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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
7-1956 Volume 74, Number 06 (July-August 1956) Guy McCoy
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Recommended Citation McCoy, Guy. "Volume 74, Number 06 (July-August 1956)." , (1956). https://digitalcommons.gardner-webb.edu/etude/86
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etude-july-august 1956 1 .It... _ ...... --:. _ .,.
p •••••••••••••••••••••••••• July-August 1956 Vol. 74 No.6 Now Enlarged and Revised
THE Founded J883 by PIANlS'I"S Theodore Presser PROBLEMS THE C'tree/. PRIVATE PIANO 'TEACHER By contents HAS COME INTO HER OWN! WILLIAM FEATURES e h nn) Virginia Oakley Beahrs S. Daylight and Darkness (Ro bert .J.e uma • NEWMAN 11 IN DAYS GONE BY, private piano teaching was not 13 The Lieder Singer, Irmgard See/ned Charles E. lves, Part Two. John J. Becke: considered too seriously. Few thought of it as a career 14 . Across the Years, EULat H ernpstead or as an accepted profession. Preface by 15 Robert Scbumann : J h Hi h The Piano Cycles of Robert Schumann, osep . oc ARTHUR 19 Many people treated the piano teacher with good- podium Perils South of the Border. Joseph Leoine LOESSER 22 natured tolerance. They liked her because she could teach "Mary" to playa few pieces ... and lessons were not expensive. A Modern Approach to DEPARTMENTS In those days, pin-money teachers were legion. Well- Efficient Practice and 4 Musical Oddities, Nicolas Slonimsky trained career private teachers were rare indeed. Mnsicianly Performance 5 Letters to the Editor Important revisions and two new 6 World of Music chapters on learning and teaching 8 Music Lover's Bookshelf 9 Music in Focus, James B. Felton make Newman's -standard work the 16 Thomas Tomkins. Last of the Elizab than Virginalillil5., Dcni.s ItVe1U most up_to_the_minute handbook for students and teachers of piano play- 17 The Dance, Walter Terry ing. 23 illustrations. 26 music nota- 18 New Records . 20 Lawrence Welk and His "Champagne Music." Albert J. E/IQS tions. Index. Bibliography. 21 The Joliet Township High School Band. Bruce If. Houseknecht At All Bookstores $3.00 21 Cleveland City of Orchestras. Robert 1/. Rimer 21 The Musical Revue in Student Life. fr/jJljom John Pctermall •• -HARPER & BROTHERS. N. Y. 16-·' 40 Inventory Time for the Organist, Alexander Me urny 111111111111111111111111111111111111111111111 41 Open String VS Fourth Finger, Harold IJukley BUT, TODAY ALL THAT IS CHANGED ... the career prl- 43 Teacher's Roundtable, Maurice Dumesnii vare piano teacher has really come into her own. She is accepted TO:.~ote~;n~1 43 Violin Questions, Harold Berkley as belonging to a "calling", ranking in prominence with the legal 43 Oruan and Choir Questions. Frederick Phillim and medical profession ... her standards are high. 44 'Po~sibilities for Accordion in mall ombin81ion hnrltJ MGltlatltt. by GULBRANSEN The income of the career private piano teacher ranks high. 54 Junior ETUDE, Elizabeth Cest Very often it equals or exceeds the music professor In college ... and, she is her own boss. MUSIC THE PROGRESSIVE SERIES PLAN Today the career private piano teacher is accepted as a social OF MUSIC EDUCATION and cultural leader in her community. She has earned this esteem Piano Compositions Created by 54 noted musicians through diligently preparing herself to impart music training 23 Andante (from Sonata in G Major, K. 283) 8 ~L for tbe private piano teacber to the youth of her community ... and, she has at her command (from "Sonatas and Fantasies") _ __••._-_. \10:411, 'lIIIU • Tesled lesson Pions • Correloled Theory Program many sources of excellent educational teaching materials. Day's End ,...... •... __ ._. Rdi-F'utl 26 • Teacher Workshops • Superior Teaching Materials 28 Barcarolle (from ::T~les .of Hoffmann~'~ . .• ~ • Pre-instrumental Program • Institutional Affiliation We, of the Progressive Series Plan of Music Education, like (from Highhgbta of Feruilter )lu I Book 2) _.._.._ .... _O'61bot1t·.,., • Foreign Music Seminars • Teacher Placement Service to think that we have helped to bring about this transition in Instrumental Compositions AFFILIATION BY APPOINTMENT ONLY the life of the Career private piano teacher. An inspired minuet console, Townl. Country 30 Andante Con Mota (from Symphony o. 5) (orsan) Career teachers with acceptable backgrounds and _aclive Starting as far back as 1912, the Progressive Series Plan has is CI perfectly delightful interpretation of (from "Chancel Echoes"} _ _.- classes are invited to inquire ebeut Appointment and been a dominant factor in securing the proper recognition for the school of sculptured design, the suave, Te.aching Authorization. the career private piano teacher. By supplying a comprehensive Pieces for the Young ftuid look .•. the woods in undulCited un· No fee lor qppointmenf. program. prepared and edited by outstanding authorities, the 34 In A Contrary Mood _ .._. __ -C"'l. A.... broken surfaces of continuous contour. Progressive Series Plan has at last brought the career private piano & 36 In Licorice Candy Land _. __ . 8.. 6. r..... Here in the Town COl,lIIrryis beauty, styl- teacher into her own. Railroad Boogie (from "Folkways- .. 2.) •• in9, breathability •.• a piano thai lives! 38 A:" Book ----Llie ~t.Wtt A copy of the handsome brochure, roWlI& Coullrry is available in the modern "The Career Private Piano Teacher" woods, and is equipped with the exclusive wili be sent without obligation. Gulbronsen Supertone Scale, the sensa· : . James Francis Cooke, Editor Emeritus (Editor /907·19-19) tional miracle scale thai outperforms all PROGRESSIVE SERIES PLAN others-with its superlative. c1eor, sing- Guy McCoy, Editor Dept. 76 P. O. Box 233, Clayton, St. louis S, tAo. ing, big tone-big Grand Tone. James B. Felton, Assistant Editor .- I am a career private piano teacher with on aclive' doss. SPECIAL George Rochberg, Music Editor "'RITE FOR FREE Please send me a copy of "The Career Privale Piano Teacher". TEACHER'S V. L. Fanelli, Art Director PROGRESSIVE SERIES PLAN BROCHURES DISCOUNT Nome. DEPT,76 P. O. BOX 233 • CLAYTON, ST. LOUIS S, MO. GULBRANSEN COMPANY ~rb~~~butin~ Edito~s: Harold Berkley. Theresa osleUo. ~I.ur' Dutoe!OiJ. Address .. Dept. E. 2050 N. Ruby S1. . . J. Eha.s. Ehzabeth A. Gest. Rose Heylbul. Gcof"@;eHowuton. luaadc:r ;\1cCud1· *Progressivc Series Teachers are located in every state and 14 foreign countries. City .. . Zone. Melrose Park. ]U. William J. Mitchell, William D. Rev-eUi, Ralph E. Rudl4 ~icolu _looim!.kJ. WallO Ttf11 ... Slale .. 11I11I111111111111111111111111111111111111111 Allan E. Shubert, J r.~ General Manager ••••••••••••••••••••••••••••••••••••• c ••• etude-july·august 1956 3 2 etud july"'ugus11956 •
classical operas are related at con. wealth of material to place at the dis- siderable length. posal of their personnel-and so we Although the whole world, or at have good teachers. I believe more thought should be given toward irnprov- least the feminine half of it, knows LETTERS ing the future of the private teachers the celebrated piano piece "A Maid. and their students-and also, that school en's Prayer," little is known aboutits to the editol" credit should be allowed to the student composer, Tekla Badarzewska.She studying privately. was born in Warsaw in 1834, and You are covering a lot of ground Educational Issue included have been directed toward the died at the age of twenty-seven,in when you try to merge the material for Sir: Your recent issue (April 1956) enjoyment, education and research for 1861. It is doubtful whethershereal. the private teachers and their students. the two groups within the columns of was indeed a splendid culmination of ized the extent of fame that her piece Now there are many articles included one magazine. all you have done in the past regarding Jane Schisler would bring her. It was first published music education. for the benefit of the Public School Lakewood, California in Warsaw in 1856, and reprinted in I agree so whole-heartedly with Teacher and students. By Paris three years later. Then, unac- Monsignor Thomas Quigley, who states The Public School systems have a (Continued on Page 10)
oken demand, countably, U Maiden's Prayer" that "the philosophy underlying Amer- AVER SCHARWENKA, the pian- Yielding to an unsp at the piano spread through European salonslike ica's artistic development is so impor- Scharwenka sat dow.n D " He X ist and founder of a famous CO?- h' "Pohsh ance. an irresi tible inf tion. he wrote tant." Wjth the recent expansion or music studies and their place in the servatory in Berlin, was a man of ~lt. and played is I d b the revelation near-ly a hundred more salon pieces, was rather start e Y. f th piece school's curriculum, there has been an He wrote in his autobiographIcal 'II' COpIes 0 e n n or whi h survived. that over a rm laD. . 'rated edi- unfortunate emphasis on music as an ~ltp sketch: "That I was born, appears to ld in Amenca In P' h mo t unkind pitaph onTekla T~mkvlkzc end in itself, rather than a means to be certain. A similar fate overtook my were so 1 . d an offer from Badanew,ka wa d livered by H. invites you tions. He also receIve h P Ii h the end. The ultimate end and value brother Philipp who is three years .( nd I in hi HMu ikalioch Comer. .. -tc take any one of these a publisher to arrange tel he of music education should be to raise sets of great chamber works older than I am, having been born Dance for eight hands. Jn r p y, . ~81ion. sicon": "Her timel)·death mind and soul above the level of the in 1847. With the help of a table of 'tty poem in German, In pre"ented h r Irom inundating the mundane, and lead to the realization [k.g logarithms, the year of birth may wrote a WI 'peel f of a source of truth, beauty, and my world ,\ 'Ih imilor dem ra1iling prod. NO STFUNGS ATTACHEO h· h he lamented the pro FREE now be determined. MetIculous geo- w IC • h es and goodness. !Flaying having forty fingers, etg t ey . u I 01 her pen rted ~1U!e." ITALIAN MASTERS graphic research has established the You can't imagine how welcome Mon- OF THE XVIII CENTURY four Doses participat~ by l.Oll h, ~lght, signor Quigley's article was, and I do fact that I was born in a little town TIll" ore o( the pen "Berenice" TARTINI: S... lll, Q lIf.","., Dull',T,IIl" GEMINIANII $... IaI.ltl.IM./Or and smell, in executmg hIS :,.or . named Samter. There I grew up, the b i, nni r hi tipulat the so fervently hope that many of our VIVALDI: S.lOtH 10 A MJj" IOd F MIMr VITALI: c." .... I. Q 1ll0l' Scharwenka's brother Philipp wa country's educators standardize their ALSO joy of my parents, and the dread of also a composer, and also wr te a f 110" ing a t and th alrical r
t The Internalional Society. of Friend! of Beethoven is erecting a new Bee. Lewisohn Stadium Concerts are be- now the Festivals have been supervised Contemporary American Music, held thoven Hall in Bonn, Germany, to reo ing held June 18 through July 28. Con- by a board of directors, and although in April at the University of Texas, has place the one destroyed by bomhs- ductors Monteux, Golschmann, Smallens Mr. Karajan's appointment will elim- named six prize-winning composers: during World War II. Eosting $1,428,. and Thomas Scherman are being joined inate some lack of central authority, Merrills Lewis; Benjamin Dunford; 000, the modern white stone structure by Howard Mitchell and William other conductors will be engaged for Roy Sudlow; R. P. Dosien; Wilbur will contain a large auditorium, 3 Strickland, who are American newcom- many of the operas and concerts. Collins; Patrick McCarty. The Sym- 3maller rooms and a 300·seat restaurant. ers to the Stadium Concerts this year. posium introduced 54 new compositions The Columbia University Opera Robin Hood Dell in Philadelphia by 44 Western Hemisphere Composers. The National Broadcasting Company Workshop, directed by Felix Brentano opened its six-week season on June 18, has been negotiating with Igor Stra- and Rudolph Thomas, produced Robert The National Federation of Music with Eugene Ormandy conducting an vinsky for a shortened version of his Ward's "Pantaloon" for the first time Clubs has launched a crusade to in- all-Beethoven program. It was a pro- ballet "Petrouchka." NBC, wanting to at the .luilliard School in May. The crease the number of string players in gram in keeping with the dedication01 televise it in the form of an animated opera's libretto, by Bernard Stambler, the United States. To offset the current is reputed to be the ~argest baBet com' the new Dell, entirely rebuilt from top Columbia University's Mozart Fee- cartoon, decided to commission Stra- is based on Andreyev's play "He Who shortage of strings, special awards of pany ever to visit this country. to bouom. The programs include some fival, celebrated during April, featured vinsky to revise the original score into Gets Slapped." The production was merit will be given to music clubs of the leading artists, vocal and instru- a series of lectures and concerts of . of Music a 10·12 minute arrangement as back- sponsored by the Alice M. Dltson Fund. The National Fe derat~on 1000 which advance string programs in Mozart's music. A special exhibit of mental. together with noted conductors. ground music. schools and orchestras. Among these are Rudolf Serkin, Jacob Mozartiana, including autograph scores Clubs will o~er five f ~rlZ;;n~fbi~n'nial The Southwestern Symposium of (Continued on Page 64) and letters, first editions, opera ~os~ each to the wmners ~ . Its March Krachmalni k, laine ~Ialbin, Erich The Stratford Music Festival, On- Young Artists Audiuons next . d tumes and related sculpture and pal~t· Leinsdorf, Erica M rini, Frances Yeead, tario, is presenting Britten's opera "The ~======~~~~:..'..----= and April. Information can_ be O?~l;:ic Engen nl y, Ii ola ,\10 ana, Jose ing, was on display in Low Memorial 0 Rape of Lucretia" for the first time Library. The Mozarteum Orchestra of from the National Federatlo 23 d lrurbi, Front II n, Alexander Hils- Clubs Headquarters, 445w est r in Canada on July 7. Claudio Arrau, Salzburg, the Little Orchestra co~- b rg. Leonard Bernstein, William lnge Borkh, Glenn Gould and Martial Street, New York, New York. ducted by Thomas Scherman, and van- linberg, Jan Peer e, and Zino Free. Singher will make festival appearances. ous soloists participated in the concerts. lIoCatli. A new Intcl'.Alncriean cultural The Peabody Opera Company of- Tb e llf'rk.ahirf'! Jo"f"~li\ 1 i~off ring National Music Week was observed agency, to be organized under the O~ fered Hindemith's "There and Return," . . f American State, has b e (he ~tu ..ir bed con en .~ in thi~,ear. through~ut America this year from May O"anlzatlon 0 . . Bernstein's "Trouble in Tahiti" and plu Bach.Moul'I tpneen II)' I chlm· 6 to 13. President Eisenhower, recog- formulated in order to promot~ IUU t Jack Beeson's "Hello Out There" in a in all the 22..American republics. The ber orehC'"'lra of ton )"mpbony nizing the celebration, said in part, ."1 no triple-bill of one-act operas on the new center will approach government 1)la)cr nd Iher chambfr conttl1 am glad that in a number of commumty Johns Hopkins University campus, May celebrations there will be programs fea- and private institutions. wi.t'l ? VI W Benny oodm n \\'ill pia, in the \IOlIn 4 and 5. turing local composers and musicians. toward publishing anJ distributinG .th larillel necrto. TI'e FC..lifll ruD~ Through outstanding works many of scores of American compo er . Must al frcun Jul) Ihroutth \UIlU"I. Arthur Hartmann, violinist ana com- groups such as orchestras 811.d opera our present-day composers have con· poser, died in New York on March 30 companIes will also be contacted. ~e u tributed greatly to the nation's musical at the age of 74. Philadelphia-born, he Duron of Mexico was elected pre tdent prestige. I hope these celebrations ~ill toured the U.S. and Europe in violin stimulate many future accomplIsh- of the center, and Gilbert Chase of th recitals, beginning in 1893. He had been ments in the field of musical composi· U.S.N., first vice-president. a director of the Rochester and· East- tion and in that of performance. To all man Schools of Music. who participate in Music Week, my Sister M. Aloysius of the i ters~ erv· warm best wishes." ants of the Immaculate Heart of lory. HTllc Ballad of Baby Doe," a new a widely known music teacher and om· opera by Douglas Moore, will be pre- The Royal Danish Ballet will tour poser, died at Villa Maria, ern r "ill • miered by the Central City Opera, the United States and Canada begin· Penna., on April 4. She taught mus-ic ill Colorado, on July 7. Dolores Wilson, ning in September. The repertoire wi~l various schools of the A rchdiocese and Martha Lipton, Walter Cassel and include eleven full-length ballets. ThiS at her death was supervisor of musi Frank Guarrera, all of the Met, will in her order. Using the pen name, Rob- sing leads in the new produclion. ert Nolan Kerr, Sister Aloysiu wrot THE COVER THIS MONTH many piano pieces for teaching and Eastman School's 26th annual Fes· Memories of small town or rural recital use and a number of highly suc- tival of ADl.erican Music was held in life are sure to be evoked by the pic- cessful books of educational mal rial. Rochester, New York, during May. ture used as the cover subject on this Besides three chamber operas, by Louis month's ETUDE. The artist, Paul Andor Foldes, internationally known .., 1m •• ILl. OlU;i(·""'. Mennini, Ron Nelson and Thomas Can- Sample, ,has caught the atmosphere piano virtuoso, who has heen touring ,,-i. b.. d nit ...atIb< ~ ning, the Festival included perform. of small town life in the U.S.A., so Europe, the Belgian Congo and uth lrILf rd HOlel i. Pbi\addpbia.· .. ances by the Eastman·Rochester Or- much of which in the sum mel' time· Africa, recently was honored by ha,'ing nD) '-rd.. \la.-.ln 01 et.RJDUnie:: ' chestra under Howard Hanson, the is connected with the band stand in Cantata Singers, conducted by David bestowed upon him the Order of M ril .onIe .000 e..uno: ,obi .... ~pr> the park. The pavilion depicted here :First Class, by the West German PI"
hhe Plain 1 \J i A ., concept in music instruction it: I ,hink ET DE h. I....n '''dil, by Virginia Oakley Beahrs impro\ inl( and I \tf) muchlikethenrw "N13, ~w approaches for beginners of all ages Ierm I. I h ppen I he intcrt-ttd cpr. iall in \inlin. I Icach iland t look fOf\\ltlrd to fro Harold Iltrkl '."ankle- fa pportunities for greater teaching income ond an "er 10 qu ~1ion. He m to I nn c 11 01 IUlhoril). Jane Pindfr rond 1.I.nd.\rh. A T THIRTY-FOUR Robert Schumann wos faced by covered until the last movement. This COllljiosiLonwould Tested and approved by the Fred Waring Music Workshop the tragic necessity of trying to escape from the" always remind him of the "dark time." All his life, he A cordi II \rli I music which was his very life, confessing that "it cuts was haunted by the fear of returning darkness and had into my nerves Jike knives." His doctor urged him to Edward J. McGi~leYI author ir: 1 ",j It 10 'pr mpme tnjo~· a horror of high places, sharp instruments, and medicine. m nl and Ippr iallon of Ihe aniclt br leave Leipzig, city of music and poignant memories. It Yet there were periods of Hdaylight," when he would - ~Ir. J ob upautr on lh~ accordioa was here that he had turned from the study of law, fired find "unspeakable joy" in his composition. 'Acontinuous emphasis on mus~c reading that builds in til< bruit) i· u. or ETUDI:TroIr with ambition to become a piano virtuoso, only to cripple Schumann bemoaned the lack of true musical interest independent musicianship it d'l i I Ihe ftroblt"m or a tc.cbtr in his hand with a home-made device designed to strengthen in Dresden and the dominance of those who "bite into If)"in,; IQ ··pul an "'10 •.he lU~t.tht it. In its stead had come some "measure of success as anything new as if it were a sour apple." Clara tried Classical repertory caref~Jly integrated \ tl') n .... i ..in ~ming a mu"l(Illl. ,I composer and critic, with his "New Paths of Music" unceasingly to shield him from life's troubles and to ing In IC<"Ordioni I ml It I fd' n established as a leading musical journal. In Leipzig he populadze his works through her playing, but com- r .1 ,i..r. Ii n aht, rudUI@ IIlli had gained the friendship of Felix Mendelssohn, who!j:e d skills applied to playing familiar melodies plained, "The people here have no blood and cannot mo I ina r "lin bit f inf nnatiM. .\1 gay, light-hearted disposition was so different from his thousb le
