cents each, postpaid. Adam Kuryllo, 1425 Broadwav, New York Casserole— a new design and one of the cluded important educational works, has de¬ order copies, that a real surprise is in store City. - ,,, . irst rieces clayed on tne ■lost popular rewards on our list. The frame layed the editors in the preparation of the for them when the book arrives. We are -r- cns:rbo*rt-Wrig>U . $0.50 5 chromium-plated, lining is genuine ryrex, confident that this will be one of the finest Watch Expiration Date on Through the Zoo—DeLeone. 1.00 material that will form the contents of this THE SOUTHERN CALIFORNIA FES¬ .eautifully etched. Four subscriptions. album. collections of sacred songs ever published. Wrapper of The Etude Book ofnr mPla Eamous„o Dueta Compositions. for Adult Beginners 1.00 Knife and Fork Set—A fine set of six Of course orders may still be placed for TIVAL of the Allied Arts offers numerous The Significant Short Composition There is always a demand for music of a If, to the left of your name, printed on prizes and scholarships of One Hundred to tainless steel knives and forks—green, red calm, meditative, dignified type, suitable for single copies of either voice at the special SHEET MUSIC—VOCAL SOLOS r onyx handles. Very desirable. Two sub- The study of a composer’s smaller compositions is ahvays an interesting, advance of publication cash price. 30 cents the wrapper, the date is April 1936. it means One Thousand Dollars, in Music, Drama and Sabbath Day diversion in the home, or for that the last paid for copy was mailed to Speech Arts, Dance, Art, Poetry, and Cine¬ S f^-KeUogg . $0.50 sometimes a vastly illuminating process. In such ivorks one is often able the music program in church or Sunday each, postpaid. 301R9 Arf“ul dreamer—Fostcr-Hodson. .40 CSaScA and Relish Combination Dish— you in the month of April. Please let us have matography, in a contest to be held from May 30087 nl T-,s a Dream (Cow)—Hawley. 50 to catch the composer’s mind off its guard, so to speak, and to surprise the school. Albums, especially, find many pur¬ your renewal promptly, which will avoid dis¬ 4th to 29th, 1936. Open to all America. Par¬ 30040 U?w10nal (Hillh)-De Koven.60 :hromium-plate, size 10" x 5%" high. Four most intimate revelations—of thoughts and facets of mentality the existence chasers. Most of the books hitherto pub¬ Ten Tonal Tales appointment through interruption of service ticulars may be had from Mrs. Grace Widney 30004 V LWSre a 11086 < Cow) —Hesselberg .60 of which one would otherwise never suspect. This is the case not only with lished have been composed of pieces within Melodious Studies for the Development of Mabee, 1151 South Broadway, Los Angeles, "Sfand Cracker Dish-Chromium- the playing ability of the pianist who can 3°® LStArMyatiIe°d|ye Music ^ men like Chopin and Scriabin, who have actually excelled in the miniature Style in Piano Playing California. ilated, size 10Vi"- Fitted with wooden base form, who have encased their best work in its tiny shell, but with those, such handle only second or third grade music; Change of Address 31553 Route^Marchin*- Stock ...... ifo md chromium cheese knife. Only three sub- By Harold Locke as Elgar or even Beethoven himself, to whom the limiting of small scale possibly, a few pieces in grade four were in¬ When changing your address, notify n criptions. . p cluded. This book will be made up of origi¬ Experienced piano teachers know that THE ELIZABETH SPRAGUE C00L- VOCAL COLLECTIONS works has meant little more than an artistic form of potboiling. However giving both old and new addresses. We' IDGE PRIZE of one thousand dollars 15 £2 (Soprano)-Henderson. $1.50 nal compositions and arrangements in grades many students grow impatient when all prac¬ should have at least four weeks in which to C

The Autobiography of a Violin JUNIOR ETUDE CONTEST eenth of May. Results of contest will appear By Agnes Clune Quinlan The Junior Etude will award three pretty prizes each month for the best and in the October issue. Put your name, age neatest original stories or essays, and for and class in which you are entering on Shall I tell you the story of a little bright and beautiful sunlight, hoping—but answers to puzzles. upper left hand corner of paper, and put tree? For that is what I was once, long, what did a tree want with hope? Was I Any boy or girl under sixteen years of your address on upper right hand corner. long ago. Yes, a very little tree, and so not serving my purpose by growing tall age may compete, whether a subscriber or If your contribution takes more than one tiny that many a time I feared that some and making soft shade? not, and whether belonging to a Junior sheet of paper do this on each sheet. Write heedless passerby would crush me. Then, one day, a cruel hand cut me