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10-1-1935 Volume 53, Number 10 (October 1935) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 53, Number 10 (October 1935)." , (1935). https://digitalcommons.gardner-webb.edu/etude/838

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October 1935 PPrice 25 Cents THE ETUDE HISTORICAL 1^ the Choosing of MUSICAL PORTRAIT SERIES An Alphabetical Serial Collection of C!)ri£tma£ Cantata^ The World's Best Known Musicians

ePPu^jlisher'sP hFotes^epartmenl

Josiah K. Lilly—B. Green- much Wsteriana,^ now ^ in Mem. Bldg.^PittsburgX’Pa" Editor JAMES FRANCIS COOKE

THE ETUDE Associate Editor EDWARD ELLSWORTH HIPSHER Published Monthly By Music Magazine THEODORE PRESSER CO. ALL LOVERS OF MUSIC 1712 Chestnut Street 1 MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND PHILADELPHIA, OCTOBER, 1935 PENNA. Vol. LIII No. 10

The World of Music

mtereuins and Important Happenings and Activities I Q tiadmonv AND THE WOMAN’S SYM- cS phony ORCHESTRA oi JlftL' “TRISTAN AND STEPHEN FOSTER’S HOMESTERHOMESTEAD mn M^AL ^COMPANION the collec- — "faba Sund. ISOLDE” celebrated its Pittsburgh, which had been Michi^ tion 0{ folk music published in Am«*» strom conducting, is re- seventieth anniversary by Henry Ford and “lov’e ; memory of done generations before this term ported to have drawn the ~ a performance in the Hof gan, was dedicated as a shrmem memory ^ musical vocabulary-had iU centenary c«e attendanCe—fifty SUNOSTSOM Hans (now National) Theater the composer, on July 4th, brated at the Big Southern Harmony S g 6> thoKusan(|__at anv one of the summer Sym- von Bulow Munichi with Wilhelm and ninth anniversary of his birth. °n Jujy 10thi at Benton, Kentucky. The book “omano^ ^ Concerts in Grant Park Furtwangler conducting. Chancellor Hitler sat •« , ~ZT ' T rnl>j was compiled by William Walker P The organizations of “mere men" had to be ,n• the• 'box which• -:.JwaToccupied by Wagner’swr»„n*r>a THE— FOURTEENTH™T™nn®Fw-rTj GENERALr.FNF.R AT. CON- ^sburg,,,South South Carolina, and published at contentedsue t, with ten to twenty thousand asa. patron and friend, King Ludwig II, on that VENTioN of the American Guild ot Organ- New Haven> Connecticut. their best. With a woman of ability and per- musically memorable night of June 10, 1865, ists met jn New York from June 24th to 28th, ^-.-f first sonality as conductor, and with a Board oi when royalty and nobility were liberally with nine hundred members registered.iniat- “LA TUIVE,” by Halevy, which was sprinkled throughout the audience, and the tendance—the largest number ln “e h>st°ry J Porie nn Februan Baroness Cosima von Bulow sat with Wagner, of the organization. It was the first meeting heard1835, hadon any earlier . b in this season a OHMBjnf of the ■•Metropolis of the Lakes," this or- ihh~ older organization, performance at Budapest, with Fritz g gan;zatjOI1) now in its tenthi year, is an out °u-^rgKn pTffttive on Tanuarlf 1, 1935! conducting. standing monument to the achievement, which became effective on January ss——-^ . „„«ihle with the right sort of leadership and THE BRITISH MUSIC SOCIETY of Charles H. Doersam is the newly elected AUSTIN ORGAN COMPANY, one P methods. Wellington, New Zealand,- • ■ celebrated,” on May warden.--- _ of thew _largest,___ oldest_ and most respected of ° _» Sth, the two hundred and fiftieth anniversary t> a vdftttct FFSTTVAT is Drom- the organ building firms of America, is rctir- “OLD MORRISON” OF TRANSYLVANIA COLLEGE, THE FIRST IN¬ of the birth of the great musical triumvirate, THE BAYREUTH FESTIV ,Christmas season it will give two per- ^pol o ”^ ; , and open-air versity, the oldest institution for higher education west of the Christian College, Los Angeles, in the spring of 1930. In the J =--- J- “coiorfu1 and bnfimnt” ballet which recentty formances of tbe “Messiah,” with the Univer- the masterVTlie known as La Francescina; and Alleghenies. It was founded in 1780, as Transylvania College. California institution music is a large factor, and naturally so, M Coppersmith points out that this the had its premiere with the choreography^- ^ of Cincinnati 0ratorio Society; and the ^Tce of H^cule”Tnd “Susanna," the hi will support ^hrec origina„y an oratorio and containing at lea Washington and John Adams contributed to its endowment fund. because Los Angeles is a great musical center. When I arrived Henry Clay was a professor of law there; and Jefferson Davis in Kentucky, however, I found an entirely different atmosphere asssss=person" H?atoplaTs Sate at aboift 1745. sthe composer’s earlier Ruralia Hungarica and s-ewes®**: one of his finest choral inspirations. and many other celebrated men from the South graduated from * _cv- “Symphonic Minutes. and a different attitude to the fine arts. At Transylvania there -- the institution. was a very meager program of music and little or no interest “AUNT SIMONA,” by Dohnanyi, and GEORGE GERSHWIN is completing a During the Civil War the college was used by the Federal thMlatS‘ theatrical manager and one of the THE PANHARMONICUM, including two “The Poacher,” by Lortzing, had their Amcr- new opera of a serious nature, which us prom¬ in the program that was being offered. The dominant extra¬ original Savoyards who Lade seemingly un- hundred and fifty-nine single instruments,, ican premiere when given early in July by ised for early production. It is based o Government, as a military hospital, and naturally for this period curricular influence on this campus, as on many others, was dvina history^with the Gilbert and Sullivan which was constructed m 1805 m“Vienna, Vienna, by 5luucllLBstudents oful thew Eastman School of Music. cclcbcelebrated play, “Porgy. with a Ne? • it ceased to function in the educational field. However, so im¬ intercollegiate athletics and particularly intercollegiate football. na«pH awav on July 10th, in a Regensburg mechanic named Maelzel, has jhe English translations had been made by Th • said that it is an opera. m operatic satires, passed away • _ ’ < . Loon i-pnnvjitpH anrl hparri at. the Frovincial xt_tt_j ,, 1 portant a foundation was not to be neglected. Here were rich This situation was demoralizing to the academic and moral and London, at the age of seventy-eight. been renovated and heard at the Provincial Norman Horn and the orchestrations t the’ nature of "Carmen,” with solos, duets traditions, particularly dear to the South, and also one of the most spiritual life of Transylvania. By that I mean the football type Trade Museum of Stuttgart, after a silence scrjbed by students of the school. and choruses, yet also symphonic. ----*■ r-than a century. Beethoven composed ^ remarkable libraries in America. This has so many rare first “FAUST,” in full performance, is to oetne ^"^phonV-now missing-celebrating of student constituted very largely our academic problem and THE “OLD FAVORITES” returning to editions in beautiful bindings that it is a kind of paradise for the was a constant menace to the higher moral and spiritual aspira¬ first production of the 9ul1^ Pj the victory of the Duke of Wellington over THREE THOUSAND tions of New York. A story adberingcl y French forCes in the Peninsular campaign, popularity is an indication of a healthful re¬ bibliophile. Then it is so rich in early medical literature that tions of the institution. Problems of discipline occupied a very to the drama of Goethe, the use ot the essen action from the raucus, rickety jazz that so THREE HUNDRED it is a reservoir of research material for many important writers. AND FIVE piano pupils, large part of the time of our faculty meetings and also de¬ tial music of Gounod, and the two combined long has monopolized popular programs. Now About five years ago Dr. Arthur Braden became President so as to create a dynamic film of an entirely THE CZECH PHILHARMONIC OR¬ may hear our best radio artists singing of ages from four to fifty, manded a good deal of my own time and strength. Most of it new type, are the promised achievement. CHESTRA, of Prague, Bohemia, closed its once again The Sweetest Story Ever Told; participated in the Na- of the University. He believed strongly in intra-mural athletics, was among this particular group associated with intercollegiate season with a Beethoven Series which cul- Annie Laurie; Silver Threads Among the tional Piano Playing Tour- that is, healthy athletics and sports in which all the students might football. LEON VERREES of minated in a festival performance of the Goldy and many another favorite of yester- nament of 1935, held during participate within the college walls, after the Greek ideals, and Scranton,Pennsylvania,has “Ninth Symphony” with Bruno Walter “In 1931 we inaugurated the present musical program on the year; and this because after all the human May and June by not merely a few stars or exhibitionists. He had no use for the been awarded the prize of ducting. much a flare of passion National Piano Teachers Transylvania campus, by offering about fifty scholarships of one hundred dollars offered ior me momeni a love that knows no Guild. Twenty-five thou¬ type of competition which worked up an artificial enthusiasm varying amounts to students with musical ability and talent. by The Diapason, through REYNALDO HAHN, at the recent pre- bounds of time. sand compositions were when a husky ignoramus was given the benefits of a college educa¬ That year the band was organized. The following year more the American Guild of Or- miere of his “Merchant of Venice” at the -3- -to- played, with emphasis tion and pathetic hero worship because through his brute force as scholarships were offered and a symphony orchestra was es¬ ganists. His work is a Opera of Paris, declared that■.**“- “It—. —is highmen time MRS.iviixo. RUDOLPHixuuuLrn SCHIRMER,ax.niix.vi r.K, widowidow ofot upon theme worksntux- ofui American-*“•'-■ ■■“■■ Composers^--- ■ a football player he could upset some other college players for choral prelude on the hymn to return.a logical form of opera composed the late Rudolph Schirmer. former president creditably plac ing programs ol ten or tablished. Last year these organizations numbered approxi¬ tune, St. Ann’s, to which of a successionion of pieces. and ensembles ex- 0___f the widely_ known__ music tpublishing... house... pieces, six hundred and sixty-eight the honor and glory of the alma mater. In other words he thought mately seventy members each. Twilight concerts were given the hymn, 0 God, Our pressing the lyrical content of the stage-action of G. Schirmer,Schirmer. Inc., died on JulvTulv 22nd in her achieved the National Honor Roll, a reus ■ that, in fairness to its student body and their parents, a college in the fall and in the spring on the college steps, and frequent Help in Ages Past, is by giving preponderance to melody, since eightieth year, at her home in New York Citv lion won in 1935 by only ninety-ifounder and ought to be something more than an altar for the worship of programs by the symphony orchestra were presented down usually sung, and it was melody is the mode of expression most na- Mrs. Schirmer was a woman of broad human Alfison, oi Abilene. Texas, is the loui brawn. Dr. Braden is inclined more to the sheepskin of academic hundred and t’ i- tural to the human voice.” Amen! And sympathies and a generous promoter of many moving spirit of the enterprise. through the year. Great music came to be the dominant in¬ achievement than the pigskin of athletic prowess. But you must Amen!! musical philanthropies. (Continued on Page 62b’ terest on the Transylvania campus, and along with that devel-

i October Music—the joy of Youth, of Middle Life, and of Old Ace! Music Study Exalts Ln*

OCTOBER, 1935 569 - The Amazing Career of

Is that, then, the ^anStkes to tlfink that it is opment there passed many of the evils that had previously how to get the crowd? The^rea which brings people Ignaee Jan Paderewski tormented us. A new day dawned on the,Trf^|van.1^f>“®?ale We had a happier, more contented student body, the morale rsl ^disgust for any 8 was improved, discipline was reduced to a minimum, and a new looks like a tSKnareJ°rd PevberCyoneewho has anything to do with and finer atmosphere prevailed. . . On the other band everyon ^ an audltonum knows Pianist, Composer, Orator, Statesman “This program of music had its inception in the depress the attraction of the public > something more than the per- and was promoted partly to dispel the gloom that was insep¬ that this public not only welcomes somet g and offen, arable from economic disaster. Of course students have felt formance itself but even demandsnto human mind the depression as much as others have—they have been des sive commentary upon mass p Y ^ J7supposedly intimate in- A Review of a New Biography perately poor. Music has helped to give them a new outlook seems to want to feed uPon into the public eye. Nothing and to encourage them to a new start; and despite adverse formation about *h°*e ^ saCred to avoid willing exposure by conditions, there has been an increase in enrollment eachyea seems too private or too• and the artist have found since 1930, last year’s attendance of college students being the the restless press agent, bemuse n ^ the ^ 0ffice. By Rom Landau largest in Transylvania’s history of more than one hundred and PADEREWSKI TIME OF HIS DEBUT PADEREWSKI IN ^Tvlftold I can conscientiously say that the development of an outstanding program of music on the TransyWama campus social went Paderewski's financial success, half-legend, half-symbol, yet nothing so has transformed the institution and made it not only a brighter ^T^^^he^^f^r^reat5 axtists^wlio have^held^themselves above ONLY A REAL devotee could have A concert in London rarely brought in less much as a woman. The Queen was accom- 000.00. Just what the total earnings of this than £1,000. Punch published a drawing panied only by her youngest daughter Prin- place but also a better college. All this has been done without written such a biography as that of genius have been would be hard to esti¬ Paderewski recently completed by showing Paderewski sitting at the piano cess Beatrice and one or two ladies and the assistance of any Foundation and with no outside help we mate; but the sum must have been many uphdding the dignity of the ^ Qn,y "ballyhoo” is his art Rom Landau*, and from which The Etude and surrounded by policemen. The title gentlemen in attendance. She nodded appre- did it ourselves. The coming year we are offering more schol¬ millions, a very large part of which he has permission of the publishers to reprint of the drawing was ‘Police Protection for ciatively or applauded after each piece, and laid upon the altar of his native land Po¬ arships than ever before. These wi 1 be simply discounts of S'S^e JtZs fre well known Co ,11 who would .usuin ,h. the following extracts. This very graphic Pianists!!’; underneath were the words: when the program was finished, she asked land, during the struggle for freedom in tuition, the college taking the financial loss. Moreover, we have highest standards of our musical art. and detailed work is one of several biogra- ‘Made Necessary by the antics of the Paderewski to go on. ‘Yes, some more the great war. not had adequate equipment. There is no auditorium on the pfiies of Paderewski to appear in the great Padded-Roomski devotees at St. James’s Chopin, and some Schumann too, but above As a statesman, Paderewski showed him¬ Transylvania campus adequate for either a band or'a symphony pianist’s lifetime, and it indicates the very Hall, who rush at, try to embrace, and all some Mendelssohn, please, some of his self to be a man of clear vision, strength orchestra. We have persisted in spite of difficulties. unusual impression which he has made deck with roses a certain master whenever old songs.’ When Paderewski had finished of opinion and delicate diplomacy. His “The time has come, however, when we must have some help, Over the Air upon the artistic and political history of he appears. playing Men- amazing facility in the different languages or we are bound to slip backward. It would be a tragedy to our times. It is rare for such a tribute to The smartest dels of the European continent was bought by be paid to living personalities. Landau has see a program like this, with such promise, eventually fail tor CrZHE Ford Motor Company, in announcingitscomingscason hostesses tried hard study, but at the Peace Table at Ver¬ obviously uncovered much hitherto undis¬ the lack of support. We need money to remodel an old gym¬ CC9of thirty-nine weeks of radio programs by the Ford Sym sailles he was one of the few statesmen covered and very interesting material. vance to get nasium into a music building, and we also need money for phony Orchestra and Chorus, gives the names of the acting, who could express himself with equal force Note for instance this striking picture of Paderewski and accuracy in several tongues. artists for the first fourteen programs. The schedule is. Paderewski as a boy from the pen of L-x | for one private the i jyal Paderewski’s brilliant triumphs as a SC "I cannot close this account of the musical development here September 29—Jascha Heifetz, violinist. Burne-Jones, the great English painter. concert at their self pianist and his extraordinary career as a without mentioning the name of Dr. E W. Delcamp, bead of “There’s a beautiful fellow in London j pline could October 6—Lucrezia Bori, soprano. homes. When patriot and statesman have in a large the Department of English, who has also assumed leadership named Paderewski and I want to have a he was invited October 13—Julius Huehn, bass-baritone. measure eclipsed his work as a composer. in the field of music. Dr. Delcamp is an intellectual and ar¬ face like him, and look like him and can’t entirely the It was difficult for the public to picture a October 20—Dalies Frantz, pianist. tistic genius of a very rare type. Without his enthusiam, . . . there’s trouble. He looks so like party, the other undertone of Prime Minister of his country as a com¬ Swinburne looked at twenty that I could ability and sacrifice no such account as this would have been October 27—Richard Crooks, tenor. guests would % emotion. And poser of opera, symphonies, and a long cry over past things, and the pretty .ways 'Mil'll possible. He has led both the band and the orchestra, selected November 3—Joseph Szigeti, violinist, in his radio premiere. speculate be¬ she began to series of memorable compositions for the of him . . . courteous little tricks . . . and forehand as to tell Pade¬ the personnel for each, distributed scholarship aid, built the November 10—Mischa Levitzki, pianist. piano. In reviewing his lengthy period of lojw bows and a hand that clings in shaking whether he rewski about programs for outdoor concerts, the May Festival, and musicales November 17—Cyrena Van Gordon, contralto. f w - preparation for a career, it should be noted hinds, and doesn’t want to go . . . and a would play the days that he devoted a large portion of this time during the school year. He has led the a cappella choir also, November 24—Kirsten Flagstad, sensational new Swedish face like Sir Galahad, and the Archangel after dinner or to the study of composition. Unquestion¬ Gabriel . . . very like Swinburne’s only and while doing all this he has most efficiently headed the De¬ soprano. not. If he did ably, in the great crucible of time his com¬ in better drawing, and little turns and partment of English in Transylvania College. Furthermore Dr. December 1—Albert Spalding, violinist. play, his host- positions 'will come to the top and be given looks, so like that it makes me jump. I Delcamp has received not one penny of added compensation December 8—Lauritz Melchior, tenor. j V' the Castle more of the attention that they deserve. for his work in the realm of music on this campus. In tact asked to draw from him and yesterday he sider herself to give the December 15—Elisabeth Rethberg, soprano. came in the morning and Henschel brought t # he has donated not only his time but a considerable amount of the most en¬ Queen music Tempo Rubato and Pedaling December 22—An operatic quartet consisting of Grete Him and played on the organ and sang vied woman in lessons and HE USE which Paderewski made of his money also.” ...... Stueckgold, soprano, Kathryn Meisle, contralto, Richard whilst I drew . . . which is good for the T All honor to Transylvania and its sensible President. 1 about the tempo rubato and of the pedals com¬ Crooks, tenor and Ezio Pinza, basso. emotions but bad for the drawing . . . and An evening i nervousness, manded unusual attention at the start of knowing people say he is a great master December 29—Jose Iturbi, pianist. program at his career and always has been a subject of his art . . . which might well be for he Windsor Cas¬ fright, which In keeping with the very helpful method outlined by “The looks glorious. I praised Allah for mak¬ for critical comment. In this vein Landau Showmanship tle, by royal the Queen al¬ recounts: Radio Institute of the Audible Arts,” through which it informs ing him . . . how nice it must be to look 5, • T * command for ways felt be¬ as fine as one is inside.” “The composer builds the road but does the public of high class programs, we believe that teachers should Queen Vic¬ fore a lesson. NCE in Seville we saw a company of mountebanks, father, Paderewski was born November 6, 1860 not ride on it. That is the interpreter’s 0 keep the families of their pupils posted upon the best music com¬ toria, is thus It had been mother, daughter and little boy, give a performance in a in Kurilova, Russian Poland, his father part. And so Paderewski feels entitled to ing over the air. We have noted that teachers who are co¬ lelightfully de- more than say, ‘There is no absolute rhythm.’ He public garden. It was a pathetic exhibition. Mother, in crude being a gentleman farmer. His mother operating with the radio, by employing it in their work, are half a cen¬ wants the musical interpretation to be made plus-fours, was the boss of the group. Father was the under¬ began his piano lessons at the age of three. benefiting splendidly. On the other hand, those teachers, who “Paderewski tury ago. to live through his own emotions, not stander.” That is, he supported his two children while they Thereafter his teachers were Sowinski, left London in do not realize that they are living in a new day and generation PADEREWSKI AND MUSSOLINI Later in the through laws that are supposed to be in¬ went through gymnastic gyrations on his ragged shoulders. Janotha, Roguski, Kiel, Urban, Essipoff and Leschetizky. His debut was made in the evening, Tfcis picture was made in Rome in 1928. evening, fallible. ‘To be emotional in musical inter¬ What interested us most was what American arcus people and who fail to keep in step with the great scientific achieve¬ going by train when the Vienna in 1887. He appeared in Paris in pretation, yet obedient to the initial tempo,’ ments of our time, which have brought to millions of homes to Windsor. When he arrived at the Queen retired to her rooms, she opened would call “ballyhoo.” That is, the means of drawing the at¬ 1888, in London in 1890 and in New York he says, ‘and to the metronome, means musical advantages which but yesterday could be secured only at Castle it was after nine o’clock and the her Diary and wrote: ‘2 July, Windsor tention of the crowd. The father went through the play of in 1891. His success was immediate and about as much as being sentimental in en¬ great expense and in a few large cities, are certain to find their Master of the Household was waiting for Castle. Went to the green drawing-room hypnotizing his forlorn boy and compelling him to play the tremendous. The reader should note, how¬ gineering.’ And later: ‘The tempo as a him. He was led through half-lit passages and heard Monsieur Paderewski play on drum. Ladies in gorgeous combs and Chinese shawls, grandees educational and artistic interests slipping. This is the teacher s ever, that he was twenty-seven years of general indication of character in a com¬ and high rooms to a large drawing-room the piano. He does so quite marvelously, with Goya hats, cigarette girls, dirty urchins—all alike stood hour of greatest opportunity, if he organizes his work to take age before he made his debut and that he position is undoubtedly of great importance, with green paneled walls, containing occa- such power and such tender feeling. I petrified by this mystic show. Why? Who can tell? It must advantage of it. Indeed, we are convinced that the teacher who had studied long and exhaustively with but a composer’s imagination and an inter¬ sional tables bearing many photographs and really think he is quite equal to Rubinstein, preter’s emotion are not bound to be the have been obvious to all that it was something these gypsies had forms “Listening Parties” in his studio, so that he can comment many of the best teachers obtainable. Music souvenirs. A piano stood in a corner of the He is young, about 28, very pale, with a humble slaves of either metronome or done over and over again. A friend standing by remarked, upon great broadcasts, to groups of pupils under pleasant social has never known a more meticulous worker room, near a window. At nine forty-five, sort of aureole of red hair standing out.’” tempo.’ He then makes a definite state¬ “These people are born showmen. They know how to get the conditions, is doing something sure both to help nis pupils and than Paderewski. Those who know him five minutes before the appointed time, a all mention the enormous amount of daily ment in which he shows clearly how much to promote his own business interests. door was opened and the Queen walked in, And the West Capitulates crowd.” practice to which he has habituated himself the independence of the virtuoso means to leaning heavily on a stick. She looked ex- 'T'HE CONQUEST of America by the during his lifetime. All this met with due him: ‘Beethoven could not always be pre¬ actly as Paderewski had pictured her: clad A- magnetic young Pole is recounted by reward. An idea of the success of his con¬ cise. Why? Because there are in musical in black, short, stout, with heavy eyelids, his biographer in very entertaining fashion. certs may be gained from the following: expression certain things which are vague But her dignity was more compelling than During his first American tour he gave one “Hand in hand with his artistic and and consequently cannot be defined: be¬ he had anticipated, and her shortness had a hundred and seventeen recitals in six cause they vary according to individuals, * Ignaee Paderewski, Musiciai id States- grandeur in keeping with a much taller per- months. This tour brought him $95,000.00 man, by Rom Landau: 314 pp bound in voices, or instruments; because a musical cloth, fourteen illustrations: published by son. The’simplicity of her dress strength- while on his second tour this amount soared composition, printed or written, is, after Thomas Y. Crowell Company, ened this picture of a Queen who was to $160,000.00 and on the third to $248,- all, a form, a mold: the performer infuses OCTOBER, 1935 the etvde 571 570 billiards and patience, which he could play for hours on end, both requiring absolute “Finck, in a minute description of Faae- liie into it, and whatever the strength of Y'tiSSpreS4h«lSldpi concentration. In his own words they gave rewski’s pedaling, says: ‘So perfect is his that life may be, he must be given a. reason¬ him either exercise or mental rest Hi. pedaling that he never by any accident SSSd"S>"Mazurka, tempo rubato only with those composers SELF-TEST QUESTIONS ON ing and effective means of vitaliz¬ them the pedal itself was almost a fraud, for they limited it to that one particular thus placing the altered tone in its proper whose own egotism obviously required such frfence heard there effect* £».apgrendy MR. LANDAU’S ARTICLE ing and beautifying the harmonic range of immediately by the tonic chord of our and they agreed with the remark of chord and to the minor mode, undertaking relation to its surroundings. This F- a method. He remained ‘classical’ when accidental character would have been ca 1. At what age did Paderewski make his musical resources, is the system of altered key, C major. At B, I have intentionally Moscheles, Liszt’s famous pupil, who once no expansion of its varied possible melodic natural appears several times in the course he played Haydn, Handel, Bach or the fully studied and investigated. ; scale-steps and altered chords. They con¬ so modified the passage that it does repre¬ said, ‘A good pianist uses the pedals as debutf . and harmonic applications. So we shall of the composition and always thus as lesser harpsichord composers, saying that: were only permissible if there was logic 2. What preparation had he made7 stitute one of the main sources of melodic sent an actual change of key, a modulation little as possible. Too frequent use leads ‘Tempo rubato . . . ought to be used in the behind them, and logic can only be con 3. What was Queen Victoria’s estimate of and harmonic embellishment—the other into E minor, as conclusively proven by the drop the narrowly limited old term, “Nea¬ part of a single melodic line. Its har¬ to abuse. Moreover, why should he try works of Chopin, Schubert, Schumann veyed to a» audience of five thousand source being the neighboring-notes, which progression of the chromatic chord into politan 6th,” and explore the wider re¬ monic environment is indicated by the full to produce an effect with his feet instead Paderewski? (“Papillons” and “Carnaval”), Brahms, people if the form is perfect. 4. What were the characteristics of Pade¬ are of purely ornamental quality and effect. •the tonic of the latter key. sources of this peculiarly potent musical chords in the adjacent measures. of his hands?’ Why, indeed, except if he Observe that, although the tonic chords factor, under its true and comprehensive The following specimen is similar. Liszt, Grieg. . . . ’ “Paderewski’s process of training was rewski’s tempo rubato? Although as old as music itself, and hav¬ wants to tie himself down to the limited ranrt mechanical, although endless afford the most incontestible proof of the title of “Lowered Second Scale-step.” “When Mr. Bernard Shaw, as musical 5. What were some of his mi t di tmctive ing been put to more or less fruitful use in Ex.4 ‘classical’ way of musical representation, in comparatively early music, their actual key, and are the ones by far most com¬ i , MB. MB. critic of The World, wrote in _ 1890 of achievements with the pedal? Its Harmonic Location Paderewski’s playing, that: ‘He is always 6. What were Paderewski’s methods of significance as a fundamental medium of monly placed directly after the altered harmonic enrichment has been only recently chord, it is sometimes necessary to use the IRST OF ALL, the lowered second sure of his notes; but the license of his study ? F tempo rubato goes beyond all reasonable recognized and systematically investigated. dominant 7th or 9th chord, instead of the step is peculiar to the minor scale, al¬ ^ r f i limits,’ he was not the only one to attack A few timid references to “altered tone” tonic; but it must be a dissonant form of though by no means uncommon in the i h Should Piano Teachers may be found in some of our earlier text the dominant chord—the 7th or, 9th; for major. It is always accompanied (with Paderewski on that score. Today that atti¬ It is from Chopin’s Twenty-Sixth Mazurka, books; my own revered teacher, Dr. Im¬ the dominant triad would probably con¬ the one exception, pointed, out in Ex. 2-D) tude seems less comprehensible. Authori¬ Study Other Instruments? and the D-natural, lowered second step in manuel Faisot, devoted a page or two of firm a real modulation into the dominant by the lowered sixth step—hence its natural tative knowledge of musical history has C-sharp minor (properly D-sharp), occurs shown that most of the composers men¬ By Gladys M. Stein cautious allusion to them in his otherwise appropriateness in the minor tonality; and voluminous and exhaustive theoretical Every step of the natural major scale the chord in which it appears, in the minor, thus quite alone in the solo-melody, until tioned by Paderewski were guilty of using Though it is better to be the master of records; but it has seemed to me that here may be chromatically altered upward is the triad of the second step, most fre¬ joined by chords in the fourth measure. tempo rubato ‘beyond all reasonable limits.’ one kind of instrument rather than the was a gold mine, about whose edges musi¬ (raised), excepting the 3rd and 7th, where quently with the chord-third in the bass The latter define it as a part of the Super¬ None used it more than Chopin; yet the “Jack-of-all-trades,” in teaching it is a tonic chord, where it harmonically belongs, press long continued to attack Paderewski’s cal prospectors were puttering, unable to the half-steps occur in the scale. And (therefore a chord of the sixth, or first wonderful aid to be able to play another discover the wealth of ore within their every step may be lowered, excepting the inversion) and with the root—the altered as shown above. The A-natural in the rendering of Chopin’s works. Did not instrument reasonably well in order to play first measure is the 6th step of the minor Berlioz say about Chopin that ‘he chafed grasp. At least, howbeit, my good old 1st, 4th, and Sth; the 5th step is never second step—at the top, in the soprano it along with the pupil at the piano. Mel¬ scale (lowered from its proper position at the bridle of the measure’ and that ‘he preceptor threw a spark into my receptive lowered. The conditions in the minor are voice. Thus ody playing and the violin seem to go to¬ in C-sharp (major), which, as has been could not play in strict time’ ? And one musical tinderbox, and I modestly suppose slightly different: but the principle is the Ex. 3 gether. Even if the teacher’s violin technic learned, always accompanies the lowered of the greatest authorities on Chopin, Liszt, I might claim to be one of the pioneers in same and the results correspond. is limited he is able thereby to illustrate second step in the minor; and the B-natural, wrote in his ‘Life of Chopin’: ‘This man¬ exploring and systematizing this valuable Now the most momentous product of many new things in the pupil’s lesson. The just before it, is the lowered seventh step, ner of execution . . . was first indicated by fund of musical possibilities. this device of altered scale-steps is our the words, tempo rubato, affixed to his pupil’s rhythm is helped, too, for he has to minor mode; for, as I have so often em¬ as essential companion of the lowered sixth, works: a tempo broken, agitated, inter¬ count and "keep going.” The Alteration of Scale Steps phasized, the minor form of our scales is in the descending melodic form of the rupted. . . . This direction is no longer to Violin "accompanying” is more fun than AFTER THE NUMEROUS explana- nothing more or less in creation than the minor scale. Notice that the lowered second be found in his later productions: he was having the teacher play on a second piano. . tions and illustrations of the altered corresponding major scale with lowered step is here pushed up, instead of resolving persuaded that if the player understood For naturally the teacher’s piano technic is scale-steps which you have found on recent 6th and 3rd steps. This, as of course you legitimately downward. In order to grasp them he would divine this regular irregu¬ so much above the pupil's that the latter pages of The Etude (“The Structure of know, is so simple and natural an altera¬ the full significance of this D-natural, you larity. All his compositions ought to be cannot compete with it. With the teacher Music” series), it may appear superfluous tion, that it may be effected, not alone should first play the phrase with the proper played with this accentuated and measured using another instrument this obstacle is to enter into renewed definition of them transiently, but continuously; so that a D-sharp, instead of D-natural, and then PADEREWSKI’S HANDS AT THE KEYBOARD swaying and rocking. ...” removed. here. Still it is well to be on the safe side, whole symphony may be thus placed in the A exhibits our chord in its most common play it as written. Only in this way can “Only a man with a deep conviction of In this kind of practice the art of ac¬ and, therefore, to make sure that you will minor code—the 6th and 3rd steps being form. B illustrates its resolutions, either one sense, by comparison, what a different companying is developed. It also makes into the tonic 6-4 chord, or into the domi¬ complexion the whole passage acquires, his own possibilities could become such an hours were spent at the piano. The con¬ obtain full benefit from this rather impor¬ lowered throughout. which the piano, instead of being the means the pianist more considerate of the other nant 7th chord. The E may be either natu¬ through the lowering of the second step. ardent defender of tempo rubato. as Pade¬ stant activity of his brain made mental tant dissertation, we will remind you what to an end, becomes an end in itself ? person’s difficulties. An explanation of the The Lowered Second Scale-Step ral or flat; if the former, the chord is in Nothing can exceed in fascination, for rewski, who knew that he could not be training a necessity. Practically every altered steps are. “Paderewski’s pedaling was one example C major; if the latter, it is in C minor. At the serious student, a thoughtful inspection judged by the orthodox standards ap¬ musician or writer is so deeply absorbed intonation and bowing requirements may Certain of the tones of the natural scale TO COME at last to the unique melodic of his pianistic independence. He had built C the lowered second step, D-flat, is placed of the numberless inimitable beauties of plicable to tire average ‘brilliant pianist.’ in his work that even in moments of re¬ teach pupils to listen intelligently to the are “altered,” upward or downward, by and harmonic factor upon which our up such a solid technical foundation that Chopin’s music—that richly endowed genius His talent required the independence that laxation it will not let him rest. Sleepless playing of violinists. means of a chromatic accidental. When attention is here to be centered, namely, in the bass, as straight II in triad form; he considered himself at liberty to express, whose insight and transcendant skill place only tempo rubato could offer the tempo nights in which difficult scales, unpolished Another point is this. Any pupil may these inflections are reasonably brief, or the lowered second scale-step, the follow¬ and another method of resolution is shown, in his playing, his very personal feelings him on a level with the greatest tone-mas¬ ‘stolen’ by the interpreter from the direc¬ trills, and passages apparently unplayable, be called on to play in a church or school transient, they do not interfere with, nor ing important facts should be well under- this time into a form of the II (and there¬ about Chopin or Beethoven. He was able ters in history. Therefore, although it has tions of the composer. To Paderewski pursue each other in wild sequence and orchestra or in a trio, and unless he has to any material extent alter the identity fore actually chord-repetition). At D is to coordinate his own feelings with the no more than an indirect bearing upon the tempo rubato stood for the superiority of exaggerated importance, are the nightmare had some drill in such work he is likely or functions of the given tone in its funda¬ Each altered step has its particular seen its one possible employment definitely particular mood of a composition, identify¬ main issue of this discussion, I cannot re¬ the man who knows that he is master. accompaniment to the virtuoso’s profession. to become confused. mental relation to its key. It is a so-called qualities; probably the one most frequently in the major; always in the dominant-7th ing himself completely with it. frain from continuing the above example, Had he not had the emotional and the Paderewski suffered from them as much as For teacliers who are slow in sight read¬ “altered step,” but not a completely changed encountered is the lowered 6th step—a very chord, and with the altered step at the technical aptitude to show quite clearly that key—just as a different dress will alter bottom, resolving into the major tonic- to point out how Chopin’s sensitive spirit Made All Details His Own any one, but by mental discipline he did ing a course in pipe organ is in order. After pronounced favorite of all classic writers; his ideas about tempo rubato were right, the appearance of a person but not his real next to that one, the raised 4th step is also chord. provided here a kind of musical compensa- “F-pHE SINGLE-MINDEDNESS, not allow himself to drift into the cus¬ reading and playing three staves at the they must have sounded false; but his self. In other words, altered tones or exceedingly popular; and the lowered 3rd A which dictated every action through¬ tomary state of nocturnal torture and ex¬ same time piano music seems easy. Also, Schumann, his Liszt, his Chopin, even his chords do not change the key; the latter step embodies the specific merit of always Examples of Its Uses hand to exhibit the obverse side of the ob¬ out his life, was also responsible for his haustion, but instead began a definite an explanation of the differences between Beethoven were the most persuasive illus¬ remains the same. And in order to verify establishing the minor mode, and so on. LTHOUGH IT IS not easy, perhaps ject, so Chopin here proceeds immediately musical discipline; it was, in fact, just the routine of rigorous training. He would piano and organ keyboard technic is inter¬ A trations of what he meant by the advan¬ this, we have the rule—that an altered But of all the altered steps, none other . not possible, to detach the lowered to restate the above (eight-measure) gift of concentration, through which he was run over in his mind the entire program esting to pupils. It may be the means of tage of tempo rubato. chord should be followed by some tonic possesses the weird charm, the striking second step from its harmonic surround¬ period, in the brighter hued key of E major, able to obliterate every emotion, every in¬ of the forthcoming concert; he would go making them listen to the organ in chur chord of its key, or, at least, by some chord harmonic potency, the profound emotional and at exactly the beat where he first terpretation but the one he desired. Thus, over bar after bar; certain notes, certain and in the theater and thus lead to bet er ings (for the chord to which it naturally Subtleties of the Pedal that unmistakably confirms the key. quality and character, of the Lowered Sec¬ belongs is no doubt an essential considera¬ placed the lowered second step, he sets the “'T'EMPO RUBATO, however, was certain states of mind or emotions could be passages would have to be repeated, thought piano lessons. The drum also is worthy of study. When ond Step. Glance at Ex. 2. tion) it is nevertheless not unusual to en¬ raised second step. Thus we have JL only one instance of his musical placed in definite frames of mental disci¬ about more carefully, corrected, and grad¬ boy pupils have trouble m getting U*e Its harmonic significance and effective- counter examples in which this expressive method. Another was his use of the pedal. pline for just as long as required by the ually, each composition would disclose Ex.5 rhythm and in placing the accents, take

