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

8-1-1928 Volume 46, Number 08 (August 1928) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 46, Number 08 (August 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/759

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t MA lIAZinG erluc WENT ANDUSI' an ii Introducing Four More Distinguished Composers of Mexico"' Nicaragua Paraguay, Re- all music dUVERS ^veaf'7subacrinUoiT beyond raroira- RSSsil-SsastSS-irwS maKtaBsaiBIffiramMB . Vol. XLVL No. 8 AUGVST, 193. Io, Songs Used Extensively in Concert and Church ■mms& g*— *'

This page with songs brought to attention and the portraits and short biographical sketches of each composer will serve to give a better acquaintance with these celebrated contemporary writers whose beautiful songs are frequently used by voice teachers, PRINTED IN THE UNITED STATES OF AMERICA ~ ~ PUBLISHED BY THEODORE PRESSER CO.. 1712-1714 concert artists and non-professional singers in our foremost musical centers.

The range of each song is indicated with small and WARD-STEPHENS BISCHOFF capital letters. The first letter is the lowest note in THE WORLD OF -MUSIC the song and the second letter is the highest note. A TOHN W. BISCHOFF, blind organist, small letter tells that the note is below or above the J teacher and song writer was born in staff and the CAPITAL letter tells that it is on a ..„j born in Kentucky in 1872 . Chicago in 1850. He received his early line or in a space within the staff. and while still a child he showed re¬ Interesting and Important Items Gleaned in a Constant Watch on musical training at the Wisconsin Insti- markable talent in improvising and play¬ Happenings and Activities Pertaining to Things Musical Everywhere e for the Blind and more advanced BOBOLINK ing by air. At the age of seven he began training in London where he studied No. 11809 By J. W. Bischoff Price, 60 a his piano studies with David Lyon who under some of the most prominent teach- also taught him on the organ later. The „ ers of the day. Upon his return to early years of his youth were a succes¬ John w. bbchoff America he t00]£ up hjs residence in sion of accomplishments as organist at Washington, D. C., where he soon became well known as various churches throughout the East, Willard an organist of unusual ability. Part of his time was spent but it was at the age of seventeen Ward-Stephens as a vocal teacher and part in the field of composition. that he made his real debut as a concert organist. His early He confined his efforts in this line almost exclusively to plans to study medicine were altered when he reached vocal composition. Many of his songs have become very Europe for this purpose and he turned to music, studying popular and have been used frequently upon the concert with Brahms, Leschetizky, Rosenthal, Sauer, Moszkowski, and recital platforms, and in addition to a large number of Saint-Saens, Massanet and other artists. After many tours secular songs he has to his credit several worthy sacred P=F in Europe which covered twelve years of his life, he re¬ numbers which have been in demand by church singers. |sr I — =3 turned to America and found time during his organ playing, Mr. Bischoff died in Washington in 1909. conducting, and coaching of singers to write two sym¬ Catalog No. Compass Grade Price phonies, two operas and many songs which have been used 11041 And the Stately Ships Go On.g—C 3 $0.40 extensively by concert artists. TEACH ME THY WILL Compass 12741 Among the Sandhills. -d—bb No. 23410 By Louis Victor Saar Price, 45 ce 4730 Good Night and Sweet Rcpc 12742 Among the Sandhills. 9913 Good Night, Sweet Dreams. 12743 Among the Sandhills. 16386 Bayou Barcarolle. 9914 Good Night, Sweet Dreams. 15461 D’Artagnans Ride. 9915 Good Night, Sweet Dreams. 12748 Hail! Thou Risen One. 11370 He Told Me So. 12749 Hail! Thou Risen One. 11371 He TolJ Me So .. 14790 I Rise from Dreams of Thee 15357 In the Dawn of an Indian Sky. . 15357a Cello obbligato to the above.. . 15358 In the Dawn of an Indian Sky. . . 4 11039 Love's Dream. 15358a Violin obbligato to the above... 9844 My Own, My Dear One. ::.rs 14757 Lullaby..'.i 11216 Not Half Has Ever Been Told.. . 14788 My Cavalier. 11217 Not Half Has Ever Been Told... . .st>—Eb 12744 My Shadow. 11045 (O) Stars So Pure. 14789 Only Thou Everywhere. 9842 Pray Don't Tell. 14792 Senorita Rare, Ah!. 4729 Rest. 14793 Senorita Rare, Ah!. - 14004 Sea Hath Its Pearls, The. 14521 Still, Still With Thee. 11750 Silken Bands. 14791 Swing, The. 11749 Silken Bands. 12745 To Horse! To Horse!. 11748 Silken Bands. 15472 To Nature. o«45 Song of Yesterday. )2 Unanswered (Sacred).. 7536.:eaUpfr WhenLove WakesUpfromSleep.h—F I RISE FROM DREAMS OF THEE No. 14790 By W. Ward-Stephens Price, 40 cents

SAAR SEVERN J7DMUND SEVERN, violinist and T OUIS VICTOR SAAR, pianist and composer, was bom in Nottingham, 1 , .Iffflf composer, was born in Rotterdam, England in 1862. Moving to America Holland, 1868, but was educated at at an early age he studied the violin with Strasbourg University and studied music his father and other teachers; singing at the Royal Academy in Munich, gradu- with George Sweet; piano with Oel- at‘ng with honors as pianist and com¬ schleger; and composition with Chad¬ poser. He continued his musical studies wick. In 1888 he went abroad to study E Louis Victor Saar *n Vienna, Leipzig and Berlin, and in for several years and upon his return he M 1 1893, came to America as accompanist began teaching in Hartford, Conn., and Springfield, Mass. for the Metropolitan Opera. He has become famous as an Some years later he moved to New York and did some instructor in harmony, counterpoint, theory and compo¬ lecturing, but lately he has confined himself to teaching and sition, and as an authority on these subjects he has been composition. His published works contain a concerto, on the faculty of some of the leading musical colleges of this country. Mr. Saar’s compositions have passed the four suites, about twenty-five pieces for the violin and hundredth opus and in this long list to his credit are piano, about twenty songs, pieces for cello and piano and a many prize compositions. While much of his work has number of violin teaching pieces. Although the great part of his work was done in the stringed field, his songs been done upon string and orchestra composition and were well received and used extensively. arrangement, he has in addition a number of very Compass noteworthy songs to his credit. > April Weather Catalog No. Compass Grade Price 15088 I Love Thee et 23408 Love's Gratitude.E—g# 4 $0.40 15089 I Love Thee.. 23409 Love's Gratitude.c—E 4 .40 3971 Love's Offering 23411 Sell Me a Dream.G—a ^ 4 .45 23412 Sell Me a Dream.Eh—ES 4 .45 15085 Pastorale. 23410 Teach Me Thy Will.c—F 4 .45 15084 Pastorale. THEODORE PRESSER CO. Music Publishers and Dealers

J AUGUST 1928 Page 571 THE ETUDE THE ETUDE Page 570 AUGUST 1928 Memberships are THE ETUDE MUSIC MAGAZINE FREE Founded by Theodore Presser, 1883 in the “Music for Everybody” Literary Guild EASTERN

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SPLENDID OPENING for first class tgSfemtam, woman piano teacher of modern methods, BECKER(Method combines the Artistic and Scientific) Contents for August, 1928 World of Music. 569 protestant, in-town of 2000 inhabitants. Tone Saxophone Questions and Answers.A. de Guichard 571 Gives You All Theses Prelude to n Clinreh Hymn. combs Can You Tell?. 572 FOB SALE—Three used A. K. Virgil Patented Snap-on Pads—the Plano or Organ. Q. What is the correct manner of playing A Means to an End.E. Wendell 672 claviers. " Good condition. Oak cases. Price greatest improvement for beauty Q. 1. Which instrument is more mechani¬ a prelude for hymns for congregational sing¬ $50.00 each. Address J. Y. B., care of Etude. of tone—easy to replace—no more cal, the piano or the organt 2. Which gives ing f Home say to play “-**“• ’ DUNNING S&.SSS3t Musical Education in the Home.M. W. Ross 577 cementing. Found only on the more of the player’s own expression or inter¬ others, a half-cadence; yet Editorials . 579 Buescher. Patented Automatic Oc¬ pretation ?—C. H. C.. Island Fond, Derry, Kindly set me right about I.—Helen A., tave Key—always positive. Perfect New Hampshire. coin, Nebraska. The Grandeur that Was Rome.J. F. Cooke 581 scale accuracy—every tone always full, dear, true A. 1. The word “mechanical requires A. If the hymn-tuue is quite unknown, or GUICHARD Stimulating the Desire to Compose.E. Kalisch 582 ANNOUNCEMENTS some explanation. Construction? Touch? If MUSICOLOGIST, LECTURER, 176 Huntington Are., Hofiton, Mh*s. 6 Days’ Trial Trombonee,STrumpet or other instru¬ the former, the organ is more mechanical, at least not at all familiar (a) play an appro¬ Modulation and Transposition.H. W. Austin 582 priate prelude of not more than four meas¬ ment, without obligation to keep it. . . because of the number of keyboards, of pipes, ures, then give out the tune on a strong solo Raising the Price Imperceptibly.M. Waters 582 CORRESPONDENCE SINGING COURSE. FREE Saxophone Book and manyfamqU9 of diversity of timbres (qualities of tones and instruments imitated), of composition pedals, stop on the great organ, accompanying it with And Save You Half the Price MOULTON s!rS78^SCu Evolution of Piano Playing./. Philipp 583 Small Monthly Payments. professionals,, also first les3on chart. Sent free. Write the full harmonies on another manual. If Dr. Wooler, Cleveland Ave., Buffalo, N. Y. of stops, of tablatures for changing registra¬ the tune is very familiar to the congrega¬ Meet Mr. Schubert!.C. E. Mullen 584 DamBUESCHER BAND INSTRUMENT CO. tion, of blowing mechanism e tutti quanti. tion, it will be sufficient if you will play of the Best New Books Facsimile, “The Erlking”. 584 MUSIC COMPOSED to your words—Melo¬ - scher Block [468] Elkhart, Indiana In short, the construction of the organ is boldly tbe opening two or four measures, in NEW YORK dies Harmonized—Manuscripts corrected and much more complicated than that of the piano. 2. The piano lends itself to the per¬ unison (octaves) for preference. THE LITERARY GUILD of¬ ti A n Rfl H 1 PIANO TEACHER’S COURSE The Galop.e. H. Pierce 584 prepared for publication. R. M. Stults, com¬ Summer Music Study.j. a, Hinderer 584 poser “Sweetest Story Ever Told" and 600 former’s own expression, that is, interpreta¬ Juvenile Musician Wants to Publish fers readers a unique oppor¬ ll U n ill A L 7r7[l°7^Kle7inuu™caP7TNto M“^riBl other works, Bidley Park, Pa. tion, through the possibility of being manipu¬ Compositions. Hmvl The Toy Symphony.7. T. Spiller 585 lated by touch, weight of finger, and so forth. Q. I am a boy of thirteen, play the piano, tunity to join a movement of first To Give a Kitchen Symphony.M. M. Chapman 586 This is impossible on the organ. and have composed some pieces I would like to for club use. Programs arranged. George A. have published. Ilow shall I go about itt Did II A INSTRUCTION. Summer Rate. Special Studies in Rests.Q. M. Stein 586 importance to the future of Ameri¬ Brown, Lansdowne, Pa. “Frog in the Throat.” Do you think l could have them printed in PIANO Musical Home Reading Table.A. S. Garbett 586 Q. I have a frog in my throat, I guess. The Ktude f Then, again, how would I get can letters. Play-goers of discrim¬ Tests that Turn Teaching Success ward. 587 There is something there that I must get rid them on the market. 2. What is the mean¬ of when singing. I do not get hoarse. Let ing of “posthumoust” 3. How many waltzes ination have their Theatre Guild, an Fourth and Fifth Fingers..L. S. Ashton 588 Premium Workers—Attention WE TEACH YOU THIS PROFITABLE did Chopin composer 4. How many rhapso¬ me know what to do.—M. M. Hartington, dies did Liszt compose! 5. Tell me the names Yes, I Teach ’Em Jazz./_ Wister 588 PROFESSION AT HOME DURING SPARE TIME Nebraska. . . , organization which has raised the RIESBERGPIANO A ORGAN KaSSSHS* T Ms****, ** Art., Ladies’ Bill Fold—here is a dainty _ brilliant concert _es, , about... .grade Letters from Etude Friends. 588 Send for FREE copy of the 30th ANNIVERSARY A. Your “frog” Is caused by catarrh, 4 or 5. I enfoy The Etude articles and standard of good drama materially 26 West 86th 8t. New York, N. Y. three-fold purse for carrying bills. This EDITION of our book, “WINNING INDEPEN¬ neglected cold or by speaking or singing with Scenes from Schubert’s Childhood.J. F, Cooke 589 DENCE.’• Read how students master tuning with a constricted (“tight”) throat. I would music very much.—H. W. S., Jacksonville, is made especially for the ladies. It comes our ^TU NE-A-PHON E ^ and^WH Y ^our^grad uu tea Florida. in America. Now—through the urn SI CHARLES Correspondence Instruction, Massenet Rehearsing “Manon”—Painting.A. AubUt 590 have to see and examine you in order to tell If 1* 1 IN Musical Theory. Harmony, Melody Writing, in attractive colors and may be obtained you what to do. That being impossible, you A. Submit your compositions to The » LUH counterpoint and Musical Form. Music of the Out-of-Doors.R. J Carver 591 for only one new subscription. Get it and Bryant's Etude publishers (by mail, with return post¬ efforts of a group of educational and is^qufckly0* had better consult a throat doctor or a com¬ age) for their opinion as to publishing. If adianiV—STATE NORMAL BOHoStl°"ci3uftSa!e Psnna!' Home, Sweet Home.P. B Prior 592 you will be pleased. . MONEY B petent voice teacher. Perhaps you suffer f'NOTS ATISFI ED. from nervousness. If so, that would stiffen they do not entertain the idea, try other pub¬ literary leaders—you can belong to a Master Discs. . . P.‘ H. Reed 592 Needle Book—we have never had a lishers. If accepted by any of them, that 7 7 your larynx and cause the inconvenience. firm puts tbe compositions on the market. similar society, engaged in selecting Ti music t k Bands and Orchestras.v. J. Grabel 593 premium reward which has given more VIRGIL satisfaction than Every Woman’s Needle BRYANT SCHOOL OF TUNING, 8! 2. “Posthumous,” from the Latin postumus School Music Department.Q. L. Lindsay 594 “Mennet a 1’An.tiqae” (Paderewski). (last) means “occurring after death,” that is, the best books from the presses of all Book. It contains about 100 assorted “published after the composer's death. 3. Teachers’ Round Table.C. G. Hamilton 595 Q. How should I finger the accompanying SOUTHERN needles covering every conceivable pur¬ passages from Paderewski’s “Menuet d I’An- Fifteen. 4. Fourteen. 5. Consult various publishers and sponsoring those no Andante from Schubert’s “Sonata, Opus 78”. ...W. Spry 596 HARMONY BY MAIL catalogues. Glad The Etude appeals to you. pose-something which you probably would tique, and where do the accents falll Thank cultured American will care to miss. Educational Study Notes...E. A. Barrell 613 never buy, but something you will wonder A practical and thorough course of 40 lessons. you.—Mrs. A. D., May’s Landing, N. J. Singer’s Etude. 6U Small monthly payments. “The Spartan Heroes”—Pronunciation. CONVERSE C0LLEGE2SS how you ever got along without—only one Q. Kindly give pronunciation and mean¬ Membership in The Literary Guild new subscription. Send for Prospectus and Rates. Mss. corrected. Organist’s Etude.7.'.'.'.'M.'s.Fry 618 .Music composed, send poem for estimate. ing of following words out of a piece for male is absolutely free. You can join to¬ Organ Questions Answered. 77 5 Fry 618 Bon Bon Dish:—every one can use one voices (a test piece), “The Spartan Heroes,” SHENANDOAH COLLEGE ALFRED WOOLER, Mus. Doc. by Protheroe—“Zeus,” “Leonidas.”—Tempo, AND CONSERVATORY OF MUSIC. Hutes reasonable, Violinist’s Etude.JJ. Braine 620 of these line silver finish, gold lined, bon Suite A. 171 Cleveland Ave., Buffalo, N. Y. Kitchener, Ontario, Canada. day and begin at once to realize a atalog tree, n t e earl ole men .e7(.|rgi„|a bon dishes, attractive, neat, and makes A. "Zeus,” pronounce Zf s with the u as Violin Questions Answered.R. Braine 622 candy appear more than ordinarily appe¬ considerable saving in actual cash on New Musical Books Reviewed. ^5 In “union.” “Zeus,” in Greek mythology, tizing—only one new subscription. Five New Recreation Pieces is the name of the greatest of the Olympian one of the leading books published WESTERN Answers to “Can You Tell ?”.777777. 625 gods ; he dwelt on Mount Olympus, in Thes¬ Beads—no matter how many choker For Piano by Ivan Moscow saly. He was called the father of gods and Junior Etude...E. A Gest 6'?9 beads you may have, here is one which will EASY GRADES [Sheet Unite] men, the most high and powerful among the each month in America. Junior Educational Study Notes.£. a. Barrell 632 delight you. It is made of small gold At the Circus (2).30 Dell’s Walls (IB)...30 Immortals, whom all others obey. Its Old ANIERICAN3“IF''-’-S:: MareH of the Manikins (2) .30 Manuka (3).40 English equivalent is “Jove,” and its Latin You can now enjoy the distinction beads, twisted, and all that it costs is one On the “Merry Go Round” (2).35 “Jupiter.” “Leonidas” is usually pronounced ppiyn JUtNA TOMLINSON (pwmof LeeclieMzkv) new subscription. of being the first in your community MUSIC Sent upon receipt of price less 25% or all 5 for $1.00 “Le-on'-id-as” ; it is a pure Greek word, with D UJ LJ Hand Development^and Teaching Ecgfn? Pearl Beads—a graduated string, 32 PARAMOUNT PUBLISHING CO. an omega or long o, as in “rose.” Its cor¬ to read the books that the nation will musical step, analyzed technically and Interpretlvely. Fascinating Pieces for the Musical Home inches in length. You will be more than 1207 W. 37th Street_Los Angeles, Calif. rect pronunciation therefore is “Le-O-ni-das.” Teacher.’ Summer Normal.#l>«7 S4t)i St., Berwyn, Polish Dance. P K„„ There were some fourteen of this name. be discussing a few weeks later. Ills. (Suburb of Chicago.) Scene de BaIlet. — agreeably surprised when you have had The one referred to is, most probably, Leoni¬ the opportunity to see it—only two new | ADDRESSENVELOPES das I, king of Sparta, about B. C. 491. subscriptions. Sweet Fern. WriEJ3ngU 575m >uble With P o Trills and Treino- Twelve Books a Year for the CHICAGO Manicure Roll—always a necessity, win¬ nifiedwork. $15-$25 vreekbfmsyT S^ndTiT Classic and Contemporary Master Works ter or summer. Slip it in your overnight particulars. MAZELLE, Dept. X, Gary, Q. I am a pianist—age eighteen. I have Price of Six! Allegro Moderato, from “Symphony bag on week-end trip. Made of brown comparatively strong hands but find trills and leather, fitted with 9 pieces of fine quality tremolos very difficult to play. My fingers Books in the special Guild binding on CINCINNATI NT J" B mmor”.p- Schubert 597-98-99 and wrists immediately become stiff and tired. Nocturne. --••••••■.F. Borowski 599-600 steel, finished in pink pearl with amber What ought I do to overcome my disability f your shelves or tabletop stamp you as a trimming—only four new subscriptions. —V. R. G., Columbus, Ohio. Andante, from Op. 78.F. Schubert 601-02-03-04 A. It is very evident that you have a bad person of cultivated taste in literature, a DETROIT StiSaErim Ladies’ Tourist Set—b rown Keratol case. Rosition of the forearm, wrist and hand. Outstanding Vocal and Instrumental Novelties This case is fitted with prophylactic hand tudy some good technical exercises (Plaidy, reader actively interested in this movement brush, hair brush, comb, tooth brush, tooth Philipp. Joseffy, e tutti quanti) under the FROTHIN G H A M SfsHS' PlaintPlalrft (Organ).mrN7nVnbelief (V<,Cal).p y ASoqan’ Wooler 606-607 ™ guidance of a really good teacher of technic. to promote the best in currtert books. brush holder, soap cup, nail file and but¬ While I can indicate the trouble (stiffness), tonhook—five new subscriptions. it is imperative that you should be watched Your satisfactipn is assured. Mail the KNOX 0°n"er V at0rQ«SMb5rg‘nilnoi.. For the Canning Season, You need a and studied when playing in order that the coupon at once for a detailed description 1111 V A Catalog free. Win. F. Bentley. Director Canning Set—contains a jar lifter which instructor, having found just where the fault lies, may give the proper remedy. If you were of the Guild and the many advantages of will save many a burn, together with an Qneries About a Toy Symphony. ill, you would consult a doctor, who alone appliance for hermetically sealing the Delightful Pieces for Junior Etude Readers Q. 1. What knowledge of orchestra work could diagnose your disease and give it the membership to you. Your request for in¬ TOWSLEYSSSSS-SSWornall Road, Kansas City, Missouri screw top, an absolute necessity to every right treatment. It is exactly similar for is necessary for organizing a toy symphony t musical defects and imperfections; they re¬ formation does not involve the slightest .*•L-«* housewife—only one new subscription. 2. Are the instruments used really toyst quire an expert to diagnose them and to ap¬ Sandwich Tray—always useful, heavily 3. How much musical training must a child have to take partt 4. Where can I act more ply the correctives. obligation. START A TUNING BUSINESS nickeled, with attractive handle—only information concerning the subject t—D. A. R., yourself, anywhere. Earn ?2 to $4 an hour spare wJXl^v.v.r:.v::.v--R ffS S three new subscriptions. Ewing, Virginia. THE LITERARY GUILD OF time, or ?200 to 3500 month, full time. Requires 90 If you do not wish personally to use A. 1, 2. Very little knowledge of regular are some composers of Indian musicT 3. „ orchestral work is needed. A toy symphony Indian music donated much f 4. What books AMERICA p-685 these articles, they are all sufficiently fine around 35 per tuning. /layer work alsoP brings lig siS'iSrop* sx'i-w. to make attractive holiday gifts. Why not has for foundation a few regular instruments, should I get that deal with music of the na¬ 55 Fifth Ave., Dept. 32A-E.M. New York City pay. We train you thoroughly and rapidly at home. Rhythmic Orchestra.p Schubert 636 such as piano, violin, drum and cornet, to tions and of the moderns! I enjoy and gain Get our free booklet “Piano Tuning as a Business.” start in and secure enough new subscrip¬ which sundry toys and toy instruments are much from reading the “Question and Answer Mack Institute, Crafton Sta., EM-13, Pittsburgh, Pa. tions to pay for two or three or all of the added. The best-known compositions of this Department.”—Mrs. J. P. A., Graceville, above and solve the problem of gift mak¬ MUSIC PRINTERS kind are by Franklin Taylor, Haydn and Rom¬ Florida. The Literary Guild of Americ, berg. The one by Taylor requires only a piano A. You would do well to consult the lia-u„®ludG” readers, icho desire to locate articles mih- ing without one penny cash outlay to you? and the toys. That by Haydn has two vio¬ “American Supplement” of "Grove’s Diction¬ 55 Fifth Ave., Dept. 32-A-EM ENGRAVERS*™ LITHOGRAPHERS lins and a contra-bass, the toy instruments ary of Music and Musicians” (published by New York City l°ublili8Uto%e 7oGundVinemos°t [PRINT anything in music-by any process consisting of trumpet, drum, triangle, - Theodore Presser Company, Philadelphia, Have You Obtained Your Copyi ennkoo.juekoo, whistle and “nuailRomberg's“quail.” Romberg's ssym¬ Pennsylvania), for answers to 1 to 4. With WE PRINT FOR INDIVIDUALS phony has similar instruments, as well as regard to music of the moderns, you will find PIANO DELIGHT establishedifttfc REFERENCE ANY PUBLISHER bell, rattle and piano. 3. The child must be some excellent information in “Modern Har¬ trained to keep in time and to play the toy mony,” by A. Eaglefield Hull, and “Debussy vimtams 47 Pull-Page Excerpts of Piano instrument selected. 4. Consult music pub¬ and Ravel,” by F, II. Shern. ,™s *n Grades from 1 to 5, selected lishers’ catalogues for the names of pieces You should get also: “The New Music,” from the very best recent publications and musical dictionaries in your public by George Dyson, and “A Survey of Contem¬ A Post-Card Brings a Free Copy library. Principally have a competent musi- porary Music.” by Cecil Gray, the former for “ZIMMERMAN" cal director to conduct the work. technic, the latter for aesthetics. Theodor'e Presses Co. Phi lad elphia, Pa When yon write to our advertisers alwnys in l THE ETUDE. It Identifies 5 1 touch with t THE ETUDE AUGUST 1928 Page 573 Page 572 AUGUST 1928 THE ETUDE FASCINATING PIECES FOR THE MUSICAL HOME

-■ - - Qan You T5ell? In a marked mazurka rhythm. Grade 3. POLISH DANCE ELLA KETTERER CHICAGO 1. Who was the greatest of all child musicians ? 2. What is the leading-tone of the G-sharp minor key? 3 Who was the first woman to receive the Doctor of Music degree conferred by a university, for actual musical erudi¬ tion and by examination ? MUSICAL 4. In what measure is a Gavotte written, and on what beat does it always begin ? 5. What instrument was most used in Greek music? 6. What is the longest note that can be used in % measure ? COLLEGE 7. Who are the two great “B’s,” the two “H’s,” “M’s,” and “S’s,” of music ? 8. What tone of the major key is sharped to produce a modu¬ HERBERT WITHERSPOON, President lation into the next regular key by sharps ? LEON SAMETINI, Vice-President 9. What has become the “international language” for terms of musical expression? Why? RUDOLPH GANZ, Vice-President 10. What was the first American opera to be produced in Berlin, and when? FALL TERM OPENS SEPTEMBER 10 TURN TO PAGE 625 AND CHECK UP YOUR ANSWERS. Save these questions and answers as they appear in each issue of Thb Etude Mu«ic Maoaxinb month after month, and you will have fine entertainment material when you are host to a group of music loving friends. Teachers can make a scrap book of them for the benefit of early pupils or others who sit by the More than 125 teachers of world-wide reputation. Private lessons only or courses leading to Teachers’ Certificates, Graduation and Degrees in Piano, Voice, Violin, Cello, A VYteans to an £nd Church Organ, Movie Organ, Theory, Public School Music, Dramatic Art and Expression, jToe, Ballet, Inter¬ By Emele Wendel pretative and Classical Dancing, School of Opera, all Technic being the necessary mechanical side of efficient piano execution, the natural Orchestral Instruments, Chautauqua, Lyceum, Concert desire of both teacher and pupil is to and Languages. ascertain the shortest and most effective ■means of attaining equality of fingers; for it is, of course, only through finger equality that one can arrive at anything like perfection. The arpeggio furnishes one means to this end, and, looking at it from all angles, those built on four tones prove more to the point than those built on only three. The aim and effort of the player should For this reason the following group of be to employ no more movement of the 85 arpeggios have been adopted. Each is hand than is necessary, he being careful to used in chromatic keys, always with spe¬ accent only the weak lingers the first time, cial attention given to the finger and hand and the second time the first of the regu¬ movements. lar triple beats. (These should never be FREE Using C as the starting note, the first done in groups of four, for then there is chord formation is the major seventh an excessive accent on the thumb.) chord, C, E, G, B; the second chord is the These arpeggios should be done very dominant seventh (on C), the third is the slowly and deliberately at first with sep¬ FELLOWSHIPS diminished seventh (also on C), and the arate hands and a good strong tone on all fourth is the dominant seventh chord of fingers except the thumb which should be (Two Private Lessons Weekly) to be awarded to students who after the key chromatically ascending. (Play played lightly at all times. three octave arpeggios, both ascending and When the hand is able to locate and an open competitive examination, are found to possess the greatest descending, of each chord.) gift for playing or singing. play with ease each of the arpeggios on each chromatic tone of the octave, then, and then only, should the time be doubled. When this speed is perfected the time is •STUDENT DORMITORIES again doubled. Artistic and comfortable dormitory accommodations for men and women in college building. Piano furnished with each room. Prices reasonable. A ‘Band Without VYCusic Make reservations now. By Asa G. Sullivan

Even as recently as 1898, travel in the “A strange predicament faced the band COMPLETE CATALOG ON REQUEST United States was no picnic for a band, at Northampton, Massachusetts. All the according to Sir Dan Godfrey, a famous heavy luggage with the large instruments English conductor, whose equally gifted had unaccountably disappeared. The sit¬ father brought a band to America in that uation had to be faced, as the manager year. In his “Memories and Music” Sir of the band was liable to a fine of $200. Address CARL D. KINSEY, Manager Dan Godfrey tells us that his father My father was under arrest in Boston visited 200 cities and covered 30,000 miles. for playing secular music on Sunday, but 60 E. Van Buren St. Chicago “In Kansas a strong cordon of detec¬ Mr. Kettlewell, the sub-conductor, de¬ tives and firemen surrounded the concert cided to give the concert. The band con¬ An International Conservatory hall because the existence of a plot to sisted of six clarinets, one flute, one oboe, blow up the band and its leader had bee* two bassoons, three cornets, a borrowed Pledged to the Highest Artistic Standards discovered. Some anarchist secret society bass drum and bombardon—and no music! Established 1867 was at the bottom of this dastardly plot, Consequently, the program-nearly all and only the timely discovery of the American melodies—was played from police prevented the diabolical plan from memory; but, according to the Press re¬ Copyright 1927 by Theodore Presser Co. British Copyright secured being carried into execution.” ports, it was a remarkable performance Other Music Sections in this issue on pages 597, 605, 633. Please mention THE ETUDE when addressing our advertisers and all those present were satisfied.” THE ETUDE Page 574 AUGUST 1928 THE ETUDE AUGUST 1928 Page 575 SCENE DE BALLET

International Copyright secured THE ETUDE AUGUST 1928 Page 577 AUGUST 1928 THE ETUDE SWEET FERN In ballet style, in a very popular rhythm. Grade 3. MONTAGUE EWING Musical Education When your im the Home Home Contains a Conducted by Margaret Wheeler Ross KIMBALL-

No questions will be answered in The Etude unless accompanied by the full name IN many a household, the and address of the inquirer. Only initials, or pseudonym given, will be published. richest hours of the day begin when daylight ends.