down, Club or not. Class A, fourteen to sixteen on one side of the paper only. I had no hopes but merely struggled for and robbed me of my life. Ah, I sighed, years of age; Class B, eleven to under Do not use typewriters and do not have life, doing my duty for the Master-planter farewell all ye trees. My day is done, my fourteen; Class C, under eleven years of any one copy your work for you. who had put me there. song is sung. age. When schools or clubs compete please Years went by, and I grew so strong that Three hundred years have passed since Subject for story or essay this month have a preliminary contest first and send when the storms came I could resist them, that day, and my death was but the en¬ “Chorus Singing.” Must contain not over in no more than two contributions for each so big and brave was I. trance to another life! A lovely heart found one hundred and fifty words. class. Some nights I would hear a moaning me and took care of me, and skillful hands All contributions must bear name, age The work of competitors who do not sound like a lovely song and all the trees fashioned me into a beautiful violin. and address of sender and be received at comply with all of the above conditions will would be swaying in rhythm with the wind. And now I sing another song, not in the the Junior Etude Office, 1714 Chestnut not be considered in choosing the winners “Oh, what a nuisance,” exclaimed little “Nonsense,” said Aunt Caroline. “Do it carefully and evenly, with smooth, even I would join in nature’s orchestra, helping heart of nature’s forest, but in the human Street, Philadelphia, Pa., before the eight- of prizes and recognitions. Miss Careless-Counts, “to have to bother with the crescendos and diminuendos, until heart, and I still do the bidding of the stitches.” Domestic Songs with counting. It is so tiresome, and no one a signal from the Master would stop the Master who says: “Fill them with whis¬ Mother’s Day Gift likes to hear me play, anyway. I'd so much “I will make a beautiful luncheon set, and that will represent my scales and exer¬ By Elsie Melchert Fowler wind, and the symphony would be over. perings of the Infinite on earth—the art of By Carmen Malone rather get busy with my new sewing-kit. cises,” she said, beginning to practice with Some days I would be motionless in the MUSIC.” It certainly is a beauty and Aunt Caroline The things in the house make cheery song. Answers to February Arithmetic I walked along a little path enthusiasm. Suddenly a big mistake made Rhythm in Music was a dear to give it to me for my birth¬ (Just listen, you’ll hear them all day long.) Puzzle: Beside a winding stream day.” her stop. “Now, I’ve got a knot in my (Prize Winner) And saw a daisy wash her face Little Miss Careless-Counts was ener¬ thread,” she said, “and I must untangle it The song of a broom across the floor, 168S plus 31, plus 9, minus 8, plus 4, plus Rhythm represents regular pulsation of before I go any farther.” The song of a creaking, swinging door. 77, plus 12, gives 1810, the year of Schu¬ music. It is the recurrence of equal intervals Until it was agleam, getic and ambitious, and was very popular. of time. Time is the grouping of the succes¬ I saw a lady’s slipper dance Tangled Terms mann’s birth. She was a 4-H Club girl and there was The song when a vacuum cleaner whirs, sive rhythmic pulses fnto equal measures, or And sway before the wind, soon to be an exhibit of sewing, and of meters. Meter Is that part of musical struc¬ The song of the batter mother stirs. Puzzle Prize Winners for February ture depending on time values. Rhythm, time I saw a sweet white clover nod, course she wanted to have the best thing in and meter are therefore closely related. Puzzle: Then shyly dip and bend. the exhibit. (She was making a dress and The washing machine, with its swish and By Minnie L. Dill The accent is also a very important feature Class A, Mary Patricia Rainford (Age of rhythm, and rhythm is the most important was very eager to finish it for the exhibit.) roar Start any place in the square, move one element in music. In notation, the measure is 14), California. I know a tune that sounds to me But she opened her music book with a jerk CROOKED, UNEVEN ONES Sings just like the waves upon the shore. square at a time in any direction and see very important, because it supplies the metri¬ Class B, Eleanor Bel yea (Age 13), cal rhythm of musical composition. The Just as these things appear; and put it on the piano rack with a bang. how many musical TERMS you can find. grouping of strong and weak pulsi I played it on my violin “I had better practice before Aunt Caroline The tea-kettle makes a merry note Do not use the same square twice in the Canada. Last night so I could hear comes,” she said to herself. She took each