couraged by repeated postponements . -ed and respected you one has ever admu 1£ " (once for a presentation of Meyerbeer's this would already be a good vintage." more than my modest se ~dation when "Prophetl") which put his work so late Mendelssohn, though fond of Schuma~n. Upon Hiller's recomm~ h ma~n was in the' season that he feared no one could not reciprocate such devotIOn would be interested. The performance, he left for Diissel~or~;ng~k~demie. He whole-heartedly. He did agree to. pre- on June 25. 1850, was attended by many made director of t e J J.ttle musical e· L· at "too 1 sent the Symphony in m eipzrg thought there was d resigned of the faithful-Liszt, Hiller, Gade, the famous Gewandhaus, and gchumann ". the group an Moscheles, and others-e-mus assuring a endeavor 10 d to devote more was overjoyed at what seemed an o"!?" rear in or er . h h moderately enthusiastic reception. AI· portunity to secure recognItIOn.. for this a ter a Y , h I Union whic e time to his own C .or~ bec;use of its though the applause showed rather work. But the Symphony was pl~ced at found highly gratlfYI~~ was more more deference to the composer than the end of a long program, in which the artistic excellence. . ere "Sometimes admiration for his work, the Schumanns whole of Rossini's "William Tell" ?ver- time toO, for coml?OSWg. d me" he thought the opera a real dramatic sue- ture was repeated', so that the audIence , h 1 b t flutter roun , cess. Liszt joined their table afterward, melanc 0 y as. dri s them away could little appreciate it. Robert was "but mUSIC rrve 'f· amidst a genese! spirit of good will. distressed that his friend could. vaunt wrote, h this his most nut- again." He thou.g t 1 Iano pieces, Two year later came the first per- Italian "huuerfly-dust" above Ius. ~u- ful year, includmg.-manfY Pd" parts of formance of the "Manfred" Overture, sic but Mendelssohn was only giving to "Man re , the Overture " Schumann felt also at Leipzig. Richard Pehl, who the public what it wanted. .. "F t" ·'Genoveva. h £ watched with fascination as humann Clara, disgusted with such mdlffe.r- aus , . d" of the wort 0 "joyfully convillce d h ght condu ted, wrote of his impressions: ilillJl!r ence, planned a series of conc~rts ~n " hi lyopera an t ou His m d was d ply rious; com- Vienna, the scene of her early triump s "Genoveva, IS on . d t the sec- that Wagner, who obJecte 1 0 . g to 1>1I ly absorbed in the ore ... as a child prodigy. The first three ~ere. ond act as foolish, was on ~ tryJO d taking linl n lie even of the cr. a dismal failure, the third especIally ruin his best effects. Production was liti- che: trol mu i ian, h li\ d in his disappointing, because it included the layed because of the tempestuous po new A minor Piano Concerto and the t n K. id nlified him If, e~ it "" re, from an interview with IRMGARD SEEFRIED Symphony in C. Jenny Lind, the pop- cal situation. ., 1 an with hi~ ta~k, became him If Man· When the Dresden UpTlSlOg ~e~ , fred. [ felt ,h.t thi work ... had Secured by Rose Heylbul ular songstress, attended, and was ked on quietly, oblivi liS Irmgard Seefried in "Ariadne auf Naxos" shocked by the mere smattering of ap- Schumann wor .' Ih be n written with lri It art' biOOtl. of the shouting and shooling III II that here h he !'poken from hi~ plause. She found Clara ne~r tear~, led that he ou afterward, with Robert comfortmg her. street. Clara marve .' .d t inmo"t t'tOul. HE SINGING of Lieder ranks among the subtlest, and to give them. In this sense, I cannot say which is the compose such joyous mUSIC III the. rnl S Thi deep b~rption with the mu'k, T hence the most difficult, forms of art. The works them·. "Never mind, Clara, dear; ten ,rears of turmoil and confusion, declaring: greater challenge: to sing Lieder before people who are so comp\ tely obli\i" to peT~n .. about selves are brief--even a long Lied is much shorter than a from now all this will be change? S~e It seems extraordjnar~ to m~ h w familiar with every word, every tone of what I interpret him, '" to au..e humann tr uble h insisted upon singing his songs III theIr the terrible things gOlllg on m t~e single sonata movement. This means that the full color, that they could join with me, or to project the full mean· final concert, thus assuring its success. time pa l. He h d undenaken a mu· world so paradoxically awaken IllS meaning, flavor of each must be presented at once, without ing of the Lieder to people who hear them for the first "One song of Lind's," Clara confessed, Rienl dir tor hip in OU Idod in 1850. inner poetic feelings. Over all the long preparation, and so concentrated that the hearer time, who understan'cl nothing of the words, and who "can do more than all my playing." ft f{aill U edinl't llincr. Jety uponhi, songs there hangs a breath of ~h gets a complete and authelltic emotional impression in On the homeward trip they were re- friend' r ommendalion. He w," re- depend solely upon me to give them the enjoyment they most utter peacefulness. Everythmg less time than it takes to develop one theme in a longer ceived enthusiastically in Prague, just e jved \10 ith Ihe Itr 41 "'I enthu~il1m. ·hope to get. In either case, there I stand, ready to begin, in them seems like spring. as, many years befqre, it had cheered work. This makes great demands on the singer. and knowing that everything the different Lieder contain Though sympathetic with the r volu· whi h '" 8 balm fur Ibe ul. after lht Mozart after Vienna's rebuff .. Lat~r The mood of a Lied must be established with the first must be communicated to my hearers through the sole tionary cause, she 'turned a.way thot: £,"'tr.ti n or Dr .d.n. lill. h•• hud· they were given a glorious receptIOn. III d.red ...j,h fo«hodi., 01 IUlul
William J. Mitchell by DENIS STEVENS
posers who wrote a funeral anthem, could only be found in London. So The year 1956 has been the occasion of and perhaps because of this and the the young Thomas was sent off to three centenaries covering 100, 200 and 300 coronation anthem he was soon put the city, and after a few more year~ years. Most of us know about two of these forward as a candidate for a place -Robert Schumann's death in 1856, and as a choirboy-probably at the Chape in the hapel loyal. The records in- WolIgang Amadeus Mozart's birth i? 1756; Hoyal-c-he began to study musical but relatively few know of the third, ~he di ate that he ang in the choir of composition under William BYl-d,who death in 1656 of the celebrated English the hapel I f re actually being ap· was at that time a Gentleman of th composer, Thomas Tomkins, '~he author .of p inted a ntlcman, but thi wa a our article, Denis Stevens, IS a versatile Chapel and a well·established figure fairly 11 rrnal pro .edure. tandards English musician, teacher and ~cholar who i~ London musical life. Tomkins never has spent most of the past year m OU~ cou~- of p rfonnon e in the hapel were foraot the influence and exampl of try teaching at Cornell and Columbia Uni- then so high that it was thought ex- thi; great teacher, and when in ~622 ve;sities. -William J. Mitchell pedi -nt to give prosj tiv members Ed., Pianist's Page he published a collection of madflgal a tr-ial, and they oft n rved for and anthems he dedicated one of the SC\ ral urs os entl men Extreor- pieces to his "ancient and much rever- UST THREE HUNDRED years dinar), which br ught them much ago, in an English village between enced master." J It was through Byrd that the)' ung r ~P 'l but no \\agcs. Worcester and Droitwich, one of t~e T mkin had gradually built np a Ruth St. Denis in "Salome," a recent photo. greatest musicians of the day was laid student came to know the irnm n e by Walter Terry variety of Elizabethan virginal mu ic rerrmrkabl reputation a a keyboard to rest by a sorrowing son and daugh- pia) er, and it i!4 n t urprising that which has since achieved uch re- "STICK TO MUSIC, don't be a dancer. A dancer's tor-in-law. The summer had been an within ear or j ining the choir he today as she did a half-century ago, is that she was nown. He grew up in the very mid t career is very short." I received this dire warn- never a virtuoso. She could do high kicks and splits unusually troublesome one, mar~ed we .made on rganist of the Chapel by drought, disease, and high pnces of this comparatively new fa hion for ing while still in college where I was studying, (and sti-li can) but she was concerned with dance t c. ThL pos: made extra demands brilliant and sparkling keyboard mu- among other subjects, dance, music and drama. The due to damaged farm crops. But the up n hi time, and h had to travel ideas rather than dance tricks. When she introduced much loved and widely mourned mu- sic, and when the most famou f all warning had absolutely no effect, for at nineteen, her wholly new concept of dance to the public in from \: T . tor to London veral sician, Thomas Tomkins, organist of keyboard anthologies came to be corn- one cannot imagine ever being thirty. Furthermore, 1906 at New York's Hudson Theater, she established piled, five of his pieces were included. tim during th ear in order to ful- the Chapel Royal and of Worcester I intended all along to write about dancing. Finally I the point that maturity of spiritual, emotional and fill hi> I rm of ffi . The journey b)' Cathedral, was no victim of disease. They can still be seen in the m dern the warning itself was inaccurate; a dancer's career intellectual powers was as essential to dance as the ta e·c a h t k ahout a \\eek, and He had lived a full eighty-four years, edition of this anthology-The Fit;- need not be limited by the years. pretty exuberance of youth. \\'8S n ith r \'cr omf rtable nor very and most of that time had been"spent william Virginal Book-named for Certainly, the most celebrated example of dura- in the practice and composition of the Cambridge Library where it i safe. or m n or ..lighter mU5icai bility in our country is Ruth St. Denis, one of the Religious Dancing many kinds of music. now kept. Some of the music is avail· stAtUT than T mkin!!, the post of or· greatest dancers the world ever produced, who made In 1906 in America, dance was supposed to be Tomkins was born in Pembroke- able on records, in the series called gnni t \\0 not too fe either. A her formal debut as a dance artist in a history. pretty,· tricky or sexy and little else. St. Denis shire about the year 1572, and he Masters of Early English Keyboard fri nd of hi~ '\\'ho T\'ed as a tern· making concert in New York exactly fifty years ago. believed otherwise. She wished to dance about God grew' up at St. David's where his Music (Oiseau·Lyre, OL 50076). porar> replacem nt f r OrlandoGib- Miss St. Denis had been dancing in vaudeville and and in her initial program she did just that. Her father was organist and master of the There is every reason to believe bon lost a m nth' p8)' for presUIDJDg musicals for several years before this took place. opening dance was called "The Incense" and it was choristers. Thomas and his brothers that Tomkins was a serious and hard- loto pin)' \ _ on the or!an at service an invocation to heaven. She presented it in freely were all skilled in singing and playing working student, for he was appointed time. being f rmerl' inhibited hy the Elderly Glamor adapted movements of the Hindu dance primarily instruments, and many of their chil- organist and master of the choristers o an from doing the ...arne, b)' reas n What, one may a5k, can a woman who is approxi- because she knew that the Hindu dance was a dren became musicians also. On a at Worcester Cathedral at the rela· or hi in ufficienc· for that ",Ieam mately eighty years old do as a dancer? and what religious dance1and because the heritage of Christian much smaller scale, they might well tively tender age of twenty-four, and _ rvi . does she look like? Well, off.stage, she is a white· religious dancing was all but forgotten. be compared to the Bach dynasty, for before he was out of his twenties he There was no dan~er of Tomkins haired (she has had white hair since her twenties), She closed her program with a Hindu·style ballet, the historian Burney affirms that the was asked to write a coronation 8n. being treated in tbat manner. Hisskill slightly stooped, highly glamorous elderly lady. On ""Radha," in which she dealt with the temptations Tomkins family "produced more able them to celebrate the acces ion of as an rganLl \II ~ surp8S.-~ o~h'by stage, she is erect, she moves her body with easy of the senses and the need for renunciation. Because musicians during the sixteenth and King James I in 1603. ibbon him_ If. and when G,bboll5 sinuosity and her face is transformed into that of a she was beautiful, because she danced with bare seventeenth centuries than any other In 1607 Tomkins took the degree of died in 1625 Tomkins automatically woman about thirty. The millions of television feet and bare stomach (daring" in those days!) and which England can boast." Bachelor of Music at Oxford. and not becam _ nior or~nist If he "': viewers who saw her a few months ago on the because her new way of dance seemed exotic, it is Useful as it was to train as a choir- long after he had the satisf~ction of a great deal of _ 10 mUEicfor Arlene Francis "Home" show saw her first as she is doubtful if everyone absorbed her spiritual message. boy at St. David's (there were only lo seeing his own son, Nathaniel. in the organ at tbal period. he ""'IllS nol off.stage in a fast and witty interview and then But her themes were not meant for a dancer of girl- three boys, so rests had to be very cathedral cnoir at Worcester. When ha\' found time to "''Tite it do,,-n.But watched her dance the years away in two of her ish innocence or coquetry; they were designed a3 carefully counted) it soon became Prince Henry died in 1612 Tomkins hi. induEtry in the o;ompositioaof;;'i famous "Nautch" dances of India. revelations of the human spirit. clear that a first-rate musical training was one of several outstanding Com. them "a (Colllinued on Poge One of the reasons that Miss St. Denis can dance Today, Miss St. Denis (Continued on Pa/(e 56) 16 etud .....july-ougust 1956 etude-july·august 1956 17 ------:--I with instrumental pieces played by an .ensemble of recorders. The seven. teenth century Viennese dances, Par- • tita ex Vienna, are especially charm. ing. Through its concerts, records and • RECORDS j; teaching at the Trapp Family Music NEW Camp, this remarkable family has in. • rroduced Americans to the practice of • music making in the home, a tradition chat is largely responsible for the mu. sicality of German-speaking peoples. quartet of soloists, Maria Stader ~arif Cowell: 8ym,phony No. 10; Fiddler's d (Decca DL 9793) anna Radev, Anton Dermota, a~ ose the Piano Cycles. Jig I . ·k 0 34 -Willard Rhodes Schoenberg: Beg eltlnUSl, p, Greindel, have pooled their musI~al a~: Henry Cowell's Tenth Symphony artistic resources to present this c~h- Mozart: DOli Giova"ni brings home the fact that there is now bra ted Mass as an act of worship.. e in full flower a kind of medium Amer- precision and brilliance ?ne finds III an Giuseppe Taddei, Cesare Valleui, ican idiom and musical vocabulary used earlier Toscanini reoordi ng are abse~t, Italo Tajo, Maria Cu-tis Verna, Carla by a large number of composers (and hut the performance realizes t.he sprr- Caveeai, Elda Rihenl, Antonio Zerbini. arrangers), and easily understood ~Y itual grandeur of this work which ~ee- Vito usca. Orchestra and chorus of of Robert audiences in concert halls and mOVIe thoven considered his supreme ~chieve- Radio-televlsicne l tnliana, Turin, con. theatres alike. Its sources are folksong ment. The high fidelity sound Jives up du ted by Max Rudolf. (genuine and synthetic), musj~al A~er- to the standard of Decca's Gold Label Tht is th third complete "Don Gio- icana from Billings to Foster (including Series. (Decca DX 135) vanni" t hnv be n issu d so far since "fuguing tunes" and hymns) and tunes -Willard Rhode ov mb r, and a a mailer of personal Schumann from minstrel shows. The current style rasre and judgment I consider it the of mixing and dishing this up has been The Last Qual·tets of Mozm-t, ~ol. II: least su essful of the thr e. Whereas Quartets No. 22, B·f!at moror, K. evolved by Cowell himself, Copland, th pI' vious issues (recorded by Len. • 589; NQ. 23 ;11 F IIU!Jor, 1<. 590 AT THE BEGINNING of the 19th century the cyclic are not invariably an indication of chronology). These Ives (tamed for popular'consumption) don and EI i in Vienna) were notable • The quartets here performed by the idea was already old. It could be found in a Renais- are modelled after Beethoven's Eroica Variations, op. 35, and "ultimately by composers like Gus- for their unlty in stylistic approach and Budapest String Quartet are the last sance Mass with all of its sections based on L'Homme using the bass line alone as a beginning on which to tav Holst and Iohn Powell, whose con- al"o for ..orne very fir:.t rate singing, • two of the three Prussian Quartets, so tributions are now almost forgotten. The the pre~nt i.,u ha. no su h unity and Arme or in a Frescobaldi canzone or in a clavier Partita build, featuring a fugue as a climax and emphasizing named because they were dedicated to • result is usually bland, agreeable and i.. in addition' ry much defective in of lohann Sebastian Bach. At least as early as the 1780's rhythmic rather than lyrical elements in the variations. the King of Prussia. Because the mall· satisfying to those with a nostalgia f~r !'lome of illl; ioinging. ot on of Ihe fe- German and Austrian composers were dabbling with the • The. work is pianistically more varied and original than arch was a cellist, it might be xpected a national music. Cowell's Symphony IS Illal flinger p:JlI)roaches her character- cyclic sonata. The late 18th century Bohemian piano com- the opus 1, but ii. fails because Clara's fatally symmetrical that this insLrument would come in for • skillfully made, charming and evocative. il.ation with the slighte'iotcomprehension posers wrote cyclic Fantasies, the prototypes of Schubert's and aimless theme provides an unsatisfactory basis. There a fair share of soloistic Lreatment. But As Hugo Weisgall points out in his of loZ8rt un "" 'Ie. Inluead, Ihey sound Wanderer Fantasy. But th~ idea of unifying a set of short • must have been some sort of contest going on in the Wieck highly literate notes, it is perhaps more this is only a secondary reason for Ih mo:ot of 111 lime a if th Y were singing character-pieces by the use of common material seems household, because Clara wrote a set of variations on the of a Serenade than a symphony. Its six active participation of the n ther ill- • trou"
* .sion is at the happy period 0/ development, I be, CT'e Icuist • d d ti '. * 1[ieve, when its public no longer nee sPhen dltlmeffPodmtmg o~twhat " bri g them. Indeed, one can ar y a or to pooh-pooh * It ]5 not nngm the wav i , I' , * ib non when one looks at e way tt IS etnng us In day after TV's contn u 1 • • W ' * Iiti I party conventIOns, royal marnages, orld Series ball day on POll JC~ghts in the entertainment world, celebrated plays and aames, ga a 01 . 1 ki d H . • o d the conspicuous talent of artrsts 0 every\ Ill, eving for Lawrence Welk operas: an h vn how it can interest us in a sleek automobile or roomy some time 5 ow . 1 ' t TV is now more Important, aware 0 our greatest expecta- re 1ngera or, ' T k I I h * * , d is wi ll in a to satisfy them. a e, or examp e, t e way TV none an I 0 . . 1 d ' d di are spUlTing the revival of music or ancmg. an ra 10 d I I . .. di and his * The return of name dance ban s to a pace 0 • prominence .IS In icated not only in the spate of recordings c~nsla~L1YI being rel~~~ed, in ~he~tten. BAND ORCHESTRA CHORAL • tion film producers are paying to ,~ bem In tl~ rechent I enOl) 0homan * Story" and "Eddy Duchin Story, . ur a l.50 'l1 t e p .acc. t leyI havein THE JOLIET TOWNSHIP CLEVELAND, CITY THE MUSICAL REVUE (ILL,) HIGH SCHOOL BAND * broadcasting. Now, more than any lime Sine t h e bcgmlllllg 0 t e last OF ORCHESTRAS IN STUDENT LIFE "CHAMPAGNE war, when for want of male partner lnushiC b me ~Ol~elhingdstrictly by Bruce H, H ousekneeht, by Robert H. Rimer, by William fohn Peterman, for "listening pleasure," name dan o.r estrns ar 11\ leavy em~nd Conductor Supvr., Instrumental Music, Head, Music Department * * * both by audiences and ponscrs. And with r. adh u and metropolitan Cleveland Public Schools New Trier High School, * ballrooms being easily reach d by In torr I~, dance bends have no HE FOUNDATION upon which Winnetka, Illinois. * * trouble in finding a horn where Ih y can reecive th ir pa) ing gUegt~, T our house was built was certainly MISKE, Brown, Tarkanian, Kozak, MUSIC" satisfy Procter and Gamble, wih, 01' Dodge, and play ho t 10 millions not sand; rather, it was solid rock. Rosselli-sounds like a United THE FOLLOWING is a plan for * * on radio and TV. The genius and ability of the late A. Nations committee, doesn't it? How· an all-school, non-departmental * * * * Television and Dodge can p inl to LaKr nc Welk'g hand 8'1 one R. McAllister is legendary and the ever, these are not the names of dele· musical production, including all in· * • wllich, since its entry into n lwork I Itwiflii n a) r ago, he probo.bl} organization was blessed with a long gates from abroad but names of some terested students, no matter how little * * * don more than an)' tenure of his distinguished leadership 01 the eighty boys und girls 01 Cleve, or great their talents. There is no bet· * * instrumentation 01her on group to meel 01 32 years, Although I never had the land, Ohio who make up the All- ter way to indicate a procedure for * • .. a triumph in * • * * th Illa scs' interest in privilege of meeting Mr. McAllister City High School Symphony Orches- such an event than to relate an actual * * • • * • dance music. With " hampngn Musi ~" it has pro\'ed Ihat a music personally, I have seen the indelible tra. experience. At the time of the estab· • • program can draw and hold a Inrg audience againsl an) competilion. marks of the manly example and From late fall into spring the play- lishment of the event described there * * * ers in the All-High meet each week to was a need to find some type of activ- • * winning consistently high ratinO's~ mall \\ k c\ n uldra\\ing Jimm)' spiritual inspiration he left on the * * * Durante, Herb Shriner, and "11' 0 r at Life," appearing opposite il lives and personalities of his bands· study and prepare for performance ity dra wing students from all depart- such orchestral masterpieces as Bee· on other network . menl many of whom have gone on to ments. It was agreed that some sort of Welk's "Champagne MusicH i 8 rnnd of ll1usi Ihat i~ ....-eet and achieve enviable reputations in the thoven's Coriolanus Overture and music-drama festival production might gay, featuring the mellow accents fa ·ordion. fiddl and organ. The world of music. the R8senkavalier Waltz of Richard supply the answer. To assure all- bubbly sounds and taccalo rh lhm r hi fO,lroU and polkas ate Another part
by JOSEPH LEVINE, musical director of the company
HE BANANA GROVES of Cosla Rica and Guayaquil stage of the pani h-speaklng world. The impressive seem romantic enough settings for performances of Palacio de Bellas Artes was the ideal theatre in which f e--.. decresc, T ,. _...... -----.-- ~ "Les Sylphides" and "Swan Lake." The unlikely prospect to inaugurate our good will lour. In this magnificent - of ever playing there suddenly brightened in the summer edifice we found all the conditions \...lncb are necessary of 1955 when the United States Government, through the for a troupe the size of our to function properly. The American National Theatre and Academy and the Inter- stage wa large and the wood of the floor in good condi- national Exchange Program, arranged for Miss Lucia tion. This is, in effect, the Ian er' in trument and upon it CD Chase and her Ballet Theatre to go on a five months good- depends mu h of th quality of the performance. The theatrical staff wa highly organized and efficientin the will tour of Central and South America. •. Miss Chase, who for the past fifteen years has been performance of i duties. for my pani ular musical furthering the cause of American ballet from Vancouver problems, I had the rque ta infonica Iacional tc aid to Vienna, had some tough problems to solve on this me in the pit. Thi "a the orch tra which had been f~ proposed jaunt. Just the technical headaches of transport- trained by Carlos havez no longer in command, as be is ing tons of scenery, costumes, and music over the Andes devoting almo t all hi time to compo ilion. The Orquesta mountains and the Amazon jungles were overwhelming. Sinfonica was also my first encounter with state subsidized My position as musical director of the Ballet Theatre orchestras of outh America. Their rules and regulations promised to be a nerve-wracking job on this trip. It were firmly set, and everything was governed quite bureau- ® meant that I would have to train and conduct a different cratically. I felt they gave me their full co-operationand orchestra in each city we played. Our repertoire is a was ~Jery happy with the resulting performances. We large one, and relies heavily on such modern scores as played to good houses and received wonderful press corer- Leonard Bernstein's "Fancy Free," Morton Gould's "Fall age. There was much interest in the appearance of Anthony f p f River Legend" and "Interplay," Aaron Copland's "Bill}t Tudor who danced with u in hi "Jardin nux Liles" and the Kid" and "Rodeo." It requires not only extreme "Pillar of Fire," appearing together with ballerina Nora I virtuosity on the part of the orchestra but also a certain Kaye and Hugh Laing in the parts they created originaUy. familiarity with the modern idiom. Of the classics Mr. Tudor was with the ccmpan to choreograph a new • there were not only "Giselle," "Swan Lake" and "Lea ballet for our coming season. ODe f the most successfuUy Sylphides," but also Delius' symphonic "Romeo and received balleLs was "The Combat" starring Lupe rrano 112. Juliet," Tchaikovsky's "Theme and Variations" and his and John Kriza. r "Trio in A minor," Schoenberg's "VerkHirte Nacht" The altitude disturbed u more than we had expected. (.) ("Pillar of Fire"), and the "Poeme" of Chausson ("Jardin Oxygen tanks were set up in the wings for the dancer: aux Lilas"}, How we were to do them in places where my but even 0 one memorable night all four CygneU-eJ In South American friends insisted there were only bongo "Swan Lake" passed out after completing their difficult drums was something that required a great deal of faith dance. • and hope. "---'-"' Midway in our season the director of the BellasArt'" f f Mexico City is tourist paradise to many Americans Senor Alvarez Ocosta. gave a reception for the baUd and it meant, ip. addition, our first plunge into the back~ from'ISonatas and Fantasies" for piano Edited by Nathan Broder company. was held in the on It Continued Page 581 © Copyright 1956 by Theodore Presser Co. International Copyright secured ETUDE jULY- AUGUST 1950 22 e,ude-iuly.ougu~ 195t 23 $
