April 1948) James Francis Cooke
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Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1948 Volume 66, Number 04 (April 1948) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 66, Number 04 (April 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/174 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. « 9fri nr/<i?/y VM THE CURTIS INSTITUTE OF MUSIC FOUNDED BY MARY LOUISE CURTIS BOK TWENTY-FIFTH ANNIVERSARY SEASON 1948-1949 Efrem Zimbalist, Director FACULTY COMPOSITION and THEORY DEPARTMENT Constant Vauclain Gian -Carlo Menotti Edith Evans Braun Anne-Marie Soffray More American children are entering the world of music on the keys of a Wurlitzer piano than on those of any other VOICE Eufemia Giannini Gregory name, for Wurlitzer is first choice of musical America. Marion Szekely Freschl Vocal Repertoire Rich \es, more Wurlitzer pianos than those of any other Leo Rosenek Martin Elizabeth Westmoreland name are going into the homes and schools of OPERA America today. Is it any wonder that to millions John Wolmut, Director Shown here is the new Wurlitzer Spinette of music lovers everywhere Wurlitzer is music? Model 535. Available in mahogany or walnut finish. Standard 88-note keyboard. A beauti- PIANO It stands to reason that the company that holds ful, compact piano with rich tone and full vol- Rudolf Serkin Isabelle Vengerova Wurlitzer this kind of leadership won its position by giving ume. Moderately priced. If your Mieczyslaw Horszowski dealer is not listed in your classified tele- the most for the money. So when you select your phone directory write for complete information. ORGAN piano, let Wurlitzer be your guide. Alexander McCurdy ! VIOLIN Efrem Zimbalist Ivan Galamian Veda Reynolds VIOLA VIOLONCELLO William Primrose Gregor Piatigorsky HARP and HARP ENSEMBLE Carlos Salzedo Chamber Music String Ensemble William Primrose Marcel Tabuteau Woodwind Ensemble Brass Ensemble Marcel Tabuteau Charles Gusikoff ORCHESTRA DEPARTMENT Alexander Hilsberg, Conductor FLUTE OBOE TRUMPET William Kincaid Marcel Tabuteau Samuel Krauss CLARINET BASSOON TROMBONE, TUBA Ralph MacLean Sol Schoenbach Charles Gusikoff HORN DOUBLE BASS PERCUSSION Mason Jones Anton Torello Leonard Schulman Supplementary Subjects ' Eurhythmies Languages Dramatic Forms Secondary Piano Diction Elements of Music Academic Tutoring STUDENTS ARE ACCEPTED ONLY ON SCHOLARSHIP BASIS Catalogue upon request to Secretary of Admissions, The Curtis Institute of Music, Philadelphia 3, Pennsylvania ISagaaSiltSlS APRIL, 1948 205 i Editorial HAT soulful, far-seeing Swiss philosopher, Henri Frederic T man was so continually “under the z $ Amiel (1821-1881), when he (KttWfe Violin PMcationl ;TT®©E influence” that he was hardly \l was professor of aesthetics at conscious of who was present. Yet said, “To know producing m Geneva University, and by HARVEY S. WHISTLER M UD(D © he could sit at the keyboard how to suggest is the great art of play gorgeously, music that had MODERN HOHMANN-WOHLFAHRT Beginning PUBLISHED MONTHLY teaching.” Most of the great SI‘HonS.-^AI to do with the Method tor Violin, Vol. I. First Position $0.60 Philadelphia, Pa. absolutely nothing By Theodore presser Co., teachers of history have taught oth- I lesson. MODERN HOHMANN-WOHLFAHRT Beginning ers by planting suggestions in the AD VI 8 0 R I 8 7 A I F of Method tor Violin, Vol. II. First Position 75 EBIT 0 R I A L A X D When we find the combination FRANCIS COOKE. EdHor-tn-Chtei student’s mind, like seed, with the DR. JAMES great teacher, POSITIONS tor Violin, Vol. I. Assistant Editor a great artist and a INTRODUCING THE Guy McCoy, hope that the student will develop Editor Third and Fifth Positions 75 Dr. Rob Roy Peer,', Music we have a master who may con- Karl W. Gchrkcns Dr. Guy Maier these suggestions. Socrates (469- Harold Berkley Dr. Nicholas Douty Vol. II. Elizabeth Gest Dr. A exander McCurdy precious things in INTRODUCING THE POSITIONS for Violin, Ruth Evans Buhman Maurice Dumcsnil tribute very Gcorje C. Krick N. Clifford Page 399 B.C.), in his amazing seventy Edna Fort _ Second, Fourth, Sixth, Seventh and higher positions .75 Pietro Deiro Peter Hugh Reed passing the high principles of the William D. Revelli years, used to say that his calling DEVELOPING DOUBLE-STOPS for Violin. A complete course of study in double note art down to future generations. nrix BED 1883 BY T HEP BORE PR R 8 8 K R- was to bring ideas to birth. As in and chord development. Covers all phases; first through fifth positions 1.25 we meet with most the case of the greatest of teachers Sometimes extraordinary, virtuosi who are not and masters, Jesus Christ, Socrates Publications for