measure slowly and Like soft, purring sound in pussy's throat. same word. The path from one word to Class C, Roxine Miller (Age 7), Ohio. The lovely, lilting sounds that came But Aunt Caroline arrived during the E worked over it until it was correct; then another is Not continuous. The drums, triangle, cymbals, castanets and a little faster, keeping it smooth and even, There’s also a song the oven makes tambourines are used in an orchestra solely When bow met quiv’ring string major scale, which did not seem to be T V A F F Honorable Mention for February for the sake of rhvtlun, the important feature and then up to the proper tempo. Then she When changing the dough to big, fat cakes. And seemed to tell of woodland paths progressing very smoothly up and down 0 E T O N in music. Music without rhythm is like a did two measures at a time, then the whole Puzzle: clock that does not keep time. How valuable And flowers in the spring. the keyboard. “You had better baste that The coffee-mill sings as if it knew phrase, and after doing this several times, D N C S S Marion Page Lee, Rebecca Patterson, Kath¬ scale,” she called from the hall, “it is 'Twas taking a part in chorus true. P I A C E JUNIOR MANDOLIN CLUB, SLATER, MISSOURI. erine Carson, Lillian Hyatt, Dessa Foster, W° Lucille Vorsteb (Age 15), Class A, I meant to give some violets, she put it in the piece where it belonged Jean Marie Shaefer, Jean J. Carroll, Eliza¬ getting crooked.” C F B R T Or else a box of sweets, and played the whole thing perfectly. If you have a heart that likes to sing, beth Watkins, Vernon Leas, Katherine Fran- “What do you mean, Aunt Caroline? E L O E I zen, Virginia Nell Drum, Eugene L. Scott, To mother on her day of days; Baste a scale?” “There,” she exclaimed, “that was not Then you’ll find a song in EVERYTHING. Julia E. Comye, Anna Katherine Swinney, Honorable Mention for February Rhythm hi Music Beverly Karstaedt, Llewellyn Faust, Virginia But now my mind entreats “Yes, certainly,” answered Aunt Caro¬ much of a job after all.” Hampton, Rachel Chicoine, Rose Mary Pierce, Essays : That I shall practice tirelessly, line, entering the music room. “Did you Then she began her Bach Inventions. (Prize Winner) Dorothy Johnson, Helen Hodgson, Geraldine Mary Katheryn Ihle, Marjorie Haines, Mar¬ “Now this,” she said to herself, “makes me t necessary things Taylor. Bernard Lafond, Eleanor Barcelona, jorie Birch. Charles Wallis, Margaret Hof- Until at last I play not know that playing the piano is like Rosemary Presho, Jean Smith, Florence Mar¬ stadt, Hazel Evans, Jane Harris, Beveraly So perfectly that I can give sewing?” think of cross-stitch work in many colors. Rhythm in Music tin, James Taylor Clark, Donald Staples, BaUlies, Charlotte Reed. Vivian Donisthorpe, A musical bouquet! This little run is red, this figure is yellow, Point of Vieiv Erma Genovesi, Tim Cahill, Loraine Mentzer, Mary Patricia Rainsford, Mary Hope Hum¬ “No. How could it be?” (Prize Winner) Athena Cotsifas. bert, Beatrice Firkins, Mildred Parkinson, “Well, in your plain running stitch, you and this melody is gray, and the themes By Frances Gorman Risser Bhythm in music is very important as it Lillian King, Marjie Ihle, Beatrice Longaker, make even stitches, all the same size and and counter-themes all work out and fit teaches us the proper disposition of notes in Josephine Smothson, Florence Andert, Roberta "Boys do have the most interesting regard to time and measure. It is like the rhythm. When .... - -- - - Brenneman, Paul L. Frahm, Phyllis Coulam, evenly spaced, just as though you counted together.” have good rhythm in order to keep t Donna Belle Dumar, Evelyn Keppel, Dorothy times!” sighed Barbara, gazing after Tim accent, emphasis or voice stress which makes one-two, one-two. Your scale should be just Her new piece had some trills and ar¬ the reading of poetry interesting. Without Straker, Grace Neilson, Richard Salk, Patricia Meadows who was striding away down the rhythm music has a sameness of expression Dear Junior Etui: Klein. The Secret Code peggios, “just like an exquisite piece of similar to listening to a person reading in a Music lessons ai wonderful. I play the lace-work,” she said. “I must do my best street, looking very manly and feeling self- monotone. Rhvthm gives vitality to a com¬ glockenspiel and ’ Gertrude Greenhalgh Walker j. i_ J_ J. J. J.L sacrificing. because he had refused fudge position which helps us to play a piece in a and the instruments can keep together, Letter Box List By on this or it will get all tangled up.” proper time, and to render it in a way that most people music is soothing to the Then she worked on her review piece and cookies, being in training for the school es, but without rhythm it would jar the I played the piano and spoke ovei The Boy’s Orchestra at High School \ 2. 