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

5-1-1953 Volume 71, Number 05 (May 1953) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 71, Number 05 (May 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/118

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The Little Orchestra "'.mas Selt.rman

lving Problem at Two Piano ur W" tt.... r. and Jadr Lowe

You Can Play by Heart .nr T.mlanlra

Don't Look for Short Cuts Geor,. London

hould We Have a Minister of Fine Arts ? fausto CI."a

-r Like Teacher" a•• s frands coot.

Wedding Belli and Harp trings Biz•• '" S.... La." To the Glory of the Lord T 0 THE EDITOR

I Articles study of music IS music. I I , \ I \ I I Dear Sir: I would like to tell We must have the tools to ex- , \ r -, \ , \ \ I I I you and your readers what I do press it, true. But my observation -, , \ I \ I / I / with my ETUDE magazines after is that too many teachers stress \ \ \ \ I I / / I 0 \ \ I get through reading them. I cut the mechanics beyond necessity, \ \ J J I I \ \ / out whatever articles are suitable and sometimes stultify w-hat nat- \ \ , I / \ , , I I for my singing career, and paste ural musical responses might be \ \ , I \ \ I I I them in our individual scrap- present. This is principally a lack \ , I \ \ / , \ I I I I books. I'm also making a music of education in the broad sense, \ \ , I I I I book called "Variety Music AI· not only in ideals of musician- , I \ I I II bum." with the music from the ship, but in the other arts as well. \ \ I I I' If one built a new home, it \ , mag~zines. Therefore, my valuable I ,I ... \, \ , ETUDE magazines never go to would be accepted that it was \ / waste. built on a good foundation, but 'b'_•• " .~ ...... Mrs. Anne Turano when friends came to see this new Broolelyn, N. Y. home the owner would not say, "Come let me show you the foun- Dear Sir: I love ETUDE and dation." have since the time my father sub- it would he the combination of scribed to it for me way back in color, proportion, and satisfying about 1917. I have stacks of them decoration which constitute the which I can't bear to part with. whole in which one's friends would I'm just an amateur musician but find pleasure and satisfaction. through ETUDE I have kept up Thank you for fine articles like my piano playing and since I sing Jan Smererlin's. quite a few solos at church and l'bs. M. E. McFarland DOW TH for various clubs, I have found Corpus Christi, Texas (and I think also given) endless Students describe the atmosphere on the campus of Bob Jones University as 'heovenly:oul delight in the variety of songs pre- "Speaking of Art·Song Writing"

o sented, I recommend it to all my there is nothing "out of this world" about it. Dear Sir: It is one of the most friends as I think nothing in the delightful things I know to have music line gives you more for your the privilege of reading ETUDE money than ETUDE. My sister has The emphasis at Bob Jones University is on the spiritual, but there IS nothing vogueone I magazine. Where could we mu- just bought a piano and is brush- sicians of varied talents and am- abstract about the philosophy of this institution. ing up on her music. I gave her bitions find such helpful articles some of my copies of ETUDE and by outstanding writers than in this 10 In 01 0 have subscribed to it for her. I Its purpose, is the training of Christian leaders who know how live the midst (o~ magazine? I have been greatly know she will enjoy it every plex and befuddled world. aided in my ideas of writing songs month. by the article, written by Evange- Mrs. D. Fitz.Hugh C. line Lehman, and called "Speaking Graduates of the "World's Most Unusual University" hov h arts on fire wit~ , Ill. of Art-Song Writing." Although it the zeal of the Gospel but their feet are on the ground, Dear Sir: I am not an experi- was in the November (1952) is- enced musician, having just begun sue, that page is still being read to take lessons on the violin. and faithfully studied. It simplified However, I just purchased a my efforts and now I will begin to copy (February) of ETUDE. I concentrate on {Ist] the words, think it is one of the finest maga- or poetry, (2nd) the sketch to be BOB JONES UNIVERSITY committed on manuscript paper. I GREENVILLE, SOUTH CAROLINA zines published. It makes one real- ize the greatness of music and think that the paragraph dealiog gives one a chance to read of mu- with the creating of an appealing sic's greatest achievements; its se- melody, which is God-given, is one ACAOEMY AND JUNIOR HIGH SCHOOL COURSES IN CONNECTION 'to think over and to follow. As a lection of articles is very good. Keep up the fine work! I expect to einger -I have .f~4i?-d so many "new subscribe to ETUDE in a short art-songs that are. not. attractive, time. either to the singer- or to the pub- MUSIC, SPEECH, AND ART William Crider lic. May I also ·say that the small picture accompanying this article WITHOUT ADDITIONAL COST Greenfield, Ind. is so alive, and one that gives me "The Healthy Habit of Doubting" a happy and optimistic confidence. ABOVE REGULAR ACADEMIC TUITION. Dear Sir: Mr. Smeterlin's ar- It seems to say "Co ahead, make ticle in the February issue of a. try:; you'll ..never realize. what ETUDE is a joy. He rightly stress- can be done unless you make an es the proper goal in music study effort." which is the musical idea of the Mary Dralee compo~er; in other words, the Royal Oale, Mich.

ETUDE-MAY 1953 1 ratib Q)pera, music magazine aumU61C ETUDE the Editorial aniI B·uemesa Offices , Bryn Mawr, Pa. IDrama A genuine

Founded 1883 by THEODOHE PRESSER James Francis Cooke. CABLE- Editor Emeritus Moller (Editor, /907-/949) Guy McCoy, Managing'Editor' pipe organ ..• By GEORGE GASCOYNL l\larjorie E. Mosher, Business Manager A NEW Wolf_Ferrari: "1 QUldtro Rusteghi" Harold Berkley Maurice Dumesnil Karl W. Cehrkens Elizabeth A. Gest Dvorak: Quartet ill F Major~ Op -.96 EXPERIENCE IN Guy Maier Alexander McCurdy Nicolas Slonimsky Suite for Orchestra in D MaJor, This three-act opera bnDa.whi~h OPERA LISTENING Op. 39 NELSON had its premiere in Munich. III For th .. fir;1 time on reco;d:~I~PnE ..RwA~~J:~ Here is a nicely played record- M0t:'TH ~r~~:nt:o~ld~~m:r:oted ope;o I"ero- STANDS UP under continuo 1906 was given its Amenc.an yeUlon 0 E r;h with fln. ing of Dvorak's American Quar- .. b the New York Cit)' ture in present day ~g I 'n' the' motchl.n Vol. 71 No.5 Moy 1953 premiere y artists singillg th .. arlO' I Th" resen- CONTENTS ous usage as a practice tet as his Opus 96 has become Opera Company in 1951,. ~nd beauty of th" origillal 10llgua~r in d~omatic piano in the school, music kn~wn. The various themes, the tatioll indud ... the llBRETT . music FEATURES drew highly favorable CrIll.cal form contOdin~~~c~~"o~~m:r~:::c~ ~a~ot~~~~iqu .. s, inspiration for which he recei~ed cue;, SOUIl THE LITTLE ORCHESTRA _ . , •.••. TJII;"uu. hernl(lfl studio or home. 9 comment. The present recording Dramatic Cast _ Singing Cast WEDDING BELLS AND HARP STRINGS ..•...... •. _Eli:'lUIbelh $etrrle Llllllb during his residence in Am~r1ca JO de in ltaly by an excellent cast Symphony Orchestra SOLVING PROBLE.MS AT TWO PIANOS Arl/IIIT JFhittcmore (1I11l J(U'k (.liu,f' are effectively brought out III a rna .. d Ji A8 the tower iratru. STANDS OUT for cas)', re- of singers is notable for its spuite TO THE GLORY OF THE LORD Grace lIi'ltllOlI {IUd Chuff JJlIlflhl'{ul 12 ehoeen well-balanced performance by the 011 combin ..d ill a new and $ 5 95 m nt for th Alumni Memorial sponsive action and big and exciting performance. Includ- brilliant production on MUSIC OF OLD HAWAH. '" _ , .. Mary l),wR IlQdri/:.Ilf'~ H. Hungarian Quartet: Zoltan Szek- 331/J RPM nan·breoKable hopei of the uthemBa~ ed in the long list of participants SHOULD WE HAVE A l\IJNISTRY OF FINE ARTS'? Fmuta a-,; 15 vlnvllte . $11 •• t.i8t Th lo~iC81 minary in piano lone. ely, Lst violin; Alexandre Mos- Both Operas only • YOU CAN PLA Y BY DEAHl'...... /lellr; Te"';mlk(l 16 are Fernando Coren a (Ll~nardo)., CCQTt;c LOr/(IOtl Louisville. Kentucky, in memo kowsky, 2nd violin; Laure~lt Hal- MAil THIS ORDER TODAY DON'T LOOK .FOR SHORT CUTS!...... '8 Agnese Dubbini. (Marg~raa). Gl- THE IMPORTANCE OF SIGHT READING. _ . . Croce • tVad. ory of Dr, Ell;' A, Fuller, STANDS ALONE for value! leux, viola; Vilmos Palotai, c~llo. 19 anna Perea Labia (Lu,neta),. ~as------for only $3975*. LETTER TO MY PUPIL'S lUOTI-IER. _ . FremJ.' • Clurk 20 hulm rich" arillonicBells" Full 8B-note, 36~inch wood On the reverse of the record IS a Music Associates, Inc. .. "I LIKE TEACHER"...... ,it,m,'. Fnlllc.i. ooklJ quale Lombardo .. (Maunzw), 1650 Broadway, New York 19, N. Y. 2. fill t.h 8urrounding air with fine performance of the same com- case pianos in mahogany, Plea.e .end me FAUST their inspirational message, Mario Carlin (Ftl'Peto), Aida .. .." LA TRAVIATA § poser's Suite, Opus 39, by the .. .." BOTH installed! , DEPAIl'l']UEN'I'S hulmen h"CarillonicBells" walnut, limed ebo- Noni (Marina), Carlo Ulivi (Sr- oak and Winterthur Symphony conducted I ell dose, checK 0 M,O, 0 LETTERS TO THE EOITon .. , , ...... , ...... •••• _ ... , ar tho perfect Ii/iing, kuling man) , Cristiano Dalama~gas Now, with the Artiste, NEW RECORDS .. ,...... ••.... ny finishes. Retail prices by Henry Swoboda. This work is Nom ... 3 mpmori 1 {or churches, uni...er- (Cancian), Ester Orell (Fehce), COMPOSER OF THE MONTH . . • • . • • . • • . . . , .... _ , M. P. Moller offers you 3 f.o.b. factory, begin at considered an example of pure Bo- Addre ... MUSICAL ODDITIES ..... ,...... Nicolt,. SIQn;',..J,:y eiLies and public buildings. and Manfredi Ponz de Leon 4 hemian national art. It is in five ... State. the thrill of owning, MUSIC LOVER'S BOOKSHELF. , , Dale Aml"r."" Th yore 8 superb musicalin- (Count Riccardo). or~hestra City. 6 movements: a T?e WORLD OF 1\lUSIC ••••.•...••..•.. " , _ .•.. " •. " .•• 8lrument nta reo90nableprice $ Model 67 Prelude, Polka, and the ease of playing, 8 .A 95 of Radio Italiana (Milan) IS con· THE PHONOGRAPH DISCOVERS THE ORGAN (PART 2) _ . '-',ml N. £Ibi,. -not v n requiring a tower. Lf. Illustrated helow Minuet, Romance, and Fu.riant. 17 ducted by Alfredo Simouetto. a true, high-quality pipe PIANIST'S PAGE .••...... _...... , ...... •... Cuy Maier For furth r dcta,ils, write-' The various dance forms are given 2, Notes and the English translatIOn organ at the price of QUESTIONS AND ANSWERS ... , ..... , . , .... K,,,I ,Po Celirkf'.l1# 22 a spirited performance by the or- TEACHER'S ROUNDTABLE ..•..•. '" .. _ . Maurice D"tIIe./lnil are by Edward J. Dent, distin- substitute instruments. 23 chestra. These two works reveal MANHATTAN PROBLEMS OF REGISTRATION...... • . . . . Alexander McCurdy 21 earWonic CJ3etLl guished British scholar. (Cetra- Look at these features: TRUE OR FALSE-VIOLIN STRINGS ....••..••.... , ....•. Ottol,'ar Ctllld: the famous Bohemian composer in 25 Soria, 3 LP discs.) VIOLIN QUESTIONS , _...... _ .. flarold 8~rklt':y SCHULMERICH CARILLONS, IHC, widely contrasting moods. (Con- SCHOOL OF MUSIC • 233 precision-made pipes 52 ORGAN QUESTIONS .. , ...... _ . , _ .. Frederick Pllilli,J/l 211]1 Corillo. cert Hall, oue LP disc.) (Contimted on Page 17) Janet D. Schenck, Director JUNIOR ETUDE , _ ...... _ _ . Eli;abctll A. C,.., 53 • pipes, mechanism (except blower) 54 Sellersvil", Pennsylvania · contained in case JUUSIC •'Carillamc Belli" iI. tnd!- • compact case and console of Compositions for Piano (Solo fmd Duet) mark (or products ~ THE COMPOSER OF THE MONTH beautiful black walnut SUMMER SESSION o Rest in the Lord (Alto Solo from "Elijah") (from SebulmeridJ EJecttonirs.lDc- "Themes from the Great Or:ltorios")...... A1e'l(lellllohn_l ..et=;ne One of the greatest music masters of Darrell Peter, Director • conforms to AGO standards 27 Rhapsody in G m.inor ..•...... " _ . . }oJra"nlUl Brahm~ all times, Johannes Brahms-one of the June 8th to July 31st, 1953 • 19 tilting-tablet slop controls A Holiday Song ..•..•...•...... - . _ , ...... •. Albert De Vilo 28 three B's-is ETUDE'S composer of the 32 So~g and Dance •.•...... , ...... •.... -"" " ... /l1alrl Balde"to,. month. Brahms was born in Hamburg, • expression and crescendo pedals on 33 Chlapaneeas ..•••••...... , . , Alexican Dance arrallged by F""'ceJl Bo .. i • Germany on May 7, 1833 and died in 34 BACHELOR and MASTER P:utorelle ...... •.•.... , _ .•... , Waller O'Donnell Vienna, April 3. 1897. At an early age See-hear-play_ Gondolieri (Gondoliers) (from "A Da)' in Venice") (Duet) Nccin-Hod.on 35 he displayed remarkable talent and at of MUSIC DEGREES THE ARTISTE! 36 lustrum,en,," and Vocal Com,pollitiQ1U 14 following study with his father and ] ].ove ,:,"011 (lch.~iebe dich) (Vocal) (from «Lsy German M~rxsen at Altona, he made his debut CAll OR WRITE, CiaSlue Songs •••••••••••• _ •.•...• _ •••...... as a pianist at Hamburg, playing his MASTER in MUSIC Tempo di Ga"'otla (from "Sonata") (Violin) ...•.. . Beethocen_CoIJe 40 N _-York . Yir-aldi-ZimbtlU.t own variations on a folk song. In 1853 he EDUCATION At Dawning (Organ) (from "Wedding Music") ... 42 ..,adler & ogston As...llOCiales. .• CodmQn,_Eddy 44 e. • e e • e'e e •••• made a concert tour with Remenyi, dur- Piecel for Young Playerl 342 Madison An~~. • •• • ing which he was heard by Joachi~ w~o Canal.Street Boogie (from "Mardi Gras") ...... •••.. " .. _ ./llarie Wcderfl It • ' MAIL COUPON fOR • enthusiastically sent the young pianIst OPERA WORKSHOP The Big Steam.er and the Little Tug...... • . . • • M'ld d II led 45 • INCORPORATED : fREE lITERATURE • to Schumann. The latter was greatly impressed b'y ~ra~ms .and en- Nibble Mouse •.•...•...... , ...... - ... - . .. I re ~ .ttl 45 . Hockin Chair Tri - ...... •.•••....•.•... Ada Richter Chicago couraged him in his work. It was at Schumann s Illst.lgatton that Renowned for Pipe Organs TIt B g d p .•.•...... - ...... • - .... _...... • Edna_Mae Burna". 46 : CABLE-NELSON PIANO co. : e South Haven 3, Michigan e some of Brahms' first works were published. He was aC~Ive as a.con- MASTER CLASSES; Since 1875 46 \ -irgil Malcher, 47 • • ductor also and in 1863-4 he was conductor of the V~e~na Smga· o:sn::. Sk~t~;:::::::::::::::::::::::::::::.• ::::::..~t;;:;:~'e;;d::~ : NAME, ~~ : Raphael Bronstein 48 430 . Michigan Avc. kademie. His concert tours were most successful, ~rusucally ~nd HAGERSTOWN, MARYlAND Robert Goldsand •: ADDRESS~ :• financially. From 1878 he lived in Vienna composlllg, conductmg ·Price slightly higher in the far West. Published monthly by Theodore Pre;::.ser Co 1712 Ch S and concertizing. He composed in almost ever~ form, except that En/ered as secon d ,assI matter Janr~ar}' 16 1884~ t h-, p eslnut t-,., Phila P B. Pasadena. Cali£. • CITY • of .Mar~h 3, 1879, Copyright 1953 b Th .. d ate . O. at Phlla., Pit Imder the Aa • • of opera. His contributions lo chamber mUSIC can .scarcely .be rn/ema/Jona! ,0pJ'righJ seeMed. All /;gh{s res;:JJ~d..t PresHr Co., U. S. A. ItnJ Grtltt B';tain. Joseph W. CoorOll'. 'e STATE .. equalled by any other composer, and his Ger.man R~qUlem remams For Summer School catalog ee .e one of the truly great choral works of all ~Ime. HIS four sympho- write to: !liS Woodbury Road •.• .e- nies, the concerto for violin, and the two plano concertos are now $3,~O a year in U. S. A. and Possessions' al . h P '. •••••••••••• Rcp~blic, Guatemala, Haiti. Mexico. Nica~~ l~at Pa hlbpPines, Co.sta Rica, Cuba. Dominian accepted as standard fare on ?rch~st~al progr~ms. . • . MANHATTAN SCHOOL OF MUSIC fPalndJ"dd all South American countries ex.ceof th~ G ~ama, ~epubllc of Honduras Salvador Brahms' Rhapsody in G Mmor IS mcluded III thiS month s musIc Moun an ; $4.'0 a year in all other COuntries S' IUlaoas; ..3.." :.it year in Canada' and Ncw~ 238 Eo" 105th St., N. Y. C. 29. N. Y. anUSctlpts or art should be accorn . d • [ng e copy pnce: 40 cents Prio d' U section on Page 28. for return of unsolicited manuscripts ~~~~. by return POst.age. ETUDE a.ssumcs no t~cs~n.sib1i~ • 2 3 ETUDE MAY 1953 ETUDE-MAY 1953 1 ter of time when some careless "Homage to Manuel de Falla" by music historian will add "Der Stravinsky. Nachmorgen" to the list of Wag· The existence of sketches for "La Atlantida" has been known to ner's work. friends of Manuel de Falla, but so A modern opera was castigated far no finished portions of this by critics for its lack of oorrespo»- work have come to light, and their dence between the music and the discovery would be as fascinating story. The composer was chagrined to musicians as the finding of rem- by this criticism. "Never again," nants of the mythical island of he exclaimed, "will I write an Atlantis itself would be to geog- opera without reading the libretto raphers. first !" The titles, and even the opus numbers of these "new" works are By NICOLA LO'IlUSKY Berlioz said of Saint-Sacns: entirely plausible. The program "He knows everything, but he.lacks testifies to Odriozola's uncommon mexpenence.. . " knowledge and understanding of modern music. An inconspicuous BRAHMS could not bear to kill land. Th Iollo« ing peem is ". note at the end gives away the any living thing. Once he took gra, d on hi tomh 10lleill\l' From a student paper 111 an a walk with George Hen h I, th ham hur .hjard: "'. English university circa 1907: joke: "Sunday, December 28, 1952 first conductor of the B t n ym· "Senza sordini - without sordid- (Spanish All Fools' Day)." phony Orchestr-a. As th y walk d llil duty tfont, btntm}, litis ito, ness;" "Mendelssohn usually writes along the road n ar inns Oltl Micharl lirs at ft" • in sharps and he is particularly Among history's good guesses fir, ru ric ri~. hi! spn,. h~ii, Brahms suddcnly h utcd : ··Look fond of chords j Schumann's music is a little notice published in Cra- W ere rt·rr oflnr beu. out! You may kill it!" Th bject generally consists of flats, written mer's "Magazin der Musik" of of Brahms's anxiety wa a cal r- It!l notld;n~ htad tn, cIIDir AtItJ in minor keys." 1783: "Louis van Beethoven, a boy of eleven, possesses an outstanding /' pillar crossing th r ad. 11 n h I That ont ,ho"ld stan 100 JOOIL ' 'f stopped abruptly, and th cat r- The st'conrl, 100. nt lanl lull ttl' An American orchestra on a talent. He plays the piano vigor- • .. __ ;', .-. ;~-...... _IIii'. _ .. ";'__ _ • ••• -_.- - - _ •• ; lIis Iiol pla,·td tht tunt. ' ously and in a very accomplished : PLEASE SEND ME Ke y & Chord Slide Rules : pillar was saved. tour played a concert in a small I at, $2.00. nete I manner j he reads very well at A nd II hrn ttl !fIJI his fllU' hod ptUJti, town, featuring a Beethoven sym- : METROCHORD CO., Calh 0 Child 0 M. O. 0 : sight. He plays most of Bach's Itt· 1IIIIItIrt'tI-lrss ,Irltn phony. A local newspaper reported .W~le1t th.e celebrated violin! t 'Well-Tempered Clavichord.' Who- : 1510 Colfax Ave., Name.. : With faithfltl eliall ta fiIldlt~ri'l that the concert was a huge suc- I I Wlcmawski played a concert in I Chicago 49, III. Sireet .. ", . I lie snng !limst/fID nf'Dlrn. cess: "The band played a piece ever knows the entire collection of Boston, only a handful of I pi these preludes and fugues in all : City ...... •.•.....•.. Zone... . Stat··· .••. : turned out to hear him. '~You mu 1 called Allegro by Beethoven. The audience liked the selection so keys (which may be called a non : (IO-day money back guarantee if not delighted) : come to Boston once m re n th m.d ,c much that the band played three plus ultra achievement) will under- .__ .----_.------_ .._------aoager sal in an effort to . stand what it means. He now learns I) \ \ ER mu,i'" encores, all by the same composer." so~e .him. "Never! l) ex Inim;d I composition, and has written nine hoa x ma y be i iIIU5ltaied Wlcnl8wski. ':1 may lose the habit variations for piano on a march- Buy a b _lh .• pooC publLhed ill the)1'1, of playing in public altogeth r." • ing melody. This young genius de- 19 1, ' WHIMSICAL music lover, WICKS PIPE ORGAN There was a young axophone el. He will certainly be a second 0\' r " in the \\aJl~tand drawer Antonio Odriozola of Ponte- pro A Mozart if he continues as well as • • • oC a barding hou in Yenice.01 vedra, Spain, where he holds an he has begun." Who studied the Movable Doh. the manu. ript of Wagner's uo· eminently respectable position as ••. not an zmztatzon He went to a bank known opera, '-Ocr Nachmorgeo," librarian of a biological station, He fiUed a blank ' At a concert of the Society of THIS IS A that i•. '·The ~Iorning Aller." The has perpetrated an ingenious hoax the Friends of Music in New York, GREAT INSTRUMENT.,. And withdrew aU 'his movable acllOn of the opera t4k place that may deceive some music edi- Re~d how the new Wurlitzer Spinette dough. after the performance of a modern after lhe d truetion of the \'~- tors, He sent around a printed pro- Custom Built FOR YOU LS as easy to own as it is to play work, an elderly lady in the audi- Whenever there is a need for haUa. It seem that the casl of gram ''lith annotations in Spanish organ music ... whether it be • and in English, announcing a con- ence was heard to remark: "I really ije~e you'll find that a WurlltZCI Organ 1$ Wagn rian heroes escoped the church -home-college -studio, We'll prove to you that don't call that being friendly to etc_..6rstinvestigate the Wicks ;:0 onger a luxury only the very neh can the Spinette b you can master GOllerdiimmerung. all excepl Wo- cert by a mythical Celtic Symphony 0r 01\lllllg. mUsIC.. " Organ .. a genuine electric pipe "ream The makers of the haven't any m:Si{alU;se.'f: Maybe you Thel. fame of the Pied Piper of tan who peri-hed in the cataclysm. Orchestra of Pontevedra, conduct- 1'vhghty Wurhtzel" now ofTer you W no difference If ramlng. It makes organ. Its tonal grandeur ... H U1 hlzer qualIty at the lowest pnce Uf- ou'll be ] .. you can follow pictures ame as th !he hero of hTlle lliorning After" ed by Leopold Stokowski, with visual beauty and completely Y . . e greatest musical p aym"" a tune· t 15 ' lat·extermInator in h· t I Serge Prokofiev and Joseph Szigeti A pianist played a modern com- dependable character meets .Th new Wurlltzer OrgaJl-th~ Spinette after you start oOur" lUIs." minutes d . IS ory or eg JS_ Gutrune' sou by iegiried. and -1$ t lC first home organ to combme Th. easy.p ay Course position for a friend who cared every musical requirement. l en IS challenged by h IS Course is so d·ff. f . J H - III name i iegheil. as soloists. The first demonstration will tI.adltlOnal tone for fine musIc with haht other that we want o~ erent ~om any The appearance of Prokofiev in little for new music. Finally he nmg lcsponse for popular tunes. It °ut~ you invest in an 0 y to see It before ~oo~' .aneighteenth cent:ryDflut7~· D pile the ob\riou connotation be an inspiring and memor- ver could bear it no longer. "Stop able experience.Distinguished N .1,000 t?llal voices at your finger~ps do is fill in the ll_ h~ve to e c aImed that he lured 1147 . of the h ro' name_ representing a small Spanish town is in itself .ko 1051<1I./allOl1, either-you plug it i~ elup~~a~.t }:Uu playing this horrible thing!" he organists everywhere praise ~esson I free. Write no\\~ we mad )'O~I to their death b t rat a startling improbability. Proko- 1 e a radIO. cad . y performing florid the lJitlerian cry h ieg HeiJ!" and the craftsmanship and design IS to teach yourself to 1 ~ee how easy It pleaded. "If you go on, I might ' III enzas on hIS flute_ fiev has not been out of Russia for of the Wicks Organ and un- t IIYour W urlitzer Dealer will be glad to pay your home. the ambi uously humorous title begin to like it!" hesitatingly recommend it. i YO about his wonderful easy payment "The lorning After," many read· fifteen years. According to the pro- p an: And. about the automatic controls Accept this FREE "easy.pla ,. gram, he played the solo part in These artists recognize sound ave Ih ano-mn- ke b d I ' Church choir I d ers, and even some. musicologists, technical and artistic values th t k0 h y. oar 5, at ler fea lutes ~esson. Play a tu~e y the world premiere of his Sixth As a young boy, Gershwin a rna e t e Spmette morc fun to play. a rule, little a ea. e~s receive,as '~-ere taken in hy this joke pub- sought for in an organ ... In 15 minutes! a d ppreclatJon for their played a piano arrangement of the and acknowledge the Wicks hshed In an otberwise staid British Piano Concerto. The rest of the Many exclusive features guar· r llOUS work, and \Vb Organ to be superior. away th· b en they pass phantom concert featured five more "'William Tell" overture for a an/ee lastitzg service. Thousands ------':>::'~"§.. , en 0 SCure ~agazine. Baqwe.ro FOSler, a Mel' friend. He listened patiently and of these superb Wicks Orgam Prices begin at $2975 for a with them without names pass lean ."Titer of considerable repute, world premieres: "Alborada Gal· beautiful all-electric twO manual The Rudolph Wurl" - then asked: "Say, w~o taught you are today in use ... everywhere! Wicks Pipe Organ. Dept. Ea35 North Titzer Company entry of any k· d .as much as an pnblished a seri oC articles in a lega" for twelve brasses by Hinde- WURLmER . In In a III . d· Send br free booklet ••• Plcasesend,-Easy.PI ,,:nawanda, N.Y_ tlOnary. llSle IC- mith; a posthumous "Fantasy on to play this way?" Gershwin named There is no obligation. AJ~omore inrQrmalj~ °he Organ Lesson I. fexican journal about this mo- ORGANS Splnclle. No obligation on,t e new WurJitzcl" Basque Themes" by Ravel; two ex- a local musician as his preceptor. rw:k:Dr;;nCo;;;o:;,Htghio:::d, iiii:is-I PLEASE WRITE DEPT. E-l ~ , 0 menlous discovery. The Moscow COurse. . There Was at lea "Let's go out and shoot that guy," hon. PosthUln 5t, one excep_ monthly, ,- ovietMusic"announce