From a world of material A JYCasculine Absorption things and prosaic routine we enter a realm of inspira¬ When Music Waits in the Wings IIRST WE have the letter of a father tion and romance. Music, department this month to letters from THEREFORE, if you can arrange to whose language is universal, the masculine members of The Etude have him tutored in certain subjects family, because the great majority of “the and are certain he would pursue these has always been the strong¬ male of the species” is possessed of, or subjects to a finish and not neglect higher est cultural influence in the obsessed with, the erroneous opinion that learning because of the lack of the spur the practice of music is a peculiarly fem¬ of competition among his school fellows, American home. inine diversion and because few of the then you might take this means of secur¬ vast army of fathers are personally inter¬ ing his education. But only in most un¬ And the record of successive generations shows that ested in the musical education of their usual cases should a boy discontinue school children. at the eighth grade unless it is financially The National Congress of Parents and impossible for him to go on. He should Teachers has been making a persistent go a little more slowly with the music— effort for some years to convince the not give it up, you understand, but for fathers that they are also parents. It KIMBALL the four years of high school life make would appear from our files of letters re¬ it a side issue, specializing in it only in cently received that this happy condition the vacation periods and pursuing, during has come to pass, and that we have many the regular school year, those subjects PIANOS fathers who have proved themselves par¬ which would help him most in a musical ents vitally interested in the development have contributed far more than any other instrument toward of the talent for music in their offspring. The most necessary subjects “for a bringing a happier spirit—a brighter outlook—into American This is indeed most gratifying to those would-be musician” to study are English home life. More Kimballs, by a wide margin, are in use in of us who are concerned with the making (the language and composition), English of a Musical America, and who realize literature, Psychology, History and, of American homes than pianos of any other name. that the American home must be the course, other languages. If he expects base of such a movement, with the father to play the violin and piano, German was This proves that the Kimball has met every imaginable test and mother cooperating for its entire a wise choice of languages. As collateral of merit. Here is assurance that you, too, can depend on any success. reading he should choose the biographies of the Masters of music and music his¬ Kimball instrument you select. Your Kimball, also, will main¬ Private Tutoring in School Subjects tory, correlating them with the general tain the rare purity and power of its appealing tones unim¬ IRST WE have the letter of a father history he gets in his school course. F Few children study satisfactorily alone paired throughout a lifetime. who says: or with a parent, because there are so “I have a fourteen-year-old son who would many outside interruptions. Therefore, Catalogs on request. If you are not conveniently like to become a violinist in an orchestra. Everyone who has ever heard the boy play, unless you can hire a tutor for a certain near to a Kimball dealer, we can supply you direct. including a New York teacher for whom he time daily, the boy will be better off in had the privilege of playing last summer, agrees that the child is quite gifted. But school, keeping up his music as best he W. W. KIMBALL COMPANY everyone (except myself) also agrees that can for the school term and pursuing it he ought to finish High School before begin¬ (Established 1857) ning to specialize in music. Now the child intensively during the vacation period. He not only has to go quite a way for music les¬ will need the mental training and the fixed Department KE, 306 South Wabash Avenue, CHICAGO, U. S. A. sons, but the high school is five miles from our place. If he attends that I do not see study habits which come with higher how he is going to get enough time to prac¬ learning, and he should be trained to tice. I would appreciate your opinion about it. I had thought I could teach him a few understand that, if he makes a real success high school subjects myself. What would be the most necessary studies for a would-be of music, his education along general lines musician ? At present the boy is studying must not end even with the completion of violin, piano, typewriting and German be¬ sides his grade school studies. But he will a high school course. There was a time finish with the latter this week. when people thought a musician was one —H. B„ Nebraska. who knew music and nothing about any¬ I must agree with those who say he thing else. In this age a successful musi¬ “ought to finish high school before special¬ cian must know music in its several izing in music.” The day of the unlettered branches, plus something about almost r py1 Engravers musician has passed. If the boy gets any¬ everything else. where in music in this age he must have Lithographers a good foundation in general subjects and Proud—and with Reason! Write to us about anything in this line be cultured. I can see that your problem is difficult, since he is so far from the SEND FOR ITEMIZED PRICE LIST - justified pride: High School, but I feel that some way should be worked out that will allow your “My little son, four years old, shows con¬ son to complete the equivalent of a high siderable musical talent. He knows nearly one hundred songs, words and music. This school course. I can understand that, if would indicate a retentive memory. He has he expects to be an orchestral violinist only to hear a song once or twice and it is Want to Win a Trip to Europe? memorized accurately and completely. He and perhap's teach privately and has no has an absolutely correct ear for tone values Visit England, France, Germany, Austria, thought of entering college or becoming a and a natural sense of rhythm. He is able to pick out little tunes on the piano and Italy, Switzerland — See the Rhine, the teacher either in the public schools or recognize the scale. I want to develop his Alps, Paris, London! AT NO EXPENSE! recognized schools of music, the high talent. What method or field would you suggest as the most advisable? My own school credits coming from graduation in preference would be the piano, as I play a SEE PAGE 613—FOR DETAILS such an institution will not be needed for little myself. I might add that the boy has ml securing a position. (Continued on page 627) . Please mention THE ETUDE when addressing o THE ETUDE EDITORIALS

13he ''Most (Remarkable Orchestra in the World

PERHAPS you were one of the vast number of people who, on Wednesday evening, April 18th, 1928, listened over the radio to the concert of the National High School Orchestra. Perhaps you were actually in the Auditorium at Chicago, where three hundred young people astonished the huge audience with the exceedingly high quality of their playing. Why are we justified in calling this the “most remarkable orchestra in the world?” Largely because it is representative of all parts of the United Stages and signifies the highest product of our public school system. It. is an easy matter, as one famous conductor in Europe once remarked to us, to pay the highest prices for the finest obtainable orchestral musicians, to work them inten¬ sively for years, and thus to produce a well-nigh perfect orchestral body. It is quite another matter to take a group of High School pupils, most of them at the ages of fifteen, sixteen, seventeen and eighteen, and, with rehearsals confined to a few days under a strange conductor, to train them in playing Dvorak’s “New World Symphony,” Tchaikowsky’s “Valse des Fleurs,” Hanson’s “Nordic Symphony,” Grieg’s “A Minor Pianoforte Concerto” (the young pianist, Miss Frances Hall, played beautifully), and the “Overture to Rienzi” by Wagner, so that a huge audience of trained musicians rose and shouted their cheers. For this work, hundreds of teachers, supervisors and, notably, Frederick Stock, conductor of the Chicago Sym¬ phony Orchestra, Howard Hanson, conductor of the Eastman School of Music of Rochester University, and Joseph E. Maddy, organizer of the orchestra, were responsible. How was it possible to bring such a huge body of talented trained young people together? First, they were selected from the best players in the best high school orchestras and bands in the United States. Their traveling expenses were' paid by various local groups, public minded citizens, Rotary or Kiwanis Clubs, and so on. The expense of sending the children to Chicago must have been enormous, possibly $25,000 to $30,000; but the inspiration to the children and to the great public that listened over the radio made it well worth while. In the orches¬ tra thirty-seven States were represented. The players repre¬ sented children of parents of all nationalities; but far more than half were children of American parents. As the event was so momentous and as the children distinguished themselves so remarkably, The Etude here prints the names of the members of the National High School Orchestra, as it did when a similar group played two years ago under Gabrilowitsch, in Detroit. VIOLINS Ruth Abbott, Lockport, N. Y.; Margrett Beason, Audubon, Iowa; Arthur Wm. Berger, Albany, N. Y.; Marjorie Ballard, Elgin, Ill.; Marvin Bernstein, Detroit. Mich.; Stanley Biedron, Detroit, Mich.; Alice Biscow, Jacksonville, Fla.; Wm. Bliznick, Detroit, Mich.; Deloris Brown, Detroit, Mich.; Howell Branning, San Antonio, Tex.; Robert Brown, Kenilworth, Ill.; Andrey Broyles, Pueblo,

THREE HUNDRED YOUTHFUL MASTERS The Great National High School Orchestra Is Here Shown. Mr. Stoc\, Mr. Muddy Mr. Hanson Seated in Front

AUGUST, 1928 t5he ETUDE MUSIC MAGAZINE voi.xlvi,no.8 ’ THE ETUDE AUGUST 1928 Page 581

SCENE AT A CONCERT IN THE AUGUSTEO, THE GREAT ROMAN AUDITORIUM BERNARDINO MOLINARI, THE DISTINGUISHED DIRECTOR OF THE AUGUSTEO ORCHESTRA OF ROME “Ghe Grandeur Ghat Was ^Rgme’

Second in a Series of Musical Travelogues—Memorable Visits to European Musical Shrines

By James Francis Cooke

Part II ET US turn down one of the alleys L medal of the Academy was the singer, Lil¬ academies in Italy: Bologna, Florence, Halcyon days 1 Thus, the study of mathe¬ with its age-old odors and cramped lian Blauvelt (Pendleton),: whose beauti¬ Milan, Naples, Padua and Venice were matics, as in the days of the ancient fringe of civilization. Your auto¬ ful voice and lovely smile must have made alive to the advantages of a cultural center Greeks, was believed to facilitate the study mobile stops before a very unpretentious a wonderful impression upon the Romans, in which artists, musicians, poets and even of music. The first of the academies was door. Surely this is not the entrance to the as the list includes only such' other celeb¬ scientists might gather. They were quite founded in Bologna in 1482. They became Regia Accademia Santa Cecilia, the won¬ rities as Paderewski, Sgambati, Pinelli, different from the conservatories which very popular in many parts of Italy; and derful conservatory of St. Cecilia about Adelina Patti, Cotogni, Enrico Conte, San were described in our former article on membership in an Accademia was con¬ which you have heard all your musical life! Martino di Valperga (fhe present presi¬ Naples. In general they were supported sidered a great distinction. Indeed, for Its exterior looks so ordinary and so worn dent) and Carlo Camillo Saint-Saens. either by the State or by groups of pri¬ many years, the term persisted as the name with age that you are amazed when you In order to comprehend the historical vate individuals. The members of the Df a private concert given in a home of enter and find the lovely courtyard filled significance of this venerable institution, it academy would meet, let us' say,, once a the cultured and the noble gentry. with tropical plants, and also discover a is necessary to know something of the week and discuss their arts and the accom¬ beautiful modern auditorium called the atmosphere and culture of the Rome from plishments of the, followers in the other wl:-u u --— t'i—- -1'- ' ■ ■’ The Accademia Salle Sgambati, after the famous Italian ,J ~ - l composer, Giovanni Sgambati, long director T N 1539 a teacher named Gaudio Mell of the institution. Here, with its casing of founded a music school in Rome. Pal¬ antiquity, is an active, up-to-date music estrina was one of his pupils. In 1566 school, alive with pupils and managed with Pope Pius V founded what was known as methods of business system which would the "Congregazionc dei Musici di Roma do credit to a bustling American firm. sotto I’invocasione di Santa Cecilia.'’ From On every side is courtesy, Roman courtesy. The Roman is proud. He knows his ante¬ cedents, but he is always a gentleman. Handsom. beauti ful tended fts sessions, inclu™^ LEz^Wag- the background of Roman society.' Every ner, Gounod and many others. It was not possible facility is placed at your disposal until after 1870 that the institution became

Very due very largely to the influence of Sgam¬ bati and Penelli. The new regime

page door—a year bo< of the institution for

|.li

AUDITORIUM OF THE ACCADEMIA DELLA ST. THE ETUDE AUGUST 1928 Page 588 Page 582 AUGUST 1928 THE ETUDE keys are pleasantly related and the un¬ in a garden drunk with romance where opened the door to Bach, Beethoven, Liszt, coming to fortunate fellows, must at some trained ear does not even detect the change the terraces fairly blossom with fen ^ Wagner, Tschaikowsky and the moderns, future time bring forth excellent results in A transposition is also a change of keys sand fountains, you find the allurement until now there is a public in all parts American musical composition, In this case, however, the change is not which brought Liszt to this same spot to of Italy which seeks the great music of The American Academy at Rome is in attended by any connecting chords or pass¬ dream some of his loveliest works You the world, just as it is sought in London, no sense a music school but rather an in- ing notes. For instance, a composition is will wonder at the curious hydraulic out New York, Berlin, Philadelphia, Paris, stitution in which art students and music written in a key that is too high or too door organ-long out of repair, but owing Munich, Vienna or Chicago. students may work in an atmosphere low for a singer and he wishes to render to the restorative habits of Mussolini, now Italian masters who have been associated wholly sympathetic and inspiring. It is not it more easy of performance. If this put into condition; you will feel oppressed in the work of the Accademia in recent an unusual thing, for instance, for corn- piece, then, is written or played in an en¬ by the atmosphere of great age as yoO years include Battistini, Casella, Fran- posers of the. type of Pizzetti, Montemezzi, tirely different key it has been transposed. look toward the Eternal City; but.most “Czerny himself was chetti, Giorni, Mascheroni, Molinari, Pe- Casella, Malipiero, Ravel, Respighi and In other words a transposition of the en¬ “The great difference of all you will find yourself spellbound rosi, Respighi, Mascagni, Toscanini, Zan- others to visit the institution and to afford tire composition has been made. less a virtuoso than a by the inexplicable charms of one of the between Beethoven and donai and many others. Much of the late these fellows an opportunity to have their Let it be remembered that a transposi¬ activity of the Accademia has been due to criticisms. Leo Sowerby of Chicago and pedagog—the most loveliest spots on earth. tion is seldom introduced during the prog¬ his contemporaries is the self-sacrificing labors of that distin- Howard Hanson of Rochester are among ress of a composition and that interre¬ illustrious of pedagogs, guishcd Italian gentleman, Senator Count the American students who have revealed that his technical lated tones are almost never used in San Martino. great benefits from the magnificent work of Stimulating the Desire to his knowledge of the relation to it. On the other hand, modu¬ effects were born of his It was my good fortune to attend a re- Major Lamond and the American Academy Compose cital of the pianoforte pupils of the Acca- in Rome. It was my privilege to inspect the lations are always prepared for by con¬ musical ideas." piano was enormous necting passages and always take place dcmia. The playing was of a very high work of George Herbert Elwell and Walter By Edna Kalisch order—showing fine technical detail, excel- Heifer, students at the Academy last year, during the progress of a composition. lent coaching in interpretation, and the from whom American audiences will cer- The desire to compose should be stim¬ rich temperamental color that one naturally tainly hear much in the future, ulated at an early age. First let the pupils expects from Latin artists. One notable play and write their melody in % time, Rising the Price Imper feature might be copied by American in- The Augusteo then change the march to % or % time, ceptibly stitutions. After the name of each per- _ t-dtt wtt t mot i r> ... , with .the purpose of teaching them the former was a figure giving the number of Y°Lw th u™ division of the notes to make the full By Mary Waters months’ tuition the student had had. This Zfrl.fr °P ? nTl’the,theaters’ measure or count. The first attempt of appealed to me as a very fair way of en- t h C?f ert ^ ^ ATS‘1°’ a nine-year-old pupil resulted in the When the charge for lessons must be abling the audience to estimate the relative Section following: raised it is well for the teacher to tell her M, PHILIPP AND A CLASS AT THE PARIS CONSERVATOIRE pupils that such is her intention but that jfwrtts i* "fr Sv?-r - the price will not be raised to those already studying with her. Since they have started the course with her at an un¬ conservatory. Two months thereafter the 0f ;.)lrao vnM •„ . .. .« derstood figure it would hardly be fair to 13he Evolution of Piano-Playing and Tirtuosity pupil appeared at a concert given by the Te^ro ArJntnT H f reCOnStr,uc e,d them to change it. conservatory in a large auditorium and pnlH° gentma’ wlth Its remarkable New pupils, however, arc charged made a fine record, playing a composition L P „ °H y to.Say *at' you the new price. So she should tell her old By I. Philipp which she had studied with me for months «R?rJr f £ S»SP ,Rossims pupils that, if they are asked what are and actually played at one of my own tw ,f Sevllle ,WaS first glven and her charges for lessons, they are please to pupils’recitals. The audience of course at- ^ 7^ wit" "Changed to | time: be sure to name the new amount. This article is the second of a series of momentous disevtssions of the subject, by this world renowned pedagog, composer and pianist, tributed her work to the school. This was the firs} Performance of countless Then, of course, as new pupils come to which will appear exclusively in “The Etude Music Magazine.” Every ensuing issue, containing these articles, will be of immense value t iniquitous and deceptive. No credit °,*er °peras of Plcture yourself ■ - - Ae audience on this spot over one huridr _ her she will name that price herself. Thus, to all our readers. M. Philipp’s wide and large experience ma\es this series of great practical importance. I had given to the pupil. i years ago (February, 1816). You in two or three years, her whole class will have been devoted to the “Barber of be paying the raised price. In this way, in the course of ten to The American Academy of Rome Seville” of Paisiello. It has been a tradi¬ JOHN FIELD, the favorite pupil of brilliant performer. Klengel was a ser¬ Hummel was a favorite pupil of Mozart. An Interesting List V[ O MUSICAL visit to Rome is com- tion with your family. Now comes a ruth¬ twenty years, a teacher may raise her price Clementi, possessed deliciously suave ious pianist, known by an interesting opus He invented numerous new figurations and THER ARTISTS of the Viennese -b ’ plete without a trip out to the Ameri- less... fellow named. Rossini who.— has the for lessons several times without any dis¬ sonority and extreme delicacy, along —48 Preludes, or Canons and Fugues. passages; and his “Method ” is a store¬ O School were Woelfl (1772-1812); can Academy of Rome. This Academy, , aaty to wnte an. opera upon the same turbance. with his other gifts. A slave to his pas¬ Kalkbrenner was at one time the most house of brilliant and valuable suggestions. Teach the pupils to form little mel¬ Steibelt (1764-1825) ;H. Herz (1803-1888); modeled after the famous French “Prix de 1 f ' JJown Wlth him 1 You will attend sion for drink, Field was almost a second celebrated professor in Europe. He ac¬ Many of his compositions would bear per¬ odies using only five tones, as c, d, e, f, g Czerny (1791-1857) ; Louis Adam (1758- Rome," provides fellowships for American °f c°ufsel but you wdl S° to place the or g, a, b, c, d. Touching It Up Falstaff. Heavy and stout, his coarse na¬ cepted no pupils for less than five years and forming to-day; his Etudes; Concertos 1848), Methode de Conservatoire de Paris, artists, architects and musicians enabling fasca, m ™s proper place. Moreover, you ture and appearance were a painful contrast forbade them, absolutely, to play in con¬ (particularly those in A minor and B an interesting volume; Henri Herz, one them to live and continue their work in “ave “®ard that the clever poacher, Rossini, By Rena 1. Carver to his brilliant virtuosity, his delicate so¬ cert without his permission. Heinrich minor) ; the Bagatelles, Op. 107; the Son¬ of the first virtuosi to travel to America, Rome under the glorious atmosphere of the )Vrot,e l's °Pera *n thirteen days. Fie upon -Modulation and Tjransposi' nority and his graceful and elegant art. Heine, exasperated by his exaggerated atas (that in F sharp minor especially) and eternal city. Two fellowships a year are aim' ,u 8° and do your best to show “Do I have to play lliat old thing Excellent Etudes (Lemoine) ; Henri Ber- tion again ?” During his last sojourn in Paris, he was elegance and tactless vanity, called him “A the Fantasia, Op. 19. His Daily Exercises granted. The academy meets the warm y0Ur reelings. The opera, however, is so invited to the home of the Duchess Decazes. tini (1798-1876), Op. 30, 29, 32, and one “But only three weeks ago you were bonbon fallen in the mire.” He was a re¬ (Heugel) and Eighteen Etudes (Leduc) sympathy of famous Italian musicians who remarkable that you are quiet long enough He accepted the invitation of the great hundred remarkable Etudes, widely used; By Herbert Wendell Austin delighted over it!” But so it always was markable pianist. No passages in thirds, are invaluable for study. have visited the institution and advised with t0 hear a . w of t,le arias. Next night lady but wore shoes that were too tight. works of a virtuoso and talented com¬ with Margarie. Though she was enthusi¬ sixths and octaves reached such perfection, . In Hummel there were three separate the American workers there. The main f°U g0 again> and then again. Ah, per- In that they both constitute a change The room was so hot that he removed the poser; Francesco Pollini (1778-1847), the astic at first, her lack of 'stick-to-it-ive- as his; but he played with no expression artists—the performer, the improviser, the building of the Academy is located on the hap?’ ,Iadies and gentlemen, here is a of keys a modulation and a transposition offending footwear and sat at the piano in whatever. Chopin once went to him to ask composer. In performance, continuing and most intelligent Italian composer for the Hill. It is a beautiful marble structure femus' Perhaps his opera will last as ness” always made her unable to master are similar. But when one speaks of a his stocking feet. advice, but the conference bore no fruit expanding the school of Mozart, he piano, at this period. made possible largely through the philan- ,ong af °* Paisiello? Perhaps even completely any piece. According to his contemporaries, Woelfl modulation one refers to a gradual change Field invented the form called the Noc¬ He launched several distinguished pupils, founded, himself, a new school. No one thropy of the late John Pierpont Morgan. loager? Tempos fugit! One day her uncle, who was a photog¬ of keys. A composition, for instance, is turne, which was to be copied by a greater among whom was the very remarkable surpassed him in purity, evenness, accuracy was a virtuoso of talent, and Steibelt a The music students lodge and work in a , B ut your rapher, showed her a plate with all the started in one artist—Chopin. The name of Cramer is pianist, Madame Pleyel, a rival of Liszt of playing, in expression and color. His pianist so much admired by the public as separate building on the opposite side of dream days in blemishes and defects still on it. Then key. Then by the inseparable from that of Clementi. He was and Halberg, and much admired by these to be a dangerous rival of Beethoven. the street. The musical work is the re- Rome are not the finished picture, retouched and altered, technic was prodigious, yet it was em¬ use of accidentals the most illustrious successor to Clementi. two famous masters. Kalkbrenner wrote Steibelt (1765-1823), virtuoso and impro¬ suit of the magnificent labors of Major complete unIess was put before her. Immediately she ployed not so much to display his skill as or modulatory No one knew better than he how to condense a “School of Piano,” dedicated “to all the visor, had ardent admirers, and strong Felix Lamond, well known to American you venture °ut could tell the difference and apply what to express a thought which was unvary¬ chords, it passes the precious teachings of his master. His Conservatories of Europe.” It is an in¬ enemies. The former took pride in his organists because of his excellent work as t0 tllat enchanted she had learned to her music. ingly musical. into another key contemporaries retained a vivid impression teresting work. He began by dwelling on vivid tremoli and almost inaudible pianis¬ an organist in America. Major Lamond has P,ace known as "I never understood before that I did In improvising he seemed to be playing without any dis¬ of the quality, of his tone, the limpid clear¬ the importance of the position of body and simo. The latter pointed to these traits devoted his life to the development of this the Villa d’Este not finish them,” said Margarie, as she carefully pondered compositions, they un¬ ness of his technic, his noble manner. No hands, and the use of the pedal. Certain as showing lack of taste. This artist acted remarkable work which, through benefits at Tiyoli. Here, agreeable conflict brought out an old piece and settled down folded with such regular form, they de¬ pianist interpreted an Andante of Mozart of his Etudes are still useful. of sound. The to work. veloped so logically, with such rare ele¬ by instinct wholly, and when out of humor with more captivating expression, or a Charles Mayer was Kalkbrenner’s su¬ gance in details. The importance of his he was unbearable. He was a prolific fugue of Bach with clearer voice-leading. perior as both pianist and composer. He compositions has already been remarked writer and invented the form of “Fantasie His Eighty-four Etudes have made his was a pupil of Field, was a very distin¬ upon. The most famous pupils of Hummel with Variations.” But of all his composi¬ name immortal. They form a classic guished pianist, and was considered a re¬ were HenSelt, Stephen Heller and Will- tions only the Etudes remain in use. work which ranks with dementi’s “Gradus markable teacher. His works are nearly Czerny, himself, was less a virtuoso ad Parnassum.” forgotten; but his Etudes do not deserve Moscheles made a sensation wherever than a pedagog—the most illustrious of this fate. Some of them are noteworthy, he went—in London or Paris, in Holland pedagogs. His knowledge of the piano Thames We Remember such as Thirty-six Etudes for .Technic or Germany — because of his playing was enormous. His invention of new HE NAME of Dussek should not (Heugel/ Paris) ; Etudes de Grande Dif- and his extraordinary improvisations. His passages and combinations was not less be forgotten. He was an admired ficulte, Op. 200 (Kistner, Leipzig). memory was prodigious. His great reper¬ prodigious. No mere theorizing, but prac¬ tical experience was the aim of his teach¬ Clavecinist, but was one of the first to tory distinguished him from many of the ings. See Anthology of Czerny Etudes foresee the future sonority and mechanism virtuosi of this period. One after another of the piano. He modified his style of Playing Declines in nine volumes (Heugel, Paris). Finger¬ the works of Handel, Bach, Scarlatti, performance by means of keen intelligence, N VIENNA, after the death of Mozart, ing was wholly revised. If Clementi is Haydn, Mozart, Clementi and Beethoven and became a remarkable pianist. There are piano playing had suffered a decline. to be considered the father of modern interesting pages in his compositions, and Then it was revived by the appearance of were brought before his public. His con¬ technic and Hummel the inventor of new certain of his works are still used in teach¬ Jean Nepomuk Hummel (1778-1837) and certs drew a remarkable crowd of ama¬ ways of treating the piano, then Czerny ing—movements from the concertos, or Ignatz Moscheles (1794-1870). Both were teurs, and the young artists hastened to is to be regarded as the genius of teaching. shorter pieces. incontestably masters and enriched the lit¬ imitate the most striking traits of his His “School of Virtuosity,” “School for the Iiv 1HE GARDENS OF * nr. Vn i a tv Louis Berger, who had the glory of hav¬ erature of the piano with works of the genius. His twenty-four Etudes and his Left Hand,” “Preludes and Fugues” (Op. FONTANA DEI DRAGHI E SCALINATA DELLA GIRANDPLA ORGANO IDRAULICO ing given lessons to Mendelssohn, was a greatest value. Concerto in G Minor are still used. 400), “The Art of Finger Independence,” EDIFICATA l’anno 1551 (PROSPELLO) TEE ETUDE AUGUST 1928 Page 585 THE ETUDE Page 584 AUGUST 1928 lively music of the Galop is still a stand¬ ard favorite with circus bands to accom¬ the “Sonate d’Etude,” “The School of Meet My Friend, Mr. Schubert! pany sensational athletic feats in the ring, Velocity,” Daily Exercises,’’ these are so many masterpieces. Among his pupils and it finds occasionally a similar use with cGhe ‘Rhythmic Educational Value of Vhe Voy Symphony were Liszt, Thalberg, Doehler, Kullak and By C. E. Mullen theater orchestras in connection with a Jaell. The first alone has made his name certain type of vaudeville act. day, would win him a place in the modern A good Galop should be played as fast famous. Schubert, who got a dollar and a quar¬ Articles by Practical Teachers Who Have Found Real Pedagogical Importance music school, concert hall, private studio as possible—the only limit is the ability ter for a half dozen of his songs, could The Grand Master scarcely understand the attitude of "No or business house. . of the players to execute correctly. There We can imagine him living, say, m Phil - is no other dance music so fast, unless, in These Delightful “Make-Believe” Rhythmic Orchestras vy E HAVE REACHED now the cen- pay—no work.” There were several traits perhaps, the Italian Tarantdle. ’ ’ ter of gravity of all that relates to (which the modern business man calls delphia. We sec him swinging past us In the catalog of any large general pub¬ tile purest, most noble form of piano¬ "assets”) in which lief was lacking. He down the street, moving Lis glance bright¬ lisher of music will be found many good How to ‘Prepare a Rhythmic Symphony Score Editorial Rote playing—Beethoven, whom we revere as slept with his glasses on; he took long ly over the field of faces, pausing now and examples of Galops. The more simple the greatest master of modern instrumental rambling walks alone; he mislaid his then for, a hearty handshake or a few ones are perhaps more “true to type” than music. He was, at the same time, the manuscripts and did not bother to recopy words of greeting. We hear Mr. B, This is really a very simple task which any teacher may ac¬ We have used this delightful little composition as an example, the more elaborate because they can be greatest performer , of his period, discov¬ them; lie sometimes lost his temper; he inviting him to dinner and an evenings complish with ease and pleasure. Secure two copies of the piece largely because it may be procured also in a wonderf ul record made played more quickly. ering effects of most astonishing sonority, was negligent in his dress. entertainment—a “Shubertiaden” . where which you desire to turn into a rhythmic study. Next cut out the by the Philadelphia Orchestra (Victor 1312) and in a record by On the other hand he rose early, com¬ As an additional side-light on the true the richest combinations, the rarest tech¬ the not-too-severe artists of the city will first line of music and mount it at the bottom of a piece of plain the Russian National Symphony Orchestra (Columbia 113 M) nical inventions. posed in the fresh morning hours, caught nature of the Galop, the fact might be assemble. Will he play “The Erl King paper of sheet music size. Now above this draw horizontal lines and other similar records made by other recording companies. The great difference between Beethoven in a few lines the essence of a long com¬ mentioned that an old dancc-orchestra on a comb for their delight, or tell a gay about three-quarters of an inch apart. Then draw perpendicular and his contemporaries is that his tech¬ position, brooked no disturbance at his musician confided to me that, in his early (There is also a Toy Symphony record—20215 Victor.) story, or give an improvisation? Depend lines extending upward through the bar lines of the piano part. nical effects were born of his musical work, and was generously disposed to give days, when the dances showed a disposi¬ It is a very simple matter to adjust the speed regulator of the to the world the results of his genius. If, upon’it, there will be no solemn saws with tion to prolong their sport too far into the Next write at the left side of each line the name of the rhythmic ideas, that they are the result, the con¬ puckered lips and beetling eyebrows, but record so that the pitch will'conform, when so desired, with the therefore, some qualities played against “wee, small hours,” it was one of the instrument to be played by each child. sequence of his themes, and are never an agreeable interplay of mood wherein his success in the world of barter and tricks of his trade to play a Galop three Selection of instruments is dependent upon the size of the pitch of the piano. A fine record like this, with a good piano and extraneous as is the case with some of truths lurk like fireflies over a misty field. his rivals. Of his compositions for piano trade, there were others that, exercised to¬ or four times through, after which the group you are leading, your taste as to the needs of the composi¬ the rhythmic instruments, is likely to produce an effect zvhich the there is nothing more to say than what all dancers would find themselves so thor¬ tion and the mental and musical capacity of the performers. In children will describe as “just grand!” Seriously, the educational the world already knows. Their splendor, oughly fatigued that they would all start the case of instruments having definite pitch, choose only those value for the child is very great. You will find on page 636 of their rhythmic force, their profound feel¬ going home. which give the tonic (first note of the scale) or the dominant (fifth the music section the arrangement of the “Moment Musical.” ing or wholesome gaiety, suggested to the note of the scale) of the movement which is to be played. The. manufacturers numerous ways of increas¬ In addition to the articles in this issue, “Fun with the Rhyth¬ ed sonority, of responsive mechanism, with number of instruments used is by no means arbitrary. For in¬ mic Orchestra,” by J. Lilian Vandevcre, will appear in The stance, in the composition used in this issue of The Etude, Schu¬ resistance both so elastic and so perfect Etude for September; and in the October issue we will present, as to obey, with exactness, all varieties of bert’s “Moment Musical in F Minor,” there are several parts. Any Summer JYCusic Study “How to Get Up a RhythmicHand,” by Isabele Taliaferro Sfiller. attack, ranging from the most delicate of these parts may be omitted at the teacher’s discretion. pressure to the most energetic action. In By J. G. Hinderer ing, although many of these instruments tune in this profitable adjunct. We know the slow movements of the Sonatas, A New Toy Symphony Every Month Castanets Sleigh Bells are blown with the mouth and are wind of one very fine teacher who has a library especially, one perceives Beethoven’s or¬ There is no good reason why the advent Cricket Tambourine chestral manner of writing, orchestral at Cuckoo Tom Tom instruments, most of them are tapped or of over ten thousand records. of summer should Ire considered a loafing By Isabele Taliaferro Spiller shaken; and all are treated as percussion the same time that it is pianistic, for he Cymbals Toy Orchestra Bells Take any good Schubert piece with a time for cither students or teachers. Quite instruments, merely to mark rhythm, ex¬ never loses sight of the true nature of the contrary, for at no other period of the Dog Bark Toy Xylophone well marked rhythm and fit in the instru¬ HE AGE OLD question, “Which cepting the bells, the trumpet in four or the piano. year is it really so advantageous for musi¬ T Fire Bell T riangle ments, seeing to it that there is plenty was first, the egg or the chicken?” eight tones, and the tubephone, which is cians, especially students, to do their best Church Bell Trumpet, C, G or. A of variety in rhythm. In order to accom¬ Contemporary Appreciation might be applied also to Rhythm Glockenspiel Trumpet, 4 tones really an elementary xylophone. work. With cool morning hours, open The main thing for the teacher to know plish this, the Editors of The Etude have T TIS MASTERY of the piano was and Melody. Every child has an instinc¬ Slide Whistle Tubephones windows, fragrant fresh air and no public is how to use the instruments in working included in this issue a specimen arrange¬ phenomenal, and his contemporaries, tive love for rhythm. The beat of the Jingle Sticks Waldteufel school studies to add to their burdens, up a new piece. The little pupils should ment of the Moment Musicale of Schu¬ Cramer, Ries and Czerny, were unani¬ drum, the clang of the bell, the foot steps Kazoo Wrist Bells music students ought to get the utmost of marching soldiers, all make something look forward eagerly to a weekly “music bert. This piece was selected because mous in their admiration of it. He had no benefit and pleasure from a study of the Nightingale Whip Snap equal in his effects on his audiences; he Of unlimited interest and charm. Just as play time.” Let us say, for instance, that there is also a very fine record of this beautiful art. They can, at this season, To this list many teachers add the it is called for ten o’clock on Saturday could excite them with his bravura, and the first music of the jungle-man is likely “Toy” Pianos—baby grand or upright— by the Philadelphia Orchestra (Victor) too, make much greater progress, for sum¬ to be the shaking of rattles and the morning. The pupils arrive and see a move them deeply with his expressive which cleverly conceal a little metallo- and one by Mme. Elly Ney for piano mer weather wonderfully relaxes tense, picture of Franz Schubert in a prominent playing. Some admirers were wont to say pounding on tom-toms, so the first music phone, sometimes possessing even the (Brunswick). Every machine may be ciammy muscles and joints and the high of the child is found in tapping on almost place in the music room. A "little talk that he did not “play the piano,” but rising sun, spreading extra rations of chromatic scale. These add immensely to adjusted so that it can be pitched the “painted in sound.” Others spoke of his anything that will make a sound. from the teacher about Schubert, or a vitalizing violet rays, reinforces good the interest and effects of the orchestras. same as the piano. The teacher may play art of “reciting.” There is a great deal of music pub¬ little time devoted to cutting out Schubert health as can nothing else. Music stu¬ Any good piece, with a simple marked the piano part; the talking machine, the The bold and imperious genius of lished for the so-called toy orchestras. pictures and pasting them in the “Young dents, therefore, are foolish to throw lazily rhythm, may be used for a toy symphony. record; and the children, the toy sym¬ Beethoven suffered from the material in¬ K FACSIMILE OF THE MANUSCRIPT OF SCHUBERT’S ERLKING Here is a list of some of the best num¬ Folks’ Picture History,” by Cooke, or the these golden months into the discard, los¬ The enterprising teacher can have “no adequacy of his instrument, despite all its bers : “Child’s Own Book of Great Musicians,” phony instruments. When this has been ing thereby, because of lack of practice, end of fun” in arranging scores herself. improvements, and it <(as evident that his by Tapper, makes a splendid start. Chil¬ rehearsed enough the little ones are likely what progress they have been able to make It is really a very simple matter, and one strong hands, eager for new effects, pushed Compositions Suitable for Adaptation dren “just love” this sort of thing. to clamor for more and more. Now during the cramping winter months when which lends itself to delightful experi- its sonority to extreme limits. He did not Fjhe Galop to Kitchen Symphony or Toy change the instruments, so that the play¬ competition with cold weather, numerous Trying It Out belong among the virtuosi of his time. He Symphony Use ers will be introduced to different rhythms. did not work at practicing, and his technic seasonal duties and school studies cut so “Interest,” First HE TEACHER may then play a few By E. H. P. Andre: Symphony of the Hobgoblins T lacked purity. Moreover, he detested the deeply into study periods. EACHERS have always known that Schubert pieces, such as those found T Ma\ing “Scores” elaborate playing of certain of his con¬ Great artists, whether musicians or not, Banger: King’s Ballet the paramount factor in all educa¬ in the Schubert Album of the Presser In The Etude for October, 1926, is a which there are numerous examples amor usually work and study harder during the Brigham: Mother Goose Choral Toy AFTER THIS the teacher should temporaries. “These people lose judgment Galop Chromatique by Liszt, arranged for tion is interest. It is easy to tell the Collection. Then, if the teacher uses the the compositions of Johann Strauss wl summer to prepare themselves thoroughly Symphony have one or two little pieces she has and sentiment just in proportion as they four hands. If played in true Galop style pupils of the teacher who takes a real music reproducing machine records, there wrote the Blue Danube Waltzes. for busy winter seasons. Serious music Chwatal: Jolly Sleigh-Ride acquire velocity of the fingers,” he said. —fast and furiously—it is an overwhelm¬ pedagogical interest in them and who may follow a few great Schubert works. “scored” herself. The Etude is full of Whe'n the present writer was a boy, tl students must follow their example if ever Conradi: Christmas Overture He was always fearful lest the ever- ingly brilliant piece. makes the work interesting. It is surprising how many private teach¬ pieces every month which are adaptable Galop was still a popular dance, thou* they hope to reach a high rank of attain¬ Dolb: Christmas Symphony increasing skill of the virtuosi should I often wonder how much or how little While some of these instruments may ers are now depending upon high class for this purpose. The children will soon it had gone out of use by the time 1 ment. The sluggard, no matter how tal¬ Eilenberg: At the Millstream destroy all sincere expression. This fear the names of those' pieces which are con¬ cost as high as two or three dollars, most records to stimulate the interest of the feel that they are part of a little orches¬ was himself old enough to go to dance ented, never wins in this race. Giles: Symphonie Burlesque was to be realized. The abyss between ceived in various old dance-rhythms mean of them are very cheap. Properly speak- child. Some teachers spend a small for¬ tra. The improvement in the rhythmic true musical interpretation and the super¬ He had the curiosity, however, to ask oi Many cities, too, are splendid recrea¬ Haydn: Toy Symphony to the young people of the present day sense should be enormous. At first the ficiality of the virtuoso was to grow ever of the older young people to describe tional as well as musical centers where Hewitt: Children’s Symphony for who are limited to practically little more children should have separate little parts wider. Ries (1784-1838), a pupil of and what he recalls of that descriptic advanced music students may go for the Christmas than one single form of dancing, with written out for each player. Later it Beethoven, left interesting comments on will answer very well for the prese dual purpose of study and recreation. All Jessel: In a Toy Shop slight modification. purpose. may be desirable to have each child bring the methods of teaching and playing of in all, the benefits to be derived from Kling: Kitchen Symphony No one can, for instance, quite appreciate its own copy of The Etude in advance the great master. He left also several “The step is very simple, and the coupl summer music study are great and we Mozart: Minuet from Symphony in E- the true inwardness of the waltz unless and to have the teacher cue in the part, interesting compositions—a Concerto in C move mostly in straight lines along tl offer these few suggestions to music stu¬ Flat he has at some time actually danced it. floor, not turning all the time as in tl so that the child will soon see the part in Minor, and some Etudes. As a virtuoso dents and their parents with the desire that Popy: Whistling Polka Sometimes composers themselves are to waltz. It is very, very fast, and tl connection with actual music. he was one of the first to obtain new everyone interested in music will better Reinecke: Children’s Symphony blame, as, for instance, Darand, when he dancers get hot and out of breath in i But, you say, our band must have a effects of power and charm of pedaling. realize the great usefulness of the summer Romberg: Toy Symphony calls a pretty little piece of his in two-four time at all. Then, too, if one coup conductor. Fine 1 Let each child, in turn, months for study. Schumann: Gipsy Life time, with running sixteenth-notes, a happens to run into another couple, th< take a hand at it. My, how the little Chaconne, though it has not one single Seidel: Christmas Bells are going so fast that they both get Simon: Soldier’s Life in Peace eyes sparkle when they get a baton in characteristic of that now-forgotten old hard bump. It is a rough sort of dan. hand. Imagine the little tongues babbling dance, which is known to have had a Spindler: Picnic 1. What was Kalkbrenner’s greatest con¬ when they tell the story of the music stately, three-four rhythm of this sort: "So long as the full benefit of music is Thiele: Children’s Symphony tribution to piano playing? “.ir- ”ni"“ h» *“ » play at home. There is no better stimulant withheld front the masses of the people, Tuch: Little Trumpeter 2. Who revived interest in piano play¬ lRR7heiate °f thi? conversation Was abu of professional business for the teacher two serious wrongs are committed—a lesser Zitterbart: Sleigh Bells Polka ing at Vienna, after the death of Mozart? 1887: the musical historian tells us th than just such little gatherings as we j.u4- wrong in the loss suffered by the arts when These call for a wide range of instru¬ 3. What great legacy did Czerny leave the Galop started in France about 181 have described. Liszt’s Galop, however, is a true Galop, they fall into the exclusive hands of the ments of which the following are the to the literature of the piano? and was an adaptation of some Germ; BUT—this is important—every moment though much more full and intricate in exquisite feiv, and a greater wrong in the most popular: 4. When did virtuosity in piano playing peasant dance. The wonder is that must be play. The child should enjoy it structure than the music which was gen¬ degradation of the common mind when the Anvils Quail come into favor with the public? lasted as long in vogue as it did ) just as you would a visit to Bayreuth to erally used for dancing purposes and of channels of culture are neglected.”—Rut¬ Bob White Rattla Though no longer danced, the extreme hear a gala performance of “Parsifal.” land Boughton. Canary Sled TEE ETUDE AUGUST 1928 Page 587 Page 586 AUGUST 1928 TEE ETUDE

