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

6-1-1947 Volume 65, Number 06 (June 1947) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 65, Number 06 (June 1947)." , (1947). https://digitalcommons.gardner-webb.edu/etude/183

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national symphony orchestra in War- THE CARNEGIE “POP” CONCERTS which first saw. It is intended to make the ’home of opened its second season at Carnegie the new orchestra in the shattered Phil- Hall, , on May first, has harmonic Hall, now being rebuilt for the presented several outstanding programs. JUST RELEASED! 1949 Chopin Centennial. UtiximK PREPARATORY The first week was highlighted by special “Latin-American programs, including a , composer and Fiesta”; Neapolitan Night; a Viennese a conductor, has received an award of one Night; and a Gershwin Night. , TECHNIC for PIANISTS thousand dollars in recognition of his noted Czech soprano, and , BOOK “fostering in America a deeper knowledge popular baritone of the Metropolitan of JUNIOR GRADE and a wider appreciation of the world’s Association, were the soloists on fine music.” The award, established ten the opening night. by WEYBRIGHT containing a years ago by Lord & Taylor, New York JUNE City, is one of four given annually to FED- THE NATIONAL leaders in the fields of music, the motion ERATION of Music Clubs IN TWO BOOKS- FULL SIZE picture, modem art, and the dance. held its twenty-fourth EXERCISES to affect the technical Convention and MODERN DEXTERITY Biennial KATE CHITTENDEN, FIVE OCTAVE American Music Festival growth of the young student without causing tension—psycho- 1 veteran piano teacher, in the week of logically co-ordinating the eyes, ears and hands. composer, organist, of and musically April 20 to 27, with the New York, in April cele- STAFF National president, Mrs. brated her ninety-first BOOK ONE — 15 ETUDES by the prominent composer-teacher with Guy Patterson Gannett, additional riate fingering exercises. birthday. Still actively approp Robert presiding. There were taking seemed almost impossible of suc- company organized by Mr. Britten. The engaged in her profes- Price 60c NOTATION Weede important discussions cess. But all difficulties were overcome, company, with an orchestra of twelve, will sion, Miss Chittenden and concerts throughout the week, in and the various events were presented be known as the English Opera Group. can look back on a rec- BOOK TWO — 20 ETUDES plus scale transpositions, major scale, which leading figures in the world of as they came along in the season’s sched- CHART Kate ord of seventy-four years harmonic minor scale, triads, bass and broken chords aiming toward music participated. American Music Day ule. All honor to the city of Baltimore! JACQUES SINGER, young American Chittenden of uninterrupted teach- was celebrated on April 23, when the dis- conductor who began his career as a ing, thirty-one of them as head of the cussion of the problems of the American DAVID MANNES, distinguished violinist, violinist in The piano department of Vassar College. She composer was led by Dr. Otto Luening, conductor, has resigned as conductor of under Stokowski, has been appointed is distinguished also as an organist, and head of the Music Department of Bar- the concerts which for the past thirty musical director of the Vancouver Sym- from 1879 to 1906 was organist and choir JOHN M. WILLIAMS’ nard College. A number of the artists years he has presented at the Metropoli- phony Orchestra. From 1937 to 1942 he director of Calvary Baptist Church, New who appeared were winners in Federa- tan Museum of Art in New York City. was conductor of the Dallas Symphony years of age, Mannes York City. In 1906 she helped to found GRADE-BY -GRADE BLUE BOOKS tion sponsored contests, including Mar- Now eighty-one Mr. Orchestra, an appointment which he inaugurated these concerts for the serv- the American Guild of Organists. From garet Harshaw, contralto (1935) ; Edward received on the recommendation of These books contain a staff notation chart to bo placed on piano ice men of the First World War. It is 1900 to 1932 Miss Chittenden was dean Kane, tenor (1933) ; Robert Weede, bari- . soprano estimated that a total of nearly two mil- and head of the piano department of the tone (1929) ; Paula Lenchner, LET’S PLAY HOBBIES FIRST .75 American Institute of Applied Music. Be- VERY PIANO BOOK .... Jacques Abram, pianist lion persons have heard the concerts (1945) ; and THE AMERICAN GUILD OF ORGANISTS during the years. sides her teaching, she gives a lecture It's different . . It's (1937). Ramon Vinay, Chilean tenor, and . fan and educational. 13 early grade piano solos captur- FIRST GRADE PIANO BOOK .... 1.00 held a National Spring Music Festival violoncellist, series each year. ing the student's imagination, descriptive of favorite hobbies such as Sports. Raya G.arbousova, Russian May 12 to 16, in New York City. The pro- Stamp Collecting. Radio. etc. HAPPY HOUR 1.00 William WINNERS in the 1947 National Piano- Book and Chemistry, Short histories of each BOOK also made concert appearances. gram included organ recitals, church hobby and illustrations precede each piece. Playing Auditions, sponsored by the Na- THE AMERICAN LYRIC THEATRE, INC., FIRST BOOK FOR THE ADULT BEGINNER 1.00 Masselos, pianist, and Joan Brainard, services, discussions, choral concerts, and tional Guild of Piano Teachers, will have English language opera company, Price 60c soprano, were the winners in the 1947 pilgrimages to some of the interesting a new the opportunity to compete for additional of which Donald Dame, Metropolitan Young Artists’ Auditions, each, receiving places in the city. Prominent organists A BOY and HIS PIANO A GIRL and HER PIANO awards through a plan known as Piano- tenor, an award of one thousand dollars. They from various parts of the country were Opera is treasurer and one of the Excellence-Prizes. Awards will be given in The boys' own piano book] Original 21 early grade melodies, prettily appeared in a joint recital on the second heard in recital. founders, gave its opening performance piano pieces typical of boys' pas- illustrated, such as “My Dancing REGISTER NOW evening of the convention. each of the three diploma classifications on May 9 at the Westchester County- times and a great interest-rustainer. Lesson", “A Trip to Radio City", —Artist, Collegiate, and High School; and Center in White Plains, New York. “The Among the descriptive compositions "Playing Jacks". “A Canter Through ARNOLD SCHOENBERG, celebrated Aus- (NO CHARGE) Philadelphia full details may be secured by writing to Barber of Seville” -was performed with are "A Hike Through the Woods." ROBIN HOOD DELL in trian-born composer now professor emer- the Park" and other pieces depictive Grace White, P-E-P Chairman, 527 West Winifred Heidt, mezzo-soprano, singing “Sailboating." "In a Helicopter." of such will open its eighteenth season of outdoor itus of music at the University enjoyment as jump-rope, 121 Street, New York City. of Cali- concerts on . Again under the the role of Rosina. Spoken dialog was “Halloween Pranks." “The Old Salt's hop-scotch, window shopping, birth- fornia, and a resident of , has general directorship of Dimitri used instead of the sung recitative. Paul Tale" and 16 others. day parties. Special notations for musical been awarded this year’s Award of Merit COLUMBIA UNIVERSITY’S third annual Breisach was the conductor. study. Mitropoulos, regular conductor of the for Distinguished Festival of Contemporary American Mu- of the Na- Minneapolis Symphony Orchestra, the tional Institute of Arts and Letters. The JUNIOR MISTER JUNIOR MISS sic, held there from May 12 to 18, was season will run for seven weeks and will Award, which carries THE COLUMBUS (Ohio) Philharmonic Plays the Piano featured by four invitation performances a prize of one thou- Plays the Piano feature world-famous soloists and guest sand dollars, presented Orchestra, conducted by Izler Solomon, of “The Mother of Us All,” a new opera was in May. II original pieces a modem boy will Ten original conductors. Vladimir Golschmann, noted ias completed its first season as a full pieces a modem girl by Virgil Thomson and the late Gertrude like. Expressive music such as "From will like. Colorful, appealing music conductor of the St. Louis Symphony Or- professional organization. In the twenty- Stein. The Five-Wind Ensemble (flute, ROBERT LEECH BEDELL, prominent Sailing Ship Days." in such excellent recital and study chestra, will direct three concerts in July. week season, a total of twenty-seven "School Cheers." WILL LECTURE oboe, clarinet, horn, bassoon) made its organist, composer, and editor, has re- pieces as "Seventeen." “At the Ice works by American composers, was per- “Dipey Doodle Bugs." ‘Tann Frolics." first appearance; and there was also a ceived the honorary degree of Doctor of Show." "Graduation Ball." “ Let- formed. “Backyard Brigade" , American violinist, Music from and others ex- ters." “Canoe for Two" and other TO choral concert given by the chorus and Southwestern College, Win- who was the winner of the first Jacques cellent for recital as well as study. charming melodies. orchestra of the of Mu- field, Kansas. , Thibaud International Violin Competition ARTHUR HONEGGER, French modernist Price 60c each PIANO TEACHERS sic, directed by Thor Johnson. last December, has returned from a most THE EDINBURGH 1947 composer, will be in charge of the com- successful European which part IN THESE CITIES: tour was THE SAN FRANCISCO Symphony Or- International Festival of position department of the Berkshire PRIMER of the award. As a result of winning this AARON PIANO chestra, conducted by Pierre Monteux, Music and Drama wall be Music Center this summer. This is Mr. ^IlCH^EL contest, he has been engaged to appear first visit this since MAR. 31-APR. 4. ., N. T. 12-16 gave the first New York concert, in its held in Edinburgh, Scot- Honegger’s to country much thought MAY Cleveland, 0. Desired with - TaUSSS with leading orchestras in this country land, 1929. entire history on April 11. On an extended August 24 to Sep- beginner «o J— plan and .electron APRIL 7-11 Mew York, N. Y. MAY 19-23 SrSlY-. his Dayton, 0. and reengaged for another European tom- guided Michael nra E music • tour, the orchestra of ninety-eight is tember 13. The opening with youngsters have mdiments of next February. Wjod««*« ‘“ simple APRIL 14-18 , Mass. MAY 26-29 Indianapolis, traveling in a style such as no touring programs will be pre- f^ thl book. Story-book htan1dapping • Clear, lad. of rhythmic rhymes to sustain APRIL 21-25 group ever before enjoyed. The New York sented by the Colonne Development attractive Syracuse, N. Y. -6 Coiambus, 0. Ckloir BALTIMORE, MARY- concert was the twenty-fourth city on the Orchestra of Paris, di- Paul Paray APR. 28-MAY 2. .Rochester, N. Y. -13 , Wis. LAND, has added to its tour and there were thirty-two more to go. rected by Paul Paray. illustrated. musical prestige by being JOHN GREGG PAINE, general manager usely MAY 5-9 Buffalo, N. Y. Another in the price 60c -20 , III. of Composers, the locale for an out- THE TRAPP FAMILY Austrian Relief, opening weeks will be the Viennese Phil- of the American Society NANO INDUCTION JUNE Authors and Publishers, died suddenly TK. NEW NOTE » MODERN 23-27.. Minneapolis, Minn. standing celebration Inc., reports that in the first three months harmonic Orchestra, conducted by Bruno COURSE in Detroit April 23, following an address PIANO commemorating the fif- of its operation, 2480 packages of food- Walter. A three-week season of opera will AARON which he had just made before the MICHAEL For full particulars ... see your tieth anniversary of the stuffs, clothing, and household sundries be given by the Glyndebourne Opera death of Brahms. Headed destitute Company, with nine performances National Federation of Music Clubs. His Local Music were sent to the people of Aus- each Three. Dealer, or write to: age was fifty-seven. Mr. Paine was One. Grad. Two. by Reginald Stewart as tria. These donations represent contribu- of Verdi’s “Macbeth” and Mozart's “The a Four Books; Grade Reginald ea director of the Peabody tions from the American people of thirty- Marriage of Figaro.” specialist in copyright law. Grade Four - Stewart Conservatory, and con- two different states. ductor of the Baltimore Symphony Or- FRANCO ALTORI, permanent director REYNALDO HAHN, composer, conductor, Chicago 4, Ilf. Los1 Angeles 14. Cal. ”;,*," chestra, the complete works of Brahms BENJAMIN BRITTEN, English composer, of the Chautauqua (New York) died January 27, in Paris. Bom in - 64 E. Jackson.’LBird, MILLS MUSIC, THE BOSTON Sym- INC. 411 W. 7th SI. MUSIC COMPANY were presented during the season. When has written another opera, “Albert Herr- phony Orchestra, while on tour in Poland cas, Venezuela, August 9, 1875, he began 1619 Broadway, New York 19, N. Y. m BOYISTON STREET . BOSTON 16, MASS. it is considered how difficult it was to get ing,” which will be performed this sum- during April, was asked by the Polish to study at the Paris Conservatoire when some of the music needed, the under mer at Glyndebourne, England, by a Musicians Association to organize Poland’s ( Continued on Page 353)

* JUNE, 1947 "MUSIC STUDY EXALTS LIFE;’ 301 . ) !

ET US GO BACK to 1876, Editorial when Richard Wagner was 1" tfufamk opening his Festspielhaus Violin MfaatimL ir at Bayreuth, and have an im- living has undergone epochal 1 f agined interview with the mas- changes. It thus has come to by HARVEY S. WHISTLER msSaus ter. The representative from pass, as Major Saint-Gaudens wsSe mmqj The Etude begins: pointed out, that many of the Sitions-.^^l MODERN HOH MAN N-WOHLFAHRT Beginning monthly Published “Herr Meister, I represent Method for Violin, world’s greatest artists, paint- Vol. I. First Position $0.60 By Theodore presser Co., Philadelphia i, Pa. The Etude, musical ; a magazine ers, and musicians have found MODERN HOH MAN N-WOHLFAHRT Beginning 1 EDITORIAL *nd ADVISORY STAFF which Theodore Presser will it expedient to depend upon Method for Violin, Vol. II. First Position 75 DR. JAMES FRANCIS COOKE, Editor in Chief found in America in 1883, seven commercial art for a part of INTRODUCING THE POSITIONS for Violin, Vol. I. Guy McCoy and Ethel M. McKray, Assistant Editors years hence.” their Third Dr. Rob Roy Peery, Music Editor , livelihood. Here is Major and Fifth Positions. . . 75 Harold Berkley Dr. Nicholas Douty Karl W. Gehrkens Dr. Guy Maier “Theodore Presser! Who’s he? Saint-Gaudens’ list of some of INTRODUCING THE POSITIONS for Violin, Vol. II. Ruth Evans Buhman Maurice Dumesnil Elizabeth Gest Dr. Alexander McCurdy Pietro Deiro Edna Fort George C. Krick N. Clifford Page Never Second, Fourth, heard of him,” scowled them, including his own father, Sixth, Seventh and higher positions .75 William D. Revelli Peter Hugh Reed the composer. the eminent sculptor, Augustus DEVELOPING DOUBLE-STOPS for Violin. complete A course of study in double note -FOUNDED 1883 BY THEODORE PRESSER - and chord development “He’s the man who founded the Saint-Gaudens. If you are not I 25 Music Teachers National Asso- familiar with these names, ex- Publications for other bowed instruments: ciation at Delaware, Ohio, last tend your cultural knowledge by Contents j?or ^une 1947 FROM VIOLIN TO VIOLA. transitional , year.” consulting A method for those who already possess a a good encyclopedia: knowledge of violin playing “That’s in America, isn’t it? William Hogarth, Thomas Row- I qq VOLUME LXV, No. 6 PRICE 25 CENTS I have just written a INTRODUCING THE POSITIONS for , Centennial landson, Augustus Saint-Gau- Vol. I. The Fourth Position 1.00 THE WORLD OF MUSIC . 301 March as reclam for their great dens, Jean Louis Forain, Pierre INTRODUCING THE POSITIONS for Cello, Vol. II. Second, Second-and-a-Half. EDITORIAL Third, and business fair in Philadelphia. Bonnard, Paul Cezanne, Third-and-a-Half Positions Art and Advertising Edgar I gQ 303 It’s very bad, but they won’t SOLOS FOR STRINGS. MUSIC Hilaire Germaine Degas, Henri An indispensable collection of easy melodic AND CULTURE material for know, and no one will ever hear solo playing or unisonal string Tiny Tots' Adventures in Theory Matisse, Pablo Picasso, Vincent class performance. Jane Bradford Parkinson 304 it again.” Van Gogh, Winslow Homer, Violin Solo (First Position), Viola Solo The Pianist s Page (First Position), Cello Solo (First Posi- The Music Teacher Takes a ‘‘Reclam! That’s Teutonic for tion). and String Bass Vacation Loui'e 307 George Bellows, George Luks, Solo (First and Second Positions). The Romantic CkM Each 50 Career of Michael Kelly ". . .Dr. Paul Nett! 309 advertising. What is your opin- Walt Kuhn, and Guy Pene du Piano Accompaniment MUSIC IN THE HOME 75 ion of art and advertising?” Bois. The New American painter, Sensations in Radio “Ungotteswillen! The Etude Music Lover's BooksheH.7.'.7 Donner und Frank Duveneck (Frank Deck- : 311 Blitzen !’’ THE GLEANERS er) , painted altars for a firm of MUSIC AND STUDY (Les Glaneuses) The master became frantic The Teacher’s church buildei's. Round Table Jean Francois Millet (1814-1875), one of the most illustrious painters of France, He Fought His with Way to the Top i) rage, tearing his hair “Down' Und^'"' ; and once painted signs for a living, at his home at Barbizon. Major Saint-Gaudens also Requisites for the Young Singer. 7.' . . . . . i\l ***”•'* * * ‘ p/ *.'/ Robert Merrill 315 playing football with Notable Organs of America his velvet noted that Watteau, Toulouse- The of de r U dy Intonation.'.:::'.'.;;: J, ' T,f" „ h ill beret. The Evolution , ^S Ub r' S 318 of the Military Lautrec, Rockwell Kent, and "Penguin Parade." Band. . !L ?, MY PIANO BOOK. Alfredj E.r ,il9 IT'C riltl Part 3 Developing Musical Taste Zeallcy “But Meister, when you were The Charles Previn 320 many other artists of distinction 1 1 0 FUN- Violinist's Forum Harold Berkley 321 a young man in Paris, Questions and Answers Li did you not do a lot of hack musical work deliberately made advertising D ' Karl a part of their work. Your editor Pedaling—the "Stepchild''' W Ge rfcc7 s of' Piano Stud'v . i?. ? HI y Chcnd(! for your bread and sausage and cheese?” at this same meeting Technical Proficiency in Singin» 323 called attention to the fact that George Du good piano j*T Lucrezia Bori 324 The master approached apoplexy the his Maurier, MUSIC at mere mention of eminent English cartoonist of “Punch” and author of baseness. the sensational novel, Classic and Contemporary “Trilby,” had made the now famous label pedagogy, too, to use June Selections Ada Richter's Blossoms (Presser 27815) “Do you think that there will ever be a time when the world for the bottle of Jose Apollinaris Water, and also that the great French Theme from "Les Preludes” ‘ '/ Ph M - Hopkins 325 ( Presser i "mL YdX(F m Th®mes fr will spend millions of dollars for Renertotre^f °m The Orchestra! weekly music to be used for painter, Jean Francois Millet, once earned part of his living Morning — paint- Mood (Presser 7828) Henry Levine .126 advertising ?” Life 46 ing signs at Barbizon. Piano , Excerpt) ' J 328 My (Presser',' ^ Book (From "The' World^s Greafwa^'' The master passed out of consciousness, with screams of “Wahn- The marriage Legend Johann Strauss, Op. of art and advertising has come about as a (IN THREE PARTS) of the Waters (Ditson) 354—Stanford King 330 matter Front Crinoline Frank Grey sinnig! Geistesschwache! Verriickt!” all of which in Broadway- of Days (Presser 27798) 332 — human expediency, and if it is a “marriage of convenience,” Weeping Willow (Presser Scfieldrup Oberg 333 First instruction material so attractively *27705) ese means lunacy, addle-brained, stark mad presented as Commencement Day March 334 both parties seem to be faring excellently. The artist to seem like (Presser'^247)"(Pikn'oDu'et) ^ and the playing a succession of pretty pieces. The The subject of this editorial was suggested by a recent meeting musician, now deprived of the first ' two books are F C C' Crammond support of generous dilettante in the oblong size (ll*/j x - °P 336 and 9(4), Th°' urn Composition, and cover the first year * ne (JOhn of the sixty-one year old Contemporary Club, of Philadelphia, devout ecclesiastics, have of study. Many teachers usJ Church *30893) (Sacred been compelled to turn to business and them Song-high voice) to follow a kindergarten book bridging a 'gap Jesus Call Us, o’er Ch les one of the historic, cultural American groups, athenaeums, industry. At the same time, it is not the Tumult (Organ) Gilbert Spross 338 a little complimentary to art between such a (From "t , JE Few book and the usual first instructor. T"el e Choral A of the Pieces in . Y Preludes on .. , FarniliarHvmn T forums, literary societies, chautauquas, and associations of up- and to music to have A Visit to Grandpa’s n s )—H. Aexander commerce recognize these as great human (Presser 27793) (Violin i* ? Matthews 340 * ‘an0) Part three, the DeUghtful Piece for Young P GayIe In Smith 341 ward looking folks which into even intimate necessities, so PART THREE most recent addition to the series, , Payers Wham come more contact important that their very association with eon- The Grinder ^" business tains 38 captivating new 0^ (Presfer 27 oeny s with the foremost movements of the than do the can lead to success in Penguin Parade Serenade (Presser 27779) Louise E. Stairs 342 day excellent promoting widely used mercantile pieces which carry through Tomboy and Tim (Presser *27755). Frances M. Light 342 the second ° A “Forum” and “Town Hall Meeting” discussions of the radio. The industrial products. The Trained Seal year of study. Owarf (Presser 27378) Rente Miles 343 All three books may be William Scher 344 speakers upon this occasion were Reeves Lewenthal, President of Trade is born in the On the Merry-Go-Round JUNIOR market place. The main function of good used either for ETUDE class or the Associated American Artists, Inc., and Major Homer Saint- advertising is to carry the message Stunt Plane . Elizabeth of the opportunities of trade individual instruction. MISCELLANEOUS A. Gest 356 Gaudens, Director of the Carnegie Institute of Pittsburgh. from the The Dancing Flea Major market place, through the eye (print and ) Price, n Tha t Part One, 50c Named Four Towns. On the Scenic Thf r? | Saint-Gaudens, in opening his address, commented in part upon and through the ear (radio) to the office, Railway Price, C CUtta Horace to the work shop, or to Part Two, 50c Mrsivirs. ..7.7.7 Reynolds 308 MascagniMascam TurnsT .'i; Skyrockets the Trick 70S the fact that great artists of the past (painters and sculptors) the home of the consumer. Advertising cannot Price, Part Three, 75c A swe alter the basic 5 red Malcolm Hyatt 308 Organ t n depended for their support upon regal patrons, rich principles UeSt,ons Answered...... D Ncholas Douty burghers, of square dealing, honest values, or exact representa- VioUn QuestionsQuesFon* ? J 347 Answered Frederick Phillips 349 and the fathers of the Church. Some of the masters became very tion of quality and price, which mark all Harold Berkley fair trade. Obtainable 351 from All Leading Dealer, wealthy through the sale of their paintings. Musicians, however, The launching of or from the Publishers a successful advertising project no longer is at in olden days, rarely received much more than a pittance for based upon accidental, slipshod THEODORE Ax & & experiments in the counting house PRESSER CO. their labors. Up to the time of Beethoven, the great musical demo- or the studio. It depends upon a science, becoming more and more 1712 m they sometimes kicked menials crat, were about as and lived miser- CHESTNUT STREET exact, dealing with the psychology of human interest, exhaustive PHILADELPHIA 1, PA. able, cringing existences. research in. economics, distribution, markets, and finance. There- With the coming of a new era, advertising as a factor in modern aftei, comes the 302 piesentation of advertising, through the brain "MUSIC STUDY EXALTS LIFE" (Continued on Page 316) JUNE, 1947 THE ET 303 The sensationally Music and Culture brilliant successes of Leonard Pennario in concert and as soloist with our foremost orchestras, prior to Music and Culture his entry into the military service, created furors in audiences such as those which have greeted radio and Hollywood stars. This had no effect upon his natural modesty. His impressions regarding his experiences in and Burma, with armies of rnen who, though surrounded with seething millions, were continually under tragic strain and desperately desolate in a disease-ridden, tropical country, are startling. After his re- Tiny Tots’ Adventures in Theory turn from the front he went to the home of Dr. Guy Maier, Virtuoso in the Jungle his teacher for many years, for preparation for his present coast to coast tour, during which he has been overwhelmed by cheering crowds of admirers, not merely for his playing, Conference but for his compositions as well. — Editor's Note. A with hj ^ane Bradford j\u'Lin6on HEN WAR broke, just what happened to oCeonard enucu'io the minds and imaginations of thousands cation, it becomes both the oppor- first year pupil by the same understandable the obligation and device. of young musicians is difficult to picture. Here tunity of the piano student They may be taught as relative to the major W teacher to give them to the scale, or they were, with others in similar cultural and scien- Brilliant American Pianist no matter at what stage in the way of as independent scales by step and half-step he may be patterns. tific callings demanding the super-development of the performance. In either case, the three forms, normal, harmonic, and hands, suddenly called upon to go through the rough- The question therefore melodic should be taught. SECURED arises regarding the attitude est and toughest kind of training. In earlier wars, EXPRESSLY FOR THE ETUDE BY ANTHONY DRUMMOND of teachers themselves When the minor scales are toward the study of theory. In taught as relative to the virtuosi, musicians, and artists were usually carefully their own experience major, starting on the sixth was harmony only a set of exer- tone, or la, the child sees protected from danger. During the last war they no cises to be written on lines quickly that there is and spaces, red-penciled, never any change in the first five longer could remain far from the battle fronts, groaned over, and pigeon-holed, tones, and no change or did it mean intel- at all in the normal or natural guarded like the art treasures in museums such as the ligence, and life itself, minor scale. as applied to a piece of music? In the harmonic there is one change when Louvre, the Hermitage, or the Prado. Bach, Handel, The teacher who reluctantly sol is raised si; approaches the teaching to in the melodic the si is retained and Gluck, Mozart, Beethoven, Schubert, Schumann, Rub- of keyboard theory must first is raised of all be willing to take fa to fi, and the scale then descends like the instein, Liszt, Brahms, Verdi, were kept as far away himself in hand, correct his natural own attitude, revise his form. If patterns are preferred, the scale starts from the smell of gunpowder as possible. own learning processes, clear on up the distasteful and one, and the definite locations of the half-steps are In World War I many distinguished musicians, foggy impressions left from his youthful learned. own experi- The best way, of course, is to see that the notably John Philip Sousa, Ernest Schelling, ences, Guy and resolve not to pass on the same kind of pupil is familiar with both ways. Such a procedure is Maier, Percy Grainger, Albert Spalding, and others, impressions to the pupils intrusted orderly to his care. He and clear. volunteered for the Service for which they were best should then begin theory with his pupils at the very adapted. In World War II our democracy called for first lesson, and make it a part of every lesson from the best in all our young men fit for service. It was a that time on. The Foundation of All war in which science, art, and music all had a defi- The first Music step is to show the beginning pupil the Almost without exception nite part. relationship between the music the pupil becomes as in- he sings and the music What might it do the he terested in building scales as to young musician’s art and plays. Singing a little melody before he does in building a it is played, house his personal interests for the future? For my part, establishes in with blocks, or setting up something the hearing the melodic line, the with his phras- mechanical building despite the misgivings of my friends, since there had ing and the rhythm. As the toys. After all, the scales are the public schools do a great to be what Virgil in his deal foundation of all music, “Aeneid” describes as “War, of singing, this is and teaching them is a very obviously the child's first ail- horrible (."Bella, definite responsibility. war!” horrida bella!"), I would not proach to the piano. Most schools make use of syllables. have given up my service in World If the child has Transposition of simple melodies War II for any- Burma. not learned the syllables in and little pieces is . desolate his school one of the thing. singing, the piano teacher should pupil’s greatest joys. As soon as he can play American the Hump/' see that he knows a When the Japanese attack occurred on December - l0 them, as they are a five-finger position from two or COt many POSITION AND NOTES ARE NOT basic factor in both singing three starting points, T° 0 made Hiroalayas. ENOUGH and he can transfer 11, 1941, I was seventeen years old. All of my life up to 7 peimari Lei them Playing, and are invaluable his melodies from one place have theory, too. as the groundwork for to another, that had been scale building i his extends moment focused upon becoming a virtu- K-> and transposition. to transposition of melodies of greater S”. compass as oso pianist. I already had been soloist with large sym- NE great problem soon as the pupil is able to of music education would be complete two or phony orchestras. I had been three scales. Later, graduated from high simplified if adventures in theory were made as the child learns his chords, he a Ve part of every piano lesson The First Lesson eSe also t0 various keys. unquestioned maturing effect which is hard to ex- O from the beginning. thL K° - Transposition can be plain. Too often, however, exploration At the first lesson, camed 011 by easy stages Many of the G.I.’s went into the Service of the keyboard is let the child sing a simple all through the pupil's as either frowned phrase two- education in music. boys and came out men. upon as unsanctioned experimentation, melody that will lie under the five fingers of or utterly ignored. one hand, then find 5 cbord s one Finally the day came, and I was placed Many times, also, that which mig ht-, the position and play of tbe pupil’s real adventures, in the Air the melody Prom 'fho f } have been a delightful upon the keyboard. e rll St essons Corps and later in Special Service. I was keyboard excursion is turned These two easy > be readily comprehends the moved from steps should be fart th t ?. ^ into a boresome a rote process. S bUiIt one camp to another and went paper-and-pencil affair. The joyful The child may then see °n the tot. ^urth. and fifth through basic training upon the printed deleft in the experience of marking out a trail for himself he ear has heard 6 118 SCale are Air Forces without any injury to my hands on the ’ and the hand !* ^ ma-> or chords, and can lE " - ° keyboard, bas per- make brant f NARD save or of being able to follow formed. There is immediate accompaniments PEHNARIo lack of practice. When it was found that I was the musical coordination of mind for his little melodies. PIayi„ a travelog of hand, L These Cb0rds! g pianist, I a definite and eye. !® be aS was permitted to piece of music are incentives And best of all there Pictures beneath the hands just as accept engagements, and unknown is immediate th „ for some to many piano pleasure and ' eight months I toured students. self-assurance t0niC ’ taU the , in performance. S™ aa ™ *01. the SUb- There are certain Sminanf in uniform, appearing amazing and disturbing things To stimulate such coordination, d a and ttle with great orchestras. All the simple melodies ti dominant seventh, as about piano pupils based fa to V“ °iJ ’ proceeds of my concerts of who enter our conservatories. One on the first five tones of the the Child s hand in course were turned over major scale are a natural arched school was attending first of these is the ignorance of best After position S„° . and my semester to the Air Forces Relief Fund, key signatures. If you ask the child has learned W blm to re and Army Emergency to play two or - cognize the common tone a three that kpen t , at the University of Southern . pupil in what key the piece is of these easy pieces 01 Relief Fund. written, he is more by rote, he l0Cati0n - comes to a recoup,™ These Prions also make I likely to give the obvious of the fact Se muscula n J had toured our major cities, playing with answer, “five flats,” than the that the figure, do re 0™31106 S° mi fa sol is built bv one easy that change from our leading orchestras, and intelligent one, “D-flat.” *** to another^ecomes had received Experiences in the Tropical Jungle ““ h£^-Step Patte a automatic, and the performer It ™. Td may listens f gratifying comment from foremost critics. is only the occasional pupil of college formed from any white £ aah parta r mstinctive Soon, I learned that age who or black kev as the -te-tf harmonic direction, a shipment of my unit was has a working Por e At the same time, I was continuing my knowledge of such easy 1 ' B Ck keyS are t harmonV° bound for Asia. fundamentals necessar y in minor, chords It all came so quickly that it was hard as the relationship y the pat- on The may be formed studies with Dr. Guy Maier. The artistic of syllables to the piano keyboard, tern and!? so are as easy e Sa,5 e P0Sitions for us to get our bearings. to use and understand ' ^king use of the harmonic We flew from Newfoundland the step and half-step as scai^Th l nri f future seemed promising. pattern °n - of the major scales, CWld plays his 1S ascinated by the to the Azores, to Casablanca, to Cairo, to , and Pieces in • f ease with which he the ease of building mor an H G D A can chanop n three forms of minor any other key as readily S ' mp e to Calcutta. Our scales as as in C. Thp nW iHol i maj°r melody bases were at Tezgaon and at Kermi- related to the major ing and its accompany- A Patriotic Musician scales, or independently by 3 must work up chords 11j n tola. One cannot realize pat- and dowr* from minor - He soon what it means to the human . Middle-C discovers that the terns, the understanding thatthat-Ah" and cho4 I knew, however, that it of intervals, the structure of the eventual introduction “l °m and was only a imagination to be yanked, in a of a sham nr o’ a * the subd°minant are minor, relatively few hours, major and minor triads and “ while the matter of time before I would find their inversions, 1 ' ' domi f myself from the simple Mu *>“ 1 Seventh rernains comforts of America, to the edge of a tropical’ major. transposition, and elementary .n£ p« Asthpono, in uniform, and when I came to wear that principles of form. SSL"" 0 older jungle in India. We were located in a new clearing ’ in The comprehension increases, uniform I was just as proud piano teLh^ sh^° as any young the heart of an Indian jungle, u d see that the pupil knows the in a wholly different cWld lo complete names of thp into American could be. I realized that it would kind of Interest Stimulated any'/iS™ and should country from anything I had ever seen before. 5 Wortofe opportunity use every possible make a tremendous change in everything, steps and one half-step to any to hew!?’the The deadening heat, the terrible humidity, The interest of an adult do re mi fa sol P student recognize intervals by the stench piano pupil who has no tern Thus oat hearing— „ but hating war above all things, I wanted the scale, which is still mainr min°r of the Orient, the never-ending night so ’ perfe ct, noises of the background of theory is at once quickened dreaded and so ished augmented, and dimin- to do my part in when he is poorly comprehended by Thus" the’ PUpiI what we hope will prove jungle made a change so lead to observe many students entering becomea familiar, dramatic that it is hard how a piece of music is built, and upon a the ear both through a readjustment of world civilization that conservatory, can become one of the and the to describe. Never again could I what harmonic foundation stones simplest and mnct that lnt° thP complain about any it rests. His ability interesting processes, making «“ will convince all people of all lands that kind of travel and can be Ta chord ‘ in America. Riding to play well, and to memorize, at the comnmnd THe £also comes to recognize in- in an American and his capacity to the average of versions. war, like pestilence and disease, which child after only a few months freight car would be a luxury in comparison with enjoy are immeasurably speeded up by the oTstedv gradually are being under- Signatures are no longer a matter wiped out by human some of the “accommodations” standing of some of these simple of difficulty for they t let a Child ex should we had to endure in relationships between follow as a result “ y realize ^that °. Periment understanding, will disappear from the Asia. of the building process. 'wher^thhe StrUcture pennawo Imagine the psychological effect upon thousands printed page and keyboard. of “ales, chords, and face of the earth. Minor scales, too often a hideous intervals •fs ^w , I LEONAS United States One thing I did know was of American young men, If the nightmarp tn the d’ maklng coming from fine American rudiments have been neglected in early a melody. or harmoni- that life in edu- adult student, can without *nTi not TLT , the army is so intense, so con- homes! confusion 71 Obviously, one of the first be taught the ^19 ’ or la in It is considerations in creating or P V P by ear. centrated that one lives in one year the g ’ COTncomr,™™POSing. looking after the wellbeing And ( of our boys was to keep 304 Continued on Page 350) equivalent of several up "MUSIC years. It has an their spirits. I STUDY EXALTS LIFE” was in Special (Continued on Page 316) JUNE, 1947 THE ETUDE "MUSIC STUDY EXALTS LIFE” 6 3 9 »