By Nicholas Slonimsky

PART I

rl-IE AUTHOR of this article, letters and documents, preserved in the spontaneous confession. But I want you I would repay my limitless indebtedness to Nicholas Slonimsky, ivas born in house, contain, within their covers, the en¬ to know that I am not such an idealist you.” “Your friendship has become for St. Petersburg, Russia. His first piano tire life of Tchaikovsky. Only a small part after all. ... I want to be assured that me the cornerstone of my happiness and is from Chopin’s Nocturne, Opus 27, No. 1. studies, at the age of six, were under of these documents was published by nothing is changed in our relationship as peace of mind.” “If my love and gratitude It chances to be in the same key, C-sharp the direction of his aunt, Isabella Tchaikovsky’s brother, Modest, in his long as I live, that no one . . . but I have for you ever finds a means of expression, minor, as our Ex. 4, and therefore the Vengerova. Later he entered the St. biography. The rest was silence; even the no right to say what I was going to say. then there is no sacrifice that I would not lowered second step is again d-natural. story of Tchaikovsky’s relationship with So, please forgive and forget.” make for your sake.” “Nadejda Filare- The key is obviously D minor, through- Petersburg Conservatory, where he Note the long “expansion” of the altered Madame von Meek—one of the greatest Tchaikovsky echoed these sentiments, in tovna, every note, that will come from my ; there is no modulation; what looks studied composition under Basil Kala- chord during the third and fourth meas- _ fati and Maxmilian Steinberg. Follow¬ epistolary romances since Abelard and not quite so passionate a pitch: "I have pen, will be dedicated to you.”* before it resolves, properly, into the ?n d, whhlhe lowered second ing this, he traveled extensively Heloise—was not given out in all of its never met any one who would be so close Tchaikovsky’s letters show a different ditional II, i dominant-seventh chord of through Turkey, Bulgaria, Servia, poignant implications. to my inner self, who would respond so emotion when Madame von Meek was Also observe the obstinate C-sharp, as step (E-flat). The time has now come when Tchai¬ sensitively to every thought, to every beat remiss in her expected benefactions. Thus As additional illustrations we find Italy and Germany, giving occasional lowest bassnote; it is an organ-point, a concerts of piano music. kovsky’s life, and the lives of his intimates, of my heart. ... I believe that your sym- he writes to brother Anatol, from Italy, in sustained tonic of the key. In 1922 Slonimsky reached Paris; is history. Alexis Sofronov died in 1925. December, 1877, “From N. F. nothing as Another, and perhaps more familiar, and in the following year, at the invita¬ The Museum has become property of the yet. ... It surprises me not a little. I have tion of the Eastman School of Music, state; and now the Soviet Publishing only ten lire in my pocket.” Two days he came to America. He became coach House, Academia, has undertaken to pub¬ later he writes, “Incidentally, about in the Opera Department of this lish the facts of Tchaikovsky’s life. Madame von Meek. Today is the fifth of school, which developed the American Tchaikovsky was a great letter writer; the month, and there is no sign of money. Opera Company with which Mr. his relationship with Madame von Meek I have three lire in my pocket; and, if Slonimsky toured from coast to coast was entirely by correspondence; he shunned nothing arrives by tomorrow, I will have as assisting artist to Vladimir Rosing. a personal acquaintance with strange per¬ to think up something.” The money did In 1925 he took up residence in sistence, fearing, perhaps, that Madame von arrive the next day, and Tchaikovsky Boston; where he appears frequently Meek’s admiration for his music and his writes the glad news: “This morning a as pianist, conducts the Chamber Or¬ personality might develop into an embar¬ letter from N. F. with a cheque. She has chestra of Boston, lectures at the Pub¬ rassing passion. While Madam von Meek sent me the money for two months. Her lic Library and elsewhere, and con¬ acquiesced in this impersonal intimacy, it letter is eight pages long, full of philoso¬ tributes articles on music and related is only too clear, from the new evidence of phy.” Three days later, Tchaikovsky subjects, to the Boston Evening Tran¬ her letters, that she was ready and willing writes, “Good God! Where would I be script. In the season of 1931-1932 he to- enter a personal companionship with without Madame von Meek? Be she thrice conducted concerts of American music the composer. In one of her early letters, blessed!” in Paris, Berlin and Budapest. He she suggested a more intimate form of Madame von Meek was, indeed, more example is from Chopin’s Waltz in A also appeared as guest conductor of the address, a familiar “thee” for the formal than generous. Starting with a thinly minor. If you will take the trouble to Los Angeles Symphony Orchestra and “you.” But Tchaikovsky demurred from veiled “commission” for a work Tchaikov¬ refer to the original printed pages, it will of the Philharmonic Orchestra of the suggestion, explaining that the use of sky never wrote, but for which she paid DR. WALTER DAMROSCH be seen that this sentence (in all, a 16- Havana, Cuba. Mr. Slonimsky has the informal pronoun in correspondence him a disproportionately large sum in ad¬ measure double-period) is first presented From a Painting by Herbert N. Stoops composed a number of songs and in¬ would make him self-conscious. vance, she offered him a subsidy of six in A major and then immediately restated, strumental pieces, among which are thousand Rubles annually. Apart from almost note for note, in A minor, as here “Studies in Black and White” and A Torn Heart Speaks this, she sent him extra sums from time to The National Broadcasting Company TCHAIKOVSKY IN 1877 shown; and the lowered second step, B-flat, Here, as in Ex. 9, no change of key takes "Four Picturesque Pieces for Am¬ N THESE circumstances, Madame von time. Writing his brother Anatol, from I From a Photograph presented by occurs in the 2nd, 7th, and again in the place; the foreign element is in each case bitious Young Pianists." Meek had to use the utmost discretion Italy, in January and February of 1878, Music Appreciation Hour him to Madame von Meek 10th measure. Play both versions, and the usual altered supertonic, with lowered and to weigh her emotions on the most he mentions all these bounties: “As usual 2nd step. At A, from Chopin’s Waltz in note the striking effect of the alteration. This valuable series of programs, under the direction of Dr. Walter Damrosch, is N A SMALL, old town, named Klin, delicate balance, in order to be able to say she writes a thousand tender thoughts, and C:-sharp minor, it is D-natural (compare I Of course the 6th and 3rd steps of the now in its Eighth Season. These programs are highly educational in value, and he near Moscow, stands a house in which so much without saying the irretractable. pathy for my music is explained by the sends me a cheque for fifteen hundred Exs. 4 and 6) ; at B, from the first book fact that you are, even as I, full of yearn¬ major mode are lowered throughout Etude advises its readers to preserve this list for reference. The hours given are on Tchaikovsky* spent many years of his “You are the only human being that can francs extra. This money comes in very (F-sharp to F-natural, and C-sharp to of Bach’s “Well-Tempered Clavichord,” life. After his death, the house was ac¬ ing towards an ideal. Our sufferings are Eastern Standard Time. _ give me such exalted joy, and I am in¬ handy. What an incredible woman! She C-natural), in order to define the minor it is G-flat, in F minor. In both instances quired by his faithful servant, Alexis finitely grateful to you for giving it,” she equal, we both sail the boundless ocean of guesses right when and what to tell me, the lowered step, here again ascends. This (11:00 A.M.—Series A, 1st Concert; “My Musical Family mode. Sofronov, a simple peasant, who, with the wrote on one occasion; and then again, skepticism, in search for a harbor.” how to comfort me.” And then, again, is “irregular,” but it surely contributes to October , 1935— |11:30 A.M.—Series B, 1st Concert: Nature in Music A further example, aid of Tchaikovsky’s brothers, made it into “My affection for you is so deep, you are “When I came home, I found a registered the striking effect of the altered step. (11:00 A.M.—Series C, 1st Concert: Round and Canon A Delicate Situation a museum. Thirteen bound volumes of so dear and precious to me that tears come letter from N. F. This time she sent four Ex.8 One of the most startling dissonances 11, 1935— | 11:30 A.M.—Series D, 1st Concert: Early Polyphonic Com- Ms. October to my eyes and my heart trembles with MANY YEARS afterwards, Tchai¬ thousand instead of three thousand. ... I in classic literature is the famous crashing posers * Spellings of proper names In this article ecstasy.” Also, “I cannot tell you what kovsky wrote in his diary, “I be¬ cannot tell why, but my heart was heavy the first movement of Beetho- do not conform to those in regular use in Thb (11:00 A.M.—Series A, 2nd Concert: Violins and Violas I feel when I listen to your music. I am lieve that letters are never quite sincere. from the consciousness of my exploiting ‘Third Symphony.” October 18, 1935— | 11:30 A.M.—Series B, 2nd Concert: Happiness and Sadness ready to surrender my soul, you are like I judge by myself. To whomever and this amazingly generous woman. ... I (11:00 A.M.—Series C, 2nd Concert: Classic Suite unto God to me. All that is noble, pure for whatever purpose I write, I cannot wrote her a long letter, and for the first October 25, 1935—|| 11:30 A.M.—Series D, 2nd Concert : Bach Program and exalted rises from the bottom of my help thinking of the impression which my time in our correspondence I was at a letters would produce, not only on the cor¬ ( 11:00 A.M.—Series A, 3rd Concert: ’Cellos and Basses loss for words. It may be that I felt Perhaps nearest of all did she come to a respondent, but on any person who may , 1935— \(11:30 A.M.—Series B, 3rd Concert: Motion in Music conscious-stricken, or that it is difficult to declaration of love, in a letter in which she happen to read them. Consequently, I pose keep thanking and thanking for an eternity; (11:00 A.M.—Series C, 3rd Concert: Fugue for the reader. At times I try to make is from the Funeral March in Beethoven’s November 8, 1935— j admitted her jealousy, however sublimated, but the fact is I labored hard before I “Sonata, Opus 26.” Notice that the low¬ (11:30 A.M.—Series D, 3rd Concert: Handel Program of Tchaikovsky’s unfortunate wife. Thus, the tone of my letter simple and sincere, could write my letter.” ered 2nd step, B-double-flat, appears here (11:00 A.M.—Series A, 4th Concert: Harp and Piano “Do you know that I am jealous of you in but, apart from letters, written in a mo¬ in the major mode of A-flat, although the November 15, 1935— j( 11:30 A.M.—Series B, 4th Concert: Fun in Music a most inexcusable manner, as a woman is ment of uncontrollable emotion, I am never There may be some question about the In Noble Rectitude 6th step (F flat) is lowered with it. Re¬ (11:00 A.M.—Series C, 4th Concert: Simple 2-part and 3-part jealous of her lover?” she wrote on Sep¬ myself. . . . When I read the letters of key here; but there should not be, for, view the note to Ex. 2, B. The pulsating November 22, 1935—-!! Forms tember 26, 1879.* “Do you know that celebrated people, published after their NLY ONCE did Tchaikovsky decline while the first chord has the appearance ■ O A-flat at the bottom is here again a tonic [11:30 A.M.—Series D, 4th Concert: Haydn Program when you got married I was terribly de¬ death, I always have a vague sensation of to accept a supernumerary sum that organ-point. of the tonic of C, the 16 preceding measures pressed, as though something was torn falseness and make-believe.” could not be justified by any real or ( 11:00 A.M.—Series A, 5th Concert; Flute and Clarinet Thus far our examples illustrate the use are surely in E minor (play them—meas¬ from my heart. I felt pain and bitterness, In his correspondence with Madame von imaginary need; and even then he regretted December 1935— \( 11:30 A.M.—Series B, 5th Concert: Fairy-tales in Music of the lowered second step as a brief, iso¬ ures 250-27S), and Beethoven viewed this the thought of your intimacy with that Meek it was doubly difficult for Tchaikov¬ that he did. “Yesterday, I performed a lated embellishment of single melody tones as the VI of that key. F-natural is the ( 11:00 A.M.—Series C, 5th Concert: Theme and Variations December 13, 1935— } woman was intolerable to me. ... I hated sky to be quite sincere. The fact that she deed of extraordinary civic courage,” he (excepting, perhaps, Ex. 6, in which it lowered 2nd step, and it is finely justified (11:30 A.M.—Series D, 5th Concert: Mozart Program this woman because she made you unhappy, was his benefactress held him in constant writes to Anatol. “N. F. sent me two pervades four full measures). But this re¬ by its relation to the preceding chord. IE (11:00 A.M.—Series A, 6th Concert: Oboe, English Horn and yet I would have hated her a hundred times tension. Throughout, she showed the great¬ thousand francs in gold, for the publica¬ markably poignant deflected scale tone may the identity of a chord depends upon what December 20, 1935- Bassoon more, had you been happy with her. I est tact in bestowing her favors on him tion of my “Suite!” I have money, al¬ also be, and often is, employed in a broader it does, then this is surely a chord in E 11:30 A.M.—Series B, 6th Concert: Animals in Music felt that she took something away from without making him feel uncomfortablely though not quite enough, and oh! how manner, as salient chord, sometimes so em¬ minor, for it passes at once into the domi¬ 11:00 A.M.—Series C, 6th Concert: Sonata me that belonged to me only, for I love indebted to her. Tchaikovsky’s letters, handy this sum would come in! But I phatic and prolonged as to suggest a tran¬ nant 9th of that key. January 10, 1936— 11:30 A.M.—Series D, 6th Concert: Beethoven Program you as no one else can love you, and I ad¬ written upon receipt of each subsidy, must suddenly felt possessed with civic courage. sient modulation. Thus, in the following The piercing effect is due, first of all, mire you more than the world. If it is em¬ have been absolutely sincere, for undoubted¬ 11:00 A.M.—Series A, 7th Concert: Horns and Trumpets I decided that it would be simply indecent quotation, from the Finale of Rubinstein’s to the F-natural (lowered second step), January 17, 1936— barrassing to read all this, forgive my ly they were written in a state of “uncon¬ tremendously intensified by the addition of 11:30 A.M.—Series B, 7th Concert : Toys in Music “Piano Concerto in D minor,” it is placed trollable” and happy emotion. “You are * Nadejdn is a common Russian name. It the 7th (C)—which is unique, since this TCHAIKOVSKY * All dates are given m new (Gregorian) (in chord form) at the very outset of the January 24, 1936— 11:00 A.M.—Series C, 7th Concert: Overture style. In the 19th century the Russian calen¬ truly my good fairy; I cannot find adequate means : Hope. Filaretovna is the patronymic ; theme, to which it lends a distinctive and alteration is supposed to be limited strictly 11:30 A.M.—Series D, 7th Concert: Schubert Program From a Photograph taken in 1879 dar was 12 days behind Europe. words to express the affection with which that is, Madame Meek’s father's Christian effective dramatic quality, far different (Continued on Page 619) (Continued on Page 609) OCTOBER, 1935 575 574 the etude , gf my letters. I know full well how difficult it is for you to find time for wit- a blessing which W'WJfW* 'fu^M^half-h to take money from her, after all that she perature of the m*~f. “ ,,, fj ar- complete calm—all this unthin a half ~h { But I1 will write you nearlyi every is doing for me, and that for a publication can not be expressed -f that / walk from town! On my way here I wa rfo ym gg fg vicnnaf Good_ "The Genial Dr. Burney" that notnut only costs me nothing but brings dentlydently> I hope that ."TV is slightly worried by ike fact that niqht, my wonderful friend. _ „n honorarium from the publisher! In selected for you are to your £**-*«£ ' a word, I returned the money to her with come here, my delightful friend Now Stsuspected that she intended towvite mt: He wrote again on the next day, De¬ a most affectionate letter, and now (oh, you arc my guest, my fair guest dear to visit her. But her letter winch I found cember 4, at 10:00 P. M., concluding with The Originator of the Piano Duet shame and horror') I regret it! I must my heart. Please, my dear good friend, lying on my desk, relieved me. the following lines: Sy tha?1ometimes) I Jhorrified at my if yon are in need of something, a carriage, sible to arrange everything so that we y .j _j »» nv hnnhc nr whatever you may desire, aa- One of the Most Striking and Picturesque Figures in Musical History ■t to the Villa Oppen- need not meet.” "What marvelous weather tec had from These self-condemning words one to five this afternoon! What mi en¬ plicable to some subsequent facts. In 1880, heim as to your n home, and be assured Florence, December 3, 1878, >y to me. For a walk, chanting view opens from Viale dei Colli! while receiving his annual subsidy from that it will be i . rVilla uia Oppenheim. piotr Jt is beautiful ioto methe pointyunu ujof madness.muaness. By Tod Buchanan Galloway Madame von Meek, Tchaikovsky tried to / recommend a very pleasant I cannot express, my precio ^ ^ historical truth demands that I mention, if s a convent, Campo that you. like find anotheritherMaecenaswnowuuiuucip.nl.. Maecenas who would help him immediate- vicinity;-- it is a con _ AAlnht- llvitch how happy I „„ briefly, the not inconsiderable c. off debts, the existence of which S^house, and that - citement that I experienced when you and a ready wit, which made him conspicuous teen, as he tells us, he was learning every¬ in London owing to a cabal against the > pay ful spot. We-- WHEN THE GREAT Macaulay, he could not confess to Madame von Meek. 'other. Even my own rooms seem your household passed by me today. It is who knew but two tunes—God as the man in the eighteenth century who thing that any one could teach him and composer, only to achieve great success in In the following year, he addressed a larly, in all kinds of weather, and cheerful and my daily walks more pileasant. helping himself to what he was not taught. Dublin. eleven, and go slightly beyond cneerjui ana my s0 nnovel,ovel so unusual for me! I a Save the Queen and one other— gained and retained the greatest number petition to the new Emperor, Alexander the always This morning1 passed ’s accustomed to see you with my inner sight referred in his perfervid essay on Fanny of friends. He wrote, taught, tuned musical instru¬ Of his first peep at Handel Burney says, Third, with a request to grant him a sub¬ ments and copied “a prodigious quantity of “I very well remember seeing him smoke looked into all windows and tr 9 oniy. ci {«s so “w-.difficult to persuade- myself Burney (Madam D’Arblay) to her father, Charles Burney, who was born at sidy of three thousand rubles. At that what vou were doing. I bemoan J that.» my.. invisible.•—:rtnnJ good fairyfnim maym/m forfn* an Charles Burney, as a dilettante in music Shrewsbury in 1726, came of an old music” for his brother. He says that he a pipe over a dish of coffee at the Exchange time he was friendly with several grand- that the weather is so bad today, but it was moment become visible! It is like magic!” and as “the father of the daughter,” instead Scottish family whose name was originally tried “to keep up the little Latin he had Coffee House; for, being extremely curious dukes and therefore could hope that the not you who brought bad weather; it was of to Fanny as “the daughter of the father,” Macburney. In this family the arts of learned,” to improve his handwriting, and to see so extraordinary a man, I watched request would find support in the Court. that way all along. But tomorrow Madame von Meek to Tchaikovsky: he wrote in ignorance. In so doing he did music and painting seem to have been to compose.” The latter seems to have him narrowly so long as he remained in He received the three thousand, and not day after tomorrow, the sun will surety an injustice to one who, far from being a blended. Charles’ father, James Burney, been not only music but prose and poetry Chester. During this time he applied to a soul, not even his brothers, knew about appear, and then everything will be fine. Florence, Dec. 5,1878, dilettante, was one of the most learned and married, against his father’s will, when he Mr. Baker the organist, my first music this episode at the time. . . . When you take a walk, will you, please, Porta Romana, Villa Oppenheim. earnest students of the art of music, as well master, to know whether there were any pass by my villa, to see where 1 live. yPardonaraon me, my dear,mw, good Piotr Ilyitch,><> choirmen in the Cathedral who could sing The Last Chapter as one of the most profound and erudite just played the Canzonetta from y°uJ y ~ jor not answering your letter yesterday; scholars of the brilliant age in which he at sight, as he wished to prove some books THE “ROMANCE IN LETTERS” tin Concerto,” with a violinist, and 1 can- j f0)( Write only in the morning. After shone. As one of his contemporaries makes that had been hastily transcribed, by trying between Tchaikovsky and Madame not find words to describe my enthusiasm. wrif. j fakc an eyewash with cold water, record of him, “indeed a most extraordinary the choruses which he intended to perform von Meek continued for thirteen years, ... Are your rooms warm, my dear Jricna. _gh-ch prevcnts hcrdachcs. If I write in man—at home upon all subjects, and upon in Ireland. Mr. Baker mentioned some from 1878, when Madame von Meek, a re¬ I was afraid that _ it may bethc middle of the day, I always get a hcad- all so agreeable!—a wonderful man!” of the most likely singers then in Chester, cent widow of a railroad magnate, felt for ordered to start the fire ^ache, ^ „„„and „I dread... it, because -with n The names of Purcell, Arne and Burney and among the rest a printer of the name the first time the fascination of a compara¬ Good-bye, dear neighbor. Now 1 wt ’ continucs for at least three days stand out among those who, by composition of Janson who had a good bass voice and tively young and not yet famous composer, write yon short letters, but often. Loving ^ for a long lime. and writing, enabled England to take her was one of the best musicians in the choir. to 1891, when the correspondence stopped and upsets n dear, do they give you good place in the history of music. ... A time was fixed for this private re¬ as abruptly as it had started. Tchaikovsky N. F. v.-Meck. Tell me, n. foodf Do you eat fruits at dinner!’ As When the mouse-like little Fanny Bur¬ hearsal at the Golden Falcon where Handel had already reached the peak of his glory. to cigarettes, call on me any time you need ney, unbeknown to her family, secretly was quartered, but alas! on trial of the He scarcely needed the six thousand rubles, Florence, Dec. 3, 1878, them; I have a large stock, and of the wrote her novel of “Evelina” and had it chorus in the “Messiah,” And With His which Madame von Meek continued to Villa Bonciani, 11:00 P. M. best T„rbithTurkish tobacco.tobacco You know, of published, she produced a profound sensa¬ Stripes we are Healed, poor Janson, after send him every year. And finally a letter My dear friend:—I received your letter . ,t_, u ioi tion. Nothing like it has ever been known repeated attempts, failed so egregriously came from her notifying Tchaikovsky that course, that Turkish tobacco is least harm¬ at dinner-time. It happened that Ivan before or since. England was stirred with that Handel left loose his great bear of a reverses in her fortune compelled her to ful; it contains the least percentage of Vasiliev (Madame von Meek’s messenger), amazement and astonishment. Although temper upon him and after swearing in four stop the subsidy. This letter was also the nicotine. I will send you three different looking for Aliosha (Alexis Sofronov, the era was the most brilliant since the or five foreign languages cried out in last he ever received from his “best friend,” TCHAIKOVSKY AND HIS kinds, and you will tell me which you like Tchaikovsky’s servant), found me instead, days of Elizabeth, women were not known broken English, “You schaundal! tit not the woman who inspired the “Fourth Sym¬ best. One of them was brought direct from and handed me the cigarettes sent by you or heard of in a literary way; and, for the you dell me dat you could sing at soite?” phony,” who saved him from moral and Villa Bonciani, which is now your resi¬ Turkey by our relative, a Guard Officer, dence, my priceless friend. Thence we turn Gracious God, how infinitely good and kind timid, retiring daughter of the great Dr. “Yes sir,” said the printer, “and so I can, financial r and the tobacco is excellent, but you may ,„n did he try to find out through back and retrace our steps, arriving home find it too aromatic, too tender—men do Burney—overnight as it were—to have but not at first sight.” her” son’ who at that time had married at twelve, in time for lunch. not always like this kind. achieved so much acclaim, temporarily In 1774 Dr. Arne, the celebrated com¬ Tchaikovsky’s niece, what was the cause I prepaprepared papers* and -periodicals . , _ for,, i I am so glad that you saiv my villa; it caused the name of the father to be eclipsed poser and conductor of music, who, after of the cessation of all correspondence. He you. Good-bye,- - - my dear,’ incomparable' ' ' rable \ is very pretty inside. If you wish to see by that of the daughter. two years residence in Ireland, was on the had sufficient reason to suspect the truth- friend, Piotr Ilyttch, take a good after \ it, all you have to do is to tell when, and Today the novel “Evelina” is forgotten way to London to take his position as con¬ the many awful truths that might have your voyage worried, over your yon will not find a soul in here. Last night and Fanny Burney is known by her diary ductor of the Drury Lane Theater and opened Madame von Meek’s eyes. Was =* constant **indispositions. God grant it that we passed near you, my dear friend. There of the social and court life of England, with composer for that royal theater, stopped in which she was familiar, and which shows Chester. There he met young Burney, then his duplicity in money deals? Or your sojourn here is good for your health! was light in your dining-room, from which something even more dishonorable, the true I press your hand. Loving you with all I concluded that you were having dinner. by her record the life and character of her nineteen, and was so impressed with his and unutterable cause of his failure in mar¬ my soul.—N. v.-Meck. Did you notice, my dear, that I have slight¬ illustrious father to whom she was devoted. musical ability that the composer of Rule Charles Burney was not a great musician, Britannia offered to take him into his home riage, his great “sin,” which he had tried Tchaikovsky replied at once: ly changed the order of rooms? I wanted to cover by a liason with a woman, “any your bedroom to be on the sunny side. Are if we are to judge him by his compositions as an apprentice in music for three years. woman at all,” as he cynically wrote to his Florence, Dec. 3, 1878 you satisfied with your piano? . . . which, although numerous, were not lasting brother Modest a year before his marriage? Villa Bonciani. in character. But, as a student, teacher, A Tilt of Tongues expounder and historian of music, he played This ignorance. of the true_ reason *~~ I really cannot find words, my dear Tchaikovsky to Madame von Meek: PLAYING IN the orchestra under Arne Madame von Meek’s defection tortured frien/j, to express how completely enchanted a great and necessary part in the develop¬ ment of that art: and for these services —and Handel when he was in London him until his last breath, and on his death- j am by all that surrounds me here. A Florence, Dec. 5, musicians should be ever grateful. —and copying reams of music for his bed he reproachfully invoked the familiar morc heal piace to live in cannot be Morning. Villa Bonciani. master, made Burney a drudge for the time name, “Nadejda Filaretovna! Nadejda imagined. Last night, I could not fall . . . They feed me very well indeed. I A Brilliant Period being. This was relieved by the kindness Filaretovna! Why did you do it?” He asieep for a long time, roaming in my de- am very much satisfied with Signor Hector AS WE HAVE SAID the early of Arne’s sister, Mrs. Cibber, the leading could not know that Nadejda Filaretovna Ugh/ful abode, enjoying this wonderful who serves me. ... I have enough cigar¬ actress of her day. Her home, the resort was, too, near her death, which overtook quietude, relishing the idea that I am on Georgian period displayed more diver¬ ettes thus far. . . . sified talent than any era since the days of of “wits, poets and men of letters,” was her a few months after. _ the territory of the good town of Florence, open to Burney, where, by his geniality, Queen Elizabeth. Even the golden glow was only nineteen years of age, whereupon So keen was he in the pursuit of knowl¬ Throughout the thirteen years of their ^at I am so near you. This morning when Tchaikovsky wrote Madame von Meek liveliness of manner and great intelligence, of the reign of Queen Anne, just ended, the father in revenge married his cook, edge that he acquired that diligence and intimacy, Tchaikovsky and Madame von j 0pe„ed the shutters, the enchantment rose again late at night on the same date. he speedily made many friends, among Meek never met face to face, never spoke higher. I love dearly the characteristic did not equal its brilliancy in letters, art, which deprived James of his inheritance. enthusiasm which he preserved throughout MADAME VON * V THE EIGHTEEN- and poetry. It was a time of vivid biogra¬ James later, after a second marriage, found his long life. In his zeal for work he whom was Garrick. Here also he met a word to each other; but they saw each originality of Florentine suburbs! As to Florence, Dec. 5, 1878, phies, diaries and letters, as the names of himself with nine living children out of adopted a most unique device. He was Handel; and he tells us of the first time other on many occasions. Perhaps the the villa, its drawback is that it is too good, Villa Bonciani. Dr. Samuel Johnson and his Boswell, fifteen to support, and so settled down to wont to tie a ball of string to his great toe that Mrs. Cibber prevailed upon the master most extraordinary episode of their unique too commodious, too spacious. I am afraid >i extremely grateful to you, my musician to play. i . . t . • you are to me, my dear, my precious . . ..1 i amc extremay - Oliver Goldsmith and the critical Walpole portrait painting. Accordingly he chose and then to hang the ball out of the win¬ romance was their life in closecI°f fproximity t0tg °get£t sp0lIedsp0ued.- 0neOne °Jof thetle m-”’ost lreclous friend! Just five minutes before the ap- dear, for the invitation to visit your villa. After Handel had gone, Mrs. Cibber 1 Meek arrived nf mv nhnrtment « the Inrne ...... jj w. exemplify. Sir Joshua Reynolds in art, Chester as his residence, leaving his last dow, within reach of a laboring boy whom in Florence. Madame von Meek arrived conveniences of my apartment is the large But, please, forgive me. I am an odd per¬ pearance of these cigarettes I noticed that David Garrick on the stage and Dr. born child, Charles, with his foster mother he hired to pull the string on his way to his asked Quin, the actor and wit, if he did in Florence ahead of Tchaikovsky; she balcony, where I may breathe fresh air my supply was getting small and that I son. and I will not take advantage of this not think that Handel had a charming hand. rented for him a villa at a walking dis- without leaving my house. For Thomas Arne in music were some of the in a village near Shrewsbury. early morning work, which would awaken fme’™ would have to ask you for some. The invitation as long as you are here. I know “Hand, Madam?” asked Quin. “You tance from her. Tchaikovsky arrived in ardent lover of fresh air, names to conjure with. Burney. t ll j moment I thought about it, the cigarettes that in your villa I would not find a soul, mistake; it’s a foot.”' Florence on December 2, 1878 (new style), importance. Yesterday I took full ad- To gain admittance to this charmed A Strenuous Program He tells us, “I also had a great passion " " _ fell on me out of a blue sky, and what ex¬ as you write. But this very circumstance “Pooh—Pooh!” returned Mrs. Cibber; accompanied by his faithful Alexis; and a vantage of this marvelous promenade. The circle, neither good fortune nor wealth ERHAPS IT WAS to his life in a for angling, but whenever I could get time cellent cigarettes! embarrasses me. It is depressing to th> “but then has he not a fine finger?” letter from Madame von Meek, sent by weather was excellent when 1 arrived, but availed. Merit was the sole badge of mem¬ village that he owed that wonderful con¬ to pursue the sport I ran no risk of losing My walk, despite inclement iveather, was that everyone should vanish at my sight- “Toes, by God, Madam!” exclaimed Quin. messenger, awaited him. today it changed. I brought you rain and bership, and it was with such a gauge that stitution which later enabled him to teach my time if the fish did not bite; for I al¬ very pleasant one. I enjoyed the marvel- I should prefer to - isit thc Villa Oppcn' Dr. Burney was welcomed and remained one music from eight in the morning until ways had a book in my pocket, which “Indeed,” says Burney, “Handel’s hand Florence bad weather. at San Miniaio, and on the way heim immediately after your departure, ana of its leaders and most prized associates. eleven at night, then write and study until enabled me to wait with patience their was so fat that the knuckles, which usually Dec. 2, 1878, back we passed1 J’ by Portaf Romana” so that’ / would ask you to make arrangements for His place in the life of his times was four in the morning, and arise at seven; pleasure.” convex more than those of a child, dented Porta Romana, Villa Oppenheim. I could see your wonderful villa. What a such a visit. Please, do not be angry with unique, being due, as the great Johnson and yet, with all this activity, he lived to or dimpled in so as to be rendered concave; Welcome, my good, my dear, my incom¬ view you have there! What a charming me for declining your offer. Good-night, implied, to an unusually happy combination the ripe old age of eighty-eight. A Cat Looks at a King however, his touch was smooth, and the parable friend’ How glad I am, oh, how “. . . My house consists of a number of garden! I heard children’s voices—must my dear friend. of a genial temper of mind, an affectionate While at Shrewsbury, along with his 'V^T'HEN CHARLES was fifteen years tone of the instrument so much cherished glad that you have come! To feel your excellent rooms. There is a splendid piano- be your youngsters. How strange it was disposition, gentle and attractive manners other studies in which he displayed great ' V of age he was in Chester where he that his fingers seemed to grow to the keys. presence near, to know the rooms you live forte in the hall, two huge vases of flowers, to reflect that in this villa, so near me, On the same day he wrote his brother with dignity blended, with an unusually activity, he was taught by his oldest half- caught his first glimpse of the great Handel. They were so curved and . compact when in, to enjoy the same sights that are before and all necessary _ stationery^ supplies. T lives my best friend! . . . Please, do no! Anatol: active and versatile intellect. He possessed brother to play the organ. He learned The latter was on his way to Ireland to he played that no motion and scarcely the your eyes, to share with you the very tem- completely enchanted with all this, but trouble yourself with an answer to every (Continued on Page 624) a charm of character and manners, with French and to play on the violin. At six- produce his “Messiah,” which had failed fingers themselves could be discerned.” the etude OCTOBER, 1935 576 577 fort of others was a marked characteristic adapt the music of Rousseau s little opera, of his lovable and gentle nature two great men, and this continued wunoui The Lion and The Lamb “Le Devin du Village." in which Queen When he projected the establishment cf a break or mar until Dr. Johnson’s death. Marie Antoinette had herself appear , a Public Music School, for the teaching ON ONE OCCASION Burney suffered As to the latter’s regard for Burney, the English stage. This was a happy d,ver of musically gifted children in the from an outburst of Handel’s temper. Fanny Burney, in her memoirs, gives us sion for the Doctor, though his adaptation Foundling Hospital, he was much in ad¬ One night at the home of Frasi, a celebrated a little word-picture of a gathering at Mrs. singer, chiefly of Handel’s compositions, was but an indifferent success. vance of his times, and opposition caused A Day m Radio City Thraler’s, which her father had been com¬ Six vears after the death of his first wife him to abandon the idea. It speaks well, the musician brought a duet from his pelled to leave. "Judas Maccabeus,” which the singer had Dr. Burney married a Mrs. Allen, wo however, for his interest in the cause of “I love Burney!” cried Dr. Johnson, em¬ had been a great friend of the first Mr. not sung for two years. “At the time,” says phatically. “My heart goes out to meet musical advancement and education that he with Burney, “he (Handel) sat down to the Burney. She was a widow whose daughter strove for such a foundation. him 1” harpsichord to give her and me the tune Maria was a friend and playmate of the In 1769 he was granted the degree of “He is not ungrateful, sir,” said Dr. young Burneys, and they looked upon the of it while he sung her part, I hummed at Burney’s daughter; “for heartily does he Mus. Doc. by the University of Oxford. sight the second over his shoulder ; in which marriage as a happy event which joined He prepared, for his exercise on this occa¬ love you!” them all in one merry party in the same he encouraged me by desiring that I should “Does he, Madam?” said Johnson, look- sion an anthem which was performed; and Frank J. Black sing out—but unfortunately something went two’years later it was produced at Ham¬ wrong and Handel, with his usual impetu¬ burg, under the conductorship of Carl Musical Director of the National osity, grew violent: a circumstance very WILLIAM BYRD IN PRAISE OF SINGING Philipp Emanuel Bach. terrific to a young musician. At length Broadcasting Company recovering from my fright, I ventured to (A Reproduction of an Old Print) Honors Abroad say that I fancied there was a mistake in IN THE PREPARATION of his “His¬ the writing: which on examining Handel tory of Music,” Burney, after having PART II found to be the case: and then instantly read every book, manuscript or bit of writ¬ FRANK J. BLACK with the greatest good humor and humility ing available, wisely determined that the said ‘I pec your parton—I am a very old contemporary state of music could be best “TF YOU WANT to learn how to be Ex.l consists of about twenty people. They are relating to the artistic and personal prob¬ tog—Maister Schmitt (the copyist) is to learned by visiting the various centers of I an orchestrator, orchestrate anything, really program builders. They build these lems, not only at Radio City but also in that art in foreign countries and by per¬ A everything—just keep everlastingly at programs themselves and are responsible the affiliated broadcasting stations from There was at this time in London a sonal touch with the most eminent living it. At first your work is likely to be for them. These sustaining features are coast to coast, come to my desk for atten¬ young man by the name of Fulk Greville composers. Accordingly, armed with power¬ mediocre, and many of the things you will paid for by the National Broadcasting Com¬ tion. Usually, after attending to corres¬ who desired above all things distinction in ful letters of introduction from the Earl of probably never hear, which is of course a In other words, this is the working com¬ pany, unless some advertising sponsor hap¬ pondence, I look at manuscripts that have whatever went to make a gentleman of. FIrftyt is a knowledge eafdy taught,and quickly learned, where Sandwich, the Doctor set forth to France blessing for yourself and mankind. Wag¬ pass of a bassoon, although the complete pens along and desires to take over the been judged previously by our staff as rank, fashion or fortune. This preeminence and Italy. Everywhere was he received ner is quoted as saying that all first operas range runs to perhaps a fourth higher, or program. worthy of consideration and that are might be in learning, on the race course, there is a good Maftcr.and an apt Scholler. 2 The excrcife of finging is dehghtfull to Nature, oc good with attention and consideration. As he should be drowned like kittens, and the Ex. 2 brought up to me for attention. From then in the hunting field or the fashionable exer¬ wrote Garrick, “I must say that my treat¬ same may be said of first orchestrations. Preserving the Spice until lunch I reserve for necessary appoint¬ cises which went to make a beau or man to preferue the health ofJMan. . ment among these men of genius and learn¬ “There is in the world a great wealth “T\ T ANY THINGS govern the making ments. At lunch I have an opportunity about town. Among other things he de¬ , It doth ftrengthen all parts ofthe breft.Sc doth open the pipes. ing, throughout my journey, has been to of melody. Some of it, at first glance, may to talk over details with various heads of sired the company of a good musician who i-VX up of these sustaining programs, \ It is a lingular good retncdic for a Hutting and ftamcnng in the the highest degree flattering”—and in this seem very trite. But Beethoven did not chiefly the principles of variety and unceas¬ departments. Several afternoons a week could give him lessons. He was doubtful he was referring to such illustrious men as think the simple folk songs of Germany These notes, however, have been used I close myself in and write for the various about this, as he did not believe that one ing interest. The radio must be so inter¬ Diderot, Rousseau and Voltaire. trite. He made immortal symphonies of only in very rare cases and to most players esting that it claims the attention any time hours which I personally superintend—Gen¬ could be a musician and a gentleman. A 5 It is the beft meanes to procure a perfeft pronounciaBoo,& to On his return he published an account of them. In this way, it is my conviction that are very difficult. One of the classic ex¬ eral Motors, Pontiac, RCA Radiotron and mutual friend introduced him to young that it is turned on. It is a principle of his travels and experiences, which attracted almost everywhere gems of real melody amples of these rare notes is in the famous Coca-Cola. These are, of course, commer¬ Burney, who was ignorant of his quest. broadcasting companies to insure variety by the attention of even dour Dr. Johnson, •were turning up here and abroad; and in Bolero of Ravel. The reason he used them cial hours. In addition to this, there are After hearing him converse and play upon

