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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1948 Volume 66, Number 04 (April 1948) James Francis Cooke
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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/ 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 .. ’10 interpretations of numerous pieces performed by various virtuosi. Franz Liszt. Dusk (Presser *27748) .A Mortimer Itrmrn 211 John M. Williams CLASSICS. Collection of classic Comrades.\\ altz (Presser 17473) (Piano Duet) W alter Role 212 differences and discussing At least three of the world’s most famous pianists were pupils Vocal and Instrumental Compositions Pupils are coached in discovering these and standard piano selections carefully Lord, Let me Live Today (Presser 27003) little renown, save 'that which their students brought edited (Sacred song -low voice) them in class. This teacher is unusually successful. The teacher of teachers of ^ C ' 244 with When Twilight Falls (Presser (excepting his mother) regard to fingering, pedalling, phrasing. *27873) (Organ) ^ with a large library of phonograph records has what amounts to to them. Anton Rubinstein’s only teacher Long, Long Ago (Ditson) (Violin also the teacher of 1.00 Quartetf^Frfm "Vri,m P,^'°,> a remarkable corps of assistants upon his faculty, all of whom are was Alexander Ivanovitch Villoing, who was Th°ma * HaV" eS Cayley Kart Itisslund 2 18 declared that Villoing was a better Bernice Frost SERIES. far finer performers than is the teacher. Nicholas Rubinstein. Anton COMPANION Classics, folk On \\ tngs of Song (Presser) (From “Chapel Echoes”) account for the curious fact pianist than himself. Villoing chose, however, to be a teacher. tunes and original compositions chosen for their Holly’s Lullaby (Presser The art of intelligent suggestion may 278.18) Piano Aron? ©0 The Elephant Marches (Presser) Piano Duet Godowsky’s best known teacher was Ernst Friedrich musical and pianistic value, as well as for study (From “Side by side”) that many gifted teachers, who themselves have not succeeded as Leopold VVaKettrrer 2-_*0 Little Primrose (Presser 27912) have Karl Rudorff (1840-1916), a very able and well trained musician, < . pedagogs. They purposes. 1.00 Yellow Tulips (Presser Gtace hatser great executants, have become world-famous 27704) corpe ^Itnsoa Swing Up, Swing Down (Presser 27874)' Emerson’s much quoted saying, “The but in no sense a great virtuoso. Godowsky, when visiting your ill '. h the gift which brought forth Lambs the '. Beatrice Hatton Fisk KEYBOARD FUNDAMENTALS. Meadow (Ditson) '. '. "f.Mgra Adler 234 considered himself self-taught, man who makes hard things easy is the educator.” Either you are Editor at his home, stated that he A book for beginners of all ages presenting the THE WORLD OF MUSIC ’ ” ' ’ a teacher, or you are not. George Bernard Shaw was in one of his but he unquestionably must have learned much from his dis- essential facts in progressive order. This new JUNIOR ETUDE ‘ ’ a 272 ^ “tongue in the cheek” ironic moods when he wrote, “He who can, tinguished associates, notably Saint-Saens. Walter Gieseking’s approach is to acquaint the beginners with the MISCELLANEOUS you slipped when you only teacher was Karl Leimer, whose book, “The Shortest Way to > .. .. Shaw, TTinebon LV . i t. , „ does. He who cannot, teaches.” Mr. fundamentals of reading and playing from the McCoy 214 iloliqvido 226 made that quip, despite the fact that you were one of the most Pianistic Perfection,” is one of the most helpful works of its kind. printed page. 1.25 la 8 Douty 257 w of Violin Questions Answered" Frederick Phillips 259 trenchant of all musical critics. Everyone in music knows of scores Leimer was a well known pianogog Hanover. Bernard Whitefield THE SIMPLEST BOOK. An Berkley 261 of remarkably fine pianists who have been conspicuous failures as These outstanding brilliant pianists of world renown all studied elementary book for the absolute beginner. Pre- Entered as second class T matter Januaru ir. taoi ^ have been forced into with teachers w ho were in no sense towering virtuosi. Leopold (lt teachers. These individuals include those who under the Act rinla • Pa > of March 3, IS79 Copurwhi °h f 9' '" '7 - mi b ™ sents the rudiments of music in a simple, pleasant for V. S. .4. and Great « Theodore Presser Co., Hritain. teaching by an unkind fate and have condescended to give lessons Auer was a virtuoso in his younger days, but he* cannot be ranked and entertaining manner building a firm founda- as they would condescend to have a tooth drawn. Their lessons have in public success with Elman, Heifetz, Zimbalist, Seidl, Parlow, or tion. .75 been, for the most part, vanity exhibitions of their own pianistic Milstein. The same may be said of Otakar Sevcik, with his noted Republic ot Honduras, Salvador, Spain uanama, fine teaching. pupils, Kubelik, Kocian, Zimbalist, E. Ondricek, Hall. except the andViMwLth mt>ruan countries ability. That, however, is very remote from Your and Marie Guianas. .$3.2.7 a year in Canadn end r 4, in vNe" all other countries. foundland - $4.00 year MASSACHUSETTS Single copy Price SO^ents a Editor had a short course of lessons with a world-famous virtuoso Leschetizky was an outstanding virtuoso in his youth and made whom he never listed among his teachers. Why? The gifted gentle- many successful tours. But he was a ( Continued on Page 267) 206 ' MUSIC STUDY EXALTS LIFE” THE ETUDE APRIL, 1948 207 ? ! ! — ” Stefa no, tenor, may become Culture that Giuseppe di one day criticisms Music and famous Lina HE thoughtful reader of newspaper Music and Culture viui’s rival. The Pagliughi Taglia still finds himself confronted with a phenomenon Scala, eveu though her entrance on sings at La the T which occurs frequently enough to be serious. usually greeted with howls of laughter. stage is Tin; More than half the reviews of young artists’ recitals is, as the Italians say, ’as fat as a cup- poor woman seem to mention but one point, with tiie performer re- hut when she opens her mouth the house board,” in- ferred to as having ‘strong lingers, well developed hushes in respectful silence. The audiences stantly technique, lack of musical significance.’ Even one such Training for Artistry voice of the lady. It is my opinion love the unique that criticism be unfortunate when one reads it over Post-War Opera in Italy would ; soprano, Renata Tebaldi, will create a sensa- the young and over, it makes one wonder. Are we actually guilty Metropolitan, when she sings there. tion at the This of stressing mechanical craftsmanship ahead of art, Conference with twenty-five-year-old blue-eyed, dark-haired, A beautiful, in the training of these young debutants? What are A Musical Snapshot made her debut in Rovigo in 1914.' Parma-born diva the reasons for such a condition, and how can it be her career, but now she The war interrupted has been cured Scala for the last two years in singing at La “Othello,” “Tiie root of the difficulty, it seems to me. lies in the C^icmcllo _XIrrcLU “Mephisto,” “La Bolieme,” “Lohengrin,” and “La desire of young artists to find a quick, easy, sensa- Lj me that she is “prestare la Victor 3 Sero/f Tosca.” She told voce” tional success. Success itself, according to the prev- Internationally Renowned Chilean Pianist (lending her voice) in the film "Colonnu Sonora”— alent conception, seems to mean the ability to cause really "Lohengrin,” which is being made in Rome. to people by playing louder and Pianist, Teacher, and Traveler She amazement ; shock said she is too tall to act iu the film, as she is about faster than the last newcomer who, in his turn, played SECURED EXPRESSLY FOR THE ETUDE BY ROSE HEYLBUT five feet eight. louder and faster than those before him. To achieve Evening clothes are not obligatory at La Scala, ex- the questionable glamor of sheer shock-sensation, the N AMERICAN 0. T. described grand opera as the La Scala orchestra and conductors. This economical cept for the Gala performances such as are aiven for young artist fortifies himself with the “baseball of Italy.” It is hard to realize that reform, originated by Arturo Toscanini, makes one younger generation of great A illustrious guests. “We are a democracy,” explain La most difficult works, from a purely tech- Foremost, perhaps, among the thousands of opera fans go to temples of the art wonder limitless possibilities for musical maintained a reputation for musical integrity about the Scala people. nical point of view, that he can find. It pianists who have In Italy with born the same enthusiasm as crowds in Amer- institutions in the United States, if such an example as well as for brilliance of performance, Claudio Arrau, is a matter of everyday occurrence to ica seven, he go to a ball game. They have the same intensity of should be followed. in Chile, was already famous at the age of five. At find a young pianist making his first interest An Italian Hollywood Bowl scholarship for advanced study that the Spanish masses have for a bull light. Contrary to the general idea of La Scala’s con- was granted a government orchestral appearance in t lie Brahms To the credit of the Italians, abroad and worked in Berlin with Martin Krause, himself a they are devoted to a servatism in its choice for the it produces During the summer La Scala performances attract performances, ‘B-flat Concerto.’ In the light of such cultural artistic pupil of Liszt. Until his death, eight years later, Krause as- and pleasure. modern works along with the old repertory. Last sea- thousands to Verona — the little town which some facts, it is not difficult to see why these general education. Milan, the capital of sumed full charge of the boy's musical and Northern Italy, looks as though son (in March 1947) Benjamin Britten’s “Peter ninety years before Christ was a Human colony, in the young people receive bad notices. Quite Then, at fifteen, young Arrau found himself on his own. The it has a greater population than New York City. One Grimes” was given, and it had a great with Arena (Colosseum), one of the few success umpitheuters simply, they cut themselves off from the loss of his teacher, which fell coincident with the boy's can hardly walk through Ihe crowds of people on the the Milanese, who are the most critical opera goers which survives since Raman times, whore gladiators most important part of their training emergence from childhood, plunged him into a spiritual crisis sidewalks, and one’s life is certainly not safe in the in the world. For the present season ( 1947-48) Mous- fought to the death, and later, after the Middle Ages, from which he found his own way out. Although he had some middle the gradual, patient, concentrated de- of the street, for Italians travel a great deal on sorgsky’s concertizing behind him, he retired from “Boris Godunoff” and Umberto Giordano’s where bull fights were held, the La .Scala Company velopment of artistic expression. years of successful bicycles—and they just adore motorcycles, on which public recommenced his studies, guiding himself by operas, “Andrea Chenier” and “Madame Sans-Gene," now gives opera performances. It is a sort of Italian work and they go zipping through the streets as though they a more mature consideration of Krause's teachings. In his are scheduled. Hollywood Bowl. The Arena is round and Is divided were on their way to the moon. The dream of every Technical Facility Not Music early twenties, he again entered the concert field and proved While La Scala conductors are experts in their field, into two parts: one for Ihe audience, hot- for Ihe Arrau achieved a sensa- young man today is to have a “Vespa” a little motor- himself an artist of first rank. Mr. — La Scala performances have one amazing feature which stage and the orchestra. Since the “Let us settle, once and for all, that modern Romans are York success in 1941, and since then has played cycle which makes more noise than it tional New affords comfort makes them different all music. Certain- from other opera perform- not so sturdy a race as their ancestors, and ihe In- technical facility is not hundred orchestral engagements and over four to the rider. At one time the noise more than one from automobile ances in the world—the prompter, in of making music, but who sits his box tensity of the blazing heat has not diminished la all ly, it is the means hundred recitals in America alone. He has also made success- horns in Milan sounded incessantly like a huge, caco- below the stage is just as important best, technique remains only a Australia. pro- at the driving these years, the spectacles do not begin until late in at its ful tougs of Europe, South America, and His phonic organ with a million pipes. Mussolini tried to wheel as is the conductor. The technique-sensation includes material enough for seventy-six full prompter does not sim- the evening. The Verona tire tool. Insistence on digious repertoire suppress this, but it performances favored, seems to be in the Italian nature ply whisper sixty-two orchestral works. has had the words to the actors on the stage; he not only for is comparable to admiring the typewrit- recital programs, and He to love noise. their artistic value, but for the real Italian almost sings with a street named for him in Santiago de Chile, and he travels them. Looking like a skipper on a spirit which the er on which a great novelist works out Milan did not suffer much audience supplies, by the free expres- from the war. The wrecked ship (and don’t forget sense, this on a diplomatic passport. In the following conference, Mr. he is an Italian), lie sion of its enjoyment or his ideas! Yet, iu a musical Cathedral stands intact in all its disapproval. Here a singer training of young artists. glory. The famous signals and shouts to Arrau outlines the needs for the them every direction they should can have a rousing seems to he going on all the time. We -windows and the middle door the ovation after one aria and be booed — most valuable— take, while the conductor looks after that they have —Editor’s Note. were the orchestra and (the Italians whistle) by the whole crowd train young artists so removed to places of safety during the war. The presides over of some the performance as a whole. forty thousand fluent menus of expression and nothing thing one regrets is the sight of the people a few minutes later. The Italians neon signs which La Scala people are very proud of Signor Tagliaviai’s all seem to be connoisseurs whatever to say have been put up by advertising companies on the of opera. I talked to a wine success at the Metropolitan, but they say they have “No one element is responsible for buildings facing the lovely merchant in a small village near Verona, inti- Cathedral, spoiling the others to show to the whose New World; in fact, they state mate this—all of us share the blame; the widest, this inten- looks of the Piazza del Duoma. knowledge of operas, (Continued on Page 201) thought, and worked. At its means permit a gifted pupil to But the real teachers who sive study of all kinds of world history and customs. heart of Milan is still La Scala. It is give performances for which he is not digging intensive re- in the center of the city, very near to the At its narrowest, it means into GaUerla Um- organize such ready : the managers who berto I and the great white Dom or search of little things. If, for instance, you play a Bach Cathedral. During tolerates performances ; the public that the last days of the war, two ‘Partita,’ don’t stop at a reproduction of the notes! bombs destroyed the young per- . . and, of course, the auditorium, them . Discover that the work is really a series of dances. but the stage was saved from the fire by formers who steer such a pitifuUy their the iron curtain (and 1 don’t mean the Learn those dances— find books that will explain Churchillian the true warped course away from to Uavotte, a Harubande. Learn “Iron Curtain!”). The auditorium, which seats thirty- steps. Be able dance a five study of music. tempi, the rhythms. Explore the difference between hundred people, has been completely rebuilt, an CLAUDIO ARRAU the “It is easier to detect errors than to exact copy of the old. Fortunately the large chandelier the French Uourante and the Italian Conente—and shall we pro- had been saved. correct them! Just how suddenly you will see that the Uourante is a slow, artists, so “We would have ceed in our training of young dignified dance, very different from the light, rapid no deficit,” I was told by one of the First of their musical development may lie strong -and ways in which musioality can lie developed. members of La Scala, “if that Corrente. Make yourself actually become one of the we had not the expense of profound works at the start of sure? Well, let us examine some of the points of error all, do not attempt the ttie new decor and costumes which perished during the seventeenth century personages who danced originally. them. First of all, the pupil your career. Leave the Brahms B-flat alone for a while fire.” with a view to improving out they were like; how they thought, and Mendelssohn. Find what to aspire to a career iu art should be and concentrate on early Mozart and gifted enough moved, and dressed. This is all a 'vital part of the realize that his basic ‘business capital’ is Don’t attempt the Beethoven Sonatas of later opus La Scala Subsidized brought to artistic preparation necessary to a musically significant which he approaches his work. He until you have thoroughly mastered all the earlier of (he attitude with interpretation of a Bach ‘Partita.’ And it has nothing The Italian Government mentally subsidizes La Scala with from trying to shock, to startle, the thirty-two—and master them thoroughly ; should be discouraged in the world to do with the technique of fingers! thirty to forty million liras a year, spiritually, as well manually.. Acquire a reper- and two and a half to sensationalize, to impress. He should be taught that and as per cent of the receipts of all file moving toire gradually scale the progressive advancement picture houses the function of the artist is similar to that of the priest and in the State of Lombardia goes into the you play according to your mental and La Scala fund. —a lifelong service of consecration to the deepest sig- of the works Respect the Composer’s Intentions Tiiis intelligent measure is of finger will take care supposed to have been nificance of music. In my own student days in Germany, spiritual grasp them—the work originated by Arturo Toscanini when be itself! (I that adequate technique is “Even in purely technical passages, the intentions was there in a talented young pianist could make his start by play- of assume the years 1921-1922. This arrangement < of tiie composer must come first. Despite today’s stress was respected ing the Hummel Concerto, or the Mendelssohn Rondo present.) even throughout the years of Fascist gradually!), finds ‘faking’ in difficult rule. Now La Brilliant.—works which give a youthful spirit an op- “In .studying repertoire (always put ou finger work, one much Scala has become an institution, for it discipline of real study. Respect these passages blurred. has founded a portunity to express itself, without taxing it with yourself through a passages. Sometimes sound school for young singers which opened its doors in intention of the composer. This means Sometimes they sound clear enough, but again profundities it can hardly be expected to express. But the minutest — December 1946. Young men and women, of for the quick, — regardless today,, would even think of playing those works? getting away from tiie ‘personal inspiration’ school through our search easy way -they are of their who, nationality, who are fortunate enough to win observing the least indications of tempo, not played exactly as the composer wrote them. Little not ‘terrific’ they do not ‘impress’ ! And, in thought, and scholarships, They are — receive their tuition free. They also have legato staccato everything that short-cuts in fingering, so forth are introduced. Ibis misguided desire to impress, Ibe youngster plunges of dynamics, of and — and monthly allowances for living ex[ienses. Aureliano Beethoven and Brahms—and makes au impression the printed page yields. For this, naturally, it is always Take, for example, the final passages of the Beethoven Fertile and Julia into Tess are the professors at this school, wisest to work from the Ur-text, and, I am glad to say, C-minor Concerto, and again, the final passages of Les which of having nothing to say had twelve pupils last year. At the end of each time living to develop musical ideas Ur-text editions of the great works are becoming more Adicur. Here, there are rapid broken octaves, indicated school year public “It takes and examinations are held at La Scala, for one It Is difficult—so worth hearing. And by living, I do not mean Vic do and more generally available. And, as a background hand. what happens? More with pupils performing scenes from the operas and study- for understanding these indications, familiarize your- than one young pianist allows himself the liberty of Bolieme gaieties ! I mean earnest, solid thinking, singing arias and concert pieces accompanied by the world in which the composer lived, playing them with both (Continued on 200) ' mg, communicating with music. There are a number of self with the Page 208 APRIL, 1948 "MUSIC STUDY EXALTS LIFE 209 THE ETUDE 1 : u ” If to play it accurately. you persist need ( wltw 1 Music and Culture peeking!) you will master it much more quickly Music and Culture seventh chord The diminished sequences (fr „ fl m ' e ninth pattern) are comparatively eusy if you will I)ra pattern : tice them in this Ability The Pianist’s Page Capitalizing Your Musical A Conference with ^Arecl 'lAJaring tnj 2)/\ (jin) nlctier which combines thus: Pianist and Famous Conductor of Waring’s Pennsylvanians Noted Ex. 9 Music Educator rs - £ • SECURED EXPRESSLY FOR THE ETUDE BY JAMES FRAIYC1S COOKE Penn- Additional Details The remarkable career of Fred Waring seems to have no limits. Mr. Waring was born at Tyrone, 1945 he tells of the extra- sylvania, June 9, 1900. In the issues of The Etude for February and March 9 the opening chords of the of the outstand- which often ends in a syncopated sigh (Measures Phrase I’relude In smooth ordinary manner in which he built up his “Pennsylvanians" so that they have become one of fours; use soft pedal entertainment. providing the American public with beau- and 13) : groups and make a slight ing groups in the field of modern Apart from the success of the organization is so pronounced that ritard, in Measure 4. Note the soft syncopated sigh tiful music, performed by remarkable specialists, is now devoting much of this to (C-sharp) which finishes the phrase. it has enabled Mr. Waring to accumulate a very large fortune. He courses (bass) musical education of a very special kind at Shawnee-on-Delaware, in a highly concentrated series of Give strong foundation tones throughout the for choral and school music leaders. These courses are so original and so intensive that they have a most Prelude and avoid thin or bony “perking" at the flow- unusual effect upon alt who attend them. Mr. Waring insists that they be self-supporting and at the ing left hand (see Ex. 1) arabesque. Always play it same time be well within the means of those who attend. —Editor's Note. curvingly and richly legato, using the Thereupon usually follow those irregular and tender damper pedal as long as possible. Contract plrnr-e- dynamically, patterns of thirds and sixths (Measure 14) as, for example, Measures 8-9 me:: o putt, but Measures 10-13 piano. and work with practical, high-salaried musicians, ’flic plan must necessarily be original and different. It Involves re- The singing chords In Measure 1 1 mu- move toward the long hearsals, lectures, foYums, and constant daily opportunities to chord of Measure 15. Piny ;mi « > it. and Motto see the ‘Pennsylvanians’ at work. The dim. in Measure 18. Hesitate slightly before playing flexible, informal, and thor- the chord (pianissimo!) In Measure 19. plan is Chopin, Prelude in No trace is to he found here of the morbid Chopin. oughly democratic. C-Sharp Minor, Opus 45 Throughout Measures 27-35 play all Hie tones In the After the soft sheen of the opening chord (Meas- “Music, now the most democratic of phrase right hand chords— tops, insides, bottoms with C ures pas- lN 1-4) the composer sets the mood of the Prelude, sionate G all the arts, was long the monopoly HE STEP-CHILD of warmth. Don’t jab them Into the piano with WA educ^\° the Preludes, in this ea.se which I think might RED sic be called the divine discontent of your wrists, tfSu ^ of royalty and the nobility. As long hut take them out of tin* one of the most attractive of Chopin’s progeny, is Instrument with aspiration. With every phrase, every modulation, he that prevailed, musicians T the free, fall arm. Think of these as system separate Prelude chords in two-note in C-Sharp Minor, Opus 45, becomes less earth-bound, until in the last cadenza phrase groups r were were the house servants of aristocratic printed for your convenience in the Music Section of and you will mold them into the right 1 was pr°8 S£ cators (Measure *9) he is rewarded with the enveloping show- Nature U long this month’s Etude. shapes. snobs. Those days are now past. Approach it sensitively, for it is er of golden rain. is "^^arrangernents^an^^ The remaining measures (SO-91) ^Waring Moreover, mnsic in these times is not a shy, retiring child who does not make friends Make almost no dim. in Measure 20, but lake time easily. with a breath-taking modulation from C-sharp ri Ha inmer-a minor to for that beautiful S term. a ‘closed corporation’ for snobs of the nd-tongs thumpers do not win its confidence, H ma jor and back shhilo piano chord (G-flat) at Ch%/ "n again might be considered thankful- aS ^S intelligentsia class. Music is for nor has a large Measure 31. Then play 5 portion of the lioi-polloi taken it to its ness for the brief fort, and hold the rich tonal aid moment of exaltation. tical everybody. Formal concerts of formal capacious bosom, for it does not wear heart texture through to the sudden its on its w uiumuu sigh in Measure <33. Play , . LU will and must continue in sleeve. Yet all pianists, even those softly there, and hesitate music whose playing. lacks advise taking its golden before the theme in Measure drops apart, examining then great temples of art. But these are for emotional warmth, will find a life-long friend 3fi: change color here; Imgiu in carefully, and studying the cadenza Measure 37 richly pianis- can I capitalize my musical a week or tw< siino, uTTOW Chopin’s ardent prelude if they will take pains to before like a sudden remembrance of long-forgotten you tackle the rest of the Prelude. Recommend a |-| ability in order that I may have cultivate it. beauty. Prom Measures ed procedure: 1. Play, analyze, 33 to 09 there emerge breath- return for long and memorize each se an adequate Huneker anil other writers call it taking passages “improvisational," of two chords as single of iridescent and shimmering modula- is the a chord : spent in music study?” That “introverted,” years “introspective,” “Brahmsian,” and let it tions from G-flat (35) to E-flat (30) to A flat (43) to question which thousands of young mu- go at that. Superficially its broken chord and melodic (47). 1 rom here on, F-major predominates; those sicians are asking. The great problem of contours, its curving shapes in thirds and sixths do throbbing chords return 55-59 the (Measures 1 with education itself is that of adjusting human recall the Brahms “Intermezzi.” oiely Perhaps the young intensity of their top, tones. etc. 1 inner, and bottom material vocationally, to the known needs Johannes loved it, too: if lay so, he learned much from it. the subsiding F-major 59- That arpeggio in Measures of the world, in a way which will be for S}iAW Rachmaninoff also must have contemplated its i>3 with as much damper pedal as it will take, and of the best interests of society and of the in- soaring phrases can easily lie proven : program it as a course with soft pedal also. Start (13 pianis- fields the stu- etc. Measure dividual student. In some Prelude by Rachmaninoff and you will often find the simo and avoid making much crescendo. You will pro- is apparently expected to make an hoax going undetected. dent uce tiui) golden sounds . on those chromatically aseend- enormous contribution of genius, labor, lng half-notes (Measures 63-fi«) if you play them with thought, arid time that may lead to only a ^Parateiy until you can e musicians have something of great importance and value to give to the world, but final nnick °-9 sparingly a ' Hl (pianixKimo) in Hie last eight that with the exception of the ‘top liners,’ they are often very inadequately paid. chords "e< R Measure SO. Then play the C-sharp This, in most cases, is by no means because of their lack of efficiency in music, minor r.h . L" 80 * s,,li dly. but largely because they do not know how to capitalize their ability. The oppor- 1" l and rest on it. (I recommend Plavine ta v °' s °? slmrp in the bass.) your time tunities for well paid positions in music in the future of our country will lie, in at “giving fi „ ? Take a kS 1,1 '! the re< (Meas- my opinion, almost limitless. In the teaching field, the colleges are already put joins the yearning right ures ‘ttative which follows hand theme in Measure 6: so.c! 0 * Pe of tlie ridiculous, so noticeable in love his youth Music and Culture Music and Culture to His friend and pupil, Fontana, writes the foil 1 nonsense: “Give Jasia for *’ bit of lunch a sphinx's 't"" < parrot’s kidneys in tomato sauce. ar^ and Take • f of an infusion of whales.” Another passage >Ulli EDWARD ELLSWORTH HIPSHER in the letter is too much in the style of the me humor of lj|r! to he quoted here. Chopin, in his letters, by Guy McCoy often all i** to himself His es humorously and to personal anno'u. •ranee. He frequently speaks of his crooked nose, and Why his Records i ou„ Twenty Favorite nose My complains that tlie ilies light T IS with profound regret that The Etude informs and on it. He “Your friend with the big 8‘gns its readers of (lie death of Dr. letter, nose and J Edward Ellsworth ll >e unde- Ilipsher, who from veloped fourth finger, Chopin.” He tells Authoritative Interest 1920 to 1941 was Associate Edi- of hi s uns An Article of Rare, tor of this magazine. Dr. cessful attempt to raise whiskers, saying Ilipsher, music critic, author, that 0 tT editor, they do very well (Symphonic composer, passed away March 7th in City Hos- right side but on the left Moussorgsky-Stofcowski: Boris GodounofF they t pital, refuse to grow, though Marion, Ohio, after stinately lie . . Synthesis) a week’s illness of uremic says that i 4 Philadelphia Orchestra poisoning. His age was seventy-six. He had resided so much importance for one always turns Leopold Stokowski and the Music in the Home The Piano Story Music in the Home MASTERS OF THE KEYBOARD. A Brief Survey of Pianoforte Music.” By Willi Apel. Pages, 323. Price, Publisher, Harvard University Press. Beethoven: Symphony No. 4; The Cleveland Orchestra, $5.00. conducted by Etude Music Lover's Bookshelf George >Szell. The Columbia set 705. Hanson: Dr. is in he spends one hun- Symphony No. 3 in A minor; The Boston A pel's book unique that Symphony Orchestra, conducted by Serge Koussevit- dred and eighty-four pages in discussing the history zky. Victor set 1170. of pianoforte literature up to the period of the Classi- .Mahler: Symphony cists, beginning with Joseph Haydn (1732-1809), and No. 5 in ('-sharp minor; The Phil- to the Any book here harmonic-Symphony Orchestra of New York, con- devotes only one hundred and thirty-nine pages reviewed may ducted by of the art to the present: of Bruno Walter. Columbia set 718. huge development down be secured from Mozart: Symphony in 1) major, K. 385 (Haffner) The Hindemith, Stravinsky, Poulenc, Schoenberg, et al. THE ETUDE MUSIC ; MAGAZINE at the NIK) Symphony Orchestra, remembers that the average piano student conducted by Arturo Tos- When one price qiven on canini. Victor set 1 1 72. rarely knows anything of the keyboard composers receipt of Shostakovich: op- cash or check. Symphony No. 7; The Buffalo Philhar- prior to Bach, one realizes at once that here is an monic Orchestra, conducted by William Steinberg. portunity to become acquainted witli the earliest Music-raft set 83. foundations of piano literature through the Renais- Schubert : Symphony No. 9 in C major; The NBC Sym- sance, the early and the late Baroque periods, as well phony Orchestra, conducted hy Arturo Toscanini. as the later Classical, Romantic, and Impressionistic Victor set 1167. periods. There are one hundred and forty excellently ^iljeredl ill C^acLman selected notation examples, including even one from Szell’s performance Of the Beethoven Fourth is equal- Schoenberg. A celebrated critic recently said to your ly as proficient as any on records and is excellently reviewer, “Much of the beiujty of music comes from recorded. The Ilanson Symphony, romantic in spirit, discords to which we have become accustomed. Music reveals a broader prospectus than bis earlier works. without properly used discards is like painting without the fewest possible words. The very compactness of Its rugged and turbulent quality is in keeping with the shadows. That does not mean, however, that music this hook literally forced the author to dispense with pioneer spirit which of the work the composer tells ns inspired it. should lie a fabric of discords so abrasive that they every unnecessary word, and the excellence Koussevitzky gives it a splendid lierformance. make the listener cringe.” Dr. Apel, in liis over-all pic- depends largely upon this factor. It is one of the most Ilie fervor and intensity of Walter’s interpretation ture, states this very ably in the following paragraph : compact dictionaries your reviewer has ever seen. of the Mahler symphony is matched by superb record- "Impressionism, in spite of the sensation it created, ing. The work, one of the composer’s most ambitious after a relatively short time began to lose much of its and impressive, is often complex and harmonically dis- original fascination. Its intrinsic vagueness and over- sonant. One feels a program was implied, but the com- refinement were not conducive to vigorous develop- Joy Songs For Little Ones poser denied WANDA LANDOWSKA this. Certainly the opening movements ment. It is a somewhat tragic truth that Debussy’s suggest a Faustian stress. work stands before the eye of the present-day viewer “MY PICTURE HOOK OF SONGS.” l!y Alone Dutton. .My riel Toscanini’s and Erin Young. Pages, lit), (12 x 10), Price, $2.50. newest performance of the Mozart “Haff- not as what lie intended, the negation of Romanticism, Ashton, ner” is more Publisher, M. A. Donohue and Company. sharply etched than liis older one—which but as a part thereof, in fact, its very acme and con- may lie the result of modern better recording'. It brings clusion. His fundamental point of view, however, was us subtleties Three charming young women of Salt Lake City, of line and phrase as well as dynamics Records You Should Hear shared by other composers who were equally con- which one Alone Dalton, poet and nursery school specialist, were missing in his previous recording. The vinced that the potentialities of the Romantic ap- noted conductor’s one Myriel Ashton, composer, and one Erla Young, performance of the Schubert C proach had been exploited to the very limit, techni- major reveals his artist, had a get-together party and the result is this genius for dramatic power and in- cally as well as aesthetically, and that new solutions tensity. Perhaps no gay gladsome book. The pages just shout with other conductor provides the had to be found, solutions, however, of a more de- and tin-ill in the scherzo and fun, tunes, and color. We are sure that many a kid will finale of substantiates the hif f^eter J4unh l^eecl cisive and radical nature than his. Such solutions were classicism and towering have “the time of his life” with this happy, spirited strength of Schubert’s in- indeed found by men like Schoenberg, Bartok, Stra- spiration. sincere, expert, and unaffected. It vinsky, and Hindemith, and the novelty and radieialism collection. It is pastoral at The Shostakovich symphony is an emotional night piece, curiously reminiscent of Wagner. makes one want to know the authors and see them docu- Juliet Overture” Is beautifully cotirdiimted. Then of their efforts are properly indicated by the term ment of file Buseli plays this Russian people during the trying days of music with affection. Ivhatehaturian’s no Music’ has gradually come into accep- work.