PIANO COURSE The LillIe Orchestra- Opera workshops continue to Robtn Hood nell in Ph'ld I ua u Perfect Uninterrupted Sequence - Natural Progression grow in number and in the im- phi1£1 WI'11 open its six-week Thomas Scherman, conductor season That there is a specific need and MICHAEL AARON PIANO PRIMER...... 60 portance of their productions. Re- On J une 22 .under an announced cently the workshop of the Cincinnati MICHAEL AARON PIANO COURSE plan of opera lion which is lillIe~h place for small instrumental Conservatory presented three new Grades 1-2-3.4-5 h 1.25 of startling: The entire season;r ~~ eac chamber operas in one evening: "The concert Will be presentedwith · out ensembles has been proved MICHAEL AARON ADULT PIANO COURSE Open Window" and "Three I ter ~o I to. IIie Irstener, The box office Books ,1·2 ····· · each 1.25 Who Are Not Sisters," both by David • abel! hed. T;ckelS w;1I be distrib- by the record of Ahlstrom and "The Cask of Amon- MICHAEL AARON PIANO TECHNIC uted 10 the public through the nCII'" Books 1.2 tillado," by Charles Hamm. On May pa p.er on a ufirSl com , first sened~ ···························· each 1.25 == 21, the workshop of the Montclair basi . Th program will maintain (N. J.) Slate Teachers College In- d.le arne high landard as in pre. traduced a new work: "The Cumb r- VI u y orR and will include soloists • . \ MOZART PIANO REOTALt land Fair," by Alec Wilder and of national and internationalim. Arnold Sundgaard. This bill included portance. ... Two 10" Lang Playing Records also an old work, a short opera, "The Kiss at the Door," by Lecocq. Lt. .01. ilIinm F. Sanle]. Another operatic work of the nine- rnnn n, I was el cted presideet ~u~. Maier's ,dramatic recorded performance of favorite Mozart selections contained teenth century: Smetana' "Two of th American Bandmasters As- In IS own plano text - "YOUR MOZART BOOK" ...... eaeh record $3.95 Widows" was presented recently by sociarlon at the annual conrenlion the Third Street Mu ic School Settle. of tha: rganiZ81ion held recently in founded by Thomas Scherman YOU~.MOZART BOOK - Here's the book itself! Includes favorite Mozart. ment in New York City. Iiami, Florida. He i tbe first composillons and fingering e' d h pretation of Mozart. xerctses an t e author's suggestions for faithful inter- militory man on active dUly to serve ...... 1.50 The Koussevilzky lUusic Foun- in thi 1>0it ion. dation celebrated its tenth anni- from an interview with MI'. Scherman secured by Rose Heylbnt OTHER PIjl,NO BOOKS by tJ-I ?1tawe versary on March 29 with an or hea. a-get Pr kofietr, one of Rus- tra1 concert, the program of which • YOUR BACH BOOK - $1.50 in's great t compo er died on • YOUR CHOPIN BOOK - $1.00 consisted entirely of works commi _ larch 4 ncar Moscow. was61 • THINKING FINGERS- $1.00 He • IT'S EASY TO READ - $1.50 sioned by the foundation. It was the year of age. He we probablyone (written with Herbert Bradshaw) should first be assembled a nucleus of about (written with Memo Beyers) first New York hearing of all of the of Ih most heard composersof the NTHE BELIEF that a small symphonic fifteen top' notch men, and a good conduc- works, and for one, Edward Burling- pres nt day, hi works in various I organization had a place in American game Hill's Prelude [or Orchestra form appearing on programs life, I decided to found The Little Orches- tor. The conductor will be easier to find books by ?Itawue Il:::~ it was the world premiere. fro Hili throughout the world with Increasina tra in 1947. Today I am convinced that than the men. Top men are seldom out of wrote this work on commission and BEGINNER'S GUIDE TO POPULAR PIANO PLAYING frequency. The eft-repeated ~ little orchestras not only have a place, but employment; and when they are, they gen- 1.25 also to celebrate his 80th birthday. CHORD CONSTRUCTION AND HINTS . (Continned on Page 52) represent the future of American music. erally prefer to stay near New York be- cause of the stimulus of the musical life. FOR POPULAR PIANO PLAYING The full orchestra, requiring 90 or 100 1.25 This doesn't mean the abundance of fine MODERN STYLES AND HARMONIC ·CO·~STRiicT;ON···· .. men, is often a burden upon its community. concerts; rather, it has to do with the en- FOR POPULAR PIANO PLAYING Even in fair-sized cities, several excellent 1.25 CO~IPETITIONS (F . . organizations have gone under from lack thusiastic eagerness with which New York's PRACTICAL TECHNIC FOR POPULAR·piANO·PLAViNG·· .. . or details, lOTtie to sponsor /i.sted) 1.25 U of funds. When orchestral funds have be- musicians join each other in playing cham· BREA~S, FI~LERS, ENDINGS & INTRODUCTIONS .... • mted Temple Ch . TI E' h Award, $150. for best orus. .1~ Ig th com~eLiti()n for Ernest Bloch come inadequate, the normal thing has ber works, demonstrating technical and in- (written with MURRAY ARNOLD) •.•••••••••• Old T' compOSlllOll for WOmen chorus set to tClt from ...... 1.25 been to disband the orchestra whi~h is an terpretative theories, reading new scores. Templ:s~l:~~~' ~Io~hl'8g d 3teOctober IS. 1953. Details, the United This kind of activity, it seems, is less devel- , ox , Hewlett, ew York. enormous pity, when the bridge can be so look and Learn Workbooks I & " readily spanned by the smaller orchestra, oped in the smaller cities where profes- (wriNen with EUGENIA ROBINSON) • Friends of Harvey Gaul I 7 I sional musicians tend to look on their work This involves arousing public interest, Workbook bne teaches note-readin i d' f of from 40 to 45 men. a way as possible., g n as Ireef and effective' $300 b . ' nc., t1 annual composition contest. Prize, as a job and spend their free time in other securing subscriptions, selling tickets, etc. or est qUJIltetLe ( t . (l" d' An orchestra of this size is equipped to ~orkboolc Two offers a more progrenive th d f Details from Fr'e d f ~ nn..,s an plano). Closing date December1. This is accomplished partly through com- m e r play any and all of the standard repertoire pursuits. The ultimate solution, of course, Ing and reading. Includes valuable cha • ° d °d .note count- chairman 315 ~l n ciS °A arvey Gaul Contest. Mrs. David V. )[urdoch, petent executive work, and partly by con- r s on log rams. , 1£1 Y venue, Pittsburgh 6. Pa. except the works of the "big" 19th century is to stimulate musical life. And this could h composers (R. Strauss, Wagner, Bruckner, be done by drawing on recent graduates vincing the desired audience that they'll • Cambridge Strin CI . A from our fine conservatories, young people be given something worth having. No one for strinrr orchest g C;OI~ ward of 50.00 for the best arrangement Mahler) which, in any case, are less appeal· NEW PIANO BOOKS by EtJde.r. iti:~ of ability and enthusiasm. It would be help- can found an orchestra simply by stating Robert Conners ~;4 oSlIlg date, June IS. 1953. Details from Mrs. ing to the smaller type of town where the MERRILY WE PLAY AND SING , O. 10th St., Cambridge, Ohio. little orchestra would be most likely to ful, I think, if the great conservatories that an orchestra is needed! My own Little Orchestra was lucky in Best loved sacred and secular son s on five Ii function. established regular intramural employment words). Contents include: , WO IJ 8 T Inger patterns for piano (with • Composition Contest fo agencies to place their graduates in com- coming before the public just at a time Skip To My l.ou _ When You a~d , ~ rue y Onward, Christian Soldiers_ Omicron. Award 5150 00 ~. wornen composers. sponsored by Delta Any city of from 30 to 50 thousand in- and many others. ere oung - All Through The Night National Convention in '19 mner to be. announced at Delta Omicron habitants could-indeed, should!-organ- munities that need them. The same type of when there was a need for new and unusual Lela Hanmer Cont Cl ?3. No closmg date announced. Address ize a small orchestra of its own. Feeling stimulus that pervades New York could be music. We announced our programs, and HYMN TUNES FOR BEGINNERS Kimball Builchng Ce,s.t lalrma~, !,-merican Conservatory of )[usic, strongly on the subject, I am in the process had ill other towns if the same type of our first series was sold out before we had A collection of beloved and f 'r' h , Hcago 4, IllInOIS. beg' ami lor ymn tunes for th . played a note. The point is that I stressed Inners, arranged in five finger pon f' e enloyment of the of preparing a Direction Plan for little musician went there. The active musical include: Jesus Loves Me _ Rock Of A erns or, plano (with words). Contents interest of musicians is quite as important works that were worthy musically, and also • Young Com pOsers Radio A d orchestras, to be issued in pamphlet form The Beautifu/- Blessed 8e The Tie Th ,g:~-d Faltdh 01 Our Fathers - America works. Closing dat D war s for 1953. Instrumental and ,-oea} as the patronage-interest of the audience calculated to catch audience attention; a In s an many others. ' and setting forth detailed means of prepa- Composers Radi ~ e~ember 31. 1953. For detaiJs address Young group. rare, seldom-heard works, new composi- Price 60¢ each o war s, 580 Fifth Avenue, New York 36. N. Y. ration and progress. Until it is ready, I can find no better way of presenting the case After this nucleus of top men and con- tions, novelties in form or instrumen- tation. After all, the standard repertoire • Artists' Advisory CounCI'I co .. than through the pages of ETUDE. ductor has been formed, civic-minded mu- posers. $1000 awa d CI .. mposHlOn contest for American com· In starting a small orchestra, there sic·lovers should form the organization. can be heard (Continued on Page 49) William Cowen 5~ E O\~gd,ate September I, 1953. Details, Mrs. Illinois. ' a<:t ashll1gton Street, Room 201. Chicago 2, 8 ETUDE-MAX /953 9 Er"I)F;-,lfAY 1953 Wedding Bells It is well for the harpist to be prepared to make practical and suggestions to the bride when planning the lIUl ical program

Harp Strings for her l.veddill (Y. Solving

by ELIZABETH SEARLE LAMB P,·oblems

be obtained or a change ill selections agreed Trohlhaugen, ome of th morc lamiliar ALL HARPISTS, .from be~inning begin- The members of one of the best known of ners to professional arnsts, are called upon. Better that than attempting the im- nud popular I ve So ng. can be used. and at lire occasiounlly requ sted: Beautiful on to play for weddings. Wedding bells and possible and fluffing out at some point ill present day two-piano teams give valuable pointers harp strings seem to have a natural affinity, the CerenlOl'lY. Dreamer b) " phen Foster. II I'erfect Day one for the other, and the wise harpist The wedding marches themselves are by nr-r ie J n '01 s B n I, an I the theme or connected with the development of their art. learns to be prepared for the cues of the most. often the focal point of the service for Liszt' Liebestroum. 0111 of the simpler marriage ceremony early in his or her play- the harpist. Rhythm must be absolutely solos in th harp Iii rnturc nrc also pos. two Pianos ing career. Payment may range from an steady and the tempo right. Cues m ust be sible for this >J t.. O"I,;r and ODrande L) from an interview with Arthur Whittemore and [uck Lowe embroidered hanky to a sizable check. but infallible. The usual marches are of course Tournier. f r instance. regardless there is a thrill to playing for a the Bridal Chorus from "Lohengrin" by Since th nc...tunl marriage ceremony is secured by An.nabel Comfort wedding that is always new. Wagner, and the Wedding March. from short it is usuu llj better to repent one num- There are definite do's and don't's for "Midsummer Night's Dream" by Mcndcls- her as. often n~ n es-ary, rather than the harpist who is furnishing music for the sohn. Neither one is easy for the harp; pla~ illg s-everul {lffcrcnt thing-. The change "I do" ~cremony. They can be learned by about entering this interesting phase of to- both can be played acceptably if practiced I~ apt to eutuil some pa c turning or re- L'O,PIANISM is a field of artistic en- professional partners. There are sister and trial and error at the cost of sweat and as conscientiously as a recital piece. Cer- day's music profession. arnlllg-illl; which would detract from the deavor that is still considered some- brother teams, and teams of two sisters and worry. AQ "easier way is to consider them tainl! neither one should be attempted in D Two-piano programs, we feel, should ap- ccrcmon y • and Ihe- urmo-phere cannot he what as a novelty, and until recently, it has two brothers. A number of successful hus- in advance and prepare for them. The public until it is very wet! in ha nd. The peal to the greatest number of people. This held so steadilv . \Vhatc\'cr 1l111~icis Sf- not had the "Good Housekeeping" seal of band and wife teams are also in existence. young and/or 'inexperienced player will transcriptions of these two marches b ' tl precludes the playing of programs de- '. ) lC ICded_ il I1lU~t. 11(>{·dle..-"'-Sto ~IlY. be played approval as awarded by music critics. Be- In an ideal partner relationship neither find such consideration resulting in a Teal Cllllllent harplst. Carlos Salzeelo_ have signed to please the artist: and first and ~\tilh ullllo~t ~il1lplit-ily. )et with deep feel- cause of this, people are still to be con- player is the leader, We believe that the lessening of the mental wear and physical grea~l~' inlp~oved the chances for a 'perfect foremost it puts un end to programs for mg. and l11u~1 he completel) in the back- vinced that it is an artistic medium. It is best that can come from two piano playing anguish that may otherwise ensue. ren(htlOl~. I edal markings are completc; . which he has a special love or affection. ground. Exppricllcc is the ollh teacher for assumed that the medium has genuine ap- emanates from a fusing, or a melting of The wedding music can be grouped most satlsfact~ry fingerings are indicated; The team's artistic integrity must be satis- the 'lC"tual d~numiC's to Iw 1I~~1. \ straight peal to the musician, and naturally he must two musical personalities, and: since it is roughly in four classifications: wedding the enharlllolllC wa)' out of ti,e al t' fied, but their whims need not be. You must . Inos lln- piaJli~silllo l11a\ be correcl in a church be interested, and must feel the thrill of a merging, there must not be a leader or a marches; music to precede the ceremony; pOSSIble difficulties of repetition of 0 indulge your audience to the very limit of . ne wilh gnod ~ICO~I~tit's \\ here the 5errice is being a member of a lwo·piano team. One follower. Both members of the team must music during the ceremony; and reception no t e are wntten out· ancl full I I your artistic inclinations; but do not in- , c lares are perforlllec! In 3 millister with a good might get into the two-piano field due to be both leader and follower. One or the music. E\'ery wedding calls for individual placed within the range of ti,e I " , dulge your own notions to the limit of the , I. . . 1aT plst S CaIT) ing \ l)il'~'\\hile in a ~mall parlor of circumstances that have nothing to do with other must be able to subordinate as well selection of music. Marches mayor may elg It plaYll1g fJllgers. audiences' patience and interest. Programs a privale home the har~t whisper of sound ambition; others by coincidence, and as dominate; but neither member of the not be used; the bride may have definite Mus.ic during the ceremony is a mallcr containing considerable esoteric music are lTlay be enough. _\sk ,5:omeonc to listen at others through deliberate effort because of team must be stronger than the other. To choices of music to precede the ceremony of t..:hOlce.. If well hancHed, a background nf better reserved for the exclusive and highly lhe rehearsal for bulan e and to be sure their conviction that it is their artistic me- explain this very important point a little as well as during the service itself; there harp mUS1C can add immeasurably to the specialized audience. However, this does Ihe hackground music is not pm.hing itEeIf dium. Unless one is completely convinced further, each partner must be able to do mayor may not be a reception afterwards. atmosphere of a wedding: whether :it is in not mean that a little esoteric musk can· illto lilt" foregr'lUnd. Iso chfi:'k on whether that it is an artistic medium, he must not whatever :is required; hut at the same time, The harpist must be pliable, ready to ac· a church or at home. Here again the b . 1 not appear on any program. mal' I . ,rIC e or not the 11lu::-ic is to continue through the try to 'found a duo-piano team. it must be done with equal facility, what- cept every suggestion of the bride or her lave certaw selections slle cl . Let's say it right here and now. There is i\!l - f eSHCS. pr

1/ ~ ... _10 _ ET(TIJt-:-,l1AI' 1953 £TL 8£-111)' 19j3 Here's the inspiring story of the founding of a now famous choral organization-The Messiah Chorus of Lindsborg, Kansas, which annually attracts thousands to its performances.

given by the noted Swedish lenor, Set Svanholm. The list has been an impressive one. Signe Lund, Galli-Curci, Johanna Gadski, who so enthralled the young men of that day that they unhitched the horses Irom her carriage and themselves drew it through the streets. Then there were Flor- ence Macbeth, Mischa Elman, Albert by Grace Hinman Spaulding, Marian Talley and many others. Madam Schumann-Heink appeared in and Lindsborg to give a benefit concert at the Clara Laiohead time funds were being raised for a new auditorium. She was so impressed and moved by the chorus that she impetuously exclaimed, "America has no other Linds- borg. I want to have a hand in this one." It was one of her last few concerts and the audience seemed to realize it for many of them wiped their eyes unashamed. She had been in Lindsborg on several occasions, and they sensed they were losing a true friend. The members of the chorus consistently have refused to exploit their festival for personal profit. Only the conductor. con- cert master, organist and soloists are paid. Under the sponsorship of The Kansas City The chorus and orchestra in a strenuous rehearsal Star their Easter concert is broadcast: but Bethany College Ora Iorio Society and Symphony Orch n-a only on rare occasions have they left home. During the war. so many of the men years, until Mr. Swensson's death in 1904 and the soul-stirring Amen finale. singers were in the service that there was . when his wife carried on alone. Although The chorus of five hundred white-robed a question of whether or not the chorus the Oratorio Society has been called by crit- saw no reason why the)' should cut them- Mrs. Swensson was a tiny woman, her women and black-robed men rises silently would be able to continue. Bethany an- ics the finest musical event of its kind in selves off from the music and culture they crown of snow white hair dominated the to its feet as the last notes of the opening swered that there was greater need of it the world. It is composed of voice students had valued in their old homes." soprano section until she died in 1929. solo are heard. With a barely perceptible than ever. People were registered from from Bethany College and of the townspeo- Dr. Olaf Olson, the original leader and The present conductor of the Oratorio movement of his baton, the conductor twenty-three states that Easter. Rolf Espeseth, conductor ple. Many snowy-haired members have pastor of the Lindsborg community, is brilliant, young Rolf Espeseth, a gradu- brings forth an avalanche of melody. "And The president of the college, in his wel- been singing in the chorus since their youth. brought his band of eight followers from ate of Concordia College, Minnesota and the Glory of the Lord," sing the sopranos. coming address: announced that the Office Often as many as three generations Irom Sweden in 1868 to escape religious perse- Eastman School of Music, Rochester, N. Y. "And the Glory of the Lord," repeat the of War Information had arranged to broad- THROUGH the hiller cold they came to one family are represented, for the chil- eution. He proceeded to establish the town He is a member of the voice and theory altos and tenors and basses. "And the cast the rendition of "The Messiah" by rehearsals in lumber wagons and sleds, dren are raised on music. Men sing in the site and set up the Lutheran Church. Be- faculty of Bethany College. A dedicated Glory of the Lord," echo the very beams short wave' across the sea, "To show the over rutted country roads. But to these wheat fields and women in their kitchens. cause so many of the residents were named musician by the name of Habgard Brase and rafters. The tonal quality and rhyth- people of other lands how a free people hardy Swedish people of Lindsborg, Kan- Many of the singers know the Oratorio so Lind, Lindstrom or Lindquist. the new came from Sweden in 1900 to teach in mical precision are near perfection. The can keep its cultural traditions while en- sas, the roads were not nearly so difficult well that they can dispense with the score. Bethany and was the conductor for many enunciation is so clear the listener may gaged in a great world struggle." as the score of Handel's music that was town was christened Lindsborg or Lind's . For the two thousand population of follow every word without the program. During Easter week, Bethany College placed before them. It was the year 1882 Haven, as it is translated. years, is now conductor emeritus. Under Lmdsborg, the concerts at Easter time are their batons, the ~horus has presented It is essentially an act of worship for holds a Mid West Musical Contest for ama- and the chorus that was later to be known Dr. 01 on had heard Handel's uMessiah" the climax of their work and study for a the singers, and the audience is caught up teurs. Students from all over the West throughout the United States and abroad sung in London: and passed on to his sue- other major oratorios, but "The Messiah" \~ho~e year. Those born with a talent for and carried along with them. When the compete in piano, voice, orchestra, organ as The Messiah Chorus of Lindsborg, Ken- cessor, Dr. Carl wensson. the desire to rendition is the theme for Easter week. smgmg lo~k forward to the exacting re- bring its powerful message to hi people. George Frideric Handel gave to the exaltation of the Hallelujah Chorus swells and choral singing. The college attempts sas; was just being organized. hearsals WIth the Swedish love of get-to- Dr. Swensson. who was a born pioneer, world a number of oratories, but "The out, the listeners do not need the printed by this means to select outstanding talent From a modest beginning of sixteen gethers. And those who do not sing ha . h ve a came to Lindsborg Iresh from college. With Messiah" is the best known. This immortal reminder on their programs to stand in for scholarships and for further training. singers, the chorus grew to a membership pa.rt !n t e planning and orranization, for his blond hair. towering physique and mag- work was written in the short period of reverence. The Lindsborg community holds a sin- of over five hundred voices. The small tins IS truly a community enterprise netic personality he resembled one of the twenty-four days. The words are taken Since the beginning of the century, a gular position among people who cherish church in which "The Messiah" was first The Kansas. City Star, a newspaper 'which vikings of ancient times. from The Scriptures. It is the story we have large number of the great names in music things worth while. And so it is that at sung gave way to a huge barn-like structure has been their staunch friend d di with hard benches, which was in turn re- an ra 10 In connection with his church. he and known from childhood: the prophecies of have been attracted to Lindsborg. It has Easter time, thousands of music lovers sponsor, s.a;.ys,"Lindsborg is making a di- his wife Alam also established; college. the coming of the Savior; His birth, His become the custom for some noted artist from all over America come to pay hom- placed by Presser Hall, considered one of rect contr-ibution to the rural Hf bl the finest music halls in America. . hIe pro em an entirely personal venture. From that sorrow and His sacrifice; the triumph, to give a concert on Easter Sunday after- age to a small town chorus of Swedish 111 t .e United States by Showing howat_ time aince, the church and college have climaxed in the Hallelujah Chorus; the noon preceding the rendition of "The Mes- Nightingales who sing to the glory of the The presentation of Handel's "Messiah" tractive a rural center can ke j If. rna e rtse 10- siah" at night. This )'ear the concert was Lord. THE END on Palm Sunday and on Easter Sunday by dependently of the city· fo it . worked together. To them. the Swenssons ending, with words of assurance and praise , r 1 S pIOneers devoted their entire energy for tv.-enty-five

IIt. 12 _ ETUDE-MAY 1953 13 .-rrrn._Ir4Y 1953 L • '.

We learn something of the plaintiveness of some of the Hawaiian from an Interview wilh Fausto Cleva secured by LeRoy V. Brant (fifth of a series) melodies and the primitiveness of their musical instruments

Should We Have a Ministry of Fine Arts?

A forthright discussion of the question of establishing such a department under the control of the federal government.

in the 'form of discussion with older per- "THERE is great need for more opera in paternalism. This analysis I here present, sons who are voters, or in the form of (L.) Hawaiian women with Puili, bamboo clappers, for hula dunohun~ (C en Iee-) IN;'alive Wit. II pa IIU drum. (R.) Huwniin n g'irl flIR}in~ Itll1l,1 drum. the United States. The reason we have hoping to excite discussion by Cleva's sug- writing letters to Congressmen or Senators, so little opera in this country is, I believe, gestion and the analysis. that there are not funds for the mainte- Popular sentiment is today away from or it may take other forms. I suggest here only a few arguments. by Mary Dana Rodriguez nance of opera companies. To operate such further centralization of Federal powers. companies we should have a Ministry of Rightly or wrongly people believe that First, Europe has done this type of thing Fine Arts, with full cabinet status and prop- Washington has usurped to itself functions fOThundreds of )'ears. Europe today is al- too wide and too sweeping, and the aver- most bankrupt, and her military policies ARK TWAIN, after his visit to Hawaii gion and recreation of their Island king- erly financed, as are the other cabinet posts. 'M greater range or melody than the mde oIi. age citizen is definitely inclined to look add up to one of the greatest blunders in in 1866, wrote a prose poem begin- dom. The duty of such a ministry would be to a solo pedormane or 8 recitative chant. askance at any suggestions for the setting all history. Yet, in spite of all her priva- ning, "No alien land in all the world has . Long bef~re the white man began sing- assist in every feasible manner the cultiva- unaccompanied b a musical instrument. up of any further Federal agencies. tions, privations which bitterly restrict even any deep strong charm for me but that 1I1gthe praises of the Hawaiian Islands tion of the arts in every provincial center and with a limited tonal range. the food she eats and the fuel with which one .... " And a letter he wrote about the Hawaiians themselves had expressed t~ in the country, as well as in the large cities. Yet, there is no doubt that there is a The mele hula "85 g nerall SUIiP ar.-l she combats winter's cold, she keeps open Hawaii contains the phrase, "the loveliest the full the beauty of their homeland in no- All this could be done successfully here, as definite place in the scheme of things for danced by more than one person and llJ- her opera houses, her symphony halls, her fleet of Islands that lies anchored in any ble poetic chants called metes. These nieles it has been done successfully in Europe for Federal functions. Washington, Jefferson, ways was accompanied by musical instru- Lincoln, all thought so, and the first two art galleries. She would as soon do without ocean." took many forms and were not hampered ments. hundreds of years." These islands, numbering eight in all, aided in the formation of this same Federal them as she would do without breathing. by any formal rules of composition. Care- According to euthor iti of ancient Ha- The speaker was Fausto Cleva, conductor with a total population of over half a mi]- government. It would appear, then, that All these are a part of her life. ful study of them reveals there was no waiian life, the origin of th hula is inter- at the _ Metropolitan and San Francisco lion people and located 12,000 miles out measure of feet or definite number of syl- Operas, conductor of the Summer Opera at the only two questions involved are: And if we think of Europe as beggared, mixed with III thole and religion. The in the Pacific Ocean from the West Coast of Cincinnati ("Opera at the Zoo"), sitting in 1. \Vould such a ministry be a proper as guilty of the greatest blunders in his- lables or words to form lines. In fact, there first hula was supposed to hav been danced rhe United States, ha,;e ch~rmed many function of the Federal government? and tory, we must also remember that she pro- was no effort made to rhyme. But bee by the goddess Hiiaka. on the sands of the cool of the Swiss Chalet in Cincinnati thousands of visitors since Mark Twain's rh H .. ause 2. If it be a proper function would it be duces more than 90% of all classical music e a wauansOOPare a naturally poetic pe J e. Puna. After that it became a function of after the blistering heat of a summer day, journey to them. many 0f tlrerr meles can be regul I' now advisable to set up such a ministry? that is heard in al1 the Occidental world religious devotion. To become a hula and just prior to his conducting of a mar- Much of their enchantment is due to the scanned. Their highly figurative . ar y velous performance of "Manon" in which The answer to these two questions is one today. It might well be that in the midst o k 0 expres- dancer. a man or woman had to become a!" quality of their music and the spontaneous SIOns mar the meles as poetry rather tl the sensational young tenor David Poleri of vital importance to every young music of social and economic blunders she has ability of their natives to sing and dance. prose. Ian sociatecl with a spiritual leader f Kumu- student, in fact to every young person in seized upon certain artistic truths. I do not hula) and enter his halau or "temple of the literally "stopped the show" in his love Hawaiian melodies either in slow or fast . The meles covered many subjects includ scene. Cleva has been conducting opera for the nation. If the answer be in the nega- say this is so; I merely echo what maestro hula," much as a novitiate enters a sacred tempo have a plaintiveness about them that 109 genealogy, tradition, history, mythol_ more than 30 years in America, before that tive, young musicians will have conditions Cleva said, that it may be so. lingers in the memory. ogy, and religion. For example tOh order. Every step of the training was ac- as the}' are today, good or bad, as their ex- If one argues against such a ministry hi. , ere was companied b) many kapus (prohihitiorul in Europe. He is one of America's greatest This ability to please through the art of t e me e moa, names chants for the I . operatic authorities, and his opinions are pected environment in which to mould a 011 the grounds of corruption in ~'ashing- music always has been an outstanding trait fi 0 f ki g on- and only after th ir graduation ceremony cation 0 a ing ; mele kaku-kol d worthy the consideration of every young musical life. If it be in the positive, they ton bureaucracy one might answer that of the Hawaiian people, making them the t e, eroga- were the dancers permitted to mingle" ith ory statements; mele wa.nana pro h . operatic aspirant. may hope for a somewhat richer field in Herbert Hoover was Secretary of the In- most musical of the Polynesian races. and many others. ' P ceres, outsiders. Maestro Cleva gave me permission to which to mould the life, although a field no terior without being accused of being cor- In the early days of Hawaiian 'culture The formal definition of a hula dance is Special meles which were meant t analyze his suggestion regarding a Minister easier. rupt. Hoover Dam is a government function there was no written literature. This lack the physical interpretation of the word!' of company hula dances have lines of °b ac- of Fine Arts, or as we would can it a Sec- Tl~erefore, every young person preparing of which very few question its need or the bound the poetry, music and hula (dance) of I a out a song, enhanced by certain ornamental urn arm ength produced d b retary of Fine Arts, with full Presidential for entrance to the musical profession manner of its comlng lnto existence. If ill of the ancient Hawaiians intrinsically to- h . " ,no ou t by gestures and Aourishes. t elr assoClatlOn with defi -t ' cabinet status, the analysis to be made in should consider this matter, and having should attend such a ministry. would gether as their happy association played h h' III e patterns of Oddly enough the musical instTUll1en~ r yt m. ThIs IneZe hula has b II considered it, should act. Action may be more good (Conti"ued on Page 56) "Th 0 een ca ed which we affiHate so closely with the hula the light of present trends in governmental an important part in translating the reli- e per a of the Hawaiians." It had a today~ and with (Continued on Page 631