By Peter Hugh Reed La Boheme i ad player displays another faucet to his EVERAL *°fe>gn; J°n^.rs traordinary genius in conducting the British (LAH BO-HAME) S mired by American music Broadcasting Orchestra through this work. from their excellent recordings are The recording, which is Victor’s, is excel¬ announced for Fall concert tours and ra- lent. (Set M266). A Tragedy of Humble Life in Paris "efrances by the NBC Artist^Se- Early Beethoven music, written in his ice. Chief among these is the Koliscn youth, when life held many promises and String Quartet, who are justly reS^dcd as the world of sound filled his eager ears.and . of the greatest string ensembles gladdened his heart, is presented in the An Adaptation of Puccini s Famous Opera, work which the Hindemith Trio plays in iiditn r.oranu, -_r here Columbia album 217. It is a trio for violin, to be Used as a Reading at Music Clubs ist and conductor, is also to £PPea viola and cello—the one in D major, Opus with her own orchestra for a first Amen 8, known_„ as tUthe„ “Serenade.”” ThisThi« isic ' i expected to beDe of par-p lightful music, full of the spontaneity and By Edward Ellsworth Hipsher ticular interest as a broadcast a ^ efgerness of young manhood; and, if it Miss Lorand has directed her or 8 demonstrate Beethoven in more than four hundred concerts in does notn- a . orator, it does demonstrate him as a master i Europe and England. A pupil of the emi¬ craftsman. nent Hubay and Flesch, she has also ap¬ The performance, which the Hindemith GIACOMO Antonio Domenico of a “Requiem” sung at the funeral of Michele Secondo Maria Puccini Joseph II of Tuscany. The grandfather, peared as soloist with several leading Trio, gives of this work is perfect. The (jah’-co-mo ahn-to'-nee-oh do-men'- Domenico (1771-1815), was a widely recog¬ European symphony orchestras and in tne balance and fulness of tone is extraordinary. concert halls of a half dozen c°“"‘nes: ft‘is another tribute to the genius of three ee-co mee-kay'-lay sec-awn'-do mah-ree'-ah nized organist and the composer of three , It is another tribute to " poo-chee'-nee) was born, by authority of operas. The father, Michele (1813-1864), a wide popuUrChyCin England —31well 11as greatxrreat musicians, who, inu combination, know the “Encyclopaedia Brittanica,” on June 22, a pupil of Mercadante (mer-egh-dahn’-tay) how to submerge their individual person- prepared beforehand, so that no precious The Invisible Audience in Europe, will also make hei projection of an en¬ 18S8; of “Grove’s Dictionary of Music and and Donizetti (dawn-ee-tset’-tee), composed Musicians,” on June 22, 1858, whilst the largely for the church, and one opera. time is lost. N PLAYING in a hall seating three to this country. Her singing semble composition. Like Dumas’ Three “American Supplement” of the same work “We use only one microphone for the thousand people, the conductor has an arias and lieder on records has already defi¬ Musketeers, they are “one for all, all for places the event on December 28th of the A Humble Beginning whole pick-up, even in our larger concerts, immediate reaction to his work; but when nitely established her as a great one" which is as it shouldsnou.u be.oc. The record- and the dynamics are achieved by the ac¬ he plays before thirty thousand people he same year. Then the “Musical Courier” 1ITTLE IS KNOWN of Giacomo’s tual performance. has to wait until Uncle Sam conveys the says it was December 24th; and, in spite J childhood except that his widowed “I have been asked if we do not move applause by mail. Therefore the radio calls of these disagreements, “Riemann’s Musik mother was harassed by poverty, that his Lexikon” and “Baker’s Biographical Dic¬ musical inclinations would find some escape, the microphone to secure a blending of for conductors with breadth, imagination 'Quintet for Piano IKS-.—««—■ vasastSchumann’ "Sz-Ttrsr, tionary of Musicians” solemnly declare that and that at school he failed in arithmetic tonal effects. This is never the case. The and rich enthusiasm, combined with a su¬ ly worthworm Polka and Fugue from "Schwanda hearse before a mirror the use of a baton, and return to the polishing of his phrase. tomorrow’s tomorrow. (Columbia disc 68310D) ; Kipnis’ glorious his walking on and off the stage and the Or, when the fever was on, he would work Mozart’s “Symphony in C major,” K42S, singing of arias from Mozart's “Magic proper recognition of applause. But, as far into the wee hours, after the friends is known as the “Linz Symphony,” because Flute” and Verdi’s “Simon Boccanegra the time neared, panic more and more had fied. it was composed in haste in that city in (Victor disc 8684) ; Fischer’s consummate possessed him so that for days and nights 1783 for a special concert. The influence playing of Handel's Piano “Suite in D he did not sleep, and finally on the eve The Master Hand of Haydn, both in themes and in form, is major” (Victor 8693) : and Albert Spad- before he should have left for Paris he THE MOOTED PROBLEMS of opera apparent in this work, even though the ing’s group of musical miniatures of his gave way to reticence and telegraphed that were perhaps more nearly and satis¬ hand of Mozart is unmistakable through- own creation, called “Etchings” (Victor factorily solved by Puccini than by any out. The work strives for brilliancy and t M264). In spite of this timidity and a certain other composer. His nearest compatriot grandeur. Even the slow movement, de¬ attendant haughtiness,. Puccini was delight¬ peer, the, immortal Verdi, surpassed him in spite its inherent Mozartean tenderness, iv. d.—In the seventh and eighth lines °f fully; hospitable in: his informality with moments of superlative inspiration, but he somewhat festive with trumpets in the scot .the ... next to the last paragraph of this column friends. He shunned the public whilst had not the same power of Jong sustained The irrepressible vitality of the of the September Etude, the phrase.phrase, " for warmly responsive to the few. After his flight in the realms of impassioned melody. finale is particularly attractive. Although which it was originally written.” u — first success^ almost his entire life was spent Accepting much of the Wagnerian theory, thematically the work lacks distinction, sym- historically correct. Then, in the eleivnt* in a humble, rustic hunting lodge at Torre Puccini avoided the ponderosity of its crea¬ metrically it is perfect. Fritz Busch, equal- line, “organ technique” should read ' key- del Lago, (tori-ray del lah’go) a small tor and, without cheapening his art, made PUCCINI’S STUDY AT TORRE DEL LAGO ly eminent as solo violinist and ensemble board technique.” village but a few minutes from Viareggio it understandable to the plain man. His the ETUDE OCTOBER, 1935 580 581 Let me warm it into life.” Which leads Tenor ladies, which have come *»*“*_“£ int0 one of the most beautiful scenes of was an astonishing success in merging the Parpignol (pahr-pecn-yohl) Highly pleased that, m spite of his years ^ music in all opera, at the close of claims of drama and of song, in widening Custom House Sergeant.uas should still be rated as such a gay Lotna , ^ the young lovers depart to join their the bounds of opera’s appeal, in softening Students, Working Girls, Shopkeepers, Benoit enlarges upon his imag'nary esc at the Cafe Momus. the sharp and irritant angles of the old con¬ Street Vendors, Soldiers, Restau¬ pades and is painting himself in rather ventions of this art, and in providing oppor¬ rant Waiters, Boys and Girls, lurid hues, when he is astonished BAND AND ORCHESTRA DEPARTMENT tunities for those gifted mortals who are People of the Street his tales not meeting with approval. M Muslc both great singers and great actresses, till Conducted Monthly by IV fact the four young artists e^Pfe t such Scene for Mimi and Rodolfo (soprano the most famous of Wagnerian sopranos selves as inordinately * B J“ne beginning “Che Gclida manina have found Tosco, and Cio-Cio-San (choh- Music licentious conduct and dec™ and > ^ u {rozell)." VICTOR J. GRABEL choh-san) worthy of their best mettle. He An excellent potpo^of themes from to^nfit "for their^abode, they (Your W hand isjt-ozen).” made it forever clear that grand opera need politely*" invite his absence and VII FAMOUS BAND TRAINER AND CONDUCTOR the opera, by Bernardo Wolff, may be had .. , • 1 +V.O nor with an not be heavy opera; in fact that it may be for either two of four hands and would finally bundle him out of the door w Act II at times near light opera, and this without make a pleasing introduction. There is also ;ronic “Good evening, With The" demands6of debts thus delayed, The scene is a small square at a crossing losing its eloquence; and that the human a shorter fantasia for four hands, by Nino the the “four musketeers” (as they are known streets, with a motley crowd of soldiers, voice was created to be a medium of song. Alassio, not so difficult nor so true tothenei ghborhood) decide on an evening serving-maids boys, girls students work- With all of which he has left no place for original as is the former mentioned. doubt that a first duty of the opera com¬ at the Cafe Momus, their favorite resort Jng girls, gendarmes and so on, all ,n the poser is “to get over the footlights”—an when in funds, for which Schaunard has spirit of Christmas Eve There are shops The Clarinet—Its Use and Care art in which he has had no superior, if an Act I provided by dividing the remains of his q{ all sorts, and at the right the Cafe rlnw store So off go all but Rodolfo, who in Momus, with filled tables on the street be- “La Boheme” was heard for the first Scene—An attic with r sts that he must first finish an article for fore it. Vendors bawd their wares, all is By Albert Kaufman time from any stage when performed on showing an expanse of left and here his new journal, “The Beaver,” but makes animation> with Rodolfo and Mmu walk- February 1st, 1896, at Teatro Regio (Royal Theretnere is a nrepiacefireplace ai the left, and here ms J join them in five ; aloo{ from the crowd, in which Mar- and there a table, a small cupboard, a little assurance mai «?; „ ... o-«.n- Theater) of Turin. Its libretto, by Giacosa ‘cello Colline and Schaunard mingle. Ro¬ ’ - minutes. HE POTENTIALITIES for the may imagine; but the beauties of not entirely clear in your own mind, do (jah-c'o'-zah) and Illica (eel-lee'-cah), is bookcase, four chairs, a painter’ dolfo sees in a shop window a pretty T be adjusted so as to do so. The action expression of beauty are latent in all finished playing will more than reward not hesitate to say so. And do not say of the keys should be light and not demand based on Murger’s novel, “La Vie de bonnet trimmed with pink roses and buys musical instruments. The ability to the and effort put into its study. “Yes” till it is quite clear that you can heavy grasping. There should be a close Boheme” (la, vee duh bo-hame) (Bohemian it for Mimi, regardless of its taking the bring out this beauty is a matter of train¬ go home and practice intelligently. examination for any possible crack in the Life), a tale of the Latin Quarter of Paris last of his share of Schaunard’s “windfall.” ing. Selecting the Teacher at about 1830. Wisely, they presented but Colline, Schaunard and Marcello bring a wood, as this will influence the quality of Among the family of musical instru¬ N ATTEMPT TO learn to play the Selecting the Instrument tone. Such a crack may be remedied by a four scenes, and these felicitously con¬ table from the overcrowded cafe, and Ro¬ A ments, the merits of the clarinet are widely . clarinet without the assistance of a HE SELECTION of an instrument is skillful repairer of musical instruments. trasted. In this work Puccini first dis¬ dolfo and Mimi join them. Having ordered T recognized. Its tone is peculiarly expres¬ competent teacher cannot be recommended. vital to the success of the student, and played his full ripened art. "Edgardo,” of an extravagant meal, all are enjoying them¬ A good mouthpiece is most important; sive. Its technical resources are almost There is scarcely another instrument on he should not attempt this without the as¬ 1889 had failed; “Manon Lescaut,” (mS- selves, when there enters a smartly dressed for in it resides to a large extent the origin illimitable. Then composers have recog¬ which bad habits are so easily acquired; sistance of an experienced person. The in¬ naung less-coh) at Turin in 1893, some¬ and coquettish girl of twenty, attended by of a beautiful tone. Artists find it some¬ nized these good qualities by making use and upon which, when once fixed, they strument should be one that is well in tune. times necessary to change the mouthpiece what atoned for this by its display of a fussy old dandy. They are Musetta and of the clarinet in many of their finest works. are with more difficulty eradicated. This The octaves should be true. The various on a clarinet; as defects are apt to develop sometimes Mozartian grace and dramatic Alcindoro. This old noble, who still con¬ It can sing so expressively, and with this is true, both in the mastery of the mech¬ registers should be true—neither sharp nor with continued use. The mouthpiece should grip, whilst the superb ensemble which siders himself something of a beau, is the it has such a versatile technic and fioritura anism of the instrument and in the proper flat, as may be sometimes slightly present blow freely (easily) ; and no particular closes the third act first truly showed the last victim of Musetta’s wiles, which ac¬ that it has not without reason been termed interpretation and phrasing of the musical in instruments of really reliable makers. notes should be either muffled or explosive. composer’s genius for the interpretation of counts for her gorgeous toilette. Having “The Prima Donna of the Orchestra.” comjxisition. And for these reasons it is There may be individual notes slightly out Needless to say, the quality of tone must tragedy through melody. “La Tosca, observed Marcello, whom she really loves, Who, having once heard it, ever can for¬ necessary that the greatest care be exer¬ of key; and especially the lower register be good. Then the facing of the mouth¬ “Madame Butterfly” and “The Girl of the with the party of merrymakers, Musetta at get that beautiful song which von Weber cised in the selection of a teacher. Only may be somewhat sharp. Often these de¬ piece must be of the best quality and prop¬ Golden West” were to follow. Each has once becomes dissatisfied with her very has given to the clarinet in his Overture one of recognized standing as both player fects may be remedied by an expert crafts- erly adjusted. If it is too open, it becomes its supreme moments, when poignant mel¬ mature cavalier, insists on sitting at a table to “Der Freischiits”? ody seems almost to have reached the and instructor should be trusted. necessary to press too hard with the em¬ well in view of Marcello and attempts at¬ To the layman the clarinet is but a band bounds of its emotional expression. None By these few points the student may The instrument should be easy to blow bouchure, and there is a consequent strain. tracting his attention. Marcello, though instrument, or one of the orchestral “parts.” of these, however, achieves so completely gauge very nearly the qualifications of his (free-blowing). It should have brilliancy If too close, the reed closes easily and again infatuated with Musetta, at first refuses to What he should know is the exquisite use as “La Boheme” the composer’s gift for teacher. Does he insist on real beauty of of tone, particularly in its lowest register. there is trouble. The high tones should notice her coquetry, which so annoys her to which this instrument has been put in “maintaining a continuous flow of melody tone? Must the tone both begin and end The individual tones should be clear. There not be difficult to produce. Then, most im¬ that she resorts to loudly scolding her com¬ the chamber music of the masters. Mozart that at times illumines and at others in¬ neatly? Does he insist that the music be must be no “fuzzy” quality, such as is portant of all, it must respond to the most panion and finally smashes a plate on the wrote for it a fine concerto, and gave to tensifies the story.” In no other is there played accurately, both as to the correct apt to appear in the throat tones (A-flat, delicate shadings of forte and piano: and pavement. This to no avail, she resorts to it a leading part in a quintet and a trio. such an unbroken spontaneity—that spon¬ notes and the proper rhythm? Does he A and B-flat). There should be a com¬ the most delicate staccato must be possible song and begins the famous waltz, perhaps taneity which spells perennial favor with FINAL SCENE OF “LA BOHEME” Von Weber left for it three concertos, a insist that the notes sing in finished plete and true chromatic scale—with all the throughout the entire range. the most popular single number of the quintet and a concertino. Schubert has the public. In it the composer “illumines phrases? Does he insist on a proper re¬ tones of equal power, and with an even To test the shading possible on both the with unerring deftness the whole gamut whole work. given to it a dominant role in an octet; spect and care for your instrument? With semitone of difference of pitch between mouthpiece and the instrument, play a slow few books, candlesticks and many packs of Rodolfo has made two or three vain VIII Beethoven, in a septet: and Brahms, in a these questions answered in the affirmative, each pair of tones. of human emotions.” The music begins by cards attempts at a beginning of his story when movement from a concerto, or any com¬ delineating whimsical comedy; and it ends, Music quintet, as well as having written for it a one may feel quite safe in his care. The Boehm system has been found most position of a singing nature. For the free- It is Christmas Eve. In the frigid room he hears a timid knock and, looking up as Ernest Newman says, “by drawing a sonata. So many have been so misguided Naturally, the teacher cannot be held en¬ reliable in this family of instruments. Any blowing of the equipment, slur large inter- Marcello works at his painting, “The Pas- sees in the doorway a figure of maidenhood Musetta’s air, Quando me’n id’ (As delicate veil of wistful sadness across the by this instrument’s wailings in the hands tirely responsible for results. There must extra keys only encumber the player and sage of the Red Sea,” whilst Rodolfo looks in all its charms. To his invitation to enter through the street). of a poor player, that they are quite ob¬ face of tragedy itself.” It is great art. the be earnestness and determination on the at the same time add to the problems of Another point to be carefully tested is the pensively out of the window, each trying she replies that she has come but for a light (If it so happens that there is not a livious to its possibilities. art of perpetual youth, because it sincerely part of the student, and with this there keeping the instrument in proper adjust- amount of good tone possible. A good in¬ to appear oblivious to the unpleasant chill, for her candle. By the time the candle is suitable voice available, this selection The clarinet has, along with the stringed must be a real love for and devotion to and beautifully portrays truth. lighted, the susceptible Rodolfo is en¬ may be had for piano or for violin and strument and mouthpiece will allow more Finally forced to confess their mutual dis¬ instruments, and in many combinations, music. In selecting an instrument, make sure II chanted; for, as Murger describes her. piano, in excellent arrangements. This crescendo (play with a bigger tone), with¬ comfort, and with not a penny for fuel, especially of the woodwind family, a dis¬ At the lesson the student must not be that it is of good materials. Those made of “Mimi was a charming girl especially apt song, into the second strophe of which out getting shrill, than will a poor set. “La Boheme” is perhaps unsurpassed, if Marcello first suggests burning his chair tinct place on the recital program and par¬ afraid to ask questions. This is one of the wood are probably the best. The hard to appeal to Rodolfo, the poet and dreamer. Alcindoro ini eels valuable vocal com¬ This is highly important to observe. A equaled, among operas, for its appeal to the and then his “great” painting; but Rodolfo ticularly in the chamber music concert. For safest ways by which the teacher can meas¬ rubber clarinet relieves worry about Aged twenty-two, she was slight and grace¬ ments, leads into the finest ensemble of cheap or poorly made instrument will have fundamental human sympathies. It is a rebels at the thought of the odor of burn¬ the student, who has the enthusiasm and ure the needs of the pupil. Do not allow cracks; but it lacks that brilliance of tone ful. Her face reminded one of some sketch the opera, one worth the making of a a thin tone; and it will not respond to a living portraiture of the life of the 1830 s ing paint and from a drawer rummages a persistence to master its resources, no any point to pass till it is quite clear in which belongs to the one of wood. The of a highborn beauty; its features had considerable effort to secure talent forte effort without becoming ugly in tone among the art students of the famous Latin drama of his past efforts and offers it as other instrument offers more promising pro¬ your own mind just what is to be done and mechanism should feel comfortable to the a sacrifice to physical ease. As the first marvelous refinement. The hot, impetuous quality. Quarter of Paris. It pictures faithfully adequate for its performance.) fessional possibilities. There is probably how to do it. If the teacher inquires as hands; and keys that do not fit the size act is burning Colline enters, he too almost blood of youth coursed through her veins, A good instrument at the beginning of both the humor and the pathos in the no other instrument that is so widely used to your understanding of a point, and it is and shape of a particular hand may usually existence of a settlement of young vision¬ frozen. Then, as more pages are burned giving a rosy hue to her clear complexion and yet on which there are so few highly study is a wise investment. For instance, aries, each clinging in childlike faith to the and the three cluster about the grate, two that had the white velvety bloom of the In the commotion of the ensemble which capable players. suppose an instrument has one or two tones belief that a “great” inspiration from his boys enter" with food, wine, cigars and a camelia. This frail beauty allured Rodolfo. "jcceeds her■ song, Musetta. to whom Mar- out of tune. The ear of the student will be¬ come so accustomed to these as to lose, to pen, brush or chisel is to register him on piece of wood. The lads are scarcely gone But what served wholly to enchant him cello has now made signs of recognition, Not for the Immature the elusive roll of fame. Here in their and the three men busy with laying their were Mimi’s tiny hands, that, despite her becomes so eager for a change of position a large extent, his ability to discriminate THE CHILD PRODIGY is very rare nicely as to pitch. In fact his ear may thus poverty they live long days and nights on unexpected feast when Schaunard appears, household duties, she contrived to keep that she feigns a painful foot, removes her upon this instrument. It is one which the fare of anchorites, with a bit of good scattering small coins about and telling of whiter even than those of the Goddess of shoe, and sends Alcindoro to an adjacent become permanently injured, from a musi¬ requires the equipment of an adult. To be cal standpoint. fortune to any one of them leading to their a “windfall” that has crossed his path. Ease.” shop to bring a pair a size larger. As he sure there are many who begin its study at indulgence in riotous eating, drinking and Their unusual meal has but begun when its So fragile is the young woman that climb- leaves, grumbling, Marcello rushes to an early age. But the child has not yet Good Care Worth While waste. It is the essence of this life that relish is disturbed by a knock at the doer ing the stair has so exhausted her as to Musetta and they have scarcely begun the the lung development, the strength of Puccini has enshrined for all time in the and the voice of landlord Benoit demand- bring on a fit of violent coughing, and the expression of their jov at being reunited thumb, nor the large enough hand for OF COURSE THE instrument should magical score of his work. ing admission. Knowing this visit to be candle is scarcely more than lighted when when there is heard the tattoo of distant properly supporting the instrument. The have proper care. Immediately after use, it should be wiped dry. Cracking III for no other purpose than to demand the she is seized with sudden faintness and drums. Soon a patrol of soldiers enters, child is not yet able to cope successfully far delinquent rental, the four first con- would have fallen but for Rodolfo catching Ld by a band, and the entire crowd starts with all the problems entailed in a finished should be prevented by the use of olive oil. Characters of the Drama sider denying admission; then, on hatching her in. his arms and leading her to a chairchair, to follow.. them.i—mu- The ..„young artists,--o,., hahaving vine performance. Even the mature performer For a new instrument of wood, this should Rodolfo (ro-dawl'-fo), a Poet.Tenor a scheme which will get rid of him for a With water sprinkled on her face and a by this time sjient all their money are with- is not free from worry. The reed may not be applied after each drying of the first Schaunard (show-nahrd), a longer period, they offer him a boisterous glass of wine Rodolfo revives his visitor, out means with which to pay for the luxuri- respond satisfactorily; a particularly deli¬ week and once a week thereafter. Put the Musician .Baritone welcome. Amazed at the cordial reception picks up the candlestick she has dropped ous supper winch solved ' cate passage may not come out clearly; a (Continued on Page 615) - Marcello (mahr-chel'-lo), a of himself and the note of expenses, Benoit lights it, and she is leaving when a sud “squeak” may occur; or there may be Painter .-.Baritone succumbs to their lure and ingenuously gust through the opened door extinguishes waiter at her table, to 1 trouble with the mechanism. Colline (cohl-lccn), a Philosopher-Bass swallows bait, hook and line. While he is both her candle and the one on Rodolfo's after which they hurry from the square, There are, however, no handicaps to In the third complete paragraph of the Benoit (bay-xp-ee), a Landlord.Bass enjoying the good things on the table, in table. In her confusion Mimi drops the Rodolfo and Mimi arm-in-arm, Schaunard the mastery of the clarinet at which the second column of this page of the September Mimi (mcc-mec). a Seamstress... Soprano deference to their urgings the four mis- key to her door, and the two begin a hunt playing a lately purchased pipe, and Mar- student need be alarmed. A good in¬ THE GRENADIER GUARDS BAND Etude, the fourteenth line should have read Musetta (moo-zet’-tah).Soprano chievous rogues deftly lead the conversation for ,t in the dark, so that, while feeling cello and Colline earn ing the shoeless structor and enthusiastic persistence on the London, with its drab days, might often be a very dour place were it not for Mcindoro (dhl-cheen-doh-roh), A to love and gallantry with sly allusions to about the floor their hands meet and Ro- Musetta between them part of the student will overcome all its the vivid scarlet uniforms of the Grenadier Guards and the inspiring music of "the strings (not horns) set off”; and in the splendid bands. Surely these musical organizations are very valuable assets Councillor of State .Bass Benoit’s amours and intrigues with the dolfo exclaims, “Your tiny hand is frozen! " ",sc”a between tncm. difficulties. No, it is not so easily learned the seventeenth line "Siegfried” should have (Continued o Page 622) m the civic life of London Town. been “Gotterdammerung.” 582 THE ETI DE OCTOBER, 1935 583 MUSIC EXTENSION STUDY COURSE Analysis of Piano Music appearing in A Monthly Etude Feature the Music Section of practical value, For Piano Teachers and Students of this Issue by an eminent Specialist By Dr. John Thompson