How to Give a Rhythmic The performers were dressed as cooks —the girls in their Domestic Science caps T3ests L3hdt 'T5urn Tour T3edching Successwdrd Kitchen Symphony and aprons, and the boys in a butcher’s ! 13he ^Musical Home Jading 13able | apron and the regulation cook’s cap, both By Mathilde Meyer Chapman of which can be made in an hour from Anything and Everything, as long as it is l'A yards of 36-inch unbleached muslin. My LAST RECITAL was given as Instructive and Interesting Vital Series of Pertinent Personal Questions a benefit for one of the women’s A clubs in the Pittsburgh district. Placing the Orchestra Conducted by As we used the High School Auditorium, pOR THE PERFORMANCE of this Designed to Help Ambitious Teachers which seats approximately one thousand, ^ symphony the stage should be s A. S. Garbett and as we charged admission, it was neces- a kitchen. Three tables in front serve as sary to have a more diversified program resting places for the glasses, crocks, and Northwestern University, states, “Success or failure in business is than those presented at the usual pupils’ bottles. The other utensils may be hung Which path will you choose? recital. Readings were interspersed to re- about the room and taken up by the per- caused more by mental attitude than by mental capacity. The Sunshine Path to Success or the Stormy Road to- Ruin? lieve the monotony of musical numbers; a formers as they enter, or they may be Pivots in Haydn’s Life Which of the following attitudes of mind do you find yourself one-act play was a feature; and, for the carried in by the performers. The cur- Thousands of successful teachers decided upon the Sunshine habitually confirming? This will show your mental attitude. final number, I decided to give a Kitchen tain rises upon an empty stage. The pian- Two criteria in judging of a man’s life And, in a letter to Prag, in answer to Symphony. ist plays a few measures, after which the arere methe incnusfriends mhe has made---. and the man- a request to compose„,, , an. . opera for that- Path years ago and are reaping the benefits to-day. The value of this character analysis to you will depend upon „— For this purpose I used Kling’s Kitchen trumpeter, or bugler (a Boy-Scout bugler ner in which he works. So the following city, he says, 1 should run too many How can you know whether you are taking the positive, con¬ frankness and honesty of your confession. Symphony. This has a very attractive will gladly do this) sounds a call from paragraphs from Brenet’s biography of risks, for it would be difficult for anyone piano part, which a fifth grade pupil can behind the scenes. At this the director the masters will prove to be flash-lights —no matter whom—to equal the great structive road or are following the negative, destructive road? Don’t deceive yourself. Put a mark (V) in tlie column oppo¬ play with ease. The kitchen utensils used enters, seizes a large tin funnel, and re- on the character of Haydn. Mozart. That is why I wish that all music- The best way to test your attitude is to investigate your own site each thought you find yourself repeating. are glasses, bottles, milk-jugs, fire-irons, peats the bugle call. This is the signal “His biographers, indeed, tell us that, lovers, especially the influential, could mind. At the end turn to page (619) and learn how these marks are sauce-pans and tin-covers. A drum, a for the entrance of the performers who when settling down in the early morning know the inimitable works of Mozart with to be interpreted—but don’t look until you have answered all the tests. trumpet, and a tin funnel are also men- march in while the piano continues to play to work on a new symphony, he used to a profundity, a musical knowledge, and a Dr. Walter Dill Scott, the eminent psychologist and president of tioned in the directions for performance the introduction. At the conclusion of begin by inventing a plot or little story, keen appreciation equal to my own. Then which accompany the score. this, all rattle their utensils until the drum- the events of which he developed and the na,jons wou|d compete for possession mer strikes the drum. The director raises disentangled in his own mind, while cover- of such a treasure. p must hold fast The Music Shop the larf’ wo°d“ sp°01! wh'ch ,he uses ing his ruled paper with notes. . . . The SQ ious man_and A him p p as a baton, and the symphony begins, pro- ‘meanings’ that he introduced occasionally v - - - -for Are Tour Thoughts without that, the history of a great genius Are Tour Thoughts /fY' FIRST CARE was to purchase ceeds rhythmically to a climax, and is car- jnt0 his work have their chief source in These or These —; M' the utensils, and, as each student ried to a brilliant and effective conclusion, the hearty good humor and good sense a sad one, and gives posterity little e - These or Theie_ pay for his own, it was necessary For the benefit of those who are skep- which form the basis of his character, couragement to follow the same course, r r Mark to do this as cheaply as possible. The tical about the possibility of producing Gyrowitz found him one day, in London, That is why so much fine and hopeful tal- Mark Here Here five and ten cent stores furnished glasses music with utensils of this sort, I will say trying over his ’Surprise’ symphony on a ent unfortunately perishes. 1 am full of 7. Too bad! I’ll miss those pu¬ at five cents apiece and saucepans at ten that the various parts are rhythmic, and uttle square piano, and rejoicing in the anger when I think that this unique genius 1. The greatest teachers in the 7. Aha! Four pupils have L How can I be successful pils. However, it gives me when I haven’t had all of world have almost invari¬ begged to be excused from .trrow!d Izf’ulJlE h?bt!r ujtenlils~®las|es’c.roc!£? effect that would be produced by the sud- is not yet attached to a royal or imperial time to make up my ac¬ from the“ milk*“ man. Having no idea‘ as to“ andI! bottles—preponderate,im the effect‘ pot den entrance of the'kettledrum. ‘That will court. Forgive this outburst: I love the the educational, social and ably been those who have their lessons. Guess I’ll counts and look over new what was meant by milk jugs, I substi- only unique but most pleasing. Taking make“theTadies. jump? h7sa‘id. too much.’" financial advantages that had the hardest struggle and take a nap. tuted ordinary half-gallon crocks at fifteen part in such a performance, too, is bene- music. the fewest advantages. cents apiece, which I discovered to have a ficial to the pupil, as it affords excellent were showered upon my very pleasant musical tone. We used practice in keeping strict time, rival? 8. Luck is the reason why my 8. People say I’m lucky. I wish they could see how wooden spoons, purchased at a sale at five This Kitchen Symphony was widely ad¬ et5schai\ows1w at Rehearsals 2. I wonder if I can ever make 2. Unquestionably I can help competitors succeed. Pupils hard I work and how eems, for striking the crocks and sauce- vertised before performance, and I found Tf , , , . ... a success of this pupil? this pupil if I persist in find¬ just swarm to them. I pans; clothes pins were used for the it a great drawing card. Photographs Ispha‘k°wsky believed that his “Sym- to the players. To obtain delicate nuances ing his chief point of music haven’t any luck. many lines I have out. glasses, and pewter teaspoons (two for a similar to the one on this page were phonie Pathetique was the best thing I and a good balance of tone he needed sur- interest and developing it. nickelv atai the usefulucA-iui “fivelive andduu ten”)ten ) iorfor theine printedp in allaii theUiC Pittsburgh‘Uauuign papers,jjdpcro, anddim • i* t • hl^I br°7f lef^Modeste, iii teHs roundings° that were sympathetic and ap- 9. Pupils won’t come to my 9. It would be fine if I could milk bottles. The fire-irons (a shovel and Picards upon which photographs were A . \T grt, ot the melancholy preciative. afford an expensive studio 3. I’ve given six lessons to-day 3. I’ve given eight lessons to¬ studio because it is so plain. poker) and the tin covers were a trifle pasted, announcing a Kitchen Symphony • Af.3"' f)®... verthe‘,.e.ss ,> hf, was depressed—- “A-- look of indifference, ai coolness „c but many of the greatest tnnrp Avnpnciim _a hv iwO-c . others did not think the same, nartic- th#» nar» of and I’m all tired out. I’m day and I love the work so expensive, costing thirty-five and 23 cooks, were posted about town, others did not think the same, partic- the part of any of the band, seemed to teachess of the world have ularly the orchestra playing it. paralyse him; he lost his head, went sick of it. Guess I’ll go to much that I could go on for twenty-five cents respectively. After the performance I received many been content with four As twenty-three children, some of them compliments, one lady going so far as to rehearsals the S.xth Symphony’ through the work perfunctorily and cut the movies. hours. walls, two chairs and a quite small, were to take part, and as it saY that the Kitchen Symphony alone was the Sltrl >“7 ”° 7,PreSS1°n Jup?n the rehearsal as short as possible so as to 4. Nobody is interested in 4. There is far more interest in would have caused great confusion to worth the price of admission, piano. fact filled him with f 6 S and the releasc the musicians from a wearisome fine music to-day than ever have them all begin practice at once, I ap¬ good music to-day. Every¬ set store bv the nmV? ^ He a ^ays task- Whenever he conducted a work of in the history of the world. 10. I’m practicing now harder pointed a leader for each group of utensils, thing is jazz. The teaching 10. I haven’t time to practice. Moreover he , mus,clans- h« own for the first time, a kind of un- than when I was a student. and drilled the leaders by themselves for Rhythmic Studies in Rests Moreover, he feared lest the interpretation certainty, almost carelessness in the ex- profession is getting poorer Teachers are receiving Besides I am a teacher now several evenings. These leaders, after re¬ and poorer all the time. higher fees and more of and don’t have to play. It is so much more interest¬ By Gladys M. Stein ceiving instructions themselves, were able them than ever. ing when I play pieces for to drill their own groups, thus saving me Pupils who disregard the rests in music my pupils. much time and making later practices 5. Times are bad. Nobody is 5. When times are a little off be cured of the habit if the teacher 11. The “genius” trick doesn’t with the full orchestra an easy matter. I will write out exercises with incomplete making money anywhere. people take more interest in 11. People will think more of fool the present-day public. assigned the glasses, crocks and bottles to measures and have the pupil add the rests 'She Unexpected Answer The music teachers are out the big serious things of life me if I dress like a genius. the girls, and the fire-irons, saucepans and necessary t0 complete the measures, like of luck. and more people study I don’t have to be parti cular The finest music played in We have all enjoyed the phenomenon of tin-covers to the boys. The boys, I may this‘~ music. in my dress. the best possible manner the echo, at one time or another of our the morrow and prove the truth of his say in passing, showed themselves most counts. assertion. Therefore the next day found 6. When you get down to it enthusiastic in the handling of their noisy lives, and have probably shouted many in- , - -- 6. Prof.-has big classes eptitudes into space, for the purpose of them there’ and their host invited them the thing that counts in 12. I am an artist and must show 12. The fathers of my pupils instruments. "Oh, boy! but this is fun 1” because he comes from a fine hearing them come sailing back to ™,r make tbe test at music teaching is results and my disrespect for money by are business men and will was the way one small chap expressed it. family “pulls” a big social Now the host had previously stationed think more of me if my More than once I was obliged to curb their Such. work will result in a better under¬ bluff and “gets away with the teacher who wins in the pretending to ignore busi¬ — **"!■“ f t , . . ■ Once some people were discussing their servant ™in a hiddenmuum spotsuoi in theme garden, work shows system, order ardor and beg them to put on the soft staPding of rests> time it.” end is the one who can pro¬ ness methods. pedal. tation. It also proves to the pupil said uj i, j- gentleman , “ w piay me pari ui duce the largest number of and promptness. I” pl»« ol * 4™, which i, to be lh" ««'»'»« «■» JWM«I by » fine pupils. That is the great secret of Leschetizky and I used a large, galvanized iron wash-tub, . . a lover of Practical jokes” who was pres stupid fellow and so when nne of the countless others.