* ™ rhythmicin.viiunic or dynamic distortions. The love secse ‘New which the Leningrad siege. A work of suite, from incidental music to troubled emotions, its an old Russian play is aree Ida Veil ttoriditi tl>.. zli.iiin.i4l tance as a designation for the progressive tendencies played Withwith rare sensitivity»ilr andniul the dr.-imati JESSIE LOFGREN KRAFT thematic material is not on neo-romantic in style. Lacking in a consistent level and to originality, it lio’ue- tions in music early twentieth century. This term with poised power. As nu encore. Hie com the of the some it seems too long for the-less has an exciting its own good. Those who rhythmic bounce:' to which gives a lias a more limited and, therefore, more accurate brilliant aeeouut of Kabalevsky's o\ertt admire this music will find the Fiedler does full justice. Respighi’s Harmonics In Verse performance and re- “Roman Festivals” his opera, “Colas meaning that ‘Modern Music’ or ‘Contemporary Mu- cording is a Bruegmm.” Koussevltzky's troa a most satisfactory one. pageant of orchestral coloring and “OVKRTONE,” Jessie Lnfgren Kraft. Pages. 63. Price, tone. “Ear- of the more abstruse sic' insofar as it excludes composers like Sibelius or BJ filling "Francesca da Rimini" is Publisher, Exposition Press. sounds,” -as one writer stated, hut a the $2.00. “disaffect- polished drama, lacking Richard Strauss, who continued more or less along Berlioz: The Corsair ing musical product.” in the poetic lernes —Overture, Op. 21; The Royal Ormandy gives it an impressive traditional lines of the late nineteenth century, ex- Jessie Lofgren Kraft, daughter of tiie much loved eloquence of the Beet-ham reading. Philharmonic Orchestra, conducted by Sir performance. Miss Mot-ini’ Lindsborg, Thomas formative of the pounding the ideas and technical resources of Ro- Dean of Fine Arts of Bethany College, Beechatn. Victor Suppo’s Light Violin Concerto is superb. In our disc 11-9955. Cavalry is more often than not on. It sensitive ethereal verse mauled iou, heis is a manticism, Impressionism. Nationalism, and so Kansas, has put into very and Dvorak: by bands more vital, more earnest in Nocturne for Strings, Op. 40; The and inferior orchestras. Not so with and has musical masterpieces. Her own Busch the Bos- treatment of this may be noticed ttiat the term ‘New Music’ also an impressions of many Chamber Players, conducted ton “Pops.” Under Fiedler’s music than any other on rei by Adolf Busch. Colum- brilliant direction “an significance, it recalls similar musical background, in the remarkable Western edu- old Unfortunately, the interesting historical as bia disc 17513-D. war horse” becomes a thoroughbred orchestral playing, while steed. The over- petent, names which were used in earlier periods for move- cational institution founded by the Swedish Lutherans Khatcliaturian ture from lacks her inspirational conviction. : Masquerade — Suite; Thomas’ “Raymond” an opera The Boston — long forgot- ments of a somewhat similar character : Ars nova in 1S81, threw her in association with many great “Pops” Orchestra, conducted by Arthur ten-lias charm in the opening Fiedler Vic- section hut becomes Also recommended are (New art) and Xnove niusiche (New music). Particu- artists. The poems have been used with music In con- tor set 1166. commonplace in its latter section. Weldon oc- gives it a Bach . ( hacoiuie larly interesting is the fact that these movements cert, recital, and broadcasting programs. Particularly Respighi: first-rate from l iiaccompanicd Violin I’arl Roman Festivals; The Philadelphia Orches- performance which is brilliantly exactly three hundred years, the recorded D minor; Andres Segovia curred at intervals of effective is the “Debussy Cycle,” with word etchings tra, conducted by Kugene Neither Ormandy nor Koussevitzky ignitor). Mush raft s Ormandy. Columbia set efface memories a< Ars nova, around 1300, the Xnove niusiche around First Arabesque, Clair de Lime, Clouds, of ' "ticerto in A minor; upon The 707. Toscanini and Beecham in the Roman Tntenherg ri two Von Weber over- with the 1600, and the New Music around 1900. Whether one Fetes, Sirens, Pagodas, Gardens in the Rain, and the tures. Musicraft Stippe : Light Cavalry Overture; despite the glowing orchestral Chamber Orchestra. Musi The Boston “Pops” playing and splen- set iS. accepts these dates as a mere coincidence, or interprets "Preludes,” including Maid With the Flaxen Hair and Orchestra, did record..* conducted by Arthur ; and Mitropoulos’ Fiedler. Victor disc performance of the them as the expression of an innate law of musical The Engulfed Cathedral. 11-9954. brilliant and delightful for Harpsichord “Schwahd-a” and Violin; I landmarks, and they also music does not V at evolution, they are useful as The hook properly ends with a poem on Handel’s Thomas; measure up to a previous u v aml Alex:ll “ler Raymond Overture; The City of issue by Ormandy. Schneider. Colnmhi break in tradition is no ham Birming- 719 remind us that an occasional “Messiah,” which has been given at Bethany in splendid Orchestra, conducted by George is Weldon Co- A Treasury more less natural to historical development than manner each year since 1881. This exalting tribute lumbia disc 72374-D. Tchaikovsky: of Harpsichord Romeo and Juliet—Fantasy Music; Prelade. Fugu, continuity and steady growth.” NIK, .Symphony Overture- Bflat runs •Weber: Der Freischutz— Orchestra, = Sonata* in I, It Overture ; The conducted and m Philadelphia by Arturo U,T°Z All in all, Dr. Apel’s work should be an ofteu con- “Ouc-e more the stone is rolled a,‘ away Orchestra, Toscanini. Victor d < conducted hy Eugene set 1178. Scarlatti I Ormandy. Columbia ; Sarahande the library of the teacher and the , sulted volume iu From the Easter sepulchre m3 • disc 12G65-D. Tchaikovsky: Francesca ambontiiOres) I. da Rimini „ .. ; a hauphine (Itanie — Symphonic j • student. Again the miracle of Resurrection Day Weber : Oberon—Overture; Fantasia; The Boston * 'nistcrleuses The Boston Symphony and L’,1 rlrquine t Symphony Orchestra, conduct- neri,o 3 Resounds across the world Orchestra, conducted by Serge ed b.V Serge Koussevitzky. Victor ° """ or Koussevitsky. Victor set 1179 'Purcell) ; The .V innate '( nnri In music like a mighty paean disc 11-9951." Tchaikovsky; ‘Vlll Music and Study HE YOUNG MAN who enters professional Music and Study music today does well to realize that there is T only one choice before him : either he must of stick to it, regardless of discouragements, in a sort total-mobilization, all-out-war frame of mind, or he had Of Ties and Shirs better get into some other calling. If he gives up, both he and music will be the better for it. if he sticks, he Brakes and Breaks Would you please help me out with a needs to do a great deal more than master one instru- problem : every once in a while the ques- Table Hound ment, one specialty, one field of activity. The best tion of what is the difference between The Teacher's all-round a tie and a slur creeps up. Of course I chances today in music are, quite simjdy, for with give my pupils a technical answer as their abilities A Conference wherever there is a piano. It lias musicians, who can turn their hands and given in any musical dictionary, hut that spread by five continents, to any and every sort of musical task. In this sense, does not satisfy them. All ties are not Conducted over and once in Paris that the great classic simple little things. Sometimes one has the noted Russian composer-teacher our musical picture is closer to of to watch very century, pianist could carefully before realizing Serge Liapounow, told me that age. During the nineteenth a Walter jl during his JL a tie is meant, and not a slur. For in- 2>umesnlt pianist in the previous century, and again years of professorship survive as a ; stance in the Romance in by many at the Mos- Assistant Conductor, in the following one, such highly specialized abilities Rimsky-Korsakoff, there are a number of French-American cow Conservatory he used it constantly ties throughout the whole selection. How Eminent were, and are, only a part of the wider ability to serve Of course the “Virtuoso Pianist” may York Philharmonic-Symphony Orchestra can I explain the difference betwe&i a capably in music. There’s always room at the top for New appear somewhat simple or primitive slur and a tie satisfactorily, so that if a Conductor, Lecturer in succeed Pianist, a lad who wants to become a pianist. He may ; student picked up a new selection he its original text. But modernized and am- better chance in would be able without my guidance to then again, he may not. He stands a plified by the addition of rhythms, punc- GU1SNAR ASKLUXD point out and determine the many ties? and Teacher music, however, if he takes time from his pianistic SECURED EXPRESSLY FOR THE ETUDE BY tuation, transposition, or other devices — (Mrs.) P. S., Wyoming. preparation to learn sight reading, score reading, ar- such as one finds in editions by Robyn, composition—anything and everything that Although both ties ranging, and slurs are identi- Lindquist, Thompson, Cusenza, Burdick, American conductor-pianist-composer, was born in New Jersey and has to do with music. The fact is that the music world Walter Hendl, eminent young cal in appearance, there is a capital dif- at nineteen, a year after which and others, it affords a most valuable ma- his chief studies at The Curtis Institute of Music, which he entered original edition of the Preludes unpredictable, in its professional sense. Sometimes, pursued ference between them, since the tie repre- is Foundation. While a stu- master’s pupils. terial for breaking tin- fingers into a high having won the New Jersey State Music Contest sponsored by the Griffith had belonged to oneof the too, the garnering of laurels may not seem fair. Suc- sents “value” while the slur refers accompaniments in a vocal studio, teaching, and learning, to to pen- degree of smooth velocity. In my opinion, dent, he supported himself by reading It bore many annotations marked in cess can often come as the result of a lucky break, “punctuation.” In a tie, the curved line to success. At twenty-two, he joined the faculty of Sarah Lawrence College. During it can legitimately find a place next know the hard road cil during the lessons, and right there, in to— of and training. And no one knows of connects the heads of the notes involved. rather than study the summers (1941 and 1942), he studied conducting under Serge Koussevitzky, conducted several unmistakably if I dare to mention the two names in the front of the E, was a flat field in which the lucky break will offer itself. Thus, piano soloist. In 1942 he entered the Army Air In a slur, this curved line is placed above, the the Tanglewood Festival concerts, and appeared as hand. Thus a same breath— Isidor Philipp’s “Complete hospitalization. While inscribed by Chopin’s own it is idea to he prepared in all. fields ! was honorably discharged in 1944. after six months' or below the notes. Let’s elaborate a lit- a good Force Ferry Command and School of Pianoforte Technic” the controversy of long Standing among ; above- Hospital, discouraged and depressed, he won the attention of Mrs. tle by taking a few examples from the Useful Tools convalescing at Mitchell Field Parisian musical circles was brought to mentioned, and admirable, "Rhythm of Francis McFarland, a Gray Lady of the Red Cross, who set in motion interests which resulted in his Romance you mention are fluent sight reading, score “Three useful tools his first work at serious an end. the Fingers,” liy Stamaty; William being asked to write the score for the tolk-play, "Dark of the Moon." This was In measures one, two, three, four, and accurate memory. All of them are, to an reading, and in one month, and the play ran as a Broadway hit-show. After a One could also argue, in support of the Mason’s “Touch and Technic for Artistic composition. He finished the score five, the curved lines are slurs and It has been they Correspondents with this Depart- extent, inborn, but all can be developed. guest appearances as conductor, Mr. Hendl was appointed Assistant Conductor of the New E-flat, that the pattern of the initial four Piano I’iaylng”; .lames Francis Cooke's number of indicate that the notes concerned must ment are requested to limit letters experience that daily self-imposed drills build the Orchestra, where he earned new laurels as substitute for Artur Rod- “Mastering the Scales and Arpeggios”; my York Philharmonic-Symphony be played legato; to One Hundred and Fifty Words. measures is better balanced with their to conductor a violinist would play best development. The trick of mastering reading is zinski. In addition to his official duties, Mr. Hendl makes frequent appearances as guest fourth beats alternating in 10. Minor— the Aloys Schmitt “Preparatory Exer- —Editor's Note. them with one stroke of his bow, and -a plunge in and read, keeping always alert to the all- and as piano soloist, and serves on the faculty of the Juilliard School of Music. 20. Major—30. Minor—10. Major. But cises”; and others which do not cater to vocalist would sing them in one breath. over development of the music. I had to earn my own any further debating would be superflu- passing fads hut base their value on the On the other hand, the F-sharp in Meas- job I got was that of way as a student ; the in proven of results. ure is ous view of the above evidence ; so let’s ground outstanding 7 tied to the next F-sharp in Meas- learn in in a vocal studio, and 1 knew the years ahead. To quote two accompanist the bass clef, you (also automatically) elimi- ure and again, the just come to a streamlined conclusion I forgot to mention that at the time of 8 ; F-natural in Meas- eloquent 1 read, accurately, all the new French verses !” that had to nate the need of putting it a third higher. “E-flat . . . ’nough encounter with 1 ure 8 is tied to the next F-natural in said m,v Monsieur Hanon, feeling of had to music set before me. That Again, most horn parts are written for F. Measure 9. practiced regularly from the “Virtuoso “Cent fojs, sur le metier, remettez was a great help. It was the first of the go Pianist. By transposing Intervals, you have to A student should have no difficulty in Old . difficulties, that turned out to be votre ouvrage, Good Hanon brakes, or the formidable process of thinking figuring out 1 still do! through which is which, for apart Polissez-le fortune! sans cesse, et le repolissez.” breaks of everything down a perfect fifth—but by ac- the Heavens . from ! above-mentioned graphical di- . . Heavens Now comes a accurate memory is “Like fluent reading, to the mezzo-soprano vergence, letter customing yourself a tie connects necessarily the (“Place your from that greatest of piano peda- part of inborn aptitude—regardless work back, one hun- The Last Hope also an all naturally. same notes, simply increasing gogs, our clef, it comes the value dred times, upon the bench. good friend, “le Maitre” Isidor of music, some people simply, remember of the first one whereas a slur applies Philipp himself ; Polish it without cease, and Is there any solution for a pupil, age dates, ’phone numbers, and so forth, better Be Ready for the Break to different notes, all of which have ttf “I see, to my regret, thirteen, In polish it again.”) that in your Piano who disregards all fingering than others but it, too, can lie developed. — drills of this sort be played. Should the slur apply to Clinics you her studies? She Is very careless in this “Naturally, self-imposed are going to discuss that ri- - My own system was to set myself a small respect and it causes mistakes and poor are simply part of the daily work at music. identical notes, these notes have dots (un- diculous opus by Hanon. I intervals. Each small improvement — technical, When think time. I fear It Is too late to correct her limit, which I increased at regular less forgotten They should not crowd out practice or theo- by the engraver . . . ,_and that this Hanon ) tonal, or interpretative— is like one more has met with more suc- careless haldts at the piano, hut thought I began by making myself memorize one bar they are played portato, “carried over,” cess you could Even retical study. The goal of all study should step ascended on the ladder of achieve- than ‘The Rhythm of the Fingers’— suggest one last hope. of music a day for a week. The next week I though I’ve I to of that all-round general half way between detached, and legato. so remarkable— Stamaty, done all I can, don’t like the be the development ment. By continued application the by and that increased the assignment to two bars ; small feel responsible for such playing she excellent ; musicianship which will enable an ambitious An demonstration of all dif- pile of artists such as Safonoff and others to eight. As you go on, betterment becomes a hill, then a have fumbles around the keys so much, and next to four ; then ferent instances is found in Grieg’s honored it youngster to take hold of any kind of break by editing it, it strikes so I am the diffi- mountain. makes me feel many wrong notes, that it gets easier ; indeed, the greater charming lyric piece, An den Fruhling. utterly - worn out Should that comes his way. In my own work, situa- In conclusion give up superficiality, disgusted.” after the lesson Is over. culty you set yourself, the simpler do the : I give her up? Her previous teacher told tions that began as definite handicaps have and adopt a type of Obviously the Master is on assignments appear by contrast. I practice that goes the war me that she gave the girl up because she normal path, and I turned into actual advantages. For instance ! Superficial Work to the depth of things. You will be im- can just see him at his desk, could not find any solution for her prob- remember finding it taxing, at one time, to writing his “During my second year at the Curtis In- measurably gratified with the results. letter with a belligerent pen’ lem. memorize eight bars of new music a day. I am just completing a Fourth Grade the corners of — (Mrs.) E. F. M„ Oregon. stitute, I developed a bad neuritis which his mouth drooping, his By the next week, when I made myself ad- Book for the Piano. My teacher has al- moustache prohibited more than one or two hours a lowed Flat, or sticking up in battle position, vance to the sixteen-bar class, the eight me during this grade, to work on Natural? Hold on. . . . Keep yotir chin up. . his eyes throwing day at the piano. At the start, that seemed several more advanced pieces flashes ! The same is true of the kind and also of lightning! Don’t give still is seemed simple up the fight : there a crushing blow. But I drew two definite several sonatas, such as Beethoven's In a recent recording of the Chopin and even his eyebrows bristling memorize. I began on song hope! You might solution in a of music you “Pathetique,” and so forth. I have made Prelude, Opus 28, No. 20, by Egon Petri, find your advantages from it. First, I trained myself I also remember kind, (because of the work I was no attempt to try I was surprised debonnaire Mon- new idea at accompaniments WALTER HENDL to work up the proper to hear E flatted in the sieur (new in the United States, to learn music away from the piano. It is speed on Hanon. I was about six doing), and carried my method over to any of these compositions, melodic line on the fourtli beat of meas- years old least, for it then and in European conservatories an excellent practice, but I doubt that I neither do I spend a great deal of time on ure three. This results in a minor, which taking my first year piano literature. By the time 1 was of pianistic has existed over a century and has pro- the any of them, only enough to get the I find offensive to my ear, accustomed to study. trating on the musical continuity, and not on finger would have had the sense to do it hut for the inability W e lived in the North of France working on sonatas, the song accompaniments seemed fingering, and so forth. Now I would like E-natural and the major duced outstanding I refer to. the chord leading then, not far results). orches- positions and work with your mind rather than with to play as much as I wanted. In second place, I turned from simple and when I made my next transfer to ; to know if this type of practice might into the dominant seventh of G major. Boulogne-sur-Mer “group several — where he teaching" discussed by fingers. digital that comes from the my thoughts to conducting, the wider arm gestures possibly do more harm than good in the I have looked up several reliable was an organist tral scores, the sonatas seemed easy your The memory editions, and taught teachers on Jan- long run. I would and all agree piano the Pianist's Page of the playing the notes frequently causing less difficulty. Thus, neuritis caused me to appreciate very much on that notation. Will you Once he came to preside sheer mechanics of same your views on this please advise over a uary Etude. their question. me if Petri is to be credited pupils recital given They have tried it, and Methods of Memorizing enough, is not to be relied upon in moments of stress. learn the hard way what I advocate for all young - by my (Miss) M. MC., Minnesota. with an error, or am I to change the way teacher at reports are take which I enthusiastic. You might plan of working for musical continuity musicians, regardless of handicaps : specialize in I have been playing and performed Madame de Galos’ “The question of memorizing brings up the matter “The same teaching this noe- a lead from or- piece for the past twenty urne, Le Chant du their suggestions, and visually, aurally, helps greatly in learning to read scores. Unless the music. years ? Berger. of method : shall one memorize While the way you work on those com- Monsiew ganize — S. Z., Hanon a group among your students, or chordal, “Again, when I began my conducting studies, I had positions Washington. was a soft-spoken, analytically? I have found that while all means and work in question is altogether homophonic cannot actually set you back, it gentle, elderly which man who wore will include this almost hopeless alone and follow the score according certain difficulties in mastering baton techniques. In- is harmful in this, an antiquated methods come into play, the surest progress lies along leave harmony that it prevents you All reliable editions notwithstanding, “Prince \i- ease. bert” frock coat, to thematic ideas and structure. The trick of score deed, my progress was so dubious that at one time I from getting ahead. By skimming had white hair the lines of analysis. I did my best memory-practicing over Petri is right ! This much discussed side point burns like Through hearing other pupils play cor- seriously discouraged from continuing this work. the surface without an old-style French on contrapuntal music—Bach Fugues, for example reading is to pick out the most important ideas, ac- was making attempts at" was settled once for all ten years ago, admiral rectly and dandruff and watching their progress, this of detail as you go along. I always I wanted to go on, though, and resolved to make up for reaching more perfection, on his collar. tracing the various voices and mastering each, so that quiring facility you merely when at the time of the Exposition des Little did 1 girl suspect, at that may feel ashamed of her Inferiority break a new score in terms of its main thematic my shortcomings by other means. Accordingly, I put stagnate. Remember progress time, that before 1 could play any of them, from memory, both with and down : comes Arts Decoratifs a special exhibit my eves honor- stood a man and realize that her concentration phrase through, in its entirety. my memory training to new7 use. And when I came to from polishing up, again whose name lack of without the others. I have found this kind of memory material, tracing this and again and ing Polish art was organized. On that was going' to is become famous responsible for her lagging behind. Then 1 go back to find secondary material, and so forth. class, the week after the disappointing criticism, with ever more, one composition. Each time among piano teachers development far sounder than learning a work measure occasion M. Bdouard Ganche, president of and hy not students the world try this ultimate remedy? R content; it is In third place, then, I add the subsidiary ideas, leaving the “Till Eulenspiegel” score completely memorized, you come back to it, you gain, over, I don’t for measure, regardless of structure and you enrich the Societe Chopin and author of the re- think in-e suspected it might be just the began to look up. your means of doing himself. the incentive she needs, more logical, musically, and it makes for greater surety. details and embellishments for the end. my standing full justice to other markable book, “Frederic Chopin, His But, rightly stimulus that will ambition helpful to learn to work in all seven clefs. "A useful, if hard, fact to keep in mind is that there pieces which you are learning or or wroiurlv fho «ir* awaken her Practice memorizing horizontally (on the printed “It is will Life and Works,” produced a copy of the and Pianist” has become carry her out of a stagnation which from your instrument, concen- When, automatically, you think an E-flat clarinet in are always more people for (Continued on Page 200) a 'household' page) ; memorize away wZ is giving you so much concern. 212 "MUSIC STUDY EXALTS LIFE" APRIL, 1948 "MUSIC STUDY EXALTS LIFE" 219 THE ETUDE : ; Music and Study Music and Study Musician Andre Gide, Prince of Letters, and Our Astonishing Musical Beginnings At Bethlehem ^£)utneinii HE STORY of colonial musical life in Bethlehem Part Three hj Ityjaurice makes an almost incredible tale, in 1741, the year T there at forks of the of its settlement, was the Concert Pianist and Author Delaware and Lehigh but one log house sheltering its seventeen Moravian founders; in succeeding decades Lj paJQ. a cinceIL it was a frontier village; at the time of the Revolution it, small town yet in the history of America Andre Gide a permanent source wits a very ; a time when the French are for of enchant- fore, is it not natural that at of its size and state The “Nocturnes,” the •'Barcarolles” there lias never been another place Pottstown, literary world was submerged under a potent wave of ment. always oc- Dr. Chancellor is a member of the faculty of the famous Hill School at development to boast such musical culture as it dis- place of honor on the music stand of Wagnerism, young Andre Gide stood apart—like De- cupied a of his in- —Editor's Note. it colonial Phila- Pennsylvania, and an authority on Pennsylvania folklore. did “Iberia,” the colorful suite played. In some ways surpassed bussy—from the general attitude of Parisian artistic strument. So by Albtaiiz. surprising to find that the delphia. circles, and in 1908 wrote the following lines: But it is most "Notes” con- Debussy. Still, “I abhor Wagner’s personality. Ilis marvels do not tain so few references to Gide belonged group of artists who so much exalt, as crush us. He lias made it possible to that small met at I’ierre I;ouys’ think or at tlie Librairie de l’Art Indf'pendant, a group for countless snobs, literary men and idiots, to which Beth- writers as to find that Count Zinzendorf improvised, at that they were fond of music, and for some artists to included such Stephane Mallanne, ,; u les lehem's second Christmas in 1742, tlie hymn of thirty- believe that genius could lie acquired". Germany lias Laforgue, and Ilcnri de Itegnier. Debussy missed few seven stanzas now known as the Itcthlchcm, or Penn- perhaps never produced anything at once so great and of these reunions, and Gide could have given us and sylvania Christmas Hymn. It will be understandable, so barbarous.” Slashing words, indeed, but mixed with could still give us—some fascinating recollections upon too, wliy Immanuel Nitselimann returned to Bethlehem reluctant admiration and prompted by the desire to pro- Cliiude-Achllle’s reactions, attitude, and opinions. Gide on one occasion with a small load of music by Haydn tect the French composers from an influence entirely probably played his “K$tampes" and the first book of and Mozart. He had been to Germany and London and foreign to national tradition. “Images,” for in ltiiMi a brief note nppears: ‘‘Right now knew what was going on there. Nor is it sheer accident I am perfecting some pieces by Debussy.” that the music of John Antes, an American-born Mozart and Schumann On Moravian composer, sounds like Haydn, lie met Ilaydn Debussy and Gide Mozart elicits from Gide an eloquent, enthusiastic in Vienna, worshipped bis music, and imitated it. response Finally, it should not be too surprising to find in Bishop Between Debussy and Andre Gide there Is more Ilian “Patriarchal Plan”—the very first di- “The joy of Mozart ! Spangenberg’s A joy one feels to he enduring. one lwiint of similarity. The chief one is. of course, Schumann’s joy is rective for administering tlie new settlement—provi- febrile, and one senses that it comes that Doth produced works of distinguished originality “organization of older girls into clioir between two sobs. Mozart’s joy is all serenity; and and still, of sion for boys and Photo by Laure Albin Girillot a solidity that endures. But also; neither the phrases of his music are like quiet thoughts his divisions.” Yet where else in the whole history of ; of them ANDRE ever wrote for t he masses, or with a view to GIDE simplicity is all purity, it is American settlement could such a provision be found? a crystalline thing, all the commercial profits. Both created much agitation by emotions play their part in it: lint they do so as though the Not only were there choirs' formed, but other musical novelty of a literary or musical style tb.it was all organized in amazingly short order. The already capable of sharing t lie emotions of angels.” their own. activities were HE RECENT decision of the The years have gone by, and Debussy’s “in- Xobel Prize Com- first sixty seventy years As for Schumann, Gide’s evaluation is somewhat history of Bethlehem’s or mittee to bestow this novations,” which at first gave such a shock to con- much coveted award upon in sharp contradiction to the T hesitant. “One may regard Schumann as an admirable servative minds, have now stands, as we shall see, Andre Gide, and the presentation last November liecome seml-classlcnl. Gide. musician,” he wrote. “But lie is too easily pleased theory that music can flourish only in a developed at the Theatre Marigny in Paris of who in ilis first hooks gave a certain impression of his latest work, an his impression, after rudimentary necessities have been though undeniable, lacks mystery and hostility to community, adaptation of Franz Kafka's dramatic parable ‘'The ordinary life and whose attitude was |ier- surrenders itself'all at once: he cannot turn it provided for. Trial,” have focused world-wide to ac- haps a little arrogant or tending to lawless interest upon the per- count eccentricity, the except by the most summary procedures; as soon has given up The choirs that were established followed closely sonality of this distinguished man of letters, play- those oddities and become a truly great as he attempts to develop a notion, he pattern already well developed by tlie Moravians in wright, traveler, and musician. tires it out and master. Strangely enough and weakens participation although it: hi.s harmonic system is of a distressing For those— Saxony. Membership was not optional; he. occupies a prominent place in the litera- and they are millions—who still believe banality, his modulations are sickening in was considered a consecrated duty for all who could ture of today, Andre Gide’s their vul- that the lasting qualities of progress lias been slow. garity. literature dwell not In In short : is it not sad to sing. Not only were hoys’ and girls’ groups formed, VVere it not for have to confine the shotgun style, the huge publicity connected with the freakishness, or baby talk, but in an in- love one has, after all, directed, but choirs of men and Nobel Prize, kept for him, to the works of born gift as Spangenberg had it is likely that his name would remain for harmonious syllables and delightful his youth, which were exquisite and captivating women as well. Each was a unit of seventeen members, comparatively little known in cadences, here is an except perhaps in Italy, their example taken at random from sincerity?” one and was more of a singing “class” than a choir as we Germany, and his own country. Still, he is the author of Andre Gide’s novels, Chopin’s works, on “Isabelle.” It is in the of a score of the other hand, have been for original generally think of it. Not only organization, but lead- books: novels, essays, an autobiography; French, since the cleverest translation could Gide the beloved object of a life studv. ership, training, and rehearsing were systematized. of plays, among which one least, Perhaps no at dlj do at “Le Roi Candaule,” other commentator justice to the extraordinary fragrance of the has has thrown more light upon the text; Music was purchased, or, more often, copied by hand. met with great success; and last but not least, of THE WORLD-FAMOUS BETHLEHEM BACH CHOIR matter of their adequate Antiphonal singing a feature of Moravian choir a series of “Notes” on interpretation, than lie has “Isabelle! was great composers which reveal J’imaginnis sa robe detour All those who distort the Polish blanche fair an In the beautiful Packer Chapel on the campus of Lehigh University. The choir singing, tlie were, in Bethlehem’s earlier a rare artistic sensibility coupled master’s music by de chaque since sexes with the richness of allee ; A disregarding its proper travers (’inconstant feuillage, chaque is singing the B Minor Mass of Bach. Dr. Bruce Carey was conductor of the an unusually penetrating style and remaining blissfully rayon decades at least, never mixed. Tlie men sang from the intellect. rappelait son regard, son choir at this time. This picture is reprinted by courtesy of “Life” Magazine. ignorant of his personality and intentions, sourire niriancnlique, organ gallery, the women from the opposite side of the Bom in 1869 within sight of the Luxembourg Gar- ought to coniine ignorais meditate over the following j I’amotir, je me figm uis que j’aimais dens lines : church. Visitors would have noticed that under tlie on the left bank of the Seine, Gide e )u k leu,eux was bred in .’ d£tre atumireux, “The harder performers . mWoutais aveo com- To understand this miracle of know of several central Noi rnandy, and despite his labor to disclose to us music we must riched by contact with the hymnody white caps of tlie latter were distinguishing colored many wanderings over the sauce. ue Ie >arc Chopin’s soul, the more p, I ttait beau! et qu’il s’apprCtait tlie Moravians. thou- face of misunderstood he 9 They may be called tlie oldest of European countries, and augmented constantly by ribbons : white for widows, blue for married women, Europe and Africa, he often be- io > always remained faith- emen t ,i la comes. One may interpret Bach, Beethoven, nn-lancolie de cette saison deelinante. Protestant communions, since they trace their beliefs sands of new hymns, many of them the product of pink for ful at heart to the pink Schumann P the unmarried. and white blossoms of the 1 Liszt, or ilvec e,l ' vrement Enure more or less well I'm 1’odeur dos mousses et back to John Hus, and no other religious group ever only for occa- apple orchards which ; their meaning will Ho , f Improvisation. These hymns were not The first accompanying instrument was a spinet witnessed his early attempts at n Potirrissantea. not be warped by a certain small '' I.es grands mar ronlers roux, endured greater heroic all activi- writing measure persecution or showed more sions of the liturgical year ; they were for the which arrived in 1744. In 1746 the first organ was used, and the precocious manifestations of his pian- of clumsi \: ness in representing .^'houilles dejft, istic ability them. Chopin alone, if ploya lent leurs branches tenacity to their beliefs. They had suffered not only ties of the day from waking to sleeping, and of life an instrument built in Philadelphia by Hesselius and ; for Andre Gide, without becoming a pro- his inten- insmi’aA elre tions ' cert are betrayed, can be *ins buissons rutilaient A fire tlie little of fessional, has found his profoundly, intimately ,, pourprCs martyrdom but almost total annihilation by and itself from the cradle to grave. Tlie group Klemm. The latter soon went to Bethlehem and com- piano a lifelong refuge from 1 r totally disfigured.” !' e ' 1 ,lor, Hie anxieties, >e. auprCs d’eux, prenait une ver- sword. In the early eighteenth century they were still pilgrims that finally settled Bethlehem sang as they bined liis .skill with that of David Tauneberger, the the sorrows, the discouragements so often deni- v ?, “I like this music of Chopin,” avait Qhelqties les inseparable Gide ' ' eolehiques dans a dispersed people, with toe-holds in Saxony, on the crossed tlie sea, and on that same boat were the Wesley from a literary career. Ilis passion for continues “to be nelonsa and Study Music and Study Music Music Teachers National Association A Representative Two-Manual Organ Present, of A Department Dealing With the Achievements, Past and Any Reputable Organ Builder Can Build to These Specifications America’s Oldest Music Teaching Organization the MINA, Ohio The size and acoustics of the church or the auditorium have Founded December, 1876, at Delaware, effectiveness of the in- everything to do with the sound and JILan cler strument desired. Any representative organ builder can adapt such an organ as here described more exactly and appro- Editor, Organ Department Conducted by priately to the actual conditions. —Editor's Note. RESENT day organs are equipped with excellent Violone 16' Flute 8' Vox Humana Flute 4' Tremolo ^Jlieoclore Wl 3inne,) consoles that have every known mechanical con- Quintaton P Sometimes one wonders for what they 'Cello 8' venience. 8' all and why they are not used. Perhaps Principal Head Music Department, University of Pittsburgh are intended some of the mechanicals are mill stones around the Flute 8' Swell #5 Gamba Geigen but they should not be! One great Flute 4' Flute 8' Octave Editor and Chairman, Archives Committee of the MINA necks of organists, organist has said many times that any organ is only as 16' good as tlie mechanics that control it. There may be a Trombone few organs which still sound gorgeous although they Tronibn are mechanical wrecks. These, however, are excep- Swell #6 Gamba Geigen supposed.” It teas an American discovery. That music A program for the Annual Banquet by Hie Walden Eight for Flute 8' Octave tions. I know of one organ, a rather famous instru- pistons Swell teachers are friendly human beings, anxious to improve String Quartet, now in residence at the University of Octavin ment, which has a pedal organ of more than twenty- Eight pistons for Great Flute Triangular themselves by helping each other willing, on the whole, Illinois. ; Oboe five stops and not a single pedal piston. There is no Eight pistons for Pedal to submerge their own idiosyncraeies for the welfare A program for the guests at the Luncheon of the to pedal stops or off by manual of their profession ready, in way get the on except ; a word, to belong to a National Federation of Music Clubs by Adele Addison, are a number of large four-manual “On or off” for manual pistons Teachers Association, is another American discovery. soprano. pistons. There to pedal. Eight pistons for entire The history of the organization organs, each one lacking a general piston. I know of prompted by these An organ recital, at Memorial Chapel, Harvard Uni- organ. one fine large organ with hut two general pistons. It twin discoveries, may be found in detail in tile back versity, by E. Power Biggs, assisted by the choir of One can see at a glance that, for issues of The Etude, in the long King’s definitely is a handicap to have to play an organ such shelf of “Volumes of Chapel, Elwood E. GasklU, Choirmaster, and or- organ, with stops too numerous to an instrument of its size, this Proceedings” of the MTNA, and in the of Roger Voisin, as this. Another memories Trumpet. . well with pistons. mention, fifty-two general pistons, among others, gan is equipped thousands of music teachers. It can be completed here A program of o]»era has excerpts by the Opera Depart- is Ideal for handling as general will work so that the organist can It almost in one sentence: The meetings, publications, and year- ment of the New and not one England Conservatory, directed by nothing is left to the imagination. THEODORE M. FINNEY round committee activities begun in 1876 have con- Boris depend upon it. Goldovsky. should at once that the For the most part, however, our organs do have ade- One note tinued without a break ever since, The music heard ranged from hard-to-understand eight pistons for the Swell, I he medieval, quate mechanicals, and for the most part they work, through much that was lovely and beautiful, eight for the Great, and the eight lie tlie is, do HE APPEARANCE of this page in the most The Recent Meeting to iinpossible-to-hear or can made to work. Now problem we "Schoenberg. One of the most hope- for the Pedal are independent, al- widely-read know how to use these mechanicals to tlie best ad- magazine devoted to music in the The most recent climax came ful signs of America’s T in Boston during the coming-of-nge musically was the though this fact is not quite clear world is a most happy and welcome resumption days between vantage; do we know how to “set up” an organ so that December 30. 1917 and January 2, 1948. laughter which greeted the Schoenberg piece. Trying of in the above specification. There a relationship which originated in the circumstance With headquarters to take tlie organ can be played easily and conveniently? Time at the Hotel Statler, more than a sucIl a product of an obviously decadent and alliances, only that Theodore a are no entangling Presser was the founder of both the thousand music teachers now after time, I am asked, “Is there regular way that one from all over the United hopelessly lost European culture is no longer—as the intra-manual couplers on the Music Teachers National set pistons?” is a “regular” Association and The Etude States met, for a renewal of it once may the Of course there their friendships, a great was—a self-imposed Jong-faced "must” for us helpful it is Music Magazine. Neither pistons, exceptions manual pistons; How the MTNA nor The Etude program of music and discussion, poor ignorant way to set but there are so many a concentrated at- American music teachers. We are grow- to play an organ that is not all has departed, in almost three-quarters that one hesitates to make any definite rules. When I of a century, tack ( for those who like them ing to tlie ) on the supply of lobsters up place where we feel free to make up our “jammed up” with couplers on from the purpose which guided their go to play a new organ or one that I have never played founder : “the and beans, and a chance own to wade in the results of a minds. Schoenberg, hy the way, sixike before the the manual pistons, or pedal stops advancement of musical knowledge before, tlie first thing I do is to find out what the bal- and education.” historic New England snowstorm. Boston, MTNA in 1939 fhe with the at Kansas City. Among other things he flying on and off, except when you current officers of the MTNA and the present ance of the stops is, and where each one will fit into a facilities and cooperation of the Boston told us that in Editor of Symphony a text book on composition, which he want them. You will note, of The Etude know that they represent a built-up ensemble. Then I proceed to set up the instru- great Orchestra, the New England Conservatory, Harvard uas then writing, he was tradition in American musical explaining all tlie sieps of a course, that this is controlled with life, a tradition which l niversity, and Boston University, composer, ment on the pistons available on the organ. was a genial and as to how they were taken tlie interest of off” of each continues to inspire and guide every teacher in for the “on or at the end of music bountiful host. understandableuess Let us take example a two-manual organ- with the in our country. row of manual pistons. The business of the Music following specifications Teachers National Asso- with the wealth of me- Readers of The Etude know its scope and quality. A ciation Now was transacted at the Annual Business paragraph concerning the background Meet- Plan of Organization chanicals on this organ it is pos- of the Music ing and at numerous meetings of the GREAT Executive Com- The pistons so that Teachers National Association will suffice to introduce mittee. MTNA is organized around of Standing Violoue 16' sible to set these Three new members were elected a group them to the to the Ex- Committees, you can get a first-class build-up oldest organization of music teachers in ecutive each representing one of tlie major inter- Principal 8' Committee : Caroline Irons of California the world. In 1876 Karl ests in the on each manual and have a suit- Theodore Presser was a music Kuersteiner of Florida, whole field of music. Programs of papers Rohr Flute 8' and Malcolm Holmes of Massa- teacher at Ohio Wesleyan, Delaware, Ohio. and discussions are 4' able pedal to go along. He Invited chusetts. The officers of the previous arranged by these committees. Flute a year were re- set group oi other teachers who, like himself, could ms the general sessions, Octave 4' Let us assume that we up elected : President, Raymond Kendall where subjects are planned anticipate ; Vice-President tor the coming greatness ' their wide the organ like this of American musical 0 C M” lei Secretary appeal, are supplemented by numerous Twelfth 2%' ; > Wilfred Bain: life, to meet at If Treasurer! forums Delaware during Christmas week. w , and sectional They Oscar W. Demmler; Editor, Theodore meetings where tlie most varied Fifteenth 2' came, and out of M. Finney. interests Swell #1 Gamba their enthusiasm the MTNA was list are represented. A REPRESENTATIVE CONSOLE OF A TWO-MANUAL ORGAN A of the musical programs must.serve Forums were held on such Mixture Ill Celeste founded. They talked to indicate subjects Gamba about the subjects that peren- liow well attendance as theory, school music, the Gemshorn 8' was repaid in this respect community music, Printed by courtesy of the Austin Organ Company nially interest music teachers: the music library, minimum training Music of the Middle Ages musicology, organ nnd choral music, Swell #2 Gamba for their and the Renaissance by profession ; the terminology a in American of music, popular the 4 ielle Trio, Franz music, music in therapy, American SWELL Gamba Celeste music, American Siedersbeck, Beatrice Dohme music, teaching 'methods. They met music, psychology ' 8' Werner Landshoff, assisted by Du of music, voice, piano, strings, and Quintaton 16 Flute each other, talked and Bos Robertson ate together, listened to music, The Boston audio-visual aids to teaching. Geigen 8' Gamba Swell Gamba Octave Symphony Orchestra, Dr. Koussevitzkv Swell #3 came to Delaware strangers and left ° f 8' life-long friends. conducting. ,,le II,ost Flute 8' Flute • Octavin series of meetings is spon- Gamba Celeste They talked shop and fraternized, in Kni-eriN V le and so doing laid The Newton High ‘ Council of Gamba 8' Flute 8' Flute Triangular Oboe School Glee . State and Club, Mr James . Local Music Teachers ' IT I lie foundation for a democratic ' friendliness among Remley and Mr. Wesley organizations, organized Gamba Celeste 8' Flute Triangular Geigen Mixture American S. Merritt. and presided over by Miss musicians which has withstood assault after Tlie |e Jlobhms 4' Kroll Quartet at Sanders Theater, of Lincoln, Nebraska. At these Flute Triangular Tremolo Swell assault from the imported sacrosanct Harvard Uni #8 Gamba Octave “Meister” atti- yerstty, through the 10 leaders of Octave 4' kindness of the Elizabeth organizations from all over the Flute 8' tude. In the years since that first Sprante countrv' Octavin meeting, they and toolidge Foundation of 00 to et her Octavin 2' the Library of Congress t0 discuss and act u]M>n their Swell #4 Gamba Flute Triangular Oboe I lleir successors have This . made music available to the mil- concert, by the problems ™ e twinf Mixture way, was preceded by a subjects of private . IV Gamba Celeste delightful . accrediting Geigen Mixture lions whose presence was noticed with astonishment Tea music mil various notes to show figures under what the harmonv Music and Study previous two discussions relating to bauds Music and Study above was to be; that is, an A with a #3 X OUR underneath were concerned with those bands an A chord, having a C# (and in America, we it meant presumably discus- I of (he past and present. We shall, with this also an E) to be played above it by the right hand No ourselves with the status of our bands indicated that the single note sion. concern figures at all in the our bass the future. In order that we might refresh the root of the chord. A figure 0 would of was indicate a previous articles, perhaps a few words With this thinking of the first inversion chord. single figured bass line of review are in order. Flute Music of the Seventeenth him, (this generally became the left before hand part have previously mentioned the early band pro- would sit We in toto the accompanist down and improvise through the gram in America and its inauguration hand part, usually chordal in nature, a right and occa- of our military departments: and how later, part. For channels sionally a florid, moving the most part, or com- the the military band was followed by the town hand was supposed to he a discreet fill-in And Eighteenth Centuries right of har- munity band, which, in turn, was partially supplanted solo instrument (flute) monies, and the almost never the college band. by I lie school and its melodic line and primary relinquished importance No one wiil deny that we have every reason to be beginning to the end of a number. from the Nowadays proud of the results as achieved by our bands during bass is carefully worked out in the figured advance by the past two decades, and no one will question the before the number is ever the editor, printed, so that growth in quality of the musiciauShip of bandsmen and accompaniment is llj oCccuirence tor the full piano there, with nothing conductors during that period. left to improvise. This is known as “realizing the bass.” Not even those grossly misinformed or frustrated We have said that a ’cello or viola da gamba was individuals who would challenge the band’s status as a to play the bass line, in the used iu those days addition to respectable medium of musical expression have W© are indeed pleased to present the first of two articles by Mr. Laurence Taylor, whose writings for this the keyboard accompaniment. This consisted of the tenacity to question its great appeal to young America, department in the past have proven so stimulating and informative to our readers. figured bass part without the figures. The use of an nor deny its contribution to the cultural program of Mr. Taylor is a member of the San Antonio Symphony of the Orchestra, and since 1944 has been a member additional instrument on the bass line was considered oar nation. Many of us who have had the good fortune Committee on Instrumental Ensembles for for the Music Educators' National Conference. More than thirty of necessary to bring out this important part, because of of being a part of this program have every reason his arrangements for the woodwind ensembles have been published to date. the smallness of volume of most of the keyboard in- being proud of the results. However, to gloat over next come In month s issue of The Etude, Mr. Taylor will discuss the proper interpretation of ornamentations of struments in use at the time. With the modern piano- post without devoting due attention to what Is to thus destroy the future seventeenth and eighteenth century music for the flute, —Editor’s Note. forte or organ, it Is no longer necessary to set off the will only weaken past gains and ground bass by rendering it on an additional bass progress of our bands. in instrument. Some of the keyboard Instruments then in It is sheer folly to assume that bauds America use were the clavichord (Hach's favorite), the harpsi- have reached their peak or that a de-emphasis of the by is advisable. BAND HE FIRST thins to be said, perhaps, concerning where the composer called for a chord, particularly favored the French composers, baud program THE UNIVERSITY OF MICHIGAN tiute music of find a larger number of school hands today this period, is that there were two specific instrument, this was never the virginals (English), and the True, we En route to Pasadena, California and the Rose Bowl T during the “thirties.” Although instruments known as “flutes” organ. Carl Philipp than were in existence ; the transverse meant to be binding, and until far Emanuel flute, or “German” flute, growth is highly desirable and represents progress which has survived as the into the Eighteenth Century the in- l’ach, in 1702, mentioned the such orchestra flute of interest, it does not necessarily indicate that today, and the recorder or “English” strumentation and allocation of the pianoforte as being the best of and public flute (known also as flute growth is the sole means by which we should ap- a bee and flute douce). This parts was left to the, performers. all keyboard instruments for such flute, expect the hands of latter that is, the recorder, was very popular accompanying a solo. The piano praise our program. We cannot during musical mission unless steps of Future the fulfill their the Seventeenth Century and as late as 1740 The Matter of possesses the great advantage the future, to American Bands Accompaniment stand- was described in a contemporary musical dictionary of enabling the player are taken to improve their function and musical The accompaniment easily to t lie to these solo problems as “common flute,” to distinguish it from the “Ger- regulate the ards. Among the more vital and important sonatas loudness of the man flute.” It is interesting was provided by the key- the following': to note that in the instru- sound h.v the strength of his facing those hands are mental sonatas of George board instrument of the period, with national organizational leadership. Frideric Handel, of which touch. On the other hand, the (1) Lack of usually a bass 2b. ReuJli the writer was fortunate enough to see stringed instrument, of specific purposes, aims, and objectives. Lj 2b, William a first edition strength of the touch on the (2) Lack ’cello, or viola da gainba owned by Mr. John Wumraer, solo flutist of the playing the Lack of qualified conductors and teachers. New harpsichord makes very little (3) York Philharmonic Symphony, the Master’s seven (4) Lack of a course of study for instrumental music difference. in fields other sonatas for it is because of this fact that the high school school music should lie well informed our modern flute (the in I lie schools. aims, and “service” or than music, but it would seem only fair and logical modern flute in Handel’s day pos- “Editing” (5) Lack of first-rate band literature. band continues to lie looked upon as a We have said that in modern success of the tbat we expect them first to possess a solid musical sessed one key!) are labeled “for (0) Lack of coordination and integration of school, “propaganda” organization. While the able to play flauto traverso,” whereas his four editions the editor will write out municipal, and professional bands. hand can be attributed to a certain degree to its over-all foundation. Does the fact that they are sonatas for recorder in the same a full piano part rather than service to its school and community, nevertheless, such the piano or sing, necessarily qualify them as teachers book leave conductors of instrumental music in the schools? just say “flauto.” This would it to an accompanist to Leadership service lias been costly, so far as the band’s musical or National history, a agree with the aforementioned dic- improvise from the composer’s progress is concerned. If the band of the future is to Likewise, does a degree in science or with given figured tionary’s description of the recorder bass. In the solo flute parts also The present administrative set-up of the national achieve its rightful status, then emphasis must be minor in music, prepare teachers to conduct high school of these as “the common flute.” seventeenth and eighteenth century school baud association is not able to function effi- placed not on the number of engagements, but on the bands, orchestras, and choirs? sonatas, writer’s curiosity (as well The recorder had been pretty well much work is required of the editor be- ciently on a nation-wide scale, and since it is concerned quality of performance, as it is only through constant It has always aroused the by-passed fore possess by the end of the Eight- this music can safely be placed in the hands primarily with school bands, it does not provide leader- adherence to the latter ideals that the hands of the as his temperature) to find that a person may eenth of Century and did not figure young players. The instrumental music of ship for tlte band program beyond the high school level. future can continue to develop. a teacher’s certificate and lie eligible to teach music, prominently until very recently, per- this period representa- although the individual may not lie a musician nor was characteristically pul forth by At the present, there is no agency which is Teacher training institutions are constantly improv- haps from the 1920’s on, when a re- the composer almost except the high have had any formal musical training. However, should without on;/ of the phrase tive of the national band movement, at ing tlieir programs; entrance and graduation require- markable renaissance of the instru- marks, slurs, we musicians attempt to teach a non-musical subject staccato signs, dynamics, indica- school or college level. The American Bandmasters ments are gradually being raised and curricula revised ment began to take place in Ger- tions of tempi, without having obtained the necessary training in that and so forth, which we of a later Association is a most worthy organization, hut to date remains to lie accom- many, for the better. However, much Austria, and England; also, era have come activi- particular subject, we would soon discover that state to expect as a matter of course it has not successfully coordinated its efforts or our future bund conductors can lie as in plished before our own country, for the past ten to find on all educational departments would prohibit us from doing of our music. It has often been ties with tlte previously mentioned groups. the outstanding conductors of our years the well qualified as recorder has been making the lack of this hence, must so. “editing” as we call it, which has Unity creates strength and power; we major symphony orchestras. In the first place, too remarkable strides, courses iu re- caused situation prevails is undoubt- some of this early music to appear “dry” develop means for consolidating our efforts and action. facilities and That such a ridiculous corder ensemble THE SAN ANTONIO many teacher training colleges whose playing being listed SYMPHONY FLUTE SECTION or remote” or nothing of edly due to public school musicians themselves, as they out of sympathy to the modern At present, individual states know little or curricula are inadequate, offer degrees and are graduat- now in several of our Eastern col- P >} ei . Anyone neighbors. have constantly “undersold” or underestimated the who has had the opportunity of Hie hand program as conducted by their ing students who are not properly prepared to teach leges and music schools. seeing preparation an original edition of or Handel Band Conductors do not have sufficient opportunity to of the products of such importance and necessity of a thorough While Handel had before the concert. s the Bach or conduct. A careful scrutiny been careful in flute sonatas of ideas in music. Until the entrance requirements of our must have been astounded to note meet as a Unit, lienee the lack of coordination colleges will provide ample evidence of these facts. his sonatas to distinguish between the almost complete and uniformity of standards is obvious. The program teacher training institutions become more rigid, and those absence of slurs and dy- study fails for recorder and those for transverse nam In too many such schools, the course of flute, the bass line, c as 've'l at present is too isolated, lacks integration, and is unqualified teachers are eliminated, the iwssibilities to give it additional . . as frequent lack of a tempo writing for the two emphasis. In the f’ to offer sufficient instruction in applied music, and instruments was quite similar, and earlier ln k **le for improvement in school music are quite remote. part of our period, „ beginning of a marks tending to become more and more individualistic, . movement. These indeed, it was only members of the lute such is made available, it is frequently taught a comparatively recent develop- family (a UeSS1 when It possible that instrumental music stringed and s, V * rather than in scope. does not seem instrument of Oriental ' e "-ere left to the performer and, national ment in Handel’s day for a origin, having several tiiaiu? . ?u by persons of inadequate training or experience. A composer to call for a defi- s '* tlle stability could have been a part of our school program for these nite double-strings and using a special of musical conception in that instrument. Previously, it notation called tabla- thorough study of tiie present day requirements of the was quite customary ’ 10 a of study, tine), had cooperated e°m I>oser was in a presuppose many years without having adopted course for a composer to write in the accompaniment position to Clarification Purposes, Aims, and Objectives degree, as offered by some institutions, sonatas for violin or ohoe or pei orm of music education or least initiated definite plan of instruc- The keyboard accompaniment er possessed a for the at have some recorder or German flute, provided by correct feeling curious as to how the student is able to and any one of these in- 'the ori? no „„,i* leaves one school program. Without doubt, inal composer was usually a clear understanding require- Although there are thousands of high school bands tion throughout tlie struments could be used very a figured bass. of the acquire even as little as a mediocre musical back- successfully for the This con' nent« e!fFo' sisted of '„ tai,e<1 1,1 rendering in this disregard for the formulation of a course of study a single line of , his bur schools today, it is doubtful if but a few have immber’iu question. music (the . works. This Eighteenth of the The range on all the wind instru- bass line), having „ ground, while fulfilling the total requirements Pftnetple of ex-pecting established a of objectives. for our instrumental program is greatly responsible for ments was limited if the performer to know program definite aims and of ; notes possible only „ various courses. It is assumed that all teachers on the violin J"' S an its failure of having achieved its rightful status. variee ne ad(iecl in still without an organized (.Continued on Page 2G4) ’ ° ur nineteenth and twentieth its complete disregard for a plan of objectives and cento rv* . . y music is so carefully 204) 224 ( Continued on rage "MUSIC STUDY EXALTS LIFE" APRIL, 1948 MUSIC STUDY EXALTS LIFE" 225 THE ETUDE j : : ; make enous chorus at the beginning of the week. Study Music and Study music there is a tendency to The Music and For wliat concerns convincing of all instruction is that 1 limited to which permirA? Bowing in a Paganini Caprice hermetic and esoteric art, 15 It into a sort of to demonstrate his own tlle dangei individual ability. very slight- a few initiated people. This is the most terrible right arm should swing back is a magnificent country. difficulty master- “Ours We have "... 1 am having in the tip of that music has ever run. h the ly towards the body, so that touched the fringe of our opportunities. ing the bowing which occurs in to be a RemeinheY!!^ a little away from the Where Is Music Going? Music lias always been and must continue Agitato movement of the Paganini Ca- the bow is pointing words of the Scripture: 'The laborer is worth,- • universal art which must give spiritual enjoyment and price in A minor. No. 5. I can play two left shoulder as it moves into the Up hire.’ Make yourself worthy. Forsake and Down bow, thus - suffering timidity . notes on the Up effect stroke is that comfort to the human soul and relief to the 1U|(1 stroke. The on the "Jrunceico determine to advance yourself and your ,. Violinist’s Forum -S cinlofic^uiclo The of h of ail humanity. Music is the voice of God and every- it “goes round the corner” instead There is nothing that cannot be made better. body must have the right to hear it and understand it. Th-'Y’'’ Ex. 1 reaching a dead end, stopping, and then of the perfectionist W the true creed in art - said the n.s well its path. “Music opens the door of all mysteries,” ‘AS by retracing Francesco Santoliquido work. It is the goal of the m Conducted was born at St. Georgio all ‘Pennsylvanians- , a Cremano, Chinese philosopher Taotsc. “From it everything is t You are now making the Up stroke, Naples, better August 6, 1883. He studied with Falchi come just a little every day.” at the Liceo horn and in it everything finds its origin.” Also, in with the right-hand fingers nearly di Santa Cecilia in Rome. He has spent much of his life India, they used to find in rhythmical figures the secret but more than this I can’t do, though I straight and the bow approximately at in Tunis. He has written four operas do the thrown arpeggios in the first and several works for construction of things. The dance of Scltiva described can tiie angle shown in Ex. B. As you near is, I think, that large orchestra. Caprice. . . . My trouble —Editor's Note. in fact the life of the Universe, the evolution of the the frog, the fingers should begin to bend I don’t know whether to keep the how Seasons, the eternal alternative of birth and death. above the string and let it touch by means in preparation for the coming Down ' movement, or to let it bounce Music seems to give back to man his divine origin and My Twenty Favorite of the linger stroke. At the same time, the frog is DSIC is going through on the string of its own weight. ... I Prominent Teacher a very agitated and un- deliver him temporarily, by the miracle of its cosmic gently eased towards the fingerboard, the if you would advise settled period. sure would be pleased We live today in the world of essence his little towards the shoulder, and spiritual power, from the chains of me, for I like this bowing and am anxious tip swinging a M theories, and and Conductor musicians .” are looking dark, . P., Alberta. desperately everyday Calvary. The world of sound is not a Records and Why to learn it. . — M. by the hand straightening in the wrist for new ways of expression. But what is the use of fabulous realm enclosed in forbidden limits, bnt a joint and the forearm rolling slightly finding new ways of expression when one 2 has nothing luminous heaven of harmonies open to everybody. Ex. I said two years inwards from the elbow joint. Again 01 (Continued from Page 1115 will summarize what teiy little to say ! 