, , much as possible as the original sounded? phrase.. Only .those t^fowv-WTO ^ how much of the tonal resource of cWAN major. This section begins more quietly , v. o-Tveerve a satisfac*satisiac- » ._ _ ignore the the modern piano may we employ without By-Alexander MacFayden . ^be Entrance of” the first theme. tory obliterating the characteristics of the orig¬ No question will be answered in these columns unless accompanied by the full name In the painting of this musical pastel the ^ accents ;n this piece are rather well inal music? No two people seem to agree and address of the writer. Only initials, or a furnished pseudonym will be published. BIRD AS PROPHET tonal brush must be applied with utmost ^ a steady March tempo should on this point. Each performer therefore By Robert Schumann delicacy. The tempo is not only unhurried erved throughout, should give the problem thought and decide Beautiful with the elusive quality which but deliberate. Play the opening chords V until you get over it. The first four or done some transposing, memorizing marks'1 all deathless music this f° Be'Ture^to observe the breathing places Starting Again and have studied Cooke's “Standard An Unusual Reader m the right hand pianissimo but with real DUBINUSHKA five experiences may be very dreadful, but History of Music’’ through Mendels¬ sostenuto, for these provide the background Arr. By C. F. Manney of Schumann holds its charm regardtes ^ indkated by the phrase lines in this edi- I have studied the piano for twelve if you keep on, the time usually comes when sohn. Then, of course, each pupil One of my pupils has taken lessons years, but in the last ten months has finished an album of second about a year, using John M. Wil¬ for the opening announcement of the theme The Etude presents this number £ repetition. It is not only a del'S™,t tion. The dynamics are simple, and are have not done much playing, owing you forget yourself and are able to play as liams' first book published by Presser. and the heart but h lies -^-Uy and grf ^ At any .i' * grade pieces and in sheet music and (in the left hand) which begins novelty for piano solo. to the fact that I married and until well in public as you would in solitude. Etude pieces most of them are now She is seventeen years of age. She The Song of the Cudgels is a Russian comfortably under the hands of the. PK .• --Vt histiictrinniffsrionics illin the ITinterpretation of recently did not have a piano. Now taking works of Grade III and IV can^play the “Song of India" very last eighth note of measure 2. ±uc v* — - . I would like to resume my playing It sometimes helps at the start, however, difllculty. The melody, too, is to be delicately craftsman’s chantey. This transcription-™ by There 1■ t distinct feeling °f Prelude. Here we have an example and studying but just do not know¬ My question Is about the follow- how to go about it. I cannot afford to take a few deep breaths, so that one is Now this is what I had planned to traced though at all times well sustained Mr Manney Is based on the harmonization in the mere rmuscular motions of p y g ^ pufe music wbjch after all should appeal stimulated by abundant oxygen before go¬ use ns supplements to Grade III lessons, so would like to study rny- Mathews : "Mastering the Seales and Wben she plays a piece, she does and played with a beautiful singing quality o{ a previous setting by Kurt Schindler. this composition fi to the intellect as well as to the emotions. ing before an audience. However, do not not read it as notes. To her a chord wonder if you could give _ Arpeggios." Cooke: Czerny-Leibling of tone Here is a specific instance in True to the tradition of Russian folk songs It ,s suggested that the trip g be discouraged if your knees do chatter a Vol. I: "In A11 Keys.” Greenwald : merely means a group of objects some idea as remainder of “Harmony Book for taken as a picture, although she which the melody should be distinct not it ■ in the minor key (G minor) In the in thirty-seconds 'n *e Jight h BIRDIE’S LULLABY few times. Almost every public performer knows the first note as C or D. The practice for any great length of Beginners,” Orem; “History of simply because it is louder than the ac- first section take care not to allow the rolled rather than fingeired ^ By N. I. Hyatt has gone through this experience. The Music," Cooke : "Etude Music Maga¬ others she gets from that. She zine." Later perhaps "Interpreta¬ knows that if they go up she plays companiment but because of its tonal qual- melody line to be lost as it weaves its ser- with very shallow touch. of This first grade tune supplies a including sc* main thing is to keep at it until you con¬ a note higher or ^ skips some. The Chopin etudes, tion Studies.’' Bornschein. ity Quality first—and quantity as needed penti„e way between outer and inner voices. lends a certain thinness ana p , ft hand (in quarter notes) against ; quer it. If you know your work thoroughly Should Heller-Philipp — many others. ■“Tidies n-, — Leefsonr Sometimes she plays from numbers to establish balance. ■ The piece opens in four-four but is cut tone that is pecuharly bird-like. sustained melody (in whole notes, In playing Weber's Rondo from so that you have faith in your infallibility, —Mrs. V used for fingering. “Sonata in C Major, Op. 24" and E. H. I always asked her if she under¬ The song grows in tonal “density to two-four each time the Refrain appears, exactly as marked. T™sJfa, re- for the right hand, Chopin's "Fantaisie Impromptu," I your stage fright will soon disappear and stood everything and she said “Yes, reaching a sforsando at measure 15. From Tbe Refrain sections should be played with fully edited and many ting p .. ■ d. The procedure is reversed for a few seem to tire quite easily. How can you will enjoy every moment of public per¬ but I can't apply it to the music." I overcome this t—Mrs. N. L. It is indeed a wise teacher who avoids this point hold the effect of tonal intensity vigor and f,re and the application of a ward a careful perusal, for ex P - measures in the second section but for the formance. what might be called a “spotty” musical t She can read all notes on the until measure 22 is reached when a grad- beavyi pesante tone. The changes of pace ;ng the passages between th . m£)st part tbe ]t.ft hand carries the burden Why not secure a copy of “Guide to training. The course that you have de¬ My question is whether to allow her to continue as she is or start ual diminuendo isin effectwhichdrop^ to are frequent but clearly marked.^^ ^ soon. ;n G major is com- of rhythmical activity. Use legato touch New Teachers,” which can be secured Melody Writing signed for use with your own pupils is over again, from the beginning, bbb at measure 30. After the pause tempo Music of this type must be played with The second section throughout. gratis from the publishers of The Etude? comprehensive. Each teacher usually which would put her back. •s resumed as before—the color values fad- abandon to be effective. The too meticu- posed 0f a beautiful harmonic progression, If she should have another teacher Then locate your grade in this work by knows his own field best and how it should who discovered this, the fault would ing gradually a s the end is reached. ious studious rendition is out of line and typically Schumannesque. In this section GNOMES AND FAIRIES examining works of similar difficulty and be adapted to the work of individual pupils. Both pedals may be used with good ef- pedantic in the extreme. Therefore learn note that the left hand plays an m\ By Ella Kkttkrer proceed as this little booklet indicates. We Your suggestions for supplementary work feet in this piece. They are to be utilized the llotes carefully and let the performance of the right hand melody. This imitation The following books are recommended The first theme of this little piece begins should say that in the seventh, eighth, for melody writing: are excellent and the Heller-Philipp studies Do not worry about such a pupil. What however, not as “loud” and “soft” pedals be {or once without too much restraint. Be begjns on the second beat of the measure, in G minor and ends in B-flat major. The ninth and tenth grades you will find abun¬ “Theory and Composition of Music,” are very useful indeed, especially in the case she is doing in music is very much like what but to color effects. erratic, this once, just to see how it feels! Give this voice just enough importance to dant material to keep you busy for two of pupils who have had a great deal of what _ be heard, being at all times careiu.careful ..o,— second, which is the fairy theme, is in the P. W. Orem; “Melody Writing and Ear the modern teacher in the public schools is years in self study. We would advise you Training,” Dickey-French; “First Year we might call “raw” technical studies, with trying to do with the reading text. SATIN SLIPPERS SONG WITHOUT WORDS . it 0ver-top the«* theme. The soddensuuucu key of M*,JSStSTSlS-- V . V tl. to secure Christiani’s “Principles of Musi¬ By Gustav Klemm By James H. Rogers pianissimo played pin lento (measure 24) handled lightly and delicately. The hrst Melody Writing,” Thomas Tapper; “Ex¬ very little color and melodic work. Whether it is right or wrong, we do not cal Expression.” This work is invaluable After the brief two measure introduction This plaintive little melody has quarter back subtly t0 a ree„trance of the or gnome theme should _h^ejin elementjif ercises in Melody Writing,” Percy Goet- Bach, wherever it can be introduced, is pretend to say, but you must know that for a student at your grade, whether study¬ always desirable. The Carrol selection has these satin slippers go immediately into notes for the right hand against ’ first theme Birdlike passages are again roguishness and humor, the fairy theme schius, Mus. Doc. thousands of pupils, who in other years ing with or without a teacher. been used with great success by thousands their dance. The triplet figures in the beat accompaniment in the left. The mel- heard, fading gradual/into the quiet end- should be played with grac would have been taught the alphabet as the Fatigue after playing is a far more seri¬ of teachers. You should have a “Guide to right hand are to be flicked off with sparkle ody should be strictly legato and phrased -ng Follow accents, staccati, and i very first step, now learn word forms from marked. This piece is better played with¬ ous matter than that of securing a guide A Well Rounded Course New Teachers” which your publisher will the start. When you. yourself, read a and grace.grace, Graceurace as a matternumci uiof fact is the exactly as marked.-- The left hand jiccom-, . , for study. Indeed, we hesitate to tell you out pedal. Several of my pupils who a gladly send you without cost of any kind. chord, you do not consciously spell it out. watch-word through the entire composi- panying chords should be played with GAVOTTE what to do until you have had a talk with ishing Mathews’ “Grade Two’ . rather shallow touch so as to produce a This gives a comprehensive list of materials It is very much like recognizing the face By J. S. Bach your physician and find out whether you also studied the followi GAMBOLING GRASSHOPPER Eisher “Technic for Beginners oi in all ten grades which may be used as a of a friend. You do this at once, without Thethe dynamics arcare foreveriuicvu changing as thin quality of tone.. ^ The right , hand, Thisinis nnefine Gavotte fromuvui theurc “Fiftha m** Frencha are physiologically right. Sometimes in¬ Pianoforte," Watson “Ten Busy Fin¬ By J. Lilian Vandevere kind of pedagogical vertebrae. looking at a single isolated feature. In indicated in the text, and staccato and le- should be played with deep pressure touch Suite>, demands nice contrast between fected teeth or diseased tonsils make the gers." MacDougal "Studies in Melody ._ ^ = _ This little number gambols over the key- Playing," Terry "A Sunny Corner in The aim of all practical teachers of this the case of telling time, the figures on the qato passages are interspersed freely with and the best possible singing tone. legato and staccato playing. Its tempo i~ individual “tired” and nothing can be done the Finger Gymnasium." Gilbert day is to make their courses as eclectic as face of a clock are not really necessary. an effect of contrast and life in the first The tempo is rather deliberate, and when somewhatsomewhat* fafasterster tbanthan "thatthat of the .usual board in characteristic style. Play the about it until you have the matter rem¬ "First Lessons in Musical Dictation." theme. properly performed this little number gavQtte It-. k written in aUa brev staccato eighths with free swinging arm Blose "Pedal Book," Orem “Harmonv possible. This guide to the most used The position of the hands is sufficient and edied. If there is no physical difficulty, we Book for Beginners” (to the work be¬ pianoforte literature is very valuable in the figures may as well all be O, as indeed The second theme is in A minor. Synco- should sound more like a song than a and. the. text reads... allegro grasioso. action, tossing the notes from one hand to would advise you to go in for a course ginning in minor). They know ail the major scales thoroughly, have this particular. they are in some clocks. We have seen pation is introduced by playing the first piece for piano, Make the opening staccato chords very the other. Let the intervening lega'o of general physical training. Get a copjr clocks in France without any figures. beat staccato, and accenting the second pointed and observe the accents, giving par- eighths be played with clean finger legato, of “The Secret of Keeping Fit” by “Artie” heavily. This effect persists throughout PRAYER OF THE CRUSADERS ticular stress to the occasional wedge Note the constant change of dynamics, By analysis you will be able to point out By Evangeline Lehman McGovern and follow the suggestion of the second theme. After a repetition of shaped accent marks. Make the most of the many two-note slurs. this trainer of many famous men. Stu¬ the different musical letters with their cor¬ In the title of this piece lies the clue to responding notes on the piano, but it would the first section, a Trio section is intro¬ The left hand counterpoint, beginning dents of the piano often struggle in vain its interpretation. duced in the key of C major. The rhyth¬ CHERRY BLOSSOMS seem somewhat unwise to us to discard The music is slow, well sustainedmeu «„uand *n tf*e middle of measure 4 should be played to acquire a larger technic by straining mical treatment of the second theme is 'relic-inns strictly legato but with a thin quality of By B. Coleman themselves through practice, when they what is apparently a natural gift and “start preMrvedat this” point in the left hand obviously must be played i tone so as not to obscure the right hand. A The first theme in Cherry Blossoms is do not have the physical foundation to all over again.” No good sight reader wnnewhile thetne rigmright playspiay = a«. dancing succession manner------The left hand no shallow touch will accomplish this readily. a melody for the left hand against a right warrant the muscular and nervous strain reads notes singly. The expert reads a of staccato chords. Use forearm attack for played long but detached. The same treatment is given similar left hand chord accompaniment. It is in r concentrated in the muscles and nerves of whole phrase, and sometimes two or three best results in playing these chords. Beginning at measure give proper band passages which occur at measures major, a comfortable key for second grad' the shoulder, the arm and the hands. measures at a time, just as you read a From the Trio return to thejngn (after phases to to 12- 16 *>. 22> and 50 forth‘ A str and moves along with even flow. Tne short sentence at a glance, and not the upper voice of the left hand, the pedal is ~ - ; -V, cr!>’ AUU ,,,”vcs V T.hnnM alphabetical letters in it. In reading music the Introduction) and play to Fine. marked for the first few measures. After w. H a ated chords the right hand h certain flexibility of rhythm. The rhyth- ^ properly subdued. The melody should a chord should be read as one word and HIGH SCHOOL GRAND MARCH this the words ped. similcarc £ Nervousness in Public mical line undulates even in Bach play- stand out without being forced. The second groups of notes, scales, arpeggios, just as By C. W. Kern meaning of course, pedal ii you would read phrases. It is a grave mistake to play Bach tbenle is in the relative minor, D minor, Appearance This march calls for style and rather : style of a metronome study. The and tbe mclodv is carried by the right venteen vigorousvigoiuus treatment.__ This little piece is a good study for the rs old. When6 playing in After the opening fanfare of the Intro- acquisition of quiet tonal control. amount of flexibility employed of course, band Make tlie proper tonal balances be- is left to the good taste and common- - — can play Moszkowski's "Ballade in Beginning Delayed tween measures "l7 to 20. marked forte** Minor" with ease, when alone, hut duction the first theme has its beginning at cvucMiiw rjpuirr of the performer. The writer, twenty-nine years of measure 5. Use plenty of arm for power SERENADE CAPRICE measures 21 to 24 marked piano. This public my hands become wet a age, haying acquired a good back¬ same tonal contrast appears again in meas- tremble, so that I am u ground in music by attending operas and resonance. Pedal as indicated and do By Louis Victor Saar do my best. Can you help and concerts, desires to pursue a PRELUDE there a solution In which - mid not snare the bass. A number of this type It is quite evident that Louis Victor Saar wash my hands before playing ii course which would enable him to By G- F. Handel play piano transcriptions of opera is always the better for a good deal of thoilgh bearing the name of a stormtossed public and thus prevent perspiration and other orchestral music of aver¬ support from the left hand. In playing the country is more French than German, at To play Handel well one must make s MERRY PRANKS —G. C. W. age difficulty. About two years ago. second section beginning at measure 13 least m his writings. This little serenade of especially clean finger articulation. This eight lessons in the "Williams' Book By N. I. Hyatt It is hardly ethical for us to advise you. for Older Beginners" were completed An excellent study in rhythmical paF take care that the upper tones in the right has the delicacy and finesse associated with music was composed for the Harpsichord, as you may need the attention of a physi¬ THE BACH SARCOPHAGUS Will you kindly suggest a suitable hand (soprano) are played with sufficient French music rather than the sturdy solid- an instrument which demands a clean, pre- ...... The _ modern__ teacher emphasizes tl- course, embodying at the same time cian. He may tell you that good food, exer¬ In making repairs to the Johanniskirche of Leipzig, an oak coffin was ex¬ works which contain more melodic resonance to be heard over the triplet ac- ity characteristic of the German. cise touch if the tones are to be heard at all. importance of having the pupil recognize cise, especially sun baths and massage, mav humed, in which, though not authenticated, there was good reason to believe the selections, rather than driU exercises. companiment of the alto as well as the The charm of this Serenade Caprice is Our modern rolling attack would result melody patterns, rhythmical patterns, liar- improve your general condition so that remains of Johann Sebastian Bach rested. These were placed in the plain nnidyg?aSlC° k'f ** derivetl from the accompaniment in the left hand. Toss off dependent to a great extent on the manner in bad smearing if applied to the harpsi- mony patterns and finger patterns. They public appearance is not a hardship. limestone sarcophagus here shown and given a place “in a little white-washed sharply the slurred notes at measures 14 in which it is played. Mr. Saar proves chord. Of course a nice problem presents are in evidence in all music from the very However, if you are in fine shape physi¬ crypt below the altar” of Johannis. In the rear rest the similarly honored re¬ We would advise you to continue with and 16 The section beginning at measure himself an able editor as well as an inter- itself: Shall we deprive this old music of simple to the very complex. The opening cally, we have found that the only cure for mains of a nonentity of whose existence the world has never known nor had Williams’ “Book for Older Beginners” and 33 serves as a Trio and is in the conven- esting composer by the careful way in all the beauties inherent in the modern phrase played by the left hand alorc is stage fright is incessant public appearance reason to care.” Such was and is the appreciation of the “Great Cantor” in a then secure the “Grown Up Beginner’s tional sub-dominant key, in this case C which he has marked the interpretation of piano in our effort to make it sound as (Continued on Page 632) municipality on which he shed immortality. Book,” which has just been published. OCTOBER, 1935 584 THE ETUDE 585 High Lights in the World's Famous Piano Methods FASCINATING PIECES FOR THE MUSICAL HOME

Part IV THE SWAN This is to be described only as a musical pastel-an attempt to make atmosphere with tones. The whole style of the piece is novel and should be a DEPPE relief for both pupil and teacher.