® ~ fir ,b~ r->, ~ ~~~ ~ I - ® "~ DIl- .. _~' _ " " "...-::- ~~ .. ;! I' I ~ f -- p decresc. • «:»: '6~._ ..~ ~ r p ------az:»: - a I ~ ® 11 tr f p f I ®3 11. p " I , f 37 00------'- I2. p l . '-- 0; * A, tcgrapb : ~ 24 ETUD ETUDE JULY _AUGUST /956 E JULY -AUGUST 1956 25 ~ I l �------! • mp No.lI0-40414 Day's lEnd - ~ Grade 3 ,This lovely,-quiel song makes a slrongly colored modulalion from measures 1110ili. ------Then, al measure 23, a seclion of indelerminale key begins which is more emolionally e: ~ .~ ------:::: intense. Here a slighl agilalion is broughl about by Ihe slrangeness of key whichdoesnol become reslful unlillhe firsl melody relurns al measure 34. ./f- ~ a: 'Y:d- ~J J ~ GARDNER READ J~m . edited b!l Isadore Freed =- - singing Dreami lyts ~about 42) .p »>: ~ Ii ------@Asat first @. P hold back a I "ttle 17\3< 'P singing ------Ii • PIANO ------,,, ------~ p, JTITI.------, ------,DIn dl~~ --- . .llm . . '.$rnTI - .. -@. ,.~.... ~.fl «:»- I ==--~ - pp - pp I -- I - I -- I 1 I L-J I I I I mp~J- ] hJ. .:J---<1l r,., 7llm. ,.d~d-",llm---- · " - = ~ ~ = @. -==~ .L - -- ====------,R~dd------,,7ddd~ 7J11'n 7nIn 7..~~m . - - · " . ~ L-.J 1 I Ped. o5'£11/,1:lo - @. --== I ~ nlempo ------~ =- @ hold back p------"p -,;-- - ,'ddffi , d~dd1 ,inTI . . 7JTI11. . ,..,~~~-.r~ I • @. ~ " -- ~~ 7inTI------7hJJJJ~------, "~.JJ-ln-- , #J --! .J ...!~- 11m----- · . hold back slower until end pp A L- p . ~. 1IPt ~ ~ <:::::~ _____suddenp I ,"---v / ,,~ -& e' ------==------.: ,.II,J,J ill 'f Ill-un 'f J1------IlJ .@. ,JOO ".JWJ 'fhJlill ------~ ..------...... 7.,dd-n 7J11'n 7~qnm. 7ilm ,I.JTllJ pp I · . Ii ~ @p a little 1nore 'mot~'01t . . ~ " p~ "'P · ~ ~· :0- '-' ~ ~ ~ :ft=j pp - " ~ --- P'PP 7 ..I-..I-..t f!-~------=:::: -- n , I..J~"~~------1!~ I..J-<=-II..!I:J ,.lJ:JL[ , I.J~JJJ ,mTI ~ J 1":\ · . . f Ihn~:. tJ . · pp · · 1Jp singin 0" - · I I I I @ Copyright 1956 by Theodore Presser Co. 2 All rights H'served luternational Cop)'right seeured 26 • ETUDE JULY-AUGUST 1956 ETUDE JULY-AUGUST 1958 27 � Grade 3 ,Barcaroll e , , (from "Tales of Hoffm ann ,,) JACQUES OFFENBACH arr. by J)cnes AgilY , Ii -.,; - ."Ii - Andantino .r-» 5' .~ cantabile 2 /"h_ H. <, 3 e /""_f'. e "--- 3 .. 1 1 , , , 1 ~.rrrpt r Tr • r f' -----' L.-.J -' I a tempo 3 3 ,4 1 , , , Ped. simile I 5 ,~ I fr, 2 , f' ~~ 3 3 rit. r- r r - ...-.. ...--- ~ mp I - f' , • t r r 4 1 ~ rea. simile 5 2 , ,4 1 , , , Ped. simile ~ I } .J ~.;;;, ~ 3 3 4 5 4 3 ,~ ( 2 3 2 I ~ 2 rtrr t= t' f- Ft' - f' -..- i r I - ,~ \ Ped. simile Ped. simile 4 5 4 2 3 3 1 1 ~ 2 1 - 'iD- l;' 2 I lJ .: f' ' In; , ~. 1,. r . I I >' if ~- - ~.~....--" ,4 2 1 ,4 ,5 Ped. simile , " 4 ~~ , , , 1 1 " 5 5 3 , , II ______12 , • 1, . If- 12 T 2 -, 5 . 3 ---; '1--...... 1':\ - , ~ 1 • piuf "!i== 12 I .-/f T .J;, -r -6- 4' ... -li':: 4-' ~-J Ja- 1 J ! # };. /-~ • . J ~ P a tempo dim, sempre pp rit. 1':\ - ~ '16- I , from "Highlights of Familiar Music" au. by Denes Agay, Book 2 I , , I I I 1 3 2 1 © Copyright HJ55 by Theodore Presser Co. - 1· I 28 ETUDE JULY-AUGUST 1956 • ETUDE JULY-AUGUST 1956 29 [------Andante Can Mota (From Symphony No.5) ·r ~ " I ~ ------sw. 8' & 4' Gi> (to) 00 2-133 332 t I I ~r [ I i Gt.. )1elodia, Dulciana dr: Diapason 0] uo: 00 5633 21:1 '. Ped , Bour-don &- Gede e k t ~ FRANZ SCHUBERT -. : ~----- .. ------G.>- , - -.1 f?" .. - ~ ;?>, " I . ------, ! -r <; • r • ... - s;:.:- : r: € ?" . , "'_~ r~ J .J --=r---I ~ t: ~'I ...-...... It I ~ ~ V ~ L ~ , ... I>i: .1:'-.. ~ J,J; r r 0(5Jmp - ~ iJl~1 I J. ----I . ~~ II V I r =- mp _~ I )I I ~. .. /l I -~ I I ~ I s: , , . I , II <:s:» : =4 ::i ::::;;;;;--.... ,.-.. " I TIl! Mfl Gl;.---- '-a~., ...... --.... , j~]"j II I r ~--- 11 I I r 111 I. r I..n- ff ,------1 , c , = 0(7) mf II I l- I • I ~ ...-----;---... I " I ;; .. 1~ --- l 1--., ~ ~ 1 i- 1.., :e n ~ j; , , .~ r---~r----~ r ~ ~-- ,. , . , frOJi IlChancel Echoes" for organ) Compiled and • . arranged by 'V"lI' 'U" • .. Copyrlght1943 by Theodore Pre8serCo. I lam.1U.. Felton - 30 ETUDE JULY-AUGUST 1956 ETUDE JULY-AUGUST 1956 31 [...... _...... ;.....-- a \ po' III mosso ~ - , 53?" r--- et. -r-, 'Il -----= I------..J I~ ~ I ~ J Jl I ~!: I.~j . '~~7j ~ , r I J r I J r I ~jr 1l ~rh'- . :-r-r . · , 'i • I p I • I' - - 01 (to) "if rU0 (S) j. ------... . I . I r= ... I ~. =- ---...... : · · --- I ,., -=-,- "-.-/'" ,"----V i V · · . · . Reduce Sw, ~ Gt Salicional & St Flute ~ ,~ ~ ~ -----"" ~ I ...---r.. ... -.. .. , ---I n '~ ~ I r.=,~ . ... -- . ----- r , =- i::::::=l - r· 1\ L -r--, , r mp =-- 0(S)~ ~ , , ---.. , ~ I l -- l . .. ~ I'" b-f p r ...... ------r · . . r ~ r V - · : • reduce Pea, I'l I ,...... , , 17\ · . . ~ I ----:--- I I ; I ~...... -- .::::::= --..1 i l ~ ... I I I I . . . ------= .-it . . 17\ I I I I I r " I --- - .... · , . ~~ ------~- . 1""'-- ~. - I ~. ...-- . --- f.'I . . . ~ · . , Tempo I I Gt := ~ I I ~ ~ r>, »>: ------. L Slow~ 17\ 1"- -, -----. . . - . r - .. r- ~ -...... --. .:> 'p ~ - r • r· --- -r r· (S) ":/ r V .-it o P ~ . I~ _ . pp I . ~------~. ...--,;...... --..r--- .. .,;. : ------... r : • . . . . 17\ . . . , -. -9-. 32 ETUDE JULY -AUGUST 1956 ETUDE JULY-AUGUST 1956 [---~ • i'f No. -110-40364 In a. Contrary Mood 1 ~ . ' =:" ,2 .-.- --. Grade 1~ 5 ,------5 1 1 5 1 n- 0 ~ on. t ~ I I "r I I !. : - poco a poco 17 -4!-" ~ (3 ) (4) ~ e u ~~ F- .fl C1)-a- (2) #- :------a- .0. • ~ • •. 2 5 5 5 5 Study in contrary motion; legato phrasing. GEORGE: ANSON 5 1 5 1 5 ------.1':'1 Model"ato (J- 126) ~ 1 .>: fJ t 4 2~ ------.--- -- !. I t:: I I cresc. f. mf < PIANO < 1111' -~ II --.~ - ~ ~ r--:'n F- ~ .fl ~ .~ ~ ~~ • .. • .. • ...... • • 4 l ~ J • 2 LI -'-,'-_---' ~ .>: --. fJ~2 1 .---- ~ ------, J eo I tJ f : < ll- ~. ~ 2 .-::.. .fl .. ~ .(J. ~ .. #- :---- ./I. ~ • • • .. • .. • • • - • 3 1 2 1 5 5 1 1___ ~ 5.--- , fJ .. --.--. ~ 1, I ------, 4!- I I mp f p < -!r t ~ .,.. '9- -~ ~ ~ ~ ::... t:I • - ~e ~------• .. .. • • " • ---- 1 I 5 5 1 I I I • © Copyright HI5S by Theodore Presser Co. International Copyright secured 34 ETUDE JULY-AUGUST 1956 ETUDE JULY-AUGUST 1956 35 • , No.HO-40373 In Licorice Candy Land BOBBS TRAVIS 2 1 2 • 2 3 1 Grade it It r fi- T' !"~ In a gay mood ---- 1 ~ ~ T,Q. dim. 2 3 4 IT. -- · 1 3 1 Piano p .• 1 4 3 2 II n!f <,; ~ 1 ~ p ~& If',Q. =:;: ·• --- • 1 1 2 3 4 3 1 3 2 4 1 T' ~--t------~""--h:'--- L IfB. n!f I~.. .. ___ p • 1 2 3 1 ~ .~ e H- --or ~-, It fI- mf .. n!f . If-.Q. p~ , f& »: -~~ ~ ~ · · " 1 2 1 3 4 3 1 1 2 3 2· 1 , ~J ~ ~~ ...,. ,. p f ~ ~ , 'I , = ~ IT • - ~ • l;,. n!f /' ~- ~ ~ ~ .r • 4 • 1 © Copyright 1955 by Theodore Presser Co. 36 International Copyright secured ETUDE JULY-AUGUST 1956 ETuDE JULY-AUGUST 1956 37 ~--...... ~---- n THE MUSICAL REVUE ceding production. Board members such - as "Spring Revue" or "March chose' other committee chairmen, these Frolics" should he avoided in favor of IN STUDENT LIFE chairmen choosing their own committee something more individually charac- Railroad Boogie members. Opportunity was provided for teristic. Grade2! (Continued from Page 21) talented individuals to proceed up the The show itself should consist of mu- . fA' music be without at least oneBoogienum, ladder to managerial positions and lead- sic-preferably show type of music- .What would,a.collechon 0 merlcan. ave fun! The left hand has a A board was appointed to manage the ing parts. conducive to the working of simple ber? Here isonelwrotefor yourentertamment,-- h . ueneral supervision. Board members A specific schedule was worked out choreography and dance routines. The steady, poundingbeat like a railroad train, while the right hand has sharply ac- :'ere appointed to the key positions as in order to eliminate absenteeism and to music ean be short, such as a regular Production Chairmen (set design and cented syncopated rhythms against it. allow each person to plan his work in standard ballad, or more extended so ELIE SIEGMEISTER construction, lighting, make-up, ward- advance. All participants were required that it can be sung, danced, and rou- With agood beat, vigorously robe), Production Chairmen (publicity, to maintain a certain grade average, a tined in what is called a "production program, tickets), Musical Director, rule held in high esteem by the faculty, number." In this way, the more ad- 2 f Choreographer, and Business Manager. adding prestige to the students involved. vanced music students can be given an These people met regularly with the The board used an all-campus contest outlet for their major endeavors. A GeneralDirector and Co-chairmen; sub- to find an appropriate title for the an- staged ballad should not run longer sequentlythey "were chosen each year nual event. An attractive permanent than three to four minutes sung either ;:,. uponmerit of performance in the pre- show name is important; an obvious one (Continued on Page 42) f non legato ;:,. • 2 2 1 l /,jI) - Learn More ••• Earn More 5 S ~~hru HOMESTUDYin Spare Time .. "--" :::- '-> :::'\~ ~~.,..... • Your music can open the door to bigger opportunities •• if you ;:,. - :>' ,,~ continue to train. Decide now to better your skills and broaden :> your musical knowledge. Competition is keen, even in the smallest • .J ,I communities. PreFare to meet it anywhere, and take advantage of DIPLOMA • all the wonderfu opportunities that are open. in all branches of your profession or Bachelor's Degree 2 1 2 2 1 6 ~5 ~ Opportunities and BeHer Income 6 2 '). ~>; New forms of entertainment, TV for example, require entirely Become affiliated with a school that has earned the f:. ' new musical techniques ,but well-paid, "Big Time" posinons recommendation of thousands of successfur teachers and professional musicians for over 50 years. We are 26 __ 6 6 J, _ are available [Q those trained for this highly specialized held. the only school giving instruction in music by the 4 2 8 .- "{nteresring positions are open in schools and colleges everywhere. 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Courses sive musician, bus)' as he may be, realizes the value • include: of further study and finds the time for it, proceeding whenever spare moments are available. HARMONY,-'Vritten by rwo of the HISTORY,-Amodern course Including finest theorists in the cOWlt'j!,'Simple, all types of musicfrom ancient origins CHECK COURSE THATINTERESTS YOU and mail coupon for r~~J~~~On~~rs~J~egro':;h' tor~~~~~~ to 20th Century. Ioteresting-with em· .sample lesson and booklet ... without any obligation. poim and Orchestration. phasis on the analys's of music-not a dull collectionof facts, 1 :;'DVi~~;~~ ;~J3S~~~~~ee~if~~~ All.RANGING:-AlIthe mcks of modern c················UNIVERSITY ExTENSION...... •..••CONSERVATORY. Dept. A·BSl 6 sica~ forms and the general processes arranging drawn from the experiences 2000 Soulh M1ch19lm Blvd•• Chicaqo 16, llUno~ of Compos'tion. of the biggeSl"name" arrangers in the country. Please send me catalog, sample lessons and full informa. :.. ~~rtt::Ae~I~~'1~-;~i:flr.,u~es~~~ tion regarding course I have marked with an X below. and selves every problem of the pm- CHORALCONDUCTlNG:-Brand new Piano, Teocher·s Normal Course 0 Voice flff$sive teacher. course includes all the modern tech- o niques-even broadcasting. o Piano, Student's Course 0 Choral Conducting I o Public School Mus.-Beginner's 0 Clarinet • VOICE,-Includesall essent;.l" such as o Public School Mus.-Supervisor·s 0 Donee Band Arranging Breathing, Resonance, Vocalization, o Advanced Composition 0 Violin • EnWlciation, Phrasing, Style, etc . o Ear Twining & Sight Singing 0 Guitar o History ond Analysis of Music 0 Mondolin o Harmony 0 Saxophone o Cornet-Trumpet 0 Double Counterpoint o Professional Cornet-Trumpel 0 Banjo Name' A,. _ • University Extension Street No.. _ CitY· -'State' _ 6 \~_\t'~.ICONSERVATORY Are you teaching now?' -lU so, how many P\lpils have you? Do you hold a Teacher's CertUicale? _ from "Folkways. U. S. A.~' Book 2 by Elie Siegmeister Have you studied Harmony? Would you like fo sarn © Copyright 1955 by Theodore Presser Co. ~"'f}(~ 1lle Degree of Bacnelor of Muslc?' _ Interna.tion~ CopyrigM secured 38 ETUDE JULY_AUGUST 1955 'tUde-july-august 1956 39 ~"' __ IIIiIIIIIIIi... l~ one among many summer events of interest to organists which are taking VIOLINIST'S FORUM ORGANIST'S PAGE place ~s year. There are many op- portumnes for summer study, in vari- ous parts of the country, and with Open String vs. Inventory Time many aspects of organ-playing and choral conducting included in the curricula. Fourth Finger for the Organist Dr. John 'Finley Williamson is 01. by Harold Berkley fering choirmasters in widely-sepa_ by Alexander McCurdy rated localities an opportunity to see the Westminster Choir Collegemethod in action. Dr. Williamson is holding his summer schools in Princeton, N. J., Jamestown, N. D. and Alaska. "When you were discussing Round against .the old, old question of The upper fingering is infinitely Bowing in this month's (March) Fourth Finger or Open String. You preferable tonally, in spite of the and which we resolve to avoid in the Almost as much ground is being A PRACTICE of the business world covered by George Markey, who is ETUDE you gave as an example an ask me to lay down some rules for two open notes, for these do not seem which organists might do well to future. In either case, it is wonderful teaching master classes in Princeton A-major arpeggio in two octaves, first your guidance, and I must answer out of place in this coolly classical emulate is that of taking inventory. how one's perspective is restored by and in Bellingham, Wash. The Organ position.... Do you. have any special that I cannot. Suggestions-yes! But music. The lower fingering, often At regular intervals, usually once hearing organ music from the audi- Institute of Andover, Mass. is having reasonfor the fingering given, fourth rules-No! For with the writing of used by those to whom open strings a year, the businessman makes an ence instead of from the console. one of its finest summer schools,with finger on the ascending arpeggio and any rule one would immediately think are anathema, comes off second best accounting of stocks on hand, ac- Not only that; summer is the time a faculty which includes Catharine openstrings coming down? Of course of half a dozen exceptions. One or because it uses three different strings counts receivable and so forth, in when leisure permits organists to get Crozier of Rollins College and Andre lh~ brings u.p the old question of two of the suggestions could almost for the four notes-a variety of tone order to determine whether or not his together for the exchange of ideas Marchall 01 Paris. openstrings vs. fourth .... This has be considered as rules-though not color not in keeping with the music. business is in flourishing condition. and for the most delightful of all Sherwood Kains' summer schoolat always bothered me, and now I am hard-and-fast rules. But try playing the long E on the At such times the prudent business- forms of conversation, talking shop. writing to ask you if you can lay The first, and perhaps the strongest open string! The effect is deplorable. man asks himself: Did the business One of the most interesting and Deerwood, N. Y, includes on its downany rules that will guide me and suggestion is to avoid crossing to an I remarked above that it is usually show an improvement last year? Or stimulating conventions in the history distinguished faculty the names of olhers."-H. R. C., Illinois. open string from the half-step below. better not to cross to an open string. was it merely standing still? Or, even of the American Guild of Organists Norman Coke-Iephcou, Virgil Fox, At any tempo the effect is bad. But That is true, but if the alternative worse, did it deteriorate? has just taken place in New York City. Robert Elmore, Richard Elsasser and it cannot always be avoided. Play All these are questions which might The convention was well attended; Dr. James Allan Dash. is to cross strings on a half-step, then profitably be asked of himself by an moreover, its influence will not be In Philadelphia there is a famous the scale line illustrated in Ex. B, first the point is debatable. For example, organist. At regular intervals the or- limited to those who attended, since chorus, the "Singing City." Its con- with the lower fingering and then the scale of B-flat major Ex. D. ganist ought to take stock of himself these, when they go home, will prob- ductor is Elaine Brown, who also There are two reasons why I like with the upper. The superiority of the and his work. He should ask himself ably spend the rest of the season tell- leads the Temple University chorus. the fingering given in Ex. Ac-fhe latter is immediately obvious. Play whether he is improving his technique ing their colleagues what they heard This summer, at her farm in the Penn- arpeggioyou wrote about-one of it slow and rapidly: in both the effect and broadening his musical horizons, and saw at the convention. sylvania Dutch country near Phila- themtechnical, the other musical. An of the lower fingering is unpleasant. delphia, Miss Brown is holding a ascendingarpeggio is always more or merely marking time, carrying out It seemed to me that the convention At a rapid tempo there is little to large-scale workshop for choral con- difficultto bow smoothly than a his professional duties with nothing attained a new high in range and choose, musically, between the two ductors and organists. descendingarpeggio; the fingering more than a sort of routine com- diversity. There were more schools of fingerings, although the upper is more Also in Pennsylvania, at Shawnee- petence. thought in organ-playing represented, in Ex. A allows the player to take difficult technically. But at a slow or Traditionally, the time for inven- on-Delaware, is located the Fred Another strong suggestion: avoid I thought, than ever before. Organ twonotes on each string, so that the moderately slow tempo the musical tory taking in the business world is builders, too, were on hand to demon- Waring school. which has helpedthou- rightarms drops at a uniform rate the use of an open string for a promi- effect of the upper fingering is de- the end of the year. This, however, strate the newest ideas of what con- sands of organist-choirmasters. nent melodic note. Nearly every vio- ofspeed,If open strings are used in cidedly inferior, because each string is a season which finds the organist stitutes desirable organ tone. Some Some of our churches are sponsor- linist with musical instinct is aware ascending,the bow must drop quickly crossing is made on a half-step. just finishing his special Christmas of us who heard the demonstrations ing summer schools and workshops of this, and many of them carry the fromthe G string to the A and then At one time, not so long ago, it music, simultaneously planning mu- were delighted, and others were scau- on a nationwide scale. The Presby- ban on open strings illogically far. moreslowly from the A to the E. was the rule to cross strings on the sical programs for Easter and in- dalized. The overall result was a terian Church, to mention one ex- To change strings for one note in Thisis not always easy to control; beat in running passages. See Ex. E, wardly convinced that he will be lucky series of lively, provocative discus- ample, is arranging workshops this order to avoid the open note is an furthermore,it is likely that the one from the Kreisler Rigaudon. if he is still alive on May Ist. sions. summer in various parts of the coun- noteon the D string-the E-will be example of what I mean. If the note Our breathing-spell occurs during A great deal of music was played at try. One that deserves special men- slightedand will not sound with the is too long or too prominent to be the summer months, and now is the the convention. Some of it was new tion is the North Carolina workshop, samequality of tone as the other played on the open string, then the time to sit down for a critical ex- and some of it was old; some was headed by Lawrence Curry and other note, fingering of the entire passage should amination of our work and our own familiar, some unfamiliar; virtually capable men, which is covering all So much for the technical reason. be changed. (Ubviously this does not attitude toward it. Now is the time to all of it was of high quality. I am phases of organ-playing and choral Musically,the fingering is to be pre- apply to elementary pupils playing Nowadays it is felt that the coin- accumulate new ideas, to see what sure I am not the only convention conducting. ferredbecause crossing to an open only in the first position.) Further, cidence of the rhythmic pulse with others in the organ-playing fraternity visitor who carne back with stimulat- These are just a few of the oppor- stringusually has a poor effect. There in the music of Bach and Handel, and the change of string creates a sense are up to. ing new ideas for additions to his tunities available to organists having are times when it is unavoidable, of "bumpiness" in the mind and ear Summer may give us an opportu- repertoire. Ex.C I"l time and inclination for summer butit should be used as rarely as ~j ",.,~ of the listener and the trend now is nity to do what we have not been able The American Guild of Organists study. Even if other duties prevent us p, 113 f I toward changing strings off the beat. possihle. f'; , 3 2 to do all winter; namely, to hear a has. set high standards for our pro- from taking advantage of them, we In Ex. E, the lower fingering is the service played by someone else. The Onthe other hand, taking an open feSSIOn, and is seeing to it that we live still can keep OUI eyes open, look even Haydn and Mozart, the open more modern. Notice the half-step be- other man's playing may suggest a stringwhen one is already playing up to t~em. Unde~ the leadership of around us and learn from what we strings can be used much more fre- tween the lower D and the C sharp- trick or two worth borrowing; or it onthatstring is not at all objection- S. LeWIS Elmer, It is a nationwide see and hear. quently than in Romantic music. As the fourth finger is better on the D may, on the other hand, point up care- .hle-provided always that the open- influence for fine organ playing. It is true that, especially in the an example, take the first measure than the open string. less habits into which we have fallen slnngnote is not a long one. The A. G. O. convention was only large Eastern (Continu.ed on Page 42) (Continued on Page 42) Asyou say, here we are right up of the Handel D major Sonata, Ex. C. 40 etude-july-ougust 1956 etude-july-august 1956 41 completion of a working period. The THE MUSICAL REVUE IN STUDENT LIFE success of the production will be mag. nified if those concerned with the under. (Continued from Page 39) taking will accept their school and social responsibilities without invol;ing as a duet or solo. Production num- design, rehearsal sched~]e, pro~re5: list: the show. bers involving lead singers, dancing ing committees, etc. 