1 2 1 2 1 2. I mates people enjoy hearing it. I think everybody should love Letters have been received from the fol¬ for the recital. “This is like a piece of track team. Many schools have rhythm orchestras so had formed a baseball team. They were NICE, EVEN ONES ' the children, even.-in the very early grades, lowing, which may not be printed, owing tapestry,” she said to herself, “with intri¬ “We have just as much fun!” laughed practicing baseball just as earnestly as learn the importance of rhythm and enjoy Margaret Ruth Johson (Age 10), to lack of space: cate patterns in dainty colors, and that one Mary Sue. “Personally, I would hate to taking part in the rhythm orchestras. I George Scott (Age 10), Class C, Rita Batka ; Belton Vengen ; Clement Miller ; they did their music, because they had Played a triangle in one and my teacher said Jean McWilliams: Joan Van Nimwegen; that way. Look at this neat bit of hem¬ weak place in the middle must be carefully run around as they do.” I seemed to feel rhythm. I hope I may con¬ entered the County League and were “Oh, no we don’t!” argued Barbara, Doliie Lethaby ; Mary C. Solbach ; Lois Nor¬ anxious to prove that musicians were good stitching you did on this handkerchief. mended by extra practice.” tinue to appreciate the value of rhythm as it man ; Mabel C. Dunn ; Anne Coughlin ; Dor¬ stubbornly. “In five minutes, I must go in Is of so much importance in music. Programs for Recitals othy Cohan ; Laurelle Temple ; Mary S‘!-“ - ball players. Everybody admires this handkerchief you Each day she played the sewing game Pact. L. Fuahm (Age 12), Class B, made for me. But if you had made one and before long everyone noticed her im¬ and lose an hour of this lovely day, prac¬ One day at practice, Bruce, their cap¬ ticing my music ! It would be different, if if possible, though this is not necessary. tain, called them into a huddle. “I have stitch longer than the others you would provement. The 4-H Club members heard Many Juniors take part in recitals at I were working for something spectacular, The front may be decorated with a de¬ a scheme,” he said. “We’ll use a secret have ripped it out and done it over.” about it too and asked her to play on their which there are no printed programs, be¬ as Tim is, for then it would be fun to give sign, drawn on the paper and colored, or a code and I bet we will be the champions,” “Oh, I see,” said Miss Careless-Counts, next program, when the real sewing was cause, of course, it is only the larger affairs things up!” design may be cut from something and and Bruce explained the code and put it “and my scale would be crooked and un¬ to be exhibited. “I’ll pretend it is another that have printed programs. “Well, you are working for something pasted on. into practice at once. even, and I just hate stitches like that.”. sewing exhibit and I’ll work hard to make Yet, teachers often have recitals in their a hundred times more spectacular than Tim The first program pictured was sent Sure enough, they won their first game “Yes, of course, or even worse. I know it perfect,” she told them. studios or elsewhere, where the audience is,” said Mary Sue, quietly. “Because, in to us from Texas. The cover is made of and their opponents were completely mysti¬ your B-flat ihinor would be a sight!” - And she did. And before long Aunt is fairly large, and for such occasions the Stupleystew black paper with a piece of white paper fied. At last the day for the final play-off “B-flat minor! But you know that is a Caroline and her teacher decided to change after years, it will be a great deal more pupils can make the programs. Did you important to you to be an accomplished folded diagonally across. The little picture arrived. “Now, boys, do your best and re¬ hard one.” her name to Miss Careful-Counts. ever try making programs? It is great pianist than it will be to Tim to win all fun, and sometimes the results are excel¬ of the coach-and-four is pasted on. The member the code,” said the captain. And program inside is typewritten. such excitement 1 Bob, trying for a home the events in the Field Meet. And if you lent, several quite original programs having will only give about one fourth of the time been sent to the Junior Etude from time The other one is on orange paper, the run, heard Bruce call out excitedly, “Presto, lettering done in black and gold ink and Bob, Presto, prestissimo. Fermata, fer- Musical Geography and one half of the care to your music School that Tim does to his athletics, you can do So, the next time your teacher has a the design colored with water color. This mata,” as he reached third base. was designed and made by an eleven year Then, “Vivace, John, vivace. Take it By Aletha M. Bonner wonders!” recital, why not make programs for her? old pupil. andante, Dick. Ritardando, Ned. Fermata. “Why, when you put it that way, it does Each pupil or each club member can make make a difference!” cried Barbara, excited¬ a certain number, and divide the work. Another club sent us their year-book Now, prestissimo.” 