I 14 £TIJDF.-MAY 19S3 IS ,,------F.TIJD£-114Y 19j3 ., NEW RECORDS later, having pla yed the entire opera from memory and sung the text to it. It is only fair to state that, as a singer, Szell wasa (Col/ril/net! froll .. Page 3) poor second to Caruso, particularly when he took on vocal duets and quartets single. ROF. FRITZ HEITMANN of , handedly. His desperate efforts to sing bass Plike Walcha and Schweitzer, conceives The Phonograph and coloratura parts simultaneously some- of Bach as a spirit rather than as a metro- times caused the music-loving Italian wait- nome. Heitmann's combination of intelli- ers acute angui h. gence, scholarship, energy: disciplined After recovering from his efforts over technique, sensitivity, and musical judg- "Don Giovanni," zell played Richard ment make him one of the great artists 0 f Discovers the Organ Strau s's Till Eulenspiegel. as an encore. the generation. His Capitol-Telefunken re- orne days lat r, when a go dly part of cording of "A German Organ Mass': in the opera r pertoi re had b n di posed of, the 1930's created the nearest thing to a Part 2 som one r f rred to the fa t thaI a gifted sensation that an organ record is ever man by the narn of cth ven had written likely to be. Even today, transferred to George Szell some quart t . Thi wu th trigger mech- LP: this celebrated recording 1S a thing of . a prodigious memory anism that t ofT a col al new org) of beauty and inspiration. The 1706 organ on by PAUL N. ELBIN mu ic, this tim homb r mu ic. which it was played was totally destroyed Everything fr m th ven' pu 13l during World War II, but the classic no- to Sehub rt's gl riou Two ello Quintet bility of the instrument survives in part at emerged Ir m zell's infallible mental fil- least on Capitol disc P-8029. has done his recording there. is also a crusader in the field of organ- ing system. A Heitmann recording of Bach's "Art of More than half of Biggs' LP recordings building technique. The organ in his zell on e told me that he ceca ionally Fugue," already out of "print," was re- to date are devoted to Bach. Among the church was rebuilt along French classic had to make an fIort not to memorizea leased two years ago, and a very old pre- others are a recital of French organ mu- lines by Aeolian-Skinner, and the organ new piece ac id ntally, a it became bur- war album has been issued on LP. The sic, a progr-am of English organ music, the built originally for his studio is another densome, particularly when he anticipated latter contains three Bach recital favorites sixth Mendelssohn sonata, two of Franck's example of G. Donald Harrison in a de- Yon CAN play by heart played on the Berlin Dom organ, another drop! ing the pi e fro on hi repertoire best works. and two memorable recordings parture from the conventional. all r one or two perf rman es. great instrument that perished during the with the Columbia Orchestra: Poulenc's Ernest White's 1947 recording of the The first violinist of the Paganini Quartet "Of cour e," y u will ay, uall thi i ordeal hy fire. Concerto in G Minor for organ, strings, "Eight Little Preludes and Fugues" of very nice f r z II and {itropoulcs, but Telefunken has a few recent Heitmann and timpani; and "Music of Jubilee" from Bach was, I believe, his first for Mercury. has some definite ideas concerning how are we ordinary mortal t memorize recordings not yet released in this country the festival works of Bach. It has been followed by two 12-inch LP's this matter of memorizing. our music?" by Capitol, its -American outlet. Consider- The Biggs organ recordings are charac- cut at the church and a third made on the There arc a number of way. The most ing Heitmann's towering place in the world terized by exceptional tonal faithfulness historic organ at Methuen, Mass. One fea- widely used and wa teful way i to play of organ playing: it is a pit)' that not only and performances that are models of cor- tures the great Bach Passacaglia and Fugue by Henri Temianka a piece over and over again until it "sinks these but many more Heitmann recordings rectness and good taste. While some and his Pastorale in F major. The eleven in." This is mental aturation bombing. In- are not available. I concur fully with the organists complain that Biggs has gone Brahms chorale-preludes were likewise re- discriminately, the player repeats the en- American Record Guide in terming Heit- too far .in the direction of the baroque, it corded at St. Mary the Virgin. The Methu- HERE IS no such thing as a really bad quiet summer evenings: an occasional tire piece from A to Z ad nauseum. un- mann's playing "the dream organ playing is obvious that the general trend is in that en disc holds the nine parts of Olivier Tmemory. People who think they have a bridge game with Artur Schnabel who mindful of the fact that 9O~c of it has of our time." Let us hope that Capitol- same direction. Messiaen's "The Nativity of Our Lord." Telefunken will take immediate steps to bad memory simply have not learned how lived next door; or a stroll along the lake automatically registered in his mind after Virgil Fox, one of the most popular and Mercury succeeds Tather well in captur- to use it. AU the things in life which we do terminating in a glass of Grappa on the the first few playings. 11 he ultimately does offer Prof. Heitmann an opportunity to re- most proficient technicians playing the or- ing pipe organ tone. Hear, for instance, the well we have trained ourselves to do, usu- terrace of a cafe. Soon we were spending memorize the piece, chances are he will be cord not only the standard Bach master- gan today, has been retained by Columbia super-brilliant finale of the Messiaen work ally over a long period of time: speaking, our evenings, and many of our days, mak- sick to death of it. pieces but lesser-known works of Reger and for the recording of light music, chief y played on the Methuen giant. A drawback others in which he has specialized. reading, writing, and all the other things ing music in the hotel lounge for our own There are far more effective techniques favorite transcriptions. "Organ Reveries," to the Mercury discs is a tendency to sur- we now take for granted. amusement and that of any guest who hap- of memorizing, and the are available to Columbia Records not only pioneered "Romantic Reveries," and "Music for Med- face crackle on soft passages. White's style Similarly, a good musical memory is ac- pened by. It was a typical busman's holi- everyone. You mo. t learn to look at your the modern LP record but has built up the itation" are the titles of his first LP re- is more aloof than many organists prefer, quired through careful training. day. music as if it were an architect' blueprint. largest catalog of serious recorded music. leases. but this is not to deny that he is one of Fortunately, master-minds at the Master- Undeniably, some ~re more naturally In the course of the first week, we went A good composer is something of an arcbi- From one point of view, It IS a waste the great organists of the day. gifted than others. The kind of memory through practically every violin concerto teet and mathematician. He writes accord- works headquarters include some men with of ability to have Virgil Fox recording An authentic recital of baroque organ organ know-how. with which musicians like Dimitri Mitrop- ~nd sona~a I had ever learned, Szell play- ing to a definite Aoor plan. When you un- None But the Lonely Heart and Handel's music played on a baroque instrument is aulas and George Szell are blessed is en- ~ngthe pIano part without music and help- derstand the plan, the composition as a As a result, the distinguished EngIish- Largo. Yet few organists can play such contained on a Renaissance LP titled "Old American, Power Biggs, a leading ex- tirely exceptional. Mitropoulos' memory lIlg me out whenever my memory failed whole is much more ea ill' memorized. I E. things as people who want to hear them in Netherlands Masters." Flor Peeters, the cr- must be photographic. His knowledge of me. He never skipped one bar of a tutti cannot help thinking that if Bach had been ponent of the classic-style and neo-classic organ arrangements want to hear them. ganist, is thoroughly at home in the ba- the score does not only include all the organ, has become virtually a member of even when it was extended as the introduc- trained as an architect, he would have built -Though played on the Riverside Church roque idiom, and he plays on an instru- notes and dynamic markings; it extends tion to the Beethoven or Brahms Concerto. cathedrals to rival those of lrasbourg and the firm. His ten LP records (with more organ, lch Liebe dicIt and Songs My ment the building of which was begun the to the letters and bar numbers. I remem- We had a boundless appetite for music on the way) constitute one of the most Chartres. And Mozart, as 8 mathematician. A10ther Taught ~Me have all the sentiment year George Washington was born. The ber my amazement when, rehearsing Lalo's playing as many. as six and seven majo; might have followed in the footsteps of ambitious and most successful endeavors of theatre organ renditions-but with a music of Dufay, Sweelinck, Kerckhoven Symphonie Espagnole with him, he stopped works at one seSSIon. At this rate the viol" to record the pipe organ recital repertoire. . 1n Newton and Pascal. Look at the phenom- difference. The Riverside organ is not a and others who lived between 1395 and the orchestra and, with no score in sight, repertolfe could not last forever. Soon we enal games of mathematical gymnastics Biggs made his first Columbia LP record- theatre organ. and Fox's recordings repre- 1673 often sounds strange even to Bach· called out: "Gentlemen, let us start again were down to the dregs, shamelessly pIa _ ings on the organ in 51., Paul's Chapel, that Mozart occasionally indulged. in for sent a compromise between the Jesse Craw- accustomed ears, but it ~s important in the eight bars before letter M, please!" Columbia University. Since the completion i~g .,Ernst's "Othello" Fantasy and Pag~- pure amusement. I have one composition ford kind of playing and the customary development of musical art. "Masterpieces Szell's memory is equally prodigious. mill s God Save the Queen variations. of the splendid new Aeolian-Skinner organ of his for two viohns but there is only one music of the formal recital. There should of Baroque Organ Music," a Mercury Classic Once we spent the summer vacation to- I thought this was the end; I was mis- in Symphony Hall, Boston, in 1950, Biggs part from which to play_ It is laid flat on be a big market for Fox's "middle-brow" LP: provides a worth-while opportunity to gether in Tremezzo on the Italian Lake taken. For Szell it had only been th b- .. lee the table, and while one violinist plays recordings. hear Buxtehude, Bach: and Handel on no· Como. Szell had brought little music with gllln~ng, a peasant appetizer. The next (Dr. Elbin's excellent review of recent organ from top to bottom. his partner stands at The art of Ernest White is fully demon- table Danish instruments. him, and I had nothing except the Beetho- evemng he sat. down at the piano and recordings of which this is the concluding the opposite end of the table and starts strated on four Mercury LP's. Known to Robert Noehren, young organist of the ven and Schubert sonatas which we were sta;te,? out ~laymg. the Overture to Moz- part, is a most valuable contribution to playing tbe last note of the piece. playing musicians chiefly as organist of the Church University of Michigan, is well represented preparing for our Duo·Concerts the follow· art s Don GlOvanm." But he did not stop the expanded New Records department 0/ backwards to the beginning. You see. of St. Mary the Virgin, New York, White ing season. There was little to do on those after the Overture. He stopped three hours ETUDE.) on records. His (Continued on Page 57) every note is (Conlinued on Page 60) l 16 F.TUDE-tl1AY 19.53 17 .. L-- _ F.TPDF.-.IfAY 1953 Continued from Page ]8

sible ; yet a daring youngster might be lured by its very audaciousness. The Importance of Good singing rests squarely on sound production methods; yet vocal technique is by no means the whole story. Your best The phenomenally successful young American bass-baritone, tones are simply the means of getting mu- sical significance out of yourself and into Sight Reading hailed after his 1951 Metropolitan Opera debut as "one of the greatest the selves of your hearers. This involves clear enunciation and. even before that, singing actors we have any of us known or remembered," reveals the complete understanding of what you by GRACE C. NASH sing. For this reason, it is absolutely nec- attitudes which have helped shape his career. essary to master foreign languages. I think of two performances of Verdi's "Requiem" ARGE'S TEEN-AGE party had sud- phrases to correct mistakes. Read the piece which impressed me profoundly. In one, it M denly bogged down. She could see straight through from beginning to end. was evident that the chorus was simply they weren't having fun. Some had even Remember the most important rule Ior George London parroting sounds; their phr-asing, em- taken to reading magazines. What could sight reading is strict adherence to the •.. standards IJIltSt be improved. phases, nuancings, told the listener they she do to liven it up? From the open door- tempo set. had no idea what they were singing. In way, she stared across the living room at 2. Go back to the beginning of the piece the other performance, the communicative her studio piano, the stack of music beside and try eight measures again, keeping the values of the chorus were as meaningful it. Music, that's what they needed. But who same tempo as in the first reading. ][ a Don~tlook for short cuts! as those of the soloists; lines and phrases could play? The few pieces she knew were rhythmic pattern presents a block, take took on new values. Later, I learned that not songs. And she couldn't sight read at the smallest note value within the pattern the director had made a word-by-word aIL How about Sally, the new girl? May- and use this as a single count for the en- from an interview with George London secur d by tephen West translation, familiarizing the singers with be . tire measure, i.e. if a sixteenth note is the the sense as well as the sound of what they In a few minutes the entire group was smallest note value, the quarter notes will were to project. gathered around the piano, singing the have four counts each, etc. Any rhythmic You must know what you're singing words in the sheet music while Sally's difficulty can be understood and mastered about. Think of what you sing! Don't at- nimble fingers played the accompaniment. by this process. tempt performance until your vocal mech- She could play anything that was put be- 3. Read at least half of the piece now, IT HAS BEEN SAID that the great vocal they don't ven un I rstand. TOW, the fact anism is so controlled that you can put fore her. And yet she had studied piano no this time observing expression marks and tradition disappeared with the Golden is that th re a r n't any h rt cuts. You your mind on the thought-values of words longer than Marge. What was the differ- fingering. Be sure to hold the tempo set at Age of Sembrich, Caruso. Schumann- bring out of your work exactly what rou and music. Avoid any material that is be- ence? the beginning. Heink, Plancon, and the brothers De put into it, no more. n less. Your efforts yond you interpretatively as well as vo- Sally's teacher had taught her how to 4. To develop discipline of the mind and Reszke. Perhaps that is true; yet the change are no more valuable than the standards cally. It takes time to build an effective sight read from the very first lesson. She eyes, read at least one measure ahead. Read in singing values has nothing to do with controlling them. repertoire, and the wise singer gives that was a person who had perception, a sense the first measure silently; test the skill by. basic singing material. Gooel standard b gin at the very start time. The inexperienced girl who auditions of values in relation to her work. Regard- covering that measure while student plays The human body is no differently built of basic training. The proper intake of with Vissi d'arte in order to make an im- less of the varying degree of talent and it. Read the second measure while playing from what it was fifty years ago. People are breath, the proper upport of breath. the pression will, indeed. make one-but not innate musical sense, every student under the first measure, and so on through the still born with splendid vocal cords and reso- proper u e of re onences should be the the one she hoped. At nineteen, I ventured her guidance learned how to sight read. piece. Repeat these steps with each new nance chambers. If our age ranks less than goal-both the teacher's and the studentls to sing Der Doppelga.enger; now. only a Her pupils would never be caught unpre· piece and at every lesson until reading Golden, it isn't for want of fine voices; the -from the very first moment of the first decade later, I am overwhelmed by the pared. Music would serve them throughout ahead becomes a habit. matter roots, rather, in the standards gov- lesson. Nothing less should satisfy either. difference of my approach! their adult life. They would be able to par- 5. Clarify important points to remem- erning what we do with those voices. Hence It is impractical. I think. to speak of def· To express something significant in any ticipate in music groups, play for commu- ber in sight reading: it is good to make an honest appraisal of inite exercises. Putting these rules down on George London rohenrscs with conductor field of art, one must develop as a human nity singing, church and club organiza- a.) Tempo, or time is first in im- Dimitri Mitroponlos taken-for-granted practices. paper is of lillie value. since they must be being as well as a specialized musician. tions, and bring musical enjoyment into portance We must admit that we live in a me- presented and demonstrated in person. But One learns of life from living; not living their own homes. b.) Melody line is second chanical age;' that we have endured three I can say that. whatever these needs or wildly, certainly, but simply by profiting For Marge, her practice and lesson peri- c.) Harmony, expression. and finger- GCOI'ge London in his great role in wars which bred a kind of spiritual care- problems. the student should expect clear, "Don Giovanni" from the assorted experiences that mount ods had been spent memorizing and pp.r- mg lessness resulting in a lowering of spiritual logical explanations from his teacher about with the years. In addition, one becomes fecting two or three pieces each year-and 6. Stress the importance of spending at and artistic standards. On the personal everything he does. The vocal act is no a more expressive person by cultivating what good would they be in the years to least one third of total practice period on level, this shows itself in lack of idealistic mystery: it is as explainable a any other great minds; in literature. history, philos- come? She had already forgotten last year's sight reading. Devote an equal part of the ardor. Many young people are satisfied to purely physiological Junction. If a teacher ophy, the theatre, the arts. Such activities pieces and in another ten years her parents' lesson period for further development of give less than their best efforts provided makes it seem a sort of dark murnho- have a great deal more than entertainment investment in her piano study would he a this skill. Along with regular graded ma- they make profitable and 'glamorous' jumbo-s-beware! value. Contact with great minds provides lost cause, unless something was done now. terial furnish the student with a book of gains. From this. f.ollows the disspiriting There are other danger signals. Both in a definite stimulus, a new desire to think Could her teacher correct her own mistakes interesting pieces ungraded for his sight fact that opporturnnes for mediocrity have its explanation and its functioning, singing out some problem, a flash of wit. a mo- and give Marge the important training nec- reading. This book should include a range never been so great. Yet it is precisely on should be above all natural. It must feel ment of spiritual peace. an uprush of fresh essary for skill in reading at sight? from very easy pieces to difficult ones, this personal level that standards must be comfortable. The essence of all technique It would be difficult. but certainly worth varied rhythmic patterns, harmonic struc- improved. involves relaxation: only through sensa- vitality. This giving of stimulus. precisely. a try. Perhaps these steps of procedure tures and tempos. Include a book of hymns In talking with young singers, I find tions of ease can technique become second is the secret of great art; Aristotle called it would help Marge. or community songs for sight reading and less concern for artistic responsibility than nature. Don't pin your faith to anyone who the purging of personal emotions through catharsis. And if you dream of becoming L Begin with a short simple piece. stress the importance of always holding to for a means. towards short cuts . Many makes it a labor of insecurities and ten- After establishing key and time signatures, the tempo decided upon at the beginning. young smgers expect to learn all there is sions. And avoid the teacher who makes an artist yourself one day. remember that set a slow tempo for the first reading and Include popular songs. orchestra -and solo to know about singing in a few short years startling promises. I once heard a teacher it is your responsibility as well as your hold to that tempo (even at the expense of accompaniments. ~and many teachers will promise them tell a student, "I'm going to tear down privilege to give this same stimulus to playing wrong notes) to the end of the 7. Find opportunity for ensemble sight tl~lS. Youngsters launch themselves into everything you've learned before. Either others. Once this idea becomes the motivat- piece. Allow no repeating of notes or reading. It's fun t Contiuned Oil Pa[!.e 51l difficult works for which they are unfit your voice will be ruined" or you'n be the ing force behind your (COI/t. on Page 61) l~ent~lly, emotiOl~ally, vocally. Often they greatest singer in the world!" This sort of smg In a phonetic parroting of languages thing is not only harmful but quite impos- 19 18 ETVDE-.lfAY 1953 PIA.NIST'S PllGE

PIANISTS VS. HARO WORK I am ill sharp disagreement with the an- What to do when teacher swer to a recent correspondent concerning the harmfulness to pianists engaging in strong physical work or exercise like lift- Adventures of receives notice that a pupil's lessons ing heavy weights, rowing, gardening, etc. :My advice to men pianists is to indulge in are to be stopped? In this so-me good, hard arm and back work. If protecting gloves are worn and weight is distributed, the resulting muscular strength and solidity will far outweigh any tempo- a Piano Teacher Letter to My Pupil's Mother rary stiffness. Dur-ing ~rorld War II I worked as steve- one teacher gives out dore, warehouseman and machinist's helper and found that the increased muscularity with some mighty sobel'inn thoughts. helped my piano playing enormously. Of course violent exercise should be avoided; baseball. football, basketball, boxing; but 8. Sometimes "conduct" (a lying-dowll tennis, bowling and hand-ball (in modera- figure 8) with one hand while the by FRANK C. CLARK tion) are not only harmless but beneficial other pia ys. to pianists. 9. Often practice rapid passages non- legato and lightly in moderate tempo. to attempt the evaluation of musical train- LOOK UP, NOT OOWN! 10. Often practice in short and long im- Dear Mrs. Washington: ous enough to be termed sinful. ing on a day-to-day basi. Music i a long- At the end of J ames Francis Cooke's in- pulses with arm bounding to lap at T WAS with deep regret that 1 read. your You are suspending lessons because the term project and its ac umulating benefits spiring "Christmas Love" poem, the words end. (Don't snatch or drop-....--bound letter informing me that you are discon- problem of practice appears unsolvable. I can only be est imated by a omprehensive "Look up, not down today!" thrilled me. easily and gently with the whole arm.) tinuing your son Franklin's saxophone You state that the bickering that inces- long-view appraisal. Overall, the money Whr is it that so many middle aged and 11. Let practice periods be full of short study. Of course this idea is not new. You santly accompanies each practice session you have furnish d for Franklin's rnu ical elderly people look down when they walk? silences (clear your ears). Rest your have considered the action several times has become so trying to you both that you education should prove the fin t invest- Shoulders hunched, arms hanging limply, arms in your lap as you decide why during the two years Franklin has studied feel it must be ended. Quitting, of course, ment you have ever mad. But it is like and how a pattern or passage should with me, but until uow I have been able to is an obvious way to eliminate the issue torsos sagging. legs .draggingl they are traveling on a treet car; to get full valu.e be repeated. dissuade you. However, your letter indit and to return your household to its usual pitiable pictures of beaten down humanity. for your fare you must tay ab ard until 12. Practice difficult passages with slightly cates that you are now determined and placid existence. Except that within its at- You see them everywhere. I am sure in By GUY MAIER your destination i rea hed. highish wrist-and plan your hand leaves me no choice but to accept your mosphere, already heavy with failure, will most cases that the trouble is not the result To be stampeded into retreat before this shapes via the thumb. decision. 1 am indeed sorry. be absorbed even another defeat. of paralysis or age but lack of spirit plus 13. Decide on the music's active and pas- For the teacher, the losing of a pupil Franklin has not failed at music. Though boogyman practice problem is, especially poor posture. Music teachers and musicians The superb E-flat concertos K. 2/1 and K. with whom he has worked hard and long, this practice difficulty has recurred to at this time, a traaic blunder. For right especially ought to look up confidently, 482 offer the artist-pianist a life-time of sive "breathing" phrases. and in whom he recognizes the basic iotel- plague us during these two years, it has now we are gaining an ally. He is a strong aspiringly as they step along; but alas, study, as also do K. 466 (D Minor), K. 14. Always remember that if your thumb ligence necessary to the musician, is a most been inter spaced with times when he prac- one, and as we see him approaching we many of them give this sad-sack impres- 467 (C Major), K. 491 (C Minor) and the is free (hanging almost uncurved and disappointing experience. Can you imagine ticed well, and during which he took giant should hang on yet awhile, for he might sion, too. If they would cultivate an erect, final one, K. 595 (B-Oat Major). played like the point of a pencil I . your the reaction of the carpenter you ordered strides toward becoming a musician. We take over to relieve us entirely of the head-high. relaxed position at practice, not These are for me the Glorious Twelve. elbow will be relaxed. Also. if e'b nw is to build a house if you rescinded the order were patient and had our reward. In spite tedious battle. Our stalwart friend is looking down at the keys but occasionally Other pianists may want to include the last loose, thumb is free! upon completion of the foundation; or the of the fact of 'intermittent effort. Franklin Adolescence. It is he who represents the turning the head gently from side to side, C Major concerto K. 503, the F Major, baker you commissioned to make you a for his age, 13, has become a good saxo- few years during which your son will they would know the joy of "playing in the K. 459, the Concerto for two pianos K. 365 IN THE OEEP SOUTH cake, only to snatch it from his oven when phonist. I-remind you that during the last change from child to man. He brings with clouds." And this posture would become or others. If you haven't started your One morning in the deep south ol l...ouisi- it was barely half baked? These artisans school term, his first in the junior high him youthful hope. ambition. a sense of habitual when they stood or walked. So, Mozart concerto quota yet, you are just a "Rna where the Red River winds along the would consider the exhibition of their half- band, he was promoted to the leadership independence. Important to us is the fact let's look up, not down today! hadf-baked musician ... Better get husy! side of the main street of a serene old town, completed products unfair and damaging of his section. Were you not encouraged that he also bears the initiative that your we walked in the cool shade of magnolias to their professional reputations. They by this success? son must have to carryon for himself. THE GLORIOUS TWELVE RELAXATION AIOS and live oaks through quiet little streets would be hurt and chagrined. Such is my Being promoted ahead of older and Once he takes command the fight is won. AllY pianist-musician worthy of the Lv Sit in a straight-backed chair (not on with soft French names like Poete, Amulet. reaction upon losing Franklin as a pupil. more experienced pupils must have been, Then 1 might hear your voice, as I have name should have half a dozen Mozart con- a bench) and lean back often. St. Denis, Touline and Pavie. Southern Too, in the case of Franklin, there is a for him, a source of genuine joy. You may heard the voices of other mothers. express- certos ill his repertoire. Yet I'd hate to see 2. As you practice, look away from the ladies were sweeping autumn leaves from reason even more poignant to regret his remember in your own childhood how vital ing fear lest your son practice too much. what a cross-section poll-even of the pop- piano often ("blind flying"), relax front stoops in gentle andantino tempo. A quitting. As you state in your letter, Fr-ank- to your everyday happiness was the re- The musical journey Irom there forward ular virtuosi-would reveal. Hardly any face, turn head from side to side, don't plaque on the gate of a somnolent grave- lin comes from a home that is poor, mone- spect of your schoolmates. Do you not should prove a joyou one, on a road that pianist plays a single Mozart concerto, not shut eyes-and smile! yard (with its cemented coffins above tarily speaking. It may be safe to assume, realize, then, the importance of this school- is posted and well lighted. The thrilling to mention several ! Yet the concertos, like 3. Stand up occasionally, walk, breathe ground) informed us that this was Natchi- therefore, that it is a home heavy with the boy success in adding poise and confidence experience of earning his first few dollars the operas, are top-drawer Mozart. No deeply, swing arms. toches (pronounced "Nakatosh"} once the clouds of hopelessness that invariably ac- to his personality? Surely you can see in as a musician should not be far distant. other Mozart music excels them in orig- 4. Practice slowly with "down-ups" (in farthest outpost of the French colonial em- company poverty. Probably this stifling the future greater and more satisfying tri- He could go on to become a professional inality, richness, quality. twos, threes, and fours) with "col- pire and the oldest town of the Louisiana umphs. atmosphere is an inheritance of several musician. a leader of his own band. per- At least 12 solo piano concertos are mas- lapse" relaxation. Purchase. generations, and that its oppressive pres- You also write that because of Frank- haps a teacher of music in the public terpieces. Students may start with K. 414 5. Practice hands alone often: even if you Even the purr of an occasional motor ence has remained imperturbable to all lin's inconsistency you feel that you are schools. The mental awakening induced by (A Major) or K. 415 (C Major) hoth know the piece well. car or the bright gleam of a gas-station did -effort to dispel it. For Franklin, we must not getting your money's worth from the his success in music would further his pur- short, beautiful and not too taxing. K. 450 6. Establish the habit of practicing with- not disturb our dreaming. So, we were consider that this study of music was more weekly lesson fee. In the matter of expense s~it of any career, and to every facet .of (B·OatMajor) or K. 453 (G Major) might out using any damper pedal ... keep totally unprepared when, rounding a cor- than an opportunity to learn to play the I can only sympathize with you and say 1118 life add light and hrilliance. The prIv, come next, The "Coronation" concerto, K. your ears clear! ner, we came suddenly upon a large, attrac- saxophone. It was his chance for escape. that I know the money you have paid me i1ege of choosing would be his: he would 537 and the well-known A Major concerto, 7. Use lots of floating up touch. In phras- tive and wide open campus. Imposing mod- To deprive him of that privilege now, when has been appropriated at considerable sac. be free. Then. Ylrs. Washington. you K. 483-usually assigned too soon to im- ing always "go to there," then breathe ern structures were revealed one upon he has only just found it, is an error griev- rifice. It is, though, a very common mistake would be in Po- (Continued on P01!e 64) mature students-are extremely difficult. and float on the long note. another: lecture t Continued on Page 58)

20 ETUDE-MAY 195.3 21 SHADINGS IN BACH Wauld YOlt tell me if the shadings such as we use in Beethoven, Chopin, etc. are TEACHER'S AND ANSWERS acceptable when playing Bach; my teacher QUESTIONS sars no, because they were not possible on the harpsichord. I will appreciate it if you will elaborate somewhat on this important subject. Thank you. ROUNDTABLE (Miss) A. W., Pennsylvania. AT WHAT AGE SHALL SOLFEGGIO BEGIN~ • I have a son who will soon be five years May I repeat here what I have often old and because I believe that solfeggio stated when discussing this particular point MAURICE DUMESNIL, Mns. Doc., Sh:ltld be taught to youngsters 1 intend to in Clinics or Conventions. Bach is univer- gives advice obout shadings in Bach, start teaching my child this method. 1 would sal. You can play him fast or slow, soft or obsolete exercises, and other questions. like your opinion as to the best way to be- Conducted by KARL W. GEHRKENS, loud, legato or staccato, and he remains gin such work with a young child, and I Music Editor, Webster's New lnternationoi admirable. Even upside down, the right hope you will be willing to help me. Dictionary, assisted by Proj. Robert A. hand in the bass and the left hand in the -M. K., Michigan Melcher, Oberlin College. treble-in some Two Part Inventions for in- stance-the result is astonishingly beauti- The word soljeggio as now used refers ful But let's get to the matter of the shad- particularly to learning to read music by ings. You probably think Von Bulow was stitute. Passages taken from pieces are ex- means of the so-ja syllables, and whereas 1 It is true that the harpsichord did not wrong in his appraisal ... and so do I! In cellent to study in addition to the above, continue to believe in this approach I don't allow the wealth of shadings we use nowa- my opinion the final Fugue of the Opus 106 not in their place. This holds true in many believe it should be started until the child days, and gradual crescendos or diminu- remains one of the most phenomenally ar- other branches: is at least seven or eight. By this time he endos were impossible. But is this a reason duous numbers in the whole repertoire, if Ballet dancers, for instance, rehearse will be going to school, and since the great not the most difficult. There is a reason for their steps and motions by repeating them many parents do not cooperate by having Cor some oth r reason cann t keep up with why we should limit ourselves to "pack- majority of schools here in America still over and over under the supervision of hi class, then III ve hirn. I ut gcntl~-back age" coloring-s-by sections-on our mod- this: with all due respect to Beethoven, let's teach all children to read music by the the children practice between the weekly to the first-year ·Ia s, In III r \\ rds. keep ern pianos? I hardly think so and I believe admit frankly that it is very, very badly the ballet master; but first they have spent "movable-do" system, he will naturally pick lessons. Do you have any ideas? -Mrs. D. L., Michigan shifting pup ils from n cia s to another so Bach would approve of a wider scope of written for the instrument. It (the Fugue) some time at the bar, flexing their muscles. up the use of the syllables with the other that a aiven pupil will alway be \\ ith a tonal perspective. And here's one more ar- should have been written for slring quar- Singers do some vocalizing before they children in his school. class inl::Jwhich he can do the work and is gument: can we imagine that the string tet! So to me it stands on top of technical work on their songs or operatic parts. Instead of teaching him the syllables at The first thing I should like to write neither discourag d becau e the others go orchestra of Bach's time refrained from difficulty, and I know many other pianists Even in sports: have you noticed how this time, I therefore suggest that you sing in reply to your letter is that if I myself so much faster_nor b red because the~ using increases or decreases? The instru- who feel the same. baseball or tennis players throw the ball, to him a number of very short, simple chil- had a child who was just beginning piano, proceed at so slow a pace. In addition to ments of that period-violin, viola d'amore, Other tremendously difficult numbers: or practice their back hand for some min- dren's songs such as are to be found in any I would far rather send him to a good pi- the above, I suggest that each child always quinton, viola da gamba-were capable of Balakirew's fantasy "Islamey," composed utes before the games start; how before a book used by kindergarten teachers. He ano class, than to the average teacher. has a piece that is "hie own" in the sense such shadings, and Bach very likely directed in 1869 and astonishingly modern in key. boxing match the contenders dance around will sing these after you if he is interested, Please note my use of the word "good" in that no one else ill the class is working at his musicians to do so. Let's not forget his board realization; Brahms' two books of the ring? All of which corresponds to the and after he can sing the tune there is cer- the above sentence. I have seen many it. Children like to be with other children- personality was very human and alive, Paganini Variations; Ravel's "Toccata" above mentioned pianistic drill. tainly no harm in allowing him to play it piano classes, some of them excellent, some and it would be a mistake t.o stifle the ex- (from IILe Tombeau de Couperin"). But Exercises are indeed necessary, but there on the piano. And if you really wish to good, some poor, and quite a number ter- this is the basic philosophy back of the at least, these are pianisric, which the 106 will always be crackpots ready and willing hear him sing the so-ja syllables, then by rible. But I still believe that for a year or piano-class movement: but they also like pressiveness of his music through excessive Fugue ... is not! to use the appeal of the least effort in order all means teach these to him-but only aft- two a beginner is better off in a class with to be individuals. doing something that is adherence to a so-called Classicism which to cash in on the naivete of the people. er he has learned to sing the melody with other children than in a private studio different from the other and this is the too often becomes synonymous with dry- ness. Instead, let us bring forth its emo- ARE· EXERCISES OBSOLETE~ "Humdrum," they say? "Humbug," I will words. where he and the teacher are the only per- reason for the individual pieces. I hooe been teaching piano jor more say to them. In addition to the above I advise that sons on the scene. I can't layout a course I quite agree with you that uncoopera- tional contents while preserving utmost dig- than twenty-five years and have kept up Concert pianists are not necessarily good you or some other member of the family for you, but here are some suggestions: tive parents are often the cause for slow nity and nobility of style. teachers, but they have one advantage: play some folk dance music on the piano, (1) Make the class a course in musician- progress and a sullen attitude: but I be- carefully with new publications. But lately there is no better way to demonstrate than encourage the boy to listen first, then clap ship rather than merely a piano class, and lieve that piano teachers are even more to TOPS DIFFICULTY the mother oj one oj my pupils told me or march or skip-whatever the music plan your lessons in such a way that every blame than parents are, and if at tile be- I am studying Bcethooeus Sonata, Op. there was a new teacher in toum who taught sitting at the piano and playing a passage makes him feel like doing. These two things pupil will be kept busy doing something ginning you are convinced that the piano- 106 (Hanunerklavier), in the Bidoio-Lebert a new method. This method did away en- the way a pupil is asked to do it. -learning to sing a simple tune by imita- useful during the entire period. (2) At class idea is no good, then your work is edition. On page 36 I came across this [oot- tirely with humdrum routines such as tion, and finding out and responding with least during the first year insist on two or doomed even before you begin. Piano ucze. "The times are happily past wherein scales, technics, etc. Just pieces, instead. CONTEMPORARY MUSIC: bodily movements to what the rhythm says three lessons a week rather than on just classes carl be made to work. children can this Finale was deemed a 'non plus ultra' of ''OJ course," she added, "that teacher is a DISTORTED. UGLY ~ -are the most important items in the one period-and don't expect too much learn to play in groups, parents can ~ technical difficulty, and classical piano vir- concert pianist." So I have two questions: I don't know how many of our fellow child's very early music education, and if from the parents so far as home practice caused to be interested in their children s tuosi could win ephemeral fame by per- 1. 1s there a new easy method that 1 know Round Tablers read the "Public Letter you or your wife will take a little time every is concerned. (3) If you have not used progress: but it Lakes a fine teacher to do [orming if." Up to Bulow's death in 1894, nothing about? 2. Does a concert pianist Box," "Mail Bag," or "Voice of the Peo- day-or at least several times a week-for racks on small tables, provide these at once all these things. .re you sure that you what piano composition, in- your opinion; necessarily make a good teacher? ple" which currently appear in the news- such activities you will be doing the best and see to it that while one or more chil- you rself are this sort of a teacher? was written which made greater demands (Mrs.) J. H. W., Indiana. papers, but I do and derive much pleasure possible thing for insuring your son's mu- dren are seated at the piano the others are -K. G. upon the perjorrner than does this Sonata? from it. Some of those communications sicality when he is a little older. -K. G. following the notes in their books. (4) Set Even fa this day I note that concert re- I can assure you there is no easy method contain so much common sense and good to play the piano which eliminates the np a plan by which you have {a ) a bright Communications for this department viewers write oj it as if its interpreters have judgment. ... This for instance, gleaned ABOUT PIANO CLASSES group; (b) an average group; (c) a slow should be sent to Bryn Mawr. Pa .. in care achieved a tremendous pianistic feat. So, necessity of a serious technical back- from the Detroit News: • I am a supervisor of music in a small group. If a child in a first-year class is so of Etude. Questions should not be too long. what was Billow rejerring to in its impli- ground. This includes scales, arpeggios, lIThe current Michigan Artists' Exhibi- town, and part of my work is to teach piano bright that he is bored because the class nor should they involve either the recoru- cation that virtuosity had developed be- double thirds and sixths, and octaves. It tion again shows the public that modern classes. I have tried teaching piano this progresses so slowly, move him into the mendaticn of specific materials nor the yond tlie demand of thut rnonurn.entol must be made clear that such drilling has art is simply a front to hide behind for the way be/ore but it has never worked because next higher group; but if a pupil is in the solving of too intricate problems of per- Beethoven opus? nothing to do with music, but it consti- lack of artistic ability. I would like to know o] the great variety 0/ talent and because second-year class but does not practice or formance or interpretation. J. M.. Pennsylvania. tutes gymnastics for which there is no sub- the painter's < Continued on Page 64)