1 nfortunately, ) this seems to he Wlmt some museums, misguided by snobbishness or the stroke “goes round the corner.” i feel the ago. present situation. Great figures like Claude Debussy degeneracy, are trying to do today is a fatal mistake, Let us approach the problem by con- I must say again that this is a complex, and Igor Stravinsky treatment of the Moussorgsky score is did find ways of expression which will eminently justi- and bring down music from its divine throne. sidering the motions of the how, rather subtle motion which one can hardly ex- gave us at the same time, fied. Of the four criteria which I have set wonderful masterpieces like To bring up for ti, music back to its universality is an abso- e hand. obtain the pect to understand clearly without per- "I’elleas et Melisande,” choice of these records, the “Boris" than those of the To “L’oisean de feu,” and “Pe- lute necessity. synthesis justifies Paul Hindemith, who is one of the most This bowing is played in two different intensity and, if need lie, sonal instruction. trouchka.” itself on at least maximum of But the period of great geniuses seems gone, interesting three—the performance, the perform- figures of today, seems to understand this ways, according to the speed at which you of tone, the how should be drawn It should lie emphasized that all these and most of the living ers, and the technical quality. '1 volume composers give us new theories necessity and claims will concede that there right- now that “Music must not be an play it. At a slow to moderate tempo, so that the part of the hair which is ap- motions, these deviations front the instead of masterpieces. is ground for debate in the fourth dimension, hermetic art but must have qualities which can make but the the fingers must control the spring of the slightly nearer angled line of the bow, are of very small The question is: excellence proaching the string is “Must the theory come before the it of the recording in the other three accessible to-everybody.” Let its hope that mus c will is so pro- bow at a rapid tempo the bow will spring al- extent, in any discussion of bowing, work of art?” ; the bridge than that part which has I am absolutely certain of the contrary; take the high nounced us to be overpowering. road and again become the universal if the bow-hand is relaxed and is a blessed word ! How much the work of art of itself— ready passed over the string. The fol- “slightly” must come first and the theory after- art that Among recorded symphonies I must rank Beethoven and Verdi, in their respective fields, first and under complete control. To play the bow- this “slightly” actually means can lie demon- wards. A theory cannot foremost lowing diagrams may help to make produce a work of art but a brought to the h ghest Victor recording DM-sio of the fesar Franck work summits. ing in this Caprice rapidly and dearly more clear strated, but it cannot lie described by t lie of art can produce a theory and Symphony by the Sun Francisco idea reveal a new Symphony Orchestra thoughtful practice, to or by diagrams. You will way of expression. requires long and No question will lie answered in TUP printed word conducted by Pierre Monteux. If any of my choices nothing of the considerable left-hand unless accompanied l>y the full experiment to find out for your- A real innovator has say ETUDE have to never said, “I want to be an perfectly fulfills the four reqtilri-mcni* inquirer. Only that I have laid difficulties that one encounters. name and address of the self lmw much or how little the how must innovator.” He has been one he pub- without even realizing it. down, it must lie this one, with the possible initials or pseudonym given, will reserva- If you can play two notes to each bow swing to give you the continuity and in- Every great genius has unconsciously lished. been an inno- tion that tile orchestra, while excellent, is vator Capitalizing Your not the equal rapidly and with clarity, you have made tensity of tone you desire. "Figure 8,” and never claimed to lie one! Musical Ability Today there is en- of some of our eastern orchestras, t ’nunterhalancing in the right direction. Now not of itself pro- tirely too much talk about a long step or “Angled” bowing will innovation and progress. this, however, is the fact that no (Continued from Page L’l”) other conductor of you should practice three notes to the duce that “gorgeous, golden tone” of an American orchestra can bring to 45—and use that for a while as practice the Cesar Franck bow, still using repeated notes; which Mr. Hahn speaks—such a tone Symphony material. Then take a more difficult such authority, such beautiful simplicity within Then, last summer f 1047 must have its well-springs deep ) we announced a course of of Kreutzer, and straightforwardness, stu-h profound understand- Ex. 3 study, perhaps the second eight one-week sessions, with the player—hut it will give added a moderate over-all fee, ing and and practice that. When you can play at sensitive response to the spiritual values of the already a . that is warm glorious scenic spot, ai -J- J jt-J-v vibrancy to a tone Shawnee-on-Deiaware, ra„ a music, as this through with clean and rapid bow- does Pierre Monteux. The >S ^ few miles from the famous Cesar Franck and singing. For this reason it should be Delaware Water Gap Sev- Symphony '""“etc. ing, you are ready for the Caprice. eral qualifies, at least in my opinion, from a only those violinists years previously 1 had purchased cultivated, but by the large hotel purely repertoire During the weeks you spend mastering ‘Shawnee point of view. The performance is flex- Inn.’ including the eighteen-hole this easily — and it whose bowing technique is well and golf course, as near to being When you can do these right-hand complexities, you should fll< “ (lawless as any ing pool, several houses, jierformunce can be, — with four ibly developed. and some six bun- and technically should not take long continue also be studying tbe Caprice, with ordi- dled acres of woodland. the recording is superlatively good, My publishing business the notes to each bow. This is considerably i lie recording is of nary spiccato bowing, until you can play Shawnee Press, will special interest to me, not merely eventually he conducted at more difficult, and some weeks of daily ’this because 1 hapiieued it at a good tempo and with absolute He Plays Out of Tune address. to supervise it, but because it justi- fied an practice may be required to master it. evenness of finger technique. Unless the • experiment which 1 had suggested which The 'Pennsylvanians’ spent eight and control will “I have a pupil, nine years old, who is weeks at Shawnee proved very Blit the lightness and which fingers know their job perfectly, it is of last summer and happily successful. These records were finishing his second year with me, but broadcast from there daily. Every develop in your bow-hand will more than the made on the stage of no use to try the original bowing— who is still in the first position, for the member of the ‘Pennsylvanians’ (numbering the War Memorial opera House, sixty-five San repay yon for the time you spend. results are hound to lie unsatisfactory. good reason that he cannot learn to play receives a Francisco, and the performance was recorded minimum annual salary of eight called “feather in tune. He is intelligent and ambitious thousand simultaneously This bowing, often It may interest you to know that in dollars, anil the j n two ways. We had an equalized knows at once when his violin is out specialists and soloists receive bowing,” was a great favorite with violin he vearlv telephone line present-day concert performance this salaries far exceeding that amount. from the stage in San Francisco to our of tune and he can sing very well in tune. Anvone attending virtuosi seventy-five to a hundred years Caprice is al- our cutting rooms in bowing is never used. The But he seems not to hear himself when lie rehearsals soon realizes that every Hollywood, four hundred miles away, member of Nearly every “Air with Variations” is playing. . . . Can you suggest any ap- the and one recording ago. ways played spiccato and at a very rapid organization works hard and unremittinglv, was taken over this line. We also proach which will remedy this?” but we all ad included a variation devoted to it. Nowa- tempo. When one hears Nathan Milstein have a a film recording —Iv. L., joyous time doing it. There made, driving our sound truck Pennsylvania. are, in' addition in days it is rarely heard in the concert hall, for the ab- our directly onto the play it, one feels no regret One of the classic rules of bowing was organization, script writers, staff stage of the War Memorial Opera managers it be considered in the studio secre House but should sence of the Paganini bowing. that the bow must always lie at right Such eases are not at all infrequent, tanes, and radio experts at the and recording on film at re- mixing panels as short range. Both remarkable bowing exercise. ns our well cordings were as a truly angles to the string. Most modern and they by no means always imply care- office staff. All are a necessary part processed and the film recording then of the or- When you are able to play four repeat- the of the student. Some- gamzation required to carry lansferred to disc by “Figure 8” Bowing violinists depart from this rule, as shown lessness on part on our work. high fidelity equipment. Mr. rapidly and evenly, Monteux ed notes to the bow, above, in the interests of an improved times they arise from being pushed ahead ami I played both records, and after compari- you should turn to the "three and one” the book ‘Prac- son agreed “I have been studying tone production. But the deviation from too fast in the early mouths of study : the definitely and the re- A Practical Course enthusiastically that Violin Study,’ by Frederick Hahn, bowing: tical it is so concerned with fluffing cording made the right angle can be only slight ; if is pupil down on film and transferred to disc was .su- with great advantage to myself, but there perior to the It exaggerated, the tone will he impaired the correct finger that he has no time to “Last year over five hundred recording made over the long distance is one point that is not dear to me. musicians attended Ex. 8’ the les ‘ 11 4 is the description of ‘Figure bowing instead of improved. This angled bowing think where it should go. Sometimes they eight one-week sessions. p' -von .have Mr. the Students, representing Monteux’s recording of this every • - n - v n—v v on Page 39. ... If you could explain sail 1 a nek — is most effective iii melodic passages in- are caused by the teacher’s having over- one of the I mted States Symphony, symphony and Hawaii and Canada you have the first for me I should appreciate it a lot.” present. were lecou mg exer volving long, slow how-strokes. It is rare- emphasized in the first months some par- Every moment of the day, from made commercially in this manner. — (Miss) K. Mc-G., Pennsylvania. early mornitw from ly effective when less than half the bow ticular branch of instruction, such as to midnight, was filled with the musical comedy nothing discussions, lectures field I know of teat-sals, re” e appealing I agree with yon that the description is used, and it is never appropriate when posture or bowing. Emphatically, both of and observation periods as the Columbia Hill from Yon may or may not find it difficult. "When devoted to the recording of Mg techniques new • low Boat,' you mention is not clear. It is perhaps the bow must move witli even moderate these are important, but they must be in and methods of broadcasting. which is sung by Carol Rruee. For years this is mastered, take several measures Each c i» their relative places in the teacher’s plan of workers in the ia,e treasured a with the the only ambiguous passage in an other- rapidity. Workshop took part in a Victor record of this haunting tune of repeated notes and play them chorus as made par- of of instruction. Good intonation must sembled on the first by Uden Morgan, of wise extremely lucid book. But 'this But the point your question is how day of arrival. and I almost resented it when Paganini bowing quoted at the head The voices in this • stroke come first. FRANCESCO chorus were not ’auditioned’ mw Boat.” was you can play ticularbowing device is almost impossible to change smoothly from one to SANTOLIQUIDO or ‘screened’ in revived in the season of 1946-17. To this article. As soon as advatS 1 evidently least of their coming. ns t0 in to describe in mere words, without dem- another, when the angle of the bow to Quite your pupil has at Most of them had ?'‘ j ur .v (or so I felt), with eight measures smoothly and evenly In never met each ! I was charged prior othe- “Isponsduhty the string has to be changed at the same a fair ear, and it is just as evident that to arriving at Shawnee. Usually for the making from this way. you are ready for the next, and onstration. Is there such a thing as within two davs’ of the records progress in art? I believe time <>V' >0, it, with the aid time. Assume you are drawing a Down he has not learned to use it. But you can they gave 1 I to describe evidences of what "* * 1 *l,e ( most difficult, step— the synchronization attempted not. Every great artist can lie accomplished *ast of the revival company, and reaches perfection. After him in / y in the April bow, witli the fingers somewhat curved certainly train him to hear himself, and precision tone quality, diction, 0a 1 tlle the spring- of two drawings, on this page and ', with s 1 of the left-hand fingers with another artist comes who does rhythm as evolved °me skepticism, which something entirely dif- by the intensive mil A an Music and Study offered for only 115' first and .second' Music and Study pupils, and by the ° lear end of a han Answers spent in learning to 64' Questions and play simniAj' Do the Ties well, with correct hand 10 What Moan? position anriT* posture, transposing it 7 Q. As a former into other student of yours, and a Keyst reader of your Conducted by responding sometimes to ’ “Questions and Answers" music nerf “Messiah” page each month in The the teacher, Handel’s Etude, I of bring you by becoming aware The First Performance a question which puzzles me. differences between major and In Liszt's Consolation No. 3 in D-flat, minor . of the different should the D-flat bass notes be tied moods in different as pieces shown in measures 3-4-5-G-7, also 8-9, and perhaps making up some ' a Notable Volume, “Handel’s Messiah” 'ui, jboc. original fn An Extract from New so forth in the Schirmer Edition? ^J\ar( W. (jelrhenA, If so, dies and experimenting with if pedal changes are observed as marked, hartnoS" how can them, and a dozen other this D-flat continue to sound? fascinating m sical activities well, by —H. D. L. that time mar; Emeritus children Professor of the will be only too A. These ties happy atiJoti frankly puzzle me. As go to a private teacher who l, iZoU is able t m you say, the notes cannot be tied if the Oberliu College give them individual attention pedal changes are observed, and yet you so that they may progress as rapidly certainly cannot leave Editor, Webster's New as th the damper pedal Music Messiah"* is another instance of American publishing initiative and American musical scholar- want to. and who will help “Handel’s down during all those make definitely focused upon his mas- measures as it whole experience £ ship. This is not merely a full-sized book about the great master, but one would blur International Dictionary of studying music the harmonies. You might, still terpiece. The author, who is now only twenty-seven years of age, was born at Charlottesville, Virginia. He more glamorous. So class of course, use work will from both Columbia and Harvard. He is the sostenuto pedal, but it pro is a graduate of Vanderbilt University, and has the degree of M.A. vide the piano teacher with yet is most readable to will not keep the tone sounding that many an instructor of English at Yale. His brilliant work is one of virtuoso dimensions, and vho would never have hundred volumes. long. The editor, Joseffy, must have had thought of study the average student and musician. The bibliography alone cites references to two some reason for ing piano if the school had not —Editor's Note. marking these ties, but provideda they sonata I would refer you to the article the opportunity. certainly cannot be performed as such. "Sonata” in “Grove’s Dictionary of Mu- I do not claim that I am inclined to think that he all class piano sic and Musicians.” I am sure would teachers are meant them rather as slurs to indicate you providing their pupils with Strong in new Arms, lo! Giant If A XT) EL stands, put “Messiah” into his bag and set out for Dublin smooth connections. also enjoy the book “Piano Music, Its this ideal sort of Instruction, but I ven- Like bold Briarcus, with a hundred hands; with Susannah Maria Cibber, distinguished tragedienne I have been Composers and Characteristics,” by ture to express unable to discover how the opinion that the To stir, to rouse, to shake the Soul he comes, and one of England’s favorite singers. At Chester lie Liszt himself marked this Hamilton, chapters IV and V of which quality of class teaching the composition, country over detained by adverse winds. Years later Dr. Burney but these deal with And Jove's own Tli tinders follow Mars’s Drums. was ties differ in different editions. the problems about which you is at least as high as the quality of private - recollections of Handel at this Since vai —Alexander Pope, The Dunciad (1742) recorded his amusing ious authorities do not are inquiring. instruction; and if I myself agree had a child, time among themselves on this I would take a matter, I chance on sending him to think we are free to make a school VTK IX THE summer of 1741 Hnndel received an our own in piano class rather than to the tei pretations. For a number invitation from William Cavendish, fourth Duke When Handel went through Chester, on his way to of reasons 1 Should Piano Be Taught average private teacher. But after a year think it sounds L* this year, 1741, I was at the l’ublic-Sehool in best to strike the two I of Devonshire, then Lord Lieutenant of Ireland, Ireland, D-flat in Schools? or would expect to have him take at the beginning of each visit and perform his oratorios for the pleas- flint city, and very well remember seeing him smoke measure, and if private lessons outside of school. to Dublin I were performing this piece, I would do Q. The question always comes up, "Shall ure of “that generous and polite Nation.” The com- a pipe, over a dish of coffee, at the Exchange-Coffee- piano it that way. be taught in schools?" and my own complimented and delighted. For several house; for being extremely curious to see so extra- State of Virginia certifies piano answer poser was teachers is, “No"—and it comes from ex- who wish to perience. years fashionable London autocrats had derided his ordinary a man. I watched him narrowly as long as he present their high school Every student who comes lo me from either Fingerings in Po/tular Music in 1741 fortunes remained in Chester; which, on account of the wind students' work for credit in our a public or a private school music as Hanoverian and dull, and his About Virginia has Accidentals secondary very little knowledge of music, even reached their lowest ebb after repeated failures being unfavourable for his embarking at Parkgate, was schools. Certification in piano Q. / hare read your eoliuiin had after having studied a year tor many years, is or two. It takes oratorio. by bitter Q. / am learning given to those who have their and hare nheays found help in my teaching both in opera and in Warned to plan a piece winch lias completed a parents that long to find out that i PORTRAIT OF HANDEL no sharps in the signature, baccalaureate their from III help you Imre given others. I now experience. Handel determined at once to appeal A GERMAN hut at one point degree in piano or to those youngsters should be playing better there IS liner a problem, a sharp before and they ' anil it is as follows: In addi- an F near the beaiu- who present themselves then bring them to from tiie indifferenee of England to the friendly nrnn of a measure. for both a written me to tion to teaching the Later in the same measure straighten them out. But classics, I hare certain there and an oral piano by that time the enthusiasm of her sister nation across the Irish .Sea. is another note on the examination. The writ- youngster has students to whom I teneh iin/ii arising papular same line, and lost interest because his 1l0t ten examinations music. the first week of November 1741 Handel w whether this is intended are held each August in music is still in the primary Some of these lime plaprd for a long During in four I 1. to stage and his great bear upon him; and after swearing e or f"?-sharp. his lime, F Will you please tell the Division friends make fun of him. and Imre developed certain incorrect met Superintendents’ offices. I think it would or five languages, cried out in broken English; “Yon be better if fingerings. After trying —N. K. B. Those who pass this examination the schools should concentrate unsuccessfully lor a are ' sent nr ! tit not dell dnt you could sing at t he three R S and near more to correct these fingerings I shcauntrel you me on to a piano let mus* c be examiner for an oral studied i a llai e — A. An accidental test." Zhiroutside.—A. P. .fimr/im* , resigned myself to the situa- soite?” "Yes, sir,” says the printer, “and so I can; sharp or flat affects The above the quotation means that you tion, feeling that even though the fingering degree of the staff for the entire but not at first sight." meas- need not have a may be wrong, get It f„ established as a ure in certificate to teach piano A I am sorry that I which Music and Study great he felt lie Nevertheless, needed further • asked permission from and his father to Leipzig Comserva tori urn. at th Needless to u « ‘ th refused. ‘ s was APRIL NOSEGAY ” spirit. Grade 4. Career As a Teacher This merry litlle piece seems to shout, ‘‘The posies are coming. Ha, ha, ha, hal Play it with a fresh and exuberant Delius therefore determined to raise The Magic of Delius suffle’ fUni of his own for the purpose, * s and began a slT-T'’ lf ' ( arep as a music teacher in Jacksonville, r i> ut tl S bar seemed likely to win him a fortune, ®Jr and befor' , Was Sir Thomas Beecham e long Right? answered an advertisement ]ie inserted in a new SP per a Professor Ruckert of Danville, Vi'rginp," ? V: requiring a music teacher for ' S liis daughter.," n ,' application was successful, but he Slierran was hard m tt Hjilfar to find enough money for the fare. 0 il He ev , reached Danville with one dollar H-T to spare ani next morning the local paper he announced with ! the advent of “Professor Delius, '° ( the s,ta(ion in declaring eminentc Tl0lmvioiiw? ' the life and and composer”! «t ?:,, DeIT ; us to be the greatest and I °f, ! most ' Delius’ sister Clare has hiDg lnCKient stated that he also in muslc during the last ° k fifty yeara ” post as organist in a New York church, a After a time, however, S ar Se ° f a his parents, worried ° ?° "° Iess ( “'"inent musician at lmv tha?t tan Sir t'U T no news from him, Thomas Beecham, the most granted l.is wish, and famous exponent he ani!!!n ' e( e » in Germany in August, 1886. * »' — AM »• f •**» ’JSSZ tatne, a vei diet, Rut Leipzig turned out to the majority of concert-goers be a bitter disap fered are of- noim with any regularity but ment. Had It not been,” said Delius, a mere handful of the -that there were composer’s shorter works. great opportunities for hearing music and tall-ln! 1 mnnasem° music, and that 1 met Grieg, my studies nts h.~ht shy of including at Leipzig wer! DebufDeltas r^rit their a complete waste of programs, time. As far as , apparently under (he iin- u} composing wa 1 ‘ concerned, S b( x-° m, e -’ Ward’s counterpoint lesson* ’. there i, a most were the oi.lv deypteddevoted' public! uhl ’V' v* for him—in fact, iessons from which I ever derlvtsl every concert of the any benefit” The g^us Festival, held in London harmonies which make his music a. long ago is so distinctive were K192!), wa S sold out, and part of his that was before very lielng. Incidentally, the radio and one of the verv P,1° n0 few slight ai,h > hiUl esel 'ted influences which are anything like discernible in Delius’ theb-’fltlfindT , influence in ffostering music is liis music. that of Grieg, with wlmui lie struck tin a life- 1’16 attended long friendship. the Delius concert in theme seasonse^oi.T/Sof Pinion Promenade Still, it was at concerts than the Leipzig that Delius first heard agnei night immediately formance a per- preceding it, a circumstance of ld s own work. An orchestra, S ril,ed whose pay- the music critic of “T ment took the form of a a tempo lV‘Tu-aT)h”asleip^iaph “ he Daily barrel ,.f beer, played thesuiie as an sign of''r the times.” riorum the other members of the *4 audience being 6 er heo d 1 Dei|izlg, S mother was Ilot _!!” *’ Delius settled in six musical at all, l' Paris for but sheShe hadho ‘ - Alt,1 '-y-T—, =4 great "iigh hi* T~ imagination . Bohemian , . friends - • and was verv included Striml- V-„/ \f-.. t -t^h-% — 1 %— rnanne ’ ;P J — * . ,= J, !*‘® — 1 Perhaps, then, aad Dauguln, g it was her influe'me tTat FREDERICK his life there didn’t consist of the 3 ~w sequent prompted sub' DELIUS y her son to give his popular imagination. at 5 entrancing works such He composed titles I r, 1 ea I I I I | | | | | 1 | as Over the aad | Him and PaTlt 7 16 ** d " as here that lie met Jelka Rosen, Song Before impressions *** deepest of an a pH , i Sunrise, and The Song onT^ung "“ S of the High milt m^fT a drab 10 bis devoted wife, background, - industrial In and P was *T, hmo U ^ 1 declded 1,1 Ki'-e ’' tblS xperience a concert of his music A Gift which enabled at the ,°Vi e f for Improvising him toljreathtTthat ! dame* Dali SP* s in London. This was a Frederick took communion with nature Knal dai-irer s t J to the piano from into so much ” . .!BSS develop into t0 J- li«it 111 Germany this holiday^ decision r,t . that music of tours having of i Q neglected <.„,? the seemed " as a a basic necessity. a plano At 7 S«in heard in liis native land, «*. Deltos therTf T** about "f, teresMn' - the river to Set off "' 6 S r Thomas began his tt'S^ie^St Jacksonville. While h do n magnificent Beecham ve in f and r*enduringi ! Florida. And so, n instruments at the some championship of Delius, March 1 S musicstore 1 fromf° 84 DeT” “'T* Delius hn 1 b0Ught Liverpool, bound for he was heard by ’ and Pa a b "use in 1S!>9 in picturesque the New Wovia Thomas Ward -™e. village of r„ the I' or thef e*^ar three months ’ the Church of r a,list 'Doing, where he lived -it the 8„i n Saints Peter °, " f he lived near Fontainebleau, °V6 and ' , "7 f old Spanish ’ aD was B rookl usi0n plantation visiting -vn ' impervious fash- bordered I f the South for > who ions to the musical virt 0KSt - the sake of W- , of the ' 'vi,h out seeing any was so Unt llis other human being t ! impressed with Delius’ Ward building death. It was a long white piling close i tte small ...den friendship ST th resmtiint an °ld castle garden ton” culminated in ^ — ’ and with a large . a «i\- . S'oto/ ‘ST? mnnn undoubtedlv f» on the ' Stay e plantation. settin ( ’f a edtacuIar From ^her .‘, * the tone poems, “In ’ and the Warn u 5, Summer marlhelZereT fo«sts ami Delius P.^ ” Hof acquired much of musle5an Bi ' er J Wbtec his wonderfu^e - ^ flowers, ^ trumpet- toy. eehnicalu -JeadingtoauVciSterSXT ^ auTJasinine. Thus it would he difficult u mas- Influence 1 * tlle .1 ,M, A,,,.*,. of ,ilst ten years at Grez, in a burst aminzim!!!” . S 'IStained 230 energy inspiration, that £ most of Dpiii, and s greatest "MUSIC STUDY ( Continued on Page -fid) < EXALTS LIFE 2X1 THE ETUDE ^ ^— y , agitation a r# w1X> 3 5 1 2 3 * 3 \ Faster-with 2 3 1 2 1 #— - j — Sji=>= m irr 4y^ — € "if r ft f~HZ * - * fc N — > if hUH 5-^ -J : f : r 2 a 2 1 a i always and broadly 8—\ £ £ eSe h i oadly— with intensity mm sfz Fine ' m f l ingi rtf SONG AT DUSK —7 i 1 Watch the dynamic a1 * 3 markings in this piece- they are all significant inits interpretation. The composition rises to PPpPl fine climaxes, and the melodv is broad J m and luscious. Grade 4. 8 8— Bells Bells Moderately slow: don’t draff MORGAN WEST Smoothly flowing 8- ill JL Jfc f. fL it CZ=2 DP PP wm increase . h Bring out the counter melody (”p) p-I^— r 'R«rV m * v t t f rrr f if -f J A ! A Bells A, time again •S” 1J. = ft 1 -8- &-. — 21 <-> -1 it T } l T hold backP * PP n mp diminish f /' mp (vp) i -S>- XT E-rr"! BP m * * # Bells Ff 6>' very sloicly A: 7U. 8V?V % D. C. 2- <2 *=48: Or -e- P PIT rs increase diminish slower; diminish n\ ./ sfz P_ fe. =2 ii oy Copyright 1947 by Theodore Presser Co. t '2 tPF 232 British Copyright secured vMW/Z 19*8 f BP m THE ETUDE THEME FROM PIANO CONCERTO IN D MINOR (2nd MOVEMENT) and many of his The D minor Piano Concerto is was a real melodist, finest themes the last of this great pianist’s works in this form. Rubinstein are to be found in this majestic work. Grade 4. Andante (J = eo) ANTON RUBINSTEIN Arr. molto espressivo by Henry Levine * Copyright 194/ by Theodore Presser Co. 234 British Copyright secured THE ETUDE APRIL 1948 THE ETUDE 237 - r SPRING FLOWERS S O ^ _ 1 2 1 2 ^"3 1 1 nr ; ; r r f- -iS^ 4 fe £ Pi U' ^ 3 PP I 1 I 1 I P * 1 1 I I 1 I I n— ten- 2 3 £- 3 o i 4 fi ?; F £ F - h» i=ri l i tf r p r r-f P jt> j /me mf J I©- ^ J -HPe . £ £=? 3£ r t5—rf J L. T 0 ¥ _A_ 2 ^ 4 1 2 2 It 3^ i • • l -4T "|» « -4^ • * fN-t * -$ V F-f— f 1 | —GHi 0 L-CJ^ : £JJJ- F—mtj £ ism £ £ £ £ i £ J L. 4 4 4 * 2 o 4 2 4 3 4 2 2 r 2 2 p_ f- r 22 IB ii .G. 2 f f 14 i i £ £ £ J I 1 L J L -r-i 2 — a * _ list IlLast „ time 1 ^ " • 5 j »r" — — z[ * —5 3 r-A 1 M 1 r N • Wl • v j -Jr m i P m x a x < P j l a a x a • ^ w |S . • M A 2 rl i19 £ 2 • w XtS M M *a ** < 1 rf* ri p • r « n-jw ; 1- t more mQtxon -r retard pp - O if _ — - —jf f .. , 1 i m m * r7 -r. j •a fA. ^ XfTl t 4 m • E * m 2 -j sc a . ^ - - - ^ ^ ' • r=. " r- r a -4 a -a • s • 1 1^— — 1 t- i~l 3^ ft-2- 'm v--f — * =f IsM / — dim. ‘ > • i a i U=] l': lf= 4 i i “G» : • 1 L* —1— HI 4 ‘ 6 -4s i^—— a i ' ^ £ r — 4 Copyright 1946 by Theodore Presser Co. 240 British Copyright secured THE ETUDE m : — 1 — COMRADES WALTZ COMRADES WALTZ WALTER ROLFE PRIMO 3 5 ~^i — V" * i]# | — — it=KI=Z».~f — r pCflfa[* E=f=| T- ^ i J; M^=i rf-Lo= — 1 mJ’ 4 - ^ n — v nf cresc. _ & a • * a I'H. y= Lt - hvt 1 rr- ... . S & -1 »>T — « 1 • f & z 4 — — J j if — — m r — 2 1 1 i 3 4 --==R 2 i 1 1 ^=F=f= — 1 =f= m — ' 1 — \ J f ~rf~ * jf 1 U): 1? T3T- 1- \ ? -G- i > 1 j: — m - jjU -1 5 77- -s- 1 * 9 vi > V *From h P poco rit. a tempo Sr Thime. I know Thy foot-steps there Areguid-ing mine!. a tempo P rit. PP £ 7 =r p p S. f it?' r~p Lord, let me live P j ^ir~jrJ. p to-d^^L Giving- best, a temp my Filled with loves shin-ing- r^l_ My soul at draw- ing- nigh, May I ac - cept Thycall With-out, with-out a sigh!. Copyright 1945 by Theodore Presser Co. 244 British Copyright secured THE ETUDE APRIL 1948 245 — mr — ' — — — ‘ —' — c— WHEN TWILIGHT PALLS Piu agitato NOCTURNE i. >- (Add Reeds) bmhhhh > > >- Hanimond Keg intuition A~vR • r. lTL (JO) 00 4872 420 j "S3- ®^ _J ... i < i — @ i A,v v 4* m t • —— 5' ... n irp— tp r l_4 r h zzz ’ i w S A -f * fp §£_ W 'm. K «_ 0 -1 (11) 20 7625 202 *7=3" p. —J-&--T—4^- @ "f— -===F==4 LJ - ~ (10) 20 8735 201 (11) - (Reduce gradua lly) 0 00 5624 000 ...i c'» f ff , RALPH FEDERER Arr. by R. S. h i (.is i» e ,bS i * h# i 7~\. . Vl» • • Stoughton § t - J I 1 ^ m ^ m p» K IP p et® *|m0 JT»"3-pX" P—I X if “p.p S r r r—T- r. * w—f-fP •r IP P- P IP c — ^ — ! l 7 k YZ. t -j — l 1 1 I 7 L > > > > > > — 1 *t. fr-b Li j — i n o' - 1 i * T IJp Ped. 53 Gt.to Ped. 31 C110 1110 S SO (non agitato) — Sw. (off_Rceds) > v ^ ” FtJ- £= -44 j| r*0 jE[^3-- \$- S if:: p ffAW-~ mf mp - — ^ J ^ p . :f S f f 1 ! tes 7 - : ! -Z ^ AJZ 1 1 1 — - 1 = — r r r r -A- 1_ i ! i f —j—| - ' ‘ S • j tvA rJ -tS^ (Off Gt.to Ped.) CODA Piu lento ^ p-^ ] eil f 0 (Off 4' __ Lento ^ .J? UW— i ! — — — ^ : . •* -L* A W v Il V 1 L 1 “p~J N — 1 / — m ! 1 1 / A / ^ ^ \ y • — a — —2 p , •^1 • • « 9 y]i r» ¥ f ? Jt r (Off Flute 8') - poco rit. — dim. mp rtt. ^ ^— p_* • -p- m _ • m 3 ~ -UL.J — w r— 0 17 • - j 1 — \) bp ? T -p -b H ^ A ? L MB r ir 1 i> w 5^^ i i Sw. to Ped. p , Lj i - Copyright 1947 by Theodore UlV — * Presser _ .. .1 i Co. —-F- Ah ? •s V v — 1 -3/ - >- J 2 .1 N 7 1 7 1 246 -£ £pL! UJi Cp. tf 1 ^ 1 J secured British Copyright ^ ^ J- THE ETUDE APRIL 1948 247 LONG, LONG AGO THOMAS HAYNES BAYLEY ON WINGS OF SONG FOR VIOLIN QUARTET Arranged by Karl Rissland ^ rr FELIX MENDELSSOHN 5 3 3 a l i,i A II 1 v . i- V ! / •i t / / L L M 7 -7 1 fjk 2 4 m M 7 — — r 7 7 . * 4 m 7 3 T - % t —A 1 r I. m m 4p i i t JL' _____ — JL 0 _p 0 0 m 0 / “TF r _D L f' m - * mn ^ ^ / • r 1 “Ml m ^ r m W i I — 1 i | \ / ^ ^ ! r r 3 2 1 i 7 1- t 1 - |4 Jtte: 1 r ttrr p \ -d-J 1 T 0- *' p 0 0 :), [ : f r r r 7 =^ k^=lm r 1 4 i 2 r -t Copyright 1947 by Theodore Presser Co. April lots DOLLY’S LULLABY DOLLY’S LULLABY SECONDO PRIMO BURTON ARANT With gently rocking motion J = eo) 8 ' 3 3 4 1 , 2 , 4 3 5 4 2 3 i ft J4r-P i P j a • 1 US? ppl' 5 1 3 5 4 3 1 3 2 5 1 2 3 5 2 1 8 * 2 1 J i £ ? i 1 f P mi D.C. £ 1 5 2 ' I 1 r 3 4 3 1 r 1 3 4 r 4 1 THE ELEPHANT MARCHES PRIMO ELLA KETTERER In march time (J = 100) 4 4 t 8-"[ 2 i. — & Si & Jflb p~Sxz t Si Fine N-: & T_ O Ff=f zz: 1 * 1 * L t i t f-1 I i P 1 2 P 4 4 the stubs —" f p 4 5 4 Grad«, LITTLE PRIMROSE >3 3 • WALTZ ? 1 2 4 3 # • g race c. ~p-. _ • - _ kaiser ipj f r # • F * jr^JL 1 — • -M -= =— r r -• Fine , - t- • •V’ —— f ELJ.. i J 9 , .I-?