Music and' Culture Music and Culture

"Three Against Four"

Yep! that old puzzle is still unsolved. Every year It bobs up persistently, and almost invariably in con- nection with Chopin’s Fantasy-Impromptu. . . . Well, I'll try once more, hoping finally to rid us of the old Page The Music Teacher Takes a Vacation bugbear. The Pianist’s Tap this rhythm on your piano cover, counting six as you do it . . . slowly at first, then speed up as

fast as you can tap. . teacher’s life is a perpetual rondo. . . Notes with stems up are MUSIC Two right hand, stems down, left hand; contrasting themes comprise its fabric. During the first tap is /mj )r. (juy Wlaieq hands together: <2 A the teaching season is spun a long, quiet theme, Ly oCouide (juhl somewhat like that in the opening measures of Das Ex. 1 Noted Pianist and Rheingold; with the approach of spring, an under- 6 T Music Educator current of excitement is felt, culminating in the fever- - ish climax of recitals and graduation activity. The Mrs. Guhl is 8 f- r a very practical teacher with American and European training, living second theme, for the vacation, is by contrast short 1 2 3 4 5 6 in a small community in Minnesota. She views the musical needs of the Village and somewhat fragmentary, at times lyrical, at others Finally, discard the counting of six, and change two Square in most interesting fashion. —Editor's Note. intense or buoyant; it is almost too rich in thematic beats in a measure; also speak this text as you tap, and accent “Jump” and “Tom”: material for its length; it closes on a note of welcome the right in fours: to the return of the quiet first theme. Ex. 2 The recital season depletes the teacher’s store of desirable state of buoyance. Fatigue has been routed, as seven or eight different levels to be included. It Ex. 12 both physical and mental energy almost to zero. Her but empty reservoirs must be refilled with stimulating may be something midway between these two ex- desire for immediate, complete change is fundamentally ideas. Several sources of supply are usually available. tremes, like a comprehensive investigation § f- r R.H. if gfffl of new 1 2 sound. Necessary relaxation is only partially accom- Master classes in pedagogy, private lessons, discussions teaching material. Jump, Tom - my plished in the familiar surroundings all-too-reminiscent with other teachers, or reading might be chosen, de- Here are Count: 1.2 3 4 1 2 3 4 some projects I have in mind for the future: of the super-activity of recent days and nights! pending on whether one wishes to be at home or go • Then transfer it to the piano, and repeat until it 1) A cataloging of various classifications of mate- Be sure to count aloud as notated. Work these up to Phrases from recital pieces stage track-meet in away. Six weeks of becomes automatic: a the hard mental work can be safely rial in progressive order, such as collections a very fast speed. Then play them hands together thus: brain; music and teaching problems return to plague tackled before the tapering-off period of late summer. Ex. suitable for independent home reading, or com- one. The need is for something fresh to chase the Not the least profitable activity would be the organi- positions of the romantic period usable in the old business out of the mind. A sojourn with friends zation of one or two projects of one’s own devising, original for elementary and intermediate pupils, in a rustic cabin in a noncommercialized area is ideas for an which crop up at the most unexpected mo- or easy pieces in the modern idiom. 1 2 3 4 5 6 excellent beginning. With the 1 donning of faded old ments and are written down on slips of paper for Jump, Tom - my 2) Detailed outline for teaching theory with piano, camp clothes the process of emerging from the tight future consideration. There is of danger attempting including formal and harmonic analysis. chrysalis of stale thoughts begins. Unfamiliar activity too much, for there are so many enticing possibilities 3) Specific weekly assignments for each grade in 4 and the sight of new faces produce marvellous results and so little time. I have enough vacation projects When you can look away from the page and also from ear training. „ , in a Now close the piano cover again and tap matter of hours. The preparation of meals on in mind for at least ten years; early every spring I and count the piano keys, and play three (left hand) against 4) The same for rhythm. this Note that the accents an unwilling stove, indulging in gossip, as well as some decide exactly what I want to do, but reserve the right new pattern. . . . which on the right hand first tap, left hand the four right hand) over come “three” 5) A list of ‘ and over manyJ times good material for boys, and another for next, nehtright hand last,last tan- • uv.,.. count are played by the serious discussion, being soothed by the sedative effects to change my mind, for therein lies added excitement. hand tap: smoothly, add this: thumbs. ... Do not worry adolescents. of a rainy day, £11 if your groups are uneven, but work to play each accomplish wonders for jaded I arrange to spend some time each summer with an Ex. 4 Ex. Any of the above projects would require several nerves. Late sources of irritation slip into proper per- inspiring teacher, and after the mental indigestion impulse-group as fast and cleanly as possible, with weeks’ spective, time for completion. I prepared one such out- a complete rest with the reawakened knowledge of difficul- brought on by the too-rich diet of meaty ideas has and pause afterward . . . and NO J J- line last summer, and use it every day for every pupil; 8 'II pedal. ties in other people’s lives; the tragedy in the eyes cleared away, I go home and organize teaching 1 If you think of those sharp thumb accents all my I of the ten-year-old am delighted at the resultant gain of a few minutes 1 2 3 4 5 6 wUl whose dog came off second-best plans for the next season. This task may be compara- be weU. . . . Don’t stop counting aloud. of lesson time for fun, and the increased zest for such That one is easier, isn’t in an encounter with a “porky” reduces the mountains tively simple, such as the introduction of it? . . . Change to two beats Now combine into half measure impulses, con- one or two and fun. To hear pupils make like, thus, of your own troubles back to their true mole-hill size. innovations comments “I just lote and accent “Jump” and “me.” centrate on those thumb stresses: in scale routine, approach to rhythm, ear- my lessons this year,” is ample reward for a sum- A week or two of wholesome relaxation completes training or technique, or it be Ex. 5 may a huge undertaking mer’s Ex. 14 the initial phase; work. ^ it is, however, only the beginning, like starting from scratch and planning a detailed }L bb ' for neither mind nor S : d ~ m " body is yet fully restored to a curriculum for all groups of pupils, perhaps as many § j j- 'ii Summer Vacation for the Teacher f =rs= ss*25 1 2 Count: 1 2 3 4 1 2 3 4 Summer is an ideal time for serious reading; Jump to me. bed-time reading is motivated first of all by a desire a.j r Transfer to keyboard and repeat until automatic: for relaxation, and consequently consists mostly of Ex. light fiction or entertaining nonfiction. But during Then as final a test, try the C scale up and down: the greater leisure of vacation time, one can turn to Then in whole measure “swings”, repeating the meas- the half dozen Ex. 10 ure as in the Impromptu. musical biographies previously laid aside, the thin little book on psychology, the new col- 1 2 3 4 5 6 Ex. 15 Jump to me. lection of poetry, an old classic one has so far failed to read, the magazine articles put by for Jump Tom-my, Jump to me etc. further study, all waiting to refill the mental reservoirs ^ that seem to have only outlets during the winter. Now, on the piano cover, tap the two patterns con- 6 I, Perhaps a 3 2 l teacher can even find time to make secutively: music in the summer. A sonata, a fugue or two, some Ex. 7 new modern things might be added to the repertoire. No one need feel guilty at the Shavian taunt, “Those The other J> j j. measures of the piece will capitulate to this who can, do; those who can’t, teach.” Pupils are in- r =ii method of practice if you memorize each hand sepa- spired by teachers who play; it is more efficacious to 123456 123456 rately, and practice in the above patterns. teach by example than by precept, and far quicker. Jump Tom-my. Jump to me. It is not wise to plunge right into teaching after Notice that the right hand always weeks comes on an accent "Swing of intense concentration; another period of (one and Spring" and four) and that hands together come only complete change is beneficial at this point. Chopin’s Fantasy-impromptu r) It might ^ P® ^exec* Pianist on the first tap. When you say “Tom-my writes in for an explanation of be a shopping trip, lake and “to The above tne a voyage with its accompany- me" speak very is of course the exact way Swing and Spring” slogan. sharply. In ‘Tow-my” the right hand to plav 3 Here goes: Everyone ing freedom from responsibility, a few days with against 4, and all students W that the taps first and Tom is accented must master it You only Physical connection us friends while in “to me" the will Q r^ ?i. between in a distant city, a chance to dress find valuable help to this e up and left hand taps first but problem on Mr. piano keys is the tip again the right is accented Dumesnil’s , supersensitive finger be concerned chiefly with amusement for a short time, Teacher’s Round Table Page,” wh re eases Now transfer to the piano. for ' and controls the pass- something ’ Ex , “electric” current slightly frivolous ’ ax to make the return ercises 1, 2, and 3. from of g us into the instrument. must routine Ex. 8 For To play well we welcome. the Phantasy-Impromptu. I that every advise a practice essential muscular impulse back This formula of rest, wTork, routine. Fnst I nf « ' rest requires eight to prescribe each hand n er tlp lS separately e perfectly generated and channelled twelve weeks’ time. left hand y h in nrdf ! The question arises in the teach- in impulses of three: 0 n^snre smooth, . ^ unimpeded coordination. er’s mind “Can I afford to leave my pupils unsuper- w g ard agalnst Ex. II any “short circuit” which will vised so long?” It can v, ’i be answered by another T from ques- L.H. finger into Piano, tion, Can I afford not to?” Pupils need ww 6 the vacations, onginating power houses? They are too. They are subjected to 2 > s intense strain in modern i the twn tn eS llamon Studio wilich the b°dy the life. School programs Count: 1 connects with reach a hectic peak in 2 3 4 earth,earth n»mp? MRS. the spring: namely; the seat and FRANZ GUHL WITH A GROUP OF PARTICIPANTS three the bottoms of the feet. months of outdoor life, vacation jobs, and fam- ( Continued on At a meeting of the Parent-Teachers Association ily trips MUSIC STUDY Page 34g) are a welcome change to gradesfcer and teen- EXALTS LIFE" JUNE, 1947 "MUSIC STUDY EXALTS LIFE" THE ETUDE 307 . .

Towns Music and Culture Music and Culture The Song That Named Four

In Uforace Reynolds ager alike. They, too, return to lessons in September with recaptured vitality on which the alert teacher capitalizes. Pupils whose physical approach is correct there of Michael Kelly Americana shows that the men who settled put a proper The Romantic Career do not develop muscular stiffness during vacation; The following interesting bit of musical value on song. It gave the place lyrical associations, “The Christian Science Monitor” and is since physical approach is governed by the mind, it appeared, in and sing on civic occasions. Editor’s Note. something to play is dangerous to practice in a state of mental fatigue reprinted by permission. — Although Lilly Dale was one of the songs used in for it leads to mechanical, unimaginative playing, in its tune is presi- the picture “Stage Coach,” not nationally addition to being slow results. ENERAL William Henry Harrison, ninth and unproductive of daresay in those Irish-Singer Friend capi- hummed today, although I four towns Mozart’s As for the intense intellectual effort required in memo- dent of the United States, named the first Lilly Dale of shepherd in his the local bands still play a soft summer rizing, that is certainly better left for a refreshed, tal of Indiana, Corydon, after a G the bands of the Ohio River towns ask evening, as still ambitious frame of mind. If desired, easy assignments favorite song, Corydon and Caroline. He used to play Beautiful Ohio. I wonder do the folks in those can be given for the summer, such as sight-reading, Miss Jenny Smith to sing it for him every time he of the H. S. Thompson ),-. his trips over the old towns ever think who gave Lj paJ %tt( memorizing something light, relearning pieces laid the Smith home on 2 or stopped at them their song. I wonder do the students and faculty aside for a rest. road between Vincennes and Jeffersonville. Almost an- at Cornell know aught of the man who composed for Too often musical training is of inferior quality half a century later one H. S. Thompson wrote Distinguished Czechoslovak-American Musicologist beautiful air of their alma mater song. because it is a haphazard, unplanned process. When other elegy called Lilly Dale, which gave its name to them the scarcely anyone lessons are irregular and goals indefinite, the pupil another town in southern Indiana, and to towns in I have found who remembers .” reports, this point of view ‘He is my father,’ was my reply. The young man im- him. Giorgio. . . And as Kelly has no sense of achievement. From personal experi- New York, West , and Tennessee, to boot. Thompson or much about James Francis Cooke was actually responsible for his decision to enter upon mediately started' up, ran to me, clasped me in his ence, I know that that evil can be eliminated by adopt- Corydon and Caroline named one town, Lilly Dale of the Theodore Presser Company, which has taken the career of a vocal virtuoso. arms, and with tears in his eyes, said, ‘Don’t you re- ing the nine-month term; it is not difficult to insist named four. over Oliver Ditson, Thompson’s original publisher, member me? I am Jack Cunningham, who, when you upon regularity if pupils can look forward to three Published in 1852, Lilly Dale was immediately a na- kindly searched the Ditson files for me and reported A Curious Inspiration were a little boy, nursed and played with you.’ ”... months’ freedom. In a recent study of my records of tional sensation. It swept the country like the prairie that in 1854 Thompson was singing with some min- time Yes, something like that could happen only to a young six years’ teaching, one especially interesting fact afire. It established a genre: an elegy on a beautiful strels, also that at one time he taught music in Boston, It was, indeed, a curious inspiration. At that Irish to have been musician of nationality making a trip during came to light. The first four of those years, pupils female with a first name of two syllables and a last with a studio in the basement of a Unitarian church. Kelly studied with Rauzzini—it seems the American War of Independence. came for lessons the year round; the average was name of one. For more than a decade such elegies Thompson wrote two comic songs, Kus’n Jedidiah Matteo Rauzzini (1754-1781), the brother of the fa- In Naples, where Kelly settled, he studied under thirty-six lessons per pupil per year. The last two poured from the music publishing houses of America; and Siah, Siah, You Josiah, the first of which became mous singer Venanzio Rauzzini (1747-1810). Matteo the singing master Finarolo, at that time director of years, I have taught nine months, requiring a mini- Lilly Bell, Nelly Gray, Ellie Rhee, are a famous few of very popular. He also published half a dozen other settled in Dublin and gave singing lessons. It was of thirty-two lessons; parents to send the the conservatory, “La Madonna di Loreto.” His prin- mum the average has been the many now forgot. A year after the publication of songs, the titles of which have come down to us, he who prevailed upon Kelly’s started his great cipal teacher, however, was the famous castrate and thirty-four lessons per pupil per year. These figures Lilly Dale, Thompson came out with Ida May, the among them, Willie’s on the Dark Blue Sea. But that’s boy to Italy. But before the boy require further experiences in contralto, Giuseppe Aprile (1738-1814), with whom clarification. During the first four Companion to Lilly Dale, and the next year his pub- too little on the creator of Lilly Dale. As far as I can journey, he still had many interesting years, missed lesson of appear- also Cimarosa had studied. It is to Aprile that Kelly appointments were a constant lisher, Oliver Ditson, issued Jenny Dale, the Sister of see we don't even know’ the full name of the man who Dublin. Above all, he had the opportunity source of irritation to teacher, Piccini’s opera, owes his career as a singer. Soon he performed in the and a contributing Lilly Dale. Thompson, imitating himself, published in wrote the song that named four American towns. ing on the stage. He sang the Count in cause of irregular, disinterested opera, various opera houses. He traveled to Sicily, stopped in practice on the part 1857 Annie Lisle, whose tune, to this day is nationally “Buona Figliuola,” the hero in Michael Arne’s MICHAEL KELLY Rome, and everywhere had his eyes open for what of the pupils. Assignments were habitually mislaid famous as Far Above Cayuga’s Waters, the alma mater “Cymon,” and other roles. He met a group of im- and lessons only partially he could see of the country and the people. Of course, prepared. It was impossible song of Cornell. The same tune is also the alma mater portant musicians, of whom I should like to mention to use a planned course The Etude in Calcutta his opinion was directed principally to the opera, and of study. Lapses of two and song of Columbia, , William and Mary, and a only the oboist, Johann Christian Fischer (1733-1800) three weeks between lessons necessitated repeated ex- I should not like to omit his merry description of the dozen other colleges and universities. NE of the thrilling inspirations that come to the HE EIGHTEENTH century was a century of Fischer, who was much admired by his contemporaries planations and assignments because usually the ir- his manner in which the Romans criticized singers. “The A popular song can absorb much of the attention Editors of THE E7TUDE is the series of inces- scribbling. Everybody wrote. Goethe, the great because of the particularly good tone he got from regular pupils did not practice the first days after to write acquainted with Mozart, numerous abbes were the severest of the critics; they of a nation, can influence for a time its thoughts and O sant reminders coming to us from all over the T poet, encouraged his contemporaries instrument, was also well the lesson, which in turn accounted for their missing would sit in the front of the pit, each bearing in one feeling. Lilly Dale did that, as songs have done before world, from subscribers who have carefully saved every their autobiographies. Schiller spoke of the “ink blot- who raked him over the coals, but nevertheless com- the next lesson or two. Progress was slow, while the “ iiber ein hand a lighted wax taper and in the other the score and after it. The celebrated pianist, Sigismund Thal- issue of THE ETUDE for ten, twenty, thirty, forty, and ting saeculum.” Intellectual men and women left no posed his Zvoolf Variationen fur Klavier building of a memorized repertoire was hardly at- as of the opera, and should an unfortunate singer make berg, made and played a transcription of it for the even fifty years. The following letter from Miss Rhoda scrap of paper uninscribed to record their experiences, Menuett von Fischer.” This , at that time, tempted. fact, “all rage.” Fischer was a mistake, the critical clerics would call out ‘Brava piano. The Society of the day danced to The Lilly Dale Karanjia of Calcutta, India, is characteristic of hun- no matter how banal they might have been. In Kelly expresses it, was the The past two years have been a remarkable con- bestia’ (‘Bravo, you beast’) ! The composer of the opera Schottische and The Lilly Dale Quick-Step. Forty- dreds of such letters we have received. never did human beings push themselves more to the on friendly terms with the painter Gainsborough, trast. A missed lesson is rare; none are missed with- niners they painter used to preside at the pianoforte during the first three dug for gold to its 4/4 time time. “O miners, poor “I think THE is front than in the eighteenth century, when whose charming daughter he married. The out notification, ETUDE one of the finest music and there is no tardiness. Everyone miners, in- beautiful pic- performances of his work, and a bad time he often hungry and cold,” taking the place of “O Lilly, magazines being published. At the Beresford-Scott emphasized freedom and the importance of the also made a portrait of the oboist—the is working toward specific goals; one feels no he can sweet Lilly, dear Lilly Dale.” Never was palace. He must have had of it. Should any passage of his opera strike the The Mormons sang 0 Ye Music Studio, where I learn the pianoforte, we have at dividual often in an exaggerated manner. ture still hangs in Buckingham afford to miss a lesson. Recital programs have been audience as similar to Mountains High it, did the art relates the following the melody of another com- to as they marched to their new our disposal complete sets of your magazine dating there so much corresponding, and never been a witty man, for Kelly the occasion for general comment on the obvious poser, the cry would arise: ‘Bravo, il ladrol’ home in Utah. The evangelical letter writing flourish more than in the age of little about him, an anecdote which (‘Bravo, hymn Land of Rest was from 1920 to the present day. Needless to say, they of neat anecdote progress of the young performers, for this is truly a thief’) or ‘Bravo, Paisiello!’, lined out to its tune. The Negroes other artists: “Being very much you ‘Bravo Sacchini,’ if adapted the air for are very popular with all the articles Mozart, was later applied to piano-minded community. There is an abundance of students for the they considered the their spiritual, Before I’d Be a Slave. of of that period nobleman to sup with him after the passage stolen from these masters.” Stephen Foster and music scores. Once a month we hold a musical The greatest writers memoirs pressed by a competent soloists and accompanists, and boys no wrote his Gentle Annie in its soothing elegiac mood. evening at the were Goethe, Goldoni, Casanova, Da Ponte, and opera, he declined the invitation, saying that he was longer think it “sissy” to play the piano. I am con- studio and hear each other perform But the citizens of a it rule never Mozart's Humor quartet of towns did more than and there is Madame de Stael. But lesser spirits who described usually very much fatigued, and made a vinced that the long summer vacation is responsible always at least one item from a former whistle and sing and dance to Lilly Dale. They named copy their experiences and encounters with men and wom- to go out after the evening’s performance. The noble To whom do not occur these words from the famous in no small measure for this happy situation. Without of THE ETUDE.” their towns after the song. These four en of the theatrical and musical world are often, too, lord would, however, take no denial, and assured banquet scene from Mozart’s “,” when exception, pupils have accomplished towns, or set- more during the tlements, are Lilly Dale, Perry County, Indiana; Lilly very interesting for the history of culture and music. Fischer that he did not ask him professionally, but the orchestra plays melodies from different in nine-month terms than they did during the full-year Dale, Chautauqua County, New York; Lillydale, Mon- Among these “extras” on the historical stage we merely for the gratification of his society and con- vogue at that time? “Bravo Cosa rara!” “Euvivano il terms before. They think of music lessons as part of Mrs. ” roe County, West Virginia, and Lillydale, Clay Mascagni Turns the Trick wish here to discuss the Irish singer Michael Kelly, versation. Thus urged and encouraged, he went; he ‘Litiganti.’’ calls Leporello, the comical servant of school work because they coincide with the school County, Tennessee. It does a town honor to be so named. whose reminiscences, which appeared in London in had not, however, been many minutes in the house Don Giovanni, as he greets the well known pieces year. Planned full-term assignments can be used; It 1826, are among the most interesting source material of the insistent nobleman before his lordship ap- from operas of Martini and Sarti. And when the detailed lesson plans in the teacher’s note-book for for the history of music in the late eighteenth century. him and said; ‘I hope, Mr. Fischer, you have theme from “The Marriage of Figaro” resounds, he technique, theory, reading, studies, and memorizing proached WIFE is often the ‘key’’ fame! His notations are particularly valuable for us because brought your oboe in your pocket?’ ‘No, my lord,’ said calls petulantly “That I already know to excess!” are an invaluable time-saver and a means to cutting to her husband's When Pietro Mascagni immortal in Vienna, as imperial singer, he came in intimate Fischer, ‘my oboe never sups.’ He turned on his heel, IQuesta poi la conosco pin troppo) Here Mozart is out nonessentials. Certainly they are a check on completed the

one-act opera, contact with Mozart and his circle. left the house, and no persuasion could mocking Italian opera habits, . of Kelly whether fundamentals are all included. ANNOUNCEMENT A “Cavalleria Rusticana,” he had and instantly which spoke, Half-hour les- little faith sons are in its inherent qualities. In fact, he brooded Born in Dublin at Christmastide 1762, the son of ever induce him to return to it.” and also mocking himself a little bit. so short, and yet most teachers find it difficult THE ETUDE takes pleasure in announc- about its possibilities a wine merchant dancing master Kelly, place As has already to teach longer periods in these days of increased until his clever wife played the and Thomas Kelly went to Naples, the voyage taking dur- been mentioned, the climax of Kelly’s ing that it has acquired a short series trick on him talent for career demand for music instruction. Planned procedure of that turned out to be the turning-point he showed already, as a boy, a decided ing the American Revolutionary War. “The ship I was was his stay in Vienna, his appointment to articles in the life of this His father, for instruction for neutral flag; the opera means more time for imaginative, interpretative ele- of unusual interest from great composer. music. anxious adequate on board of, being a Sweede, was under a of the Emperor Joseph II, and his friend- One cold boy, take piano lessons with Morland ship Mozart. ments. Even financially, the shorter term works out and rainy afternoon, Mrs. Mascagni—with the had him yet in the Bay of Biscay we were hailed by an Ameri- with After all kinds of adventures in script tucked (1770-1772) Michael (1777-1778), en- Florence, better. The improvement in the quality of teaching safely under her arm—slipped away to and Arne and can privateer. Our captain lay to, while a set of the Venice, Leghorn and a somewhat unsuccess- the post-office trusted the lovely voice of to singing masters ful justifies higher fees; annual returns are larger. Andres De Segurola where she mailed it to an opera contest the boy greatest ragamuffins my eyes ever beheld boarded us. appointment in Graz, Kelly came to Vienna in The twelve-month committee in like Passerini, Peretti, and St. Giorgio. The latter They swore the vessel was under false colours, and 1783 after he had been grind left no time for reflection eminent Rome. Later when the composer learned recommended by his patron. leading baritone of the at and organization of experience; the nine-month term Metro- his music was entered in public competition, he apparently exercised a decisive influence on the fate proceeded to overhaul the captain’s papers, and seize Count Orsini-Rosenberg. The first thing he did was politan Opera became is no grind, but a stimulating life characterized by Company for many years furious. His faithful spouse weathered his of the youth who at the age of fifteen already wanted everything they could lay hands on. A sturdy ruffian visit the great Italian operatic composer Antonio health and happiness. How easy it is and storm of wrath bravely hopes to adopt the career of a singer, although his father began to break open my pianoforte case with a hatchet Salieri (1750-1825) who was at that time to succumb to now a distinguished teacher of voice. and unflinchingly. Her second di- the fallacy that one m the had planned for him to be a physician. Kelly relates which, when I saw, I cry rector of the has no time for rest, or quiet Mr. eventual success of the opera never wavered. manfully began to weep and opera. Salieri became Kelly’s superior. De Segurola literally "knew every- thinking, or hilarious fun! It is only a matter of choice len one morning a letter arrived announcing that as follows: “I recollect once I saw Signor St. Giorgio out: ‘Oh! my dear piano-forte.’ The cabin boy, who He informed Kelly that his own opera “La Scuola dei l( _^ and management; he who would be a body" in opera and his Cavalleria enter a fruit shop; he proceeded to eat peaches and was about my own age, called out, ‘For God’s sake, Gelosi” was to be the first first-rate teacher recollections of Rusticana” was the winn er 0f the nation- production, and that in must repeatedly select and reject from the the great stars wude contest and nectarines, and at last took a pineapple and deliberately don’t cry. Master Kelly.’ The chief mate of the pri- this work Michael would make throng of are most interesting and that it would be premised in Rome his first debut. He demands upon his time and interest. First things before the sliced and ate that. This completed my longing, and vateer, who was quietly perusing some of our Cap- then showed the young tenor must significant historically. most distinguished people of Europe. To- his apartments, a first come first. The series will be- while mouth watered, I asked why, if I Welcome to summer, 1947! May you and gether they sat reading the again my myself tain’s papers, on hearing these words, turned round and second floor “elegantly furnished” and, in addi- gin in letter over and over your successors be fruitful to those who have the September issue. with mingled assiduously studied music, I should not be able to and looking steadfastly at me, said: ‘Is your name tion to the fuel learned tears and joy. And since that memorable and four wax candles daily, he was how to spend you! moment, earn money enough to lounge about in a fruit shop Kelly?’ I answered, ‘Yes.’ ‘Do you know anything of provided Pietro Mascagni always regarded the opin- with a carriage to take him to the theater ions of his and eat peaches and pineapples as well as Signor St. a Mr. Thomas Kelly, of Mary Str., Dublin?’ he said. whenever wife with the most gracious consideration! he performed. ( Continued on Page 314) 308 "MUSIC STUDY EXALTS LIFE" JUNE, 1947 "MUSIC STUDY EXALTS LIFE" THE ETUDE 309 ”

tion of Schubert’s “Mass in G” which Music in the Home Important Report Music in the Home was given on April 23 by the CBS An “Music Teachers National Association Volume of Symphony and the Columbia Chorus Proceedings roR 1946.” Edited by Theodore M. Finney. under the direction of Robert Shaw, HE NOTED pioneer of music Fortieth Series. Pages, 556. Price, $3.00, postpaid. the noted young American choral appreciation on the radio, the Association. Copies may be ordered conductor. Published by TWalter Damrosch, recently re- through Raymond Kendall, Treasurer, School of On April 21, with Gladys Swarth- tired as music counselor to the Na- Music, University of , Ann Arbor, Michigan. out as soloist, the Telephone Hour The Etude Music Lover’s Bookshelf tional Broadcasting Company. Dr. Dr. Theodore M. Finney, Editor of the Proceedings, began its eighth year on the Na- Damrosch, eminent conductor, com- may be properly proud of this voluminous and dis- New Sensations in Radio tional Broadcasting Company, poser Many and educator, joined the Na- tinctive collection of papers which marks the seven- tional new artists are announced for the Broadcasting Company in tieth year of the Association. These papers were prel coming year, among these the Swed- 1927, and the following year started sented at fee convention of the Association held in his famed ish tenors, Jussi Bjoerling and NBC Music Appreciation Set Detroit in . In addition to the records of Svanholm, the lyric soprano, Any book here Hour, which continued on the net- Pia excellent articles by by ^di^red cjCindday oryan meetings, there are some seventy reviewed may work for fourteen Tassinari, wife of the popular Italian consecutive years. authorities upon a large variety of subjects. In the be secured from When the series was tenor, Ferruccio Taglivini. Tassinari THE ETUDE MUSIC terminated in field, the Proceedings of the M.T.N.A. cor- musical MAGAZINE at the 1942, Dr. Damrosch remained as and her husband will be heard on respond to the historic reports upon scientific matters price given on music counselor in an advisory the November third broadcast. Other artists receipt of capacity. sched- issued by the Smithsonian Institution in . It has been aptly said uled for appearances include , cash or check. that no history of the Lily Your reviewer has found this series of papers exceed- development of musical life in this country would Pons, Robert Casadesus, Blanche Thebom, Ezio ingly interesting. Among the contributors are Dr. Alan be complete without an account of Dr. Damrosch’s Pinza, Bidu Sayao, Maggie Teyte, Artur Rubinstein, Valentine, Dr. Karl W. Gehrkens, Henry Cowell, Dr. career. Similarly, no history of radio would Anderson, and Fritz Kreisler. be com- Marian This is indeed Howard Hanson, Dr. Quincy Porter, Dr. Burnet Tuthill, plete without taking into account the part he imposing array of talent. an Sir Ernest MacMillan, Walter H. Rubsamen, Dr. War- played in bringing good music to the school chil- The airways has been fortunate in some fine ren D. Allen, Dr. John Beatie, Dr. John C. Kendel, Dr. dren of our country and developing an appreciation programs during the past six months honoring the Oscar Demmler, Leon Carson, Dr. Edwin Hughes, for W. 1/Vjeredith Cdcidt it. Dr. Damrosch, as a conductor, was respon- fiftieth anniversary of Brahms’ death, the one hun- by K man Dr. Abe Pepinsky, Dr. Roy Underwood, Dr. Ira M. Alt- sible for introducing many new compositions and dred and fiftieth anniversary of Schubert’s birth, shuler, Dr. Augustus D. Zanzig, Dr. Raymond Burrows, artists to the American concert and opera-going the hundredth anniversary and of Mendelssohn's Dr. E. W. Doty, Dr. David Mattern, Dr. Wilfred C. public, as well as for the establishment of many death—all of which occurred or will occur this year. Bain, and others equally well known. Most of the musical organizations, and for pioneering in musical day, sounds almost trivial in these modernistic times. Toscanini’s all-Mendelssohn, concert on March 30 papers are not over-technical and may be read with Hymns for Children education by way of the radio. It was he who in- was memorable, and one glad Geiringer’s Haydn is presented with all of the minute was he chose the interest and profit by the average reader. “Sing in Praise.” By Opal Wheeler. Pages, 94. Price, troduced to America Wagner’s “Parsifal” and Saint musicological detail of a German savant and becomes neglected Octetln E-flat Major and the not-too-often Inc. Saens’ “Samson and Dalilah,” $3.00. Publisher, E. P. Dutton and Company, both in concert form. performed “Reformation" Symphony .The all-Brahms at once the most important work upon the Austrian The first performances in this country of Brahms’ composer, with a Hungarian-Croatian back- Twenty-five widely loved hymns, with excellently concerts by Toscanini and Koussevitzky were widely Happy Haydn German Third and Fourth Symphonies and Elgar’s two sym- Geiringer. told stories,. together with the alluring and delightfully acclaimed. One looks forward to more Mendelssohn “Haydn. A Creative Life in Music.” By Karl ground. phonies took place under his baton. Such modern 342. Price, $5.00. Publisher, W. Norton & The book is filled with interesting personal incidents imaginative illustrations of Marjorie Torrey. Many of concerts in the fall since the anniversary of the Pages, W. works as Honegger’s “Pacific 231,” Gershwin’s “An Company, Inc. and becomes a “must” in any well ordered musical the illustrations are in four colors. The book makes composer’s death occurs in November and will Un- American in Paris” and Concerto in F, and one of the finest musical gift books for children. Deems doubtedly be further celebrated. Perhaps, on the whole, Haydn has been neglected in library. Taylor’s “Through the Looking Glass" were given life stories. Here is a biography of the Haydn’s life, despite his lightheartedness, was by no The programs recently emanating from the East- the matter of their premieres by him. Dr. Damrosch not only composer, by Karl Geiringer (pronounced means entirely happy. His marriage was a disaster. His man School of Music on NBC’s The Story of Music Viennese brought such famous artists of the past as Lilli Guy-rin-ger) which is comprehensive, authoritative, wife was stupid, bigoted, quarrelsome, jealous, and a New Idea in Harmony broadcast (Thursdays, 11:30 to , Lehman, Alvary, midnight, EST) Max Emil Fischer, and Anton and interesting. miserable housekeeper. Haydn said of her, “She doesn’t “The Oxford Harmony.” Volume I. By R. O. Morris. have been such a delight that we feel impelled to Seidl to this country, but is he also accredited with the great masters, Haydn and Mendelssohn seem care a straw whether her husband is an artist or a Pages, 139. Price, $3.00. Publisher, Oxford University congratulate all concerned with arranging them. Of the discovery of America’s leading Wagnerian so- The broadcast to have been designated as the composers most asso- cobbler.” She even used his manuscripts as lining for Press. prano, Helen Traubel. on March 27 of Carissimi’s Oratorio Felix, signify- curl papers. wonder “Jephte” was a particularly ciated with joy. Mendelssohn’s name, her pastry pans and as No Haydn For the first time, your reviewer encounters a har- “When I retired from the New York Symphony pleasant event. And remembered equal ing happiness, seemed to inspire him to write many referred to her as an “infernal beast.” mony which starts the student writing in three parts Society in 1926,” he said recently, with pleasure was the Chamber “I thought my ERNEST LA works of a jubilant and sparkling nature, while one Their marriage, which lasted forty years, was one of PRADE Music program of the 24th of April in instead of four parts, the object of Dr. Morris being to career was ended. But it began all over again in which we heard may go tripping through page after page of Haydn’s incessant misunderstanding and misery, and Haydn make this technical subject more easily assimilated by 1927 when I became music Counselor the lovely Sarabande and Chaconne of Henry for the National attracted widespread attention included lighthearted scores. For this reason, the more serious was driven from his home to find friends elsewhere. works by Paul Purcell, the talented and prolific the beginner. He feels that beginners can think more Broadcasting Company. Through the mass medium Hindemith, Richard seventeenth-cen- Strauss, Lukas Foss, and John tury English and sedate works of both composers are often ne- Part Two, probably the most valuable portion of this clearly and hear more clearly in three parts than in of radio, I was able to reach millions of school composer, and the Quintet for oboe, clari- children Powell. The series is supervised little depicting the crea- excellent work, is devoted to important critical from New York by net, violin, viola and glected. The prelude chaos in an four. Dr. Reginald Owen Morris was born at York in and adults, when previously I had only reached thou- Ernest bass by the widely admired twen- La Prade, NBC’s director of music research. tion, which was thought shockingly modern in Haydn’s analysis of Haydn’s works. sands of them in tieth-century composer Serge Prokofieff. 1886 and was educated at Harrow, New College, Oxford my years of Young Peoples Concerts Mr. La Prade will be remembered by many for his The University, at the Royal College of Music. After with the New York Symphony Orchestra.”- Columbia Broadcasting Company issued some and own orchestral program some years ago which Asked was interesting statistics recently teaching at the Royal College for six years he became about the music of modern or contemporary given to present an on the different categories opportunity for young musicians of composers, he answered: “The brain programming and in what proportion the network director of Theory and Composition at The Curtis has much to do to play at home along with an orchestra. It is a pro- broadcast Institute of Music in 1926, rejoining the Royal College with the work of many of our young composers, them during the course of the year, 1946. but gram which should be restored to the airways. in many cases Music led all others in in 1928. The work is excellently organized and will the heart very little. A number of Columbia’s musical program, the time element having con- Invitation to Music useful present-day composers lack nobility.” Damrosch, sumed 2,588 hours of broadcasting time. There were prove very to teachers and pupils. how- was most deserving of its award. The judges ever, pointed 6,761 programs does not feel that the “good old days” produced out it in all of music which took the amount merited the reward “for our delight in all the fine listening of time given. composers and performers. “All the years to its program, Next in line was Drama, with 7,183 for the education which that program produce singers, composers, and other artists. programs taking 2.326 hours time. One Thousand Questions and Answers Some extends, and perhaps best of all, for of broadcasting are bringing to the Talks and great and some are bad,” he added. air compositions Discussions were third, with 4,488 programs “Quiz book of the Seven Afirs.” By Jo Ransom and and composers who deserve but might “A wonderful thing about the art of using 1,503 hours of time. music,” he said, not otherwise have received the hearing.” News was next, with 6,859 Richard Pack. Cartoons by Leo Garel. Pages (octavo “is that only The series programs the really great lasts. There are flashes! stems from taking 1,280 hours. size) 190. Price, $2.50. Publisher, Press. the fine teamwork of four , Summit and were, men' James Eileen too, even in the time of Mozart and Bee- Fassett, Director Farrell, the popular soprano star of of CBS Serious Music Division who singing If you like questions, you will find them, here galore. thoven. But great music is safe. It will Columbia Broadcasting, insist on its supervises the series; Bernard Herrmann, recently resumed her own Art, Dance, Theater, Music Books, Movie, Radio, are own continuity. CBS Sym- Art is so innate you cannot fool the phony conductor; program from WCBS in New Oliver Daniel, director' York on Monday nights all court-martialed and riddled with inquiries, some people in the long run. and Ben from Fakers have their days, but Hyams, annotator. 11:30 to 12 midnight. Miss Farrell makes her the great obvious, some ingenious, and all entertaining. The lasts for generations.” The fourth program in the manner of only anniversary of Columbia’s Invitation a short recital using reader can check his information and be entertained It is of interest to know to art that the good Doctor re- Music was marked by songs and a few old favorites hall. a special broadcast of Bach’s of the concert at the same time, if he masters all of the questions, gards his work in musical Her versatility education as his most Easter music from St. Paul’s and vocal charm Chapel of Trinity Parish make her late broad- he can give himself a degree of D.I. (Doctor of In- important contribution to the art, and cast a lyrical not the least in New York, April 2. This was a delight for those who enjoy the best of program to quisitions) . book, with its of his work in the field was by be re- the song The appropriate cartoons, is way of the radio membered not alone for the literature. She is lovely singing of the accompanied by a Concert aimed at the omniparent, omniscient age, when every- The George Foster Peabody Award for Orchestra, under “outstand- Negro contralto, Carol Brice, but for the the direction of the well known con- ing organ plav one, from seven-year-old kiddies to nonagenarians is entertainment in music” was given to the National mg of Andrew ductor, Alfredo Tietjens, and the playing of Antonini. Broadcasting Company recently the CBS expected to know the meaning or significance of for the network’s Symphony under Daniel Saidenberg. The summer season in radio A week later is now in full force. We Schlemiel, Barber, Orchestras of the Nation series (heard Saturdays, smi nave Red Hecate County, Altruria, Beo- 3:00 Invitation to Music following its the programs of the custom to present Philharmonic-Symphony wulf, Hoffner, Captain Bluntschli, to 4:00 P.M., EST) . Three the Bantam Bar- Columbia network programs contemporary composers and chestra of New York their works gave us and of the NBC Symphony Borscht Circuit, also won Peabody awards—these were Columbia Work- an now the num. Antigone, Lady Peel, Cio-Cio- entertaining half-hour of music by Summer Symphony. The different shop, Suspense and Invitation the British parade of San, Monsieur Lecoq, Bazarov, Menander, Umbriago, to Music. composer-conductor onductors wifi Anthony Collins. In recalling give us an opportunity hear some Orchestras of the Nation just nro to or nine hundred and eighty-eight other things, in or- completed its fourth grams of this series, one could not ne musicians who are forget the presents not heard too often on the der to season on the air. It presented, this -past fall and ayS become a social light on Broadway or on Main win- ' we]come was the Hans ter, nineteen symphony on- appearance of Street, if you please. This is orchestras from all parts of t a new\ quasi-electronic, the NBC Summer Symphony during April the United States. The series provides _ cinematographic, radionic kind of literacy which has opportunity for and the first part of community May. The full plans of radio for orchestras to be heard by coast-to-coast tne summer come upon this tired, old world, now being threatened season were unfortunately announced audiences. Considerable new music has been not by atomic bombs or what not. Ho hum! Better get the performed tlme °f thLs writi on these programs. Notable ng, hence further comments “Quiz radio premieres that have ™ 6 SUmmer THE ESTERHAZYS' CASTLE AT EISENSTADT Book” and try to make out what this world com- season will have to be postponed until later Home of Haydn's enthusiastic patron motion is all about, and have fun doing it! 310 'MUSIC STUDY EXALTS LIFE” JUNE. 1947 "MUSIC STUDY EXALTS LIFE 311 THE ETUDE . ;