-<>c mop being used as a drum stick. I ar- America musically independent of the hal- Like the well-known Mk7,e A °CCUrred' ranged the orchestra as follows: ance of the world.”—Hon. James J. Davis, other members of the oartv a<77 teC Echo1 What time is it?” “shown.” The lover of “practical int-e » And from the distance came the un- J\lew Paths Fire-irons Sauce-pans at once urged them to J££e?:_,?kes expect«d1 answer: (standing) come to his home (standing) t is nearly eight-fifteen, Sir.” When the great-hearted Robert Schumann, early in the fifties, Growth, however, is the secret of progress and happiness, and wrote his famous editorial, “E[ewe Bahnen’ (New Paths), pro¬ the newer and greater “Etude" campaign was launched. We have been overwhelmed with letters from our friends who claiming the discovery of the genius of Brahms, the world of music ‘B',e King-in feson are superlatively delighted with the improvements. looked forward to momentous things. There are many, many newer and finer things to come. Last year we announced the many changes that we contem¬ The “Etude” for 1928-1929 will represent an advance in origi¬ -psrdrMsiSs A"s»»» »*. . plated in rebuilding, remaking, recreating the "Etude Music Maga- StraussPethanCw f Sh.lcag0 of Johann A* the tlme 1 saw him be was about forty nality, beauty, novelty, pedagogical value and human interest, far “The Blue DanuW’ Ki!nS’ composer °f old' He was of medium stature, exceeding any previous volumes. ton’s pages in th^f’,7? "SeS from Up- 7 h & rather ,0w and ,larr0'v forehea'1 This was done with no little misgivings, because everyone was Seasoned by experience it is our ambition to have every issue (Performers seated at Tables) Piano in orchestra pit. tion: 6 f°ll0Wm^ vivid descrip- fro»> which he brushed his hair straight apparently satisfied with “The Etude” as it was. vital and blooming with the glorious youthful spirit of the age. (Continued on Page 619) tee etude AUGUST 1928 Page 589 Page 588 AUGUST 1928 tee etude T3he Fourth and Fifth Fingers Schubert By Leonora Sill Ashton Scenes from the (Jhildhood of Franz that small member an independence all its The weakness of the fourth and fifth then three cling to the table. This, as you will at first, with the fingers one own and adding to its surety of touch on fingers is in many cases not so much due readily see, is the exact opposite of finger A Musical Playlet for Children two notes, higher: the keys. to the lack of strength in the finger mus¬ lifting” but the results will be the same, cles themselves as in the absence of flex¬ in the freeing of the muscles of the out- All kinds of daily tasks may be turned (By James Francis Cooke ibility in the web between the fingers and F=H. side of the hand. Few of us realize how to good account: different kinds of house¬ =“31 much of the hard work that we do falls work, sewing and knitting, all depend upon to the surroundings of a teacher’s studio. While the music in¬ a tightness in the directing muscle in the The very great success of the tor iter’s work, “Musical Playlets bridge of the hand. upon this set of muscles. In the act of writ- the instant co-operation of the brain with troduced is that of the composer’s mature years and therefore an for Young Folks” (which includes separate plays dealing with The well-known, slow trill of the fourth iure and do not overdo this practice, ing, the thumb and the index and middle the fingers, and, if the fight against rigid anachronism, it nevertheless fits into the imaginary picture and is scenes in the youth of Handel, Mozart, Beethoven, Bach, Mendels¬ and fifth fingers, with the third finger oon as you feel any contraction, stop fingers do the skilled work of guiding the muscles is continued, tend to strengthen and sanctioned by clastic dramatic license. No speaal ^enery or cos¬ sohn, Chopin, Schumann and Wagner), led to demands for more securely held down rest. Remember the often repeated pencil point. The fourth and fifth fingers develop the hands and fingers for g00d tumes are actually required, but, if ingeniously supplied they mil research and literary reflection than might at first be evident. The story about Schumann who' crippled his are—- curled—-iin up ... a firm foundation for work at the keyboard. Relaxed muscles add to the general effect._ These playlets have succeeded because hand for life in attempting to strengthen the other three to rest_“A upon. chain is writer is a dramatist of experience and his knowledge of the tech¬ are the alert and eager ones, ready for any they are essentially practical. I his fourth finger. Carry in your mind ««as strong »'<*<'•as «'*=its weakestst Urlink” and an emergency which may arise: stiff muscles nic of the theater has enabled him to adapt the present material fNi ' all the time the idea of utter relaxation, artistic performance in piano playing can¬ are dull and stupid slaves. coupled with strength. not be expected with these two weak Act 1 (A violinist off-stage commences to play should be the daily bread of every piano Aim in every movement of the hands ' Prologue Another excellent gymnastic exercise, members: the . fourth and fifth fingers Scene.—The home of Franz Schubert without accompaniment but very softly player and should always be coupled with ; Franz Peter Schubert was born in and one which will improve the. wrist- should and must equal the other three in during the day, to keep the fourth and Schubert’s “Serenade.” A ll listen eagerly the lifting of the fingers as high as possible. Vienna, January 31st, 1797. He died in on the outskirts of Vienna. It is a very muscles, too, . is this: seated at a table strength and flexibility, fifth fingers in a state of vitality. Do not and quietly during the sold.) The matter of stretching sideways, how- • Vienna, November 19th, 1828. Although plain room, severely furnished. In one about the height of the piano, lay the There are many little things in the life let them become inanimate through doing corner is a cook stove. In another is a Father Schubert. Come, children, din¬ ever, is equally important, and, if prac- - ' his life was one of the shortest of those - backs of the hands on the surface with of every day, which help or hinder mus- too little, and do not let them become ticed perseveringly, will bring excellent i of the great Masters (a scant thirty-one book case. A table set for a meal is in ner is ready l results. _ ■ , ,the fingers pointing towards you. Then cular development. The using of a type- rigid through doing too much. Strive to years) he wrote an amazingly large num¬ the center of the room. Mother Schubert (All rush to the table except Franz.) take turns with the fourth and fifth writer ■ is a wonderful exercise for the acquire for them the freedom and life is putting the steaming dishes on the table. Come, Franz, things will get coldl With the third finger still held down' fingers, training them to fold back ini ber of compositions. His first instrument outside of the hand, as the fifth finger which comes naturally to the three dom¬ was the violin which he learned to play Father Schubert is working out problems (Franz bays no attention. Mother Schu¬ firmly, practice this same trill, very slowly the palm of the hand, while the other picks but the shifts with precision, giving inant fingers. from his father. Later he came under in arithmetic at a blackboard on the wall. bert takes Franz’ arm and draws him the instruction of Holzer and Salieri. Ignaz and Ferdinand are reading books away down to the front of the stage.) Most of his life was spent in and around while the little Theresa plays upon the Mother Schubert. What are you Yes, I "Beach ’em Jazz Vienna. As he cared far more for making floor with a rag doll. At the window at dreaming about, boy? beautiful music than for making money, the back stands a boy of eight or nine. Franz. Oh, mother, I heard such beau¬ By Isabel Wister the greater part of his days was spent in He has curly hair, wears a grey suit with tiful melodies! I could go on hearing a large collar, like a miller’s boy, and , Use jazz—yes! But—use it as bait! and even the “jazz” of to-day has jolted poverty. Few men, however, have left them without cndl The “jazz-minded” pupil, it would ap¬ These are set forth in syncopated mel¬ black-rimmed spectacles. It is little Franz many indolent pupils into being industrious Thus, without opposition to his demSnd larger legacies of beauty to mankind. Ignaz. Fine, and in the meantime we pear, has been a problem in the study- odies, captivating the student so utterly Schubert. Mother Schubert speaks. ' students. for "the kind that’s interesting,” the jazz- Characters will eat up all your dinner. courses of music-teachers ever since there that the technical difficulties dissolve in the Mother Schubert (putting a steaming minded pupil is taught to want good music. Father Schubert (pronounce Shoo-bayrt) Theresa. No, he shall have some of were music-teachers. A famous writer of “jazz” is the author joy of studying “jazz.” dish of food on the table). Now, aren’t For when the would-bc jazz player en¬ A lovable school master aged be¬ my potato. , 'At least, an ancient book of music which of a scholarly instruction book which is So, when studying a fox-trot, we prac¬ you glad you married a cook? tween forty and fifty. (Theresa holds the potato under Franz was forbidden fruit to the writer, a flapper . worthy of the respectful, even admiring, tice scales and arpeggios selected from at¬ counters the technical difficulties of syn¬ Father Schubert. Glad! I’m so proud consideration of every teacher of piano. copated time, with untrained fingers, un¬ Mother Schubert nose and draws him to the table. All s:t of. the Eighties but seriously studying tractive arrangements in “Mastering the A genial woman of the peasant of you, Elsbeth (pronounce Els-bet), I solid classics, contained The Last Watte Its introduction states that the student who disciplined thinking, unknown keys, scales don’t know what to say. What queen down and eat.) FRANZ SCHUBERT Scales and Arpeggios” by James Francis class, somewhat younger than Father Father Schubert. Just see how the of a Maniac, a hectic composition full of aspires to play jazz well should first master . and arpeggios, not to mention a labyrinth could take the few gulden that I make A Sketch by William Dorrance "Cooke, usually in the same key as the Schubert. good Lord has blessed us. Here we are chromatic passages with tremendous cres¬ the scales and arpeggios. The first page and serve such a table as that? chosen fox-trot, take a Liszt two-finger of chords “which sound awful if they are Frans Schubert in good health with meat and a good Mother Schubert. Fie, Franz 1 What cendos and diminuendos suggesting insane introduces these in a variety of forms Mother Schubert. Proud of a cookl exercise for daily setting-up and find an wrong and realizes that only serious study A precocious musical genius. house, even though we could stand a little laughter and an octave study presenting which appear throughout the book in the One who has worked out at service 1 Ha, have you done. interesting piece in the newest number of and diligent effort will produce a good Ignas Schubert (pronounce Ig-nats) Holzer. It is not his fault. It is mine. difficulties equal to any of Kullak’s. . keys used in popular music. more wood to keep us warm. The Etupe (prescribed in the special piano player even of jazz, the use of A brother to little Franz, but thir¬ ha! Franz Schubert. I wish I had a piano. When I go to teach him anything I find The Last Walts happily perished with Study the structure of common chords” Father Schubert. Nonsense 1 Of course for “jazz” patients for its helpful popular” music as bait lias been amply teen years older. (All rise and shout, “What!") that he already knows it. The boy has thjit age. But let us give thanks that it is another important mandate of the book. course I am proud. Haven’t you heard of and understanding material). Ferdinand Schubert (pronounce Fair-de- Ferdinand. A piano 1 Now the boy is harmony at his- finger’s ends. justified. this young fellow, Beethoven? Every¬ nand) Father Schubert. And still, all he body is talking about him. I met him the crazy. A brother to Franz, but three years seems to do here is dream. , other day at the Gasthof sum Rothen Father Schubert. He doesn’t know older. Holzer. Let him dream. They will be Hiihne (pronounce Gast -hof tzwn Roh - that it would take more money to buy a Theresa marvelous dreams, and all the world will Letters From Etude Friends ten Heen-eh). My, what a queer fellow good piano than I make In a year. Now Franz’ little sister. be dreaming those dreams some day. he is! So eager, so lost, as though in if I were a builder and carpenter like the Michael Holzer (pronounce Holt-ser) . What are you thinking about now, lad? another world! He told me that his fellow next door I could afford one. Musical Endeavor in Sunny South now twenty-seven years of age) I wonder at A choirmaster, and teacher of little Franz (looking out of the window). the facts. I began the most difficult of all mother was a cook and had worked out Some day the world will find out that Africa Schubert. I don’t know. Sometimes I hear birds orchestral instruments—the violin- lXtoatot8Xs the 0dd,t,0BaIS ab0Ve and at service. Who knows, Elsbeth, perhaps there is nothing so great as education and o tell Si'S, \ JST’aSS Antonio Salieri (pronounce Sah-lee-aif-ee) singing all day long (pointing upward). To the Etude: Fortunately, at the age of twenty-five I some day you may be the mother of. . . . they will pay teachers what they deserve - - succeed as a violinist. “It An Italian composer about fifty-five Hark, hark, the lark! Singing • at the Far away from your land, out here in was too late,” they said. I have put in an started to study again, this time learning the Mother Schubert (cautioning him and to be paid. Meanwhile we must make the “Sunny South Africa” your valuable maga¬ average daily practice of five hours (besides his piece consisting of three notes nn S rudiments by the solfeggio met.I based on years of age. best of it. This house isn’t a palace, but very gate of Heaven ! zine, The Etude, numbers many appreciative three down is just as imnortant UPe aud the seven tones of the scale. This is easily pointing to the boy who is looking out of playing professionally in the evenings). It piece of some older 3 m ,, e showy Several Boys and Girls (A singer off-stage sings softly “Hark, readers. I have now been a regular reader' has been hard work. But it lias been more remembered by the least musical person and the window) : I suppose there are worse. .of The Etude for the past eight years. than worthwhile. I can therefore say to mv should be brought together frequent\v PThe'S The action of the play takes place about Ignaz. Why do they call this alley the Hark, the Lark;” or this may be played As a child at school I had a craving to moreover permits one to practice reading Shhh. . . . fellow-readers of The Etude who may have enJOy Cora K. AlLen. y one even without an instrument, thereby 1805 to 1806. upon piano; or the Victor Record, by learn the art of music, to play an instrument. begun the study of music late in life—“It is gateway to Heaven? This privilege was denied me. I was not aking study pleasant and progress rapid Lambert Murphy, No. 4008, may be never too late.” It is with pardonable pride even for children. (Piano off-stage. Pianist plays Schubert’s allowed “to waste valuable time and money that I rank myself with my fellow pro¬ “Moment Musicale” in F Minor.) used.) on things which were of no material use fessionals ! p ®,utslde,”f the United States thousands of Mother Schubert (zvhispering). Look, My only musical experience at school was Now I am married. My wife Is a good good musicians do not know the letters of Franz. I know! This is called a to sing (boy soprano) in the choir of the amateur pianist. A short while ago I began he Stuff May I ask, then, what great ad- “Gateway to Heaven” because there is a the child is bewitched! local Catholic church. The conductor of this the study of the viola (which I find adds to A plan that seems to make vantuge does the lettered staff have that our Holzer. Don’t worry 1 He hears things choir gave me a rudimentary training in period more systematic tas b-t ePr,?ctice piano neixt door! my technical power as a violinist). My home of bief!.h."SiSt l“ usInK >t even to the point that none of us hear. Tomorrow I am solfeggio and staff notation. In a short is full of music. I enjoy a responsible posi¬ with success for many years “ followed Mother Schubert. Music, music! Al¬ time I was able to sing at sight many diffi¬ Suppose the pupil has a scale r th, „ g '!“g >'0U“S hopes, thus preventing going to take him to meet the great cult compositions. tion as leader-violin in a good professional Te“ °f "lusi<- to simple homes through- ways music! orchestra. At the age of seveuti — 1 n I Salieri at the Convict School. He knows I left school at the age of fifteen being first studied—I would not have dared to dream ft ^es^^e^dC-V pS ’j eoitntry ? Young people Interested in Father Schubert. And a wonderful destined by my people to be a mechanic! of reaching to such a height. But everything have18*"d*V at bon,e or 1,1 a group would blessing it is! Elsbeth, my dear, you far more than I do. Perhaps he can At sixteen years of age I was apprenticed, W1.th l"?dyl,ng enthusiasm. Says Goethe": atmo.Iv d/8ire for (he crime generating make food for stomachs. Our Franz shall teach him something. to the trade of fitter and turner. In the thirds It “'ortS -phere of questionable amusement resorts. same boarding house where I lodged a friend in tM°artsn"hUSiaSm n0tKing ls aceomPlished make food for souls. Mother Schubert. And I hoped my of mine had an old violin for which he had fully six times everyday e“rclse W. A. Birch, little Franz was going to be a great soldier, no use. I bought the fiddle cheaply and ■ AH praise and best wishes to your wonder¬ Iloilo, Philippine Islands. Franz. Oh, father, if we could eat found myself a week later on mv wav to ful magazine! The Etude has helped me everyedrtaild asStoUthe nt flit1’-' study in music we wouldn’t have to worry all the a hero, a wonderful General with sword tfie studio of a local violin teacher where “ mvnfTrmrC0Uwgetl 1 shaI1 “Ws kave time about getting along, would we? Why and gold lace and everything. began the study of the violin in earnest." " «ra.l S lufkUna"nyd ^GodspeetpCa” 1 do we have to worry about eating when Franz. I know, mother 1 I’ve seen Seventeen years of age is rather late to F. J. C., South Africa. A Pen Friendship begin the study of the violin. However? I Dear Etupe Readers : it is so much more fun making music? him in dreams over and ove^ again. practiced all hours of the night (I had a Listen! It is a military march. room outside the house) and, after two years sicaf readers of our splendid i I would rather hear a new tune than eat musician? e *‘TCUB 'vi-sh a pen fri (Piano duct off-stage plays Schubert’s Sf lessons, became second violin in a small What the Pupils Enjoy a Lebkuchcn (pronounce Layb-kookcn). Hotel orchestra. Later I played tlso in “Military March." All pause and listen. theaters. Thus I got my first orchestral To TB E Etude: X'fesg- S':hr£? Because*1 nf°U„llg ,I,ad1y "ell advanced in mu Ignaz. You wouldn’t get very fat just the mind and fingers isP1niC« ls firnil-v in crutches .sH*ht “fflietion, I must Finally little Schubert becomes very nfv^firsf" After-five1 y™1'8' lessons I obtained Gradually the nccesLarv SDeerttea5 ‘‘ss™tinl. have no- Andl living in a small town eating music. niy first professional engagement as a violin Teaching Children*” and much goMmay hi are developed. y speed and expression (Enter Michael Holzer, the choir-master.) much excited.)^ 1st in a small moving-picture-house orchestra gleaned from each. During the summer with Can’t you see the horses dancing? See .For the past two years I have studied months the up-to-date teacher should take other PmuaVc[ans t0 acquaiD Michael Holzer. God be with you 1 prtitetrioPdnPwmfsee°mStntlliS outline the the shining swords, the plumes in the hats, also harmony, counterpoint and the elements and much more will be galnSed.m°re quickly readers' wh^Tr"8 some of our- ET’ All. God be with you 1 of composition. I have Mid good positions . th 'the m,od ideas p08slbIe ^mf^theu^blend strinz In interested in piano the dust, the flying flags! Oh, mother, I as violinist in cafes. e:iharpi« Esther Haas. write8tota “,Mt8 (especially violin) t Father Schubert (shaking hands). « TZnier When the auta““ youne neo,,i„ A Pen friendship with disali THE “SCHUBERT PLAYLET,” AT HOLYOKE How goes it, good friend? What have see a battle coming! I see the men fall¬ would Hi "’ho, ure interested in mu ing, dying! Take me away, Take me instill fit them a love for the beautiful. could be M m enjoyable. I am certain Massachusetts, by pupils of the class of Mrs. William C. Hammond, wife of you to tell about your pupil, little Franz? Playing A,'2hdd fbould never be kept at the key- ' Teachers Please Answer' musical lines eh heIp t0 each other a ‘ the well known organist and teacher. Dr. William C. Hammond, head of the Holzer (holding his hand on Franz’ away! CTP( t him iiiif' Th,? teacher should always To the Etude : Mother Schubert (comforting him). tM viw Ith a„sJ?,1Ie and imPr«ss upon him Department of Music of Mt. Holyoke College. Their production of this play- head). It’s no use! When I look b JUJiaun, My poor, dear, little boy! nirtfooh? °f a Iittle work well done. The because I coulll \tot f|°v ?!,Te up m'lsic study let won enthusiastic approbation. The Schubert Playlet was written at Mrs. Mother Schubert. What do you mean ? old-fashioned word “practice” should be done d,

Scenes of Forest, Mountain, Lake and (River in the Music (Room Material for a Midsummer ?iature Recital

(By Rena Idella Carver Charming indeed must be the natural ‘Blaamanden’ (the Blue Man). Finally, trees, herbs, rocks: nobody can. love the he VAST out-of-doors appeals to beauty of Salzburg, in the valley of the T when after great exertion he reached the country as I do, since woods, trees, rocks one and all and stirs the imagination Salzach. So snugly a part of it nestles top, his thoughts turned to the character¬ return the answer which man wants to and emotions of poet, musician and under the cliffs on the left bank of the istic Norwegian rustic music and he said, hear.” student. Almost every master has been river. Another part clings to the sheer ‘Here we need a peasant fiddler to play a acutely alive to Nature’s charm. The rock so closely that it overhangs some of dance for us.’ The view was exception¬ Nibelungen music dramas of Wagner are There Would His Spirit Linger the houses. Where the valley widens it ally lovely, and, as Grieg looked out over tone paintings of earth, fire, air and water. JUST IMAGINE the beauty of a walk out opens out in the squares, each with its Raff’s symphony “In the Forest” and the valleys so dear to him, his voice was from Baden near Vienna, which Bee¬ quaint fountain or statue. Beethoven’s “Pastoral Symphony” are pic¬ tinged with melancholy as he said, ‘Alas, thoven often took! A nearly level path On the opposite bank of the river the tures of Nature in tone. I shall never get up here again 1’ follows a clear, beautiful shallow brook graceful slopes of the Capuzinerberg give In the words of Longfellow: “The hills, mounljains and fiords, the for four miles! The path is lined with easy foothold to thq lovely villas that “I stood upon the hills, when heaven’s brilliant coloring and striking clarity of ancient beeches. Behind them on the left smile from the deep foliage of gardens wide arch the scenes, the almost indescribable ex¬ rise great wooded hills. In a letter he Was glorious with the sun’s returning hilaration of the northern atmosphere—all and forests, and the wider plain left by expressed his love for this section, “When the retreat of the mountains from the march, were mirrored in his music.” you come to the old ruins, think that river is filled by buildings of a modern And woods were brightened, and soft gales At Troldhangen near Bergen, Grieg had Beethoven often lingered there. As you type. How much this beauty must have Went forth to kiss in sun-clad vales. a little cabin at the water’s edge. wander through the mysterious fir forests, think that there Beethoven often poetized, inspired Mozart I “I heard the distant waters dash, “Thrice happy he who by : or, as they say, composed.” I saw the current whirl and flash, Sylvan Echoes And richly, by the blue lake’s silver beach, “Sweet echo, sweetest nymph, that liv’st The woods were bending with a silent The Birthplace of Mozart his c unseen reach. “Dear lovely bowers of innocence and Then o’er the vale, with gentle swell. Though solitary, who is not alone. Within thy airy shell, But doth converse with that Eternal Love, By slow Meander’s margent green, The music of the village bell Seats of my youth, when every sport Came sweetly to the echo-giving hills: Oh, how more sweet is Zephyrs’ whole¬ And in the violet embroidered vale, could please; And the wild horn, whose voice the wood¬ some breath. There the love-lorn nightingale And sighs embalmed, which new-born How often have I loitered o’er thy green land fills, Nightly to thee her sad song mourneth flowers unfold, Where humble happiness endeared each Was ringing to the merry shout well; Than that applause vain honor doth be¬ scene! That faint and far the glen sent out, Canst not tell me of a gentle pair Where, answering to the sudden shot, thin queath 1 How sweet are streams, to poison drunk That likest thy Narcissus are? smoke, “How often have I paused on every in gold!” Oh, if thou have Through thick-leaved branches from the charm, Hid them in some flowery cave, The sheltered cot, the cultivated farm, dingle broke.” Tell me but where, Beethoven loved nature with a passion¬ The never-failing brook, the busy mill, Sweet Queen of parley, daughter of the Weber had the peculiar ability to put ate delight and was fortunate, at both The decent church that topped the neigh¬ sphere, everything he saw into music. His musical Bonn and Vienna, in having access to boring hill, So may’st thou be translated to the skies ideas came thickest when the sight of out¬ lovely hill country in which to take his The hawthorn bush, with seats beneath the And give resounding grace to all Heaven’s ward objects was accompanied by the roll¬ numberless long walks. shade, harmonies.” ing of carriage wheels. Landscapes, the Thus he wrote of them: “How joyous For talking age and whispering lovers road, every trembling brook, waving field I am when I can walk amongst bushes and made!” of corn, even a park and menagerie, gave The storied druids, the graceful fauns him musical ideas. He was a splendid and all the sylvan fairies breathe their pianist and, as he played, he would bring love for forest, mountain, lake and. river lie fore his mind’s eye the scene whence the in song and story. There is Pan with musical thoughts had come—a vivid pic¬ his pipes! ’Tis a little tune the wind makes ture of the subject which he would convey as it rustles the reeds along the river early to a listener, the brook, the fountain, the in the morning. At first it comes in little sunrise, and the storm. His stage settings puffs—timid as if it were afraid of wak¬ were said to be very realistic, especially in ing some one. After a bit it blows a “Der Freischiitz.” little harder and makes the reeds bow “To sit on rocks, to muse o’er flood and their heads. When it finally makes up its mind it marches steadily along, and every¬ feU, To slowly trace the forest’s shady scene, thing quivers under its touch. Oh! the Where things that on not man’s dominion wind children are dancing frolicsomely dwell, along the river among the reeds. And mortal foot hath ne’er, or rarely been; To climb the trackless mountain all un- Brahms “In lonely dale, fast by a river’s side, With the wild flock that never needs a With woody hill o’er hill encompassed fold; round, Alone o’er steeps and foaming falls to A most enchanting wizard did abide, lean; Than whom a fiend more fell is nowhere This is not solitude; ’tis but to hold found. Converse with Nature’s charms and view It was, I ween, a lovely spot of ground. her stores unrolled.” And there a season atween June and May, Half prankt with spring, with summer Grieg’s Childhood Home half imbrowned THE HOME of Grieg was a lovely A listless climate made, where, sooth to property close under one of Bergen’s say, seven mountains. His mother had fitted No living wight could work, nor cared up a musical workroom with a piano in even for play.” it for her son. Here he composed Bridal Procession, The First Meeting, Good Brahms had told a friend of a certain Morning, Woodland Wanderings. frog pond that he wished to show him, In speaking of a visit to Grieg, Percy and they walked across long stretches of Grainger said: waste moorland before they found it. At Massenet Rehearsing “Manon" With Sybil"'Sandersoi “His pride in Norwegian scenery was un¬ last they found it, a tiny pool in the midst This pamUng. by Albert Aubht. which appeared m the Part,"^ ,^aena bounded. Although it was only with of a wide plain grown with heather. A coaching the famous American Prima great effort that he could climb, he in¬ THE INTERRUPTED SONATA solitary spot it was—not another human master sisted on taking me up to the top of the By A. Farugeron being near! Brahms and his friend mountain near Bergen. It was called tee etude AUGUST 1928 Page 598 the. etude stretched themselves out in the low grass At the Camp Fire. Krentslin iMaster Oiscs in the warm evening air and lay listening The Squirrels. Kroeger in deep silence. There was not a breath Oriole’s Lullaby.Hipsher department of of wind stirring for fully half an hour. A Fairy Tale. Lemont While listening Brahms said, “Can you The Little Green Huntsman... Ludcbuehl A Department of Reproduced Music imagine anything more sad and melancholy A Mountain Dance. Marks than this music the undefinable sounds of The Open Road. Nevin ‘Bands and Orchestras which for ever and ever move within the In the Gipsies’ Camp.Noelck By Peter Hugh Reed (Conducted ^Monthly ‘By pitiable compass of a diminished third? American Scouts. Oehmlcr smaller combinations, and a more sensitive Here we can realize how fairy tales of en- A Woodland Frolic. Waldemar HILE THE playing of concerts touch was required. Other materials were chanted princes and princesses have origi- Rodeo .. Peabody W Victor J. Grabel constitutes the major portion of a resorted to—silk, braided cotton, silk or nated . . . Listen! There he is again, the Song of the Pines. Adair The Etude herewith institutes a Department dealing with band’s activity, participation in cotton cord covered with wire of brass, poor King’s son with his yearning, mourn- Alpine Waltz. Berivald Master Discs and written by a specialist. All Master Discs of edu¬ FAMOUS BAND TRAINER AND CONDUCTOR parades of a civic and military nature is steel or copper. The wire covered snares ful C-flat!” Torch Dance. Bcnvald cational importance will be cons.dered regardless of makers Cor¬ also an important part of its public work. are used to some extent to-day in smaller Keltic Dance. Cooke respondence relating to this column should be addressed The Etude, Since this is so, preparation for this work combinations. Mac Dowell’s House of Dreams An Indian Fancy.Dallam “Department of Reproduced Music. should be given careful attention. A band A greater degree of sensitiveness is pos¬ “Hence gifted bards Mountain Zephyrs.Eggeling may be a splendid concert organization on sible with wire snares, but their great fail¬ Have ever loved the calm and quiet shades, Funeral March of Dwarf King-Emile the platform yet become ridiculous on the ing is in their lack of volume. The drum¬ For them there was an eloquent voice in The Sun Dial. Kern mer cannot always play pianissimo; there all boat Ride . McGrath THIS MONTH The Etude wishes familiar with this intimate type of melodic street through lack of ability to march Tbhe Band on Barade to introduce its' readers to the art. Schubert musically is u-aliy a per- and play in a precise and military manner. must be shading. Sometimes a forte or The sylvan pomp of woods, the golden Venetian Boat Song. Mendelssohn double forte is required in small combina¬ National Gramophonic Society of sonal experience; he is every man's friend, Many bands have established wide and for concerts. Thus he would be acquainted necessary to play loud continually to be ■sun Barcarolle . Offenbach ^ . .. - ... , tions. To force a drum with wire snares The flowers the leaves the river on its Elves’ Midnight Parade.. Preston London, England. This organization pre- if every man- will make an effort t ’ ’ In Camp.Preston sents recorded works of unusual merit, him. Hadow said. I>> appreciate the marching ability, their strict military bear¬ be enabled to start and stop the band cus band. A band of twenty-five per¬ has not the true drum tone. Blue skies, and silver clouds, and gentle Evening on the Lake. Ward which they generally issue quarterly. The best music we must hear it often; to hear ing and alignment,, their neat and attrac¬ properly. formers playing at mezzo-forte, with solid, The gut snare is still considered the wjncjs. Sea Gardens. Cooke fee of membership is two shillings, six- it often we must live with it: to live with tive appearance and their ability to play The director should be the chief author¬ sustained quality of tone, can be heard standard. A drum that is equipped with marches on the street in correct manner. ity of the band. The numbers to be played almost as far as a band of forty playing The swelling upland, where the sidelong ’Neatb the Greenwood Tree.. IVildermere pence, which entitles anyone to the privi- it we must be in the company of those gut snares is of better construction. The sun ’ Scottish Tone Picture.MacDowell lege of purchasing all their annual output, by whom it can be played and sung.” In seating a band for concert the rule should be selected by him—the drum major fortissimo but lacking good quality of shell must be more rigid so that the gut is to group the instrumental families most indicating the “sound-off,” “cease play¬ Aslant the wooded slope, at evening goes : Venitienne . Godard usually about thirty discs or any single set Si snares will not tend to draw the drum out closely associated as near together as is ing” and the various evolutions or foot Where the trombones have afterbeats Groves, through whose' broken roof the Whirlwind Gavotte.Pirani of records at the society prices. These most privileged manner, a manner which of round. Also the heads must be more practicable, the melody instruments being movements which are to be executed. Too (doubling the altos) they should be in¬ sky looks in, Sylvan Spirits. Ad. M. Foerster discs average, with the duty paid, about commends it above the transit v message evenly matched in thickness. A thicker placed at the front and the harmony in¬ often the drum major, particularly if not structed to place the rests after the notes, Mountain and shattered cliff and sunny The Sea.Ad. M. Foerster two dollars apiece in this country. As an of the radio. head must, of course, be used on the batter struments at the rear, this plan permitting a musician of the band, is inclined to playing their chords on the beat. The bass va]e) _ organization this society aims to supple- In the Schubert sonata Mi Hess gives side and a thin one on the snare side. If, the melody to predominate and the har¬ assume too much vainglorious importance. part should be decisive, but the afterbeats The distant lake, fountains and mighty SELF-TEST QUESTIONS ON MISS *>ent «“her than compete with the output the intimate personal quality m its melodic however, the drum has been properly con¬ mony to serve as a background. Information regarding the duties of the should be greatly subordinated to the other -- CARVER’S ARTICLE °* the var'ous companies. They also aim message. She permits that in i ie to speak structed and properly assembled and if the In parade formations these rules are drum major and the execution of the parts. Do you usually hear this effect? In many a lazy syllable, repeating to choose works of an enduring appeal, for itself, drawing from i. with fine in- snares have been properly set, perfect generally most flagrantly violated the various evolutions for band can be secured Too often it is just the reverse—the after¬ Their old poetic legends to the wind.” 1. Name ten composers who received and, by presenting them artistically in- telligence and poetic ardor tin- true mes- results can be obtained. The drum will larger instruments being placed at the from a manual of Infantry Drill, from beats assuming greatest prominence. much of their inspiration from Nature? terpreted in a recorded form, to offer the sage of the composer. The who r ventures play and “speak” easy. Even in the great¬ The uninterrupted leisure afforded front and the melody instruments toward an experienced military officer, or from a A proper balance of tone should be 2. In what way did Weber benefit by s‘udent and the collector the rare privilege to say Miss I levs' delmt upon -he discs is est pianissimo it will have' the natural drum his fustic workshop in the New Hampshire in. wnal ™ the rear. The drums and basses—the in¬ maintained on parade as well as in con¬ ■ - of a close intimacy with some very fine one of the notable features of this year. good book on band tactics. tone and will respond with equal sensitive¬ hill produced The Norse and Keltic Sona- mtuml soundsr struments which are most important in cert. The melody must predominate. No -••• For specific information and a This sona'a has long been a favorite In regard to uniforms, it should be ness and sharpness in the greatest fortis¬ tas, the New England Idyls and the Fire¬ establishing the rhythm—are separated as one ' should be permitted to over-blow. J. ly not feature of Norway gave Grieg catalogue of their works, write to the one and scarcely needs nalysis. The understood that they are used for the pur¬ simo. The gut snare, then, is the proper side Tales. For twenty years he had been especial pride? Secretary, National Gramophonic Society, melodic spontaneity and th grace of widely as possible. As the band approaches pose of gaining uniformity in appearance. The bass drum should not serve to one hears the trombones and basses pre¬ equipment. searching for the very conditions of living 4 WjeW6e Mozart’s birthplace. 58 Frith Street, London W. C. 1, England. Schubert is found in the very opening Loud and bizarre colors and combinations “drown” the tone of the band but merely dominating; after the band has passed The method of tension on orchestra and working that he found in the Log Among the first sets which this reviewer phrase of an enchanting first movement should be taboo. It is not necessary to to accentuate the rhythm. Cabin. Oh, the pity that he could not 5. What was Brahm’s comment one hears mostly the clarinets and drums. drums has now become almost standard, W1=h“ to recommend are: the themes of which linger v.ith one for rival a negro minstrel band in appearance A band which played the first strain of have had them earlier! The spot was only sounds of nature? From the standpoint of musical results this the screw type of tensioning being used i- j"? Quartet m F major, by Ravel; a long time after hearing them. The to secure attention. White, black, dark a march trio softly, without the drums, rather than the rope. This latter type five minute’s walk from Hillcrest, the old __■ is surely bad policy. played by the International String Quar- Andante gives the mysticism of Schubert blue, khaki and olive-drab are excellent when passing a reviewing stand, was has been entirely eliminated on all or¬ farmhouse that was MacDowell’s summer This practice seems to be due to a be¬ tot. Samatina for Piano, Ravel; played and the Rondo presents his can-free gaity. colors to be used. Since nearly all parade awarded first prize as being the best among chestra drums but is in use on some street home, and yet, buried as it was in the Home, Sweet Home lief that the trombqnes are more easy of work is done in warm weather, uniforms by,rKathieen„Long: five twelve-inch discs. In the A minor Quartet S Hubert has a large number of bands in line. A drums. The rod drums are, nevertheless, woods, it had all the natural quiet and l nn fnr Pinion u_ • »-» _ .. r . • ... manipulation in the front rank and that intended for this purpose should be of famous bandmaster of America, who has more practical even for street or field work they make a more imposing appearance Famous Svng One Hundred and gy&XntgJt VT"’ n t'Z, “if^ light-weight material. engaged in considerable parade work made as they permit a more accurate and re¬ than any ether instrument. It has often Five Tears Old Spencer Dyke and Aubrey Brain; about the Andante of this quartet that it the remark that one of the most pleasing liable adjustment of the heads. The been demonstrated that the trombones can Avoid the Bizarre and Blatant compliments ever paid his band was that separate tension type of rods have a direct “A house of dreams untold— String ^Zrtet 77 F a c o . IS,one of his greatest inspirations because be played as easily in any other rank. It ARCHES should be played somewhat “it did not sound like a band—it sounded advantage over the single tension type, may be true that they lend a more strik¬ M differently in parade than in concert. like a great pipe organ.” especially for orchestral work. tree tops By p-* PRI0R the ^ ing appearance in the front rank, but it ^2 The main requirement in street work is Don’t neglect the opportunity to make a should be remembered that musical results solidity of tone and ensemble. The marks good impression when on the street with are the chief consideration. Give the A Matter of Tension Peterboro itself is a picturesque spot 8, 'iiSnoml longhand “ebdy his^uarteTandTmhorizedff toTt^kel SiTal 'writing' ^ S\ ]aek. °f ,C<®£r of expression should be observed, though your organization. Do something differ¬ melody of the cornets a chance to be heard. INCE IT is necessary to use a heavier not so closely as in concert. It is not ent 1 Do something better 1 S Since the drums and tubas largely con¬ head on the batter side than on the green hills of the Monadnock Range. It Payne. The opera was a complete failure Brahms Trio is a i'ttl u, UC'' T lc thclr many melodies will scarcely find this trol the rhythm, place them in the center snare side, the heavier head necessarily has all those alluring charms of nature but Home, Sweet Home went straight to great musical beaiiy °f 7ft tha‘f^Sory. The interpretation of the band where they can serve to best requires more tensioning. This can easily that please the eye, that quicken the *he artls: all hearts of the English-speaking people, composed just shortl/’after his Cellh w th ^“‘i a BA°Up °f advantage. be had with the separate tension rods. tic sense and that conduce to the S Ca,led physical in a very. short ti?ne- 100j000, . cooies af.. ;t Quintet« "... in... iF Minorminor, it 7is B MHS,cal Art Q“ar»« is both a reflec- A band, however small, should not be But, when the single tension rod is used, enjoyment of living. The streets are naa been sold. Now everyone knows it terpreted bv threp unWlM worthily■ in-, tion. , of. the composer’s-*. - inspiration— ,. and i spread over too much space. The sound ; there is no way of withholding the ten¬ regular and follow the tortuous course of at an early age, for it is always in the air. is a work to play and replay anTto five ' 'mpeCCabIe P^°™ance. of the various instruments should be con¬ sion on the snare or thinner head. Thus the river which is like a mountain stream The music of the opera was by Sir with in friendly intimacy The TW h ■ centrated as much as possible. The dis¬ Tjhe Bercussion Instruments a great strain will be put on the vibrating with its rapids and waterfalls. Henry Bishop, and the music of the song is music with a Latin warmth „ri« en-m Mozart-Dvofa^-Waoncr-Fabini tance between men in the ranks should not head, whereas the' greater tension should was adapted from a Sicilian air the Mozart manner, by an Itaton con" SVMPH0NY !» r major” “Jupiter,” be more than forty or forty-five inches and Token (Construction and (Care really be on the beating side, since such LIST OF APPROPRIATE MUSIC that between ranks should not be more tightness makes a drum play easy because bnJ°ha S°W VnrkTt6 WAS an Amerlcan' te™porary of Viennese composer 7 Mozart: Alhert Coates and the London Forest Murmurings. Liszt than sixty-five inches; these distances may of the proper rebounding of sticks. A . , ,W, ^ltJ" a young man Sonata in A major, Schubert Onus 120- ^ymP^ony Orchestra. Victor, disc Nos. William F. Ludwig In the Forest of Arden... .. Cadman he adopted the stage as a profession and played by Myra Hess Cohi’mM !?• 9201-9204. be made even less. Such proportions will 1852. His remains were carried back ^I'HE SCHUBERT Centennial promises N^7K" w>mPbony Orchestra. Columbia, a block cannot masquerade as a forty-piece who prefer wood. The material, after all, changes as do the orchestra compositions; band, and, from a musical standpoint, such some technic and skill, but a drummer will The Whispering Zephyr. Heins to America. t° bring forth much of this com /<■; j be able to produce nothing that will even is a matter of choice, but the construction and, second, because bands more often placing is intolerable. Wood Nymphs. Martin The song is one of the most English Posers music upon discs. Perpetuating Poem r , ■ CVhoSl Symphonic To"a resemble drumming. The question then must be such that the instrument is light play outdoors, necessitating considerable - ‘ . = the melodic message of th;=__ . ., g- „o em-; Fabim;-■■■■, VladimirVladimir Shavitch and Where practicable, a drum major should Sylvan Sprites.Ad. M. Foerster things in existence, for it expresses arises, “What are the marks of a good enough for practical handling and yet transportation. Exception to the rule may Red Leaves. C. Ancliffe ttment that instinct in the English- ™sic “^specially' cTTmSk CmlZ"Victor; No. 9155., be provided to lead the band in parades. A be made in the case of strictly concert drum ?” strong enough to retain its shape through¬ The Jolly Cowboy and the speaking races. capable drum major of military bearing out the life of the instrument. bands that play special arrangements re¬ LT C ^auty' the spontaneous grace Vlad mi |yn,pho"1C Tone Poem> Fab^'; In a snare drum the principal feature Indian .A. D. Scammell An exile from home, splendor dazzles and the simple tenderness of his ran* I . Sliavitch and Symphonic Or- can add much in appearance to the organi¬ quiring rapid tuning. However, for the zation. He must thoroughly understand and support is the shell. Like the founda¬ In Leafy Bower. M. Pesse so genuinely universal in appeal that it ^ V'Ct°r: Nos‘ 9156-9157. Snares—Wire and Gut average grammer or high school band, the the evolutions which the band may be re¬ tion of a house, it must be solid. The Joyous iWanderer. G. F. Hamer O give ' my lowly thatched Tott'age -rUe thc3t !t bel°ngs definitely lik^itTnth T maj°r SymPhony” - hand tympani are more satisfactory. fTthT!*7 quired to perform and should be able to drum is round and it must retain that THE NEXT element of importance in March of the Druids.F. Keats aaatn' ’ ® . °f -—v,mcurec°rded musicmusic. tv,,,The .... , , tW0-— “-mPanions which--- reach a snare drum is the snares. Origi¬ For orchestra use the hand tympani have drill' the band in these tactics. If possible shape. If it warps, even in the slightest become practically obsolete. Orchestra Woodland Dawn.Benson are words wrung from the heart of the fiS' mysfe^W thoae tha‘ the “ th?"' Wri‘Cr ^TThe nally gut snares only were used. They he should be a musician of the band, pre¬ degree, it will interfere with the snare work requires considerably more tuning, Zephyrs . Brenner man who was living in a foreign land. < ,mystlc . beauties of Sch«W hrst three movements of the answered the purpose very well until should bring a stimulus to all to^ecome ^Up'tezl, seeni more like a prelude 1 ferably a wood-wind player. When not on action and there will be difficulty in making drums became more generally used in (Continued on Page 619) (Continued on page 627) parade he could take his place in the band a roll. T11E ETUDE AUGUST 1928 Page 595 Page 59J, AUGUST 1928 THE ETUDE -Ghe Teachers’ Round Table School Music Department (Conducted by Prof. Clarence G. Hamilton, M. A. Conducted Monthly by PROFESSOR OF PIANOFORTE PLAYING, WELLESLEY COLLEGE GEORGE L. LINDSAY DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS

The statement is old, but our method and system, our purposes and nevertheless true, that our public intentions, and return to the broad high¬ schools are the most important in¬ way where music is a human influence. slow and distinct enunciation. Have him triads in octave position; five-finger e _ stitutions of the counties. While repre¬ (Community Growth as The inherent and eager interest of the practice any new material slowly with cises transposed into the simpler major Pressure pjouch senting great cost or outlay of public rural child should inspire the supervisor Steps in Piano Progress one hand at a time for at least a week be- keys. funds, they are indispensable to the life of music to undertake the upbuilding of fore he tries to put the hands together. Studies: Gurlitt, School of Velocity for I have been teaching for five of a self-governing people. Our schools Then, let him stop short whenever a note Beginners, Op. 141; Vetter, H., Twenty¬ years. I have given instruction in Stimulated through Music musical taste and interest in the particular pressure touch in scale work and are also a vital factor in the development home of which the child himself is a 'll fumbled, go back at least a measure and four Melodic Studies, Op. ,8. gtudes and have always used pres¬ of those mental habits and traits of char¬ play through the fumbled note or chord Pieces: Mathews, Standard First and sure touch in all my own technical member. There is, no doubt, far more and Happy Half Hours ... -„ acter and social and civic ideals which until he can do so perfectly several times. Second Grade Pieces; Cramm, Good Night, exercises. I have taken lessons from trouble involved in this than in presenting Land, which she has half reviewed. two different teachers myself, both contribute to the development of an in¬ the lesson at school and leaving the fam¬ When he is playing to you, at the lesson, Little Girl, Op. 14, No. 3; Gael, The of whom are considered good musi¬ dustrious, useful, happy and desirable' in the Plural Schools never let him proceed after playing a stam- Cuckoo, Op. 64. cians and teachers. A taught pres¬ citizenship. ilies at home to take or leave the musical sure touch and said that all scales opportunities. But there is also a vast mered note, but see that the note is prop¬ and most technical exercises should During the past ten years there have erly placed in its context before the next Grade 3 tire the arm. It said that all tech¬ amount of satisfaction in it. A deepening _|j_=_„ _„d expression. She nical exercises should be played with been tremendous progressive improvements plays all the sharp and flat major is considered. Exercises: All major and minor scales, of interest in music is always to the scales and their corresponding free arm movement and that if they in the various phases of educational prac¬ If need be, call in the aid of a metro- through two and three octaves; long triad tire the arm they are doing no good. By M. Claude Rosenberry supervisor’s benefit, but it also results in chords, in nil three position- *- tice' and administration. The rural schools nome which may be used first with the arpeggi0s; five-finger exercises transposed a mutual benefit. The introduction of are beginning to ketep'pace with this for¬ simplest forms of finger exercises and to ajj ,„ajor keys. DIRECTOR of MUSIC, PENNSYLVANIA STATE DEPARTMENT OF PUBLIC INSTRUCTION music into the home through the advent ward movement. At any rate it seems to finally with studies and pieces. Studies: Bilbro, Twelve Piano Etudes; of the music supervisor should he regard¬ » plays t be the aim of County Superintendents and Berens, New School of Velocity, Op. 61, Lots of queer ideas about technic have ed as a significant event. The children are advise i' teach her the minor township Boards of Education to provide scales with these? How soon gone the rounds. The old school of medi¬ better buildings, equipment, materials and tion aims to establish the individual as a taught to play and sing, but the families Arm and Hand Position as a maker and founder of another family- scales witn nands together? Bk 1 cine used to assume that the more noxious a teaching force that will provide superior new center of activity, capable of working at home may tactfully be taught to enjoy. Pieces: Mozart, Sonata in C major; unit in the community life. Do you think the material which What is the corn the drug, the sooner it would effect a cure. educational opportunities to the young upon environments with benefit to himself The capacity for enjoyment is inherent in I am using is too easy for a pupil Grieg, Selections from Op. 12; Pacher, Just so, some piano teachers have assumed people of the rural schools. These ad¬ and to all others. practically all human beings. of this age? What kind of studies playing the following Austrian Song. No "Vanishing Point” in Music Study shall I use next? I have been using in the past that the more disagreeable and ministrators are not unmindful of the The average education of the rural the old form of scale lingering so G. H. S. 'T'HE RURAL music supervisor is es- far. Would you advise me to con¬ Grade 4 uncomfortable the exercise, the greater its increasing cost of public business and are schools, that is, without specialization, is Ripples that Widen tinue this with new pupils or to A sentially a dealer in futures. This Exercises: Major, minor and chromatic benefit. therefore striving to keep the cost of edu¬ directly concerned with environmental HP HE ESTABLISHMENT of music teach them to use the lingering of cation at the lowest possible point and at needs. Special education, such as that of point of view in regard to the child as ? C for all the other scales, in parallel and contrary motion; Modern common-sense has changed all a home-maker is one instance. This the A in the curriculum of the rural schools the same time provide a system adequate music, must be carried on in conj'unction e my n s satisfactory, and, dominant and diminished sevenths, arpeg- this, however, and has taught us that the music supervisor shares with all other is based on the wise decision to awaken to the demands of the hour. with the rural school system, and subse¬ giated in octave position and through two more interesting the practice is made and teachers in that he helps to train and de¬ an interest in it and to foster a love for it mug teacher and am anxious to I believe that this attitude of our present quently, while purveying to a need, must ira and do what is right. Some- octaves; five-finger exercises in all keys. the easier and freer the motions employed velop impulses and expressions of early which shall be carried into after life as a day rural school administrators is one of also concern itself, at least to an extent, mes I fear I am too strict, but All of these phrases would naturally be Studies: Heller, Progressive Studies. years that they may be formed into ampler contribution to the full round of citizen¬ n't it better to be too strict than the more efficient they will become. the most significant indications of com¬ in creating that need. o easy?—IT. M. played by the hand touch, with the keys Op. 47; Czerny, Velocity Studies. Op. 299. impulses and expressions of later life'. No ship. Observe that there are two kinds of mus¬ munity growth, as stimulated through The rural music supervisor, then, is a held down or released according to the Pieces: Haydn, Gypsy Rondo; Raff, rural childhood experience so rich as music Yet we make too little out of the im¬ l pleasure to read the record of cular movements in playing, the passive and music m the rural schools. These people, member of society, and as such assumes can be made should be a diminishing or mediate benefits of music in the rural the active. If, when your fingers are on mostly of middle age, realize now what he' is capable of providing (through na¬ the hand be held so that the forearm Nevin, Shepherds All and Maidens Fair. disappearing influence. Writers without home. Where there is a piano, phonograph Thoroughness and accuracy are much the keys, you simply release the weight of could be done' for them if their youthful tural gifts that have been properly led practically level, the wrist loose and number have testified to the' value of music or radio, there we may look for rich the arm, you have made a passive move¬ days were not passed and their student days out by education) certain social demands bo preferred to mere showy accomplish . htI ejevatec] an(j the fingers moderately as an inspiration in the home and in the possibilities for the children. If they do ment, which, you will find, is capable of gone by. ^ They see the truth clearly enough that are a part of our rural community’s ments; so that, if you emphasize these curved.* * *- Tl1rftTurn thethp handshanf1s slightlysK,htIv inward,inward. Scope of the First Tear individual life. no more than learn the familiar songs that desirable traits, you need not worry about considerable downward force. If, on the to say, “If I were young again, I would expression of life. The rural child, in the right hand toward the left and the If, in the teaching of rural children we have endured because they are true of the efficiency of your work. other hand, you thrust your hand and arm do thus and so.’’ It is obvious that they particular, is a potential in two homes, left hand toward the right, thus: cannot exert an influence that carries itself sentiment, it will enrich the rural family In regard to the pupil whom you down the movement is an active one. are putting it this way, “I am young again that of his actual childhood and that, yet forward with greater momentum as the life. To sing and play and dance in child¬ tion, it might be well to vary her work by Evidently it is easier to use the passive because I see this truth and because I am to be, in which he shall establish himself grade pieces whicn are or real musi¬ now fully determined to do what it de¬ years pass, we should once more look over hood gives fair insurance that singing, giving her next studies by a different com¬ cal value.:—0. S. than the active motions. It has moreover mands. This attitude is cracking many playing and dancing will be a means of poser, say Burgmiiller’s Op. 100 or Loesch- been discovered that such passive motions a hard nut, resolving many a difficult prob¬ adding joyance to the rest of life. In this horn’s Op. 65, Book 2. These may be fol¬ 1. Assuming, that the child practices an give one a much freer and more fluent com¬ lem, renewing youth and rekindling am¬ sense the cultural study of music in the lowed by Berens’ Op. 61, Book 1, or by average of one hour a day for thirty-six mand of tone than the active ones. bition. They are realizing that the fine Playing Orchestra rural schools becomes an investment of Heller’s Op. 47. weeks, his accomplishment should be some¬ As to the term pressure touch—just art of living is to live.for service and high order. It has been well said that Certainly, I should begin with the minor what as follows: what is meant by it? Evidently your two By Harriet B. Pennell that they can live for service only when there can be nothing wrong in the heart scales, teaching the easier ones first, in a. A knowledge of fundamental details teachers interpret it quite differently, A they are intent on securing, by their daily Little tots, too small to comprehend of one who sings spontaneously. the order: A-E-B-D-G-C-F. " As soon as jn proceeding from one note to the next, of the keyboard and of notation. assuming that the active, pushing motion mistakes by beating the time with one effort, life in greater and yet greater rhythm, pulse, beats, note values, and so Music should enter the rural home to its a scale is played easily with the separate jet tjle forearm rotate a little to the right b. For technic, the ability to play three is the proper thing and B advocating the passive and relaxed movements. I vote abundance. forth, will enjoy playing orchestra, espe¬ othel- ^ P ayi”S thC "ld0dy with the enrichment. The rural supervisor of hands through three or four octaves, it is or jeft jn tj,e direction of the key to be or four of the simpler scales, both major cially when reminded that they are imitat¬ music is poorly equipped in tile ethics of ..o put the hands together, stressing soun(jetji so that the center of gravity I___,and minor, through__ two or three octaves, unquestionably for B, because I believe ing the orchestra leader at the concert. the profession who does not perceive this at first a single octave. brought over each key as it is played. In with the hands separate and together; also that every bit of unnecessary exertion is Importance of Character ure off from another and are a ”ri worse than wasted, since it tends to pro¬ All lively children like to move about essential and elevated spirit of the art Keep on with the old form of scale pj,rase No. 1 each key is held down until simple finger exercises and arpeggios hindrance to proper appreciation of term duce muscular stiffness and hardness of 'T'HE TRUTH has come to be realized m time to melody and will unconsciously ; when Presented to our rural children. The fingering. To finger all of the scales alike ^ next ;s piaye(j; jn Nos. 2 and 5 the based on the scales. that he who is musical, educated, catch the rhythm of music when they The pupil unconsciously stops at the 1 i modem fad, tone. to take a fresh start. This is a habit ha mission of rural school music is often i my opinion, merely C~A tones are slightly separated; and in Nos. c. A knowledge of first-grade studies, as cultured, who is tactful, sympathetic, en¬ get it in the form of play. They will also at least, only Under the head of such wasted force to overcome. But if in the. orchestra nr humble, but it is no less genuine for that which should be employed, 3 and 4 they are released immediately, with many as can be well digested, couraging, whose natural and attained feel more at home with the teacher if reason. with advanced pupils. _ a |HHsomewhat brighter tone in No. 4 than in d. A thorough knowledge of several of comes the act of pressing hard on the key equipment makes for distinct character, encouraged and taught to beat the time tice the teacher plays slowly enough f after it is down. Such “key-bedding” is Given, County Superintendents of I suggest that your teaching may be- ^ ^ the easier first-grade pieces (these are to is a benefit, to any community. Such a" for her while she plays. If the perform¬ he pupil to follow the notes and al an utter waste of effort, because the ham¬ schools and Township Boards of School •come still more effective if you also stress when {he notes S played very softly, be memorized as well). He should un- person is indispensable in the musical ance is purposely slow and halting, they beat time the piece soon forms itself ir Directors and Supervising Principals bless¬ two other branches of the subject—ear- thgthe wrist remaremainsjns quiet, since the finger derstand how to interpret these pieces as mer ceases its contact with the string im¬ scheme of things. Many of us who believe soon discover that something is wrong. mediately as the sound is produced, and jumpsjumps°f fromeromStead one measure°f to 3another. ed with a bit of vision and love for things training and sight-reading. A small frac- touch isjs sufficient.sufficient As the tone is made to touchj phrasing, dynamics, values of the in eternal life would be literally panic- “Teacher” is playing out of time, and a ton’s pressure on the key could therefore beautiful, and there will be created rural tion of each lesson-period—say five or ten louder, the hand is thrown with increasing var;ous v0;ce parts and general structure, stricken if we w,ere convinced that every¬ something must be done about it. It is leadf to Ih d '"a ‘P'aying orchestra” w minutes—devoted to these items will bear not affect the tone an iota. lead to the understanding and habitr school and community enthusiasm in music violence, so that the wrists will tend to Also ^ should know the principal details thing we do every day is destined to be¬ then easy for the teacher to indicate the splendid results and will give the pupil So, whatever kind of pressure you use employment of correct rhythm! entirely comparable with the best the cities jump up slightly. about their composers. come a part of our eternal record. And added enthusiasm. You might alternate to drive the key down, always relax the offer, and, in some instances, even more :. Through ear-training practice, yet, m the very nature of eternity, it must them, giving ear-training one week and instant the tone is heard, keeping only just be so. It is because of this truth that we effective. What a sense of satisfaction and ability to recognize the simpler intervals sight-reading the next. Graded Materials enough pressure on the key to prevent it see the summation of the fundamental re¬ Longer than any of the other arts, music was content vntk encouragement this will bring to those of and to write short melodic fragments Place as handmaiden to religion and magic or as accom/anin^Ii ? S,econdary I would like to know what books from rising for as long as the tone is to quisites of our art in the word, “Character.” us who fully realize the responsibility of and pieces should be taught in the (taken from studies or pieces) from hear¬ pageantry.. Therefore, the past of music is shorter than c dmCe and providing the same opportunities in vocal be sustained. Let us analyze the situation to some A Stammerer second, tl-!~' ’*“"**- — ing them played. art. Music is all future; it is not merely underaoina rhnn * Ty other and instrumental music for the rural Keep firmly in mind the principle that extent. No human being can become ad¬ 2. Grieg: Albumleaf, Op. 12, No. 7. always advanced. Ever since in the 14th and 15th far U has communities as is generally being provided I have a pupil who stammers when practice which unduly fatigues the mus¬ justed to environment without some educa¬ he plays, that is, strikes the same Suitable materials for these grades are Scharwenka, X: Barcarolle, Op. 62, tional training. It may be as limited as status of an independent art, capable of stirring the emotions*

From 73he Schubert Sonata Op. 78 A portion of the first movement, from the ALLEGRO MODERATO famous “Unfinished Symphony!’ from SYMPHONY IN B-MINOR FRANZ SCHUBERT By Walter Spry Allegro moderato

Walter Spry is a native of Chicago, and with the exception of Walter Spry received his early musical training in piano six years of foreign study and three years as director of the from August Hyllested and Regina Watson and m organ from Quincy Conservatory of Music in Quincy, Illinois, he has lived Clarence Eddy. Later, he went to Europe where he studied with in the great metropolis of the Middle West. For a time he was Lcschetizky [Vienna), Rudorff (Berlin) and Breitncr (Pans). associated with William H. Sherwood as a teacher in the Sherwood Since his return he has been most progressive in keeping abreast School. Later his own school became one of the leading institu¬ of the times and has been fortunate in studying at close range the tions of its kind in the city. In 1917 Walter Spry Music School methods and ideas of such great pianists as Leopold Godowsky, became a part of the Columbia School of Music. Mr. Spry has Teresa Carreno and Rudolph Gans. been one of the most distinguished piano teachers in Chicago and Mr. Spry is an indefatigable worker and gave last season a very prominent in the musical activities of the city and state. He series of Historical Piano Recitals, which included many of the was the first president of the Society of American Musicians of greatest works in the piano literature classical and modern. He Chicago, which, for several years has sponsored so successfully has written some charming piano pieces and songs as well as a the idea of contests for young artists. Throughout his entire pamphlet—Lessons in Piano Playing; and lie is much in demand career his work has been essentially practical. as a recitalist.

The Andante Movement connecting link between the classical and Pianistic Standpoint there is concentrated thought we can be romantic periods, and that the beauty of said to be memorizing a piece from the HE ANDANTES in the sonatas of ROM THIS saying of Rubinstein T his ideas was paramount; so that perhaps F very beginning of its study; fur we are re¬ the classical composers—Haydn, Mo¬ may we begin the study of the piece, he was justified in allowing what might cording lasting impressions of its contents. zart, and Beethoven—often served which affords us the best opportunity of be said to be a condition of loosely joined In order to acquire a facile fingering it as the slow movements of their works, and uniting technical and musical qualities. parts in his works. often is necessary to take out a measure Three elements of a mechanical nature as such became the medium through which One thing is certain and that is that no must be recognized, if we would play a or phrase of the left or right hand and these composers expressed an emotional . composer ever surpassed him in the beauty to play it over several times. For some ' piece well; these are the notes, the finger¬ nature. They moreover brought contrast of his themes and in the simplicity and pupils this might be applied to the left ing and the rhythm. In order to acquire by being entirely different in character direct appeal both in his vocal and in¬ hand in the third measure. This plan of from the scholarly Allegros or lighter and strumental compositions. It was Anton these simultaneously, it is necessary to studying the hands separately would cer¬ gayer Schersi and Rondos. It should be Rubinstein who said: “Schubert was like study the piece first at a very slow tempo. tainly be helpful to many students, for the the custom of all serious piano teachers to a bird, who sang his whole life long.” At this, point we should realize that if fingering in the fifth, sixth, seventh and train their pupils in this wonderful litera¬ eighth measures of the second theme (B). ture; for besides containing many of the In these measures a common mistake in most beautiful gems in the whole of the reading occurs, for the pupil who does classics, these Andantes of Haydn, Mozart not hear harmonically will sometimes for¬ and Beethoven furnish a schooling in get the accidental—E-sharp. rhythmical precision that will greatly aid An interesting thing for the piano in forming the musical backbone of the teacher to do at this point is to explain to students’ education and will prepare them the pupil that this is a so-called dimin- for the composers of the Romantic Period. ished-scventh-chord on E-sharp, and that it leads naturally to F-sharp minor, the This Sonata or Suite note E-sharp being the leading-tone of the F-sharp minor scale. Someone may say: JT IS a curious fact that Schubert in- “Yes, that is all very well for the ad¬ A tended his Opus 78 to be a Sonata, but vanced student or for the harmony stu¬ that the publisher, Tobias Haslinger, of dent, but it has no place in the piano les- Vienna, thought it better to call the work Fantaisic, Andante, Minuetto and Alle¬ son” ^ow I never have been accused of gretto. Haslinger must have had somewhat talking in riddles to my students nor of decided opinions; for we are told that, on taking too much time for the explaining one occasion when he clashed with Bee¬ of harmonic combinations. However, I thoven, the great composer was heard to have led many pupils to think with some exclaim: “Oh! that Tobias!” At any harmonic analysis of a general nature so rate we find this same Tobias doing good that they are able to read and memorize by publishing the works of the great mas- their pieces with absolute accuracy and certainty.

The Rondo Form The Various Touches ' I ' HE I'ORM of this Andante of Schu- J T WAS tile variety of tone color that A bert, like that of the classics, is in • so impressed me, when I heard Rubin¬ the Rondo Form and is very simple in stein play in Berlin, that, although it was design. There is one principal subject many years ago and I was very young, I (A) in D Major, occupying the first thirty shall never forget his performance. This measures of the composition. Then comes Schubert Andante affords us the legato a secondary subject (B) in B Minor, and portamento touches in the cantabile which, in contrast to the gentle first theme, is of a stately character and is developed parts and the staccato touth in the cho/d so that it fills forty-eight measures. Then playing. The expressive quality of the comes a return of the first theme (A) hrst theme is realized if the performance which, according to the custom of rondos has a perfect legato touch. The rise and occurs in the original key—in this case, D tall of the phrase give the variety of tone Major. After this a re-statement of the color so necessary in an Andante. This second theme (B) is brought out, this time touch prevails throughout the first theme, in D Minor, until we have the final meas¬ except at the end of the phrases such as ures of the piece devoted to the third we find in the seventh measure where we presentation of the. first theme (A), and iave the portamento—which means carry- a short coda of eight measures, of course 'ng one tone to the other or detached tones. P 4 i jj '*J J jV*J J JH j fi-ilii j-fi’HjH Hi in D Major. Some musicians have ac¬ * his gives a certain importance to the cused Schubert of a lack in formal de¬ winding up, so to' speak, of the phrase, velopment of his themes, and perhaps he marked T?T A Jett i j. i^ did not give the care to the “working out” Staccato Touch MS sections such as we find in Mozart, Bee¬ 'T'HE STACCATO touch may be ob¬ r * » thoven or Brahms. But I feel that Schu¬ n r rr tained in various ways. If the mu¬ ty * y * * r j i bert, occupying a peculiar position, was the WALTER SPRY sical passage be a light rapid scale then (Continued on page 623) Other Music Sections in this issue on pages 573,605, 633. THE ETUDE AUGUST 1928 Page 599 THU ETUDp Page 600 AUGUST 1928 AUGUST 1928 Page 601 tee etude AUGUST i928 Page'605 OUTSTANDING VOCAL AND INSTUMENTAL NOVELTIES

THERE IS NO UNBELIEF ALFRED WOOLER

1. Who - ev - er plants a leaf be-neath the sod, And waits to see it push a - way the clod, 2. Who - ev - er sees ’neath win-ter’s field of snow, The si - lent har-vest of the fu - ture grow,

He trusts in God, He trusts in God* Who - ev - - —- God’s pow’r must know, God’s pow’r must know. Who - ev - er lies up - on his couch to sleep, Con-

High, • Trusts the most High. pa - tient, heart, light break -eth by and by,” 1 ’rusts the most Cnows God will keep, KrowsGod will keep. tent to lock each sense in slum-ber deep, i

L „ poco rit a tempo )Tr |

Copyright 1926 by Theodore Presser Co. kq7«oo British Copyright secured Other Music Sections in this issue on pages 573, 597, bdd

/ the etude Page 606 AUGUST 1928

Manual I Solo Stop PLAINT I Unda Maris Manual II Aecomp. {goft plute PARKE V. HOGAN Pedal Soft 16'and 8' Slowly Plaint,ivelv M.M.J=72

MANUALS

^ little faster y 1 J «--i

!wj jr > «h r^p?F gpp- r r ^ F iir? ZZr \$f ~ S*s<1 1 1 — 1 "!j-——^- d jfahfcuJ J $ 1 .. fgfe-J'---* •' t ' J t~-4" * J f If i d *JL T^l I )tr v v p ~ 7,pj t iFT7 f?# ^gpr i—r r 1 14 ** *

jfcLV ii/ rit.

Copyright 1928 by Theodore Presser Co. International Copyright secured AUGUST 1928 Page 609 Page 608 AUGUST 1928 MOON DAWN M

British Copyright secured THE ETUDE ttSLnJST ms WHEN LOVE IS DONE OSCAR J. FOX Slowly, with ever increasing intensity „- ?

Copyright 1928 by Theodore Presser Co. British Copyright secured A tasteful Romance in broad and sonorous style DAWN OF PEACE Andante M. M. J = 72 Sul G .