'This book 15 a mas , h' how used When the curtain goes down each per. chorus, and singing chorus can take six ter copy of t e entire 5 , . son connected with the show should he to eight minutes or longer if tile interest throughout the compiling, rehearsmg, is high and quality good. These numbers and ;erformance. The board uses this able to say to himself, "I have done my forum can be done as elaborately as the school, book along with the director at rehears- part to the best of my ability, I have talent, stage, etc., permit. Accompani- als and committee meetings. After sev- learned from this experience of group ment can be provided by an orchestra eral shows have been presented, the participation, and I have enjoyed work- if it is a good one, or preferably by two general plan of rehearsals (4-5 weeks ing with others toward an attainable pianos. This two-piano team can re- only), publicity releases, number and common goal!" hearse along with the show adding to types of community appearances, try- The writer watched this type of ac- the unification of the performance. out procedures, erc., can be set up so tivity grow from two performances per Three or four ballads (perhaps reprised that a permanent working plAn can he week to six, tryouts increase fr.om 35 during the show) and five or six strate- accepted and followed. to 285, audience attendance from 400 TEACHER'S VIOLIN ORGAN AND CHOIR gically placed production numbers are When the entire show personnel has to 2500, a deficit change to a profit, sufficient. Quality as to initial material been decided upon, a mass meeting of alumni returns greater at show time ROUNDTABLE QUESTIONS QUESTIONS and staging is of the utmost importance. all participants is important, at which than at bomecoming-and all this in a Maurice Dumesnil Haroid Berkley Frederick Phillips It is disastrous to a show's success to time the Co-chairmen and Director call school of bOO and in a community of less have several excellent parts and then discuss policies, rehearsal plans, ticket than 5000. It is a thrilling experience Basic Teaching PI'ohIClUS Difficult to Advise drop to poor material. Choral parts can sale schemes, class attendance, faculty- and the development of a tradition Accordillg to Rudolph Ganz-and I Miss 1. F., North Carolina. I can ap- (1) Please suggest a rule jor the be as elaborate or simple as talent per- student-show relationships, and commu- which will always live in the hearts of length of time between verses of hymns. concurwholeheartedly in his opinion- preciate your problem, but am afraid I mits-in unison, two-part (melody and nity interest. The main ideas to empha- many and linger in the memories of themain teaching problem confronting can do little to·solve it. You might ap- Usually I hold the last chord its jull counter-melody), four or even eight size are: the value of working together others. THE END time plus one-half measure over, then teachersis ... the "hand." This partic- proach the violin faculty at Chapel Hill, parts. for a common goa]; individual respon- rest one count. Is this incorrect? I have ularpoint was discussed at length duro which I think is not too far from you. In addition to music and dance, the sibility for specific tasks; opportunity used the Stainer Organ Method, but INVENTORY TIME ing a Forum held at the fifth annual More than that I cannot say, since I am show should be interwoven with witty, for advancement; the fun and pleasure have not studied under a teacher. FOR ORGANISTS PianoConference of the Chicago Must- not acquainted with the violin teachers clever dialogue. This may take the form derived from a common effort well done. (2) Please give me the best substi- (Continned [rom Page 40) calCollegeof Roosevelt University, and in your part of the country. of short skits involving three or four The aim is a good performance, but lutes for Clarinet, Gamba (for which I persons, or monologues. The material more than that, a closer bond amongst cities, many churches curtail their pro- it brought forth a number of aidelights whichtoo often are neglected or misun- have been using Octave 4' and Flute must be clever and within the realm and students and between school and corn- grams during the summer. Many parish- Staas or 3t088 8') Vox Celeste, Vox Humana, and derstoodby the profession. thinking of the audience, always remem- munlty. ioners are on vacation; and for one TjSgl F. E. 5., New York. In the Trumpet-based on specifications en- The hand, indeed, plays the main bering those .. both associated and non- Rehearsals, construction, promotion, reason or another, congregations do fall books at my disposal I can find no refer- closed marked #1. rolein anything that concerns a pianis- associated with the school and imme- design, etc., should be going on all at off. Some churches combine their activi- ence to a maker named Bernarcus Stass, (3) How can I electrify a reed organ tic performance. Therefore, shouldn't diate community. The sketches should once under limited time and controlled ties or suspend them entirely. A service but there was a Bernardus Stoss who built on the suction plan? everyteacher make a careful study of all he in good' taste, never using ques- direction of Chairmen and Director. is usually taking place somewhere or was making violins in Vienna around (4) Of the String, Diapason, Reed eachpupil, so as to be able to prescribe tionable material. No college, univer- Through thoughtful thorough planning, other, though, from which the attentive 1837. Perhaps you misread the label. a.nd Flute divisions, how would the jol- thesuitable exercises, fingerings, posi- sity, or high school production should a minimum amount of time can be given visitor may be able to derive helpful With makers of this type so much de- lowing stops be classified-Choral bass, tionsthat will facilitate that perform- advocate profanity or suggestive be- by each individual toward the total ef- ideas. pends on the workmanship and condi- Lieblich J6', UndaMaris and Salicional? havior by producing it on the stage in fort This planning will be greatly ap- Above all. summer is the time to plan ance and make it better from every tion of the instrument. Stoss, as it so the name of the school. preciated by the student and faculty ahead. Once the season begins the or- angle?It is obvious that no two students happens, was an uneven maker, some of B. G. K.-S. C. Almost any material can he used with members alike. All phases of the show ganist is too busy to look far beyond haveidentical hands. Width, length and his violins being worth as much as $350 any theme in a show providing it is under progress at one time should be next week's offertory. Now is our chance sizeof the fingers, structure, flexibility, while others are hardly worth $100. An (1) Following a mathematical plan, placed in an appropriate setting and events of both pleasure and hard work. to review last veer's musical program. evenmuscular strength are inborn. But expert would have to have your violin in your practice would be about right, given a significant sub-title. After the achievement and learning. It is impor- and to devise ways of making next theycan be developed, rectified, im- his hands before he could appraise it though the meter and rhythm of a hymn material is chosen, auditions can be tant that rehearsals begin and end on year's music even better. proved. by specially selected-some- conscientiously. ! I scheduled for all the members of the time. each rehearsal planned well in timesinvented-drills applying to each would have a bearing on the rigidity of cast. These auditions should be held advance; the participants should know case.Here is where the teacher's part such a plan. The writer rather leans to about three months before the actual at all times what they are doing and OPEN STRING VS. becomesall-important. Results will be Viola Study Material the idea of flexibility, and would allow performance so that those who are ac- how they fit into the total pattern. The FOURTH FINGER attainedin relation to his scrutinizing Mrs. J. R. M~, Mississippi. There is just an unhurried pause of a "natural" cepted can plan their time and choose quality of performance of an individual (Continued [rom Page 41) accuracy. a great deal more music now available duration, giving the congregation time their activities well in advance. At the in or out of the cast will be reflected ln rapid, legato, ascending passages Regardingfingerings: they are corre- for viola than there was twenty years to take an easy breath preparatory to a time of acceptance, a printed rehearsal in the job he does in his academic it is always advisable to take fourth- latedwith the above. One great mistake ago. In the study field, the violin etudes good attack on the next verse. The gen- schedule should be given to all members work; the whole experience of an all- space E with the fourth finger. the open ona teacher's part is to impose on ev- of Kayser, Mazas, Kreutzer, and the eral spirit of the hymn will suggest the of the production so that they may know school production can be a valuable con. string having a disturbing tendency to erypupil the fingerings marked by the Caprices of Rode are all easily obtain- suitable time element, and the more how to fit this activity into their total .tribution to student life providing the whistle when used in such a passage. editor.Let's take ten different editions able. If you want more difficult studies, natural the pause is made the better school situation. Other faculty and ad- show has goals other than to hear the See Ex. F, from the third movement of ofthesame piece, and we will find the those of Dont (Op. 35) and Cavinles the effect. By all means allow the ministrative members will also appre- applause after the curtain goes up. the Mendelssohn Concerto. fingeringsat variance in most passages. are available. There is a great deal of equivalent of one count (or even more ciate knowing what the plans of the The week of the performance should Theywere devised by the editor him- music to be had for viola and piano, of if it seems desirable) as a complete organization might be. Students not ac- be one of enjoyment and can be if the self. We mentioned several editions in which the following list is a good cross break before starting the following cepted for the cast should be placed in show has been well organized. A "run whichthey are sometimes "fantastic," section: Old Irish Air, arr. by Tertis verse. some other phase of the. show where through" of the show adding scenery. tosaythe least (Joseffy, von Billow, for (easy) ; Sonata in G, Corelli; Sonata in (2) Actually we doubt if anything their talents can be used. Auditions lighting, orchestra, and wardrobe can You will see that there are several example).When a teacher decides to C, Handel; Sonata No.6, Handel· like exact reproductions of the stops often uncover specialty acts which can be done each day. Strict performance factors to consider when deciding for usea piece new to him, or previously Shore; Sonata in G minor, Handel. named can he made from the stop list be placed in the show. rules regarding dressing rooms, stage, or against the open string. When musi- un·studiedby him, he should examine Katims; Passacaglia, Rebecca Clarke; submitted. The following suggestions After the show material and cast have and before· and after-theater attitudes cal value is balanced against technical el'erypassage and find out how many Meditation and Processional, Ernest are made merely for "try-out" purposes been selected, the stage book is com· should be discussed and understood. expediency, .tbe former, other things ~ngeringsare possible; then, hold them Bloch; Concerto in G major, Boccherini; -with a good bit of imagination they piled, consisting of names of cast,lyrics, Students should accept the fact that the being equal, should have the most Notturno, Beethoven-Beck; Ciaccona, may just possibly make the grade: music, dialogue, stage sets, wardrobe show is a "fun job" to be done after the In reserve and try them aU on the weight. (Continnedon Page 47) Vitali-Bailly. (Continued on Page 53) -(Continlled on,Page 53) 42 etude-july-august 1956 "ude-iu1y-august 1956 43 - :se you will find yourself playing from in the slow movement he comes as close ."original settings" of Roger Wagner ;~mory, and this will not develop the as anyone to capturing the elusive, Completely new folio! and Salli Terri with accompaniments the ear. brooding question and answer dialogue. and obbligatos of folk instruments are "A study of recordings of popular An added incentive is the fact that he most ingenious but one questions their Lawrence Welk 'an accordionists, modern dance or- uses Beethoven cadenzas. appropriateness. Folk music is by its \estras, and leading jazz artists on One cannot say much for Calliera. He very nature public domain and subject Favorites ~larinet,saxophone and piano, will help. is there, most of the time, and the to constant change and variation. How- ACCORDION in bringing out one's own individual Philharmonia Orchestra produces its ever, music lovers who recognize the jazzstyle, lustrous sound. The piano is well. beauty of this material in its simple "It is a little more difficult to score recorded though sometimes it becomes native form are resentful of the com- by Theresa Costello an accordion part in a large modern thin. (Angel 35300) mercial invasion of the folk field. jazzorchestra of fifteen o.r twenty m~n, -Arthur Darack Among the old favorites included on POSSIBILITIES for I had set out to do. than to spot' the accordion as soloist the record are 0, Bury me not on the "I realized at the very start that a for eight .or sixteen bars. I feel Folk Songs of the Frontter , The Roger Lone Prairie, The Old Chisholm Trail, ACCORDION IN SMALL complete, thorough musical background, that this is due to the fact that the Wagner Chorale Home on the Range, and Goodby, Old arrangers are not quite aware of the including theory, harmony and mastery The contents of this record are as Pains. (Capitol P-8332) COMBINATIONS variouscolor combinations that an ac- of my instrument, was a 'must' if I smooth and polished in performance as -Willard Rhodes cordioncan produce. I am sure that by CHARLES MAGNANTE wanted to reach this goal. Such mastery the glossy verichrome cowboy picture can be attained only through the con. mme day it will be scored as a basic that adorns the jacket in which they Dances Transcrfhed for FOUl' Pianos scientious study of the classics and the instrument in a woodwind section to by Marga Richter. (Selections by ANY MUSIC STUDENTS now are presented. But in their glamourized produceadded color for the section. Benjamin, Copland, Faure, Fer- studying the accordion with an many fine studies that are available. Hollywood harmonizations and stylized M "Next in importance is sight-reading. "The Latin·American orchestras are nandez, Hovhaness, Jacoby, Kaba- eye to entering the professional field interpretations these hardy American levsky, Lecuone, l\1ussorgsky, Offen- I devoted fifteen minutes a day to this awareof the importance of the accor- Arranged by MYRON FLOREN often ask what qualifications are needed folk songs have been brutally emascu- bach, Shostakoviteh, Weill.) The subject. I bought every available folio dionand are making excellent use of (Intermediate Difficulty) for such a position, particularly in re- lated. In the process of transplanting Manhattan Piano Quartet (Lawrence of the current popular tunes, plus stock it. However,in small combos of three, .Alobcrnc Jubilee I'm Forever Blowing lation to playing in small combinations. them from their natural setting of the Krueger, William Blankfort, Eliza- I'm Looking Over a Bubbles For the best qualified sadvlce on this orchestrations, in order to familiarize lour,or fivemen, the accordion assumes beth Olsen, Mal'ga Richter). Four leaf Clover Moonlight Boy wind swept plains to the pseudo-sophis- subject, I interviewed Charles Mag- myself with reading the violin and pi- animportant role and a new sound in Oh! You Beautiful Cuddle Up 0 Little ticated atmosphere of the concert hall One cannot deny the neatness, crisp- ano parts. r would start my daily prac- modernplaying is being developed and Doll Closer nante, topnotch artist in the industry and recording studio they have lost that ness, and somewhat tinny brilliancy of It Hod to be You Every Little Move- tice this way, the reason being that accepted.The accordion, being a rela- ment for the last thirty years and well ex- virile pioneer spirit which is their most these performances, and of the clever "New" Clarinet while I was developing my sight-read- tivelynew instrument, will find its place Pelka Smiles perienced in radio and television work. distinguishing char acteristic. Sen timen ts arrangements which they present. This Till We Meet Agoi n Tell Me ing, my technique was being warmed morereadily in newly formed comblna- M r. Magnante has had great experience have been sentimentalized and the ultra- said, however, one cannot withhold up at the same time. Incidentally, when $1.00 playing with well known orchestras and lionsand will eventually be recognized refined vocal quality of the ensemble some serious questions as to the artistic working on sight-reading, it is best to asa standard orchestral instrument. Write for complele l1st QI ACCQrdiQIIPlllilicafions to recently was featured on the Jack Berch has rendered these songs soft. The purpose of (Continued on Pagll.. 51) program with The Magnante Trio. pick selections that are not too difficult "Arranging for a small combination MUSIC PUBLISHERS HOLDING CORP. and try to play them through from be- 619 West 54th si., New York 19, N.Y. When I asked how it came about that containingan accordion is most lmpor- he was employed by orchestras as far ginning to end without changing the tant and offers unlimited range in pro- back as twenty-five years ago, at a time tempo, regardless of how many mis- ducingnovel effects and coloring. Usu- when the accordion was little recog- takes are made at the first reading. Be- ally this task is shouldered by the new French Provincial Spinet nized, he recalled significantly, "It fore reading them a second lime, the accordionistand it is the musical ar- MEW/-The HI-FI wasn't easy." measures that gave trouble the first lime rangementand routines produced that • SENSATION Here in a nutshell is the advice and may be given special attention. will decide the success of the group. lovely! by §1ar,,:k • suggestions of a personality who per- "The next qualification is ear-train- "Here are suggestions for various haps has done more than anyone else ing. Playing 'by ear', which takes in im- : of the YEAR! instrumental combinat.ions: accordion, Lovely, and distinguished; • in the field to bring to the accordion provising (faking), is one of the great- guitar and string bass, for easy listen- its proper recognition. est assets for an accordionist aspiring to • ENJOY fine music at its high-fidelity best ing; accordion, saxophone and string characterized by its graceful • ... brilliantly played . _ . flawlessly combo work. With some it is a natural "Twenty-five years ago," he began, bass,for a little livelier audience; ac- • recorded... and interpreted as the com- gift to have perfect pitch and certainly poser intended. "it was rare to find an accordion in an cordion, saxophone or clarinet and lines. In this new Starck • This is a care opponunlry COpossess ex- orchestra or in small combinations of this is a help in ear-training. Wit.h many • elusive FIRST EDITION RECORDS - first re- drums,with the accordion using an • cordings of newly commissioned works by three or four different instruments. At who have relative pitch, the ear can be piano you have a period outstanding composers, played superbly by amplifierto bring out a good deep bass that time, when radio was just about developed to a highly accurate degree. • the renowned -this for dance parties. getting popular, there were two orches- To aid in this I recommend the fellow- piece in its most liveable : LOUISVILLE ORCHESTRA "For quartets. I suggest accordion, Robert Whitney, Conductor tra leaders who realized the potential ing procedure: at least once a day, pref- clarinet,guitar and string bass; or ac- • These "collector's item" recordings are of the accordion with its novel coloring, erably when other studies are corn- version ... and a spinet • made in consultation with the composer and cordion,clarinet, guitar and vibraphone, • ate engineered by Columbia Masterworks as a great addition to the orchestra- pleted. select a familiar tune that- you • technicians. Available for a limited time, wlrh the accordion amplified for deep of fine musical quality. from the Society only, they represent a price. Paul Whiteman who used the late have never played before. Begin in the • less collection of new, exciting music ... bass, • tbe finest expressions of living composers the Mario Perry, and the recently deceased key of C and try to play the melody. There are many other • world over. B. A. Rolfe, who employed me in the Use the left hand for accompaniment. "These combinations have been sue- • "Splendid sound." Lucky Strike Orchestra. If it is easier to add the chords to the eesslul, The expanding field of accor- Starck styles. See them • -Cleveland Plain Dealer dionplaying holds a great future for Styled in Mahogany & French Walnut • " ••• a service to music unequalled." "Even as a young student, it was my right hand. do so right from the start. • -Christia11 Science Monitor greatest desire someday to plant the young, talented, ambitious players." at your dealer's today. length, 56'1:2" Height: 36" Depth: 25" " ••• the reproduction is a model of c1ority." "Next change the key. say to Eb, and • -St. Louis Globe-Democrat accordion in the modern orchestra. At play through the same selection. Then • " ••• recording and performances, that time my two brothers were study- try the keys of and Another help- • excellent." F G. • -Pittsburgh Post-Gazette ing clarinet and saxophone and it was ful suggest jon is to play the same num- NEW RECORDS OFFER LIMITED-SEND TODAY FOR quite disappointing to me to see them • INFORMATION ON FREE TRIAL RECORDS ber (melody only). with just the use of playing in the student orchestra while one finger. for instance the second fin- (Continued from Page 18) •• ••••• ••• • • ••• • • • • • JESSE FRENCH & SONS PIANOS • LOUISVILLE PHILHARMONIC SOCIETY I had to be content with just playing ger, for the entire selection. This trick Division af the P. A. Slorck Piano Co. Gallieraand the Phil harmonia Or- • 824 S. FOURTH ST., LOUISVILLE 3, KY. at home alone. It was suggested by my wiU really sharpen the ear. Finally, try 234 S. Wabash Ave., Chicago 4, Ill. • Please send me free, complete information on chestra. Without obligation, send me free booklet: • exclusive First Edition Records and free re,cord brother's teacher that I give tip my to improvise an individual pattern of o "Music in Your Child's Development" • offer. accordion if I ever want.ed to plav in This,the 13th or 14th recorded per- Nome' _ • Name' -;-_~ _ runs and tricks on the chord structure the orchestra and take up some ot!H:r of the same selection without playing the formance,is one of the best in terms Streetc _ : Addrcs"' _ instruction. This only sened to P1ake melody. Remember constantly to change of the piano playing and recording. Cily Zone __ Stale _ _ City,~ State _ Arranproduces a vigorous yet poetic me work harder in accomplishjng what the key throughout these studies, other- ••• J 0 Please chetk here if you are a teacher I aCCOuntof all the florid passages. and ------J 14 etude-july-august' 956 ,Iude-july-august 1956 4S TEACHER'S have been performed include the CHARLES IYES League of Composers Concerts, the Fes- ROUNDTABLE (Continued from Page 14) tival of Contemporary American Music (Continued from Page 43) Concerts given at Columbia University, excelled Ives in the use of new and tury ago. This is undertaken in Impres- Concerts in Paris of American Music original rhythms). We find polyhar- sionistic pictures of Emerson and student,finally adopting the one which by the Paris Symphony Orchestra under mony, polytonality, atonality and tonal- Thoreau; a sketch of the Alcotts and a feels "comfortable" to that student (not, the direction of Slonimsky, the·St. Paul ity, for Ives believed that all methods scherzo to reflect a lighter quality which maybe, to the next one, who will prefer Chamber Orchestra concerts in Minne- of composition were good if the com- is often found in that fantastic side of a differentone hecause of the shape of sota; the Third Symphony, composed in poser had anything really worth while Hawthorne. The first and last move- his hand, and its stretch) . 