— 1 1 , ! --U s * ' FF- ^=4 9 9 ^ l 4 * g»>« Grade 1|. SWING UP, SWING DOWN! THOMAS if AllegrettofJ = 138 ) J. J. p m h -m- O’ Vl -j- - Copyright 194? by Theodore Presser Co. British Copyright secured Grade 24. YELLOW TULIPS Copyright 1947 by Theodore Presser Co. British Copyright secured APRIL 19 £7 253 draws cl _|_he magic spell of music IN THE MEADOW Grade 2. LAMBS MYRA ADLER the day and the pleasures Allegro vivace(J-96) curtain between the cares of and relaxations of evening. captures and How completely your Baldwin i by the contains that mood! Chosen instrument of world's great masters as the truly today’s great piano. their art, Baldwin is the latest Tour dealer is now displaying models of the new Pat foam CO.; CINCINNATI 2, OHIO . THE BALDWIN »*»» RALDW ELECTRONIC ORGAN HOWARD R.ANOR, • TmTHE BALDWIN} ACROSONIC, HAMILTON AND MCMXLVII by Oliver Ditson Company secm-ed LIFE" Copyright International Copyright "MUSIC STUDY EXALTS 254 TBS STUDS 1948 - Z . / , t . ijl an uur Our Astonishing Musical Bethlehem, the playing of secular orches- jENTUBy tra and chamber music tva.s the most un- CE ^ISSUES Beginnings at Bethlehem usual. Contrary to the Quaker leaders in *T ORy, Voice Questions Moravian bishops did si/- Philadelphia, the fy j your all they could to encourage it. In 1741, I s Sy ( Continued from Page founding of the jcjyy\ 221) three years after the At ts town, a Collegium Mush-urn was formed ,eeraJly DR. NICHOLAS D0UTY oeM^? music certainly one you J„t to play symphonic Stood if — we refer to the church music of L of America’s first orchestra groups. Any- £ eighteenth century Germany. There 0 l r in esen,in one could play joined in, mem- p .9 these will only be who and a Lyric to a Dramatic vowel and consonant sounds easily and com- equonid tfa t to j orchestras Changed From > a SUre were extensively used, along she ln us,n9 ,bem because fortably, and to understand they ore o u r bership ran, literally, from bishops to in Ten Weeks something of the tstandinnt nd 9 ,eac* hmg|, with harpsichord Soprano material. or orgay, in the per- shape and the use of You will girl of seventeen and a senior in the bones and cavities blacksmiths. The players had brought welcome the addition tic I am a formance of liturgical outstanding q associated with resonance. If one reads and music. So Haydn easy teaching r0UP °f school. For the past two years I have petite over or imported their wind instruments ; piece's-the?m-es— high suite wrote and scored seem to be enough. there never teacher diligently studies these articles he cannot re- LE Ills church music; so did been taking voice lessons from a fine DRE GRETCHAN many of their violins and other strings main entirely ignorant of INOFF I’. E. Bach, city. She says my voice is a the theory (or 3778 eU Stamitz, Richter, 3830 in a neighboring 5W and oth- they Deep River. F-2 summer, owing theories) of voice production. There are many 3779 Romance F-2 ers. made. They even spun copper for 3831 R* sweet lyric soprano. This The Bethlehem Nobody Knows ,sh,William Shakespeare: and fi-/”' Mhat is equally interesting, changing to a man , the Beth- 3834 c”‘ Shield Lilli Lehman’s “How to Sing.” But books using Sometimes i Feel from lyric to dramatic with lehemites developed clumsy wooden stands with brass Like a change my voice their own Motherless -2 alone can never entirely take the place of SONATA group of Child Gm _ n . . loss of sweet tones, but a great MOVEMENT candle °/f* the resulting SERIES conqiosers. sockets attached. They rehearsed 3835 Standin' in Re,sfeld Vtua Voca 3789 They wrote the Need of I re- lessons from an experienced sing- Sonatina in G, -4 good music, and of volume. What can do with r d e o l regularly Prayer. F-2. amount Allegretto men like and carefully, with the aim at to a softer, sweeter ing teacher. Singing itself is very largely a (Sonata In DVj' Pyrlaeus, Oerter. 3774 Song, '-2 •«'. gard to changing back 3791 j'c f Bach Denote, of America question of tone. The books can only explain Allegro (Sonata in least of a finished performance. Bb). . I ITerbst, 3775 U [ [ . Peter, Songs of Scotlond -2 tone? 3792 Rondo and Michael must he how the tone is produced, while (Viennese Sonatina re- 3774 0 hours a day should a person the singing No. I), C-3 " hat they did not lack was good Songs of France, -2 I'?? '* 2. How many membered along with the music teacher, whose art commences where the book 0Z< Philadelphia 3777 Songs of Italy, -2 new teacher required three hours 3793 Finale ' to play. practice? My (Sonata in D) -4 group They knew the best of ' E kha ends, can also make ^ L" of contem- . d > the tone for you with composers and Conrad Beissel, 3800 A Mystery Story, C-l S f while my former teacher believes one should porary Germany, 3801 20p b. ns his own vocal organs. He can demonstrate as as the and had it ; occasionally Hippity-Hop, a half, in fifteen minute musical luminaries of early practice an hour and Penn- 3802 A Song for no book can, just where the vocal defect lies, sylvania. in published form, but Annie Lou F - intervals. Which is nearer the right amount? In the more often in 3803 Happy 0p ns Moravian Archives at and Gay, C-i u [‘. the nasal tone, the throaty tone, the breathy pl —/. P. laboriously done hand 3804 The !'." s 3798 Andante Betlflehem there are some two copies. In 1761 Ice Cream Man C-l u° tone, the forced tone, the unresonant tone, or (&._,][cU'/. hundred 3808 strutting, H°pkm ot Nitschmanii built C-l the tight tone, all the slight variations, their works, still in up the orchestra to full ufonfon A. No one can learn very much about the and manuscript. Most 3809 On the Open Road C-T of representation of singing in ten weeks, no matter how which are so difficult to explain with words their music is liturgical, winds and strings, fos- 3810 The Bee and the Buttercup art of l™ principally C-i" It is study. and so easy to make clear with his own voice. tered U ion intense the training may be. a life vlrAri anthems for chamber groups, and increased riie * “ S, «PP'» bm-2 Appren,ke p solo voices or choral 38 1 ! : icltodf Therefore, while you should read everything m-4 . university • . . .Dukas-James groups Ho,:doy Perhaps the teacher in your was with music library significantly. ' c "-> accompaniment of organ In Bethlehem lm anxious (too anxious) to crowd into the very you can lay your hands upon and listen at- and orches- llA&rcA -fcf khardt today 3814 Scotch S tentively to all the singers possibly BOOGIE tral instruments. you will find 146 numbers of Plaicj, C-2 short time allotted to him an impossible good you WOOGIE SETTINGS A great deal of it that 5co ' mohn shows library, 3815 The Funny Old Clown G-2 theory and the practice can hear both in person and over the air, Plainly including ' - amount of both the by STANLEY its debt to Haydn, the nine symphonies by 3814 Cello Song. G-2 mbt younger that art. Therefore, he insisted upon lengthy you must get some lessons from an experi- i C ray Haydn, three 3817 y of re & LWIe Brown J -2 >achs, and the by Mozart, together On the Merry-Go-Round C-2 singing 37A9 ? M f ^° «g. Mannheim group: vet with -MontgomeryMon r' practice periods and too long lessons. Also he enced teacher at the very first oppor- an9 S e * G °° b Night works 3818 On Tiptoes, C-2 3770 t . !t" Ladies. -3 some individual of their most 5fone al- tunity. This is particularly important if you E Com,n Through works show distinguished con- 3819 Sword Dance, seems to have insisted upon, or at least j the Rye. -3 striking Dm-2 3771 Hn„ r n OW temporaries. 3822 use, too forceful a method of aspire to become a famous singer. M y Walki "' musicianship and a For over sixty years Minuet in G. -/ lowed you to - 4 compelling the Bcolhoven lhe’l^erB ® c . u devotional in an in- °™n Roend the Mountain. -3 expression. Collegium Musicum exhalation, which naturally resulted 3777 om J n gave concerts of this HadaF - mi of ?“ ™' s 3 sort, ii creased volume of tone, but a loss much ^s,r^ The excursions and as many as thirty-six N 0 JSHF of the Bethlehem in one 9, DOnC " N °" 2 /" J its naturally beautiful quality. You have Some Interesting but Vague com- ' of year. It is 3827 p ovon*. °G-3 posers into the writing amazing to think that in this been following these precepts for only ten of secular music 3820 March (Nutcracker,. Questions tiny G-2 that you have were few but noteworthy, colonial town the works of Haydn weeks and it is quite unlikely historically at any permanent injury. Return pI least. and Mozart Ask your dealer lor done your voice Q. [ have two questions that have hern Outstanding were heard soon Century music. If 3800 nLle are the six viola after they he cannot to under- * . ” quin- Supply you, send your order to your first teacher who seemed bothering me. (1) Should the .singer hear the ^^e' tets were written. direct to us 5XSS written in 1780 It is equally Our to by John Frederick remarkable li,,!n9 Ver stand you and your needs, and endeavor tones in her head, or should the ultimate in ... magic that to ° 3?0° n,,mbers at lhere is magic in Magnavox CENTURY MUSIC Peter, the learn that one 2oTazuc a copycooy'kjs FREEFRFF recover the "very sweet lyric" soprano quality PUBLISHING CO. finest musician of the group. string quartet was on request. frontal placement be to actually only hear the 47 which she West 63rd Street, New York One or two of formed in 1795 for which you once possessed and and voice as it leaves the lips t Is that the goal of 23, N. Y these quintets are distinctly the express purpose or CENTURY MUSIC PUBLISHING your friends so much admired. voice projection Just what is a “booty” worth playing and playing Haydn Quartets. CO. (2) means better living for every member of your hearing today, for 47 2. You are only seventeen, still a girl, not they West 63rd Street, New York tone? What does a singer do to get such are bright and It can readily be seen 23, N. Y. and voice charming in feeling and that both choirs quite a woman, with body, mind quality ? interesting and Collegium which have not reached their full maturity. musically. These works players served Bethlehem family. For Magnavox opens new horizons of of Content yourself at present with daily practice love Peter raise e ' 1 " t '° rhCT you air Interesting ’ ^ical If historical activities must periods averaging one and one half Z t f about A* Whether or not his vocal tone is well query. In 17S7 Mozart e noted to show how music wrote his three was all-per- hours, divided into fifteen or twenty minute placed, the singer hears it with his ears alone, . . . brings realism and per- piano greatest viola vaduig m its community periods. During your musical enjoyment the quintets, virtually creat- life. Serenading these periods concentrate since Nature has prvoided him with no other foldes ing this form. by both instrumental entire attention upon what you are doing, and organs of hearing. The column of vibrated air, let Andor Two years later Peter and vocal groups get wrote was a general do not let it stray to your next dance, or your which we call voice, may be slightly felt in the you how to his six while at a Moravian practice to mark fection of tone to your favorite programs and show mission birthdays approaching date with your boy friend. cavities of the head especially upon the highest in ' Kcmarkuble out of Aorth Carolina. oet It -producin most Is it asions - the possible that in The tromi)0 ; ie tones. It is neither made there nor heard there. A Representative Flute v, f Gamba iangul Vixhx ar Two-Manual Organ ,." Hum Gaailta Celeste ana Pianos are Tremolo Organ and essentially built for Choir Qdestions AD adults Illustrated STA ble mus,c RACK.Voot below are the two Great ( Continued from Page 223) . JEIt a o e ( EST ANZ PEDAL aids P (i al ?. . CONTROL attached to °x rebuild a Grand Piano. Both They Gemshorn RackKack *?*• the Music can be attached to any Quinf 'andand f'Foot*7Rest can be Great to Great adjusted style piano, 4’ Great t0 ' of Spinet, Grand Great 7>edal8 , 1 P' ano—Grand, Upright or # JlnuverJ L FREDERICK PHILLIPS andand'sH*Spinet 9 Upright. Great to in an instant. Gemshorn Flute 4' Pedal* f d us ' able Any Style of Piano MUSIC iI~^ D t \° Rohr Flute Principal General #4 Swell JENKINS Ra ' se ADJUSTABLE or Lower fo Desired Height Recently our church was made larger by originally PIANO MUSIC KACKracx 3 r, Q. a theatre organ. Since it is being ACK can be —A Device on Back of Rack for adjusted to any Flute addition of three hundred and twenty-five used for a variety of purposes, however, this desired \ Adjusting to Any Angle an , "d brought Great a large balcony installed. forward! so that #5 Gamba feet, together with is largely offset. As to the opposing ideas as J'?|a Child s eyes organ was removed to the Sunday will be on a level with Gemshorn Flute 4' Gamba The church to set combinations, we suggest that one organ- h s music and Celeste Auditorium next to the church. A four ist (normally this at the correct distance School would be the church organ- eliminating ' Rohr Flute Principal Flute was purchased and in- eye strain. Triangular manual theatre organ ist) be designated as the individual specifically Octave stall ed in the church. The organ is twenty in charge of the instrument, and the general when new cost $50,000. It was set-up To Great years old , and be determined by him—after an ex- further aid the child’s Pedal comfort at Great #<> purchased for $5,000. The church now seats change of ideas on the subject—and changes the Gemsbom piano, ive have Quintaton 1,500 people, where before it seated only 750. in this set-up be permitted only under special Gemshorn Principal Relir Flute Two pipe chambers are located in the front circumstances. There would certainly be noth- JENKINS Swell to (KAUFFMAN Rohr Pedal the church on the left and right side— ing unethical in using S) FOOT REST Flute Octave Swell to Great part of the various instruments, third chamber is located in the ceiling including the electric AND PEDAL CONTROL Flute 4' Twelfth and the organ, together. The half way down the auditorium. The manuals propriety of this should be governed entirely Can be General listed as follows: Manual 1 Swell; 2 Great by musical results, satisfactory or used successfully on any #5 Swell are whether type Great #7 Solo and 4 Choir. When installed the organ otherwise. In services of worship, however, piano. Flute 3 contained Xylophone, Orchestra Bells, Traps, one must be guided ’by a spirit of reverence Gemshorn Principal Gamba sound effects and other contraptions, but were and devotion. 5 Rohr Flute S ”s at Octave omitted. The specifications for the Sunday Bt at* ease the Gamba Celeste ’wRh’his i'"? Flute 4' Twelfth School and church organs are enclosed. The Q. Is it possible to raise the pitch of an organ Platform six 9 ° Flute Inches from t h e T*''" ?•" Triangular church committee has set aside $5,000 for from as low as A 415 to A 440 by tuning the nating the Fifteenth dangling^^ ft Swell to Swell 4' additional pipes and improvements for the pipes? I have been unsuccessful in trying to S'* Inches Great #8 more ^ (!~ High Here church organ, and $3,000 for the Sunday locate the Organ*Co. If they have “"comfortable FOOT than4 k l for a rk’M - F've Inches High 1 having no support REST '? Here Gemshorn School. Now, here is what we should like to merged with another firm can you tell me how for-v. mohis feet ^'facnAttach toTO PianoKiano Octave Great Teerandand legs. I:I Pedal Pedal pipes u Vk“l—*“ For know: What pipes or sets of should be to reach them, or some one who could do the Very important, For Operating the Pedal Rohr Flute Twelfth to UD-to-do4« * Gemshorn purchased for each instrument? Should they work ?—L. B. use of the Flute 4' Quintaton pedal. Our is having the child Fifteenth Rohr be unified and fciplexed on all manuals? What FOOT REST learn the Flute Flute 8' 6 *° Principal the pipes appear in? Should A. doubt if it " P ° f the +° * he pedal Mixture 4' chambers should We would be possible to raise menent, a P'^im w l>'‘=h Flute ••"onSwell child can operate fo?* on the tom reamPedal 8' used pipes be bought (if in good condition)? the pitch of an organ as much as you suggest the pedal without 2 • Pedal attach- Swell to G rea l S' Would new pipes be the best bet? What other without seriously affecting the tone, but it 9 Pedal #] Quiutaton Swell to Pedal 4 WiU, ft. MUSIC Swell improvements would you suggest? Both organs probably could be done. firm RACK Am 7" to Great 4 The name of the comfortable, FOOT rk CIT""ld have no couplers since practically all stops you mention does not appear in current direc- and when at lhe Piano is Pedal comfortable^^T' h v *V #2 appear on all manuals. Both organs are in tories, so we are unable to offer advice in this and progresses cllned to General #i; more rapidly. practice longer Swell good shape. The English Horn on the Sunday respect. We are, however, sending names of Quiutaton FluteS' Gelgpn School instrument is very loud, and cannot firms we believe you could contact to advan- Flute be used in the pedal department at all and tage. Pedal #3 very sparingly on the manuals. Several organ- Gamba Q. I have played in our church for twelve ists use it, however, for broadcasting purposes. Quiutaton ' years on a small reed organ. Now I would Flute 4 Flute Triangular The Sunday School organ is very stringy, and Flute 8' like to learn to play organs with two or more '* System unless all flutes including the Gross Flute are tor Oita ve manuals and pedal, and wish to buy one Teaching Sight used, the strings drown everything else out for Obo<> my home. Can you advise me how to go about Playing Pedal The Kinura, Hautboy, Trumpet . and Tuba are to Little #4 finding one reasonably priced? Is there any Tots, or Swell to Swell 4' very reedy and quite loud. The mixtures— agency in the Twin Cities that handles used Beginners Quintaton 4' quints, tierces, and twelfths give the organ a oi Flute organs? If 1 buy one from a church or in- any Acre F'uteS' very wierd tone when used in combination. Great Pedal dividual what should I look out to guard Vlolone Do you consider the Sunday School organ a for, against possible trouble?—A. C. Speed Dr/lls-Consists Rohr Flute good instrument? The church organ a good of TcTd! Pedal Quintaton °* '’'’ Gemshorn buy? Ten different organists use both instru- On these cards are *“* #** C"’ 0 *eyS Vlolone A. We are sending you the names of some nates corresponding ments for church and Sunday School services; the io n Quintaton Flute 1' ’Cello of the leading organ manufacturers, some of position of each note. * he l EVERY sum i um. Aciuanj TALENTED Violinist’s Forum it, I never had played it. STUDENT WILL The Km 1 had trnh!^ TREASURE " e THE ETUDE APRIL, 1948 "MUSIC STUDY EXALTS LIFE” 261 . . — y - in many of the United BENJAMIN BRIT appeared as conductor *AII over the world’s leading opera houses. In recent col- r TEN’S opera, “Peter States, schools, years he had been active in Hollywood Grimes,” had its second leges, universities of Music Met- as a composer of film scores. The World performance at the and music conser- ropolitan Opera House vatories are using Feb- in Ned’ York on Gulbransen and prizes ruary 24, with three Awards Everywhere” Competitions Pianos. “Music News From new principals in lead- ing parts. They were INTERNATIONAL mack Sullivan, who THE FOURTH Brian performers hakreul Metropolitan COMPETITION for musical made his Oc- for (/lAU5IC held from September 20 to role; Polyna Stoska as will be debut in the title Conservatory of Music in and Mack Harrell as Cap- tober 3, at the men Orford , Switzerland. The various classi- be THE AMERICAN MATTHAY ASSO to press reports, Geneva, FAIR OF Mt’SIC will Zin Mlstrode. According piano, violin, A WORLD’S held its annual fications include singing, New Tork CIATION meeting re- ‘Peter Grimes’ at the Metro- held in Grand Central Palace, “Tlie first horn, and will be open cently in Boston, at which time Stanley still viola, flute, and to integrate, was good. The second was the Minuet City, July 19-24. Planned politan performers, aged from fifteen to thirty music Sprenger of Philadelphia was elected to inform, and generate interest in better.” countries. The deadline Studio Piano president; Miss Cara Verson of Chicago, years, from all forms, it will further 194S, and specif- in all its diverse filing applications is July 15, A sturdy piano ff manufac- vice-president; and Raymond E. Sparks for serve as a meeting place for the may be secured by ad- designed for !4 10 Ctllll* if* J* secretary. John all information ically perfoimers, of Syracuse, Meetcli turer, the general public, of the Interna- dressing the Secretariat use . . . easily as Stroup of Philadelphia was reelected Choir Invisible classroom critics, educators, as well The Perform- composers, Competition for Musical in tune Richard tional . . . stays sig- treasurer and McClanahan of moved all the arts. Forums on Musique, Genet a, patrons of reelected horn ers, Conservatoire de volume, music are New York City was editor of BRYCESON TREHARNE, Welsh ... has the full Cfctifit.itc nificant and novel aspects of of the Associat ion. educator, and editor, Switzerland. and the Journal composer, pianist, rich tone quality being planned. popularity, whose songs attained wide responsive action that Long Is- ANNUAL Band Music THE HARTT OPERA GUILD, of the February 4 at Woodside, THE THIRD instructors LASZLO H A L A S Z, died announced by the students and Julius Ilartt School of Music, Hartford, He had been associated with the Composer’s Contest is who has been musical land. Music Festival, appreciate. Connecticut, will present in May the Company for twenty-four Rock River Valley SPECIAL CERTIFICATE York Boston Music Tlie director of the New music Falls, Illinois. craftsmen, world premiere of Isadora Freed's new He retired last November as •Sterling and Rock Gulbransen FORM City Center Opera Com- years. concert or parade “The Princess and the and also of the is for the best progressive sci- Diploma • Certificate • Teacher's Certificate four-act opera, editor of that company contest through pany since its organiza- prize is seventy-five 10 x 8 in.—Price, 35c each Vagabond.” The opera was commissioned Company. march, and the first research, have PARCHMENT DIPLOMA is Willis Music entific illustra- tion in 1944, again prize of twenty-five The Certificate form (shown in the by the Julius Ilartt Musical Foundation dollars, with a second studio be obtained for any of the three the group in its by perfected this tion) may (21 x 16 inches) heading entries must be mailed designated festival to be given in May. All - wordings. Also with the text, but no for an opera CASSARD TOOGOOD, dollars utmost musi- Minuet With wording shown in illustration spring season, which MRS. CORA be se- piano for folder of the award; thus making it available for other as June 15. Details may Send for descriptive president of the Philadelphia midnight, Full awards, such as Promotion Certificate, etc. opened on March 19. In- former Ziegler Genet al cal perfection. ownership list. Price, 60c. Blank, —same as illustration but Sym- from Mr. Elmer Studio Piano, and school Printed on fine Parchment Deed stock in the MAGOIE MUSICAL FUND SOCIETY, Philharmonic and the Philadelphia ctired postpaid. Price cluded in tlie current THE Valley Music Fes- guarantee. modern 10 x 8 size. Price, 35 cents without wording— 50c. February 4 in New Chairman, Rock River factory repertoire are the two TEYTE of Philadelphia, America's oldest musical phony Societies, died affairs in the Sterling, Illinois. short operas by Gian-Carlo Menotti, “The society, lias made four awards in its third York City. Active in civic tival, for over so «ars she was also of fine pianos Musical Jewelry, Art Goods, etc. Old Maid and the Thief" and “Amelia annual auditions for young musicians. Quaker City for some years, makers and $200 are the J. Tr.voii, violinist, of her songs, The Haunt aw of $1,000, $300, COMPANt pre- one ARDS Goes to the Ball,” the latter to he The winners are Jesse a composer, American _ ii i ddaNSEN IMPORTANT! (Order by Style and No. NOVELTY considerable in the North MOTTO PINS sented in a revised version. Also sched- Burlington, New Jersey; Helen Kwal- Witches, attaining prizes for winners Tax) of of the by —Add 20% Fed. Jewelry for pianists. Sponsored North Kedzie Avenue^ag^^g uled is a performance of Debussy’s “Pel- wasser, violinist, of Syracuse, New York, success. Prize contest Dept E 816 (*Indicates pins with safety catch) School of Piano in Institute, Philadel- Robert Schmitz leas et Melisande,” with Maggie Teyte, pupil at tlie Curtis the by — LYRE PIN prominent the prizes-are donated Jansen, tenor. The Juilliard School, New York ; LILLY, Francisco, _ soprano, and Jacques phia, and the JOSIAII KIRBY San Island, TREBLE CLEF PIN Indianapolis, In- Pflugfelder of Long latter is being brought from Paris espe- Ruth Duncan, pianist, student at the business executive of Mrs Eleanor A_I0K Gold to pianists PIANO /wnn\s\‘ — Feb- contest is open ir ^1 r Jv)*E Sterling Silver Never of music, died York. The YOUR A — cially for tlie performance. This will be School of Music, University of Kansas; and patron New Flat diana, re- IMPROVE V*C—Gold Killed .., B of nationalities, races, and pianist, Chicago Indianapolis at the age all ages, D—Geld Dipped . Miss Teyte’s first appearance in the role and Eloise Matthies, S in of Clasp Pin Clasp Pin ruary received by Silver Dipped . must be E— No„ as a collector Applications 22 No. 23 since she sang it in 1930 in Covent Gar- Conservatory of Music. The four win- eighty-six. Ilis activities 1 Winns - Expression Clasp Pin illustration * are world-famous. details may he secured - Reading 20 Exact 8ize sixty- made him April 15- and all No. A—10K Gold Clasp Pin $1.50 den, London. ners were selected from a total of of Fosteriana American Technique items was do- Secretary. North B— Silver Clasp Pin 50 applicants. collection of 10,000 from The eight His San Francisco, "TECHNIQUE" GRAND PIANO Silver, University of Pitts- 3508 Clay Street, Booklet C— Gold Plated Clasp Pin .50 DANIEL STERNBERG, dean of the nated by him to the Prize, Send for FREE Clasp Pin Baylor University School of Music in THE BATH ASSEMBLY, a Festival burgh. California. A miniature grand pi- WINGED HARP PINS Waco, is the winner of the Harold J. of the Arts, will be held at Bath, Eng- Improvement in 1 Week pianist CON- ano in black and gold. Abrams Memorial Award of two 1. The pro- LAMOND, noted COMPOSITION Relaxed Playing hundred land, from April 21 to May FREDERIC A NATIONAL is entirely as an Senior This modern technique No. 84 A— Gold Dipped 40c and fifty dollars in the Texas Composers’ performances of widely recognized conducted by tlie beautiful as your gram will include and composer, TEST Play music as other method. Thr°"S't B 60c February Music Clubs - unlike any . *No. 84 —Gold Filled Competition sponsored by tlie Dallas Tlie Assembly on Beethoven, died Federation of relaxec r i away Mozart’s “II Seraglio,” by authority of the National mind imagines it, with many concentration exercises OTHER INSTRUMENTS IN MINIATURE of Born in Glas- spring of control. De- as- Symphony Orchestra, of which Antal Opera, under the artistic direction 21 In Stirling, Scotland. announced for the with perfect keyboard it produces Cello, Banjo, Trombonp, Guitar. is li-rnre from the Violin, Cornet, a pupil of Von Bil- annual contest for com technique, instant trams your Saxophone. Gold Dipped, 4flc ea., '•Gold Filled 60c ea. Dorati is the musical director. Mr. Stern- Glyndebourne Opera. Orchestras partici- gow, he later became in addition to the velop’ a flawless tonishing results. It United twenty-five year memorizing. berg, a native of Lemberg, Poland, has National Youth Liszt. He toured in the the eighteen to and ready Mental-muscular coordination pating will include Tlie low and pose' s In sightreading *" or IN then became a the Jumpy Division, thought-action c° ordin playing and brilliant LYRE CROSS lived in Texas since 1940. His winning Orchestra, Reginald Jacques, director; States in 1922-1923 and bracket conducted by Study the brings accurate Music, in the patterns of will be improve- ENAMELED FIELD composition is entitled simply by Eastman School of of $500 is offered the keyboard technique. There LYRE and WREATH PINS Concert Tlie Boyd Neel Orchestra, directed teacher at the i cash prize tion and Overture. Contest for a composition Broadwell Technique. ment at once. *A—10K Gold $2.00 Boyd Neel tlie B.B.C. Symphony Orches- Rochester, New' York. Senior Division the ; tune for *B Sterling Sliver .. .60 playing — tra, Adrian Boult, conductor, and tlie fifteen minutes Sir of con- to 1 and Recom- D—Gold Dipped ... .40 Victor COLLINS, one and soloist. In the Practice Effort 10 Endorsed c!™>Fia NATIONAL MUSIC WEEK will have London Philharmonic Orchestra, MRS. MARY SCHELL orchestra, chorus, Cut E—Silver Dipped .. .40 Philadelphia cash awards usicians No. 87 its twenty-fifth annual observance this of the first patrons of The voung composers, applies mended by M Lyre design Is red de Sabata, conductor. test for Broadwell Technique The background of circle in the Quaker City on awarded m three dif- The with lower panel In black; in the Cross design, year in the week of May 2 to May 9. It Orchestra, died in the totaling $300 will tie psychology to piano study; musicians, students—praise blue with lower panel in white. All other parts of modern Famous eighty-three. She was all are the pins are in gold or silver. Clasp Pin is tlie hope of the Committee that the an- AN- January 27, aged cL.Uc.tlon., that preven P methods highly 9 THE NINTH te“«. eliminates blocks Broadwell Also obtainable with the word "Choir* No. 19 former may be se practice rL‘ 5 3 * niversary will S. Collins, Division contest tiresome the ro substituted Jot "Music call for special programs Music the widow of Philip Senior It cuts enthusiastic over P NUAL Berkshire the chair- learning. f ^ of the Curtis Sevitzky, it simple and Broadwell Piano on the part of many individuals or- given by president and treasurer _ from Dr. Fahien makes gained from the SHIELD and Festival will be vice mired 4 to one-tenth; LYRE IN " Theatre, Indianapolis Find out how Broad- PRESSED MARBLE ganizations. The slogan for the 194S the Boston Symphony Publishing Company. n Murat logical. Technique. A brand-new design in musical Composers contest you. OF GREAT Music Week is “Foster American Music.” Serge the Young well can help BUSTS , jewelry novelties. The lyre and Orchestra, Dr. T r Francis are in silver, the CARRICK. chairman, I)r. MUSICIANS border gold or A "Letter of Suggestions” lias been pre- Koussevitzky, conductor, MRS. JEAN WARREN I nslt’s national background in black, blue, red or life o De. >.** Free Booklet is suggestion for a gift pared for free distribution. musical Coupon for Here a green. (State color preference and Copies are at Tanglewood, Lenox, long prominent in the “'prifu~rumccr.it,, Send that will ever be. an inspirational quality number in ordering.) available by addressing in that city on "Technique." ornament in the homes of the the National arid Massachusetts, from Portland, Oregon, died Iowa. musical. These busts arc made of Inter-American Music Week white pressed marble ami are Committee, July 18 to August 15- A January 11. Prices, Numbers 90 There is no obligation. inches high. Each is packet! In an 14, 15, 16, 17, 18, 19, C. M. Tremaine, Secretary, 3ir> Fourth lur.pn con- hundred dollars is of- individual container. Busts of total of fourteen ,V \\Y VRD of one Bach. Beethoven, Brahms, Chopin, MOK Gold .... $2.00 Avenue, New York 10, N. Y. berkowitz long ac- Ascension, New certs will lie presented. MRS. ADELE G. YARNALL, the Church of the Handel, Ilaydn. Liszt. Mendels- •Sterling Silver .60 fered bv an- Studios, Dept. 68D sohn, I'advrewsln, Schu- in Philadelphia, cantata ot Broadwell Mozart. •Gold Filled . . .75 Dr. Koussevitzky will have tlie assistance tive in musical circles the best original bert, Schumann, J. Strauss. Tos- York for Gold Dipped . .40 city, at the age fifteen to twenty California ntnini, Tschaikowsky, Verdi, and JACQUES BERLINSKI, French Jew- of three guest conductors, Leonard Bern- died January 23 in that mixed voices, Covina, Silver Dipped .40 president n em for Wagner. ish composer, is the winner of Robert She was vice suitable for Ascension the first stein. Kleazar de Carvalho, and of eighty-three. in length, Price, 35c eoch Transportation 6c extra Special Club,_ Society or Cla ss Initials en- minutes — , . prize of $1,000 for of The Phila- a^ec d NAME $3.75 Doz. Plus Transportation graved on No. 15 and No. 18, 25c additional. his symphonic work, Shaw. Ralph Berkowitz, well known of the Women’s Committee will be sungat the Say The work “Kennan,” submitted in the of and a member of May international pianist, whose activities include that delphia Orchestra, Ascension Day Service, ADDRESS contest for W. Gray Send for complete catalog of Musical Jewelry, Novelties, Prizes, etc. Jewish music, conducted by accompanist to tlie world famous 'cellist, Art Alliance. published by tlie H. it will lie Broadwell tlie National Jewish Music Council. appointed may he seemed by A Gregor Piatigorsky, has been Company. All details CITY prize for a chamber orchestral work Kousse- composer, and Church of the THEODORE PRESSER CO. was executive assistant to Dr. Serge ALDO FRANCHETTI, wrS ng to the Secretary, TECHNIQUE Februai Street, PIANO awarded to Jacob Avslialomoff, music in- Center, conductor of grand opera, died Avenue at Tenth STATE vitzky for the Berkshire Music Ascension, Fifth 1712 CHESTNUT STREET PHILADELPHIA 1, PA. structor at at the age Columbia University, for his which will six-week term oil 14, at Hollywood, California, Y. open its had New York 11, N. composition, Evocations. Mr. Beriinski of sixty-five. Born in Mantua, he 263 July 5. ” "MUSIC STUDY EXALTS LIFE 262 "MUSIC STUDY EXALTS LIFE’’ THE ETUDE APRIL, 1948 — — unmusical approacn as presented - many wind instrument 1 S ° methods f-, fel&w- wise, the present lack of Out y APRIL, 1948 " EXALTS LIFE" MUSIC STUDY 265 ’ ; — jposer was deeply distressed work of tlie at heinc teacher, however, is quite n ‘ The Art of Suggesting of Delius able to complete a number of different from that of tlie virtuoso. The Magic score , . Many a Day PUBLISHED! wrote to Delius offering nd virtuosi have In Less Hours Than JUST to heln in ? been pitiful failures as ( Continued from Page way possible. His an>: 207) teachers. ( Continued from Page 230) offer w We know of a very smart teach- as a , without hesitation, 6 *1 er who, You Actually and the deserim! having lost the use of his hands, written. in Fenhy’s absorbing far greater teacher. Many of his pupils, continued to music was book of their produce extraordinary re- fi fSt of music is far wider meeting is touchingly including Essipoff, Gabrilowitsch, Ham- sults by resorting Can Play MICHAEL AARON The range his poignant- to a large library of the “There Schnabel, Zeisler, Goodson, recordings than maj*y people imagine, and it is was Delius, gaunt, deathly bourg, Le- of great pianists, as illustra- ' ,‘ and most of all the tions greatest possible mistake to visualize him his fine classical head proud ..' ginska, great Pade- for his students, all of whom played an,] e e LATEST SONG HITS merely a painter of exquisite pastel- lie sat upright in his rewski, far eclipsed his fame as a vir- excellently. as chair . . . with I'm colored miniatures. The many recent and euity he extended his tuoso, but made him one of the foremost The musicianship of the teacher PIANO arm, as tliou-'h must TECHNIC t’ because forthcoming recordings of large-scale compel the life to return teachers of history. In fact, Carl Czerny never be questionable. He must know, into his drooping Beethoven), with the BOOK works should do much to correct this all (pupil of he of the leagues greatest thoroughness, tlie works too scales and exercises, was a gifted he elects to teach, YOU PLAY while prevalent view. Emotion is the mo- Delius was often in great pain of pia- even though he can- and i n tive force virtuoso who early not execute them. • t W WWW behind all Delius’ music, and dined to lie irritable and nist and became a He must understand VTTTVVVVm Impatient But YOU LEARN! 