Violin

Piano

Copyright 1928 by Theodore Presser Co. British Copyright secured AUGUST 1928 Page TEE etud$ the ETUDE Page 612 AUGUST 1928 WANITA Words and Music by W. FRANKE HARLINq Educational Study Motes on Music in "6his Etude By Edgar Alden Barrell

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The Etude Music Magazine Theodore Presser Co., Publishers 1712 CHESTNUT STREET PHILA., PA. A AUGUST 1928 Page 615 TEE ETUDfi the ETUDE Page 6U AUGUST 1928 Voices Under twenty Must 7\[ol Tde Overtaxed The Musical Ladder me SINGER’S ETUDE By George Chadwick Stock A NEW BOOK FOR BEGINNERS AT THE PIANO Edited for August by THE FOLLOWING excerpt is from made known to young singers the world a letter from a teacher of singing: over, that they may not be brought to throat gating, and I would welcome any answer Eminent Specialists “You say that singers under twenty injury with resultant agony of mind.” HOW MANY TIMES do we hear the pro or con; for I believe if more public^ are too young for grand opera or other After another month elapsed Jenny Lind question, “How high or how low can IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT were given to the mechanism of the Vo¬ returned and sang again. This time the severely taxing vocal work. Is it not true you sing-?” as though that were the prin¬ “a vocalist’s MAGAZINE, COMPLETE IN ITSELF. cal Muscular System, many errors would throat conditions were much better and her cipal criterion by which to judge the value be avoided, and perhaps a more definite sys¬ that one of the most noted singers of the training began without further delay. Un¬ of a voice. tem of voice culture established. If " world, Jenny Lind, appeared as Agatha in der Garcia her voice steadily improved, and By believing in such a declaration, it is is done, I believe a pupil could know, right “Her Freischiitz,” Alice in “Robert de Dia- the following excerpts from letters written natural for the student to make desperate at the beginning of his studies, just what ble,” and other parts at the age of eight- by her in 1841, while studying with him, efforts to accomplish this, regardless of it is that he is trying to accomplish; and are particularly interesting: how great the strain, if only the coveted he would not be groping in the dark’hop eeYou are correct. But, as a result of “I have already had five lessons from note can be. reached, never thinking or Pitch and Tjimbre ing for something to turn up, which usu¬ premature operatic venture, she damaged Garcia. I have to begin again from the caring what effect it may have on the ally does not. If this is done, voice cul¬ her voice to such an an extent by over-ex¬ beginning. My foundation work has all muscles which are responsible for such ture would not be such a mystery, and ertion that she was obliged to leave off been wrong. I had frightfully over-worked extremes of pitch, nor taking into consid¬ Siren. one of three manuals and of the Unit type. for the purpose of coupling the Accom¬ Vox Celeste or t 73 Pipes Accompaniment Mr. Hardy’s comments on the theater Viole Celeste I GU1LMANT paniment part of the music to the Pedal, Flute Harmonic 73 Pipes [AUSTIN ORGANS) specifications will be of material aid to the as in ninety per cent, of the playing of an 73 Pipes reader in grasping the characteristics of the 01 Pipes ■-r-HPRF.THERE is a» splendid.nhndid family of Aus- ORGAN SCHOOL organ in the theater, the Pedal is the Bass Dolce Cornet Ill Ranks 183 Pipes I tins in Philadelphia, and in churches instrument. These comments follow: of the Accompaniment. On the Accom¬ Contra Fagotto 16 ft. Balanced crescendo pedal. DR. WILLIAM C. CARL “Referring to the ‘Analysis’ it will be Oboe S ft. Sforzando pedal. paniment manual on first touch there are Vox Humana » it. Three cancel pistons affecting respective man- York contracts is one the highest tributes Director found that there are 13 sets of pipes, 5 no couplers, as the stops available for Ac¬ (with Tremolo) ever paid, for large Austins have been percussion instruments, and a set of drums Oboe Clarion 4 ft. Universul"cancel piston affecting entire organ. placed in St. James. Little' Church Students Aided in Securing Positions companiment use are played at both 8' and Tremolo Vibrato Cancel piston. Around the Corner and St. George’s. and traps in this instrument. Under the Drum pistons, military drums and cymbal, Free Church, Recital, 4' pitch, so there is no use of a super-octave English Horn manual and pedal. These things are significant and worth column .headed ‘Pitch’ will be found the coupler, and no purpose in coupling the Choir Organ Drums cancel piston. noting. They reassure the prospective Scholarships Theatre Courses pitch of the lowest note of each of these other manuals to this. On second touch Violin Diapason 8 ft. 73 Pipes Celesta Trap cancel piston. 73 Pipes Xylophone Piano soft pedal. New Prospectus Ready sets of pipes and percussion instruments. of the Accompaniment, the Solo has 8' Glockenspiel Piano sustaining pedal. 73 Pipes Orchestra Bells Under the heading of ‘Pedal,’ ‘Accompani¬ and 4' couplers available for coupling Mandolin-Banjo pedal. (AUSTIN ORGAN CO. 17 E. Eleventh Street New York ment,’ ‘Orchestral’ and ‘Solo,’ will be found 73 Pipes Muffled drum pedal. combinations that are set' on the Solo Indicating lights for sforzando and other I 165 Woodland St. Hartford, Conn. the pitches at which these various sets of 73 Pipes manual, to the second touch of the Ac¬ Piccolo Harmonic 61 Pipes Octave Viola blind movements. pipes and percussion instruments are played Action current indicator. companiment. On the Orchestral manual Clarinet ! 73 Pipes Piccolo Vibratos Change title button, duplicated by toe piston. on these manuals, as well as the use made Tuba f 73 Notes Plano there is available the 8’ and 4’ coupling (from Great Organ) low regulation. Signal button. of the drums and traps. The underlined Signal light. .. 0RG0BL0 the Solo to the Orchestral manual for the Organ bench with adjustable back. Adjnst- VELAZCO ORGAN STUDIOS figures refer to double touch. purpose of building up a big full organ New York's Finest Theatre Organ School. Direction Pedal Or gat Celesta of Emil Velazco, Former Featured Organist of Para- tone, and the special Harmonic couplers, • Glockenspiel The Unit Organ 3 Snare Drum, roll mount-Publix, Stanley and Roxy Theatres. Three coupling the Solo to Orchestral at the wpen cnapason Manual Theatre Organs Used. “TN THE DESIGN of a Unit Organ 3 Snare Drum, tap pitches shown. The intervals of these spe¬ Bourdon (from 32 ft, 3 Muffled Drum Analysis there are no manual divisions, such as Second Bourdon 3 Chinese Block, - 1658 Broadway New York cial couplers are the third, fifth and flat (from Swell) animent Orchestral are found in an organ built on ‘straight’ Chinese Block, tap h Pipes Pedal seventh, and the use of these, in the proper Violoncello 3 Tom Tom lines, neither are there sets of pipes belong¬ Trombone hands, makes possible the Solo combina¬ ing only to one particular manual. Each Tambourine THE SPENCER TURBINE COMPANY tions never before available in an organ. Couplers Shuffle B Tuba Organ Power Department set of pipes has its own electric action and A Oboe Horn... On second touch of the Orchestral organ, Hartford Connection is played at 'the necessary pitches on each Choir t Second Tone B English Horn are available the 8' and 4' Solo to Orches¬ Post Horn keyboard. The names applied to the key¬ 4 ft. Swell t 6-8-4-2 tral couplers, and for the same purpose Swell t Diapason boards of a Unit Organ have about as 16 ft. Tuba m2 these are available on second touch of the 4 ft. Swell b . t ft. Tibia Clausa little real significance as the names applied 1 16 ft. Accompaniment. On the Solo organ there Cellos Special to the keyboards of a church organ. These Oboe Horn is a 4' coupler, put there for the same pur¬ names are used as a matter of custom, and Swell to Great 16 ft. Cnoir ro Choir 4 Clarinet 16-8-4-2 16-8-4-2| pose that a 4' coupler is used on any Tibia Flute the appearance of any stop on any manual Swell to Great 4 ft. Swell Unison Off Glockenspiel Percussion Introductory Offer manual. Choir to Great Choir Unison Off is due to development of its use there. This Chimes “The purpose of playing the drums on Snare Drum, rc To all music lovers not type of instrument is played by a great Pedal Movements Chinese Block, 1 both first and second touch is to allow Triangle acquainted with The ETUDE many organists who have developed in the double use of them. In the case of the Bass Balanced Swell Expression Pedal —....Bird theater field and who think of the use of Balanced Choir Expression Pedal.' Solo Drum, for example, in most cases it is used the organ from an entirely different stand¬ Balanced Great Expression Pedal. Solo on every beat played on the Pedal. There re^stersf3 Creseendo Pedal (not moving point from that of a church organist or of are, however, certain types of music where Orchestral Three Issues a concert organist. the Bass Drum is used only occasionally. Sf^MPedS1 op&affeCtinK Great l-T-t “The use of the lower manual for the b llZT: For the normal use of the Bass Drum it OrL°"rotC0m^‘na«?n 1>Pda,s affecting Swell f’“'itra B Persian Cy June — July — August bulk of the Accompaniment playing is 0 st°Ps (?edal optional). Bass ^ is played on first touch where the Bass purely a matter of convenience. It is the Drum will play at every pedal note. For Or|ahnreestoCp7Tp^nopPt^S)affeCtinS C'“r BasTc B Snare Dru manual on which most of the playing is the special use, where it is played only StoPprfC?n»io^)aIS ^ &£ 6he ETUDE MUSIC MAGAZINE done, because it is the easiest to reach. The Great to Pedal, Reversible. Trump B Triangle.. occasionally, it is used on second touch Orchestral manual, which corresponds in Sfontando Pedal, Reversible. Diapns and the Pedal pressed through only when it position to the Great Organ of a three at the benehnand°ntoP,eda,S to, b TEACH Organ, and Qhoir Questions Answered f (Continued from page 593) g ? the Buescher By Henry S. Fry and orchestral scoring invariably calls for known that dry heat or cold will shrink || x • Saxophone Former President of the National Association of Organists than two kettle drums, though the drum heads. For that reason it is safe Dean of the Pennsylvania Chapter of the A. G. O. work may be accomplished on two. Even always to release the tension after using, WANTED the score of Parsifal, which has a solo on but it is not always the best practice, Ho question will be answered in THE ETUDE unless accompanied by the full name four notes, can be played on two pedal especially on snare drums. Whe!n a snare and address of the inquirer. Only initials, or pseudonym given, will be published. tympani. The tuning is very rapid and drum is working good, the drum, should —- wFEKL-and give extra MONTHLY BONUS We ptfy ^stenographer made §1000 during lunch hours with convenient. The pedal tympani is a later be left as it is as long as possible, as checks- A srenuB h Mrs. B. C. Woodward, a housewife. THE.HEETEL FLAg. Albrecht, Ill., §61.75 in 2 hours. invention, and it would seem only logical should also the kettle drum and a bass Neidlinger, Burdett, Broome and “ Rnare ‘ - -* Themselves to train the student on the latest instru- drum. If, however, the instruments arc Q. What is the tonaX quail its MADE - TO - ORDER '‘Ludwig’s Tone!" by Fillmore Music Company Th» . Ponses "’-’e hundreds of orders ments. Pedal tympani are much simpler used in a dry room or hall, the heads will When this questioi " " X wwe from a itiful designs. Write to tune and easier to learn to play than continue to shrink and finally get so tight months a the Editor was uul . (S. M.j and, since any short metre fmi 111,1 Theatre Organists —formation about the stop, lit the setting, you might obtain variety^1' HERTEL CO. are the hand tympani because they can be that proper results cannot be had. In that using different tunes Two turZ, -v ty sequentl'y he learned that the stop wi tuned rapidly and while playing. case it is necessary to reset them. How to eluded in an o: .. "iity, New Jei Bass drums in both band and orchestra reset heads should be a process known by Positions paying salaries of $50 •-Holtkamp-SparlingmOrgan Com- J» 1M& (No? 866). 1,11,1 Modern-’’ *4 should receive! some consideration. Bass any player. iny, of Cleveland, Ohio. Through tne “““ , Faust School of Tuning Only a Buescher affords you such remarkably mrtesy of Mr. Walter Holtkamp, the Editor drums should he of sufficient size to pro- Remove the head from the instrument, quick and easy results. Patented Snap-on Pads, the to $ 100 weekly are so many that in receipt of a sample “Ludwig’s lone f - '* "l reader of your col- STANDARD OF AMERICA duce the natural bass drum tone. A 12 x Soak well on both sides, repeating the greatest improvement for beauty of tone — easy to ALUMNI OF Z000 replace — no more cementing. Found only on the pe. The following drawings S3W? y™ jTU*}'}? *,ff*J* 28-inch or 14 x 28-inch may be ideal for operation several times, if necessary, until Buescher. Patented Automatic Octave Key — Piano Toning, Pipe and always positive. Perfect scale accuracy. Easiest to finished players are practically Reed Organ and Player the eight piece jazz band, the “Happy the' head becomes very soft. Then mop play because of exclusive improvements. You can Piano. Year Book Free Five” or the “Lucky Eleven,” but that the water off and replace applying con- quickly master the Buescher—then teach it. Increase your Income. Young people everywhere assured of engagements through 27-29 Gainiboro Street size will not do at all for the concert siderable tension that the head may stretch want to play. Any instrument on 6 days’ trial—easy BOSTON, MASS. band or school orchestra. For band work and be allowed to dry over night, payments to suit. Write for complete information the College. at least a 32-inch diameter should be used, The replacing of heads is more difficult and Saxophone Book. 1457] boys’ band. Provision should and reallv reauires someone- with a little Buescher Band Instrument Co.

Direction: CHARLES H. DEMOREST and HENRY FRANCIS PARKS

Fall Session Opens September 10

SCHEDULE OF LESSONS

u LENGTH OF COURSE assm ■JS£'Ti V7,:; fTA* FREE FELLOWSHIPS

COMPLETE CATALOG ON REQUEST mmmm STUDENT DORMITORIES CHICAGO MUSICAL COLLEGE 60 East Van Buren St. (SMUSS) Chicago, Ill. 'AUGUST 1928 Page 621 the etude Page 620 AUGUST 1928 the etude 'She Order of Studies

By Edith L. Winn SUMMY’S CORNER

MANY young teachers are wholly at Many teachers use Gavinies and Rovelli Edited, by sea regarding the order in which studies. Others prefer to use the con¬ What Should PIANO INSTRUCTION BOOKS do certos as a means of teaching technic and to teach the various books of tech¬ for Music Education? Robert Braine acquiring a finished style. Two other nical studies required by schools. Books do and substantial citizen, but business re- books by Mazas, the Alard studies, the ASSAGES in harmonics like the fol¬ by Gruenberg, Cutter, Winn, John Dunn P IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT verses came later and he died practically Wieniawski studies and the Bach Sonatas, lowing often prove puzzling to the penniless in 1571. There seems to be no and others give help in this direction. furnish abundant examples of technic. The IDEAL Piano Instruction Book violin students who often write to “a violinist’s MAGAZINE, COMPLETE IN ITSELF. way of verifying the dates in his life hjj. One can at least look over the catalogs Then there are the Paganini “Caprices” s to know how they should be played. tory. issued by the music houses to find the order which every young virtuoso delights to Makes the pupil want to learn! Ex.t Teaches the pupil how,to learn! Mosaic Worker of studies. Even then there is some vague¬ practice. There is indeed so much ma¬ Approaches music from all sides! ness The particular method fn use with terial that one should use one’s own judg¬ Lays the kind of foundation that makes advanced learning UIFFOPRUGCAR seems to have been beginners is that which the teacher likes ment in the use of it. Young teachers not only possible but profitable! -L' originally a mosaic worker and in¬ who are filling a college position for the This passage is in harmonics or “flageo¬ layer, and his high artistic ability and skill ^One can use the Kayser studies, Wohl- first time are appalled by the catalogue and Instruction Books serve their purpose when they make the pupil realize let” notes. They are often called by this of hand led him to take up viol and lute fahrt, Op. 38, 45, 54, 72. The Sitt, Op. its requirements. They need not be. In that education is just a way of LEARNING HOW TO LEARN! latter name because their tone quality re¬ played as harmonics position. The exact point can be found by the harmonics “speak” clearly. The pre¬ bels, but many leading authorities claim studies. The teacher will decide that. At all are worthy of attention. Price 60 cents or “flageolet” tones. Next it is to be seen vailing fault is using too short strokes that these violins, without exception, were any rate the sooner he is launched in Julius Eichberg used to say, “A few ex¬ Teaches the beginnings of music comparing the note produced by the second An instruction book for the child through charming melody pieces. that such notes do not have their centers finger with the open A string. The finger of the bow and bowing too lightly and made by modern violin makers who in¬ Kreutzer the better, for here he is aim¬ ercises well learned are better than a whole beginner. Contains such a wealth of BOOK II. Price SO cents in solid black, even when they are played must be slipped forward and backward on feebly. Because the tone of harmonics is serted spurious labels in them. They con¬ ing at professional skill. book full of ones badly played. Haste material that each step in advance is Introduces Preparatory Exercises as quarter notes. Otherwise, at first the string until an exact unison with the very high and thin, and the finger is barely tend that Duiffoprugcar died fifty years be¬ As to how long he must remain in makes waste. The first twelve Kreutzer most gradual. No teaching gaps. glance, the student is apt to take the notes touched to the string, the student thinks fore the first music for the violin was Kreutzer I cannot say. The chances are etudes , furnish all the bowings, with the that train the pupil in practice open A is secured: methods. in the first measure for half notes, as that the bowing should be done with ab¬ written. When Etude subscribers who that he will study these exercises at least Massart examples, that one needs . . . and The Child at the Piano BOOK III. Price 50 cents regards their time value. They are indeed normal lightness. The fact is that quite own violins with his label write to The two years. Then he can pass to Fiorillo. should occupy six months’ time.” By MEDA ZARBELL STEELE quarter notes as the passage is in three- a bit of vigor and especially elasticity is Etude asking if their violins are genuine, During the writer’s study in Berlin, stu¬ We may speak of the works of Sevcik, Price 75 cents Still more gradually advanced. Stresses technical practice, pre¬ fourths time and there are three of these needed in bowing harmonics, since the the only reply which can be made is that dents were not allowed to play-Fiorillo. Flesch and Auer and other recent books A book for beginners that has stood paratory exercises train pupil to notes in the first measure. The note in string offers considerable resistance and, the violins are probably spurious. They passed from Kreutzer to the Rode for study. All have something to add to the test of modern education. Grad¬ When this is effected the second finger ual—practical—inspiring! overcome technical difficulties. the second measure is a dotted half note. will be at the exact spot on the D string in the case of some harmonics, does not An American authority explains the ori¬ “Caprices.” It is well to use Fiorillo dur¬ the existing literature and all are a wel¬ In this example each of the first three to produce the correct harmonic. The respond easily. Some can be made to gin of these false Duiffoprugcar violins as ing the latter part of Kreutzer. The double come addition to the teaching list. “I have finished Kreutzer,” said the high notes is held one beat; the last note is held finger is now placed lightly on the string “speak” more easily than others. A follows: “When the merits of old violins stops of Kreutzer require some time, owing school boy. His teacher smiled. CLAYTON F. SUM MY CO., Publishers three beats. Experienced violinists recog¬ at this point and the harmonic “speaks.” swiftly flashed, elastic bow is better cal¬ began to attract popular notice, about the to the lack of hand development in the 429 South Wabash Avenue, Chicago, III. nize tlie time values of the notes of such The first note having been conquered, the culated to make a clear, ringing harmonic beginning of the nineteenth century, many young. Practically nothing is ever finished. passages at a glance, but they are often second is easy, because it is exactly the than two or three inches of feebly applied French makers of the day turned their at¬ We have an unusually large list of Instruction Boo'hs for Beginners of Piano confusing to the inexperienced student. same position, with the same finger on the bow. Not that there should be strong and tention to imitating the old masters. This which we will be glad to send on request. The fingering is next to be taken into G string. rough pressure, for this would certainly was not confined alone to the obscure consideration. It is that of the third posi¬ In the case of the third note, the first kill the harmonic. The pupil will have to workmen. The greatest of the French (Playing the Violin While Seated tion. The fingers are placed on the strings finger is placed firmly on the D string. experiment for himself until the golden school—such men as Silvestre, Chanot, S. E. Sears VIOLINS at exactly the points they would occupy if medium is attained. Gand, Bernardel and Vuillatime—deemed By The note produced (G) is compared with Deep, Mellow, Soulful the passage were an ordinary one in the the open G. When a perfect octave has The principles involved in the explana¬ it not below their dignity to give the sub¬ third position. Thus the first note is been effected with the open G, the pres¬ tion of the passage considered here will ject their serious consideration, the conse¬ Sitting in a chair while playing the is the basic difficulty in playing while played by placing the second finger on the seated. Only an absolutely erect and still sure of the finger on the string is relaxed. serve for the understanding of hundreds quence being that many excellent instru¬ violin is often necessary, both in orches¬ SET" Gut and “JOACSir’ Wound Strings if desired. Get details today. D string, in the third position; the second posture can be allowed. There is a tend¬ Then it is pressed very lightly, thus pro¬ of similar passages. Harmonics are a de¬ ments were made, although put forth under tral playing and in certain types of solo Violin A, “Hakkert" 30o; ViolinD, “Hakkert"35o GUSTAV V. HENNING note is played with the second finger on ency also for the bow, when playing on A Violin D, “Joaoliiin" (aluminum) 75c * diversity Bldg., Seattle, Wash. ducing the required harmonic. For the lightful contrast to the ordinary tones of false labels. work. Such position, at least for the in¬ Ek Violin G, “Joachim" (pure silyor) $1.00 the G string; the third note uses the first last note the first finger is transferred the violin. Every violin studefit should the E-string, to hit the right leg. This is W Cello A, “Hakkert" $1.00; 'Cello D, “Hakkert" $1.25 finger on the D string, and the last note experienced is far more difficult than that either due to the fact that the knees are * 'Cello'CeUo S’G, “Joachim"“Joachim’" $1.20;$L20;' 'Cello'Cello0,’ 0, "Joanhim"“Joachim" $1.60$1 directly across to the G string. seek to master them. Worthless Imitations Special $1.00 Offer the first finger on the G string. Now if of standing. But, like every other diffi¬ not held closely enough together or that . $1.00 we will send a sample seta these fingers are placed at exactly the cor¬ D UT THE vast majority of the violins culty, it can be surmounted by sufficient riolin Strings, containing our celebrat the violin is tilted at too oblique an angle. d“lntuna” E. A and D. Keelok Metal I rect points on the strings to make the ^ bearing the name, Duiffoprugcar, with and proper practice. Because it is easier to stand straight G. Satii notes sound in tune, in the third position, elaborately ornamented backs and sides, First of all we make sure that the chair than to sit straight, we often find ourselves ONLY 6ne"sETAT THIS PRICE. and are then touched lightly on the strings inlaid pictures of castles, Latin inscrip¬ Gaspard Duiffoprugcar selected has no arms, no rockers and no reclining against the back of the chair. Send for “FIDDLESTRINGS” fre< instead of being pressed firmly to the tions, and so forth, are, from the stand¬ springing upholstery in the seat. The rea¬ The only way to avoid this is to use a fingerboard, thus being made to sound as point of the critic, merely trash. Many MULLER & KAPLAN 'newyork' ERE WE have a picture of Gaspard grated to Bologna, Italy, about 1514, and son for avoiding the first two items is ob¬ backless chair for a while, and even then harmonics, the passage will sound cor¬ dealers represented these violins as gen¬ Duiffoprugcar, one of the most fa- that he later lived in Lyons for many years, vious. The reason for avoiding the last we must make it a point to keep the rectly. uine Gaspard Duiffoprugcars, made in Bo¬ H will be equally apparent as soon as a chest up and violin high. No funnier sight What puzzles many students is that the mous figures in the art of making logna in the early part of the sixteenth springy chair has once been tried. The than the perspiring orchestral violinist— harmonic notes produced give entirely dif¬ stringed instruments, after a portrait by J&Brt.' J-j£ . century, when, as a matter of fact, all of straight-backed, all-wood, medium height his ankles twisted around his chair legs, ferent tones than if the strings were the celebrated engraver, Pierre Woeiriot. them were French instruments made be¬ chair is the perfect one for this purpose. back curved in the shape of a crescent, pressed tightly to the fingerboard. In the Duiffoprugcar lived at the very dawn of tween the years 1800-1840. No violins by Being at last seated, we adjust our music mouth open, eyes bulging, violin dangling following example this maker are on record, and in all prob¬ DUNNING SYSTEM for Beginners the period, when the making of violins be¬ stand, get our instrument into correct somewhere between his knees—has ever ability the idea of making one never en¬ Ex.2 gan to supersede the making of viols and position, and put both our feet flat on the been seen in a concert hall. Perhaps the The Demand for Dunning Teachers Cannot tered his head.” lutes. He is the great enigma in the his¬ floor, knees close together. When we best cure for this is to place the chair (in¬ Some of these alleged Duiffoprugcars be Supplied — Why? j I tory of violin making, since there are strong start to play we experience the desire to cluding ourselves) before a full-length whjjh were made by eminent French mas¬ doubts whether he made any violins at all. sway without the ability to do it. This mirror and then await results. NORMAL CLASSES AS FOLLOWS: ters are of good quality and tone, but a are given the notes actually sounded in One set of authorities hails him as the MRS. CARRE LOUISE DUNNING, Originator. 8 W. 40th St., New York City, July 11th large number, including most of those KATHARINE M. ARNOLD, Arnold School of Music. 93 Madison Street, Tiffin, O. Ex. 1 when correctly played in harmonics. “Father of the Modern Violin,” while other found in America at the present date, are ALLIE EDWARD BARCUS, 1006 College Aye., Ft. Worth, Tex—4314 Vista Terrace, Chicago, Ill. Quite different, are they not? Such authorities, and these seem to be in the Gaspard duiffoprugcar EL1ZETTE REED BARLOW, Bos 1244, St. Petersburg, Fla.; Aug.-AsheviHe, N. C. factory fiddles made in the Mirecourt CATHERINE GERTRUDE BIRD, 658 Collingwood Aye., Detroit,Mich. passages in theory are simple but in prac¬ majority, contend that he never made a region in France, and the Mittcnwald in GRACE A. BRYANT, 201 10th Are. N.,Twin Falls, Idaho tice they are quite a problem. Many stu¬ (Continued from page 620) MRS JEAN WARREN CARR1CK, 160 E. 68th St., Portland, Ore. single violin but confined himself entirely Germany, and are of comparatively small DORA A. CHASE, Carnegie Hall,New York City, Pouch Galhry, 345 Clinton Aye., Brooklyn ,N. Y. dents have great difficulty in mastering to the making of viols, lutes and similar value. ADDA C. EDDY, Fall,Frederick, Md , Baltimore, Md., 4013 Bill Aye., Baltimore, Md. single violin, is not known. One thing is BEATRICE S. EIKEL, Kidd-Key College, Sherman, Tex. them, even with a teacher beside them to instruments. In the accompanying picture the master 1 lived in the woods, until I was certain: the skillful handiwork and artis¬ I A VERNE C. FLEETWOOD, 1344 N. Spaulding Aye., Hollywood, Cal. show them how. The failure to get his Really authentic details of the life of is seen surrounded by lutes and other slain by the relentless axe. IDA GARDNER, 17 E. 6th St., Tulsa, Okla., throughout the season; Paris, France, Summer, 1928 tic beauty of his viols and lutes helped GLADYS MARSALIS GLENN, 1217 Bowie St., Birins Place, Amarillo, Tex., July 17, Colorado Springs, Col finger at exactly the right point on the Duiffoprugcar are lacking, as the histo¬ string instruments. Above his head . is Whilst I was alive, 7 was silent, to pave the way for the artistic form and FLORENCE ELIZABETH CRASLE, Lansmg Conservatory o( Music, Lansing, Mich. string is the principal trouble. If the rians of that period were too busy glorify¬ seen the laurel wreath, as used on his in¬ but in death I sing sweetly. HARRIET BACON MacDONALD, 13434 Detroit Are., Cleveland, 0.; 6010 Belmont Aye., Dallas, Tex.: Ai beautiful finish of the violins of Cremona Little Rock, Aik. finger is a hair’s breadth too high or too ing the doings of royal and military heroes struments by way of a trade-mark. Below Whether Duiffoprugcar was the father MRS. KATO DELL MARDEN, 61 N. 16th St., Portland, Ore. low the harmonic will not “speak,” and to give much attention to the lives of hum¬ is seen the Latin inscription he usually in¬ of the violin, or whether he made even a which were to appear later. MRS. WESLEY PORTER MASON, 302 Mid City Bank Bldg., Chicago, III. MRS. LAUD GERMAN PHIPPEN, 3435 Asbury Aye. Dallas, Tex., Classes held in Dallas, Denvei Colo., beginning only a “whizzing” noise results. The rem¬ ble lute and violin makers. Even the date laid in all his instruments: July 23. edy is to move the finger to and fro along of his birth is in dispute, some giving it ELLIE IRVING PRINCE, 4106 Forrest Hill Are., Richmond, Va. Jan., June, Nov. of each Year. Viva fui in sylvis, sunt dura occisa VIRGINIA RYAN, 1070 Madison Are., New York City. the string until the right point is reached. as 1467, and others as 1514. His name was securi, STELLA H. SEYMOUR, 1219 Garden St , San Antonio, Tex. When this point is found the harmonic originally Casper Tieffenbriicker, which MRS. BESSIE SUSONG, 1718 N. Henderson Aye., Dallas, Tex., Atlanta, Ga., 1012 Highland Vies, gaspard duiffoprugcar Dum vixi tacui, mortua dulce cano. _ GERTRUDE THOMPSON, 508 W. Coal Ave., Albuquerque, N. Mex.; July 23 will ring out like a bell. betrays his German origin, and his birth¬ The wood of which the instrument is “Ensemble practice for the young violin student ISOBEL M. TONE, 626 S. Catalina St., Us Angeles, Cal. The following method is helpful in place is said to have been at Freising, Ba- making lutes and viols. While he lived in made is supposed to speak, saying: MRS. H. R. WATKINS, 124 E. 11th St., Oklahoma City, Okla. st important aids in the general scheme for his INFORMATION AND BOOKLET UPON REQUEST learning a passage of flageolet notes. The varia. One historian states that he mi- Lyons, he seems to have become a well-to- (Continued on page 621) nentlon THE ETUDE. It oiieli with the higher ideals of art When yoi advertls Page 622 AUGUST 1928 TEE ETUDE■ TEE etude AUGUST 1928 Page 628