other bowed instruments: constitutionally adapted to public C'onlen Is -Jlpril, / 948 actually wrote nothing. He con- FROM VIOLIN TO VIOLA. A transitional method for those who already possess a for performance. Often this is due to veyed his thoughts to others, knowledge violin Excellent for developing a full string section 1.00 of playing. VOLUME LXVI, No. 4 • PRICE 30 CENTS instability or to a fear notably Plato, who put them down. a nervous INTRODUCING THE POSITIONS for Cello, Vol. I. The Fourth Position 1.00 which may be sympatheti- EDITORIAL His method of instruction was a complex - ' The Art of Suggesting cally called a retiring disposition. INTRODUCING THE POSITIONS for Cello, Vol. II. Second, Second-and-a-Half, kind of ingenious cross-examina- Third, and Third-and-a-Half Positions 1.50 MUSIC AND CULTURE They perform magnificently for Post-War Opera iu Italy tion, in which, through questions, Training for Artistry t /audio Aiiiu -0J smaller, intimate groups, but lack SOLOS FOR STRINGS. An indispensable collection of easy melodic material for Tlie Pianist’s Page B he led the student to weigh his own Musical Ability ••••' rr" 11 " "'> - * demanded by solo playing or unisonal string class performance with ac/ lib. Piano. Capitalizing Your the platform ability ‘tt I ’ ) <>i ideas his problems for Chopin and the Chopin Renaissance inat 213 ; to think out My Twenty Favorite Records and Why Charles O't vniull 2Io concert tours calling for appear- Violin Solo (First Position), Viola Solo (First Position), Cello Solo (First Posi- himself. Since the days of Socrates, AMIEL crowds. Adolf Henselt tion), and String Bass Solo (First and Second Positions). Each 50 MUSIC IN THE HOME thousands of teachers have em- HENRI FREDERIC ance before Records You Should Hear Voter Hugh li"-d 216 (1821-1881) Piano Accompaniment 75 intm '2 17 famous Bavarian The Etude Music Lover’s Bookshelf II. UrrrtlUh Cad ployed a variation of this method of (1814-1889), virtuoso, court pianist to the MUSIC AND STUDY teaching their pupils to do original piano Maurice Ituim-nl *J I S The Teacher’s Round Table questioning suggest- Czar of Russia, who met with sensational success whenever he 738 So. Campbell Ave. Brakes and Breaks Il'sller Hendl 219 thinking by arousing their interest thi’ough ; played, abandoned concert tours at the age of twenty-four. Thus, MUSIC AND STUDY ing, rather than dictating to them scraps of information and hard CHICAGO 12, ILL. AndrE Gide, Prince of Letters, and Musician Maurice Dumcsnil 220 two-thirds of the life of this famous composer of Si oiseau j’etais Our Astonishing Musical Beginnings at Bethlehem (Part Three and fast rules often forgotten too soon. Paul O. Chancellor 221 suggested, but He illumined His were spent away from the concert stage, reputedly because of a Music Teachers National Association Dr. Theodore il . Pinnrn 222 Christ not only taught and A Representative Two-Manual Organ Dr. Alexander Met'md, 222. His hearers were always in- fear of crowds. Flute Music of the Seventeenth and Eighteenth Centuries. .. I n m i ner Tatdo. 22 1 disciples’ minds through parables. American Bands of the Future Dr. William It. Urn Hi 223 pictures of life, and One of the leading formative influences in. modern theories of Tim Violinist’s Forum Harold llrrllm 227 spired by ‘these dramatic and colorful human Questions and Answers Dr. Karl IE. Oehrln a 228 piano touch and technic, Ludwig Deppe (1828-1890), who rose to The First Performance of Handel’s “Messiah" Robert Van mu M nei 220 inspired to follow His divine principles. The Magic of Delius sim ian Millar 230 Berlin, was best known in his The primary objective of all great teachers of all times is to get the high post of Hofkapellmeister in MUSIC rather than to follow any rigid time as a conductor, rather than a piano virtuoso. Many ideas we Classic and Contemporary Selections their pupils to think for themselves, April Nosegay (Presser *27916) relating par- Joseph .If. Donkin 231 art have been the most catholic hear today in talks upon modern pianoforte playing, Song at Dusk (Presser model. The greatest teachers of an *27939) Morgan II < .1 232 Theme from Piano Concerto in D Minor (2nd Movement) (Presser) (Fr.,m of interpretation. One ticularly to touch and relaxation, you will find recounted in the “More Themes from in inducing their disciples to study all styles the Great Concertos") Anton lluhinstein llrnrul . i Prelude (Presser) (From P.C. Fay, also a pupil of #243) F, Chopin. Op. , 236 his record library, many different book of his American pupil, Amy who was Spring Flowers (Presser of our teacher friends has, in 27711 ) Horton Woe' >39 Homing Hearts (Presser 27812) Prank i .