25 etudes covering he lmd little use for the pedant’s formula- in the end, incredible though teacher because be wanted to teach. As a the harmonic and contrapuntal problems the various vital early grade it seems a problems of technic. never lie must feel lost ridden approach to composition or ap- method was evolved between performer, he approached the the rhythm : he must be sure of the studies are of a melodic character them where and are designed to preciation. He once said: can’t de- heights of his pupils, Liszt, Tlialberg, and of the phrasing and the fingering “One by the complicate,] details of ; he must help the student attain „ . EXPENSIVE TEACHERS control of tone and touch as Delius %ed. in Your Own Home . . WITHOUT well as aid in fine form in so many words, but if I was score could he set down by Leschetizky. He did, however, make the have a fine sense of selectivity, insofar the development of finger, arm the eyes and and wrist. The inclusion asked, I should say it technical tools which have been as tone and touch are of all these was nothing more bands of another man. This used by concerned : he must SUfeS devdo ment feat natural The CAVANAUGHS SHOW YOU HOW ^ P of the stud ent musically as well as than imparting spiritual unity to one’s iy required tremendous thousands of teachers in producing re- know all that is to be known about CC imagination and technicallmCa ' thought.” “Spiritual pedaling. Y unity” is precisely will-power on the sults which have now and then created .. MUSICIANS Price 75c part ,,f the fading An Amazing New Book for BEGINNERS...THOSE WHO PLAY. ADVANCED what lie lias achieved, for instance, More than this, lie must have the gift Music, pre- in Delius, and much patience, sympathy virtuosi. VIRG and JOYCE CAVANAUGH, two of America’s foremost teachers of Popular the and of sent their NEW 150 PAGE PIANO INSTRUCTION BOOK for your musical enjoyment. This poignant setting of the first poem in skill from Fenby. The late Tobias Augustus Matthny, inspiring the student, and of insisting Among the is big . Complete works so sensational new book leaves nothing at all to be desired. The Cavanaugh Book Sea-Drift, by Whitman, a poet whose eminent English piano pedagog, was upon the utmost precision while a piece of refinements. In it you’ll find the a . richly endowed with a galaxy MICHAEL produced were A Song of Summer, . . Distinctively designed and AARON "PidutG “Songs Professional Piano Secrets that the Cavanaughs employ in their Famous (faunae work was a source of inspiration to De- of Farewell,” pupil of Walter C. Mncfarren at the is being prepared. Nothing, in fact, must novel and practical and the third Violin Sonata Schools of Popular Music. It is recognized and universally endorsed by Performers, Musicians, lius on escape liis eyes several occasions. and ears. . . . of . But as time went on, Royal Academy Music in London. He He must keep Teachers and the Trade. IT’S EASY . . IT’S EXCITING IT’S FUN. The NEW NOTE in Delius became MODERN PIANO INSTRUCTION This quality is not, perhaps, so evident weaker and appeared in concert frequently, but could versed in the latest ideas in musical THIS MAGIC BOOK CONTAINS: weaker and hud to he Perfect in the Piano pedagogy, • SECRETS Uninterrupted Concerto in C Minor, yet if not be ranked with t lie world’s foremost such as, for instance, those • FUNDAMENTALS • FILLERS « EAR TRAINING PROFESSIONAL Sequence — Natural Progression drugged when the agony was intolerable. one or two concert presented continually in The • THEORY • BREAKS • ACCOMPANYING • ORCHESTRATION pianists (and pro- Ho drifted into death on June virtuosi. Yet lie taught a small army of Etude. MICHAEL AARON PIANO PRIMER moters!) 10th, 1034 • CHORDS OF MUSIC • HARMONIZING « ARRANGING • INTROS-ENDINGS 60 could lie persuaded to take up excellent pianists and teachers and some Each pupil becomes a project, like tlie aged seventy-one, and his wife • BASSES • TRANSPOSING • KEYBOARD HARMONY • 1001 RELATED SUBJECTS Michael tliis followed Aaron Piano Course sweeping, dynamic building of a ship, which some day, understand it. GRADE ONE ZZZ.'.' 1.00 work as part of him about a year biter. prominent virtuosi, including Dame Myra when Each section is fully and thoroughly explained so that YOU their Michael regular repertoire, it would prob- Hess, Harriet Cohen, Irene Scliarrer, and it i.s strong and polished and ready in — — — Boogie Woogie Styles Aaron Piano Course They rest together in a quiet YOU LEARN Jazz Piano Swing — Syncopation Jump GRADE TWO 1 .00 ably Surrey become a considerable every detail, must lie launched upon a Included is a "BOOKLET OF HOME STUDY DIRECTIONS." This booklet takes the place of Michael popular suc- churchyard, in a grave endowed York Bowen. Aaron Piano Course cess, by a resi- a teacher. In it are the complete lesson to lesson assignments which are used in the Cavanaugh GRADE THREE 1 00 and at the same time form a gate- William Sinytlie Babcock career. No detail may be left out of the are < Mathews feel though the VANAUGHS lent of Jacksonville. Piano Schools. In fact, these instructions will make you as CA — Michael Aaron Piano Course way through which the general preparation. Each pupil project is dif- right there with you at your piano. These assignments are for the Total Beginner Medium GRADE FOUR 1 musical Those of us who (1837-1912), eminent American music 00 public love Hint music often Advanced Student. could lie drawn to a love ferent and must lie treated differently. MICHAEL AARON ADULT and ap- do so with an intensity critic, teacher, and writer, although a fine COURSE T.ZZZ. TOO preciation of that is given to The Cavanaugh Book is the Only Book of its Kind in the World the more intimate not a great vir- One of tlie most important things for t be music of no other. It is up pianist and organist, was Send for free Michael Aaron ihema/ic to us to Insure that this Course brochure Delius. teacher to is t the NOT an Ear or Correspondence oasis of tuoso, but one of liis pupils who pays know wha pupil is do- beauty in a world which Guarantee: We are so absolutely sure that you will be completely satisfied and thrilled, that we This includes a fair grows ing with his time from the lesson.” quantity of cham- steadily great tribute to him is the well known “away offer you a money back guarantee. After 4 days if you are not completely satisfied, return the uglier is preserve,) intact ber music. The three —and The standards of teaching are becom- book and get your money back. sonatas for violin ivlmt a American piano virtuoso and (eaclier, Four .and wealth there is, from the frag- BOOKS by HAZEL piano, and the sonata for ing so high in all parts of our America COBB ’cello and ments of Henry Purmort Eames (also a pupil of . . . $12.50 piano, “Hassan” to the vast "Mass of ONE PRICE COMPLETE are all imbued with that we are continually and utterly as- World. GETTING characteristic Life for future Paderewski), who has done a great pio- CAVANAUGH BOOKS arc packed special, postpaid and insured anywhere in the ACQUAINTED WITH Delian beauty: generations who prob- THE KEYBOARD a continuous flow of po- neer work in our country. Dr. Mathews tonished by (lie attainments of a great ORDER YOUR COPY NOW! TODAY! “Make Your Dreams Come True.” ably will need it etic lyricism. even more than we do. How to order: Mail Check, Postal Money Order or Draft for $12.60 Nothing more to pay. Book There is also an early had a God-given talent for making things number of young pianists we hear today. One—PRACTICE PATTERNS Legende 75c for violin and piano, and two clear, from an analytical standpoint, and The virtuosi a century ago were few and CAVANAUGH PIANO SCHOOLS Book string quartets, lie Two—SCALE PATTERNS of which the first, as far for pointing out the aesthetic potentiali- far between. Many of them could * .75c. E. 17, N. Y. as I am aware, still by tlie 475 FIFTH AVE. DEPT. NEW YORK These books accomplish ease remains In manu- ties of a composition. His ten volume eclipsed dozens of present day in reading "l • patterns Drill in a i script. Delius n p,e • • composed students from American music schools. « • Far-training in hearing very little music “Standard Graded Course,” written in scale and 'chord senuenccs for f/‘teachers and students ^ ‘ ®Ro,hodl solo pianoforte, Our Se’eure as aide a teacher as you can af- WM. S. HAYNES COMPANY will welcome these studies. although the “Five Astonishing Musical close association with Theodore I’resser, New Time-Teaching I’mno Pieces,” whilst giving ford. Remember the wise advice of Sid- no idea of lias had a greater influence upon Amer- Flutes of Distinction RHYTHM his true genius, WITH RHYME And are delicately charming. ican musical development in the field of ney Smith, “One of tlie best methods of REASON He Beginnings at Bethlehem STERLING SILVER - GOLD - PLATINUM Method! c wrote some forty songs, It making study agreeable is to live with , of which piano playing than any other work. 1 °bb - the best, c Tbjs ««« as Ralph Hill aide men and to suffer all those of on At last! A new simplified, easv-to-under- 5S "a!nr,£t l has said, “ought has been the rude meemn for millions. pangs Catalog request S' !rs”C a:d" d feel rh > thn,,c Patterns long stand way to learn and teach the funda- prcssively. air effectively, im. ago to have ( Continued tlie — — become established from Page 256) In been inferiority which want of knowledge in tlie field of voice, there have 108 Massachusetts Avenue, Boston 15, Mass. mentals of musical time—for all instruments Price 75c the repertoire of the great songs of the many famous vocal teachers who never always inflicts.” Also, remember that if and voice. Solves the problem of learning world.” Among and teaching musical time easily and quickly. THIS WAY them are settings of started the first have careers as singers. you cannot afford a great teacher, many TO MUSIC Shel- music schools in Amer- had brilliant Now used by hundreds of teachers and stu- 75c ley, Hans Andersen, Bjornsen, ica and William (1849-1933), one of of the finest musicians, including Wagner, dents. Only 35c, postpaid. Teachers, music A simplified, correct way to the Ibsen were the first to put music in the Shakespeare LEARN "SWING" MUSIC intelligent reading of notes. Tennyson, Verlaine, Elgar, schools, music dealers, write at once on your Jacobsen, Nietzsche! general curriculum. the greatest of English voice teachers and Godowsky, and others have been Quick course to players of all instruments—make your Herrick, and Fifteen years after own arrangements of “hot” breaks, choruses, obbligatos, letterhead (or enclose business card) for Shakespeare. the founding an exceptionally fine musician writ- largely self-taught. Foremost men and embellishments, figurations, blue notes, whole tones, etc. of t lie town, student vocal and DANCE Jliis list will MODERN ARRANGING FREE SAMPLE COPY give some idea women in all fields have gotten their trios. Quartettes of Delius’ ami instrumental programs formed a part er, became known as a concert and ora- Duets, and ensembles—special choruses cosmopolitan —modulating to other keys—suspensions—anticipations outlook. Born in of super strength from battling impediments GRAYCO MUSIC PUBLISHERS.Dept.A-10 England commencement exercises. From a con- tefio singer, but it is upon his great repu- —organ points—color effects—swingy backgrounds of Dutch-Qerman Write today. stock, resident and obstacles which, at first, seemed un- 1227 Loyola Ave., Chicago 26, III. for a temporary diary we learn too that when tation as a teacher, and liis works on ELMER B. FUCHS great part of his life in France, strongly this school, a singing, such as his famous “The Art of conquerable. 335 East 19th St. Brooklyn 26. N. Y. influenced few years later, was trans- by experiences in the tf/j Original musical interpretations of the folk dance music of ten countries by United ferred to Nazareth, an orchestra of boys Singing,” that his greater fame rests. y// ‘States, and a VVjy an lover of Scandinavia led Make THE ETUDE Your Marketing Place Classical teachers ev- eminent-teacher-composer. Pri{e he the procession along the Nazareth Among liis pupils were no less than the TEACH 60( uas indeed a erywhere are finding citizen of the world. Hoad. late Etude Advertisers Open the Door to Real This And at the Moravian School for David Bispham, still ranked by many the answer to the prob- outlook Is still MODERN PIANO further Opportunities lems of emphasized in l'oung Ladies, founded in 17-12 by Count- as tlie greatest of American operatic and teaching popu- large-scale works-for lar music, in our mod- instance ess concert baritones, late by note . . . the “An Beuigna Zinzendorf and now Amer- and the Dame ern, STANFORD English Rhapsody: Brigg up-to-the-minute KING'S Selected Fair,” "Paris- ica s oldest Clara Butt. In his advanced years (he PIANO TUNING PAYS method. Based on sound The Song of woman’s college, there was Andre’ Gide, Prince of CHRISTENSEN a Great City,” • and “Hventyr regular was Shakespeare vis- Learn this Independent Profession principles of music, it Onee instruction given in singing, as past eighty), Mr. ^ Upon a Time,” a will help, not hinder tone-poem inspired well ited tlie Retired Music AT HOME WAY IN TWO bv as playing the spinet, guitar, and Presser Home for Letters, and Musician classical studies. Fran- BOOKS Norwegian fairy tales. Stanford It is therefore piano. Teachers in Germantown. There he gave chise contract will give King brings to the Early Grades arguable that by with his usual excellent editine virtue of this you exclusive right to teach and advertise our fi gering and breadth All of this an impromptu pianoforte recital of great phrasing, a compact, ?’ of usion, music in Bethlehem was ( Continued from Page 220) method in your community, if not represented. modern compilation of the h„ the music of Delius may well known in its day. won- classic masterpieces and also played parts Our 43rd year. Write for complete details. En- outlast that, for example, it was noted, with of his contem- der of his own minor. close $2 for complete, 91 page instruction book. Sp poi ary and approbation, in the diaries or Symphony in C "“ ” »»» d» Id. hand Elgar, which tends . "i f to have far letters of Mathilde Graumann, Marchesi de Cas- example of perfect balance between the more of a nationalistic Washington, Franklin, Samuel PLAY POPULAR PIANO appeal. Adams, tvone, known to the world as Mine. attributes which combine to make mas- Towards the Count Pulaski, Lafayette, and the end of his life, LIKE Delius dif- same Marquis went Marches!, was an excellent concert singer, terpieces. Had Andre Gide created only Our patented TONOMETER with BEAT A PROFESSIONAL Prite 75 c each fered from two terrible de Cliasteilux, who book afflictions: but and above all “La Porte GAUGE is a scientific teaching-tuning blind to tea at all her name as an artist would long “Isabelle” (191 1 ) , with a,m°St Mrs. Shippen’s. Undoubtedly instrument that simplifies learning and our BREAK SHEET SERVICE total Panilysis. since one of the most WriU St these have passed into oblivion if she had Etroite” (1910), which is assures accuracy with or without knowl- It brings you clever arrangements for playing extra f0r °ur EREE Elementary Z*t rough ins distinguished visitors were greeted Piano Pieces thematic / triumphant, Action Model and tools unquenchable by the not taught Gerster, Melba, Calve, Emma admirable books printed in Europe for a edge of music. choruses of four or more popular “hit parade" tunes. spnit he managed trombone choir. The trombones furnished. Diploma granted. Great to overcome these could legitimately lay his Gives you breaks, novel figures and tricky embellish- ap- are still heard fa- Eames, Sanderson, and others. long time, he shortage of tuners makes this a PROF- palling handicaps and today, at Bethlehem’s ments, ready to fill in. Single copies 20^, stamps or MILLS continue his work This perpetual fame. ITABLE and UNCROWDED field. MUSIC, INC. 1619 Broadway, In mous Bach Festival impressive editorial is in no sense a brief for claim to coin. Send $2 for twelve monthly issues. New York 19, N. Y. 1028, Eric Fenby, a young and at its PIONEER SCHOOL— 50th YEAR. G.I. Chicago Yorkshire Easter teachers who, of prepara- In selecting such a man for the award, 4, III. n iisiemn who services. Most of the rest is his- because of lack APPROVED. Write for free booklet. to* had come under Angeles 14, Calif. the s^ll tory, tion and study, are illus- the Nobel Prize Committee lias done more “ THE CHRISTENSEN METHOD ot the Delian magic, but of one of the most remarkable incapable of NILES BRYANT SCHOOL heard that Bldg., Suite 754, Kimball Hall, Chicago 4, Illinois the trating : lias honored itself. 10 Bryant Washington 16, D. C. com- episodes in the music. what they set out to teach. Tlie than acted wisely it 266 story of American "MUS1C STUDY EXALTS LIFE” THE ETUDE APRIL, 1948 'MUSIC STUDY EXALTS LIFE 267 U" ” : ; ; : ; ! skirts boasting a circumference of ni The First Performance .yards such a notice must have and crea/'i of slight compass, Horace Walpole As if each sound became articulate. general consternation in the femn once declared in derision that she pos- None but the great Messiah could world. Hut apparently no discordant sessed "no voice at all,” but in “Messiah” inflame. of Handel’s “Messiah" voice broke the universal enthusiasm for the so-called “nightingale of tlie stage” And raise his Soul to so Sublime a Handel’s masterpiece, and fine wardrobes entranced her hearers witli that incom- Theme, Prepare NOW For Tomorrow! ( Continued from Page 229) were accordingly overhauled later to with haste parable pathos which was estab- Profound tlie Thoughts, tire subject to meet the strange demands, London’s of the lish her reputation as most ac- all divine, Charitable Musical Society. On that complished tragic actress. Mrs. Gibber’s Not like tlie tales of Pindus and the ment of public rehearsals. Finally on 27 April morning Fishamble Street afforded emotional intensity seems to have pro- Nine; Attend 5 March 1742 the title of Handel’s oratorio magnificent spectacle a of ladies in hri-ht duced an indescribable sadness in her Or Heathen Deities, those Sons of appeared in print for the first time gowns, gentlemen in decorated uniforms singing. As late as 1756 Thomas Sheridan Fiction, white-gloved beaux in full-bottomed her “wonderful” rendition of Sprung from old Fables, JOHN THOMPSON'S CHORD SPELLER.—A music wigs’ recalled stuff’d with a *YF]usic C^onScrua torn For Relief of the Prisoners in (lie several and various degrees of nobility in all the Handel’s contralto arias at the initial per- contradiction writing book including major, minor and aug- Gaols, and for the Support of Mercer’s splendor of the Viceregal cortege. “Messiah” mented and Scores formance of But our Messiah, blessed be his name! diminished triads; authentic and Hospital in street, and the Stephen's of of liveried footmen assisted ladies Both Heaven and OJonie plagal from Earth his Miracles in Ijjour Own cadences; dominant and diminished seventh Charitable Infirmary on the Inn’s Quay, handsome chariots, while pages waited No person of sensibility, who has had the proclaim. chords on Monday the 12th of April, will be per- to fetch chairs sedan or darted to and good fortune to hear Mrs. Cibber sing in His birth, his Passion, and his formed at tlie Fishamble Musick Hall in fro shouting after family coaches. of the Messiah, will find it JOHN THOMPSON'S SCALE SPELLER.—A music Inside the oratorio Resurrection, street, Mr. Handel's new Grand Oratorio the ball writing , Handel’s “polite” audience com- difficult to give credit to accounts of With his ascension have a strong con- book covering all major and minor very scales called the MESSIAH, in which the Gen- prised “Bishops, music Deans, Heads of wonderful effects produced from nection it possible for you to take practical and key signatures the the most ; Uncle Sam makes and complete table of tlemen of the Choirs of both Cathedrals Colledge,” and “tlie most eminent an union. And yet it was What Prophets spoke, or Sybils could intervals People so powerful correspondence, even though you are thousands of gg will assist, with some Concertos on the in the Law.” as lessons by well as “the Flower of not to any extraordinary powers of voice related Organ, by Mr. Handel. Tickets to he had Ladyes of Distinction miles from your teacher. WHERE THE TONE FOLK LIVE.—A play games and other People (whereof she lias but a very moderate In him were all their Prophecies away at the and sing Musick Hall, and at Mr. Neal’s in of the greatest quality." On skill piano story book by Gertrude Rosemond that historic share) nor to a greater degree of in compleat. lessons (prepared by able, Christ Churchyard, at half a Guinea each. Definite, concise, comprehensive occasion seven hundred discriminating musick (wherein many uf tlie Italians Tlie Word made Flesh, both God and X. B. No Person will be admitted to the connoisseurs illustrated and clearly explained always crowded into the small must be allowed to exceed her) that she Man became, recognized teachers) Rehearsal MASTER METHOD PIANO NORMAL without a Rehearsal Ticket, music room, while nations glorify his again. AND hundreds more stood owed her excellence, but to expression Then let all name before you to study and refer to over and over TEACHER'S which will be given gratis with the Ticket MANUAL by Pauline Heidelberger. in the street hoping to hear some portion acknowledged superiority in Let Halleluiahs round tlie Globe he only ; her The purpose for the Performance when payed for. of the music within. of this book is to impart to students which could proceed from nothing but sung, the musical Finally Mr. virgin is left to guess work. knowledge which the teachers already Handel appeared on the skill in her profession. To our Messiah, from a sprung. Nothing In advertisements of Handel’s P°ssess former platform and the overture began. For $1.00 subscription concerts the composer was four hours “the admiring crowded Audi- to have composed He paper accompanies every lesson. If there is any- Handel is said Notwithstanding its metaphorical in- An examination FINGERS BE NIMBLE! FINGERS never mentioned specifically as a per- ence” sat BE QUICK!—An transfixed with rapture as the despised expressly to suit tlie limited detail our was congruity this uninspired memorial is re- don't understand it is explained to you in by interesting variety former of “Concertos on the Organ,” but pathos thing you of piano techniques in solo of Handel’s melodies and the. Mrs. Cibber’s voice. From the range of markable for its good sense and aesthetic form by notices of tlie first rendition of “Messiah” teachers. Astrid Ramsey grandeur of his choruses “conspired to of her tragic (and notorious) life experienced gg refer depths justice, and it provides a typical speci- expressly to “Concertos on (lie Or- transport and charm the ravished Heart she sang this famous aria with such gan by Mr. Handel.” Perhaps men of the sort of versification admitted at previous and Ear.” louring the stately per- overture tender grief that during the first public journals in teacup times of concerts Handel had left the organ en- the into of our Piano course— hall was gloomy and still, hut when formance the Reverend Patrick Delany PADEREWSKI said tirely to Maclaine (an excellent hood and hoop. musician the “full-mouth’d” choruses burst his u|*>ti found himself enthralled beyond were the sentiments of Handel’s important additions to the pedagog- 1U* whom the composer had imported from the Such "If is one of the most WILLIS MUSIC room and encompassed Handel’s audi- by the pathetic beauty CO. usual discretion contemporaries at the first performance pianoforte playing published /of years. 124 England), but apparently he deemed it ical literature on EAST FOURTH STREET. ence in a sea of splendid sound the effect his old-fashioned CINCINNATI 2 of her voice. Despite of his masterpiece in Dublin. It had been reliable , OHIO Proper to distinguish his initial produc- "As an excellent guide for students and solid and was instantaneous and remarkable. For prejudice against public singers, that tion of reserved for the Irish people to set their very popular, “Messiah” with an organ per- that performance advice for teachers, it is bound to become Matthew Duhourg was worthy divine so far forgot himself (and upon “Mes- formance of li seal of enthusiastic approval is own. Whereas in former chief violinist and the more so as it bears the stamp of o real pianist, and leader of a “most cele- his Bible) that at the close of Mrs. Cib- seem notices tickets were advertised siah,” and the citizens of Dublin as avail- brated Band of Vocal and Instrumental accomplished musician and experienced pedagogue. ber’s aria be rose in his place and in an to have been worthy of their honor. With Muitc Ln. able at “Mr. Handel’s house in Abbey- Musick.” Mothers His State Band probably audible voice solemnly addressed that not Day street,” characteristic humanity tlie composer V (OBSERVED tickets for THE SECOND SUNDAY IN MAY) “Messiah” were “to formed the nucleus of what Dr. Burney altogether immaculate lady: “Woman, for the he had at the Musick Hall, and performed his masterpiece solely WEAVING A CROWN FOR MOTHER at Mr. called “a very respectable orehestre." An Neal’s for this be all thy sins forgiven thee!” benefit of wretched persons imprisoned OF BACHEIOR OF MUSIC Anthem for Mother's Day (Sop.-Alto Duet) in Ohrist-Chureh-yard.” In direct- After DEGREE No. Handel’s twelve subscription con- re- 21604 ‘ On the first day “Messiah” was coincidence By I. H. Meredith ing Messiah” Handel was for debt. By an appropriate Price, , 5c evidently re- certs these course performers undoubtedly dis- ceived with transports of wonder and de- You are awarded a diploma when you have completed a lieved of all business Handel’s supreme tribute to Him who responsibilities. He played all the marks of the composer’s light. The Irish heart was touched, and break the bonds and set tlie satisfaction of the Instruction Department and the Board of had formerly agreed “to give the Gover- rigid came to to the discipline. Maclaine presided at the the with excite- nors some of his Irish capital was fervid prisoner free literally proclaimed deliver- the 1. Are we Weav-ing a crown for our choicest Musick, and to organ, Directors. are also authorized to issue Degree of Bachelor moth er That u glad - ly and proud-ly she and Handel performed his con- We direct ment. Fine ladies exhausted every trope ance to the captive at its first perform- 2. Are we brtng-tng a trib-uleto moth-er?_ and assist at the performance it Shall we crown her thisbright fes-tal of certos between the parts of the oratorio. those who comply with our reguirements. These for the and figure in praise of the new oratorio, ance. “There was,” wrote the Reverend of Music upon . ALTO benefit of the hospital,” and hav- His chorus was L— . No. 21604 composed entirely of boys rhetoric i — ing secured the while gentlemen of fashion tore John Mainwaring, “a peculiar propriety Harmony, History of Music, Advanced Composition and an assistance of both choirs, and men from Dublin’s are he two cathedral to tatters in their admiration for Han- design from the subject of the could now produce his masterpiece in in this course. The latter may be voice or instru- choirs, for female voices never sang in advanced practice a style otherwise del’s masterpiece. Oratorio itself: and there was a peculiar Copyright 1940 by Theodore Piesser impracticable. At the Handel’s Co. choruses during his lifetime. On Wliyte subject carries 30 semester hours. rehearsal on 8 April April 20 a certain Laurence grace in it from tlie situation of Handel’s mental. Each VOCAL SOLOS Titie, Catalog No. and Range 1742 Handel’s “Mes- His Composer Price choir (like his orchestra) always Title, Catalog No. and siah” was published in Faulkner's Journal a pious “Messiah” created so profound Rango Composer Price Rock Me To Sleep, Mother was heard for the first time affairs.” (With Quartet by a relatively small, and at And I Have You. (25096) (Med.) chorus ad lib. )( Low) F the first per- rhapsody distinguished more for benev- was de- . .D. W, Rue 35 Lectio ° public audience, and two days an impression that a repetition there are splendid opportunities in the an< C Song of the Child. later its formance Remember 51’'- < 2517 (High) .'50 The (19420) of “Messiah” 6) C. W. Cadmun (High ) the chorus pre- olent zeal fire; S !! L.'’ reception was than for poetic manded within a few weeks. Following Candle Light (26132) (Med.) described by Faulkner's comfortable income. ..C. IF. Caiman .50 Wateher, sumably numbered no more than twenty music field to make a very ' The (High) of “Saul” on Ut ar Little Mother With Silver AO Journal; a snceessfnl performance | Hair. (High) voices. But Handel’s fourteen men and On Mr. of his last us show you how. Mail the coupon today. QUARTET or Handel’s performance May 25 the composer issued his pub- Let Dear Little Mother With Silver CHORUS six boys were Hab. probably superior to sev- Oratorio call’d the sup- 29 Yesterday, Mr. Handel’s , the Messiah, for lic announcement in Ireland on May 5° a;s:,f new Grand eral limes their Dear Little Mother With Silver hIo.^LowT S: isssiiai. v as- Sacred Oratorio, number of ordinary port of Hospitals and other pious Uses, called Tlie MESSIAH singers 1742: _ M. Watkins to be found n , t t , . .50 in the ranks of mod- at lJreaming of Home was rehearsed at the the Musick Hall in Fishamble-street, EXTENSION CONSERVATORY and Mother. (Med.) Musick Hall in ern oratorio UNIVERSITY I’ societies, for Handel a Mother. 10 ishamble-street, to was on Tuesday, April 13th, 1742, before the 28 East Jackson Boulevard, Chicago 4, Illinois Little (Unison or 2 Part). a most Grand, Polite, of the Dept. A-617 Mother. (25776) (Med.) .f.'.E. CTreMe) strict disciplinarian At the Particular Desire of several UhZZ .40 (014463) and Crowded with a firm knowl- Lords Justices, and a vast Assembly of Little ’ Audience; Mother. (19632) (Low).. > and was I .D. Prolherae per- edge .50 Mother Mine. (Ten. solo)(DU?893T(Mf”e’dj of voices, and during the past three Nobility and Gentry. Little Mother o’ Mine. formed so well, that it the Nobility and Gentry of both sexes. (18580)(Med.) gave universal Sat- months next, being the 3d day of C the exacting drillmaster had On Thursday A-617 H T e ( 2I5S4 (Mixed)'. isfaction to all By Mr. L. Whyte. UNIVERSITY EXTENSION CONSERVATORY, Dept. ,,"' ) ^MHa/ec present ; and Memories. , 15 was allowed (23283)(High) .... ,G. M*Rohrer A0 O0°UiLittle.i' MotherM of Mine. brought his forces June, at the new Musick Hall in Fisliam- (D14.499) (Men's) by tlie greatest to an exceptional de- 28 East Jackson Boulevard, Chicago 4, Illinois. Mother’s Day. (26002) (Med.) F. H. Judges, to lie the finest Grey 40 gree of efficiency. What can ble-street, will be performed Mr. Handel’s Mother o; Mine. O Little Mother Composition vve offer more in Handel’s (30795) (High) . .A. of Mine. of Claasseu .60 (D13,035)fMb£edT Musick that ever catalog, sample lessons and full information regarding course I have Mother o Mine. was Of the praise? Sacred Oratorio, called MES- Please send me (30796) (Low) . soloists Grand .A. Claassen .60 heard, and tlie Dr. Burney recorded new Mother o Mine. (26559) (High) L! ' tIe Mother of Mine. sacred Words as marked with an X below. ... .4. Kellogg .50 ° ( D 14,366 H Mixed' properly that Mrs. Cibber Since his Messiah with Concertos on the Organ. , SIAH, and gain’d him groves , Never Forget X our Dear Mother and Her adapted for the occasion. Signora Avolio t. " " ‘ 10 r O Mother of x” ) were Mr. Handel’s Course Harmony Violin ye ( 194 My H.n r ' ( 5 j the principal of bays will lie delivered at Piano, Teacher's Normal «4MMed.) ,1/. p. J ones .40 3 5 i j (Mj d Many I.adies performers,” and both Tickets Old-Fashionedrr,C ?. T'. and Gentlemen who Piano, Student's Course Cornet—Trumpet * Guitar Dear. ( 18696 I (Mt-d. lC. O. Ellis .50 C. Davis .15 ore ladies followed Groves Abbey-street, and at Mr. Neal’s „ . in Old-Fashioned „ well-wishers to Handel’s generous ex- that can never wither nor decay, house Public School Mus. —Beginner's Protessional Cornet—Trumpet Mandolin Mother of Mine. (24020) Responsive Service for Mother's Day this" Noble and Grand ample in giving their Whose Vistos Christ-ehureh-yard, at Half a guinea Public School Mus. —Supervisor's J Voice Saxophone R- Kountz .60 (Minister and Choir). (D14, 171 (Mixed) Charity, for which services gratuitous- his Ability display: in ) this Oratorio was Composition J Choral Conducting Banjo OJd-Fashioned com- 1.' . Advanced Mother of Mine. (24021) (7- R. Voris Already Signora Here Nature each. A Rehearsal Ticket will be given .. .. .15 posed, request it Avolio had sung with smiles, when grac’d with Sight Singing Clarinet Double Counterpoint * as a Ear Training & ’ N,0 Favour, * ,* R’ Kountz 1”H14.9S3 that tlie .60 ) ( Mixed rw /,‘‘T- ) Deane Share .15 great applause in for tlie Performance. The and Analysis of Music Dance Band Arranging Old-Fashioned Mother of Mine. Anthem Laches who Dublin. As early as 29 Handel’s art, with tlie ticket History (24022) with spoken prologue. honour this Performance ( Low > December lie on Tuesday the 1st of R. Kountz .60 I Exa ™ination with their 1741 Handel had written that Transports the ear, and ravishes the Rehearsal will privileges cheerfully extended Presence, would lie Name Adult or Juvenile. pleased to she Performance at come without Hoops, “pleases extraordinary,” and Faulk- heart June, at Twelve, and the Theodore a s it will greatly en- Presser Co., crease ner's Journal had To all the Seven in the Evening. In order to keep Street No Distributors tlie Charity, by making Room declared the Italian nobler Passions we are for Oliver Ditson Co. for soprano “an mov’d, possible, a Pane of and John Church Co. more company. excellent Singer.” But it was the Room as cool as City State 1712 CHRSTNUT Mrs. Cibber the top of ST., PHILA. 