lI...I 22 _ ETUDE-MAY /953 2.3 VIOLINIST'S PAGE ORGANIST'S PAGE When playing an ins.trum~nt of .this so~t, on registration outside the regular lesson the experienced orgamst Will O~lt certain periods. This is stimulating to the students stops, permitting the sound to nse an ~c. and to other organists with whom the stu- tave or so and in the process to shed Its dents later come in contact. The final result muddy sound. There are many organs built The progressive organist may be a change in the listening taste ~ot all wrong which, when properly played • only of individual organists but of entrre True or False Violin Strings with good registration, achieve unexpect- experiments constantly with communities. Among institutions which are doing fine edl y fine effects. A drab 8' type of registration can be various stop combinations, seeking experimental work along these lines shoul~ transformed by properly.used harmonics. It is highly important that violin students be be mentioned prominently the Organ Inst i- What a aood bold octave, twelfth and fif- tute in Andover, Massachusetts, which has o new solutions to the teenth can do to a I allid Great ensemble guided and assisted the experiments of (The statements made in this article were well versed in the matter of detecting defects in their is a revelation. A prop rly-v icc I 1 ezerd, many outstanding organists. substantiated by a research project entitled, Another stimulating new project is the Tierce or Larig t is admirable for ertain "The Deterioration of Violin Strings in Actual strings, and what to do about correcting them. course of study being offered to pianists, effects. The resultant ton which nrc pos- Use," sponsored by the Unioersicy of Alabama Research Committee.) Problems organists and teachers of organ by the sible with well-voi ed harm nics can give Hammond Instrument Company. Aside all sorts of variety to our reg! trutl 11. from the fact that this represents an oppor- I shall never forget the resultant eflects s PLAYING in tune on stringed instru- tunity for musicians who would like to which were a hieved on the organ in I ments entirely a matter of the ear? of have more to do, and perhaps develop Liverpool Cathe Iral by 0' -Custard. FALSE by OTTOKAR CADEK themselves musically along new lines Some of his most lov Iy solo Hr eds" were Is it entirely a matter of finger train- (there are, {or example, in this country not reeds at all, but cornl illations of her- ing? FALSE monies. Coss-Cusrard had many reed on Is it a combination of a nzunber of dif· some 30,000 Hammond organs in churches case of metal strings, or gut covered with neighboring fingers are closely pressed to- Registration alene, and not nearly enough skilled play- the organ and u cd them, but also had a ferent factors? TRUE metal wire, the usual result is that finger gether to produce the true interval. If ers to go around; Porter Heaps for some great variety of cflc us achiev d by her- And a factor often ignored by the stu- pressure and friction, combined with cor- upon transference of this interval to ad- time has been giving seminars which have manics alone. dent is that of true or false strings, In my rosion caused by perspiration, will wear off jacent strings, the ear demands an adjust- been enormously helpful), the enlarged \Vhen young students Iiscus registra- opinion it is the duty of the teacher to ex- some of the metal, thus making the string ment, a false string is indicated. program which the Hammond Company is tion, a subject rhat It n c III S up is the plain the importance of true strings to the lighter at the point of greatest use, i.e., 3. By octaves in the middle register, by sponsoring should encourage experimen- "Baroque" sound which 0 many people student so011 after he learns to tune and to from the first to the third positions. Con- transferring as in sixths without change tation and discovery of new tonal combi- want to hear from our pip organ these recognize perfect fifths. He should insist on sequently the point of widest vibration of finger distance. nations. days. 1 suppose an equal number of p ople replacement of strings which are false. ALEXANDER moves higher than the exact center between 4. By playing a perfect fourth on neigh- Hammond registration, after all, is dislike it. There is no doubt that the Bar- In my own teaching and conducting I nut and bridge, and all notes below that boring strings, then reversing the fingers unique. Its application in many ways is the oque type of instrument hns it place. For have the opportunity to examine violins of McCURDY point must be stopped progressively higher to produce a major sixth. same as in the pipe organ. But while exper i- certain types of contrapuntal playing there students from every section of the country. In all cases the greatest deviation will mentation in the latter instrument is lim- is nothing like it. On the other hand it is When teaching I make it a point to play on than normal in order to sound in tune. be found in the middle of the string. ited by the fact that for every new stop not the automatic solution o[ every pipe- every student's violin to make sure that all With gut strings the opposite is the case. Which string is false? This is sometimes OME YEARS ago Ernest M. Skinner, one must have a new set of pipes and find organ problem. The Baroque instrument adjustments are normal. When conducting Since the gut absorbs perspiration, the hard to detect. Usually, but not always: it America's great organ builder, was space for them in the wind-chest, the Ham- should be given a fair hearing and judged I frequently reach for the nearest violin string becomes heavier at the point of S will be the oldest string on the violin. The listening to a new pipe-organ. It was a mond's electrical sound system has no such on its merits, which are considerable. or viola to demonstrate a passage. Rarely greatest use, which brings the center of chromium steel E may become quite false fine instrument which Mr. Skinner had limitation. The mathematically possible I have always thought the term "Bar- do I find an instrument with all the strings vibration lower, and all notes below that in two weeks' time if the player perspires built and finished personally. He listened combinations of tone which can be ob- oque" somewhat ill-advised in this connec- true in fifths, Frequently they are a half point must be stopped progressively lower considerably, and will seem flat in the mid- with interest as the organist rehearsed for tained by different draw-bar settings are tion. Used loosely to denote a clarified tone or more false at the center of the than normal to secure the correct pitch. dle register. The gut A may deteriorate even the dedicatory recital. staggering in number. They offer a wide- ensemble. it displeases many thoughtful string, where the variation is the greatest. Why is this necessarily harmful? Be- Suddenly, Mr. Skinner says, he heard open field for experimentation. people. They point out with some justice Very often the student does not know what cause normal hand and finger positions more rapidly: but seems to become sharp. sounds of extraordinary beauty coming All of us, young and old, ought to ex- that to be accurately describable as Bar- constitutes a false string, or why it handi- must be changed, particularly when play- The aluminum wound A and D strings show out of the instrument. He rushed to the periment ceaselessly with new and differ- oque an organ should have: among other caps his intonation. ing near the center of the string and espe- wear within a few weeks: and become flat. console to ask what stops were being used. ent combinations of sound. I know of no things, tracker action and a hand-operated To assist in correcting this lamentable cially when string crossing or double stops The silver wound G is more resistant, but Instead of replying, the guest organist organist, however experienced, who pre- bellows. It would be next to impossible to situation is the object of this little quiz. are involved. The inevitable result is in- will ultimately become flat. The new all- put all the stops off, saying: "If this is a tends that he has nothing more to learn re-create a Baroque organ today: and if we The teacher is invited to try it on his in- security in finger placement. metal strings withstand more wear but beautiful tone, I want to forget it. I don't about registration. did: organists would indignantly refuse to struction program. How is this falseness detected? One of should be tested at intervals of a week or like beautiful tone." I find young students today have an avid play it. We have come a long way from What constitutes a true string? A true the fundamental laws of violin technique two. In case of doubt as to which string It must be conceded that this is an ex- interest in registration and its problems. the times when "wolf tones" were so fero- string vibrates symmetrically and has its is that a perfect fifth must be secured when is false, a new string of good quality should treme point of view. Most organists admire They have coined a whole vocabulary of cious that organ keyboards had separate widest vibration at the exact center between a finger is transferred to the identical posi- be placed next to the suspected string. Then beautiful tone. They think about it, talk organists' slang to facilitate discussion of keys for A-sharp and B'Hat. the nut and the bridge. tion on a neighboring string. As soon as it the above tests will soon reveal the culprit. about it, try to achieve it every time they tone. They may say of a tone that it is The term "Baroque." however. for better What constitutes a false string? A false is discovered when crossing strings that Still another test to determine which of sit down at the console. One needs only to "luscious," "cohesive," or "transparent"; or worse has become part of everyday or- string is unbalanced by irregular weight the new notes call for a slight adjustment two strings is false (suggested by ETUDE's sit in with a group of organ students for that it is "bright," "dark," "woolly." ganists' usage. And whether accurate or distribution so that its widest vibration is of the fingers, it is time to test the strings. violin editor, Harold Berkley) is to take an hour or so to realize the great interest "muddy," "definite," "indefinite" and so not, it denotes valuable thinking along the not at the exact center between nut and How are strings tested? They may be a light and fairly rapid up bow from point which they take in registration. Hearing on. lines of clarified ensemble. Certain charac· bridge. tested in the following ways: to middle, taking the bow of! the string much organ music played by fine concert Students are always interested in know- teristic "Baroque" effects can be achieved Is that a fault oj construction? Some- J. By fifths, playing a scale on two smartly at the middle and listening care- organists, and listening to records made on ing how to achieve these sounds, or, in even on instruments of the "Romantic" times, particularly in cheap strings, in strings, endeavoring to keep the fingers fully to the pitch of the tone as tbe bow is fine instruments in this country and some cases, how to avoid them. Are we type. which case they are false from the time used at right angles to the two strings, and lifted. If the string is true, the pitch rises abroad, they listen analytically, seeking to able to show them? I think that if one Students use words like "luscious' and they are put on the violin. However, even when false fifths occur, determining by or falls, sometimes very noticeably. It re- learn how certain effects are achieved and wants to take the trouble, some of these "delicious" to describe the "Romantic" or- the best strings may become false through careful observation which string or strings quires a fairly quick ear to catch the dif- how to duplicate these effects themselves. "woolly" and "indefinite" instruments can gan. The sound of the instrument makes the wear and tear of use, and, in fact, they deviate from the norm. ference, but the average student's ear is At the present time most good music be made to sound better than they deserve one think of \Vidor, GuiLmant and Cesar generally do. 2. By minor sixths, selecting a spot near good enough if he is shown how to listen schools and conservatories with large or- to sound, simply by applying fundamental Franck. Immensely popular a fe\\ ~ears How are strings affected by use? In the the middle of the strings wbere the two for the vari· (Continued on Page 52) gan departments sponsor discussion classes principles of good registration. ago, this kind of (Continued on Po,u 611

ETUDE-MAY 1953 25 l 24 ETl'Df.- \I II 19.;3 ...'------o Rest in the Lord (Alto Solo from "Elijah") FELIX MENDELSSOI;IN, Op: 70 Arranged by Henry Levine

Andantino (j, 96) 5 5 4 • 3 5 ""'3-~---;------:----'-~ 5---=5-:::3--- "1 Like p2 ~ 1 3 k--4 3~ What a world of responsibility

is carried by the teacher of young children! Teacher"

saying: "Your litt.l girl i ding spl ndidly House became our President not merely ;; 5 5 5 5 An Editorial under an able tea her whom she likes. 2 524 becau;e of his world known achievements, 5 5 4 3 5 \= Wait until she is some year older before 5 5 5 5 but because he won the hearts of the Amer- .. ican people with his lovable personality and making a change to a master teaclicr. confidence-giving smile until they proved II you do not have the gift of making overwhelmingly at the polls that "We Like pupils like you, better change to some by Ike. " other profession. Harold Bauer once told Years ago as a student in Germany I me: HI can never succeed with a pupil who had a renowned teacher of organ who was does not like me." There mu 1 always be JAMES a nervous, irritable, hateful personality. I an intimate enierulement: or omplete un- derstanding between the t a her nnd the had played in America, before going 3 \ \ 2 ~ FRANCIS abroad, many fine modern electric action pupil. As Mr. Paderewski u d to say: • 2 3' 2 ~ 3 • organs. The "Meister" made himself so "The teacher and the pupil mu 1 read each objectionable to me as a kind of musical other's thoughts." Only when thi intimate • 3 • 5 5 4 3 ~ \ Hitler, commanding results "or else" that entente cordial exists do we find an ideal 2 1 2 \ COOKE 5 2 3 2 \ 3 5 I formed an aversion to him. He was the balance between tea her and pupil. This • • 3 5 • " 2 3 3 \ \ 5 organist in the city cathedral and his in- is evidenced by the fact that the really HE teacher's personality determines in strument there was an early 19th century great teachers have a following of pupils Ta large measure his success or his fail- tracker action organ which, when played who are loyal to them to the end. -ure. Think over your own teachers. From full organ, required a finger pressure of What should be the technic of the teacher which ones did you get that "something" not less than a pound for each key. After for creating the rapprochement which will ::> which inspired you to work harder, en- a few weeks of my practicing the incredibly make the pupil like the teacher? The first abled you to see your problems clearer, dull and dreary exercises of Johann Chris- step is to find out the interests of the pupil pointed out undiscovered beauty in your tian Heinrich Rinck, the Herr Professor and talk to him about them. If he is a \ 2\ \ 2 5 new compositions, gave you unexpected started upon tirades of insulting remarks small hoy and likes baseball, make it your 2 3 • delight in your work, stimulated your im- regarding the worthlessness of contempo- business to know something about base- agination and led you to higher efforts? rary American electric action organs, until ball. It will increase his respect and ad- The writer has known scores of success- in disgust I said: "Lieber Herr Professor, miration for you. You ma)' think this un- pp • 3 ~ 2 4 21 1 ful teachers whose hold upon their pupils I don't believe that you have ever played important, but many leading diplomats in has been their personal charm, their gift upon a real organ. I didn't come abroad to government and in big business have found of making each lesson a real j 0)' to their learn how to be a pugilist. This is my last this one factor alone a very productive step pupils. There are many important elements organ lesson with you! Guten Tag." in the making of friendly relations. which contribute to this factor in the teach- This nearly led to my dismissal from the I know of a famous American journalist er's effectiveness. Your honesty of ap- conservatory. I went before a faculty com- who was also an unusuaUy fine self-taught cresco proach, your personal attire and studio mittee and in a few minutes had them pianist. He was offered an editorial posi- surroundings, your simplicity in the choice laughing uproariously at my comments tion by the owner of a leading newspaper of words, your orderliness, your patience upon the cranky old fossil. They were in London. He knew that his future ern- 5 2 1 4~ 3 4 2 2 3 in demanding accuracy in notes and in fin- giants, these early organists, who most of ployer's hobby was music. In the six ~ gering, but most of all the gift of making their lives played tracker action organs. months prior to leaving New York for Lon- the students trust you and admire your per- When an organist in Bach's day played a don, he studied the piano with a represent- sonality. 2 \ 5 prelude and fugue such as the D Minor ative American piano teacher. He practiced 3 3 P 3 I have often asked little pupils: "Do P2 I 2 i5 4534 \ Fugue he used almost as much energy as four and five hours a day. When he ar- you like your teacher?" If the response that required to shovel a ton of coal. rived in London his musical ability fas- is "Indeed I do like my teacher" and the Recently I asked a charming little six- cinated his employer. Sometime thereafter child's eyes gleam with eager interest, then year· old piano prodigy how she had made he became a naturalized English citizen, I'm sure that the teacher is a fine one. such surprising progress. She replied: "I and during the first World War his services This is always demonstrated thereafter by love music and 1 like teacher." The child's to Great Britain were 50 valuable that he the excellence of the pupil's playing. mother lived in a small town about forty was knighted and became a baronet He It is well for us all to remember at this miles away from the metropolis. She in- succeeded in a large sense because he used time that the fine American gentleman, quired of me whether I would suggest a music as a bridge to please his employer. able diplomat, notable executive and great leader of renown in the big city as a 3 2 A similar thing happened in the case of 5 3 5 3 ~ general, who is now the tenant of the White teacher. I advised her not to think of it , the late Charles M. (Continued on Page 51) • L--I~_~AL "--.J From "Themes from The Great Oratorios;' arranged and edited by Henry Levine. [410.41021J Copyright 1952 by Theodore Presser Co. International Copyright Secured hrl 26 _ ETUDE-MAY 1953 ETUDE. /IfAY 1953 27 4 3~ .~ s~ .~. '. q~ Jl #_1 ~ ;,;;;;;;; No. 130-40062 Rhapsody in G minor '. - - '- - . Among the piano compositions of Brahms, the Rhapsody in G minor, along with its next of kin, the Rhapsody in B minor, stands as a major work. The symphonic character of both pieces lies not only in the typically Brahmsian piano wri ting (thick and massive' but ----- '----" ------'----- '= ·1[=-I~~~I I~~~I=- also In t he power and sweep of the melodic ideas. Because of the almost constant use of arpeggiation, it is suggested that before ~ ~ playing the piece as written, the chord structure be carefully analyzed. (Turn to page 3 for biographical ake tc h-) Grade 6. ---=-- JOHANNES. BRAHMS, Op.79,No.2 . '- '!' rit. a tempo :! ~ ...... ~ . ~ ~ ...... Molto passionato rna non troppo allegro !. ~~~. iI= • ~ ~ 3 . 5 5 L.H.---, 5 5 L.H.--, •.i~i'~~.4 ~

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_ 3 • . Copyright 1910b~ Oliver DitSon Co~pany;;:;-;;;;======J!-'~I~.~ '-- '-----'"--.:;, LI ---='-;---'" ETU DE.:V~;-:A;-;Y;-;19:C5:C3------='i /L' '----.J, /[12-~'~3..J,""''''''-2 ~~.!!_8 _ ETUDE-MAY 1951 • 42 5 4 , rit ~ullga) 3 ------'- • 5 r':\ a-tempo 3~ ~. .L.U. } .L.n. ~. :; i'.'·'52• - ~ ~ J m r ) ) brl" 11 ,U m~ : : ~ . ~ ~~ -1"1 11 <, ... '---" ~ 2 I I 23 2 2 ------• WLUW';-;-; ;;r~·r.! • 3 meeza voce :::=-- ===- lli:rJ'Jrar dim. , P s -, J1~ ". ~~~~l ~ III "J. :PP ----- ~. ~ID--1J: D "J1~ ------~ i .. '! ~ ~. - ." ~ fL' 71 := r------~1----=.:..--- "1 - ~m([J'IU'~ ~ ~ .~ 1= I:,) = --:r,# ~ '-----" ~ ------~ r;. f , ~~ 3 r~#- 312312 , 4 ~; A . r ~ , , - L--J > a tempo , 5 .L .H. -"-,, 5 5 • ---- 4fTI~~5 I. \ 51 • I ~ ~ J 'aJ~ J J hrl j ~ ~ ~ ~ ~I ~~ ~ ~ ~~ I~~~~ ,~ 2~2 22 , .If ' 4 7>3 'S'2 ...... ::. ::: ~ q•• ~ ~ i. ;;rl' i : iii.' ;;:+'"' ~~i. 4 ;; .. I • i q L.H. 2 "-----, 5 3 5 2 3 .. ..

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b<-__ -J, r ~_--,-,--__ --,;,- ~,--__ ---" l 30 ETUDE-MAY 1953 31 .._------6 s s No. 130-41121 s 4 3 Song and Dance ~ ~ 4 ~ ~ ... ~ I Grade 3'1,. ~ I .l 4 .- • m~ MAHLON BALDERSTON Moderato con espressione 1-1 11 ...... ~ 1..1..' ....1.1 -1oJ,.p cantando a tempo • ff ~~ I. 2 / 3 /' < '--" '--" ----- z; ~ . ...----= - ...... ------. ~ 1;-' .... • ~ ' I. •• fL . -. .. - .'. . • ...... mp . . . 1 ~ ".~ . "II .= .. -.: '- ~=- rit. :: ~ 4-":' -= PIANO - rj :i il ... , mPf.~J 11. "Ii •• ...I J ..J ~ I ~ J ..J , I L.J t•• I tJ~ LJJ GT . , . . .---:::::: " "I ...r ------".,.------...... --- ~.-.------~~~ 3 -=~ -= ::..- "-::3-' '-3-' /, 1/ un poco ammato ~ i> ------.-- ;;:;. ~ -- P dim. --- (quasi rit.) pp .ff ./. ------./f> ..... ~~ ~ lIJ ...... - , .... T .... , , , : ------'- '::-::=- • "if'" I I ,,~.cE L';:J, ~j..e t: ~\i: • 1 2 ~ 1 5 1 T ~~t ~~J ~#f J~ J~..b 3 .. ~ 3251.,"1 • :it -Jff ... ~~ ~R ~:~ L....-J . ~ 3 1 ~2 1 5 32. s 24 s U =~ , - No, 110-40213 A Holiday Song Grade 3~ ALBERT DEVITO Tempo I 3 ~ ~ 1 • .> e' ~ Brio-htly (J-96)- ~ ~..;.:; r-'·...r·.... 1r-.":" .. ------." ------= ,~ 4"3 1 .fI...-fl-*' ------I l ... ~ r "'---- T' 'f. mp , .,.t,~ P - ., -' I I '-' --==== -:= ==- --= - "-- , ~ -' cresco .&- a"""\ .. S: ~\i i:.. JlJ: ';'1~ . f]7 PIANO mf .<: J: ....'" lIlltf'i: tJJ tJ. : 'I ) :J > 'I !.J t. J t J I 'I !.1 ~ d: ~ J ~ ~l 3 Poco allargando L L I (. L 1 f ;-----:; Last ~.a r:~? ~ timB (/JI,/Y . ~ , - ' r- ... r-,,;,, r-.;,, . , , ~ .~.~.. • r.-. ------I '--.' T T 1 --.::.. .. "-- cresco .-~i ~ f -' f· mf :J I.. Fi;w J I 'J ) J ) :J ) J ) I ~ :J ~.J ~ ~ ~ J ~~ ~J > > ., t , L I 1'1, L L 1~ 1 T (- '.:.I Tempo I • ~ ...... -----... ~ 43~4 2~ 2,2 ~ ~~.1 .. &- & ~ ~~ 1 1 2 .. ... I i 4.C~~~~. . rif. ==- I J ., 1 I 1 I ' ..... 1 r I ~~ , ./. f=- ;'" f=;p P non legato """'" f .. I I I I I T I I I I I , , , I I ! I I , '--

~"'~"'~, p.oco a poco rit. al fine mf-==- p ::=- ==- pp

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~ Co . Copyright Hl52 by Theodore Presser Co. Pyflght 1952 by Oliver Ditson Company International Copyright Secured Interna.tional Copyrigh\ secured ~I.-J2 _ ETUDE-.IfAY 1953 ETUDE. MAY 1953 33 No. 110·40219 , .... fL ~ ~ ...... a: t ...a:f .J: • ... ..G Chia panecas I · ...... Mexican Dance -- Grade 4. ~ . . Arr. by Frances Bossi . · [@ ~. (' Tempo di Valse A ~ ~ ~ r r r R.(l. .~ .L ' I ",; 2 rrr, f .u ~~ &..cl- ~ ~i~! J!.. " I· »> >->->- >- . • . I . · I ...... , · ... ~. ~ L.U.r A

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Il ! dd ~~.d ! .J.J ) ..l..J. .... fL. ~ A ...... ~A I · 1 · , . i.l~~ • "", • 1 • 1~1I'" .. q1l,", ~ ;~:lt~~~~ .~ ;jj1iJ ~ ~ - . IJ:~ I::: l!~~~ ~ rt ~~ I""~~ L~~ '-- l/- N'o.130-41120 Pastorelle . Grade 3 WALTER O'DONNELL . Allegretto (J.= 56) 5 4 --. • ... ~ 5 r-.... S....-... 4 7i 3 2 3 . . ~ li 3~m 3m~ 5 11 ,_1i25~ ~ ~ 1, ~ f i r' III '.---_r.. 1 5 I mm m~ · I@ I I 111 v.-r2 V. [12 ~~J! '-/ 'I P r PIANO mf' R ". [~~~ P I p-r 3 2--= r- . rio. (;'". /~. .: -~. - --- . · · -...... ----.Last time to Ooda ft 11 I 2 4 1. 11 3.-----..1.- T-"i r..r. r:nm IT ~ L -,.... 1~~ 231 :-.-...... I\. · , , I I • I " I@ I "VI IIII P l! .- ...... I""" ...... " I . r,. ·CL·~ p cantabile n_ • ~ a· ~. ~I\ I L ~ ~ ~ ~ ~ ~ ~ ~ I •• ~ J.)"'~ 1 .. ..:,.:/ II •• . . .- I@ I -. - 11 fz fz f }2 f~ . · ~ ~I . . .. • ... - --- ,- :>-11 --:;I . 11 -... '1 iI 1/- • a tempo q... V >- .. i 5 :» ,,~ 1 ...... ~0 4~ ~ ~ II . . . . . ' " '------I\. I\.~, I\. ...- I I~ ~ · 1 L.. ~ I L....l..J ~ " I " D.O. al Ooda , . molto rit , I ...... • ,,===- -- •• • ~ •• - f· 'In'l[i ,n'lH. 'I.Q'In'I.Q'In. ~ ~ ~ ~ i'\ . fi f" .. fi ./Z f" 1 : . Ii .... I : V . .. ~ ~ ~ 1 s z --:;I ...... iI .~ • ...... i~i'1 ~~ i i i 1 i - >- >- " 5 6 " 6 5 1 3 8 ~ 1":\ /Ill 1":\ 3, ~1\3 1 2 2 1 ;..--.. ,..-.. I I , , 1 I I >- 1>- · . . . . . · · . I . . · '-- '--' . .@ poco 'rit. ,-.~U'" I II I {"~ • ! f11 l It rr fT r r I';: . i i CODA oP ,~ I.: ~ po 0 rit. I ~ . 1":\ :- I' ~ • ./ rr &1 ~ ...... - ...... , . . • . · . • • c.' -. r I • "7 I I -J .. " Copyright19' Interna.tional Copyright secured Copyright 1952 by Theodore Presser Co. InterutionaJ Copyright seeu~! ETU <>2by OI.iyer Dit::iUll Company DE-MAY 1953 l 34 ETUDE' .IIAY 11,3 35 •

No. 120-30662 Gondolieri Gondolieri (Gondoliers) Grade 4. (Gondoliers) ETHELBERT NEVIN, Op. 25, No.2 SECONDO ETHELBERT NEVIN, Op. 25, NO,2 PRIMO Ar ranged by William Hodson A1'1'Qllged by iVilliam Hadso ll Con moto, non troppo presto 4 Con moto, non troppo presto 2 8...... -...... _--- I r-, u II l~, 2~. 4 ~, -~--;- :..~ , --- if I t r I, I--.- ..- PIANO 11if ~ II /' f-- • -rz: -> - ~'- fl.~ •,

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I ~ I I~ '" mf =- e"":---.. ~ II / • • 'fl.~ ~ ~ / - ~-.ff.~ L \, Copyright In37 by The John Church Company t '1,;OiiO ...... - 36 . hi In crnational Copy rig ETUDE _YAY 19,3 ETUDE. MAY 1953 ~'------37 SECONDO Pin mosso PRIMO Pin mosso ~...... •...... •••••...••.....••...... •....••...... ••••...... •••••...... ••...... •.•••...... •.•..... 5 5 2 4 5 5 2 2 3 3 r:J (:J 3--. 1 1. 1 4 . le:J fa: ~~ /e /~ /~ /e r. 3 3 3---!.- I....~ canlando, senza rubaio uL ~ ~~ ~.... ~ ~ .. '"3' 1.. 3 3 3

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t 4 t 2 I 5 5 38 ETUDE. ,lfAY 1953 liTUDE -MAY 1953 39 rit. a tempo I Love You t':\P LUDWIG von BEETHOVEN Herrose (Ich liebe dich] Edited by /Valter Golde English Text by Constance Wardle and deep des pair - ing , Then God pro-teet and cher ish thee, Than Andante (J. : 92) in dei ne Kla - gen. Dr-am Got tcs Se _ ge.n u ber dir, du . ~ u mp . • . VOICE . --. ~ r dawn io br ak - ing rit.~ -I love you, dear, as you love me, From p am A bend und am Ieh lie be dlcll J so wie du mich, - Jl .. .. • .. ~ oJ - ...... - ...... - - f PIANO - - - PI

and ten. der treas ure; May God de fend and grant my plea, To "l: can pedale nes Zc - bens Freu de, Go It schut _ ze dicn, er halt' dich mtr, schutz

, '" u .