Music and Study Music and Study

Wauls More Artistry One question I would like to know: how Table do you keep mechanicalness out of little The Teacher’s Round to the “Hown Under” fingers? His Top I Fought Sometimes feel the text books He Way are too mechanical. I agree thoroughly with those who find so many students lacking terribly in important fundamen- Conducfed by tals: accents, time, and interpretation. Am How Bernard Thomas Heinze Became Conductor of the Melbourne Symphony Orchestra I wrong?—Mrs. F. W., Illinois. one to cope with. You have the right solu- Indeed not! “mechanicalness” 1/fiaurice ^bumeinii should tion however, and that is: to have her be kept out of little fingers as much and read at sight as much as possible, very as early as possible; in fact, from the Eminent French-American slowly at first, and correctly. Lj uzzcirJ Little by, uU & very first. When speaking at teachers’ little she will gain confidence and de-* meetings, conventions, Pianist, Conductor, Lecturer, or master-classes, velop the proper coordination between I never fail to emphasize the necessity and Teacher eyes and fingers as to the location of for young students to be trained EARLY spring until late autumn Bernard on the family violin. All his paths led to that violin. from the keys and sounds. Being so tremendously ROM beginning with more artistry, including Thomas Heinze conducts the Melbourne Sym- His playing attracted the attention of the people in gifted and intuitive, results should come shadings, tone-coloring, and phony Orchestra in a manner which has won that fruit growing district where he was born in the even the use before too long. But no matter F how much of the pedal. Only in this way can the him the devotion of the various members and the en- province of Victoria. The news of his musical ability patience you may have, unless your stu- tuition progress rationally and satisfac- thusiastic support of the audiences. His influence does spread. He was invited to appear as solo violinist in a dent follows your advice in her own work torily, because it includes in a simple to get to play easily and not have to hunt not stop in Australia but reaches to the United States, concert in the Melbourne Town Hall. The people hailed at home, your' best intentions will be form the elements which will develop positions. Can you give me a hint as to to , and to Europe. this nine year old boy as a child prodigy. There were frustrated. I could how to overcome this? compare this case to into a complete grasp of pianistic effi- Open air concerts are as popular in Australia as they visions of a spectacular tour but at that point in the —(Mrs.) C. E., Pennsylvania. that of a patient seeking help from a ciency later on. But look out. . This are in America. The Botanical Gardens is a favorite road the first major obstacle was encountered. good physician and being given adequate study must be mapped out with infinite Apparently your trouble Is not unsur- spot of Bernard Heinze. There, on Sunday afternoons Not only did the parents of young Bernard object to prescriptions, only to return home, find care and discrimination, and it must be mountable, and since you have a good crowds of music lovers by the thousands throng to hear an exhibition which they considered premature, but them too troublesome to follow, all lead- carried on very gradually. Never try to musical foundation you should be able this famous conductor. As the crowd follows the move- they sent him to boarding school. And his course did ing to procrastination at first, then com- “put the cart before the horse”! And Correspondents with this Depart- to conquer it within a reasonable length ments of Prof. Heinze’s baton they are reminded of an- not include music. This school was at St. Patrick’s ment are requested to limit letters plete disregard of the doctor’s orders in now for practical advice, may I offer Melba. Near the podium College in Ballarat. a to One Hundred and Fifty Words. of time. Here 's a suggestion: why not other famous musician, Madam Ballarat where a short time before the end. As I see It, the problem lies suggestion: please look up the article make up your own exercises? It can be grows a golden poplar which was planted in 1903 by dwelt the great English-Australian poet, Adam Lindsay mostly with your student’s receptivity, written by Heinrich Gebhard which ap- done so easily! Take, for instance, any this famous prima donna, and has been named “The Gordon. Perhaps the parents took this course to de- determination, and cooperative spirit. peared in the issue of The interval on the keyboard extending be- Melba Tree.” termine their son’s real inclination. His response to In glissandi, fingering Etude in connection with his and hand posi- master les- and only a little yond the natural reach of your out- Bernard Heinze traveled over a winding road which music stood out above everything else. Time was at a time. Trying to tion is entirely an individual matter. Try son on the Solfeggietto. This remarkable stretched hand, ninth, led through many rugged experiences before he reached snatched from other studies whenever possible and force quick results, and overdoing, would a a tenth, a various fingers contribution will and adopt whichever feels give you exactly what twelfth, two octaves, or even farther. the podium of Melbourne’s Symphony Orchestra, It spent with his beloved violin. He made favorable prog- only bring you to the doctor’s office. A easiest and most you want: on Page 45 you will find exer- comfortable, for the few minutes a day is quite sufficient if Practice it repeatedly, seeing to it that took time. Years of it. But his love of music grew with ress. Such favorable progress that he won a scholarship cises in dynamics, shadings, hand will look “graceful” accordingly. and so forth, carried regularly, the jump is carried out without stiffness, the years. No obstacle was great enough to ohange his to the Melbourne University Conservatorium of Music. put and uninterrupt- The second or all suitable for little hands, and third fingers are generally most ex- edly for a long time. Remember the fa- slowly at first, then increasing the speed course. The ’teen aged Bernard Heinze (he was then sixteen) cellent musically. used for ascending, the thumb for de- Warm congratulations (hands separately, kept up the pace he had set for himself. mous fable of “The Hare and the Turtle”? of course). Use dif- scending “Here, at to colleague Gebhard for his outstanding glissandi (left hand, reversed). Early Musical Interest The latter won because he started on ferent keys, white or black, for your And Melbourne,” said a famous musician, “it was as though expose. Such an article ought to be anticipating questions on the more re- time instead of making the mistake of starting and landing points. Do the same If we go to the beginning of this road, which was at the great ocean in front of the city was an invitation printed by the thousands, and posted difficult issue of glissando on the black on relying on superior speed, as his rival in octaves, in chords, in all major and Shepparton, about one hundred miles north of Mel- to go on and on. Back of Melbourne was the rugged Photo by Athol Shmith the bulletin boards of conservatories keys, as in Ravel’s The Fountain: hold- Copyright , Australian Broadcasting Commission and did. The hand and its muscular system minor keys. Arpeggios and their inver- bourne we find Bernard Heinze as a small boy playing Australian interior warning this gifted boy not to turn music ing the fingers tight, PROFESSOR BERNARD HEINZE schools. extending sions stiff and close, with way up into the arm consti- are particularly helpful when done Australia’s foremost orchestra the hand curved back as far as possible, conductor tute a delicate organism which has to in octaves. Gradually, you should acquire makes its performance relatively easy. Acquiring Wider Stretch be “coaxed” and treated gently. As to a sense of touch comparable to that back.” But he stayed at Melbourne only one year. But the proper angle of attack must be patience, that greatest virtue in piano which enables typists to write without It seemed there was always a scholarship around “I would like found and to tell E. S., Maryland (see study, may the practice must be discreet, The Etude I quote here an enlightening looking at the keys. Such achievements some bend in the road. Young Bernard liked the of last November) of my ex- for otherwise the skin of the fingers in- perience with case. Several years ago some engineers are purely mechanical sportsmanship of a contest. This one was the Clarke a pupil who had to face a and amount to stead similar problem,” were attempting of the glissando, might well come writes Mrs. E. G. P. of to grind what was going nothing more than “forming the habit” Scholarship and it offered three years’ study at The Maryland. "Her hands were so small she to be the largest telescope off! lens in the through repetition. Apart from the above- Royal College of Music in London. London! He kept could not strike an octave. After using the world, one that would lift the veil off mentioned exercises, his eye on that goal just following exercise carefully—never forcing the piano literature as he had always kept his unexplored regions of the firmament. contains but resting when tired—she could easily many numbers which provide Wants Original Piano Duels interest in the violin. Because of natural talent, de- strike the octave. Would you Again and again they tried, kindly send to no avail: excellent material for “skip” study: termination, plain hard work, or all three he won the it to E. S.?” the In the for some unknown reason the huge mass Scarlatti Sonatas issue of last November you spoke scholarship. among others (see the of one-piano-four-hand — With three years musical training assured, of glass cracked music “the orig- when they were nearing well known one in A inal compositions young Heinze planned for the day when the course Ascending major) . And for of Schubert. Haydn, and their goal. Discouragement came Mozart to all the more advanced pianists, La Campan- —already or soon available in this would be completed. “I shall return to Australia,” he but one. “Let us try just once more!” he ella country." Will you please tell me how I and Mazeppa by Liszt, or Debussy’s said, “where I expect to make music my life work. But exclaimed. And can get some of the above duets? A friend he reaped his reward: Etude pour les accords now England! London! Already I can be highly and I have been playing several am falling in love the telescope is now used duets for in one of Amer- recommended. years. with the great city, the The latter is indeed a We have found that there isn’t much country, but most of all the ica’s great observatories where it proves fierce in the challenge to any pianist way of duets by composers like Royal College of Music.” of incomparable . but those you value to the advance- it brings results! mention. We would like to be The future able looked wonderful. Bernard plunged into ment of astronomy. There was also to find a good collection of duets. that his work with a will. C. O. California. One year went by. Then part of great navigator whose crew lost faith and — O., Glissandi, another when the war broke out. That turned out to almost murdered him when he refused and Ear Playing I'm be I. afraid my answer is to have World War Twenty year old Bernard Heinze en- to turn back. But one day a clamor echoed going 3Sk °u about listed y 01,2 Position of about as much appeal as a hardware and served as a gunnery officer with the Royal all over the ship: “Land!” His name be- thethl hand in playing, glissandi. Will vou catalog! Artillery. Perhaps this was a fulfillment please tell But since such a list will be of an earlier came immortal: it was Christopher Co- me the most graceful, or thte valuable to of ambition which was to go to the Boer War. He 0 l0°k 3t ' you and the large number had in- lumbus. Yes, my fellow Round Tablers. ’ Way to hoId one s handlernand for thesemis* passages? Then Round Tablers sisted with all the vigor a four-year old could muster. “Patience et longueur de temps. I want to interested in duet playing, Font ask you what effect "playing by elr" has let’s go to it. By Schubert: Marches Op. mieux que force ni que rage" (“Patience, on sight-reading. I have a young piano 27 War Interrupts and 66 ( Heroic Op. 51 Study and length of time, do more than violence Strongest ) Op. 40; tuitiontuition* in- and wrath.”) that°that I have ever run (Military); Op. 55 (Funeral); Op. 121 Five desperate years followed. But the awful noise of Eternal words. composes across She marches, songs, 1 Characteristic) the and she can play . Divertissements Op. 54 artillery never deafened the ear of Bernard Heinze anything on earth by ear. I have had he^ (A m Hongroise) which was tuned to the delicate ; Op. 63 (on French mo- tones of the violin. 1 ’ hilf and has Getting Distances . ^ had Ihe tives). hardest’iL” ? Four Polonaises, Op. 75; Varia- When the war was over he planned to resume his tions and course at the Royal College. I am an adult and have taken piano les- Rondo Brillante Op. 84; Varia- But again his plans were sons for eight tion years. One thing that wor- Op. 10, 35, Op. 82, numbers I and III frustrated. Young Heinze, now in his mid twenties, Many thanks to Mrs. E. G. P. I have ries me is the fact that I don’t seem to be Fantasia Op. 103; Rondos Op. 107 and was sent to Gibraltar. Here he served as Aide-de-Camp great pleasure not only in forwarding able to get my keyboard locations. For 138; Lebenstiirme Laendler to the governor of that fort. It thrilling instance, if I reach for a certain note in Op. 144; Four was a ex- it, but in publishing it above because it pose of reading music ^ , the bass I invariably hit the next one. Ha? n nmki and Fugue Op. 152; Sonatas Op. 30 and perience and partly made up for the interruption in affords excellent “drilling” material and either above, or below. This is becoming 140. OUTDOOR MUSIC “DOWN UNDER” his chosen career. "gymnastics” which will be highly prof- more and more of a worry, because my ear By “Papa” three Bernard It has been said that this great is good and I know Haydn, there are Heinze conducting Ihe Melbourne Symphony Orchestra at the "Music for the People" rock of Gibraltar, itable if. . . . If one has patience enough how music should be played. This trouble cuts Sonatas, Op. 86. not least, concerts in the Botanical Gardens on Sunday afternoons, which attracts of with all its subterranean passages and fortifications, to use them persistently down my speed And last, but crowds up to 100,000 but cautiously and tends people. to make me nervous. I want so let us turn to the divine Mozart. Be sure On the left is the "Melba Tree," a golden poplar planted by the famous prima donna in 1903. was like the intricate workings of the mind of any' ( Continued on Page 348) 312 JUNE, 1947 "MUSIC STUDY EXALTS LIFE” "MUSIC STUDY EXALTS LIFE" 313 THE ETUDE —

Music and Study ET ME BEGIN by saying that I have read The Music and Study always ready He was kind-hearted and to oblige, but Etude for as long as I can remember and that I particular, when he played, that if the The Romantic Career of Michael so very slightest L/ have derived the greatest advantage from it. It instantly left off. noise were made, he He one day made is therefore a special pleasure to me to be able to ex- master artist. Whether musician, artist, or sculptor, his me sit down to the piano, and gave credit to my Arst press my views for that excellent magazine. mind travels a long and varied route never allowing Kelly, Mozart’s Irish Singer Friend master, who had taught me to place my hand well on “In listing the requisites for a singing career, we fall anything to deter him in his purpose to create a work the instrument. He conferred on me what I considered into the dilemma of starting out with two that lie be- that will stand like a fortress in I composed a little power of the young to defense of his par- (.Continued from Page 309) a high compliment. had melody to yond the student secure for ticular art. Did Bernard it, Heinze find Gibraltar to be Metastasio’s canzonetta: “Grazie agl’ inganni tuori," himself. As I see the Arst ‘musts’ are an inborn Requisites for the Young Singer such an inspiration? Anyway, as soon as his work at favourite wherever aptitude for music, and the kind of home environment Of course, Kelly was primarily interested in the which was a great I sang it. it was Gibraltar was over he returned to London to take up fortune to that will stimulate such an aptitude long before one is merry, colorful social life of the Austrian capital. The very simple but had the good please Mozart. his musical career where he had left off. old enough to take steps in the matter oneself. The Prater, which he compares with Hyde Park, the famous He took it and composed variations upon it, which A Conference with Soon after returning to has absorbed from his studies his attention was renowned Vien- were truly beautiful, and had the further kindness youngster who music babyhood "Backhendeln” (fried chickens) , the and attracted to the famous Gowland Harrison scholarship. hearing it as part of home, learning to play an instru- nese carnival with its masquerades and balls in which condescension to play them wherever he had an op- This scholarship was a very difficult one to win and ment before there is any question of a mature singing the waltz, at that time completely unknown in England, portunity. Thinking that the air thus rendered re- Bernard Heinze had been a long time away from voice, fortifying himself with an appreciative under- played a great part, the theatrical events—all this is markable might be acceptance to some of my musical school. There seemed to be little chance for him to win. standing of it—has a deAnite advantage over the one lUerl WerJf described in detail in Kelly’s memoirs. The Austrian readers, I have subjoined it.” However, entering such contests had become a life who decides, somewhere in his ’teens, that he wants nobility at that time so fond of art and music, and on habit with him. He could not resist the temptation to to begin knowing something about music. I was lucky Eminent American Baritone terms of friendship with Haydn, Mozart, and Beetho- try. Paris and Berlin beckoned. There was where the in having such a home atmosphere, and I cannot be ven, and above all, the music-loving monarch Joseph Leading Artist of the winner of the scholarship would be privileged to study. A It was a bold II, all are remembered by him. step for an outsider to take, but he Star of the RCA Victor Hour, NBC Network worked diligently and won. In the scintillating abundance of his memories music takes the first place. Kelly paid Haydn, living at that A Recognized Ability time in Eisenstadt with Estherhazy, a visit. Three days he stayed with the composer, and Kelly Three delightful years lay ahead. A year in Paris assures us that it was a pleasure of the first rank to go SECURED EXPRESSLY FOR THE ETUDE BY BURTON PAIGE where he studied with Vincent D’lndy and Nestor riding with Haydn in the elegant coach of the Prince, Lejune, then on to Berlin where his teacher was Willy to see the vicinity of Eisenstadt. One day Kelly went Hess. The young Australian was so captivated with his to a concert in which the famous (Leopold Ant.) Koze- work in these music loving cities that he decided to luch It has remained for Robert Merrill to achieve the singular feat of earning artistic recognition at the same spend another (1748-1818) played piano. There he also met the year in Europe. Then his thoughts A Melody by Kelly arranged by Mozart time that he elicits "swoons" from the younger members of his audiences. His personal appearances are two composers (Joh. Bapt.) Vanhal (1738-1813) and turned to his homeland. regularly followed by tributes to his splendid voice and stage presence, and by shrieks from "bobby-soxers" (Karl) Dittersdorf (1739-1799) . (Kelly calls him regu- It had been twelve years since young Bernard Heinze in such throngs that the aid of a policeman is required to get Mr. Merrill to his car. larly Baron Diderstoff). But “What was to so left Australia me”— in Brooklyn, New York, Robert Merrill had the advantage of a thoroughly musical home atmosphere. and he had planned to be away only In fact, we And the little aria which Kelly repro- Born he writes—“one of the greatest gratifications three. When he left of my His mother had been a concert singer before her marriage, and music-making was part of the Merrill he was a student at the Melbourne duces in his book charming, and in the style of Pai- musical life, I was then introduced to that prodigy life. boy was given piano instruction and his beautiful boy-soprano was carefully watched. says University Conservatorium. On his of daily The He return he was ap- siello, even if the solid professional development is pointed genius—Mozart. He favored the company by perform- that in those days he was more interested in ball-playing than in practicing. When his baritone asserted to the staff of this Conservatorium. His ability lacking. Mozart’s variations mentioned by Kelly have itself, came under the care of Samuel Margolies who has been his teacher for twelve years. Young Mer- was recognized immediately and ing fantasias and capriccios on the piano-forte. His he he became the con- not been found. Perhaps at summer resorts. There feeling, the rapidity of his Angers, Mozart did not write the rill began his professional career by singing he was "spotted" as a more than ductor of the Melbourne Symphony Orchestra. the great execution Bernard variations down at all, promising new find, and was soon offered a contract with the National Broadcasting Company. He also and strength of his left hand particularly, and only played them as he Heinze was now thirty-two. He had the distinction and the of so often did by memory. Nevertheless, under 532 sang as featured soloist at the . In April of 1945, he won his entrance to the Metro- being the youngest apparent inspiration of his modulations, astounded me. No. professor of music in the world. of the politan Opera by way of the Metropolitan Auditions of the Air award, after six years of public experience. After this splendid performance, “Kochel Verzelchnis,” we And a Terzett upon we sat down to supper, As the result of public demand for "more Merrill," he is featured on the RCA Victor program, over NBC, and I the same text by Metastasio and the music which Music Education for the Public had the pleasure to be placed at the table be- on Sunday afternoons. He records for RCA Victor red seal records. In the following conference, Mr. Mer- Mozart wrote is almost identical with that of Kelly. tween him and his wife, Madame Constance rill speaks to the readers of The Etude concerning the requisites for a singing career. — Editor’s Note. Professor Heinze rendered outstanding services not Weber, a The Mozart Terzett, which is in B-Aat is in series 7 only to his students German lady of whom he was passionately fond, and but to the million inhabitants of (No. by whom he had three children.* 35) of Mozart's complete works. Mozart did not Australia’s second city. His appreciation of Beethoven He conversed with me a good deal about hesitate to use the melody which he chanced upon, but prompted one of his greatest achievements. The Bee- Thomas Linley, with whom he was intimate Florence, it is also possible that Mozart notated Kelly’s in order thoven Festivals which he staged in Melbourne, at and spoke of him with great affection. He said that to use it for his variations. Evidence toward this fact and Adelaide were said to have contributed Linley was a true genius and he “When I was eighteen, I came under the care of a professional manner! Now, nothing could be less con- greatly in may be that Mozart's bolstering felt that had he lived, he would have autograph has no text. excellent reputation, did not cause ducive to good breathing singing! the Australian morale during World War II. been one of the teacher, of who and good The mo- greatest ornaments of the Kelly relates that, Aattered by Mozart’s He managed to carry on with music as we did here and musical world.” recognition, those desirable feelings in me. I didn't feel comfort- ment you begin doing conscious things to yourself, in His mentioning he composed a couple of arias, as was done in many other countries. Thomas Linley, the talented youth, and showed them to the able, my singing didn’t feel comfortable, nothing went this way, you tighten yourself up, constrictions result, who had been in Florence great master. “He kindly approved in- don’t very This charming conductor has shown great ability in as a fourteen-year-old to them so much just as smoothly as it should. To this day I know and the purpose of good breath support that you study violin with deed, that I determined building for the musical future of Australia. This was Pietro Nardini (1722-1793) brings us to devote myself to compo- what was wrong—I simply felt, instinctively, that this try to serve becomes immediately defeated. The ‘trick’ to the time of Mozart’s sition. Kelly wished to train left particularly emphasized by his interest in fostering the Stay in Italy (1769-1771). There himself better in counter- was not my master, and after a few months, I of good breathing is that it must never become magni- love of in the house of the famous point, and asked Mozart for ROBERT MERRILL Margolies all good music in children. He began by conducting improvisatrice Corilla little advice as to with whom him. Immediately after, I came to Mr. — Aed into an isolated phenomenon winch has to have orchestral Wolfgang Amadeus he should study. matinees for the young people of Melbourne. met the young English violinist Mozart was of the opinion he should the doubtful, uncomfortable feelings left me, and I special things ‘done to it,’ You breathe for singing just When the hall was filled with During Mozart’s stay in Florence the a 01 meiocues, knew that I was where I belonged. The core of the as freely, as naturally, as unconstrictedly, youngsters he brought two were insepa- lor melody was grateful enough for it today. sing, as you e My mother used to out the various instruments rable, and constantly made music y s real Aeld of talent. teacher-question is another dilemma: the untrained breathe while you sleep. and not only explained together. “Little Besides, Mozart said, his and she saw to it that I had training in piano, theory, them but conducted short Tomaso (Linley) ”, so father Leopold career as an opera singer young singer must seek a teacher and, untrained as he works for the children. His quotes in a letter really occupied all his en- harmony, and sight reading. There were differences of flashes of humor helped to clinch his to his wife, “accompanied us home eavors - A writer of melody, is, he must still judge as to whether or not the teacher Value of Experience explanations. and wept the bit- i observed Mozart, was to opinion between us—to put it mildly! —when the prac- The music education of the public terest tears because we were be compared with a is helping him! My own feeling is that a judicious com- “The best way to develop breathing habits is has been carried departing the day after. race horse, a contrapuntist with tice time conAicted with ball games, but my mother good stUl further. When he, however, a dependable In conjunction with other able musicians, heard that our departure coach horse. It is bination of awareness to his vocal and physical reac- through proper vocal exercises. I have such an exercise was not interesting that Kelly won out (fortunately for me!) , and I got a foothold in Professor Heinze assists in playing set until noon, he came at nine had an important tions, plus instinctive guidance from his musical tal- which I And very helpful. It consists in vocalizing symphonies for the o’clock in the morning role in the history of Mozart’s music long before I had any idea of making profes- Ave Australian Broadcasting Commission and embracing Wolfgang repeatedly, he ent, will help him decide. At all events, the advice of a notes up and back, and then the full octave scale and in explaining gave him a poem X}} Premier of “The Marriage of Figaro,” sional use of it. Today, the ability to play the piano, to and them to the young people who are urged that Signora Corilla had made f 1 6 good teacher is the best foundation of a singing career. back, twice over, on one breath. At the beginning, of to attend. In for him the evening *%.,}• 3® ’ KeUy sang in the Burgtheater the role of read at sight, and to understand the structure of this way the whole conception before.” Thomas Basiho. of orchestral music is Linley was drowned in Mozart esteemed music is an invaluable course, you won’t be able to do the two patterns twice 1778 on a boat highly the versatile tenor, asset to me in my work. The Trick of Good Breathing made clear. trip. ° ™as over, on one breath! But the purpose of drill is- so successful in serious and the to comical roles. He “As to vocal work itself, I should like to make a But back to Kelly’s memories of eXCe ent actor A Singer's First Requisite develop the staying powers of the breath and its sup- Mozart. As ’ and Vision one of rentes how through this special point regard the very important matter A for the Future the most striking characteristics w\ °nce “Perhaps the Arst requisite that the young singer in to port. I sing this vocalise on all the vowel sounds, start- Kelly mentions his flUed the famous as librettist Casti, of support. Just because it is so Professor Heinze has helped fondness for the dance. can take personal breathing and breath ing out with a single initial (which is not to increase the interest Madame Mozart, according Wlth SUCh enthus steps to secure is that of placing M used to iasm, that they gave important a matter, there is often a tendency among in music in his country to such an Kelly, once expressed herself: him the Mm u himself with the right teacher. that, of course, is again until I repeat the exercise on the next beginning extent that three “His taste lay in PaTt 0f Ga rin And that ff° ° in the “Re Theo- young singers to emphasize it, to stress it, into some- audiences were arranged for art rather than in dom’Mn a most difficult note) . The value of this initial is most of the concerts dur- music”-certainly a Ch "e also question to decide. What is a good M to start the tone peculiar re- “ enWed great success, thing apart from natural bodily function of taking ing 1946. That saved many mark of the good teacher? feeling is the well in front. Then it becomes disappointments. His future Constanza. “He was,” so ^dou Mozart My that reputation or ‘method’ can your task to see that Kelly con - in planning roles . the various air into the lungs. We have all seen evidences of this plans Include putting opera on a permanent tinues, a remarkably small man, of “Fienr „ ^ sometimes be a doubtful guide. The Anal test is how each successive vowel and each successive tone stays national very thin and 100 10 consideration basis and full time with pale the individuality of good in the platform deportment of inexperienced young same professional orchestras. a profusion of Ane hair, of which his nprfel ^ a teacher is for you. Among three teachers of in the forward position, and matches its prede- he Kel ‘ 0r °' was rather y ' Kell as himself singers they come walking the stage in a His ability as a conductor and his vain. He gave me a : y. he called equal eminence and integrity, one may not understand — out on cessors exactly in place and quality. Actually, you have charming per- cordial invitation to St his home of name appears pleasing and natural and then, as they take sonality have won friends for Professor which I availed myself, of in the autograph your special needs; the second may draw but indiffer- manner to work at this exercise some six months before your Heinze in and passed a great narl Mozart’ in various foreign of ml reP° rts: “m the sextetto. in ent results from their place by the piano, they begin to do things with countries. He has been guest conductor time there. He always received the secnnVe I r you; and the third may cause you to singing shows any noticeable improvement, but you me with kindness ad In London, Paris, Berlin, and very conspicuous part, as the feel that he has the themselves; they throw out their chests, draw back should Helsingfors, Finland, and in hospitality. He was remarkably fond stuttering \ J? ? absolutely right key with which to be able to feel your breath becoming longer as of punch of g ( sdio) New York City. He accepted which • All through the piece I was unlock the development of their shoulders, pull in their abdomens, take a com- you an invitation from the beverage I have seen him take to stutter h!?t f f° your voice. How are you to work. copious draught n he sextet pletely unnatural stance, Canadian ’ Mozart tell which and make you feel that this Broadcasting Commission to conduct in was also fond of billiards, H^ not requested I would is which? You can tell only by trial and “One of the greatest problems facing the ambitious the and had an excellent vAv ! for if t mi Ir principal Sh0Uld spo11 error. If has nothing to do with real life this is, indeed, the cities of Canada during the latter table in his music. I told him, you, your voice, and your singing feel natural, — young singer is that of deciding part of 1946. house. Many and ahhiL ^ , the Aeld of work he is many a S ‘ t If nJght appear comfortable, The city of Melbourne is duly proud played with ^ very presumptuous of a unconstricted, and sort of buoyed up by to enter when he is ready of the man at him, but always came lad like metn .i for public work. Again, I can off seconTbesT n thls your teacher’s the head of their symphony orchestra—the gave Sunday concerts, He Point, I did, and was sure, care, the chances are that you have the attempt to solve the problem only from my own ex- man who at which I the wav in TT’hi v, “ ? never was Ch h|tended right one for you Jias brought them so much help and inspiration and Sing 40 introduce the stutter- (which doesn’t at all mean that he is perience, which was to take any and every sort of a ing would nnt t vision for the future. ere with the absolutely right teacher for best friend!). ChlWren b0rn t0 Mozart ^e other parts, but your opening that presented itself—provided it *was musi- “ ' ‘wo, Kan roduTl and Wolfgang lfuC Mozart, ’ besides> it And when you have found such teacher, with nature certainly was not in a stay VOICE cally worthy. I began my work by singing at hotels in . that T v, 314 I should stutter him and have conAdence in him. "MUSIC ( Continued on Page 360) summer resorts’, and on ( Continued on Page 346) STUDY EXALTS LIFE" JUNE, THE ETUDE 1947 "MUSIC STUDY EXALTS LIFE" 313 , , ” . ;