1911, which won the Pulitzer Prize, was to say; we find tunes of old hymns used ments do not aim to give any program Keeping up the student's interest in performed by a chamber orchestra in as themes and re-vitalized; folk tunes of the life, or of any particular work of Mozartmeans: developing his taste and New York under the direction of Lou and popular songs such as 1 Won't either Emerson or Thoreau but rather sense of style. This subject was strik- Harrison. John Kirkpatrick has given go Home Until Morning, Good Night composite pictures or impressions." ingly illustrated by Margit Varro who numerous performances of the Concord Ladies, Old Black Joe, Columbia, the We now come to the Fourth Sym- outlined adequate material for pre- Sonata; the Walden Quartet has pro- Gem of the Ocean, etc., interwoven, phony, which is the culmination of Jves' Sonata level. The D minor Fantasy, for grammed his Second Quartet at home contrasted and used in most ingenious greatness. We find him here at the peak instance, without presenting much tech- and humorous ways. One might say that of his poetic and philosophical thinking. and abroad; and such men as Henry Cowel1, Henry Bellamann and others nical difficulty,develops in the student in Ives' music, as in life, "there is never .The following from an article by Henry an exact understanding of Mozart's a dull moment," for he believed in con- Bellamann gives a splendid analysis of have worked from before 1930 to secure his recognition by writing about his style, melodic, dramatic, light spirited, stant change and variety both in the the religious element found in the work. all of it within five pages. The Adagio emotional content of his work as well "The esthetic program of the work is music and helping to program it when- in B minor, the Rondo in D, are other as in his technical means of expression. that of the searching questions of what ever possible. However most of these splendidchannels leading to the inter- As mentioned before, one unique way and why, which the spirit of man asks performances were by small groups of pretation of the larger Sonatas. And of achieving this variety and vitality was of life. This is particularly the sense of interested people and came so many let's not forget the recently published to let the individual players use their the prelude. The three succeeding move- years after the works were written that (in various editions) "Viennese Sona- own feelings as to how certain passages ments are the diverse answers in which Ives had little chance to hear them, for tinas," for they are easy, exquisite, and were to be played, thus guaranteeing existence replies. he was too ill to attend the concerts. their appearance on the master's two that the same composition could never "The scherzo is not a scherzo in the There have been some reasons for be heard twice in the same way. accepted sense but rather a comedy in lack of recognition and performances; hendredth birthday anniversary is most which an exciting, easy worldly progress the music is very different and difficult appropriate. through life is contrasted with the trials to play, requiring many rehearsals- Another problem, the adaptation of Picturesque Titles of the Pilgrims in their journey through which are expensive; his scores were harpsichord music to the modern piano, The titles of some of his smaller com- the swamps and rough country. The not always legible and in good order; was discussed and illustrated on ..both positions give us pictures of the New occasional slow episodes (Pilgrims' Ives himself did little to push his music instrumentsby Dorothy Lane. Contrary England scene, its landscape and its hymns) are constantly crowded out and and seems to have derived more satis- 10 what is often thought, the harpsi- soul, and the part that "Yankee" tradi- overpowered by the former. The dream faction from writing it than in further- chordwas not at all a thin-toned, tin- tion played in helping to formulate his or fantasy ends with an interruption of ing its performance. klinginstrument. It was enlightening manner of musical expression: Put- reality-the Fourth of July in Concord 10 hear the same works performed on nam's Camp, The Housatonic at Stock- -brass bands, drum corps etc. Belated Recognition both instruments. The result? When The MASTER KEY This was much in contrast to Stra- bridge, Decoration Day, Fourth of July, "The fugue is an expression of the playingCouperin, Rameau, and even Chromatic Pitch Instrument vinsky and Schonberg (he was one Washington's Birthday, Lincoln the reaction of life into formalism and ritu- the great Johann Sebastian, we must PREFERRED BY MUSIC DIRECTORS ,;..-.;,.--,~-~ Great Commoner, The Masses, An Elec- alism. month younger than Ives}, who were watchchiefly the weight, the intensity PROFESSIONAL MUSICIANS-TEACHERS tion. "The last movement is an apotheosis acclaimed everywhere in Europe and ofthe contact of Our fingers with the He also wrote about one hundred and of the preceding contents in terms that America and at the height of their fame keys;listen attentively in order not to 3 MODELS: MK1-Scole F to F MK2-Scole C to C MK3·Scole Eb to Eb fifty songs on texts from every source have something to do with reality of in their middle years, while Ives, who crer-reach tonal limits and quality, -classical, romantic, German, Ameri- existence and religious experience." died at eighty, is just now beginning whichwould mean encroaching upon, 13 hond-tuned special bronze reeds precision.tuned can, English, as well as poems of Mrs. Henry Cowell in his recent book to be evaluated in the light of music or even destroying the proper style. to A-440-full chromotic scele. Heavily nickel-ploted Ives and words of his own. He compiled "Charles Ives and his Music" tells about written forty years ago. How Ives felt Ornamentation,too, must be discreetly cover-embossed notations top ond bottom for easy one hundred and fourteen of these into Ives' plans for his last big work, The about this might be gleamed from his treatedand even "selected," for the pro- selection of pitch note desired. Patented tone a book of songs which he published pri- Universe Symphony. He writes, "This own words: ". .. whatever excellence an pensityof some editors in that respect chombers. vately. The songs give a comprehensive work seems never to have proceeded be- artist sees in life, a community, in a is harmful to the author's conception. • ASK YOUR DEALER OR WRITE US. idea of his evolution as a composer, and yond the planning and sketch stage. people, or in any valuable object or ex- Pedallingproblems were discussed by rank with the best song literature of the Several different orchestras, with huge perience, if sincerely and intuitively re- Salll Dorfman, chairman of the confer- world. conclaves of singing men and women, flected in his work, his work, and so he ence.Pedalling in Bach? Yes, indeed, There is more to the work of Ives than are to be placed about in valleys, on himself, is, in a way, a reflected part butcarefully so, sometimes to connect WM. KRATT CO. mere method or outward beauty. Its 988 Johnson Plo4:e, UNION, N. J. hillsides, and on mountain tops. The of that excellence. Whether he be ac- notesor chords which it would be im- most important aspect is a deeply mov- plan was, cepted or rejected, whether his music passihleto do with the fingers, some- ing spirituality, a philosophical contem- 1. Formation of the countries, and is always played, or never played-c-all DOLLAR WILL KEEP YOU INFORMED FOR 3 MONTHS tl~esto enrich the tone, but always plation of God and man. Material meth- mountains this has nothing to do with it-it is true Requelt.a lrial $ub$uiption oJ London'$ Musical monthly eithtaste and discretion. ods become obsolete, but great thinking 2. Evolution in nature and humanity or false by his own measure." RudolphGanz closed the Conference always remains, and deep spiritual 3. The rise of all to the spiritual. Whatever the past may have held for thinking is the basis of his music. by presenting, in his own inimitable london Musical Eeents Only pages of sketches seem to exist. him, the name of Charles Ives will shine way,Schumann's "Scenes from Child- Illustrated. Featu,e$ on Concertr-Oper_Baliel. MU$ical Survey. Rf!CordReview. Music »t Let us look into this side of his work Not intended to be completed by the forth in American musical history not Today. Daok Review$. Profiles. COmp08er$'Foram. . as evidenced in the Concord Sonata and bood."These are not used enough by Write today and enclose $1.00 cheque lor. 3 mo..ths .ub",,';ption~ "Lo..d.... Musical lE"venta,"25 composer himself nor by any other only as a great composer but as the r:l.:,,~okei~s~o~~rh"5f;~i:;'Ne~g~~~:.2~: ~e~Uy:::.ter, se..d yOur order to, British PUblicationa, the Fourth Symphony-two of his great- one man, because it represents aspects living last symbol of a great man. He teachers,for here, as in Mozart's Fan- est works. The piano sonata is in four of life about which there is always more stands' out as a man who dared, as his tasy,we find in a simple way all the elementsthat prepare students to ascend movements; Emerson, Hawthorne, the to be said .. ." forefathers did in a material way, to • "PIANO SIGHT READING CAN BE TAUGHT" • Alcotts and Thoreau. )ves said that "it lethegreater Schumann works later on, • The Music of Ives has not been en- blaze new trails and to open up new with the Original Ida Elkan Books • was an attempt to present one Person's tirely. neglected but the opportunity to vistas in music that will furnish an in- Ganz was at his best and his wit, his • impression of the spirit of Transcenden- hear It has been available to only a few exhaustible supply of resources for the ~nseof humor, his human understand- COMPLETE COURSE (consisting of 7 books------385pages) no, including postage. : talism that is associated in the minds of mgof the teachers' problems were al- Please send money order to: Ida Elkan, Director of Ida Elkan School of Music,: fortunate music lovers. composers of the present and of future Carnegie Hall, Seventh Ave. Corner 56th St., Suite 301-302-303, New York 19, N. Y.: many with Concord, Mass. of a half-cen- wal'sin evidence. Some of the places where his works generations to come. THE END School approved by New York State Dept. of Education ; THE E D 4(, etude-july-august 1956 elude-july-august 1956 47 characteristic of some of the cycles to We have found a most excellent way, school time, with fun academic credit THE PIANO CYCLES . co~e. The first and last pieces, the THE JOLIET TOWNSHIP short of summary expulsion from mem- .t$- PRACTICE granted, periods 7, 8, and 9 (from 11:23 Preambule March of the Davidsbiindler, bership, of coping with a situation re- Those A.M. to 12:39 P.M.). The Second Band OFROBERTSCHUMANN balance each other in length, sonority HIGH SCHOOL BAND quiring disciplinary action, and that is rehearses daily during period 10. The and character, and, in this case, even Difficult to call in the bandsman's father for an (Continued from Page 21) scheduling of all music groups at the (Continuedfrom Page 19) share some identical thematic ideas. Rhythms same time has the disadvantage of pre- unemotional consultation with the Board The next cycle', the Fantasy Pieces, and Director. Usually, immediate and with a competition as for chairs in the Grade cluding the possibility of a student's musicalone.The PapilIons are designed op. 12 (1837), depends not so obviously • satisfactory improvement in perform- School First Band is in evidence in high taking both band and choir or band an.d to followthe plan of Chapter 63 of Jean on a. basic motif for its unity, though all FRANZ ance and attitude is apparent. Those school. Almost all bandsmen continue orchestra; but each year the first-chair Paul'sFlegeljahre (Years of Indiscre, the Important themes of all the pieces parents who think their "boy can do no ELECTRIC METRONOME their private lessons through Grade 11, Winds are excused from band one week tion), which describes a masked ball are ~uilt on scale lines, which certainly and wetch the Improvement wrong" are few and far-between. with some, particularly the first-chair before a concert by the high school or- andthe adventures of two Florestan- provides an interconnection. But here • Practice at slow tempo until perfect Which brings me to my next point, with metronome players and those expecting to go on chestra or before the annual operetta Eusebiancharacters named Walt and ~ strange key relationship, F and D-flat, • Gradually work up one tempo notch i.e., the support and informed interest professionally in music, taking advan- to participate in rehearsals for the per- Vult.In a sense, the twelve short pieces IS the most striking unifying device. The at a time to approximate speed of parents are invaluable aids in the • Proctice at speed obove final perform. tage of our proximity to Chicago and formance. makingup Papillons are, like the Polo- constant juxtaposition and interlocking once speed functioning of any school musical group. • Eliminate use of metronome and add Evanston by studying with artist-teach- Two bands, one designated Blue, the nai:es,related metrically as well, since o~ these tonal centers throughout the nuances An integral part 01 our program is that ers, frequently members of the Chicago other Gold, are "created" each fall by elevenof them are in triple meter (only eight pieces give the whole cycle a con- • Watch quick improvement played by the activities of the High Franz Electric Metronome has many Symphony Orchestra. Also, there are taking the combined enrollment (which the tinyNo.2 is an exception). A third sistent and unusual color. With the School Band Parents' Association and guarantees and is acclaimed by musicians fine private teachers available locally, has been averaging 124 yearly but will earlygroup of pieces, the six Inter- delicate Davidsbundler Dances, op. 6 everywhere as the leader. the High School Band Mothers' Organi- Standard Model $18.25 - Flash Beat most of them band alumni, who provide be over 160 next year) and dividing it mezzi,op.4 (1832), which Schumann (1837), Schumann, as in Carnaval, Model $19.95. Write for further informa. zation. These two groups were brought tion to: excellent teaching through high school, exactly in half by instrumentation and called"enlarged Paplllons," are also takes special pains to call attention to into being in 1932 by the great depres- some of them having-entire sections en- playing ability so that the two groups obl'iouslydesigned as a com plete unit the basic motif, the opening figure from FRANZ MFG. CO., INC. sion. Tax money was not to be had: and 53 Wallace St. New Haven, Conn. rolled as their clientele. are as evenly matched as possible. Clara Wieck's Soirees Musicales, op. 6 the financing of the High School Band, (thewordaltacca appears a Iter each of I have spoken only of bandsmen and The original Blue-Cold two-band (sic), which he has 'printed in special along with all the other activities of the thefirstfive pieces), but they do not young men. What about the girls? Apart idea was necessitated by World War II ,bareany common musical material or brackets and with the words "Motto von INCREASE. YOUR INCOME {rom harpist and marimbists (who when when groups of draftees were leaving school, had become an acute problem. e,enkey. Here the common elements C.W." above it. All of the subsequent TEACH MODERN PIANO by nofe not called on to perform because of the the community at frequent intervals and These parent groups kept the band "in are formand texture, which Schumann pieces grow from this tiny motivic seed. Claufcal teachers everywhere helped by our score, mainly serve in the capacity of each band would take turns playing business" until the lime came when the method and etasa-buttdtng atcs. 50th year. Send employsimportantly as binding ele- Two cycles composed in 1838 the for tree oeccnure and aamnles. I,a!e~t 96 page librarians) no girls have ever made ap- them off. The Joliet Township High school could again assume the financial g~s~~~:.tl$~.5~~~O~~~~1J.2.50. With Horne Study mentsin the cycles to come. "5cenes from Childhood," op. 15,' and plication for membership. It has been, School Band has played for every group responsibility. Thereare two other early sets, the Kreisleriana, op. 16, represent com- THE CHRISTENSEN METHOD by tradition, an all-boys group for forty- of departing servicemen fro III Joliet for Today, with an adequate annual Dept. ,E, Box 2248, Hollywood 28, Calif. PaganineEtudes, op. 3 (1832) and op. pletely different aspects of, the cycle. four years. The girls of the high school, both World Wars. Mr. McAllister was budget approved by the School Admin- 10(1833), in which the separate pieces The "Scenes from Childhood" form themselves, wish it to remain that way. especially proud of this record and, to istration, the band is provided with all are connected by their common source, Schumann's most compact cycle. There Accomplished girl wind players auto- him, it was one of the band's most im- equigment. repairs, uniforms, and music is in the thirteen little pieces almost no matically gravitate to the orchestra. portant achievements. In September necessary to its proper functioning. The IheCaprices of Paganini, and their measure which does not derive from one Each year the band selects two out- 1950 upon the resumption of the draft Band Parents' Association and the Band eemon purpose, tasteful and idiomatic of the three basic motifs presented in standing girls from the senior class to following the outbreak of hostilities in Mothers' Organization continue to exist transcriptionfrom violin to piano, as the first piece, OJ Strange Lands and serve as "Band Sponsors." They march Korea, the band has continued this tra- and provide those important motivating ilatedby Schumann in his brilliantly People. This economy extends to the on either side of the Drum Major, and dition by playing for every grou p of extras such as the Annual Formal Din- writtenprefatory essay to opus 3. These piano texture where enormous variety .nt concerts announce with appropriate departing draftees. ner Dance, the Annual Father-son Ban- setsalsohave fallen into shameful neg- of sound is effected by the smallest pos- program notes the numbers to be played. In May, after one week's preparation, quet. the Annual Christmas Party, a trip lect. sible number of notes. On the other To be elected a "Band Sponsor" is one all by student conductors, a bona- fide to Chicago to hear the Chicago Sym- Thegroundwork is Jald, and in 1834 hand, Kreisleriana uses its motivic basis of the highest honors a girl at Joliet band contest is held as a feature of our phony or some other great orchestra withCamaval, op. 9, begins the series in a freer and more extended way than Township High School can achieve. last Band Parents Meeting of the year like the Philadelphia Orchestra on tour, 01 uniquepiano cycles. Contrary to the any of the previous cycles, But note that Adequate rehearsal time is an impor- and to which the public is invited. A a trip to a "Big 10" football game to popularnotionthese cycles are not just all the themes of all the eight pieces are tant factor in the development of rnu- panel of judges is secured and the con- observe outstanding half-time ceremo- etsof piecesstrung together arbitrarily sicianship. The school day at Joliet test is as bitterly waged as if human nies. all contest expenses and trip andrelatedto each other "psychologi- based on a play of the intervals of a 2nd and a Srd, which is presented as Township High School consists of 16 life itself were at stake. Each band per- expenses. c~ly"(whatever that means). Each single periods of 22 minutes each, com- forms for one-half hour with a required Many school music groups fail to cycleis fundamentally a set of varia- usual at the very beginning of the main mencing at 8:44 A.M. after an activity number being a part of each group's realize what a keen interest in their con- tions ona single short motif or a set of melodic line of the first piece. or Home Room period from 8:25 A.M. program. tinuing activities is maintained by their piecesall growing {rom the same motif, The Novellertes, op. 21, also 1838, are TO AUTHORS to 8:39 A.M., and ending at 3:45 P.M. Each year try-outs in front of the alumni. Each time my bandsmen parade whichaccountsfor the "psychological" the climax, in sheer size at least, of the seeking a publisher The usual so-called academic class con- band are held for the important and or perform in concert, each one of them eanection. Each cycle exploits differ- kind of cycle made up of large inde- If YOU are looking fOr a pUblisher. send for our free, Illustrated bOOklet titled To the Author in Search 01 sists of two of these 22-minute periods; responsible post of Senior Student Con- knows that in the thousands of people entelementsof unification, and in each pendent pieces all growing from the a P"blisher. It tells how we can publish, promote and dlstr-lbute your book. as we have done for hundreds of vocational shop courses-6; and the ductor. Any senior may apply, and after lining the parade route or attending a cycleall this keen ingenuity is con- same motif, such as Kreisleriana. There other wrnera. AJI subjects considered. New authors is no evidence that the Novellettee were welcomed. Write today for Booklet ET. It·s free. high school science and laboratory initial eliminations, the field is finally concert are dozens of previous drum, or cealedby the expressive atmosphere, VANTAGE PRESS. rne., 120 W. 31 se, N. Y. I classes-i-S periods. To accommodate the narrowed to two or four by having the clarinet, or trombone players, many of ilieelaborateand varied piano style. In intended to be played always together In Oalil.: 6!SIl Holll/lIJoof.l BlVd., HolllllIJooa 28 large enrollment of the school in the finalists conduct a difficult required them with prize medals, eyeing them in- Carnaval,Schumann gives the clues to as a cycle, but Schumann says in a school cafeteria, lunch is served during composition. In creating an atmosphere dividually where they once marched or ili~ basisof the work, as if to explain letter of 1839, "The Novellettes are ACCORDIONS all four of the Noon periods: #7 (11 :23 of dignity and attention at all rehearsals played before. ililS adventurous formal concept. He closely connected .... " All eight pieces _ETC._ A.M. to 1l:45 A.M.) #8 (1l:50 A.M.