~ -~ t:== r r f" f mar - row, No day has ev - er come, but we have shared each """'=oth - er's SOr . row. I1for - gen, nock war kein Tag, wo du und iell nicht teit - ten un - sre Sor . gen; 1\ J.L # p oresc. f ~ -. . -y-. • -=i -=i-=ijr!!-:;t '~- .~ rTJr- - ...... "1 -:» :t~ mf=. us good meas . ure, May God de fend and grant my halt' Ul1,S .Rei . de, Gott schilt _ ze dich, er halt' did I "lI mf - Jl . • • . .... cresc . t: - ~ Each bur. den that Our love has born Grcw light. er with -the ~. ~~ Auch wa _ Ten Sic, fur dick # r ., . und micA g. - teitt, leieht zu er p. '" J.L -

t: • ~ .=i -~-~ W~f.-.J. • ~ - ~ -~-:t-:t .~ us good meas . ure, : P plea, To each of to each of us good mir, schutz und er halt' uns Bei - de, er halt', er halt' uns

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'" Jl ~ -: , -.: r r p shar - ing, Each sor . raw and each hope r r for - lorn, Each pain and deep des . mp tra - gen, du tro' ste - test im Kum -mer - ===,,::::::: mien, ioll weint'in dei - ne f '" J.L I meas. ure, to each good meas ure. ~ ~ ~ ~' ~ ~ - .. Bei • de, unS Bei de, .. ~ '--/ halt' ~. ... ------~.- ... er ~. . ------

.. I ~ .. I p mf From "Easy German Classic Songs;' edited by 'Valter Golde. [431.41002] Copyright 1952 by Oliver Ditson Company International Copyright Secured 40 ETUDE _MAY 1953 ETUDE_MAY 1953 41 p

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~~ '- r ~ I. II"' I I 'I ~ . . ------. . rit.. from "Solo Violin Music of {he Earliest Pcriod;'compiled and arranged by Efrcm Zimbal' G...~- ..~-...... CopyrightlO:'iJ by Theodore PI'esser Co. ISl.[lU.41001] · -1.2 International Cop,rritht secured · ~ ~ ETCDE.J!.4Y JjjJ ETUDE ·AfAY 1953 43 Ha''m1nond Registration At Dawning @ (10) 00 3434 311 Grade 3. Canal Street Boogie MARIE WESTERVELT Swel1 : Soft 8' & 4' with Vox Human a , or Oboe, and Tremolo ® (11) 00 5772 410 Great: Viol d'Amour 8' Ch. to Gt. !4ID (to) 00 7472 SOD :!?- 4~ Prepare Choir: Soft 8' & 4' Flutes and Strings rm (11) 00 5613 000 2 Pedal: Soft 16' Ch. to Ped. With a boogie beat (d =80) l CHARLES WAKEFIELD CAD IA~ A1''Ya'Jl.ged by Cl-arence Eddy Moderato con moto r, 3 ::>- 3• 2 ® ~- Sw@ • ::>- j 1 1 Sw. Ch. rif non legato f non legato .,. 3...... -... -==:::: r- Ch:;; .;. .;. -.;. 3..-....--=== : . ------, 4 ' a temp'!...... ~ 0 'Pit. ::[:;; ~ ~ 2 1m g ® --= ®~ 'i Ch. 5 2 5 Gt . I]J /~t..~ /~ir~ G!. ! 3 .. !.. 4 .i 2 : 3 - 2 1 1 . ..~ 5 ., '5 4 r, 4 ~~ ~#* - .,,~ . u PEDAL -4: 4~ ".' 4' _77, ~ ------Ped.42 1m 5 , ® ------3 2 Sw. Ch.2 I 3 _____-= rr. B,~ 2'-----'.· ® ri 1":\ II 11 ---... =====- ~ . - , I ...... :1 :1 ::s :: :: -:: =- IrH ~.~~ ® rall. Imatempo -=r... ~d =- I!iI ',.; Gt;.-- <, I.. ~ en.1..1;::: II 11. Ch. ~~ ,~II-~ G'~ : :

1 t I..:.,J .. ..=~j1n:""J =-- =:..- -- 2 2 3 I.;.) ';:) «:> 5 4 #11~5 5 rt-; ro, {.\ {.\ From "Mardi Gras:' by Marie Westervelt and Jane Flory. [430 -41014-] : " Copyright1~52 by Oliver Ditsun Company International Copyright secured

~4' " 4.: Jf...... : "'. .::::- " No 110·40214 @atempo 3 Vox Celestis---- and St. Diap. ----- Grade1. The Big Steamer and the Little Tug I Ch. Ch·f·, .,., .,. -:-i!. /' ~ 2~_..".. __ fI II 11. >- I ~ ~ r- 0 MILDRED HOFSTAD . Not too fast 3 2

I • '--' .. =i '3 4 • Gt.14]J ...... ~=ii ==- •1 •1 r;;---...:it. Sw.@ 01 Sw.@ t Tied to a tug a big steam-er ask'd, "\Vhen do I go to sea?" Pull-ing, the lit-tle tug ..hi It'~•• ~ ~. Gt ...- . I~ 't2, PIANO Toot! I'm on my way." And as the oth-er boats. : " '-. . rnf 2 Out of the har-bor the steam-er sail'd, "Toot! : .. I r, .. I a tempo 1 ------4 2 : 2 3 5 3 2

ICI t'--s-;-t-Ct~im-e---C:-o-n'lY:C--3----2-1r;1L;-a-st:-:- C"m-e-o-n""'ly------;5;--, a tempo 5 5 "", "". ~ ti 4 3 @ ------Ch. 5 Vox Humana St.Diap.&Fl. , 3 r.'\ r= .,;-0.. 2 ----:---..: ~ ru! .' • >- (.\ an~swer'd to me!' Toot!"she heard them_al Fi-n'lly-- the steam·er said, her,''Just leave that up Fine mf pas~d her by,"Toot! nt. . rit. ill] -= -=::=-- -== ===------. Gt. Ch@ t 1 1 2 2 3 2 1 1 ~ 4 5 4 4 5 5 4 3 2 5 4 3 2 4 3 lJ. O. al Fine 1 2 5 2 3 4 4 3 2 3 3 I.;.) I..:.,J '\;.) Ch.Dulciana &Melodia8' r.'\ {.\ {.\ ~ "~ ~------r~ rit. c----- TOOl! Toot! I'm muv.ing out toward the sea~J Puff-ing, the lit-tIe tug an-swer'd, "Then you no long-er need e!' From aWedding Music for Organ~' compiled and edited by George Walter Anthony [433 41008' Copyright 1906 by Oliver Ditson Company .' - 'j Copyright 1918 by Oliver Ditson Company . 2 3 2 Sheet music edition available: 133 -40011 InternatIonal Copyright Secured 2 2 1 1 CopYright1 - International Copyright secured 44 E 9<>2 by Theodore Presser Co. ETUDE - MAY 1953 TUDE· MAY 1953 45 No.110·40212 Words by Lysbeth Boyd Borie Nibble Mouse ADA RICHTER Last time only Grade 2 Allegretto ~ a 4 3 2 1 4 3 2 1 3 . Pt"ne 1rt; . trip or two. I . v go in my rock - ing chair! First a trip North, Then a trip South, . . IU ~ "!" r-. f':', It nib-ble, nib-ble, munch, munch, munch! Don't you know it's much too near your lunch? »sNib- ble,s:snib-ble, law, PIANO Nib -ble, nib-ble, nib-ble, nib-ble, g'naw, gnaw, naw! Nev- er break the"S~il your sup- per" .. ... ~ .;. .;...... T , , I I I I 2 2 5 5 a tempo " J.l 5 f... "'p' -&Po 8. al 0 "p rail. '!' '!' - Fine I like vel'- y much to roam. Then a tr ip East, And a trip West. Then I like to come back home.Pine '- Do you nib- ble, nib-ble, nib-ble, nib-ble like a mouse An - y - thing you find a- bout the house? < If you nib- ble, nib -ble~~b- ble morn-ing noon and night, You'll have just a mou-se's ap - pc - tito. .;. .jI. .;. . i: ...... n · 2 2 1 I I I 3 1 2 5 2 No.110·40211 Grade ii, The Band 4 3 2 1 4 3 2 1 :.I MAE-AILEEN ERB In march time (J = 160) '-1:fi -; ~ .. ~ I~ i (~1~5 ~4 2 ~~3 ~~ · "" )R J~ p~ 1r;j' PIANO Hear the bandeeam do wn the steet1', Left, ri~ht,,., left, Left ,rig:. ht ,Ie.ft Hear t he sound of march-ing feet, 3 4 ~~

II 0 0 U 1 2 , 0 ~ 0 PC-a I1st time IILast time only 1':/; 5 1P~ ;,. Pine only (J.=80) ~ bE- 1>7 ffi:.~ 3 3 3 1 · • • Copyright 1952 by Theodore Presser Co. Interna.tional Copyright secured corne! ff Pine No. 110 ·40220 Grade 1~. Rocking Ohair Trip 5 2 2 Moderato (J =100) 2 2 5 1 EDNA1 - MAE BURNAM 5 5 4 1 j;50 , 5 3 3 1, f':', . :.I lJrums , 4 3 4 3 2 3 1 1 2 1 3 2 ;::,... ;::,... ~ ;::,... mp '- Here I go in my rock - ing chair! PIANO When I'm III my rock - chair ing ;::,... f-j. f':', - >.>->- Yan - kee Doo-dIe went to town Up- ......

1 1 4 ! I 3 5 2

1 p I can go most ~ Close my eyes, that's all I Then I---ta-k-e-a-l-it-tle - . P. 0. al on a lit - tie pon- y; He stuck a feath - er in his cap, And call'd it mac- a - ro • rn, Fine

1 3 3 Copyright 1£152by Theodore Presser Co. 4t; InternationaJ Copyrighl secured Interna.tional Copyright secured ETUOE- MAY 1953 Copyright 1%2 by Theodore Presser Co. BTUDE. MAY 1953 47 THE LITTLE ORCHESTRA feets of the amateur orchestra. After or style of music. Variety should be tuning, the inexperienced players the keynote of his programming. No,130·40039 On Silver Skates (Continued from Page 9) wander off into their own ideas of The actual manual technique of Grade 3. tonality. The experienced player conducting is no different for the RALPH FEDERER (at small cost) through recordings. still, I can give one hint from my realizes that no one player's intona- small orchestra than for the larger Tempo di Valzer (J= 144) i Thus,the small orchestra must find own experience. When I learned tion is pace-setting; what counts is organization. Here, I believe, the 4 1 3 4 3 4 2 1 its reason for existence in works reading, my teacher stood over me, the constant adjustment of the whole. best guide is a thorough study of 4 1 2 en. 2 >..-., 41:'\ ~>- 4 2 2 ,..-. 2..----,> ~~. - to which the larger outfits. cannot, making me go along in strict tempo. One adjusts to one's desk-mate, to Max Rudolf's The Grammer of Con- ,jj2, ... ~ 2 >"--' . 1\ . ~. · . . byreason of their very size, do full When I made mistakes and wanted the section, to the other sections, ducting. · . justice. to correct them, he wouldn't let me. to the soloist. This is sometimes All of these requisites are impor- · '-- J [lIT "C Thereare quantities of such works. I also missed many notes, but on I harder for winds than for strings, tant, but the one I should most like ten, ~ r' I..:.JI ----- A Bach Suite, for instance, hardly had to go. In time, my eyes grew but it comes with experience. to stress is the need for digging out mf used to seeing more, and further, new music, no matter what its period PIANO $~ .,. ! bJ • • .... fallswithin the domain of a lOO-man As to the conductor, he must first rr. J ~ ... - - orchestra. Mozart symphonies, and and fluent reading eventually came. of all be a conductor! He needs en- or style. There is a wealth of litera- · , . eventhe First, Second, and Fourth I progressed. more by coaching with thusiasm, dedication, and the power ture suitable for the small orchestra. · I Symphoniesof Beethoven sound dis- singers, and following them. The to stimulate his men. Further, he I investigated the field before I .. 1 I i torted in over-massive sound. Many chief need in reading practice is to should have had some sort of routine formed my own organization, and 5 4 largerorchestras recognize this, and go along, as best you can, in tempo. experience as player in an orchestra. have been doing constant research 3 Last time to Coda-$- 3 2> 2 ______.1 11 try to help themselves by doubling Time and rhythm come first. Experi- This is invaluable for getting to ever since, and am still amazed at - 4 - ~ I ....--- , > ~______~&$:r$:Ii:-~ ~ , winds,to adjust balance of tone with enced players know this, and, in dif- know (and to solve) at first hand the wonderful finds that come to I'J u~...... ---... no ~~ €. ficult passages, sense what they can light. The music is there, the need . , thehuge number of strings (strings the problems that his men will have. · · · whichare necessary for the "big" play and what they can leave out. Of course, the orchestral conductor is there, the opportunities are there. o..J · "":p composers). With or without the As one learns to listen to the must devote much of his time to That is why I believe that the future ~ - of America's music lies with the 1r;f' /' ifz dolce doubling of winds, the sound is players around one, one also learns searching for interesting works, of ~.~ --- >-,;. ~ ----, ,.. (.\ distortedly massive for the musical to adjust intonation. The lack of all periods, kinds, and descriptions, smal1er orchestra. ~JjJI,t ~!. d material.Actually, the American ear doing this is one of the chief de- never limiting himself to one period THE END , · ison its way to becoming spoiled by , · toomuch grand, lush tone in Bach, 5 23 - ~ I ~ 5H 2 ~ Mozart,Haydn, and some Beethoven. Again, the big orchestra cannot i a tempo playthe larger chamber works, such 1~2 1 ~ Opportunities and i ,,'1' ~ as Hindemith's Kammerrnusik: (for 1\ , ---- ;--, .~ I sr~ , . 13 solo instruments) or Spohr's . . lovelyNonette (for 9). These and Better Income ... I ather larger chamber works lie ~ · ~. ~[ I dolce ~ ~ '. fPoOO r-u. pl":\ perfectly within the scope of the < smaller, or chamber, orchestra. Positions Open ~ 'I 'I 'I 'I c::esc, 31_1 ~ h] .> ! .L J J ! :J :J I • ~ i-~ Asto the players, the small orches- You Can Advance in MUS I C . . tra's first need is for men who are Interesting positions are open Extension Conservatory · . . accomplished chamber music per- everywhere, Schools and Col- thru t, I 1 I 5 5 2 1 S 1 formers.As in chamber ensembles, leges make it necessary for When you inspect our Sample lessons you will readily - ..5 • agree that you can acquire new ideas for bettering your- i 5 5 5 5 each player is heard-and must 5 S every teacher to be equipped self as well as your students. You can become affiliated con molto vivo 3 1 listento the others. A large string with a school in existence over 50 years, recommended by . >- for his work; Radio and TV , , ,1 ;; ,> :::-1 , sectioncan easily cover up one weak thousands of successful teachers, and be sure their confi- 1\ , >, ' - player and still sound well; but are calling for highly special- dence justifies yours. The new ideas and technical im- among fourteen or sixteen violins, ized training. Standardized provement will revitalize your work. . e~chmust function as in a quartet teaching makes competition HOME STUDY in Spare Time ~ · _I I -JI ,ifz yq;!ff since all slips and errors stand out. keen, even in small commun- If you are ambitious to prog-ress, to enjoy greater recog- :J Too,the type of music played by the L ~ 'I 'I 'I '~ 2 r: :>-~~ ,;. :>-~, >- nition, and financial return, you owe it to yourself to . ~ ,k, J r» ~,;. >- small orchestra is more akin to ities. investigate this great Home Study Musical Organization . . . chamber music and requires the At very little cost and no interference with your regular · right touch. ' Are you a Busy Musician work, you can easily and quickly qualify for higher and , · I I 5 0 more profitable positions in music. 3 s .' t In second place, the members of and Ambitious? the small orchestra must be not Diploma or Bachelor's Degree a tempo »> A successful musician is al- i :::- 1":\ merely job·holders but dedicated We help you earn more and prepare for bigger things in .. n ~,.,....., ';'~,i>~ ways a busy one. It is almost teaching or any branch of the profession. We award the 1\ , , Iron ". >-»:::- :::- r.-. I II ----... ::- musicians.This is 'important, since impossible for him to go away Degree of Bachelor of Music. With a diploma or Bach- . · successis three·quarters due to the elor's Degree you are ready to meet all competition . . . · . enthusiasmof the players . for additional instruction; yet Start now to revitalize your growth in Music. 1· 'i!:' ~ l: -[ ~~~ q~t: J), s. at Coda The players in a small orchestra he always finds time to f shou~dhave had some experience in Fill In and Mail This Coupon it: p(if. ;;; senza 1/l!!:h'J,'1:Q1iB broaden his experience. To ) ) -~ »>:>- :: puhhcgroup·playing, chiefly for the 'I 'I J ;.." :::- ?-?~~ .. such musicians our Advanced •••••••••••••••••••••• . >. sake of the discipline. A good con. . servatoryNarc hestra can supply thIS.. Extension Courses are of • UNIVERSITY EXTENSION CONSERVATORY • • Dept. A··772, 2000 S. MichiCjan Blvd., ChicQCjo 16, Illinois. • i I 1 I 1 I f 0 matter how well a player per- greatest benefit, 3 ~ 2 ... orms, he is Jess than valuable to • Please send me catalog, illustrated lessons, and full informatian regarding. . .. . i q.r=, " • caurse I have marked below. ~~. 2'i an organization if he lacks the com- o Piano. Teacher's Normal Course ~ Harmony 0 Violin • plete d' , I' lSC1P Ine of playinO" with • B Piano, Student's Course Cornet-Trumpet • others. .. Publ!c School Mus!e-Beginner's Advanced Cornet 0 Cuit- 3 This dis· I' . r"l Advanced CompOSItion Choral Conducting Clp me mcludes several • B Ear Training & Sight Singing 8- Clarhtet 0 Saxophone • necessary' . University History of Mwsic Dance Eland Arranging' 0 Banjo POints. First the player mUst al ' ( ways watch the conductor • Nome Adult or Juvenile • conbr1.o so~ething which amateur or inex- f penenced m ' CODA I en won t do). Next each • Street No. • payer must h'l I' . Extension > .h h ' w rep ayrng listen to eoterpl h ' . • City______State' _ • ,h ayerS-lose around him oseinth' .' Are you teaching• naw? If so, how many pupils have yau? _ 0 er sectlOns. In thud • • pIace th h ."Oa you hold a Teacher's Certificate? __ Have yau studied Harmony? __ • read' . ~I are eslral player must Conservatory • Would you like to earn the Degree of Bachelar of Music? • to re~~ICbY' In .the main, one learns Copynght 1939 by Oliver Ditson Company .J Y domg much reading; 48 Interna.tional Copyright secured ETllJJE,jfAY 1953 L_------······················ "I LIKE TEACHER" J? tt' IJIJ t / Piano Quarterlv (Continued from Page 26) (/;)ej eachin'J collec ion, 1952. NEWSLETTER • • • \ , PRESSER Schwah, famous steel king. Mr. efficiency at this point may indicate at Schwabhad an overwhelmingly cor- that your interest is not sufficiently Music for Children new dial smile and a very buoyant ap- outgoing. A man's name is very im- what 5 proach. As a young man, he had portant to him. 8 pieces for piano-grade II-III A D V A N CEO F PUB L I CAT ION 0 F F ~. R taught music and played the pipe 2. Be a comfortable person so • crction Orders ore limited to two copies per book. Please organ. This fact came to the atten- there is no strain in being with by George List These b 00ks are now In prep' d I A h b k tionof Andrew Carnegie and so im- you-he an old-shoe, old-hat kind of 'tt ith d (Check or money order requeste. s eae 00 comes Blue Gray Fog Follow the Leader send remr ance WI or er, pressedhim that later on Mr. Schwab individual. Be homey. Day Dream Mandarin March off the press, delivery (postpaid) will be made. was promoted to the presidency of 3. Acquire the quality of relaxed Discontented Cow On the Water Pianorama of Easy Pieces by Modern Masters- his company. Mr. Schwab had deep easy-goinguess so that things do not The Factory Square Donee Ballet Music for the Dance Studio- compiled, (".,.onged ami ediled b)' IJ",., Ag') convictionsabout the value of music ruffle you. compiled by Alberta Ladd in the life of the business man. 4. Don't be egotistical. Guard Piano book for Dance Studios Foll owi njr up his successful "PbnOl"ama of lhe '''orld' Favorhe Once he said to me: "18m often against giving the impression that 90 cenlo complete Each piece of music has been selected for its fitness to accompany Dances",Dencs Agay now P" 'CJ1b thin' pi cc\ Ior piano soloby asked why I have taken such a de. you know it all. Be natural and nor- at your music dealer, or from mally humble. ballet steps, such as pointe tendue~ ron de de jambe a terre, 1·e'llde 25 of the leading composer-s 0 th ~,wth ceruury. Some of the cided altitude upon the value and importanceof music to the business 5. Cultivate the quality of being ASSOCIATED MUSIC PUBLISHERS, INC. de [ambe in l' air~ jJique. They are also suited [or toe work com- composers included are: Stravin 'ky. D bu sy. Ravel, Prok.ofieff, man. Of course, much can be said interesting so that people will want 25 West 45th Street _ New York City 36 binationsand waltz combinations as well as the polka, galcp, and Bartok, Kodaly, and puccini. ~rOSl f rh composirions are as to the intellectual value of a mu- to be with you and get something of schottische. Miss Ladd says: "This collection of music for danc- original, some arc arranged, wh il ihcrv hav been revisedto sical training. But, that is not the stimulating value from their associ- ing schools may be adapted to any method of teaching. The reduce their difficulty. mainthing. Whal American business ation with you. For Piano Teachers needsis soul and sentiment! Because 6. Study to get the 'scratchy' ele- selections used for each exercise at the Bane have been suggested AU the selections arc refrcsh iu ..ty III lod ic, lorhed in imagina· musicdevelops this in man. it is of ments out of your personality, even for their adaptability to the exercises." t i n offer id al material (or live, harmonic seuings. he c II especial import.ance to the business those of which you may be uncon- MARGARET DEE 410-41025 List Price $1.50 Advance of Publication S1.00 study, recital, and sight readiuu "tc"ion.., f r the pianhl of man. Of course one hears .it said scious. 1953 REFRESHER Baldwin Book of Organ Playing- moderate skill. that 'there is no sentiment in busi- 7. Sincerely attempt to heal, 011 .. by D1" Rowland ltV. Dunhani ness.' That is the greatest nonsense an honest Christian basis, every mis- June 22' to 27 fincl.) 410-41026 List Price $1.50 Adync. of P'lIblicatin Sl.10 in the world. A business without understanding you have had or now An Introductory lHanual To the O'rgan ENROLL NOW sentiment is a dead business. The have. Drain off your grievances. Rowland ''\T. Dunham, Dean of the "Music Department of the idea that in order to be successful 8. Praclice liking people until A week packed with teo ching ideas to last throughout the next University of Colorado, and a fellow of the Alller~can Cll~ld you learn to do so genuinely. Re. ?[ . a business man has to be 'cold teaching season. Orga~lists, has prepared this instruction book to aId the plalllst At the Hammond Chord Organ hlooded,' is radically wrong. Time member what Will Rogers said, 'I and again Ihave seen businesses run never met a man I didn't like.' Try through the transition from piano playing to playing' the organ, A collection of melodic~ ,,-hi h indud • choi e leClion {rom LESSON APPROACHES FROM ALL ANGLES to be that way. w'hether under a teacher's guidance or not. uponthe basis of cold profits, elimi- the Presser catalog as well a oUler Id r:l\ 01 itt. me of the nating the heart. factor and squeez· 9. Never miss an opportunity to New Moterials Student demonstrations ALL GRADES. This is not a book of "shorts cuts", nor is it a book of arrange· 25 numbers induded are: /1 t Dawning u :u.lnmn; Urnalld ingthe pennies like the last drops of say a word of congratulation upon ments or organ registrations. It is a sound and fundamental book Stripes Forever by Sousa; I'enetian Loce \Ullg by Ne\in: .\limlt· hlood, no matter what the human anyone's achievement, or express WORKABLE OUTLINES GRADE LEVELS of organ instruction. The techniques recummended have been ton"a by Lieurance; Vesti La G lIibba b Leoncamllo; ollg OJ cost" sympathy in sorrow or disappoint· 781 N. Marshall Street proven by actual experience and are applicable to any tradi- India by RiITIsky·Korsako\·; HOlU GlI" I (we Thee; and In· The successful teacher is the one ment. Milwaukee tional organ. The writing is simple, interesting, and easily hest equipped to give the pupil the 10. Get a deep spiritual experi· vitation to tlte Dance by' ebcr. mostinteresting work.promoling rna- ence so that you have something to understood. give people that will help them to List Price $1.75 Advance of Publicatioll $1.30 :433.41011 List Price $1.50 AchoJlce of ",bHuH'. SI,10 ~eri.al.sto suit the student's particular -413-41011 mdlvldualneeds, and also make him be stronger and meet life more effec- TANGLEWOOD-1953 say to himself: "I can hardly wait tively. Give strength to people and ------_-.:....:.:..=....--FINAL ADVANCE OF PUBLICATION OFFER BERKSHIRE MUSIC CENTER until my next lesson!" they will give affection to you. • CHARLES MUNCH, Diredor Gra~d Partita i....D Minor-by Bernardo Pasquini Transcribed for organ by Giu ppe ~l h lli In his unusually successful recent Particularly in the case of younger Aaron Copland, Assistant Director t A bnlllant theme ~vlth .vanatIons by. dU.s master composer •. performer and teacher oE the 17th cen· book"The Power of Positive Think. sensitive children, the teacher must ing" Dr. Norman Vincent Peale remember that little ears are alert to A summer school of music maintained by the Boston Symphony Orc.hestra in ~ tur)'. Freely transcnbed lor the modern plpe organ, the selectIons IJrovide excelle", CO" d' I cannection with the Berkshire Festival concerts. i . cert an re tla ~lerg~'man,psychologist and human: just the right words, as well as to material for the advanced student. Hanullond registration. 1Stgives ten' very practical rules the lone of the teacher's voice and July 5 to August 16 ' 433-41009 List Price $1.25 Advo"~e of r ..bllcatiu S.'S for getting the esteem of others. the expression of his face. A well Courses in Orchestra & Conducting (Leonard Bernstein), Chamber MUSiC! e (Richar~ .Burgin, William Kroll and Gregor Piatigorsky), Chorus (Hugh Ross), • Thes. may be applied to an peo· meant criticism may be said in a Composl.hon (Aoron Copland & Carlos Chavez). and Opera (Boris Goldovsky). NEW RELEASES p.le III all callings and seem espe. tone of voice which will register in Faculty Includes twenty members of the Boston Symphony Orchestra, including PIANO SOLOS ~aIJYvaluable .lO teachers of music. the child's brain quite a different the Principals. 110--40227 .35 s...n BLUE ARE HER EYES CHORAL . 1ll_1,11 Orode I SCHOOL BELL... .Anne Robinson (SAATB - ..•. - •.• Wath·W~'9 t ~e~ are reprmted here with per. impression. Remember the late Har- Tonglewood Study Group-Ingolf Dahl (Words, Melodious, Legato) Eff 1" ' a cappello, Medium dil(;c"IIy Seulor ~lsslon of the publisher, Prentice- ry Lauder's song, "It ain't exactly A special course far music educators, general music students and amateurs. Enroll- BUCCANEER , Ella Ketterer 110·40225 .35 LULLAiyar~~~gement 01 a wefl-Anow" ;on9) • all, Inc., of New York City· what he says, but the nasty way he ments of fwo, four, or six week Orade 2lf: ll1041ll14 .11 (Recifal, Good for boys, Study lor L.H. arpeggios) (0 cappella E~$' -.M .;;: ... S·· -' .. M.rry Carol Moilrolu 1. Learn to rem em her nal~es. In- says il." THE END For Catalog please address Miss E. Bouler 110-4022b SONG OF 'ZIO~ e lum, ocred, School chons,u) Berkshire Music Center GAY MASqUERADE . Stanford King .35 ll1041ll11 )0 (Melody in alternate hands, Legato contrasting fa_ coppello, Mediu',;, 'd;ffi~·j.:..··C······_'erry W. 8eoe: Symphony Hall, Boston 15, Massachusetts ,d,om [not radical] D ".'." onlemporory with staccato) , romallc sound} 110--40231 .35 MARCH OF THE TROLLS .. Irene Lomb Keyser BAND THE IMPORTANCE OF SIGHT READING (Characteristic, Recital) MONTEZUMA. (O'lerture) WISTFUL LITTLE PRINCESS .. , .... Anthony Donato 130·41123 .35 ~~:;h~~icBB~d {Includi~.~· i~li ·s~"a·r~i·· (Continaed from. Page 19) CLASS PIANO COURSE (Recital, Motional, Nostalgic, Melodious) The course eonsists of: How ta organize a closs. How and what to teach be. Conductor IF:~ ~~~~~)d,"9 full scar. J ginners at their own age levels. Studio administrotion and music games are port MEANDERING MANDARIN .....•... ,Michael Brodsky 130·41'22 .35 and of great value. (This applies mainly to piano stu- Orad. 3 Condensed score ..•.•••.••••• of this mimeographed course that is a MUST FOR EVERY PIANO TEACHER (Characteristic, Rhythmic, Middle section has Ektra Parts - - . • • • . . - • 8. For the teacher: Remember to dents. ) whether she teaches privotely or the group method. Price $10.00 recurrent staccato passage lor L.H. 'Ierses WAKE ME UP FOR'THE"'-"-'-' ... - .. . encou:ageyOur students to read new Avoid spending too much time on Order from: MRS. BERTHA M. DAARUD legato R.H.) (Variations on On old A ~ttEA.T JUIILEE._ .•.. G.org Fnd matenal canst I B ' 2621 SULLIVANT AVE., COLUMBUS. 4, O. k anl y. road en IllS one piece. Time spent on memorizing SPRINGTIME IN SORRENTO .. Stanford King 110-46232 .35 Stand d B meT/COn SO"9) S or. and (Including {"n s.co I ..$ 9J1J could be better spent on reading new (Crosshonds, Arpeggios) ymphonlc Band {Incl"din f 1 r. • •..•.••..••• _.... 12J1J "AOwl,:dgeof musical literature. Conductor (Full scor I 9 ,,1 sc.or.) •.•.•••••••..••••...•. 1.50 h' VOidpIaymg. the piece first. Let material which would be more valu- Shenandoah College and Conservatory WIND OVER THE PINES N. louise Wright 130·41124 .60 Condensed score e. - . '" ...... •..•.... •.•.. IJIJ 1m work out th I able to the average student. If he 4~year B. Music and B. Music Educa· ThorolJgh professional preparafion. (Recital, Descripifire, Excellent 'Ie/ocity study) Extra Parts - ...... •. - •..••.• _. •••••••••••• !/J th. e puzz e and have - ..... e satlsfactio f h' . develops skill and Auency in sight tlon degrees in piano, violin, voice, Aho accredited Junior College...... - ..... E n 0 18 achievement. orgon, 'cello; public school music. Shenandoah;s under church sponsor- andnco.u~age reading of both left reading, music will serve him well Theory, conducting, woodwind. ship but non-sectarion, emphasiling for years to come, whether he be- THEODORE PRESSER oth r.lg l hands Simultaneously branes, academic courses. Church spiritual owarenen omong her stu- COMPANY erwlS h' , music. Class ond private instruction. denh. Est. 1875. Summer session. , BRYI 1 \ R. PA. con'J e IS progress will be slowed comes a professional or an amateur 81erabJy, also hi, v,',,'on_ range. .;n slatus. THE END Catalog: Dir. of Admissions, Dept. E, Dayton. Va.