Music and Study took the most famous cities on the European comparable Italian language, which HE SUMMER is an important time for organists house. continent. Art and Advertising place in a great Italian opera to travel about seeing other organs and hearing On the other hand, in no country The performance was exalting, but oh, 0f T other organists play. With all of the get- seen in the world do the standards of advertis- that curtain! Like the curtains togethers that the American Guild of Organists have, (Continued ing, despite our occasional transgressions from Page 303) old-fashioned vaudeville theaters in such as the festivals in New York City and the State squares, each and artistic malefactions in taste, rank America, it was cut up into Conventions as held in Baltimore, Boston, and Los so high, on the whole, as in the with the advertisement of some local United Angeles, the members are able to gain new horizons of some advertising genius, an “idea man” good. curtain was States, which yearly spends millions The situation, however, is very dealer. The center of the of and outlooks; new music is played and interesting dis- Notable Organs of America knows dollars in purchasing the finest who how, through a staff of complimentary to art. reserved for the local plumber. On it was art and cussions of organs and choirs take place. Another way writers, greatest music for this artists, musicians, and printing Heads of industry and trade who for pictured a new, nickel-plated, white the purpose. We that we can stimulate ourselves is by taking an in- specialists, be enthusiastically to secure the interest of the centuries looked down upon art as the porcelain bathroom installation, fully may proud of the terest in seeing and hearing a variety of organs. No consumer, convince him of achievements of advertising in the need for more or less dispensable product of im- equipped in every sanitary detail. The America. matter what part of the world we may live in (and I the product, and compel are advertised by as large and im- practical dreamers, found that down deep audience was invited to come around the “We our loving must say that since I have been writing for The Etude, mediate sales as possible. sings Shakespeare Church Such a man in the souls of millions of people there is next day and view the wonders of Amer- friends,” in “King I find that the readers live in all parts of the world) (u oZV. ^sdlexantier ^Fijc may command an income running into an insatiable hunger for beauty. These ican plumbing. And that, ladies and Henry VI,” and surely, nothing has made we find excellent organs. In my travels I find that few six figures. Indeed, he may, through his materialists then realized that one of the gentlemen, was not in some backwoods more friends for American advertisers of organists know of or have played some of the excellent Editor, Organ Department advertising genius, create a great most direct fniTinJ. •„ U,,4- In nno rvf great art and channels to these millions is standing than and great music. organs in their own part of the country; therefore, it enduring industry. through great qrt. Big business employs seems an opportune time to make a few comments Advertising and art may raise a curious art with no benevolent or charitable mo- and suggestions regarding some of the famous and brood, however, and it is very easy to tives. It uses art because it is good busi- outstanding organs of our country. No doubt, some of run into ridiculous excesses. Art owes a ness to do so. The association of the firm us feel that the organist who has a fine instrument ing. Some of these instruments are tonally passe, but (he also has some unusual studio organs in the Parish very great debt to advertising and to name with high and permanent stand- Virtuoso in the Jungle at his disposal, does not always wish to show it to nevertheless they had their day and it is interesting House) ; in St. Bartholomew’s; in The Riverside Church business. Many of the foremost Founda- ards of beauty reflects upon it the power another organist or even to play it for him. This is hear what has been done and how much (everyone should hear Virgil Fox) ; in Columbia Uni- tions to see and in America are the creation of com- and magnificence and lofty dignity (Continued from Page 305 of true, perhaps, in some instances, and one just has to we have improved our tonal thinking in the last ten versity; in St. Patrick’s Cathedral; in the Cathedral merce and industry, and the lavish re- something beloved by the very people make the best of such a situation. I find, however, years. Some of the organs mentioned, however, can- of St. John the Divine, and many others. turn they have made to the finer things they desire to reach and impress. anything that when one has a connection, such as his not be upon. v In Philadelphia the John Wanamaker organ is per- of life far exceed Service and was assigned to groups to like civilization. Around you member- improved the gifts of the em- What have steel, oil, electricity, the ship in American Guild of Memorial Organ haps the list. perors, kings, and accomplish this highly important task. the blood-chilling yells and screams from the Organists (and every We begin by mentioning the Curtis one that should head our Miss Mary royal patrons. This, telephone, motors, rubber, paints, ma- organist should belong to this organization, since Portland, During the sum- Vogt, Music Director is we believe, is No sacrifice was too great to carry cheer the fathomless darkness of the night, the there in the City Hall of Maine. for the Wanamaker Store, a fine and wholesome eco- chinery to do with the glorious master- nomic and inspiration to these men, isolated air at times so clouded with vultures is at least one chapter in every State in the Union) mer there are daily recitals on this organ. Mr. Alfred always pleased to show the organ, to arrange for tours evolution. pieces of Bach, Beethoven, Wagner, that from anything suggestive of home in often they would swoop down upon his brother organist is always glad to show him about, Brinkler is the regular organist and is always delighted through the different parts of the organ and to play On the other hand, we feel that it is Brahms, Debussy and Tchaikovsky? The the very easy for the “God's country.” And oh, how great was men in the chow line and bite hunks play his organ for him, and allow him to play it him- to meet members of the Guild of Organists and other the instrument at any time. Other organs which one position of Art to de- answer is simple. When these exalting of teriorate in the their appreciation! I never can be re- food out of their mess gear, as they self. I suppose that the biggest thrill of my life from interested people. The organ is a large four manual, should hear are in St. Luke’s Church in Germantown imagination of the peo- creations are presented by great indus- stood ple, if it is employed to paid for any concerts in the future in waiting for food. And such food! childhood up has been to get my hands on some ex- built thirty-five years ago, and rebuilt in 1929. The in the Girard College Chapel; in the Curtis Institute abusive extremes. trial interests there is instantly formed Of There is the way that I was rewarded by the course there were good cooks cellent organ, make a study of the specifications, and fine large four manual organ in the Cathedral in of Music; and in St. Mark’s Church. a dividing line, marking the in the minds of the listeners an analogy in the army, boundaries of good taste interest of these men. Twelve thousand but they were few and far take notes on the style of the console, and of any un- Lewiston, Maine, is worth the trouble to see and hear. Some marvelous sounds come from the organ in the and dignity, of standards which leads to a powerful between. beyond which it is miles away from home, in a stinking Often, the materials usual features. Lynnwood Farnam kept notebooks of Bernard Piche, the noted French-Canadian organist Convention Hall in Atlantic City, but it is so difficult not wise for us to and at the same time sympathetic under- were foul. Then, pass. Great art is land, surrounded by all kinds of perils, there was the everlasting specifications of all the organs he had played, the plays the intrument and is extremely proud of it. In to get into the Convention Hall for a demonstration permanent, and standing. This is the reason why many stench of the greater than all temporary they needed the higher and more spirit- Orient. Naturally, arrangement of the stops on the console and so forth and around Boston, there is a wealth of organs. The of the organ; so many conventions are held there. business con- of our foremost American enterprises when music came, the ditions. It is the gift ual things of life as much as they men “ate it and so on; and Marcel Dupre makes list of stops famous, the is the one in the Ger- Senator Richards of the gods and have availed themselves of magnificent needed up." a the most at moment, has a new organ of more than one the treasure of all humanity. foo.d and water, and our government, All of my life I of every organ that he plays. What a wealth of in- manic Museum made famous by the high type radio hundred stops in his home. I have in- The more musical programs on the air for many had heard of the fabu- not heard the it becomes a part of the daily life faced wifh a dreadful task, took great lous beauty and formation he must have! programs records of E. Power Biggs. Of all the strument yet, but it of years. These programs have cost their romance and mystery of and hope to hear soon. He also is most the people, the greater is its service. pains to supply these spiritual and the East. It all Mr. Biggs is surely one sponsors millions of dollars and there hu- may be there, but I travel- delightful people one meets, happy to exhibit tins organ, and have people play it. Through its association man needs. ed very The Tour Begins with advertis- can be no doubt that they have elevated extensively in India, and by com- of the best. No organist should miss seeing the mu- In the Baltimore and Washington areas there are ing, great journals have come into ex- I soon learned to forget what a piano parison with Let us mention now a few organs in cities play that organ. the products of the manufacturers in other countries, I feel that from seum and hearing Mr. Biggs No mat- many organs which should be heard; such as the one istence and have prospered by lacked as long as it had any kind of it is the Maine to California, from Canada to the Gulf, means of the minds of the public, otherwise the key- most, despicable country in the built ter whether or not one agrees with the specification in Peabody Institute; in Brown Memorial Church; in great art. Millions board from which I could by a of of people who might programs would not have been continued. wrangle tunes. world. On all sides are every imaginable number manufacturers. I have played most and the tone of the instrument, it is important that the Naval Academy; and in St. Anne’s Church of never have had an opportunity to visit The further I went, the worse were kind of these organs and believe that if “But,” shouts your persistent pessi- the of loathsome sickness, poverty, filth, a visiting organist he know about it and hear it in that particular building. Annapolis; in the Foundry Methodist Church of Wash- a precious collection in a noted pianos. The men didn’t complain, and wishes to see play gallery mist, “why, after a glorious Brahms pro- and oh, the unforgivable stench! The and them, arrangements can be Another fine organ which many people miss in Bos- ington; and in the Great Washington Cathedral (the or to attend a performance in who was I to grumble, under famed gram must I have my soul raptures such cir- lack of education and the stupidity of made through the organist or custodian of the build- ton is the old Hook and Hastings in the Cathedral organ which is considered to be the Ernest M. Skinner concert halls, have been cumstances? Sometimes permitted, destroyed by some disgustingly intimate the strings pagan fanaticism are appalling. The con- of the Immaculate Masterpiece) through advertising would break and the revenues of maga- panegyrics upon hammers would fly ception of religion, Conception. It is old, some quack patent medi- which makes them . Pittsburgh has so many good organs that one does zines and broadcasting companies, to cine into the air. But I always knew that or a bodily deodorant?” Your choice I torture themselve's, is of course similar to but the tone is some- not know which to mention first. The have the priceless jewels of art and music was playing for a gang of fellows, is to have far fewer opportunities to some of that of the Flagellants of the Middle thing that we would organ which is played by Marshall Bidwell; the Mellon brought to their homes. hear the whom might never wake up the following Ages, greatest music by the finest per- but one of the evidences of Chris- do well to try to imi- Church organ; and the organ in the Heinz Chapel If it were not for advertising, the Amer- morning, while others might formers, or pay for less music, awake and tian civilization is tate these days. The played find that we have grown are only a few that come to mind. As we go west, we ican people would not have more than a a jackal as a bedfellow. I by lesser known artists. Thousands settle played away from that. Let of Old Boston Music find an fraction under every India get rid organ in the Trinity Methodist Church in of the amount or quality of great the problem by rushing imaginable condition. Once, these to the radio and monstrous pagan practices and Hall organ in Serlo Youngstown, Ohio, which is of unusual quality. There art, great music, or great I gave a concert in an entertainment turning it off when the advertising outdoor theatre in clean its com- a streets of unthinkable evidences Hall, Methuen, Mas- is one of the best Diapason ensembles in this organ which now comes to them. In England pouring rain. Not one of mercials embody objectionable features. the men left, of disease, before tt»nnS! and the it claims civilized rec- sachusetts,- is worth that one will ever want to hear. In Cleveland one there is no advertising included in radio applause was wonderful. It Americans have been brought up to was ognition. of broadcasts; the monsoon any amount must hear the newly rebuilt Museum organ. In the no “commercial” of any kind. welcome the season and the rain came advantages of advertising down Parts of China are very fascinating trouble to see and Chicago area, the Rockefeller Chapel organ must not The owner of a receiving set pays an in cataracts. and appreciate the force of advertising and charming. I played and hear. one be- annual charge there three When be forgotten; if possible hear a recital by the organist for the broadcasts he re- in promoting a vastly four greater volume of Musical weeks at a time, often giving three nuiiutitiiiii holds that case, it is Frederick Marryott. Also ceives, but some of the most chauvinistic Tastes of the G.I/s IWMm one should hear the organ in business which permits us to have two-hour concerts Britons admit a Sometimes a day at a stretch—10 truly awe inspiring. Northwestern University and the organ in the Fourth in all fairness that with higher standard of the temperature in A. living. Cultivate an that M.. 2 P. M„ and 7.30 P. M„ to accom- This organ has just Presbyterian Church. the amount of revenue received from climate ranged from llo interest in reading advertisements to find degrees to 130 modate the various boys British broadcasting degrees Fahrenheit, shifts. The been rebuilt; and I taxes, it would be out what is but I didn’t going on in the industrial, seem to asked for all sorts of things, the St. wish there were space In the Southwest impossible to present mind it when I realized from the great volume of scientific, and business worlds what it meant to Louis affecting Blues of Handy to the St. Matthew in this article to tell fine music and entertainment for the men. My programs In Memphis we find a gorgeous organ in the Catholic which your life. We often have been amazed at were largely the Passion of better Bach. (Sic ) Many of the Chi- all that could be told the American home owner, at no known classics—Chopin, Cathedral, built many years ago to specifications by cost ex- the response which has come from very Debussv nese take a keen and understanding in- . about this instru- cept that of listening to “commercials” Rachmaninoff, Grieg, and Pietro Yon. Also in this city there is a splendid organ tiny notices in The Etude, notices in so on. I never terest in music. gave them Most of the Indians, save ment. It is, perhaps, in the Idlewild Presbyterian (some offensively suggestive of all kinds type so small Bach, because I found Church where Thomas that it almost strains the that it in a few centers see of bodily disorders, was a little too near the big cities, one of the most im- Webber does distinguished work. There are organs and others presented eye. Evidently advertisements technical and “stiff ” far in are read as more interest in fakirs a fight portant pipe with judgment, taste, and dignity) ed “ver carried and organs which demand our attention, such as the organs , must with the same interest an music as that given to tfifl y between a cobra than pay. with me,mp asVI had and a mongoose in America. in the University in Austin; McFarland Auditorium in text. The average reader, after perusing memorized a large m music. repertory of Many of the magazines, with their un- a particularly all kinds of pieces from Dallas; Christ Church in Houston; and in the Civic serious article, often turns Home on At one place in no York and paralleled reproductions of great the Range to China there was New Auditorium in . When we get farther art, to the advertising pages and there learns Shostakovich It piano at was surprising all. I was offered a little field Philadelphia would cost the reader several times what of opportunities to know how many west into California it is always so refreshing to go which he never could of our organ used in he is asked to boys knew good chapel services. Two of the to pay, if it were not for find in the text. music. However, they In New York of the Mission Inn in Riverside where for many years called for attendants got down advertising. Our fellow citizens all sorts of on their knees and course there are so daily recitals have been played have be- We Americans have occasionally been things. Now and pushed on a beautiful organ. come “advertising then I played down the bellows pedals while I minded” and except disgusted by the diatribes “Boogie-Woogie” for cer- many organs of note The organist, Mr. Newell Parker, derives so much pleas- of European r Played, but I wished I for occasional PS ’ ‘iust to all the time that conspicuously objection- critics referring the S prove that 1 was “hu- that one hardly knows ure from having his organ admired. to curse of advertis- man. °D might have had my Baldwin able statements and “copy,” they accept Remember, some of American where to begin. Some In Los Angeles again we find many ing in “Dollar these organs of note ; such Land.” Advertising in were so bovs piano. I never advertising as a part of our isolated that played on any piano in conglomerate many European countries far they had had no which should not be as Roland Diggle’s organ in St. John’s Church; the Occi- is more entertainment the Orient that could good, American life, and many enjoy it greatly. for months. be called A MARVELOUS CONSOLE missed are in the dental College organ; and the organs flamboyant and flagrant than is found When they imere are in Claremont Col- Some feel that the mixture few grand pianos. All that I of art and in the worst American abuses. ‘»y “raised thTrS? The console of the Church of Saint leges. Dr. Raymond Mizsell’s organ in his home in Pasa- Never th Played on were Wanamaker Organ at the great store in Philadelphia. This is possibly advertising is a sordid amalgam of beauty greatest audience uprights, in the hundreds the largest shall we forget a splendid in the organ console in existence. With its six Mary the Virgin dena is certainly worthy of mention. Here we find a large performance world. of the concerts I manuals, its pedal board, its 451 and trade which can lead to gave. stops, its pistons no worthy of “Die Meistersinger,” and other devices, it requires where Ernest White four manual concert organ in a sung in the in- Picture Music seemed a mind of great resources to get the full room where it really has yourself in a to give our men some- range of tonal and jungle, miles from expressive possibilities which this organ presents. is the Choirmaster an opportunity to speak. This is (Continued on Page 348) 316 ( Continued on Page 353) "MUSIC STUDY EXALTS LIFE” JUNE, 1947 "MUSIC STUDY EXALTS LIFE THE ETUDE 317 will be consistent with the way, that it pitch relatm Music and Study if there is to be anything Music and Study ship of others; other than' isolated individuals each playing number of accordi pitch recognition standard. It JV, g to his own is P0! not probable that any two individuals but might arri recognition individually, ve at the same pitch for the difference as individuals will hold true in this case a holds true of their individuality as individuals i n aii The Problem of Intonation other senses. In other words, no two people can h there are not two people alike because who are idem; cal—each of us occupies some space and time of hi" own—we are in short—individuals. By the adoptions a certain relative standard of pitch recognition J little as individuals, Lf Wifiiam J4. StuUM3 can all give a and meet somewhere in the limited vibrational scale to the extent that we can call, as far as the very coarse measurement Assistant Professor of Clarinet of our ears is concerned, our pitch recognition standard con University of Michigan stant, and can therefore “play in tune.” This much then we have discovered to be a common problem of intonation for all instruments which have N THE ISSUES of The the possibility of choice in pitch production. Etude for December 1938, scale is a relative derivation from tills supposed abso- What we May 1939, and March 1940, must remember from this discussion the writer presented in lute, and furthermore that instruments which can pro- to apply to our I these columns three articles specific problem of intonation dealing with the basic duce the so-called absolute pitch relation of the on the clarinet is that problems of clarinet playing (The Problem of Tone, harmonic series do play in relative harmony with the all intonation is relative, certain accepted standards The Problem of Technique, The Problem of the Stac- piano, from which no deviation of the tempered scale of pitch recognition mast be met, that we as individuals cato). These problems and the suggestions for their can be allowed. And further, we know that the ear of must train ourselves to produce a pitch recognition solution are of course fundamental this to any other diffi- the performer as well as the ear of the piano-tuner comparable to standard, both as individuals play- culties which may arise in the study of the clarinet. ing on our own instrument alone, Photograph by (laic d Poldm, Ltd. can and does reach a basis of comparative stability and as members of After a certain degree of proficiency has been attained an ensemble group where we when the music is finally played. Finally shall we must meet the common MASSED BRIGADE OF GUARDS BANDS TROOPING THE COLORS, LONDON 1939 on the instrument and a familiarity with its basic remember that the ear itself, no matter how finely concordance of the group. idiosyncrasies has been established the performer will trained and acute, is still such a poorly developed or- Whatever we desire to do as far as meeting the stand- find that other matters which were not so troublesome gan, in comparison with the eye for example, that no ard of pitch recognition which we have set for at our- the beginning cause him increasing concern. Not the one can selves, must compete with an instrument such as the stro- be accomplished with regard to the specific least Of these troubles is the problem of the intonation boscope, in instrument determining what we fallaciously call “ab- on which we are to perform, and in the case of the clarinet and in the simplest of phrases, “how solute The Evolution of Military Band pitch?” of the clarinet, we are immediately met with the to play numerous in tune.” For there is no such thing as absolute pitch. What physical and mechanical difficulties which we must The present article is an effort to outline the problem is known as absolute pitch is a highly developed rec- master. of intonation on the clarinet OTWITHSTANDING the fact that a most in- and to offer a few prac- ognition sense of the relationship The of one pitch to clarinet Is an instrument which embodies the formative tical suggestions which may help in its solution. book was published in 1944, on the Development of Mditary another. acoustical problem of the The Rise and Music In dealing with cylindrical pipe. This phe- History of Military Music in America by the this problem we must first under- The general problem N of intonation is then a problem nomenon of nature is such that any fundamental stand intonation in general, as pitch well-known army band leader, William Carter White, it relates to all musical of relationship and of comparison produced of pitch to pitch. on a pipe of cylindrical bore will contain as instruments. Secondly, we must inquire into the peculi- it is safe to say that the great majority of musicians From the Parade Ground to the Concert Stage It is this possibility of such relationship which harmonic overtones arities of the clarinet permits the second, fourth, sixth, eighth, have a poor conception development which make it physically a spe- us to .play of the rise and of in ensemble, and to achieve a harmony be- tenth, and so forth overtones cific problem. Thirdly, we must provide which give it its charac- the military band; they still place it in that category ourselves with tween two instruments or more, which will please our teristic quality. These overtones easily produced a techinque of playing which will make the most of the may be as being suitable only for supplying music for parades taste according to the system of music up possibilities of which we have to the tenth in the case of the clarinet, and would the instrument and in some manner developed and ceremonials, and still fail to recognize it as an and accepted. be as follows for compensate for its physical peculiarities. the pitch of low F on the clarinet. artistic concert medium, worthy of serious considera- Fortunately, although our ears As concerns the are rude and coarse matter of intonation in general, it as far as fine tion. discriminations are concerned, we are must be understood that intonation is wholly a relative We have been told that the military band had its able within a certain limited vibrational matter. By relative range to meet we mean that all comparison of with other ears, beginning when the Ethiopians first used the drum and consequently agree on a relatively pitch is comparison. There is no absolute pitch and the Hebrews the trumpets during their years in the constant pitch when we are playing forty military music. It was that great soldier and states- the post for three years he retired, and very soon after sense that nature our instruments. provides an absolute standard to in the wilderness, but this idea is far from the estab- When' this is accomplished we are ” •» 2nd 4lhi 6lh 8(ht tOUit man, Frederick the Great, King of Prussia, who estab- the famous organization was disbanded. which all pitch “playing in tune considerations are directed. All stand- as we say, and lished fact. our musical activities can be lished the military band on a recognized model which But Sarrette came to the rescue, and in 1792, under ards of pitch are artificial standards which exercised The military have been in any further manner in which we band had its beginning in the 18th was readily adopted throughout Europe and America. the auspices of the municipality of Paris, reorganized established and accepted take pleasure be as standards just as are all it in the full In order to century when led the world in matters of expanse of a large ensemble produce these harmonics finger low F, It was he who devised a new source of military music the band into a free music school ( tcole Gratuite de weights and measures artificial such as the standards. There is no band or orchestra and simply vary the on or a smaller group. breath pressure and pressure which became the pride of those regiments that were Musique de la Garde Nationale Parisenne ) utilizing ‘A’ in , nature more than is there a natural inch or pound. the reed, But in addition to meeting slightly opening the throat exerting more in a position to luxury, for it must be the musicians as teachers in different classes. Over a period the ears of others and in and afford such a of years in our particular development causing our pressure on instruments to thereby reach the reed as the higher harmonics are remembered that this privilege was at first granted Perhaps it will be well to make clear that these of a system of music, we have established a concord- these stand- ance, we have another and reached. With very cause ards more basic difficulty little practice anyone can only to a few renowned regiments whose officers were military bands which have been referred to were not to suit our taste. Moreover, it should be remem- which these is that of making our own ears tones to speak quite staff bered that our standard reach a concordance easily. The A above the noblemen. service bands, but large wind organizations of mili- of taste is not an arbitrary with themselves. In is a sharp short, to achieve fourth harmonic; the high is flat eighth The instrumentation of these German bands con- tary instrumentation. thing, but the result of a series of a relationship G a experiences, trials, between pitches within our harmonic and the and errors, own ears, and thus high B-flat is a flat tenth harmonic. sisted of clarinets, oboes, horns, and bassoons; a de- Here again it might be mentioned that even today which have gradually formulated them- in tune p“v This on om- own instrument variation is due to the instru- municipal proprietary selves. No man sat himself down without the helpfffi construction of the cided improvement upon the French model of the and concert bands in Europe and figured out our guide of another ear ment, and or instrument for a is necessary in order balance the scale, period, of hautbois (oboes) adopt the misleading title of “military.” system of music completely and to the world’s comparison to same which was made up The title accept- in many ways it is easier more discussion ance to play in tune of which will later. purposes definitely applies to service and satisfaction any more than did in an ensem- follow For and drums. a band. another ble where the 0 1 comparison is definite, deration as to the this crystallize the social government of the than it is to harmonic series involved, The military spirit became rampant again, and world. play in tune alone, where the experiment only comparison can will suffice to show that a cylindrical pipe Various Influences when musicians were required for the new French our own ear. This is a matter produces a pitch What Is Absolute Pitch? which is not vei^ well which contains every other harmonic The influence of the French Revolution eventually army bands, they were invariably chosen from Sar- understood. If over there is any approach one in the conical The development of to an aWi,,/ harmonic series. An open pipe or put Germany in second place as far as military music rette’s school. This led the government to bestow upon music has been thematic in the pitch, it is that individual comparison ored pipe on the set larger sense. It has been rather on pitch reZ other hand, contains a different was concerned. it (1793) the title of Institute National de Musique. a series of ideas by tionship which every one makes 01 harmonic many men, building by himself Per J overtones. The notable difference the Paris Opera and the elite concert audi- Later on (1795) a merger on what has gone before, altering, individual that most When was formed between the comparison is unique, 6" lh or refining, substituting, here an/ c^nnot he open or °°nical bore and the stopped toriums closed their doors for lack of patronage, the Institute and the tcole Royale du Chant et de Dec- and there adding a bit, duplicated by be nviV^ , ?. anyone else, anymore than , cylindrical bored which until now in this present, we find !n What pipe, and the difference with musicians transferred their services to the leading mil- lamation Lyrique with the title Conservatoire de at our disposal a each of us sees from his ar certain own eves he ,- e mos* concerned, of body of what we enjoy y be (1 .. as it relates to the problem itary bands that were being organized at the time Musique. Thus, the world renowned Paris Conserva- calling factual material, exactly by anyone else. Cheated o and which 011 the *act compared makes conventional demands on our The ’^ tllat on the clarinet as under the direction of a Captain Sarrette. tory of Music came into existence through the medium action necessity for some artificial with ti! Furthermore, we have standard ic «, „ example, is a only to look a little beyond our easily proven, and S°Te the clarinet, which These military bands took on enormous proportions, of military music. it is not difficult to d aHy^ own noses to find bored first that our system is not the only we have hy Instrument, will produce as its and we find the noted composer, Gossec, appointed way developed such standards nL, f 6 of doing a thing. Other groups of • J n tlle harmonic above the Standard Instrumentation of people not so must therefore dlVIdUal , series a twelfth bandmaster to the National Guard band in the latter European Bands different accept a fiinri^m 1 from ourselves, have standard anri^end ™en tal or the will developed other systems in develop his second harmonic; and the oboe part of the 18th century. We are told that he wrote In 1838, Wilhelm Wieprecht, a some recognition of pitch nrnH * ., distinguished German ways even more complicated relationship h Ctave or funda- than our own. The im- first harmonic above the a vast amount of music for the military band, including musician, was appointed director of Zt! 38« ? the Prussian portant idea to keep in mind is 't* thst series. that our own or any N overtone in the harmonic excerpts from a number of symphonies. After retaining Guards, and his reforms were of such an outstanding other system is a developed and any instrument first artificial system which which will produce the nature that we again find Germany leading the world is the result of a growth, harZ ° r the the and not the result of the octave above its fundamental as in the sphere of military discovery band, first ovprt music. of an absolute. orchestra 116 Permits the speaker or Placement of a This man's instrumentation was so colorful that It may be argued octave kPv at; that physical laws such y a node or mt ’ as the - a ir vibratory P° and which -column Europe readily adopted it as a standard, and there is relationship of pitch in the harmonic CHORUS Zq n the series is an ab- ° Partichlar compensation between no reason to solute, Edited lower or f BAND and ORCHESTRA wonder why, when we read the makeup but we need only remember by Wii| iam . ? that the tempered D . ldamental har- ReVe(( monic register, and the higher or Edited by William D. Revelli of German bands at this period. rpZ ' 1 the instr words, the EARLY 318 fundampni!/ °! ument. In other MILITARY BAND INSTRUMENTS (.Continued on Page 354) ental register of 352) "MUSIC the ( Continued on Page STUDY EXALTJ UFE" JUNE, 1947 "MUSIC STUDY EXALTS LIFE’’ THE ETUDE 319 T