By Florence Leonard

position; lift each finger in order (but not not only noble, but also has more body, and high), beginning with the 5th. Let them HE TEACHING of Ludwig Deppe (This must be the inner side; for if rt T therefore carries better than the truck fall without intentional effort of the marks the beginning of a new trend touched on the outer side, the outer side tone.” The finger makes an effort in lif ting in “methods” He is important not of the hand would have to be lowered.) muscles, at first without depressing the key. , „,v _'only. The lift is only moder^t!ly only because he presented new and original “To get the right position of ^the hand- only. (The movement is likened to the simple the keys and There must be no conscious effort down- swing of a clock's pendulum.). Very ways of schooling the hand and developing hold ^ the Jiand ward (This is the first description, except slowly unfold the finger. In doing this slowly the fingers fall on dc, cb, ba, with for Adolf Kullak's earlier experiments, ot technic and interpretation, but also because the correct relative ^.sition of the the fingers 5 4, 4 3, 3 2, in order, and so on. the “free fall,” so called.) The keys must The second exercise is played in the same these ideas were of such far-reaching value, must be maintained, that is, it mu t not be held down by the finger. There must He was born in 1826 and died in 1890. low.” The hand must be free from manner as the first, but broken thirds are be “phlegmatic falling,” tension only in the used instead of seconds (db, ca, bg). These He was known to Brahms and to Clara pressing by the elbow. finger ends. Feeling must be concentrated The line from wrist to elbow rises two are the only prescribed exercises. In Schumann as a highly promising young in the tip. In scales the fingers seem to slightly. The line of the outerside of the playing them the effort is made before the conductor of Hamburg, whence he went to ^ — 3^ arm {Axis), draw the tone out of the keys. ‘The per¬ hand should run through the tone sounds, that is, during the moment of Berlin to become Hofkapellmeister. fectly calm control of the hand In trills lifting, between the tones. “At first the Ideals of Tone Conditions and Movements position—. is the- first requirement.’ tone will be nearly inaudible, but with prac¬ PERHAPS the constant association with WRIST AND arm must be: Vg ffie tips of theJmgers « a wayc ~ tice it will gain every day in power.” is stsii srr z sr-w „ i..»- - Reasons for Using Weight and any rate he deplored the prevalence of hard expressed, of “weight ) and free the hand keys. Oblique Position tone and of unmusical interpretations. I turning upon the w:nist as ■t P • Scales and Chords THE REASONS for this manner of hear the music the people do not play ” he The shoulder mus no feather” “TN PLAYING the scale you must using the hands, Deppe stated thus: “The extreme lifting makes a knick’ in the muscle, and you get all the strength tenWMrs simply from the finger, whereas, when you lift the finger moderately high, the muscle A simple, genial warmhearted man with group In the scale each fi g bussing.” For chords, the hands are raised from the whole arm comes to bear upon it. The tone, too, is entirely different. Lifting the finger so very high, and striking by his own personality tmcfbyffie playmg not turn unde. Thus *e djchon of and k up th hands with force, stiffens the wrist, and produces of his finished pupils. He himself v exactly over the notes, keeping them ex- a slight jar in the hand which cuts off the a public performer, but he had a remark- tended.” Rubinstein’s chords were described singing quality of the tone, like closing the able insight into the relation of hand to Weight, Not Stroke, and Calm patterns—“He spreads his hands as if mouth suddenly while singing. It produces piano and a wide knowledge of piano litera- Control .... were going to take in the universe, and the effect of a blow upon the key, and the takes them up with the greatest freedom tone is more a sharp, quick tone, whereas, The accounts of his method come to us Tone is made, ‘ by letting the finger just fall, it is fuller, by weight of hand o finger, by means and abandon.” through his pupils, and naturally they vary-v -;~T~ . . , . - - less loud, but more penetrating.” And somewhat. Moreover, it is not strange of the simple raising and lowering Pivotal Exercises Amy Fay adds, "1 remembered that I bad a pioneer, his theories should ments; not, therefore by more < never seen Liszt lift up his fingers so fear¬ A calm control, which required months fully high as the other schools, and espe¬ that his pupils should branch off from his repose with excitement, ■of practice, are as follows: cially the Stuttgart one, make such a point first principles with ideas of their jj|j|with a certain inhibition of direct will power. The tone formed in this way is Form the hand in the natural, not forced. of doing.” Also in regard to scales, she says, “Liszt has an inconceivable lightness, “How” to Use Hand swiftness and smoothness. When Deppe HE BEGAN his teaching of a pupil was explaining this (the scale) to me, I with two simple exercises which were suddenly remembered that, when he (Liszt) to be played with each hand alone, very was playing scales or passages, his fingers slowly, with movements carefully planned seemed to lie across the keys in a slanting and precisely carried out. Next, this con¬ sort of way. and to execute these rapid trol of the hand was applied in scales and passages almost without any perceptible other technical figures, Etudes, and other motion. I’m sure Deppe is the only master compositions. In his teaching appeared, in the world who has thought that out; thus, the beginning of the “how” methods, though, as he says himself, it is the egg as distinguished from the “what” methods. For, once the hand was in order, “he shows of Columbus—‘when you know it!’” me how to conquer the difficulty now. He Some Disciples takes a piece, and while he plays it with the most wonderful fineness of conception, HERE FOLLOW the pupils of Deppe he dissects the mechanical elements of it, who adapted and created ideas ac¬ separates them, and tells you how to use cording to their needs and their individual your hand so as to grasp them, one after perceptions. another. Technic and conception are iden¬ Anna Steiniger, like Amy Fay. had tical, as of course they ought to be.” studied with Theodore Kullak before going Amy Fay and Hermann Klose give what to Depi>e. She was a girl of great talent, are apparently the most authentic accounts of intellect, of initiative. Although she of Deppe’s own ideas. eagerly grasped Deppe's principles, still she found that thev did not wholly satisfy her Position ideals of tone. She discovered, too, that for THE SEAT must be low. As the her the source of power was in the muscles master would say, “One may have the of the upper arm. and thus she was brought soul of an angel and yet if the seat is high to study the influence of the shoulder, and the tone will not sound poetic.” began to “balance" the arm in the shoulder. The fingers should be slightly curved. In this way she acquired remarkable even¬ Amy Fay says, “curved as much as possi¬ ness of tone. The center of power was. ble.” The outer side of the hand is raised, she decided, in the shoulder. It followed and must not be lowered during the play¬ Here is a rare pictorial discovery. This sketch, which was recently unearthed in the archives of Frau Lily Hildebrandt-Larish in Vienna, was made from life, naturally, that when one wished to move ing. The finger must “sit firm” in the in 1823, by the government official, Edward Klasson. Schindler at that time sidewise for the scale connections, the joint (the knuckle). The thumb is curved wrote: “Our muster loved to take a good glass of beer in the evenings and to movement should be in the shoulder, not and free from the hand. The wrist is held smoke a pipe of tobacco.” He went to the taverns and coffee houses more often in the wrist. a little higher than the hand, then bent in his later life. The sketch is reproduced from the excellent German weekly, The position of the hand. also, she a little, touching the keys on the side. Illustrirte Zeitung. (Continued on Page 632)

586 THE ETUDE

SERENADE CAPRICE LOUIS VICTOR SA AR, Op.89§ No. 1 The editor of The Etude,once a protege of Louis Victor Saar, knows weiJ this composer’s Jove for pieces in this graceful style, perhaps more French than German. Observe with care the staccato marks and tenuto marks which have a great deal to do with proper interpretation. Grade 4. DUBINUSHKA Transc.^ySCHARLE^FONTEYN MANNEY THE SONG OF THE CUD,^ansc]-bedby Jrt Schindler. It never fails to impress Here isa fine recital piece with an excellent climax. .The Russian folk song is one origina y — v audiences.Grade 4. _ ^-

PRAYER OP THE CRUSADERS EVANGELINE LEHMAN Slow and nlaintive

w^^~^NGW3raQ0T WorD8

Andante cantabile m.m. J = 88 JAMES H. ROGERS ben cantando ed espressivo

■K, c/u-oow slentandn j -5^

a\ tempo ™f f - £k —*1 «

sostenuto Copyright MCMXVII hy Oliver Ditson Company International Copyright secured Copyright 1935 by Theodore Presser Co. British Copyright secured 592 THE BTTJDf OCTOBER 1935 593 masterworks BIRD AS PR0PH-E1T th^dBoilgBtersfwarblingwitha11 theirmight This little piece represents one of the rarest flights of Schumann’s fancy.Here is an ore ar onderful prophecy.Once well learned, this is the that the world is to be born again. Perhaps you hear only one bird but we hear millions ** T.from the keyboard. XT „ kind of a piece that one“just loves to play”over and over again for the sheer joy of eliciting thi ^ R. SCHUMANN, Op. 82, No,7 Andante con molto tenerezza Grade8- M.M.J=63^

f ^ p»pp. i,imf uj

) e) H . i ^1. * 1 k pp k P 2(espr.) frU i ^ i f»* Jr? ^ Nr,,n Piu lento

a) If the D is played with the left hand, as advisable,use the upper fingering, b) See a

594 THE ETUDE J OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES

IN A GARDEN GEORGE H. MILES C. B. HAWLEY

596 THE ETUDE Copyright MCMVIII by The John Church Company International Copyright OCTOBER 1935 597 LOVE DIVINE NORWOOD DALE CHARLES WESLEY

OCTOBER 1935 599 I’LL TAKE YOU HOME AGAIN, KATHLEEN , kofruic TVip left hand part, which will come easily with a little This song was written in the early seventies and is probably more popular now than betore. solo voice or a solo instrument, practice of this hand alone, should be played very evenly while the player imagines that the treb p THOMAS P.WESTENDORF Andante con espressione

poco rit. (The maidens fade into the gathering dusk) r^f 8"~

SUNSET IN A JAPANESE GARDEN ) Swell: Soft 8' Prepare: j Choir: Voix Celestes,coup.to Swell Under the cherry blossoms the Japanese maidens (Pedal: 16'(a light 8'may be added) dreamily dance and sing. FAY FOSTER

Copyright 1935 by Theodore PresserCo. International Copyright secured #) The tempo of the song td be taken a trifle slower. OCTOBER 1935 601 Copyright MCMXVII by Oliver Ditson Company International Copyright secured Copyright MCMXXI by Oliver Ditson Company 600 THE ETUDE SWAYING DAFFODILS A. R. OVERLADE SWAYING DAFFODILS

fEftfrVrfri f=fc ^T* r^r |-J ^rhi i -d-*- p= u=^= ^ CrTU rail. a tempo D. S. % fi r#r L #•

1 8 r"r 4 * From here go back toj3ign and pJay to Fine; then pJay Trio. OCTOBER 1935 603 FLUTE PROGRESSIVE MUSIC FOR ORCHESTRA THE CAMEL TRAIN WILLIAM BAINES Camel Train in distance Arr. by Hugh Gordon THE CAMEL TRAIN CameJ Train in distance -1- ^ -r- __ V/w tonetnriK gradually Tempo di Marcia m.m. J = ios

1st Violin

Piano

SOLO VIOLIN CameJ Train in distance THE CAMEL TRAIN WILLIAM BAINES Tempo di Marcia wav. Increase in tone gradually

Copyright 1934 by Theodore Presser Co. f British Copyright secured OCTOBER 1935 605 604 THE ETUD& FASCINATING PIECES FOR JUNIOR ETUDE READE BIRDIES' LULLABY; »™». GAMBOLING GRAS SHOPPE B , ...i When each hand play v (tadel*. Merrily M.M.j.=84 J. LILIAN VANDEVERE Each hand starts near the middle, time and fingering, With each thumb over D; rn . them both together then, Grade j Left thumb will reach the high bass notes, F fater j will sing. I’ll count them up from C. < Andante M.M. J = 96

r—a - 3 ' -

watch will keep While lit-tie bird - ies sleep. In the breeze your cra-dle swings, While your lul - la - by it sings, Lit-tie stars the J) _20 4* ' ' - , - f- f- n P f ♦

i r> a 5 British Copyright secured Copyright 1935 by Theodore Presser Co.

Copyright 1935 by Theodore Presser Co. British Copyright secured OCTOBER 1935 607 Fifty Years Ago This Month JS[ew in Charles W. London, a widely known position by a first hearing; what pleases teacher of that period, wrote, in “A Talk you in the first moment is not always the with Pupils”: best. Masters should be studied.’ “All difficult passages are to be perfectly “Many exercises, etudes and pieces are STYLE, learned by your having practiced them over given for a special purpose. Be sure you and over. Fingering and touch are to be have a clear impression of what this special kept in mind, for it is not possible to per¬ purpose is, and how to accomplish it, what TONE form well unless you have a good technique. style of touch to use, and, if the touch is There is but one way to accomplish this, new, be careful that you have a perfect and that is to listen critically and atten¬ understanding of what it is and exactly how AND tively to your practice and to do artistic to do it. Ask your teacher to explain and work on every phrase you perform. Brain illustrate it until you have a clearly-defined, and heart, thought and conscience must be sharply-impressed ideal in your mind. K “Let Jenny Lind be your model. Signor SCALE “I emphasize conscience because it cer¬ Garcia, her teacher has said: ‘Her only tainly is wrong to practice carelessly; for genius was in the power of continuous ap¬ waste of time and money—the cost of your plication. I will tell you in what she was greater than any other pupil I ever had. lesson—is a matter to be conscientious over. I See the present smartly fashioned line of Kimball grand and upright pianos You must learn the ‘difficult art of being I could play over a cadenza or phrase, say¬ at the Kimball dealer's show room. Note how perfectly these pianos measure severe with yourself.’ ing, ‘Do it so.’ She always listened very up to the standards of modern fashions. A few bars of melody will discover “Zelter, who was one of the greatest attentively, never interrupted. Then when the rich and vibrant tone quality of these superb instruments. A glance re- teachers of Europe, said of his pupil, Men¬ I had finished, she would say, ‘I have veals the artistry of their design, finish and craftsmanship. delssohn, ‘It is not his genius which sur¬ thought it over, and do not quite un¬ M A newly modeled Kimball in your studio will add prestige, enthusiasm and prises me and compels my admiration; for derstand. Would you tell me again?’ impetus to your teaching. I would tell her a second time. She would that was from God, and many others have Kimball Grand and Upright Pianos Lead the same. No; it is his incessant toil, his study it carefully, minutely, and then had bee-like industry, his stern conscientious¬ the courage to say, ‘I think I have some the World in Quality, Economy and the ness, his inflexibility towards himself, and comprehension of your meaning, but it is B Number of Pianos in American Homes. his actual adoration of art. He will gain not quite clear.’ I have any amount of This nationwide endorsement is your guarantee of satisfaction. a name in everything he undertakes.’ patience, and I would tell her a third time. No other piano firm matches our record of 79 years without reorganization “No habit can be of more value to you She at last seized upon the true meaning, or change in family ownership. than to absorb yourself in the work before and, although slow in learning, she never Also Architects and Builders of Kimball Organs you, to make your will-power control forgot. The lesson of Jenny Lind’s A for Churches, Residences, and Auditoriums. thought, nerves and body, and to do it at enormous progress in so short a time was once, as soon as you are seated at your this, that after a first and thorough explana¬ W. W. KIMBALL COMPANY instrument. Spencer says, ‘In the supremacy tion she knew how to apply herself in the of self-control consists one of the perfec¬ right way to study. I do not remember to Please send me without obligation the tions of the ideal man.’ have repeated the same thing a second time L Kimball Hall 1935-36 Kimball Plano Brochure. “Ask questions about your lesson, from to her after the one lesson. In consequence, CHICAGO, u. s. A. she learned more in one year than other 665 Fifth Avenue the beginning to its end. Learn the mean¬ Address ing of the Italian words of expression, and pupils will in ten years or a lifetime. . . .’ New York, N. Y. how to do correctly the passages of hard “Observe if the self-satisfaction that you time or fingering. Learn how fast you are enjoy while doing good work is not worth L to play your etudes and pieces, and if you the cultivating. The more perfectly you understand the phrasing and content, es¬ understand your lesson, the more interest pecially of the obscure passages. Learn and pleasure you will take in your music, how the piece is composed—its motives, and therefore the faster you will learn. . . . HAVE YOU A COPY OF THE NEW climaxes, points of repose, and cadences. You will have learned much, when you “Schumann says, ‘Do not judge of a com¬ know how to take a lesson.” FREE “WHOLE WORLD” CATALOG?

This booklet will be of infinite service to you in the selection of music collections. One of The National Broadcasting Company Music the most attractive catalogs ever issued of Appreciation Hour standard music for piano, voice, violin, organ (Continued from Page 574) and other instruments. Every book illus¬ trated, and described, together with its com¬ 11:00 A.M.—Series A, 8th Concert: Trombones and Tuba January 31, 1936— 11:30 A.M.—Series B, 8th Concert: The Dance plete contents. If you are a teacher, student 11:00 A.M.—Series C, 8th Concert: Symphony or lover of music, be sure to write us to-day February 7, 1936— 11:30 A.M—Series D, 8th Concert: Berlioz Program —a postcard brings it. (Not sent to Canada 11:00 A.M.—Series A, 9th Concert: Percussion Instruments February 14, 1936— 11:30 A.M.—Series B, 9th Concert: The March or European countries.) 11:00 A.M.—Series C, 9th Concert: Symphony (continued) February 21, 1936— 11:30 A.M.—Series D, 9th Concert: Wagner Program THIS FREE CATALOG CONTAINS 11:00 A.M.—Series A, 10th Concert: Percussion Instruments DESCRIPTIONS AND CONTENTS OF OUR BOOKS February 28, 1936- (continued) FOR THE PIANIST FOR THE OPERA LOVER 11:30 A.M.—Series B,10th Concert: The Overture Grand Opera at Home.$1.25 Piano Pieces Whole World Plays. Light Opera at Home. 1.25 11:00 A.M.—Series C,10th Concert: Symphonic Poem Modern Piano Pieces. Modem Opera Selections. 1.25 Gilbert & Sullivan at Home. 1.25 March 6, 1936- 11:30 A.M.—Series D,10th Concert: Brahms Program Light Piano Pieces. Recital Piano Pieces. FOR THE HOME VOCALIST 11:00 A.M.—Series A, 11th Concert: The Human Voice Concert Piano Pieces. Piano Classics . Ballads Whole World Sings.$1.25 March 13, 1936- 11:30 A.M.—Series B,llth Concert: The Song Love Songs Whole World Sings. 1.25 Piano Duets. Songs Whole World Sings.., Dance Music. . 1.25 11:00 A.M.—Series C, 11th Concert: Modern Suite Schubert at Home. Songs^of^the Sunny South.... March 20, 1936— 11:30 A.M.—Series D,llth Concert: Contemporary American Tschaikowsky at Home. Chopin at Home . FOR YOUNG PEOPLE Composers Grieg at Home. Children’s Piano Pieces.$1.25 Children’s Songs . 1.25 March 27, 1936— 11:00 A.M. to 12:00 Noon, All Series: Students’ Achievement FOR THE VIOLINIST MISCELLANEOUS BOOKS Program Violin Pieces Whole World Plays.$2 Modem Organ Pieces (Paper) .$3.00 Modern Violin Pieces. 2 Modem Organ Pieces (Cloth). 5.00 Light. ~ Standard Organ Pieces (Paper). 3.00 Standard Organ Pieces (Cloth). 5.00 Saxophone Pieces, Eb—Bb—Cm. each.. 2.0" Standard 1 American Home Music Album. 5.1 Operatic \- -- What Do You Know About Music? “Music can be made one of the most powerful incentives and controls Encyclopedia of the Violin.. (Cloth, $3.00); Boards. 2.1 in the most unsettled and dangerous years of a man’s life. It is impossible^ For Sale at all Music S Canada and European countries) o to overestimate its value as a safeguard to youth. Its mathematical prob¬ sent direct on receipt of marked prices. lems, its appeals to all the higher emotions, its invitations to practice and experiment, leave little inclination for vulgarities in the music-loving boy.” D. APPLETON-CENTURY CO. 35 W. 32d St., New York —Sir Dan Godfrey.

OCTOBER, 1935 609 Which Points the Way when applied to the voice of a child. It TO INSURE freedom in tone produc¬ robs the singer, young of old, of the abil¬ tion, the singer should attack the tone ity to sing a messa voce; because there Have You with freely acting muscles, while the ex¬ can be no longer a sustained, pure, limpid penditure of breath is adequately controlled legato, which is the foundation of messa by the natural performances of the abdom¬ inal and intercostal muscles. One must Beivare of Force Studied never interfere with normal adjustments of the vocal organs, since the volume and DANGER awaits the one who assumes quality of tone are determined by natural wrong habits of local vowel forma¬ Harmony? capacity rather than by any mental con¬ tion, because the larynx is then always cepts or interceptions. forced from its natural adjustment as the If the tone is prevented from floating “on person tries to make his diction clear and precise by forcibly adjusting the larynx, Music is a universal language the breath,” forward to the face and lips, which action unseats automatic control and and like the language of speech then stiffness of the jaw, chin and tongue is to blame. In such a state, the words of substitutes artificial localized effort in place has its own grammar. The gram¬ a song cannot be sung intelligibly, because of normal, natural vowel or word forma¬ mar of Music is Harmony—and Studying for the Great Tone the vocal organs are falsely adjusted, tion upon the tone. In due time, the if you have not studied the subject causing the throat to be pinched, crowded breathing, too, will suffer disastrously. In¬ you should not delay any longer. and “held open” in a way, instead of being tonation becomes uncertain, diction be¬ By Luzern Orrm Huey freely expanded. Clarity of diction de¬ comes impure and indistinct when the Learn to analyze compositions — to pends greatly upon the unhampered action vitality of any voice is killed by breathy identify the chords used and thereby of these members. singing. get an intimate knowledge of the inten¬ A good tone will have naturalness, free¬ AN INTELLIGENT consideration of to say nothing of distinct speech? For corridors (sinuses) and head areas p!av Natural tone production impregnates the part of the resonator. This action, while tion of the composer. You get at a real dom, fullness, vitality and sympathy. A this proposition demands that, first this the soft palate is greatly to blame, as an important |»art. The development cf tone with a “rin'g” quality. In most chil¬ it may be considered only a phase of tone understanding of the basis of phrasing tone cannot be pure unless it is, first of of all, there shall be an understand¬ production, is of the utmost importance, it hinders distinct speech by producing a these sources of resonance should precede and accent, which is interpretation, dren’s voices this important essential is ing as to what is a “great tone.” through a knowledge of the chords evident, because they have not impover¬ all, void of strain and force. With a owing to the fact that the primary vibra¬ voice of one color only. The vowel ah any attempt to start the true or artisti- poorly produced tone there can be no pure Broadly speaking, there are two models, tions must pass through the vibratory must have also its share of reproach. \ ; • used. A knowledge of Harmony helps ished either the tone or vowel creation by to satisfy the natural curiosity of every diction. One is dependent upon the other, or standards, upon which to base an esti¬ glottis. A raised soft palate prevents the devel- for the unforced vibrato, is to stimulate wrongly substituted fashions of vowel for¬ player, which is “How did the composer mation. Any attempt to make a tone by always. The natural qualities of the mate of vocal tone. One gives first place In voice building there are, therefore, opment of the upper sources of resonance, the action of the vibratory glottis, write it?” which breath is wasted and the natural speaking voice are the foundation of a to power or volume; the other looks pri¬ two phases of nasal resonance which must including both phases of nasal tone j tone)! shall be carried into these other vowels. obligation whatever, you have every¬ was anathema. He opposed any direct ef¬ The normal or unforced from conversing in the open air when the the physician, and not from the druggist, for all occasions nance when formed in any part of the vibrato will L’sed at first only in the medium compass, thing to gain and nothing to lose. Delightfully amusing,^slmple^entertainments for fort to force the tones through the post¬ begin to appear during practice, only on a thermometer is around the freezing point. teacher, relative or friend. voice. It is, therefore, a great mistake to it should later he transposed up and down State age and course in which inter¬ nasal corridors, believing that the head soft or pianissimo tone. If not forced, it ■ Such conversations should never occur be¬ —The Musical Leader insist on avoiding all traces of nasal as the voice develops. ested. Try the Lessons, then decide. 60 years. Complete selection of 1 spaces become resonant in sympathy with resonance in vocal training, in a prema¬ will gradually increase in strength as the theatrical material for schools, 1 a tone produced in entire freedom. voice develoos ® . Approach the high tonesI umbut wvmj*slowly. FREE ture effort to obtain pure tone. Before University Extension Conservatory dramatic clubs, lodges. CATALOG a forced vibrato disclosed a Any Pren,*tar* attempt to extend vocal This attitude toward the nasal tone in¬ the tone can be right, as an artistic prod¬ the Let Nature Guide Your Singing T. S. DENISON & COMPANY WRITE volves a fundamentally sound principle of uct, it must be wrong. In fact it often must jagged outline, gave a rather ‘L, ^ S® i,,jurc ,hc ^ 1525 E. 53rd St. 623 S. Wabash Ave., Dept. 73, Chicago | TODAY advanced tone production. It will not, wave of the line for the in' to an absolutely com- be wrong for a long time. A pronounced Dept. A-37 Chicago, Illinois By Cecile N. Fleming however, work so well if applied to the’ nasal resonance will neither poison nor This is explainable because i ,h f0mW? -<> a new half-tone early or elementary stages of study. Be¬ injure the voice, as the lack of it will vibrato there is but a verv sIIitI t ' 'C °P "r masque, while ity of the student. The object is not to seventeen or eighteen times a minute, when habit. 1525 E. 53rd St. Chicago OF NATIVE MASTERS INTO YOUR working on a moderate pressure. The manufacture tones but to allow nature to singing we reduce the number by taking in Tonal Flexibility OWN HOME..SEND FOR FREE BOOK III application of an extreme or powerful assert itself. This can be done by sugges- a larger supply of air and then spinning pressure will nullify this action. ANOTHER IMPORTANT quality that Please send me catalog, sample les¬ this out with the utmost economy in the LINGUAPHONE INSTITUTE X must always be present in the great Some Fundamentals of Diction sons, and full information regarding 39 Rockefeller Center • New York course I have marked with an X below. Please do not puzzle the pupil’s mind any making of tone. Since it is almost as bad The So Called Nasal Resonance tone is a flexibility which lends itself to more than necessary, which is mighty little. to be encumbered with too much air as to TN CONSIDERING the influence of expression of the varying emotions to be and Tone □ Piano, Nor- □ Violin Be simple in language and clear in all di¬ be hampered by too little, the mind must J- nasal resonance on the big tone, we are conveyed through musical sound and musi¬ □ Guitar rections given. After all the tone placing learn to suggest and to control the amount confronted with one of the most ’peculiar cal speech. Consequently it must be much By Wilbur Alonza Skiles for teachers □ Ear Tra formulas, the breathing methods and the needed for the phrase to be sung. And, lAT home: phases of voice production—a phase which more than a mere touch-tone, or a tone □ Voice Sight Si] vague allusions to sensations are sifted, by thoughtful and careful practice this will ■ Learn easy Koehne Method of color- experience leads one to believe to be not which never changes in character. A □ History of ing liberty to respond automatically to the Music □ Mandolin they come down to utter simplicity of gradually develop into an automatic habit. generally understood. Jean de Reszke, an touch-tone may be defined as a tone that singer’s inpulses. Under such conditions □ Choral Con¬ □ Saxopt — ducting □ Piano exponent of the modern French school, presents an unvarying quality when taken the tone cannot come forward freely fro"5 on any given pitch; or a tone that cannot and among tenors perhaps unsurpassed in the throat, because too much breath pres¬ ff history as an artistic singer, has said, be used either as an interpretative medium sure upon the delicate cartilages and HARMONY BY MAIL “The. voice is an affair of the nose.” or for the forming of intelligible speech. Age. A practical and thorough course of 40 lessons. Phy»