1, PA. who won the the M hen various strains Glass will lie removed from tears of repeated and If so, many pupils have you? Do you audience Are you teaching now? how In a day ^at the first performance of improv’d, each of the Windows. when fashion dictated hoop- hold a Teacher’s Certificate? Have you studied Harmony? 1 essiah.” Her Express This will be the last Performance mezzo-soprano voice was each different Circumstance N.B. Would you like to earn the Degree of Bachelor of Music? 268 and State, (Continued on Page 276) "MUSIC STUDY EXALTS LIFE THE ETUDE APRIL, 1948 "MUSIC STUDY EXALTS LIFE” 269 : : : —: couraged tueen the Music Teachers to outdo hims^f Rachmaninoff Rhapsody on a rather Twenty Favorite Theme than anybody else. My of Paganini, played by the com- WHERE SHALL I GO TO STUDY? poser National Association 4. An eventual failure with The Philadelphia Orchestra in the Prespn of under Stokowski, and the (Continued from Page 222) others is not made too Records and Why Brahms B-flat im,ch 0 Concerto and if he IS ? (No. 2) played by Horowitz MAIER soon giv GUY Private Teachers has been invaluable. en (Western) Private Teachers Yori city) another with (New portumty to the NBC Symphony Orchestra under Tlie speakers on the various programs distinguish himself 2' silily Toscanini, in Victor album DM-740. SUMMER WORKSHOP COURSES FOR TEACHERS, HAROLD HURLBUT the music teach- in some kind of By EDWIN HUGHES provided material which ensemble wC regarding he feels sheltered. ere (Continued from Page 22C) these recordings as objectively Paris—New York—Hollywood NANISTS PREPARED FOR PUBLIC PERFORMANCE er in any field can use as a springboard as I can, I ADVANCED PIANISTS and JUNIOR PIANISTS er AND FOR UNIVERSITY, COLLEGE AND CON- come to the conclusion that Wh-° stud!ed with hir" include: NADINE CON- to his own thinking. In reporting the “So far as I can see, the I MCD n S T0RY TEACHING foremost quail the st fl is d Metropolitan Soprano; ur,MTr D T?y^ POSITIONS Brahms Horowitz-Toscanini lie .!P v iS HENRY ties with which must RD N Y Clt Center W SEASON: SEPTEMBER TO JUNE meeting it would be impossible to do more any performer who are proof against almost any kind of - -. V & Havana Operas; LOIS may hoi,' given i first place. Ltt« NowJ“ singing MONTHLY CLASSES IN D. It is certainly no dis- on Broadway. And others of Opera WASHINGTON, C. than suggest what was said. But these to conquer stage fright are performance, were Tor full these: musical visibly moved. I Stage and Radio. information address: paragement of Rachmaninoff to 338 West 89th say that The FESTIVAL COURSE Street New York 24. N. Y. suggestions can provide highlights which 1. A well-developed, Furthermore, the Bruce performance had 2150 N. Be ochwood Dr. genuine talent here the musical | Hollywood 28. Calif Tel. SChuyler 4-0261 material is better; the will give the readers of The Etude a 2. A firm belief in that the merit of the authentic orchestration VIRGINIA INTERMONT COLLEGE, Bristol, Virginia talent. principal performers are of tli top rank, ISABEL CHARLES taste tlie e HUTCHESON LAGOURGUE STUDIOS of quality of the meeting. 3. A sincere and the expert ministrations of Edwin desire to share its and though spiritually neither the Two weeks, Aug. 2-13. Teacher for Plano Teachers VOICE PRODUCTION-SINGING artistip is most Mr. William Krevit of New York, expression with others. McA.rthur as conductor. In spite of all Modern Piano Technic: Group COMPLETE MUSICAL EDUCATION profound interpreter of Brahms, certain- Tuition: Teachers and Advanced Pianists—Two weeks. $60.00 work for Teachers: ,, , " Mr. Logourgue is author of “Music for Child’’ dis- this, I still had memories of Helen Mor- Coaching concert pianists: Conducting the author of The Secref-Daily Your “Once a performer ly in musical "Piano 1 has these technique neither has a One week, 40.00 teachers Forum. V'?™ Exercises—Complete Treatise assets on Transposition, cussed the “problem child” in music edu- ’ heB gan’s appealing performance, so I took elc. Classes held annually should have nothing to fear.” superior. The recording, RR°ol George The Importance of Junior Etude Contest Junior Etude will award three at- you enter on upper left by Herinia Harris Fraser Tire corner of your for the tractive prizes each month neatest paper, and put your address on upper and best stories or essays and for answers Tight corner of your paper. because you are not keeping Contest is open to all boys and Write on one side of paper only. '•FORGE was just an ordinary hoy tint good rhythm to puzzles. Do eighteen years of age. not use Now in its (F he thought he should be the leader of Listen, its one-two-three- FOT R. \uw girls under typewriters, and do not have any- it again.” A, fifteen to eighteen years of one copy your work for you. all boys in tiie neighborhood. He had do Class to fifteen Class C, including a Soon George was ahead, . Class B, twelve ; Essay must contain not over one hun- nearly everything he wanted, in spite of lge own building violin, but Mary’s help. "Von twelve years. dred and fifty words and must be re- bicycle, a hob-sled, and a good should keep up with under George. of prize winners will appear on ceived at the Junior Etude Office, 1712 he just naturally liked to be the boss. me,” said “My violin is the leader Names in the cultural heart of issue of Etude. Chestnut Some of the boys who did not take You’re supposed to follow.” this page in a future The Street, Philadelphia (1), Pa., by contributors will re- the 25th of April. Chicago, with greatly ex- music lessons thought the violin was a “George Henley, The thirty next best Results in July. Subject you’re a bossy nitwit honor able mention. this mouth, “Do I Like to Sight Read or panded studio facilities nuisance because it meant that George I’m only supposed to follow when ceive you name, age and class in which Memorize?” had to leave the games every afternoon, keep good rhythm, if Put your especially designed for you keep on iike just when tilings were going well, to go this you’ll never lie any good. And I won’t music teaching. home to do ids practicing. But George Play bad rhythm, ELIZABETH A.GEST even for you. So there!” ( Continued) knew that was the right thing to do, and “I can play fine Importance of George alone,” said George. Certificate, Diploma, Degree courses in Piano, Voice, Violin, Organ, Cello, Wind the only well when lie way he could play “I can go as fast or as slow as I please” ill time, took Iiis lesson was to practice every day, Sis.” somehow, and besides, much of Instruments, Public School Music, Conducting, Theory, Composition. Courses “What do you think you’ll do Hain Due! games or no games. One day he called when was easy after that. So easy and so the lesson was just on tone and bowing you try for tiie orchestra? It for veterans under G.l. Bill of Rights. Session opens June 21. [ thought Summer out, as he left the base-ball field, “When I much fun that George did not go to the and technical points. By Martha V. Kinde heard you say you wanted to play I come back we’ll play Cowboys and in it" window even once to see what tiie hoys “After all,” he said to himself, “it’s not For free catalog, write Arthur Wildraan, Musical Director, 1014 George had no answer. He s A little bird is singing Indians and I’ll be the big chief.” j„,t his not realized how bad much trouble to count, and I’m glad Sis It is a gay duct, too, eyes were doing. He had As the shower stubbornly. And then lie imagined South Michigan Avenue, Chicago 5, Illinois. speeds along; Oi a lilting “Aw, George thinks he’s smart.” said rhythm was, because when lie prac- jerked me up that way. Now, I’ll show melody; lie saw an orchestra his The bird song and the rain drops Frank, of serious faced boys, With raring runs and grace notes as George walked away. “He al- ticed alone there was no one to tell him, Frank some day that I really can play in Make a happy, dripping song. Making with Frank as the conductor, pointing rippling harmony. ways wants to he the big boss hut every- his and at his lessons his teacher kept him tiie orchestra.” baton at George and saying body knows you have to play a small part "There goes George again. Always > wanting p, i M sometime in any game that is, if you're " tho — big chief ; always trying a good sport.” to get there first Prize Winners for Compositions: lie can play George heard his part correctly or get out.” the remark, and as he institutional Member of National Association of Schools of Music George opened his Class A, Robert Baxter (Age 17). Ohio, Class B, Betsy Parker (Age 13), Texas, Quiz No. 31 took his violin out of its ease he said to eyes and looked at "1 for Waltzes for two violins, viola, ’cello, himself, Mary. guess you’re right. for Two Christinas Carols for four-part “I’ll show Frank, some of these Maybe 1 do 1. What was Massenet’s first go too fast and flute. name? natural called? days.” IIi s sister Mary was at the piano, and forget to count." n was chorus. 2. Which instrument hard for him to say plays the highest 7. just finishing her practicing. She Hint, for he was Give term meaning suddenly loud. was a tone in the proud boy. “I’ve woodwind section of the fair-haired, just the opposite of George, heard Frank snv in ART, MUSIC, 1^ a any v STUDY major scale has six ; J orchestra sharps in its ami quite a game you have to pln.v 71 T- ? J good pianist. the 1 “What’s tiie part the way v ' - t- x f C v ’ signature, what is the signature of \ 3. Which its matter, George?” she it fits into the whole thing, L... > X- ATLANTIC CITY. NEW JERSEY composer was horn in 1S13 asked, a.s lie entered and I guess -V * and relative minor? - it’s tiie died in 1883? tlic room. “Oh, nothing. Just that old same with music. Let’s try again; AND WRITING 9. Which of the a.-QO TCyUY following words Frankie. tvt ^ T 4. What are are used He thinks he knows a lot.” the letter names of the ( Continued on Xcjrl 1‘ugi Under personal direction of in the study of i music? "George, 1 have not played diminished seventh chord on J>? with you (a) for area, < I.) aerial, (c) air, quite a while. Let’s try some Class A, John McLain, Jr. (Age 16), 5. What is (d) pieces SILVIO SCIONTI meant by sccondo voitaf aerie, and see (e) aria, (f) airy, (g) Ariel. how your rhythm is.” At first he Arkansas, for Melody, for piano. C. What is the interval from A-flat to kepj good Piano E (Answers on this page) time, but soon he was getting ahead, forgetting half-notes and rests. “Stop!” called Mary. “You can’t do fleenrd Breakers J Student Residence that. You know you have to count $*4- LOUIS GRAVEURE your (Age Composition, Radio. Speech, - Class B, Claudette E. Leveque Piano, Voice. Violin, Cello. rests. I S i m i le told you that the last time.” When we hear one of the Painting. Ceramics. High School Academic and Music outstanding 14), District of Columbia, for Suite Voice Guidance. "It’s because symphony School credits. Vocational and Psychological you’re slow,” he retorted. orchestras of recreation. Personality development. Tunes and Triplets the present (lav flTTcXcfj (Gavotte, Valse, and Scherzo) for piano. Supervised “Ton, don’t know the we hear one Wddf lLf\ rmm Excellent cuisine. Write for booklet Dept. 22 accompaniment.” of tiie world’s largest anil "I do know the best trained MRS. WILLIAM HENNE by Leonora Sill Ashton accompaniment. It’s groups of instrumental per- FREDERIC TAUBES i ormo.rs. 3001 Pacific Avenue Class C, Linda Dunlop (Age 9) for r Oil Pointing pHE NEXT studio recital of But when it comes Sonatina in three movements, for piano. Miss lables make triplets when to mere size, there (iray’s piano we pronounce have been PHIL SALTMAN SCHOOL class was to tie called them, much larger group, of ^ and they help tunes (lie lingers to play formers. of MODERN MUSIC and Triplets. ” Each pupil was to For instance, for Original them if we think of tiie words. during tiie Civil Honorable Mention tell something For in- art JACOB GETLAR SMITH Two and three year diploma about the triplet in music stance. he army had a hand Compositions: a triplet followed by master named classi- or play a long note i courses, popular or a piece in which triplets were attack Gilmore. sounds like Kal-a-ma-zoo He was born in Ireland Watercolor Faculty of experienced used. and repeated but Melvin Mildred Maun, Peggy cal. triplets settled in Massachusetts Eugene White, sound like the words beau-ti-ful- and became professionals. Day, evening. 1 humid Hickman, Kenneth Goodall, Delvin Mielia- was first on the program, lie an American citizen. buFrer-fly.” A few years after lenko, Jo Ann Stone, Paul Ilodge, Shirley POPULAR DEPARTMENT said : "A triplet in music is like a clover the end of tiie ext war he went to Boston and Castor, Marjorie J. Srurloek, Iietsy Cervone, P. TRISTRAM COFFIN PIANO: Keyboard bar- VOICE: Microphone leaf ^. was Efiid’s turn. She said, ROBERT in the plant world, which has three decided to Lynn Results of Original mony, transposition, technique, interpreta- la iplets can give certain do something in a big way. He llobert Colpitts, Roberta Russell, Mary leaves to effects in music modulation, solo per- tion, styles, musical make one. The triplet has three organized two Herbert, Parolee Knocker, Peggy Dunlop, Poetry and Short Story that help to express the composer's music festivals, which he Composition Contest formance, orchestral comedy workshop, re- notes for one beat, or mean- called Jimmy Wagnon. Sally Lieurance, Gregory a part of a bent. I ing. I will “Peace Jubilees.” training, teaching, ar- dio, band, stage, trios play a Spinning Hong, and Stambaugh, David Spectre, Donna Ponder, were re- will play a triplet Etude to you Many very good compositions ranging, song writing. and chorus. show what I can hear the There is nothing Dwain left hand accompaniment in particularly startling William Haines, Jerry Armstrong, contest, which CHRISTI FINE ARTS COLONY mean.” He played a study, which ended about ceived in the composition CORPUS CLASSICAL DEPARTMENT triplets and it organizing Beets, James Mason Martin, Ruth Mariner, makes you think of a spin- music festivals, as thev winners. Supervisor: LEO LITWIN, Piano Soloist Boston with lots of triplets. Elizabeth Ryan, made it difficult to select tiie ning wheel have become Anne Butz, Dorothy Ann "Pops" Orchestra. Victor Recordings. going around, while the one annual affairs in manv lo- of June 1-14 Tuition $25.00 Symphony Constance came next, George L. Brian, Mary Smith, Emily Kloc. Winners were selected on the basis Approved Veterans’ Courses saying, ‘-There who is calities, but spinning sings to the wheel’s the “Peace Jubilees” were Admissions Secretary. Write for Catalog. are some words in English construction, form, and harmony. Class College Credit $35.00 whose syl- hum.” 'h'cakers 284 Commonwealth Ave., Boston 15, Mass. ] for size. The first one, i!!! Class B were considered tied, there- Branches in Providence, Worcester, Wellesley Then in lot >9 included A and Harry opened his note-book, an orchestra of tliou- fee $10.00 say- one two prizes in each class are being Registration ing, “The real saml performers fore definition of a triplet is and a chorus of ten thou- three notes sand given. For further information write to: performed in the time of two singers. That might seem large of tiie same value, enough to Letter Boxers OSMOPOLITAN or in the time of one suit anyone interested in rec- Ansuers to Quiz of the ord breaking, GLENNA HOLLAWAY SCHOOL next higher value. Thus, a triplet hut what did OF* MUSIC Gilmore do all replies to Letters in care of of eighth-notes a "’tit that? Send CLARENCE EIDAM. President would be played in the In 1872 he the Chestnut Street, Publicity Chairman 1. Jules; 2. Piccolo, which plays one organized tiie Junior Etude, i7l2 ROSSETTER G. COLE, Dean time of two eighth-notes, second one. will octave or one Q ua.rter- using an orchestra of two Pa., and they be 4-lth year. Offers courses in all branches higher than the flute; 3. Wagner; Philadelphia 1, Christi Caller-Times note. A triplet thousand Corpus of Music. Confers certificates, diplomas of sixteenth-notes would i performers and a of 4, I>, f, a-flat (not g-sharp), l>; chorus forwarded. and degrees. Member of N.A.S.M. 5. Second be "i ''ty played in the time of two thousand Corpus Christi, Texas Located in downtown musical center. time, as in sixteenth- singers ! One might won- a repeated section, secondo Junior Etude : notes, or one eighth-note. der now many Dear Box E, 306 S. Wabash Ave., Chicago4, III. volta A triplet of people were left to make favorite composer is Bach. I find his THE ETUDE Advertisement 273 APRIL, 1948 — — THE COVER FOR THIS MONTH—The SOUSA’S FAMOUS MARCHES, A.w * EASY, A Work Book by name of etl for School Bands—Directors MUSIC MADE IN NATURE’S PATHS, Some Piano De Cesar Franck immediately sug- of s,.i hands have waited a long Mara Ville—This work book, although lights for Young gests to many his beautiful, mystical time for a Players—Like a spring- ban*! designed to follow the material of Ai.l in time walk Symphohy in I) minor. Even in this sym- book such as this! It contains through the forest, when birds twelve f method by phony, Sousa’s most famous One, a piano Robert Nolan chirp among the branches and brooklets however, the listener will find sug- marches, simplifio, ' Kerr, supplements any method. The hasten toward MAURICE DUMESNIL gestions of the organ, an instrument on for school use by Samuel Laudenslager the sea, this new compila- who grade teacher will find it useful in provid- tion will sound a fresh note for Clinics for Teachers and Students which Cesar Franck was a virtuoso. He bandsman knows well the limitatio^ teachers Summer Piano ing the theory of music necessary for and students alike. The was for several years organist of the of the average high school player. contents will be —Refresher Courses and Repertoire singing. Constant drill and review in Church of St. Jean-St. Framjois, and from The marches included sight grades one and two. are Tli e Star, material is furnished for such music Single copies 1858 until his death on November 8, 1800, and Stripes Forever, Semper may be ordered now at Fidelis as symbols, note CHICAGO, ILL.—JULY 12-28 he was organist at Ste. Clotilde’s Liberty Bell. fundamentals values, the special Advance of Publication Cash in I’aris. Washington Post, Ft Can signatures, scales, rhythm, accent, Price, of Cesar Franck in 1872 became professor ilan, The Thunderer, time 40 cents, postpaid. The Roosevelt College School Kitty Cotton, High of organ at the Paris ties, slurs, and tetrachords. Clever poetry, Music, Creanza, Dr.; 430 So. Conservatoire, and School Cadets, Manhattan Beach, TOLEDO, O.—JUNE 21-2S Joseph j>),. attractive illustrations, and the actual his influence in that position was tre- Invincible Eagle, Hands Across SOUSA’S Michigan. the Sea notes and musical symbols FAMOUS MARCHES, Ar- The Lina C. Keith School of Music, mendous. He had many famous pupils, writing of and Fairest of the Fair. Never before ranged for Piano Solo by Henry Levine— among whom has hold the child’s attention. 2268 Ashland. Tel. Garfield 0043 COLORADO SPRINGS, COLO.— were d’ludy, Chausson, it been possible, due to This is MEMORIZE MUSIC, by copyright restric- a collection of twelve Sousa 2-7 Hordes, I’ierno, and many others. HOW TO A single copy may he ordered now at AUGUST -Jprif, tions, for one publisher In inarches arranged for 1948 James Francis Cooke—The recent an- offer such an Publication piano solo in grades Cesar Franck was horn in Liege, Bel- the special Advance of Cash OMAHA, NEB JUNE 29-JULY 9 Gladys M. Glenn, Musical Arts Con- forthcoming array of marches from tin- pen of L three and four. Such a collection lias long gium, nouncement of this book’s j0 Price of 25 cents, postpaid. December 10, 1822. Although his Philip Sousa. been Mrs. R. H. Gleason, 130 N,o. 35th servatory, 1710 Tyler, Amarillo, ADVANCE OF PUBLICATION publication brought an immediate re- anticipated. Now pianists of mod- father came from a family of artistic The instrumentation includes erate attainments will find in one volume (Classes held at Joslyn Memorial) Texas. background, sponse, revealing the intense general in- thirtv- NEGRO SONGS, For Mixed and his mo thef was of Ger- seven books, AMERICAN High terest in the subject. While the author as follows : D-flat Piccolo School Cadets; Liberty Bell; The man antecedents, Cesar Franck may well OFFERS V Voices, by John W. Work—This compre- Piccolo, 1st C Flute, 2nd C Flute, Stars and Stripes Forever; The Thun- be classed as a French composer makes no extravagant claims for the 1st and hensive volume will comprise about two- since he 2nd Oboes, derer, and eight others. All of hook, it is easy to recognize the confidence 1st and 2nd Bassoons, them have lived in I’aris from 1811, when he began E-fiat hundred religious and secular songs from N| Clarinet, Solo nr 1st B-flai been expertly arranged. v A II felt in his work by readers of The Etude Clarinet, his teaching career there, and later he of the books in this list are in 2nd Negro folk lore. More than one-hundred DILLER-QUAILE \ preparation Music Magazine of which he has been It-llnt Clarinet, 3rd B-flnt Clarinet, One copy to a customer may lie ordered / became a French citizen. His musical for publication. The E-fiat spirituals are included—all arranged for low A dvance Alto Clarinet, B-ilat Bass now at the special Advance of Publica- talents were apparent at an early Offer Cash Prices ap- editor for many years. Plus his origi- Clarinet, B-flat four-part singing, and there are also “so- School of Music t \ age, tion Price, ply only to orders placed NOW. nal contributions, Soprano Saxophone, 1st E-flat Alt,, Cash 70 cents, postpaid. and when he was only eleven based on personal ex- Saxo- cial songs,” “work songs,” and “blues” years of Delivery with observation / \ ( postpaid will be phone, E-flat Normal Course age ) made perience, Dr. Cooke has added a veritable 2nd Alto Saxophone, B-flat he made a concert tour of Belgium, when given with texts and melody only. Be- the books are published. Tenor Saxophone, E-flat of children's classes. bill his family moved to Paris symposium on the subject by such dis- Baritone Saxo these there are five chapters of EIGHTEEN ETUDES FOR STUDY 1 CONSERVATORY \ in 1835, Paragraphs describing each pub- sides giving tinguished authorities as Harold Bauer, Phone, H-fljit Bass Saxophone (treble OF MUSIC him the opportunity to study under lication appear on descriptive text matter devoted to music AND STYLE, For Piano, by William Musicianship Courses for / \ these pages. famous teachers Rudolph Ganz, Percy Grainger, Josef clef). Solo B-flat Cornet, 1st it-tlat Cor- in the Paris Conserva- of the Negro, and an extensive bibliog- Seller—Young pianists will enjoy these Children and Adults. net, 2nd B-flat Cornet, / \ toire during the period from 1837 to Hofmann, Ernest Hutcheson, Isidor 3rd B-flat Cornet, index. studies designed particularly to cover 82ml 1812. American Negro raphy and Songs— For Mixed Voices 1st and 2nd Horns Instruction in Piano, Voice, Cesar Franck’s compositions Philipp and Moriz Rosenthal. in F, 3rd and 4th to lie ordered legato and staccato, double thirds, the SUMMER SESSION include Work .80 Due copy a customer may in F, piano, organ, choral, Orders for single copies of this book Horns 1st and 2nd K flat Altos, 3rd Publica- trill, rhythmic precision, alternating Composition. '7 and chamber music Basic Studies for the Instruments now at the special Advance of and 6 weeks term of the 4th * works, besides his offerings Orchestra Traugoft Rohner may be placed now at the special Advance and E-flat Altos, 1st and 2nd Trom- hands, syncopation, left hand scale pas- in larger tion Cash Price, 80 cents, postpaid. to inclusive Student's 66 EAST 80 ST., NEW YORK 21, N.Y. BU 8 1050 June 14 July 24, instrumental forms, several operas, and Books, each .25 of Publication Cash Price, 80 cents, post- bones (bass clef), 1st and 2nd Trombones sages, arpeggios and chords, rotary hand / \ Conductor's Score .60 Write for summer school announcement some oratorios, paid. (treble clef), 3rd Tronilsme notes. among the latter his "Les Eighteen (buss clef), LIGHTER MOODS AT THE ORGAN, motion, cross hands, and repeated Etudes for Study and Style— For v 2650 Highland Are. Cincinnati 19, Ohio \ Beatitudes” being an p,8n 3rd Trombone (treble deft. Orders are now being received for outstanding mas- ° Scher .25 Baritone with Hammond Registration—This fine terpiece. (bass clef), His career was ended when he Gems from Gilbert and Sullivan- KEYBOARD APPROACH TO HAR- Baritone (treble clef), collection follows Organ 5’istas in the single copies of this hook at the special BOSTON UNIVERSITY died Arranged tor Piano by Basses, of complications resulting from in- Mittler .40 MONY, Margaret Lowry—A new book String Bass, Drums, Timpani, popular clothbound series which includes Advance of Publication Cash Price, 25 BALDWIN-WALLACE juries received in an omnibus How to Memorize Music of twenty-seven lessons and Conductor’s Score. cents, postpaid. accident Cooke .80 for use in high such favorites as Chafel Organist and Co(t.r of WuluAlC CONSERVATORY OF MUSIC on a street in Paris. In Nature's school, college or 'I he Advance of Paths—Some Piano Solo De- private classes in har- Publication cash price The Organ Player. These easy to me- BEREA, OHIO (suburb of Cleveland) lights Offering complete courses in Piano, Voice, Organ, for Younq Players 40 mony. Miss for each Lowry uses the singing and individual part is 25 cents, the dium pieces all copyrighted publications Violin, Cello. Brass. Woodwinds, and Percussion in- Affiliated with a first class Liberal Arts College. — LITTLE RHYMES TO SING AND struments, Public School Music, Composition. Keyboard Approach to Harmony playing Church Four and five year courses leading to degrees. Faculty ... Lowry .75 approach which presents the Conductor’s Score, 75 cents, postpaid. Glee Club, Orchestra, Band. “APRIL SHOWERS BRING sub- of Theodore Presser Co.—are used here PLAY, For Piano, by Mildred Hofstad— Music. Musicology. Chorus, of Artist Teachers. Send for catalogue or informa- MAI’ Faculty includes members of Boston Symphony, Bache- Lighter Moods at the Organ—With ject chord by chord in tion to: FLOWERS” This Ham- piano notation for the first time in any collection. Reg- That there is a wide-spread for lor's and Degrees in all musical subjects. Dorms. — old familiar saying mond Registration demand Master’s HAROLD W. BALTZ, Dean, Berea, Ohio 90 rather than the Catalog. COLLEGE OF MUSIC, 73 Blagden St., Boston. has its application in the world of music. conventional four-part SHORT CLASSICS YOUNG PEOPLE istration for both standard and Ham- attractive music educational material for Little Hie Rhymes to Sing and Play— For Piano voice writing. This procedure "flowers” of success come after the gives an LIKE, For Piano, Compiled and Edited mond organ is given. juveniles is evidenced by the interest dis- Hofstad .30 easy hours of preparation, familiarity with the most common by Ella Ketterer— and over and over More Once-Upon-a-Time Thirty-live short, easy One copy to a customer may lie ordered played by teachers and parents in this Stories of the idioms of our again it will he found Great Music musical expression. To ob- classics, voted their Publica- con- that those having Masters— For Younq Plan- favorites by t lie* com- now at the special Advance of soon-to-be-published little book. The PIANO EDUCATIONAL LECTURES and PIANO CLASSES 's ' 5 tain success in - Robinson-Stairs this foundation the book piler’s teaching, success iii public ap- .30 presents own students, will make up this tion Cash Price, 90 cents, postpaid. tents consist of nursery rhymes children Tonic - Dominant Patterns; to be given by - pearances, or success with music groups Music Made Easy—A Work Book Non- Har- collection for young pianists. Edited and love, presented in single-note melodies monic Tones; under their Mara Ville .25 Subdominant; prepared GEMS FROM GILBERT AND SUL- directorship have seen to it Supertonic; also by Miss Ketterer, this en- with both hands entirely in the five-finger that My Everyday Hymn Cadence Formulas; LIVAN, Arranged for Piano by Franz failure did not come their way Book—For Piano Borrowed Sen nth gaging album will represent position. It should prove especially valu- be- Chords; many of the cause of any Richter .40 Tonic Seventh; Submediant; masters Mittler — This collection will contain procrastination in the mat- with works whose line musical able fat" use with children three to five. BERNICE FROST ter Noah and the Ark, Diminished Seventh; a generous assortment Gilbert Sul- of making plans and getting materials. A Story with Music and Modulation qualities make of and to send In your order now for for the Piano them especially suitable Be sure Some Richter .35 For illustrations folk for livan melodies for pianists capable of Woman's College— University of North Carolina June 7th- 1 2th who read this brief paragraph, melodies are used an educational publication this the single copy that may he reserved at of H. Hugh Alvater—Dean Greensboro, N. C. weeks Short Classics Young People and examples from works third grade material. This collection will before will have selected and start- Like— For of Beethoven, kind. Hie hook can lie the special Advance of Publication, Cash P,a "° used over a period Ketterer .35 Chopin, Haydn, ed preparing Liszt, of include such favorites as ; A Wandering June 1 4th- 1 9th the music which their pupils Mendelssohn,’ study of about two years, since the Price, 20 cents, postpaid. Belhaven College or the Sousa's Famous Marches— Mozart, Schubert, Schumann, Minstrel; The Flowers that Bloom in the Harold Avery—Director Jackson, Mississippi choruses or their orchestras or Adapted for Verdi and contents range in grade from to four. Ba " ds Welier two bands will lie Parts .25 are shown. Spring; Tit-Willoic We Sail the Ocean presenting in Spring and Conductor’s Orders for single copies of Short Clas- ; Juilliard Summer School of Music June 28th-August 6th Score .75 Orders for ADVANCE OF PUBLICATION OFFER closing of the season programs. single copies of this book are sics Young Dine and I Am Called Little Buttercup. William Schuman President, Robert Hufstader—Director Sousa’s Famous Marches— People Like may lie reserved — Announcement of the Arranged for being accepted now at The WITHDRAWN 120 Claremont Avenue, New York, N. Y. Others will just he getting at the choos- Piano Solo the special \d- now at the special lyrics of each number are included. Henry Levine .70 Advance of Publication publication of the book issued this month ing of materials, Viince of Publication Cash Prior to publication, orders for single while yet there is time, Price, 75 cents Casli Price, 35 cents, postpaid. postpaid. will be welcomed h.v the advance subscrib- and some others will continue procrasti- copies are being received at the special NOAH AND THE ARK, all those who are familiar with nating, A Story with ers and hut there will lie still others who Advance of Publication Cash Price of 40 Music for Piano, by Ada Richter— MORE the previously-published books in the already have been To MY EVERYDAY ONCE-UPON-A-TIME STORIES cents, postpaid. Sold only the United making arrangements the six delightful books HYMN BOOK. For in Com- of the Story with Piano, by OF THE GREAT MUSIC MASTERS, series Childhood Days of Famous for getting materials together for next Music Ada Richter-Popular States and its possessions. series, Mrs. Richter now adds this demand lor Young Pianists, by posers, which includes similar works on PIANO-EXCELLENCE-PRIZES season. A has brought about the Grace Elizabeth great many of • these will be clever adaptation, which preparation „f Robinson, Handel, Haydn suggests an en- secpiel to Musical Arrangements by BASIC STUDIES FOR THE INSTRU- Bach, Beethoven, Chopin, individuals who know of the Presser Mrs. Richter’s My tirely new field of favorite Own Hymn Louise E. Mozart. With this announcement, as Early Bible stories Book. The Stairs—The success which at- MENTS OF THE ORCHESTRA, by and (liiiltl Order Plan.” All teachers and for further new collection, containing for 1948 Diploma Winners projects. Her descriptive tended the first of is customary, the special advance of pub- all active music nearly fifty favorite volume of the series Traugott Rohner — Orchestra leaders, workers are invited to piano pieces, hymn tunes and fol- some with verses, combine lowing Once-1 don-A-Time Stories of the Great music teachers, educators, and super- lication offer is withdrawn and copies use this helpful plan for obtaining the same general music with tivid narration to make outline as (lie Music ordered through your local (Made available through the co-operation of Business Patron for examination Noah and first book, presents Masters has inspired the authors visors, and especially those who are as- now may he at convenience during the Ask sections of “General Members of fhe National Guild of Piano Teachers) lively material for young Hymns to make a second should sembling a beginners orchestra for the music dealer, or from the publishers “On (he ; volume which summer. Drop a post card to Theo- pianists. “Hymns for Special Line drawings vividly portray O.