Music and Study Music and Study Mozart Sonatas for Pupils give a pupil . . How soon should one the Violin and Piano Sonatas of Mozart? opponent: he can do it with a blow that C. M. K., . . . —Mrs. travels hardly more than six inches. The same thing applies to the movement of question, for it has This is a tough the finger: it does not need to travel far Are you thinking of many ramifications. —but it must travel fast. As soon as the the pupil’s technical advancement or of student understands the point of this he must The Violinist's ForaDi Developing Taste his musical development? Both be should take the same exercises and stud- Musical that considered. If it is the former you ies he has been practicing with a high experience is that it have in mind, my Conducted by lift of the fingers and play them, with easier sonatas is better to wait until the equal clarity and more speed, without the stu- A Conference with offer few technical problems to lifting the fingers much more than half facility and a sing- dent, and that he gain an inch. If he is of average intelligence subtle composi- ing tone in other, less ^Jdarold (fderhleij. he will soon realize that he can utilize strongly that music tions. I believe very his acquired strength with far less effort be made into CLrL p,revin of real quality should not —and be very delighted with his new a technical exercise. attainment. the music of Mozart is Distinguished American Conductor We know that Prominent Teacher the most difficult of all to play well, and Director of Music, Radio City Music Hall, New York that he realizes Trill Questions in Mazas every musician will say and Conductor It more and more as he grows older. Is Studies excep- SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT it any wonder, then, that only the “In the Mazas Special Studies there are tional student can do justice to it? There four trill exercises I would like explained. ... In the edition I use there are no foot- deceptively childlike (not childish!) that it might induce in the is a agree with you notes to say how many notes to be played CHARLES PREVIN it that requires When New York'! simplicity about much of minds of some pupils the idea that the on each trill. ... I should like to know great Radio City Music Hall selected Charles Previn to succeed the late Erno Rapee as Dtrcctor of Music, it certain degree of maturity to under- fingers always be lifted high. when to use eighth, sixteenth, or thirty- secured the services of one of America's most versatile musicians. Mr. Previn has chan- a should clari- neled his intense love of an Auer pupil, who came penniless to this This maturity may second notes. Would appreciate your music into every field of artistic outlet—beginning at the bottom. holds a country stand and appreciate. The chief function of trill exercises and He fying the trills in Nos. 13, 18. and 23.” brilliant record of years ago, found himself 14, accomplishment in opera, symphony, theater, radio, and motion picture music; a good living in playing in intuitive, but it must be there. The such studies as the thirteenth and nine- more, be —Mrs. W. I*. C., Kansas. he believes that the possibilities of American the motion picture music have scarcely been begun. Born in Brooklyn, New York, studios, and determined to do some- average young pupil who is made to study teenth of Mazas is to develop strength and a scholarship graduate of and of the Ithaca Conservatory of Music, Mr. Previn was thing to show his gratitude to America. Combining Mozart as soon as he can stumble and independence in the fingers. This end As a general rule, as many notes should destined by his family to become a teacher of languages. So strong was the lure of music, however, that this love country of with his love of music and of little through the notes, and who is not mu- can be attained in time if the studies, be played in a trill as the skill of the per- . aside his baccalaureate degree to become pianist and musical secretary to ' music children] he publishing deliberately set about founding groups sically advanced enough to appreciate and so forth, are played in the conven- former and the length of the note will company, thus learning the fundamentals of the popular song business. Later, Mr. Previn con- in gifted tinued his own serious studies abroad. which children could make music, hear music, the beauty of the style, will almost surely tional manner, holding the fingers down permit. By the skill of the performer I He was the first to encourage another young pianist, George Gersh- win, to turn live with music, build to composition, and directed Gershwin's first musical on Broadway. a taste for music. Today, his develop a resentment against the music. whenever possible. It can, however, be mean his ability to keep the trilling fin- Previn became a leading musical director in the Youth Orchestras, in Hollywood, from the fact trill' American theater, conducting more than a hundred hit are world famous— This reaction often stems attained much more quickly “if each fin- ger hitting the string firmly. A fast shows for leading Broadway producers; in addition, he took a symphony orchestra on tour, and distinguished and what is much better, they are doing a magnificent that he instinctively knows there is some- ger is lifted with alacrity and snap at with a weak finger is nothing like so ef- himself as musical director of the St. Louis Opera for four years. In 1925, Mr. Previn turned to motion pic- job both for the young people and in the music which eludes him, No question will be answered in THE ETUDE trill in ture theater the music of thing the moment the next finger stops its fective as a somewhat slower music, earn.ng a call as associate conductor to the Radio City Music unless accom panied by the full name Hall, when that great America. The Junior Symphony numbers one hundred that, try as he will, he cannot capture. note.” good results will be even more which each note is played with strength theater opened in 1932. Here, he made and address of the inquirer. Only initials And the famous choral setting of Rubinstein's Kamennoi Ostrow, used and twenty-five active members, If, at same time, he is having tech- given, will be published. are several annual i ranging in the if fingers lifted articulation. y in the Music Hall s Easter program. In Mr. age from or pseudonym quickly noticeable the are and clear There 1933, Previn was put 'in charge of several large com- C,a r about twelve to twenty. will be all a ° ms h ' ch The Pioneer Orchestra has nical difficulties, the reaction reason for this well-known artists before the public to- P 9 he bu d'[ected aid conducted, engaging Schumann-Heink, Mary as high as possible. The denTen J M° ^, Y. 'T Gar- about and Maurice Chevalier among his soloists. While vacationing seventy-five members, anywhere from five to the stranger. And a resentment of this easily if you the day whose trills seem much faster than in California in 1936, Mr. Previn was can be seen watch asked to assume musical directorship for , later serving twelve years old. Those little sort, formed in youth, will often persist as a musical director for MGM ones arc my especial his bowing technique well enough ad- knuckles of a violinist’s hand when he is they actually are, simply because each During his nine years in Hollywood, Mr Previn made delight! musical history by composing, arranging conduct- It is amazing to watch their tiny fingers pick- for years, long after he would normally playing in this manner. note is played with crystalline clarity. mg, and directing the music vanced?” Even a merely adequate per- for more than three hundred motion pictures; by bringing ing pizzicati, to drawing fine, full bows; it is even more be receptive and eager. Many players are conscious of a lack Regarding* the studies, No. 13 is writ- stardom; by working with artists such as Lauritz Melchior formance of a Mozart Allegro requires a and Jose Iturbi in the films^nd by winning amazing to Motion Picture the hear the music they make. However, no music can do more to fos- of clarity in technical passage-work, and ten out in sixteenths, and therefore, Academy Award for outstanding musical direction ("One Hundred well-trained bow arm. It is the lack of Men andA Girl") In Thq youngsters the midst of these complex activities, Mr. are admitted by audition. They are ter a pupil’s taste and sense of style other- particularly in rapid descending scales. though it is undoubtedly a trill study, Previn found time to indulge his favorite hobby— this which generally causes many the famous Meremblum workinq with tested for tonality, Symphony, composed entirely of child amateurs. Mr. ; scale-playing, and some elementary than that of Mozart. For this reason, excellent violinists have difficulty Striving to eliminate the “muddiness” it should be played exactly as written. Previn's latent and most re wise to 0 mu5| col achievement, as musical head .pf knowledge of their the Radio City Music Hall, affords him instruments. Orchestral experience every pupil should be led to him as early with the quartets, concertos, and sonatas that annoys them, they usually concen- The trills in No. 14 are half-notes with a desired opportunity to his long! further American music in the minds of aware American counts for exactly nothing possible. various by audiences In the fol — that’s what the group as There are means of Mozart. trate on the fall of the fingers, practicing trill sign over them, so there is consider- nCe ' ' Mr PreV ' n ° utlmeS for readers of The Etude waY s °" d means of building playing expects to give . them. this done. Awakening in- If the fuTur audiences I used to have the great- which can be The approach suggested here applies to obtain an always stronger and more able leeway regarding the number of est Editor's Note. fun directing these life, particularly his — groups. We played works like terest in Mozart’s equally to the music of other composers, instantaneous grip on the string. This, notes to be played. There are two ways the Beethoven Fifth is first step. Sev- Symphony, the Cesar Franck childhood, an obvious such as Bach, Handel, and Beethoven. It certainly, is a most essential quality, but of playing these trills: (IX to start them Symphony, the Brahms First, parts eral books the lives of the composers the Borodin First, on is fortunate that so much good teaching in nine cases out of ten it is not the an- as fast as possible and keep up the speed HILE of Meistersinger,” WE need to develop the performance popular’ from, the and concertos of Beethoven, are available, written simply and inter- swer to the problem. Lack of clarity is to the of the note; (2),to start them ‘good.’ There are songs by Brahms. material is available, for trashy music end aspects of music, we mustn’t forget that Kern Mendelssohn, the Gershwin, Youmans, Herbert, Glazounoff (violin) and Beethoven, estingly for children; among them are insidious means of corrupting far more often caused by a sluggishness rather slowly and gradually increase the best Foster which are en- has many performance values in the world are. tirely popular Liszt, Rachmaninoff, and “Famous Composers for Young People,” W and which, for their goodness Mozart (piano)—the soloists the taste of the young music student. in the lifting of the fingers than it is by speed. Both ways are excellent practice, valuable only insofar match chosen as they are understood by the many of Schubert’s from young talent. by Burch; and “Mozart,” by Wheeler. songs! No, the difference “ any deficiency in the grip itself. However, but in both one must be careful to see audience that hears them. Thus, the general one question of musical integrity, of Reading these with the pupil, the teacher the fault can easily be overcome once the the of trilling finger is sincerity—never of label that strength the of musjc study includes everyone, whether he plays In alone' Question on the Mazas this sense, then, I am by no means can do much to make the stories vivid A cause is understood, and if the player will maintained. In (2), the finger should be or not; it takes in, not merely averse to our ‘lessons’ but a wide young people s and inspiring. Then, too, there the going in for jazz. I have 11 seems to get are Studies practice consistently some exercises in lifted rather high at first, but less and building of taste. Let great resnect me that any community can us consider some ways and for the ci '-i development of a simnar excellent educational recordings that •*. the manner recommended above. less the trill American jazz. movement . . thank you for your article on as speed of the increases. means of building Jazz arrangers under way. All it needs is a man And taste—and music with it. First of are among oi the most earnest music ideals, who have been made in recent years, includ- the Mazas Special Studies in last Novem- Nevertheless, it is much better if the Many violinists playing trills in this man- all, I must say, students we have' loves America, music, and children and without any flattery, that The and through ber’s Etude. I have given it a lot of thought them, jazz has become enough to get the ing “The Story of Mozart,” brought out fault never appears, and it need not if ner find that the finger weakens as the EiyDE is one of the .greatly influenced thing started. problems need helped in work very best taste-builders. When I- was -by modern Money and it has me my art-music. Rhythms, e no deterrent by the Vox Company. These are chiefly the student trains himself, through ap- trill gets faster which, of course, de- chord whatever. . . . is point I wish — a child, The Etude was my musical Bible. structmes The Meremblum orchestras much. But there one My , sister figurations m present-day recordings of piano or orchestral music, jazz stem Pr0fit making you would clear up for me. . . . You ad- propriate exercises, to lift his fingers with stroys the intended effect. These players and I played the duets together; I learned many new Debussy, directly from not ?°,? - The little players contribute Ravel, Shostakovich. ° ar but this need not deter the violin teacher. vise that the “finger-exercise studies” pieces Such influences a month t0 >' vitality in all technical work. That is an- would be well advised to practice some by exploring the musical contents; and laid pa for the use of the hall-in practiced “as a pianist would brought about an immense tmtn In the early stages It does not matter very should be the foundation refinement in the “,er communities, a might other reason, in addition to its value in exercises along the lines suggested in the of sound standards jazz , school or hall play them,” lifting each finger with snap by poring over the medium. Again, I believe „ church that more good 7 much through what medium the child developing strength and independence, answer to Miss L. (In (1) natural- extremely helpful thnTV aured ren free, the moment the next finger comes down. M. A. , and practical articles. I can still has t at the start. Public mem- been done by the jazz-ifying berthit ^ f hears Mozart’s music; what counts is the recall the eagerness of 'the classics ° f0r playing) from — You also say that every finger should be why I recommend this type of practice ly, the finger can be lifted very little. with which I waited for that tainly, the best offered at anywhere way of making" five Hon fact that he does hear it. lifted as high as possible. Now, my ques- magazine to be friends Sth rS to one for such studies as the thirteenth and There a/e only a few trills in No. 18, delivered, each month it was Mozan hundred dollars annually, the paying this — always Grieg, Chopm, and . tion is—would not practice get a pu- Tchaikovsky is by inemh,.rf Later, as his technical advancement thirtieth a matter of thrilling speculation -hearing the the re enjoy, pil into the habit of lifting his fingers too nineteenth of Mazas and the of but they must be played with two sharp- to see which master works of those masters. But Later hearsals to hear and hearing them n permits, he can be given some of the I of music would explain which in "popular’ ’ rderemblum high in ordinary passages? have been Kayser. ly differentiated effects. Those on the point of technical or arrangement is began inviting well-known mu- much better than sician’e t many trained to think the fingers should be interpretative difficulty. never hearing COme aDd hear transcriptions of Mozart Minuets But and it is a big but—it must be dotted-quarter-note D-sharps should not at all! it them his children, and nearly always .” — And . never fails that the thev lifted very little in all quick playing. . poDularivc!^ m»H 8 and Andantes that are available. Then the clearly started ccutrihution as inter- L., Virginia. emphasized, and student must be rapidly but should immediate- stimulate the sale of the records est an indication of their —Miss M. A. What Is Good he should certainly study the three Sona- realize, that this is a specific exercise for ly increase in speed, Music ement - over and also crescendo, the original. When ‘A Song ^ late Jerome Kern turned to Remember’ Mrtam rtfyan tinas of Schubert. They are so dif- “Radio, of course, is another was^av tiCS *° the basis. not I was very glad to get your letter, for a specific purpose, and not by any means until the F-sharp is reached. This cres- splendid taste builder— mg at the Music Hall, the P y,' grou P- on a permanent music shops within * !? The fnnrt S w ficult as the Mozart Sonatas, they but here, the youngster whose eS S ined are f but it raises a point that is essential to good a normal method of playing. If the cendo, of course, calls for an increase of taste is being built- radius were completely sold out US6d for the purchase °. of Chopin imtrumen ts will help him to acquire that sense of must know what to listen to! Which brings and recoMiTgS~ wMrhh are owne and practicing. Rereading the artiole you teacher notices that the pupil is raising strength in the trilling finger, for if the up the when Artur Rubinstein (•„ d by the orchestra played the Tch loaned i,, f “give-and-take” which is essential eternal question of what is good music. ^k°VSky pIayers I an mention, I realize that I did not limit his fingers too high when he is not prac- bow pressure is increased and the finger May I go on Concerto at the Hollywood - when and as needed. Bowl, the cannot and one of record as stating that ‘good’ aud£n 66 the the chief pleasures of cham- sharply enough the functions of this type ticing actual finger-exercises, then steps pressure is not, there will music is by no means jammed with young folks who had was much or 400 enthusiastically of inevitably be confined to fallen 7n ? splendid woriffv, ber music. the statelier classics? To me, the jazz h6Se pioneer have of exercise. As it is a method of practice must be taken. And the first is to' explain a deterioration of tone quality. It is not ‘good’ music setting. By such means, popular done, Youth orchestras is anything you enjoy Ic ac and are d Finally the time comes for one of the hearing twice! tually doing - to which can produce extremely beneficial that the finger does not have to fall a easy to play these trills well, And into this helps to engender a love of the two Music is made to come alive but a care- category come various good! hundrpH , Sonatas, but the teacher must be certain kinds of popular music. Natu- ioungsters of the community who might results, it deserves a somewhat more de- long way in order to "take the string with ful study of them will be rewarding. The rally, otherwise h-. in his some popular music is bad. It isn’t 110 even mind that the student is musically tailed analysis in order that students a strong and vital grip; half an inch is two short trills in fair, though, is the amazing developmetfof 7 heart fhance whatever to get on the second half of to draw a line yoTth orch° howing acaualnf and technically of distinction that would separate J” “ with themselves prepared for it. In par- may get the most out of it and still run quite enough. Joe Louis does not need these measures must be taken lightly the pioneer In tw. le are u - The children and Ml my given t f ticular, the 0 6501,16 question risk forming habit. For to take long swing to knock ( ^ outlet-the best test of which must be asked, “Is no of any bad I a down an* Continued on Page 350) 320 n Is th^t neve^t MUSIC have any of Page 348) STUDY EXALTS LIFE” (.Continued on JUNE. 1947 "MUSIC STUDY EXALTS LIFE” 321 THE ETUDE : ?

as good as any and Music and Study is it costs under Music and Study . dollars. If your music or book store a not stock it they will order a com,,° py f°r About Intervals and Chords Questions and Answers you.) When you can play first and Q. 1. Are there dimished seconds and secnn , grade music with fair facility, sixths, and augmented thirds, sevenths, g0 and octaves? the third grade studies and pieces * 2. Are ^ E-C# and Eb-Ck? major sixths? stay on this level for quite 3. Is C a perfect Conducted by awhlle-unn fifth down from E#? you can actually play 4- The following are some them up to of PianD Study exercises temn Pedaling—the “Stepchild” taken from a book I own, In order to determine this with my solu- you may eve tions. Are my solutions correct?—M. D. tually have to get a metronome, but prnh' ably not for several Ex. 1 months. Perhaps J(arl 'udi. r2)oC. vn can be truly termed the “stepchild” Given VU. CjelrLenS, ought to work on one “ EDALING exercise of the graS courses” in of piano playing. It is far less developed than connection with the other mf any other component of the art. Anton Rubin- tin enee terial so as to be able to P Itf check a your own'n stein once remarked: “I consider the art of properly Professor Emeritus progress. using the pedal as the most difficult problem of higher You will note some sort of a Dberlin College tempo piano playing, and if we have not yet heard the in- indication at the beginning of each piece strument at its best, the fault possibly lies in the fact Ann Chenee, American pianist, started to study piano at an early age with Erl Beatty of Philadelphia. Later or study, and the dictionary Music Editor, Webster’s New will tell Alberto Jonas, Rata Present, Isidor Achron, you that it has not been fully understood how to exhaust she came under the guidance of such eminent authorities as approximately what such words as an capabilities of the pedal.” Concert pianists and Harrison Wall-Johnson, and others. International Dictionary dante, allegro, the adagio, and so forth her debut in Town Hall, New York. Since that time, she has made an eminent mean of equal distinction reiterate this statement, In 1940 Miss Chenee made educators music and piano You will find also signs of various place for herself in that city as a concert pianist, teacher, writer, and lecturer on modern sorts stressing the necessity for a thorough study of this —Editor’s Note. that relate to relative loudness pedagogics. and soft important adjunct to artistic performance. In spite ness, and you will find these explained in of this, students devote years of effort to developing the dictionary—many of them under both hands (fingers, wrists, arms) ; in gaining musical either "abbreviations" or under “signs” background (theory, analysis, interpretation), yet they A. 1 . Augmented octaves are often Don’t expect to do all and release of the pedal, the above in a neglect to evaluate the study of the pedal. The result are related to the ones already sounding. This nat- to leam a quick movement found, but not the other intervals you day or in a week; but by the end of sonority of the tone. and the “half-pedal” and “repetition pedal,” which are have a year is that instead of employing it sparingly, or not at all, urally increases the volume and mentioned. They can be written, to should you have made considerable prog- excess that the performance be- this is demonstrated at the piano, the effect can used in certain styles of music, when rapid changes be sure, but they are late for a concert career, and that you they use it to such When not generally used ress—if you work at it two or three hours merely a jumbled mass of sound, devoid of all be clearly heard. are necessary. in diatonic music. A good rule had better study music just for your own comes to remem- a day. So much for mechanical actions of the pedal, however, have ber playing. beauty, and musical significance. With the proper use of this pedal, one can give The in this connection is that one does not satisfaction—and for the pleasure that My second bit of advice is that the writing of A. Marmontel, French more prominence to .a melodic tone sustained over a little meaning to the student unless their application ordinarily write any your playing will give to your family you buy An excerpt from chromatically altered and three demonstrated. These dem- books and study them: (1) “Music pedagog of the Paris Conservatoire, dating back to veiled harmonic background. The duration and vitality to various types of music is interval which is the enharmonic equiva- friends.. This is of course what most peo- Notation and Terminology" “Usually can also be onstrations should ac- lent of a perfect ple ought to do with (Gehrkens); 1876, bears out this statement. He says, from of the tone interval. their music, and I the explana- (2) “Harmony for Eye. Ear, and Key- the day on which the teacher allows a pupil to use the prolonged. company 2. Yes. personally think it is worth all the time board” (Heacox) is tion so that this rela- 3. No. ; (3) "Fundamentals of pedal, his foot remains permanently down on this most Of equal importance A perfect fifth beneath E# is A#. and money you have spent just to have is immediately Music” (Gehrkens). These books valuable auxiliary. Nothing is more tiresome for sensi- fact that the pedal tionship 4. Your solutions are very wrong. the deep satisfaction that will the In comes from be- established. each of them ing able open up all sorts of tilings and will help tive ears than the confusion produced by the simul- sustains tones which you have added a note to to play even reasonably well. make you held other- the first given chord, which you should intelligent concerning the taneous resonance of incoherent sounds.” cannot be structure, funda- Pedal Action in not have done; in No. 2 you have mis- style, form, and notation of wise. While a spelled It s Never too music. They should also mental tone or chord is the chord of VI; in No. 3 you Latel be of help to you Careful Study the Only Remedy Elementary Music Q- Fifty-six is in learning sounding by have added a note beneath the given root a little late to begin a to Improvise. Today, carelessness and lack of discrimination in being kept Fundamentally, there reason or another, feeling musical career, however, in the bass of the chord of is repressed, X suddenly find Finally, I suggest that begin means of the pedal, the are three ways to use the I; and in all Wlth 3 you to the use of the pedal can be remedied by offering a and a person who is iano (after fifteen years of them your voice leading by nature equipped withoutwithnft ? buy recordings of piano hands are able to play damper pedal. It can be is faulty. The one and a little spare time pieces of which system of training in pedaling comparable to that to feel deeply has been conditioned every correct solutions would be to 1 haVe never had lessons you have or can readily secure the printed melodic or technical put down before the conceal trfJ' except for offered in the other phases of piano technique. By ap- his emotional life. Such a person we did in sec- Public schools but music. Follow the notation carefully as passages on another note is played. This is Ex. 2 may I can sight-read. prising the student of the full purpose of the pedals, come to the point where However I didn't know he is he you listen to the piece. Note the tempo, tion of the keyboard. effective to bind two actually a Ch 3 thi g as and by showing him how to approach this study with afraid to express his feelings a Bering until a short°rt time ago and^ r the dynamics, the staccato, 2. To connect tones. It tones of the same pitch, perhaps I don't know’ the legato and care and understanding. because he has criti- th been an C P‘ay s°me the is important to observe or of related pitch, or . ' fourth and contrasts of various sorts. Listen to Pedaling is an integral part of all good piano play- cized or derided during fifth grade pieces J childhood; and but naturally I that the use of the don't the same piece fol- next to produce a because play them as a musician would over and over again, ing, and it should be planned definitely and intelli- he has trained himself to for I know is to use 1 lowing pedal necessary or effect. The g ab° t exPressi°n other the notation each time. If it is not gently when a piece is first taken up. only his intelligence » ^ {'i than the and to deny his rmS d S°ft connect and blend single pedal can be Slgns ' put down vn» 1 would like t0 too difficult, try your- the student should I in IV natural feelings, mto playnia» learn playing parts of it This does not mean, however, that his music performance more correctly and with tones, harmonies, oc- simultaneously with the ease, greater self, making it sound as nearly as possible actually use the pedal in learning a new piece. Indeed, I cannot explain within sounds dull and and I should like the space of uninteresting; it is also to leam to taves, double notes, tone, to give accentu- improvise. I like the help in the these few columns, the mechanical cannot have lessons, artist’s performance. the pedal is a hindrance rather than a reasons for these playing rather than truly n but Tam thereby producing a bet- ation. This action also qmte a few valuable pointers If you will work- process of learning. good legato, strength and inde- changes. But if artistic ?hT ^- i from do these three things, A you are really interested playing. Whether you are e S such n T“ &CDE - ter legato and a more applies in staccato play- in wSl y°u advis™ ing for several you pendence of fingers, clarity and variety of touch are intervals and chord a person, or me ?lT.t lJi hours every day, connections, I whether you are one of closely knit musical ing, -where the pedal would urge you to study those should in the course of a year or two necessary factors in the pianist’s equipment. He must harmony with as who did not inherit high emotion- structure. leam not depend upon the pedal to cover his deficiencies. moves with the same fine a teacher as you can secure. ality in the first 166 bits of a great deal both about music and Or if place, I do not know. advice for you. 3. To give accentuation. speed as the hand. These InTiA'hothe first T about there is no good teacher in your But it might be place, it will playing the piano—and what fun town, worth while for you to be necessary for Finally, the damper first are not you to you will two methods buy a text and study by yourself. For try “letting yourself go back a little have! Fundamental Uses of the Pedals such go” a little more, and le arn ?0 do pedal is an invaluable used in the very begin- a purpose I would both much better the recommend “Harmony m your playing and in other ways. easier thhfgs Each of the three pedals of the modern grand piano aid to forceful accentua- for though Even ning of study, however. Ear, Eye, and Keyboard” by I suggest you have played has special It will for clarity Heacox that you read some fourth and fifth functions. perhaps make tion and it adds power as a good grade music How Notate Chromatics? The third way of using simple and easily comprehended poetry aloud, trying after a fashion if these functions are stated briefly at the outset. to feel the emotion and brilliance to certain the pedal putting it text. It mus now SeSe m Q. Will proper — may be secured through in it strongly discipline you please tell me the The one the pub- enough so it will be ex- yourself by damper pedal (to the right) is the most types of staccato play- lishers to play leaning way to write accidentals when composing down after the tone is of The Etude. pressed in first and. second commonly purposes: to your reading. Offer grade mndn music? In in used. It serves three important ing. your perfectly “ the key of C, for instance, played—is, by far, the services to some singer „ . descending do I increase and sustain the tone; to connect tones, thereby as accompanist from A to a lower note To complete our sur- most important of all. It write ANN CHENEE trying hard to feel the G-flat or F-sharp? Is there a gen- producing a better legato; and to give accent. How Can I song as the vey, I must not fail to is often called the syn- Learn to Play With as? eral rule for doing such things?—M. T. H- singer sings it, The soft pedal (to the left) which need not be con- and to respond to , mention that the pedal NIore the hr* copation pedal! It is the Expression same feeling in your playing. Try sidered in the first stages of study, is important later singing similar any A. of adds color to the tone, and that an endless variety of foundation and secret of all good pedaling, both in Q. t. I am twenty the material There is no one accepted way years old, I play fifth song yourself, asking the that is hLb for two reasons: to soften and veil the tone; and to grade singer to not ^ notating effects can be produced through its discreet and skillful elementary and in advanced music, yet it is most music, and have had a year of coach too childish. chromatic tones in harmonized theory you a little. During all Probably yott lend atmosphere and variety to the music. d harn ny Is there this time, to Ahbe aWeble music; employment. It is important first for the young pianist difficult for the young pianist to master. any way in which I try secure such in fact, there is great incon.* ™,uldM cultivateb° ; hard to feel the music that music ri/ht tv,, The sostennto pedal (in the center) is introduced warmth and expression in you play m your to understand the mechanical actions of the damper The student will instinctively depress the pedal as he own music sistency about it. the com- my playing, instead more deeply and store but if Tu In general usually at an stage. It is valuable of sounding too me- allow yourself to re- nnt ben even more advanced pedal. plays the tone. It cannot be too strongly chanical? the publishers ®end to poser writes to be emphasized by spond to your own feeling by of The Etode what seems to him for sustaining important harmonic fundamentals or 2 . playing a the teacher, that before What are the qualifications p “ the most considering any further as- for a con- little “>' natural notation considering “pedal cert pianist? more flexibly. Do all this by ««»« «i5Tt« points” in the bass or middle section of the How to Manipulate the Pedal your- Sr the that pects of the study of the pedal, he must learri to control self at first until ,e movement of the chords at instrument, thus allowing freedom to the damper *0° ^ t0 StUdy f°r 3 COncert — you are no longer more Just as the pianist learns correct hand position and his foot to wait until after the career?^-!. Point, in descend tone is sounded. This afraid of expressing your ^ ^Ky“~I.ie- the key of C, if you pedal. feelings. finger action, running carefully, be so must he know the proper position will save him the distress of overcoming a bad habit, 2. through from a to F-sharp, also 1 A concert pianist the enHrl which may A. . Expressive must be a fine all- ^ and movements of the foot on the pedal. The heel and it take playing comes from three times two or written you may him years to do this. At first, let him feeling around musician, knowing first and thin v’®®® enharmoniously as G-flat, on the part of the the great mu- b lnnine The Damper Pedal rests on the floor and the pedal is controlled by the practice simple exercises, listening closely to the effect performer, sic thorough study a will probably if and literature as well as being of details write F-sharp, especially some people have more feeling versed in sign notmg®f. each There are three fundamental reasons for the em- ball of the foot which never loses contact with it. produced. A keen ear can detect the difference in than harmony, of whatever . this note others. counterpoint, form, kind nc resolves to a G. ployment Here A musician must have a and so gering. udlnS the fin- of the damper pedal. a few injunctions are in order: Do not lift the the quality of the tone which is shut off or blurred by com- iorth; and piay slowlv c+’ ! You will dis- bination ' he must have the find this matter briefly 1. of high intelligence and strong ability to dings. l00k To increase and sustain the tone. We all know foot away from the pedal, as the sound of the shoe a too quick pedal action, and one which is allowed to Play almost anything— If you c UP cussed on Page Nota- deep feeling; if so far as technic Ji figure 38 of -my “Music that striking it will be and one of these is outut theth - when the finger depresses a key, the hammer distracting to the listener. It also sound clearly before the pedal is depressed. After know- lack- is concerned. mg of some DarHciov • mean tions admit ing he simply n and Terminology,” but I strikes hinders cannot succeed in the tion, look -°r abbrevla - the string, and its damper rises. If the pedal speedy action when it is needed. Do not re- ing what to listen for, strive to “educate” the hearing, 3. Again it up frankly i s field of music. I cannot answer £Cur m that my treatment there is put the But sometimes, for you with a (If d' Ctl0nary down while the tone is being held, the dampers gard pedal as a time-keeper or a convenient foot to make it more sensitive. Lack of ear-training, musical one yes or you don’t ' inadequate. where a no, but my guess is own a !i However, know that it is too advise musicmm dictionary I don’t are lifted from all the strings. This causes to vibrate rest. First, practice putting the pedal all the way down taste, and mental awareness, are the most glaring de- yyouou to him I there is some 322 buy one at anything better. Perhaps in unison releasing once-Elson's those strings, over the entire keyboard, which and it without a jerk. It is important next ficiencies encountered in this ( Continued on Page 345) of our readers "MUSIC STUDY will be able to tell us. EXALTS LIFE” JUNE, 1947 "MUSIC STUDY EXALTS LIFE” 323 THE ETUDE f

II / — >

Music and Study JUNE BLOSSOMS Although written in waltz lempo,this alluring composition should be played more like an idyl, full meaning being given to each phrase with- out detracting from the rhythm. The grace notes preceding the chords come on the first beat with the bass accompaniment and with the other Technical Proficiency in Singing notes in the chord. The melody note following, the grace note is played immediately after it. In other words, do not play the grace note before the chord. Grade 3 .j. JOSEPH M. HOPKINS *

Tempo di Valse, molto rubato ( J= 120) 5 hj oCucrezia (f3on

Noted Prima Donna of Metropolitan Dpera Fame

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EVELOPMENT of technical proficiency in sing- ing may not be likened to that of the technique D in playing instruments. Artists playing instru- ments deal with the finished product as far as the instrument itself is concerned, but the singer has to make or remake his voice. The singing instrument requires constant observation, and control if it is to retain its means of expression, its strength, stability, flexibility, resonance, and expressive character. The body must be kept in good condition, and the voice must not be overworked. The human voice is capable of just so much development in a given time. Youthfulness is the charm in a voice, and if it is cor- rectly used it will remain youthful for years. Strain is one of the first things that will take away youth- fulness in a voice. have heard singers tear their I A voices to pieces trying to get what they thought was CHILDHOOD PICTURE OF LUCREZIA BORI a big tone. They did not seem to realize that a light produced in 1917. voice with good resonance will carry farther than a It embraces a simple story about life in a Parisian heavy voice with no resonance. Many beautiful voices setting. The singer should 5 have not been born with volume, and I do not consider become technically proficient in 3 s playing 2 that volume is everything. An attempt to give such a the piano. This instrument is the most helpful to a singers -U- voice volume will more than likely prove disastrous. career, and it is always so much more 4 s practical to be able s it•- s The teacher should try to convince the young singer to play your own accompaniments m Wiz- and vocal h that the surest way to lose a voice is to try to imitate exercises while practicing, than to have to depend f a Wagnerian singer. on some one else. Theory and sight singing are mjjpoco rit. important V v aids to the singers musicianship, and lan- w 7 mf m poco rit. 1 Vocal Exercises guages are an absolute ~rubato__~~ mf rubato p must. ~~ A A There is no mf Everything that is sung should be a means to freeing singing role that is simple if it is per- Jrk Cl. ormed correctly. the vocal instrument. For facility in the responsiveness Just the production of the voice takes — _sP-m — a i* tremendous of the larynx, and vocal cords, staccati exercises, fast amount of concentration, and this is W > why the & arpeggios, fast scales, trills, and various forms of florid singer who wants a t career more than anything d -t i & exercises are beneficial. Staccati exercises else must renounce £ £ develop a everything for it. ¥ LUCREZIA BORI J L_ light, free, flexibility of adjustment in the vocal cords. They can be used for all types of voices. If the vocal ascending sustained exercises cords do not become free in the singing of staccati for the beginner. Later weak take up both tones are strengthened through the practice exercises, they will not approximate freely in descending and ascending sustained the sing- o orid exercises, but 4 ten. r. exercises in various forms, and I would not stress the continued 1 Fine ing of the text. The daily practice of staccati exercises with crescendo and working on pp decrescendo of sustained weak tones in the endeavor to strengthen is an important factor in conditioning the voice for single tones. These exercises •fe— cm as this * , h — will help the singer is destructive to the vocal instrument, 1, H v y tP-Ft freedom in singing. attain volume of tone without - d-J-jJd - am and it J'fpsg- makes for undue ff) -1 undue strain, and will stress on weak -3—^ \ Through the use of florid, condition the entire voice spots. — #• cJ and staccati exercises the e 00 v°w-els i. and e, t\ Throaty singing . and a, are estab- vocal range may be extended. I believe that comes from beginning the beneficial in singers tone in lishing the resistant the throat, and such singing strength of the vocal cords. After should practice scales. At first, the tones of will in time ruin a higher beau- r tam *m° Unt rit. tiful voice. .To have the attack of attenti°n has been given to these setup re rubato pitch in scales and arpeggios should pure, and in , / be touched lightly; tune, the Jl s, other throat must be open, and in vow-els should be added to vocal practice. but not sustained. Gradually, they can be sustained order to open the throat n\ the e deve lopment singer must relax . of technical purely in the same exercises, and in jumps of an octave with- the jaw. In singing, the opening ,. proficiency is rj \ of the jaw and the out subjecting the larynx to undue strain. is very important. A yawning teachers judgement is very im- -s>— sensation ln I gives the singer the correct feeling proceeding with a vocal career. teacher Short practice intervals at frequent of an open f The 0 times during the throat- SG and it is this relaxed eC rePer t°ire and I i £ BE day are good for the voice. sensation that the singer exercises to meet the indi- i young I believe alwavs , in twenty 3 vidualviHi needsj of 1 1 should try to reproduce. pupils. J I _l 1 * minute practice periods, but the entire daily amount of 1 After Ca n a vocal practice should be limited a certain elasticity has become only kpeP the vocal instrument in fit to one hour and a half. natural florid cnnHu , exercises may be y daily combined with exercises practice - and on sustained rpfninBrf\v! Strength is developed tones. The singing of sustained tones rougla the daily singing opera . Florid Singing requires a higher rolp of exercises, degree of elasticity ongs than does the singing ’ and the full used. Speed and purity of of florid oas- Aftpr n, ? voice should be intonation in florid singing sages. If exercises SU on sustained tones are er is not hampered technical inter- cannot b’e attained by slow attempted ton fprpnB- ?? by practice. Speed is attained early in the development ln V0CaI of the voice, undue Instrument, he is free to give by practicing fast passages in fast tempo, strain T exnrpcpressionf * ‘v® and the placed on the apparatus, and throat to his artistic singer stiffness results capabilities. must understand the rhythmic structure of n The practice of the trill is invaluable y ng an opera role d0 score; what he is singing. When the vocal instrument in the develon hut inc?f i not start from the is free ment of the flexibility of the larynx. read tde h°°k of all interference, speed The trill canno? on which the opera is based, in the execution of florid function In nniv thff- well when the tone is 1S Way WiU you per- passages, becomes automatic. forced or the throat get the Psychology of the The tone becomes more son nL , is subjected to pressure. I believe y0U are plannin flexible and clear that a good trill g to portray. I treasure my as the voice becomes more flexible mav first pri t- be acquired by all types of voices, i0ns °f ’ and elastic. both male and f Dumas "La Traviata” and Prosper male, where the flexibility of Merim^S nal, the throat is nove' of “.” to in- When all tendency to eliminate throat stiffness established' telliepnti °Df In order has The role of in Puccini’s pidture the you been “La Boheme” is w°rds and music of a role, accomplished, the development of sustained sing- man, so hu must knn and so modest, and it should be the PSKhology same ing may be undertaken. acted arJl, , of the heroine. The For the beginner I would with this words same simplicity. I was considered dlfferent singers recommend exercises descending in pitch rather SUCceS can be sung in as many than in Puccini’s lyric comedy “” different ways which was Based first The words on a theme by Charles H. Davis 324 and music of (Continued Page 346) "MUSIC on Copyright 1946 STUDY EXALTS LIFE" by Theodore Presser Co. British Copyright JUNE secu-red THE ETUDE 1917 325 A ^ 1 .^- -o 3— === Jg - ^ W— -5^ < - '" ^^-gKrtfJ— > :S %y S *•* $ 1 j #• I TO * f.4 -f ^-=- 2 t- n S;^ * *- U } 5» :

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.5 MORNING MOOD

(MORGENSTIMMUNG) ...... Grieg was twenty- four years old; and the national When Henrik Ibsen’s picturesque sociological fantasy P,erGynt was produced in 1867, Edvard his incidental mus ic. Marge ti n mungis character of the d rama made an immense appeal to him. This resulted in two suites developed from trans- breezes throug e rees ’ n 0 ife,allde- lated “morning mood,” but it implies the inspiration of the new day, the chorus of birds, the S lightfully depicted in this little masterpiece. Grade 6. EDVARD GRIEG Op 46 ]\J Allegretto pastorale.M.M. J-=60

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5 _ 3 L4 II 2 VIENNA— LIFE— JOHANN STRAUSS, Op. 354 i- j>: -> S fc*T -9- -9- -9- ( — —-- * • t 1 , r Af-f|#Vi' r c r tf ;r -a . 3 ... 1 * yr i r 'f IT -*-_=S= aV,0limst and at all F y ’ times ^ simulate the legato of strings. Grade 3. llr Tempo di Valse (eJ.= 63J T f P p 2 2^2 4 o _ -f- -f- 0 _ HL_ I m !. ] ^ -F pfpf i-=b- J— Irl r l ff f: [_

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LEGEND OF THE WATERS a.t vmpo Mr Greys Legend of the Waters \v i ] ] be heard to are played with great evenness of best advantage if the accompanying arpeggio notes tone and regi "3 i g ularity, even though the piece is » » marked confuoco (with fire). The middle section offers fine dramatic opportunities. Grade 4. * H =4= 1 tzn+±g- V * / =§ £ ifl® 7. m *-0 00— - Cotl f’llOCO (J = 126) • 00- rr r r J- -sms " la mclodia ben accent unto rJ poco'rcIir : . cresc. A \ | id- JtJ 4 0— £o su ae u 4-0 5> — * o d p. D. C. xr rjp J— —m- 1 4 Ft f——It — ibJTJl m f T»*» W3 1] J — _i 1 - U 1 -n I —/ ^t n p -tj-s 9-S g— $—y ^ 4— ^ b? \m . /v. mmm A mi. A 1 1 r a — — -A A A A — A La . a FROM CRINOLINE DAYS Mr. Oberg, in picturing crinoline days of the early Victorian period, has very cleverly employed a two-sixteenth note embellishment, as used in one of the most popular pieces of that day', the Monastery Bells by Lefebure -Wely, eminent French organist and composer (1817-1869),who wrote much

organ music and three symphonies. Monastery Bells is said to have sold over a million copies. Grade 3 •§. Andante espressivo (JWo4) O* SCHELDRUP OBERG

Copyright MCMXLVI by Oliver Ditson Company 332 International Copyright secured Copyright 194G by Theodore Presser Co. THE ETUDE British Copyright secured •JUNE 191 7 333 . 7 £ 5 —— ^

WEEPING WILLOW optically *The reason for distributing the parts of a composition of this type upon three staves is that it makes the melody stand out inoie prominent- ly and thus leads to clearer effectively imitated. performance. The undulating sway of a willow tree in the. spring breezes may be very Grade 2 .* Modcrato con motoJ= 120) MYRA ADLER mclodia ben marcato t <» The willow sways in the breeze 4 r. h. 1 3 s 1 ^ 4 2 - 3 ^ s=^=* 1i *5- * A- i i & 33S J] l.h. l.k. /

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COMMENCEMENT DAY MARCH COMMENCEMENT DAY MARCH SECONDO C. C. CRAM MONO, Op. i3 Tempo di 8 PRIMO Marcia Jr iso) Tempo di Marcia J=iso) C. C. CRAMMOND, Op. 138

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British Copyright secured THE ETUDE JUNE 1947 397 ^ ‘

THY WILL BE DONE Jessalie Lyndon Jones CHARLES GILBERT SPRQSs J' Andant ino ~~~ Vlj' — — m p r --m .to ?ry Him, Who bade the waves be still,. ‘Thy will be done, Thy :e