Fi'rst Steps for the New Choir Director

Organ Legato By Jesse L. Brainerd (1) . Secure a list of the former choir sing¬ anthem. This will give a chance to By Hans Hoerlein ers. Write each a friendly note ask¬ study the actual ability of the choir ing his (or her) cooperation and as a whole. support. (7) . Practice hymns. They are impor¬ cutness and rhythm. Achieving a 1^ ducive to a jumpy effect on the organ, degree of skill, understanding, and ex¬ (2) . Give each member a period for a tant. Give suggestions as to proper THE MODERN student is led to ask, as outlined in this article will help to “Why is organ legato still taught when properly done, being virtually in¬ perience, to be able to control the adjust¬ personal talk and a voice try-out. breathing places and correct tempos. remedy such playing. Where playing stifl according to the precedent of stantaneous. The voices, moving legato, ments to be encountered in organ play¬ (3) . Make a list of the singers and classify (8) . From the very first rehearsal, have sounds run together, due to resonance, the tying repeated notes ?” An analysis of convey the effect of continuity, and even ing. . . . each voice as to quality, range, sight¬ a definite plan of procedure. Go pre¬ melodic line only can be played legato varying factors in technic, action, organ only one voice carried legato to the next Now, unfortunate departures in voicing, reading ability and solo material. pared for any emergency. while the other parts are played detached,' | size, voicing, and accoustics, reveals that chord serves this effect. If the chords of when present in organs standing in non- (4) . Spend some time in the choir library (9) . Plan a “get acquainted” party. Invite certain approaches and adjustments in a series are the same, we intone all the resonant, or “dry” auditoriums, will coun¬ carefully timing the stacatto effect so it studying the type of music there. It the choir members and their families, touch and legato, are desirable. voices—which is the effect the composer teract influences which the modern tech¬ is not noticed as a break, yet serving to would be well to make up a systematic and the pastor and his family. This The tying of repeated notes arose in an intended; but on the organ this must be nic and action have contributed in the in¬ minimize the blur. In running passages list of all anthem books and the num¬ will insure a better feeling among the I WICKSPIPtORCANCO era when stiff action, inflexible technic, done with finesse and with due regard for terests of legato playing. Today we find everything can be played stacatto, regu¬ ber of copies of each. choir members and pave the way for <7/w/tland, fit. and misguided voicing produced an inevi¬ that subtle control which establishes rhyth¬ instances of voicing so unbalanced that lating the crispness of the stacatto ac- (5) . Arrange for an interview with the other social activities. Make it a table gap between repeated tones. To mic playing. recourse can well be taken, in certain cording to requirements. pastor and the organist to determine musical evening by having musical smooth over this gap the practice of tying Two cases of tying are advisable. If combinations, to sustaining repeated notes. The size of tint organ, as well as reso¬ the order of service and the customs games and asking each member to be ■ was invented. Unquestionably this was a the alto of the new chord is the soprano Recent research in voicing and access nance, will call for adjustments to achieve of the church. prepared to contribute a part to the welcome resource and respite to .fingers of the preceding one, the note is not re¬ to several extant Silbermann organs of clarity in playing. Naturally, a certain (6) . At the first rehearsal, pick an easy program. involved with the fatigue incidental to peated, to avoid breaking the melodic Bach’s time, reveals that voicing plays an vigor achieved by crisp playing on a large playing the organ. Today, improved line. And a series of repeated notes in important part in how repeated notes will organ will wit apply to a smaller organ, PIPE ORGANS organ action and the development of the bass, when played on the pedals, may sound. We are now able to determine nor to softer combinations, nor in dry When 1 Survey the Wondrous Cross For Church, Residence, etc. technic have minimized the gap between be treated as tied—save over points of that Bach possessed the vehicles for in¬ auditoriums. Adjustments sometimes must Also repeated tones to the degree provided by rhythm. terpreting what he wrote, but that later be made between practicing in an empty Restorations * Tunings By Mrs. W. Henry Herndon Additions * * * Blowers an instantaneous action and a technical re¬ The use of the pedals in hymn playing is departures in voicing have actually made church and playing when the church is Pedal Board Attachments for Pianos finement approaching the speed of the an effect auxiliary to the four part writing; the organ an inadequate vehicle for play¬ filled. On some organs the distance be¬ Author: Sir Isaac Watts was born in gomery called him “the inventor of hymns THE DAVID MARR ORGAN CO. Camillus, N. Y. human reflexes. also the response of the pedal tones is less ing his music. The Silbermann organ was tween the console and the organ chamber Southampton, England in 1674. As a child in our language.” prompt, due to the slower air vibrations “silvery” in tone, rich in the higher har¬ delays the hearing of the tone until a mo¬ he lived in an age of religious strife and Tune: Hamburg by Lowell Mason. Stick to Fundamentals involved in producing these tones. monics, or overtones, and comparatively ment after the keys arc bedded. To play sacrifice. When he was a young man, he Lowell Mason is one of the most noted | PIANO 20c pon LESSON FOR MUSIC well under the hands, as weak in the fundamental tone. Departures under such conditions a supreme concen¬ was very frail and battled not only for re¬ American composers .of Church music. He we find it written for the organ, Instrumental Idiosyncrasies runs, basses, player piano style. Har¬ since then have developed heavy flutes and tration must be directed to the end of ligious and intellectual life, but physical as did more to elevate the standards of Church mony course etc., sent for only $3. We legato technic need not be one thing at IN MUSIC written for the organ, com¬ an overtoneless type of diapason. Action clear-cut playing, and on the points of well. He began the study of Greek, He¬ music than any other person in its history. offer a ^Professional Course^ in Radio, the piano and something else at the organ. posers have been influenced by the on the Silbermann organ, too, was respon¬ rhythm; and coordination must be ad¬ brew, and French, between the age of eight He also introduced music into the public etc. Send for booklet and low prices. A fundamental principle of touch is active characteristics of the organ as a tone- sive, compared to later developments. justed to the hearing of music in the and eleven, and by the time he reached schools—enough to immortalize his name. TEACHERS! Teach new easy system. Writel at either instrument, as well as finger sustaining instrument and by its unfavor¬ wake of the actual playing. manhood he was an eminent scholar and A large number of tunes have been writ¬ SLONE SCHOOL OF POPULAR o.USIC able conditions for repeating tones, freely Dept. K-15, 2001 Forbes St., Pittsburgh, Pa substitution and the details of playing Study Environment Organ playing then, is not accomplished man of letters. He was respected and ten for this song, but none of them seem to I adopting, therefore, the use of suspen¬ legato. Differences at the piano arise AS A RULE organ tones sound under by a hard and fast style of legato play¬ admired as a theologian and philosopher, express the sentiment as does Hamburg. sions in harmonic structure. Bach’s music only in energizing the touch to produce . conditions of more or less resonance, ing as customarily taught There are and a large number of people accepted his Interpretation: The author’s title for calls for note repetition; action and voic¬ tonal variation. At the organ we require thus ameliorating the effect of repeated variations and adaptations which may well teachings. this hymn was Crucifixion to the World by HJiJijil'iiVillliIJIWI.'li only a light touch, as spontaneously pro¬ ing of his time favored the practice. Au¬ tones under unbalanced voicing. In cases Isaac Watts complained to his father, the Cross of Christ. The text used for it thorities tell us that until we come to a be learned. In a paper presented at the duced by the pianist as by the organist. of marked resonance the tying of repeated 1933 convention of The American Guild who was a Deacon, that the songs sung by is Gal. 6:14. The hymn is to be used in Actually the pianist has no conflicting voicing in the modern organ approaching . —id playing through mu__ notes is ill-advised. For these reasons, of Organists, Rowland W. Dunham said: the Nonconformists were untuneful and connection with the celebration of The co-ordination. Quick results—prac- style of touch that needs to be altered at the so called classic ensemble, the playing I tice effort minimized. Used by famous pianists and organ critics may rightfully comment “There is no musical instrument which is meaningless. His father replied, “Make Lord’s Supper. The tempo should be not students of classical and popular music. No obligation. the organ. of Bach’s music is inane. Theoretically, upon much organ playing as dull and generally so badly played by professionals some yourself, then.” He did, and thus his too fast. The words and music should | Broadwell Studios, Dept 11-J, Bend.x Bldg., Los Angeles, Calif. The organist and pianist, schooled in the organist today must acquire a high blurry, void of vitality, and lacking clear- as the organ.” career as a hymnist was begun. He set express pathos. Matthew Arnold very modern technic, eliminate from the tech¬ a precedent by writing an entire hymn book fittingly called this “the greatest hymn in nical approach the gap formerly inevi¬ by himself. This is why James Mont¬ the English Language.” RE JIN ARTIST table under an inviolate pedagogy which VonWE CANnRAWiva TEACH .*« 'V clJ held that fingers must be raised to strike the keys. Briefly, finger action today Small Organs in Modern tDfjett 3 Surrey tfje IDottbrous Cross. operates not from above the key, involving lost motion, but from the key surface, in¬ Homes Hamburg. L. M. Arr. by Lowell Mason. Write today for Art Year Book volving only the slight movement from Schgol^Apmledakt key surface to key bed. Similarly, chord By Henry S. Fry Dept. *75,10 E. Huron St., Chicago, III. intonation is by a slight drop of the wrist which beds the keys under the fingers. Along with the additional leisure coin¬ MUSIC LOVERS: f^L?-DencscTck: The fingers’ return to key level is simply cident with changed economic conditions 1. When I sur-vey the won - drons cross, On which the Prince of glo - ry died, the world’s finest^ recorded music. 50c the release of impulse and weight, active has come a development for the cultural 2. For - bid it, Lord! that I should boast, Save in the death of Christ, my God; and $2.00. The Symphonies,5 Chamber 3. See, from His head, His hands, His feet, Sor-row and love flow min-gled down; W JSk Mu31c- Operas, of BACH, WAGNER, in the fingers or wrist. use of such leisure: that is, the production Fjg’JI BEETHOVEN, SCHUBERT, BRAHMS. of small pipe organs for the home, at a cost 4. Were the whole realm of na - ture mine, .That were a pres - ent far too small; The Nicely Linked Chord less than that of a first class grand p«na LtBU P'ete Catalog “I” on request. Also IEGATO, when correctly taught, re- In addition there has been a development W,C °r a" MUSIC SERVICE ’ J quires no adaptation to the modern of instruments in which the tones are pro¬ 111 E. 14th St., New York City organ. We establish this legato by not duced by means other than the usual organ releasing the keys of a chord until the pipes. intonation of the next chord—provided all It is, of course, true that in order to sate MUSIC PRINTERS tones of the next chord are new. If one space and expense, some idealism has to or more tones of the next chord are the be sacrificed. For instance, in the small same as in the chord we are leaving, these pipe organ, installed in a limited space, it is My rich-estgain I. count hut loss, And pour contempt on all my pride. tones are released for a new intonation, necessary to Include one octave of reeds tn AU the vain things that charm me most, I sac - ri - flee them to His blood. but all other tones are held and carried the pedal organ, and to limit the range of Did e’er such love and sor - row meet,’Or thorns corn-pose so rich a crown? over legato to the intoning of the new some of the stops downward, to “Tenor C Love so a - maz - ing, so di - vine, Demands my soul, my life, my all. chord. As the new chord is intoned the In the instrument without pipes, where repeated tones sound with it. The repe¬ power is secured by amplification, we miss " • t iF-fef J ^ >J--■' tition of one or more tones is hot con- A SMALL HOME ORGAN WITH ITS “WORKS” IN A STAIR CLOSET the richness of volume produced by a mi*" ture of varying tone colored stops, which 612 OCTOBER, 1935 613 THE ETUDE Bands and Orchestras

(iContinued from Page 583)

oil on a swab, with all excess squeezed “Three in One” oil on the wood (exterior)

tube of the instrument. The squeezing is Clean the holes by twisting the rag into necessary, to prevent too much oil getting the hole, pressing it against the sides, and on the pads. Some will get on them; but turning it around. Put oil on the keys and this need cause no alarm. It is betterto rub this off with a soft rag winch will

clarinet! ^^gTOd^uTl^o^cork0 grease spring and its friction place, should be used on the joints, to facilitate Occasionally it will be found

THE MOST FAMOUS NAMt tion. Especially is this important for the may stop its development. ih^new^novatior.in ti.nes.uUy. 2268 in the Accordion world jyU.P'&lS , | presents the long use. ture. Never carry it, except in a case; to --rv7--rTuD»re”ioi7RTudJi.'iid*- EXCELSIOR dents! against the weather and possible acd- - CONCERT GRAND Why Every Child Should Have A excelsior"33^ Musical Training

By Elizabeth Craig Cobb

One of I YORK’S nicest HOTELS rnrtHE OLD IDEA of the “Three R’s” Music in the home helps to strengthen I being the essentials in education for family ties; it solves many social problems. JL the masses, and of training only the To be able to sing or play well, even a talented in the fine arts, is giving way to a simple melody, gives a satisfaction to the

~Pu» CATENA-HARMONY the Only" Se=5Zi3ff5SS sr”*- MEMOE1“„ra Rebuilt Band & Orchestra Instruments

__Forws Free Catalog- School Music Collections

The Genial Dr. Burney

(Continued from Page 578)

OCTOBER, 1935 615 To make proper adjustment of the bridge wards. This will change the pitch of the WHERE SHALL I GO when it becomes warped, or curved requires strings more or less, so that the violin will practice and great care. Sitting in a chair, have to be re-tuned. It may take some little and holding the violin firmly between his practice until the student is able to straighten TO STUDY? knees the violinist should then grasp the his bridge without any mishaps. THE VIOLINIST S ETUDE bridge firmly with the thumb and first and It will be evident that the same rules as second fingers of each hand. The bridge to straightening the bridge will apply to the Edited by must then be pulled back into a perpen¬ viola, the violoncello and the double bass. Private Teachers : dicular position. It is best to do this by A little soap rubbed into the notches of fi (Eastern) J a twisting motion, as it can be done more the bridge, will make it easier to pull it ROBERT BRAINE safely that way than by a direct pull back¬ back into position. It is the ambition of The Etude to make this department a * Violinist s Etude comp WALTER CHARMBURY ; Pianist and Teacher > SHERMAN SQUARE STUDIOS j flm 160 W. 73rd Street, New York Scales in the First Position on the Violoncello Tel. Trafalgar 7-6700 J By Joseph Suter ‘Klangfarbe’' KATE S. CHITTENDEN [ Pianoforte — Repertory — Appreciation a Scales should be included in the violon¬ solfeggio, either mentally or vocally, simul¬ 230 WEST 9th ST., NEW YORK CITY J (Tone Quality) cellist’s daily practice hour just as soon taneously with each note as it is played. ALBERTO JONAS I as the beginner’s technical equipment per¬ (The method of solfeggio referred to is Celebrated Spanish Piano Virtuoso M mits. If an idea be borrowed from the the modern system by which do designates By August M. Gemiinder Teacher of many famous pianists great violinist, Sevcik, this important in¬ the key-note of each scale.) 19 WEST 85TH STREET, NEW YORK CITY * clusion may be made sooner than might be For example, the scale of F major begun will be the tone. This explains the great Tel. Endia>ttg-2OT4n|[[ On Wednesdays in Philadelphia „ on the open string would commence: “The second upper partial tone is the louder tones, and nearer to the finger-board y*LL MUSICAL TONES are compound- for softer tones, as has just been explained. carrying power of the violin and the little levcik, in his scale studies, begins every The scale of B-flat major: .tones. That is, each musical tone is Fifth of this octave, or G, making three carrying power of the mandolin. times as many vibrations in the same time The form of the vibration made by the LaFORGE-BERUMEN STUDIOS : scale on the open G string instead of on Ex. 1 J. JL really a combination of tones, of The flute and other wind instruments of as the prime. string varies when bowed in these different Voice—Piano N the key-note. (G-sharp, or A-flat, being which some one (generally the lowest) is the woodwind family, while their tones are “The third upper partial tone is the sec¬ places, and this has a decided influence in Frank La Forge teacher of Lawrence Tibbett « used as the starting point for those keys the loudest. composed of the same partial tones as those since October 1922 „ ond higher octave, or C, making four times softening or increasing the strength of whose signatures do not permit a G- Our English word, “timbre," and the of the violin—the octave, fifth of that octave, 14 WEST 68TH STREET, NEW YORK « as many vibrations as the prime in the same the upper partial tones, depending upon Tel. Trafalgar 7-8993 natural.) This deviation from the ortho¬ German word, “Klangfarbe,” mean about double octave, and so on—do, by their con¬ the same, that is, tone-quality. Tone-qual¬ whether the bow be used nearer or farther dox manner of commencing a scale always The scale of B-flat major: formation, tend to give prominence to the GEORGE S. MADDEN ity is to a great extent a matter of how “The fourth upper partial tone is the away from the bridge. on do, constitutes an exercise that has few partials near the middle of the series. The Scientific—Mental Art of Singing " Ex.2 t many and how strong partial tones are con- major Third of this second higher Octave, Tartini is thought to have been the first Based on psychological 1 00 P. C. tone vibration J equals in the developing of g keen ear; a or E, with five times as many vibrations to use upper partial tones for themselves violin family alone, of all instruments, gives By a Singer Who Makes Singers , benefit which alone renders Sevcik's origi¬ alone—the first to detach the upper par- prominence to all the partial tones; and as Metropolitan Opera House, 1425 Broadway, N. Y. C. a nal plan of untold value to violoncellists. Violinists who are expert in bringing as the prime in the same time. Tel: Penn. 6-2634 « :”‘"j j J"* out the harmonics will need no further ex¬ “The fifth upper partial tone is the Fifth tials from their basic tones. Originally the beauty of tone depends so largely upon But a simplified version of the idea also of the second higher Octave, or G, making they were called “Tartini tones,” and are the number and quality of the partial tones, RICHARD McCLANAHAN ; contains another advantage in that the planation, but the student will do well to The scale of G major: learn and keep fixed in mind that every six times as many vibrations as the prime often referred to at this late day by the it is easily seen why violin-tone is superior Representative TOBIAS MATTHAY a first position range of the violoncello may tone he produces with his bow really con¬ in the same time. to any other sort of tone. Privute-lessons, class-lessons In Fundamentals be utilized to its fullest extent in every Available as Lecture-Recitalist tains a series of harmonic tones which are “And thus they go on, becoming con¬ Broadhouse writes: 806 STEIN WAY BLDG., NEW YORK CITY a not audible to the ear as separate tones, tinually fainter, to tones making seven, Tonal Individuality "During the greater part of each vibra¬ Of course, when applied to the violon¬ IANO MAKERS, especially, give much cello, the open C string is used as the start¬ but which, sounding with the prime tone, eight, nine, and so on, times as many vibra¬ P tion the violin string clings to the how FRANTZ PROSCHOWSKI ; thought to the upper partials present in ing point. The “simplification” implies fa sol la ti give that tone its quality, or timbre, or tions in the same time, as the prime tone.” and is drawn forward, detaches itself, re¬ Vocal Teacher 3 klangfarbe. So, with C as an illustration—C on the every tone, and in “drawing the scale” of bounds and is seized by the bow and again 200 W. 57th St., . L r New York a mainly that the range is limited to the first The scale of D major: Not all the harmonics—or partial tones A string, we will say—this is the order of a piano, the maker so regulates the strength carried forward. The upper partials are Tel: COLumbus 5-2136 a position. But the exclusion of minor scales the harmonics, which sound with and give of the strings and fixes the “striking point" present to about the tenth. The prime tone is also recommended. And, as even a be¬ Ex.4 —are employed as separate tones—that is, LAURA STEINS RHODE J they are hot all called for by composers. quality to the C: Prime C, C, G, C, E, and for the hammer at a point which will destroy is more powerful than in the piano-forte, ginner can suffer by being the recipient of The most used harmonics and the methods some partials and make prominent others. the earlier up|>cr partials being weak, but . PIANO, Beginners or Advanced H too much of a good thing, the deletion of The presence of these partial tones and Band instrument makers, on the other Instruction in Accompanying J the more difficult major scales is also of producing them are too well known to above the sixth they arc much stronger, VOICE, Coaching and Tone Production x the quality—that is, the loudness, incisive¬ hand, aim—by the contour and thickness recommended. require discussion. It is the partial tones and give to the violin its peculiar cutting Studio: 34 Charlton St., New York City [j that are always present and not heard as ness, and so on—of these partial tones of their tubings—to destroy the higher par¬ tone. They can be easily heard, if the ear The playing of scales in this manner is The signature of D major, not permitting separate tones that we would point out to differ in different instruments. tial tones, though in this they cannot be is led to expect them by first playing them RALFE LEECH STERNER “ likely to prove rather confusing to the ear a C-natural, necessitates that the first fin¬ the student. Cornets and all the wind instruments very successful, as the tendency of air in as harmonics. Touch the string lightly at Vocal Instructions " at first. This confusion may be greatly ger, stopping C-sharp, be substituted for have very piercing upper partial tones and tubes is to generate extremely high partials, the middle point, and bow it lightly, and the Singing and Speaking Voice a lessened by applying the nomenclature of the open C string. The Source of Beauty on some of the brass instruments the lower that is, those above the fifth and to be weak 310 W. 92nd Street New York, N. Y. a first upper partial will be sounded: then bow Tel. Schuyler 4140 a JUST AS every dollar is composed of one partial tones are very weak, while the par- in the lower partial tones. the open string, and this tone will be plain¬ hundred cents, every tone is composed of tials above the fifth are very piercing, giv¬ Violins are, as before stated, extremely ly heard. So also with the second, third, EDWARD E. TREUMANN ; A Study in Violin Tone five, six, seven—or maybe as many as six¬ ing the prime tone a very clangorous rich in partial tones, and the more skilled and so on. Concert Pianist—Artist-Teacher ► teen or twenty partial tones. quality. The same is true of the mandolin. the bow arm the more true and smooth will “It is the addition of such overtones to Piano makers “cut off” the extremely Emil Von Saue'JTnd" Josef Hofmann » The violin is especially rich in high par¬ be the upper partials. fundamental tones of the same pitch which Studio, Carnegie Hall, Suite 827, 57th St. at 7th Ave. ► By Beatrice Perron tial tones—much more so than the piano. high partial tones of each string by having Bowing by the beginner sets up screechy, enables us to distinguish the sound of a Tel. Columbus^S-4357^ ^ ^ &New York, N. Y. ► No matter what tone is taken as an illus¬ the hammers strike the string at a point caterwauling tones—the string is not vi¬ clarinet from that of a flute, and the sound Of an earnest young violinist’s concert string—which for the nonce has become tration, the same law of acoustics applies which will damp these upper partial tones brated correctly and the partial tones are of a violin from both. Could the pure debut, the critics were unanimous in writ¬ water. “Sink the bow” as you pull, but and thus give the prime tone better quality. RAMON E. TUCK to it. The partial tones always begin with jangly, if present in their fufl strength. fundamental tones of these instruments be ing that, while his technic was amazing, his don’t drown it! If you do, you will readily Students of Spohr’s Violin School will Piano Studio * the octave, then the fifth of that octave or Much screechy tone is due to some one detached, they would be undistinguishable Matthay Principles Used J tone was “small and lacking in firmness.” hear the gurgles and squawks which indi¬ remember he recommends that the bow be the twelfth of the prime tone. upper partial being too prominent, due to from each other; but the different admix¬ 40 Pierce^Bldg., Copley Square, * A poor tone is like a faded color, an cate forcing. Above all, never force. used near the finger-board for a soft qual¬ Helmholtz, the great acoustician, gives improper vibration of the string through ture of overtones (partial tones) in the unseasoned dish, a green apple, while a Another suggestion. Perhaps you have ity of tone. The usual place of bowing is slip-shod bowing. the law of partial tones in this language: different instruments renders their clang- good tone is resonant, vibrant, full and pulled candy at some time or other and half-way between the bridge and the end of : “The first upper partial tone is the octave Wire strings have a tendency to sound tints diverse, and therefore distinguishable.' Private Teachers compact— whether it be forte or pianissimo. recall the stage when the candy offered re¬ of the prime tone, and makes double the the finger-board, or about one-tenth of the the higher partial tones prominently and (This article has been reproduced by per¬ (Western) I Tone comes chiefly through the bow. Even number of vibrations in the same time. If entire length of the string, measured from sistance and you had to pull stretchingly yet the lower ones softly, if at all. mission of August Gemiinder & Sons, from if the bow is held and drawn correctly and we call the prime C, this upper octave will the bridge, while, as every violinist knows, LAZAR S. SAMOILOFF ] gently. Then, try pulling your bow across The more fully-developed partial tones the booklet, "Theories and Knmvlcdge Re¬ the left hand fingers are firm on the finger- • be C. the bow is carried nearer to the bridge for Voice teacher of famous singers « the string with that tugging, candy-pulling present, the sweeter and more far-carrying garding the Construction of the Violin ”1 board, there can still be a small tone with Beginners accepted " feeling. But never force it, or your tone 610 So. Von Ness Aye., Los Angeles, Col. no “guts” behind it (good old American will break, just as the candy did. Special teachers' courses „ slang!). Along with the foregoing experiments, If you have a small tone and realize its Breaking Bridges here is a valuable bow exercise. Hold the Schools—Colleges « shortwindedness, try the following. (A bow at the frog about a quarter of an inch By Robert Braine Professional leading symphony player calls it “sinking the bow.”) Place the bow on the D or A above the A string—no higher—and draw n II 1 111 SCHOOLS OF MUSIC a A subscriber writes that she is continu¬ strings; and for this reason. When the KKilln IN Robert Braun. Director a string, at the frog. Hold firmly, and, as the bow very slowly, snail pace, from frog Just Published: ally breaking bridges, and wants to know strings are below pitch, and they have to be toward the fingerboard. Sometimes the un HUIl Graduate School Pottsvllle, Pa. „ you draw it across slowly, press gently, to point without once touching the string. “THE GILBERT & SULLIVAN “ iJum*s pay not the si top of the bridge is pulled over so much the cause, and the remedy, if any. Now, tuned higher, they pull the top of the bridge attention to the bridge or to keeping with the feeling that the bow is made of Ten minutes of this every day will show OPERAS”—A Concordance, by Fred. that it cracks, and when this happens, it breaking a violin bridge is at all times an over towards the fingerboard. If the pitch perpendicular position. They simp! CONVERSE COLLEGER j cork and must be pressed down into the surprising results. J. Halton. Foreword by Rupert D’Oyly is almost certain to break if it falls. annoyance, and if it happens just before one of the string or strings is only slightly too their violins, not noticing that in do Carte. Unknown terms and idioms in. If the top of the bridge is pulled over l/liny CONSERVATORY OF MUSIC J the libretti explained in detail. Cloth- steps on the stage to play the Mendelssohn low, the pull of the strings is very slight, the top of the bridge is being grj very far in the operation of tuning, the iVNUA Catalog FreeGale8l>Wm.^F! Bentley, Director x bound—profusely illustrated—$2.00. “Concerto” it is a calamity. moving the top of the bridge very little. In pulled over, while the feet remain stati If our correspondent will watch an expert this case nothing happens, but if the violin In the case of a new pupil, one of tf strings, from the top of the bridge to the nut are slightly shortened. Also if the ORCHESTRATIONS — STAGE violinist, she will notice that he frequently is much below pitch, or new strings must things to which his attention shot NORTHWESfERNsirsiFS j E string is pulled up very much, which ' J{d dramatic Art. Esther C. Benson, M.M., President N GUIDES—CHORUS PARTS and scores glances at his bridge to see if it is in a per¬ be put on, the top of the bridge is pulled called is the necessity of keeping the “There are students who lay out plans to study a few months with one reasonably rented for your Gilbert and fectly upright position, perpendicular to the over to quite an extent. When the top of perpendicular at all times, ‘if pupji, happens in putting on a new string, the Sullivan Operas. Send your inquiry on right side of the bridge is pulled over with¬ master, a few with another, and so on for several winters, while they study belly of the violin. If it is even slightly the bridge is pulled over far enough in this not been taught the importance of tl production details. out changing the other part of the bridge. i|™POAH„cCpLLEQE: something else or work on the side, and who expect within several short bent over or warped, he at once puts it back manner, the bridge is likely to come down justment, nine out of ten will show £lpe Orchestra, Public School Music. Piano and " THE BASS PUBLISHERS This makes the vibrating section of the E years of this schedule to reach the highest pinnacles of their art.’’—Cesar into its upright position. Especially does he with a bang, frequently breaking it, and every lesson with their bridges w N Tuning. Rates Reasonable. In the heart of the Shen- - 509 Fifth Avenue, New York City Thomson. do this after tuning, or putting on new sometimes jarring the sound-post loose, so curved, and with the tops pulled string slightly shorter than the other strings and this interferes with true intonation. 616 OCTOBER, 1935 617 the etude 1