ETUDE_MAY 1%,1 TRUE OR FALSE- VIOLIN ST.RINGS ~iolin lflluestions ~rgan lfE!uesfions (Continued from Page 25)

ation the instant it occurs. Answered by FREDERICK PHILLIPS Is there any way of retarding de- By HAROLD BERKLEY terioration? Care on the part of the • For several years I have taken have quite a long way to go before performer to clean the strings after organ lessons during the warm you could really call yourself a ..Amazing/y effective and versatile" each use will aid in retarding dete- months (our church is not heated in competent organist. rioration. He should use a clean Domonique were the mO~1 important winterJ, and have played, the pipe (2) The Presser Company is able UNDERWOOD GOOO "STRAD" MODELS cloth to remove rosin and perspira- m mb rs. Their violins are pricedu organtwice a month for the J untOr to supply all the numbers listed in lay b twe n $100 and $250, III tion from the entire length of the Miss AI. L. W., Ohio. The chan e Choir, and also as a substitute. My the McCurdy article, but those titles ~ . '. Hill & on bow are" 0 FINGER FLEXOR string, including the bowing area. against your violin being a genuine teacher has never suggested organ which are followed by the name of Does deterioration show in any b light at various prices, fromI5Y All metal- guaranteed for one year..• re- Strad are Iitera lly some hundreds of books for study purposes. What a book in parenthesis are, with few sistance from zero to three pounds...• other way? Almost every string loses 10 250. You may r 5t a wred lhat exceptions, obtainable only in those conveniently carried in pocket. thousands to one. For the last two books do you recommend for cecti- something if its tone becomes dull an) II ill how you mllY buy i. \\'urtn flique, pedal work, etc.? What about books and not separately. the Spare Moments with Profit hundred years practically every violin and lifeless, after considerable use. the pric you pay for it. (~lh· (3 For collections of organ pieces to Build Basic Technic factory in Europe-and in Japan Bach and the Mendelssohn Sonatas? To keep a string on a fiddle until it th sre are In ny more bow- onlbe w'th chimes we suggest "Organ Strengthen weak finger joints ... improve for the past fifty years!-has put In piano I have studied the Bach J n- breaks may be the poorest kind of touch control ... gain finger independence. correctly worded Stradivarius labels market tamped "Tcune" than ventions and most 0/ the Well Tem- Compositions with Chimes," by economy. False strings play havoc Tonne himself ever made. As he in its instruments, not with any in- pered Clavichord. This summer I Kinder; "12 Compositions by Amer- with intonation. Old strings may de- tent to deceive the buyer, but prob- was 0 gTCUl and ue e-slul workman. shall be busy with college work and ican Com posers {or Organ and stroy tonal beauty. The string player his nome we appropriated by el1~ shall be undble to take lessons, but Bells"; "Book of Chime Pieces for must be alert for any deterioration ably because the words "Strad" and "violin" had become synonym us in lilt le bow-maker "'ho thoughtthll I want to practice, and would like Organ." in his tools, lest he be false to artis- most people's minds. This is not to he. 10 • could make good boll"s. help in the way 0/ maieriol [or seti- (4) "The Organist" is a bi-monthly tic standards. THE END infer that every violin bearing a study. One teacher says that five magazine containing easy music Strad label is a factory product. THE SECOND POSITION lessons is sufficient to learn to play written on two staves. It is still pub. Most of them are, but there were u the organ. How about it? (2) In Iished by the Lorenz Publishing Co., number of excellent makers who E. 11 .• COllnr tieut. I am glad to the list of pieces suggested by Dr. 501 E. 3rd St., Dayton, Ohio; single turned out well-made; fine-toned in- 11 ar from such an ambitiou~young McCurdy in the May ETUDE as issues 60 cents; yearly subscription Ideal for musicians in armed forces WORLD OF MUSIC struments, into which trad lal el ... w BUI suitable for the Church Year, / find $3.00. $1.95 postpaid len e you are. ~hy be """ have been inserted. If you feel your or the ond 1)O~ition? It is no Jewnumbers in the Presser catalog. complete in plastic container (Continued from Page 8) with directions violin has quality you should ta k mor dill', uh to learn than anI Where can they be obtained, and • I have studied the pipe organ Send rash, money order or dle(k. or send it to one of the experts who other poshion. Ju~t pUI )'ourmind whichare the best for me? / want for three years, have been an honor farmances of his work for narrator advertise in Etude. For a small fee on it LI nd 'ou will soon hare itdon to play things the audience will like student, also awarded the Silver MANUFLEX CO. and orchestra, "Peter and the Wolf," you would get a reliable valuation Do what your leache.r tells you. pra.f· andyet not too "lowbrow." / think Medal by the Royal Conservatory 2130 N. E.Klickitat, Portland 12, Ore. have made his name almost common· and appraisal. ti e 8<::; 1lI1I h a )' u can. and you will the ETUDE repertoire is too hard (Toronto) for highest standing in The flexor ond Monuflex sold by 1. A. Preston place. His larger works inclu.ded mok a big impro\emenl in theDrll Jorme; isn't there something of the organ in the Province of Manitoba. Corp" 175 Fifth Ave., New York, N. Y. ' symphonies, ballets, orchestral SUItes, E STRING EXERCISES few } ar~. ill·between grades, arranged pro· This year for my examination / will and concertos for violin and piano gressively?(3) Our church is going be required to answer questions con· with orchestra. L. M. R., Ohio. I do not know of THE VIOLIN MUST BE ElAMINiD to install a new larger organ some· cerning organ registration, tuning any study material devoted exclu ive- time this summer. It will be elec· and repertoire. Could you give me BOSTON UNIVERSITY The Berkshire Music Center ly to the E string, but I think thut F. K .. Nf!11JYork. There arehnn· tronicallycontrolled and will have information on this, or tell me where at Tanglewood, Mass. will conduct if you bought Book III of Sevcik's dreds of lbou~nd 01 fiolin~label.ed chimes.Can you suggest music for I might find books on the subject. It's like seeing the Big City for the first time its eleventh session from July 5 to College of Music Op. 1, you would have almost aU the as yours is. Wilbout per~nal ~aDJ!U· organwith chimes? (4) Is the mag- August 16, this as usual in connec- material you need to develop ease auon il i impo~ible to saywbal azine called "The Organist" still For general information about ROBERT A. CHOATE, Dean tion with the Berkshire Festival Which is to hint that there are pleasures in playing the Hammond and security in the upper position the \'aloe or lour \'iolin may be. published and how may it be ob- organ construction we can suggest, Concerts. '"Charles Munch, Music on that string. Many of the Fiorillo tained? "The Organ, Its Tonal Structure and Organ you may not have dreamed of. Director of the Boston Symphony Studies would be equally beneficia L Registration'; by Clutter and Dixon Even if you don't make music, you can play in a month. Many will serve as director of the school, MATERIAL FOR VIOllK MAKIN, UNDERGRADUATE (1) For basic organ studies we ($2.50) and "Contemporary Amer· thousands have proved this. If you play any instrument, the music with Aaron Copland as Assistant AN APPRAISAL RECOMMENDED recommendthe Stainer· Rogers Or- ican Organ" by Barnes ($4.75). you make on the Hammond Organ will be incomparably more sat- and GRADUATE DIVISIONS Direct.or and Ralph Berkowitz as c. W. 8.. lIlioois. for th,.o;. gan Method, or First Lessons for This latter book will help you quite isfying, infinitely more impressive than any music you've played Dean. A special feature of the session lools. eLC.• neces....aT)· for \;olin m~ili Miss M. S. D., lvlicJu:garl. I cannot Organ,by Nevin. For supplementary a little bit we believe in the under- before. will be the presence of Carlos Chavez ing. you 51u:mld get in toucb 111 answer your questions because I work we suggest "Pedal Scale standing of voicing and tuning, on Inlersession-June 110 July 11 from Mexico as a teacher in com- pan Prices begin at $1285, Lo.b. Chicago, including tone equipment have no way of knowing whether tJle Metropolitan ~fu ..ic. ColD ;, Studies" by Sheppard; ''M.aster which there is a special chapter. In position. 222 Fourtb '·eDue. New York" and bench. Over the years you've probably spent more on trifles. SummerSession-June 29to Aug.7 you~ friend's violin is a genuine Studiesfor the Organ" by Carl; the addition to the first mentioned in N. Y. h can _upp1)' you .ntb f\'er). And this is the world's leading organ, musical inspiration for life. Stamer or a copy. It is probabl)' a Bach "Short Preludes and Fugues"; the matter of registration there is a Blanche Thehom was soloist copy, for there are many thousand~ lbing you need. Ihefirst book of Bach "Preludes and very comprehensive book by Tru- Visit your Hammond Organ dealer soon-see and hear the with the Philadelphia Orchestra in 1st Annual Summer Mu- ~f i~itation~ to .be seen for ever; Fugues" in the Peters or Novello ette, "Organ Registration" ($4.00), Hammond Organ for yourself. Or mail the coupon below. the world premiere on March 13 of sic Program for High ""enume Stamer 111 existence. Some STUDY MATERiAl SUGGESTII edition.For pedal work we also sug- which we believe will cover the sub- Ernest Krenek's "Medea," dramatic School Musieians~ Weeks. of these copies are good instrument5- gest "Pedal Mastery" by Dunham, ject very thoroughly. This hook also monologue for orchestra and voice. but the vast majority are factory L. C. U.. lomooo. You d.n,i' and "25 Advanced Pedal Studies" gives the registration recomm~~ded JUNE 29 to JULY 24 The work, which was especially writ· products not worth 50. I would by Nevin. For collections of pieces for quite a few varied CompOSltlOn.s, .HAMMOND OElGAJV ten {or Miss Thebom was presented me any du to 'our aclu~ a~ sugg~st .that your friend take or send and this may help you somewha~ 10 in New York on March 26, by The menlo so I am only gu ~lDgybeIIol ~e"might mention "Chapel Organ· MUSIC'S MOST GLORIOUS VOICE Stu'dy ot one of Americo's great Uni- her VIOlin for appraisal to W L . say 1St, Peery; "Organ Vistas"; "Pop- the matter of repertoire. There lS a Philadelphia Orchestra. & S m. eWl<1. I thiok Book 11 aad ~ ,I versities. Enioy historic Boston and . on, 30 East Adams Street- ey"'ik's op. 1. and the ludi: ular Church Organ Pieces"· "Ec- very comprehensive listing of co~- ChIcago. . lbt scenic New England. Kreutzer aDd Fiorillo. lrould ltlf ~esiae Organum," by Carl'. The positions for both organ and cholf, ------MAlt COUPON FOR FULL INFORMATION' ------I Arthur 1\1.See, one of the leaders maler-ial that would be of rnc51 ~ndelssohn Organ Sonatas are seasonal and general, in "Guideposts Hammond Instrument Company. I in the music life of Rochester, N. Y., For information ond cot%g. write BOWS BY HILL qUHedifficult and should not be for the Church Musician" by Swarm 4210 West Divcrsey Avenue, Chicago 39, Illinois I a founder with Ceorge Eastman of fit to lOU. t~ken up till you are fairly well ($10.00). For the practici~g. organ- Without obligation. please send' me information on the I DONALD L. OLIVER the Civic Music Association of that following models of the I·Iammond Organ: I R. K., Wisconsin. I am unable to ist and choirmaster or mmlster of Director of Admissions city in 1929, died March 4. He had ~ ong. All of these works may be find any reference to a maker I STUDIES SUGGESTED o Spinet 0 Home D Church 0 Concert I K F' . naroc( ad ~rom the Presser Com pany on music this book contains much other been manager of the Rochester . nts m any of the b k d· I 00 s at nn ,. ...IP' examination if desired. As to the valuable material. It is possible a~l Name ...... I Philharmonic and Civic orchestras ISposa. so can leU 0 . - D. I. F.. Co'or..I •.• au BOSTON UNIVERSITY n...'" ~ve lesson idea, our thought would could be examined at your local h· since 1929. and also since 1933 about him. (2) TI Y u nothing the" mudien - b~.Carl bniqi Street. I Room 115, 705 Commonwealth Avenlle financial secret.ary of the Eastman lere was a f .• .e that five lessons might teach you brary or local music store. These o£ .makers named Salzard .amJ. Y my own "8 . 'JOlin T« eDv ust BOSTON 15, MASSACHUSETTS lh about enough to "manipulate" books' are also carried in st?ck by City P .0. Zone State. I School of Music. Mlfecourt France d . working 10 hom the publi.heT! f E1 po' teorga h the publishers of this magazme. Home Model; price un rCf,oest @li'3,MAMllDND INSTRUMENT COM~ANl' I I (Continued on Page 62) century. 'of which u~lDg ~e 19th TI, Theodore P"","" {;olD n to t e extent of playing a £ewhy THE END ~------J raO<;OI" 3n(1 B"n '14I1fT. P"4 mns or tunes, but you would 53 HtD£ _ CONTEST PUZZLE ON PREVIOUS PAGE ...... ••. _...... •...... , WHO KNOWS THE ANSWERS? Juuiol' Etude will award three attractive prizes each month for the neatest (Keep score. One luwdred i, perfect) and best stories or essays and for answers to puzzles. Contest is open to all Iloj'sand girls under eighteen years of age. 1. Is the dominant seventh chord, a snng-contest ? (20 points) F-sharp, A, C, D, in root position 7. Are there frets on a guit3rJ ClassA-iS to 18; Class 8-12 to 15; Class C-under 12. (5 pints) or inverted? (5 points) Namesof prize winners will appear on this page in a future issue of the 8. D e the opera singer,Lilj : 2. From what country does the ETUDE. The thirty next best contributions win receive honorable mention. OF MUSIC • bagpipe come? (5 points) Pons, come from Belgium,Austria. • 3. Which of these composer Fran e r Portugal? (10 poi"l Put your name, age and class in which you enter on upper left corner of • died since the year 1900: Cae ar 9. Chopin mposed a num., yourpaper and put your address on upper right corner of your paper. Write • For the serious student who wishes in- : Franck, Clande Debussy, Verdi, 011 one side of paper only. Do not lise typewriters and do not. have anyone tensive professional study of music, bal- : Counod, Massenet, Tchaikovsky? copyyour work for you. anced with participation in College liberal' (15 points) . arts program and general campus activity. 4. What is meant by the term Dormitories, co-educational dining, exten- Edited by EUzabeth A. Gest Results of January Essay Contest, Band Music calando? (10 points) r ~Ia,"rkn. What i the time. sive concert series by guest and local 5. What is the last name or 8 ignnture of a mazurka? (IO MUSIC OF THE BAND artists, excellent practice facilities. Modern Type of Ancient Instrument composer whose given name was p iuts] ClassA, Melvin Melanson (Age 16), Edward Alexander? (5 pint) 10. ~ hat ) mbol appear! wiili (Pri xe wi",rer, Clnss B) Member National Association of Schools of Music b,. Joe Torrv Xlfchigan 6. In what famous opera is there thi quiz 10 points) ClassB, Monica Fleck (Age 15), In- I have been in the band since seventh diana grade in school and I enjoy it very Write for: and soft knobs. Both single strokes much. [ play bassoon in the concert THE TIMPANI, or kettle-drums ClassC, Catherine Mauge (Age l l}, Conservatory catalog describing de- band and helle lyre in the marching as they are frequently called, which and rolls can be played. Illinois grees a warded band so I have had a chance to become we see in the orchestras of today, The tuning is done by hand familiar \\ ith two different parts. The Bulletin on admission and audition like all musical instruments had a screws, though some sets have a HOl/orflMe Mentio1l for Essoy,: music of the marching band is different procedures very crude beginning. The first tuning pedal. When used in pa irs (i" (f!plw/)elicffl artier) from that of the concert band, which timpani are said to have been they are usually tuned to the roots THE I ET uses many Overtures and novelty num- Calendar of music events for the cur- made in China three-thousand of the tonic and dominant chords, Alire Abbott, Ted Andrews. Geraldine bers; Marches and stunt numbers com- rent year Bishop,Nancy Conover. Sidney Denni- pose most of the repertoire of the years B. C. These were odd look- but can be tuned to any pitch re- Programs of concerts and recitals son, Jim Derfield, Barbara Jennings, marching band. The marching band usu- quired in the score. Their tuning given during past season ing instruments-bowl-shaped ob- RonaldKing, Carolyn Laws, Natalie ally lacks the tone quality of the double No doubt you have all played (or It wa dau ed in England inthe jects with animal skins stretched must be frequently changed dur- Long.EvelynXleirs, Janice Notter, Mar- reed instruments, the oboe and bassoon. across the top. Others of similar ing the course of a long composi- at least have heard some one else seventeenth and eighteenthren· vin Oherle,Mary Ormond, Otis Pirce, Band music is enjoyable because it Director of Admissions. Oberlin College construction were made in Egypt, tion; the next time you see a tim- play) a minuet, such as the little t ur i Q. ltd. O~ it "as a fa\'orite RebaJoyceSalyers, Rosalie Scott, Sue offers something for nearly everyone, such as Xlarches, Overtures, Popular Box 553. Oberlin. Ohio Persia, India and Israel. The Arabs panist in action notice him put his Minuets by Bach, the well-known dan at court it became \"tr)' pop- JackieShew, Olive Simpson, June Som- mers,Perry Suders. Steve Tah, Dennis Songs, Sacred Songs, dance numbers ear close to the drum head for tu- Minuet in G by Beethoven, or the ular. U\ n gradually passed M' • got them. from the Persians, and Talbot,FrancisTalley. Herbert Thomp- and miscellaneous compositions...... __ ...... •• _-_.__ .._._ _----~.--, when the Moors invaded Spain ning. This requires a most keen more elaborate Minuet by Pade- dan e Iavor ite, though minuet mu· son,Tobie Timmons, Orville Trobert, .1Ionica Fleck (Age 15), Indiana they introduced the timpani to that ear as the orchestra will probably rewski. Have you ever seen a 'ic i till "ery popular. Rill Williams, Anita White, Clarence Announcing the Eighteenth Season Yost. country, from where it spread be playing in another key at the minuet danced? It is a beautiful The next time ou pia)' aminoo Dear lUI/ior Etudes throughout Europe. time, but the instrument must be dance. (or hear one played}, closeyo. 1 have taken piano lessons for seven STEPHEN COLLINS FOSTER MUSIC CAMP EASTERN KENTUCKY STATE COLLEGE. RICHMOND, KY. In Germany, Austria and Hun- prepared for its next cue, or a nod It is a graceful, dignified dance. eyes a nd imagine )'ou seea Princt years and also play the organ, and I 5 WEEKS-JUNE 14 TO JULY 18 play trombone in a sixty-piece High gary timpani players and trumpe- from the conductor. This keen ear punctuated by very low bows and a nd a Princess dancing it. When Band • Orchesfra _ Ensembles • Insfrumenf Classes Letter Box School band. This year I accompanied ters formed guilds and anyone who and ability to tune in this way curtsies, well suited to the white you play your! be sure to keep~ two boys in solos, one clarinet and the Only $90.00 played these instruments enjoyed very gracdul. _mouth ODdrh\1h' olher tuba. T would like to hear from For Instruct.ion, Boardl Room, and Recrention special privileges in royal circles. mie. Give e\'ery measure il5fu~ Send replies 10 lellcl's in carc of other J llnior Elude readers who are in- JuniOi' Etude, BI'yn l\1awl' P:I., COMPETENT STAFF ; ; EXCELLENT FACILITIES In some places the timpani were l terested in hand. three beats and do not playIt anll they will be f ol'warlled to the COMPLETE EQUIPMENT ; : ENHOLLMENT LIMITED carried on horseback and played Elberta Sne Lyn.n. (Age 13), Iowa hoist rousl)'. A minuet is a gentk lI'l'ilers.Do not ask [01' addrcsses. Private Lessons at $1.00 to $1.50 Each Extra by soldiers of high rankl and ex- F.oreign mail is 5 cents j SOIllC for. dance and ~hould have charm, ETV DE is my favorite magazine. I have For Details writ,e J."-l\HS E. VAN PEURSE1\'l, Director amples of these may occasionally ~IJnail'uHtilis 15 ccnls and some is 2a cents. Consult YOUI' Post Officc taken piano lessons for five years and IN THE BEAUTIFUL BLUE GRASS REGION OF KENTUCKY be 'found. before stamping foreign air mail. serve as part time organist in OUI" church Bach was the first composer to and siner in the choir. I would like to write orchestral parts for these AMient CBAil'i p ZZLE Dellr Jfmior EllHle: hear fro~n music lovers. (hums, andl strange to say, Haydn Hereis a picture of us that Ollr teacher Margaret E. Klassen (Age 16), Saskatchewan "'as one of the most accomplished o "d. Al' ..(,;O' .....0'1"1.\"'$ by John LoGourP' took.after our last recital. We played ASPEN INSTITUTE OF MUSIC mUSICfor three players at one piano timpanists of his time (and could In each of tbe following groups thIIl I enjoy reading ETUDE, particularly make the timpanist a very valuable as well as solos. Junior Etude is ~ur June 29-Augus+ 29, 1953 also play other instruments). He wigs and' lace ruffies, satin clothes i one instrument. or one l(ord that dr! fal'oritemagazine. Junior Etude, and I like the articles member of an orchestra. and Mozart greatly enlarged the and shoe· buckles worn two or three not belong witb tbe otb~ in the~ relatinlT to piano and voice as I study Address: Genevieve Lyn9by, Rm. 505. 38 S. Dearborn, Chicago 3, Illinois musical scope of the instrument: Today timpani are considered hundred years ago. or F h lect these oUl.a(.place 1l1.5uu~nlS both. thope to become a concert pianist. not merely drums, hut musical in- origin. it i . h r~nc make a chain. ~ginoin& ~achin.~ 1 will be glad to answer any letters th~t but it was Beethoven who brought . s ln t ree·four tUDe struments which make one of the ment (or wordl with the 1a~tletltTf come my way and hope some olle will it into musical prominence. Most of the great compos I . the previous one. {U!'e ooly the ool~· OUTSTANDING FACULTIES includin9 greatest contributions to orches- '. ers lave write. celebrated artist-teachers. The most important things you wntten mmuets though n t I place ins.lrumenls or wordsl. For(I. Jessie Neatherly (Age 16), Illinois . '0 a ways COMPREHENSIVE CURRICULA. will notice on the modern timpani tral music. ample. in clarinet. bar-p. ______mtended to be used for d anclOg.. bas-«lOll.: MEMBER N.A.S.M, UNDERGRADU. are the deep kettlesl made of bras!3 harp is oul of pl.ce. as the other My mother teaches me piano and my 1)e~clRSlfV ATE AND GRADUATE PROGRAMS. or coppe'r and mounted on tripods. are wind instrumenl . uncle teaches me the B·flat clarinet. It Write, call ar visil The two most frequently used ket- Patient Practice is lots of fun. I ·would like to hear from SCHOOL of MUSIC The Office of Admissions, DePa1l1 University. 1_ Oarinet.. harp, bu..aooD.oI!oe: 2. Pt anyone. 64 E. lake Street. Chicago 1. Illinois. tles are the tenor, measuring colo. violin. ~viol, 'cdlo; 3. r~ Jeanette Sherbondy (Age 10), Indiana Flnoncial 6-4000 b,- Frances Gorman Risser twenty·four inches acrossl and the pels., o~. comets.,tab&!; 4. ~ . Mr. Cricket saws away, morning val\'"e. bell. mouthpiett; 5. Suopblt' bassl three inches larger; fre· l Mr. Bee can only buzz b l . ANSWERS 10 QUIZ night and noon, practicing so pa. bllMoo., BUle. &lock'" pid; ~ ; quently a third one is added, a small way, he is ha' u, m his 1. First inversion; 2. Scotland; 3. Verdi AMERICAN CONSERVATORY . ppy, as he ceJ~~ leg.erhne. CJ~; {.~ thirty.inch one. The heads of the tiently on his only tune. Mr. Bull- mak (1901). Massenet (1912); Debussy es muSIC all th d clannet. gwtar_ harp. 'rioU: & drums are of either calf or Angora frog, in the swamp, croaks the (1918); 4. Becoming slower and soft~r OF MUSIC-CHICAGO practiced half as be day. If We hom~ trumpet. flute. plccole; 9. Offers courses in all branches of music goat skin, and are played with a whole night long, trying hard as patient thr - h ar as the flat. tremolo. ~; 10. Tympaai ltV" (dying away); 5. MacDowell; 6. Ole 67th year. Faculty of 135 artist tea.chers pair of sticks with flexible handles he can try, to improve his song. . ee, W1t Our wealth of Gloria Terry (Age 8) Meistersinger, by Wagner; 7. Yes; 8- Member of National Association of Schools of Music Instruments tTia.n.de. cymbal Send for a free catalog-Addl'es8: John R. Haltstaedt, Pre8., 577 Kimball Bldg .• Chicago , masters We would be_ fee.lna Greene (Age 7) France; 9. Three-four; 10. Da] Segno I Srni .llSlt"en 6r V... JJl flnlCe Sue Jones (Age 7) Tennessee (repeat from this sign).

HIDE-VIr /1IiI ETUDE_MAY 1953 55 SHOULD WE HAVE THEPHONOGRAPH DISCOVERS THE ORGAN A MINISTRY OF FINE ARTS? (Continued from Page 17) (Continued from Page 15) SHERWOOD MUSIC SUHOOL EASTMAN SCHOOL OF MUSIC young America consider the matter. than ill come of it? We cannot say. workfor Allegro, recorded on baro- preferences and individualistic in- "The opportunities for young sing. The thorough. specialized, professional training essen- we only know 'that it a ppears that que.revival.typeorgans in Sandusky terpretations of the youthful artist. of ers in the United States are Iew." in the case of Europe the benefit has and Buffalo,ranks high in a field Played on the John Hayes Hammond tial to success in a musical career, Sherwood com- he states. "In New York and San The University of Bnchester ontweiahed the shortcomings of the that has now become competitive. Museum organ, this Ellsasser disc bines with a general cultural background designed to Francisco exist the only two major system~ shortcomings ,,:hich .every Noehrengoes from Frescobaldi and makes use of the debatable Ham- stimulate self-expression. Individual guidance by a opera companies in this country. We Bachto Hindemith and Messiaen mond Dynamic Accentor. earnest student of mUSJCal history faculty of internationally known artists. Degree, di- HOWARD HANSON, Director need more outlet for 1he great musi- withequalenthusiasm and with gen- Clarence Watters, who heads the recognizes as having existed. ploma and certificate majors in piano, voice, RAYMOND WILSON, Assistant Director How would such a ministry benefit cal talent which exists in America:' erallyequal success. Few organists music department of Hartford's Trin- the people? A very small portion of The maestro warn ...that "The first havehad the opportunity to do as ity Col1ege, is an organist of un- violin, 'cello, wind instrument, organ, composi- our tax money would be diverted requislte for young singer is to have muchrecording as Noehren. To his compromised artistic integrity. Claa- tion, music education. Many opportunities for Undergraduate and Graduate Departments a , ...ell-rrained voi e. Young people from the purchasing of potatoes to creditand to the credit of Allegro's sic Editions is recording various public recitals, solo and group performance. burn, and used for the establishment must be careful of the teachers they recordingcrew, the results include Watters interpretations on the ex- SUMMER SESSION of an operatic season in say. every choose. For many times the teacher someof the best organ discs avail- cellent Trinity chapel organ, among Splendidly equipped building with easy access city of 25,000 or greater population. is the reason for the basic faults in able. them Schonberg's "Variations on a to rich cultural facilities of Chicago. Nan-profit; June 22-July 31, 1953 the aspirant to singing laurels." This would be followed by a syrn- TheHaydn Society recently com- Recitative." In the difficult field of established in 1895. Summer term begins June Questioned regarding this state- pleteda seven-disc complete record- organ recording Classic stands high phony season. Choruses for the pro- 17th. Write for catalog. FALL SESSION duction of great oratorios would reo ment Cleva held up to verbal flagel- ingof Bach's Klavierubung, five of for engineering competence. ceive aid. Art galleries would be lation the churlutans who promise theLP records featuring the harpsi- Three gifted organists of our day September 21, 1953-June 4, 1954 opened. and painters and sculptors young beautiful voices fame over- chordwork of Ralph Kirkpatrick who happen to be young women are Arthur Wildman, Musical Directar would find an outlet for their crea- night. who tell young singers they andtwo the organ playing of Paul represented on discs by representa- For further information address tions. Poets would be able to live are sure to be successors of Caruso Callaway.The Callaway portions, reo tive programs excellently recorded. 1014 So. Michigan Ave. or of Blanche Thebom." nfcrtuna- ARTHUR H. LARSON, Secretary-Registrar without prostituting their gifts to cordedon the Skinner organ in Catherine Crozier of the Eastman Chicago 5, Illinois the creation of commercial limericks. tely. in this country there i'" no re- WashingtonCathedral, provide in faculty has made three splendid LP EASTMAN SCHOOL OF ~USIC There would come of this ministry striction of musi tea hing. Anyone full on two 12-inch LP's the so- records for Kendall Recording Cor- bad music, bad statuary, bad poetry, may engage in it. wh ther or not he called"German Organ Mass" reo poration, the most popular of which Rochester, New York but perhaps more good than bad. So is profici nt. The young singer can corded in part for Capitol.Tele- is "French Organ Music" featuring it has proved in Europe, according only beware thut no faker has oppor- funken by Prof. Heitmann. modern French composers. Neither to Maestro Cleva! He asks that tunity to ruin his voice." THE E~D Giventhe data in this case, the the Eastman School organ on which resultsare predictable. Take a large Miss Crozier plays nor the organ in BOSTON CONSERVATORY of MUSIC ErnestSkinner organ, put a disciple St. Mark's Church, London, on ALBERT ALPHIN. Dir. 26 fENWAY, BOSTON. MASS. WEDDING BELLS AND HARP STRINGS of T, Tertius Noble on the bench, which Jeanne Demessieux records A Complete School of MUSIC, DRAMA and DANCE. andlet the two produce Bach in the Summer Term Degree, Diploma, Certificate Courses. Faculty of 60. (Continued from Page 10) for London is a classic-type instru- m ST. LOUIS INSTITUTE of MUSIC June 29-Aug, a Dormitories for Women. Catalog on request. ~:~~.Tir immensities of cathedral space. ment. The French organist records Associate Member of No:tionoJ Assoc:iation of Schools of M\lsic John Phll1p Bloke, Je., President of Liebest mum is easy to find-or Some of the light r classical things Someof the cleverly-contrived close- both Bach and Franck with a full- the harpist can make her own. 'Vith fit well. nd if the reception is fairly upportions(the lovely Vater Unser ness of tone that must be reassur- the songs, the chorus is usually suffi- long some repetition of numbers will Bachelor of Music Degree in 2( Fields inHimm.elreich, for instance) are re- ing to organists who have been told cient. So long as the melodic line is do no harm. producedwith excellent clarity. The that the 8' dia pason is doomed. Un- Master of Music Degree in 23 Fields clearly defined the accompaniment It is essential for the harpist to bigworks,on the other hand, suffer fortunately, the London recording is ,. ·DALC~d9.~h~e~~:~~L OF MUSIC may ]'emain quite simple. know exactly what j:, expected 01 fromheavyregistrations and excess scarcely up to today's technical Graduates Music Education Maier program well qualified to teach all phases of Less frequently the bride may pre· her. and when she is to do it. If re~erberation,Despite a slow tempo, standards. Marilyn Mason, who re· 'J Intensive Summer Course, July 6-August 15 Music in public schools. A catalog will be sent on request. fer to have a prelude of harp music there is to be any fumbling at the Iflr gluuben All' an einen Gott for cords for Esoteric. is a brilliant re· Rhythm-Solfege-Improvisation-Composition-Pedagogy Vocal and Instrumental Instruction by Artist Teachers Institutional Member Notiol1ol Association of Schools of Music that is not based on the familiar wedding let it be the beSetman hunt· example,is blurred and muffled.' citalist on the staff of the University love theme. In that case the reper- ing for the wedding ring. not the For the Bach "Mass" the choice Classes for Children and Adults 7807 Bonhomme Avenue St. Louis 5, of Michigan. toire of the individual harpist will harpist hunting her cue! She s.hould betweenCallaway and Heitmann is There are several interesting LP The Changing Musical language determine the program, Romance in know the exact time she is to start a matterof style. Those who prefer a Symposium for Teachers and Students BUTLER UNIVERSITY records containing instrumental mu- July 1 and 2 G-/lat written for harp by Charles playing before the ceremony. and a ca,thedralBach have a good exam- sic in which the organ is an impor- Max Wald-Carol Robinson-Carl Stern-Mildred Wummer JORDAN COLLEGE OF MUSIC Wakefield Cadman is appropriate, should be there in time to lune tl1Or· plem the accurate, sincere "middle. tant part. The Haydn Society has Alertness ond Increment Credit A rich tradition, Q progressive philosophy, on outstQndi~g focul~y, compll:te. acere,d. though quite florid. The Debussy oughly and get music organized un· approach"of Callaway as well reo released a record containing two 161 East 73rd Street, New York 21, N. Y. itation. Baccalaureate degrees in Dance, Drama, MUSIC, .Muslc Education, RadIO. Arabesques arc good. as are Clair hurriedly before lhal lime. She ded Write for catalogue and desired information £oh by the Haydn Society. Those Haydn concertos for organ and or· The ani" authorized Dalcroze Teaders Training School in the America' JORDAN COLLEGE OF MUSIC (Box E), 1204 North Delaware Street de Lune and The Girl With the should have a cue for beginning the ~ 0 chooseleaner tone and more in. chestra played by the Vienna Sym· Indianopolis 2, Indiana Flaxen Hair. Vers La Source dans wedding march. should know just ~m.ateacoustics, will place the old phony orchestra with the aid of a Ie Bois by Tournier and Zabers La when to begin the march following eil~annrecording first. The differ- charming old organ (1642) played CONSERVATORY Source are pleasing to listeners with. the ceremony one is being used. encemth I ' if e amount 0 matenal from by Anton Heiller. Oceanic Records h Kl . OF MUSIC out being ejther too popular or too and how long ~he is expected to play 'e ,umerubung will not worry has produced another record mak· PEABODY Qltittlanb]tstitutr uf mUSU SUMMER SESSION-June 29 to August 8 tVlJr DO heavily classic. The musical prelude at the reception. It docs harm to manylIsteners. ing use of this same organ, a record Bachelor of Music-Master of Musk-Bachelor of Scien~e in, Education is a ~tage setting for tbe ceremony take notes when the decisions are MG!! h· . Instruction in all branches of music. Member of the National Association of Schools (8.S in Ed. by arrangement with Kent State University) I egan Its post·war class)· not only with the 13th and 14th Han- of Music. Free catalog on request. that ]s to follow. Every piece should made. and check tho!3e notes before WARD LEWIS, Acting Director ~a organ releases with an LP re. del concertos for organ and strings REGINALD STEWART. Direc:tor 3411 Euclid Ave., CI.evelallld 15. Ohio be played as perfectly as possible. A the ceremony. She should be prompt ISSueof C I W· . Member 0/ th.e National A~80c'(Ition 01 Schools of M""lc hid' a ar elOnch favorite but with intriguing performances of 9 E. MOllnt Vernon Ploce, Baltimore 2, Md. simple number playe~l with artistic at the wedding rehearsal and be pre· f 0 tng three Bach preludes and two Handel concertos for oboe and musicianship is infinitely more effec- pared to stay as long as necessary. ugues,but the transfer from 78 was strings. . tive than a pretentious piece which In addition, site should check on t)'~e not very f COSMOPOLITAN SCHOOL OF MU~IC MGMB Succes~uL The promised Certainly the organ enthUSiast CONSERVATORY OF MUSIC OF KANSAS CITY, MISSOURI WIKTOR LABUNSKI, Director Preparatory, College, Special, and Graduat.e Departments. C~urses leading ~o is a stumbling block to fingers or o( dress and color scheme well In W· , ach seTies to be made bv has reason to rejoice because of re- FOUR·YEAR COLLEGE OF MUSIC Bachelor of Music, Bachelor of Music E?ucabon, Master of MUSIC,and Teacher s (eet. advance. Masculine gender should emnch h p. ' 'lOt h on t e rmceton Univer. cent advances in the field of organ Offers Certificates in MUSiCand Theatre Arts. A wide range of music is in .-rood likewise know just how formal hi5 cYcapel' Bachelor and Moster of Music Degrees William Phillips veryf organ IS not moving along recording. The unmet challenge now Clarence Eidam taste for the wedding receptio~. It attire should be. Bachelor of Music: Education Degree Member NASM Dean 'gin ast, but the start is encour- in most instances is playing equip· President should ~e .more brilliant, at least at The harpist who has all the detail5 g, Located in Kansas City's Cultural and Educational Center at 4420 Warwick Edwin L. Stephen-Mgt., ]06 SO\lth Wobash, Chicago 4, Illinois ment equal to the new records. This Summer Term, June 5 Fall Term. September 10 t~e begllllllllg, than the wedding mu. worked out. knows ju~t ~hat to pl~l' MGWs r Rich decent organ recording by is a problem each enthusiast will SIC proper, and neither too difficult and when. has harp and string~ ln goodar'h Elhlsasser is technicaUy have to solve for himself. The ma- BALOWIN·WALLACE MILLIKIN UNIVERSITY to be played easily, nor too classical good conditioD-t.hjs harpi ..t will en· , oug man .. SCHOOL OF MUSIC certain y mUSICians are terials for solution are available. CONSERVATORY OF MUSIC joy using his harp strings to h~lp CINCINNATI CONSERVATORY OF MUSIC DECATUR, ILLINOIS FamousdM~lodies 0/ Stephen Foster: to quarrel with the stylistic THE END BEREA. OHIO (luburh of Cleveland) OlTen thorough training in mUsic. Courses lead· arrange y Joseph Riley, fit well wedding bells peal! He will find bm.1' Williom S. Naylor. Ph. D., Director and Dean of Faulty ing to de!lree~ of: Bachelor of Music. Bachelor of AflI.llated with a flut elliS Liberal Arts Mu~lc Education, Master of Music. and Master between more brilliant -IC Established 18b7, Operated under auspices Cincinnati Institute of Fine Arts. Collea:e, Four and t1~e yea. COUUeII numbers. I I h' leading Music Education. F P se ( in great demand. or J~ mu~d to derreeB. Faculty of Artist Teachefl. Send or Affiliated with University of Cincinnati. Complete school of music-Degrees, Memherofthc['o;ationalAssoclationSchoolsofMusic When 0 Com • f fhot he has devised a "pro- ror catalogue or information to: our reludes by Toumiet make will weave an atmosphere of joy an gram" f . poser In orms us Bulletin sent upon request Diplomas, Certificates-dormitories, 10 acre campus. Write for free Catalog. CECil W. MUNK. Direetor. Berea, Ohio W. ST. CLARE MINTURN, Director good fillers, easy to sight read if hope and beauty around each we.d· h Or h,s music I soy: "First let me hear w~ether yo~ REGULAR SUMMER SCHOOL COURSES regular repertoire numbers run low. THEE~D ding for wbicb be play,. ' ave creafed beautiful music-then tell me what If means. Registrar. Dept. E. T. Highland Ave. and Oak St., CINCINNATI 19, OHIO -Rober! Schumann 56 ETl'DE-1I4Y 1933 ETUDE_MAY 1953 57 •