O Fa-ther, hear me while I pray! Take all my doubts and fea rs a -

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JUNE 1947 339 —

JESUS CALLS US, O’ER THE TUMULT A VISIT TO GRANDPAS Hammond. Registration Galilee GAYLE INGRAHAM SMITH @) (10) 00 5131 212 (WILLIAM H. JUDE) Slowly [S (10) 00 7370 100 ALEXANDER Andante tranquillo H. MATTHEWS

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" occurs in the extreme treble where the Pedaling — the "Stepchild strings have no dampers, the pedal may be generously employed to good effect. Unless there is always a good reason for of Piano Study using the pedal, avoid it. Turns should never be played with pedal, and grace Page 323) mordents are usually clearer (,Continued from notes and without it. When repeated notes are performance. played in rapid succession, it is better to nhase of a student’s considered Is omit the pedal. The next problem to be pedal. arises, whether or when and how to change the A The question often take a new pedal with not to use the pedal in playing the works basic rule is to and this applies of composers of the sixteenth and seven- each change in harmony, line where unrelated tones teenth centuries, since most of this music to a melodic exceptions to this rule, was written for instruments which had no occur There are later in remarks concerning pedals. Musicians and teachers of today as will appear music. When are divided in their opinion about this, certain types of advanced notes, oc- advocating rigid avoidance of it, melodic tones, chords, double some a connected, the pedal is others expressing the belief that, if em- taves, are to be tone or tones, with discretion, it will enhance the carried over from the last ployed one is played, beauty of this music. When playing the being lifted when the next depressed. This works of the early masters, let us not for- then it is immediately faithfully in order get that the fore-runners of the modern rule must be followed harmonic, and rhythmic piano gave out a comparatively weak, to produce tonal, thin tone; therefore we must make ad- clarity. The following rules are of great impor- justments in touch and style to preserve approaches spirit character of the age. How- tance to the student as he the and cannot take on the quality more advanced music: Most chords re- ever, the piano harpsichord or clavichord. Why then quire the addition of the pedal to enhance of a stac- impoverish this music by denying it the their color and sonority. In playing all it color dynamic effects made possible cato chords, if the pedal is used at and pedal? In his treatise must be released instantly. Arpeggios lend by the aid of the Pianoforte,” Hans themselves well to a generous use of the “The Pedals of the “Liszt, by his tran- pedal; indeed they frequently require it. Schmitt observes that has Most octave passages are played with scriptions of Bach’s organ fugues, if that the most complicated pedal, especially if they are melodic, or demonstrated played on the power and brilliance are desired. Staccato polyphonic music can be octaves require a quick pedal on accented piano with pedal.” notes only. Many octave passages can not This is my feeling, at least, for ideal be played legato. Trills may or may not be expression in the performance of the old pedaled, depending upon the nature of classics. This, however, does not apply to the music. A long trill can be built up to a the early training of the student. There for the more effective climax, if pedal is brought is no doubt that it is preferable play the in, and there will be less strain on the young pianist to practice and fingers. Most glissando passages benefit compositions of Scarlatti, Couperin, Mo- here and are easier to play, if pedal is used zart, and Bach, without pedal, for and clarity are the first throughout purity of tone 1 USED EXCLUSIVELY essentials. In all the long history of the art »v Discrimination Is Important The soft pedal is used to soften the tone and make it less resonant, or to cre- The student, even when limited to fair- of building fine pianos, only a Zino Francescatti and variety in the play- ly simple techniques in his own work, can ate atmosphere pedal (to the left) and gam inspiration by observing the subtle ing. Put down this Luboshutz and long as the effect is de- ever deserved and complex pedal effects which are ob- keep it down as notable few have Nemenoff of the damper pedal tained by the masters as an integral part sired. The action goes on as usual. Maria of great performance. called “great”. Jesus sostenuto pedal is used to sustain to be A good knowledge of harmony is indis- The m Sanroma tone or a “pedal 0 pensable for proper employment of the a fundamental harmonic allowing more freedom in the Sir Thomas pedal. A melodic line composed of eighth point,” thus pedal. It is held down among that notable few, Beecham or sixteenth notes, and so on, with dis- use of the damper And the full value of the tone sonances and unrelated tones, requires continuously for pedal -will not prolong Arthur Fiedler merely a touch of pedal here and there, or chord. This quote the words of the dis- the upper middle register of to for accent. However, if this passage occurs tones above E. Robert in the upper register of the piano, the the piano. Beethoven, Brahms, Schmitz pedal is often retained throughout. Liszt In the works of tinguished artist, Jose Iturbi, Liszt, and Chopin, the damper pedal Is was the first prominent composer to rec- Robert Goldsand only to sustain, connect, ognize and make use of this pedal effect. introduced not is incompar- and power, but to enrich and . . the Baldwin In the compositions of his later years, the give accent, Pierre Monteux art of pedaling was notably advanced. color the music. «, introduced and employed star- As a rule, no pedal is used in playing Debussy ably superior” and many others the art of pedaling. scale passages. Only in the upper section tling innovations in the pedal is a highly sig- of the instrument may a scale ascending In his music, harmony does or descending be played with one con- nificant feature. Change of new pedal, the pedal tinuous pedal. There are a few instances not always denote a held down over many where the pedal may be used in a scale sometimes being sustain a veiled background passage to give sweep, or descriptive measures to or arpeggios. Frequently effects. Good listening will determine of chord clusters unrelated chords are in- whether or not to use the pedal in pas- dissonances or melodic pattern, sup- sage work. Clarity must never be sacri- troduced into a conventional harmonic foun- THE BALDWIN PIANO COMPANY ficed unless some special effect is desired. ported by a retained to build Most double notes are pedaled only in dation, yet the pedal is CINCINNATI 2, OHIO sound. If the ac- legato passages, with frequent changes. up a greater mass of sonorities is overpowering, Sixths benefit by its use. cumulation of can be employed to clarify AND HOWARD PIANOS We have already mentioned the use and the half-pedal BUILDERS OF BALDWIN, ACROSONIC, HAMILTON The repetition pedal action of the pedal in staccato passages. the musical line. up and down several In a scherzo or presto movement where (moving the pedal succession) is also valuable lightness and delicacy are necessary, little times in rapid Continued on Page 348) or no pedal is used. When the passage ( STUDY EXALTS LIFE” 345 THE ETUDE JUNE, 1947 "MUSIC- » — — — " — ! —

is what counts—ease in facing any type r~” Technical Gm,BRANSEN Proficiency of audience. “No matter what type of beginning en- Voice Questions PIANO TEACHERS in Singing gagement the young singer finds, how- ever, he should not stop studying simply (.Continued from Page 324) LOOK h\ because he has a professional job! In- CDccn rtPH i c (^ mpyi deed, done during those in- TO \ cards j an opera role should be learned at the the study NICHOLAS DOUTY jrCEU UKILLj mus U"’ same time, I between years, while one is no longer an I W ftf U7.«, Cards in Place and believe in learning an CENTURY r, inexperienced student and has not yet Back of Keyboard entire act before attempting the next (i:\TCGY one. UnRXffY Beginners become a self-reliant artist, can be the Discouraged Singer produce them well. Therefore they might be for Teaching A single aria from an opera is never as FOR Another studied voice with .several less clear than usual, or the attempt is then that subtle After having to sing important as the opera itself. most important. It the Q. It is the over a period of years, and' completed them might cause a tickling in the larynx, or adjustments of voice, projection, inter- ESSENTIAL teachers Sight Reading soliloquy, or the dull moment in the ac- in theory and harmony, even bring on an attack of coughing. an excellent course A laryn- pretation, and audience reaction must be lessons, I thought 1 goscopic examination would determine tion, but the big moment for the success TECHNICAL with piano and organ whether built. then, after about three or four MATERIAL make some contribution to or not there is anything wrong in the larynx or failure of the singer. And would be able to Complete Set of 32 Cards, Keyboard Finder and home town or elsewhere. But I and we suggest that you have it done. 2.- If Do not depend too years of experience-plus-study, when one music in my Book of Instructions — Only 50/ much upon operatic When people here have the you have, been under great nervous strain for has a better conception of one’s own am disappointed. vocal coaches, but study your own part choose, they usually select singers several months and have also suffered from We thought that everybody knew power to powers and limitations, the important about Cen bronchitis, Drill No. I thoroughly, and get the feeling, the tury s excellent have had little or no training, and- who you need not look farther for the psy- technical material who learned tiny tots, For stressing visual things should begin to come! but iust the singing cause of SIGHT-PLAYING easily and quickly by chology of its action, other day a teacher was break many of the rules of good which your troubles. You report that you and the history of surprised to leorn Drill Cards. accuracy that I asked to sing. A are getting gradually better, so you must be or beginners of any age, with these Speed "Whether those important things re- we had such a line-that I was taught. Seldom am s the period to which it belongs, and the it was really fine 1. and singing teacher of this section told in good hands. Ask your physician to cure Makes teaching easier and quicker for class or individual veal themselves in progressive So ,ust in cose prominent costuming of the period. opera or on the con- there is another piano teacher recently that for generations, the people your2. bronchitis. You yourself should change instruction. cert somewhere who doesn't me I never stage, it is absolutely necessary that know and enjoyed the crude your mode of living in order to eradicate the took a dramatic lesson in my here is a list of here have listened to technical material that n „,' the singer sure is e their trained nervous3. strain as completely as possible. Drills consist of 32 cards with life, but I learned the have a command of mu- sary to every sort of singing and that ears are When EASY TO USE— Speed art teacher . of drama by . . pric eS “j sical b 011 encouraged me as to my singing but you are well again resume your daily vocal and easy-to-follow instructions for their use. On using my own style. In the last analysis, a sense are reasonable. to it. He complete intelligence, and by watch- town’s practice and will admitted that I could not fit into my you soon find that your each card is a picture of the note on the staff which cor- ing the positions of style may be said to stem- from a sense and actions of my col- Abrams, Scales in Double Notes (Thirds). they do not like trained voices. voice will be as godd as ever. Xo Hs , j. ideas because 4. responds with the key on the piano keyboard. Thus, of taste. Hence, the serious singer should Abrams. Scales in Double Notes leagues on the stage. I acted spontane- (Sixths;, Vo «fs 2nl This idea seems alm'ost unbelievable since I ,e " B '• TrladS and Sev ” the student learns through his eyes, rather than the written : begin to steep «' n,h Chords! Let little himself, as early as possi- l5o“j 72 the simple classics, many folk songs, fingers learn the ABC’s ously, and little by little my work sing only A. Dramatic Soprano at Fifteen note. Ab 20t or spoken word, the location and position of each Drill No. 2 of music on a ble and as much as possible, in the vari- ™™^|‘a«a,«—A Technicai Dixcussioa, gospel hymns, and the songs people really love. responsive instru- improved. After a daily rehearsal, I For instant recognition ment. ous He adds “There is nothing wrong with your Q.—I am fifteen years old, a dramatic so- A Gulhransen Spinet kinds, ‘schools,’ types, and styles of Burg'muellor. Opus 100. Tw.nty.flv,. STEP Speed Drills are an advanced of keyboard positions, piano would go home, and think Easy studies’ 1 AN ADVANCED — out ways that C ^ voice; it is fhe people who are wrong.” Please prano with a range from G below Middle C to in your home today will give your music. He should be able to feel, in- ^ 6. step in aiding the student to quickly identify the note on I could improve my acting. Ws JSS* perplexity. A friend of mine who High C. I have taken lessons for about two child many hours I worked to clarify my of happiness . . . stinctively, that Italian 7. the staff with the key on the piano. These handy cards opera requires and is called months. Here are questions: | a ’ long ago who identify myself with the ‘ moved here not my a future enriched character por- Czerny! V 8. with the appreci- different approach from to her former home as soloist in oratorios —People say if you yell or call too loud it stress visual accuracy, recognition of the keyboard posi- trayed, so that French opera; Duvernoy, Opus 120. Fifteen brilliant back ation of good my actions would be com- studies sal music. New Gul- that Hanon-Burdick, Virtuoso Pianist. is having the same experience, perhaps worse. will ruin your voice. Is this true? tions, producing rapid visual, mental and muscular pletely Beethoven songs need a different Part I v >370 20! logical every moment Hanon-Burdiek, 2' bransen Spinet Pianos are more on the stage. Virtuoso Pianist. Part Ye fui) 90! She has few invitations to sing.—E. D. —Some neighbors have told me that I coordination. tone and color from Debussy songs. Honor's Necessity 4" * beautiful than ever, Dramatic ability is born in Cer- Studies. From 0, 46 ud should wait until I am sixteen to start. Should lovely instru- the singer; Selected studies in progressive years tainly, the singer is order cn.. A. Robert Louis Stevenson wrote many assisted at every I . ments of brilliant it is not made; H ',S 4 I have started sooner than did? LARGE make vivid mental pictures. This tone and superb but it must be developed P Twen,»;ftve studies (or development inust make his living by sell- THE NOTES new stage ofnV'hrhythm?h anda expression ago, "Every man of his work by a good coach— so* —About a year ago 1 had laryngitis and is all ... children like Speed craftsmanship. Write for free to become as natural as breathing. something" and the singer is no exception feature important, but best of K S M h0d ' ing One ’ ° 249 P ' Part ' Pr ,i «l but why place all the « Method ever since then there is a scratchiness mostly first booklets showing new does responsibility on ?.?Pi »no" this general rule. The things that he sells Drills. They should be used at the lesson, and the Drill No. 3 models not learn how to move the head; to in clear throat or Kohler. Seales and • my high tones. When I my the coach’s shoulders? After Chords. .Vo. /. :i voice, his style, his looks, and his per- pupil should have a set for daily home practice. For stressing rapidity but it is all, you are fj? are his your inner feeling that must 's.E'ementary Rudiments tor piano swallow it is better. Is there anything that the Book sonality. He must learn to sing the songs that playing the keys one who will do the singing! It No# 1 .... tell you how to do it gracefully is 75c would clear up this hoarseness? and unaf- Main's Major and Minor Seales and will please the majority. Therefore his reper- SIGHT- PLAYING is becoming more and more of a re- helpful to absorb style from the record- Principai —Recently I took part in a recital and be- fected, and then the effect must large and extremely varied. It of pianists, students at the very start, should will take care Schmitt, Five toire be 3. quirement and ings of Finger Exercises, I. .Yu. cause tenseness and stage fright I did not celebrated singers—especially Part 1101. 20c foolish devote an entire, evening of of itself. Schmitt, Five Finger Exorcises, would be to be trained to attain it. Speed Drills will lay the foundation Part 2. \ •<. 1208 do so well. Will constantly moving the jaws singers like Caruso, Century’s 20c songs V X st v Scotti, Amato, whose Manual of Harmony by Walter to Italian, French, German, and Russian VV X Among the forty-two Rolfe. . 25c and neck while practicing relieve or get rid for proficient sight playing. opera roles that Century s 64 page Musical Dictionary voices can be heard only J5 C sung In the original language in the usual I sang, through discs of4.this tenseness? I have always thought that the small town where not a word of these lan- but the wise singer will Ask your dealer to singer GET YOURS TODAY — Speed Drills may be obtained train himself to show you this material. If 5 —If a person wants to be an opera TEACHERS’ Massenet, and Puccini guages is understood. Conversely it would be V Manons were sub- he cannot learn without mimicking. supply you, send your order direct should he stick to classicals or would it hurt from your local music dealer, or send direct to us, the pub- Certainly, it is to equally stupid of him to sing nothing but lime. Massenet emphasized us. Our 5. the fragility a complete catalogue listing over 3800 the voice to sing, popular music? lishers. Complete set of 32 cards with instructions, only 50c. temptation to try to sing ‘like’ some popular songs, folk songs, and hill billy music of the character of , numbers is FREE on request. About howtlong should a beginner prac- ^PERENNIAL while Puccini artist York, Boston, Or Philadelphia. — whom you admire, in New Chicago Drill No. 4 RL % brought out the but it is far tice the. voice each day? dramatic portions of the If the people of your town want to hear Praise better not to imitate. To end as I began, —Will too much singing hurt the voice? JENKINS COMPANY, Kansas City Mo. For stressing rapid vis- book in “Manon Lescaut.” CENTURY MUSIC PUBLISHING CO. The Lord and Pass the Ammunition, or The MUSIC 6, ual, mental and muscu- Puccini is not the ultimate How can a sort of timid person get a FAVORITES requisite is inborn musical 49 — lar coordination difficult to sing; but the s West 63rd Street New York N. Y. White Christmas, why feed them songs by secret in in ging talent 23, smile6. and look pleasant while singing and when —it is this which establishes com- Franck, Reger, Stravinski, and Shostakovich iJ his music is to touch the heart of people. using the arms and so forth to express a song? munication with audiences it is this until they get musical indigestion even if you This also remains true in singing — TRANSCRIPTIONS Verdi’s which must guide the like them yourself. The successful singer must -M. J. are a feature of Century music. Both singer in his tones LEARN "SWING" of these composers knew and in MUSIC be quite chameleon-like in the number of A. Yelling, screaming, singing too loud and COMPLETE COURSE IN HARMONY Edition. his taste.” " Instrument. make vour 7. — Whenever you are looking for a own arrangements or S? colors that uses and his personality must well how to ' write for the human “'hot break*, chor -sas nhhiivatoa hq habitually forcing too much breath against the voice, and 8 be 1 1 1 s h m men ta, Ogrura 1 1 "SELF ons . INSTRUCTOR" by A. edited blue note*, whole tones, etc.' be as many faceted as that of Proteus himself. A JOSEPH HAGEN simplification, look to Century Edition their music is vocally practical. MODERN DANCE ARRANGING cords is apt to strain them, tighten the throat " “It colored Formerly Editor of Musical Theory for “The International Musician Duets, trios, quartettes and Is no use complaining” as the poor muscles and gradually impair the natural qual- first . ensembles—special choruses . . you'll very likely find it there at modulating 8. 20f to other keys— suspensions— anticipations boy sings in “Porgy and Bess.” Therefore you ity of the voice. this course has which eliminated’ the of 01* coor To a KEY been added need a teacher. a copy. effecls—awingy backgrounds— must learn to know the songs that the people Write^today 2.—If there is any question in your mind that It supplies a long-felt want of musicians, especially those who live in remote ELMER B. of your home town want to hear. Furthermore, too young to take singing lessons, the 3653 Alla „ FUCHS you are districts where services of a teacher are unobtainable. Melodies revised and Turca, Am-2 Mozart 335 East 19th St. Brooklyn 26, N. Y. you must cultivate the tone quality that they most sensible thing would be for you to ask 3213 Amaryllis, C-2 harmonized. Write for particulars and MONEY-BACK guarantee. Ghys admire, and the diction (pronunciation and your teacher. We have written many an answer 3382 Andante Cant., 5th Symph., F-2. . .Tschaikowsby word formation) to. - - - - - The Pianist’s Page that they are accustomed to girls of your age and they have been printed JOSEPH A. HAGEN 70 Webster Avenue, Paterson, N. J. 2593 Anitra’s Dance, Am-3... Reguisites for Grieg the Otherwise your singing will never be enjoyed in The Etude. Please get the back issues and 3667 , June, Am-2 Tschaikowsky where you are living and you will be forced written. 3384 Cortege (Continued carefully read what we have du Sardar. C-2 Ippolitov-Ivanov from Page 306) Has Your Child Young Singer to discontinue it, or to move to another com- —It may be that the infection in your lar- 3385 Dance of the Hours. C-2 the Ponchielli advantage of piano study with munity. nasal cavities not 3216 Elegie, ynx or even in the has en- Em-2 Massenet a member of ( the disappeared. An examination, especially SLIDE RULE Continued tirely VISUAL SYSTEM 2594 The seat offers Evening Star, Tannhauser, G-2 Wagner from Page 315) the indispehsable free Lack of Control After Bronchitis a laryngoscopic examination, by a competent BY STANLEY A. SIVIK 3388 Finlandia, G-3 swing from the hips, Sibelius forward, backward, NATIONAL GUILD throat doctor would determine this for you. 3656 General Grant’s Grand cruise ships. I Q. For several The Logical Approach to the Study of Music Fundamentals March, F-2. . . Mack have months I have been under never sung in night- and laterally, and of course If neck, throat muscles, and 3360 Gypsy Rondo. the basis of of PIANO — your jaw Contents: Major and Minor Scales; All the Basic Triads and Chords G-2 Haydn clubs. It is TEACHERS heavy nervous tension and have developed a a dangerous practice the body’s it that you are singing incor- 2262 Hungarian Dance to re- weight-flow into the inc. are stiff may be No. 5, Gm-2 Brahms keyboard noticeable tremor and uncertainty in my Small Book Type *'B" $1 Large Book Type "A" ,...$2 fuse work for no A goal rectly. As you learn how to produce your tones 2590 Idilio. better reason than • As to the of achievement F-3 Lack that function of the feet, the for every student suitable speech. My doctor thinks this is more or less 1820 it is less V to his age comfortably, this tension should disappear. MODE-HARMONIC PUBLISHERS, BOX 222, BLOOMFIELD, JERSEY Invitation to the Dance, than the goal you have right foot is and advancement. a complex and NEW C-2 Weber set for the stabilizer and rest-point (NOT can be overcome; in fact there 2595 Kamm&noi yourself, A CONTEST) are —The music of the standard operas is quite Ostrow, F-3 Rubinstein it’s of no use deploring the while the signs of improvement already. 1 have had fact left sole is the spring The Better unlike the music of the popular songs. To sing 3392 Laroo, New World, which Teachers Are Members 0. cough C-2 Dvorak that operatic conditions gives due to a bronchial irritation for about 2510 Menuet - make it impos- the necessary Chapters in every large operatic music takes a well-developed tech- . TRAIN ' F 2 force, music center two months. Paderewski sible for the dynamism My throat closes up rather often, WM. S. HAYNES COMPANY 2160 Minute Waltz, young singer to break his bounce call it FOR INFORMATION WRITE and nique and a fine strong voice. Neither such a Eb-2 Chopin — what you will, and my high tones are reached with difficulty 2194 way in without which voice nor such a technique can be developed Orientale, Bb-3 training; that concert regulates the IRL and they do not have the clarity as formerly. Flutes of Distinction Cui descending weight. ALLISON, M. A. of fifteen. The singing of popular 3369 Rustic Dance, managers With Could this at the age C-2 .'.Howell seldom make their selections both swing and founder and president be due to my nervousness and 2196 Serenade, spring coordinating cough? songs is a separate art requiring a different Dm-3 Schubert from among per- Boxln3 Will my voice be permanently im- STERLING SILVER - GOLD -r PLATINUM 3*91 inexperienced singers. Facts fect y through AUSTIN, TEXAS technique and a different kind of voice. Results GUARANTEED! Skaters' Waltz, c-2 the light, floating paired?—M. B. B. fl\/ Waldteufel are as they are, elbow We build, strengrthen the vocal organs— 2466 Song of and the wise tip to the —Never practice too long at a time. Three Catalog on request not with singing sound, sci- India, G-2 Rimsky-Korsakoff beginner strong, sensitive finger lessons—but by 2158 adjusts his tip the or four periods of fifteen minutes each, every entifically correct silent and vocal exercises, Spring Song, G-2 outlook to accept them. pianist A. An attack and absolutely guarantee satisfaction of if it , , complete Mendelssohn The controls the current bronchitis, especially 108 Massachusetts Avenue, Boston _ , 3398 to anv “volt day, would be better for you than periods an 15, Mass. with results. Write for Voice Book, FREE. Sent to no Tales from the Vienna Woods, next step, then, is y is associated with one under G-2. . Strauss to provide himself age” he requires. a strong cough, would be 17 years old unless signed bv parent. 2464 Traumerei, houf long. Use your brain and your fingers to F-2 with Schools— timely to irritate the muscles PERFECT VOICE STUDIOS, Studia 558-fl. Kimball Hall Bldg., Chicago^. IB. Schumann as much experience as he can I Colleges vocal cords, the 3192 Two Guitars, F-2 get— assure you that to that contract learn the music of your songs and rest your arr. Armour and the achieve such a re- and release them, the throat, 3671 Valse important thing is to hixed, the voice. AT LAST! A COMPLETE TREATISE ON Lente, Ccppelia, F-2 get ex- free flowing uvula, and the palate. high tones YOUR SONG Delibes perience control is one of Your certainly 2143 Waves of the before audiences— the would —Too much singing would tire Individually arranged. Complete professional piano TRANSPOSITION Danube, Am-2 Ivanoviei any kind of most pleasurable be the most affected because it would exhilarations voice and eventually hurt it. Like walk- vocal score. Reliable service. Low cost. Write- for details. covering ALL problems of transposition. musical audiences. of piano 136 1®™'* the? Certainly, singing Playing. CONVERSE COLLEGE 3T for the muscles to approximate the Send for folder the Ask your in ... And j tennis playing, or H. Saffron, 512 Urban Ave., Glenolden, Pa. to author dealer for Century Edition. If remember, if cords ing, swimming, baseball, he can- a summer hotel you Edwin Gerschefski, Dean, Spartanshurg, S. C. with sufficient accuracy Charles Lagourgue, 35 W. 57th St.. New York 19 is a far cry from singing and swZ and firmness, to exercise. not spring you’ll be sure singing is a muscular Practice enough supply you, send your order direct on an to sing! to us. operatic stage; but it has the but not too much. ad- All this sounds very KNOX Department of Music Our complete catalogue listing vantage of comnlicaterl nns Galesburg, Illinois ROY Smiling is not confined alone to the bold over 3800 num- teaching the CAMPBELL *— young performer pretentious, Chairman doesn’t it? If Thomas W. Williams, brave. Even a timid girl can smile bers is FREE on to face audiences, only we COLLEGE request. Teacher of Successful and the Margaret request. to pull with them, to send along could Catalogue sent upon Singers A lOOk Ellen MacCcnachie not grin NEW sense a miniature sound sometimes. However, do like a their needs and reactions; film wffh j* and that your copy of CONSERVATORY D Cheshire Cat, but look as if it were a pleasure Of Value in the Library of the .Voice Student and Teacher CENTURY MUSIC sort of The Etude you “Theatre - Pictures - Concert - Opera PUBLISHING CO. experience is of great value woSd sle OF IVIUSIC K™ to sing for your audience. It would be wiser to him how Prea. simple and SHENANDOAH Wads E. Miller, STYLE- IZING” for “SHORT LECTURES ON THE SIMPLICITY OF THE ARTISTIC SINGING VOICE" 49 West when the sensible it all is Radio and the Theatre for you to stand quite still but without any 43rd Street New York 23, N. Y. moment comes for him to face to Courses leading Studio audiences in the g^ca^better with these the B. Mus., and B. Rates o ~ — stiffness when you sing, instead of awkwardly B. opera. That, of course, squig: Mus . Ed. degrees. 007-8 MARGARET ELLEN MACCONACHIE, M.—M. MUS. reasonable. In Carnegie Hall New York City moving your hands and arms about in an ef- the heart of the Shenandoah L. B. 944 Brownsville, Texas 346 Valley, Dayton, Virginia - Telephone Cl 5-9244 fort to express the mood of the song. "MUSIC STUDY EXALTS LIFE JUNE, THE ETUDE 1947 "MUSIC STUDY EXALTS LIFE’’ 347 . j a . —

ences great classical works that are les frequently heard. Already Notable Organs we have done the overture to Rossini’s ‘Semiramide ’ and to Nicolai’s ‘Merry of America Wives of Windsor’’ both with marked success. To my knowll Organ and Choir Questions edge, these lovely and tuneful (Continued from. Page 317) classics are seldom presented to motion-picture thea ter audiences. perhaps one of the most distinguished And there is no reason why they should not be residence organs in America. In San heard, as the gratifying results Francisco we find many excellent or- of my own experiment- .AnswerJ L FREDERICK PHILLIPS ing has proved. f gans. In Grace Cathedral, on Nob Hill, My theory about build- ing music programs there is an organ winch is just about for great audiences of varied musical backgrounds my favorite of them all. The instalment is to put on as much good has only about sixty-five stops, but it music as possible and as entertaining Q. I am interested in having, in my own (on the right) when is really effective, being glorified by the much music as possible pressed outward has an organ on which I could practice, and the effect of gradually The ‘trick’ is simply home, adding all the stops, resonance of the building. In Portland, to select works is possible to in 1 am wondering if it purchase just as if you drew one at a time from the which both forms of Oregon, there are organs worth seeing, goodness coincide 3 manual reed organs. Which concerns manu- softest to the loudest. Any unconscious release such as the one in the Municipal Audi- And, with the present status of American facture such instruments? of pressure on this knee swell would have the music appreciation, I inquire about a reed organ rather than a effect of “changing stops.” The stops you torium. that is no har’d task' pipe organ because I feel (1) that it would be are using are perfectly all right for ordinary I don’t . believe that the public Almost every city in Canada has a wants to less expensive and would occupy less space work, but the Dolce might be used alone be either good instrument. The late Lynnwood played up to, or played down than a pipe organ offering comparable tonal sometimes for specially soft effects. You to—it wants, simply, to have variety; (2) that it would be less expensive to have probably discovered that stops marked Farnam was of the opinion that the its heart 4' maintain; (3) that, properly designed, it would play an octave higher than the key struck, finest organ on the North needs understood. Those needs are American Con- at simulate very satisfactorily the comparable and should therefore be used only in com- present on tinent is in St. Paul’s Church in Toronto. an exceedingly high level, and organ stops. bination with other stops. No I firmly believe that the Please advise whether your experience in- The one should miss seeing and hearing level is con- John above statements are substantially Thompson this stantly mounting. dicates the 16 organ with its magnificent ensemble, Let’s go on building Q. Will the ’ resultant (from the com- correct. I have also considered constructing a its English musical taste!” bination of an 8' stop and a stop) produce : Reeds and its wealth of color. organ, purchasing the consoles, reeds, reed a 32 ' resultant 2 3' MODERN if a 10 , stop be drawn? COURSE FOR THE Montreal has so many fine blower, and so forth, and assembling them— PIANO organs that What will be the tone quality and the relative it job which I believe I could do successfully as 0 is difficult to know which one to put volume of the 16 ' resultant compared to the I have had some experience with reed organ l # 8' and ' rfmviicaj. ?