VIOLIN QUESTIONS The Lowered Second Scale Step Answered (Continued from page 574) By Robert Braine ‘-'NEW NOTES prime impulse to this unusual change of key is, indisputably, the lowering of the second step of F-sharp minor. The chord for your at* is already in G major, as supertonic with raised fourth and second steps (C- sharp and A-sharp). It serves to intro¬ Repertoire of duce the change of key. If you will take the trouble to glance at measure 25 of this Piano Teaching Material same Adagio, you will find exactly the same lowered second step, G-natural, used here, however, as an altered chord only, not as a complete modulation. The Lowered Second Step of the Dominant Seventh • Alive With Inspiration IT WILL BE found, in Example 2 D, that the effect of the altered tone in • Filled With New Ideas the chord of the dominant seventh is totally different from that of its usual connection with the supertonic. It is more poignant, • Stimulating To The Student and much less frequent in classic litera¬ ture than the latter; and it occurs only in a major key. Beginners' Book FREE In the following examples, Ex. 14 FUN FOR YOU Songs and Piano Solos mple of the lowered For Young Musicians it, in A major, in its most c setting, as II. Note that By OLIVE LENNOX TYRRELL also lowered (F-natural) With Introduction by e remains major. What tmphasis to the altered T. H. YORKE TROTTER ddeu brief pianissimo, in

ion (if any) and indicate your musical status. helps the WALTER JACOBS, iodulation at all, but a singularly The key of'e^s used,,ar,frrst‘‘in“order that the pupil's feeling for absolute altered chord, with a lowered sec- A is from the Theme of the Finale of lative pitch be eve ope ^ s®uP°*ear ° on”* the "child fs"likely to lememberTt Brahms’ “Fourth Symphony.” The mode did Beetho- is first minor, but changes to major, the spirit reach only condition in which the lowered second SPECIAL NOTICES venth Sym- step (F-natural) is ever used, in the dom¬ FACTS AND ; mind would inant seventh chord. B is from Beeth¬ e of orthodox oven’s “Sonata, Opus 14, No. 1.” It is — ABOUT THE ANNOUNCEMENTS in the same key as at A, and the lowered standard of step is again F-natural. Its poignancy is New Piano Solos : fundamental greatly augmented by the persistent C Standard don. But at the top, which is a tonic organ-point. he sensed a far broader application of these Note how the altered step is twice restored By Our GRADED COURSE to its normal pitch of F-sharp. imagined Ind" he pointed1 out many new, Finally we have a most extraordinary often startling, combinations that were illustration of the force of Beethoven’s bitterly disputed and condemned in his day. genius in disclosing novel applications of American Writers By W. S. B. MATHEWS Of one particular passage near the end wholly legitimate tone combinations. This of this same First Movement, Carl Maria daring innovation occurs in one of his very • THE OLD MAN AT THE MILL (Sr. 2).30 • OCTOBER WIND (Gr. 3) .40 • VALSETTE (Sr. 3) .30

w,l“",d b’ • HOBGOBLIN DANCE (Sr. 2).30 • THE TRUMPETER (Gr. 2) .30 • A PONY RIDE (Gr. 2) . &^^ ^ w d ^ { -3J

• WIND HARP IN THE TREES JGr. 2-3)...... ^ .25

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618 OCTOBER, 1935 Question and Answer Department Conducted by If You Love Symphonic Music- Write to “Presser’s” for It! Karl W. Gehrkens THIS IS A BOOK YOU OWE YOURSELF , r our regular patrons, upon learning Professor of School Music, Oberlin College Musical Editor, Webster New International Dictionary THE Victor Book of The Sym¬ Many active in music have told us in their first communications that “Write to Presser’s for it.” phony was written expressly for that they did not know where to get some wanted music, had given them ^ e a ^V1 ’__ No question will be answered in THE ETUDE unless accompanied by the full name music-lovers who listen to symphonies and address of the inquirer. Only initials, or pseudonym given, will be published. jularly over the radio at concerts, o

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OCTOBER, 1935 UDE

l La Boheme

(Continued from Page 582)

AMERICAN On returning with the shoe, Aktndorc gf'uTUSS'.'lSSf’ "S" CONSERVATORY

Act III which Mi mi had left as a OF MUSIC ere d’Enfer. At the left is a tenderly^ caresses it whilst CHICAGO At the right is the entrance to strains that are connected throughoi (ree dawn’fer) leading to opera with his thoughts of Mimi. Founded in 1886 by John J. I ~ is early dawn. About At this juncture Schaunard arrives

sweepers pass stamping their feet for re- Wfth these and a bottle of water, which lief from the cold and snow. Marcello has thrust into Colline’s hat and Rndolfo’s all-absorbing tove P1*^ cm make mockery of

brook6 no aglance6aI)0rUSworadU from another. foviaTdance^which ends in a°duel tetween

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have not seen each other for s ^ ^ Afimf js with her but

of the

and return with the wasted Mimi who is S’R’iSESr*

is seized with a that he sha„ not J, by the moves

a doctor, at which both hastily with- ti Marcello does appear, he is shocked draw. While they are talking, Coltine re- AMERICAN CONSERVATORY OF MUSIC 575 Kimball Hall, Chicago, Ill. LI A D ft I ft Cl AMMCD ^ ^ i ctdcct uni; vadu riTV

Sn°rylkW *thp6final^narhn? ^when Rodolfo Wh’en aU *rC her C>es SpTnt g ,t isra t", sag -■

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622 THE ETUDE OCTOBER, 1935 623 The Most Amazing Romance in INSTITUTE OF MUSICAL ART Musical History *0* Publisher’s Monthly Lfett of the A Bulletin of Interest for All Music Lovers y ^ 1 JUILLIARD SCHOOL OF MUSIC (Continued from page 576) ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean Thorough instruction in all branches of musical education. Private lessons one of which announced the fine success "I live here very comfortably in Juf,‘ri' that his “Fourth Symphony” obtained in in all standard instruments, courses in theory and composition, normal and peace. But I cannot conceal that the Moscow.* On Tuesday, December 10, courses for teachers, methods of group training for children, preparatory proximity of N. F. embarrasses me some¬ courses for children, extension courses, and many others. 1878, Tchaikovsky and Madame von Meek what. She passes by very often. What f Public School Music course leading to degree of Bachelor of Science with attended an opera in Florence, and Tchai¬ I should run into her? How should I act, Major in Music. kovsky wrote to her on the following day: Catalog on request. Apparently, she is not afraid of it, because Six Octave and Chord Journeys she even sent me a ticket to the theater "I could see you very well in the theater, Advance of Publication 120 Claremont Avenue, New York "More Than Satisfied" Piano Study Pieces where she is going, too. She wants me and I do not have to say what a joy that Offers—October 1935 By Irene Rodgers to see her ■villa, and although she says that was. I followed your example in leaving • The very essence of merchandising is that of creating satisfied Even in the early inter- i—n I will not meet a soul during my visit, I after the second act. I sat where you saw All of the Forthcoming Publications customers. No business can progress without that fundamental mediate grades of piano am uneasy about it. At times, I even me—near the trumpets and trombones who in the Offers Listed Below are Fully principle. Here is a customer who signs himself as “more than study modern teachers find NEW YORK SCHOOL of MUSIC and ARTS imagine that she wants a personal meeting, have so much work to do in this opera. Described in the Paragraphs Follow¬ it advantageous to provide although there is not a hint in this direc¬ satisfied.” We appreciate this fine spirit of loyalty and it is our interest-creating material. 310 West 92nd Street, New York City (At Riverside Drive) ing. These Works are in the Course of tion in her daily letters. All this makes On the same day. Dec. 11, 1878, Tchai¬ Preparation. The Low Advance Offer ambition to be unfailing in our labors to deserve such friends. As a rule there is nothing RALFE LEECH STERNER, Director me feel not quite at liberty, and, to tell the kovsky wrote to his brother Anatol: Prices Apply to Orders Placed Now, “I want to take this opportunity to tell you how much I enjoy more unattractive than the first octave and chord truth, I wish she would leave as soon as with Delivery to be Made When the wonderful Etude. I have been reading it for a good many years All rates for tuition and board "N. F. was in the theater, too, and it studies. Of course, the greatly reduced. embarrassed me, as her proximity always Finished. and I have never found it anything but helpful and stimulating. celebrated Kullak Octave From Madame von Meek’s letter the does. I cannot help thinking that she You seem to be continually outdoing yourselves. I imagine that if Studies are really piano wants to meet me. For instance, every day Abound the May Pole—Dance Tunes for you have a watchword it must be ‘alertness.’ compositions of exceptional merit a next morning: Piano—Baines . ” I watch her as she passes by my villa, and “And just a word in appreciation of the splendid service I have some of the advanced octave studies of Florence, Dec. 6, 1878, Birds of All Feathers—Musical Sketch— Diking, Sartorio and others, but beginning The School of Music announces a popular 8:00 A. M. Villa Oppenheim. stops, and tries to sec where I am. How Adair. always enjoyed at the hands of the Presser organization and the octave studies are not so interesting. and condensed two year Course in FIFTH AVENUE Christmas Carols for Treble Voices . What fog today! I am afraid that when should I act? Shall I step to the window courtesy they have always shown me. Here, in this new work, Miss Rodgers armony & Composition and bow? But if so, why not say “How Educational Vocal Technique in Song SCHOOL FOR GIRLS we go out for a walk wc will not And our and Speech—Two Volumes—Shaw and Very sincerely and cordially seems to have solved a real problem. In a ■irection of E. F. Ulrich. B. M„ Assoc. Dean half-dozen “journeys” the student is taken Day and Evening Classes niay to Villa Bonciani. I am so glad that do you do?” However, in her daily, long, your more than satisfied customer, New York City fine, intelligent and remarkably kind letters Evening Moods—Album of Piano Solos... into the land of chords and octaves by Tuition fee, $5., 10 weeks, 1 hour a week they serve good food, my dear friend, and , Louis Weitz, Classes begin early in October there is not an inkling of her desire of a Little Classics—Orchestra Folio— means of that most attractive vehicle, the Resident and Day Pupils that you are satisfied with your Signor California.” - -luabte personal meeting.” Parts—Each .. tuneful piano piece. Miss Rodgers’ gifts as Hector. But you did not tell me if they Piano Accompaniment . a composer, combined with her experience ind all Music lovei__ :d in A college preparatory and finish¬ setter understanding of the Art of Mi give you fruit. I am so glad you like the Madame von Meek wrote on Dec. 13, Piano Studies for the Grown-up Beginner as a teacher, have produced a book of studies ing school where students may that soon will be included in the curriculum Excerpts from some comments views from our Vialc. It is now five weeks 1878: Presser's Manuscript Volume .. specialize in music or prepare for that I watch this view twice a day, and Rob Roy Peery's Third Position Violin of many music schools and private teachers. Book—Class or Private Instruction. concert career in the School’s own every time 1 enjoy it greatly. . . . "What a wonderful man you are! What While the editorial and mechanical work Sabbath Day Solos—High Voice . on this book is in progress copies may be Good-bye, my dear. All yours, a heart, zvhat kindness? Such men as you The Etude Historical Musical Around the Maypole music department or with outside Sabbath Day Solos—Low Voice . ordered at the special advance of publication N. v.-Meck. are born to make others happy. . You can¬ instructors of pupil’s choice. Sacred Choruses for Men's Voices . Portrait Series Eight May Pole Dance Tunes for the Piano cash price, 25 cents, postpaid. not imagine what happiness it is for me The Second Period at the Piano—Kam- With Instructions for Dancing Excellent language and art On the same morning, perhaps only a to have your letters every single day! Not long after this series was started, in By William Baines Little Classics No High departments. half-an-hour later, Madame von Meek Since you are here, I am indifferent to all Singing K February 1932, a letter was received from an Many dance collections Orchestra Folio the Bachelor of Music Course. wrote again: difficulties that beset me. When / feel official in a Mid-West city: Address Rodgers .. are limited in their appeal Everybody connected with music, either as THADDEUS RICH, Mu.. Doc., Dean pained and chilled by so much egotism, in¬ but the excellence of the S Margaret Brown, Florence, Dec. 6, 1878, Ten Tonal Tales a profession or business, owes a deep debt of “This is the finest idea ever. Enclosed find CHOOL of MUSIC Morning. Villa Oppenheim. gratitude and callousness, 1 think of you. When Voices eight piano compositions Tatitude to the music educators in the schools Headmistress, and I feel so warm in my heart, that / for¬ -. Please send me a separate copy of provided in this collection of TEMPLE UNIVERSITY No sooner had I sent my letter to you. each page as it is published because I do not of this country. During the recent trying give the others. With zvhat sadness I as accompaniments to the 1812 Spring Garden St., Philadelphia my priceless Piotr Ilyitch, than I received wish to mutilate my copies of The Etude, all years when many private pupils were forced described dances give this to forego music study, they have been creat¬ yours. Please, do not think that I force think that this happiness is not for long, of which I save. For years I’ve been seeking _collection__ „a winning__ charm myself to write. I write out of my own that I will have to leave in two weeks.” a handy reference concerning the lesser-known for those who would be interested ing and fostering music appreciation in our ' 1 ’ it only youth through the fine bands, orchestras and necessity, because my thoughts and my musicians as well as the great ones.” _ album of piano music. The music ma¬ choruses they have maintained. TRINITY PRINCIPLE whole being are with you, and it is under¬ On December 25th, a farewell note came The Cover for This Month Yours very truly, terial utilizes both original and selected PEDAGOGY \V. T. E., Minn. The young musician of today demands the standable that I am moved to commune to Villa Bonciani: Through the courtesy themes and is presented in such clever fashion “best” in music; nothing else will satisfy him. The only Scientific Pedagogy based by the composer as to make effective piano on Peeling, and practically with you. Concerning my invitation to "Good-bye, my dear, incomparable friend. »f Steinway & Sons, He has been brought up to appreciate “good” applied to Music. Evidently many readers of The Etude accompaniments for the dances without going visit my villa. I realise, my dear friend, I am writing you for the last time from the The Etude has the priv¬ Send for P M B circular. ilege of reproducing on share this subscriber’s enthusiasm, judging beyond the abilities of those who have had Publishers know this, by the type of music that I suggested something awkward. . . . Villa Oppenheim in your dear neighbor¬ from orders for copies of additional pages only several years of piano study. In telling EFFA ELLIS PERFIELD But I will be. very glad, my dear, if you its cover one of the that is ordered from them. That is why we • 103 East 86th St., New York, N. Y. hood. 1 thank you, my dear, for all the most interesting in the that keep coming in each month. Music lovers about the music, however, we should not are preparing this orchestra book of Little come here after my departure. . . . While good you have done for me, and / will al¬ famous Steinway collec¬ realize that this is a stupendous undertaking lose sight of the main purpose of the book I am writing, the fog has disappeared, and Classics. It will contain smaller works ar¬ ) students’ musical unfoldmenl ways recall zvith joy the time I passed so tion. Although The and, though the expense of it is great, we and the great service it will render to danc- ranged for orchestra of Beethoven, Bach, WANTED: A REPRESENTATIVE the sun is shining through. In half-an-hour near you, in constant communion with you. Etude cover does not feel that it is fully justified in the service ing instructors and directors of physical edu- Handel, Haydn, Mendelssohn, Mozart, Schu¬ in every town to we will pass by your villa. I feel sad to the point of tears that this reproduce this painting rendered. A scrap-book containing a com- cation, as well as to those who are interested mann, Verdi and other masters, not the most- in all the beautiful col- plete set of these pictures and thumb-nail in worth-while material for indoor or outdoor familiar compositions, obtainable anywhere, Train Children’s Voices happiness is at an end. but I am trying to biographies will someday be the treasured entertainment. The instructions for the Tchaikovsky answered this double mes¬ console myself zvith the thought that some I oring of the original, it but real, worth-while gems that will provide High grade work with excellent remuneration does give a clear con¬ possession of many a music lover. dances are clearly given and there are eom- sage the same day, Dec. 6, at 9:00 P. M. day it may come back.” interesting recital selections and valuable Louise Weigester School ception of the spirit of the painting. Additional copies of these pages may be plete directions for costuming and setting of study material. The instrumentation has all Florence, Dec, 6, obtained a a May Pole scene. Two useful unison songs 160 West 73rd St. New York Tchaikovsky replied at once: Ignace Jan Paderewski, as a pianist, has of the parts for the modern school orchestra, 9:00 P. M. Villa Bonciani. won enduring fame. Not everybody has for May Pole festivities are included. The including a Tenor Banjo which contains . . . The lighting is excellent here, and had the chance to hear Paderewski play Birds of All Feathers advance of publication cash price is 30 cents chord diagrams that permit the inclusion of "My dear and good friend! I thank you a copy, postpaid. that is zvhy I did not take the candles that for everything: for the zvonderful days and, of course, hut a comparative few have other fretted instruments if desired. CONVERSE COLLEGE A Musical Sketch Ivan Vastliev brought from you. But, God, which I spent here, for all your infinite had the opportunity to meet and know the There are five violin parts, all but the Solo SCHOOL OF MUSIC FOR WOMEN how touched I am by your infinite care man Paderewski and to discover that per¬ By Mildred Adair Evening Moods Violin (ad lib.) in first position. SPARTANBURG, SOUTH CAROLINA cares, for your friendly sentiments. You INTERNATIONAL MUSICAL and kindness! Thank you, my dear, my haps the reason for his greatness in music Album of Piano Solos The advance of publication cash price for An Endowed Professional School, Nationally are the source of my material and moral and in statesmanship is the greatness of the This sketch is just the thing for giving a each part is 15 cents; for the piano part, 35 Accredited. Full B. Mus. Degree and Diploma good friend. . . . Last night I could not There is a very attractive song by Adam Courses. College Environment. Teachers of and EDUCATIONAL AGENCY well-being, and my gratitude is beyond ex¬ soul of the man. Dr. William Mason little group of young music students an opportun¬ cents, postpaid. National Repu*~‘:~" 1-—• make up my mind to go to sleep, so beau¬ pression.” knew, in 1893, that after the W'orld War ity to appear before an audience in an enter- Geibel which has words running,... “With the Moderate Tuition Fees. tiful zvas the moonlit night. I zvalked up tabling, picturesque, and musically attractive calm and the peace of evening, Comes the For Catalogue Paderewski would become the first premier Christmas Carols and down the balcony, relished the fresh To his brothers he wrote this time with¬ ot Poland, yet in 1893 that which Dr. Mason program. It is so arranged that a little boy hush of the twilight hour.” Piano music that and a little girl in play clothes act as “masters fits in with the calm and peace of the eve- For Treble Voices air and enjoyed the silent night. out mental reservations: wrote of the then thirty-three year old pi¬ anist, well satisfies any who have stood in of ceremony” in carrying out the continuity ning has a very great appeal to many who For purposes of introduction this collection remains on advance of publication offer sssTKeatre "AT. F. has left, and, much to my surprise the presence of M. Paderewski forty years which brings before the audience other chil- have come to know the beneficial pleasure ATLANTA He wrote again on the following morn¬ dren dressed in readily-made crepe paper in the relaxation which may be had through throughout October and then it will be with¬ ing: I miss her very much. With tears in my later and felt a sense of his greatness and CONSERVATORY of MUSIC loved him for his personal sincerity and costumes representing a number of the fa- the medium of rendering such music. Music drawn, so if you want to get a single sample HUGH HODGSON GEORG LINDNER eyes I pass by her deserted villa. . .. / am miliar bird characters. In the course of the of this character also is of a very acceptable copy at the special advance of publication Dec. 7, Morning, so accustomed to be in daily communication humility. Dr. Mason wrote to the effect that Course* in'3PIANO, VOICE, VIOLIN,“ORGAN, Paderewski “combines the emotional with program they present various piano pieces, type for use by those pianists who preside cash price of 10 cents, postpaid, send your PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ Villa Bonciani. with her, to zvatch her every morning, as order in immediately. This collection will be ING, DRAMATIC ART AND DANCING Etude Advertisements are . . . I always forget to answer your ques¬ the intellectual in admirable poise and pro¬ sing attractive little vocal solos, do several at the piano for church and Sunday school Bulletins of Splendid Buy- she passed by my house, accompanied by pleasing little dances, give a musical recita- services, or upon other occasions where music ready for delivery during the course of this tion about the fruit. They serve me fruit portion. ... he plays with a big, warm heart Peachtree and Broad StreetsPP Atlanta, Ga. Opportunities - - - her entire retinue, that zvhat at first em¬ tion, play a violin solo, and render several of a gentle, soul-caressing type is most fitting, month and it will give a generous selection 11 1 regularly, in great abundance. On the as well as with a clear, calm, discriminative barrassed me, now constitutes the subject head. . . ensemble numbers including a piano duet and Besides holding to compositions having these of favorite Christmas carols arranged for two- whole, the food is excellent, and if there of a most sincere regret. But, God, what As a composer, he seems to have been so trio, and a rhythmic orchestra selection. As qualities as do reveries, nocturnes, idyls, and part singing (soprano and alto). It is a is any inconvenience, it is in the number in the same composer’s very sucessful works other types of tone poems, the aim in this collection that will prove very serviceable to ESTABLISHED 1857 a remarkable, wonderful woman!" severe a self-critic as to have tendered to of meals. . . . It rained all evening, so I the world but a very few of the compositions of a similar character, In a Candy Shop and collection is to provide piano compositions those having charge of Christmas programs could not enjoy the night's freshness on (Part II of this interesting "Romance” he must have written in the years of his From Foreign Lands, the music is very tune- of a grade satisfying to those pianists whose in girls’ high schools, academies and colleges, PFARHnV CONSERVATORY ful, rhythmically attractive, and of an easy accomplishments make it possible for them and its use by directors of music in churches my balcony as I did last night. . . . will appear in the next Etude.) hfe, beginning with his first efforts when he 1 LnDUD 1 BALTIMORE, MD. was only seven years of age. His greatly loved grade acceptable for young pupils. One copy to handle piano music in grades four and five, and Sunday schools will help add variety to Madame von Meek answered the next Alenuet a l’Antique comes out of his Op. 14. may be ordered in advance of publication at The advance of publication cash price of this the presentation of Christmas favorites which morning. In that single day, Sunday, Dec. “Fourth Symphony” o hemg the No. 1 of six Humoresques de Con¬ the" special low cash price of 25 cents, post- promising volume of piano music is 30 cents every one likes to hear. 8, Tchaikovsky sent her four separate notes, her, symphony : tlie st cert forming that opus. paid. a c°Py> postpaid. (Continued on Page 626) “To my best friend.” Advertisement 624 THE ETUDE OCTOBER, 1935 625 Singing Melodies SHEET MUSIC—PIANO SOLOS (Continued) World of Music 13587 Bridal Chorus, from “Loher Educational Vocal Technique melodious piano pieces covering the above- Piano Studies for the A Collection of Piano Solos With Words Each month toe propose in the Publisher’s Monthly Letter to j c jo i mentioned technical phases, practically enougn Grown-Up Beginner {Continued from Page 568) Boys and girls in the first grade of piano 19637 Pride"of~^Regimerft^Crowi In oOJlg and opeecn supplementary material for the entire second study enjoy playing little pieces, especially A FAVORITE By W. Warren Shaw year's study of the average pupil. This Most instruc- books for THREE THOUSAND SINGERS in a pieces with clever rhymes that may be sung, 6533 .___ __ COMPOSER either by the young “performer,” or another ~"79 Carmen March—Bizet-Mero. In Collaboration wM, C..,g, I. Lind,a, ^ grown-up begin- chorus, with an orchestra of one hundred, : Song—Kei •a ners are designed under the direction of David Stanley Smith juvenile “artist.” Experienced teachers know Two Volumes rhythms will surely appeal to young players, the value of these “singing melodies” for in¬ -is This unique song method We are now offering teachers an oppor- to maintain the and Richard Donovan of the Yale School of presents a practical means tunity to order a copy of this book at the interest of the Music, gave a concert on June 1st, in the culcating a sense of rhythm and in teaching Felix Borowski of cultivating the voice for ... » ... ■ • student by pro- Yale Bowl, as a feature of the celebration of phrasing. , 18428 Fragment from the Unfinished Some of our best composers of juvenile Symphony—Schubert . singing and speaking, states viding pleasing, the Connecticut Tercentenary, with an audi- 30633 Album Leaf (Left Hand Only) musical history at the Chicago Musical the underlying theory, and e a s y-t o-p 1 a y ence of fifteen thousand. piano material have published books of first College. Later, in 1916, he became presi¬ pieces with words. These are extensively —Spross . dent of the Chicago Musical College, also introduces the pupil pieces and short ,t-i- which position he relinquished in 1924 to to the literature of song. Rob Roy Peery’s Third used but, naturally, they lack the variety j(S0 tinguished Polish stock \ —very short— DR NICHOLAS J. ELSEN'HEIMER, em- that will be found in a book of “singing .m ” j These three important serv- preliminary tech- ;nent organist, composer and teacher, died on .■M ' "m ices are the result of an in- Position Violin Book melodies” selected from the writings of vari¬ 26102 Tick-tock, Tick nical exercises. ju!y 12th, while on a visit in Germany. Born ous composers. This new volume will con¬ served s< li p genious plan. Twenty-five For Class or Private Instruction Grown-Up Beginner’s Book by W. M. Felton an(j educated in Germany, he came to America simple but excellent exer¬ tain a generous number of easy grade piano work, co is probably the first work which attempts to jn lg90, as teacher of piano and theory in the solos with words and the foremost contem¬ mental < sembles, sonatas t cises are set to interesting lay a technical foundation that wdl enable Cincinnati College of Music. In 1907 he be- in started with the verses_ which___ e the common vocal truths, instruction dook, such me me autuur s y- , porary composers of juvenile educational ma¬ ssons given to him by teen-age student _.e principal teacher of piano in the Gran- PIANO STUDIES AND TECHNICS continued study with and acquaint the pupil with the underlying t Position Book (Fiddling for Fun), he the adult terial will be represented. a London and at the Cologne smaller forms! His Adoration, originally written higher things in piano playing. berry Piano School of New York. He had During the period in which this book is in Standard Graded Course of Studies principles. Herein is shown that all attempts a take up this work and embark upon a Piano Studies for the Grown-Up Begir (Grade Mathews .$1.00 regulate voice-production by breath-con- thorough study of the third Position. wiu be a selected group of material, from held organ posts in leading churches of both course of preparation copies may be ordered Adventures in Piano Technic—Ketterer.75 Evangelistic Piano Playing—Schuler. 1.00 id violin in Aberdeei I”. Placement, and the like, are doomed First he will take up original studies giy- ™ be HelW Burtmiiller and other author- CltieS' at the special advance of publication cash nerica in 1897 wher€ g piano solos by Dr. Boroi price, 25 cents, postpaid. PIANO SOLO COLLECTIONS e department of coi to the matter at all? Yes. The voice wifi tion'and the shifting between positions. * ities> may be,URif wa the stu- MRS WILBUR T- MIU'S’ one of The Melting Pot—Felton.$0.75 respond to the desire for musical expression Next comes a group of carefully edited piano instructor and w intermediate the most prominent organists and broadly Well-Known Fables Set to Music—Spaulding .75 Compositions of Felix Boroivski provided interferences are removed. These studies in third position entirely—then orig- dent to t“e P*aymg of m equipped musicians ot Columbus, Ohio, died Advance of Publication Young Folks’ Opera Gems.75 PIANO SOLOS interferences—differing in number and degree inal studies in which he practices shifting grade. , _ . fn there on June 22nd. She, with Rowland ith. each pupil—are under' the•’ control■ *• of to• and1 from the open string. ™Then exercises• “It should alsoaso proveP,ove °of ,Sgreatr^a assistance■ to Dunham,Dunhanij then organistorganist of the First Congre- Offer Withdrawn which provide every poS- me player who wishes again to ^ .m mano .. . . , ’ ’ ’ ~ ~ le will and are removable by its means, in half-notes only which provide every pos- the player who wishes again o p p gational Church, founded the Central Ohio Of the sixteen odd “advanee of publication But.. the book does not. pretend that a knowl¬ ’ sible" shift between the four' fingers.- Finallyx- " stT,l?.,aft. bar>- deed years ago. What Are the References? tion. His collaborator, George L. Lindsay, ond Period at the Piano. The Theodore *one’ and ,bass volces- plac'e you* order now «-*. What is actually CELLO AND PIANO Director of Music of the Public Schools of Presser Co., as United States agents for this . a slI!gle ™py .at tae advanee of publiea- ALGIERS heard the “Andrea Chenier” of ,4j, , ! | before one counts the OPERETTA Philadelphia, is well known as a choral eon- new book, are pleased to announce that copies „on cash pnce of cents each, postpaid, Giordano for the first time when that work ™ | ' most, but there are Marriage of Nannette—Curtis.$2.00 duetor, composer, pianist, and organist, and of it soon will be available. . suFe to.state whether the high or low was recently performed under the baton of f*. occasions before we TEACHING ACCESSORY . llas had great success ill developing indi- We know that every teacher who has used V01ce is desired- M. Wertenschlag. ‘| take the time to ex- d s Music Pupils’ Lesson Book and Frac- vidual vocal capacity through class instruc- Miss Kammerer’s first book will want a copy „ I ~ amine what is before s Record .$»-15 All Subscribers, Attention! jfeThe tone color' produced_’ ''n the famous of The Second Period at the Piano. Sacred Choruses for Metis us that we like to Philadelphia High School Music Festivals _ __j _| P . ^ WILLEM MENGELBERG, on the cele¬ ” We believe every teacher will profit by Voices bration of his Golden Jubilee as a conductor, know by what right There is a man working in Canada, throughout Ontario, Quebec and an evidence of the possi- making the acquaintance of both books, 1 whoever or whatever has received the Gold Medal of the Conceri- Saskatchewan using the name of Bellamy, Baker or Davies, offering a two il bilities of class vocal in- First Period at the Piano is priced a Men’s quartets and choruses frequently 1'“'™' , Gold Medal of the Concert- * it is before us de- g struction. His aid is to be cents but, while The Second Period at the are called upon to sing at religious seVvices— Fbouw 0rcbe,fra of Amsterdam and abo has - serves the time nec- Going To Move? year subscription to The Etude Music Magazine for $2.25. This man is a ■■■-.if seen >n the study plan, or- Piano is in course of preparation, single copies —' church,— before men’s bible classes,...... in the_ bee" Promoted to the rank of Grand Officer essary for us to make swindler. He uses fake receipts, one printed on yellow paper in the name lee room, over the radio Trader* of of tbe Crown of Belgium. ■ If you are planning to change your ad¬ i <9lj derly progression, and care- may be ordered at the special pre-publication lodge room, over the radio. Leaders of these a decision upon it. dress,* don't forget The Etude. The U. S. of the National Circulating Company, the other on blue paper in the name |k f ful grading of the material, price, 35 cents a copy, postpaid. This offer groups occasionally complain that books of With certain articles of merchandise we like Post Office will not forward magazines with¬ of the Curtis Publishing Company, Philadelphia. HES? The book is useful for in- is limited to the United States of America men’s choruses offer_„__ little but hymns and THE NATIONAL OPERA of Berlin re¬ to know who makes them; with certain ani¬ out payment of additional postage. Failure If this man approaches you, have the police hold him. He is wanted for dividual as well as for class and s possessions. gospel songs and that when an anthem or Ports that in 1934 it had 403,672 admissions, mal pets the pedigree interests us; in hiring instruction. The advance to send us notice of any change in address innumerable swindles throughout the Canadian provinces. worth-while chorus is desired, single copies receipts of over eight million marks are help, we like to know whether employers be¬ will therefore require payment of forwarding of publication cash price is must be purchased. said to have exceeded those of all other thea- Crooks are always busy, so beware of the man offering reduced bargain 40 cents for each volume, w hen Voices Are Changing fore ourselves were satisfied with the appli- postage, delay delivery of your copy and risk rates on The Etude Music Magazine. In this new book will be found a rich ters oi the city. loss in the mails. Prompt notice (four weeks postpaid. Chorus Book for Boys repertoire of worthy choruses for men’s •«—-jr The music publications in each month’s in advance, wherever possible) will enable voices with and without solo parts. They THE HOUSE-— ii which Franz Liszt, some printing order, by their very presence there us to correct our records, and continue serv¬ rjj rri j rri j It is quite likely that several hundred are selections that any group of men singerssmgers fifty" ‘ years ago, gave his last concert in Paris, because of a need for more copies to meet ice to your new address without interrup¬ 1 en 1 onal 1 ales school music educators throughout the coun- add to the repertoire—sacred,_ ___ anthems__ ”* reported to be about to be demolished and sales demands, are holding forth their refer¬ tion. The Secret of Dependability Melodious Studies for the Development of try’ after r*adinB the announcement of by the best contemporary composers and i apartment house built on its site. ences, telling that many active music work¬ Save yourself unnecessary inconvenience, Style in' Piano Playing tbls forthcoming publication, have said to arrangers. • The secret of dependability is no secret at all. It is merely a t themselves or to others, “At last Presseb’s There will doubtless be a lively demand ers have made satisfactory use of them. In risk and expense. Drop us a card if you re By Harold Locke is going to bring out the type of volume I for this book but while it is in preparation COMPETITIONS order to help active music workers keep going to move, being sure to give BOTH matter of insuring the highest obtainable efficiency in all directions. iliere^may have been a time when Young told them was needed because of the scarcity f°r publication single copies may be ordered A FIRST PRIZE of five hundred dollars; acquainted with the many hundreds of meri¬ your Old AND New addresses. When you think of buying a car you naturally turn to one of a torious publications which are coming up America cheerfully accepted a book contain- of existing material of that land.” As usual at the special cash price, 30 cents, postpaid, second and third prizes of three hundred dol¬ half dozen or so cars that through the years have “stood up." That mg a score or more technical studies to be in the making of a Presser publication, no lars each; and fourth, fifth and sixth prizes for stock replenishing all the time, some space is devoted here each month to listing Spare Time Rewards is, you know that your friends have had fine experiences with them. learned as supplementary material to their decision was made to issue the work until D , , . . of one hundred dollars each, all are offered second grade piano instruction book. Few there was an assurance that there was avail- rresser S Manuscript Volume a selected group from the past month’s pub¬ Would you like to have, without cost, an If you could have looked into our files and seen some of the hun¬ by Ginn and Company, for songs suitable lishing orders. Numbers which have “refer¬ teachers of today, however, would care to able for such a collection a satisfying num- Music students and composers who wish for schoo‘ use- °nV native or naturalized attractive, chromium-finish Bread Tray, a dreds of thousands of enthusiastic testimonials that have come to us, ences” such as these are particularly worth lovely Cheese and Cracker Tray, a set of pr,u?i-re'i . per of worth while selections which would to preserve their writings in manuscript form American musicians may compete; and full your estimate of Presser Dependability would be raised. Especially neerU?1- adddlon?} practice material is be just right for school boys, or which would will welcome the announcement that this vol information may be had from E. D. Davis, securing for examination. Book Ends, a Flashlight, Camera. Fountain Pen, or your choice of dozens of other useful if you happen to be one of those who have sent in a testimonial. needed in crossing the hands playing triplets lend themselves readily to arrangements by ume is in preparation. The expense of lfind 70 Fifth Avenue, New York City, . SHEET MUSIC—PIANO SOLOS ,repeated • . . notes, o----thegrace notes, the staccato and those capableranahle of hrimriiKrbringing eachcart, part™rt safely ing;„r, .separate'sheeTs “is:_^expense considerable ’ Hereoi Dmd- all Jft. No. Title and Composer Grade Price and’ valuable articles? These are the re¬ That’s the point—the real test is a trial of Presser Service. 25361 In My Garden—Scott . 1 $0.30 legato touch or playing left hand melodies, within the right vocal ranges. The editorial of one’s music writings mav be placed in a THE F.I T7ARFTW qPR APTTF rnnt wards we offer to music lovers making new If you have never ordered music by the mail, and if your dealer the experienced teacher gives a tuneful and work o„ i» utmM,B ure WCu-oouna 6483 Dancing: Daisies—Spaulding.... 1 .25 friends for The Etcte—the rewards you can i this toho^of chorus isutijiahigthe «M™4«1 Uk ID™ p|li|A“f8322!«Sk 11877 A Hammock Lullaby — Krog- does not keep an adequate stock, you will have a most gratifying pleasing piano piece containing examples of experience and gifts of those who have had paper of an excellent "auafitv" sn '■lJL oi one tn „ maun . 1 .30 easily and quickly obtain by inviting your the technical difficulty that is to be over- practical experience in taking care of boys’ 9x12 inches and haxnng 12 staves to X °?!ifd’ J? a competition open to composes 24425 My First Dancing Lesson—John musical friends and neighbors to subscribe and profitable experience if you send a one penny postal to the son . 1 .25 come- groups. A single codv mav be secured in n„riu» tl,;= ,“ (u j to the page, of all nationalities, for a chamber music work for The Etude. Let us send you complete Theodore Presser Co. today with just this line, “Please send me full ^si? Eeautr March—Rolfc- 1% .25 details of this profitable spare time fill-in. to¬ If these pieces are purchased separately advance of publication at the price of 25 for singlf copies of Presler?M™j£irrtVot [°r foy striaPed instrument^ Compositions 7513 Picking Flowers—DeReef. 1% .25 details of your Music Selling Service,” and your full name and the expense may sometimes be more than cents, cash to accompany the order and the ume at the special pre-publication^ ~ - be -submltted-J before September 3„..30th. Sprites (Waltz)—DeReef 1% .25 gether with a free copy of our Reward Cata¬ 1936; and particulars may be had from the “™5 Pickaninny Pranks—Rodgers. . 2 .25 address. pupils from families of limited means can book to be delivered postpaid as soon as 60 cents postpaid ‘ ’“canon cash price, 26460 Step High—Kerr. 2 .25 log. Address your request to the Circula¬ afford. In this bock Mr. Locke gives ten published. ’(Continued on Page 627) Coolidge Foundation, Library of Congress, 3480 Military March—Sartorio. 2 .25 tion Department. Advertisement Washington, D. C. Advehtisemei 626 OCTOBER, 1935 THE ETUDE JUNIOR ETUDE- (Continued)