- are pianistically big and intricate; their FREE CATALOG-Tremendous uvln,s on every_ and· performances great use is made of The final [actor inherent in a success- rubtitlesit "Little Scenes on four notes" lh~ng In the musIcal line--arnpllners-clavlolinu 12:12 P.M.) #9 (12:17 P.M.~12:39 section leaders and band officers. This ful group project. regardless of what it and. revealsthe notes nakedly in the forms are similar, as in the early Inter· ~~c;~d~onb~v;~d200oer~a~i ~~~::ie::~1 tvir~fe in qua Itty P.M.) and #10 (12:44 P.M.~1:06 in turn helps these particular students is, is that jntangible thing called "Esprit Sphlllxesriddle' buried jn the middle mezzi, each Novellette being made up of JAY STEMMERMAN'S DISCOUNT HOUSE P.M.). to assume the weight of adult respon. de Corps" which enables us humans, oj thetwenty·one pieces. As was pre· several contrasting sections in rondo- Phone VI 7-0866-VI 6·5258 8932 88th St., Woodhaven 21, N. Y. Thus, those four Noon periods are set sibility at an early age. Officer Board with all our individual differences, na- ~gedin the ABEGG Variations Schu· like arrangements. More important is aside for rehearsal time for all music man . h Meetings are held at regular intervals tionalities, and backgrounds, to work R n. IS t oroughly at home in all the the fact that most of the thematic mate- groups in the school, i. e., Orchestra, (and ~nclude the Drum Major during together toward a common goal that we enalssance·Baroquesleights of devel~ rial in the eight pjeces is again based You can make extra cash easily and Freshman and Sophomore Girls C:.o- marchmg season) and recommendations believe is eminently worthwhile. In the Gpment.All possible twists of the four on the initial motif of the first piece, a quickly in your spare time by writing ruses, General and A Cappella Choir, are made to the director which he may specific case of school music groups. 18CHI notes are employed so that a rising 5th followed by a scale line. Then for information to: Band, and for other school activities or may not follow in the light of his there is only one goal: the performance .ar~e.workis created by the constant in the following seven pieces we find the such as Girls Athletic Association, etc., ACjents' Plan. experience. If he does Tlot follow a rec- of great music to the best of our abilities ;arha1,lonof the motif, close to the serial magical transformations, all possible and no conflicts in scheduling arise. ETUDE, the music magazine. ommendation, he is always alert to ex- with whatever resources we have at 11: nle of the 20th century. Also in Car· mixtures and combinations of the two The Concert Band rehearses daily on Bryn Mawr. Pa. plain to his Board just why_ hand! IRE EJ.'1D naval forrnaI eIements appear whIch. are (Continued on Page 62) 48 etude-july·august 1956 elude_july.august1956 • 49 , \' , h 'Ira Last year both this organiza- sic, was soloist with the orchestra in the for other young artists is that they, too Orc es . C. what might be termed the "band boom." . . which encompasses all. , nd the Cleveland AIl- rty ap- first movement of the Rachmaninoff C commun~catJon ust first develop keep their faith alive. We, of this gener. non' .. Clldf The All-City Orchestra is helping to put THE LIEDER SINGER d at the conventlon 10 eve an 0 Minor Piano Concerto. Other numbers The singer, then. m . capable of ation, are no longer the artists of twenty. pear' I D· .. M· Ed the spotlight back on strings in Cleve- . ] so that h e IS theNorthCentra IVISlOn, USIC u- played were the Bach-Stokowski Komm (Continued from Page 14) hIS ow~ sou, of beauty and har- five years ago; we are not prima donnas land. s National Conference. Several Susser Tod and the Finale to Dvorak's values of the song until he actually be- expressmg thelltdrut~ He must be spir- -c-chiefly, perhaps, because the world cator d.. . There are other forces at work help- hi h a esrre. . Ohiocolleges an unrversmes sponsor "New World" Symphony. comes that song-c-oertainly, one be- doesn't need prima donnas. It needs ing to bring about a renaissance of ~ony w IC . he must observe, using hIS highschoolorchestra festivals, and at Much of the success of the orchestra, comes the characters of whom it tells. itually free, I k but to see. He sentient human beings, capable of feel. school orchestras in the entire Cleveland es not merely to 00 . lea,ttwo, Ohio State. and t~le Ober.lin and of the other all-city groups as well, area. Professional string quartets pro- This too is all necessary, and, again, it ey k. experiences, sensations, ing and of transmitting what they Ieel. Con~eT1'atory,hold st~lllg festivals which can be attributed to careful preliminary vided by the Musicians Union and the does' not 'solve the problem of communi- must ta e III . them inwardly, The greatest problem of our century is havebrought out literally hordes of planning which established the follow- cation. feelings, transformmg .' lit to retain a firm faith in good and in Recording Industry play annually in into the essence of his own inner .qua I y. -Iringplayers. . ing policies and procedures: This is to be found only in the sum- humanity. Those who manage to cling Greater Cleveland secondary schools. And this inner quality remaInS .un- . Musichas been an Important (per- total of the thoughts, feelings, views, to such faith, and to combine"it with (1) Allegiance to these organizations Other ensembles appear in the schools d the source of all he can grve. hap.we should say essential) element must be secondary to loyalty to the in- philosophies of the singer. The ultimate change , . h diff certain technical skills, will go on sing. through the generosity of the Cleveland The world deals differently WIt I et- in theJives of Clevelanders for many dividual schools. answer to the problem of artistic com- 'ing Lieder! THE END Chamber Music Society, an adult organ- munication is the artist himself. I hold ent people; even the ~a~~person m~y , rs. The Cleveland Orchestra, under (2) Management is in the hands of a ization which is godfather to the Young firm views on this subject. To me, a 0" throu h different VICIssItudes a~ dlf- )e~nentconductors like Nicolai Soko- committee of three music directors from People's Chamber Music Society. This ",,0 • g f his life· but the mner CLEVELAND, CITY eID Artur Hodzins• kiI, E·.rrc L·ems dor,f career in art is neither a source of in- ferent Urnes 0 • • I0,! • the contributing schools. Responsibility latter group is a flourishing student · hi h transforms experIences OF ORCHESTRAS come nor a highroad into fame; it is, qua Irty W IC . . di id ndlorthe past len years George Szell, for sectional rehearsals rests mainly organization with chapters in many .. it des into soroethmg m IVI - rather a dedicated vocation by virtue an d VICISSIu . . 1£ (Continued from Page 21) :a5developedinto one of the world's with this committee. schools of Greater Cleveland. Two fine ua I an d ne wly created , remams use I• areatsymphonic groups. Many of its of which one person is chosen by destiny famous orchestras, but probably few (3) The superintendent of schools is amateur orchestras, the Cleveland Phil- to give voice to the inner hopes and like a scarlet thread running throng 1 ~ounge;members first became. ac- people outside of Ohio are aware of the kept constantly informed of the activi- harmonic and the Women's Symphony, longings of all humanity. I like to re- the tapestry of life. quaintedwith orchestral masterpieces ties of the group. provide an outlet for adult interest in Today, the artist has the add~d prob- fact that cities like Canton, Toledo, call the days of classic antiquity when whenthey attended the Little Folks' (4) Besides the musical ends desired, orchestra playing. lem of groping 'towards essentIal har· Hamilton, Columbus, Springfield, Day- the speaker of words was held in some· andYoung People's Concerts by the or· social goals are always kept jn mind. Cleveland is a musical city and the mony (for himself and for othe~s) ton, Youngstown, Akron and even small· what the same regard as the priest. che~traof which they are now a part. (5) Students have a voice in decisions public schools are doing their best to through a tangle of world events wluch er place have large orchestras or "lit· We all have in us the longing for har· Thesechildren's concerts were organ- on various matters such as the type of keep it that way. It is evident that the are anything but harmonious. As a twen- tle" symphonies. mony, completeness, the sense of being izedby Lillian Baldwin and conducted costume to be ..worn at a given event, mu· All.City High School Symphony Or· tieth c~ntury European, my life has been One of the Jeaders in the orchestra made whole; however, the degree to Dr~tby Arthur Shepherd and t.hen by sic to be programmed, method of seat- chestra is already making its contribu- passed among cruelties, injustices, tur- movement is the Ohio Music Education which this urge asserts itself is variable, .\.\5oeiateConductor Rudolph Ringwall. ing players, distribution of concert tion by striving toward the goals quoted moil. Yet somehow, my own scarlet As ociation. everal years ago the and the artist is simply the one who "(Mr. Ringwallhas just announced his tickets, plans for a pa.rty. in a recent program: "In establishing thread keeps winding its way back to a OMEA started the practice of organ- feels it more deeply, more sensitively, approachingretirement aher a thirty (6) Parents are notified of rehearsal t.hese organizations, the Music Depart- more compulsively. When the artist firm belief in good and right. I have had izing district high school orchestras rearaffiliationwith the orchestra. He schedules, broadcasts and concerts. ment had the following objectives in speaks, he speaks for all. And the more little experience of these outsjde of fam- which meet for a day's rehearsal and an islohe succeeded by Robert Shaw.) (7) The orchestra is constantly pre· mind: to provide an opportunity for the he r~alizes the great re~ponsibility his ily life and religion, but I know they evening concert. Top players to the Asmaybe surmised from the names paring for performances. However, these , most advanced players and singers to gift entails, the more prepared he is to exjst. Without this knowledge, I could number of some 120 then journey to a atthebeginning of this article, Cleve- are not set at such frequent intervals join with their peers in performing devote himself to the mysterious art of not sing. And the chief counsel I have central point to make up the All-State ~ndis II cosmopolitan center with mu- that they iQterfere with normal school major works' in the musical literature ~icalroots reaching deep into Italy, activities. that might be beyond the resources of Germany,Great Britain; in fact, all the (8) Competition is used as a spur to t.he individual schools; to demonstrate Europeancountries a well as Africa Here are two teachers' handbooks higher accomplishment. The section to school patrons and the general public andtheOrient. .:\Ialionality groups pro- coaches make the first seatings as a re- the effectiveness of the school musk to help you keep your better students duceoperas, sponsor singing societies, sult of try-outs at sectional rehearsals. program; to help foster a spirit of · _ . and attract new ones! pmentfolkdance festivals and provide Then there are periodic additional try~ friendliness and good will in inter- !Coresof other musical activities for the outs and also opportunities for players school relations; to create groups that • The SHORTEST WAY to rarioussegmentsof the popuJation. The to challenge those next in line above would be at the service of the schools ARE YOU KaramuHouse production are known them, the decisions as to placings being, and community." PIANISTIC PERFECTION theworldo\'er. made by the other players. THE END Theseall-city grou ps were conceived (9) Rivalry for places is kept on a • RHYTHMICS, DYNAMICS, PEDAL in1953 in the fertile imagination of friendly basis. A PIA NO Ernest~fanring, Directing Supervisor (10) Music studied is in general NEW RECORDS ofMusic.By January. 1954 he and his somewhat beyond the instrumentation Co-authored by WALTER GIESEKING, famed piano staffin the .\lusic Department had and capabilities of the individual school (Continued from Page 45) virtuoso, and his teacher, the late KARL LEIMER. Droughtthem into actuality. orchestra. TEACHER The SHORTEST WAY TO PIANISTIC PERFECTION By~lay of 1954 the groups were (11) Duplication of personnel in this enterprise. Is a four-piano team automatically twice as good as a two· stresses the importance of listening to one's self while readyto present an evening concert at band is kept to a minimum. \ra50nieAuditorium to an audience of It is axiomatic that if balanced high piano team? Do arrangements like this playing, i.e., "ear training." The authOl'S then proceed moretban2000proud parents and other school orchestras are to be possible, an fulfill a real need? Would it not be through touch and interpretation to etudes, scales, interestedcitizens. For its debut the or- extensive program of elementary school more productive for a group such as , broken chords. trills and tl'anquility of motion at the piano. chestraplayed the Handel·Beecham instruction must be maintained. Cleve- this to encourage the writing of orig- "GreatElopementSuite." Gluck's "I phi- land is blessed with a corps of ele· inal compositions for their chosen en· • • In RHYTHMICS, DYNAMICS, PEDAL, Leinrer and geniain AuUs" Overture, the Andante mentary orchestra teachers of the high. semble-starting perhaps with a tailor- Gieseking disclose thei,' own approach to the problems 110m Hanson's"~ordic" symphony and est caliber who work under the super- made work by Miss Richter herself? These are questions which I hope this of touch. phTasing and "technique through 1nental work" the '[arehe MiJitaire FranQaise from vision of Helen Hannen, violinist and ~int·Saens'"Algerian Suite." The en- president of the Ohio Chapter ?f .the skilled performing group will seriously -in addition to the slLbjects 'tnentioned in the title. I1reprogramwas recorded by the staff American String Teachers ASSOCiatIon. ask itself if it has not already done so. of Cleveland Board of Educa· Like other large cities, Cleveland is In the meantime, the present disc slips These books disclose piano secrets and experiences worth WBOE, tionradiostation. Later in the spring at present undergoing treme?dous pop· neatly into the "dinner-music" cate- many hundreds of dollars to every teacher. Each book: THEODORE PRESSER COMPANY therecordedconcert was broadcast to ulation shifts. Often the pupIls so care· gory, tantalizing us with its elusive $1.50. Make this investment in your future today. thejuniorand senior high schools. fully trained. in the elementary and promise of that "something better" Bryn Mawr, Penna. Forthe third annual spring concert. junior high schools wind up in the ranks which is assuredly not beyond the grasp See your 'music dealer neld onMay II of this year, a graduate of the suburban bands ~nd orchestras. of Miss Richter and her cohort~. ofJamesFord Rhodes High SchooJ, now Also, like other sections of the country, (M.C·M E3224) astudentat the JuilJjard School of ~1u- Northeastern Ohio has felt thl" effect of (Continued on Page 52) 50 • L _ etude-july.augu.t 1956 elude-july.ougu.; 1956 .51 NEW RECORDS "Scene~ from Cl.lildhood" head the list Rhine. This could only mean admission ROBERT SCHUMANN: ACROSS THE YEA~S into an asylum. During Schumann's if you play any for an introduction of the intermediat e (Continuedfrom Page 52) piano student to Schumann, both a two years in the home at Endenich he STOP frelted instrument! (Continued from Page 15) miniatures and as models for analy,' Racbmaninoff:Rhapsody on a Theme was visited occasionally by Brahms 'and "F IS. LOOK! NO, MORE 5 orne 0fht e antasy Pieces" and "Fo . 01 PaganiniVOX (PL 9750) Joachim, but Clara was advised not to Mcscheles regarded the early composi- not a reaction toward baroque music, est 5cenes " are of only moderate diffi.r go. She saw him once more, just before BLISTERS. CALLOUSES lions highly, but other musicians had not even in the limited sense in which 5lra ky: Violin Concerto in D Major culry. vins the end, and was shocked at how old he OR TENDERNESS little to say. The bulk of the important Brahms reverted toward the era of Bee- VOX (PL '410) The slow recognition of Schumann seemed-her "glorious Robert aged and ON THE BALL OF piano pieces were published between thoven. Schumann's mastery of counter- was only in keeping with the nature of ~lozart:Piano Concertos No. 23, i.488 feeble at forty-six. But the sweet smile YOUR FINGERS! 1836 and 1840, with the exception of point did not stem merely ~rom this study, His flair for structural mtrospec- his work and its interpretive demands ;od No.5, ](,175 VOX (PL 9830) of recognition and his last embrace she the sonatas. would cherish forever. For many years tion called for contrapuntal expression. upon t?e play~r or singer. Even the sym- Beethoven: S)'ffiphonies No. 8 and 9 The end of the long struggle to secure after Schumann's death on July 29, the hand of Clara Wieck in marriage, The studies are of significance because pathetic playing of Clara did not win ANGEL (35448) 1~56,she worked faithfully to promote in 1840, was a turning point in his ma- they confirm elements of a system al- ready acceptance in competition with 1..0 Haydn Symphonies ANGEL hIS music, joined in her crusade by the turity. From this time date the songs, ready far developed in his habits of the shallow fare offered by Thalberg ever-loyal Joachim and Brahms. They important for their depth of sentiment, thought. . and the more ready appeal of Mendels- 1~312) were, at last, to know the joy of seeing richness and variety of harmony. In Schumann's use of counterpoint is sohn. Chopin and Liszt. But while the Vil'aldi:The Four Seasons ANGEL his works triumphant. THE END the next year he turned to symphonic not merely a link with the past. but a recognition was slow in coming, it was 1~216) Just cut medicated Dr. Scholl's KUROTEX works, including the Symphony in B-Rat new use of it that influenced Brahms. sure. Verdi Opera, ANGEL (35265) 10 any size and shape and applyl and the first movement of the Concerto Wagner used counterpoint freely for Study of Schumann will do for musi- Yes, just apply soft, cushioning, protective Dr. in A minor, completed in 1845. In Of- dramatic effect, as a means rather than cal interpretation as much as the study We WorshipUNICORN (UNLP 1026) VIOLIN CjlUESTIONS Scholl's KUROTEX to the ball of your fingere an end. In Schumann association of of Clementi or Mozart will for mechani- chestration and mastery of large forms Ro.lli;M. Haydn UN1CORN (UNLP (Continued from Page 43) and you'll be able to play any fretted instrument tone lines is often a part of the struc- cal and expressive technique, It trains by the hour without the alightest discomfort! It's he is generally inferior to Mendelssohn. IOIR) The year 1842 is marked chiefly by ture itself. Ordinarily-subordinate parts the student to look beneath the surface J have arranged these more or less in the same Dr. Scholl's KUROTEX that millions Halite"EICojo Enemoradc CAPITOL use to cushion and protect tbeir feet and toes chamber music: quartets, a quintet and frequently have something important to even if at the risk of reading false order of difficulty. wherever a shoe painfully rubs presses or pinches. a trio. The choral and operatic works say. Even the Happy Farmer on his re- things into other music occasionally. IP1811(3) 15¢, 35¢, 40¢ and 90¢ at Drug, Department. 