THE ETUDE JUNE, 1947 "MUSIC LIFE’’ STUDY EXALTS 349 ! $ — ! —

The Violinist’s Forum flexible hands (Continued from Page 321) Perfect Tempo Musicians 0 delicately, but there can be no let-up in VlaTTHE SNAP OF A SWITCH! intensity of the Typists the finger grip on this account. Too many pupils play such trills Athletes -Answered by HAROLD BERKLEY lightly with the finger instead of lightly with the bow. They are, Craftsmen DESIGN obviously, very FOR WOODWINDS THE KING'S PRAYER AND FINALE short trills: two trill-beats are enough to Thanks for Helpful Bowings as yet published ask of any student, # All who need skillful hands will find Manuflex a a collection of my articles and (WOODWIND SEXTETTE) though the excep- fingers. H. C. T., Ohio. I LOHENGRIN, ACT I quick, sure aid to supple Manuflex is an am sorry I do not have the Forum page answers, though I hope to do so tionally talented may be able ingenious device for stimulating and flexing hands. space to print the excerpts before (BRASS SEXTETTE) to play from the Huber very long. It pleases me that yoti think By practice time for the performing artist. - GEORGE KLEINSINGER three. Saves 13 Concertino that you sent me. The bowings you such a book* would be valuable. I am glad, too, invaluable for teacher and student. Endorsed by have been using are very good; in fact, they to know that contributions to The Etude By RICHARD WAGNER Almost all the Kreisler, Albert Spalding, Olga my trills in No. 23 fall into Fritz Samaroff- could Louis Persinger and many other not be improved upon. It is gratifying to are helpful to you. The books on violin play- the same category as the Stokowski, famous Arranged by AUGUST H. SCHAEFER short trills in musicians. Used at New York’s Juilliard School, know that my answer to your former letter has ing that I have published are “The Modem been Price $2.00 No. 18. At the tempo the study should Boston's New England Conservatory, Chicago's so helpful to you. Not everyone takes the Technique of Violin Bowing,” “12 Studies in Price $2.00 Conservatory and by members of finally be played— American great trouble to say “Thank you”! Modern Bowing,” and “Basic Violin Tech- about /=l 12—almost orchestras. Often useful in rehabilitating symphony nique.” If your local music dealer does not all well-trained pupils should injured hands. MUSIC FOR be able to have the books mentioned in this answer, they Postpaid by mail 20 . 00 . Satisfaction guaranteed. A Certified Strad? play three trill — beats to the eighth-note days’ if may be obtained from the publishers of The SAXOPHONE, Money refunded after five trial not satisfied. Miss L. O’Q., Mississippi. If you are certain BASSOON and CELLO and some may able Etude. be to play four. How- your violin is a genuine Stradivarius, it must By BORIS KOUTZEN ever, as I said earlier, clarity be because you have some document certifying must not Is It a Genuine Schweitzer? be sacrificed for speed. MANUFLEX SB it as such. If you have a paper of this sort, I J. R. M., York. any score better with this Price $1.25 advise you to communicate with William Lewis New As your violin has been Play But the trills in this Manuflex Co., Dept. B, 2315 S.W.Ist Ave., Portland1,Ore. in study pose a new & Son, 207 South Wabash Avenue, or Lyon & your family for one hundred and thirty years, it could very well be a genuine modem precision instrument problem. Those in No. 18 are transitional Healy, Wabash Avenue at Jackson Blvd., both J. B. SUITE Chicago; Schweitzer. If so, and if it is in good condi- FOR QUARTET and require to be played lightly; in or with The Rudolph Wurlitzer OF in No. tion, it might be Co., 120 West 42nd Street, New York City. Any worth five or six hundred 23 they are an integral part of the VIOLINISTS dollars. In later years, Schweitzer ALTO SAXOPHONES me- one of these firms could advise you how best was ex- lodic line, and so JUST PERFECTED BND PATENTED tensively—and badly copied, so that there are must be played with to dispose of the violin. But if you do not have — ust plug in the Franz Electric Metronome By ELLIOTT CARTER many very inferior violins the considerably A SANITARY CHIN COMFORTER a certificate, by all means have the instrument on market that more “bite.” This calls for dial the desired a bear facsimiles of his label. But I don’t think J tempo—flip the switch and noticeable To Protect appraised. Don’t forget that there are thousands Price degree of bow accent on the copyists were at their in 1812. $3.00 the Your Chin of imitation Strads, worth from five dollars up. work You you have the ACCURATE, UNVARYING first note of each eighth-note From Skin should have your violin appraised by a repu- trill. Natu- rritation beat of any tempo. That’s how easy it is with this rally there I table dealer. must be more accent in the new ELECTRIC METRONOME! Absorbs The Hopf Violin Makers louder passages, but even in those marked Perspira- G. F. H., Pennsylvania. The name Hopf is Few Genuine Stainer Violins The new Frans Electric Metronome is a sensational improve' piano e tion delicatamente there must be that of a very large family of violin makers E. E. H., West Virginia. There are very few ment over the old'fashioned pendulum beater. No distracting enough Keeps Your in Klingenthal, Germany. One of the earliest genuine Jacobus Stainer pendulum motion ... no spring to run down with limping divertimento accent to give each trill its neces- violins to be seen to- SUITE IN Chin Dry members of the family was Caspar Hopf, who tempo! The Franz Metronome is always steady, always accu* FOLK STYLE sary musical value. day. but there are many hundreds of inferior in of last rate, always a joy and a convenience For Washable died 1711; one the was David, who copies that claim by their labels to be Stainers. Strings and Four Woodwind Instruments QUARTET OF Bfa CLARINETS With the exception of those in Kreut- Sanitary was working in 1830. Possibly some descendant Whether or not your violin is genuine no one Folk zer, is still in of violins. Song—Lullaby- Folk Dance there are no better trill engaged the manufacture could say without examining it personally. As Dependable as Electricity WALTER — —Canon studies than Soft and PISTON these four Comfor- Most Hopf instruments are of an ordinary com- of Mazas, and the pupil Electric operated ROGER who table mercial quality, worth at most one hundred The Franz Metronome is on GOEB has studied Apparently a Genuine Score them thoroughly and has dollars; but occasionally one member or an- AC current. It gives a clear, resonant click to and 4 Parts—$6.00 A. C., Rhode Island. The violins of Michel Score and Parts understood their other of the family produced a violin —$3.00 musical significance Does not slip while playing. Easy to slip of better Angelo Bergonzi were not so well made as mark any tempo from 40 to 208 beats per minute. should have little off. grade. These have sold for as much as $250.00. those difficulty with the trills on and You get this DIRECT from of his father, Carlo; however, he used You can change tempo with one hand while he meets in manufacturer. Made to sell for but wood and varnish of excellent quality, and his his solos. $2.00, the Franz Electric Metronome is beating, and you instruments are well liked. few have sold as a trial offer you get it for $1.50 plus Appraisal Is Necessary A for as much as can start or stop it instantly. Timing is controlled NEW C. P. S.. Pennsylvania. Andreas Amati $5000, but the usual price is TRIO ALBUM C.O.D. If check included we pay postage. —bom around $2000 or $2500. If your violin is in good by an efficient motor the kind used in high grade (Violin, about 1535, died before 1581—was the founder — Cello, and Piano) condition and if Address to of the famous Cremona school of violin mak- you have a certificate of au- electric clocks. The Franz Electric Metronome is In condition, thenticity, you should have little difficulty in Arranged by ing. good one of his instruments fool-proof—built to last a lifetime! MAURICE BARON SANITARY CHIN COMFORTER disposing it. could be worth today as much as $7,000.00. of I think, though, that you should 6334 N. Talman Ave. III. have it appraised before you sell it. CONTENTS Tiny Tots’ Chicago 45, However, there are very many old violins The simple classic beauty of the Franz Electric Metronome Adventures 4" bearing his label which are merely copies of will enhance your home. Rich black plastic case wide, Authentic Appraisal ft.” plug. Case is completely PROKOFIEFF his work, and which are not worth a tenth of Necessary high, 3 H" deep, with 10 cord and Gavotta DRIGO , Vafse Bluette that amount. If you have any good reason to Miss R. B. H., Delaware. If your violin is sealed and dustproof. Operates only on no volt, 60 cycle A.C. from Classical Symphony, op. in Theory 25 genuine, it was made SHOSTAKOVITCH think your violin is valuable you should take by Giuseppe (Joseph) STRAVINSKY Po | ka ( or send it to one of the Philadelphia experts Guarnerius, the son of Andrea Guamerius. Try 10 Days on Approval! Berceuse Continued from Page 304) VIOLIN PLAYING MADE EASY for and Dance of from "The Golden Age" for appraisal. No one could say what it is But have you any papers certifying it to be Princesses from "The Fire Bird" Ballet Thousands ofstudents and teachers depend on the Franz Electric Keyboard examining it personally. genuine? There are very many instruments System makes learning very worth without Metronome for accuracy and correct tempo. Prove its precision, ROSSINI PALMGREN May fortunate, bearing labels similar to that in yours L which ! Metro* a Danza Night indeed, is the child who has the easy. yourself! Mail Coupon today—send no money When Recommended by World's Greatest are not worth one-tenth the value Then use the ( Napoletana) gift of creating. Helpful Books for Violinists of a genuine nome arrives, pay $12.50 plus shipping charge. SMETANA. . .Dance of the Comedians Violinists. Guarnerius. If you do not have a certificate, Franz Electric Metronome for 10 days—see how much your Have your violin equipped. J. H. H., Maryland. There are several very FAURE One vital thing for playing is improved! If not thoroughly delighted, return Apres un Reve from "" every student of the you should have the violin appraised. I suggest Learn by mail, good books on violin playing, any one of which Metronome for prompt refund of purchase price. And piano to learn is that or write for address of that you send it to Shropshire & Frey, 119 West MOSKOWSKI most pieces of would be interesting and helpful to you. They remember, it comes to you with a 5-year* written guarantee. . . DEBUSSY , Malaguena ... II Pleure dans music, 57th Street, or to The Rudolph Wurlitzer Co., Mon Coeur whether in major or minor, begin Private Teacher in your City, County, or are: “Practical Violin Study,” by Frederick Ask for the Franz Electric Metronome at your favorite Music from "Boobdil" 120 West 42nd Street, both in New York City. on Store—or mail Coupon today ! TSCHAIKOWSKY the tonic, and come State. Hahn; “Modem Violin Playing” by Grimson ALBENIZ . Danse Russe Trepak home to the tonic We need teachers, we want stu- Either firm is dependable. Orientale at the end. and Forsyth; “Violin Teaching and Violin Like all rules, this is in- from "Nutcracker" Suite not dents. Write today to Study,” Eugene Gruenberg; and "Violin Play- ONLY 5° variable. However, A Job for a Skilled Repairer $ Price $3.00 a knowledge of the ing as I Teach It,* Leopold Auer. The most general 2537 N. N. G., New Hampshire. There were many 22 practice makes exceptions inter- Bernard St., Chicago 47, III. complete discussion of the problems of violin makers named Hopf working in Klingenthal, * esting, and quickly playing is Carl Flesch’s “Art of Violin Play- on year discernible. Digres- Germany, during the eighteenth and nine- 5 String. sions ing,” in two volumes. It is an expensive work, Orchestra 1/ldiUSlC and modulations FINNEY VIOLIN teenth centuries. Most of them may occur, but, as KEYBOARD SYSTEM but well worth its price to the violinist who is turned out written it is with the cheap commercial violins, but traveler who sets out on a advanced enough to profit by it. (2) I have not occasionally AIR one or another member Lotti/Brewer ORGAN journey, the music of the family pro- CIACONA CONCERTO IN A MINOR (Themes starts out from and duced a better guarantee bv Vivaldb D , , , grade of instrument. Hopf BUX n ' ' ® ac returns CONCERTO IN PASSACAGUA (Theme by Handel). h/Glass to the same place. The ability to violins are priced today E ! 1 . V from about MINOR. ! ! ! ! ! ] ! ! u twenty Avison/GI° ST. MATTHEW nalvorsen/Thaulow enjoy all PASSION (Final Chorus) these side trips makes of theory UUU/umt dollars to around one hundred and fifty. (2) • -Sea rlatt aridSon CONCERTO /G ass "Here Yet Awhile" Bach/Bodge a real adventure. I certainly would not advise you or any other GROSSO OP 1 1 NO 2 207 South Sammartm,/Glass Wabash Ave. Chicago 4, III. amateur to varnish a violin himself. ; It is a FIRST SUITE SARABANDE AND Knowledge of form SPECIALISTS _ '' BOUREE (From Partita . in music also plays IN VIOLINS, BOWS, REPAIRS, etc. job for a skilled repairer. If ^ Gutm° n No 1 in B Min ) your violin needs M - ' • Prelude, Pastoral, , • B a great SEND MONEY Burlesque, Variations, Finale SARABANDE AND PASTORALE °giertf.YJPo Berkley, whether he himself made the violins I Send the FRANZ ELECTRIC ICH RUF sections Repairing, Send for Catalog METRONOME— ZUR DIR, HERR JESU CHRIST make a period. This may be I Bach/Akon WIR Fuchs, Ricci, attributed to him or whether they were made I’ll pay $12.50 on delivery plus shipping charge. If GLAUBEN ALL' AN EINEN GOTT taken over and applied to his piano for him. If your violin is typical of the after 10 days’ trial I am not delighted, 1 may return Bach/Akon Write for particulars and others. Metronome for refund. Also Available pieces. I From Your Music Dealer Prom this simplest struc- Neapolitan work of the period it could be of form A Large ture, grow Collection Of Fine worth three or four hundred dollars. But this, the larger forms such as strict PLASTIC & MUSICAL PROD’S CO. two of course, is only guesswork. (PLEASE PRINT PLAiNLY) and three part forms, those VIOLINS 15526 Harper Detroit 24, Mich. as well as Address with Old & New, With Concert introductions Tone j and codas. With ad- City I Zone. . BROADCAST vanced REDUCED 40% . . State study MUSIC INC. * these simpler forms consti- PATM0R (Tonepost) FIDDLERY, 2;°" Send My Favorite Music Shop »*vvy«v,i?r ute the For New List. ATTENTION VIOLINISTS! j r basis for understanding the Offers 150 Violins at wholesale prices (many certified old larger FRANCIS DRAKE BALLARD new acoustical discovery makes my violins the masters). All fitted with PATMOR TONEPOST. Today’s and more complicated compositions world's greatest musical sensation: Enclose $12.50 (check or money order) now .successfully ap- j and we - Collector-Dealer plied to all bowed, blowed, of the n percussion, and plucked musical ship prepaid. Same io-day return privilege applies. 350 great Masters. Ch j — 'PPewa Rd. Tuckohoe, N. Y. instruments. Guaranteed refund. Call or write now. "MUSIC STUDY EXALTS LIFE” THE ETUDE JUNE, 1947 "MUSIC STUDY EXALTS LIFE” 351 '

the natural or the tempered scale octave in constant remains a ratio of 2 : 1 ; that is, any fundamental note doubles its number of vibrations for the octave above as A 880 is .one octave above A 440. The New fAusic for the Piano other notes of the scale such as the third fifth, and so forth must be slightly low- CONTEMPORARY COMPOSERS SERIES ered or raised to compensate for the tem- perament, and due to the fact that the Erno BALOGH Maxwell POWERS octave fingering must be altered in the case of the clarinet, more than two notes Pastorale at Dawn $ .60 Boogie Woogie Nocturne $ .60 (the fundamental and the first overtone) must be altered in order to achieve a Paul BOWLES Isidor PHILIPP balanced scale. For example let us take Carretera De Estepona 75 Phalenes 60 the case of the fundamental pitch of low F on the clarinet Andor FOLDES Two Pieces (Introvert-Extrovert) 75 Piece in Seven Movements 1.25

EDWARD B. MARKS MUSIC CORPORATION • RCA Building • Radio City • New York when the speaker key is opened C on the third space is the resultant register change, HOLD YOUR STUDENTS register, we find that in order to increase suggestions for a technique of attacking of the range of the instrument It Is possible, it are offered. The World Music Through the Teen Years! It being the second overtone in the natu- and necessary, to use a further harmonic In the second article on the Problem of ( Continued from Page 301) ral harmonic series based on this pitch. series which is produced by a combina- Intonation, we will discuss the means of he was twelve years of age. Among his TEACH MODERN PIANO In order to meet the artificial standard tion of opening and closing tone-holes In compensating for the peculiarities of the varied works were a number of outstand- by note set by our taste as concerns the relation- a series of cross-fingerings. Such opening clarinet In relation to intonation in ing songs. THE CHRISTENSEN WAY ship of pitch, this C must be exactly and closing of tone-holes provides us with general. ANNA BAHR-MILDENBURG, a notable Piano teachers everywhere have found it pays big twice the number of vibrations per sec- node as is the case with another speaker Wagnerian singer, died in , Febru- dividends in student interest and growing classes ond of the C one octave lower. But staff the the the notes above C above the on ary 2, aged seventy-four. She had ap- to teach modern piano by this up-to-the-minute one method. With it, you teach your students to play C octave lower is not fingered the clarinet. In this case the opening of the houses Virtuoso In the Jungle peared in all of. the leading opera all the latest song “hits" in a really modern style, same as this without C the speaker key, first tone-hole with the left forefinger of Europe. adding breaks, fill-ins and a full chord bass. All and is in fact fingered the the material you need in Just one instruction book. same as the G provides us with the requisite node for ( Continued Page from 316) WALTER ASCIIENBRENNER, composer, And it’s all in accord with sound teaching practm'j above the staff without the speaker key. In this case fur- that will help their classical training. Franchise breaking the air-column. and arranger of choral music, founder contract gives exclusive right to teach our method To further complicate matters, the C on complication is the result. For ex- thing that was spiritually essential. One ther and conductor of the Chicago Symphonic in your community. Our 43rd year. Write now for the third space produced as the second find by using a fingering G. I. said to me, “You know, I don’t know complete details. Enclose $2 for complete instruc- ample, we that Choir, died February 4, in Chicago. He tion book. harmonic in the series based on the fun- produce the music, I call combination which would a damn thing about but was on the editorial staff of Carl Fischer, damental pitch of F, is supposed to performance! It did be a pitch of 13-flat In the fundamental regis- that a hell of a swell Inc. perfect fifth above the F one octave ter, opening the first tone-hole something to me!” PLAY POPULAR PIANO and by MARY CHAPPELL FISHER, an active or- higher than the fundamental pitch, of with left forefinger and adding the Somehow, the war made me realize my the ganist for many years, and a founder of LIKE A PROFESSIONAL which this C Is the second harmonic. In speaker key which we have previously previous birthright blessings that came the American Guild of Organists, died with our order to make this C a perfect fifth above used for the harmonic change, the re- to me from America. I found myself ma- February 25 in Rochester, New York. It the middle F, it is necessary to slightly sultant that of above the staff. turing in my views of life very rapidly. pitch is D Mrs. Fisher was the first BREAK SHEET SERVICE alter is believed that its pitch; but when this is done, it regular harmonic Surrounded by millenniums of civilization This resultant, if a nationally prominent woman concert or- It brings you clever arrangements for playing extra may not then be perfect twelfth above series is followed, would be either a sharp and the evidences of education, culture, YOUNG PEOPLE, ganist in America. choruses of eight popular “hit parade’’ tunes. AREN'T THEY? the of it, one fundamental F, and such alteration fourth or a flat fifth harmonic, and is too religion, and art, and the lack Shows you how’ to fill in breaks, novel figures and VICTOR HELY- HUTCHINSON, distin- tricky embellishments. Single copies 25 cents, may change the fundamental F, due to far from the fundamental to be adjusted has time to think and expand his vision pianist, stamp or coin. $2 for ten consecutive issues. the fact have required guished British composer, and that this fundamental F is pro- directly with it. It is necessary to ap- in a manner which would without the in- musicologist, died March 11 in London. BOB JONES UNIVERSITY, trains duced by the basic fingering under con- proach it through the fundamental regis- decades to accomplish, these and hundreds like the sideration, War. I made a He had long been connected with THE CHRISTENSEN METHOD to such an extent that it will ter by deriving it fifth line of the tensive days spent in the them for lives of usefulness either in from F Illinois full-time not China, by way of British Broadcasting Corporation. Suite 752, Kimball Hall. Chicago 4. be a perfect octave below the middle staff, which is dependent on the funda- number of trips to l.jfJBk Christian service and ministry Himalayas PAUL KEMPF, at one time managing F which required the C as a perfect fifth mental B-flat. This addition of range Burma over the “Hump”—the mountains in the world. No editor of Musical America, and from 1922 Ti or in a business or profession. above. to the instrument demands therefore a —the highest LEARN PIANO TUNING AT HOME one can comprehend the perils of such a to 1935, owner and publisher of The Mu- If an instrument can be correctly tuned whole new series of adjustments to make WITH OUR NEW PATENTED TONOMETER trip. accident might land one in the sician, died April 19, in New York City, in octaves, that is, if the fundamental it approximately in tune. An A scientific teaching-tuning instrument. Sim- pitch most desolate territory in the world and aged sixty-four. BOB JONES can be adjusted within a one octave Added difficulties plifies learning, eliminates guesswork, and as- UNIVERSITY »eks to give the proper to the constructional so emphasis scale so bring almost certain death. That JOHANN BLOSE, composer, conductor sures accuracy. /If that the octave scale is correct, of the instrument of course the deli- t0 spiritual development, are is almost academic knowledge, either many planes got through safely and teacher, long active in Lebanon, We teach precision tuning, action regulating, in the natural or the tempered cate measurements of the mouthpiece and cultural training, miraculous. Pennsylvania, died in that place, April 17. voicing and fine repairing in one practical, social contacts, and every scale as is desired, then the octaves above course. other the reed, of which we cannot concern our- charming English easy and complete correspondence A or below In India I met some His age was eighty-seven. He was the great shortage of piano tuners exists today. aspect of life. Its graduates this scale can be made to con- selves here. In addition to these are the are, therefore people and enjoyed playing for them. for twenty-five years the Here is a well-paying, uncrowded field. After form to the fundamental octave scale founder and wholesome and well-balanced physical problems of the embouchure and Symphony Orchestra was two or three months you can begin to earn men and women which has The Calcutta director of the Maennerchor of Lebanon. money. Our School established in 1898. Ap- been so adjusted, and the in- the breath, all of which may destroy the brave effort to bring Occidental musi- proved for veterans under G. I. Bill. Send for equipped for positions of strument will a leadership. be in tune. This is of course most careful adjustment of the mechani- free booklet. cal culture to the East. When one real- the basic method of tuning a piano. But cal balances Competitions of the best instrument. difficulties surrounded it, one Voice, piano, if izes what NILES BRYANT SCHOOL pipe organ, viol*, speech, and ar, wilhou, the basic scale requires a slight altera- addilionai cos. above regular From our discussion this point we all. were THE INTERNATIONAL BELA BAR- academic .ui.ion. to wonders that it existed at There P.O. Box 5565 Washington 16, D. C. tion each time an octave above or below have learned only that we must meet twenty-six different nationalities in the TOK Competition for Contemporary it is reached, due to the fact that a differ- For some arbitrary standard of pitch recogni- orchestra, and as many different cos- Music will be held in Budapest October detailed information write: ent harmonic must be accounted for, as 22 to 1947. There will be contests for tion, and must do it by using an instru- tumes. It was almost as picturesque as 31, is the case of the clarinet, then that in- pianists, violinists, string quartets, and ment which is fraught with the most un- the side show in a circus. They played DR. strument cannot be constructed in per- composers, with substantial prizes in all BOB JONES, gracious difficulties, yielding to our Brahms symphonies and Beethoven over- JR. CLEVELAND. fect tune, either to or to a classifications. The closing date is Sep- PIANISTS* TEACHERS TENNESSEE a natural demands under much protest and seldom which were beyond the ability of tures, tember 1 and full details may be secured tempered scale, and the closest approxi- j if ever cooperating with our desires. The the orchestra. It was not as good as the Piano music that is different mation from the Bela Bartok Competition, Buda- be required to produce this harmonic oc- will be the best that can be ac- only answer school orchestra. The conical pipe in its register to a layman’s query, after average American high pest, Hungarian Radio, VIII., Brody San- Robert Whitford Modern Piano Course Problem of Intonation tave except change al- complished. the addition of this speaker reading the play a concerto with it, though here again the change above, as to why should we I was invited to dor-u. 7, Hungary. —$1.50. The Clock and The Piano (Piano key. Such is is made In addition, the case of the oboe and without it must be remembered continue with such apparently un- declined, because I was sure that we ( Continued on Page 355) Solo) 40c. Swing Prelude (Piano Solo) benefit of a speaker key. an but saxophone. The bassoon, that we are not dealing instru- being a combi- In the case of the with any fruitful activity, is the same answer that never would end together. Unquestion- 40c. At your favorite music counter or ( Continued from Page 318) nation clarinet, the addition ment bore, has its peculiar problems, which plays merely within one oc- man has tomorrow there Send Sl.00 for direct. Write for catalog and copy of of a speaker key at the normal made to the universe in which ably, in the Orient of A but is fundamentally node pro- tave. In order to for The PIANIST magazine, a conical bore and duces a satisfy our demands he finds himself from dim-lit will be vast changes. China and Japan RHYTHMIC DRILLS both sent free twelfth above the fundamental the very ^ reacts in the same manner variety, we must range of charge. State if teacher. as a conical register, and requires have an adequate past to the present; “I do this because it have adopted many of the best things RHYTHM LESSON ONE BOOKLET conically bored pipe will be transferred pipe a different fingering in except that the register is broken pitch. In the case clarinet this seems of in combination to produce of the to me that the result of my efforts, from our civilization (and also some and pitch to an octave higher by the ad- by the octave above range ROBERT means of the embouchure and breath encompasses some three octaves however is, however, a great WHITFORD PUBLICATIONS dition of the any given fundamental. little it may be, is worthwhile the worst). There EXPLANATORY BOOKLET speaker key at the octave instead of Such a funda- and ” by means of a speaker key. mental a sixth. Even beyond the 'possibility for the beauty hopefulness in China, while in India the “Publishers of Distinctive Piano Music node, and no difference physical difficulty causes involved, and the sense of EFFA ELLIS PERFIELD of fingering will The flute will a basic of 18 North Perry Square, Dept. be found to react as a problem in balancing the fundamental register satisfaction derived solve centuries of despair over all the land 5E, Erie, Penna. intonation, inasmuch from trying to 103 East 80th St. (Park Ave.) New York City as either with the a resultant primary harmonic problem.” With a problem so stated. have not yet come to an end. "MUSIC STUDY EXALTS LIFE’ THE ETUDE JUNE, 1947 "MUSIC STUDY EXALTS LIFE’’ 353 . * ,

Bender was one virtue of the fact that it was new back to London where I have The Evolution of the Cavalry Guides, under Valentin the first instrumentation based on the ideas These were the men who set the stand- tively goes that time. band to have its musicians Colors on the 1 Cornettino Bb 2 Tenor Horns of the best bands in Europe at officially at- of Sax, the world renowned French ard for the present-day military band; seen the Trooping of The tested, it has the distinction ADS 2 Cornettos Eb 1 Euphonium Austria was also caught up in the swirl of being the CLASSIFIED manufacturer, but the revolution of 1848 they were guided solely by consideration King’s Birthday on several occasions. senior band of the British Military Band 4 Cornets Bb 3 Bombardons of this reform movement which was army. prevented the new movement from mak- for the dignity of their art. It is here that one will listen to the : UNWANTED MUSIC exchanged 8 Trumpets pushed by their then leading band- vol R ing much headway. from the massed bands of the Brigade of Guards, p for piece, each; quality matched, They took the military band Total masters, Starke, Zimmerman, Farbach, Famous Bands of the United States Speci alty Shoppe, Delton, Mich. However, some three hundred and fifty musicians (.Continued from. Page 319) —21 players Burpee’s so impressed were the then parade ground and, placing it on the It We must not forget also : will be observed that no reed instru- Sawerthal and Kela-Bela, all of whom that America —V r? i Tf \ PIANO TUNING AT HOME, leading lights of the French musical concert stage, presented the public with in all. Braid White. Write Karl ments were used in headed fine military bands. has held its own in the realm of r^iirse by Dr. Wm. bands strike up the cavalry bands, a military Wells St„ Lafayette, Ind. world, including such men as Berlioz, good wholesome music, performing such And when the massed music with Bartenbach, 1001 principle still adhered to, not England, which had maintained bands such bands as the Spontini, Auber, of Handel’s Scipio, the slow march of the only in United popular hits, standards, Halevy, Adam, and advanced classics as played by some Infantry States Marine PIANIST! Play Germany but in France and Belgium in her regiments of Foot Guards since Band, the senior band composed by Phil Saltman, Carafa, that they petitioned the the leading orchestras of the day. Grenadier Guards, and the regiment 2 Flutes 2 of with breaks govern- 'Alto Cornets Eb also, American and radio pianist. a very practical decision for the reign of Charles II (1685) was always the armed forces, and the lpatling Boston teacher ment to renew the Sax Nevertheless, would always con- steps out in a slow measured stately 2 Oboes fa- ideas monthly. Sample instrumentation; they 4 Trumpets mounted bands. mous band of the TTn-to-date, new open to reforms, and as a matter of fact United States Military cents. KBNMORE MUSIC and it took effect in 1854, when the fol- sider the many who, perhaps could not tempo, you have heard the most inspiring 2 Clarinets A 4 Rnlletin — 25 (, French Horns The St., Boston 16, leading bandmasters of Germany its first official enlistment of soldier mu- Academy at West Point, to which many COMPANY, 581 Boylston lowing was decreed for the French army appreciate the heavier fare, for one musical drama that is possible for one to 2 Clarinets Ej, 2 Tenor Horns who Bb assisted Wieprecht in his reorgan- sicians took place in Germany in 1762, to fine bands have been added. It Mass. bands. musical- hear. It is hard for one to realize that it 8 Clarinets B, was not would always find a sparkling 2 Tenor Trombones ization work were however, until ARMONY, Composition, Orchestration, Kuffner, Neithardt, provide a band for the Royal Artillery. the mid nineteenth cen- H Correspondence comedy number on the program or some is band music that he is listening to, one 2 Bassoons 1 Euphonium Musical Theory. Private or and Faust. tury that the military revised and cor- At the time, the English were engaged band began to Instruction. Manuscripts Infantry little descriptive piece to tickle the fancy. is more apt to compare it to the grand 2 Contra-bassoons 2 Bass Trombones Frank S. Butler, About the same period, we find with the assume the distinction rected Music arranged. 2 Flutes Abbey. Servais Hanoverians and Hessians in of being artistic orona, N, Y, or Piccolos Trumpets organ in Westminister 2 Soprano Cornets 4 Bombardons of the 32-46 107th St., C Brussels Conservatory hard expelling the from and cultural; and France 4 Clarinets E(j The Military Band of Today at French that land. should definite- Extra, Profes- Tenor Trombones Eb 3 Drums, Cymbals, work reorganizing PROMOTE YOUR MUSIC, the army bands of For the first fifty years of its existence, ly be given credit for its renascence. Musicopy Service, Box 181, 8 Clarinets Bj, Bass Trombone But we are now in the twentieth cen- Bells Belgium. sional copies. But be it understood that the this Artillery In Cincinnati 1, Ohio 2 tury and it Is needless for us to say the Total band consisted of German 1845, we find France again coming J Oboes Soprano Sax- —46 players Belgian leading military —piano teaching band, the musicians recruited in Germany, and by to the head of the class by DISCOUNT CATALOGS 2 Soprano Saxo- horns E|> military band of today is in every way The World of Music adopting a classical and popular sent free material, phones Baritone superior to its predecessor of a century teachers. TEACHERS’ MUSIC SERVICE, Sax- ™ ( Continued from Page 353) Box 253. Northampton, Mass, 2 Alto Saxophones horns Bb ago. The reason for this is the vast im- PIANO TEACHERS! Increase earnings 2 Tenor Saxophones Bass Saxhorns B[ provement in the manufacture of band A SECOND PIANO CONTEST, spon- annually. Teach popular music. $1000.00 2 Baritone Saxo- Double Basses Ej, instruments and the far superior scoring sored by the Rachmaninoff Fund, Inc., Send $1 00 for essential Carol Chord Scale Strictly and arranging of band music, to which 1947-48 Charts and free first lesson. phones Double Basses Bfc, will be held during the season. Lefferts, Teacher’s Course. Carol, Box 21E, 2 Cornets Drums can be added a higher standard of mu- The Fund's national finals in the first Brooklyn 25, N. Y, Total 51 players sicianship in the personnel that make up contest, scheduled for this spring, have Certified old master violins. FOR SAI,E: our service have been postponed to the spring of 1948. Harris, Box 1118, Penticton, B, C., present-day bands. We W. J. Regional auditions for the first contest Canada, Cavalry only to take for example the excellent held last autumn produced only two final- SHEET MUSIC—''Twilight" 30^. Eng- 1 High Soprano 2 Baritone Sax- service bands stationed permanently in lishman hearing this over foreign radio ists—Gary Graffman and Ruth Geiger, Saxhorn B}, trombas B)j Washington; here we find the acme of wanted 500 copies. Next four 35<* each. ‘In who will be eligible to compete in the Hawaiian Skies — Meinoriam” — "Neath 2 Soprano Sax- 4 Bass Saxhorns Bb musicianship under superb leadership. 1948 finals. The deadline for the new con- “Never A Baby Lilfe You" — “Anbraw horns 2 Double Basses And that wonder Army Air Force band test is September and full details (Serenade) "Harps of Gold" 35 A All $'-<£0 Efj Eb 1, 1947, postpaid. 650,000 copies of Authors songs 4 Soprano Sax- 2 Double Basses Bb that was organized during World War II may be secured from the Rachmaninoff printed. Frank Cottingham, 532 Ilyerson Memorial Fund, Inc., 113 57th Street, horns Bb 2 Cornets under George Howard. It is doubtful if West Ave„ Elgin, Illinois. York N. Y. 1 ever before such a distinguished body of New 19, -n ACIv. POPULAR MUSIC TO 1850.” Bal- 2 Alto Saxhorns Aj, 6 Trumpets lads Rags, Everything. List 10