-J prove equally first time, of Approval.” dore Presses Co., 1712 SPel Hymns ” as attractive a.s the first, should find this series Artist Diploma Winners—Five cash prizes $250 each, plus Chestnut Street, the characters and ""’‘O' include Childhood situations, and offer TtTit01,1 P° forking in close Rob- studies of inestimable in obtaining The Child Tschaikowsky, Philadelphia 1, Penua., Kuyyed Cross cooperation. Miss value round-trip fare to New York for further audition; final winner after simply sign- . and the child opportunities for coloring. Living for inson Composers, by Lottie ing In a Jesus, used and Mrs. Stairs have assembled a for each of the various instrumentalists Days of Famous receives another $250 and New York debut. your name and address on it by special beneath piano class the permission; and •. the pieces may he assigned new fine combination of material a uniform basis for correct practice and Ellsworth Coit and Ruth Bampton is the request for details of Presser’s section, “Hymns for biographical “Early to different pupils Children” for with Collegiate Diploma Winners from Coast to Coast—Each of for supplementary winch children and simple transcriptions of performance. Ten separate instrument seventh hook in a series that has met Order Plan,” and obtain information that even a first year music work or for recital. Full directions pupil is popular hooks of many leading educators, TEN most outstanding receives $100. are capable pieces of the com- are in preparation: 5'iolin i’iola ; the approval will help you join the host of playing. following ; of those who given for Excellent for |UM „, the presentation of a playlet posers: Cello is used by thousands of teach- assignments, Chaminade, Dvorak, Gounod, ; Bass ; Flute-Oboe Clarinet- and which enjoy the beneficent results of the “show- recreational playing, ; High School Diploma Winners—TWENTY cash prizes of $50 or tableau, which would lie and Grieg, the value of introduc- particularly Liszt, Trumpet ; ers who recognize ers” of early Sunday School Rubinstein, Saint-Saens, F-Horn ; E-flat Horn-Saxo- epch. preparation rather than the and home use, these GATES WRAY, New Jersey, winner suitable in Sunday School, church, selec Silielius, phone and history in the child’s or tions Strauss. ; Trombone-Basso«-Tuba ; and ing biography of 1947 Special Youth Award, Artist disastrous delays and disappointments show Mrs. Richter’s public school. characteristic 55 popularity of Tscliai- Division; pupil of Carl Roeder, New Superior Rating from Visiting judge in 1948 auditions is basic girt foi easy idle this book is in preparation a Conductor’s score. Included in each book music lessons. The that can occur when getting piano arrangements. York. caught in A single copy mod- requirement for each of above. Send for rules. may now be ordered at single copy may spe- are some pieces kowsky’s imperishable melodies in the “deluge” of last minute rushing Reserve your introductory he onions! at the and "Time Teasers.” to the Imv Advance of copy now at cial this book even Publication Cash Die special Advance of Publication Cash Price The Advance of Publication Cash Price ern song “hits,” makes obtain needed materials. Advance of Publication Box 1113 Price, 35 cents, postpaid. (’ash o! 30 is to the youth of today. Price of JO cents. cents, postpaid. Sales are limited 25c for each instrument study, and 60c more attractive NATIONAL GUILD OF PIANO TEACHERS Austin, Texas to the for United States and its possessions. the Conductor’s Score, postpaid. Price, 40 cents. 274 Advertisement THE ETUDE APRIL, 1948 Advertisement 275 — ing itself out fully formed, it < a iinot i,K taught. What can be taught is The First Performance its dcveUup- mertl. It is this development that We hav “Messiah” been discussing and it I* of Handel’s may summed aALBUMS for the CHAPEL ECHOES up as the knowledge CHURCH ‘PIANIST necessary EASTMAN SCHOOL OF MUSIC (Continued from Pane 269) f„ r the conscious and intellectual < An Album of Sacred and Meditative Music for fortification of of Mr. Handel’s during his stay in this inborn endowment.” and for D~Come flaying and Tfeligious Qatherings Pianists Young and Old Compiled of Kingdom. and Arranged by of “Messiah” my own hymn book for piano CLASSICS The University of Rochester With tliis second audition Rob Roy Peery Handel’s public career in Dublin came to By Ada Richter FOR THE CHURCH PIANIST Among the 32 numbers included in Howard Hanson, a close. Lest any “persons of Quality” My Twenty Favorite Director this album of piano arrangements for should lie frightened away from his final Another collection from Mrs. Compiled by Lucile Earhart about grade 2 V2 by an expert church Raymond Wilson, Assistant Director performance by Dublin’s stifling heat, Records Richter’s deft and skilled hands. and Why musician are some of the finest choral shrewd Mr. Handel took precautions “to Between its covers are fifty-two One of the few albums made up music of Bach, Bortniansky, Franck, Undergraduate and Graduate ( Continued from Page 271 favorite Departments keep the as cool as possible.” But ) and well beloved hymns entirely of piano numbers suitable Room Gaul, Maunder, Tschaikowsky and so arranged that they fall within to church use. In it are thirty-eight such steps were unnecessary, for Handel’s cording is certainly not Victor’s best first Mendelssohn. Some of the material the and early second grades favorite numbers by classic com- Irish audience were prepared to endure since it dates back a good many years- of difficulty. The arranger has, posers, has probably never before been ar- precipi- all selected for their special SUMMER SESSION any extremes of temperature and and the accompaniment is a despite their simple little on the grading, re- adaptability to the purpose. There ranged for piano. Works by other tation to hear the composer’s “most fin- heavy side. Notwithstanding tained the full essence and flavor some short- are pieces included in this album composers, such as Fame's Palm June 28 ished piece of Musick.” of these hymns so that they may —August 6, 1948 comings, however, I lie Branches, Night, jierformunce and which will serve as Preludes or Adam's O Holy During 1891 Handelians were stirred voice of Bori, be played in the Church, Sunday and the musical texture of Offertories, the entire contents Schubert's Ave Maria, and other suit- by the announcement, that copy of the School, or Prayer Meeting service by the young pianist who a Mozart make this record one of being made up of the meditative able for seasonal use throughout the FALL SESSION my may be called upon to assist. The book is divided into two original wordbook of "Messiah” had been precious possessions. type of music. The general grad- church also included. sections covering Hymns for Everyday and Hymns for Special year, are discovered in Dublin. An advertisement At the other ing of the book lies between four Price, 75e September 27, end of the operatic scale Occasions. Some of the familiar titles are: All Hail the Power 1948—June 11, 1949 of “Messiah” in The Dublin News-Letter and five. Among the contents will we have the utterly Incomparable Im- of Jesus’ Name!; Come, Thou Almighty King; Holy, Holy, be found Haydn's of 27 March 1742 had stated that “Books molation Scene from “Gotterdiimmenuig” Holy!; Sun off My Soul; Angels from the Realms of Glory; gracious Allegretto (in A); Bach's serene Air (from the Overture No. in are also to he had at a British sixpence done by Helen Traubel, It Came Upon the Midnight Clear; Christ the Lord is Risen 3 D); the pensive For further Arturo Toscanini Berceuse information address each.” but for a century historians had Today: From Greenland’s Icy Mountains; He Leadeth Me; by Jarnefelt; Adolf Henselt’s Song of Spring; and CHAPEL MUSINGS and the NBC Symphony c irclicsira on with Schubert's placid The Stars; and sought in vain for such a treasure, until and Abide Me. thirty-three other par- ARTHUR H. Victor album DM-97S. Here is LARSON, Secretary-Registrar one rec- Price, 75c ticularly beautiful pieces. An Album of Sacred Compositions by 1891 its very existence was doubtful. ord which unequivocally can lie said to Price, $1.00 Eastman One day Professor Edward Dowden was excel for the Piano—Compiled by School of Music in every one of the qualifications I rummaging through the stores of a sec- have mentioned above. These are among Rob Roy Peery Rochester, New York ondhand Dublin bookshop when lie dis- Wagner’s most magnificent pages. The TRANQUIL HOURS covered a small quarto volume hound in CONCERT TRANSCRIPTIONS Here is an important addition to artists employed surely stand in first old calf and marked “J.M.” I'iniu inspec- A Collection of piano literature for church use. The place in their respective fields, the per- Pianoforte Music Suitable OF FAVORITE HYMNS MILLIKIN CONSERVATORY tion OF MUSIC Dowden observed that the volume formance 21 pieces selected are of the medi- Philadelphia Conservatory is flawless, the recording is the for Sabbath Diversion FOR PIANO DECATUR, ILLINOIS contained the missing wordbook tative type, and have never before of most modern and the best of Of Music Founded 1877 Us type that Offers Handel’s “Messiah” bound with By Clarence Kohlmann appeared in an album. Among the thoro training in music. Couries leading to a libretto Victor This outstanding album of thirty-one pieces covers an Maria Ezerman has given ns. The only ether two unusu- Bachelor of Music Degree. Diploma and Certifi- Drake, Managing Director of “Acis and Galatea.” A motto on the ally wide range of expression. numbers are Introspection by Marks, cate in Piano, Voice, Violin, Organ, Public ENZO SERAFINI-LUPO, Opera records of this music worthy of serious The transcriptions included in this volume are ideal tor School Coach title Mu»ic Methods and Music Kindergarten OLGA page contained the “Lines” which There are, besides transcriptions of use In Remembrance by Risher, Legend Methods SAMAROFF, Special Lectures consideration are those of Agues Davis in religious services. Among the twenty favorite Charles .Tennens such favorite Nordman, Naza- Bulletin sent free upon request Courses leading to Degrees had sent to Handel in Tran hymns as Abide With hymns included will be found What a Friend We Have by Moonlight Over and 'Hie Philadelphia Orchestra with ami. 216 So. 20th Dublin “in Me; Jerusalem, the Golden; Just as in Jesus; reth Diggle, Reverie du Soir W. ST. CLARE, M INTURN, Director St. LO 7-1877 order to be prefixed to Your Stokowski Fling Out the Banner; I Love to Tell the by by conducting, and those of I Am; and Jesus, Lover Oratorio Messiah.” At once Professor of My Soul, Story; Saviour, Like a Shepherd Lead Us; Sweet Hour Sheppard, Easter Morn by Mallard, Kirsten l-lagstad with the San Francisco the inspiring Pilgrim's Dowden handed the Chorus from of Prayer; and Onward, Christian Soldiers, all in ar- and Alleluia! Alleluiahl by Arm- volume to Dr. James 0|H>ra A COLLECTION OF Orchestra, Edwin McArthur con- Wagner's "Tannhauser”; Handel's rangement for third and fourth grades. Mr. Kohlmann A Great Song Success C. f’ul wick, organist of the Chapel Royal PIANO-FORTE MIW strong. ducting. Both these churchly Largo; the serene Adagio is nationally known as the organist in Dublin, records antedated at the great Audi- Price, 75c Schools— who after patient scrutiny Sabbath Cantabile from Colleges the Traubel-Tosea nini performance by Beethoven’s "Sonata torium in Ocean Grove, New Jersey, where for many THE BELLMAN analyzed the wordbook in Diversion a pamphlet Pathetique”; and Bach's joyous My seasons his memorable and inspired playing con- quite some time, and therefore re- had published in the autumn the Heart By Cecil Forsyth SCHOOL of 1891. Later Ever Faithful in a fine ar- tributed immeasurably to the success of the services the cording technically cannot he expected to OF volume was purchased by the trustees rangement by Albert Lavignac. themselves. Price, 75c CONVERSE COLLEGE MUSIC equal the latter. A unique song about the bellman in of the British Furthermore, both the SUNDAY PIANO MUSIC Edwin Gersciiefski, Dean. Spartanburg, Museum. Shakespeare’s time. Sung by Nelson S. C. Davis-Stokowski and FTagstad-McArthur Price. $1.25 Eddy, Ezio Pinza, Richard Crooks, and Department of Music recordings were studio jobs: the first A Collection for Church or Home KNOX Galesburg. MORE CONCERT many others: Illinois done in Thomas W. Williams. Chairman Victor’s old church -studio at COLLEGE is album, between grades three five in diffi- Published Catalogue sent upon request. TRANSCRIPTIONS OF FAVORITE Here an and for High Voice in G (Pr. Camden, New Jersey, and tile second in 50c); Medium Voice in Training culty, which combines the works of classic and later com- Eb (Pr. 50c); CONSERVATORY for Artistry Y idol’s Hollywood studios. They lack REVERIE ALBUM HYMNS FOR PIANO Male Voices—TTBB—No. 13,615 (Pr. OF rviusic posers. There are meditative pieces in various styles and in - — - - - - L. E. (Continued from the breadth and 10e) SHENANDOAH Miller, Pres. Paye 260) magnificence of the Tos- By Clarence Kohlmann ; and Women’s Voices A Collection of Melodious —SSA—No. Courses leading to the B. Mus., and B. canini recording, and Expressive varied degrees of difficulty, and church pianists will find it a 13,614 (Pr. Mus which was made in 15c). E de rees - Memb.er NASM. In build up a A\, cFu the heart surety, a feeling of safetv, Pieces This second book of Mr. Kohlmann's skilfully made compilation of genuine value. There are twenty-five pieces, of the Shenandoah Valley, that Carnegie Hall. for Home Playing and Dayton, Virginia is of the greatest help in public hymn transcriptions for piano includes twenty-three from one to five pages in length, playing. In the operatic field another between the covers of this there is Religious Gatherings transcriptions in grades “But the most valuable training three and four. The contents book. always record, of less obvious but for me not less remains the musical of this new book are adaptable to giving effective kind. Know what potent A favorite of long standing, this Price, $1.00 charm. In recording quality it splendid album of meditative accompaniments to solo or congregational each passage, each music has singing, phrase, each motif does many times proven its worth. Particularly adapted not match the I since suitable keys have been means. other two have o the used, generally the THE DUNNING Never play a work needs of the church pianist of average ability, COURSE when you are chosen, but its it fills a original ones. Price, 75c of in musical texture and the ehmte place. Improved Music Study doubt as to the meaning The pieces, all of a genuinely tuneful character, Gladys of a single bar quality M. Glenn. B.Mus., M.A., Mus.D.. of performance give it a unique represent a Dean Ami don’t number of the present day composers. all, of specialize. Study all In there PIANO VOLUNTARIES Education Faculty styles’ place in my collection. are twenty-three For schools, I refer to the duet numbers in this volume. information and class dates address and sorts of music. Without EIGHTEEN ulti- for two sopranos, teh Weiss Niiht Ttie Executive Headquarters mnte specialization, Price, $1.00 Preludes, Offertories and Postludes for however, it is a good Du Hist 174 from Richard, Strauss’ “Ara- HYMN TRANSCRIPTIONS 0 Tyler St. Amarillo, Texas Plan to concentrate on one composer Religious Services and Sunday Schools at a bella,” sung by Marta Fuchs and Elsa time. Don’t play one Beethoven —FOR PIANO SOLO Sonata W ieber on m public, Telefnnken record T-SK-1477. An especially popular collection with church for example, until vou By Clarence Kohlmann pianists. The have I am attracted to this record chiefly for EVENING studied a good MOODS contents are made up of pieces of average difficulty ROY CAMPBELL number of them, and have two and reasons—-the quality of the music Retaining the devotional spirit of the hymns, Teacher at least read your way these medium length, making this book suitable for use at various of Successful Singers through every- per se An Album of Piano Solos thing and the utterly fabulous per- make possible smooth and flowing piano renditions, times of Beethoven wrote. Often, during the service. There are twenty-six numbers in all, a question formance whether used to accompany the singing by vocal - of Marta Fuchs. In more than soloists Theatre - Pictures - Concert of interpreting part of Melodies many of them from the pens of such composers Opera a Sonata can be and compositions in the or by the entire assemblage, or given as Lemare, STYLE -IZING" twenty years’ exiierience with recording as instrumental for Radio and the Theatre solved by comparing the meditative mood have a great appeal Gounod, Jarnefeldt, Leschetizky, Alkan, Lund-Skabo, Mous- passage with and recording numbers. This third album of Kohlmann hymn tran- —Studio something artists I have not heard, which explains in one of the why this album, with scriptions in no way duplicates any numbers sorgsky, and Tschaikowsky. 607-8 Carnegie Quartets Above singing or in the Hall New York City all, vocal quality quite comparable 2 1 especially good piano solos of such subordinate yourself to the books which preceded it. Price, 75c Price, $1.00 Telephone Cl 5-9244 music in- to this. If character, stead of anything ever approached it, it is numbered high among using the music to demonstrate was perhaps the best sellers." The average good your own abilities! singing of Elisabeth EVANGELISTIC PIANO PLAYING player will Schumann at the peak of powers. I not find them difficult, Send $1.00 for “By such means the young her A Guide Book to Effective Hymn Playing artist learns do not since they are within a range such as Ten Rote Pieces to develop argue that Marta Fuchs is or was for the Pre-School Child expression—provided students in the The object of this book is to guide THEODORE 4th and 5th grades PRESSER P always the greatest singer CO. and that the gift for expression in the world; I mean can handle. Those pianists in making hymn tunes playable has been horn simply pianists having to in him. that in this performance, and play in and effective on the piano, so that one OLIVER Play Myself Book No. 1 This ability to Church or Sunday School will OMusic DITSON CO. move, to touch to within Publishers and dealers make listeners the limits imposed by the nature find these pieces especially suitable may accompany acceptably, and with a de- Theodore Presser Co., Distributors See February Etude Advertisement care, is rightly called for a of the music itself, their needs. gree of brilliance, either the choir, con- T7I> gift ot God, because she is quite without 1712 CHESTNUT STREET, Chestnut St., Philadelphia 1 Pa. there is no PHILADELPHIA, PA. , rational tv peer. gregation or Sunday School. Price, $1.00 EFFA ELLIS PERFIELD explanation The recording is not technically Price, 75c for it. it stems more 103 East 86th Sf. I often as Park Aye.) New York City from the depths good as Columbia or Victor do in of the subconscious, pour- America, but it is better than fair. 276 "MUSIC STUDY EXALTS LIFE" THE ETUDE A superb instrument traditional in tone, design r and method of playing ..... . - . . THE BALDWIN ELECTRONIC ORGAN Specifications and Other Details will be furnished on request The Baldwin Piano Company, Cincinnati, Ohio BALDWIN, ACROSONIC, HAMILTON AND HOWARD PIANOS . THE BALDWIN ELECTRONIC ORGANNew York University One week, 10.00 Address: 35 West 57th Street of parison with Miss Morgan’s. My choice “Two things stand out in my mind as of best of its type ever EVANGELINE LEHMAN; Mus. Georgia introduced his paper issued from Victor’s D^. most .loalin- the Fill as the best of all IMPORTANT NOTICE—The INTERMONT courses will be limited to 200 teachers and teacher of Successful EDITH SYRENE LISTER important. The first is : A problem new musical studios. Singers. Modern vocal tech with his experience with It is interesting, and perhaps a me and repertoire AUTHENTIC piano classes is pianists (adult), and junior pianists. Registrations accepted in order of receipt. Students prepared for public VOICE PRODUCTION child has a problem of his own that he comedy records the result of the com- little 50 J with puzzling, to compare this recitals opera, radio, church and teaching. 405 Carnegie Hall, New York a classic description of the recording y Voicec City function 1 Immediate registration is urged, accompanying application with check or money order I Correction. has not been parisons made. For vocal quality, emo- 1 able to solve. The second As oc ia *? Teacher with W. Warren of a teacher with that of the Tchaikovsky made by 1 187 Elmhurst^Ave.. Show a'V/VL" i L for full tuition. . . . Reasonable rooms and meals may be engaged at the college. Detroit A M - Endors ed by Floyd S. Muckey we must not tional appeal, orchestral performance 3. Mich. n . M. D. & confuse symptoms of un- r u Demonstration “In teaching the same artists under the same condi- of correct action of vocal the piano, many great for LEONA NEBLETT chords shown at desirable behavior patterns with their and, naturally, technical excellence, For further details and registration, address Sec'y, Guy Maier Courses, Columbia Univ., Cornell Medical truths are made tions in the same concert hall (Carne- Concert Violinist, Clinic, Univ. of evident. The intelligent Teacher, Coach Vermont, Music Teachers Assoc. East- causes. Carol Bruce’s record must be given top Virginia Intermont College, Bristol, Virginia. r gie). The Tchaikovsky simply does not Worn Beginning to Concert ' Conference teacher in the Performance ' Hunter College— beginning strives trained Physicians “We to de- grade in my private catalog. and Endorsed by Louis Persinger & Artfsts— must recognize that it is not what rank with tlie Brahms, from any point of and velop a basic understanding of Georges Enesco (Teachers of Yehudi Wednesday: Troup, Music Studios, the ihe funda- Somewhat akin to musical Menuhin) Lancaster, Pa. child does but why he does it that comedy, and view, except perhaps in the pianistic tech- Res. 801 S. Dunsmuir Ave. Thursday: 309 Presser Bldg., mental laws of Philadelphia, Pa. music, of art, and of life. .1°* Angeles 3t, Cal, really has meaning for yet far removed from it in many respects, SANTA MONICA. CALIFORNIA 1 us. nicalities wfiich are so much more im- WYoming 6354 (f RANK) (ERNESTO) There must he an analytical “* * * approach if is Andre Messager’s play with music Might I suggest these as aids in portant in the Tchaikovsky than in the Teachers' Course 12-16 EDNA GUNNAR PETERSON LA FORGE-BERUMEN STUDIOS there is to be any lasting understanding Intensive —July establishing a pupil-teacher rapport; called Vamour Masqud. Selections from Brahms. Otherwise, the Tchaikovsky re- Voice— Piano of the compositions to he played. Advanced and Junior Pianists’ Repertoire Classes—July 6-27 Concert Pianist Artist There tli is light delightful — Teacher Among those who hove studied 1. Reflect optimism but work are includ- cording sounds thin, over-brilliant, and with Mr. Lo Forge are- and friendliness must lie the Private lessons June 21-July 24 I 229 So. Harvord Blvd. Marion Anderson, Lawrence historical approach to deter- — Los Angeles, Calif. Tibbett, Richard Crooks toward ed in Victor album C-S. The treasure of almost tinny. lx* to ' pupils. Yon may interested FE. 2597 and Mme. Matzenauer. mine the interpretation, touch, and the is For Santa Monica details and registration, address Sec'y, Guy Maier Courses, 1100 Park 2. Give the child the album the flirtatious .vet somehow know the reasons for this, which sim- Ave., Corner 89th St., New York due credit, encourage- general are THE attitude toward flit- composition; SAMOILOFF Tel. Atwater 9-7470 ment, or praise. pensive and nostalgic J'ai Deux Amants ply two: in the ease of the Tchaikovsky, 503 Alta Ave., Santa Monica, California. BEl CA NT0 STUDIOS & OPERA ACADEMY and there must he a scholarly , search for I Thn i 3. sung by Yvonne Printemps, who, you where T° u con learn the Keep the child’s confidence, as the newer and supposedly improved uni- I °-i k oriqinal9 RICHARD McCLANAHAN (he best editions. I So mo, f off There should lie Bel Canto Method which developed 4. great may remember, was the next to latest such Representative Avoid ridicule, directional microphone was used : and voices as TOBIAS MATTHAY sarcasm, scolding, or NELSON EDDY, BIANCA Private lessons, tolerance and sincerity in both class lessons in teacher MAIER FEATURES. . . SAROYA, DIMITRI ONOFRI and Fundamentals nagging. wife of Sacha Guitry, idol of Ihe ComPdie secondly, Horowitz elected to use a dif- SOME WORKSHOP . Group piano training . . . latest teaching many others Now .Summer-class, and " nd . Southwest Harbor, Me student, because the direction of — i c result r;he Zepha Samoiloff. speaks so and technical trends . . . analysis of new teaching materials . . . repertoire classes I 801 Stemwoy 3. Avoid Franqaise. Here I do not choose the ree- ferent in opinion, inferior for Bldg. New York Ci)y domination or “bossiness.” and, my though 3 ' 5° We,t ^h St., Lo, honestly the real truth Angeles 5 concerning both. advanced pianists . . . laboratory for junior pianists . . . Artist concerts . . . "Miniature Phone p°Etfc KM8294 No charge 6. Reflect fairness and • ord for technical excellence, although it very brilliant piano. From a musical for Audition EDWARD E. sympathetic There must also he ” TREUMANN a love of self-disci- Masterpiece" lessons . . . courses, lectures and private lessons by outstanding associate ELIZABETH understanding. is better than fair, hut rather for tlie point of view I should have exiiected SIMPSON Concert Pianist Artist-Teacher pline, for Ibis Instrument demands self- teachers. — 7. Judge all pupils musical charm of the material, the be- Horowitz to produce a definitive record Author of "Basic Recommended by Emil Von or situations objec- Pianoforte Technique" Sauer, Moritz Moszkowski control and intelligent perseverance of and Joseph Hofmann. tively on the basis witching performance, and the inevitable of the Tchaikovsky much more easily and S C C of facts, not emo- Styrdio Carnegie Ho", all its students.” &Pre^«rCon c°e?t U. ^a",! C^ifeV Suite 837, 57th St. at 7th Ave. tions. choice of performer. Even if you tire not sympathetically than one of the Brahms, h n 0 Tel. Columbus 5-4357 I)r. rPre,0,i0 "' N New York City 8. Archibald T. Davidson of Harvard Me,;rd s --' Summer Moster Do not make light too conversant with French, you will un- but things did not work out this way. The SrPio^o t^her Class—June 15 to August IS. of a problem University spoke on "Church 79 McAllister St., which may seem Music and derstand Yvonne Printemps; if Brahms remains my favorite of all* rec- Room I, San Francisco: very important to even you 2833 MME. GIOVANNA VIOLA Reality.” What he said Webster St., Berkeley. Cal. (HULL) the child. deserves serious do not understand her, she will still ords of piano with orchestra. Dramatic Soprano Qlrbrlatti) Jhalitut? nf 9. Point consideration from everyone who has any DR. FRANCIS Teacher of Singing— "Bel Canto" out to the pupil the charm you. If ever a smile, and a co- L. YORK progress he contact Advance Piano Interpretation Experienced European trained Artist makes.” with church music whether he From the Operatic Field and the Theory work quettish smile, were set to music, it is Bachelor of Music Degree, Master of Music Degree, Artist Diploma de 9r Coaching Opera, Concert and e! of - Radio sits in - Mus Bach., the pew, Mas. ? an? M°s. Correct voice production, In an excellent sings in the choir, or here in this Special Chopin interpretation defective singing corrected discussion of “Stare record. In a different field but employing the ERYL RUBINSTEIN, Mus. D., Director 3411 Euclid Ave., Cleveland, O. DETROIT Beginners accepted right " stands liehiiid the pulpit. report can CONSERVATORY OF MUSIC Mrs. Mairgit A One of tlie least admirable qualities of forces is the recording of : 7" 823 Varro of same one Detroit, ° Mon " Tues Wed., Thurs. Chicago Charter of the National Association of Schools of Mich. IB . " hardly do it justice, hut this Member Music 408 w!West End Ave. made the following paragraph serious music lovers is which I New York CI , points that they take Gershwin's Rhapsody in Flue y will indicate the trend of Davidson’s ‘On the stage, the Dr. themselves so seriously. This ajvplies consider satisfactory. That is the per- (New Yorlc City) CRYSTAL WATERS seasoned artist not thinking: only masters his with most force, I think, to devotees of formance of Jesus Marla Sanromfi, and HELEN ANDERSON Concert Singer — Teacher excitement, but even “The Voice uses it as fact from which we cannot es- chamber under Building, Breathing, a vehicle. The challenge music and of Lieder. It would the Boston “Pops” Orchestra Concert Pianist Diction, of caiie Expression, Style. public is that most church music is vocal do the DM-358. CHICAGO MUSICAL COLLEGE appearance acts hearts of such people much good, Arthur Fiedler, Victor album Interesting course— piano, harmony In preparation for as a stimulant music and as Founded 1867 by Dr. F. Ziegfeld RUDOLPH GANZ, President Radio, Screen, Stage, enabiing him to pour vocal music it takes sanc- as it has done mine, to listen every now Sanromfi has played the Rhapsody more Many Successful Pupils his intensified sensi- | Concert, Opera. Inhty into tion first of all from tlie text. ex- CONFERS DEGREES OF B.MUS., B.MUS.ED., M.MUS., M.MUS.ED. “ W- T2nd St., N. Y. C. the music Words and then to a priceless bit of burlesque frequently, more widely, and with a I 1 Tel. Sc 4-8385 405 E. 54 St. he interprets. of North Central Association and National Association of Schools of Music New York City In press nothing Member Tel. Vo-5—1362 contrast, many a hut meanings they are. in which seems to me unique and incom- greater number of orchestras than any SETH novice becomes pro- ALL BRANCHES OF MUSIC. SPECIAL INSTRUCTION FOR CHILDREN AND NON-PROFESSIONALS BINGHAM foundly that sense, real. disturbed by the Music, in its higher parable in its field. That is a record other pianist, and in my opinion he plays Organist—Composer—Teacher LEOPOLD same challenge Address Registrar, 60 E. Van Buren St., Chicago 5, Illinois 0r 0 WOLFSOHN e cann manifestations, expresses nothing but called any other. MuSiC Mc, d ' S n °t focus An International authority than Ave - F res byterian this Song Recital by it with more f n . ? L Church increased sensi- HeadHLo? of TheoryL Pianist , Dept School of and teacher i beauty; it is, in that mysterious General Studies. y upon his music, the sense, a Frenchman who calls himself Retove,* George Gershwin himself concurred in I ...... Columbia University uncontrolled Teacher of Aron Copland, floating and unreal. Neither func- IV T INST lUCTION F0R CHURCH COMPOSERS El ie Siegmeister excitement may assert may usurp the and whose artful mischief appears on this. The recording has the advantage of 921«, Mod,u ^ son i itself in | Ave and many artists palpitation, tions nf the New York C!ty and teachers. trembling of other. Words cannot make Deeca-Parlnphone record D.P.-I10. This Symphony Hall acoustics, excellent re- SOUTHERN CALIFORNIA SCHOOL of MUSIC and ARTS Tel.: Monument 2-3426 the hands ind Hotel Ansonia, a Beethoven’s B'woy at 73rd St., New York gm,eral state of Eighth Symphony real; only record is technique, and a magnificent City I anxiety: it may bring perhaps unique in that it con- cording HAL D. CRAIN. Director mentary the music itself can do that. Music can- tains not under a conductor of sound hitCh in his memory one intelligible word, hut some- orchestra A school of serious purpose and high integrity. Unsurpassed teaching staff includes ERNST Can you afford to - not be without THE Indand to-hn°technique, make real the text, -The Lord is my how of this re- KRENEK, ERIK ZEISL, DR. S. R. STEIN, HAL D. CRAIN, ROBERT A. YOST, WOLFGANG FRAENKEL. ETUDE at $3.00 a year when you or it may rob the you imagine you hear articulated musicianship. A comparison consider you entire Shepherd, Graded courses — Beginning to finished artistry. will be receiving approximately performance of life and I shall not want,’ because words. Tlie burlesque of the German cording with any other will, I think, dem- $50 worth of music? color. i n short Approved for Veierans it may those produce all the words are already real. What Liriler singer, the con- onstrate why I consider it superior. dreaded symptoms dramatic Russian Address Registrar, 3173 Wilshire Blvd., -Los Angeles 5, Calif. humped together music can do, however, is to make tlie cert basso, to the opera, there are three under the ge. the English music hall enter- Turning description S Zl1 plain of stage fright. meanings of words glow with an tainer, and various others, is accom- records which for me have irresistible Has Your Child imaginative • Announcing the Twelfth Season the “The teacher can incandescence sharper and plished solely appeal and which I would take with me advantage of piano study with do much to forestall by intonation and vocal a member stage fright. more evocative than, in literalness, desert island if I were of the Each student should their mannerism, and accomplished with such to tlie well-known used as early they could themselves To do such an unhappy situation. STEPHEN COLLINS FOSTER MUSIC CAMP as possible to placing achieve. devastating wit as to deflate every pre- forced into COLLEGE, RICHMOND, KY. NATIONAL GUILD OBERLIN fore that, the EASTERN KENTUCKY STATE TEACHERS others, he it in composer must, sure, make tentious these is the little aria Vedrai, class or at frequent to be singer in tlie world. At the same Tlie first of of PIANO TEACHERS CONSERVATORY informal words the Giovanni,” 5 WEEKS—JUNE 13 TO JULY 17 OF MUSIC studio recitals. com pelting source of music time the skill involved carino from Mozart’s “Don Inc. I„ thisSn^t extraordinary group teaching that interprets not 1846. This record certainly Band • Orchestra • Ensembles • Instrument Classes A goal of achievement A Division of is preferable and Illuminates, and makes the record a true work of art. It Victor record for every student suitable Obcrlin College to pmateprivate to instruction. an excuse part- his age and advancement. Thorough instruction in all branches for the composition of some- is chosen, has its defects, but I cannot imagine or of course, primarily for the . $75.00 (NOT A music . 46 Only CONTEST) specialist teachers “Generally thing merely price. Among 01 1 speaking, pleasing familiar.” material with my copy at any equipment . and ing ]™ . . concerts I involved and the artistry of tlie The Better Teacher* ; ‘T, believe Are Members py world- famous musicians and (hat a Instruction, Board, and Recreation organ- performance. artists of our generation, no better For Room, izations . the Chapters in . at least every large music center . weekly student recitals The recording is . . . ror these reasons Oberlin Miss FOR INFORMATION attracts Owing to it adequate, could have lieen made than : : WRITE serious and * continuing paper shortages though not distinguished in the choice COMPETENT STAFF EXCELLENT FACILITIES talented students. I)e- llch pees: Mus.U.. Ed. Mils. cause stage fright is not lovely voice, polished art, IRL B., A.B. if: possible to have this excellent de- technical sense. Bori, whose : : ALLISON, M. A. With music major. COMPLETE EQUIPMENT ENROLLMENT LIMITED FOUNDER AND Write for catalog. partment taste bring this tender PRESIDENT R a in every issue. It will therefore Among records and exquisite _ " k H - Shaw, Director d06S ” 0t intin of the piano with Box , I 'idate him. Private Lessons at SI. 00 to $1.50 Each Extra Box 1113 Oberlin, Ohio 22. The appear in the orchestra to vivid life. Tlie music itself con- AUSTIN, TEXAS musical goals set months of February. March, I find it difficult to choose be- music for him are in Details accordance April, October, Decetn- stitutes one of the most fragile and love- For write James E. Van Peursem, Director with his capabilities November, and and btt *See Mozart. re- , article, of The he is not pushed when the number of pages in The “Handicaps Hid Not Stop Them,” liest moments in all In the Beautiful Blue Grass Region of Kentucky forward too rapidly Dy Evangeline Lehman; The Etude, January Eh ne will i ( Continued on Page 270) be larger, — Note. ‘ 270 Editor’s > describing Betove. "MUSIC STUDY EXALTS LIFE’ THE ETUDE APRIL, 1948 "MUSIC STUDY EXALTS LIFE’ 271 ? ! —