^(l ff-KKr+O fr'fO C'f-J C40 G-40 rl)oni Some of the labels read, “Manufactured by which are often postponed too long. poser to use the term Impromptu. COSMOPOLITAN J. A. Bander and Company.” This firm of CONSERVATORY MUSIC The Old and New. violin maufucturers was, as the label states, Pupils sometimes say: “I do not want to SC...1 MUSIC* “SB*™ of Franklin Stead, Director O. H. O.—An endless controversy is con¬ established in 1700, in the Mitleiiwald region devote any time to the musical qualities SHIRLEY GANDELL—President tinually going on concerning the respective in Germany, and is, I think, still turning out until I get the technic perfect.” To this Biographical Renowned faculty—Concerts, Recitals. merits of old and new violins. 2. The most violins, principally for export. They are good : faculty of 60 A Diplomas and Degrees conferred— famous solo concert violinists of the present average German violin makers and cannot be I reply, “Then you will postpone the mu¬ MUCH has been and will be written Teachers’ Certificates day. practically without exception, use classed as “famous makers,” so you will not sical study a long time.” We should real¬ this year about the life of Schubert; 45th Year Begins September 19, 1928 mmuiiie old Cremona or other old violins. 3. find their biographies In nnv of the works As you only have from $75 to .$150 to invest ise that they go hand in hand, to a large and writers and historians will differ re¬ giving such lists. To find the value of your for Teachereaand Ad™nc?dq Student».ntCourKS'°in in a violin, possibly you would do better to violin you might arrange to send it to some degree, from the beginning, if we so wish, garding their estimate of his character, Piano, Voice, Violin, Organ, Theory, Harmony, Orchestra & buy a new violin, as it is very difficult, in 11 old violins who advertise Id and of his position in musical art. It Composition, Cello, Opera Study—Dept, of Speech 5 the present state of the violin market, to the only thing I postpone for some time, and Dramatic Art and Public School Mueic. Special Band Cond- ' get a good old instrument at anything liesides the tempo, is the use of the pedal; has been said that Schubert was a type Advantages and Sckolarshits Dept, for Children. All athletic®. Horseback riding. within your price limits. 4. In justice to Storlonl Violin. of the easy-going Viennese; and, whereas ano and Vivlin Prizes Fireproof buildings with ample grounds. Two beauti¬ its advertisers, The Etude cannot undertake W. C. C.—Laurentlus Storlonl (1760-1799) but when I do take it up, it is a matter ful dormitories on campus. For catalogue address uaors & Players : to recommend any certain makes of violins. was the last master of the famous school of of very careful consideration. “It is the this may be true, we must ask ourselves address—Edwin L. Stephen, M the Director, violin making at Cremona. His violins are if it is not just this type that is more apt The Starrett School Conservatory of Music Developing an “Ear.” made of wood with very broad grain and are breath of the piano,” in the words of Box E, 4515 Drexel Blvd., Chicago. A. P, R.—The musical hearing of your not noted for their beautv. But they have an Rubinstein. to accomplish lasting results in art, rather child, who seems hopelessly deficient in recog¬ excellent tone and ure valuable. ‘ He em¬ than the hustling and bustling person of nizing proper pitch, might possibly be greatly ployed a spirit varnish. 2. I cannot find Openings improved. Your only course 1b to try to a?V concerning the maker of your The Tempo the present day. Repose is an essential develop it in a few months’ training. If, other violin. He was evidently an obscure quality in all great art. at the end of that period, there is no Im¬ maker of Genoa. 3. The Conn Company, THE WORD Andante, as a tempo provement, give it up. Spohr, the famous Ltd., in your city, are makers of violins on a mark, means, in Italian, going in a DETROIT INSTITUTE provided for violinist andAnd tfiaohopteacher/'advised^in ndtHoari ’'such*u _ large scale. They can no doubt either look that the pupil take up some Instrument after the repairs for you or refer you to some¬ leisurely step, or rather slowly. It is not Interpretation OF .“h|al the Plano), in which the Intona¬ one else who can. as slow as Adagio nor as fast as Andan- qualified graduates tion does1 not depend on the performer. I In the study of this piece do not detain have known some remarkable cases of im- CO,nc«fr*° ANUlgnments. tino. In this case I suggest that the too long your attention to a musical touch, MUSICAL ART alwIvsTn fsvrSnfal-h-ear1^’ 30 ttat I “m 5• s-—You are correct in your opinion player of this Andante practice it with for this will help you to get the spirit of > Curriculi:—Piano, Voice, Violin, Church and Concert Organ, Theater Organ, Public . ta n ™./ / glk,ng thp bupil a good ;.“at Ihe Viotti and Rode concertos are too difficult for a pupil who has Just finished the metronome set all the way from 60 the opening phrases. Think of Schubert > School Music, Band Conducting, ’Cello, Wind Instruments, Theory, Composition • Son1? foThtt t°„r l^nP?£eentvS.oiairne T\ Kayser and the Mazas' Special Studies.” to 76, with an eighth-note to the beat. It Accompanying, Conducting, Dramatic Art, Dancing, Languages. Faculty of iso 1 fn11 mYMid lt 18,h°Peless for one starring You might give him the Accolay “Concerto in seated at the piano and improvising for MICHIGAN’S t J'v0‘> ^ree- and four-year courses in Public School Music; Department headed by ' in middle age -to become a good violin .Minor, for violin, also the Seitz “Pupils' should not be played faster than 76. In some admiring friends. I have marked > Charles Espenshade and Lillian Lucas, who hold eminent positions in the Chicago i Concertos,” Nos. 1, 3 and 4. faster movements, such as Allegro and the first theme Parlando, which means Foremost School of Music I Public Schools. Two-, three- and four-year courses in Band Conducting under ' Presto, one should practice much slower “talking.” The second theme may be made Francis L. York, M. A., Mus. Doc., Chairman of the Board > ~'ct°r. Jean Grabel, distinguished conductor. Special course in the Class Method of ' 5ESa,V*V,"B than the final tempo; but in the present perienced musician and teacher in otw S. R,—A well-known authority says of Mon- to sound like some grand organ with its Edward B. Manville, F. A. G. O., Mus. Doc., President 1 Teaching Piano. Certificates, Diplomas and Degrees awarded; City, State and U S J tagnana, the famous violin maker, “Montag- instance this is not necessary, for a student noble diapasons. After this ff part comes Thirty-second Year I government credits. Frequent opportunities to appear before audiences; talented ■ nana, Domenico, Cremona land Venice) 1710- of the middle grades who can grasp this | Players. and singers may appear as soloists with Sherwood Symphony Orchestra. < a plaintive phrase (C), the germ of which iti liuePw?t! ft "tradlvarL Hls vi°lins staad Antante musically, will have little diffi¬ Adherence to the highest of unusual standards has brought to . Supervised practice teaching for students preparing to teach. Organ students practice ' extremely scarce that they sell for a price is in the ff part just played by (B). But this school country-wide recognition. To serious students it > on four-manual organs; screen practice provided for theater organ students Dormi- i only a little lower than that of a Stradl- culty with it technically. However, give Schubert does something absolutely origi¬ I tory. Reasonable tuition rates. < send you several violinsome music house vnrius or Guarneritis. The following is a this piece careful study, for it will prove offers the maximum in musical accomplishment. von pX “Tl/’S!?8 <1U faction Then copy of one of his labels: nal and modulates from the F-sharp minor could pick out the'one'Vi like the best. useful both as a piano number and as a ? FINANCIAL AID j Dominicus Montagnana Sub Si- at (C) to F-sharp major (D) in a way Fall Term Opens September 10th, 1928 •jnum Cremonae VenctUs, 1729. prelude for organ. In case the pianist s that stamps his character on the music. ; For talented students who desire to prepare for teaching or concert work, but whose 1 It is impossible to tell whether or not a hands are small, he or she can facilitate Had I never known this piece and should Many Free Advantages i means are.not entirely sufficient for their plans, the School can provide teaching J 'lolin Is genuine from a written description, matters in the chords by leaving out at . positions in its thirty-four Chicago Neighborhood Branches. The money thus . so you will have to send your violin to an hear it for the first time, I could say: ALL BRANCHES OF MUSIC AND DRAMATIC ART expert for examination. You will find the times the lower note of the right hand ! frned. , P? t0 defray the. expenses of their studies. Applicants for this form of < have2mastered X XtXo^fc°r" names of dealers In old violins in the adver¬ “That is Schubert.” I have marked this tising columns of The Etude. Two Mon- chord. But there are few places in the measure of modulation ad libitum (at Noted Faculty of 84 Artists ; ^ Aappuci™^Nring courses t0 fit them ** their duties as teachers- \ When Are p,ve or SIx tagnana violins are listed for sale in a late piece where such an expedient will be pleasure). Dwell on the major part just a Piano, Voice, Violin, Institute Orchestra and Orchestral Training An.erican catalogue of old violins, one at necessary. Students may register at any time. Your request for a * *6,500 and the other at $7,500. There are bit, and see how expressive this inter¬ Class, Violoncello, Viola, Organ, Theory, Dramatic Art, School of "fy/uuug childre“UofhfivePore?ixe ye°ar*eac5 many imitations of these violins, and it would Artistic Dancing, Normal Training for Piano Teachers, Concert catalog will be welcomed. Mention phase of musical J “ wonderful piece of luck indeed if your The Pedals pretation is here; and do the same later Child vaidofiXtrbyt0EgeL violin should prove genuine. The chances, of on where a parallel passage occurs in the and Irish Harp, Academic Department, Languages, Saxophone and profession in which you are most interested. j work, the author, Miss^WinS0* „In 'T'HE SO-CALLED DAMPER or loud Clarinet, Mandolin, Banjo and Ukulele. course, are overwhelmingly against It. work. This characteristic occurs strik¬ maa^ervafuahBl°eSXtsha:„l1-“^*$££ pedal is used to augment and beautify (.Address ARTHUR WILDMAN, Corresponding Secretary * teaching bints and suggestions for *e ‘one; and for its use the guiding prin¬ ingly in Schubert’s Serenade. M. \V.—It ^difficult for me to give you Accredited Teachers’ Certificates, Diplomas and Degrees Made 1 Sell, depcndahie advice, because I ' never- heard ciple is to pedal according to the harmony. Very Desirable Boarding Accommodations you■ . - play ttuuand do’ao not know tne exact stage Where there are passing dissonances, the Markings SHERWOOD MUSIC SCHOOL \ ot advancement you have reached. You seem 1aave a number of excellent books of ex- greatest taste should be used in the appli- 1 have indicated the metronome mark FOR CATALOGUE AND VIEW BOOK ADDRESS | FINE ARTS BUILDING - 410 South Michigan Avenue Q ereises and pieces, but it would be much ^tion of the pedal, avoiding too much with eighth-notes at 76. This means that EDWARD B. MANVILLE, Business Manager f you c°uld study them under the DEPT. 2, 52-...—— PUTNAM AVENUE DETROIT, \ jgt CHICAGO, ILLINOIS ' pporvisicu of a good teacher. However, as Wixing of the tones. Besetting sins of there are three clicks of the metronome there is no one in your town with whom you 4 .amateur are to press the pedal down to the measure, at 76. There might be Located Right in Detroit's Art Center ean study, you will have to do the best you during the whole measure and to change (Continued on page 625) so quickly that there is no chance for the AUGUST 1928 Page 625 fan ETUDE THE Page 624 AUGUST 1928 Violin Questions Answered (Continued from page 622)

One hour daily for advanced arrive a ran by y°nTSw*' is verv little, but you c«u violin Pra^flCin amount of progress, even in instrunients strung up to international pitch make a jertu , i{ you use your time at all times. If you do not it leads to end¬ Cincinnati (fonserhatorig rfINCORPORATEDJttusic s0 limits'1 a i iive years of mstruc- less tuning. systematicaliy- t(?nth t0 fifteenth year, have AMERICAN tion, £rh°“ u-en you quite a foundation. ’Cello Instruction. BERTHA BAUR, President and Director AFFILIATED WITH THE UNIVERSITY OF CINCINNATI nu doubt given you J r(,vi(,w the second M. K.—The little work, “Chats With ’Cello you had at Kavser, also do a certain Students,” by Arthur Broadley, the English and t^fbwork in Schradieck’s "School of 'cellist, conluius much valuable informatioh Noted over Sixty Years for the Highest amount oi « d ten mi„Htes daily for the 'cello student. It Is published in Tifh« “Scale Studies." Having com: England, but may be obtained in this country. Standards of Attainment in Schrad'ec Mazes' "Sp.'.-inl Si mhos. 2. The ’cello is fully as difficult as if not CONSERVATORY more difficult than the violin. 3. You are & 1 tha°nrd0Ufcale right in your opinion that the study of the Offers courses in Piano, Voice, String Certificates, Diplomas and Degrees keeping on wi ^ v(111 wjn ready for 'cello in this country is advancing by leaps nd Wind Instruments, Organ, Theory, Awarded. • and bounds. This is due to the introduction studies, w J. u have studied in part. of instrumental and orchestral study in the Opera, Dramatic Art, Languages and Com¬ Faculty of distinguished artists. Kreutzer your technical ana Beautifully situated within a wooded With Kreutzir.^^ y(,t |lu. ..Forty Varia- public schools. 4. The Etude will publish position. Dancing. Public School Music BCale stu gpv “fk By way of variety articles of interest to ’cello players from time (Accredited). Teachers’ Training School. campus, all dormitories and buildings are to time, but, of course, the violin has the MUSIC owned and operated by this Conservatory. preference, because so many more of our read¬ Master School for Artist Pupils. ers are interested in violin playing. 5. I Complete Student Symphony Orchestra. would strongly advise you to get a good pro- lessioual 'cello teacher, when you are ready Chicago’s Foremost School of Music Address Registrar for Catalogue and Information to begin your studies, and not try to learn send to a •t ihose you use. ion by yourself. Dept. E, Highland and Burnet Aves. at Oak St., Cincinnati pieces on trial ai • tud.vlng (he “Concerto would no doui V," Perry Violin. Mazurka, “Kuiawiak” D. M. B.—Thomas Perry, Dublin, 1767- Traviata” by Sinvel 1 sou, was a violin umber of high standing. 43rd Session Commences by Wieniawski, 1 His model, varnish, scrolls, workmanship, D” by S^ltz. .'I mann. The Moan h it. SuPm Minuet in (1 tone and so forth, are all excellent. He made September 10, 1928 by Beethoven, 1 "list Severn. Eleuie ' good copies of Amati violins. Ly awrence by Massenet mi, ,s a by Rimsky- specially 1 ii'mid’p ; he is Offers superior courses in all branches of music and Conservatory of Music gfte QlrbrlanJiJtBtitutr Korsakoff, all mi ' nd so you will have to have your violin dramatic art, including Master School. Diplomas, De¬ cAppleton, Wisconsin xamined by an expert, in order to ascertain grees and Teachers’ Certificates granted by authority State i of string from bridge • yours is genuine «• *" ™“” "size, li inches; viola, (violin dealers) of • Illinois. Thorough preparation for concert, opera A Department of Lawrence College 'cello. 27 to 28 inches; London, England, whose ame appears on and teaching positions. Many special features, recitals, of Qttfitr s. Excluding the violin, the violin, sending them t e reference nnm- hers you have found on j uir violin. They concerts with full orchestra, lectures, etc. in that way and ■s of the ft might be able to identify i Piano, Voice, Violin, Cello, Organ, Fall Term Opens September 19 it is hnrd t tell you if the violin is gei Excellent Dormitories Offer Accommodations at Moderate Rates Band Instruments, Public School Music, Private lessons in voice, piano, violin, ’cello, organ and all orchestral instruments. New Musical Books Reviewed Public School Art, Dramatic Art. Unsurpassed Faculty of One Full Courses lead to Teacher’s Certificate, Artist served best the voices which hav Bachelor of Music Degree. Diploma. and Certifi¬ Orchestral and Choral Training, Diploma and Degrees. his guidance and observation, Hundred Twenty Artist-Instructors cate in Piano. Voice. Violin. Organ. Public School gives, first, careful discussions Music Methods and Music Kindergarten Methods. singing, With lucid suggestions ... Bulletin sent free upon request ic Festival, Artist Recitals. Among these might be mentioned W. ST. CLARE MINTURN, Director. Orchestral Instruments — ORCHESTRA SCHOOL under the direction of Andre de Ribaupicno, con¬ Piano — Heniot Levy, Allen Members Chicago Symphony cert artist, maintains three orchestras where students receive training and Spencer, Silvio S c i o n t i, Louise Robyn, Kurt Wanieck, Orchestra. experience in public. eriiig the musical Mabel Osmer, Earl Blair, PIANO DEPARTMENT under the direction of the distinguished American phrase “ A valuable addition to the literature Public School Music—O. E. N.Ufi of teacher, student and professional singer. May Doelling, Charles J. Robinson. pianist and composer. Beryl Rubinstein, trains teacher, concert artist and amateur. _ His text is Haake, Gail Martin Haake, “ SCHOOL °f and to the point. Ample illustrations demon¬ Pages: 148 (Vol. I). Adelbert/xaeineii Huguelet,nugucm, Crawford Public±*UD11C Schoolocnooi Class X-ICUIUPiano Publishers: Oxford University Press. l' 11 ir-i tc.ipi-hler. Methods—Charles 1. Haake, MUSIC PUBLIC SCHOOL MUSIC under Russell V. Morgan, director of music of strate the application of all problems pro¬ Price : $6.50. Keigwin, Olga Kuechler. Methods—Charles J. Haake, the Cleveland Public Schools, prepares for position of music supervisor in posed. There is nil orderly and progressive Gail Martin Haake. public schools and leads to Bachelor of Education degree. arrangement of the themes presented. In Harmonica Bands for Boys and Girls Voice—Karleton Hackett, Ed¬ fact Mr. Morris has succeeded In furnishing A skillfully presented and richly Illustrated uardo Sacerdote, Charles La School of Opera — Eduardo Advantages include special pedagogy classes, training in ensemble, chorus and a the music teacher and student with a road¬ brochure giving a well-constructed outline of map that will pilot them safely through •theth? tlm irowth of interest and use of the humble Berge, Elaine De Sellem, Sacerdote. mS^^ficT^-‘-S“-~--rtl9t8’faCUl^and8t^'mt“'reC,ta,,,>C ' ' ” jungles and into the open country of technical John T. Read. and practical understanding. Dramatic Art, Public Read- CONWAY.J ind. Violin—Jacques Gordon, Her¬ ing—J o h n McMahill, Jr., Pages; bert Butler, Adolf Weidig, Louise K. Willhour. ProfSoDaf Bands.^Mv'atfaml’ch Diplomas, Certificates of Awards, Medals and Publishers : Macmillan and Company, Limited. Gsun.Scott A.... Willits," *-- Dancing—Louise K. Willhour. Other Requisites for Awarding Pupils Price: $3.00. Completing Courses in Music Organ—Wilhelm Middelschulte, Theatre Organ School—Frank The Organ and Its Masters THEODORE PRESSER CO. FrankFront Van Dusen. Van Dusen. 1712-14 Chestnut St. Phita., Pa. By Henry C. I,ahee New Revised Edition Musical Theory, Composition and others of equal Wandering about half a block through the Answers to —Adolf Weidig, Arthur O. importance shoe department of a great American depart" Andersen, John Palmer, Leo ment store and turning the corner at the DANA’S MUSIC :al institute lace counter, a busy shopper hears n single Qan Tow ■ in . the first to make use? Master School of Piano -Teachers following two measures the half-pedal is Mr. Ganz has consented to award the following Free Fellow¬ ITHACA INSTITUTION 5. What highly characteristic modula¬ under the direction of LEON Catalogue on request. sufficient for the tone and better for a ships for the season beginning September 10, 1928, to students SAMPAIX, Master Pianist PITTSBURGH MUSICAL INSTITUTE, Inc quick change of it. Especially in the tion does Schubert make at (C) of this who, after an open competitive examination, are found to possess PUBLIC SCHOOL ^ and Pedagogue. Large Symphony Orchestra 131-133 Bellefield Ave. Pittsburgh, Pa. seventh measure is the light pedal desirable. composition? the greatest gift for playing. Contest first week of September. MUSIC making available opportun¬ 130 DeWitt Park, Ithaca, N. Y. New School for Motion Application blank on request. Picture Organists ity for advanced students to. with new and fully equipped play and sing solos with or¬ One Private lesson weekly of 60 minutes each for entire chestral accompaniment. Educational Study Notes practice organ for student GRANBERRY year. practice. (Continued from page 613) Scholarships Two Repertoire — Interpretation — Teachers’ Class available for unusual talent. PIANO SCHOOL Special Courses in weekly of two hours each for entire year. Composition 149 East 61st St., New York, N. Y. directed by DR. WAL¬ Choral and Operatic singing One Bach Piano Class weekly of one hour each for LINGFORD RIEGGER. available for good singers. For PIANISTS, ACCOMPANISTS and entire year. Splendid Dormitory privi¬ One Chamber Music and Two-Piano Playing Class leges available. TEACHERS i weekly of Advance credit allowed for Five partial Fellowships of one Special Normal Courses work satisfactorily complet¬ 30 minutes each to five stu< ■eyear. with practical teaching under ed elsewhere when applying Five Partial Fellowships of tw< MRS. BABCOCK supervision. to the course chosen. Teachers’ Normal Session s in TRINITY PRINCIPLE PEDAGOGY. tion—Teachers’ Class We to teach the BEGINNER to ie FIRST LESSON. Also Church and Concert Engagements FALL TERM BEGINS, September 20th k.WsieGH^usdjfomG°w CARNEGIE HALL, NEW YORK For full details write for illustrated catalogue. * MODULATION COURSE — Musical Education in the Home Address. Registrar, 1 Dewitt Park, Ithaca, N. Y. ■ Rhythm Lei (Continued from page 577) STUDENT DORMITORIES

INSTITUTE OF MUSICAL ART COLLEGE OF FINE ARTS— of the rr r n . Syracuse University Complete Catalog on Request Harold L. Butler, Dean _ K7 v JUILLIARD SCHOOL OF MUSIC Syracuse, N. Y. 120 Claremont Ave. New York City FRANK DAMROSCH, Dean 90«st^SIC’ AfT’ ARCHITECTURE _ Four-year Courses in 42 Instructors Address: CARL D. KINSEY, Manager A school for serious students. All branches. Moderate tuition fees. iano, Voice, Organ, Violin, Composition, 60 East Van Buren St. MS CHICAGO, ILL. SPECIAL ANNOUNCEMENT Public School Music idvanced violin students will come under leading to the Bachelor’s Degree observation and instruction of Unexcelled advantages for the study of music W„ioi . j PROF. LEOPOLD AUER

When you write advertisers always r S ETUDE. It Identifies " tOUCh wlth the higher ideals „£ « AUGUST l tBE etude Page 628 AUGUST 1928 THE ETUDE

-JUNIOR: ETUDE

Thousands of musicians and teachers feel the need of higher and more advanced training in music as a means of greater accomplishment and increased income. There are endless higher positions in music— CONDUCTED BY ELIZABETH A GEST greater opportunities—ready and waiting for you just as soon as you are ready for them. Adventuring ? ? ? Ask Another ? ? ? Secret Study in Your Own Home Under Master Teachers A By Marion Benson Matthews If, like thousands of ambitious men and women, you must pursue your musical training in the time left over from your regular 1. If a scale has five sharps, what is the leading-tone of the relative minor of “What ever can be the trouble, Nan?” duties, and at a nominal expense, then the University Extension Conservatory offers you the sure, proven and guaranteed that scale? By Harry L. Lynch inquired Uncle Will. “My, such a long means to the attainment of your highest musical ambitions. 2. What is a canon? face!” 3. When did Haydn die? Thaddeus and his dad had a secret they It was not long before a teacher Nan wriggled uneasily on the piano Musical Training of University Grade 4. Who wrote ‘‘Lohengrin’’? /ere keeping from mother and brother found who was a good musician and_ bench. Jack. They wished to surprise them. cbmplished in violin technic. Soon Tad “Well—it’s such a lovely day, and it’s This great Musical Organization—now in its 25th successful year—offers to ambitious 5. Is “Lohengrin” an oratorio or an Everything Tad’siacts daddyuaciciy tooKtook himmm to a “home-numc- was ---started in his~ lessons. stupid to sit**<• here--.° drumming -away at men and women Musical Training in Normal and Advanced Subjects of the highest grade. opera? 6. What note comes on the fourth line beautiful” exhibit. The polished floor’s went along splendidly. Tads teacher not thg pian0i when I feel just like going Our Diplomas, Teachers’ Certificates and Bachelor’s Degree are granted by authority of the ...... IV .• . ...i.i. /w*ltr tanoTif Him ln'AWinff well, but also ax- «_riva cr*hf»r1v above the C clef? State of Illinois. 7. When was Debussy born? Tad’s artistic eye. On his way home he ranged his exercises into beautiful scales, You adventuring,” declared her . - so that the patience of the folks at home Extension Training has received the endorsement of the World’s greatest Educators. 8. What is meant by poco a poco cres¬ told his dad that he would like to buy would not be worn out during the first year “How do you mean ” asked Nan in sur- Practically every great resident University now offers accredited subjects by Extension cendo? a home with shiny floors and nice furnish- Methods, and it has been found that such work is often of a higher grade than that done ings for his ma so that she would have practice, prise. 9. What does a double sharp do to a On his way to take his lessons Tad had in the class room. "Oh, I don’t mean you’re adventuring ii note? more time to read to him. group of boys who, like most w tiiuw> , “Tad,” added his father, “there is noth- *° pass China, or India, or Japan, to be sure,’ The highest type of Musical Training by Extension Methods, as developed and per¬ 10. From what is this taken: boys, were always ready for a prank On a responded Uncle Will, ing I would like better, but you see, 1 have 'Perhaps fected by the University Extension Conservatory, is not an experiment, not a makeshift, certain day as^Tad was passing, the boys shoujdn>t say tiiat you adventuring; a hard time running the house now.” but has proven its value and soundness in the careers of thousands of musicians and teach¬ stopped him. One big boy grabbed for his but that your fingers adventuring, ers who owe their success entirely to the personalized and painstaking coaching of this “I could help you,” broke in Tad, his violin, hut Tad held it for dear life. He directed by y()ur mind." face lighting up. great school. did not know what to do. He thought to —‘Oh, yes! They— are adventuring among 'How could you help me, Tad?” The Pedal Brothers himself: “If I strike back, I might injure the keys,” agreed Nan, with a smile. “Dad, I'd like to play the violin. Oh! my fingers and then j Courses of the Highest Authority _o_ be able to play. “They are indeed,” added her uncle. I’d work so hard and some day, maybe, ^ ^ ta^e my vioJi: All University Extension Conservatory Courses are the work of America’s greatest By Alice Horan McEneny . - - - If they take my violin they will break it.” “Talking about traveling in far countries! I’d become a famous player and earn lots Hg kept bacfc;ng nff. Authorities and Teachers. The names of Sherwood, Protheroe, Rosenbecker, Gunn, Heft, Who wouldn’t give a great deal to ad¬ (Brother Soft Pedal) of money. Then we’d buy the home.” Weldon, Clark, Crampton, Siegel, Wrightson, Stiven, etc., are known and honored through¬ venture in that country where ‘Wagner Brother Soft Pedal once said this to me— This clinched the argument for dad. and Beethoven mightily moved’? I don’t out the Musical World. The Extension Courses in Music they have prepared for you have “Press me down firmly and you’ll surely The next day Dad came home early, received the endorsement of such great Masters as Paderewski. Damrosch, Sauer. Mosz- think you will ever have more interesting, after receiving a check for some work he _ thrilling experiences than those you meet kowski, Sousa, and countless others. How very soft will the music then be, had done. Ma wanted a shoulder at the _ Like fairy horns from a far distant lea.” with in the Land of Music.” butcher’s and Dad volunteered to go and | — S. MATTORI “But it isn’t very thrilling just now" Send for Sample Lessons—FREE (Brother Sostenuto Pedal) get it. Jack, the youngest boy, did not desire said Nan doubtfully, eyeing the exercises Mme. Cecile de Horvath to go with his father, but preferred to c a!e coi^a% invited to send for full details of our wonderfully successful method on the rack before her. Sostenuto then had this much to say— work in the garden he was making for his International Concert Pianiste of Extension Training m Music. Check the subject on the Coupon that interests you VIOLIN “All in good time 1” laughed Uncle Will. “Press me down firmly and notice the mother. Tad very willingly accompanied most and we will send you a number of sample lessons—absolutely free. “You must have patience. We can’t have heads the Piano Department in our resident school way dad to the butcher-shop. On their way I hese Sample Lessons, more than anything else, will prove to you how successfully we Bass tones will sing that with me you will MAKER our pleasures without paying for them, in the Lyon and Healy Building, Samuel Block, they decided to visit the old violin maker. have mastered the problem of high-grade, approved Musical Training by Extension Meth- play, you know. Just pretend you are pushing Director. They came to his home and went up two WALK IN While all the others will just die away. through the jungle, now. It’s hard, slow arbJpvp 6 frea any more than you can on accomplishments. The lessons are profusely illustrated Langley Avenue and 41st Street, Chicago, Illinois. ^nrocured « a shoulder._i_TRov They qsL«Iasked the coirisaid, “nan“Can uhiiyou nlavplay anvtnm&r.anything, kid.kid really truly travels ” with photographs from life and with detailed explana¬ butcher to do up the violin to look like “Yes,” replied Tad. “What would you tions of every important pcint, so that a thorough “Well, it helps a little to think of it that another shoulder, to which request the like me to play?” understanding of proper technique is insured. way. I’m glad you told me about it, Uncle □ Piano, Normal Course butcher gladly consented. “Anything,’ said the boy; Get back! □ Cornet, Amateur □ Violin Will,” and Nan resumed her practicing All. instruction is ir lvidual and under the personal for Teachers D Cornet, Professional When they arrived at home, Tad gave he shouted to the other boys the kid is with a more cheerful expression on her IH Piano, Course for □ Guitar vvnen y . gomg to play for me, and 111 knock the direction of highly qualified teachers who keep closely □ Organ (Reed) □ Ear Training and Sight rosy face. Students □ Voice h'“How light^his is,” she exclaimed. block off the first guy that touches him ” in touch with the student’s progress by means of a □ Public School Music Singing □ History of Music D Mandolin She untied the string and was greatly The speaker seemed to be of Italian parent- very wonderful system of examination papers through¬ □ Harmony The right hand plays the treble, □ Adv. Composition (All Three Pedals) out the course SU“WW IreTou^oingto do with this?” °Here was an opportunity for Tad to The left hand plays the bass; You hardly could guess the abuse that we What are you g S. make a good sbowmg before his enemies. But it takes two eyes If you wic a to take up the study of music, after having Street No. ShDadkeLwing forth the shoulder from He was happy to think he had just finished And it takes two ears been oblipjd to discontinue it temporarily, be sure to Through children with careless and un¬ City . Dad, drawing exolain. He practice on a simply-arranged piece from To keep them in their place. write fo- particulars of our Courses. We will have a ruly feet. behind his back, “Rigoletto,” and that he knew it from told her of Tad’s fonddesire * takevtola. placed his vioIin.case on the very ir spiring message for you. How long have you taught Piano?.. Use all of us skillfully, ’twill be a treat, The right eye can’t attend .How many pupils have For then we will help you to make music lessons. Tas m * with dad that it curb, opened it and unwound the silk hand- To the right hand’s work alone; y0U nOW?.Do V°u h°W a Teacher’s Certificate? .Have sweet.” hear such news ana g kerchief he had wrapped around the violm. For it takes two eyes UNIVERSITY EXTENSION CONSERVATORY you studied Harmonv?. irr rJTSfhK-eS*- 5 «' played the '•Rigoletto” plus a dance And it takes tfwo ears y .Would you like to e n the degree of to take. Liao (Continued next page) To play with lovely tone. LANC LEY AVE. AND 41st ST., DEPT. S, CHICAGO, ILL. Bachelor of Music? . "Lightlicr moz’e the minutes edged with Wusic’—T ENNYSON. secret. Please mention THE ETUDE when addressing our adIvertisers THE ETUDE AUGUST 1928 Page 681 Page 680 AUGUST 1928 0E ETUDE rTwo of the latest books ~ JUNIOR ETUDilconLW~ By John M Williams

Junior Etude Contest John M. Williams’ John M. Williams’ Notice. As usual the Junior Etude July and August—extra practicing, mend- THIRD GRADE PIANO BOOK CoNTESTS are omitted in July and August, ing torn music, reading history of music, THE MAJOR SCALES Therefore, the results of the April contest and listening to the music of the great out- II appear m September instead of July, of-doors. So keep busy—do nr* a A Secret Little Biographies for Qlub Meetings gut there are lots of other things to do in bit of the precious summer.