Of A PIANO TEACHER ADVENTURES (Continued from Page 21) basis {or a well integrated and stahle A Beat you can ~ .•• halls dormitories, student. ce~;;~ life. For many .music students. such for &~\I , . m and a superb FIne _ an atmosphere IS more 10 Baccala urea te conducive Music and Commencement gymnaSlll d sumptuOtt::. d d J h h A Beat you can hear! b ildi o with a large an . d all.roun eve opment t an t € ~~'1111"'~ Udl·tW·'='Um a wonderfully equlPdlPe strenuouS Hfe of a large cit}·pro. PROCESSIONALS AND MARCHES au 1011, d ingly en ess I I J k little theatre, an S~eml., Since {essional 5C 100. ust rna e sure, ~1~)t\ \I~%":- ~tlmtr hinz and practlce room~. Ie won't you. before )'OU recommenda teac >:t 1 ge lime t 1 • • d PIANO . now class·c lao . I coIl D'C that It IliBno epanmenl ORGAN It was . ay )0 t- eo COMMENCEMENT DAY, Op, 138 (21~)....Crurumond h d ,. 110·18311 .30 tMARCH OF SPRING .. Wnl£ 113·27959 .50 campus was crowded WItTig d aru comes up to your slan ardsl COMMUNITY GRAND MARCH, Oil. 506 (3) ...... Ker-n I nd girls. ie re 110·19671 .40 tPOSTLUDE IN G Blackbuen 113·40011 .50 METRONOMA 1 GRAND PROCESSIONAL AT AVIGNON, Grande Pr« .. i tPIECE JUBILANTE ~{a"in 113·40007 .50 ing. yout. s a est ige of the LOUlS · THE SONATA uAPPAS~IOMATAII cession Avignon (4) Cooke 110·26039 Electric Tempo Indicator vanished, not a v I a .50 tO'ER EARTH'S GREEN FIELDS Dunn 113·40005 .50 HIGH SCHOOL GRAND MARCH, Op. 667 (4) Kee-n Purchase l'emained. T ad r I~k": ''! there any bc· 110·26280 .40 tMORNING INVOCATION D"ly Jl3·40000 .40 JUBILEE MARCH, Op. 55 (3!h) Williatns with the flash Baton ana N I· estern 101 II' "--'h' 130·40269 .50 tMARCHE ROMAINE Counod 113·04440 .50 This was the ort IW • tuol ha~i ftlf etl 1tl~ U«\ o\'cns . the IUNIOR HIGH PARADE (4)...... Hcnk 110·26313 .50 tMARCH OF THE PRIESTS from "The Magic Flute" Now at a new lower pfl~e .. , t I ... n a whose mu I \\. '1 ' College of LoUtSla , I onnm in F mer, Plh 01 • appa). MARCH from "Aida" (2lh) Vcl·di·Gurluml 110·19562 .30 world's most depend~ble tlme bea ct . 1 Iert an( capa- Mozurl.D(l'Y 113·27i02 .35 department, WIll an a b Sherrod $i nUlo'?" !lARCH OF PROGRESS, Op. 155 (3\i,) ...... William' 130·40011 .40 tORGAN TRANSCRIPTIONS OF FAVORITE Selmer Metronoma gIves tOll aC~~~~,d !IARCH OF THE GRADUATES. Op. 94 (3) ..Johmon 110·19160 .40 hIe faculty headed Y 1 ~nnc U fJl1init the word 01 8 HYMNS . Kohl"IUllu 413·40018 1.00 tempos two ways ... (~ Y ft and !IARCHE TRIOMPHALE (3) Kette ..e'· 110·26647 beat that can be set lou or ~o .' "ble .30 Towns, offers an e~cellent e~"l~':~er fa.ncif"i 11Ilhii her wilh In eyeOD NIGHT SCHOOL l\fARCH (3) Bcnj:lmin Contents basi lit beat through a ViSI , ne 130·40267 .35 ~21s1lnglig Easily set for allY tem~ of the fine work belllg do 1 f .1.' (:1 il would H!f'm thai the ONWARD CHRISTIAN SOLDIERS (3) All Hail the Power of Jesus' Name Onward, Chdslian Soldiers tt. h .c Si 100 S .,. fi from 40 to 208-l~rgo to Presto our land by t e mUSI 'd ~ ~Iri£e and ardor of Iht ~l mOl!· , Sl1l1ivan-Goerdeler 110·02390 .sO ChUl·cll'S One Foundation Pass Me Not, 0 Gentle Saviour PRIESTS' MARCH from "Athalia," Op. 74, No.4 (3Y::d Come, Ye DisconsolaLe Pl'Omised Land with a twist of the dIaL such little known colleges. ~CSI n nl th eelr ..tial calm of thesec· In playing with a band or Mendclssohn-Lichter orc~es~r~r . d theory lOstru· I. 'f' f I th 130·40056 .35 Day Is Dying In the West Saviour. Like A Shcllherd Lead Us excellent plano an . d nnd nnel III lern )tnlE urr (I e SPIRIT OF THE HOUR, Op. 102 (3V:d Johl1so" Fling Out Ihe Banner Son of God Goes Forth To War you are expected to follow :~~e :;und . d se in plano p a· . 110·19433 .40 the conductor's baton-no s of tIOn, a goo cour . I 10 I mo\cmenl potnl I ~mt pel. TRIUMPHAL MARCH [1 I//(III 1/ gogy Wit 1 superv . '.. in Ronol -mnttf f!penmtt ID 110·02722 .25 I Need Thee Every Hour Sun of My Soul CA.N'TWEA.ROUT_con't ,low down. the group The Metronoma, WI and po ing, and opportu.I\ILY {or ~aln~ng tll. B clhcwen' lift'. 1r niCln,.11lt ~n· Just As I Am Sweet Houl' Of Prayer The beot i. olwgy. stegdy, gcturoTe ot flashing vi~ual beat, helps yOUle;r;e~~ More Love To Thee, 0 Clll'ist What A Friend We Have In Jesus any tempo. do this. Simply turn t.%~s~:~ follow class-piano teachmg ar.e. ~ ere . Ii) 810 wo dedi Bird 10 Counl BruD~ My Jesus, ] Love Thee When They Hing Ihe Golden Bells volume as low as POS~1 e, Metro- NO MOVINGPARTS_ituse.thelhyra. dios and practice facl""e~ Dffl l' ~. k brolhef of IWO j"ltfll. TtJ~ t ALBUM OF MARCHES 413.40003 1.25 the visible flasher. Getlt nO\\b gain I tron "heart beat" tube developed for noma is your biggest tempo ar . top. (How many more sue 1 co egc \\ I d 'J() ,hin ",,-ith hUlh f ybom Contents rod or. bodu.ive deslgn IV. S. Potent No. there are scattered throughout Ollr tho,," ~ ""e' in In' about..the On Sale CIt Better Music Stores B~ Ceremonial March March Maesloso 2,522,492). Distributed Exclusively by country! ) . f Ihe nat. cnmpos:ltJOll Church Festival March March of the Acolytes VOLUME CONTROL-mgke the beot When I am asked to Tecomlllcnd Q Ig"l'l{,I " d, \-ral.l, lornbe- Easter Joy March of the Archers as loud or soft gs you like, or vary from . 'c CltO\IlW "'" suitable school for a serlou mUSt I . I r nne I frholotcand Festal Pusllude In C March of the Shepherds. sharp to mellow. · tI e depart 1\.,' en t \C" "" ", Festal Procession March Postlude In C student I 0 !ten a dVise 1 . • .._ ".' do'" Ihe ()lMro:tTene, NO CLUMSY ADJUSTING-no set H. & A. INC. Feslival March Marche Triomphale ~tlmtr ment of a small college like tillS. rOt 1.ld131~11~ I•• ,· H, fOUldll'tde. Festive March strew•. Dial il like your radio to gny DEPT. E.52, ElKHAR:, INDIANA . .. tDnd n 0 I tn~ru hl . Marcia Pomposo tempa-40 to 208 beg!. per minut". where musical an d pmnlstlC S • '". '. ."k 1I'l mlm' him: Jubilant March Posllude Pomposo ards are hicrh and where. in on 1.I1'l· ('Ide \\01" h In bo h 01th~ml~ March Allegro Procession of the Magi • C h' p. fin 11\ h ~.,' up' ' .. March in C Processional March ROBERT WHITFORD PIANO METHODS REPRESENT hurned, calm atmosp ere ) oun~ . • F 'lin r ,n118 mij;~ t Hammond Regi.trotion pIe live for four years with their (c). Ihlll Inrm t.-..... I oil 01tb3J A NEW MOVEMENT IN PIANO EDUCATION . . fi f n w ho'l' l.ft:lI:nI ,t rt'- low students, acqulrmg a rm 01.1.· n THE E..\] You will be pleosed with the il'lnovatio~$. Mr. Whitford dation in music as well as n sohd truggle:. CHORAL has brought to present day piano teaching. Yes, there BACCALAUREATE COMMENCEMENT have been some worthwhile c~o;l~e~;;dE~CH1NG TO- ETERNAL LIFE (Prayer of St. Francis of Assisj).. . Olive Dungan GREEN CATHEDRAL .. C.rl H"hn Write now for a free copy 0 1 h d .Mea. (arr. Stickles) .16 · h I Robert Whitford's persona met a SOLVING PROBLEMS AT TWO PIANOS SATB, 322.40018 SATB, E"y 322·35073 $.20 DAY W hIC revea s . d I SSA, Med. (arr. Donath) 322·40019 $.16 SAB, Easy (arr. Montrose) 322·35447 $.18 for teaching children and his method for teochlng.o u ts. I SHALL NOT PASS AGAIN THIS WAY...... SIan ley S. Effinger SA, Easy (arr. Carleton) 322-35399 $.18 · Teaching Todoy you will also (Continued /rol/l Pa!'t 111 W·th your copy Olanof P SAT8, Med. 322·35259 $.16 SSA, Easy 322 ..35038 $.18 , I' t Mr Whitford's master lesson toD!tdeI thl TTBB, Easy (arr. Huntley) 322·35308 be sent comp Imen ary, . h SSA,Med. (alT. Dorst) 322·35031 $.16 $.16 more commercial. They realize thal Quit ob,iou_ "'- en ubtrt. Bnhm: YA-N"KEE GLORY (Choral medley) Donath on MUSIC'S MOST UNUSUAL CHORD. Just send your TTEB,Med. (afr. Durst) 322·35395 .18 Jcno with the increasing number of such Bach~. )'lourt. . 1i"bofttt Orchestrations available Robert Whitford name and address and state whether you o.~et ~ plcno HEAVENS ARE {DECLARING Ludwig von Beelhoven SA TB, Med. 312·40028 $.20 concerts there is an ever g.rowing and man' other romaDUC5 I '", TELLING d we will send you the above. M01 O. _~' .~,. rb1... 0 pi SSA, Med. 312 ..40019 $.20 need for two· piano literature of high inler leu 10 l.U-l: arti.:li: SATE, Easy 312·10398 $.12 ieacher, a student or a par:nt ~n 204 N E 31st St., Miami 37. Fla. TTBB, Med. 312·r a • ..~Of"" an? tbls JS simple to e~p)ajn. 11 no. BRYN MAWR, PA. 216 S. 20th St. lOtllst 7·1877 430 So. Michigan Ave., Chicago 5. Illinois THEODORE PRESSER COMPANY, qUires two piano ... HOwc\,f'r, It i... "' ...... l' ~62' 'Sold only in U.S.A. . ETUDE_MAY 1953 59 I F. Vii 58 .b _ to follow them while he whistled the you CAN PLAY BY HEART regular training and habit. No mat- DON'T LOOK FOR music. With that he disappeared into ter how difficult you find it, impose (Continued from Page 16) the bathroom and began to shave upon yourself or your pupil the task SHORT CUTS! and whistle. Soon he reappeared with having the score with you. I have of memorizing at least one piece his face full of soap, the music (Continued from Page 19) f.Qckard 111cl?fanakan dl fIerent notes. The done some of my best work while every month. You will discover for actually tWO d by 'he one vio- emerging from behind a mass of iddle "G" pl.aye mechanically nodding to a dinner yourself what astonishing develop- work, you are heading in the right white blobs. mI. d "B" to his partner who partner who was harranguing me. ments can occur in the course of a direction. " -, • ''funepianosin30days Gndo,·jej (Judd 111115t rea s. .d down from I had to stop him after four bars No mu~'c~j knOwledge needed. Pi~no :UncI's jn great few brief months, a year at most. As to working habits, I find it demand. Low cost I,·aming by experts.Revolmiollal'y is looking at It u pst e bl The How often have I observed a mu- new, phonograph records ~pvetrUe pi~no tone •. We because he had skipped a couple of After dwelling so extensively on most helpful in learning new songs [urtllsh .professlOnal t<'!ols (rccord pl~yer if nceded), the other e?d of the ~at~·emati. sician Iike Monteux thoughtfully hlS.tr"UCtlOnm.~n,,"ls, '!,ehl(I'ngo spinet tuningo, Full • rr t . no students the notes. I made the correction and he tra,n",::,: In p,ano r"pm'·_and how to line up work composition 15 of course basic tapfling the table with his fingers, the part that conscious and Intellec- or new roles to begin with the words. [or BIG e~rnlng •. Scnn lorlay for frec liler31uo·c. "Guild AuditlO~s olT.er °h.Phlathey are accus- continued. A little later I had to CAPITOL CITY TUNING SCHOOL t of Incentive W IC . 11 . cally constructed and has a tu.al efforts play in our work, I do They remain the key to valid inter- ab ently humming between lwo Dept. 540.129 E. Michi~all Ave .. Lansing 16. Mich. 'tommoed r~\aving in other subjects, esPfecI? ~ng'" stop him again. Thus we continued, WIsh to emphasize the enormous pretation. First you must understand o ..' t matter 0 W1I1nl , Ian that anyone can grasp. . d morsels r lobster Newburg, while sports. There, It IS.not IUS. a medals etc" and P This affinity between music a~l Yehudi whistling, I playing Beck- part played by our subconscious. the words, their language, their but also of eehlevlns ratings, f t the affinity orneon lse wa telling a story. ge . does not necesaan Y messer. When we got to the end, he mind. These subconscious functions music teochers should never r . arts and mat hernancs TI ere What was It humming? Obviously, sense, the kind of emotion they con. BOOK MANUSCRIPTS well in reverse.. I started over again. He did not re- be which ellists bet~hen Gt~id ~;~oar::;~nlersa vclc- wor«k equa Ily b I I next w ek' ymphony program. On of which we know so little, must vey. Next, you begin-slowly!-to is the story of Artur Schna e p. ay- peat the old mistakes but he made allowed to function as freely as pos- INVITED ploy and sport. ~ h b insisting upon one 0 caqion 1 had no knowledge of bring this understanding out of your It YOUlifelooking ror a publiSher, send ror our free, able servi.c~to. muf"cdteac :~is :nd in balanced 15 a smaller batch of new ones. At the illustrated booklet titled To tl,e A"thQr in Search of . with Einstein who a sible. inner resources. You can do it only o.l·"~lisller. ]t tellS how We can nuulIsh. promote and sound training 111 un omen 109 sonatas 1" The th I rog-ram boscn. 1 carefully . te amateur vio lOISt. fourth try the piece was note-perfect. I remember one occasion when I dlsLnbllte yOUr book. as we ha\'edone ror hundreds or repertory." _Richard McClanahan lOna watch d '[outeux at the dinner through the clearest possible diction. other writers, All subjects considered. New authors pass .. d I famous pi- Then we rehearsed the other piece. welcomed. Write today for Bookl'lt Err. H's tree. great phYSICiSt an t le hI loll. ond . uddenly I knew, beyond had a particularly bad time trying The best diction, of course, results VANTAGE PRESS, Ine .. 120 W. 31 St" N. Y. l. anist had a good deal of trOll Ie That evening Yehudi played hath to memorize a piece. When it mended from sound vocaJ production; when In Colif.: 68;;6 HollvworxJ Blvd., HatlJJwoaa ~8 th shadow of 4 d01lbt whal he was I l po and t le compositions perfectly, by memory. agreeing on t le em I r h ar6ing underneath his lobster· in one place, it broke in another. the voice is unhampered, the sylla- rhythm. Finally, according. to t le One need have neither the facility Finally, I gave up in despair and bles flow forth more freely-also, sooked musta he. It .....o so obvious: 00 '11b . legend Schnabel stopped 10 eX8 s- nor the daring of Menuhin to apply, $1- wr. nng you BOX 1113 The March to the Catlou:&, hom tossed it aside. One month later, on a you are free to concentrate on them. , I' d "For goo d- in a more leisurely way, the same sudden impulse, I started playing it, peration and exc aline : th ymphonie F8nla~ti(IUe by ~r. With every word I sing, I make afingertip file ke Albert can't you count technique successfully. just to see how much of it still re- an act of will, determining that my ness sa. - Ii z.ll w did I kn "'? lcauglllhlm on your pupils! Far be it from me to suggest that mained. To my amazement, it went audience shall hear and understand Religious Music Conference till fou r !" making a harn teri"lic su<:kin~ Mozart's penchant for mathe":,at- the task of memorizing should be faultJessly, with not one break from me. I find it a good practice to recite Use this handy, brand new aid for keep- sound. which 1 kn w ,,'a nOI di· AUGUST TWENTY-TWO 10 AUGUST THIRTY·ONE, 1~53 ics is also revealed in the astonISh- entirely one of mental and intellec- beginning to end. It was an extra- the poem of a song as declamation; ing a record of personal data on your rid at th lob ter. For those who pupils-for a period of ten yeats! You 'W' . '8 Vacafioll Wouderlau(l 1vlfh IUalslavery. As I have said at the Stud:,. m ISconSUl . g musical dice game he composed. ordinary manifestation of the sub- to speak the lines of a role as dia- In . t f kn w Mont u:'(' mannerism it was will be delighted with Your Personal This unique composition CO~SI S beginning,much of it comes, thank conscious work that had gone on in logue. I first studied the part of JOHN FINLEY WILLI.AMS~N, t~~nnJeJ a~:d c;~e~id~~~ 1 ar that here ". an impenti~e one hundred and seventy-sIx ~e~a- heavens,entirely naturally and sub- my mind after I had discarded the Boris Godunof] in Russian. Next, I of the Westm~nster CChho~r,l~ileCgee.Nati~n;lly famouS for 5umm n to th Irombon. , of the Westmmster . 011' rate slips of paper. each contalOing consciously.Listening to recordings piece. declaimed jt as dialogue. By that his brilliant conductmg. . Am ng th true ma~tC of millIe access to ADDRESSES, one bar of music. The one hundred while following the score is ex- I hope 1have made clear my belief time I had a clear understanding of BIRTHDAYS. SIZES L JACOBS fouuder of Choristers Guild, ther "ill C'ten OF CLOTHING, GREET __ am- or man) wtl not tremely helpful. It gives you immediatjl;II-I=----==:j';r-i- RUTH K~EHBIEf I Ch'ldr'eu's Choir," nationally recog· and seventy-six slips can be that too much intellectual probing the part. Only then did I begin to ING RECORDS. ETC. ,- b gin to pra ti e (\I .mpo~ition on author of Success u I, . bined in hundreds of different ways, A certain amount of mechanical can be as harmful as too little. You combine words with music. You'll never be with_ i nized authority OIl children s choJrs. . out it you Start a ~ their in Irum 01 until they ba~e drudgeryis unfortunately inevitable, once E FOOTE, baritone, Chicago Theat~e ~[ the All', each representing a complete .nod know the sad story of the centipede? The firmest basis for a vocal ca- FRIENDSHIP FILE, .~). :: 01 ntaUy and mu icelly almost com' Only $1.00 BRUhC f the staff of the University of 1111110IS. logical composition. The vanou forfast passages ca n onIy be secured One day he was sauntering along reer remains the development and ptet Iy mO~1 rttl h. nfortunatelr, mem er 0 . . and training or adult and combinations are obtained by throw- by the development of an automatic happily when another animal came care of the body. We can become so FREE MuStC SESSIONSinclud~i:n~:s.anal~~I1~I~terpretation,organ, chor~c n gr nt man ~1Ud nt do v:acl1ythe with a COpy of this ad, we will send you children'>;choirS,hymn>; g g d their nHlsic, choral chOir ing a pair of dice, one throw for mechanism,a kind of finger mem- along and said: "Hello, Mr. Centi- immersed in details of technique and speech, great religious Inovements an oppo~it . Th practice pm' 1 dozen MEMORY JOGGERS each bar. After each throw you con- .~d. orysorapid that it runs ahead of the pede, Tell me, what method do you interpretation as to forget that sing- absolutely free for keeping YOUfreminders repertory. Send for descriprhe folder> ti e a gh n pi e on theu mstru' handy month by month, sult the key list provided by Mo- consciousmind and functions inde- use in walking? Do you say to your- ing is primarily a physical function, AMERICAN BAPTIST ASSEMBLY, GREEN LAKE, WIS, menlS until th are menla.ny. emo- Clip your check jar $1.00 la this ad zart and pick a corresponding bar pendentlyof it. self: 'Now foot 77; now foot 34; resulting from muscular activity: FRIENDSHIP FILE, B" mo. Ph;!•. 26, P•. of music. Baby may need a pair of tionally. Bnd phl~icatly ~ue.and Finally, a great many llOme per- now foot 13?'" Still, that's what it is; and the bet- ICATION, RECORDING AND shoes, bUl whol you end up w;l!, in their mn,jeal "italily ba gone don formancesare required before you The centipede replied: have PUBL "I ter the resistance of the physical SONG ATION' this game is a waltz of thirly-twO the drain. arereally ready. If you are a string never thought about it, I just walk. organism as a whole, the better the PROFESSIONAL EXPLOIT • hars, completely hormon;zed and Tho .!Ilme ~ludenb ",-ill pack~p pl,ayer,you should perform the piece where shall I go to ce Give me a minute to figure it out." chances for good singing. h before' whether you've been previously playable. If you just keep shaking th ir in~trumt.nt aher a pracU WItha pianist in order to become He stood there for a little while, Singers should set aside a daily Today's mar1cetis more open t a~h~ver beiieve in, why not have the sath- those dice, you may combine enough period and llromptl - forgel aoom thoroughlyfamiliar with the whole thinking hard. Then, suddenly, he period for calisthenics, exactly as Published ar.n,ot. I.fyou h,ove some mg you Stud}' " waltzes to last you a lifetime. the whol COOll)O!!:ition.To the co~ score,not just the solo part. cried out in fright: "I can't walk they do for vocal practice. Particu- faction of gIving It a try. I '" ',. ono thing The exploitation, T/·.\' h . lfUIllwt out 0 musica compOSIIon ~ . fib 1_ The first rule then. for someone trary. \\ lUI t e IJ)<' ea\' One more thing: the ability to Writing 0f a song or. b' Notional contacts, success u aCIl- I anymore; I'm paralyzed!" larly helpful are those exercises promotion is another. That IS my usmess. . who desires to gain an insig It into the wa • thi! i~where you ~aDlrjm, memorizemust be developed through THE END which develop the chest. Also, one Ad~f'..tising round and publicity know·how. the technique of memorizing. is to ly rL abo,e the mecha~ICI must build up the sheer body power , I ·0 ~o" yOU! 9 TY PRODUCTION + EXPLOITATION + DISK study a score with the mind alone. ped lID nl5 0 ceuU n.· . d which makes it possible to sustain ~~~L~~~ PR~MOTION +. DISTRIBUTION + PUBLISHIN.G Play it once or twice if you wish, or Ratf's TIM mind can \\orJ.~ un 1-'~~emI. I,."d bl~ exacting work. This, I believe, is best o[ ,ball.!'ting ou~U 1.1 the ou' PROBLEMS OF REGISTRATION ~G~A~Y~L~E~.~'~'~3~9~1~2~B~I~u;e~c~a~niy~ain~fD~r~,v~e~,.N~afr",t:"hIH.a"'F'Y~Wl·l·,dV·ICja.h,f·lllistento it once or twice. But after 1 done by developing general strength ta~k of ~imuh __oeou ...I)· conqu~~ l (Continued from Page 24) and vitality-not through excess • ANFOHR••,»"._, D.,_M.", •. UJ"~O2!~'"'t"CA.MP :~~,;;~';,ais :~'; n,~~erl~io~:nh~~t;~:~ t bnical b...tac1e and m~onDD, weight! An older school of thought oo.. .. u v" first theme_ of how many bars i it a well, do }our mtmoriDng ~pa' held it necessary for singers to be on Advertising in these columns S . ht eks Courses in Band. Orchestra, Chorus, constituted? To what key does it ~~ganin some places is in complete a good fuJI organ sound. Often the the stout side in order to build resist- • Caeducc::i"ional\3-'9. Four & pe~gI ~., ,.lion in piono 011 bond, orchestra instru- ra,e! . . h d· Mo' is restricted to teachers. The . H' t Theory rlvoe lI1Sru, modulate? Where does the develop. Ensembles,MUSICISory, 'minent musicions,Dormitory,sports focilities on 170 I once wirne...,-.ed ,~ U I· . tl:srep~~e.today. Some people, like omission of only one or two stops ance; I cannot agree with this . ments.Seminarsand lechres by pro ment section begin_ Where is the , . I mage! rate is $5,00 per inch, $7,50 bin appl tins ~tegr ID dariol t I~VISltmgorganist Mr. Skinner can make a "cloudy" ensemble bril- Both vocally and interpretatively, y" , acres, Fullinformationon request, recapitulation? In what form is the luI and, I would .. r· ..~er ,t' e S about, suspect a pretty tone liant. you build your best work when you per % inch, $10,00 per inch. Robert J. Rittenhouse.Director, Hockessin 14, Delaware piece written? Sonata form? Vari- cu t.-O merelybecause it is pretty. wa . He had programm I ,n> Organists who attend concerts or think in terms of a long singing ca- Because of this special rate, . a <;0'11' Nodoubt some of the "Romantic" ..:t.. 76 t-l I.r'O ation form? Rondo? conteml}()ra.n piece!>- '~n Gu~ listen to symphonic recordings will reer. It is possible to get quick only orders for six Consecu- Wm. ~. Rapne;;J \tl..- • All 'his is ju., 'he ground plan. her b 'he lh enca pi' o~g;nsdid gild the lily in the matter find the principle demonstrated by 'breaks' and attention, I suppose; Now you begin to sing the piece to o "dshtone. We should be on our comparing a heaviIy·overscored work the real test is to make them last. ,tive issues can be accepted. eri a.nd 8 rapid ~ne ~Yth~:di~1 gUar ho\ . yourself. Here is where you can man rthur BenJaaun. ed W the ' . vever, agalllst rushing to like the Bruckner E-flat Symphony Be wary of any step that won't stand Advertisin~ copy must be en- make your waste time productive. , ,OPPOSiteextreme. To admire un. the test of its effect on the singer unexpecled Lhin&> bad ~ppe;~~Ctltlcally , or the Mahler First with a wel1-baI~ tered by 'he 5,h nf the second You should do YOur singing qui- interfere "'ilb hi:, pnc::; c~ "B any mstrument of the anced piece, the Tchaikovsky "Pa- you'll be ten, or twenty year~ from aroque"t . month preceding publication_ Solid Silver Flutes - Piccolos elly. inwardly. The memor;z;ng and Ih day 01 the d of that type SImply because it is thetique" for example. Note that the now. To meet this test, you'll need pro.cess c.a~ be successfully applied w;lhoul Yehud; ml~' ,I ~ s' ype is to let the pendulum added instruments do not give addi- the soundest possible habits of pro- (Example, advertising for hile Wing too f ' h £In jlioston·15, ff1a55. :v waltmg for a bus or riding in A d h ar In t e other direction. tional power to the ensemble, but duction and technique. And you'll I lfU in~. • to tbeCC' August issue is due June 5th). ~l~O~S~ffI~a~li~li~a~cb~u~li~e~I~lli~~e~':"''lIr~;';,:;;~~~~~~~~~l \ ll. You Con apply il in 'he ha'hlub aod droTe mos~/ e ?rohlem which confronts only thicken it. The lone does not need something more: an attitude to- 'ime "lila him hil ~ ~ 0 'Ve set your type without NO STUDENTS CHRISTENSENPIANO METHOD and in bed. If you are ol a boring <:en. We r..ted lOT ." ~ ~ instru us IS not to design an ideal sparkle; it becomes muddy and wards art, bJended of respect, re- BOY PIA , successfulthrough the years for Swing. party, you can apply it with im. chorge. Simply forwnrd us ·,IIvo'o ,ho~e marches "super' Jazz Ragtime,Boogie,Blues, Brea\ul, key- ho'el during the ah . !he ofth ment,hut to make the best use opaque. sponsibility, and a sense of privilege, W • 'I board harmony.etc, At your dealer or sent mense SUCcess wl,,·I- 1 J Marchof the Moon Men (brondnew postpaidfor $2.50...... someone e se Yehndi got op' b