THE COVER FOR THIS MONTH— SOUSA’S FAMOUS MARCHES, Album of Sacred and Since it Arranged CHAPEL ECHOES—/In ELLA KETTERER’S BOOK OF PIANO would take a number of Etude pages to for Piano by Henry Levine This Pianists Young and Old, PIECES, — new Meditative Music for for Piano Solo—For this valuable do justice to any comment upon the compilation will stand forth by Rob Roy Peery as a real Compiled and Arranged new book Miss Ketterer has selected from great composer, Beethoven, whose por- publishing achievement, for it will mark A refreshing collection for the average her compositions her own favorites. High MAIER trait is the GUY on cover of this issue, and the first appearance in one collection by these transcriptions in educational of niani-st is formed and recreational value, since the majority of Etude readers are all the most famous marches by the noted generally heard only in choral these pieces in grades FESTIVAL COURSE FOR PIANISTS & TEACHERS of works two-and-one-haif THE fairly well acquainted with the life and band director and “March King,” John and churches. Besides the pieces to three present delightful variety in music of this man, who was born concerts Decem- Philip Sousa. The arrangements are in festivals such as O Holy Night, rhythmic patterns for church and tempi, and con- ber 17, 1770, and died March 26, 1827, VIRGINIA INTERMONT COLLEGE grades three and four, and will delight Branches, Faure, is a Adam, and Palm trast in styles of music. Attractive titles this brief paragraph is included only for the average player with their BRISTOL, VA. pianistic generous list from the classics. Among cover a wide variety of subjects. All num- DR. R. L. BRANTLEY, President the purpose of suggesting that for those qualities and ready adaptability to the are Beethoven’s Ode to Joy, from bers attest Miss Ketterer’s unusual talent them is a young pupils not as yet acquainted with keyboard. Bristol, (altitude ft.) in the Allegheny Mountains on the Tennessee border “Ninth Symphony"; Theme from for appealing melody. Va. 2000 this great master composer there are his excellent hotels, public buildings and a million dollar airport. Beautiful Due to copyright restrictions, it city of 35,000 with has “Fifth Symphony"; Romanze At the special Advance of Publication Festival Course. available some fine Beethoven books de- Haydn’s Interment College on its outskirts offers on ideal setting for the summer's never before been possible to offer in one Music”; Schubert’s Mozart’s “Night Cash Price, 35 cents, postpaid, one copy be had at the college for reasonable rates signed for juveniles. Teachers and from . . . Comfortable rooms and meals may pa- book such a notable assortment of Sousa and Adagio Cantabile from to a person may be ordered now. for twelve days, $50.00 (double), rents can place in their hands Ave Maria; Viz, for six days, $25.00 (double room), $30.00 (single); such pub- marches as the twelve to BASIC STLTDIES for llic Instruments of the be included “Sonata Pathetique.” All ar- practice facilities are available on the campus. lications on Beethoven as the Beethoven Beethoven’s $60.00 (single). . . . Good here. Among the favorites will be une Orchestra , by Traugott Rohner—In this num- newly prepared for this KING MIDAS, Cantata Two-Part Treble (Child’s Own Book of Great Musicians) , 1947 rangements are for ^ bered The Stars and only for forthcoming publication a music edu- Stripes Forever; two-and-one-half. Voices, Lyrics Celia Thaxter, Never before has Mr. Maier offered such widely varied and helpful courses not by Thomas Tapper (20c) or Beeethoven book in grade by Music by cator of wide experience makes an im- Semper Fidelis; The Liberty Bell; Wash- pianists and teachers but for young students as well. . . . (Childhood Days of Famous Composers) One copy to a customer may still be May A. Strong—Her prestige already estab- ington Post; El Capitan; The Thunderer; Repertoire Classes portant contribution to the training of at the special Advance of Publi- lished by her Slumber Songs of the Ma- Ten Teachers and Young Peoples by Coit and Bampton (35c) . For the music ADVANCE OF PUBLICATION ordered young King Cotton; High School Cadets; lovers orchestral players. The work, how- and Cash Price, 40 cents, postpaid. The donna, and Paul Bunyan, the author here Ten Advanced Pianists Repertoire Classes of any age wanting a short, com- cation ever, presupposes a certain playing Beach. United States presents Margaret Dee pact biography of Beethoven there is a sale is confined to the and a cantata especially suitable for • Five "Practical Projects" Classes by Orders for single OFFERS knowledge of his instrument by each copies of tills fine students biography by Dr. its possessions. of the upper elementary or jun- Five "Teaching Technic" player, since Mr. Rohner’s work is not a collection are being accepted now at the " James Francis Cooke (10c) in the Etude ior high school ages. No solo voices are Five "Maier Technic" " May Etts method, special Advance of Publication Alltof but a series of studies covering Cash PIANO- In required and the accompaniment is with- Musical Booklet Library series. the books in this list are in ADVENTURES OF PETER THE Five "The A. B. C. of Reading" Classes by Frances Clark scales, intervals, arpeggios, rhythm, Price, 70 cents, postpaid. preparation for publication. The dy- Illustrated Story for Children, by Dorothea J. in the capabilities of the average low Advance Offer Cash Prices ap- namics, etc. A novel feature is the inclu- All-inclusive course tee— DON’T SHOVE, PLEASE!—Although thou- Bvpj.Ij—Chronologically depicting with pianist. The lyrics are based on the fa- ply only to orders placed sion of some FANTASY IN F-SHARP NOW. “Time Teasers”, and also MINOR, for Two illustrations the exciting ad- miliar story of the greedy Greek king Two weeks—$50.00 sands want to get into a theatre each Delivery sixty-nine (postpaid) will be made there are Pianos , Four Hands, by Ralph some attractive pieces, in- Federer—Like Piano, from his dis- whose inordinate desire for gold brought One week—$35.00 night every one must line up, and it is when ventures of Peter the the books are published. cluded especially Mr. Federer's Rhapsody to emphasize the train- in D Minor, until finds him only woe. a case of passing the ticket seller one at Paragraphs describing each pub- covery in a warehouse he a Young Student’s Fee (under 17)—Two Weeks—$10.00 ing received. The strings are given which has had many hearings lication spe- with or- little lady, this While this work is in preparation a a time while the outside attendants appear on these pages. home with a charming > keep cial chestra, attention, and the Conductor’s this melodic “Fantasy” is de- everyone in line and keep story will appeal to children, even those single copy may be ordered at the special Etts, Clark, Roland Dittl, Mrs. Mon- admonishing, Score signed Mr. Maier and his Associates, Mrs. Dee, Miss Miss contains some useful hints. for concert performance by two Publication and “Don’t shove, please!” Those who bought The Adventures of Peter the Piano—An who themselves cannot read. As a gift Advance of Cash Price, 35 tague Holland and Miss Berenice B. Bentley will be available for private lessons Mr. Rohner is pianos or Illustrated Story for Children Director of Instrumental by piano and orchestra. The cents, postpaid. their tickets ahead of time pass in with- book it is ideal, and as a cultural influ- consultations. . . . Dorothea J. Byerly .50 Music in the Evanston, Illinois, Town- thematic developments of this composi- out the discomfort of waiting in line. Basic Studies— For the Instruments of the ence, parents and experienced teachers ship tion in Orchestra Traugott Rohner Schools, and is on the faculty of one movement are interesting interest and special week-end events for young people will be Taking advantage of the Theodore to readily will perceive its merits. ADVANCE OF PUBLICATION OFFERS Excursions to points of Student's Books, each .25 Northwestern University follow, and School of Music. a wide variety of tempi is their arranged. ... Presser Co. “Early Order” Plan now is Conductor's Score .60 A single copy only of this unique publi- WITHDRAWN—Two new books make Basic Studies for the Instruments of used. A broad Maestoso opens FOR ROOMS AND MEALS somewhat comparable to the work, of pub- appearance this month. One is attractive REGISTRATION FOR THE COURSE AND RESERVATIONS the individual Chapel Echoes—An Album of Sacred and the Orchestra cation may be ordered in advance Meditative will be available for: followed by a lively Allegro con Spirito AT INTERMONT COLLEGE SHOULD BE MADE AT ONCE. buying tickets in advance, only under Music for Pianists Young and lication at the special introductory price, piano instruction material for young pu- Old Violin, Viola, featuring Peery .40 Cello, Bass, Flute-Oboe, massive chord and arpeggio Address all inquiries to the “Early Order” Plan there is no im- 50 cents, and when published it immedi- pils, the other a favorite author’s piano The Child Tschaikowsky—Childhood Days of Clarinet-Trumpet, F Horn, E-flat formations. The mediate outlay of Famous Composers Horn Andantino con Moto is instruction book for more mature begin- GEORGE D. HOWELL, MANAGER money for the supplies and ately will be sent postpaid. Lottie Ellsworth Coit and Saxophone, Trombone-Bassoon-Tu- a brilliant solo performance. the active music worker wishes to obtain. Ruth Bampton .20 A fiery Al- ners. Brief descriptions follow of these c/o Maryville College, Maryville, Tenn. ba, and legro Ella Ketterer's Book of Piano Pieces 35 Conductor’s Score. Prior to Agitato leads up to the The “Early Order” Plan is simplicity it- climax, a YOU CAN PLAY THE PIANO! A Book for two works, which for several months have Etudes for Every Pianist Maier .60 publication, single copies of the various stirring, majestic self. It allows you to prepare for next Grandioso. been offered in these Publisher’s Notes at Fantasy in the Older Beginner , Part Two , by Ada F-Sharp Minor—For Two Pianos, parts may be ordered at 25 cents One copy to season’s music needs Four each, a person may still be prices. These offers conveniently and Hands Ralph Federer .50 Richter—In this issue of The Etude, special introductory and the Conductor’s Score at 60 cents, ordered at the special comfortably and is particularly designed King Midas—Cantata for Two-Part—Treble Advance of Publi- now are withdrawn, and copies of the postpaid. Be sure announcement is made of the withdrawal for those Voices Thaxter-Strong .35 to mention the parts cation Cash Price, 50 cents, who wish to examine music in postpaid. of books at reasonable retail prices may be Mendelssohn's desired Part One of this method from the COLLEGE Organ Works Kraft when ordering. MUSICAL .75 CHICAGO order to select things for next season’s Advance of Publication schedule. Part obtained from your dealer, or from the RUDOLPH GANZ, President More Themes from the Great Concertos MORE THEMES Founded 1867 by Dr. F. Ziegfeld teaching needs in private studio or class- For Piano FROM TIIE GREAT CON- examination. Henry Levine .40 ETUDES FOR Two, however, is not yet ready for the publishers for CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. rooms or EVERY PIANIST and How .o CERTOS, for Piano Solo, to select choruses, anthems, or Music Made Easy—A Work Book Compiled and You Can Play the Piano, Part One, by Ada Member of North Central Association and National Association of Schools of Music Study Them, Selected, market, and for the time being will re- other Mara Ville .25 Revised, and Edited Arranged by Henry numbers for the use of groups next Levine—As a special Richter is especially designed for the ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS Selected by C.UY main on our list of Advance Offers. season. Second Grade Studies for Piano .... Maier—Progressive teachers will feature of this second book of themes student of the junior high school ages, or Address Registrar, 60 E. Van Buren St„ Chicago 5, Illinois David Lawton .25 be delighted You Can Play the Piano! is intended Just with this valuable new col- from the write a letter describing your Sousa's Famous Marches concerto repertoire, Mr. Levine pupil is experiencing a re- —Arranged for lection. for adult students and those of High the older who needs Piano Solo The “Technic-of-the-Month” has included and ask that a selection of mate- Henry Levine .70 les- some choice movements affection piano. Long pre- School age. Part is designed to fol- turn of for the Twenty-Four Short Studies For sons which Dr. Maier conducted from Two rial be sent. This “Early Order” Plan — Technic and for sev- the literature for violin, such as the Sight Reading for Piano... low its con- liminary drills in the fundamentals are L. A. Wilmot .30 eral years in The Etude have been predecessor without break in permits you to examine it at your con- valued Andante from the Mendelssohn Twenty Teachable Tunes— For Piano Violin tinuity, and through omitted and the pupil begins at once to DETROIT CONSERVATORY OF MUSIC venience so highly that many appeals have Concerto carries the student THE and has the same date limit on Opal Louise Hayes .25 been in E minor, the Canzonetta J. Bertram Bell, made for further study of attractive pieces and play the piano. Original compositions and Founded 1874 Announces a Director return You Can Play the Piano, their publication in from privileges as though Part Two . .Richter ,35 permanent Tschaikowsky’s the music Violin Concerto in interesting clever arrangements of familiar melodies 10 Day Piano Teachers Training Course were ordered form. In response, the author D major, technical fare, leading him and sent to you next Sep- has as- the Romance from the Second outstanding features and many sembled the best well into the second year of keyboard are the Given by Lee Corbman Author of "Finger Fables" & "Finger Freedom” tember. If you wish to save yourself SELECTED SECOND CRADE eighteen for this com- Violin Concerto by some STUDIES FOR Wieniawski, and a work. pro- will find attractive a series of unique time, pilation. Their technical uheme Cartoon drawings here again 10 Morning sessions, from June 23 through July 3. instead of writing a lengthy letter PIANO, Compiled by David Lawton—De- applications from Symplionie Espagnole by cover a wide vide entertaining illustrations. cartoons. Price, 75 cents. describing your needs signed to follow range, with emphasis Lalo. Pianists, ADDRESS "REGISTRAR." 5035 WOODWARD AVE., DETROIT 2, MICHIGAN just send a post- Mr. Lawton’s Selected on however, will be glad to The Music Fun Book, a Work Book for card melodic, chord, staccato and Until further notice, a single copy of request asking us to send to you First Grade Studies, this book draws octave stud- see favorite themes from the ies for piano con- You Can Two, Young Beginners by Virginia Montgom- copies of our “Early intermediate grade or certos Play THe Piano!, Part Order” blanks. upon easy and attractive study materials advanced of Beethoven, Grieg, Rachman- the music fundamentals in students. Each may be ordered at the special Advance ery, presents Sell Etude Subscriptions to your students, thus helping by Edmund lesson is written in the inoff, and them great- Parlow, Cornelius Gurlitt, Tschaikowsky. The arrange- of interesting ways designed to characteristic style which of Publication Cash Price, 35 cents, post- a variety MUSIC TEACHERS! ly in their work and increasing your income. Write for details. MUSIC MADE EASY, A Work Bonk by Mara Mathilde Bilbro, Louis Streabbog, Louis has made Dr ments are for pianists Maier’s work of average abil- paid. impress them upon the mind of the stu- Y'Ne Progressive piano Kohler, so successful. ity. teachers fre- and L. A. Bugbee. All the exer- of les- One copy to a dent and relieve the tension the quently use Robert Nolan cises are carefully person may still be or- A single JUILLIARD SCHOOL OF MUSIC= = Kerr’s success- edited and revised and copy of dered at this book may be re- THE CHILD son. Price, 50 cents. ful method for students are newly the special Advance of Publica- served TSCHAIKOWSKY, Childhood 9 to 12, All in engraved for this book. now at 40 cents, postpaid. The sale WILLIAM SCHUMAN, President tion Cash Price, 60 Days of Famous Composers, by Lottie Ells- One, which may be ’employed in One copy may be cents, postpaid. is limited to private ordered at the low the United states and its or worth Coit and Ruth Bampton—The sev- class teaching. Music Made Easy may advance price of 25 cents, postpaid. The possessions. be used TWENTY-FOUR SHORT STUDIES, enth in this very popular series, the as a supplementary work book sale, however, is limited to the United for Tech- JUILLIARD SUMMER SCHOOL with nic and Sightreading Tschaikowsky book follows the general TWELVE All in One, or any other up-to-date States and its possessions. for Piano, by L. A. TWENTY TEACHABLE TUNES Piano, plan piano instruction Wilmot—An addition to the Music for of its companion volumes, present- GEORGE A. WEDGE, Director book. Mas- by Opal Louise Hayes FAMOUS SONGS tery Series, this —This forthcoming ing the composer’s with Verses and clever illustrations book is planned for grade life interspersed make MENDELSSOHN’S ORGAN WORKS, Edited album, with its engaging pleasing the two up to three-and-a-half illustrations, easy arrangements of the Theme from arranged for piano to August 8, 1947 paste-in and written tasks and Revised by and uses sig- undoubtedly Edwin Arthur Kraft—This natures will be a favorite with teach- the “Allegro” that impress upon the from the key of c up of the Sixth Symphony, student the ac- expertly planned edition again to four ers and early grade Excellent third and fourth grade arrange- exhibits sharps or four flats. students. The work Theme from Instruction in all branches of music and music education quaintance here made with music sym- Planned for pianists “Marche Slave,” Theme Mr. Kraft’s scholarly musicianship and of a successful teacher from ments of such favorites as Nevin's bols, note values, with small hands, the of beginners, its “June” Barcarolle, Theme from the time signatures, scales, meticulous care book contains no content in working out fingering, will utilize major ‘ Mighty Lak' a Rose; Hahn's The Green rhythm problems, octaves. Practice material keys only, and Piano Concerto No. I,” and a piano duet Professional Courses accents, ties, slurs and pedaling, and registration. includes drill the grade Made up of of difficulty Mana-Zucca's I Love Lite; tetrachords. Other on passing thumbs, shifting wall range from arrangement of Troika. Attractively il- Cathedral; features are “A Story the complete organ works hand posi- first melodies, Opera School. Church Music. Radio Technique. of Mendels- tions, phrasing, divided between the hands, lustrated, the and WiH-o-the-Wisp, by Spross. in Notes,” a matching test, and true-false sohn, the scale passages for hands book features directions book contains the Six Sonatas, singly through grade for tests. and together, solid one-and-one-half. Words dramatizing the story, instructions for Conducting. Stock Arranging. Jazz Improvisation Opus 65, and and broken will be Price, $1.00 the Three Preludes and chords, used with some of a stage Teachers’ orders for thirds and sixths, and the pieces. model of a scene from the com- single copies of Fugues, Opus 37. repeated Until Twenty notes. Teachable Tunes is poser’s life, for Catalogue on request this book are being entered now at the single and a list of recordings A copy may be reserved at the ready for the market, special Advance of ° e c y ma be ordered a single copy to a children five to twelve years of age. THE JOHN CHURCH CO. Publication Cash special . y now at the Advance of Publication Cash , °P customer may be 120 Claremont Avenue Room 122S cents, special Advance of reserved at the special One copy may be the Theodore Presser Co., Distributors New York 27, N. Y. Price, 25 postpaid. Price, 75 cents, Publication Cash ordered now at postpaid. Price, Advance of Publication special 30 cents, postpaid. Cash Price, 25 Advance of Publication Cash Chestnut St. Phila. 1, Pa. cents, postpaid. 1712 358 Price, 20 cents, postpaid. Advertisement THE ETUDE JUNE, 1947 Advertisement 359 ) —

intervention with the Emperor, so that The Romantic Career the group might depart. Taking leave from Mozart must have WHERE SHALL I GO TO STUDY? RUDOLPH REINERS, member of the been quite painful. When the travelers Artist Faculty of the Violin Department, re- of Michael Kelly passed Salzburg they stopped at Father SPLENDID BOOKS ceived his training from Leon Sametini and (.Continued from Page 314 Leopold Mozart’s place at Hannibalplatz Private Teachers (Western) Private Teachers (New York city) from Carl Flesch. fie is widely known as a con- to give him greetings from his son. artist has been and when I came Mozart’s English FREDERICK DAVIS HELEN ANDERSON FOR cert and radio ; a member of the all through the part friends had tried with plain; and after CONDUCTOR—TEACHER Concert first violin section of the Chicago Symphony to the sextetto speak might and main to induce the great mas- Pianist Member Natl. Assn, of Teachers of Singing that piece of music was over, return to ter to come to England. And Interesting course—piano, harmony Orchestra for twenty-one years; and is conduc- Mozart had all branches of Classes in Many Successful Pupils stuttering! and X added (apologizing at almost made up his mind oMusic STUDY to this SUMMER tor the Gary Civic Orchestra, the North Side since and CHORAL ART of VOCAL 166 W. 72nd St.. N. Y. C. Tel. Sc 4-8385 the same time for my apparent want of Vienna was ungrateful Building Salt Lake City I. Utah Symphony and the Chicago String Ensemble. and little appre- M Templeton in placing my Phone 3-0316 (or 4-5746) tor appointment Young teachers and advanced students can use these books in self- deference and respect ciative of his music. The somewhat frivo- MARY BOXALL BOYD in opposition to that of the great opinion lous Madame Mozart even wanted to send HAROLD HURLBUT (Leschetizky) study work; established teachers, for use in special summer classes. Instruction from eminent Artist Teachers is Mozart) that unless I was allowed to her children off Hollywood Pianist and Teacher , to her father-in-law in Paris—New York— available to talented students at Sherwood, from wished, I would of Teachers of Singing “Of all pianoforte teachers with whom I perform the part as I Salzburg to be cared for, but Leopold Member Natl. Assn, have had Metropolitan Opera. Chi- to do, either as pupil or associate, Mary Boxall Boyd the beginning of their studies. Certificate, Di- not perform it at all. Mozart at last con- Developer of Singers of refused energetically. That is. in my opinion, and the nego- caao Opera Hollywood Bowl, Radio, etc. "VOICE the best.”—Leland Hall, Prof, of STANDARD HISTORY OF MUSIC way, Piano at Smith ploma, Degree courses in Piano, Voice, Violin, sented that I should have my own tiations starting with the FUNDAMENTALS" (J. Fischer & Bro., N. Y. Pub.) College. operatic Latest Revised and Enlarged Edition the experi- endorsed by W. J. Henderson, Amato. Bispham, Add. c/o Nolo Studios, 113 W. 57th St., New York Organ, Cello, Wind Instruments, Public School Music, Conducting, hut doubted the success of producer Guardasoni, who invited was Theory, Mozart and others of fhat great era. City, N. Y. Summer classes for teachers and students; ment. Crowded houses proved that noth- Joumet 1 By James Francis Cooke Composition. Courses for veterans under G.I. Bill of Rights. Fall Semester to come to the Bohemian capital, were 2150 Beachwood Dr. Hollywood. Calif. June 15th to Sept. 15th—Mill Hill, Nantucket Island, ing on the stage ever produced a more Mass. Ideal for sum- opens September 15. For free catalog, write Arthur Wildman, the reasons for the composer making up SYDNEY LEE ANGELL This book successfully fulfills its mission to impart a useful powerful effect; the audience was con- his mind to stay in Vienna. mer classes, or knowledge of music history from the earliest known facts, Musical Director, 412 South Michigan Avenue, Chicago Illinois. PIANO TEACHER EDWIN HUGHES 5, vulsed with laughter, in which Mozart Kelly? instruments, and composers to the epoch making living com- And His Viennese days were the One of America’s Eminent Teachers SUMMER MASTER CLASSES for self-study. himself joined. The Emperor repeatedly Beginners FOR PIANISTS AND TEACHERS posers. Included are historical charts, colored music map of climax to his career. What later followed Advanced Pupils or Talented cried out: ‘Bravo!’ and the piece was Correspondence Solicited NEW YORK CITY: JULY 7—AUGUST 9 Europe and over 200 illustrations Cloth—Price, $1.50 was only an echo of that glorious time. WINTHROP COLLEGE: JUNE 9-JULY 5 loudly applauded asid encored. -When the 2065 Clarkson St. Denver, Colo. He became first tenor in the Drury Lane For full information address: opera 338 W. 89th Street New York 24. N. Y. was over, Mozart came on the Theater in London. ISABEL HUTCHESON MUSIC SCHOOL He sang in the con- Tel. SChuyler 44)241 OF MUSIC stage to me, and shaking my both hands, Teacher for Piano Teachers YOUNG FOLKS’ PICTURE HISTORY certs of the Society of 'Ancient Music in said: ‘Bravo, young man, I Technic: Group work for Teachers: feel obliged the Handel performances Modern Piano CHARLES LAGOURGUE STUDIOS 2 By James Francis Cooke at Westminster Coaching concert pianists: Conducting "Piano to you; and acknowledge you have VOICE PRODUCTION—SINGING classes of Institutional Member of National Association of Schools of Music Abbey. He had not, howev.er, forgotten Teachers Forum." COMPLETE MUSICAL EDUCATION For Gives the child student an acquaintance with the develop- been in the right, and myself in the BROOKS MAYS MUSIC STUDIOS Mr. Laaourgue is the author of of its through the eras of all that Mozart had thought highly of "The Secret"—Daily youngsters ment of music from beginnings wrong.’ .” his Dallas Texas Phone C-4214 Vocal Exercises . . 100572 Elm Street, 2, —Complete Treatise on Transposition, the great masters. Over 100 cut-out pictures are supplied to canzonettas. He wrote songs and music etc. Classes held annually at grammar school EVANGELINE LEHMAN: Mus. Doc. The International be pasted in the book. Pictures of modern symphony orches- for plays. When he had lost his voice he College of CANNES, France age. An Amusing Report Vocal Studio New York Address: 35 West 57th Stree* tra instruments are also included Price, $1.00 VI became theater director and FLORENCE FENDER V opened a Creative, Individual training. BINKLEY music store, Send for reprint from the Etude: In this connection it should be but since his business sense EDITH SYRENE LISTER / \ men- "Reflections on the Art of Singing" Associate Teacher of Guy Maier tioned that Kelly was not notable, he became bankrupt. AUTHENTIC VOICE PRODUCTION was not the only Eng- Be- 167 Elmhurst Ave. Detroit 3, Michigan THE STRUCTURE OF MUSIC / 405 Carnegie Hall, New York City lish speaking singer appearing cause selling wines was traditional in his announces in “Figa- LIVERETTE Collaborator and Associate Teacher with the lateW. By Percy Goetschius, Mas. Doc. family, LUCIA O’BRIEN 3 / ro,” for the feminine leading part of the and he had acquired in Italy and Warren Shaw and Endorsed by Dr. Floyd S. Muckey Five Day Refresher Classes for Several years assistant to Wednesday: Troup Music The "how” of opera, the. charming Austria a knowledge Studio, Lancaster. Pa. This volume represents the crystallization of many important Susanna, was in the of good .wine, he Thursday: 309 Presser Bldg., Philadelphia. Busy Piano Teachers / CONSERVATORY LAZAR SAMOILOFF Pa. chords, melody, principles the author learned from a lifetime of experience in hands of the English woman opened *up, in 1811, a wine establishment. Nancy Now Teaching in His Academy Meridian, Miss. July 21*25 OF MUSIC (FRANK) (ERNESTO) intervals, form, teaching, lecturing and writing on theoretical subjects. An — / Storaee (1766-1817) .1 Nancy’s father This fact and the prevalent opinion in Angeles Calif. had 3150 West Sixth St. Los 5, is reference list over 200 theoretical Meridian Music Teachers' Assn.. LA FORGE-BERUMEN STUDIOS additional feature a of come to Italy from Ireland, where the London at that time that Kelly, on the Phone Fe 8294 etc. 504 12th Ave., / 81st Year Voice—Piano works at the end of the book Cloth—Price, $2.00 Mrs. J. W. family one side, Young, Pres. had become completely anglicized. leaned too much on other com- HENRY FRANCIS PARKS Among those who hove studied with Mr. La Forge ore: A complete school of music, dramatic Kelly gives an amusing posers as models, and Organist, Conductor & Vocal Coach Marian Anderson, Lawrence Tibbett, Richard Crooks, Okla. City, Okla.—Aug. 11-15 art and dancing. Courses lead to degrees. report of how that he diluted his Individual and class instruction in Organ, Piano and Mme. Matzenauer. Florence Fender Binkley Studios Special students may enter at any time. Stephen Storaee (1763-1796) wine a little bit, is supposed to BEGINNERS and his sis- have been and Theory. Vocal coaching for Concert. Light and 1100 Park Ave., Corner 89th St., New York HARMONY BOOK FOR 1120 N. W. 40th St. ter, the singer, Opera particular met him on a voyage to the cause for Sheridan’s statement that Grand with attention to breathing Tel. Atwater 9-7470 By Prestou Orem, Mus. Doc. l REGISTRATION—September 5 and 6 enunciation and proper pronunciation. Ware Address above for detailed information. Livorno. Michael, who the sign over Kelly’s 4 Write for catalog as a blond and business establish- 320 Market St. Telephone YUkon 8-1816 RICHARD McCLANAHAN Some knowledge of harmony is an asset to every music stu- / rather boyish-looking ment really San Francisco II California Ideal as a basic 2650 Highland Ave. Cincinnati 19, Ohio \ young man, might should read as follows: Representative TOBIAS MATTHAY dent. It helps him to "think musically." Beginning with the have been taken for a disguised MICHAEL Private lessons, class lessons in Fundamentals text for students girl, KELLY EDNA GUNNAR PETERSON rudiments and proceeding as far as the dominant seventh heard Summer-class, Southwest Harbor, Me. how one of the passengers, a girl, Composer of Wines and Importer of of any age. Music. Concert Pianist 801 Steinway Bldg. New York City chord, this book starts training in melody writing, making it said in English —Artist Teacher to her companion, “Look ideal for use as a basic text Price, $1.25 22t So. Harvard Blvd. Los Angeles, Calif. @hr QUhrlmtiiJhalttHt* of at that girl dressed in (T)usu boys’ clothes.” To FE. 2597 EDWARD E. TREUMANN her astonishment Kelly called out in Bachelor of Music Degree, Master of the Concert Pianist—Artist-Teacher Music Degree, Artist Diploma same language. “You THE SAMOILOFF are mistaken, Miss. BEL CANTO STUDIOS & OPERA ACADEMY Recommended by , Moritz Moszkowski THEORY AND COMPOSITION OF MUSIC BERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave.. Cleveland, I am a very proper he and Joseph Hofmann. O. animal, and quite The only place where you can learn the original 5 By Prestoa Ware Orem. Mus. Doc. Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. Charter Member of the National Association of Schools of Music at your service.” “All three Samoiloff Bel Canto Method which developed such laughed im- Tel. Columbus 5-4357 New York City book for stu- moderately The World of Music outstanding voices as NELSON EDDY, BIANCA A An ideal text book for students past the elementary stages in and from that moment Summer Master Class— to August 15. was SAROYA, DIMITRI ONOFRI and many others. Now dents with some the study of harmony. Fine for either class or private instruc- formed a firm ( friendship which was to Continued from Page 355) under the direction of Zepha Samoiloff. BOSTON UNIVERSITY MME. GIOVANNA VIOLA knowledge of tion. The work enables the pupils to make a practical appli- have important Write for Catalog. 3150 West Sixth St., Los Angeles 5 developments in the mu- cation of knowledge gained to the composition of music. OSMOPOLITAN voices. The deadline Phone FE 8294 No charge for Audition Dramatic Soprano sical is September 1, and — harmony. world of the coming years*:” Teacher of Singing "Bel Canto" Price, Ste- full $1.25 of Wutlc SCHOOL OF* details may bo secured by writing to Experienced European trained Artist MUSIC phen Storaee became a respected com- ELIZABETH SIMPSON CLARENCE El DAM. President The Friends of Harvey Gaul Contest Coaching Opera, Concert and Radio Offering complete courses in Piano. Voice, Organ, poser in Vienna, where Author of "Basic Pianoforte Technique" Violin. Cello, Brass. Woodwinds, and ROSSETTER COLE. Dean he stayed at the Committee, Correct vojee production, defective singing corrected Percussion in- Ferdinand Fillion, Chairman, Teacher struments, Public School Music, Composition, Church 43rd year. Accredited. Offers courses same time as Kelly, and likewise of Teachers. Coach of Young Artists. Beginners accepted THE ART OF INTERWEAVING MELODIES in all became 315 Shady Avenue, Music. Musicology. Chorus, Glee Club, Orchestra, Band. branches of Music. Certificates, Pittsburgh 6, Penn- Pupils Prepared for Concert Work. Class Courses Phone: Trafalgar 7-8230 6 Faculty diplomas and degrees. a pupil of Mozart. includes members of Boston Symphony. Bache- Desirable board- He wrote a number sylvania. in technique, Pianistic Interpretation, Normal 8 West 86th Street New York City By Prestou Ware Orem, Mus. Doc. lor’s and ing accommodations. in Master’s Degrees in all musical subjects. Dorms. Located down- Methods for Piano Teachers. First study in Catalog. town musical center. of chamber music works COLLEGE OF MUSIC. 73 Blagden St.. Boston. of excellent This is a first study in counterpoint for students of all ages. Box E, 306 S. Wabash Ave., III. 79 Chicago4, McAllister St., Room I San Francisco; CRYSTAL WATERS counterpoint. construction. To this English group A BAND MUSIC composer’s contest for about 2833 Webster St., Berkeley. Col. Not a dry, pedantic series of exercises but a lively, absorbing Mozart the best Concert Singer — Teacher belong, also, Thomas “Concert or Parade” march is Presupposes a discussion of the subject that actually makes good reading. the Attwood Voice Building, Breathing, MANNES (1765-1838), announced by the Valley DR. FRANCIS L YORK Philadelphia Conservatory likewise a pupil of Mozart, Rock River Diction, Expression, Style. knowledge of A thorough knowledge of harmony is presupposed before Advance Piano Interpretation and the Theory work who later in (Illinois) Music Festival. The first prize In preparation for taking up this book Price, MUSIC of Music Founded 1877 England had a reputation required for the degrees of Mus. Bach., and Mus. harmony. $1.25 SCHOOL is seventy-five Radio, Screen, Stage, as church composer. dollars and the second Mas. Special Chopin interpretation. 216 South 20th Street Concert, Opera. Professionals • Amateurs • Children prize, twenty-five dollars. The march will Maria Ezerman In February 1737, DETROIT CONSERVATORY OF MUSIC 405 E. 54 St. New York City Class and Individual Instruction Drake, Managing Director Kelly departed from have the title, Spirit of the Twin Cities Detroit, Mich. Tel. Vo-5—1362 THE LISTENER’S BOOK ON Write Faculty headed by Vienna. The Emperor HARMONY for Catalogue granted him a (Sterling and Rocky Falls), and will be Olga Samaroff, Mus. D. year's 7 DAVID & CLARA MANNfeS, vacation with pay, but played on the By Lawreuce Abbott Directors Courses leading to Degrees he never Festival Program, July 25. 157 EAST 74th STREET NEW YORK ‘21 For enjoyment came back. With Kelly Closing date of PIUS traveled his Eng- the contest, which is open X SCHOOL OF DILLER-QUAILE Here is an "Open Sesame" to musical enjoyment, an outstand- lish friends, to anyone, of music—sym- Attwood and the brother is midnight, June 15. Details ing book on "music as a language of tones and chords." By Tell Your LITURGICAL MUSIC Music Loving Friends about THE ETUDE and ask to and sister Storaee. may be secured from Mr. Ziegler, School off Music phonic, band, them give Stephen Storaee the Elmer means of able discussion and thematic illustration, it lays Mauhattauvnie College of Sacred Heart you the privilege of sending in their subscriptions. evening before General Chairman, Rock River Valley He modern, or firm, logical foundations for a fuller grasp of music’s had had an encounter 133d Street and Convent Normal Department for the train- mean- Music Festival, Sterling, Avenue THE ETUDE 1712 Chestnut Street with an officer Illinois. New York ing. The author is a practical musician. .. Cloth—Price, $3.50 Philadelphia, Pa. because the latter, at a 27. N. Y. ing otTteachers in modern "jive.” ball, while he was wearing a saber SUMMER SESSION methods of teaching music. and THE PHILADELPHIA an- spears, had danced with Nancy Art Alliance —some- nounces the twenty-third annual Eury- June 30th - August 8th Adult Department for students (AMERICAN thing which the English musician, CONSERVATORY who dice Chorus Award for for a composition Courses Open to Both Men and Women who wish to specialize in had drunk too freely of the “Buda” wine, women’s voices. The prize is one hundred Veterans accepted under the Q. J. BUI of Rights piano and musicianship. THEODORE PRESSER OF MUSIC— thought sufficient CO. CHICAGO reason dollars. for insulting The closing date is October 1, Gregorian Offers courses in all branches of music and dramatic Chant—Gregorian Accompaniment art the officer. Storaee and Choir Junior Department for children had to spend a night 1947; full details may be secured by Conducting — Liturgical Singing Poly- 61st year. Faculty of 135 artist teachers — Music Publishers and Dealers in jail but was writing to phony-School Music—Theory— people. Member of National Association of Schools of Music released through Kelly’s The Eurydice Chorus Award Harmony—Coun- and young Committee, terpoint and correlative subjects. Send for a free catalog—Address: John R. Hattstaedt, President, 578 Kimball Building, Chicago Miss Katharine Wolff, chair- 1 Mozart was in especially Organ bb East 80th Street friendly relations with man, % The Philadelphia Art Alliance, —Piano—Voice 1712 CHESTNUT STREET, PHILADELPHIA 1, PA. 251 South Telephone: EDgecombe 4-1500 New York 21, N. Y. 18th Street, Philadelphia 3, Pa. 360 "MUSIC STUDY EXALTS LIFE’ THE ETUDE

PRINTED IN THE U. S A BY THE CUNEO PRESS. INC. A JUNIOR COURSE IN HARMONY IN CLEAR AND EASY LESSONS OAe, ROBYN-HANKS HARMONY BOOKS

A Junior Course in Written Harmony. Keyboard Harmony and Ear Training By LOUISE ROBYN and HOWARD HANKS

This intelligently outlined series covers the study of Harmony in clear and ROBYN ROTE-CARDS easy lessons up to the point when the student is capable of four-part writing. In addition to an abundance of explanatory text, much space has been re- This little book constitutes the pre-school child's ideal introduc- served for written work. tion to the piano. Made up en- The ROBYN-HANKS HARMONY is adaptable to the young beginner or to tirely of pictures symbolic of the the mature student. Although it can be taken up at any stage of musical

musical notation shown, it at once advancement, it is recommended for use soon after the first lessons so that attracts and sustains the interest the progress may parallel that at the piano. of the student from three to six Each book of the ROBYN-HANKS HARMONY covers about two years' years of age. Each of the thirty- study and can be fitted into any curriculum regularly prescribed. A certificate four picture symbols illustrates of accomplishment, to be signed by the teacher, will be found at the end of an important point. each book. PRICE, 75 CENTS The story element running throughout has been founded on the life and LOUISE HANKS ROBYN achievements of . HOWARD THE ROBYN-HANKS HARMONY HE subject of Harmony is usually omitted from the The remaining Rote-Cards teach him the grouping of BOOK ONE musical education of most young music students the musical alphabet into the easier harmonic combina- The first book of the Robyn-Hanks T Harmony, while specially de- because of the prevailing opinion that the study of har- tions which are so necessary before the beginning of signed to follow the Robyn Rote- mony is too difficult for the child to comprehend. harmonic study is possible, namely, whole and half- Cards. can be studied along with matter child any method. No how musical or how unmusical the steps, simple interval forms, triads, signatures, and the PRICE. 75 CENTS may be, it is only through the introduction of the funda- smaller scale forms. mental principles of harmonic study during the earliest this the introduction THE ROBYN-HANKS period that it is possible to accomplish the co-ordination In way, of all the faculties used in piano playing. 1 In* Kiiiiyn llanko llurinom to the A B C's of harmony is ac- HARMONY The ability to teach harmony to children presupposes complished without difficulty on BOOK TWO the knowledge of how to present this more or less ab- the part of the child or the This second book of the Robyn- Hanks Harmony continues the de- stract subject in a manner befitting the student's under- teacher. When the child has velopment of the material in Book standing. completed the book of Robyn One and also includes a teachers' In order to create interest pre-school Master Key. with children, Rote-Cards, he has gained PRICE. 75 CENTS the first approach to harmony study should be made enough knowledge of the sim- through the Robyn Rote-Cards. The Rote-Cards, with pler elements of harmony and THE ROBYN-HANKS their simple story element, give the child his first intro- ear training to progress into the HARMONY duction to the basic elements of harmony, and prepare Robyn-Hanks Harmony, Book One, which contains har- him for the Robyn-Hanks Harmony, Book One. mony lessons so laid out that the teacher child have BOOK THREE and only to complete the lessons order to The third book of the Robyn- as indicated in The first twenty Hanks Harmony takes up the attain the desired results. Rote-Cards work where Book Two leaves off, give the and prepares the student for four- child ROBYN ROTE-CARDS his harmonic When the work in Book has part writing. One been completed, tools in that they and the PRICE. 75 CENTS teacher has signed the certificate in the back of teach him to read his the book, the student is ready to begin work in the notes. OTHER PIANO Robyn-Hanks Harmony, Book Two. Book Three con- With the first cludes the Junior Course in Harmony. EDUCATIONAL twenty cards WORKS the teacher is The lessons contained in this By Louise Robyn also able to course may be started with TECHNIC chil- TALES—Book One . $0.75 Teacher's Manual to Book One .75 cover the first dren of five years of age, but

TECHNIC . TALES- Book Two . .75 Teacher's Manual to Book Two .75 important the course is excellent for stu- CHORD CRAFTERS steps neces- dents of any TECHNIC TALES—Book Three .75 age. The difference KEYBOARD TOWN .75 sary to train in the manner of presenting the ROBYN-GURLITT 75 ROBYN-HANON 75 the child to material and the amount to be SNOW QUEEN SUITE 75 THE CHILD CHRIST— hear what he given must be decided by the Piano Suite 1.00 KINDER CONCERTO (HAYDN) sees on the teacher. The presentation must For Two Pianos by music Louise' Robyn .75 page be varied to fit the age, the tal- KINDER CONCERTO (MOZART) and plays on ent, For Two Pianos by and the experience of the Louise Robyn 75 the piano. student. OLIVER DITSON CO. THEODORE PRESSER CO., DISTRIBUTORS, 1712 CHESTNUT ST., PHILA. 1 PA