1. Way down upon the . River. 9. Flow Gently, Sweet . ly. “And of course Tim never could hope ^cital which was very well gotten up. The cover When the victory was won everybody 2. The Beautiful Blue . 10. Marching through. Then, after it is over, send one of your to win, if he neglected his setting-up exer¬ best ones in to the Junior Etude. was made of light blue and white wall crowded around with congratulations, and 3. Carry Me Back to Old. (Answers) cises, so I mustn’t rush through my pieces, Colored paper may be used, and the paper, the inside being typewritten. “please tell us what the secret code was.” 4. Song of the . Boatmen. 1. Suwannee (America) ; 2. Danut See how original you can be, and how “Well,” said Bruce, laughing, “you know and neglect my scales and finger exer¬ lettering may be done with colored pencils, 5. The Sun Shines Bright on My Old (Austria) ; 3. Virginia (America) • attractive you can make your next recital we all belong to the school orchestra, so cises !” She paused for breath. “Oh Mary colored ink or water colors. Gold paint Volga (Russia) ; 5. Kentucky (America) Sue,” she went on, “You do have the best with such programs. You can get a lot of we just used some of our ifiusical terms. 6. Where the River . Flows. 6. Shannon (Ireland) ; 7. Rhine (Gei or gold ink may also be used, and the pro¬ ideas!” gram proper may be done on a typewriter, fun from doing it. You fellows ought to study music too, then 7. The Watch on the. many) ; 8. New York (America) ; Afto “It's all in the point of view you take you’d know!” 8. The Sidewalks of . (Scotland) ; 10. Georgia (America) of anything!” said Mary Sue. may, m6 337 336 THE ETUDE Please Prescribe Musical Books Letters from Etude Reviewed Friends By Blanche E. Loftain STANDARD SONGS arches, and so on, just because he has had All Teachers of Piano THERE ARE MORE demands made Any book reviewed in these columns may on the musician than on any other a cup of tea and a sandwich. be secured from the publishers of The If a dentist friend has supper with y , Etude Music Magazine. Should Know These group of professional people. Be¬ you do not expect him to extract or fill Sung the World Over cause music is the universal language, we your teeth for the mere prmlege= of^mg need music in every religious, civic and in your home and at your table. A cocktail The Meaning and Teaching TIME TESTED GEMS OF MELODY AND VERSE and a cookie are not enough compensation of Music - Mdge or a ' Excellent Publications v of a Season after season, year after year, these preeminently meritorious From the Catalog of songs from the Immensely Successful Vocal Catalog of the John Church Company have been vibrantly alive and are today in a niche THE JOHN CHURCH COMPANY of distinction where they have few rivals. =<■ SECULAR SONGS ECULAR SONGS—Con t.

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A Visual Approach to Piano Technique

Keep On With Your Music

JAN CHIAPUSSO rHr —

Dawn Light and Bird Song .C. d-g TB5.il Sinking THEMATIC OCTAVE STUDIES to a Close.D. d-g Boses After Bain.F, E-g The Day is Gently Sinking In the Form of Variations on an Original Theme By WILSON G. SMITH Price, *1.00 As the author aptly puts it, t;hese are “short and pertinent exercises” which will aid Recent Notable Additions to THE JOHN CHURCH CO. SONG CATALOG:—My the earnest student to become ;at home in certain technical points of issue treated by Secret (Key of D-flat, Compass d-flat to a-flat) by Mana-Zucca (.50) these celebrated studies. The teacher will find these studies valuable to start pupils The Baindrop (2 Keys—Key of F, F to g; Key of D. d to E) by Charles Gilbert upon along in the fourth and Ififth grades and to recommend to the student as daily practice material throughout one’s entire career in gaining and maintaining pro- ficiency in advanced piano w

IF YOU CATALOGS TEACH PI. AND FOLD¬ ANO SEND A ERS showing POSTAL TO¬ DAY for a copyof CATA- The John Church Company the music of which gives songs will be THEODORE PRESSER CO., Selling Agents cheerfully sent f fne^pfano Pieces in on request. _ Grades 2 & 3. 1712 CHESTNUT STREET, PHILADELPHIA, PA. „TT t rTRFTEL” Softly the other choirs of The Strings Whisper the Prayer Theme from Hansel and * , , w The Ford Sunday Evening Hour! Victor Kolar m- a well-schooled orchestra take up the melody. T . - terprets the works of great composers . . . bringing the beauty of then tmmortal music to md-

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