(Continued from page 629) No. io—Mendelssohn “Schubert” ‘Playlet number and “My Country ’tis of Thee.” The prize to be awarded was a beautiful All Juniors know Mendelssohn, and he Some of his best known compositions (Continued from page 189) The boys applauded him and told him he Bergonzi violin two hiindred years old. is a good musician for Juniors and their are the oratorios, “St. Paul” and “Elijah,” was very good. He put his violin in the There were twenty-two contestants, all bril- Franz Schubert. Don’t worry, mother. families to taks as a model, for he came the incidental music to Shakespeare’s case and continued on his way to the home liant players, on the entry list. Here come my friends to play the little of his violin teacher. He had made his After the first exhibit, the playing was from a musical home, where the parents Midsummer Night s Dream, four sym- Rhythmic Symphony that father taught way into the hearts of the boys, there to of such a high standard the prospective gave the children all the musical advan- p onies, a vi ’ wo I)lail° con" them We are going to play the Mozart remain for many a day. winners were reduced to five. One of the tages possible and instilled m them a great certos, besides many trios, quartettes and Minuet in E flat and I am going to Tad was very ambitious and eager to five was Tad. A test in their knowledge love for the best music. He and his sister songs, and other compositions, succeed. He worked hard learning to read of the great composers brought the. prize, Fanny were the most musical of the fam- Some of his pieces that you can play at C(Enter‘children with instruments for the the violin technic and language of music, the beautiful Bergonzi,,to Tad. ‘ly- They were particularly “chummy your Junior Club meetings are: Kinder Symphony; the Mozart Minuet It doesn’t come! It doesn’t come! (He Music occupied the greater part of his Aided by his beautiful-toned violin, and made music together when they were Children s rieces, Up. Ji. * Price, $1.00 arranged for Kinder Symphony may be pounds his fist on the keyboard.) young life. He hardly had time, but he Tad’s ability was soon recognized and he young children. They remained chums to Melody from Concerto in G Minor, secured in the Prosser Edition.) Mother Schubert. There, my boy! studied the lives of the great composers, was numbered among the leading violinists the end of their lives. Nocturne from Midsummer Night’s Curtain There, there, you must be patient. It His dad bought pictures of Handel, Haydn, of the world. In various parts of Europe Felix Mendelssohn was born in Germany Dream.. OTHER FAMOUS WILLIAMS BOOKS Act II takes time to make great things. We must Bach, Mozart and other masters, and hung and America he gave beautiful recitals and in 1809, and his family looked to him for Venetian Boat Song, Scene.—The outer room of the Convict not expect to take the cake’ out of the JOHN M. WILLIAMS’ VERY FIRST GRADE PIANO BOOK them on the walls of Tad’s room. Under soon acquired sufficient money to buy for worthwhile achievement in music, even Consolation. School in Vienna. (The word "Convict’ The beginner’s book with the keyboard chart. r. e, each picture was written the important his mother the home of shiny floors and when he was very young. He studied oven before it is done. (Enter children) events in the life of the man represented in beautiful furnishings. diligently and played in public before he does not refer to prisoners but to a kind JOHN M. WILLIAMS’ FIRST GRADE PIANO BOOK First child. Oh, here is the new boy! the picture. Reading these short accounts This home was built in the old colonial was ten. By the time he was twelve he of school kept by the State Government.) The beginner’s book that fits the hand like a glove. » | Second child. Can you play the piano? in his spare moments, Tad soon acquired a style, with bird’s-eye- $naple floors that had already established himself as an The room is a very plain one with a Franz. I’d love to but our old piano JOHN M. WILLIAMS’ SECOND GRADE PIANO BOOK general knowledge of the lives of the mas- shone like the sun, and furnishings designed earnest composer. His family lived in a few chairs; on the wall is a picture of is like' the butcher’s chopping block. I The book to develop keyboard freedom and relaxation. mCe’ ters, whose names are written in letters of by an expert from the Big Store. A baby- large house to which many great musi- Beethoven. At one side ts a piano. As the curtain goes up there are present can’t play very long on it. Won’t you JOHN M. WILLIAMS’ GRADED SIGHT-READING BOOK gold in the history of music. grand piano, for brother Jack to kiss the cians and literary people came to spend Vol. I. Short phrase in linear reading, then chords. Price, l.uu After five years of earnest and zealous keys like Chopin himself, was placed in the pleasant evenings together, Father Schubert, Mother Schubert, Holzer play for me? (Here the teacher may insert a program study, during which time he put his heart parlor. As mother was about to do her When a young man he became very and Franz. Holzer speaks. . JOHN M. WILLIAMS’ GRADED SIGHT-READING BOOK from the works of Beethoven, Mozart, and soul into every moment of his work, spring cleaning, in the old house, Tad and much interested in the compositions of Holzer. The great master Salieri Vol. II. Developing in progress by charming pieces.. i Tad was prepared to play for the grand his father told her the secret of the long Bach, which were not nearly so well promised to be here as soon as the services Handel and Bach. This will make it prize in an annual national violin contest, years of violin study, known nor so frequently heard then as they in the Chapel are over. possible for a number of pupils to par¬ Send for FREE COPY of our big Mail-Order Catalog are now. He conducted a performance of (Here a very' fine effect may be obtained ticipate in the program.) (The children leave the stage) 116 Boylston St Bach’s “St. Matthew Passion” which was by playing off-stage on the sound-re¬ Boston, Mass. the first time it had been given for one producing instrument any of the follow- Franz. Oh, father, just think of the THE BOSTON MUSIC CO. hundred years; and this started a great ing organ or choral records: Handel, joy of having a piano every day to play revival of interest in the works of the Organ Solo, Hallelujah Chorus, Mes¬ on when one wants to! I do hope that great Cantor of Leipzig. siah, Victor 3576; Adoremus Te by Maestro Salieri likes me! Michigan State Normal College Conservatory of Music After this he went on long concert tours Toronto Mendelssohn Choir, Brunswick (Enter Maestro Salieri) Holzer (bowing deeply and kissing through England and Europe. He con- SMS.) Franz. Listen, Father, to the wonder¬ Salieri’s hand). I have the honor, great Courlra fo/u^nfng^WMvilors and teachers of public school music. Dear Junior Etude: Dear Junior Etude: ducted at many festivals, and then became Graduation lead# to a life certificate valid in most states of the union. - -hi i 1809—MENDELSSOHN—1847 J ful music! What joy it will be to hear Master! .... , Total living expenses need not exceed twelve .doMars pm week. Tuition and fees exceptionally low. . I I am in the fourth grade in music, prac- I have studied music three years and am conductor of the orchestra in Leipzig and Salieri. Is this, then, the little boy of tice two hours a day and go thirty-two in grade three and a half. My recital latcr founded a Conservatory of Music in it all day. Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. | Father Schubert. You will be a lucky whom I have heard so much? miles for my music lesson. My mother piece was Minuet in G. by Beethoven; but Leipzig. boy indeed i i you can play for the great Father Schubert. He is our little plays the violin and piano; and my sister I could not play in the recital because I got . This, with all his teaching and compos- Questions on Little Franz, Master. plays the piano. Not many people in my the measles. We are having a contest be- 'nS> gave him a very crowded life. In the Antonio Salieri and please him. Mother Schubert. Just think, in a Salieri. Let me test his ear. Turn town are very much interested in music. tween the boys, to see- who can have the nddst of his success his sister Fanny died. Biographies From your friend, best scales and technic; and I am trying to This was such a shock to him that he did little-while our Franz may have a new suit your back, child. , Detroit C

Date MORNING SERVICE EVENING SERVICE

S E V (a) Breathe On Me. Breath oMSod^ E (b) Holy Spirit from on High..Marks OFFERTORY T flPPFRTORV H Gome Ye Blessed.._.Ambrose He(T soloVw?th vZ obbi: opiio“a°ir)ey

O (a) Then We^amflfck to Love^^ U (a) 0 God Unseen, Yet Ever Ngr,^ (b) Lead Thou Me On.Lansing ? (b) The God of Love .Lawrence Saviour. Breathe An Evening Blessing, | British Copyright secured N Be Near .Felton (Duet for S. and T.) **“ Copyright 1927 by Theodore Presser Co. Qfp"£J "gj T H from “MIDSUMMER NIGHT’S DREAM” (4-hands) One of the finest melodies ever written. Grade 3 E MENDELSSOHN Andante tranquillo M.M. J=84_

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Beginner’s Method For the Saxophone By H. BENNE HENTON Price, $1.25 A Classic in Saxophone

Other Music Sections in this issue on pages 573, 597, 605. fffE ETUDE AUGUST 1928 Page 635 THE SAILORS HAVE A DANCE In hornpipe style. Grade 2. PAUL LAWSON

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Copyright 1928 by Theodore Presser Co. British Copyright secured THE etude AUGUST 1928 Page 687 THE ETUDE Page 636 AUGUST 1928 A knowledge of Popular Music makes possible a better MOMENT MUSICAL understanding and appreciation of the Classics For Rhythmic Orchestra r 1 FR. SCHUBERT, Op. 94, N9 3 SHEFTE RAPID COURSE Trumpet in C 1 X* IX* |-4 X XX x In Modern Piano Playing Triangle yiLJV' Jv Jv XX X X- XX JsX Jcx- xx A RAPIP SYSTEM for those who wish to play Tambourine JslL Jz-Jsl JL XX X X X-X XX 1 X* POPULAR MUSIC in the shortest possible time and also for forming Cymbals Xii- XX XX XX- XX XL an excellent foundation for those who wish to pursue the CLASSICS. Castanets I X* JbX -JU- XX J3X Shefte Rapid Course —Vol. 1—Price $1.00 in U. S. A. XX For beginners with no knowledge of music or who have had little teaching. Drum M- Jn-JsL XX XX jm- XX XX XX -*Xf Shefte Rapid Course — Vol. 2—Price $1.00 in U. S. A Quail in F I X* For those with fair knowledge of music. Shefte Rapid Course •*-'Vol. 3—Price $1.00 in U. S. A. m. m. J=loo tort,x/c/ l AX. ■■ rff. TO Allegro moderato . Li* L For the advanced student and professional pianist. 3J XixLO- A legitimate—fundamentally correct Piano Method endorsed by leading 1 ix m American Authorities, a few of which endorsements appear below. rr | mfP im st M B

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Stories to Sing To Eclectic Piano Studies parts, this will be a most useful collection World of VKtusic compiled, by JLouise G. Heinze fof. “bool use. Altogether, it will be a Easy, Effective and Interesting Compiled by Louise G. Heinze (Continued from page 569) Method of Developing the Sense Experienced teachers know that when fUedd?n °* n,umbtf „that are web mad* A NEW TEMPLE OF MUSIC, Hall and Publisher s Monthly L£tt of Pitch in Young Children the time arrives for the start of third from the standpoint of musicianship, and onservatorv Building, was dedicated at Capital By Gladys Taylor grade work, many students lose interest yeb. at.the same tlme are melodlous and Diversity, Columbus, Ohio, on June A _fl_i_j. r_All ¥_ i-A-- Hall,” ’the building is named A Bulletin of Interest for All Music Lovers More importance nowadays is attached to the matter of Pitch. A knowledge of . O'f ■ »' r w°;k scho61,n°Dr.0 Otto6 Mees, ®and is one of the most pitch, of course, tends to the development completely equipped buildings of its size ^and of musicianship and leads in the end to sfscfrsx“ sAhr/rL” ^«»< “ w, and the author of two similar books of f*al ’ far and wide. Degrees of Doctor of Music were the study of musical appreciation. In this conferred upon F. Melius Christiansen, con¬ studies for the lower grades, The Piano . ductor of the famous St. Olaf Choir, Nikolai little work, as'a means of teaching the Beginner and The Progressing Piano ADVANCE OF PUBLICATION Sokolof, conductor of the Cleveland Symphony child differentiation of pitch, two little Player, had this in mind when he collected OFFER WITHDRAWN Orchestra, and James Francis Cooke, editor of stories are told in which the members of the material for this new work. The great- . _ , , ... — ’ made -- ‘JJ' — the class take part, and through the the LL. D. degrei jnferre New Music on Sale est care has been taken in choosing studies Playtime Book, by Mildred Adair, the is n June when he Class Piano Teaching REAL EXPERTS VERSUS PIGEON HOLES presentation of these stories the different that are attractive musically and which Thls 1S one of those gems that the t Ursim College ii Many teachers are finding that piano At the very beginning of the fall teach¬ degrees of pitch are presented in a most serve to~presenLopportunities.Epson* nrmnrtnniHps for“master-mnstpv- teacher may use as a supplement to any classes produce more pupils for individual WHAT a gratification it would be if it were possible to take you and ing season we shall be prepared to send attractive manner. The idea is a very good ing various technical difficulties without veiT instructor or almost individually instruction. Teachers, without interfering other friends who have been valued clients of the Theodore Presser packages of New Music to as many teach¬ one indeed. Kindergarten teachers should unduly impressing upon the pupil the real as a bnok, since it starts prove especially interested. THE CON CERTGEBOUW (orchestra) of with prospective pupils from homes where Co., for years, through our establishment on one of the busy days. ers as may signify their interest in receiv¬ purpose for which they are given. In on “Mlddlfr C and ™tr°d"Ce? «?“?" \msterdam, Holland, has celebrated its fortieth tile financial side of music study is sec¬ W.e would like you to see with your own eyes just what happens to a letter ing such packages. There are usually from The special introductory price in ad¬ advance of publication, orders may be ufdy> through tuneful and rhythmic little anniversary, in a series of special concerts with ondary, find it easy to interest parents when it reaches here. twelve to fifteen new numbers in each vance of publication is 20 cents per copy, placed for this work at the special price pieces, the notes found in the treble and Willem Mengelberg conducting. The founder possessing but moderate means in having Of course, in handling such a vast correspondence there is necessarily a package; by this we mean pieces that have postpaid. of 35 cents a copy, postpaid. in the bass clef. their children join a piano class. This is great deal that is purely mechanical. The letters first go to machines with not previously had any circulation and r r . jn aONCERTINOSUnNPuii Titans NnINO. I1 ANDa Ain JNO.>Jn L9. tentsest> there> to holdare thelittle y° penung drawingsstudent’s inter- :ra—Messrs. Kemmar and Bauer (violin- nominal amount , for each class lesson, and in a jiffy. During the past four or five months we Classic Forms - ' (violist) and c Groen (fagottist)— the parents with limited finances, through Then comes the all-important work of, sorting this correspondence, so have been accumulating a very large num¬ Violin and Piano spersed, which enhance the appealing through the v .ole period, of forty the class method, can test the musical in¬ that orders may be filled instantly, and other correspondence passed to de¬ ber of new compositions for piano, voice, By Fannie Reed Hammond By F. Seitz power to young students. Price, 75 cents. terest of their children before investing partments which have been built through forty-five years of experience to violin, organ, etc., and these are to be put More and more our piano teachers are These new additions to the Presser Col- larger amounts in individual instruction. handle the letters accurately, quickly and comprehensively. Here it is that in circulation at once. There is no bet¬ beginning to realize that it is wise to in¬ lection will be readv very soon. The Con- SPECIAL THREE MONTHS’ InTRO culcate in the pupil a taste for the classics VERDI’S “MACBETH,” first performed This puts it squarely up to the teacher the personal element enters. Every letter of significance pertaining to the ter way for a teacher to get acquainted certinos by Seitz have been found very FTirnu (Wuu he Pergola of Florence on March 14, 1847, a to make piano study so interesting to the needs of our patrons is answered by a real expert. We have no room for with the newest material designed for at the earliest possible opportunity. In useful for students as an introduction to DUCTORY SUMMER HTUDE UFFER -evised in 1865 for the Theatre Lyrique class beginner that a real desire is incul¬ “pigeon hole” replies in this institution,' and never have had. teaching or recital purposes. The piano this book the author has devised a method the larger forms. When a student tackles Thousands of our subscribers have Paris, had its first performance in Germany 4pril 21, in a translation by Georg Gohler. cated in the child for continued music By this we mean, that when your letter comes up for consideration it is music, for example, covers all grades up to that will appeal to many. It consists of one of these numbers he begins to think taken advantage of the special summer not given to some cheap clerk who goes to a pigeon hole and pulls out a a little beyond medium difficulty, but a collection of original little compositions that he really has something to play, introductory offer to bring to the atten- Perhaps the most attractive of all ob¬ stereotyped reply, but it is given to a person of real experience, of ma¬ most of the pieces are in the early grades written in the classic forms, each accom¬ Nevertheless, Number 2 in O, Opus 13, tion of their musical friends and pupils the PADEREWSKI’S FIFTIETH ANNIVER- tainable material for class instruction of ture years, and one who has been trained by Theodore Presser Co. methods —just the kind of music that every teacher panied by a description of the form. The may be played by one who is still in the less than one-half price offer of three SARY of musical acti •ities is to be celebrated in young beginners in ages ranging from five to have a deep respect and eagerness to answer the letters, just as though pieces begin in the early second grade. first position, while Number 1 in D, Opus splendid issues for only 35c (currency or Poland by a series < f concerts devoted to the This work is nearly ready, but during the master’s works. After or six to around nine years of age, is the client were here in person sitting in the office. We have a very large permanent list of 15, may be taken up as soon as the stu- stamps). Give one of your musical friends at the Conservatory c E Wafsaw, it was in 1878 “Music Play for Every Day.” This is We have a large corps of these experts. Some of them are musicians teachers who take the New Music every current month we will continue to book dent begins to feel at home in the third a treat by sending 35c for these delightful that he took over th; published complete for individual instruc¬ year and who make returns and settlement orders for it at the special advance of position. Both of these numbers may be numbers. The amount paid for the intro- piano playing there ar of international renown. Others are music salesmen who have been in the with greater and mor tion (price, $1.25) or for class use it may business for over half a century, whose knowledge and trained memories at the close of the usual teaching season. publication cash price of 35 cents a copy, used with excellent results in students’ ductory subscription will be gladly cred- be obtained in two ways, either divided are among our finest assets. Nearly every mail brings additional names postpaid. recitals. Our new editions have been pre- ited on the regular subscription price, into four books, which sell at forty cents All this costs and costs heavily. It adds enormously to our overhead. and we are naturally very glad indeed to, pared in the most careful manner. which is $2.00, provided the order ’ each, or into twenty parts, designated as Only such an organization as the Theodore Presser Co. with its huge volume add these names to our mailing list. Any On Our Street The special introductory price for either ceived immediately after the last intro¬ Playtime No. 1, etc., at twenty-five cents teacher who will take the trouble to mail ductory copy has been mailed. Here’ COMPETITIONS of business, could maintain such a staff, which has helped our patrons for Twelve Piano Pieces for Beginners THE PRIZE OF ONE THOUSAND DOL¬ over four decades without extra charge of any kind. a post card asking us to send New Music By Allene K. Bixby musical bargain which cannot be matched. LARS, offered by Alfred Seligsberg, through the The appeal of music study is irresistible for piano, voice, violin or organ may de¬ Think of it!—15 Etudes for only $2.00. Society of the Friends of Music, fof a sacred or when the young student is taught with This work is now well along in the secular cantata suitable for use by that organiza¬ pend upon receiving a liberal assortment The Shepherd This offer applies only to music lovers who “Music Play for Every Day.” course of preparation and it will be ready are not on our subscription list and who tion, is again open for competition till Novem¬ of these publications divided into install¬ very soon. It is another one of those ber 1, 1929. Particulars mav be had from When considering material for begin¬ ments sent at regular intervals, usually! Musical Play for Children are not familiar with what The Etude Richard Copley, 10 East 43rd Street, New York ners ranging in the ages between nine splendid helps for beginners that are be¬ By Mathh.de Bilbro about a month apart. There is no obliga¬ ing produced nowadays. Each of the num¬ to fourteen, the “First Year at the Piano,” tion to purchase any of the music, and if This is an easy operetta that may be by John M. Williams, will be found ex¬ bers in the book is very tuneful, written A PRIZE OF ONE HUNDRED DOLLARS Advance of Publication Offers—August, 1928 the first package is unsatisfactory, the or¬ in characteristic style, and each has ex¬ produced by children of almost any age. JsJOTE CAREFULLY THE ExPIRA' tremely satisfying and productive of good der may be cancelled without the least It is very short, easily learned, and hav- y-. .. r is ^offered by Swift and Company for the best results in class work. planatory text. It is one of the best works ing enough variety to require three brief TION DATE ON WRAPPER Paragraphs on These Forthcoming Publications will be found under These Notes. trouble. Either send a post-card order of its kind that we have ever published. accompaniment, of Sir Walter Scott ‘Harp"of the North, Farewell.” The competition closes These Works are in the course of Preparation and Ordered Copies will be or include a request for New Music in any The special introductory price in ad¬ acts, the entire performance lasting about Jf it reads August 28, it means that the order sent us. one hour and one-half. The libretto is last paid for copy was mailed with that September 15. Further information may be had for convenience in class teaching, is pub¬ delivered when ready vance of publication is 30 cents per copy, from D, A. Clippinger, 617-618 Kimball Build¬ postpaid. based upon two of Aesop’s fables and the date. The date is always printed imme- ing, Chicago, Illinois. lished in four parts, which sell for thirty- no—Parts, Each...1Sc. Ma.no [NG, The—Christmas Cani story is told in a very jolly manner. The diately opposite the name and address of five cents each. The Same—Piano Accompaniment.30c. for o Voices—Wool.eh. Concertino, No. 1—Violin—Seitz.35c. On C ieet—Piano—Bixby. Second Year at the Piano music, as may be expected from Miss Bil- the subscriber. Be sure to send us your Any teacher not having all lesson peri¬ Studies in Musicianship bro, is bright and catchy throughout, renewal promptly and avoid possible dis- PRIZES to the amount of one thousand dol¬ ods filled with private pupils should find Concertino, No. 2—Violin—Seitz.35c. Part By John M. Williams Eclectic Piano Si Select Studies for the Pianoforte There is opportunity for the introduction appointment. lars are offered by the Cadman Creative Club it profitable to inaugurate piano classes, Piano Voluntaries. Almost since the first appearance of of Los Angeles, for compositions for piano or¬ Heller—Philipp—! Second Year at the Piano—Willi By Stephen Heller of dances, using numbers from the op- Considering that about $60.00-worth of gan or voice Particulars may be had from Mrs. not only for giving music study oppor¬ —Piano—Four Books, Each.60c. Shephi Mr. John M. Williams’ immensely success¬ Myra Cain Grant, 4065 Oakwood Avenue, Los tunities to children whose parents do not The—Musical Play—Bi In Four Books eretta itself. music alone is published in the 12 issues Immanuel—Christmas Cantata for Mixed Soldiei ful instructor “First Year at the Piano,” a The special introductory price in ad- of The Etude, to say nothing of the count- Angeles, California. feel ready to expend a larger amount for Voices-^Dale .30c. c,_Grbk demand has been made for a book to follow Edited by Isidor Philipp These four books constitute much more vance of publication is 35 cents per copy, less educational, technical articles printed individual study, although they will con¬ Tune it. Mr. Williams, the thorough and prac¬ throughout the year, $2.00 is a mighty Hammi than a selection of the better known postpaid. sider a nominal class fee, but for the pur¬ . .35c. tical piano pedagog that he is, was not small investment to make for such a tre¬ pose of making prospects for individual to be stampeded into the making of such studies of Heller. While the opus num¬ bers 45, 46 and 47 are, of course, repre¬ Soldiers of Christ mendous return. work in any form within the playing scope of instruction, when the first year of work is a book, particularly since both the pub¬ Please note the card printed in the up¬ the full symphony orchestra: $10,000 and $5,000 sented, the four books comprising Studies Sacred Cantata completed in the class. lishers of the “First Year” and Mr. Wil¬ per right-hand corner of the World of will'be given for the best and second best com¬ The Manger King Valse Moderne, by Stoughton; Prelude by liams felt that the following book should, in Musicianship constitute a compendium By Philip Greely positions within the playing scope of the Ameri¬ Vodorinski; Playing Soldiers, by Jessel; of the best works of Heller, both studies Music page regarding discontinuances. can dance, jazz or popular concert orchestra. New Christmas Cantata not be one quickly made to meet a com¬ Here is a brilliant and militant church I he symphonic contest closes on May 27, 1929, Immanuel Overture Comique, by Sartorio, and many mercial opportunity, but rather one as¬ and pieces, all assembled in logical and cantata entirely out of the usual line. It and the popular contest on October 29, 1929. By Alfred Wooler other important numbers. The instru¬ sured of being an educational success. progressive order. No composer ever lived is suitable for performance at any special Warning 1-uU particulars to be had from the Victor Talk- Christmas Cantata mentation is the same as that of our other who had a better knowledge of the piano¬ Alfred Wooler’s many successful an- The “Second Year at the Piano,” with musical service at__I any torn_ of- the „year ___eSwindlers a about. Despite persistent By Norwood Dale thems, part songs orchestra books. This is likely to prove the remarkable new, fresh material pre¬ forte and its resources than Stephen Hel¬ and it is Su e to prove popular both with warnings by us to beware of magazine and vocal solos are ler. He has done for the musical side of To some it may seem a bit early to be widely known. Wf the best collection we have ever issued.- sented in logical sequence, gives every as¬ choirs and-mgregations.0- Two familiar subscription... . swindlers, every. mail brings t York City and take pleasure in an- pianoforte playing what Czerny has done was received « planning for Christmas, but the organist- nouncing that we have p reparation a The special introductory price in ad¬ surance of being such an educational; hymn tunes are introduced very effectively. a complaint from some music lover who new Christmas cantata by Mr. Wooler. In vance of publication is 15 cents per copy success. for the technical side. Volume One will This work is now in preparation and it has been imposed on. Pay no money choirmaster who has the foresight to plan be ready in the early fall and the other the season’s work in advance is usually cantata the Christmas story for the various parts andJ SB3; cents for the We advise every teacher to take the will be ready very soon. Here is a splen- to strangers unless you are willing to take beautifully worked out and told in tuneful Plano accompaniment, opportunity of securing a copy of this books will follow along speedily. did novelty for the busy choirmaster. the risk. Look out for hard luck stories, c Clubs for the successful one. We have in prepara¬ y torm for solo piano i choir numbers with the usual solo work work while the advance of publication, The special introductory price in ad¬ The special introductory price in ad- so-called “college boys working their way tion this new Christmas cantata that will vance of publication is 60 cents per copy :e fifteen to forty-five mil interspersed. This cantata would prove postpaid price of fifty cents a copy, is vance of publication is 20 cents per copy, through, getting votes for a course”; 99 performance. Particulars may be had fr< be ready for delivery in ample time for allowed. for each volume, or $2.40 for all four T. C. Donor the fall rehearsals, as the plates are en¬ very useful at any church service. It is postpaid. oat of 100 are imposters. We cannot be i, 1633 Cedar Avenue, Pit Tunes For Little Folks volumes. responsible for the work of crooks. If Pennsylvania graved, the proof-readers have concluded compact and not too long. It is within For the Pianoforte Part Songs For Soprano, Alto you would like to place a subscription with their work, and the book is ready to go the range of the average choir and should prove very pleasing to congregations. This Tuneful Tasks tj \a solicitor but are not sure that he or she „ ELIZABETH SPRAGUE COOLIDGE to press. By M. L. Preston Piano Voluntaries PKiZ.ts of one thousand dollars for a quintet cantata will be ready in the early fall in By John Thompson AND DASS VOICES . js strictly honest, take the name and ad- Immanuel is a short cantata for use by Mrs. M. L. Preston is gifted with a vein The pianist in the church, the Sunday for flute, oboe, clarinet, bassoon and French horn, ample time for rehearsals. “S. A. B. Trios,” as music supervisors

Progressive Teachers, Who are Earnestly and Sincerely Endeavoring to Lead Pupils

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