60 TD -J/.lY I!' ETUDE_MAY 1953 MUSIC OF OLD HAWAII EMS AT TWO PIANOS SOLVING PROBL (Continued from Page 14) (Continued from Page 53) CLASSIFIED ADS

the musical thought of the composer. ~ARIUONl', Composition, Orchestra- ' vay but LEARN PIANO 'rUNING A'l' HO~[E. rocess tIus v , The method we have worked out t.ro n, Musical Theory. Private or Course by Dr. 'w m. Braid White, it is a longer P . factory The Correspondence Instruction. Manu- world's leading piano technician and d more satrs . starting together is simple, hut scripts r-evised and corrected. Music teacher. Write Karl Bartenbach, in the en. h work of just f arranged. Pr-a n k S. Butler, 32-46 107 .or. a complex thimg to explalam. It 1001A. Wells St., Lafayette. Ind. final result IS not t e . It 15 .. sr., Corona, N, Y. . d but a collaboratiOn. . . based on breathing, and Involves FOR SALE. Rare records. Lists. Col- one min , . that we would LEARN PIANO 'rUKING-Simplifled, lections bought. E. Hirschmann, 100 Tl I . d question ? Uno obvious outwar d' signa.1 authentic instruction '4,OO-Liter- Duncan Ave" Jersey City, New Jersey. ie t I.U • H w to rehearse. a.t ur-e tr-ee. Prof. Ross, 456 Beecher We have found that the tape re- FAULTY TONED VIOLINS RE_ like to dISCUSS 1:, ? ultaneous re- St., Elmira, N. Y. der is a splendid mentor in the VOICED-given the fine tone of a We believe In S~otty technical NE\V PIANO lUU'I'E I,E'I'S YOU genuine "Strad" by an expert acous- hsarsal excef:'t for be dealt with ~~~dio. and undoubtedly will solve PRAC'I'ICE UA,Y on NIGHT WI'l'H- tician. F'r-ee information. Chelsea OU'I' 11IS'I'1JUIHNG O'I'HERS, Mutes Fraser, M,V.l\l., 2025 Starke, ss.a- many problems and SLOP many argu- i na w, Michigan. problems which mus.t blem of piano a ho u t 85%. Easily attached or individually. The hig pr~m"ty ~ith ments, for nothing is. 50 hea~tening detached without harming mechan- A'I'TE1\'TION, SONG"WRI'I'ERS. . hi eve unam ism. State upright, grand, or spinet! YOUR SONG POE~[ SET '1'0 JUUSIC. course, IS to ac I concept of the and yet again so d,scoura~mg as Sold only on money back guarantee. piano-arranged, ten professional hearing a playback of somethm.g you Send $5.00 for mute and full tnst.ruc- copies, $25.00. Stein Studio. 429 South regard to the same ible To re- tl on s. Richard Mayo, Dept. 004, 1121) POSSI • St. Andrews Place, Los Angeles 5, PRIVATE TEACHERS (New York City} CRYSTAL WATERS . quickly as have played, whether five mmutes Lat.onn Street. PhiIa. 47, Pa. California. mus,ca~ndl'viduallY before agreeing Teacher of singing, Iiearse 1 ding 1 tee r twenty- four hours later. 11 \VIt.I"'J:: SO~GS: Rea.d "Songwriter's VIOLINS for sale: Stradivarius, RICHARD McCLANAHAN popular songs and Clossic~. on basic musical concepts r~~ar ~ l~le team can be collectively llOn,est Review" Magazine, J6i'i0-ET Broad- Guarnerius del Gesu, Amat!, Guada- b pulling way, New York 19, 254 copy; $2.00 gninis, and others. Hill, Ha.m ma, Teacher of Plano . T.V._Rodio_Stage-Concerr. a work seems to us to e Herrmann, Wurlitzer certificates. I I his representative. the Lape re order (or other recording year. Matthay eKponent, hor.me~o"un;es' available as New York 22, N. Y, I cart before the horse." And m~st Fine Arts, 402 East Third, Flint, 405 East 54th St. instruments) can becon~e a ~~st Michigan. Privote lessons, te~t nl,·ct or cr;'tic-teocher. tl e .. of all and to the surprise BACK POPULAR SHEI]T ~IUSIC '1'0 visiting lect~re.reci ,a IS, d Va. June 15-20. surpflSlllg , b the fact b ficial oech and a rellable eritic. ]8:;0. Ba.lInd s, ragtime, everything. THREE OU'I'STANDING RECENTLY Piano Seminar, R,chmon ' 57th St. N.Y.C. of everyone, seems to e f 1 en I' hi Ca ta.l og-ue 15e, Classics exchanged PUBLISHED NUi\IHERS: Mother of W HELEN ANDERSON The fourth question W lie IS roo:\ for popular. Fore's, E3J51 High, Den- 801 Steinway Bldg .• 113. .' that we memorize together. We ee Mine, song, The Cross, sacred song. Concert Pianist interesting to young player is,"How ver 5, Colorado. Love Orchids, waltz. 50¢ copy. Beacon that this is just one more process Music PUblications, c/o Alfred SeVig- EDWIN HUGHES Interesting course-piano, harmony much m ney can I make?" S'V}I\'G PIANO-BV MAIL-30 self- ny, 405 Broadway, J...awrence, l\1ass. SUMMER MASTER CLASS FOR Many Successful Pupils durin .. which we will learn togeth~r, t teaching lessons, $3.00. Six folios If your intere i not in perform. (classical and popular), ea.ch $1.00. HARIUONIZJNG i\[ELOUIES AT C Tel. Sc 4-8385 and a~ree more quickly on t~l~enUre PIANISTS AND TEACHERS Ibb W. nnd St., N. Y.. ing night Iher~ are Chance to win $200.00 on new theory, 81GH'I'-24 pages of solid Instruction in clubs ample and easy-to-follow charts on impro- July 6-August 15 . I structure MemorJzmg to· Order 46-page original classical im- mUSIca • opportunities f r two·plano teams. pl-ovisation composed on a new the· vising, transposition and harmoniza- 318 West B'/th Street, New Y?rk 24, N. Y, CLARENCE ADLER ' slightly lon ..er process, getIIt:r 15 a .. ory, price $20.00 (money back guar- tion. $1.00 postpaid. Free list of thou- Write lor information . ncert pianists now tour- d you can make bet .....een ten and ant.ee), samples, Phil Breton Publi. sands of popular songs, books and Teocher of dta~ou~1 cO teaching in Horvord, but again, as in the cas~ of prne- an N' h ow fifteen thousand doUar . a ~ear.1 Ig t cations, P.O. Box 1402, Omaha 8, folios sent on request. Lewis Arfine ing the worl . UPI t n c. ith College. , . " logether it is an lllvaluable Nebraska. Music, 117 W. 48th Street, New York (FRANKl (ERNESTOI STUDIOS Eastman, Syracuse ".m ark 25 N, Y. tlCIn.., . . clubs (lrc n tour mllln mtere:st so 36, New York. 336 Central Park Wed New Y . LA FORGE-BERUMEN assistance in an early matunty ]n ACC01UPANJJ\IEN'I'S RECORDED ON we are not in 8 po ition to Judge BALDWIN CONCER'I' GRAND PI- Voice-Piano RIi:CORDS OR TAPE llY FINE ART~ understanding. IS'I' for any and all vocal music. For ANO, ebony, iength, 9 feet, 5 years h h ve studied with Mr. Lo them. We are only including lhe.c~n. old, perfect condition. Owner will Among those w.o a derson Lawrence Tib. PRIVATE TEACHERS IW"t",1 When we aTe working and rehears- circular, write Es.quire Recordings, Forge are: MOrlon k An d M~e Motzenauer, cerl, radio, re ord and tel~mlon 690 \Ynshington St., Brookline, Mass- sell for $3.500, f.o,b. Write: 1247 N. • <:T we find that our maximum of Cheyenne, Tulsa 6, Oklahoma. bett. RiCha{g40C;~~ks;'v~~. New Y'ark In.., b I aspects nnd do nOl know t~ecltc~m. achusetts . Tel. Atwater 9_7470 concentration goes to a out t Iree FOR PIANO 'I'EACHERS ONLY-We EVANGELINE LEHMAN stan es of an engageme~t ~na mgh: THE SCIEN'I'IFIC JUUSIC TEACHER and one half hours, and n~ lon~er. have a special money-saving deal Mus. Doc. club. The fee for dUo-PIIlD15ts seem~ -MonthlY-$2.00 year. Request sam- worked out for you. WrIte for full EDWARD E, TREUMANN If we are just ananging, It nllght ple. Morang, Box 21. Brooklyn 25, information about our new "FTO Voice Building-Repertoire. to range from lour hundred lot\\"ehe New York. Plan.'· Use your letterhead or enclose ConcedTt PiEniYv~r;;~~:~,oMhoer;tz MOlz- Opera, Concert. Church, RadiO run to many hours. a business card if possible. Lewis b hundred and fihy dollars a concer~ Recommende y ml Fmonn Studio address: 167.Et'!lhurst Ave. To make a good team, the ensem- OLD AND NE \V ·VIOLINS, Cellos, Artine Music, 117 W. 48th Street, New kowski ond Jos~ph HI Suite' 837 57th St. at Detroit 3, MlI:hlgon , .'ould de· Bows, Supplies. Repairing, Eaken, York 36, New York. 9 a Telephone: Townsend 5-8413 so naturally your IOcome d Studio, carne V" kHC \" Tel. Coiumbus 5_4357 ble must be of the highest order. Any . . . thetiel 310 E. Washington St., Chambers- 7th Ave., New or I pend on your pos.IIlon m burg, Pa. THE ~IEANING OF PAGA1~INI-A disparities, exposed time. an~ time old startling new book which concisely EDNA GUNNAR PETERSON and the number of dales )-OU coold sets forth Paganini's deep and last~ WILLIAM FICHANDLER again, will lessen the musIcal Impact HAND BUILDING EXERCISES FOR ing influence on nearly every com- t Pianist-Artist Teacher . garner. Your recording income"llo d PIA1\'ISTS by \'i'eldon Carter. Teach- Pianist, Composer, y~~kc~~r7.3715 C oncer p '. p lisodes Calif. of any work. Bad ensemble comes poser and instrumentalist of the 17447 Castellommare OCI IC 0 • ers, concert pianists, advanced stu- nineteenth and twentieth centuries. 314 West 75th St.~ .New bl" h d by EX 4-6573 8ucluate with tbe record market ~ dents. A better technic with 20 min- Recent Compos!tlons pu 15 e from one simple fact: a lack of Based on fresh and exhaustive re- G. SchIrmer, Inc. the repertoire thai bas been rel~ ht utes daily practice. Send $1.00 for search. Interesting to pianists. harp- agreement between the two parties copy to ·Washington Musical Insti- ists, and wind players. Can be had ISABEL HUTCHESON Recordintt contracts are ",cry. tl~l' tute, 1730 Sixteenth Street, N."\V., from the writer, Robert W. Flodin, involved as to a fundamental rhythm C • lD we "\Vashington, D. C. CHARLES lAGOURGUE 0, I. Q Refresher Caurse for Piano Teoche~s:. and there are few openlDgs at 1547 Page Street, San Francisco in playing. Good ensemble is at o~ce 17, California. Only $1.00 postpaid. VOICE PRODUCTION-SINGING M dern Piono Technic: Coaching Con.cert Pianists: FOR SALE. Fine old violins and bows W -k' field for duo-pianists. . Satisfaction or your money back. for information: Groupo 0,. for further informotlon address. the most important and the least un- from well l"nown collection. Bar- 35 W. 57th St., New York Studio 202,10051/1 Elm St" Dallas, Texas portant aspect of playing together. Radio bas nc\"er seen fit tnu;e gains. Box 342, Potsdam, New York. \VANTED i\IINIS'I'J<:R OF n.IUSIC- ' I' n'-'l'slS tn aIIi CO~IBINATION ORGANIS'I' AND DI_ An undue emphasis on the purely CI855Jca IDstrume. uu I POPULAR CHORDS FOR PIANO- RECTOlt. Midwest city of 35,000. " a Viola Hull {Desmond) Methodist Church 2,000 members. Mme. G IOvann SAN FRANCISCO CONSERVA- mechanical will doubtlessly produce marked degree, This fieldhs'.lth"lejf their symbols and formation. $1.00. , \'\\ te~ E. Smith, Box 217, Hackensack, New Adult and youth choirs. Reuter Draml?tic: so~~~~~ Canto" TORY OF MUSIC, INC, been given O\'er to Slnge.rs. Ih Jersey. organ, 20 ranks. Give qualifications f either a nervousness or a slickness Teacher ci ~Ing~:~--;: trained Arti~t 3435 Sacromento Street Wolnut 1-349b e and salary expected. "\Vrite ETUDE, vision. there seems to ba\-e~m~ _U Box 35, Bryn Mawr, Penna. Exper.,ence ur Concert and RadiO in performance which will tend 0 \VHOLESAL~: Ge'nuine Italian. Caochll~g Operdo, f n defective ~inging Bachelor of Music Degree Opera Depar.t~ent ., inee In It.:e Carrect vOice pro uc 10 , Artist:; Diptomo Pedagagy Cert.flcate obliterate the very musical message da\ ....n for dUO-PIa.UlS~ - . French German, stringed instru- POPULAR PIANO TEACHJ~RS_ duo-pianism is visually-mle!' ments and bows. Historic material, Looking Cor ideas? "\Vrite, Kal"1 corrected. Beginners accepted Approved for veteran:; you are trying to convey. For pri· good tools varnish, etc. R. Nusinov, 2918 Macek, 1242 Main Street, Springfield. lOt pleasant Phone: Trafalgar 7-8?t~w York City Children's Saturday morning Cla;;;e;;. marily it must be remembered that e ling to wat h. and roo~ W. N'orth Ave., Baltimore, Md. Mass. 608 West End Ave. estill en- two-piano playing can be meaningful to liste~ to. W~ are at P\alf.ho FOR SALE. Baby grand piano, Louis GUAUNERI VIOLI1\' FOR SALE, lll XV style. "\Valnut case. Like new. Unique offer. Genuine Joseph G. del only when it is a personal communi- gaged ID a sen .. o( five HE £\0 Valued at $2,200.00-will sacrifice, Gesu. 1727. Perfect condition, inter- cation from two people concerning television 5ho\\'8 a 'Week. T Mrs. E. O'DONNELL, 238 Hampdon national certificate. K, Kooper, Music Rd., Upper Darby. Pa. Department, I.S.T.C., Cedar Falls, Iowa. JA~IES TUBBS GOLD lUOUNTED VIOLINS. ITALIAN. Importer, Whole- VIOI ...IN no\v, Full size. stamped, saler. Buy direct. From $75. Free PIANO MUSIC WORLD Of MUSIC and in original mahogany box bear- brochure and list of 200 best mod- ing Tubbs' stamp. 1 % ounces. $150.00. ern Italian makers. Suburban Music, George ,v. Miller, 111 E. Broadway, Stuyvesant Ave., Irvington, New -easy piano albums- Cantin ned fro,n Page -2) Glendale 5, California. Jersey. o rolle (in two volvmes) ••..••.... , ..•... each $1.25 AIRS AND DANCES-:-A~d,e) ~ tchoninoff. (TO pieces) ..•...... •...... ,60 , 1 8 an,l AU FOYER (By The Flfesr e - re Edmund Pendleton's "Prelude. May lusic F esll'-.I May 5 hoi EVERYBODY'S MUSIC LIBRARY (orr. Perry) ,60 Fanfare and Fugue" for smaU or. in wh.ich the Chicago jIOl P ~ CLASSIFIED ADVERTISING RATE IS 20¢ a word, In order to Vii CHOPIN. Famous Tunes ...... •.•. ::::::::::::::::: chestra was given its first per- .' te nT partially cover our typography and clerical costs, w~ only. acce~t a ,60 U.S. Orcheslra wi~ p~C1~ erent,l V~l: II: TSCHAIKOWSKY. famous Tunes .. :::::: ..•• " ••••••••••• .60 minimum order of $3.00-or 15 words. Copy submItted IS subject ASY PIANO PIECES-Bela Bortok , ....••.. formance on March 27 when it was 51st consccuU\--e lear. prog[llD TEN E t . -new concer pleces- played by The Philadelphia Orcbes- special significance. on the can\,p. Lo approval by the editor, Copy will be, set by us and ETUDE, box tra, conducted by Eugene Ormalldy. will be tbe premiere of. [01. numbers are available for those who Wish them Without addItIonal ,60 • .., fOJ paJl3 FLIGHT-Ernest Bacon ,.··· ',' ft···· " ,. 1.00 Pendleton, a native of Cincinnati. .. ng o( AffirmaUoD. .,ritldl charge. Cities and states of more than one word each (i.e. Los OUR JUKE BOX PIECES-Alexei Hale .... :::::::...... 1.25 Ohio, has lived in for the last ""prano soloist and orchestJ1 Colle!' Angeles Rhode Island, etc.) are counted as one word. No charge for ;OUR PIANO BLUES-Aaron Copland...... • _ " .. ,...... •••• .50 several years where he is anis.lic " from me U __ city zo~e nU';lbers. C.opy. must be received the 5th of .the s~cond RONDO-Alberto Ginostero ,...... •.•. ' . _ .• , . . . • • • ...... 1.00 on COmmJ~on _ afael ~UJI' director of the Paris Philharmonic month precedmg publIcatIOn. Example; copy for Aug~s~ Issue IS due SONATINA No.2-Violet Archer '_'_' _'_._'_"-'-'-'-'-'--"---:--::::;-7;::-:;:;-;:-:;:;-;~ b -orman DeUn JOIn. R 0 Sf' Chorus. g by June 5th. Forward your order and copy to: AdvertlslIlg Manager, I.ik will conduct the Co'"' ILLUSTRA nON CREDITS a: ETUDE the music magazine, Bryn Mawr, Pa. catalogs & inquiries: and BOGSEY HAWKES pbony Orch In and 'the jS 9-Helen Merrill DEPT. 357 P. o. Box 418 Lynbrook~ L. I.~ N. Y. Cornell College at • l iD I II-Bender )lount Yer- College Oratono " THE E.\ non, Iowa, I4-Hawoii Visitors Bureau Photo will hold its 55th annual performance. £1 DDE-MAY 1953 63 LETTER TO MY PUPIL'S MOTHER (Continued from Page 20) for {Jraduation .' 1 habit. But for disciplme 15 a natura hi sition to evaluate properly the re- one attempting the first step on t IS turns from your investment. . ladder of family betterment, the way A MUSIC LOVER APPRECIATES A MUSICAL GIFT It must be true that the s~ns of . filled with disadvantages that canI IS 0 Select the gifls and awards yau will need for end-of-Ihe-season the fathers become inhe~ent m the be overcome only by seerh power occa- children even into the thud gener~' determination. . h sions, recitals, concerts or personal gifts. tion. But if this be true, are not.theIr By proviidimg Franklin WIt two1 virtues equally inheritable? Is It not years of musical study you ~~vef a ~ possible to implant in your pr?geny, LYREAND WREATH PIN most succeeded in placing S 1o~ through the person of Franklin, the t DRA WBAR SELECTOR INSTRUMENTS IN MINIATURE on the first difficult step of t Ie. a . for U$I with J-70 reads Music Piano, Violin, Cornet, Cello, Banjo, Trom- virtue of intellectual cultur.e, ~nd HAMMOND ORGAN d You have presented to 111m a bone. Guitar, Drum, Saxophone. thus diminish somewhat the lllchn~. er. f fulfilling his own personal- u UP )'O\lr tll-OTlle tOIllblnltloni J-71 reads Choir means 0 . have I';Slr~l~~li'R::l'lrlk Ind fllmblln' 1.(1 retel I)r."bm J-22A Gold Plated (Pin Back Only) ..•••• 60 tion to the blight of poverty? It IS NO wrue lor f)~.rrll'flrtl Polder ity and at the same trme, you J·72 Plain Bar or Engraving tJ·22B Sterling Pin or Charm an excellent opportunity to better RAY KERN STUDIO ap~lied the impetus that should c.arIY P.O. Box 1087 L.okelond,fla. (Specify which insirumentD ••••• 75 the inheritable environment of your forward through future generations. LYREPIN, Enameled cenler *BRACELET WITH NINE CHARMS family, and to guide the feet of th?se Now when some of the ben.efits of who .follow toward an ascending J-50B -Sterling ,8.00 this' action are already being en- J-190 Wilh Black, Blue, Red or destiny. . joyed, and its full significa?ce can *BRACUET only *MATCHING NECKLACE only In ancient Greece mUSIC was con- Green enameled center. llJiIIiam- ~ and Jim be estimated, you withdraw l,n favor )·208 Sterling .1.50 J-218 Sterling • 1.80 sidered one of the prime disciplines. 30 E. Adams St.-Chicago 3, Ill. of a course that must surely Impla?t the srudv and practice of which were the pattern of failure more fi.rm:y ~n WINGED HARP PIN VIOLIN SPECIALISTS necessary for admittance to the the life of your son than It IS In THE NEW CATALOG NOW READY J.190 FOR MAILING schools of philosophy. The Greeks J-80 reads Music Mono PINS your own. . ' e Publishers of "VIOLINS & VIOLINISTS" were wise enough to put it to. ~se fO.f For him, at an age when he IS ~n· J-81 reads Choir O the moral and mental trauung It J·.D J .• , J·.2 competent to choose, you have delib- J-82 Plain Bar or Engraving _J.. afforded toward the achievemen~ of erately ordered a life of enslavement. - j '.' .•"""'..'1 intellectual and spiritual awakening. ll4:::iii...... :··j·j-..·'=I~I ..l Social workers, housing progr~ms 1.... _l.J • ...J.",I""'.l·~ ,. .1' Pric., lor above as follows: At 10K Gold 2.50 They called music a discipline-a~d Il_J-'-'- I and financial doles, will be of little At 10K Gold, .3.00 C Gold Plated ••• 50 it is just that. The ~ttemp~ of. Its B Sieriing •...... • 75 avail in attempts to free him ".Even Bt Sterling ...• 85 0 Silver Plated .•• 50 _J.., mastery demands saorifice ; 10 tlm~, , Congress itself could not legislate in patience, in consistency,. and I~ J·80 Ft Gold Filled ... , 1.20 C Gold Plaled .40 him out of his captivity. . courage. And as it exa~ts tnbute. It On J-72 or )·82 .OS per letter for e.ngraving. Some day you will likely see him D Silver Plaled .40 reciprocates by returnmg the offer· ~J-.2 incrs to the donor, not' intact, but caught in the monotonous ,routine ,0£ extracting an existence amId the mire m~ny times strengthened. These powers and the tendency to of a sewerline excavation; or you CtlNVERSE COLLEGEs:8::: may see him attached to a garbage Ed"ln OerlC.hef.ll:l. Dun, Splrlillburr, S. C. in enameled field use them grow in quality and quan· DIPLOMA OR CERTIFICATE FORMS tity through the successive gene.ra- truck as it makes its dreary rounds. reads Music Then you may realize that he is being reads Choir 10 x 8 fine Parchment Deed stock for Di· tions. The family whose finanCial. ploma, Certificate or Teacher's Certificate. social and intellectual position you held fast by invisible chains-the The background of circle in Lyre design is red with lower panel in black; in Cross de- 35 Cents. Holder Frame of imitation leather. may envy, and which you may have chains of ignorance that you this day $3.50. have helped to fashion. J·90 sign, blue, with lower panel in white. considered more favored by fortune CERTIFICATE OF AWARD than your own, is only enjoying the Or, as many do, you may refuse CROSS PIN in enameled field the truth and cry, "Discrimination!" 12 x 9 classical illustration with wording, benefits of legitimate ancestral ac· J-92 reads Music If so, your pronouncement will be 12 Cents. Without wording, same illustra- cruements. Talents essential to pro· MUSIC SCHOOL J-93 reads Choir tion, 6 Cents gressive evolution have been culti· correct. He will have been forced there by discrimination-the dis· STUDENTSI Prices (or above D'S follows: PARCHMENT DIPLOMA vated and firmly established in the At 10K Gold 3.00 inherent environment by its fathers. crimination you have used today. Earn Extra Money As An 21 x 16 classical illustration with wording, i J·92 Bt Silver .. , ..•... ,. .85 60 Cents. Without wording, same ilIustra· For such families the way of musical C Gold Plated .60 Sincerely. ETUDE Representative tion, 50 Cents. education is made easier. The proper Frank C. Clark D Silver Plated .,.... .60 value of the undertaking is under- For informotion write DOg~ stood, a'ud a ro~tine of intelligent THE END 8usiness MonClge.r ETUDE th. music magalin. zz~ ~ Bryn Ma .....r. "ella,yh'olia 00 TEACHER'S ROUNDTABLE LYREPIN J-120 CLEF PIN J·133 BAR PINS "'''';;::;;:: PidureJ Y.:t sin. (Continued from Page 23) ~ -;-;:»:» At 10K Gold 2.40 ~ Highly polished design against rose back· 55 Accordionjg\~! Teache~! J-120 J.11l appraisal of hi::;own creation. What And this from another contrib- Bt Sterling .85 ground zz utor: 00 standards does he set for himself? POPULAR LATIN AMERICAN C Gold Plated ...... 50 tJ·111A 10K Gold •...... $4.BO Obviously this is the best work he "You can bet your last tube of zz ACCORDiON SOLOS D Silver Plaled .50 tJ·111B Sieriing ..•..•.. 2.40 can do, or he would not have entered paint that when the public gets back p' tr-o Oeiro, Jr, ""00", Easy arrongemlllb by'· L RAMellO Ft Gold Filled ..•...... 1.20 tJ·ll1F Gold Filled...... 1.80 ;;::Q it in the show. its old sense of humor there's going Cont.fIIts i"cl"de: YOWlS; ..ENCALUCIAi ~ .,,:» "Taste is a discriminating, critical to be a counter-revolution that will GRANDE' MAMA INEZ;,.. . J·133 SAY SI' SI and fin othu fa,orltes. Black enamel design against metal. l;;Z faculty. The perception of beauty is consign much of the present para- LClf9; 1I0le, wIt• .,Grch-Sl.aO rri a 0 J.. 3 tJ·63B Sierling $1.10 essentially inspirational. But what noic claptrap to the cellars of ob- POPULAR ACCORDION SOLOS sort of inspiration prompts a painter livion." J·63C Gold Plaled .60 VOL. II. Delro, Jr. ;;~;l to render a distorted, ugly and re- J·630 Silver Plaled ..•• .60 !::;.;;:: Good, Sensible. And it seems to EClSY arra:ngemub by ,.elTo THE RAIN: --< pulsive design? me that if we substitute "music" for Contuts include: SINGIN' ~1'ritE SPANISH SCATTERMUSICAl SYlLABLE PINS Z _ DON' BLAME ""'Eo; IN A thantondGrd Enameled in Red. Black, Blue or Green "The modern artist claims that "art," and "composer" for "paint- TOWN· CHARMAINE:Cltwt 54:.-.n a ~ 3! ~ (Specify color). 0:» the external nature failed him, er," the above fits beautifully into hits.. • 100 oZ Lorge nates wit. word.-5· l~ DO, RE, MI or LA in Gold on Black Enamel. tJ·113B Sieriing $1.10 mO therefore he must try to create some- the contem porary musical picture. Tile...... ,~ ef Ik __ IIIP I"" 4-ri~ Also plain Black Enamel Notes. J-113 .... thing out of nothing. The result, in above all the last part of the second ".WieR litt. 'II _ ,,- .. .,., , . J·95 J.113C Gold Plaled ...... 60 en lw ..... ~' ..... JJ most cases, has been not only inane J-1130 Silver Plaled •..• .60 .. quotation which applies 50 perfectly Dlpt. £T ·C.~lbo tJ-95 •...••..... 75 each .. AJ laid in Canada but actually revolting. To disregard to certain things we hear in concert w ' Iarllt/., Pitt od tSafety Catch Tax included in 011taxable item, entirely the knowledge of the past halls and over the radio, foisted in ur are ott , • A.ddress all orders to Dept. EM]-5-52. UQ 1ne un/... ofn-rw; ... pedlieJ. brings us to a sort of artistic in· the name of music Upon OUf tortured For prompt service please use number and give specifications. {ancy." ears by sensation-hungry lreaks. THEODORE PRESSER CO., Bryn Mawr, Pennsylvania d;tJ/ ~ -IN TERMS OF YOUR NEEDS-TODAY

LO-W-REY

Grace the:events to remember, with the song to remem- ber them by. You can so easily make those family red-letter days poignant-more sincerely expressive -witb the grandeur of the organ's voice.

Easily?- Yes, every home now can enjoy fine CHICAGO organ music on the world's first piano-organ - the LOWREY ORGANO. This electronic miracle in- They Use It-They Like It stalls on }OUf in minutes. Requires but a mini- . "I think the LOWREY ORGANO is I _nderlvl "We brIe. _I -- piano \~Sl~r~~~llt has such I ritll Ian••• nd is so US1 .nd IIad 11 _ II.- ,., 0llGA1tO " ..,-.ctnlllic. .... mum of floor space. It's easy to play from your same M.s. E. HaFlett __ Id .. ~,...,. .. -.· 320 Columbia Sireet ..... New Rkhmond, Ohio _ familiar piano keys. Easy to own, too, for the price 11OfWat~ f,.. "!he l:!RGA~O has. answl!fe1l our problem 01 c.w- is surprisingly low. h.'~lnl thiS de",r.ble onstrument lor low ccn.l.nd ~\rl".lIy no space taken 1111by il. This sllould O~::-&all~ .. ~ Wl:n--~~.: For the great events-for every day-investigate :p~:~~trl\~~~Y~~:~~;::!who .Iso Ilk,to keep 1l~"I ,. wpII __ ". ".. 1M ..... I ,tw,,, r---..II 0IG4I'0_L_.. ., m-a. E. L Ridla,c!s this unique "music center" that brings pleasure and lOt. V,I,nei, Street inspiration to all the family. Send coupon on page Dallu 10, TUII =:'UW; 64, today, for information and demonstration-no obligation, of course. MUSIC BOOK FOR TEACHERS Writh ~u[,~SomIPli~ents, we will gladly sendxou a copy of our new 481U&c oh rnusich , e ect. r<:msand Suggestions..... In ad lttOD to ma.ny specialarn~ts. It s ow.~ ?weahsy It 1Sto play and teach orga.n mustc IUlfIgJOlltplollltlkCYi[csrwnte roes. mennornng t e number of students you have., and we will send your' copy promptly. Complet~ Built - in Models Available from Dealers who sell ------~--- GET COMPLETE L'IFOlUlA 110, IN TIll •'EW ;}ANSSEN & ORGANO BOOKLET. Use handy coupon on page 64. ThiI sa\~ yout STORY & CLARK Etude cover. o'i..c;,,~o LOWREY ORGAN DIVISiON - ~- ....~- Central Commercial Industries, loco PIANOS 332 S. Michigan Ave. Chicago ,IlL