5-10¢: An Unknown Name Stores and Dr. Scholl's Foot Comforts Shops. The A Minor Piano Concerto will con- belong to the latest productive years, turn from work has an accomplice who Bruckner:Symphony No.3 in D Minor -Fcr FREE sample to try before you buy, write from 1846 to 1854, The lapses in crea- joins in with him for a while, in a tinue to share popularity with the con- EPIC (LC 3218) Mrs. E. E. R., Nebraska, The refer- Dr. Schell's, Iuc., Dept. KE, Chicago 10, Illinois. Live activity due to poor health from parallel bass passage, and then settles certos by Grieg and MacDowell. The ence books seem to have overlooked 1843 to 1845 take a heavy toll of the for a few measures in octaves. The appeal of his songs will endure as long \Iozart: Concerto No. 12 in A Major Carolus Bar. Dvorak, who may have time left to him before the period of Soldiers' March would be unthinkable as there will be singers willing to probe EPIC (LC 3214) worked in Prague in 1832. However, I complete disability and mental collapse, without the bass conceived along with into their meaning and project it. l'i"ldi,The Seasons, Op. 8 EPIC (LC have a dim memory of having seen, ten but most of the enduring work had been it.' These are not highly developed ex- THE END m6) or a dozen years ago, a violin labeled completed in the smaller compositions, amples of counterpoint, but involve Tehaikovsky:Serenade in C Major For as yours is. It is impossible to give a with the exception of part of the piano melodic association of tone lines, which NEW RECORDS ;rringOrchestra, Dp. 48 EPIC (LC fair estimate of the value of a violin concerto and the later symphonies. is all that is needed to qualify. Students (Continued jrom Page 51) m3) without examining it personally, though Stories of the armed camps of the need not be frightened when two or Following is a partial listing 01 rec- quite often one can say what a violin is E1och:SchelornoCAPITOL (P 18012) followers of Wagner and of his oppo- more voices happen to hale something ords received lor review in. later issues. not, j list by the mistakes on the label. nents have usually failed to make Schu- slightly different to say at the same Beethoven: Sym phon)' No. 5 in C &humann: "Davidebiindler" Dances If you think your violin has real quality, mann's position clear. With a somewhat time. Minor. Op. 67 and Schubert: Unfin- c\PITOL(P 8337) it might be worth your while to have it theatrical background and ,a garrulous Aside from thematic structure and appraised by an expert. I would suggest ished Symphony No. 8 in B Minor Music of Frescobaldi and Domenico manner, Wagner irritated the taciturn association of tone lines, other marks Mr. Kenneth Warren, 28 East Jackson EPIC (LC 3195) "arlalliCAPITOL (P 8336) romanticist, who in turn annoyed Wag- set Schumann's music apart like a Boulevard, Chicago, Illinois. ner with his prolonged silences. Schu- beacon of its time. While the piano is Lecuona: Andalucia; Albeniz: Songs of THE E D mann tried to be fair in regard to Wag- its central medium, it is less concerned Spain CAPITOL (P 8319) ner's work, but claimed a lack of pleas- with digital showmanship than with Puccini: Highlights From Madame But- DAYLIGHT AND DARKNESS ORGAN CjlUESTIONS ing melody in the developing music ",:arrnth and depth of poetical expres- terfiy CETRA (A 50179) drama. Schumann expended much effort SIOn_ While giving full praise to the Puccini, Tosca COLUMBIA (CL 767) (Continuedjra,n Page 12) (Continued from Page 43) to gain a place in opera but was not cut wor~ of Mendelssohn and Chopin, he Sthumannswas a comfort. during the Clarinet try Bourdon 16', Flute 8' and out for drama. His "Genoveva," given in Wagner: Parsifal COLmlBIA (ML applied a depth of color. harmonically Irjin.gtimes ahead. For things were Dolce 4'. For Gamba, the Octave 4' and 1850, the same year as the first perform- 5080) and otherwise, that often exceeded ~earJnga climax at Dusseldorf, The Flute 8' would seem to give too much ance of Wagner's "Lohengrin," was theirs. On Wings of Song (Song Recital) piilJlicwas clamoring for Schumann's emphasis to the 4' element, How about abandoned after three performances. CAPITOL (P 8333) _ Original treatment of rhythm. in par- replacement,and the concert committee trying Oboe 8' and Flute 4'? It is next . Tune pianosin30days Schumann is often pointed out as the No mUSical knowledge needed.Plano TunersIn great de. tIcular the use of false accents is an Gliere: Illya Mourometz DECCA (DL ",~nd. Luw C elud .... I'· Iy,ougust 1956 55 l _exactlywhat she can do and what Frtsh, Frosh and Frush. With the Wiere lnows .' fi bardo's Diamond Jubilee," featuring ~ must aVOidIII her nal decades. LAWRENCE WELK Brothers song-and-dance team playing dramatizations of songs that have pl~~ed "e the body is her instrument of ex- the jailers, Jean Fenn (Rosalinda), ~mce .. di , , h (Continued from Page 20) important rOl~s in the lives of television •. 'on she keeps It III con rtron WIt Lois Hunt (Adele), and Cyril Ritchard pre"' , - , h dl (h AMERIl:AN viewers (Tues. evening, CBS-T.V). "He (Von Eisenstein), the production will constant practice, WIt reung c ceo- dancing is a favorite pastime of Amer- is heard with his "Royal CanadIans at ce cream sodas tempt her con- be seen on NBC-TV's "Producers' Ilie J • icans." other times (Sat. evening, Mutual- , II,') with standing on her head Showcase" on Monday evening, July 23.• uoua . , . [ONSERVATORY It was with his own orchestra, called Radio; Sun. noon, CBS-Radio). . THE END (a daily ritual! and ';lth long walks. the "Biggest Little Band in America" Notable for the way they are making Dancers in their twenties could hardly history, as the first pair of brothe:r:s because its five members played a total keep up with her remorseless plan of within memory to have combined. then of MUSIl: of 33 instruments, that the 23-year-old actionbutshe pr?tects her body through equally top-flight orchestras, are JImmy THE DANCE native of North Dakota began, in 1927, 'I takin<1 a brief nap (on a floor, on CHICAGO and Tommy Dorsey on "Stage. Show"ow Ie,," h 70th SEASON to discover how much Americans liked table~ anywhere) w en ever healthy (Sat. evening, CBS-TV). MeanwhIle, ~e (Continued from Page 17) Founded in ~88?by J~hn J. Hattstaedt, today The American Conserva- to dance. As successful as he was with :iredness starts to turn into debilitating hear two-beat, New Orleans-style music tory of MUSIC IS considered outstanding among institutions for music his outfit, however, he had a desire to education in this country. play what he termed "a new kind of on "The Jazz Band Ball" (Sat. after- can -dance "The Incense" and many of latigue. On stage,she moves effortlessly, for sweet dance music," and he hit upon noon, CBS·Radio) as trumpeter George her other dances with full appropriate. THE. FACU~TY-One hundred and twenty teachers, many of national ,he iswiseenough to recognize certain and mternational reputatfon, including pianists: Rudolph Reuter, Kurt the idea of a tempo that was "exciting, Girard leads his five men at the Cres- ness. That she is amazingly agile and ~e;capabletolls of time and to avoid Wan.leck. Hans Heniot, Bruno Glade; Voice: Theodore Harrison, Russell a beat that people could dance to, some- cent City's night club, O'Dwyer's, and that she retains her physical beauty are Hol.hger, Charles LaBer-ge, Frances Grund, B. Fred Wise; Violin: John thing sparkling and bubbling like cham- "Basin Street Jazz" (Fri. and Sat. eve- merely precious dividends, for the sub- actions which no longer come easily to Welcher, Scott WIlhts, Stella Roberts; Organ: Edward Eigenschenk; pagne." Adding to his band a Hammond nings, CBS-Radio) and from Louis jects about which she dances could be her. But if the turns are a little slower, Theory: Leo Sower-by, John Palmer, Jeanne Boyd, Irwin Fischer; School MUSIC: Robert Davis, organ, an electric guitar, violins and Armstrong, Lionel Hampton, Duke El- expressed by anyone from nineteen to iliekicks less high and movements onto lington or whatever talent is playing ninety. the ground and up again by- passed Accredited Courses are offered in Plano Professional and Teaching Engagements- various other instruments as uncommon Vocal. Violin. Organ. Orchestra and Band Graduates of the Conservatory have been at the New York night clubs. Most re- Miss 51. Denis, known to everyone in Jbenever possible, the grandeur of her Instruments. Public School Music, Musical much in demand as teachers and also in to dance orchestras as the accordion Theory. presence and her performing magic have concert. opera, radio. orchestra and choir he plays, he has been able over the cently, moreover, a lively new program, the world of dance as "Miss Ruth" and work. The News Bulletin containing a list Degrees-Bachelor of Music, Bachelor of years to achieve his goal. "Rock 'n' Roll Dance Party" (Sat. eve- affectionately called "The First Lady of increased, as if hy way of compensation, of about 300 successful graduates holding Music Education. Master of Music and Mas. responsible positions in Universities. Col- The music that lends itself best to ning, CBS-Radio), has been featuring American Dance," is not given to daw- ilirongh the years. ter of. Music Education are conferred by leges, Conservatories. and Public Schools al.-lthonty of the State of Illinois and recca- will be sent upon request. the Champagne treatment is, of course, Count Baste's orchestra and a series of dling over her past triumphs. She is Ted Shawn once aid, "By the time nized as a guarantee of accomplishment. Tuition is reasonable in keeping with the popular music. While he prefers to play this country's folk artists. quite aware of the fact that she changed TOU have sense enough to dance, you Students' Self Help-The menaeement makes times and may be paid in convenient Install- his own favorite melodies of Irving Ber- Small wonder that the newly- formed the course of the dance art, that she areconsideredtoo old to dance." Well, every endeavor to assist needy students to ments. Complete particulars given in cata- find part-time employment. Many find work log which will be mailed on request. lin, Jerome Kern or Cole Porter, he Dance Orchestra Leaders of America, shared with Isadora Duncan (her con- timeshave changed. Shawn, in his mid- a~ .teachers, .accompanists or part-time po- Boarding-Information regarding accommo- throws them in "sparingly." "I have to headed by Tommy Dorsey and Les temporary) and with her husband-part- snies, recently danced the role of King SitIOns working for commercial houses. etc. dations can be found in the catalog. keep realizing that we're playing often Brown, recently started a series called ner, Ted Shawn (several years her Lear. II part in perfect accord with his Member oj the Nation.al Association oj Schools oj Music to dancing parties, and that the teen- "Best Bands in the Land" (Mon.-Fri. junior), the duties of dance pioneering. matureartistry. Martha Graham. only For free ct,talog address John R. Hattstaedt, Presitlent agers have to be satisfied as well as the evenings, ABC-Radio). Dedicated to But she is far more concerned with !~ghtJ)'younger, is al the peak of her older folks," says Lawrence Welk. "So "furthering the popularity of dance mu· present dancing and future projects to fabulouscareer. And other mature dane- FINE ARTS BUILDING, Chicago 4, Ill. I make sure to mix into the program sic throughout the country," the DOLA dweJl for long on those fifty years which frs findthal a dance future still lies things popular to them at the time, like • has Paul Whiteman acting as host, one saw her become an international star; beforethem.This happy lind intelligent the 'Rock and Roll' of this past year." night introducing Russ Morgan at the co-founder with Shawn of the Deni· !Iateofaffairsis due, in no small part, Does Lawrence Welk consider chang- Cocoanut Grove, Hollywood; another shawn Dancers and the Denishawn toRUlh51. Denis, for although "Miss ing his style in any way? To one who night, Ralph Martiere at the Palladium, schools (ranging from coast to coast); Ruth"is. inarguably, a phenomenon, felt that this brand of insistently spar- ETUDE BINDERS Hollywood; the next, the Dorseys at a choreographer who invented new ways :heheraldedthe promise of dance ma- kling music could grow, after many New York's Statler; and the next, of movement and rediscovered lost prin- turity whenthe curtain rose fifty years You will keep ETUDE neatly in. its proper place, ready for reference and hearings, just as insistently monotonous, Ralph Flanagan at New Jersey's Mead- safe from. damage, in this aUruc,i,ve blue binder with gold leuering. $2,50. ciples of dance; a genius. agoon oneof the great dance rebels of this was an important question. "An Order yours today from: owbrook. Lawrence Welk and his or- Although the annual Lourof one-night ~ltime. aTranger talked me into a new style chestra, from the Aragon Ballroom in stands. which made her name and ETUDE, the music lIwguzine, Bryn Mawr, Pennsylvania A dancer's career j very short? some fifteen years ago in Chicago," an- Hollywood, where they play regularly, Shawn',s the best known theatrical Bo:h!Just ask the First Lady of the swered Welk. "It turned out to be too were chosen to headline the series. names around the country, is a thing of AmericanDance. loud and jazzy for people, so my man- The boom in name bands goes hand· the past, "Miss Ruth" continues to give ager told me to go back to myoId style in-hand with the way music, the Cas· concerts and thinks nothing of setting • * * It'sno secret that "My Fair Lady," or else I would be fired. I've followed sandras not withstanding, is playing an Ollt all alone on a transcontinental trek tbe musicalcomedy now at the Mark various suggestions, but I guess the way important part in television. The TV involving solo recitals and lecture·re· Manhattan School of Music we've played since Pittsburgh in 1938 treatment of the film "Richard III" HellingerTheater in New York, is one citals. Through popular demand, she offers courses leading to the Degrees of has gained us a lot!" made this clear, where Sir William recreates again and again the famous 01 thebiggesthits since "South Pacific." Contributingto the joys of this delight- His successful sortie into television Walton's background musi~ adds efIec· solos of the past~"The Incense," the BACHELOR of MUSIC-MASTER of MUSIC has given a number of other bandlead- tive accents of passion throughout the "Nautches," "Cobra," "Yogi," "Salome," ful drama (it is based on Bernard ers the courage to stick with their pro· drama. In' adding a score to Maxwell others-but ber creative energies are Shaw's "Pygmalion") with music, is the in applied music, composition, theory and music education grams or to venture into broadcasting Anderson's "High Tor" for the recent directed toward non·Oriental themes in da.ncingchoreographedby Hanya Holm. for the first time. Now playing for hot- CBS-TV Spectacular, Arthur Schwartz her building of solo dances, group works 'IllS Holmhasn't obstructed the course Professional training for Professional careers in music weather audiences, they include Bob provided the country with the lovely and dance pageants which deal with Qftbeplaywith big baJlets or specialty Crosby (Mon.-Fri. afternoons, CBS- numbersbut she has given pace and singable When You're in Love and Live Christian ideas and ideals. Distinguished Faculty includes: TV), who injects into his program of One Day at a Time, proof that Bing In her newest solo, "Freedom," which !Do\'ementscope to the show through waltzes and foxtrots such inspirational Crosby's lackadaisacal style is still the is accompanied by symphonic music herslaging of the musical numbers Franco Autori Raphael Bronstein ·John Brownlee messages as 1j We All Said a Prayer; nd best in crooning, but little to hold or and by her own voice as narrator, her t throughthose dances which actual- Ralph Flanagan (Thurs. evening, ABC- Vittorio Giannini Robert Goldsand Bernard Greenhouse linger with one. legendary skill in the manipulation of Y furtherthe plot or reveal as only TV) ; Skitch Henderson (Wed. evening, Many things have been added to and huge quantities of material (robes, movementcan, character and mood William· Lincer Howard Murphy Jonel Perlea NBC.Radio); Henry Jerome (Thurs. subtracted from Johann Strauss' "Die scarfs and the like) is much in evidence "My Fair Lady" will I am cert~in. evening, Mutual Radio; Vincent Lopez c~a ' Hugh Ross Fledermaus" over the years. Now, in as well as her remarkable command of rmanyonewho is fortunate enough (Mon.-Fri. afternoons, MutuaI2Radio). 10 se· d the current Los Angeles Civic Light gesture. But whether the dance is new I e It an for those who are particu- Guy Lombardo, who for three decades Opera's "Rosalinda," the part of Frosch or old, dancing to her is life. arly interested in dance Miss Holm's ENTRANCE EXAMINATIONS, SEPT. 12·13, 1956 has been playing the same jiggly-gaited the jailer, a little of which has always Fortunately, she takes this dance of 'lionderfullysensitive use ~f dance as an music that Welk picked up in due For further information, write to Registrar seemed to go a long way for some of life in terms of her own powers. She is augmentationto dramatic and musical course, is on a new series, "Guy Lorn- expr . 238 East 105th Street, New York 29. N. Y. us, has been expanded into a trio of not easily fooled by flattery, for she he esslon will be something to cheer 56 a ut. (Continued on Page 60) etude-july-august 1956 ,Iude-july_august1956 57 ' de 9000feet, was another "fasten autu\ d hi h by dint of encouragement from me and ;eatbelt" affair,an t IS time t e moun- PODIUM PERILS SOUTH OF THE BORDER much concentration on their part, we " peaks towered above the plane, t" I' III got through programs which included hi h flew between t tern passes (Continued [rom Page 22) , C only to the loca \ pi'Jots. W e could "Billy the Kid," "Graduation Ball" and ~noWn • h "Fancy Free." I considered it a small Stand why QUIto ad been so front gallery of the theatre in which Leon who is a Colombian by birth, ~Dder h miracle that they were able to produce ,',cly shut off from t e rest of the was being featured a wonderful exhibit exhorted the men in Spanish to calm feelff . d i] , Jd for centunes, an not unn man of ancient Peruvian art. There was also themselves and begin the prelude. All what they did, and my heart went out OF MUSIC to them. h,ord taken to t!'hQ'bie arr as uno een a collection of contemporary Mexican through the first thirty-two bars of m~~ The ballets were received with "typi- a nedto outside influences. paintings which were being readied for sic the cellists ran in and out of the prt opc .. ' Q' Dedicaled la the Superior Training of American Talent a tour of Europe. At this reception we with lumber on their shoulders in order cal ball park enthusiasm," as the local Ourmusical nnnng In uno was a met the interesting BIas Galindo, a lead- to extend the floor for their chairs. paper termed it, the audiences smiling lillIepremature,as in about ~wo weeks Intensive prafessianal study af MUSIC, When my colleague returned to the and fanning away in the stifling heat ermanentorchestra was being organ- balanced with a liberal arts program lug composer of Mexico, at present the lP b -, d head of the National Conservatory. dressing room at the conclusion of the of the Teatro Nacional. izedandmusicians were emg rmporte in America1s first coeducational college. Later we had occasion to talk with one ballet "his coattails covered with saw- The trip from Panama City was the f ro Europeand other parts of South Dormitories. Concert series by guest and of the giants of Mexican art, Miguel dust and sweat pouring down his face, first of the terrifying plane rides over {~erica.Here in Quito to handle the Oberlin artists. Excellent practice facil· Covarrubias, who took us to his studio I knew conditions were rough. the Andes mountains, that backbone of b was a young Spanish conductor, ities. Faculty of 55 eminent musicians. where he had one of the most impressive It was my turn to get it the following South America. Going from sea level ~norXanco,who graciously offered to night. My entrance to the podium to Panama to the 8500 feet altitude of helpuswith the orcbest ra that was al- collections of archeological treasure we Membe, National Auociation 01 Sc1Ioo/s 01 Mu.ic had ever seen. begin "Swan Lake" was the signal fOT Bogota. Colombia, required not only readyhere.It was obvious why new mu- On our last day we were asked to give a full scale riot to break out in the physical but also mental adjustment, cicianshadto he brought in, as the local Write for: a benefit performance at the Auditorium gallery. The yelling and screaming was Bogota was seething with political ~enhad no conception of what an or- - Conservator,. catalog describing de- Nacional, before an audience of 18,000 deafening, and I supposed it was the unrest when we arrived. Soldiers were cbf~trasho'uldbe. It took them at least grees awarded people. It was scaled at popular prices equivalent o£"Yankee, go home."It took everywhere, carrying fixed bayonets. a halfhour to get their instruments in to enable the Mexican man on the street all my courage to give the downbeat, The Teatro Colon was located directly lUnewith one another. The concert- - Bulletin on admi.sion and audition to see us. By the vociferous reception as I expected to go down under a hail across the street from the headquar- mailerwould go {rom tand to stand, procedures of exotic fruit. The demonstration con- ters of President Rojas Pinella. Going we knew we had made many friends. and painstakingly compare their "la" -Calendar of music events of the cur.. With the next cities on our itinerary tinued even after the curtain had gone through the stage door meant a constant lithhisopen"A" string. From then on rent year up, and ballerina Nora Kaye, a trouper brush with the military police, who (Guatemala City, San Jose and Panama itwas"arriba" and "abajo" according to the last, made her appearance as the seemed to think our presence endan- - Programs of concerts, recital. given City) Central America ceased to be a tatheroncertmaster's instru Lion. chapter in our geography book and ma- Swan Queen to what sounded like "Kill gered the safety of the President. during past sea80n As the rehearsal progre sed I saw terialized into a rain-drenched landscape the umpire." Only during the lyrical Many of the dancers caught severe IDa!jf theshow were to go on I should dripping with tropical foliage. pas de deux of the Queen and the colds, as none of the buildings had hafetodosomething more drastic than As we walked into the Capitol Theatre Prince did the place become quiet. "calefuccion" (steam heat) to cope with Director of Admissions. Oberlin College n:ual.Callingmy Ballet Th atre music in Guatemala City, it was at once evi- Later that night we found out the rea- the dampness and cold. This plus the Box 576. Oberlin. Ohio dent that we were not in the well or- son for the trouble. It was not, as we taxing altitude made performances even slaH together,I sent them all into the ganized Bellas Artes. The stage was un- supposed, an anti-American demonstra- more strenuous than usual. piltnmantbe guns. My wife Mary and • comfortably small, the technical facili- tion. The local house manager was the Serving us in the pit were men of the IninaOwentook over two broken down Ilprig~htpianos, and Erik Kessler (my ------, ties primitive, and backstage dressing culprit: he had double-sold seats in the Sinfonica Naotonal, but the first chair rooms makeshift. gallery and the ensuing riot was the men were denjed us because of previous Ubrarian)moved into the place o{ first BUTLER UNIVERSITY The biggest surprise for me was the fight over rightful ownership_ radio commitments. This put a mediocre ~orn, We.continued rehearsing, but it JORDAN COLLEGE OF MUSIC excellence of the string section of the We plunged into jungle territory in cast to what might have been a fine II! el"identthat another substitution Sinfonica Nacional of Guatemala. This rainecessary.The percussion sect.ion A rich t,adition, a progressive philosophy, an outstonding faculty, complete accred· San Jose, Costa Rica. The rain drummed soundjng orchestra. itation. Baccalaureate degrees in Dance, Drama. Music, Music Education, Radio. was due to the training of their regular endlessly, and the green banana leaves At the end of our two weeks stay m filledwith drum~ which I'm sure Write for (ata/ogue and desired information conductor, Andres Archila, who was glistened in the humid air. The Teatro there, while the ballet had been very mu:thaveserved imon Bolivar when JORDAN COLLEGE OF MUSIC (Box EJ, 1204 Nort ...