Mozart and the Princess (continued) Junior Etude Contest before the eighteenth of October. followed by Wolfgang and Marie Mosart, The Junior Etude will award three William: You mean Salzburg? Names of prize winners and their con¬ and Johan.) pretty prizes each month for the best and Lady Audrey: Salzburg, of course. You tributions will be published in the issue for go right past the Carpenters’ Guild till Princess (extending her hands) : We all neatest original stories or essays, and an¬ are glad you could come. swers to puzzles. January. you come to the book-stall, then turn to Put your name, age and class on upper Wolfgang: This is a great honor and our Any boy or girl under sixteen years of your left and you will find them across corner of your paper, and your address on the way from the silversmith. parents said to express their appreciation age may compete, whether a subscriber or not, and whether belonging to a Junior Club upper right corner. If your contribution William : That seems a bit complicated, takes more than one sheet of paper, do this but I’ll try to find them. Princess : I have been wishing to hear or not. Class A, fourteen to sixteen years you play some of your own compositions, of age; Class B, eleven to under fourteen; on each sheet. Lady Audrey: Of course you can find Do not use typewriters and do not have them. When you come to the Carpenters’ just as you did when you came to play Class C, under eleven years of age. any one copy your work for you. Guild you can ask your way, for every¬ at the palace concert for the Empress. Subject for story or essay this month, Mozart: I am indeed honored. (Seats “A Musical Afternoon”. Must contain When schools or clubs compete, please one in the village knows them, (Exit have your own preliminary contest, and himself at piano. Princess and others seat not over one hundred and fifty words. _ William.) send in the five best papers. themselves.) All contributions must bear name, age (Lady Audrey seats herself at piano.) Competitors who do not comply with all Lady Audrey : I like music too. I believe Marie : Brother, why not play the new one and address of sender written dearly, and must be received at the Junior Etude Office, of the above conditidns will not be con- (William paces the floor; Johan enters.) Enigma I will play on the Princess’ harpsichord you played for me this morning? Scene: Interior of room with piano, and while no one is around. (Plays one or Mozart: Very well. Princess, you are 1712 Chestnut Street, Philadelphia, Pa., Staccato-Legato Game several chairs. Johan : What’s on your mind? You seem By Stella Whitson-Holmes two pieces. Enter Princess.) the first to hear this except my sister. Characters: somewhat disturbed. I am sure you have By Riva Henry no cares of the court to worry you. Princess : Audrey you play very well. (Plays) Princess Marie Antoinette My first is in TEMPO Lady Audrey: I thank you. (Makes Princess : Lovely 1 Only a piano and a clock or watch with William, Court attendant William: The Princess is sending me to But not in NOTE. a second hand are needed for this game. find the young Mozart and fetch him curtsy.) Others : How beautiful! Johan, Court page Princess: I have invited the Mozarts to Marie: Tunes come to him so easily. I The leader calls the name of a scale in Audrey, Lady-in-waiting here to play for her this afternoon. My second’s in PHRASING come this afternoon. Do you remember wish I could do it. Why I Like Music Why I Like Music staccato, or legato, as G minor, staccato, Wolfgang Amadeus Mozart, the boy Johan: That will be delightful. Why But not in STAFF. that marvelous little boy? Mozart: My sister plays very well, Prin¬ (Prize Winner) or E-flat major, legato, and so on. He composer worry about that? (Prize Winner) Lady Audrey: Indeed I do. I was going cess. You should hear her. then points to one of the players, who Marie Mozart, his little sister. William: But I have no idea where he I like music because I do not think that 1 ole listen to and lov My third is in BASS to ride the dappled mare this afternoon Princess: We will, but you must play could get along in this world without it. ig their feelings. I must go to the piano and play the scale Princess Marie Antoinette is seated at lives. I wish I could play as the young studying the piauc But not in TREBLE. but I would rather stay here and listen some more first. Everything has some kind of music in it. called for before one half minute has piano playing a few simple pieces, some¬ Mozart, then the Princess would like me Birds sing and make their own music. ■ Dogs to the music. (Mosart plays several numbers.) make their own music. Cats make their own I have co passed. times humming to herself. better and I would be asked to play for for one thli brought My fourth is in CLEF SIGN (Princess and Lady Audrey take chairs Princess: Lovely. Now let us have a music. Most things in the water or on the Enter William, making a low bow before her. ground make their own music. Frogs make agination, t But not in RHYTHM. and knit or embroider. Princess goes to duet. (Wolfgang and Marie play.) their own music. People'make f--‘ is everyone i goal, music satisfies the Princess: It is lovely to hear the Johan : Ha, ha, you play for the Princess! that^vish. ^ windoiv and returns to knitting.) Princess : And Marie, will you not play music. The angels i ' princess playing on the harpsichord. William: Why not? Who teaches these r play, < My fifth’s in STACCATO a solo? Princess : Oh, thank you. Do you like young Mozarts to play, anyhow? Princess : I wish they would arrive. But not in DYNAMICS. (Marie plays, or omits solo.) t somebody like me make my o’ joy,"and Yorgctl'u')ness'of worldly care. Music Johan: I understand their father teaches Lady Audrey: I think I hear horses on music? soothes my wounded pride, softens my angry them and he takes them on long trips to the driveway. Princess : Thank you both. You have Freddie Rivers (Age 14), moments and brings great dreams for the William : I do indeed, Princess. I wish My whole is the name of a favorite given us a wonderful afternoon and future. When I piny I often pretend that I I could play. play in different cities and at the courts. Princess : I’m so glad they were at home. am a queen who rules over her subjects with INSTRUMENT. Wolfgang, I predict great things for you. an iron hand, or a caressing hand. I certain¬ A mistake puts the player “out” and the Princess : William, do you remember that •William: I hope they are not away on a The little Mozart is already a master Answer: Piano. The world may never hear of me and my ly derive a feeling of power, of exaltation, one remaining “in” the longest wins. little boy named Mozart who came here to trip now, for the Princess bids them composer. People will be playing his and of great, subduing calm, from music, the palaces and courts, but your name will (It must be decided in advance whether the palace and played for the Empress? come here to the palace this afternoon. compositions long after our courts are Puzzle Corner “language of the Gods.” be known and loved everywhere, and I Edith Small (Age 14), the scales are to be played hands alone or William: I do indeed, Princess, and he But where shall I find them? I told forgotten. Massachusetts. am going to give you one of my rings as Triangle Puzzle together, one octave or two, depending was certainly bewitched. He must have you I did not know where to go for Lady Audrey (at window) : He is enter¬ a souvenir. upon the grade of the players). worn magic clothes. them. Kitten Is Given a Recital ing the palace now. (Mosart makes low bow and kisses her By Stella M. Hadden Princess: Nonsense! You know we gave Johan : Lady Audrey may know where (Princess and Lady Audrey pozvdcr noses, Why I Like Music (For Very Little Juniors) adjust wigs, and so on) (Enter William, hand. She puts ring on his finger) him some of his clothes right from the they live. I have heard her speak of the Each dotted line is a three-letter word. (Prize Winner) palace; and do you not remember we Mozarts. I’ll see if I can find her. (Exit By Marjorie Knox Curtain “Why do you like music?” asked a friend Weeds Johan) of mine one day. I could not answer at once, even took off his ring and he let us keep Eva Jones was practicing. There was William: How I do wish I could play. I could not explain, my tongue was locked. By C. F. Thompson, Jr. it as a souvenir, and it is not a bewitched no one at home to hear except her little Yet I knew very well that I loved music (Seats himself at piano and plays a feiv dearly. But I said that I would explain in a ring, you know that. gray kitten. Eva thought she would pre¬ A weed is a plant out of place. In the William: Well, I do not suppose he can chords or short pieces. Enter Lady different way. tend to be giving “Fluff" a recital. She I stepped into the house and brought out garden or on the farm, a splendid stalk of always play as he did that time—it was Audrey.) my violin. Drawing the bow across the lifted Fluff from the floor where he was corn is a weed in a potato field, and a fine too wonderful! Lady Audrey : Good morning William. Letter Box strings I began to explain to him why I liked chasing a ball of blue yarn, and placed him music. The sighing of the stately pines and potato plant is a weed in a field of corn. Princess: You think he could not? Well, William (rising and making lozv bow) : the babbling of the nearby brook blended in on the bench beside her, and began to tell In the same way, our musical garden we shall find out. Let us have him come I did not hear your ladyship enter. and helped me to explain. him about the musical number; she thought nior Etude: "I see,” said my friend, when I had finished, may have “weeds”—false notes, for in¬ here to the palace this afternoon. Lady Audrey : No, you were quite ab¬ Mi_ means very much to me and I like “it is something God has given you and it stance. If we forget to sharp an F in the (The Princess moves to table or desk, and sorbed. So you are turning musical too? he would enjoy, it much more if she did. study the piano. Whether you touches the hardest heart and the only way “This piece has one flat so it is said to be happy c to explain it is through music itself.” key of G, we have a weed in our musical writes note.) William : I only wish I could! Does garden. That F natural is perfectly good William: That would be fine indeed, your ladyship know where the Mozarts in the key of F Major. It is written in In studying music one becomes friends two-four time, meaning that each measure with the great composers, such as Bach, 1-2, the number of performers in some in any of half a dozen other places, but in Princess. live? The Princess would have me Mozart, Beethoven, Schubert, and many compositions. the key of G it just does not belong. It Princess: Now William, you go right bring them here today to play for her. has two beats and that one quarter note like to study music, because the 1-3, the number of fingers used in piano Honorable Mention for is a potato in the corn field. away and find him and give him this Lady Audrey : Why, yes, let me see. They gets one beat. Sit still and listen well. i It, Also, the farmer is troubled by other note, and we will have him play for us live on a crowded little street in the vil¬ Fluff, and you can hear my right hand play playing. May Essays: 1- 4, a line connecting tones of the same “weeds,” though he may not think of them this afternoon, and he is to bring his sister lage. two notes that sound almost exactly like those who do not, it is as such. For instance, a plant which Marie, with him. ' (Exit Princess.) (Continued on next page) you do when you say ‘Meow.’” pitch. _, __,_y King, F- - grows out of line is certain to cause The small furry creature stretched his Studying the piano^ 2- 4, the number of players in many com¬ Janice Houk, Marjorie O'Neill, Rosalie Cooley, Jeane MeComber, Joan McComber, Jean trouble, and most good farmers tear such paws, and blinked his eyes at Eva. She musician some day ! positions. Everett. Gertrude Griffin, Selma Anders, Vera a plant up just as ruthlessly as if it were always thought this meant “All right, I’m Joliff, Frances Mennis, Jphn Shenoy Jack- Mary E. Eudman ’(Age 10), son, Marie McHugh, Ernest Counte, J. D. some plant of a different kind. Our musi¬ satisfied.” Hicks, Willie R. Walter, Ola Mae Phifer, cal garden should be kept free of such Kitten sat perfectly still; his eyes closed. Flora Mae Stodard, Mary Katherine Brown, weeds, too. Suppose a composer has writ¬ “Fluff!” Eva looked at him. “You’re Puzzle Lucille Orinand, Katheryn Marie Barrow, Dorothy Johnson, Carroll McCue, Marion ten the repetition of his subject just a little not even listening. Wake up! Do you see Letter Box List Through an oversight there was a mis¬ Schaefer, Burke Isaias, Margory Ryan. Charles differently, either in harmonization, or these two letters? D.C. stands for Da IRENE MACY, AGE 3, DETROIT, MICHIGAN, print in the puzzle in the May issue, hence Rodman, Jamie O’Brien, Allan Perkins, B. PLAYING ON MIDGET PIANO Letters have also been received from the Klarfeld, Frederick deBeer, Norman Fenster, even in the melody. He knows what he Capo, which means to go back to the be¬ it could not be correctly worked out. Ruth Calire Jackson. wants to do, and for the player to play ginning and play until you come to the following, which can not be printed, owing Dear Junior Etude : to lack of space: one of these passages in the place of the word Fine: then the piece is finished. Now, I enjoy doing your puzzles and reading the other is to plant “weeds” in the musical Fluff, in this case, I must go back to the different articles on music. I have been Katherine Premme, Gladys Nagel, Mary studying music two years and have played Ellen Lynde, Ruth Morehouse, Mynelle Doug¬ beginning and repeat the first eight meas¬ in three recitals and am going to play in an¬ las, Martha Caroline Agee, Mary Ruth Camp¬ Then there is still another kind of weed ures because that is how it ends.” other soon. bell, Eileen Baldwin, Juanita Chambers, which the careful farmer must eliminate. From your friend, Dana Jean Catherson, Pnrie Rodriguez, At last she finished and looked to find Virginia Mable Illing (Age 12), Geraldine Taylor, Pauline Sharpe, Mary Ann This is the inferior plant, and it is weeded the gray kitten curled on the bench beside New York. McGinnis, Esther Suder, Patrice Beale. out simply by refusing to save seed from her fast asleep; his nose snuggled into his Dear Junior Etudi it. By this process the farmer strives to fuzzy tail, which made him look like a I a tell „_—you about theory improve his crop from year to year, and muff. class. Each select the name of a composer and have .. _musical lquestion- for NOTICE he is aided by Nature constantly in this “Fluff! You never will be a musician; each letter in his name. When all the endeavor. The weak plants die, and their swers are put together they spell the naan Please note change of age limits in artists just aren’t made by going to sleep the composer. Then at the end of the mo kind in time must die also. on the job.” She slipped her hand under . —“ b the most correct answers Junior Etude Contests, beginning Now can we apply this to our musical his chin and looked straight into his eyes. ceives a prize last month. Read the contest direc-1 garden? Most assuredly we can! Who com your friend, tions carefully. “I bet. Fluff, that I’ll be a great pianist Janet Hall (Age 14). JUNIORS OF ST. MARY OF THE VALLEY, BEAVERTON, OREGON, IN COSTUME PLAYLET wants to be a weed in the musical garden? MOZART AND HIS SISTER PLAYING AT COURT long before you will!” Pennsylvania. 628 THE ETUDE OCTOBER, 1935 629 2. What important new way of using the trom Czerny, with some from Cramer also. fingers did he teach? Directions for study are to practice very High Lights in Famous Piano Methods 3. What effect does this finger-movement slowly with each hand, then with both, and NEW DITSON PUBLICATIONS ' have upon tone? (Continued from Page 586) then repeat the process; to practice two 4. What mental attitude did he consider hours slowly before one hour of fast prac- necessary to good tone-production? 5. What position did he wish the hand and And Amy Fay says of her own slow, changed. She preferred a spheroidal or ing freely when they chose. The problems 'wrist to take in playing scales and ar¬ of tension, of more or less participation of careful practice under Deppe’s guidance YE OLDE CHRISTMASSE MASQUE RING UP THE CURTAIN “natural” hand, instead of the high outer peggios? shoulder and back, of “rotary” movement, “It seems as if my ears had been opened hand of Deppe. This was a natural conse¬ 6. What different shapes of the hand did of finger or no finger; all these possibilities, for the first time. Such concentration is With Carols, Dances, Jousts, and Friscols As Performed (Stage Sketches of Popular Music in America) quence of the freedom of shoulder and he describe for scales and for chords? considered with reference to tone quality, elbow. very exhausting.” 7. Describe the conditions required in the in Merrie England in Ye Olden Dayes velocity and power, began to occupy these 1840 —1900 . At this point of the development of the wrist and elbow. teachers and their students. Steinhausen, methods, there was some difference of Branches of the “How” System 8. What important distinction is there be¬ a medical doctor who was interested from “Then came the merrie Masquers in, opinion as to which were her ideas and HE “HOW” system is thus fully tween the finger-playing of Deppe and which were Deppe’s. At least, the story the scientist’s point of view, and had a T And carols roared with blithesome din.” Cen0 in Bb (Trombone or Baritone, treble clef) 12. Eb and BBb Tubas unwilling to answer questions and to Price, $1.00 4. String Bass 8. French Horn in F *3. . analyze the subject of technic verbally. EMMA ABBOTT'S UNUSUAL CAREER and developing smoothness in playing any 5. Flute, Piccolo 9. Eb Alto Saxophone 14* Piano Accompaniment type of melody. SECOND CLARINET PART, 40 CENTS EXTRA Possibly Deppe preferred to choose his in¬ Emma Abbott Is outstanding in American operatic history because she terlocutor; for, with Amy Fay and others was a pioneer protagonist of the idea that Americans could become Seventeen selections of varied type, arrangements of famous songs Volunteers in the orchestra or class are called on to play different sections, of whom there are stray glimpses, Deepe great operatic artists. Judge Galloway’s article has historical interest and other attractive music. Medium difficulty and all effective for as well as popular reading interest. Music Extension Study and the four who succeed best are chosen to play the piece as a Relay Solo. seems to have been geniality itself. the Clarinet. They come forward, before the group. The piano starts, and the piece is Clark finally formulated his ideal as fol¬ Course played in an unbroken sequence, each individual in turn playing his section. lows: “Technic is not a foundation but a degree of practical perfection increasing (Continued from Page 584) In like manner the sections of the piece may be assigned to different groups of instruments, choosing lor each part the kind of instrument that best portrays with the development of the conscious imitated rhythmically by the right hand its character. This we call a Group Relay. adaptation of fundamental essential unity.” DITSON ALBUM OF TROMBONE In other words he seems to say that technic in the next two measures. This imitation Orchestral Unisons and Relay Solos have been created to awaken m young is not something to be acquired as a pre¬ continues throughout the entire first line. (OR BARITONE) SOLOS players realization of variety in expression, and to clarify at the outset the paratory subject merely. Rather it is to be In the second line a fragment (last half) varied personalities of the orchestral instruments. which they are carried. ... A slight move¬ developed day by day, together with and' trolled” or “Fixed” movements, who used of the opening motif is used and developed WITH PIANO ACCOMPANIMENT These unisons include, from the string bass to the flute, tones sounding through ment is good. ‘Good deeds should be done as little free movement as possible. There by repetition. The pupil who recognizes four octaves, and have, for this reason, a rich, chord-like effect when voiced not apart from the development of the Edited and Arranged by N. CLIFFORD PAGE silently.’ The center of gravity of the palm was still the “What” group, depending on these patterns plays with more intention by the full school-orchestra. whole being and its relation to music. should be always directly over the keys. Practically, he emphasized Deppe’s idea the choice of material and many repetitions, and is a better sight reader and memorizer The binding of the tones should be in the Price, $1.00 The Relay Solo, and the Group Relay, bring into active use the beginnings of of movement in curves, “circuloid” or without radical departure from the older than the pupil who greets each phrase as musical analysis, and give an understanding of how musical compositions are hand itself. . . . Curves must never exceed “elliptical,” and we find this idea explained principles of movement in the hand. And just so many new notes. Eighteen numbers, principally arrangements of well known songs, the limit of strict necessity. ... ‘A flat pose made. and elaborated especially in those pupils of there were also individual explorers who of the hand sounds flat’ (that is, lifeless). all adapted for the instrument; many heretofore unavailable in the Deppe system who came under the in¬ sought to find in the use of one or another LITTLE DUTCH DANCE descriptive booklet sent on request Every movement must be curved. In thirds this form. fluence of Steiniger and Clark. He sought group of muscles, as of the forearm or in . By Helen L. Cramm and sixths the hand must be infinitely the accurate analysis of movement, par¬ some one combination of members, the ease A little wooden shoe dance in which the light.” Of legato, “There will not be room ticularly those movements which he ob¬ and power which they desired. between them (the tones), for the tiniest accents should be applied a bit ponderously served in Rubinstein and Liszt. (Kullak Two highly important factors in study grain of sand.” In arpeggios, “the first to suggest the clumsiness of the sabots as ANY OF THE ABOVE LISTED WORKS MAY BE HAD ON APPROVAL FOR EXAMINATION said of Liszt, “He ‘comes over’ difficulties had appeared and were to become perma¬ three notes are played in the regulation they tap out the various steps of the dance. which we first have to ‘overcome.’ ”) nent—the determining judgment of the ear, Play it brightly and with humor. The position, beginning the curve.” ever more discriminating; and the ex¬ ^ from your dealer or the publisher But when Caland speaks of “conscious Dutch children are traditionally a healthy haustive study of all the possibilities of the and happy lot and this atmosphere should And Other Exponents use of hands and shoulder,” of “the whole arm regarded as a tone-maker. AMONG OTHERS who took up the arm passively guided,” and of “fixation of pervade every measure of this little dance. A Deppe ideas with enthusiasm, were the shoulder,” she has plainly travelled a SELF-TEST QUESTIONS ON Elisabeth Caland and Toni Bandmann, long way from Deppe’s original theories. MISS LEONARD’S ARTICLE "Music is the first, the simplest, the most pupils of Deppe and also of Steiniger and For material she cites Deppe’s use of 1. Why did Deppe seek a new method of OLIVER DITSON COMPANY, INC., 359 Boylston Street, Boston, Mass. Clark. They added new theories, discard¬ five finger exercises and studies selected effective of all instruments of moral in¬ training the hand? struction."—John Ruskin. 630