- Delcware Street willing to be my concertmaster for the N acional was a delightful surprise-a well received. we were onJy too glad hwos:edthe Andes. But the man sta· Indlatlapalls 2, Indiana performances of the Ballet Theatre. Mr. tiny jewel of an opera house, worthy to lock our theatre trunks and leave. tionedbehindthem not only could not Archila was a man who spent his life to house any theatrical troupe in the Two more Colombian cities were left readmusic,but he didn't even know fighting for better conditions for his world. An unusual feature was the in· 10 be visited, Medallin and Cali. Both ~O\\" In hold the sticks correctly. Mr. musicians, and he poured all his talent terest and constant attendance to our had to be approached through moun· leon,whohad been standing behind and training into creating a place for performances of the Costa Rican Presi- tains almost not to be believed. Flying MIllin the pil. coaching him along, his orchestra. He persuaded the govern- dent, Jose Figueres, that amazing man over terrain straight out of "Lost Hori- lookedat me with despair. I looked at ment to take official interest, and under who stands unique among Latin Amer· zon," it was a shock to come down into Sherwood Music School IDm and nodded. i\h. Leon took over full government subsidy the orchestra ican leaders. Night after night he came, a valley filled with palm trees and \0 iliedIllillSand the rehearsal resumed. Thorough professional training for suc- formance. Member I)f the National Asso· now plays eleven months of the year, filling his box with friends and family, see attractive homes and country clubs Thatnightduring the opening baUet, cessful careers. One and two·year Cer. ciation of Schools of Music. Founded with one month vacation with pay. making it a point to tell us how much spread out in the lush countryside. iliedancerson stage couldn't believe 1895. Splendidly equipped lake-side As the number of musicians used for our shows were being enjoyed. He told tificate courses prepare for private Medallin's Teatro Junin was the ilieireyeswhenscattered among the pit building. Fall term begins September the ballet was small, I asked for two us that he felt that it was his duty as studio teaching. Bachelor aud Master scene of a stampede at the box office ilieyiawour familiar faces. The word 14_For Catalog, write Arthur Wildman, pianos to be brought into the pit so that well as pleasure to support the arts, as Degrees, four and five years. Piano, where hundreds of people were turned ~aspassedon to "djg the crazy orches- Musical Director. my wife, Mary, and our ballet pianist, the people were apt to follow his voice, organ, violin, 'ceHo, wind instru- away for seats. The curiosity to see an Ira,'· andwhenthey saw us all at work Irving Owen, could reinforce the scores. example. American ballet troupe was enormous. ments, composition, public school mu- they could hardly keep their faces SHERWOOD BUILDING The pianos were not deliver,ed until per- As we traveled further south in Cen- It was further proof that b;Uet is an sic. Faculty of renowned European and Rraight.Wewere a good team, and be- 1014 South Michigan Avenue formance time. When my assistant con- tral America, both the altitude and the international commodity, loved through- American artists. Many opportunitiel iteen us aU the music managed to ductor, Mr. James Leon, went down into musical standards fell lower and lower. out the world. for public recital, solo and group per- Chicago 5, Illinois fOlergeina recognizable form_ the pit to start the program with "Les Sea level for both was Panama City, a The orchestra of forty musicians Sylphides," he found the place in an ~fwethought Quito was bad, Guaya~ In the blisteringly hot sailor's town right off which I found gathered produced an- 1I•• rt uproar, four sweating stagehands shift- qudwasrock bottom. Guayaquil is a the Panama Canal. other jewel in concertmasters, a violin- ,f ing the pianos and disrupting the music The Orquesta Nacional which was ist by the name of Joseph Matza. He telporltownin Ecuador a rough primi- cultural I' e " stands. The cellists and violists who had my orchestra, evoked my sympathy and was a musician who knew his profes- t waterfrootporI. Here in the Nueve Chiugo been displaced were yelling angrily, my despair. These unfortunate musi- sional duties thoroughly, and my work eOctuhrewe encountered a theatre their bows stabbing the air. It was a cians, ill-trained and with a wage scale became immediately easier with his lotallyunequipped to handle our show. desperate moment as the house lights pitifully low, produced sounds too hys- musical help. Thepithad no chairs or stands. On dimmed, out the bedlam continued. Mr. terical to describe. And yet, somehow. The plane ride to Quito, Ecuador, ~lgeharassed crew members had to ~I, h oge( er beams strong enough to 58 etude-july-august 1956 ,tUde-july-august1956 59 ~jt}'of his music often suggests plainsongs. These splendid chants were by its dynamic intensity, its beautiful take the weight of our backdrops. The ~u. 'nstrumenls, although they are no longer used in the liturgy of the musicality (the score is Debussy's ,he" IdS . h local help was busy splashing paint on actually name. omettmes t e Church of England, but Tomkins knew C~icago mUJical ColI-go BOSTON UNIVERSITY String Quartet transcribed for orchestra aeler h . Iff the dressing room walls, una ware that D as much as t e tit e, 0 some 0 them from his master, Byrd, who was a OF ROOSEVELT UNIVERSITY by Frank Black) and by its poignant texWr", brl . d h as soon as the trunks were unpacked TomkinS'pieces nngs to rrun anot er staunch Catholic. . Undergraduate Rnd grad- "ate coureea leadlng- to delineation of the character's inner con- tile aa~lIelor'B and the costly tutus would have to be hung. .,ibility-the small chamber organ, Some of his most expressive music Masl.er'a deRNe. Full flicts. Excellent too was Jacques d'Am- North Central and COLLEGE of MUSIC The orchestra of Guayaquil was worse ~'~IYnotmuchlarger than a chest of was reserved for the Pavans and Gal- N.A.S.M. sr.ofedltatlon. boise as the young man who brings A Division of the than anything we could imagine. ~ sent ~~1\ers,but often very w~)1 provided liards, three of which were inscribed to Applled music lnBtru~' (Continued on Page 63) ~~I~e~':,dP~:~';Bt~a1~~~ in my Ballet Theatre Combo WIthout . thechoiceof stop-regrsters. atrumente. I,W . ill-fated members of the royalist party ,- .ltl;i'iF· hesitation to establish some sort of Blilleti" upon requed School of fine and Applied Arts lho;, from about 1646. umil 1654 as a musical memorial. Between 1641 ....."~remustc ({"ell" beachhead among the chaos. I admired 430 South Michigan Ave.-Cbicago 5 Th masTomkins,then m hIS sevenues, and 1649, Earl Strafford, William Courses in all branches of music the spirit and the willingness of the Olemorethan thirty keyboard pieces Laud (Archbishop of Canterbury) and leading to 8,M. and M.M. Degrees. musicians to cope with the music we THOMAS TOMKINS ,." lJ the forms and styesI current In. Charles I were executed because of in- Doctor of Musical Arts Degree in placed before them, even though most ~~bethanand Jacobean times. There creasing pressure from the parliamen- MILLIKIN UNIVERSIU Applied Music, Composition, and of them were incapable of handling it. (Continued from Page 16) SCHOOL OF MUSIC n's writing for solo piano, and ,human . I hl Sacred Music (ourse offen ••• " thisperiod,ill 1845 a ter IS first THE PIANO CYCLES majors. i.n piano, organ, voice and Ilu:g hechangeshis manner of com- composltJ?n. Also instruction in or- ~ )se'I'n a way which vitally affects chest~al Instruments, music theory of and hterature _ plus a number of un- NEW YORK COLLEGE MUSIC OF ROBERT SCHUMANN ~9110n . I h Arved Kurtz, Director Chartered 1878 pianostyle, 1845 ad usual chureh related subjects, Excel- W' llntil te c~m- lent. experienced faculty. 'd Ithepiano, and now, composing College and Professional Courses: •• Class and Individual (Continued from Page 49) ~, a h' , New, four-story William Howard Instruction ••• Daytime or Evening ••• Full or Part Time froOithe instrument, IS plano Doane Memorial music building pro- vides modern classrooms and 38 elements, the 5th and the scale, I.'.: becomesd'ffi1 cu It to negotiate,' sound-proof practice rooms. Practice 114 EAST 85th STREET ·Write for Bulletin NEW YORK 28, N. Y. 1ll1ln g facilities include 6? pianos, 3 pipe The Humoreske, op. 20 (1839), is the lull ofclumsyleaps a~d stretch~s and Specialized, well-n?1.!nded training organs and 5 electric organs, a ministry supreme accomplishment in a different h morerestricted III rhythmic and prepares you for of music. . Unlimi~ opportunities for prac- For ,Important spirttual emphasis, w~~nicalpatterns. The first cycle to tical experience with the MBI musical kind of cycle, the one made up of inter- MBI s Sacred MUSIC course combines groups, on our own radio station STUDY? comprehensive Bible study with the WHERE SHALL GO TO dependent pieces. In the Humoreske the ~~ftheeffectsof this is the set of four WMBI, and in Chicago's many tntenstva mUSIC training on conserva- churches. separate pieces are so closely bound to- 111,bes. op. 76 (1849), This has all tory level. RICHARD McCLANAHAN WILLIAM T. POLLAK Write today for descriptive CATA. gether that it is difficult to perceive the General tui~ion at Moody is FREE. Teacher of Plene A.M., Mus. Occ., A.A.G.O. ~t!llOtivicand key ccnnecuons ?f ~he LOG. ~ddress Office of Admissions, Fees for applied music are very rea. Dept. 1£066-323. Malthay exponent, tormerly hi; rep,e5enlotive. New York College of Music large structure. The work may be seen lercvclesand adds another [inking eonable, WHERE SHALL I GO TO STUDY column is limited to teochers, Rate is $10 per inch. with 0 minimum themes, and here one finds similar altoughit Was reported at length in insertion of 6 consecutive iuues. CLASSiFIED advertising is 20( per word. minimllrn charge of $3.00 per chord textures and march. like rhythmic ~:st every newspaper, has an im- NATIONAL GUILD OF PIANO TEACHERS insertion. Closing dote is the 5th of second month preceding publication. patterns in the first and last movements. ~tt'acyaboutit which keeps the reader Austin 66. Texas In 1840 begins the long drought in log onthe edge of his chair. Nat'. Hdqtrs.: Box 1113 THE END 62 etude-july-august 1956 63 'Ode-july-august 1956 WORLD OF MUSIC CLASSIF I E D D S (Continued from Page 7) HAIUIONY Composition, Orchestration, PLAY ALL THE LATES~ POPULAR Musical Th~ory. Private or Correspond- PIANO SHEET MUSIC at Sight, prof~;4 COMPETITIONS ence Instruction. Manuscripts revised sional style. $1.00 Walter Kaaatcs, E. 58th St., New vortc 22. and corrected. Music arrang-ed. Frank S. (For details, write to sponsor listed) Butler, 32-46 107 se., East Elmhurst 69, N. Y. ACCOIlDJONS-Direct from i~porLt~~- National Federation of Music Clubs 50'* and morel Free t.r-la l. I e- I.~ARN PIANO 'l'UNING - Simplif!.ed, ~r~~u.:'rantee. Trades accepted. Free twenty-second biennial Young Artists authentic instruction $4.00-l..lte,1'atu1'e Catal;:g Write Accordion Manufa.ctur~ free. Prof. Ross, Hili Beecher St., Elmira, ers, Dept. 76£U, 2003 Chicago, Ch tca.go Audition. Cash prize of $1,000 er a N.Y. 22. Illinois. debur recital, with various supplemen- tary awards. Prize awarded in each of WRITE SONGS: Read "Songwriter's ARRANGEIUENTS-rlch, full s,?undin~ the following categories: male voice, Review" Mag a.aine, 1650-ET Broadway. Tenor Band Arrangements, Pops, New York 1\1, 254 copy; $2.00 year. (Est. Standards. Specials. Bob Bullard, 1118 female voice, piano, violin and cham- I il46) Nort n Sixth, Maywood, Ill. ber music. Details from National Fed- eration of Music Clubs Headquarters Where do new ideas come from? SWING PIANO - BY lUAIL. 30 aeir- HAND BUILDING EXERCISES FOil teaching lessons $3. Samples. Over 50 PIANIS'I'S by Weldon Carter. Teachers, Office, 445 West 23rd Street, New York p u hltcat.lons. Phil Breton Publications. concert pianists, advanced students -. A n, N. Y. P.O. Box 1402, Omaha 8. Nebraska. better technic with 20 minutes dally Where, for instance did Ella Ketterer ever get practice Send $1.00 for copy to w asn- f ng to n Musical Institute, 1730 Sixteenth Arcari Foundation third annual com- I.~ARN PIANO TUN1.NG ~'r HOlUip. Street, N.\V., \Vashington, D.C. the idea to take century-old teaching pieces, Course by Dr. w m. Br-aid 'w btte, world s petition. A prize of 1,000 for an orig- leading piano tectintctan and teacher. Write Karl Bartenbach, 100lA Wells st., inal composition in the form of a one- SCIENTIFIC SIGHT REA~ING. guaran- edit and attractively title them, and come up Lafayette, Ind. tees immediate sight r-ea d tn g- tm p rove- movement Concerto for Accordion with rnen t-c--Sf pages-$I-Morong, Box 21. orchestral accompaniment. Details from Brooklyn 25, New York. with 28 PLEASING STUDIES for Equalization FREE :UAIL-ORDER CATALOG I Hun- Secretary of the Arcari FoundaLion, dreds of self-instructive books for mu- sicians, from jazz to symphony. Walter Nick Fantazzi. 14 Merion Road, Merion of the Hands' Curious, we asked her. Stuart Music Inc., 421·B Chestnut St .• lUODERN INDIVIDUALIZED P~ANO or Station, Penna. Union, N. J. organ taught by tape r-ecor-ding- and correspondence. w'rrte for information: GEORGE FOHGE NATIONAL CORRE- American Guild of Organists compe- SACRIFICING 200 ACCORDIONS-ALL SPONDENCE COURSE. Box 56, ETUDE 'Thebook if II sequel to my earlier boota, tition. Prize of $150 offered by the H. Here's a good idea by a leading com- dedication, Mara Ville opens Music I\..INUS. Discounts to 70%. Free catalog. Magazine, Bryn' Mawr, Pa. I1ptci~lIy Short Classics Young People ClavioliIles or other musical i~lstrume.nt W. Gray Company, Inc., plus publica- poser and piano pedagogue. Tunerama: Made Easy, Book 2. Like its predecessor, secured. Discount House, 8932 88 St .• L&el111d28 Miniature Erudes. 1 feel tbere \Voodhaven 21, New York, VI 7-0866. tion, for an anthem for mixed voices. A Child's Trip Around the World is a this new work book is an excellent com- IIJ~eed for II collection that will C01ll- 1=;5. lUUSICAL S'l'A'I'IONERY J=;J. Bu~l- Deadline: January 1, 1957. Details from collection of 24 arrangements for the plementary volume to the Robert Nolan ness cards, ad cards. Samples. Gerry s. hirre ther-.J)orksof Curny, Scbytte, Koel- BACK POPULAR SH.lJ:l!:'l' IHUSIU '1'0 P. O. Box 664, Po tt.ato w n, Pa. the American Guild of Organists, 630 grade 2-2 Y2 pianist. Visiting 16 countries, Kerr "Little Players" series. Also like 1lol:>0. Catalog 15¢. Classics exchanged Imgl Contoneand other early composers for popular. Pore's, E3151 Htg h, Denver Fifth Avenue, New York 20, N. Y. this wonder trip brings excitement and Book 1, this volume is ideal no matter iruneffort to develop cae particular 6, Colorado. SINGERS: ACCOMPANIMENTS RE- adventure to the piano. It takes the what method you employ. It is flexible IIIMit-in this COle, equalization of tbe CORDED TO ORDER, OR L.P. ACCOM~ Northern California Harpists' Asso- child to Germany through a Bach Minuet, PANIMENT ALBUMS. Also, your tape !mdJ." enough for classroom or private use. Its OI~U VIOLINS ANU OTHEll INSTItV- recordings transferred to records. ciation ninth annual competition. Two to to In ~l\"I'S. Re patr-Lng , Supplies. Eaken, Poland with Chopin's Prelude, aim is to develop rhythm and theory in ESQUIRE RECORDS, 690 Washington cash awards of $200 each for new harp Tfuf 28 PleasingStudies is JUSt such a 31Q E. Washington St., Chambersburg. St., Brookline. Mass. Spain through Emmanuel Chabrier's grade levels and to correlate these aspects Pa. compositions. Deadline: December 31, OOok, andthat it will enchant the student "Espana". Through Tunerama, the young of music with the student's instrumental 1956. Details [rom Yvonne La Mothe, lIIdpleasetheteacher is, we think, incvir- THE ",VINSETT TRANS POSER takes player visits Russia (Tchaikovsky's training. This is a supplementary volume, JOHN s. HULL, Violin Maker. 33 years the confusion out of transposing sheet 687 Grizzly Peak Blvd., Berkeley 8, ~le.Grade1-1l-'l students will love it. experience. SpecialiZing In tine r-epa.rr-, music from one key to another. Saves "March Slav"), Austria (Strauss' "Roses however, and not meant to replace a ing. References furnished. Fort Hunter, time. Plastic silde rule. $4.95 po.st patd. California. 1100) New York. P. 'Vinsett Co., Key "West. FlOl'lda. from the South"), Hungary ("Hungarian thorough course in harmony and theory. Rhapsody No.2" by Liszt). The compiler Friends of Harvey Gaul tenth annual I'nur favorireseriesis in the news again! Quizzes, fill-ins, a brief dictionary, true 'I'\·PIANO. The 'rollch System of Pla.y- ",VANTED TO BUY HARP. 'Vrite to competition. A 300 prize for an an- George Walter Anthony, one of the and arranger is Mischa Portnoff. ($1.00) or false tests, writing scales, matching ing the Plano. The Powell Piano Mask Remlin's Violin Shop, 326lh 3d Street, tests, time puzzles - all delight, and in- blocks the sight of' th~ keyboard but Red "'ing, Minn. them with piano or organ accompani- nloon'sleadingmusic editors, had an l,ermits sight of the musl(~. Play like the • struct, begining students. ($1.25) artists - by the exclusive senses of ment or a cappella, plus publication by ih it wastime for a new book. This touch and hearing. Effectively aids PIPE ORGANS, used. Moller Portable Volkwein's, Pittsburgh. Also a SlOO .~,YourFavorite Solos for the Ad· Douglas Townsend is another man with hand independence. ear· training, sight • Pipe Organ with detached console with prize for a composition for two harps. ideas. He is an earnest young fellow with reading, memorizing. One piano .m.a.sk or without automatic rollplayer. Also lanced Pianist,features 15 cop titles for with manual of instruction and Original Command of the Keyboard rolls on. two pneumatic MoIlers suitable for re- This prize limited to Penna., W. Va. ~des4 to 6. Check off the ones you a lively interest in four-hand music of exercises. ~end $2. Address John 1i1 building for churches. Eugene E. Poole, Volumes 3 and 4 are brand new, released Gantner, 1001 Churchill Ave., Utica, 165 Lal.:ewood Road, Walnut Creek, and Ohio. Deadline: December 1, 1956. lnow and love: "Lonely Dancer" by the 18th Century. His interest has resulted N. Y. just this summer. Emphasizing "technique California. Details from Mrs. David V. Murdoch, Federer, "Sca Gardens" by Dr. James in the long~awaited Duets of the through musicianship," Alfred Mirovitch 315 Shady Avenue, Pittsburgh 6, Penna. F1'll]c~Cooke,"By the Waters of Minne- Classical Period, In this collection of GHO'I'RIAN-STIl:IN'WEG PIANOS. In- }."'ABULOUS "SEL ..... Il'iSTRUCTION has already drawn praise from noted ternationally acclaimed "The World's BOOli:LET" on "Hobby Plano Playing ~a" byLieurance,"The Pines" by H. duets for grades 3-4, Townsend presents Finest", imported from Germany. Write for Adults" only $1.10. Check or money Chapel Choir Conductors' Guild an· authorities like George Anson, Virginia HOLSTAD MUSIC HOUSE, 337 Oak Alexander Matthews, "Allegretto" by two works by Haydn, and one each by order received at Music Center, 1699 nual anthem competition. Deadline: Churchill and Arthur Lambert. You will Grove, Minneapolis, Minn. Lincoln St., Denver, Colorado. HaYdn, "By the Sea" by Posca, "Love Clementi, Andre, Burney and Giordani. September 1, 1956. Details from Everett 0,,,,",,,b B find that older children, teen-agers and W. Mehrley, Contest Chairman, Mees & ,'}' ~own- and 8 other winners. The editor's comprehensive preface will .i"REE-Amazing new booklet "Success. FOR SALE: Several old Italian Violins. adults are especially receptive to his Popularity, Happiness l<'rom Your Pl. tJetsmennonthe other 8: "Coasting" prove a stimulating asset in this superb write ETUDE, Box 60, Bryn Mawr, Pa. Conservatory, Capital University, Co· imaginative presentation of the works of ana." How to find the newest In modern 'Borleigh), "Dance of the Demon" collection of six early duets. Over 100 piano playing secrets. Ernest Weidner lumbus 9, Ohio. Ho~)"0 . composers who lived between the 15th System, 423 E. Seventh St., Boston 27, DON'T IUISS THE~I. Two new and beau- 'f .' anse HongrOlse" (DuVal), pages. ($1.75) Mass. g and 19th centuries. "The music is well tiful songs, just out, "I ,Vant You to National Association of Teachers 'of ,3lImWaters" (Truax), "Gingererre" Come" and "Miracles of Jesus" from • chosen to encourage a clean style of play- your favorite music ·dealer or direct. Singing second annual Young Artists Buchanan),'''Tis Rainjng" (Grunn) KANZLER HARPSICHORDS, finest im- The "'Vright" Music. 2213 Christine St., "To Robert Nolan Kerr who has been ing" (Arthur Lambert). Ask your music ported Austrian harpsichords; modern \Vayne, Michigan. Auditions. Three prizes of $500, .$100 ~dtwoHenry Levine arrangements of style. Ingeborg Kanzler Ebbesen, Red- classics,Chopin's an inspiration to music teachers and dealer to show you a copy' of Command 'wood Falls, Minn. and $50 respectively for winner, second :0 Polonaire in Ab ",VILL EXCHANGE VIOLIN for 35mm Grieg's Concerto in A Minor. ($1.50) students through the years." With this of the Keyboard. (Each volume: $1.50) camera; Smm, 16mm movie and pro~ and third place. Winner promised au· 1'."1\"0 TUNING COURSE-Complete jector. Kosarek, 7 E. 12 St., New York 3, ditions by the Metropolitan, the Lyric l'lelf·instructlon lessons. Also teaches N. Y. D011'tbegin the fall season without first boning up on the best methods, studies ttnd \·ou piano regulating, repairing and Theatre of Chicago and the San Fran. other servicing operations. Wonderful SOl\TG",VRITERS-I'll make YOU a com~ cisco Opera Company. Details from colleetiom now available. For your copies of the two bo~~/ets, "Pittno Methods: Old an~ illlll'ltrations. Full price, only '4.95 post- plete piano arrangement from your Ilaid-or c.o.d. plus postage. Satisfac- plain melody. "{rite for information or NATS Singer of the Year Contest, New" and "Piano Studies and Collections for Every Purpose see your muSIC dealer, or wrtte. tion guaranteed or refund. Nelson Com- send song with only 25¢ for postage and Charles Pearson, Nat'l Audition Chair- pany, 210 S. Clinton, Dept. AU.100. handling to: .!\fusical adviser, 15 AI. Chicago 6, Ill. mond St .. Gloversville, N. Y. man, Waban 68, Massachusetts. THEODORE PRESSER COMPANY 64 etude-july-august 1956 Bryn Mawr~ Pennsylvania PRIMTED IN THE U. S_ A. ftl THE CUNEO PRESS, IMC. "BBHOLD, I SBND YOU FOITH , I as pastors, evangelists, missionaries, wives, teachers, businessmen. Bob Jones University graduates prove the effectiveness of the Christian philosophy and evangelistic emphasis of the "World's Most Unusual University." From Bob Jones University students go forth as witnesses for Jesus Christ. 111usic,speech, and art without additional cost above regular academic tuition, Acudemy and seventh and eighth grades in connection BOB JONES UNIVERSITY GREENVILLE, SOUTH CAROLINA